Sacred Choruses Sampler edited by John Rutter

2
sample pages
CHORAL
CLASSICS
Sacred
Choruses
EDITED BY JOHN RUTTER

Sacred
Choruses
EDITED BY JOHN RUTTER
selected pages from each chorus
1. Bach: Gratias agimus tibi (Mass in B minor) 2
2. Bach: Jesu, joy of man’s desiring (Cantata no. 147) 9
3. Bach: Praise our God who reigns in glory (Ascension Oratorio) 16
4. Bach: Subdue us by thy goodness (Cantata no. 22) 32
5. Beethoven: Creation’s Hymn 36
6. Lili Boulanger: Pie Jesu 39
7. Brahms: How lovely is thy dwelling place (A German Requiem) 45
8. Durante (‘Pergolesi’): Magnificat for five voices 61
9. Elgar: The Spirit of the Lord (The Apostles) 92
10. Fauré: In paradisum (Requiem) 102
11. Franck: Psalm 150 108
12. Handel: For unto us a child is born (Messiah) 120
13. Handel: Hallelujah (Messiah) 135
14. Handel: Let their celestial concerts all unite (Samson) 150
15a. Handel: See, the conqu’ring hero comes (Judas Maccabaeus) 162
15b. Handel: March (Judas Maccabaeus) 167
15c. Handel: Sing unto God (Judas Maccabaeus) 168
16. Handel: Zadok the priest 177
17. Haydn: Insanae et vanae curae 192
18. Haydn: The heavens are telling the glory of God (The Creation) 217
19. Mendelssohn: Daughters of Zion (Christus) 234
20. Monteverdi: Gloria for seven voices 244
21. Mozart: Lacrimosa (Requiem, K626) 272
22. Mozart: Laudate Dominum (Solemn Vespers, K339) 277
23. Parry: Jerusalem 284
24. Parry: I was glad when they said unto me 288
25. Purcell: Te Deum in D 301
26. Satie: Kyrie eleison (Messe des pauvres) 330
27. Schubert: Magnificat 335
28. Vivaldi: In exitu Israel 360
Commentary 372
Index of orchestrations 380
A

1
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First published 2018
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ISBN 978–0–19–351882–7
Music originated in Sibelius
Printed in Great Britain on acid-free paper by
Halstan & Co. Ltd, Amersham, Bucks
Organ accompaniments for the music contained in this book are in the companion volume,
Sacred Choruses: organ accompaniment book (ISBN 978–0–19–351883–4)
Orchestral scores and parts are available on rental (see the Index of Orchestrations on p. 380)

PREFACE
For this, the seventh volume in the Oxford Choral Classics series, the aim remains as it has always
been: to offer choirs a practical and inexpensive working library of standard repertoire in new,
reliable editions, based wherever possible on primary sources. Where space allows, music that is
less widely known but of special value within its genre is also included. Inevitably, any anthology
is a personal selection reflecting the perspective of its editor, and it must also be recognized that
there are wide national differences of repertoire: standard fare in one country may be little known
in another. In general, I have selected pieces which are regarded as classics, or which give me
particular pleasure. Hence, familiar cornerstones of the repertoire such as Handel’s Zadok the
priest and Brahms’s How lovely is thy dwelling place are found alongside rarities such as
Mendelssohn’s Daughters of Zion and Lili Boulanger’s exquisite Pie Jesu, which I hope others
will enjoy as much as I do. In the years which have elapsed since the publication of European
Sacred Music in 1996 it has been gratifying to see some of the rarities in that volume become
standard repertoire.
The present Sacred Choruses volume can only hope to be representative, not comprehensive.
The 384-page extent of the Oxford Choral Classics books is close to the practical limit of what
singers can comfortably hold in the hand; in the European Sacred Music volume it allowed for
the inclusion of 54 items but, sacred choruses tending to be longer and more space-consuming
than motets, only 28 items would fit into the present volume. Rather than lament what is not in
the book, I hope choirs will welcome what is in the book. In order to make the choices
manageable, the policies I have followed have been these:
for online perusal only
1. The period covered is approximately from Monteverdi to Elgar: sacred choral repertoire earlier
than the 17th century tends to consist of a cappella motets and masses (covered in the European
Sacred Music volume), while music later than the early 20th century is subject to considerations
of copyright and likely to make a book such as this more expensive. The geographic area covered
is reluctantly limited to Britain and some of mainland Europe. It is hoped that a later volume will
rectify some of the omissions.
2. Only music originally written for mixed voices with orchestral accompaniment is included,
except for the Lili Boulanger Pie Jesu which is for solo soprano with small ensemble (adapted here
to include a choir part), and the Satie Kyrie eleison which is accompanied by organ. Orchestral
scores and parts to match the vocal scores in this book are available from the Oxford University
Press hire library or appropriate agent.
3. Extracts from longer works such as masses, requiems, and oratorios are included if they are
effective when detached from their context or have become well known in their own right. The
plague choruses from Handel’s Israel in Egypt are magnificent, but best heard in the context of
the whole oratorio. Elgar’s The Spirit of the Lord is a firm favourite as a cathedral anthem; other
movements from The Apostles are not.
4. This book being intended as much for cathedral and church choirs as for concert choirs, I have
favoured (with the exception of the Judas Maccabaeus excerpts) pieces with texts that are usable
in liturgical worship. Settings of Mass movements are not generally used as anthems in Anglican
worship, which has regretfully ruled out (for example) some fine Haydn and Mozart inclusions.
5. I have favoured pieces useful in concerts as companions to familiar longer works. The
Monteverdi Gloria or the Durante Magnificat make splendid curtain-raisers to the ever-popular
Vivaldi Gloria—as does that composer’s own In exitu Israel. The Purcell Te Deum calls for similar
resources to Handel’s Chandos Anthems or Acis and Galatea and would fit well in the same
programme. The Schubert Magnificat pairs well with the Rossini Petite Messe Solennelle or a
iii

Preface
Haydn or Mozart Mass, and the strangely haunting Satie Kyrie eleison makes an interesting
alternative to the Fauré Cantique de Jean Racine as a prelude to the latter composer’s Requiem.
6. I have seen no reason to exclude items with solo parts. Concert choirs generally have
professional soloists on hand if they are performing major works, and cathedral choirs have able
singers in their ranks who welcome solo opportunities such as are found in the Purcell Te Deum.
Accompaniments
The piano accompaniments in old editions of choral works can be a sore trial to pianists: too
much orchestral detail is often included—and idiomatic orchestral writing may be transcribed too
literally, even in such familiar pieces as Handel’s For unto us a child is born with its all-butunplayable
chains of rapid thirds and sixths. In fact, for the kind of repertoire found in this
volume, piano accompaniment is used far more for rehearsal than for performance, and the piano
reductions I have prepared are intended primarily for rehearsal use, to be playable and to give
support to choirs as they learn the music. On the other hand, performances with organ
accompaniment are common, but organists generally have to work out their own organ
transcriptions of piano accompaniments which are themselves transcriptions of an orchestral
original, a less than satisfactory makeshift. A few highly expert cathedral organists prefer to play,
for example, Brahms’s How lovely is thy dwelling place direct from the orchestral score, but to
meet the needs of everyone else, I have prepared a parallel volume of purpose-made three-stave
organ accompaniments for the music in this book. In every case these are based on the composers’
orchestral originals, and fidelity rather than easy playability is the priority. In my experience,
skilled organists relish being given an accompaniment to play that needs practising, provided that
it respects the idiom of their instrument.
for online perusal only
Editorial considerations
Singing translations have been provided for those pieces where they are likely to be used—an
admittedly subjective judgement—and their style of language is intended to match the period of
the music, echoing phrases from the 1611 Bible and 1662 Prayer Book where appropriate. Lineby-line
translations of all other Latin pieces are shown beneath their piano parts. Titles are given
in the language most likely to be used for them in English-speaking countries. Where the singing
text is shown in two languages, the same principle has been applied in deciding which text is
uppermost. No consistent practice applies: in English cathedrals, How lovely is thy dwelling place
is generally sung in English, Insanae et vanae curae in Latin.
Vocal ranges have not generally been shown; there is probably less need for them when the
voicing of the music is for standard SATB choir than there is with multi-voiced a cappella motets
where decisions have to be made about allocation of voices and possible transposition.
Editorial suggestions of tempo and dynamics have been tentatively added if there are few
or none in the original; they are printed small or in square brackets. Crossed slurs and crossed
hairpins are editorial, as are small notes (representing continuo realizations) in the piano
reductions. Minor inconsistencies of dynamics, articulation, and slurring—all very common in
composers’ manuscripts and early editions—have generally been corrected without notice, as have
obvious errors. Cases of doubt have been footnoted. Where instrumental bass parts are figured,
the figuring is shown in the full orchestral scores and continuo parts available with the orchestral
material. Original figuring has been editorially supplemented for the lute continuo parts.
Syllabic slurring, the modern publishing practice replacing the earlier custom of separate note
stems in vocal parts for separate syllables, has been selectively applied. For seventeenth- and
eighteenth-century pieces, slurs have not been added over long melismas, but they have sometimes
been added for brief melismas if they help to clarify exact verbal underlay. In later music, phrase
slurs for voice parts have been preserved when they are the composers’ own.
iv

