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by Ralph Vaughan Williams | Solo Alto, Chorus (SSA) and Orchestra

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RALPH VAUGHAN WILLIAMS

Incidental music to The Bacchae


RALPH VAUGHAN WILLIAMS

Incidental music to The Bacchae

Study Score

PROMETHEAN EDITIONS

WELLINGTON


Vaughan Williams Collection

Volume 2 (PEV02)

Incidental music to The Bacchae (1911/2019)

© Vaughan Williams Charitable Trust

Published exclusively by Promethean Editions Limited

First edition © 2019 Promethean Editions Limited

Music Editor: Alan Tongue

Publisher: Ross Hendy

Founding Series Editor: Robert Hoskins

Series Editor: Allan Badley

Music Typesetter: Ben Woods

Cover Image: Dr Ralph Vaughan Williams by Evelyn Page, 1950. Oil on canvas

500 mm x 41 mm. Courtesy of the Page Estate.

ISBN 978-1-77660-702-0 (print)

ISBN 978-1-77660-712-9 (ebook)

ISMN 979-0-67452-292-2

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.prometheaneditions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

Promethean Editions would like to thank The Vaughan Williams Charitable

Trust for a grant made toward the publication of this volume.


RALPH VAUGHAN WILLIAMS

Incidental music to The Bacchae

FOREWORD

Introduction to the series........................................... iv

Vaughan Williams biography ..................................... v

Editor’s introduction .................................................... vi

Editorial notes............................................................... viii

Performance notes ....................................................... ix

Text ...................................................................................... x

MUSIC

Incidental music to The Bacchae ............................. 1

PEV02 – iii


FOREWORD

Introduction to the series

Discussions between the Vaughan Williams estate and Promethean Editions began in 2004

about the possibility of the New Zealand company issuing hitherto unpublished works by

Ralph Vaughan Williams in a series based at Massey University, Wellington, and under the

general editorship of Robert Hoskins. The first fruit of this co-operation was Nathaniel Lew’s

edition of music written by Vaughan Williams for a drama based on John Bunyan’s The

Pilgrim’s Progress, which was performed at Reigate in 1906. Since then, incidental music has

become the keynote of the series, which went on to make available the composer’s scores

for radio productions of The Mayor of Casterbridge, Richard II (in the event never broadcast)

and, most recently, three Greek plays: Electra, The Bacchae and Iphigenia in Tauris.

All these works are not only mature in themselves but also signposts to aspects of the

composer’s future development. Pilgrim’s Progress became a sort of leitmotif throughout

his life, for his Reigate music led to the Fantasia on a Theme by Thomas Tallis, The Shepherds

of the Delectable Mountains, the Fifth Symphony, music for a radio production in 1942, and

finally his great opera The Pilgrim’s Progress of 1951. His adeptness at writing incidental

music for plays led eventually, in the later part of his long life, to his exploring music for

cinema, a new and enriching creative experience exemplified in his film-score for Scott of

the Antarctic and its elaboration as the Sinfonia Antartica.

The Vaughan Williams Charitable Trust is immensely grateful to Promethean Editions for

establishing this important series, and to the editors who have been involved, Nathaniel

Lew and Alan Tongue. We will watch the further growth of the series with close interest.

Hugh Cobbe, Director, March 2019

Publisher’s note

The Publisher gratefully acknowledges the assistance from the Vaughan Williams Charitable

Trust, Dr Robert Hoskins and Dr Allan Badley in the publication of this edition. Special

thanks to Christopher Johnson for access to two privately held manuscripts from the

library of Rebecca Clarke, both titled Choruses from “The Bacchae” which were invaluable in

preparing this edition. We are also very grateful to the executors of the Evelyn Page Estate

who have granted us permission to use Page’s wonderful 1950 portrait of RVW.

Promethean Editions, Wellington, 2019

PEV02 – iv


Vaughan Williams Biography

Ralph Vaughan Williams, a descendant of the Darwins and Wedgwoods, was born in Down

Ampney, Gloucestershire, on 12 October 1872. He was educated at Charterhouse, the

Royal College of Music and Trinity College, Cambridge. His composition teachers included

Hubert Parry, Charles Wood and Charles Villiers Stanford. He also studied with Max Bruch

and Maurice Ravel, and enjoyed inspirational musical friendships with Gustav Holst and

George Butterworth. He married Adeline Fisher in 1897 and, after her death, married Ursula

Wood in 1953. Vaughan Williams began his career as a folk song collector, music editor

of The English Hymnal (1906) and founding conductor of the Leith Hill Festival—a post he

maintained for over fifty years. His reputation as a composer was established in 1910 with

performances of A Sea Symphony (1909) and the Fantasia on a Theme by Thomas Tallis (1910).

After the premiere of A London Symphony (1913), Vaughan Williams enlisted with the Royal

Army Medical Corps, serving in France as a wagon orderly. In 1919 he was appointed to the

staff of the Royal College of Music and in 1921 became conductor of the Bach Choir. He was

awarded the Order of Merit in 1935 and was recognized, even revered, as the major musical

figure of his time. He died on 26 August 1958. His ashes were interred in Westminster Abbey.

Vaughan Williams’ vast musical output includes song settings of Housman, Stevenson and

Whitman; The Lark Ascending (1920), an iridescent orchestral miniature where the solo

violin evokes a trilling lark rising above flat fields of ripening corn; Sancta Civitas (1923-25),

an oratorio remarkable for the visionary precision of its expression; the opera, The Pilgrim’s

Progress (1951), the last of several Bunyan-based settings (the first of which is published

as PME14); and Riders to the Sea (1925-32), an operatic rendition of J.M. Synge’s play set

against the unforgiving landscape of the Aran Islands. At the heart of his creativity lies a

sequence of nine symphonies that move from the meditative pastoralism of the Third (1921)

and Fifth (1938-43) to the louring existential dramas of the Fourth (1931-34), Sixth (1944-47)

and Seventh (1949-52); the Ninth (1956-57) is played against the tragic backdrop of Hardy’s

Tess of the d’Urbervilles. At the centre of all Vaughan Williams’ work is a robust delight in

expressing his country, past and present, as a means of perpetually renewing himself and

of discovering his own potential humanity.

In a valedictory broadcast (27 August 1958) following the news of Vaughan Williams’ death,

the New Zealand composer Douglas Lilburn (a former student of RVW) spoke of his music

as sown in soil and reaped in wisdom:

It speaks honestly and directly, and is not afraid sometimes to speak with affirmation.

It draws into itself the whole rediscovered heritage of English sixteenth-century music,

folk song and hymn tune, love of countryside and traditional ways. It always seems

right for its purpose, for the particular truth that it wants to convey, and it seems to

me one of the things we best learn from him—that greatness in art springs finally from

conviction.

Robert Hoskins, Founding Series Editor

PEV02 – v


Introduction

Ralph Vaughan Williams’ first musical foray into Greek plays was his incidental music to

Aristophanes’ The Wasps, presented by Cambridge University in 1909. The production used

the original Greek text, as is still the tradition there, though English translations of the plays

were becoming popular at the time, amongst them those by Gilbert Murray, the Oxford

University Professor of Greek.

