The Light of Hope Returning SATB (choral score) by ShawnKirchner

A FOLK ORATORIO for WINTER SOLSTICE

T H E L I G H T O F H O P E R E T U R N I N G

of traditional carols and new winter carols music by S H A W N K I R C H N E R featuring texts by S U S A N C O O P E R & J U D I T H C O R D A R Y d e d i c a t e d t o S t e v e K i n z i e SATB CHORAL SCORE

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1 How Have You Come This Night?

2 The Light of Hope Returning

~Reading: “Morning” – Judith Cordary

3 Bright Morning Stars

4 Brightest and Best

5 Remember

6 Behold That Star

7 Angels We Have Heard on High

~Reading: “The Shepherd” – Susan Cooper

8 Rocking Carol

9 In the Bleak Midwinter

10 Lo, How a Rose E’er Blooming

11 What Shall Befall You

12 Green Grows the Holly

13 Little Rose

14 Coventry Carol 1591

~Reading: “Anna” – SLK

15 A Coventry Carol

16 The Tyrant’s Rage

~Reading: “Revelations of Divine Love” – Julian of Norwich

17 Holy World

~Reading (reprise): “Morning” – Judith Cordary

18 Reprise: Bright Morning Stars

19 Fare Ye Well, Come What May / Reprise: The Light of Hope Returning

20 Children, Go Where I Send Thee

I. W E L C O M E

II. T H E M O R N I N G S T A R

III. A T T H E B I R T H

IV. A S I G N O P P O S E D

V. P A R T I N G

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Hope Itself

“Hope” is the thing with feathers –That perches in the soul –And sings the tune without the words And never stops – at all –

As in these words of Emily Dickinson, hope is often associated with lightness – the lightness of a hollow-boned bird, able to rise above the realities of earth, and to fly into an imagined future. Or the lightness of bird’s call, faint but sure, as night gives way to the dawn.

But the hope we sing of in The Light of Hope Returning is not a hope of airy lightness; it has the light and heat and cheer of a crackling, blazing fire in a communal hearth. It has the powerful, heart-lifting light of a distant star that is actually, up close, an unimaginable furnace of fire. It is allied with the basic driving force in the universe that turns the galaxies, forms the planets, and spurs the countless generations as Life finds an ever-forward way. This hope is our Life-force, the fire that burns at our core, our DNA-level birthright, the momentum of God within us: our unstoppable will to survive, thrive, and create.

The Meaning

The Light of Hope Returning could be described as a Solstice “Lessons and Carols” or a Christmas “folk oratorio.” But in a broader way, it is simply part of a centuries-old midwinter tradition of festive concerts, pageants, parties, services, and caroling that we somehow need to mark our year, raise our spirits, renew our bonds, and re-center our priorities. What sets The Light of Hope Returning apart, perhaps, is the intentionality with which it invites us to place our own personal “temporal” journeys into the larger “eternal” cycles marked by our midwinter festivals: the cycle of seasons (Solstice), the cycle of the year (New Year’s), and the cycle of birth and renewal (Christmas).

Thematically, the Light of Hope also explores the eternal “oppositions” that – whether we like it or not – coexist in an essential dynamic without which the “wheels of the world” would not turn: light and dark, life and death, heat and cold, old and new. One aspect of this oppositional dynamic comes to life in the work’s two central, contrasting archetypes: the destructive Tyrant King, an embodiment of cruel-hearted Winter, and the welcoming Wise Woman, in tune with the “eternal” rhythms of the world, who knows full well that light will come again out of darkness, and life from death, and spring from winter.

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Constructed in the form of a cathartic ritual in five parts, The Light of Hope Returning invites us to witness the rebirth of light at the hour of greatest darkness, and to find our hope again. First we are welcomed unconditionally to “sit awhile” and given a place near the blazing fire. Then, in section 2, carols of The Morning Star raise an image of hope, but a hope that is as yet out of reach – or perhaps forgotten, faint as a memory, and far away as a distant star. But the star draws near, and in section 3, carols of the Birth invite us to join the shepherds’ journey to greet the newborn Child.

PROGRAM

for T H E L I G H T O F H O P E R E T U R N I N G

NOTES

After intermission, in section 4, The Sign Opposed, we feel the force of “opposition” to this new life and light, as the powers of winter and darkness wax to the full. The archetypal Tyrant King responds with wrath to the threat posed by Child – the sign of the New Order – and all must flee to escape harm. But at the hour of greatest darkness, the light returns. At the hour of great destruction, a deeper hope is found. Life absorbs the greatest blow…and goes on. Cathartic journey complete, we come to section 5, the Parting, where we are sent on our way with power and purpose into the New Year, and with the invitation to meet again at the next “turning of the year.”

The Music

The Light of Hope Returning is modeled after Folkjul: A Swedish Folk Christmas, in which traditional Scandinavian carols for choir and folk soloists are inventively combined with folk fiddling and brilliant organ improvisations by Gunnar Idenstam. Our project aims to reflect the American folk heritage, and as such brings together strands of Appalachian and Shape Note traditions with Gospel and Spiritual traditions, along with faint echoes of the folk roots of the British Isles.

The fiddle and string bass get toes tapping on “Brightest and Best” and bluegrass banjo-like rhythms sparkle on “Angels We Have Heard on High.” Gospel-style piano undergirds “Behold That Star,” and “Holy World,” and saxophone solos soar above gospel grooves in “Lo, how a Rose” and “Children, Go Where I Send Thee.” Folk-style fiddling is heard on the violin and cello as a “midwinter motif” leads us through the work’s many transitions. And the hammered dulcimer lends its unique ring and shimmer at special moments.

Settings of traditional carols and songs appear alongside an equal number of original carols and songs. One “hybrid” addition is a new modal melody for the beloved Christmas text “In the bleak midwinter.” Another unusual element is a song for an archetypal “Tyrant King” actually sourced by a tyrant king; King Henry VIII’s own carol “Green Grow’th the Holly” is the basis for the new, rousing winter carol that opens the concert’s second half.

The Words

The writer Susan Cooper, vibrantly creative at age eighty-four, has become a sort of “matriarch” for The Light of Hope Returning project, providing it with an anchoring inspiration. She is uniquely qualified to supply Solstice texts; her acclaimed young adult series The Dark is Rising tells the story of eleven-year-old Will Stanton, who on his December 21st birthday “awakens” to find himself at the center of the great, age-old struggle of Light and Dark. Cooper was also a long-time collaborator with the late John Langstaff, whose Christmas Revels have become an enduring American tradition of Winter Solstice festivities.

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Cooper’s lyric “The Light of Hope Returning” has a special role in the work, opening and closing it with a strong dose of cheer, and aptly capturing the work’s essence. Its refrain reads:

For here is the bright fire burning, And here is the old year turning,

So shall we stay to greet the day, And the light of hope returning.

Her lyric “Remember” is a touching, nostalgic reflection on an earlier time of simple joy – a joy that has perhaps been lost, but may yet be found again: “Tell me, do you remember? It was many years ago, but you still may hear the singing if you try.” But it is Cooper’s third text contribution that marks a decisive turn down a deeper path, and distinguishes The Light of Hope as a Solstice work – broaching the subject of life’s greatest challenges and darkest moments. In the “The Shepherd” she weaves a realistic thread of the tragic loss of a lamb into the timeless tale of the Nativity, told in the shepherd’s own words.

Symmetrically balancing “The Shepherd” in the concert’s second half is a newly-written dramatic reading for another character from the Nativity narrative: Anna the Prophetess (In a lovely coincidence, the Biblical account includes Anna’s age, the same as Cooper’s this year: eighty-four.) Anna recounts the story of her long life, crowned by her greeting of the Holy Child, and her warning to flee the backlash of the Tyrant’s threat. In an archetypal way, perhaps Anna is the figure of Hope itself – that part of us that never leaves “the Temple,” that never gives up. Or as in Dickinson’s words, the part of us that “sings the tune without the words / and never stops at all – ”. This steadfastness is equally echoed in words at the work’s climax by the English anchoress, Julian of Norwich, and in the words from the American poet Judith Cordary that bring the work full circle, in a perfect Solstice phrase:

Each day now, the world darkening toward zero, I rise more early, just to know that first uncertain blue. Moving toward night, I grow more morning.

~Shawn Kirchner, 11/26/19

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If desired, The Light of Hope Returning benefits dramatically with some staging, which may vary from performance to performance, according to logistics and inspiration. The “matriarch” soloist carries a good deal of the dramatic weight of the performance, and if she has the skill to deliver the readings as well as the solos, that is a very unified approach to consider. Likewise, the baritone soloist in mvmt 8 “Rocking Carol” may also deliver The Shepherd reading that precedes it. (It is possible to also give the readings to other skilled readers if desired, of course.)

Part I

Mvmt 1 “How Have You Come This Night?”

The matriarch soloist alone stands in front, welcoming the audience as she begins to sing. Sopranos and altos process from the back, surrounding the audience, with children under their wings (if including a children’s choir). A sitting place may be prepared for the matriarch, and she may take a seat immediately after she sings the final phrase “won’t you sit awhile with me.”

Mvmt 2 “The Light of Hope Returning”

Tenors and basses enter suddenly at verse 2 (if there’s a way to enter close to the stage, this is preferable – but a processional from the back is possible if necessary.) They may enter carrying evergreen boughs in their arms, and do a little “decorating” as they come into their positions: “From spruce and pine and fir tree tall, green branches now shall deck our hall.”

Mvmt 5 “Remember”

The matriarch soloist and her “younger self” duet partner may wear similar clothing or hairstyle or scarf – something to “show” that the matriarch is recalling scenes from many years ago –dancing, as it were, with her younger self in her treasured memories. (Depending on casting considerations, the “younger self” could also be the “mother with babe in arms” in Part II.)

Mvmt 10 “Lo, How a Rose E’er Blooming”

In the saxophone interlude before verse 3, a beautiful candle or lamp may be ceremonially lit, symbolizing the birth of the Christchild.

Part II

Mvmt 11 “What Shall Befall You Here Below”

Tenors and basses begin in the back, surrounding the audience. Additional option to consider: as Part II commences, the mother with a “babe in arms” may be seated somewhere in the front, perhaps close to the candle/lamp. “Now he is born, the Holy Child, softly he lies with his mother mild…” (If not desired, the burning candle/lamp is sufficient to communicate that the “light has come.”)

Mvmt 12 “Green Grows the Holly”

Tenors and basses process from their mvmt 11 positions during chorus 1 and verse 1. Sopranos and altos, with children under their wings enter suddenly at chorus 2/verse 2 (just as the tenors/basses entered in mvmt 2).