Preface
Orchestral material
Clear, accurate scores and orchestral parts for every item in this book (except for the Satie
Kyrie eleison which has organ accompaniment) have been newly typeset and are available on hire
from the Oxford University Press hire library or its accredited agent. These scores and parts agree
in every detail (including rehearsal letters) with the vocal scores in the book. The index of
orchestrations (see p. 380) specifies the resources each piece calls for, ranging from just strings
and continuo for Durante and Vivaldi to the full orchestras of Elgar and Parry. Jerusalem has
been included in the book primarily to provide a ready source of the orchestral material for both
versions of the accompaniment—Parry’s own, and Elgar’s more lavish and colourful
orchestration, which is available both for full orchestra and in a reduced version which preserves
the essence of Elgar’s treatment but for much smaller orchestra. Parry’s I was glad, another
favourite on ceremonial occasions, is for the first time available in its full 1911 version, in two
scorings: for full orchestra, and for brass ensemble with organ.
Continuo parts
For all pre-1800 items in this book, fully written-out continuo keyboard parts are included in the
orchestral hire material, with the exception of Haydn’s The heavens are telling, which does not
really need a continuo. The Schubert Magnificat, written for church performance, does however
have a figured bass, so an optional continuo part has been provided. Specialist continuo players
generally prefer to extemporize their own keyboard parts from a full score or a figured bass; they
may wish to disregard the written-out parts provided, but non-specialists will perhaps be grateful
for them. A couple of specific policies I have followed should be mentioned: first, the continuo
parts have been kept fairly plain and unadorned because experienced players will know how to
add their own embellishments; second, it is sometimes wiser to omit ninths, sevenths, and
suspensions shown in the figuring where these occur in the music’s topmost voice, or at least in a
higher octave than the medium tessitura of the continuo part. The effect of suspensions and
dissonances doubled by the continuo an octave below where they occur in the choir or orchestra
can be unpleasant (a subjective opinion). Some orchestral bass lines are too agile to be readily
playable at the keyboard, but I have followed the general custom of showing them exactly as
written, leaving it to the player to simplify them as appropriate.
Lute continuo parts (in the form of editorially fully-figured bass parts) are included for the
Monteverdi, Purcell, Vivaldi, and Durante items.
for online perusal only
Acknowledgements
I am deeply grateful for the advice, help, and encouragement given to me by my musical colleagues
whose names are recorded below; they are all phenomenally busy people who have patiently and
courteously put their expertise at my disposal. Dr Lynda Sayce, lutenist and musicologist, has
tracked down for me many (in some cases obscure) manuscripts and printed sources in the libraries
of the world. Andrew Lucas, Master of the Music at St Albans Cathedral, has given valuable
advice on the style and format of the organ accompaniments book and been a sounding board for
my thoughts. Richard Pearce, accompanist to the Royal Choral Society and freelance organist,
has meticulously scrutinized all the piano and organ accompaniments and made innumerable
pertinent suggestions. Daniel Hyde, Director of Music-elect of King’s College Cambridge, has
gone through the entire contents of both books once more and helped me to rectify many
shortcomings still remaining. Dr Ruth Smith has kindly clarified a number of historical points
arising in the Handel items, as has Professor John Butt for the Bach items. Brian Jones, organist
emeritus of Trinity Church Boston, has given me the benefit of a wise and experienced
transatlantic perspective on the project. Of my many friends at Oxford University Press I especially
want to thank Ben Selby, head of the music department, and Phil Croydon, senior music editor,
for their support at every stage, and finally, my eagle-eyed editor for the project Laura Jones, who
misses nothing and has been a model of tact in dealing with me.
JOHN RUTTER
v

Words from the Ordinary of the Mass
English version by John Rutter
SOPRANO
ALTO
TENOR
BASS
Piano
reduction
Alla breve
Gra
Grant
Alla breve
Gra
Grant
f sostenuto
f sostenuto
1. Gratias agimus tibi
(Grant that our hearts may be thankful )
f sostenuto
f sostenuto
Gra
Grant
Gra
Grant
J. S. BACH (1685–1750)
from the Mass in B minor, BWV 232
f sostenuto
- - ti - as a -
that our hearts
- - ti - as a - - gi-mus
that our hearts may be
- - ti - as a - - gi-mus
ti -
that our hearts may be thank -
- - ti - as a - - gi-mus
ti
that our hearts may be thank
-
-
bi
ful;
bi
ful;
for online perusal only
5
mf
- gi-mus
ti
may be thank
ti
thank
mf
- -
-
bi
ful;
- bi
pro
- ful;
Lord,
mf
pro
Lord,
-
pter
to
pro
Lord,
-
mag-nam
glo
thee be glo
pter
to
mag-nam
glo
thee be glo
mf
- - - - -
- - - - -
pro
Lord,
- pter mag -nam
glo
to thee be glo
-
pter
to
mag-nam
thee be
- -
- -
- - - - - ri -am
tu
- - - - - ry andhon
ri-am
tu
ry and hon
-
-
am,
our,
-
-
mf
Note: all dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Bach: Gratias agimus tibi
3
8
f
glo
glo
-am,
- - - - ri-am
tu - am,
gra
- - - - ry and hon- our,
grant
- - -
- - -
ri-am
tu - am,
gra
ry and hon - our,
grant
f
gra
grant
f
- - ti - as
that our
- - ti - as a -
that our hearts
gra - - ti - as a - - - gi-mus
-our,
grant
that our hearts may be
f
- - ti -as
a - - - gi -mus
ti -
that our hearts may be thank ful;
bi
-
f
12
dim.
mf
a - - - - - - - gi - mus ti - bi,
hearts
may be thank - ful;
mf
- - - - gi-mus
ti - bi,
gra
may be thank - ful,
grant
( f )
f
- -
ti
thank
-
-
bi,
ful,
for online perusal only
gra
grant
- - - - - ti - as a - -
that our hearts
mf
pro
Lord,
- pter
to
mag-nam
glo
thee be glo
- - - -
- - - -
dim. mf
( )

4
Bach: Gratias agimus tibi
15
A
A
-
f
gra
grant
- - - - ti - as a - - gi-mus
ti
that our hearts may be thank
- - ti - as a - - gi-mus
ti
that our hearts may be thank
gi-mus
ti
may be thank
- bi, gra
- ful, grant
- - ri - am, pro- - - ry, Lord, pter mag-nam
glo ri
to thee be glo - - -
ry and
am tu
hon
f
- bi, gra
- ful, grant
-
-
bi
ful;
- - ti - as
that our
- - - ti - as a - - gi-mus
ti
that our hearts may be thank - -
- am,
gra
- our,
grant
-
f
for online perusal only
19
a
hearts
bi,
-
- ful,
- -
mf
pro
Lord,
- pter mag-nam
glo
to thee be glo
gi-mus
ti
may be thank
- bi pro
- ful; Lord,
- - - - - ri-am
tu
- - - - - ry and hon
mf
- pter mag- nam glo
to thee be glo
- -
- -
gra -ti
- as a - gi - mus ti - bi
pro -
that our hearts may be thank - ful;
Lord,
dim.
- ti - as a - gi-mus
ti
that our hearts may be thank
-
-
mf
bi
ful;
dim.
mf
-
-
mf
continued...

Words by Martin Jahn (c.1620–c.1682)
English text by Robert Bridges (1844–1930)
SOPRANO
ALTO
TENOR
BASS
Piano
reduction
4
8
2. Jesu, joy of man’s desiring*
(Jesus bleibet meine Freude)
for online perusal only
Je
Je
- su, joy
- sus blei
-
( )
of
bet
9
J. S. BACH (1685–1750)
from Cantata no. 147
( )
de - sir - ing,
mei - ne Freu - de,
de - sir - ing,
mei - ne Freu - de,
*man’s de - sir - ing,
mei - ne Freu - de,
*man’s
*man’s
*Inclusive alternative: Jesu, joy of our desiring.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

10
Bach: Jesu, joy of man’s desiring
13
Ho
mei
-
-
ly
nes
wis
Her
- dom, Love
- zens Trost
most
und
B.
Love
Trost
most
und
( )
2 2 2
17
bright.
for online perusal only
Saft,
( )
20
( )

Bach: Jesu, joy of man’s desiring
11
24
A
Drawn
Je
-
by
sus
thee,
weh
-
our
ret
souls
al
-
souls as
al - lem
souls
al
-
as
lem
-
as
lem
- pir - ing,
Lei - de,
-
-
pir
Lei
ing,
de,
- pir ing,
Lei de,
-
-
A
29
soar
er
to
ist
un
mei
- cre - a - ted
light.
- nes Le - bens
Kraft,
B. un
mei
- cre - a - - ted Light.
- nes Le - bens Kraft,
for online perusal only
( )
2 2 2
33
(
)
( )
continued...

16
Words of unknown authorship
English version by John Rutter
Piano
reduction
3. Praise our God who reigns in glory
[ Vivace]
f`
(Lobet Gott in seinen Reichen)
J. S. BACH (1685–1750)
from the Ascension Oratorio, BWV 11
6
11
16
dim.
mf
21
l.h.
for online perusal only
26
cresc.
f
Note: all dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Bach: Praise our God who reigns in glory
17
31
S.
A.
T.
B.
FINE
A
f
Praise
*Lo
f
our
bet
Praise
*Lo - -
FINE
A
-
God
Gott
who
in
reigns
sei -
in
nen
Praise
*Lo -
f
Praise
*Lo
-
our
bet
our
bet
God
Gott
God
Gott
who
in
who
in
reigns
sei
-
reigns
sei -
in
nen
in
nen
f
our God who
bet Gott in
reigns
sei -
in
nen
for online perusal only
36
**
glo
Rei
glo
Rei
-
-
-
-
ry,
chen,
ry,
chen,
O
in
praise him, all
lo -
praise
sei
his
bet
host
Gott
in
in
high
sei
est
- - hea
nen Rei - -
ven;
chen,
our God in high - est hea - ven;
- nen Rei - - - - - chen,
glo
Rei
glo
Rei
-
-
-
-
ry,
chen,
ry,
chen,
praise
lo
him, all
-
his
bet
host
Gott
praise
lo
-
in
in
him in
bet
high
sei
high
Gott
-
in
-
-
est
nen
est
sei - nen
hea
Rei
hea
Rei
-
-
-
-
ven;
chen,
ven;
chen,
*Exceptionally, in this chorus syllabic slurs are shown as for the English version only, in the interests of avoiding the use of many dotted slurs.
**This appoggiatura (taking the value of a e ) is in the 1st violin part only, but could be added to the soprano part here and in bar 147.