In 1911 the dancer Isadora Duncan asked Murray for permission to mount three of his

versions of Greek plays, with her brother Augustin directing. Murray had been advised by

his friend Herbert Fisher that “my brother-in-law Ralph Vaughan Williams (who is a musical

composer and therefore prejudiced) would like to see a big orchestra and some frankly modern

music”. 1 Vaughan Williams in his late thirties had actually previously written to Murray:

“May I say how much it has distressed me to hear those wonderful lines in Elektra [sic] and

your other plays mauled about by (as it seems to me) quite the wrong kind of musical setting.” 2

The musicologist Henry Hadow had also recommended Vaughan Williams: “a very good

musician—also keen on poetry and full of understanding.” 3 When Isadora Duncan finally met

Vaughan Williams and danced for him, he immediately found “the melting beauty of her

phrasing” 4 exactly the sort of movement for which he could write.

As he began work on the plays, Vaughan Williams wrote to Murray, stating:

There is nothing I should like better than to be associated in such a production as you

foreshadow—however problematical it may be. I have had several shots at some Electra

music and have found the task much harder than I thought—I cannot make up my

mind what sort of music would be best and naturally until I can do that the music itself

refuses to come. However your letter has excited me so that I believe my imagination is

beginning to work. 5

In a later letter he becomes more specific:

...the problem gets more insoluble the more I work at it. I tried setting them in the way

I suggested to you—a sort of chant without any accompaniment—but it did not seem to

work altogether—I have tried other parts in a more operatic method—the result is rather

a mixture—the only way I think will be a sort of trial performance of some of the music

when it is ready. I can’t hope to satisfy you and Miss Duncan and Augustin (who wants

the choruses spoken!). I want to ask you a lot about the Bacchae choruses—whether all

the big choruses should be sung throughout—or whether parts spoken—and what bits

should be murmured and what parts declaimed. 6

The trial performance of the three scores finally happened, with a subsequent public

performance of the music taking place at London’s Royal Court Theatre on Friday 31 May,

1 Herbert Fisher to Gilbert Murray, 5 November 1907.

2 Vaughan Williams to Gilbert Murray, October 1911.

3 Henry Hadow to Gilbert Murray, 2 October 1909 cited in Duncan Wilson, Gilbert Murray, OM, 1866-1957, (Oxford:

OUP, 1987).

4 Ursula Vaughan Williams, R.V.W. A Biography of Ralph Vaughan Williams (Oxford: OUP, 1964).

5 Vaughan Williams to Gilbert Murray, 12 October 1911.

6 Vaughan Williams to Gilbert Murray, 6 November 1911.

PEV02 – vi


1912. In its 25 May Musical Gossip column, English newspaper The Globe included a preview

of the performance, with the prescient remarks:

In connection with Mr Vaughan Williams’ musical setting of choruses from Euripides,

to be given at the Court Theatre next Friday, we are informed that “they are an attempt

at something new, and something which is neither German nor French. This music is

no experiment in style. It would seem, rather, as though the composer had disclaimed

all styles and all schools, and found direct inspiration in the material of the poet’s

inspiration, and the result is something of undeniable beauty.” A chorus from ‘The

Electra’ and from ‘The Bacchae’ and four from ‘Iphigenia in Tauris’ should make up a

programme of interest. 7

The chorus sings the first interlude. They first call upon Holiness, a minor deity, to witness

Pentheus’s sacrilegious insolence against Dionysus, and then glorify the quiet life that does

not indulge folly and recklessness. In the second half of the music, the chorus talks lovingly

about escaping to Cyprus, the isle of Aphrodite, where they can perform their rites in beauty

and peace.

In The Bacchae the choruses mentioned in his letters have more continuous musical

accompaniment and are highly danceable, with compelling rhythms. The first, For his

kingdom it is there, is set as a unison chorus line, very occasionally breaking out into three

part harmony at a cadence. The other chorus, Where is the home for me?, is set mostly

against a quieter background, occasionally the chanting of the chorus being offset by a

lyrical woodwind solo. Vaughan Williams later arranged this tuneful chorus as a song for

two voices and piano in 1922, which seems to have enjoyed a success.

There are signs that the work did have a trial performance. Orchestral parts exist, some in a

different hand, as well as handwritten suggestions for the numbers of string players. These

numbers are quite large, and it is no wonder that Murray found that ‘it completely drowned

the words’. Vaughan Williams also writes a separate violin part (Violin III) for occasions

when there would be no woodwind available, maybe indeed the trial performance. Also, in

thick blue pencil, the conductor, Vaughan Williams himself, has written various instructions

over the score, for example the number of beats in the bar and the various rallentandi.

The project was a challenge: two pages of the score of The Bacchae were missing, but at least

I had a set of orchestral parts from which to reconstruct the music. However, as we were

preparing this publication two manuscripts turned up amongst the papers of the composer

Rebecca Clarke, who had been a pupil of Vaughan Williams. One of the manuscripts has “for

use with string orchestra” at the top, maybe written for the trial performance in the event

of no wind instruments being available. These piano and vocal scores were able to fill in the

gaps left by the places where the score was incomplete or lacking detail.

Alan Tongue, Editor

7 The Globe, 25 May 1912.

PEV02 – vii


Editorial notes

Sources:

A British Library MS 71481. Section of continuous orchestra score, with vocal

lines for alto solo and chorus. First and last pages are absent.

B British Library MS 71482. Instrumental parts. Bassoon part is absent.

C Piano reduction and chorus with "Choruses from The Bacchae" title in pencil.

Believed to be written by Vaughan Williams. Manuscript privately held by

Christopher Johnson from the library of Rebecca Clarke.

D Piano reduction and chorus with "Choruses from The Bacchae" title in ink.

Copied by Rebecca Clarke. Manuscript privately held by Christopher Johnson

from the library of Rebecca Clarke.

The present edition is based on a reading of the full score (A) with the addition of detail from

both the instrumental parts (B) and the piano/vocal score (C) where pages of score were

missing or lacking detail. The second piano/vocal score (D), written by Clarke, is believed to

be an accurate copy of C.

A is missing the first and last pages and there is a lack of detail throughout including many

absent lyrics. Within B the bassoon part is absent, however there is sufficient detail in the

score to show that bassoon ought to be included. The flute, oboe, clarinet, horn, and cymbal

parts are in the composer's hand, while others are copies by an unknown hand.

The Violin III and Cello II parts do not appear in the score and were likely written at a

later date. The Cello II part is not mentioned elsewhere and appears to be an optional

replacement for the Double Bass. Violin III is intended to be used if no woodwinds are

available. The editor has chosen to include Violin III in this edition, however the Cello II

part has been excluded.