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Mvmt 13 “Little Rose”

The soloist rises from her seat (with her “babe in arms”) to sing. If desired, (or logistically possible) she may sing from the midst of the audience, in an aisle – representing a “mother on the move” – a refugee, seeking safety elsewhere. During the instrumental coda, the soloist departs, followed by the children from the children’s choir. One child should be first to follow

S T A G E D I R E C T I O N S f o r T H E L I G H T O F H O P E R E T U R N I N G

the soloist, carrying the ceremonial candle/lamp out of the hall, with all the other children also following and departing.

It might be desirable to dim the lights gradually in the hall as “the light” symbolically departs. The next pieces and readings may be presented in the dimly lit hall, with minimal light on the matriarch, players, etc.

Reading: Revelations of Divine Love – This is the turning point, where, symbolically “the light” dawns again after the darkness. If the lights have been dimmed, then they could begin to increase gradually after the phrase “But I do say: You shall not be overcome.” The child with the candle/lamp may also re-enter ceremonially at this time, (along with the mother and child.)

Mvmt 17 “Holy World”

Option: As the matriarch sings “O I have seen the beauty of a child born into this weary world, pure and new, placed into the old and careworn hands” the mother may place “the babe” into the matriarch’s arms. The mother may sing verse 2, and they both continue in their duet, as in mvmt 5. (Or, if desired, the baritone soloist may be alternately featured in verse 2 as the duet partner for this piece.) If the children’s choir is included in this and the following movements, they may process in and join the adult choir after the soloist has sung the bridge’s final phrase: “Surely, surely a mother waits for her lost to be found.” If the doors open and they enter at the word “found” that could be good.

Mvmt 19 “Fare Ye Well, Come What May”/”The Light of Hope Returning – Reprise”

The matriarch rises from her seat to sing, (having at some appropriate point returned the babe to the mother’s arms.)

Mvmt 20 “Children, Go Where I Send Thee”

The choirs may all recess as logistically desired – sopranos/altos may go on one path, the tenors/basses another, so that the audience may enjoy the antiphonal effect as they sing back and forth. They shouldn’t recess entirely, but remain surrounding the audience as they complete the song, and then exit as the band vamps.

ORIGINS

Ofer Dal Lal, artistic director of the Bay Area women’s choir, WomenSing, conceived of the idea of an American “folk Christmas” work, modeled after Gunnar Idenstam’s “Folkjul.” He proposed the idea to Shawn Kirchner in October 2018, and what resulted was The Light of Hope Returning. The work was premiered by Dal Lal’s choir, WomenSing, in December 2019. Rick Bjella, artistic director of the San Antonio Chamber Choir was the first to propose an SATB version, slated originally to premiere on the Winter Solstice, December 21, 2020. The Covid-19 pandemic intervened, and, instead, a virtual version of The Light of Hope Returning premiered that day, with animated artwork provided by Kevork Mourad in a collaboration with WomenSing, Elektra Women’s Choir of Vancouver (Morna Edmundson, artistic director), and players from the San Francisco Opera Orchestra. At long last, the SATB version of The Light of Hope Returning is set to premiere in San Antonio on December 20, 2021. ~SLK 10/12/2021

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Thelightoftheshortestdayhaspassed, andweenternowintothedeepestnight.

Herewewillfacethedeathofayear, thedeathofalamb, thecrueltyofafox, andtherageofatyrantking.

Andherewewillwitnessthebirthofayear, thebirthofachild, thecareofashepherd, andthewisdomofawoman whohasseenmanywinters.

TheOldYearturns,andthebrightfireisburning. Welcome.

T H E L I G H T O F H O P E R E T U R N I N G Welcome,one;welcome,all. ItisMidwinter’sEve.

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Soloistandchoirslowlyprocessintoplaceasstringsplay,arrivingintimetosing. Soloistendsinfrontoftheaudience,choirendsencirclingthemfrombehindandaround. Optionforprocessional:2/2=step,together;3/2=step,step,together;4/2=standstill words

*appoggiaturasdenoteon-beat8thnotes

&music by SHAWNKIRCHNER

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  Copyright©2019bySKPublishing.Allrightsreserved. Piano mf Brightly q =c.96 mf 7 mf Ajoyous-welcome-bringwehereFor 13 mf Ajoyous-welcome-bringwehereFor                      Vln

2. The Light of Hope Returning  Vcl     Allsopranos  Allaltos                                                                                                                                                                                                                           2 THE LIGHT OF HOPE 5 PERUSAL ONLY

wordsby SUSANCOOPER musicby SHAWNKIRCHNER

    Christmas-andabraveNewYear.Comejoinourfeasting17 Christmas-andabraveNewYear.Comejoinourfeastinganddelight,-Comerevel-inthishappy-nightHere mp 20 anddelight,-Comerevel-inthishappy-nightHere mp                                                                                                                                                                                                                                                                        2 THE LIGHT OF HOPE 6 PERUSAL ONLY

    to cresc. sempre ourhousewewelcome-youin,toshareourgladness23 to cresc. sempre ourhousewewelcome-youin,toshareourgladnessto cresc. sempre ourhousewewelcome-youin,toshareourgladnesspp cresc. poco a poco aswesing.For f hereisthebrightfire 26 aswesing.For f hereisthebrightfire aswesing.For f hereisthebrightfire f                                Dividein3sections              loudclap    loudclap    loudclap                                                                                                                                                                                                                            2 THE LIGHT OF HOPE 7 PERUSAL ONLY

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

Insemi-stagedproductions,tenorsandbassesmayexuberantlyenter--somebearingevergreenbranches, holly,andmistletoe--"deckingthehall"onthewaytotheiron-stagepositions. BesuretousetheoriginalCooperwordsifaYulelogisalsobroughtin; itmaybeplacedonthehearthbywhichAnna,theMatriarch,sits.

    mf Fromspruceandpineandfirtree-tallGreen 41 mf Fromspruceandpineandfirtree-tallGreen branches-nowshalldeckourhall;Theholly-andthe 45 branches-nowshalldeckourhall;Theholly-andthe                           

T  B                                                                                                                                                                                                                                                                 2 THE LIGHT OF HOPE 9 PERUSAL ONLY

*ThisisCooper'soriginaltext;shealsoprovidedthealternateabove.

mistle-toe-Gleamredasbloodandwhiteassnow;To 51

cresc. sempre e the -brate wood -this the Yule Yule tide log -day, bring Their To light warm shall us drive while the we

cel of

cresc. sempre e the -brate wood -this the Yule Yule tide log -day, bring Their To light warm shall us drive while the we pp cresc. poco a poco

                                                                                                                                                                                                                                     2 THE LIGHT OF HOPE 10 PERUSAL ONLY

   

mistle-toe-Gleamredasbloodandwhiteassnow;To *Out 48

dim.                               

cel of

      dark praise a our way! king. -For f 54 dark praise a our way! king. -For f hereisthebrightfireburning,-Andheretheoldyearturning-So 56 f shallwestaytogreetthedayAndthelightofhopereturn-ing,-Andthe 61                                                  loudclap   loudclap            TuttiTB                                                                                                                                                                                                                                                                               2 THE LIGHT OF HOPE 11 PERUSAL ONLY

      lightofhopereturn-ing.65 To mp allwithin-thishousebepeace;Mayallourpertur< h = h. > Calm q. =60 rall. 71 mp bation-cease;And mf allthebellsonearthshallchimeto 78 And mf allthebellsonearthshallchimeto p                   SopranoSolo"Mary"  3  likebells,quickattack 3 3   keeppedaldown  Solo(cont.)   AltoSolo"Anna"      ped.sim.                                                                                                                                                                                                                                                             2 THE LIGHT OF HOPE 12 PERUSAL ONLY

Pocoapocoaccelerando

mp joyous-welcome-bringwehereFor 84

cele-brate-sogladatime.This

mp joyous-welcome-bringwehereFor mp

cresc. poco a poco

Atempo q =100 90

Christ

f hereisthebrightfire

mf mas -andabraveNewYear;For

Christ

13 PERUSAL ONLY

 TuttiS  TuttiA     T  B    loudclap    loudclap      loudclap    loudclap                

f hereisthebrightfire

mf mas -andabraveNewYear; For

                                                                                                                                                                                                                                                                                                                                                                      

 2 THE LIGHT OF HOPE

f mf For f

f                        

       

cele-brate-sogladatime.This

mp joyous-welcome-bringwehereFor This pp

mf mas -andabraveNewYear;For

f hereisthe For

        burning,-Andheretheoldyearturning-Soshallwestayto 94 hereisthebrightfireburning,-Andheretheoldyearturning,-Soshallwestayto greetthedayAndthelightofhopereturn-ing,-Andthe 99 greetthedayAndthelightofhopereturn-ing,                                         SA   TB                                                                                                                                                                                                                           2 THE LIGHT OF HOPE 14 PERUSAL ONLY

        lightofhopereturn-ing.-Andthelightofhopereturn-ing,-And ff the 102 Andthelightofhopereturn-ing. ing. -Andthelightofhope,And ff the lightofhopereturn-ing.106 lightofhopereturn-ing.p 111                                   lunga                                                                                                                                                                                                                     2 THE LIGHT OF HOPE 15 PERUSAL ONLY

READING:“Morning”

Intheeastwindow theskyturnsblue notliketherushofincandescence underthecoffeepot thisdarkDecemberdawn butshy, morelikethewayrainrustles beforeitfalls, orthefirstnoteofthefirstbird.

Sometimesweknowthem: momentsincandescent Butmoreoften, themeaningcomes, onlyastimeburnishesit, candle,notlightning, pearlafterslowpearl strunginsecret aswegrowmorewise.

Thelightturnsblue. Thecoffeesteams. Eachdaynow, theworlddarkeningtowardzero, Irisemoreearly,justtoknow thatfirstuncertainblue. Movingtowardnight, Igrowmoremorning.

~JudithCordary

PERUSAL ONLY

3. Bright Morning Stars

Commissioned by WomenSing through the Marcia Hodges New Music Fund, in honor of Martín Benvenuto's tenth year as artistic director of WomenSing now excerpted and modified for "The Light of Hope Returning"

TraditionalAppalachiansong arrangedbyShawnKirchner

Altosolo

Simplyandsoulfully q =60 morning-stars arerising,- bright morning-stars arerising;-

mp morning-stars arerising,- bright

Bright

Day is a break - ing-inmy soul.