18
Bach: Praise our God who reigns in glory
41
praise
lo
-
our
bet
God
Gott who
in
reigns
sei
- - -
in
nen
glo
Rei
-
-
ry,
chen,
praise
lo -
praise
lo
our
bet
praise
lo - -
-
God
Gott
who
in
reigns
sei -
our
bet
in
nen
God
Gott who
in
glo - ry,
Rei-
chen,
praise
lo
reigns
sei
praise
lo
- -
in
nen
him, all his
- - bet
him, all his
- - - bet
for online perusal only
46 B
glo
Rei
host
Gott
host
Gott
him, all
- -
-
-
in
in
ry
chen,
high
sei
his
bet
in
in
host
Gott
high
sei
in
in
-
-
- -
- - -
in
in
high
sei
-
-
high-est
sei - nen
est
nen
est
nen
est
nen
hea
Rei
hea
Rei
hea
Rei
hea
Rei
-
-
-
-
-
-
-
-
ven.
chen,
ven.
chen,
ven.
chen,
ven.
chen,
Mag
prei
Mag
prei
-
-
-
-
ni
set
ni
set
- fy his
ihn in
Mag
prei
-
-
- fy his
ihn in
Mag
prei
B
-
-

Bach: Praise our God who reigns in glory
19
51
ho - ly
sei - nen
-
-
- ly
sei - nen
-
-
Name,
Eh
ni - fy his
set ihn in
Name,
Eh
ni - fy his
set ihn in
-
-
and
ren,
ho - ly
sei -nen
and
ren,
ho - ly
sei-nen
sing
rüh - met
his
Name,
Eh
sing
rüh - met
his
Name,
Eh
-
-
praise,
ihn
and
ren,
praise,
ihn
sing
rüh
-
his
met
and sing his
ren, rüh - met
praise,
ihn
praise,
ihn
all
in
all
in
ye
sei
ye
sei
all
in
all
in
who are
- - ner
ho
ye
sei
-
his
ner
his
who are his
- - ner
ye
sei
-
his
ner
for online perusal only
56
saints,
Pracht!
saints,
mf
saints,
Pracht!
saints,
Pracht!
praise him, all
Lo - -
mf
praise him, all
Lo - -
his
bet
host
Gott
in
in
his
bet
host
Gott
mf
high
sei
- -
- - -
Pracht!
mf
praise
Lo
him, all his
- - bet
praise
Lo
host
Gott
in
in
him, all his
- - bet
in
in
high
sei
host
Gott
high
sei
-
-
est
nen
est
nen
in high - est
in sei - nen
-
-
est
nen
dim.
mf
continued...

32
Words by Elisabeth Creutziger (1524)
English version by John Rutter
4. Subdue us by thy goodness
(Ertöt uns durch dein Güte)
J. S. BACH (1685–1750)
from Cantata no. 22
Piano
reduction
[Con moto tranquillo]
*
S.
A.
4
Sub
Er
- due us
- töt uns
by
durch
thy
dein
good
Gü
-
-
ness,
te,
T.
B.
(
)
7
for online perusal only
A
Er
-
-
wake
weck
us
uns
with
durch
thy
dein
(
)
*Dynamics are left to the discretion of the conductor (there are none in the original). If preferred, the accompanist can play just the top and
bottom parts, omitting the middle parts, which derive from the second violin and viola.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
continued...

36
5. Creation’s Hymn
(Die Ehre Gottes aus der Natur)
Words by C. F. Gellert (1715–69), based on Psalm 19
English version by John Rutter
L. van BEETHOVEN (1770–1827), Op. 48 no. 4
Choral adaptation by John Rutter
SOPRANO
ALTO
Majestätisch und erhaben [Majestic and elevated]
f
TENOR
BASS
Re - sound, ye hea
Die Him - mel rüh
-
-
vens,
men
f
pro - claim
des E
-
-
ing God’s
wi - gen
*PIANO
Majestätisch und erhaben [Majestic and elevated]
ff
sf
6
f
p
p
glo
Eh
p
-
-
for online perusal only
ry,
re,
De
Ihr
- clare
Schall
his
pflanzt
hon
sei
-
-
our,
nem
praise
Na
-
ye
men
his
Name.
fort.
f
p
The
Ihn
p
f
sf
p
*The piano accompaniment is Beethoven’s own.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
continued...

39
Words from the Missa pro defunctis
6. Pie Jesu
LILI BOULANGER (1893–1918)
arranged by John Rutter
SOPRANO
ALTO
CHOIR
(optional)
TENOR
BASS
Piano
reduction
Assez lent
Assez lent
q = 96
**
p
Hum
p
q = 96
*SOLO SOPRANO
p très expressif
p
Pi
- e Je - su Do - mi-ne,
5
do - na e is
for online perusal only
Blessed Lord Jesus,
cédez
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
- re - qui- em,
do-na
e - is re - qui-
mf
mf
grant them rest;
cédez
*This piece was scored for solo soprano, string quartet, harp, and organ. The purpose of the optional choir part in this arrangement is to
substitute for string quartet in performances with organ alone. Choirs in Dec./Can. formation could assign the solo soprano part to all the
sopranos on one side, with sopranos on the other side singing the choral soprano part.
**If preferred, the soprano part could be omitted in bars 1–9.

40
Boulanger: Pie Jesu
9
A
- em,
a tempo
plus intense
Pi
- e Je - su Do - mi-
ne,
for online perusal only
A
a tempo
legato
[ mp]
13
f
do - na e is
- re - qui-em,
Pi
f
- e
Je - su
( )
[ cresc. ]
Pi
f
- e
Je - su
f

Boulanger: Pie Jesu 41
17 B
Do - - mi - ne.
Do
- - mi - ne.
dim.
p
Do
-
mi
-
ne.
dim.
p
dim.
p
B
[ mf ]
21
espress.
molto cresc.
for online perusal only
cresc.
sans presser
f cresc.
25
SOLO SOPRANO
pp
plaintif
Pi - e Je - su,
pp subito
Ped. Ped.
sim.
continued...

45
7. How lovely is thy dwelling place
(Wie lieblich sind deine Wohnungen)
Words from Psalm 84
JOHANNES BRAHMS (1833–97)
Translation: cento
from Ein deutsches Requiem, Op. 45
Mäßig bewegt [Moderato] q = 92
SOPRANO p
How love ly
Wie lieb - -
lich
ALTO p
How love ly
Wie lieb - -
lich
TENOR p
How love ly
Wie lieb - -
lich
p
BASS
Mäßig bewegt [Moderato]
How love
q = 92
Wie lieb - -
Piano
p dolce
reduction
Ped. Ped. Ped.
6
is
thy dwell ing
sind dei - ne Woh - - place, O Lord
nun - gen, Herr Ze - - - ba
of
-
is
thy dwell ing
sind dei - ne Woh - - place, O Lord
nun - gen, Herr Ze - - - ba
of
-
is
thy dwell ing
sind dei - ne Woh - - place, O Lord
nun - gen, Herr Ze - - - ba
of
-
- - ly is thy dwell ing
- - lich dei - ne Woh - - place, O Lord
nun - gen, Herr Ze - ba
of
-
cresc.
for online perusal only
( ) ( )
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

46
Brahms: How lovely is thy dwelling place
11
hosts, O Lord
- oth, Herr Ze - ba
of hosts,
thy
- oth,
dei - ne
hosts, O Lord
- oth, Herr Ze - ba
of hosts,
thy
- oth,
dei - ne
hosts, O Lord
- oth, Herr Ze - ba
of hosts,
thy
- oth,
dei - ne
hosts, O Lord of hosts,
thy
- oth, Herr Ze - ba - oth,
dei - ne
Ped.
17
dwell - ing place, O Lord
of
Woh - nun - gen, Herr Ze - - - - - - - ba -
dwell ing
Woh - - place, O Lord
nun - gen, Herr Ze - - - - - - - ba
of
-
dwell - ing place, O Lord
of
Woh - nun - gen, Herr Ze - - - - - - ba -
dwell ing
Woh - - place, O Lord
nun - gen, Herr Ze - ba
of hosts, O Lord
of
- oth, Herr Ze - ba -
dim.
for online perusal only

23
A
hosts!
- oth!
hosts!
- oth!
oth!
hosts!
How
- oth!
Wie
hosts!
-
A
p espr.
love
lieb
Brahms: How lovely is thy dwelling place 47
- - - - - ly
- - - - lich sind
is
dei
-
thy
ne
for online perusal only
29
p espr.
(
)
Ped.
sim.
dwell
Woh
ing
- - place, O
nun - gen, Herr
Lord
Ze
- - - ba
of hosts!
- oth!
p espr.
p espr.
How
Wie
p espr.
How
Wie
How love - - -
Wie lieb - - - -
continued...

Canticle of the BVM
(Luke 1: 46–55)
SOPRANO 1
SOPRANO 2
ALTO
TENOR
BASS
VIOLINS
*PIANO
61
8. Magnificat
for five voices
Allegro [ q = c.112 ]
f
Ma - - gni - fi-cat
a - ni - ma me - a
f
Ma - - gni - fi-cat
a - ni - ma me - a
Allegro [ q = c.112 ]
mf
for online perusal only
**My soul doth magnify the Lord:
FRANCESCO DURANTE (1684–1755)
(formerly attributed to Pergolesi)
*The piano part is intended only for use in rehearsal. The music is scored for first and second violins, cello, and bass, with continuo organ,
but Durante’s highly idiomatic, often antiphonal interplay of the two violin parts cannot be adequately represented at the keyboard. The two
violin parts in bars 1–78, 93–152, and 198–255 are shown in outline in the small stave above the piano part, for information; adept pianists
may be able to play some of them while still encompassing the continuo bass. Performance accompanied by organ alone is not
recommendable either, but in situations where no orchestra is available, it is highly effective to perform the piece with two (or three) solo
violins—an additional solo violin plays in the section from bars 153–172 but its part can be taken by the first violin—and chamber organ,
plus cello if available. The full score, string parts, and continuo organ part are available for purchase: full score (978-0-19-352747-8); set of
parts (978-0-19-352748-5).
**Translation from the 1662 Book of Common Prayer.
© Oxford University Press 2018. Photocopying this copyright music is ILLEGAL.

62
Durante: Magnificat
5
mf
Do - mi - num:
et ex-sul
-ta
- - - -
mf
Do
- mi - num:
et
mf
Ma
mf
Et
ex-sul
- ta - - - - - -
ex-sul-ta
- - - vit,
et ex-sul
-ta
-
f
- - - gni - fi-cat
a - ni - ma
Et ex-sul- ta - - - - - - - -
for online perusal only
a2
9
f
and my spirit hath rejoiced in God my Saviour.
- vit
spi - ri-tus
me - us in De-o
sa-lu-ta
- ri,
- - - vit spi - ri-tus
me - us in De-o
sa-lu- ta - ri,
- - vit spi - ri-tus
me - us.
me
- a
Do - - mi - num:
- - - vit spi - ri-tus
me - us
mf

Durante: Magnificat 63
13
in De-o
sa-lu
-ta-ri
me - o,
in De-o
sa-lu
-ta-ri
me - o,
et
f
Ma
mf`
et
mf`
et
( mf )
( ) mf
et
ex-sul
- ta - - -
ex-sul-ta
- - - - -
- - - gni - fi - cat a -
ex-sul
- ta - - - vit,
et ex-sul-
ex-sul
- ta - - - - - -
f
for online perusal only
17 A
- - - vit spi - ri -tus
me - us
in
- - - - - vit spi - ri -tus
me - us
-ni
- ma me - a
Do - - mi - num:
in De-o
- ta - - - - vit spi - ri -tus
me - us
- - - - vit spi - ri -tus
me - us
mf`
( )
A
mf`
De-o
mf`

64
Durante: Magnificat
21
mf`
sa-lu- ta - ri,
in
mf`
sa-lu- ta - ri,
in
De-o
sa - lu - ta - ri,
De-o
sa - lu - ta - ri, in De-o
sa - lu - ta - ri,
mf`
f
mf`
in
mf`
in De-o
sa - lu - ta - ri,
in
De-o
sa - lu - ta - ri, in
f
De-o
sa - lu - ta - ri, in
De - o
De -o
sa - lu -
f
in De - o
a2
f
for online perusal only
25
f
in
f
in
De -o
sa - lu - ta - ri me - - - - - o.
De-o
sa - lu - ta - ri, sa-lu
- ta - - ri me - o.
sa - lu - ta - - - - - - - ri me - o.
-ta
- ri me - - - - - - - - - o.
sa
- lu - ta - ri, sa - lu- ta - ri me - - - - o.
mf
continued...