The primary difference between C and D is the addition of performance markings in D

including ‘for use with string orchestra’ at the top of the part. Roughly half the piano part

in D is marked using circles (indicating tacet) and subsequent ‘play’ markings. The inked

music appears to be the same in both and as D is not in Vaughan Williams’ hand we have

not used it in any decision making but it was useful to reference during the preparation of

this edition and to confirm details found in C.

Notation of rhythms has been silently altered to conform with modern convention. Fermatas

have been added to all parts when appearing in only one staff. The editor has added a tempo

markings, time signatures and rehearsal marks as required. Occasional expression and

articulation inconsistencies have been discreetly amended by the editor and only notable

changes or conflicts are listed below.

1–3 The strings in A are slurred, however B has the slurs crossed out in pencil and

tenutos added, which the editor has followed and also applied to the woodwinds.

74 The word ‘forgiven’ is incomplete in A. It is written as two syllables [for-given]

in C with ties over the barline at m.75. However, for practicality the editor has

broken the tie to create three syllables [for-giv-en].

75 Articulations changed by editor to match similar material from mm.1–3.

PEV02 – viii


94 Vocal part in A is blank here. C shows this as EÏ as included here.

100 Double Bass in A has an EÏ dotted-minim, but B has rests and a voice cue which

the editor has chosen to follow.

130 Horn staff in A has a pencil correction from written Eˆ to Dˆ in pencil. B has

written Eˆ with no sign of correction. In the same bar the Clarinet part in B shows

a correction from written Bˆ to written Aˆ. The editor has judged it more likely that

both ought to be sounding Gˆ.

131–132 C shows lower harmonies whereas A looked incomplete with the top line only but

all stems up.

134 Oboe in A shows Gˆ but Oboe and Violin III in B show Eˆ which is likely correct.

134–135 Chorus appears unfinished in A, however C confirms the rhythms should match

the violins.

148–151 Chorus in A is faint and unclear, however C shows that the chorus splits.

148/150 These rising figures are from B. Cello in A shows open string Cˆ/Gˆ semibreves.

153 Harp chord appears in B but is not shown in A.

154 The pitch for voice on beat 2 1/2 is unclear in A, but C shows it as BÏ. However the

editor has chosen to avoid a clash with the violins and use the pitch Cˆ.

164–165 Harp differs between A and B, however the editor has used the greater amount of

material shown in A as it seems stylistically appropriate.

174 Solo Voice in A shows this as Fˆ, which is unlikely given the context. C shows this

as Eˆ, which is more likely.

208/214 Notation for the voice parts appears unfinished in A but C is quite clear as shown.

217 Interestingly, the piano scores C and D both use 6/8 time signature with note

values halved until the end. The original 6/4 has been maintained in this edition.

Additional research, notably the discovery of the piano/vocal manuscripts, during the

preparation of this edition has led to several differences between this score and the

recording (ALBCD033) but this edition should be considered the definitive version.

Performance notes

The Violin III staff is an optional part to be used if no woodwinds are available.

For the CD recording in June 2017 with Britten Sinfonia a string section of 14 players was

used, comprising 4 first violins, 4 second violins, 3 violas, 2 celli and 1 bass. With woodwinds

as specified the Violin III part was omitted.

As far as vocal phrasing is concerned, one of the composer’s directions in the scores

reads: ‘These choruses must be sung throughout with due regard to the true declamation of

the words and the metre of the poetry. The note values of the voice part are, for the most part,

only approximate. The solos may be divided among the members of the chorus according to the

compass and nature of their voices.’

PEV02 – ix


THOU IMMACULATE ON HIGH

Chorus – Some Maidens

TEXT

Leader:

Thou Immaculate on high;

Thou Recording Purity;

Thou that stoopest, Golden Wing,

Earthward, manward, pitying,

Hearest thou this angry King?

Hearest thou the rage and scorn

Chorus:

’Gainst the Lord of Many Voices,

Him of mortal mother born,

Him in whom man's heart rejoices,

Girt with garlands and with glee,

First in Heaven's sovranty?

For his kingdom, it is there,

In the dancing and the prayer,

In the music and the laughter,

In the vanishing of care,

And of all before and after;

In the Gods' high banquet, when

Gleams the grape-blood, flashed to heaven;

Yea, and in the feasts of men

Comes his crowned slumber; then

Pain is dead and hate forgiven!

Others

Loose thy lips from out the rein;

Lift thy wisdom to disdain;

Whatso law thou canst not see,

Scorning; so the end shall be

Uttermost calamity!

'Tis the life of quiet breath,

'Tis the simple and the true,

Storm nor earthquake shattereth,

Nor shall aught the house undo

Where they dwell. For, far away,

Hidden from the eyes of day,

Watchers are there in the skies,

That can see man's life, and prize

Deeds done well by things of clay.

PEV02 – x


Leader:

But the world's Wise are not wise,

Claiming more than mortal may.

Life is such a little thing;

Lo, their present is departed,

And the dreams to which they cling

Come not. Mad imagining

Theirs, I ween, and empty-hearted!

Divers Maidens

Leader and Chorus alternating:

Where is the Home for me?

O Cyprus, set in the sea,

Aphrodite's home in the soft sea-foam,

Would I could wend to thee;

Where the wings of the Loves are furled,

And faint the heart of the world.

Leader:

Aye, unto Paphos' isle,

Where the rainless meadows smile

With riches rolled from the hundred-fold

Mouths of the far-off Nile,

Chorus:

Ah, Streaming beneath the waves

To the roots of the seaward caves.

Leader:

But a better land is there

Where Olympus cleaves the air,

The high still dwell Where the Muses dwell,

Leader and Chorus:

Fairest of all things fair!

O there is Grace, and there is the Heart's Desire.

Leader:

And peace to adore thee, thou Spirit of Guiding Fire!

A God of Heaven is he,

And born in majesty;

Yet hath he mirth in the joy of the Earth,

And he loveth constantly

Her who brings increase,

The Feeder of Children, Peace.

PEV02 – xi


Chorus:

No grudge hath he of the great;

No scorn of the mean estate;

But to all that liveth His wine he giveth,

Griefless, immaculate;

Only on them that spurn

Joy, may his anger burn.

Leader:

Love thou the Day and the Night;

Be glad of the Dark and the Light;

And avert thine eyes from the lore of the wise,

That have honour in proud men's sight.

Chorus:

The simple nameless herd of Humanity

Hath deeds and faith that are truth enough for me!

PEV02 – xii


Instrumentation

Flute

Oboe

Clarinet in BÏ

Bassoon

Horn in F

Cymbals

Harp

Solo Alto

Chorus (SSA)

Strings

Transposed Score

PEV02 – xiii


PEV02 – xiv


Incidental music to The Bacchae

Ralph Vaughan Williams

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Incidental music to The Bacchae © The Vaughan Williams Charitable Trust

This edition © 2019 Promethean Editions Limited PEV02 – 1

ISMN: 979-0-67452-292-2


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PEV02 – 2


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& #

# #

4 3 4 4 3 4 4 3 tutti [ p ]

n n

n

Œ bœ.

œ n

J

’Gainst the

15

# #

& # #

4 3 4 4 3 4 4 3 n n

b˙.