8            

                                                           3 BRIGHT MORNING STARS 17

PERUSAL ONLY

Bright

p morning-stars arerising,- bright morn

poco cresc. ing-stars are Bright

p morning-stars arerising,- bright morn

poco cresc. ing-stars are Bright

 3 BRIGHT MORNING STARS

16 rising,- bright

poco cresc. ing-stars are p

p morning-stars arerising,- bright morn

poco cresc. ing-stars are rising,- bright

mp morning-stars arerising;- Day

mf is a-

18 PERUSAL ONLY

mf isa                       

mp morning-stars arerising;- Day

mf is arising,-

mp bright morning-stars arerising;- Day

mf isarising,-brightmorning-starsarerising;- Day                                  

                                                                                                                                                                                       

    12

Brightmorning-stars arerising,- bright morn

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    Copyright©2016byBoosey&Hawkes.Usedbypermission.. PIANO mp Withgreatspiritandfire h =120-132 5 Hail mp thebless'dmorn,seetheGreatMedi-a-tor9 downfromtheregions-ofglory-descend!13    SouthernHarmony,1835,arr.Shawn ReginaldKirchner Heber,1811 4. Brightest and Best SATBchoir,piano  withpedal  1 4     T,B                                                                                                                                                                                            4 BRIGHTEST & BEST 20 PERUSAL ONLY

mf herds -goworship-thebabeinthemanger, -

mf herds -goworship-thebabeinthemanger,mf

Shep

lo,forhisguardthebrightangels-attend. -

21 PERUSAL ONLY

25 Bright f

f est -andbestofthestarsofthemorning, S,A              

Bright

                                                                                                                                                                                                                                4 BRIGHTEST & BEST

     

Shep 17

f est -andbestofthestarsofthemorning, -

      dawnonourdarkness-andlendusthineaid.Starinthe 29 dawnonourdarkness-andlendusthineaid.Starinthe East,thehori-zon-adorn-ing,-guidewhereourinfant-re34 East,thehori-zon-adorn-ing,-guidewhereourinfant-redeemer-islaid. 39 deemer-islaid.                                                                                                                                                                                                                                                                           4 BRIGHTEST & BEST 22 PERUSAL ONLY

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      clining,-Mak cresc. er -andSavior-ofall. 56 Mak cresc. er -andMonarch-andSavior-ofall. cresc. Bright mf est -andbestofthestarsofthemorning,60 Bright mf est -andbestofthestarsofthemorning,mf dawnonourdarkness-andlendusthineaid. 64 dawnonourdarkness-andlendusthineaid.                                                                                                                                                                                                                                                              4 BRIGHTEST & BEST 24 PERUSAL ONLY

-zon-adorn-ing,-guidewhereour

    StarintheEast,thehori

68 StarintheEast,thehori

infant-redeem-er-islaid. 73 infant-redeem-er-islaid. f 78        5 1 2 5 4 2 1 3 2 1 2 4   31 2 4 121                                                                                                                                                                                                                       4 BRIGHTEST & BEST 25 PERUSAL ONLY

    Bar. Shallwenotyieldhimincostly-de83 Shall mf wenotyieldhim,incostly-devo-tion,mf Shallwenotyieldhim,incostly-demf Bar. votion,-odours-ofEdom-andoff'rings-di87 odours-ofEdom-andoff'rings-di-vine? votion,-odours-ofEdom-andoff'rings-di   T.  (opt.AII)   B.       T.   B.                                                                                                                                                         4 BRIGHTEST & BEST 26 PERUSAL ONLY

    A.I Gemsofthemountain-andpearlsofthe 91 Gemsofthemountains-andpearlsoftheocean,Gemsofthemountain-andpearlsofthe vine? vine? A.I ocean,-myrrhorgoldfromthemine? 95 myrrhfromtheforest-orgoldfromthemine? ocean,-myrrhorgoldfromthemine?  S.    A.II  (opt.T)    T.     B.       S.   A.II                                                                                                                                                 4 BRIGHTEST & BEST 27 PERUSAL ONLY

      Bright f est -andbestofthestarsofthemorning,99 Bright f est -andbestofthestarsofthemorning,dawnonourdarkness-andlendusthineaid. 103 dawnonourdarkness-andlendusthineaid. StarintheEast,thehori-zon-adorn-ing,107 StarintheEast,thehori-zon-adorn-ing, (mel.) S,A  T,B                                                                                                                                                                                                                                                                                     4 BRIGHTEST & BEST 28

ONLY

PERUSAL

    guidewhereourInfant-Redeem-er-islaid. 111 guidewhereourInfant-Redeem-er-islaid. Bright sub. ff est -andbestofthestarsofthemorning,116 Bright sub. ff est -andbestofthestarsofthemorning,Bright sub. ff est -andbestofthestarsofthemorning,Bright sub. ff est -andbestofthestarsofthemorning,                                                                                                                                                                                4 BRIGHTEST & BEST 29

ONLY

PERUSAL

    dawnonourdarkness-andlendusthineaid. 120 dawnonourdarkness-andlendusthineaid. dawnonourdarkness-andlendusthineaid. dawnonourdarkness-andlendusthineaid. ff

124 StarintheEast,thehori

                                                                                                                                                                                       4 BRIGHTEST & BEST 30

ONLY

StarintheEast,thehori-zon-adorn-ing,-guidewhereour

-zon-adorn-ing,-guidewhereour

PERUSAL

    Infant-Redeem-erislaid. 129 Infant-Redeem-erislaid. 133                                                                                                                                 4 BRIGHTEST & BEST 31

ONLY

PERUSAL

Beginanimatedly Now slower,turninginward

     mp p rit.Now

5                                             long  4.5 Midwinterlude SHAWNKIRCHNER                                                                                             32 PERUSAL ONLY

slow

wordsby SUSANCOOPER musicby SHAWNKIRCHNER

   AltoSolo     SopranoSolo                                                                                                                                                                                                                                           5REMEMBER 33 PERUSAL ONLY

starmovedthrough,movedthroughthesky...

   

Came oo pp oo oo pp oo oo pp oo       SSolo  ASolo  S1   S2   A                                                                                                                                                                                     5REMEMBER 34 PERUSAL ONLY

starmovedthrough,movedthroughthe sky... Theairwascold,andover-thehillCame

Theairwascold,andover-thehill

  voices - faint andhigh; 28 voices - faint andhigh; oh ah oh ah oh ah 32  (SSoloistwilljoinS1)  (ASoloistwilljoinA)                                                                                                                                            5REMEMBER 35 PERUSAL ONLY

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

tempo

mf cresc. to-

mf cresc. tomp cresc. mf cresc. 49

f togeth - er,37 PERUSAL ONLY

gether, - giving, - glad, All            

All

Atempo gether, - giving, - glad, All

f togeth - er, -

f togeth - er,gether, - giving, - glad, All                                                                                                                                                                                         5REMEMBER

   

All A

mp cresc. togeth - er, -giving,-glad, All 44

mp cresc. togeth - er, -giving,-glad, All

mf cresc. toAll

mp cresc. togeth - er, -giving,-glad, All

    giv ing, - glad Andnever-for54 giv ing, - glad And never-forgiv ing, - glad Andnever-forThat mf wasatime,whenwewereyoung, 58 getting-why. p getting-why. p getting-why. p         SSolo          likestars,andstarlight                                                                                                                                                                                 5REMEMBER 38 PERUSAL ONLY

      Thatwasa 64 time,whenwewereyoung, Andtheworld's bright 69 star cameby... Andtheworld'sbright star 74   ASolo                                                                                                                                                                                                5REMEMBER 39 PERUSAL ONLY

      cameby... Atempo 80 Tellme,do 85 doyouremem-ber? - Itwasman y90                                                                                                                                                                                        5REMEMBER 40 PERUSAL ONLY

    Butyoustill may 94 years ago - Butyoustill may hearthesing ing - ifyoutry. 98 hearthe sing ing, - if youtry.    SSolo                                                                                                                                              5REMEMBER 41 PERUSAL ONLY

6. Behold That Star

    Copyright©2019bySKPublishing.All rightsreserved. Flute mp dolce mf mp f Freely,brightly f mp p Echoing,slower Atfirstunhurried, butstillfullof wonder 3 Be pp lontano hold -thatstar!Behold-that pp lontano Mm ppp star p upyonder,-Be pp hold -thatstar!It mp con gioia isthestarofBethle-hem.8 p ItisthestarofBethle-hem.-Be p                                                    THOMASTALLEY arr.Kirchner

       SA      T1&2   B1    B2         falsetto            B1&2                                                                                                                                                                           6 BEHOLD THAT STAR 42 PERUSAL ONLY

    Be mp hold -thatstar!Behold-thatstarupyonder,-Behold-that thatstar! star,thatstar! h =52

momentum,pulse 13 mp leggiero holdthatstar,thatstarupyonder!-Behold-thatstar, star, mp There mf wasnoroomfoundintheinn Pocopiùmosso h =60 19 ItisthestarofBethle-hem.mp Itisthestarof ItisthestarofBethle-hem.               T        delicate   Solotrio,orsemi-chorus                                                                                                                                                                                                                                                                                                    6 BEHOLD THAT STAR 43 PERUSAL ONLY

Gaining

    Forhimwhowasbornfreefromsin. 24 Bethle-hem.-It mf isthestarof mf That f star!That 28 Bethle-hem.-Be f hold -thatstar!Behold-thatstarupyonder,f Behold-thatstar,thatstarupyonder!-Becresc. f     closeto"m"naturally                                                                                                                                                                                                                                                                                              6 BEHOLD THAT STAR 44 PERUSAL ONLY

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

  f 43 It f isthestarofBethle-hem. -hem. f ItisthestarofBethle-hem.46 A f songbrokeforthupon-thenight sf mp                                         Solotrio                                                                                                                                                                                                                                                                6 BEHOLD THAT STAR 46 PERUSAL ONLY

    Fromangel-hostsallrobedinlight. 50 It mf isthestarofBethle-hem.f Itisthestarof mf f mf f Itisthestar!Thatstar!Thatstar leggiero upyonder,55 Bethle-hem.-Behold-thatstar!Behold-thatstarupyonder,Behold-thatstar,thatstarupyonder!-Be                                                                                                                                                                                                                                                                                                                                                                                                6 BEHOLD THAT STAR 47 PERUSAL ONLY

    ahItisthe 60 Behold-that thatstar! star,thatstar!ItisthestarofBethle-hem.p p holdthatstar,star,ItisthestarofBethle-hem.-The star! p ItisthestarItisthestar!Itisthe 64 Itisthestar!ItItisthestar!ItisthestarofBethle-hem,star,thestar,thestarofBethle-hem.-The p                CODA    sim.       sim.                                                                                                                                                                                                                                                                                                                                                                                                     6 BEHOLD THAT STAR 48 PERUSAL ONLY

    star! mp ItisthestarItisthestar!Itisthe 68 It mp isthestar!Itisthestar!ItisthestarofBethle-hem,mp star,thestar,thestarofBethle-hem.-The mp star! f It ItisthestarstarItItisthestarofBethle 72 It f isthestar!Itisthestar!ItisthestarofBethle f thestar,ofBethle star,thestar,thestarofBethle f                                        div.                                                                                                                                                                                                                                                                                                                                                                                                                                                                       6 BEHOLD THAT STAR 49 PERUSAL ONLY

  76 hem. hem. hem. hem. mf mp rit.alfine 78 mf mp                                                                                                                                                                 6 BEHOLD THAT STAR 50 PERUSAL ONLY