92
Isaiah 61: 1–3
Piano
reduction
5
Lento, solenne q = 56
pp
con Ped.
9. The Spirit of the Lord
ten.
ten.
*L
ten.
ten. 3
EDWARD ELGAR (1857–1934)
from The Apostles, Op. 49
L
10 ten.
rit. a tempo
ten.
mf
espress.
3
3
cresc.
p dim.
3
1
ppp
cresc.
for online perusal only
14 L
2
S.
A.
T.
B.
L
( )
r.h.
3
dim.
*L (Elgar’s marking) = largamente – with some broadening of tempo.
3
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
2
ppp
pp
The
pp
The
pp
The
pp
The
Spi
- rit of the
Spi - rit of the
Spi - rit of the
Spi
- rit of the

18
Lord is up - on me, be -cause
He
Lord is up - on me, be -cause
He
Lord is up - on me, be -cause
He
pp
Lord is up - on me, be -cause
He
hath a - noint - ed
hath a - noint - ed
hath a - noint - ed
hath a - noint - ed
espress.
3
Elgar: The Spirit of the Lord 93
3
for online perusal only
22 largamente
cresc.
me
cresc.
me
me
to preach the Gos - pel to the poor:
to preach the Gos - pel to the poor:
cresc.
3
p
p
p
pp espress.
He hath sent me to heal the
pp espress.
He hath sent me to heal the bro-ken-
pp espress.
to preach the Gos - pel to the poor:
He hath
sent me to heal the bro-ken-
cresc.
p pp espress.
me to preach the Gos - pel to the poor: He hath sent me to heal the
largamente
f
p dim.
pp
3
3
3

94
Elgar: The Spirit of the Lord
26
bro - ken-heart
ed,
heart
pp
- to
pp
- - ed,
to
heart
pp
pp
- - ed,
to
pp
bro - ken - heart ed, to
preach
de-liv’r-ance
to the cap - tives and
preach de - liv’r- ance to the cap - tives and
preach
preach
de - liv’r-ance
to the cap - tives
de-liv’r-ance
to the cap - tives
pp
cresc. molto
re -
cresc. molto
re -
for online perusal only
29
f
- cov’r - - ing of sight
- cov’r - - ing of sight
cresc. molto
f
to the blind,
to the blind,
and
and
cresc. molto
re
- cov’r - ing of sight
f
to the blind,
f
re
- cov-er-ing
of sight
mf cresc.
f cresc.
3
to the blind,
ff
3
continued...

102
Antiphon from the Burial Service
English translation by John Rutter
10. In paradisum
GABRIEL FAURÉ (1845–1924)
from the Requiem, Op. 48
*ORGAN
4
- di
an
Andante moderato
[Man.]
[ p ] dolce
SOPRANOS
p dolce
In
God’s
- - - sum
de
- - - gels
lead
-
pa
ho
du
you
- ra -
- ly
-
cant
to
for online perusal only
8
an
pa
- -
- -
ge -
ra -
li:
dise:
p sempre
in
may
tu
saints
- in o
their ad -
12
- ven
glo
tu
- - sus
ry
re
-
-
ci
ceive
-
pi - ant
you at
te
your
mar
jour
- - -
- -
ty
ney’s
-
*The original organ part being readily playable at the piano, it is shown here exactly as the composer wrote it.
© Hinshaw Music, Inc., 1984. Assigned to Oxford University Press 2016. This edition © Oxford University Press 2018.
Photocopying this copyright material is ILLEGAL.

15 A
-res,
end,
Fauré: In paradisum 103
sempre dolce
et
guid
-
per
ing
- du -
your
18
- cant
foot
-
te
steps
in
in
ci - vi - ta - tem san
- to the Ho - ly Ci
-
-
ctam
ty
Je -
for online perusal only
S.
21
cresc.
- ru
- - - sa - lem,
Je - ru - - - sa -
A.
T.
pp
cresc.
Je
- - - - ru - - sa - lem,
B.
pp
Je
- - - - ru
sa
cresc.
- - - lem,

104
Fauré: In paradisum
24
f
- lem,
Je - ru - - - sa - lem,
ppp
Je
-
Je - ru - sa - lem,
T. 2 Je
f
T. 1 Je
- - - -
- - - -
f
Je - ru - sa
lem,
- Je
- - - -
for online perusal only
mf
27
ppp
Je - ru - - - sa - lem.
- ru - - - - - - - sa - lem.
- ru
ppp
- - - - - - -
ru
sa
-
lem.
-
ppp
- - - -
sa
- - - -
lem.
- ru - - - - sa - - - - lem.
p
continued...

108
French version of unknown authorship
English version by John Rutter
11. Psalm 150
CÉSAR FRANCK
(1822–90)
Piano
reduction
Poco allegro ma maestoso q = 120
pp
legato sempre
9
pp
poco cresc.
for online perusal only
17
Ped.
cresc.
25 A
S.
A.
Hal-le-lu
- iah,
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
p
T.
B.
p
Hal-le-lu
- - iah,
A
p
più f mf
cresc.
Ped.
sim.

Franck: Psalm 150 109
31
mf
Hal-le-lu
- iah,
mf
Hal-le-lu
- - iah,
f
for online perusal only
mf
cresc.
37
f
Hal-le-lu
- - iah, Hal-le
- lu- iah, Hal-le-
f
Hal-le-lu
- - iah, Hal-le
- lu- iah, Hal-le-
f
Hal-le-lu
- - iah,
Hal-le-lu
- iah, Hal-le-lu-
iah.
f
Hal-le-lu
- - iah,
Hal-le-lu
- iah, Hal-le-lu-
iah.
cresc.
sim. f ff
molto dim.

110
Franck: Psalm 150
42 B
- lu-
iah.
- lu-
iah.
B
p
mf
48
B.
3
53
-té.
Lou - ez - le dans
power.
Praise the Lord in
3 3
saints ta - ber - na - cles, lou - ez le Dieu qui règne en son im - men - si-
Lord in his tem - ple, O praise the Lord who reigns on high in his
sa force
his might
dim.
Ped.
et
and
mf
Lou
O
for online perusal only
- ez le Dieu, ca - ché dans
praise the Lord of heav’n, praise
ses
in
p legato
ses
the
puis-sants
mi - ra - cles; lou-ez-
his no - ble acts: Sing a-
continued...

120
Isaiah 9: 6
Piano
reduction
Andante allegro
f
12. For unto us a child is born
G. F. HANDEL (1685–1759)
from Messiah
4
for online perusal only
[ ]
7
A
SOPRANOS
p
For un -to
us a child is born, un - to us a son is
p
10
S.
giv
A.
-en,
un-to
us a son is giv-en,
for un-to
T.
B.
p
For
un-to
us a child is born,
Note: dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Handel: For unto us a child is born 121
14
us
a child is born,
un - to us a son is giv - en,
un - to
17 B
p
For
for online perusal only
un-to
us a child is born,
us a son is giv-en,
p
For
un -to
B

122
Handel: For unto us a child is born
20
un to
- us a son is giv - en,
un - to
us a child is born,
for online perusal only
23
us a son is giv-en,
un to
- us a son is
un -to
us a son is giv-en

Handel: For unto us a child is born 123
26
C
mf
and
the gov-ern-ment
shall
giv - en:
mf
and
the gov-ern-ment
shall be up-on
his shoul - - - - -
for online perusal only
C
mf
29
cresc.
be
up-on
his shoul - - - - - - der, up-on
his shoul- der: and
his
-der:
mf
and
cresc.
the gov-ern-ment
shall be up-on
his shoul - der: and
mf cresc.
mf
and
and
cresc.
the gov-ern-ment
shall be up-on
his shoul-der:
and
his
his
his
cresc.
continued...

135
Revelation 19, 6; 11, 15; 19, 16
SOPRANO
Allegro
13. Hallelujah
G. F. HANDEL (1685–1759)
from Messiah
ALTO
TENOR
for online perusal only
BASS
Piano
reduction
Allegro
f
4
f
Hal
f
Hal
Hal
f
- le - lu- jah, Hal - le - lu- jah, Hal-le
- lu- jah, Hal-le-lu- jah, Hal - le - lu-
jah,
f
- le - lu- jah, Hal - le - lu- jah, Hal-le
- lu- jah, Hal-le-lu- jah, Hal - le - lu-
jah,
- le - lu- jah, Hal - le - lu- jah, Hal-le
- lu- jah, Hal-le-lu- jah, Hal - le - lu-
jah,
Hal - le - lu- jah, Hal - le - lu- jah, Hal-le
- lu- jah, Hal-le-lu- jah, Hal - le - lu-
jah,
Note: all dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

136
Handel: Hallelujah
8
Hal - le-lu-jah,
Hal - le-lu-jah,
Hal-le
- lu- jah, Hal-le-lu- jah, Hal - le - lu - jah:
Hal - le-lu-jah,
Hal - le-lu-jah,
Hal le - lu- jah, Hal-le-lu-jah,
Hal - le - lu-jah:
Hal - le-lu-jah,
Hal - le-lu-jah,
Hal le - lu- jah, Hal-le-lu-jah,
Hal - le - lu-
jah:
Hal - le-lu-jah,
Hal - le-lu-jah,
Hal le - lu- jah, Hal-le-lu- jah, Hal - le - lu - jah:
12 A
for the Lord God om - ni - po-tent
reign - eth, Hal-le
- lu-jah,
Hal-le-lu-jah,
Hal-le-
for the Lord God om -ni
- po-tent
reign - eth, Hal-le
- lu-jah,
Hal-le-lu-jah,
Hal-le-
for the Lord God om -ni
- po-tent
reign - eth, Hal-le
- lu-jah,
Hal-le-lu- jah, Hal-le-
for the Lord God om - ni - po-tent
reign - eth, Hal-le
- lu-jah,
Hal-le-lu- jah, Hal-le-
A
for online perusal only