˙

n n

nb ˙

.

˙.

bw

œ bœ





fp

fp

# #

& # #

4 3 4 4 3 4 4 3 n n n n

b˙.

w ˙.



œ bœ





fp

fp

#

& #

# #

4 3 4 4 3 4 4 3 n n

n

b˙.

˙

n


˙.

bw

œ

fp






fp

B # # # # 4 3 b˙

4 ˙

4 3 4 b˙

4 3 n n

b˙.

˙ b

n n

b

˙˙ ˙.

b˙ b

b ˙ ˙.

fp

fp

? # # # # 4 3 4 4 3 4 4 3 n n

n .

n n

n

˙. ˙

˙

b˙ ˙.

n

n

˙

b˙ ˙.

fp

fp

? # #

# # 4 3 n˙.

4 ˙ 4 3 4 4 3 n n

n


˙.



˙.

n

fp

fp

PEV02 – 3


Fl.

Ob.

20

œ # œ œ

&

pppp

œ œ œ

&

pppp

# œ œ œ

œ œ œ

œ œ œ

œ bœ

œ


œ œ œ

œ œ

˙.

œ


œ

œ ‰ Œ Œ

J


œ œ

œ

ppp

j

œ ‰ Œ

# œ œ

Œ

# œ œ œ

˙.

Cl.

#

& #

œ # œ œ

pppp

# œ œ œ

œ œ œ

œ œ œ



œ



œ

j

# œ ‰ Œ Œ

Bn

?

Hn

&

˙.

pppp

˙.

˙.

˙.

˙.

˙.

˙.

pp


œ

Cym.

ã

˙æ.

pppp

˙æ.

˙æ.

˙æ.

˙æ.

˙æ.

Hp

&

?

Œ

œ

pppp

Œ

œ

Œ

Œ

b Œ Œ

œ

b Œ Œ

œ

Solo

&

Chor.

&

œ.

œ œ œ

J

œ œ . ‰

Œ . œ

j

œ

˙

œ

bœ.

j

œ œ

˙

Œ

œ.

j

œ

œ

œ œ.

j

œ

Lord

of Ma-ny

Voi - ces

Him of mor - tal moth - er born,

Him in whom man’s heart re -

Vn I

Vn II

20

&

&

œ

# œ œ

pppp

œ nœ

pppp

œ

# œ œ œ

œ œ œ

œ œ œ

œ bœ

œ


œ œ œ

œ œ

œ




œ

œ




œ œ

œ

œ

# œ œ

œ œ œ

# œ œ œ

œ œ œ

Vn III

&

œ

pppp

# œ œ

# œ œ œ

œ œ œ

œ œ œ

œ


œ


œ œ

œ

# œ œ

# œ œ œ

Va

B

sul pont.

˙

˙æ

.

pppp

˙

˙æ

.

˙

˙æ

.

˙

˙æ

.

˙

˙æ

.

˙

˙æ

.

nat.

œ œ œ

pppp

œ œ œ

Vc.

D.B.

?

?

sul pont.

˙.

.

˙æ

pppp

˙.

pppp

˙.

.

˙æ

˙.

˙.

.

˙æ

˙.

˙.

.

˙æ

˙.

b ˙

æ .

˙.

b ˙

æ .

˙.

nat.

˙.

pppp

˙.

pppp





PEV02 – 4


Fl.

Ob.

Cl.

Bn

A

# #

&

# #

œ # œ œ # œ œ œ œ # œ œ # œ œ œ ˙ œ

# #

& ˙. ˙. ˙.

˙. ˙ œ # #

#

& # # # # ## #

˙ # œ

28

?

# #

# #

3 3

j

œ # œ œ œ œ

ppp

œ

J ‰ Œ

j

œ ‰


ppp

œ

œ.

j

# œ œ œ œ

3 3

j

œ

Hn

Cym.

&

ã

˙.


œ

˙.


œ

˙

œ

œ ‰

J

naturale

œ

pp

Œ

Œ

˙

ppp

Hp

&

?

&

# #

# #

# #

# #

œ

ppp

œ

# œ


>

œ

œ

# œ


Solo

&

# #

# #

Chor.

&

˙

œ

Œ

œ

# œ

œ œ œ œ

˙

3

- joic - es Girt with gar - lands and with glee, First in Heaven’s

sov - ran-ty?

Œ

œ.

j

œ #

œ

J

# #

# #

œ

3

j

œ œ

J

Vn I

Vn II

28

œ # œ œ

&

cresc.

œ œ œ

&

cresc.

# œ œ œ

œ œ œ

œ

# œ œ

œ œ œ

# œ œ œ

œ œ œ

˙

˙

œ

# œ

# #

# #

# #

# #

œ # œ œ œ œ

J

3 3

ppp

œ

ppp

œ œ œ œ

J

3 3

œ

œ œ œ # œ

J

3 3

œ # œ œ

J œ œ

3

3

Vn III

&

œ

# œ œ

cresc.

# œ œ œ

œ

# œ œ

# œ œ œ

˙

œ

# #

# #

œ

ppp

j

# œ œ œ œ

3 3

œ

j

# œ œ œ œ

3 3

Va

B

œ œ œ

cresc.

œ œ œ

œ œ œ

œ œ œ

œ œ œ

# #

# #

œ

ppp

œ œ œ œ

J

3 3

œ œ œ œ œ

J

3 3

Vc.

?

˙.



˙.



˙

œ

# #

# #

œ ‰ Bnœ

J

ppp

œ.


J

D.B.

?

˙.



˙.



˙

œ

# #

# #

4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2

œ ‰

J

Œ

cresc.

PEV02 – 5


Fl.

Ob.

Cl.

# #

& # #

35

j

# #

& # #

# #

& # ## #

œ ‰

Œ

3 3

j

œ # œ œ œ œ

ppp

j

œ .



3

j

3

œ # œ œ œ œ

œ.

j

œ

3 3

j

œ # œ œ œ œ

ppp

j

œ ‰ Œ

j

œ .



3

j

3

œ # œ œ œ œ

œ.

j

œ

j

œ ‰

Œ

3 3

j

œ # œ œ œ œ

ppp

j

œ .


Œ

œ

3

3

j œ œ # œ œ

œ

ppp

j

œ ‰


ppp


Œ


Bn

? # # # #

Hn

&

œ ‰

J

Œ

˙

ppp

œ ‰

J

Œ

˙

pp

œ ‰

J

œ

œ.

j

œ

j

œ ‰

Œ

Cym.

ã

œ

Œ

œ

Œ

œ

Œ

# #

& # #

œ

# œ

œ

# œ

œ

# œ

œ

# œ

œ

# œ

œ

# œ

œ


Hp

#

& #

# #

œ


œ

#œ œ nœ

œ

#œ œ


> > >

œ


œ


Solo

# #

& # #

Chor.