      Copyright©2019bySKPublishing.Allrightsreserved. Violin Violoncello p delicate h=c.56 p delicate h=c.56 6 p p Rit. 12                                                                                                                                                  SHAWNKIRCHNER 6.5 Midwinterlude                                                                                                                                                                                                                                                     51

PERUSAL ONLY

Neverdry,withlongpedals throughout, atwhole-noteor half-noteintervals, bindingmeasuresintolarger musicalarcs

    Copyright©2019bySKPublishing.Allrightsreserved. Piano p q =c.112 3 An p gels -wehaveheardonhighsweet p -lysinging5 sub. p throughthenight,Andthemountains8 sub. p                                         

7. Angels We Have Heard On High 

FrenchCarol,arr.by SHAWNKIRCHNER

     AltoSolo                                                                                                                                                                                                     7 AN GE LS WE HA V E HE ARD O N H IGH 52 PERUSAL ONLY

      inreply,-e p -choing-their 10 12 bravedelight:-Glo mp mp Glo p riainexcel-sis15 ria-inexcel-sis                                             SII, very lightly  AltoSolo                                                                                                                                                                                                               7 AN GE LS WE HA V E HE ARD O N H IGH 53 PERUSAL ONLY

    18 Deo! Deo! mf Glo-------Glo Glo ri ria ainex in celexcel-sis sisDe De 21 Glo mf ria-inexcel-sis-De ria-inexcel-sis-De        Altoslightly joinsoloist    SI  SII   A+Solo                                                                                                                                                                                                 7 AN GE LS WE HA V E HE ARD O N H IGH 54 PERUSAL ONLY

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Whatgreatbrightness-didyousee?Whatgladtidings -

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didyouhear? sub. mp Glo Glo 36 didyouhear? didyouhear?Glo sub. mp pp sub. mp                                          SI  SII  A                                                                                                                                                                                                      7 AN GE LS WE HA V E HE ARD O N H IGH 56 PERUSAL ONLY

    ri ri a ainexcelinexcel-sis sisDe De o! o!39 Glo mp ria,-inexcel-sis-Deo!ria-inexcel-sis-Deo!Glo pp Glo cresc. poco a poco ri ria -a 43 Glo mf cresc. riaGlo cresc. poco a poco ----------riacresc. poco a poco              Floatingvoice(s)                                                                                                                                                                                                                                                                   7 AN GE LS WE HA V E HE ARD O N H IGH 57

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PERUSAL

  in in f ex ex cel celsis sis-De De o! o! 47 in f excel-sis-Deo! in f excel-sis-Deo! f f 50 molto ardente 53                                                                                                                                                                                                                                                                                                      7 AN GE LS WE HA V E HE ARD O N H IGH 58 PERUSAL ONLY

Option:AltoandSopranosoloistsarejoinedby athirdsoloist,chorusjoinsatm. 65

    See f himinamanger-laid,whomtheangels57 See f himinamanger-laid,whomtheangelsSee f himinamanger-laid,whomtheangelspraiseabove.(alt.)Mo Mary, -ther, -Jo fath seph, erlendyouraid, 60 praise,theypraiseabove! (alt.)Mo Mary, -ther, -Jo fath seph erlendyouraid, praiseabove.(alt.)Moth Mary, -er, -Jo fa seph, therlendyouraid,                                 

                                                                                                                                                                                                                                                         7 AN GE LS WE HA V E HE ARD O N H IGH 59 PERUSAL ONLY

    whileweraiseourheartsinlove:Glori-a-inex63 whileweraiseourheartsinlove:Glowhileweraiseourheartsinlove:Glo--celsis-Deo,-Glori-a,-o glo glo ri -a-riain in ex ex cel celsis sis66 ria-inexcel-sisria-inexcel-sis                                                                                                                                                                                                                                                                                    7 AN GE LS WE HA V E HE ARD O N H IGH 60 PERUSAL ONLY

    De De o! o!mf Glo Glo pp ri -a-inexcel-sis-Deo,-glori-a,-o 70 Deo!-Glo mf Deo!-Glo mf mf gloriria -a f in in ex ex cel celsis sis-De De o! o!mf in in ex ex cel celsis sis-De De o! o!74 ri -af inexcel-sis-Deo!mf inexcel-sis-Deo!-riaf inexcel-sis-Deo!mf inexcel-sis-Deo!f mf  Floatingvoice(s)        AltoSoloistregainsprominenceover choir                                                                                                                                                                                                                                                                                                                   7 AN GE LS WE HA V E HE ARD O N H IGH 61 PERUSAL ONLY

    in mp excel-sis-De 79 in mp excel-sis-De in mp excel-sis-De mp o! pRit. 82 o! po! pp p Rit.                                                                                                                                                                                 7 AN GE LS WE HA V E HE ARD O N H IGH 62 PERUSAL ONLY

Copyright©2019bySKPublishing.Allrightsreserved. mf mp p Haunting,solemn,chilly h=c.50                           lunga  7.5 Midwinterlude SHAWNKIRCHNER                                                                        63 PERUSAL ONLY

It’scolduphereonthemoor.I’mgladofmycoat. Youcanhearthestarspricklingthathugedarksky. Thesheeparesleeping,quietundertheridge, Thelambsgrownhalfasbigastheirmothersnow. Wehaven’tlostbuttwo,allyearlong. Backinthespringthesmallestlambwassickly–Foxescansmellthat. Soafoxcameleaping, Torethelamb’sthroat,andthenjustleftitlie, Bloodsoakingintothegrass,themotherbleating. Itdidn’ttakelongtodie.

Foxes’lldothat,justfortheloveofkilling. Iburiedthelittlelamboutthereonthemoor, Rightthereandthen;itwasn’tahappysight.

Themotherbleatedandcried;shepawedattheground, Thethinhardsoil;wecouldn’tgethertoleave.

Mydogsweredrivingtheflockdownhilltothe*barn, Safefromthefox,butthatoldewewouldn’tbudge. Itiedacordtoherleg,andpulledherhome. Shestoodtherealoneinthebarn,staringoutattheridge; Headup,stiff,asifshecouldsmellherlamb. Thatnightshebrokeout,andIknewwhereIshouldfindher. Shewasuponthemoor,scrabblingthethinhardsoil, Tryingherbesttodigupthelittlelamb. Ittooktwoofustogetherdown,then. Ishutherupinapenwithcleannewstraw, Waterandhay,andyoungslicedturniptoeat; Butshewouldn’teatordrink,shewouldn’tmove. Twodayslatershedied,fromloss,fromlove. “That’safinewarmfleece,”oneofthemensaid. “I’llmakeyouacoat. Ashametowastetheskin.” I’mgladofthecoat,outhereonthewinterhill.

Youcanhearthestarspricklingthathugedarksky. Ifonebrightstarweretoshineoutbrighterthanall, Ifablazingvoiceweretocallus,overthemoors, Togreetababy,borntobringusjoy, I’dtakehismotherthiscoat,towraphimin.

~SusanCooper

PERUSAL ONLY

*Cooper’s original word is “byre,” but “barn” is substituted throughout for North American usage, with the author’s permission.

READING:TheShepherd

Hajej, Nynej, Jezisku

Czechcarol,arr.ShawnKirchner

Lit

tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

   

TENOR1 TENOR2 BASS1 BASS2 Oo mp oooo q =

rall. Oo mp oooooooo Oo mp oooooo Oo mp oo

76-80

=72

          

Rock

ng C

                                                                                                                                                      8 ROCKING CAROL 65 PERUSAL ONLY

Wewillrockyou,rockyou,rockyou.Wewillrockyou,rockyou,rockyou.

Wewillrockyou,rockyou,rockyou.

Cradled-inourloving-arms,wewillkeepyoufromallharm.

   

                                                                                                                                                8 ROCKING CAROL 66 PERUSAL ONLY

 Solo              falsetto     

one, one, Ma pre ry's ciouspp oooooo Oo

son, son, pp oooo Oooo

23 oooooo oooo oooooo oooo

67 PERUSAL ONLY

Sleepnow,forthedayisdone.Wewillrockyou,rockyou,rockyou.                                                                                                                            8 ROCKING CAROL

pp oo Oo

pp oooo

   

(alt.)Lit Baby -tle -Je ba sus, by,-

lit ten tle der18 Oo

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

Atempo,withexpressivefreedom

falsetto 69

pp murmuring tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

pp murmuring tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

pp murmuring tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

Lit

full you,rockyou,rock Openingup,littlebylittle 40

Lit

pp murmuring tle -baby,-softly-sleep,donotstir,wewilllendacoatoffur.

p willrockyou,rockyou,rockyou.Wewillrock

rall. you.

PERUSAL ONLY

p willrockyou,rockyou.Wewillrock    sempre

p willrockyou,rockyou,rockyou.Wewillrock

full you,rockyou,rock             

full you,rockyou,rock

rall. you.

rall. you. We

rall. you.                                                                                                                                                                          8 ROCKING CAROL

   

p willrockyou,rockyou,rockyou.Wewillrock

full you,rockyou,rock

    Soft mp ly -sleepnow,safeandwarm,nestled-inourlovingMenoMosso Pocopiùmosso 44 oo pp ...nestled-inourarms. oo pp ...inourarms. oo pp ...nestled-inourarms. oo pp ...inourarms. arms. Tempoprimo 48 Oo p oo dim. e rall. al fine oo pp Oo p oooo dim. e rall. al fine oooo pp Oo p oooo dim. e rall. al fine oo pp Oo p oo dim. e rall. al fine pp  Solo                                                                                                                                                           8 ROCKING CAROL 70 PERUSAL ONLY

      Copyright©2019bySKPublishing.Allrightsreserved. Piano In mp thebleakmidwin-ter,h =c.60 mp frosty-windmademoan,Earthstoodhardasiron,-water-likea 4 stone;Snowhadfallen,-snowonsnow,Snowon 8                                  Allsingers music

9. In the Bleak Midwinter                                                                                                                                                                                 9 IN THE BLEAK MIDWINTER 71 PERUSAL ONLY

by SHAWNKIRCHNER wordsby CHRISTINAROSSETTI

    snow,Inthebleakmidwin-ter,-longago.12 oo p 16 oo p oo p p                                     SI  SII  A                                                                                                                                                                  9 IN THE BLEAK MIDWINTER 72 PERUSAL ONLY

Angels-andarchan-gels-mayhavegathered-there,

    oo 20 oo oo mf

24 mf

mf                                              "floaty"1stsonly   glialtri                                                                                                                                                                              9 IN THE BLEAK MIDWINTER 73 PERUSAL ONLY

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

afew singers,withperfectlypure,straighttone

    oo p 37 withakiss.oo p withakiss.oo p oo p p oo 41 oo oo oo                                                   

 SI  SII    A                                                                                                                                                                                                   9 IN THE BLEAK MIDWINTER 75 PERUSAL ONLY

Strongly rhythmic

f canIgiveHim,poorasIam? 48

76 PERUSAL ONLY

                                                                                                                                                                        9 IN THE BLEAK MIDWINTER

What

f canIgiveHim,poorasIam?