Handel: Hallelujah 137
16
- lu- jah, Hal-le-lu-jah:
Hal-le-
- lu- jah, Hal-le-lu-jah:
for the Lord God om-ni
- po-tent
reign - eth, Hal-le-
- lu-jah,
Hal-le-lu-jah:
for the Lord God om-ni
- po-tent
reign - eth, Hal-le-
- -
20 B
- lu-jah,
Hal-le-lu-jah,
Hal-le
- lu-jah,
Hal-le-lu-jah:
for the Lord
- lu-jah,
Hal-le-lu-jah,
Hal-le
- lu-jah,
Hal-le-lu-jah:
- lu-jah,
Hal-le-lu-jah,
Hal-le
- lu-jah,
Hal-le-lu-jah:
Hal-le-lu-jah,
Hal-le
B
- lu- jah, Hal-le-lu-jah:
for the Lord God om-ni
- po-tent
reign - eth, Hal le
- lu-jah,
Hal-le-lu-jah,
Hal-le
- lu-jah,
Hal-le-lu-jah:
for online perusal only
continued...

150
14. Let their celestial concerts all unite
Words by Newburgh Hamilton (1691–1761)
SOPRANO
[Allegro maestoso]
Let
their ce
G. F. HANDEL (1685–1759)
from Samson
f
- les - tial con-certs
all u - nite, let their ce - les - tial con-certs
ALTO
TENOR
BASS
Piano
reduction
[Allegro maestoso]
f
f
Let
Let
Let
their ce
their ce
their ce
- les - tial con-certs
f
- les - tial con-certs
f
- les - tial con-certs
4
all
u-
nite,
all
u-
nite,
all
for online perusal only
u-
nite,
mf
all u-nite,
ev - er to sound his praise, to sound his
mf
In Samson, this chorus follows directly on from the soprano aria Let the bright seraphim.
Note: all dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Handel: Let their celestial concerts all unite 151
7
ev - er to sound his praise in end-less
blaze of
( )
10
mf
to sound his praise,
light,
mf
to sound his praise in end-less
blaze of
mf
praise in end - less blaze of
light,
for online perusal only

152
Handel: Let their celestial concerts all unite
f
let
les - con certs
13
A
f
let
A
f
16
f
let their ce - les - tial con -certs
all u - nite,
let their ce - les - tial con-certs
their ce
- les - tial con-certs
all u - nite,
let their ce - les - tial con -certs
f
light, let their ce
- les - tial con-certs
all u - nite,
let their ce - les - tial con-certs
their ce - tial
- all u - nite,
let their ce - les - tial con-certs
all u - nite,
ev - er, ev - er, ev - er to sound his
all u - nite,
ev - er, ev - er, ev - er to sound his
all u - nite,
ev - er, ev - er, ev - er to sound his
all u - nite, to sound his praise
for online perusal only
continued...

162
*Words of unknown authorship
15a. See, the conqu’ring hero comes
G. F. HANDEL (1685–1759)
from Judas Maccabaeus
SOPRANO
ALTO
1
2
Piano
reduction
See,
See,
See, the con - qu’ring he ro
Chorus of youths
**
the con - qu’ring he - ro comes! Sound the
the con - qu’ring he - ro comes! Sound the
- comes! Sound the
for online perusal only
**From here to bar 32 the small notes (doubling voice parts) have been editorially added.
6
trum
trum
- pets, beat the drums.
- pets, beat the drums.
trum
- pets, beat the drums.
12
*This chorus was originally written for Joshua (1747), for which oratorio the librettist is unknown.
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Handel: See, the conqu’ring hero comes 163
17
A
Sports pre - pare, the lau - rel bring, Songs of tri - umph
Sports pre - pare, the lau rel
Sports pre pare,
A
- bring, Songs of tri - umph
- the lau - rel bring, Songs of tri - umph
for online perusal only
23
to him sing, Sports pre - pare, the lau - - rel
to him sing, Sports pre pare,
to him sing, Sports pre pare,
28
- the lau - - rel
- the lau - - rel
bring, Songs of tri - umph to him sing.
bring, Songs of tri - umph to him sing.
bring, Songs of tri umph
- to him sing.

S.1
S.2
164
33
B
Chorus of virgins
See
See
Handel: See, the conqu’ring hero comes
B
the god - like youth ad- vance! Breathe the flutes, and
the god - like youth ad - vance! Breathe the flutes, and
39
lead the dance. Myr - tle wreaths, and ro ses
*lead
dance.
the
- twine, To
lead the dance. Myr - tle wreaths, and ro ses
*lead
the dance.
- twine, To
for online perusal only
45
deck the he ro’s
- brow di - vine, Myr - tle wreaths, and
deck the he ro’s
- brow di - vine, Myr - tle wreaths, and
*Editorial alternative.
continued...

167
Piano
reduction
15b. March*
G. F. HANDEL (1685–1759)
from Judas Maccabaeus
6
11
17
for online perusal only
23
28
*This follows See, the conqu’ring hero in Handel’s running order (leading into Sing unto God) but it may be preferable for it to be played first,
as an introduction. It could be played again, without repeats, after See, the conqu’ring hero.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

168
15c. Sing unto God
Words by
Thomas Morell (1703–84)
G. F. HANDEL (1685–1759)
from Judas Maccabaeus
Piano
reduction
Allegro
f
4
A.
Solo
7
ALTO SOLO [or TUTTI]
f
Sing un - to God, and high af - fec - tions raise, to
for online perusal only
p
10
crown
this con-quest
with un-mea
- sur’d praise,
Note: all dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Handel: Sing unto God 169
A.
Solo
13 A
with un
- mea - sur’d praise.
T.
Solo
TENOR SOLO [or TUTTI]
f
Sing
un
- to God, and
A
T.
Solo
16
high af - fec tions
- raise, to crown this con-quest
with un-mea
- sur’d praise,
for online perusal only
19
with un - mea - sur’d praise.
cresc.

170
Handel: Sing unto God
S.
A.
T.
B.
22
B
f
Sing un - to God, and high af - fec - tions raise, to crown this con-quest
with
f
Sing un - to God, and high af - fec - tions raise, to crown this con -quest
with
TUTTI
f
Sing un - to God, and high af - fec -tions
raise, to crown this con-quest
with
f
Sing un - to God, and high af - fec - tions raise, to crown this con-quest
with
B
f
25
un - mea - sur’d praise, with un - mea - sur’d, with un - mea - sur’d praise,
un-mea
- sur’d praise, with un - mea - sur’d, with un-mea
- sur’d praise,
un - mea - sur’d praise, with un - mea - sur’d, with un -mea
- sur’d praise, with
un-mea
- sur’d praise, with
for online perusal only
continued...

177
1 Kings 1, 38–40
16. Zadok the priest
(Coronation Anthem No. 1)
G. F. HANDEL
(1685–1759)
Piano
reduction
p
con Ped.
4
cresc.
7
for online perusal only
mf
dim.
mp
10
13
cresc.
Note: dynamic markings throughout are editorial, except for Handel’s markings ‘soft’ in bar 1 and ‘loud’ in bar 23.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

178
Handel: Zadok the priest
16
dim.
p
19
poco a poco cresc.
A
22
S. SOPRANO 1 & 2
ff
Za - dok the priest, and
ALTO 1
ff
1
Za - dok the priest, and
A.
ALTO 2
ff
2
Za - dok the priest, and
TENOR
ff
T.
Za - dok the priest, and
ff
BASS 1
1
Za - dok the priest, and
B.
BASS 2
ff
2
Za - dok the priest, and
A
ff
for online perusal only

Handel: Zadok the priest 179
S.
A.
T.
B.
25
Na
Na
Na
- than the pro - phet, a - noint - ed
- than the pro - phet, a - noint - ed
- than the pro - phet a - noint - ed
Na - than the pro - phet, a - noint - ed
Na - than the pro - phet, a - noint - ed
Na
- than the pro - phet, a - noint - ed
for online perusal only
S.
A.
T.
B.
28
So
So
So
- lo - mon
King;
- lo - mon
King;
- lo - mon
King;
So - lo - mon
King;
So - lo - mon
King;
So - lo - mon
King;
continued...

192
Words of unknown authorship
English version by John Rutter
17. Insanae et vanae curae
(My spirit is sore afflicted)
F. J. HAYDN
(1732–1809)
Piano
reduction
Allegro moderato
f
p
4
f
7
for online perusal only
10
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Haydn: Insanae et vanae curae 193
14 A
[ f ]
p f p
In -
My
[ f ]
In -
My
[ f ]
In -
My
[ f ]
In -
My
A
17
- sa - nae et va - nae cu - rae
in - va - dunt men - tes
spi - rit is sore af - flict - ed;
Lord God, hear thou my
- sa - nae et va - nae cu - rae
in - va - dunt men - tes
spi - rit is sore af - flict - ed;
Lord God, hear thou my
- sa - nae et va - nae cu - rae
in - va - dunt men - tes
spi - rit is sore af - flict - ed;
Lord God, hear thou my
- sa - nae et va - nae cu - rae
in - va - dunt men - tes
spi - rit is sore af - flict - ed;
Lord God, hear thou my
S.
A.
T.
B.
for online perusal only

194
Haydn: Insanae et vanae curae
20
no - stras,
sae - pe fu
cry - ing.
An - guish and
no - stras,
sae - pe fu
cry - ing.
An - guish and
no - stras,
sae - pe fu
cry - ing.
An - guish and
sae - pe fu
cry - ing.
An - guish and
f
23
cor - da, pri - va - ta spe,
hope in my heart is gone,
cor - da, pri - va - ta spe,
hope in my heart is gone,
cor - da, pri - va - ta spe,
hope in my heart is gone,
va - spe,
hope in my heart is gone,
3
no - stras,
cor - da, pri - ta
- ro - re re
dread con - sume
- ro - re re
dread con - sume
- ro - re re
dread con - sume
- ro - re re -
dread con - sume
3 3
in
my
in
my
in
my
in
my
-
-
-
plent
me,
plent
me,
plent
me,
plent
me,
- sa - nae et
spi - rit is
- sa - nae et
spi - rit is
- sa nae
spi rit
- et
- is
- sa - nae et
spi - rit is
va-
sore nae
af -
va-
sore nae
af -
for online perusal only
va-
sore nae
af -
va-
sore nae
af -
continued...