# #

& # #

Œ

3

‰ œ œ

œ

j

œ œ

3 3

j

œ

˙

j

œ ‰

œ

3

j

œ

œ

j

œ ‰ # œ œ

3 3

œ

3

‰ œ œ

For his

king - dom, it is there,

In the danc - ing

and the

prayer,

In the

Vn I

35

# # œ

& # #

# œ œ œ œ J

3 3

œ œ œ œ # œ

J

3 3

œ

# œ œ œ œ

J

3 3

œ œ œ œ # œ

J

3 3

œ # œ œ œ œ J

3 3

œ

œ œ # œ œ

J

3 3

œ

œ œ œ œ

J

3 3

Vn II

# #

& # #

œ J

œ œ œ œ

3 3

œ J

œ # œ œ œ

3

3

œ

œ œ œ œ

J

3 3

œ J

œ # œ œ œ

3

3

œ J

œ œ œ œ

3 3

œ

œ œ œ nœ

J

3 3

œ


J

œ œ œ

3 3

Vn III

&

# #

# #

œ

j

# œ œ œ œ

3 3

œ

j

# œ œ œ œ

3 3

œ

j

# œ œ œ œ

3 3

œ

j

# œ œ œ œ

3 3

œ

j

# œ œ œ œ

3 3

œ

3

j œ

3

œ # œ œ

j

œ ‰

Œ

Va

B # # # #

œ J

œ œ œ œ

3 3

œ J

œ œ œ œ

3 3

œ

œ œ œ œ

J

3 3

œ J

œ œ œ œ

3 3

œ J

œ œ œ œ

3 3

œ

œ # œ œ

3

œ

œ œ œ œ

J

3 3

Vc.

B

# # # #

œ

J

. ‰


œ.


J

œ

J

. ‰ nœ

œ.


J

œ

J

. ‰


œ.


J

œ nœ

J

ppp

œ œ œ

3 3

D.B.

? # #

# #

PEV02 – 6


Fl.

Ob.

Cl.

Bn

# #

& # #

42

# #

& # #

# #

& # ## #

? # # # #



p



ppp



œ

œ ‰

J


œ

J ‰


Œ


Œ







œ

J ‰ Œ

˙

j

b œ ‰ Œ

˙

sostenuto

3 3

j

nœ nœ

œ œ œ

ppp

œ ‰

J

œ nœ

J

Œ

œ œ œ

3 3

œ

J ‰

Œ

3 3

j

nœ nœ

œ œ œ

œ œ œ œ œ J

3 3

3 3

j

nœ nœ

œ œ œ

œ œ œ œ nœ

J

3 3

Hn

&

˙

j

# œ ‰ Œ

˙


j

œ ‰

Œ

Cym.

ã

# #

& # #



œ




œ

Œ

Hp

#

& #

# #



œ




œ

Œ

?

Solo

Chor.

# #

& # #

# #

& # #


œ œ

J

3 3

œ

J

œ

3 3

j œ ‰ œ œ

nœ.

œ œ œ

3 3

mu - sic and the laugh - ter, In the van- ish-ing

of care, And of

all

be - fore and

af -

ter;

œ

J

œ

3

œ œ œ

ppp

j

n

œ

œ œ

J

3 3

j

œ

J

n

œ

œ Œ

Œ

œ

3

j

œ

J

In

the

Vn I

Vn II

Vn III

42

# #

& # #

# #

& # #

#

& #

# #

œ J

œ œ œ œ

3 3

nœ nœ

J


œ œ œ

3 3

œ

œ

j

œ

œ œ œ œ

J

3 3


œ œ œ

J

3 3

‰ Œ

œ



œ œ œ œ

J

3 3


J

œ œ œ

3 3

œ J

œ œ œ œ

3 3

œ nœ

œ œ œ J

˙

3 3

sostenuto



ppp

˙

ppp

j

œ œ

ppp

cresc.


cresc.

3 3

cresc.

œ œ œ

˙

˙

˙

œ

j

œ


3 3

œ œ œ

œ

œ

˙

œ

3

j

œ

œ


œ œ nœ

3

Va

B # # # #

œ J

œ œ œ œ

3 3

œ

œ œ œ œ

J

3 3

œ

œ œ œ œ

J

3 3

œ J

œ œ œ œ

3 3


ppp

˙

cresc.


˙


˙

Vc.

B

# # # #

nœ nœ

J

œ œ œ

3 3

œ


œ œ œ

J

3 3



J

œ œ œ

3 3

œ nœ

œ œ œ J

3 3

?


ppp


cresc.





D.B.

? # #

# #


ppp

cresc.

˙

˙

PEV02 – 7


Fl.

Ob.

Cl.

Bn

allarg.

49

# #

& # #

œ-

ff

œ-

# #

& # # œ - nœ

-

ff

# #

& # ## # œ-

œ -

ff

? # # # #

-

ff

œ -

animato

bœ.

œ œ œ œ . œ . œ .

3

nœ.

œ œ œ b œ . œ . œ .

3

bœ.

œ œ œ œ . œ . œ .

3

3

# œ. œ œ œ œ œ . . œ .

bœ.

œ œ œ œ . œ . œ .

3

nœ.

œ œ œ b œ . œ . œ .

3

bœ.

œ œ œ œ . œ . œ .

3

3

# œ. œ œ œ œ œ . . œ .

bœ.

nœ.

nœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ œ b œ . œ . œ .

3

œ œ œ n œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

bœ.

nœ.

nœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ œ b œ . œ . œ .

3

œ œ œ n œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

Hn

&

œ -

f

# œ-

3

# œ. œ œ œ # œ .

œ . œ

ff

.

3

# œ. œ œ œ # œ .

œ . œ .

œ.

ff

3

œ œ œ n œ œ . . œ .

3

œ.

œ œ œ œ œ . . œ .

Cym.

ã






Hp

# #

& # #

? # # # #

œ

mf

œ

n

œ

n

œ

#


#

˙







Solo

# #

& # #






Chor.

# #

& # #

œ

n

œ

bb

nœ œ

œ

b

b

b

œ œ œ œ

bnnœœ

œ

˙

Gods’ high

ban

- quet,

when Gleams the grape -

blood,

Vn I

Vn II

Vn III

Va

Vc.

D.B.

49

# #

& # #

# #

& # #

#

& #

# #

B # # # #

? # # # #

? # #

# #

allarg.

œ- œ

ff

- œ œ œœ n -

ff

œ - œ -

ff

œ -

ff

œ-

ff

œ-

ff


-

œ -

œ -

animato

nœ.

œ œ œ b œ . œ . œ .

b

b œ .

3

œ œ œ

3

œ b œ . œ. œ.

nœ.

œ œ œ b œ . œ . œ .

n

b œ.

3

œ œ œ œ b œ . œ. œ.

3

3

# œ. œ œ œ œ œ . . œ .

3

# œ. œ œ œ œ œ . . œ .

nœ.

œ œ œ b œ . œ . œ .

b

b œ .

3

3

œ œ œ

œ b œ . œ. œ.

nœ.

œ œ œ b œ . œ . œ .

n

b œ.