What                                                      

    44

What

f canIgiveHim,poorasIam? f           SI    SII    A     

      IfIwereashepherd,-Iwouldbringalamb;IfIwereaWiseOne, 53 IfIwereashepherd,-Iwouldbringalamb;IfIwereaWiseOne, IfIwereashepherd,-Iwouldbringalamb;IfIwereaWiseOne, Iwoulddomypart;Yet mf whatIcanIgiveHim:give mp my 58 Iwoulddomypart;Yet mf whatIcanIgiveHim:give mp my Iwoulddomypart;Yet mf whatIcanIgiveHim:give mp my heart,what p IcanIgiveHim:givemy 62 heart,what p IcanIgiveHim:givemy heart,what p IcanIgiveHim:givemy p pp                                                                                                                                                                                                                                                                                 9 IN THE BLEAK MIDWINTER 77 PERUSAL ONLY

afew singers,asbefore

    oo pp 66 heart. pp oo pp heart. pp oo pp heart. pp oo pp p pp 70                                                    

                                                                                                                                                                        9 IN THE BLEAK MIDWINTER 78 PERUSAL ONLY

    oo 73 oo oo oo 76                                          rit.alfine                                                                                                                                            9 IN THE BLEAK MIDWINTER 79 PERUSAL ONLY

10. Lo, How a Rose E'er Blooming

(Option:soloistsingsv.1inherownoctave)

    Moderately,inagospelswing(q =100)

settingof

ist ein

9 17      Radiantly,withtenderness 3  p dolce   mp Lo,

ArrangementbyShawnKirchner BasedonMichaelPraetorius'harmonization,1609

Gospel

Ros' Entsprungen, a15thcenturyGermancarol

TB howaRosee'erblooming-fromtender 3 3 3   stemhassprung!OfJesse's-lineage-coming-as  3 3  3                                                                                                                                                                                                                                                                                                                      10 LO, HOW A ROSE 80 PERUSAL ONLY

      25 32 40 A  saintsofoldhavesung.Itcame,aflow'ret-bright,  3 3 3   amid-thecoldofwinter,-whenhalfspent-wasthe  3      3 3  Altosax mp    SA I mp mf -saiah-'twasforetold night.  TB mp mf  mf 3 3 3 3 3 3    3 3                                                                                                                                                                                                                                                                                                                                            10 LO, HOW A ROSE 81 PERUSAL ONLY

      47 54 60  it,thisRoseIhaveinmind.WithMary  3 3 3 3 3 3 3   webehold-it,thevirgin-mother  3 3 3 3 3   kind. 3 To f showGod'slovearight,-sheboreto  f  f  3 3 3 3 3 3  3 3                                                                                                                                                                                                                                                                                                                                                                                 10 LO, HOW A ROSE 82 PERUSAL ONLY

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86 91 97  (straight8ths) 3 3  3 3 3 3 3 3 3 3 3 3 3   3  2 2 3 3 3 3 3 3 3  3 3 33 3  cresc. poco a poco ff 3  3 3 3 3 3  cresc. poco a poco ff 3                                                                                                                                                                                                                                                                                                                                                                         10 LO, HOW A ROSE 84 PERUSAL ONLY

  103 C  Gloriously      This Soloist& children'schoir f flow'rwhosefragrance-ten  This f flow'rwhosefragrance-ten  This f flower,-thisflower-whosefragrance    This f flower,-thisflower-whosefragrance  This f flower,-thisflower-whosefragrance f 3 3 3 3                                                                                                                                                                          10 LO, HOW A ROSE 85 PERUSAL ONLY

  109   mf 3  derwithsweetness-fillstheair,  derwithsweetness-fillstheair,  tender,-sotenderwithsweetness3    tender,-sotender-withsweetness-fillsthe 3  tender,-sotender-withsweetness-fillsthe 3    3 3 3 3 3 3 3 3 3 3 3 3  3                                                                                                                                                                  10 LO, HOW A ROSE 86 PERUSAL ONLY

  114  3 3 3  Dispels-inglorious-splendor-the  Dispels-inglorious-splendor-the  fillstheair,Dispels-inglorious,-glori-ous-splendor 3 3    air,theair,Dispels-inglorious,-glori-ous-splendor3 3  air,Dispels-inglorious,-glori-ous-splendor 3  3 3 3                                                                                                                                                                                                                                         10 LO, HOW A ROSE 87 PERUSAL ONLY

  

darkness-ev'ry-where.-Trueman,yetvery -

cresc. yetvery -



  3 3 3 3 3 3 3 3 3  3 3 3                                                                                                                                                                                                                      10 LO, HOW A ROSE 88 PERUSAL ONLY

  120  3 3 3 3 



darkness-ev'ry-where.-Trueman, 3 

thedarkness-ev'ry-where.-Trueman,true

  126   3 3 3 3  God,fromsinanddeathhesavesus  God,fromsinanddeathhesavesus  man,yetvery,-very-God,fromsin&deathhesavesus,he 3 3 3    man,yetvery,-very-God,fromsin&deathhesavesus,he 3 3  man,yetvery,-very-God,fromsin&deathhesavesus,he 3 3 3   3 3 3 3  3                                                                                                                                                                                                                     10 LO, HOW A ROSE 89 PERUSAL ONLY

  132  f 3 3  andlightens-ev'ry-load.Fromsinand  andlightens-ev'ry-load.Fromsinand  savesusandlightens-ev'-ryload.From 3    savesus  andlightens-ev'ry-load.From 3  savesusandlightens-ev'-ryload.From 3  3 3 3 3 3                                                                                                                                                                                                              10 LO, HOW A ROSE 90 PERUSAL ONLY

  138  3 3  deathhesavesus,andlightens-ev'ry deathhesavesus,andlightens-ev'ry sinanddeath,fromsin& 2 deathhe 3 savesus,andlightens,3 3    sinanddeath,fromsin& 2 deathhesavesus,andlightens,3 3 3  sinanddeath,fromsin 2 &deathhesavesus,andlightens,3 3  3 3 3 33 3  3 3 3                                                                                                                                                                                                                         10 LO, HOW A ROSE 91 PERUSAL ONLY

  144  mf  load,    load,light mf ens,  lightens-ev'ry-load, mf    lightens,light mf -ensev'ry, lightens-ev'ry-load, mf  dim. poco a poco 3 3 3 3 3 3 3 3 3 3                                                                                                          10 LO, HOW A ROSE 92 PERUSAL ONLY

  148 INTERMISSION INTERMISSION    mp rit. al fine     lightens-ev'rymp load.  Mm pp  lightens-ev'rymp load.  Mm pp    lightens-ev'rymp load.  Mm pp  lightens-ev'ry-load. mp  Mm pp  mp rit. al fine 3 3 3 3                                                                                                                                           10 LO, HOW A ROSE 93 PERUSAL ONLY

    Copyright©2019bySKPublishing.Allrightsreserved. f marcato ff f ff Moltodrammaticoeappassionato,conferocitá h=c.56 What p shallbefall-youherebelow?-Ifyoushouldseeit,youwouldnotgo. Moltomisterioso 5 p Better-beblindandlittle-knowoftheturnsthatwaitonthemorrow.9                            Piano        11. What Shall Befall You Here Below? words&musicby SHAWNKIRCHNER       AltoSolo  pianooptionalhere                                                                                                                                                                                    11 WHAT SHALL BEFALL YOU 94 PERUSAL ONLY

    Now mp heisborn,theholy-child.Softly-helieswithhismother-mild.But 13 Oo pp p soontheywillfleeinto-thewild,intheturnsthatwaitonthemorrow.17 f sempre marcato ff f ff 21                              Duet(Soloist+Descant)  TBChorus                                                                                                                                                                                                                                                                   11 WHAT SHALL BEFALL YOU 95 PERUSAL ONLY

Men'sChorus,3-partdivisi

f sostenuto e poco marcato shallbefall-youherebelow?-Thereisawonder-forev'ry-woe, 29

25 andjoytoreapwhentearsyousow,intheturnsthatwaitonthemorrow.     



 letring                                                                                                                                           11 WHAT SHALL BEFALL YOU 96 PERUSAL ONLY

   

What

12. Green Grows the Holly

SongoftheTyrantKing

basedonacarolfragmentby KINGHENRYVIII alladditionalwords&musicby SHAWN KIRCHNER

    Copyright©2019bySKPublishing.Allrightsreserved. Piano mp Robust q. =112 p Green mf growstheholly,-Sodoestheivy,4 mf Thoughnever-colder-theblastofwinter-blows. 7                  Fl.solo

   TuttiTB                                                                                                                                                                                                                                       12 GREEN GROWS T HE HOLLY 97 PERUSAL ONLY

p 10 p

mp er -beyejolly:-Green

mf growstheholly, -

Cru 16

98 PERUSAL ONLY

mp mf

f marcato e drammatico el -winter!-Iceandcold,Cruel-winter!-Windsobold,Chilltheboneandfreezethegroundand

f marcato e drammatico el -winter!-Iceandcold,Cruel-winter!-Windsobold,Chilltheboneandfreezethegroundand                        T   B                

                                                                                                                                                                                                                                                                  

     

What

ifitbefolly?-Ev

Green 13 f

f theivy-grows!

Cru                          

  12 GREEN GROWS T HE HOLLY

      stripthebranches-bare. mp subito legato, suave, e leggiero Deepinto-therootsthe 19 stripthebranches-bare. mp sapoflifemustgotillspringcancomeagain.22 25 Deep p misterioso into-therootsthesapoflifemustgotillspringcancomeap                                                                                                                                                                                                                                                                                                             12 GREEN GROWS T HE HOLLY 99 PERUSAL ONLY

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

      Green mf growstheholly,-Green f theivy-grows! 37 mf f Long f marcato e drammatico est -nightandshortest-day,Darkness,-drivethelightaway,40 Long f marcato e drammatico est -nightandshortest-day,Darkness,-drivethelightaway,Dimtheeyeandcloudthehearttillhopeisalmost-gone. 43 Dimtheeyeandcloudthehearttillhopeisalmost-gone.                                         Sopranos   Altos  (3-partdivisi)                                                                                                                                                                                                                                                                                                12 GREEN GROWS T HE HOLLY 101 PERUSAL ONLY

      mp subito legato, suave, e leggiero Closeinto-thekindling-firewenowmustlean,tokeeptheflamealive.46 mp 50 Close p misterioso into-thekindling-firewenowmustlean,tokeeptheflameap live. 53 f ff 56                                                                               Fl.solo                                                                                                                                                                                                                                                                                                                                    12 GREEN GROWS T HE HOLLY 102 PERUSAL ONLY

God

less -tyrant,-rantandroar,

Godless-tyrant,-rantandroar,

f less -tyrant,-rantandroar, Godless-tyrant,-rantandroar, f

God

Godless-tyrant,-rushtowar,Strikethejust,betray-alltrust,andpreyupon-the

Godless-tyrant,-rushtowar,Strikethejust,betray-alltrust,andpreyupon

Godless-tyrant,-rushtowar,Strikethejust,betray-alltrust,andpreyupon-the

Godless-tyrant,-rushtowar,Strikethejust,betray-alltrust,andpreyupon

   

-the

-the                                                                                                                                                                                                                                                                                                                                                                  12 GREEN GROWS T HE HOLLY 103 PERUSAL ONLY

    poor.Far mf away,-outofhishandwenow mustflyto 65 poor. poor. poor. mf espress. savethechildfromharm. mp Fara- 68 Far mp away, mp                                          TuttiS/A                 Sonly    T/B                                                                                                                                                                                         12 GREEN GROWS T HE HOLLY 104 PERUSAL ONLY

  Altosjoin

we now 71 p far

way -

out

out of

now must far a

mustfly flyto a way,

of his

hishand handwe

to pp -

105 PERUSAL ONLY

                Fl.solo        

faraway...-...to p pp save

save the

way. the child

child from

harm. 74 savethechildfromharm. cresc.poco a poco

                                                                                                                                                                                            

                       

 12 GREEN GROWS T HE HOLLY

from harm.