18. The heavens are telling the glory of God
(Die Himmel erzählen die Ehre Gottes)
Text paraphrased from Psalm 19: 1–4
SOPRANO
ALTO
TENOR
BASS
Piano
reduction
5
Allegro
[ f ]
The
Die
Allegro
The
Die
[ f ]
The
Die
[ f ]
The
Die
[ f ]
[ f ]
hea
Him
hea
Him
hea
Him
hea
Him
- vens
- mel
- vens
- mel
- vens
- mel
- vens
- mel
are
er
are
er
tell - ing
- zäh - len
tell - ing
- zäh len
the
die
the
- die
are tell - ing the
er - zäh - len die
are tell - ing
er - zäh - len
the
die
© Oxford University Press 1991 and 1998. This edition © Oxford University Press 2018.
Photocopying this copyright material is ILLEGAL.
217
F. J. HAYDN (1732–1809)
from The Creation
glo - ry of God;
Eh - re Got - tes;
glo - ry of God;
Eh - re Got - tes;
glo - ry of God;
Eh - re Got - tes;
glo - ry of God;
Eh - re Got - tes;
the won-der
of his works dis -
und sei - ner Hän-de
Werk zeigt
the won-der
of his works dis -
und sei - ner Hän-de
Werk zeigt
the won-der
of his works dis
und sei - ner Hän-de
Werk zeigt -
the won-der
of his works dis -
und sei - ner Hän-de
Werk zeigt
fz
for online perusal only

218
Haydn: The heavens are telling
16
works
dis - plays the fir - ma-ment.
Werk
zeigt an das Fir-
ma - ment.
11
22
-plays
an
the
das
-plays the
an das
- plays
an
the
das
fir-ma-ment,
Fir - ma - ment,
fir - ma- ment,
Fir-
ma - ment,
fir-ma-ment,
Fir -ma - ment,
the
und
won der
sei - - of his
ner Hän - de
-plays the
an das
works
Werk
fir -ma
-ment,
Fir -ma - ment,
the
und
the
und
won der
sei - - of his
ner Hän - de
won der
sei - - of his
ner Hän - de
the
und
won der
sei - - of his
ner Hän - de
works
Werk
works
Werk
dis
zeigt
dis -
zeigt
dis -
zeigt
-
plays the
an das
plays the
an das
plays the
an das
fir -ma-ment.
Fir-ma
- ment.
fir-ma-ment.
Fir-ma
- ment.
fir-ma
-ment.
Fir-ma
- ment.
fz p cantabile
To
Dem
day,
kom
that is
- men-den
com
Ta
- ing, speaks
- ge sagt
it
es
fz
the
der
day;
Tag;
TENOR SOLO
BASS SOLO
Dem
To
Dem
To
day,
kom
day,
kom
that
- men-den
is
com
Ta
that is com
- men-den
Ta
- ing, speaks
- ge sagt
- ing, speaks
- ge sagt
es
it
it
es
the
der
the
der
day;
Tag;
day;
Tag;
for online perusal only
SOPRANO SOLO

Haydn: The heavens are telling 219
S.
B.
28
Soli
T.
p sotto voce
the night,
die Nacht,
p sotto voce
the night,
die Nacht,
p sotto voce
the
die
night,
Nacht,
that is gone,
die ver - schwand,
that is gone,
die ver - schwand,
that is gone,
die ver - schwand,
to
der
to
der
to
der
fol
fol
fol
fol
fol
fol
-
-
-
-
-
-
low-ing
gen -den
low-ing
gen -den
low-ing
gen -den
for online perusal only
34 Soli
A
night,
Nacht,
night,
Nacht,
night,
Nacht,
Chorus
the
die
the
die
the
die
night,
Nacht,
night,
Nacht,
night,
Nacht,
that is gone,
die ver - schwand,
that is gone,
die ver - schwand,
that is gone,
die ver - schwand,
to
der
to
der
to
der
A
fol
fol
fol
fol
fol
fol
- low- ing night.
- gen - den Nacht.
- low ing
- gen- - night.
den Nacht.
- low- ing night.
- gen - den Nacht.
TENORS [ f ]
The
Die
BASSES [ f ]
The
Die
f
SOPRANOS
[ f ]
The
Die
ALTOS [ f ]
hea
Him
hea
Him
- vens
- mel
- vens
- mel
The
Die
are
er
are
er
hea
Him
hea
Him
- vens
- mel
- vens
- mel
tell - ing
- zäh len
are
er -
are
er -
the
- die
tell - ing
- zäh len
the
- die
continued...

234
Luke 23: 28–30
SOPRANO
ALTO
TENOR
Andante con moto
p
19. Daughters of Zion
(Ihr Töchter Zions)
Daugh-ters
Ihr Töch
p
Daugh-ters
Ihr Töch
of Zi - on, weep for your -
- ter Zi-
ons, weint ü - ber euch
of Zi
- ter Zi
- on, weep for your -
- ons, weint ü - ber euch
FELIX MENDELSSOHN (1809–47)
from Christus, Op. 97
selves,
selbst
selves,
selbst
for online perusal only
BASS
Piano
reduction
Andante con moto
p
(con Ped.)
6
weep for your - selves, and your chil - -
und ü - ber eu - re Kin - - der,
dren,
weep for your - selves, and your chil - - dren,
und ü - ber eu - re Kin - - der,
p
Daugh - ters
Ihr Töch -
of
ter
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Mendelssohn: Daughters of Zion 235
11
16
Zi
Zi
- on,
weep
- ons, weint ü
p
for your
- ber euch
-
selves,
selbst
[ p cresc. ]
Daugh-ters
of Zi on,
Ihr Töch - ter Zi - - weep
ons, weint
Ped.
Ped.
Ped.
[ mp ]
weep for your - selves, and
und ü - ber eu -
[ p cresc. ]
weep for your - selves
und ü - ber eu
[ p cresc. ]
weep for your - selves, and
und ü - ber eu -
[ p cresc. ]
cresc.
for your - selves,
ü - ber eu
-
-
your
re
and
re
your
re
and
re
your
your
for online perusal only
chil
Kin
chil
Kin
chil
Kin
chil
Kin
-
-
- dren,
weep
- der,
und
[ mp]
- dren,
weep
- der,
und
[ mp]
- dren,
weep
- der,
und
[ mp]
dren,
der,
weep
und
for
ü
-
your
ber
-
selves
eu
for your - selves, and your
ü - ber eu - re
for your - selves,
ü - ber eu
for
ü
your -
- ber eu
- -
selves,
re
-
-
and your
re
and
re
your
chil
Kin
chil
Kin
chil
Kin
and your chil
Kin
-
-
-
-
-
-
- -
- -
[ mp ]

236
Mendelssohn: Daughters of Zion
21
sf
- dren,
weep your-selves.
- der,
weint ü
sf
- for
ber euch
selbst!
- dren,
weep for your-selves.
For
- der,
weint ü - ber euch selbst!
sf
pp
- dren,
weep for your-selves.
- der,
weint ü - ber euch selbst!
sf
pp
- weep for -selves.
-
dren,
der,
sf
weint
your
ü - ber euch selbst!
sf
pp
For
Denn
pp
Denn
For
Denn
For
Denn
pp
for online perusal only
26
A
sie
sie
sie
sure ly,
- - sure ly
he, sie - - the days are
he, es wird die
sure ly,
- - sure ly
he, sie - - the days are
he, es wird die
sure ly,
- - sure ly
he, sie - - the days are
he, es wird die
sure
sie
A
-
-
ly,
he,
sure
sie
-
-
ly
he,
the
es
days are
wird die
cresc.
com - - ing, when
Zeit kom - men, da
cresc.
com
Zeit
- - ing,
kom - men,
when
da
cresc.
com - - ing, when
Zeit kom - men, da
cresc.
com - - ing, when
Zeit kom - men, da
they
wer
they
wer
they
wer
they
wer
shall ex-
- det ihr
shall ex-
- det ihr
shall ex-
- det ihr
shall ex-
- det ihr
cresc.
continued...

244
20. Gloria
for seven voices
Words from the Ordinary of the Mass
CLAUDIO MONTEVERDI
(1567–1643)
1
SOPRANO
2
Canto Primo
Canto Secondo
[ Vivace]
f
*[Solo] Glo
- - - -
ALTO
Alto Primo
TENOR
1
2
Tenore Primo
Tenore Secondo
*[Solo]
f
Glo-ri- a, glo-ri-a
in ex-cel-sis
De - o,
1
Basso Primo
BASS
2
Basso Secondo
for online perusal only
Keyboard
reduction
[ Vivace]
mf
Basso Continuo
Glory to God in the highest,
# # §
Note: all dynamic markings and slurs are editorial.
*See commentary for discussion of the solo–tutti markings.
© Collegium Music Publications 1997. Exclusively licensed to Oxford University Press. This edition © Oxford University Press 2018.
Photocopying this copyright material is ILLEGAL.

Monteverdi: Gloria 245
S.
T.
4
- - - - - - ri-
a,
[Solo]
f
Glo
- - - - - ri-
a,
TENOR 1 [Solo]
TENOR 2 [Solo]
f
glo - - -
f
Glo - - -
for online perusal only
S.
A.
T.
7
- - - - ri - a,
- - - - ri - a,
Tutti
Tutti
Tutti
Tutti
Tutti
Tutti
B.
Tutti
#
#

246
Monteverdi: Gloria
S.
A.
T.
B.
S.
A.
10
14
A
f
*
glo-ri- a, glo-ri-a
in ex-cel-sis
De - o,
f
glo-ri- a, glo-ri-a
in ex-cel-sis
De - o,
f
Glo-ri- a, glo-ri-a,
in ex-cel-sis
De - o,
f
[Solo]
glo -ri- a, glo-ri-a
in ex-cel-sis
De - o, glo
f
glo -ri- a, glo-ri-a
in ex-cel-sis
De - o,
f
Glo-ri- a, glo-ri-a
in ex-cel-sis
De - o,
f
Glo-ri- a, glo-ri-a
in ex-cel-sis
De - o,
A
*
f
#
[Solo]
glo
[Solo]
glo
- - - - - - - ri-
a,
- - - - - - - ri-
a,
**[Solo]
mf
#
- - - - - - - ri-
for online perusal only
G #
T.
B.
glo
- - - - - - - ri-
a,
[Solo]
- a,
glo - - - -
[Solo]
glo - - - - - - - ri-
a,
BASS 1 [Solo]
glo - - - - - - - ri-a,
#
g # # g #
#
*The Cs in S.1 and Vln 1 have a # added by hand in the source, which avoids the false relation with the bass, but is not necessarily preferable.
**These four bars are in the alto part-book (probably a printer’s error), but it is suggested they be reassigned to basses 1 and 2 as shown.