3

œ œ œ œ b œ . œ. œ.

3

3

# œ. œ œ œ œ œ . . œ .

3

# œ. œ œ œ œ œ . . œ .

nœ.


nœ.

3

3

œ œ œ b œ . œ . œ .

œ œ œ n œ . œ . œ .

œ œ

nœ.

œ œ œ b œ . œ . œ .

nœ.

nœ.

bœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ

3

œ œ œ b œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

nœ.


nœ.

3

3

œ œ œ b œ . œ . œ .

œ œ œ n œ . œ . œ .

œ œ

nœ.

œ œ œ b œ . œ . œ .

nœ.

nœ.

bœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ

3

œ œ œ b œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

PEV02 – 8


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

# #

& # #

54 .

# #

& # #

# #

& # ## #

? # # # #

&

ã

# #

& # #

? # # # #

# #

& # #

# #

& # #

# #

& # #

# #

& # #

&

# #

# #

B # # # #

? # # # #

? # #

# #


nœ.

nœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ œ b œ . œ . œ .

3

œ œ œ n œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

3

œ.

œ œ œ œ œ . . œ .

nœ.

flashed


54

.


nœ.

3

3

j

œ

J

to

œ œ œ b œ . œ . œ .

œ œ œ n œ . œ . œ .

œ œ œ

nœ.

œ œ œ b œ . œ . œ .

nœ.

nœ.

bœ.

bœ.

3

3

œ œ œ n œ . œ . œ .

œ œ

3

œ œ œ b œ .

œ . œ .

3

œ œ œ b œ .

œ . œ .

animato


ff dim.


ff dim.


ff dim.

˙

ff

œ

ff dim.

clashed

˙

ff

fff dim.





n

n ˙

hea

animato


æ

ff dim.


æ

ff dim.


ff dim.


æ

ff dim.

n

æ

n ˙

fff


æ fff

œ œ œ œ

J

3 3


œ œ œ

J

3 3

j

# œ œ œ œ

3 3

3 3

j

œ œ œ œ

œ nœ



œ œ nœ

œ œ œ nœ


œ œ œ

J

3 3

œ


œ


˙

œ


œ

J


æ

˙ n

æ

dim.



- - - - - - - - - -

œ


æ

n

æ

n ˙

dim.


æ

dim.

œ œ œ œ

J

3 3


œ œ œ

J

3 3

3 3

j

œ œ œ œ

3 3

j

œ œ œ œ


œ nœ



œ œ nœ

n

n œ


ven;

œ œ œ nœ


œ œ œ

J

3 3

œ

PEV02 – 9


Fl.

Ob.

Cl.

Bn

# #

& # #

57

# #

& # #

# #

& # ## #

? # # # #

œ


œ

˙


œ œ œ

J

3 3


œ œ œ

J

3 3

j


œ œ œ

3 3


tranquillo



˙


œ œ œ

J

3 3

j


œ œ œ

3 3

j


œ œ œ

3 3

j

n œ ‰ Œ

pp

j

œ ‰

pp


pp

j

œ ‰

pp

Œ

Œ

j

œ ‰

Œ

Hn

&

œ

3 3

j

œ œ œ œ

j


p

‰ Œ

˙

pp

Cym.

ã

Hp

# #

& # #

? # # # #





œ nœ



œ œ nœ

œ œ œ nœ

œ





œ nœ



œ œ nœ

œ œ œ nœ

œ

pp

j ‰ Œ


Solo

# #

& # #

Chor.

#

& #

# #

pp

œ

3

œ œ œ

Yea,

and in the

Vn I

Vn II

Vn III

# #

& # #

57

˙

# #

& # #

&

# #

# #

n

n

æ˙˙

æ



œ œ œ

J

3 3

tranquillo


n

æ˙

æ


j


œ œ œ

3 3

3 3

j

nœ œ œ œ œ

pp

3 3

j

œ nœ

œ œ œ

pp

j


‰ Œ

3 3

j

nœ œ œ œ œ

3 3

j

œ nœ

œ œ œ

Va

Vc.

D.B.

B # # # #

? # # # #

? # #

# #

n ˙

æ

n

æ

n ˙


æ

b

æ

n ˙

b

æ

n ˙


æ

n

æ

n ˙

pp

n

æ

n ˙

pp


pp

n

æ

n ˙

n

æ

n ˙

˙

PEV02 – 10


Fl.

Ob.

Cl.

Bn

# #

& # #

61

# #

& # #

# #

& # ## #

? # # # #

˙

fp

˙

fp


fp


fp

˙

j

œ ‰

œ

œ

Œ



j

œ ‰


pp

˙

pp

Œ

j

œ # œ

pp

˙


j

œ

j

# œ œ



j

œ

j

œ ‰ Œ


ppp

˙

˙

˙

Hn

&


fp

œ

# œ

˙

pp

˙

˙

˙

˙


Cym.

ã

Hp

# #

& # #

? # # # #

b œ

œ

p

bœ n œ

Œ

Œ

b œ

œ

p

bœ n œ

Œ

Œ

Solo

# #

& # #

Chor.

#

& #

# #

˙

feasts

œ

# œ

of

˙

men

œ.

Comes

j

œ

his


crowned


œ

slum - ber;

˙

then

Vn I

Vn II

61

# #

& # #

# #

& # #

œ

j

# œ œ œ œ

3 3

3 3

j

œ œ œ œ œ

œ

œ

j

# œ œ œ œ

3 3

3 3

j

œ œ œ œ

3 3

j

œ œ œ œ œ

pp

œ

pp

j


œ œ œ

3 3

j

œ # œ

j

œ œ

j

œ

j

œ

j

# œ œ

j

œ œ

j

œ

j

œ

œ œ œ œ

pp

œ nœ

œ œ

pp

œ œ œ œ

œ nœ

œ œ

œ œ œ œ

œ nœ

œ œ

Vn III

&

# #

# #

˙

fp

˙

j

œ

pp

‰ Œ

Va

Vc.

D.B.

B # # # #

? # # # #

? # #

# #

#

æ

n ˙

b

æ

n ˙




œ




˙

pp

˙

pp

˙

pp

j

œ # œ



j

œ

j

# œ œ



j

œ

œ œ œ œ

pp

˙

˙

œ œ œ œ

˙

˙

œ œ œ œ

˙

˙

PEV02 – 11


Fl.

Ob.

Cl.

Bn

# #

& # #

69

# #

& # #

# #

& # ## #

? # # # #

œ.

pp

œ.

pp

œ.

pp

nœ.

pp

j

œ

j


j



J

œ nœ

ppp

˙

˙

˙

œ œ

œ nœ

j

œ ‰ Œ

j

œ ‰ Œ

œ ‰ Œ

J

œ œ

U

U

U

U

B

œ- .

Œ

ff

œ- .

Œ

ff

Œ œ -.

ff

Œ n˙.

ff

#- œ œ œ œ

J

3

œ- œ œ œ

J

3

3

n j

œ- œ œ œ

œ

Œ Œ œ

f

œ

Œ Œ œ

f

œ

Œ Œ œ

f

w

dim.