   

way,far p away,far

far a

a way

Green

growstheholly,-Sodoestheivy,-Thoughnever-colder-the

 12 GREEN GROWS T HE HOLLY

80 blastofwinter-blows.What

106 PERUSAL ONLY

Green

f growstheholly,-Sodoestheivy,-Thoughnever-colder-the f

f ifitbefolly? -

f ifitbefolly?blastofwinter-blows,theblastofwinter-blows.What

f ifitbe blastofwinter-blows,theblastofwinter-blows.What                                

f ifitbe              S (3-part divisi)  A    T  B       

                                                                                                                                                                                                                                                                                      

   

blastofwinter-blows.What

Green Green

the thei

i vy

vy -

grows!

grows! 83

Ever-beyejolly;-Greengrowstheholly,-Greentheivy-grows!

folly?-Ever-beyejol-ly:greengrowstheholly.-greentheivy -

                                                                                                                                                                                                                                                                                                                                                                                                                     12 GREEN GROWS T HE HOLLY 107 PERUSAL ONLY

   

Ever-beyejolly;-Greengrowstheholly, -

Whatifitbefolly?-Ever-beyejolly;-Greengrowstheholly, -

Whatifitbefolly,-Ever-beyejolly;-Greengrowstheholly,grows.Whatifitbefolly?-Ever-beyejolly:-Greengrowsthe grows.Whatifitbefolly?-Ever-beyejolly:-Greengrowsthe

    ff Green Green the the i i vy vy-grows! grows! 89 Green ff theivy-grows! holly,-Greenthei ff -vygrows! holly,-Greenthei ff -vygrows! ff f 92                                       Fl.solo                                                                                                                                                                                                 12 GREEN GROWS T HE HOLLY 108 PERUSAL ONLY

        Copyright©2017bySKPublishing.Allrightsreserved. Violin Piano mp Steady,rocking h =c.44 Steady,rocking h =c.44 mp 6 Hush p ahush,-thewind'sablow-in',-butit'squiet-inthegarden,-Growin 11 pp                                                     13.

&musicby SHAWNKIRCHNER                                                                                                                                             13 LIT TLE ROSE 109 PERUSAL ONLY

Little Rose words

Lit 110 PERUSAL ONLY

Lit           

mp delicate tle -rose,little-rose,little-breathofLoveDivine,-nonelike Lit

mp delicate tle -rose,little-rose,little-breathofLoveDivine,-nonelike

mp delicate tle -rose,little-rose,little-breathofLoveDivine,-nonelike                                                                                                                                                                                                                                                                                              13 LIT TLE ROSE

warmbeneath-thebower,-Restyourhead,little-rose,forawhile.                

     

peace,

little-rose,forawhile.Hushahush,-thesnowisfalling,-butit's p

mf Little

you'llever-be:newest-flow'rontheOldest-Tree.

mf Little -

you'llevver-be:newest-flow'rontheOldestTree. mf

roselittle-rose,borntohealthewoundsofTime,nonelikeyou 36

mp ever -

mp everrose,little-rose,borntohealthewoundsofTime,nonelikeyou

mp ever -

mf warmly mp

mf warmly

espress. mp mp

                                                                                                                                                                                                                                                                                                                                                                          13 LIT TLE ROSE 111 PERUSAL ONLY

     

youwillever-be:thenewest-flow'rontheOldest-Tree. 32

mf Olittle -

rose,little-rose,borntohealthewoundsofTime,nonelikeyou

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

a -hush,-thestormisraging,-hideyouhereinthegarden,Bidein

       

50 mf mp

55 mf mp

60 mf espress.                       3                                                                                                                                                                                                                                                                                                 13 LIT TLE ROSE 113 PERUSAL ONLY

Hush

peace,little-rose,yetawhile.Soonenough-youwillbe

going, lookforfriendstogather-roundyou,Thornswilldo, mf whenyoufindnoneatall.

pp delicate tle -rose,little-rose,little-breathofLoveDivine,-nonelike

114 PERUSAL ONLY

mp Littleyou'llevver-be:newest-flow'rontheOldestTree.            

pp delicate tle --rose,little-rose,little-breathofLoveDivine,-nonelike

Lit

pp delicate tle --rose,little-rose,little-breathofLoveDivine,-nonelike pp delicatissiomo

Lit

mp Olittlemp cresc.                                                                                                                                                                                                                                                                                                             13 LIT TLE ROSE

you'llever-be:newest-flow'rontheOldest-Tree.                    

   

Lit 66

youwillever-be:thenewest-flow'rontheOldest-Tree.

mp Little -

        rose, mf

mp like 75 rose, mf little-rose,born(to)tohealthewoundsofTime,none mp like rose, mf little-rose,borntohealthewoundsofTime,none mp like mf mp mf mp mf dim. mp youever-was,little-rose.None p like Slower 79 youever-was,was,little-rose.None p like youever-was,little-rose.None p like p                                                                                                                                                                                                                                                                                                                      13 LIT TLE ROSE 115 PERUSAL ONLY

little-rose,borntohealthewoundsofTime,none

        youever-was,lit pp tle -ro(se).oo Rit. Atempo 83 youever-was,lit pp tle -rose. youevver-was,lit pp tle -rose. p delicate p delicate ppp Atempo 88                                                                                                                 attacca14. Coventry Carol1591                                                                                                                                                                                            13 LIT TLE ROSE 116 PERUSAL ONLY

Dulcimer Violin Violoncello Contrabass 5 Dulc. Cb.                                               Solo mf   mf             pizz. mf                                                                                                                                                                    14 COVENT RY CAROL 1591 117 PERUSAL ONLY

1591

      8 Dulc. Cb. 11 Dulc. Vc. Cb. 15 Vc. Cb.                                            Solo mf  mp                                                                                                                                                                                                                                                                                       14 COVENT RY CAROL 1591 118 PERUSAL ONLY

startchop,addtonegradually

    18 Vc. Cb. 21 Dulc. Vln. Vc. Cb.                  p   f  fp f  

p  f    fp f                                                                                                                                                                                                                                14 COVENT RY CAROL 1591 119 PERUSAL ONLY

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    28 Dulc. Vln. Vc. Cb. 30 Dulc. Vln. Vc. Cb.       espress.  espress.  mf   ff    ff    ff  ff  f ff                                                                                                                                                                                                                                                14 COVENT RY CAROL 1591 121 PERUSAL ONLY

    32 Dulc. Vln. Vc. Cb. 36 Dulc. Vln. Vc. Cb.                                                             f    f   f  f  f                                                                                                                                                                                                                                                                                                                                         14 COVENT RY CAROL 1591 122 PERUSAL ONLY

    39 Dulc. Vln. Vc. Cb. 42 Dulc. Vln. Vc. Cb.          mf    mf   mf                                                                                                                                                                                                                                                                                                          14 COVENT RY CAROL 1591 123 PERUSAL ONLY

    45 Dulc. Vln. Vc. Cb. 48 Dulc. Vln. Vc. Cb.  mf      mf  ff    ff   ff  ff pizz.  ff                                                                                                                                                                                                                         14 COVENT RY CAROL 1591 124 PERUSAL ONLY

14.5 Anna's Interlude

SectionAmay1)precedetheAnnareading,or2)overlapit.Suggestedentrancepoint:the9thbar SectionBisplayedtwice,andoccursasthespeakerpausesbetweenthefinaltwosectionsofthereading. SectionCmay1)occurjustasthereadingends,or2)overlaptheending. Suggestedentrancepoint:atthewords"samejoy"

musicby SHAWNKIRCHNER

reserved. Piano f Agitato,macalmando,ritardando A p pp Moltodelicato,intimo         mp Pocoagitato,quieteronrepeat B      pp Ancoramoltodelicato,intimo C                     

2019bySKPublishing. Allrights

   onepedalpermeasure                                                                                                                                                                           125 PERUSAL ONLY

READING:Anna

I’velostcountoftheyearsit’sbeen, Sincemyhusbanddied.Wewerestillsoyoung. Imightevenforgetmyageifmyniecesdidn’tremindme. Eighty-four,theysay,thisyear. No,Ihardlyrememberthatlife,thatsimplehouseIkept. IleftitallforthehighwallsofthisTemple,andwhy?

BecauseIcamehere,soonafterhedied,rawandwild, DesperateforourchildrenthatIwouldneverbear. Icameintearstopray.

Butthen,inthedarkness,ajoyawokeinme: IknewthataChildofHopewouldcome, Andthejoyofthatpromisehasneverleftme. TheselongyearsIhavewaited,andIhavetrusted. Andnow,yesterday,theChildhascome.

IknewastheparentscametotheTemple, Holdingthetinybabyintheirarms, Andmyvoice,onitsown, Roseupinashoutandasong.

ButthenIlistenedtotheoldprophet; Hehadgreetedtheminjoy,likeme. Butthen,suchawarninghegave: Thistenderchild,destined“tobespokenagainst,” Borntobe“aSignOpposed.”

Anddidn’thesaytothemother

That“aswordwouldpiercehersoul”aswell?

Lordhavemercy onthechildiftheoldpropheciesaretrue, AndtheTyrantKinghearsofhim.