Monteverdi: Gloria 247
S.
A.
T.
B.
S.
A.
T.
B.
20
17
glo
glo
- - - - ri - a,
- - - - ri - a,
glo - - ri - a, glo - ri - a,
- - - - - ri -
a,
glo - - - - ri - a,
Solo
[Solo]
glo
- - ri - a, glo - ri - a,
g #
B
f
glo - ri - a, glo - ri - a in ex - cel - sis De - o,
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o, glo
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o,
[Solo or Tutti]
[Solo or Tutti]
- - - - -
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o, glo - - ri - a, glo - ri - a
f
[Solo or Tutti]
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o, glo
f
for online perusal only
f
f
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o,
f
- - - - -
glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o, glo - - - - -
f
B glo -ri
- a, glo -ri
-a
in ex - cel -sis
De - o,
§ #
#
Tutti
Tutti
Tutti
Tutti
Tutti
Tutti
Tutti
f
continued...

272
Words from the Missa pro defunctis
SOPRANO
ALTO
TENOR
BASS
Piano
reduction
4
di
[ Andante lamentoso ]
[ Andante lamentoso ]
21. Lacrimosa
p
p
La
p
La
p
La
p
La
Tearful
W. A. MOZART (1756–91)
from Requiem, K626
- cri-mo
- sa
- cri-mo
- sa
- cri-mo
- sa
- cri-mo
- sa
- es il - la, qua re - sur - get ex fa - vil - la
for online perusal only
di
di
- es il - la, qua re - sur - get ex fa - vil - la
- es il - la, qua re - sur - get ex fa - vil - la
di
- es il - la, qua re - sur - get ex fa - vil - la
shall be that day
when from the ashes will rise
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Mozart: Lacrimosa 273
7 cresc.
f
A sotto voce
ju
- di - can - dus ho
- mo re - us, la
- cri-mo
- sa
cresc.
f
sotto voce
ju
ju
ju
- di - can - dus ho
- di - can - dus ho
- mo re - us, la
cresc.
f
cresc.
f
- di - can - dus ho
- mo re - us, la
- mo re - us, la
sotto voce
- cri-mo
- sa
- cri-mo
- sa
sotto voce
- cri - mo - sa
for online perusal only
man to be judged as defendant.
cresc. f p
A
10
di
- es il - la, qua
f
re-sur
- get ex fa-vil
- la
di
di
di
- es il - la, qua
- es il - la, qua
- es il - la, qua
f
f
f
*
re
re-sur
- get ex fa-vil
- la
re-sur
- get ex fa-vil
- la
- sur - get ex fa - vil - la
* q. in source.
f
continued...

Psalm 117
English version by John Rutter
Piano
reduction
4
8
A SOPRANO SOLO
11
[ p]
Andante ma un poco sostenuto
22. Laudate Dominum
(Lord God, we praise thy Name)
W. A. MOZART (1756–91)
from the Solemn Vespers, K339
p
( )
f
calando
f
Lau
Lord
- - da - - - - - te Do
God,
we praise
( )
for online perusal only
p
- mi - num
thy Name:
( )
p
277
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278
Mozart: Laudate Dominum
15 [ mf ]
[ p
]
o - - mnes gen - tes: lau - - - da - - te
all
the na - tions bow
down
be -
mf
p
(
)
19
e - um
o - - - - - - - - - mnes
- fore thee,
all thy
23 B
po - - pu - li:
Quo - ni
peo - - ples,
Trust - ing
-am
in thee,
con - fir - ma ta
e - ter - - nal God,
est
f
p
(
)
27 [ mf ]
[ p]
su - - per nos
mi - se - ri - cor - di- a
migh - - ty Lord,
ev - er mer - ci - ful to -wards
mf
p
for online perusal only

Mozart: Laudate Dominum 279
31 C
35
e
all
ve
stead
- - -
man -
- -
-
jus:
kind.
f
ri-tas
Do
fast in right
- mi - ni
ma
- eous - ness, stead
et
ve
Lord, we trust
p
[ mf ]
mf
- -
- -
net,
fast,
- ri - tas,
in thee,
[ p]
ma
stead
p
-
-
for online perusal only
39 D
- - - net in
- - fast in truth
S.
A.
Choir
T.
B.
ae
for
- ter - - num.
ev - - - er.
p
D
Glo
Glo
p
Glo
Glo
p
Glo
Glo
p
Glo
Glo
- -
- -
- - ri -
- ry to
- -
- -
- -
- -
continued...

284
23. Jerusalem
Words by
William Blake (1757–1827)
C. HUBERT H. PARRY
(1848–1918)
*PIANO
Slow but with animation
f
mf cresc.
ff
4
**VOICES IN UNISON
mf
1. And
did those feet in an - cient time Walk up-on
Eng-land’s
moun-tains
mf
for online perusal only
(
)
8
green?
p
And was the ho - ly Lamb of God On Eng-land’s
plea-sant
pas - tures
p
*The piano accompaniment is Parry’s own. In bar 6 there is no C# on beat 2 in the orchestral version.
**In Elgar’s version, verse 1 is directed to be sung by sopranos and altos, verse 2 by all voices.
Note: three versions of the full score and parts are available on hire (see index of orchestrations, p. 380).
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
continued...

288
Psalm 122: 1–3, 6, 7
Piano
reduction
5
8
Maestoso
24. I was glad when they said unto me
allargando
(1911 version)
f
f
ff
SOPRANO 1
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
rit.
SOPRANO 2
ALTO
TENOR 1
A a tempo
f
C. HUBERT H. PARRY
(1848–1918)
cresc.
TENOR 2
I was glad,
BASS
f
rit.
A
I was glad,
allargando
a tempo
*
ff
sff
f
*
*This extra beat is not in the 1911 full score, but it is in all versions of the vocal score.
for online perusal only
I
f
I
f
I
f
I
f
was
was
was
was
glad,
glad,
glad,
glad,

Parry: I was glad when they said unto me 289
S.
A.
T.
B.
13
ff f
glad when they said un - to me: We will go, we will
ff
f
glad when they said un - to me: We will go, will
ff
f
glad when they said un - to me: We will go, will go in - to the
ff
f
glad when they said un - to me: We will go, will go in - to the
ff
f
glad when they said un - to me: We will go, will
ff
f
glad when they said un - to me: We will go, we will go, we will
ff
f
17
B
ff *
go in - to the house of the Lord.
ff
go in - to the house of the Lord.
ff
house, in - to the house of the Lord.
ff
(Tenors unis.)
house, in - to the house of the Lord.
ff
(Tenors unis.)
go in - to the house of the Lord.
ff
go in - to the house of the Lord.
B
ff
mf
( )
for online perusal only
*The dotted rhythm in Soprano 1 here is clear in the autograph full score but is changed to equal quavers in the 1902 vocal score, and in all
subsequent vocal scores. Parry may have made the change at proof stage, but proofs are no longer extant, so it remains uncertain.

290
Parry: I was glad when they said unto me
21
mf
Our feet shall stand in thy gates, O Je - ru - sa - lem,
S.
mf
Our feet shall stand in thy gates, O Je - ru - sa - lem,
mf cresc.
A.
Our feet shall stand in thy
mf cresc.
T.
Our feet shall stand in thy gates, O Je -
mf cresc.
B.
Our feet shall stand in thy gates, O Je -
cresc.
25
cresc.
our feet shall stand,
shall stand in thy gates,
cresc.
our feet shall stand,
shall stand in thy gates,
cresc.
gates, O Je - ru - sa- lem,
our feet shall stand,
cresc.
-ru
- sa - lem,
our feet shall stand, shall stand in thy
cresc.
- ru - sa - lem,
our feet shall stand, shall stand in thy
cresc.
cresc. sempre
for online perusal only
continued...

301
Words from the 1662 Book of Common Prayer
25. Te Deum
(D major setting)
HENRY PURCELL
(1659–95)
Piano
reduction
[Majestic but lively q = c.120]
f
6
[ ]
for online perusal only
mf
cresc.
11
A.
A
ALTO SOLO
f
We
praise
thee,
T.
TENOR SOLO
f
We
praise
thee,
B.
f
[ ]
A
BASS SOLO
f
mf
We
praise thee, we praise
Note: dynamic markings are editorial.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

302
Purcell: Te Deum
A.
T.
B.
S.
A.
T.
B.
16
we praise thee, O God: we ac -
mf
we praise thee, O God: we ac -
mf
thee, O God: we ac -
mf
B
20
CHORUS
-know-ledge
thee, we ac-know-ledge
thee to be the Lord.
f
-know-ledge
thee, we ac-know-ledge
thee to be the Lord.
All,
BASS
TUTTI
f
-know-ledge
thee, we ac-know
- ledge thee to be the Lord. All, all,
B
f
for online perusal only
mf
TENOR
TUTTI

S.
A.
T.
B.
S.
A.
T.
B.
SOPRANO
24
TUTTI
f
ALTO All, all the earth doth wor - ship thee,
TUTTI
f
All, all, all the earth doth wor - ship thee,
all, all the earth doth wor-ship
thee, the Fa - ther
all the earth doth wor - ship thee, the Fa -ther
ev -
[ ]
29
the Fa - ther ev - - - - -
the Fa - ther ev - - - - - er - last - ing,
ev - - - - - - - - - - - er -
- - - - - - er - last - ing, the Fa - ther
Tpt.
for online perusal only
Purcell: Te Deum 303
continued...

330
26. Kyrie eleison
Words from the Ordinary of the Mass
ERIK SATIE (1866–1925)
from Messe des pauvres
ORGAN
Man.
*
Ped.
6
for online perusal only
11
16
*There are no barlines in the original. The editorial short barlines are purely to guide the eye and have no metrical or phrasing significance.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.
continued...