Hn

&

œ.

pp

j



j

œ ‰ Œ

U

Œ # œ-

.

ff

n 3

j

œ- œ # œ nœ

œ Œ Œ # œ

f

Cym.

ã

U

Hp

# #

& # #

? # # # #

U

u

Œ

Œ

˙ b˙˙

ff

˙

n

b˙˙

Œ

Œ

Ó Œ b œ

œ

mf

b

Ó Œ n œ

Solo

# #

& # #

U

Chor.

#

& #

# #

œ.

Pain

j

œ

is

˙

dead

œ


and

n n˙

hate

œ

#

œ

for

U

#

w

- giv -

œ.

.

en!

‰ Ó

Vn I

Vn II

69

# #

& # #

# #

& # #

œ.

œ.

j


j

œ

˙

˙

˙

˙

˙

ppp


ppp

œ

œ

# œ

œ

˙

˙

U

Ó

U

Ó

B

Œ

œ-

œ.

ff

Œ œ

œ .

-

ff

# œ - œ œ œ

#œ œ œ œ

J

j


nœ-

œ

œ

3

3

œ

œ œ œ

œ

œ Œ Œ œ -

f

œ

œ

Œ

Œ

œ -

f

Vn III

Va

Vc.

D.B.

&

# #

# #

B # # # #

œ.

p

œ.

j

œ


J

œ nœ

pp

˙

œ œ

œ nœ

œ œ

4 4 4 4 4 4 4 4 4 4 4 4 4 4 ? # # # # j

4 nœ. nœ ˙ ˙

˙ œ # œ

ppp

? # #

# j # nœ. nœ ˙ ˙ ˙ œ œ 4 ppp

˙


ppp

œ

œ

˙

˙

˙

U

U

Ó

U

Ó

U

Ó

Œ

Œ

œ- .

ff

œ -

.

ff

Œ n˙. n˙

>

fff

Œ n˙.

fff

œ

J

œ œ œ

3

# œ

- œ œ œ J

3

œ

Œ Œ œ -

f

œ Œ Œ

w

w

dim.

w

dim.

œ -

f

PEV02 – 12


Fl.

Ob.

Cl.

Bn

# #

& # #

77

# #

& # #

# #

& # ## #

? # # # #

œ # œ

3

œ œ œ œ Œ

p

3

œ œ œ œ œ œ

p

œ nœ

w

3

œ œ œ œ

p

Œ

Œ

Ó

w

pp

˙

pp

œ œ œ œ œ

U

w

U

U

3

U

œ . ‰ Ó

ppp

Hn

&

œ nœ

3

œ # œ nœ

œ Œ

p

Ó

# ˙

pp

œ nœ

U

3

œ # œ nœ

Cym.

ã

U

# #

& # #

U

Hp

? # # # #

u

Solo

# #

& # #

U

[ mf ] Alto solo

Œ


œ œ.

œ œ nœ

œ œ œ œ œ œ.

Loose thy lips from out the

rein; Lift thy wis-dom to dis -

œ

Chor.

#

& #

# #

U

Vn I

Vn II

Vn III

Va

Vc.

D.B.

77

# #

& # #

# #

& # #

#

& #

# #

B # # # #

? # # # #

? # #

# #

3

œ # œ œ œ œ œ Œ -

p

3

œ nœ

- œ œ œ œ

p

3

œ œ - œ œ œ œ Œ

p

œ # œ - œ œ œ œ Œ

p

3

w

w

w

Œ

Ó

Ó

Ó

w

w

pp

w

pp

˙

pp

˙

pp

˙

pp

3

œ # œ œ œ œ

3

œ # œ œ œ œ

œ nœ

U

w

U

w

U

3

U

U

U

œ œ œ

‰ Ó

œ.

ppp

œ . ‰ Ó

ppp

PEV02 – 13


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

82

# #

& # #

n n

Ó b œ.


b œ. ‰ Ó

n n b b b b b

nw

b

pp

fp

fp

# #

& # #

n n n nb b

bw

Ó ‰

‰ Ó

b b b b

bœ.

bœ.

pp

fp

fp

#

& #

# ## #

n n

n nn n b b b b

nw


‰ Ó

pp

n ˙ bœ.

nw bœ.

? # #

# #

w œ Œ Ó

j


˙

bw

w

b˙. œ ‰

pp

n n

n nb b b b b b

? # # # #

Ó œ . ‰

œ . ‰ Ó

n n n n b b b b b b

fp

fp

&

Ó

bw

œ . ‰

œ . ‰ Ó

pp

fp

fp

ã

# #

& # #

? # # # #

# #

& # #

j

˙.

œ œ œ. œ œ œ œ bœ

œ Œ œ œ bœ. œ ˙ bœ

œ ˙ nœ

bœ. œ ˙

J

J

n n n n b b b b b b

n n n nb b b b b b

n n n nb b b b b b

- dain; What-so

law thou canst not see, Scorn - ing; so the end shall be Ut - ter-most

ca - lam - i - ty!

#

& #

# #

82

# #

& # #

˙

pp

œ œ œ bw w w w

n n

n n b b b b b b

n n n nb b b b b b

# #

& # #

˙ œ nœ

pp

œ bw w w w

n n n nb b b b b b

&

# #

# #

#w


pp

mp

b˙ nw bw

bw

n n

n nb b b b b b

B # # # #


w ˙ nœ


œ b˙ bw bw


pp


n n n n b b b b b b

? # # # #

w ˙

pp



œ


n n˙˙

bw

n

n

w

bw

n n n nb b b b b b

PEV02 – 14


Fl.

Ob.

Cl.

Bn

88

& b b b b b b

& b b b b b b

& b b b b

?

b b b b b b

Hn

&

Cym.

ã

& b b b b b b

Hp

?

b b b b b b

Solo

& b b b b b b

Chor.

& b b b b b b

[ f ]

Sopranos only

Œ œ œ œ.

j

œ

’Tis the life of

3

œ œ œ ‰ œ œ

œ œ œ œ ˙

qui - et breath, ’Tis the simp - le and the true,

Storm nor earth-quake shat - ter - eth,

œ.

3

œ œ œ œ

J

œ œ

Vn I

88

& b b b b b b

w

pp

œ œ

˙

œ

Œ

3

œ œ œ

. ˙

œ

Vn II

& b b b b b b

w

pp

œ

˙

œ

Œ

˙

w

Vn III

&

b b b b b b

Va

B b b b b b b

w

p

œ

˙

œ Œ ˙

w

Vc.

D.B.

4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 ?

b b b b b b w

4 3 œ

4 pp

˙˙

?

b b b b b b 4 3 4 œ Œ ˙

Ó

˙

ppp

w

w

PEV02 – 15


Fl.