Fly,child! Behiddenawaywherehishandcannotreach. Butcomeyouback,littlelamb,whenthefoxisgone. AndifI’mstillhere,I’llgreetyouagain Withthesamejoythatawokeinme Thoselongyearsago, Atthefirstthoughtofyou. ~ShawnKirchner

PERUSAL ONLY

    ©2004bySKPublishing. Allrightsreserved. Soprano Alto Tenor Bass Lul p molto legato lay, -Thoulittle-tiny-child,By, Moderato q =72-80 Oo pp Oo pp Oo pp by,lully,-by,by,lullay;-Lullay,-Thoulittle4 (oo) (oo) (oo)          Verse1,Solo(opt.) RobertCroo,1534 15. A Coventry Carol ShawnKirchner forSATBChorus,acappella                                                                                     15 A COVENTRY CAROL 127 PERUSAL ONLY

tiny-child,By,by,lully,-lullay. -

(oo)

p By,

espressivo by,lully,-by,by,lul-

p sotto voce sisters,-too,howmaywedo, lay.O       

p by,lully,-lullay. -

Verse2,tutti

p by,lully,-by,by,lul(oo)By, mp

p sotto voce sisters,-too,howmaywedo,FortopreO

p sotto voce sisters,-too,Osisters,-too,howmaywedo,

                                                                                                             15 A COVENTRY CAROL 128 PERUSAL ONLY

   

(oo)By,

Osisters,-too,howmaywedo,For

lay.O

crescendo poco a poco preserve-upon-thisday;This 14

mf pooryoungling-for

mf pooryoungling-for serveupon-thisday;Thispooryoungling

Fortopreserve-upon-thisday;This

mf -forwhom,for Fortopreserve-upon-thisday;Thispoor

whomwesing,By,

mf youngling-for

f -

f lul

whomwesing,By,by,lully,-lul-lay,

129 PERUSAL ONLY

mf               

mf -

whomwesing,By,by,lully,-lullay,

f -lul -

whomwesing,By,by,lully,-lullay,

f -lul -

   

cresc. by,lully,-lullay. 17

                                                                                                                15 A COVENTRY CAROL

This page has been intentionally deleted to protect the copyright of this score. To purchase, please visit: ShawnKirchner.com SKPublishing I II III II III II III II III II III II III II III II III

ing,hathchargèd-onthisday;His

èd - hehathupon-thisday;His

hathupon-thisday;Hismenof

mf might

agitato poco a poco inhissight,

hathupon-thisday;Hismenof

mf might

agitato poco a poco inhissight,

mf ofmightinhisownsight,All

men

con passione ofmightin

molto crescendo hisownsight,All

                                                                                                                                   15 A COVENTRY CAROL 131 PERUSAL ONLY

   

men 26

Hismenofmight,inhisownsight,All Hismenofmight,inhisownsight,All

Broadening

(SopImay"sneakbackin" toassistSIIonthesustainedEb)

ff -renyoungtoslay.(..ay

     Altos

children-youngtoslay.

slay. Lul-

on lowervoice SopranoIIonuppervoice

child

ff molto marcato -renyoungtoslay.Lul

f -

child Lul

mp -ly,lul-

diminuendo poco a poco -lullay.-Lully,-lullay.-Lul

ly,

mp -ly,lully, -lullay.-Lul

        SopranoIIrejoinSopranoI                                                                                             15 A COVENTRY CAROL 132 PERUSAL ONLY

mp -ly,lul 

mf ly, -lullay.-Lul                

   

child 28

Menomosso,adlibitum

ff molto marcato -renyoungtoslay.Lul 31

f -

mf ly, -lullay.-Lul

    lay. p Thenwoeisme,poorchild,forThee,And Atempo 35 lay. p Oo pp lay. p Oo pp lay. p Oo pp ever-mournandever-say;For 39 (oo) (oo) (oo)                                                  Verse4,Solo                                                                              15 A COVENTRY CAROL 133 PERUSAL ONLY

    thyparting-norsaynorsing,By,by,lully,-lul41 (oo) (oo) (oo) lay,By,by,lully,-lullay.Rit.alfine 44 (oo) (oo) (oo)                                                                                          15 A COVENTRY CAROL 134 PERUSAL ONLY

16. The Tyrant's Rage

musicby SHAWNKIRCHNER

Note: thevocaltoneandvowelcolorherecanbe unpolished--ananguishedwail--chestvoiceOK,if comfortable

Copyright©2019byShawnKirchnerPublishing.Allrightsreserved. SSAChoir Moltodrammaticoeappassionato,conferocitá h=c.56 f ff f ff 5 Ah f 9 ff f ff f                                                                                          

 Piano            

                                                                                                                                                                                                                                                                       16 THE TYRANT'S RAGE 135 PERUSAL ONLY

Upperoctaveoptional,ifanyavailablesingerscansharethelinewithrelativeease,anyvolume OK

ff Ah 14 Ah 17 ff fff ff fff 21 ff                                                                                       

        letring                                                                                                                                                                                                                                                                        16 THE TYRANT'S RAGE 136

ONLY

PERUSAL

Reading: from REVELATIONS OF DIVINE LOVE

"I did not say you would not be troubled.

I did not say you would not be tried.

I did not say you would not know sorrow. But I do say: you shall not be overcome."

--Julian of Norwich (1343- c. 1416)

PERUSAL

(This quote is from the mouth of Jesus, in mystical conversation with Julian of Norwich, as described in herRevelations of Divine Love, the first surviving book in the English language to be written by a woman.)

NOTE: The reading should begin while the final chord of 16. The Tyrant's Rage is still ringing loudly. And the opening "bells" of 17. Holy World should follow directly after the final phrase of the reading.

137

ONLY

words&musicby SHAWNKIRCHNER

 

Piano mf mp

  p

gospel

(

7  O p Ihaveseen thebeau ty - of a child 12        

Freely,graduallycomingintotempo

Easy

92)

17. Holy World

           Nowpedalnaturally  LeadVoiceI(Anna)                                                                                                                                                                                                                                                                                                          17 HOLY WORLD 138 PERUSAL ONLY

new, placedinto - theoldandcareworn -

     

17 pp

borninto-thisweary-world. Pureand

Ho ly -world, 27 Oo ppp p         SSAChorus                                                                                                                                                                                                                                                                                                                                               17 HOLY WORLD 139 PERUSAL ONLY

hands:

holy - world, wheresorrows-are turning - with

joy, ho ly -world, where

sorrows-areturning - withjoy.

     

39 Oo

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          17 HOLY WORLD 140 PERUSAL ONLY

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    veal the f rock andaplaceto 58 mf f stand. f Ho ly -world, 62 mf Ho ly           SAT    B                                                                                                                                                                                                                                                                                        17 HOLY WORLD 142 PERUSAL ONLY

Holy - world, wheresorrows-are turning - with

world, joy, ho ly - world, where

   

mf 70           unison                                                                                                                                                                                                                                                                                                                     17 HOLY WORLD 143 PERUSAL ONLY

    sorrows-areturning - withjoy. 74 ...sor mp rows -areturning-withjoy, mf Sure mf robust ly,79 Sure mf robust ly,mp mf                LeadVoiceI    SAT                                                                                                                                                                                                                                                                                                                                                                                      17 HOLY WORLD 144 PERUSAL ONLY

    surely - therainbow - promise-ofold 83 surely - therain bow - promise-ofold still re mains. - Andsurely87 still re mains. - Andsurely     LeadVoiceII                                                                                                                                                                                                                                                                                                                 17 HOLY WORLD 145 PERUSAL ONLY

    thereisavoice towhichall soulsresound.

92 thereis a a voice voice towhichall souls resound.

Sure f ly, -

- theroadisstill 96 Sure f f ly, Surely,surely surely,the the road road's is still still f f        LeadVoiceI  SA (div.a3)     TB                                                                                                                                                                                                                                                                                                                                                                 17 HOLY WORLD 146 PERUSAL ONLY

surely

there thatleadsthewayback home,

there thatleads back home, dim. poco a poco

there

p tender surely, - sure-ly,amother - waits 

ppp

                                                                                                                                                                                                                                                                                                                                                                      17 HOLY WORLD 147 PERUSAL ONLY

   

101

105

and p pp

    

(8vaalt.,quietly)

I&II

    for her lost to befound. 110 niente niente O,ho f ly - world, 115 Ho f ly f f             LeadVoiceI                                                                                                                                                                                                                                                                                            17 HOLY WORLD 148 PERUSAL ONLY

    ho ly - world, wheresorrows-areturning - with 119 world. wheresorrows - areturning - with joy, Ho ff ly - world, 123 joy, Ho ff ff  LeadVoice(s)II I&II                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      17 HOLY WORLD 149 PERUSAL ONLY

    Ho ff ly - world, Ho ly - world, 128 -ly world, Ho -Ho ly - world, Ho ly - world, Ho ly,132 -ly world, Ah                                                                                                                                                                                                                                                                                                                                                                                                                                           17 HOLY WORLD 150 PERUSAL ONLY

    holy,-holy - world, where mf sorrows-are 136 ...sor mf rows -are dim. mf turning - withjoy. 140 turning-with joy. p ppp p    unison  SAT  B                                                                                                                                                                                                                                                                                                                                                                                                                17 HOLY WORLD 151 PERUSAL ONLY

  Joy. p 145 pp delicate mp  Freely towardend 150            2 2 2                                                                                                                                                                                                          17 HOLY WORLD 152 PERUSAL ONLY

Reading: from "MORNING"

In the east window the sky turns blue.

Each day now, the world darkening toward zero, I rise more early, just to know that first uncertain [light].

Moving toward night, I grow more morning.

--Judith Cordary

Excerpted and adapted with persimmons from the author.

PERUSAL ONLY

153

19. Fare Ye Well, Come What May & Light of Hope

    ©2019bySKPublishing.Allrightsreserved. Bright mp morning-starsarerising,-brightmorning-starsarerising,-bright Freely,luminous q =c.54 Oo pp ppp loco morning-starsare rising; - Day is abreak-ing-inmy 5                                  SOLO

Bright

18.

Morning Stars Reprise

Traditional, arr.ShawnKirchner  AllS&A   "thecountlessdescendants"    sustain through m. 78      3                                                                                                                                                             18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 154 PERUSAL ONLY

Reprise

Children'schoirjoinssoloist

morning-starsarerising, - bright

morning-starsarerising,-bright

  soul. Bright p

rit. Atempo 10

Bright p

p Brightmorning-starsarerising,-bright Morn p ing -starsareris

echo p rit. Atempo               

morning-starsarerising, - bright

Bright

ing,

 S   A     T   B                                                                                                                                 18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 155 PERUSAL ONLY

poco cresc. ing -starsare rising, - bright 15

mp morning-starsarerising; -

morn

poco cresc. ing -starsare rising, - bright

mp morning-starsarerising; -

morn

poco cresc. inging -stars

stars are

are rising,-bright

mp morning-starsarerising; -

morn

poco cresc. ing -starsare rising, -

156 PERUSAL ONLY

              

mp brightmorning-starsarerising; -

morn

                                                                                                                                                                                              18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE

mp morning-starsarerising;             

 

morn

poco cresc. ing -starsare rising,-bright mp

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FAREYEWELL,COMEWHATMAY words&musicbyShawnKIrchner

  Fare mf ye well,comewhatmay,and Bouyant,forwardenergy h =c.60 28 f mf   espress. meetmeinthemorning, - Fareyewell,andmeetmehere,atthe turning-ofthe 32 year. 37 Fare mf yewell,comewhatmay,andmeetmeinthemorning,-Fareye Fare mf yewell,comewhatmay,andmeetmeinthemorning,-Fareye                    

Solo                    SAtutti  TBtutti                                                                                                                                                                                                                                     18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 158 PERUSAL ONLY

    Will mf your 42 well,andmeet

well,andmeet

waybeloworsteep?Journey-shallow?-Journey - deep? 46 Fare f yewell,andmeetme Oo mp Oo Fare f yewell,andmeetme Oo mp Oo Fare f yewell,andmeetme f               SA       T  B                                                                                                                                                                                                                          18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 159 PERUSAL ONLY

mehere,atthe turning-oftheyear.