S.
A.
T.
B.
335
27. Magnificat
Canticle of the BVM
FRANZ SCHUBERT (1797–1828)
(Luke 1: 46–55)
D486
Allegro maestoso
3
3
Piano ff
reduction
4
ff
Ma - gni - fi-cat
a - ni-ma
me - a Do - mi -
ff
*My soul doth magnify the Lord:
7
- num, et ex - sul - ta - vit spi - ri -tus
me - us in
for online perusal only
and my spirit hath rejoiced in God my Saviour.
*Translation from the 1662 Book of Common Prayer
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

336
Schubert: Magnificat
10
De
- o sa - lu - ta - ri me - o, ma - gni - - fi - cat, ma -
13
Do
-gni
- fi - cat
a
- ni -ma
me
Do
- a Do
- - - mi -
- mi -
- - - mi
-
for online perusal only
16
- num.
-num.
[ mf ]

S.
19
A
[ ] mf
Qui
Schubert: Magnificat 337
- a re - spe - - xit hu - mi - li - ta - tem an - cil - lae su - ae,
A.
[ mf ]
Qui
- a re - spe - xit hu - mi - li -
T.
[ mf ]
Qui
- a re - spe - xit hu - mi - li - ta - tem an-
B.
[ mf ]
Qui
- a re - spe - xit hu - mi - li - ta - tem an - cil - lae
A
for online perusal only
For he hath regarded the lowliness of his hand-maiden.
22
qui
- a re - spe - xit hu - mi - li - ta - tem an -
- ta - tem an - cil -lae
su - ae,
qui - a re -
- cil - lae su - ae,
qui
- a re - spe - xit
su
- ae,
qui - a re - spe - xit hu - mi - li -
continued...

360
*Psalms 114 and 115
English translation by John Rutter
Piano
reduction
Allegro
f
28. In exitu Israel
(When Israel departed from Egypt’s land)
ANTONIO VIVALDI
(1678–1741)
4
S.
A.
f
T.
B.
In
When
f
e - xi-tu
Is - ra -el
de Ae-gyp
- to, do-mus
Is-ra
-el
de-part
- ed from E - gypt’s land, Ja-cob’s
8
Ja - cob de
house was set
po
free
- pu - lo bar
from cap - ti
-
-
ba
vi
-
-
ro.
ty,
for online perusal only
Fac - ta est Ju-dae
- a san-cti
- fi - ca - ti-
o
And the land of Ju-dah
was un - to them a do-
*Psalm 113 according to Catholic numbering.
© Oxford University Press 2018. Photocopying this copyright material is ILLEGAL.

Vivaldi: In exitu Israel 361
11
e
- min
-
-
ius,
ion,
Is
Is
-
-
ra - el
ra - el
po
their
- te -stas
e - ius. Ma-re
vi
pro - mised land. Lo, the sea
- dit, et fu - git, et
fled be - fore them, be -
14 A
fu - git: Jor - da - nis con - ver - sus est re - tror - sum.
-fore them, yea, Jor - dan be - held it and was turned
back.
A
Mon-tes
ex-sul
- ta -
Then did the ve - ry
17
for online perusal only
- ve - runt
moun - tains
ut
skip
a - ri - e - tes: et col -
with joy like rams; yea, e -
les
ven
si - cut ag
did the hills
- ni o
leap as
- vi -
young

362
Vivaldi: In exitu Israel
20
- um. A
lambs. The
fa -
earth
ci -e
Do - mi-ni
mo - ta
it did quake at the pre - sence
est
of
ter - ra, a
God, at the
fa
pre
-
-
ci - e Do - mi-ni
mo - ta est
sence of God it did quake, and was
22 B
ter - ra,
sha-ken
a fa - cie De - i Ja
be - fore the God of Ja
-
-
cob:
cob.
Qui con - ver - tit
He whose migh-ty
B
pe
word
- tram in
turned the
25
for online perusal only
sta
rock
- gna a - qua- rum, et
in - to wa - ter, lo,
ru
e
-
-
pem
ven
in
the
fon
flint
- tes a
in - to
- qua-
rum.
foun-
tains.
Non
Not
no
un
-
-
bis
to
continued...

380
INDEX OF ORCHESTRATIONS
Notes:
1. In the orchestral scores, parts for clarinet in C are shown for B flat clarinet, horn parts for horns in F, and
trumpet parts for trumpets in B flat or, in certain cases, trumpets in C.
2. ( ) denotes an optional instrument.
3. Continuo parts are listed as optional if the orchestral texture is essentially complete without them.
1. Bach: Gratias agimus tibi
(2fl), (2ob), (bsn), 3tpt, timp, (cont), str
2. Bach: Jesu, joy of man’s desiring
(Ob), (tpt), (cont), str
3. Bach: Praise our God who reigns in glory
2fl, 2ob, 3tpt, timp, (cont), str
4. Bach: Subdue us by thy goodness
(Ob), (cont), str
5. Beethoven: Creation’s Hymn
2fl, 2ob, 2cl, 2bsn, 4hn, 2tpt, 3tbn, timp, str
6. Boulanger: Pie Jesu
String quartet (optional if choir is used), hp, org
7. Brahms: How lovely is thy dwelling place
2fl, 2ob, 2cl, 2bsn, 2hn, (org), str
8. Durante: Magnificat for five voices
Cont, (lute), vlns 1 and 2, (vc), cb (no violas) Note:
the score and parts for this item are available for
purchase, not hire.
9. Elgar: The Spirit of the Lord
2fl, 2ob, (CA), 2cl, (Bcl), 2bsn, (Cbsn), 4hn, 3tpt,
3tbn, tba, timp, BD, hp, (org), str
10. Fauré: In paradisum
(2bsn), (2hn), org, hp, solo vln, vla (minimum 3),
vc (minimum 2), cb
11. Franck: Psalm 150
2fl, 2ob, 2cl, 2bsn, 4hn, 2tpt, 2tbn, timp, cym, org,
hp, str
12. Handel: For unto us a child is born
(2ob), cont, str
13. Handel: Hallelujah
(2ob), 2tpt, timp, (cont), str
14. Handel: Let their celestial concerts all unite
2ob, 2tpt, timp, (cont), str
15a. Handel: See, the conqu’ring hero comes (Triumphal
scene, no. 2)
2fl, 2ob, 2hn or 2tpt, timp, cont, str
15b. Handel: March (Triumphal scene, no. 1)
2hn or 2tpt, cont, str
15c. Handel: Sing unto God (Triumphal scene, no. 3)
3tpt, timp, cont, str
for online perusal only
16. Handel: Zadok the priest
2ob, 2bsn, 3tpt, timp, org, str
17. Haydn: Insanae et vanae curae
Fl, 2ob, 2bsn, 2hn, 2tpt, 2tbn, timp, (cont), str
18. Haydn: The heavens are telling the glory of God
2fl, 2ob and/or 2cl, 2bsn, 2hn, 2tbn, (Btbn), timp, str
19. Mendelssohn: Daughters of Zion
2fl, 2ob, 2cl, 2bsn, 2hn, timp, str
20. Monteverdi: Gloria for seven voices
(2tbn), (2Btbn), cont, (lute), vlns 1 & 2, (vla), (vc), (cb)
21. Mozart: Lacrimosa
2 basset hns or 2cl, 2bsn, 3tbn, timp, (org), str
22. Mozart: Laudate Dominum
(Bsn), org, vlns 1 and 2, vc, cb (no violas)
23. Parry: Jerusalem
1. Parry’s orchestration: 2fl, 2ob, 2cl, 2bsn, 4hn, 2tpt,
3tbn, timp, str
2. Elgar’s orchestration: Picc, 2fl, 2ob, (CA), 2cl, (Bcl),
2bsn, (Cbsn), 4hn, 3tpt, 3tbn, tba, timp, perc, hp,
org, str
3. Elgar’s orchestration, reduced by John Rutter: Fl,
2ob, 2cl, bsn, 2hn, 3tpt, timp, hp, org, str
24. Parry: I was glad when they said unto me
1. Full orch: 2fl, 2ob, 2cl, 2bsn, (Cbsn), 4hn, 6tpt (4, 5,
6 optional), 3tbn, tba, timp, perc, hp, org, str
2. Brass/org: 4tpt (3rd opt.), 3tbn, tba, timp, perc, org
25. Purcell: Te Deum in D
(2ob), (bsn), 2tpt, (timp), cont, (lute), str
27. Schubert: Magnificat
2ob, 2bsn, 2tpt, timp, (org), str
28. Vivaldi: In exitu Israel
Cont, (lute), str

2
CHORAL
CLASSICS
Under the general editorship of John Rutter, the Oxford Choral Classics series gathers
together over 300 of the world’s choral masterpieces into a unique set of anthologies
spanning the whole of Western choral literature. Each volume contains established
classics of its genre under one cover, in authoritative new editions and at a price
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Opera Choruses European Sacred Music
Christmas Motets Madrigals and Partsongs
English Church Music, Vol. 1: Anthems and Motets
English Church Music, Vol. 2: Canticles and Responses
Sacred Choruses
Oxford Choral Classics: Sacred Choruses comprises twenty-eight of the finest oratorio
choruses, complete short choral works, and movements from masses or requiems from the
seventeenth to the twentieth centuries. Drawing repertoire from Britain and mainland
Europe, the volume features renowned choruses by such acknowledged masters as Bach,
Mozart, Schubert, and Brahms, familiar cornerstones of the repertoire such as Handel’s
Zadok the Priest and Parry’s I was glad, and choral discoveries such as Mendelssohn’s affecting
Daughters of Zion and Lili Boulanger’s exquisite Pie Jesu. Intended for choral societies
and cathedral, church, and concert choirs, this is a unique collection of choral classics for
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John Rutter has gone back to the earliest and most reliable manuscripts or printed
sources to produce new, carefully researched, and practical editions. Idiomatic English
singing translations are provided for many of the pieces, with playable piano reductions
for rehearsal use included in the main volume and newly typeset orchestral material
available on hire for almost every item. A parallel volume of purpose-made threestave
organ accompaniments, based on the composers’ orchestral originals, is available
separately, for use in church performances without orchestra.
Also available: Sacred Choruses Organ Accompaniment Book (ISBN 978–0–19–351883–4)
Cover image: Gaudenzio Ferrari, The Concert of Angels, 1534-6 (fresco) (detail).
Sanctuary of Santa Maria delle Grazie, Saronno, Italy/Bridgeman Images.
1
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