    Will mp youryearbringlossorgain?Plenty-pleasure?-Plenty51 here,atthe turning-oftheyear. here,atthe turning-oftheyear. Oo p Oo here,atthe turning-oftheyear. Oo p Oo mp pain? Fare mp ye 57 Fare mf yewell,andmeetmehere,atthe turning-oftheyear. Fare mf yewell,andmeetmehere,atthe turning-oftheyear. Fare mf yewell,andmeetmehere,atthe turning-oftheyear. mf                                                                                                                                                                                                                                                                                              18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 160 PERUSAL ONLY

Fare

cresc. andmeetme

mp yewell,comewhatmay,meetmeinthemorning, - Fareyewell,and

Fare

mp yewell,comewhatmay,meetmeinthemorning, - Fareyewell,and

Fare mp

ONLY

here,atthe turning-oftheyear.

meetmeattheturning-oftheyear.

mf                              Vln                                                                                                                                                                                                                                                                                                                                                                      18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 161

   

well,comewhatmay, andmeetmeinthemorning,-Fareyewell, 62

mp yewell,comewhatmay,meetmeinthemorning, - Fareyewell,and

meetmeatthe turning-oftheyear.

PERUSAL

(alt.)Wars

f molto marcato will rants - rise, rage, ty age rants to -fall, age, but nev must er the -soon blood e ynough hands -for write the

Ty (alt.)Wars

162 PERUSAL ONLY

Ty (alt.)Wars                  

f molto marcato will rants - rise, rage, ty age rants to -fall, age, but nev must er the -soon blood e ynough hands -for write the

Ty (alt.)Wars

f molto marcato will rants - rise, rage, ty age rants to -fall, age, but nev must er the -soon blood e ynough hands -for write the

  72

Ty 76

f molto marcato will rants - rise, rage, ty age rants to -fall, age, but nev must er the -soon blood e ynough hands -for write the f                                                                                                                                                                                                                                                    18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE

good hist' of -ry's all. page?

espress. isjoythatnopow'ronearthcan

good hist' of -ry's all. page?

Yetthereisjoy,there

espress. isjoythatnopow'ronearthcan

Yetthereisjoy,there

espress. isjoythatnopow'ronearthcan

good hist' of -ry's all. page?

Yetthereisjoy,there

espress. isjoythatnopow'ronearthcan

Pocoallargando Atempo 85

e'erdestroy. - Fareyewell,comewhatmay, and meetmeinthe

poco

rubato espressivo                                                                                                                                                                                                                                                                                                                                                                                                                                                                                         18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 163 PERUSAL ONLY

   

Yetthereis joy,there 80

e'erdestroy. - Fareyewell,comewhatmay, and meetmeinthe

here,attheturning-ofthe

THELIGHTOFHOPERETURNING wordsbySusanCooper,musicbyShawnKirchner

    morning,-Fareyewell,

Broaden 90 morning,-Fareyewell,andmeetme

morning,-Fareye

morning,-Fareyewell,andmeetmehere,attheturning-ofthe

year. Brightly q =c.96 94 year. Forhereisthebrightfireburning,-And year. For f hereisthebrightfire f Brightly q =c.96                                              

andmeetmeattheturning-ofthe

well,andmeetmehere,attheturning-ofthe

Broaden

  SA   TB                                                                                                                                                                                                                                                                                                               18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 164 PERUSAL ONLY

    heretheoldyearturning - So shallwestaytogreetthedayAndthe 100 burning,-Andheretheoldyearturning,-SoshallwestaytogreetthedayAndthe Andthelightofhopereturn-ing.105 lightofhopereturn - ing, - Andthelightofhopereturn-ing.Forhere isthebrightfire lightofhopereturn - ing, - Andthelightofhopereturn-ing.For f                                                                          opt: soloistgesturestoaudience thattheymaysingwithher    Tonly                                                                                                                                                                                                                                                                  18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 165 PERUSAL ONLY

Forhereisthebrightfireburning! -

burning,-Andhere,theoldyearturning, - So

Forhereisthebrightfireburning,-Andhere,theoldyearturning,-So

166 PERUSAL ONLY

ff                                                                                                                                         18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE

ff hereisthebrightfireburning,-Andhere,theoldyearturning, - So

 

110

Forhereisthebrightfireburning, - So      S   A      T    B             

shallwestaytogreetgreetthedayAndthelightofhopereturn - ing, - And

the

shallwestaytogreetthedayAndthelightofhopereturn - ing, - And

mf the

shallwestaytogreetthedayAndthelightofhopereturn

ing, -

shallwestaytogreetthedayAndthelightofhopereturn

ing,

  Andthelightofhopereturn - ing,115

                                                                                                                                                                                                                             18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 167 PERUSAL ONLY

  Andthe lightofhope, And ff the 119 lightofhopereturn - ing, -And f the lightofhopeAnd f the lightofhope,And ff the lightofhopereturn - ing, - And f the lightofhope,And ff the And mf thelightofhopereturn - ing. -And f the lightofhope,And ff the And mf thelightofhopereturn - ing. - And ff the cresc. sempre ff                                                                                                                                                                                 18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 168 PERUSAL ONLY

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                loco                                                                                                                                                                              18 BRIGHT MORNING ST ARS & 19 FARE YE WELL/LIGHT OF HOPE 169 PERUSAL ONLY

    Copyright©2019bySKPublishing.Allrightsreserved. f Fast e =160 Chil f dren, -gowhereIsendthee,HowshallIsendthee? 3 I'mgonna-sendtheeOnebyOne,Oneforthelittle-baby-Born,borninBethle6                     (Recessional) 20. Children, Go

TRADITIONALSPIRITUAL arr.KIRCHNER      SSAtutti +Soloistadlibitum                                                                                                                                                                                                                                                                                                                                      20 CHILDREN,GO 170 PERUSAL ONLY

Where I Send Thee

      hem. 10 Children,-gowhereIsendthee,HowshallIsendthee?I'mgonna-sendtheeTwobyTwo, TwoforPaulandSilas,-Oneforthelittlebaby,-Born,borninBethle14 Children,-gowhereIsendthee,HowshallIsendthee? 18 hem.Children,-gowhereIsendthee,HowshallIsendthee?                                                                                                                                                                                                                                                                                                                                                                                                                                                           20 CHILDREN,GO 171

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-sendtheeThreebyThree,ThreefortheHebrew-children,-TwoforPaulandSilas,

      I'mgonna

22 Oneforthelittle-baby-Born,borninBethle-hem.25 Children,-gowhereIsendthee, 29 f Children-go!Children-go!Children-go!Children                                              Somealtos&basses+audience                                                                                                                                                                                                                                                                                                                                                                                                                                    20 CHILDREN,GO 172 PERUSAL ONLY

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    EightbyEight,TenbyTen,I'mgonna39 I'mgonna-sendtheeSeven-bySeven,-NinebyNine,I'mgonnago!Children-go,gowhereI send send thee! thee! Children-go! Childrengo! Children-go! Children-go! Children-go! Children-go! Child Child ren ren- 42 send send thee! thee! Children-go! Childrengo! Children-go! Children-go! Children-go! Children-go!Child Child ren rensendthee!Children-go!Children-go!Children-go!Children                                                                                                                                                                                                                                                                                                       20 CHILDREN,GO 174 PERUSAL ONLY

I send ff

send thee,

   

ff Children -

whereIsendthee,HowshallIsendthee?Go! go!

thee, HowshallIsendthee?I'mgonna-sendtheeTenbyTen, ff

   

go ff where

where I 46

TenfortheTenCommand-ments,             

I'mgonna-sendtheeNinebyNine,NinefortheNinewholookedsofine, go!Children-go!Children-go!Child                                                                                                                                                                                                                                                                      20 CHILDREN,GO

f ren175 PERUSAL ONLY

clapsixteenthsthese2measures

I'm

gonna-sendtheeEightbyEight,EightfortheEightwhostoodatthegate,

gonna-sendtheeSeven-bySeven,-Seven-fortheSeven,-couldn't-gettoheaven, -

   

52 go!Children-go!Child mf -ren f 54

go!Children-go!Child mp -ren mf                                                                                                                                                                                               20 CHILDREN,GO 176 PERUSAL ONLY

I'm

    I'm mp gonna-sendtheeSixbySix,SixfortheSixwhocouldn't-getfixed, 56 I'm p gonna-sendtheeFivebyFive, go!Children-go!Child p ren -go!Childrenmp p I'm pp gonnasendtheeFourbyFour,FourfortheFourwhostoodatthedoor, 59 Fiveforthegospelpreachers,go!Child pp ren -go!Children-go!Child p -ren pp                                                                                                                                                                                                                                                                 20 CHILDREN,GO 177 PERUSAL ONLY

mp gonna-sendtheeTwobyTwo,

p gonna-sendtheeThreebyThree,ThreefortheHebrew-children,-I'm

mp gonna-sendtheeTwobyTwo, go!Children-go!Child

I'm

mp ren -go!Childrenp mp

TwoforPaulandSilas,-I'm 65

TwoforPaulandSilas,-I'm

178 PERUSAL ONLY

f renmf                                                                                                                                                                                                                                                                                                                       20 CHILDREN,GO

mf gonna-sendtheeOnebyOne,Oneforthelittle-babygo!Child

   

I'm 62

mf gonna-sendtheeOnebyOne,Oneforthelittle-baby -

mf ren -go!Children-go!Child                 

179 PERUSAL ONLY

borninBethle-hem,-Born,

borninBethle-hem.-Born,                

ff born, borninBethle-hem,                                                                                                                                                                                                                                                                  20 CHILDREN,GO

Born,

f borninBethle-hem.-Born, go!borninBethle-hem,

   

Born,f

borninBethle-hem,-Born,

ff born, p

optionalecstaticextension

borninBethle-hem!-hem!borninBethle

borninBethle-hem!-hem.borninBethle

borninBethle-hem!-hem,borninBethle

optionalecstaticextension

                     

ff f 

  

                                                                                                                                             20 CHILDREN,GO 180 PERUSAL ONLY