92

& b b b b b b

tranquillo

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

& b b b b b b

& b b b b

?

b b b b b b

&

ã

& b b b b b b

?

b b b b b b

& b b b b b b

& b b b b b b

Œ œ œ œ œ œ œ

Nor

shall aught the house un

œ . œ

j

œ

solo

œ œ œ œ œ ˙

pp

œ œ œ œ

pp


pp


œ œ

legato

w

œ œ œ œ

pp

œw

œ œ œ

˙

Ó

w

œ œ œ œ œ ˙

[ pp ]

œ œ œ œ œ œ œ œ


œ œ bœ

œ œ œ

w

œ œ œ œ

w

œ œ œ œ

œw

œ œ œ œ œ

w œ œ

Ó Œ œ œ.

- do Where they dwell.

For, far a-way,


œ ˙

J

Vn I

92

& b b b b b b

w

˙

Œ

tranquillo

Vn II

& b b b b b b

w

˙

Œ

Vn III

&

b b b b b b

solo

œ

œ œ œ œ ˙

œ

œ œ œ œ ˙

w

p cantabile

Va

B b b b b b b

w

˙

Œ

w

pp

w

w

Vc.

?

b b b b b b

w

˙

Œ

D.B.

4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 4 3 4 ?

b b b b b b w

4 3 ˙

Π4 PEV02 Р16


Fl.

Ob.

Cl.

97

& b b b b b b

& b b b b b b

& b b b b

œ ‰ ˙

J

œ œ

œ

Œ Ó

œ.

j

œ ˙

œ œ œ œ œ ˙

œ œ œ œ

pp

˙.

œ œ nœ

œ

ppp

w

pp

j

œ ‰ Œ

œ œ œ œ œ œ

Ó

Bn

?

b b b b b b

Hn

&


Œ Ó


pp


œ œ

b˙.

w

Cym.

ã

Hp

& b b b b b b

?

b b b b b b

w

œ

œ

w

œ œ œ

œ œ œ

w

œ œ

œ œ

w

œ œ

œ œ

w

œ œ œ œ

œ œ œ œ

w

˙.

œ œ nœ

œ œ œ ˙.

œ Œ Ó

œ Œ Ó

Solo

& b b b b b b

Chor.

& b b b b b b

œ œ ˙ œ œ

œ.

j

œ ˙

Hid - den from the eyes of day, Watch-ers

œ œ.

œ œ œ œ

J

are there in the

˙ œ œ

skies,

That can

œ œ œ.

j

œ

see man’s life, and

Vn I

97

& b b b b b b

œ

ppp

œ œ œ œ œ œ

Vn II

Vn III

& b b b b b b

& b b b b b b

œ

pp

œ œ œ

œ ‰ ˙ œ

J

œ

œ œ

œ.

j

œ

œ œ

˙

j

œ

œ

‰ Œ Ó

œ œ œ œ ˙

œ œ nœ

˙.

œ

ppp

w

ppp

œ œ œ œ œ œ

Va

B b b b b b b

œ

œ œ œ

œ œ

œ œ

j

œ ‰ Œ Ó

œ œ œ

œ œ œ œ

ppp

Vc.

D.B.

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

4 3 4 4 2

?

b b b b b b w

w

w

4 3 4 4 2

pp

˙. œ œ œ œ

ppp

?

b b b b b b 4 3 4 œ œ œ œ 4 2

ppp

PEV02 – 17


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

102

& b b b b b b 4 2 œ nœ

4 œ œ bœ

œ œ C

œ

4 2 n n n n n n

animato

œ ˙ œ

J ‰ Œ

4 3

& b b b b b b 4 2 4 4 2 n

˙

j ‰ Œ Ó

n n n n n 4 3 œ

& b b b b 4 2 4 j

4 2 n n n n # #

w

œ ‰ Œ Ó

4 3

pp

?

b b b b b b 4 2 4 4 2 n n n n n n 4 3

& 4 2 4 j ‰ Œ Ó

4 2 4

˙

3 #˙


.

ã 4 2 4 4 2 4 3

& b b b b b b 4 2 4 4 2 n n n n n n 4 3

?

b b b b b b 4 2 4 4 2 n n n n n n 4 3

& b b b b b b 4 2 4 4 2 [ mp ] Alto solo

Πn n n n n n 4 3 j

# œ œ # œ œ.

œ

But the

world’s Wise are

& b b b b b b 4 2 ˙ 4 œ œ ˙ œ j 4 2 Œ n

œ. œ ˙ œ

n n n n n 4 3

prize Deeds done well

by things of clay.

102

& b b b b b b 4 2 œ nœ

4 œ

œ bœ

œ œ 4 2 n n n n n n

animato

œ œ œ œ œ œ œ œ 4 3 #˙.

mp

& b b b b b b 4 2 œ nœ

4 œ 4 2 n

œ n n n n n 4 3 œ œ œ œ œ œ œ œ

œ # œ œ

mp

& b b b b b b 4 2 ˙

4 œ

œ

œ œ œ œ œ ˙ œ

J ‰ Œ 4 2 n n n n n n 4 3 ˙.

pp

B b b b b b b 4 2 œ nœ

4 4 2 n

œ bœ

œ œ œ œ œ œ œ œ

n n n n n 4 3 œ # œ œ

pp

?

b b b b b b 4 2 œ nœ

4 œ œ œ œ œ œ œ œ 4 2 œ œ n n n n n n 4 3 . ˙. ˙

pp

?

b b b b b b 4 2 œ nœ

4 œ Œ Ó

4 2 n n n n n n 4 3

pizz.

œ Œ Œ

p

˙.

# œ ˙

not wise,

#˙.


˙.


˙

.

œ

# œ œ

# œ œ

Œ Œ

PEV02 – 18


Fl.

Ob.

Cl.

108

tranquillo

&

4 4 3 b b b b b b

&

4 4 3 b b b b b b

solo

œ œ œ œ ˙

pp

#

& # 4 4 3 n n b b b b

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

4 4 3

œ

J

‰ Œ

Bn

?

b b b b b b

Hn

&

#˙.

w

˙.

˙.

j

œ ‰ Œ Œ

Cym.

ã

Hp

&

?

b b b b b b

b b b b b b

Solo

Chor.

&

&

# œ œ œ.

j

œ

œ # œ ˙.

#œ.

j

œ œ œ

œ # œ ˙

Claim-ing more than mor-tal may.

Life is such a lit - tle thing;

Lo, their pre- sent is de -

b b b b b b

b b b b b b

Œ . œ

j

œ

œ

œ œ œ

Vn I

108

&

#˙.

#w

˙.

˙.

b b b b b b

tranquillo

˙.

pp

j

œ

‰ Œ

Vn II

Vn III

&

&

œ

˙.

# œ œ


w

# œ œ œ


œ œ

˙.

œ

˙.

œ œ

b b b b b b

b b b b b b

˙.

pp

solo

œ œ œ œ ˙

pp

j

œ

‰ Œ

œ ‰ Œ

J

Va

B

œ

# œ œ


# œ œ œ

˙.

˙.

b b b b b b

˙.

j

œ

‰ Œ

Vc.

?

. ˙. ˙

w

œ œ

œ

œ

œ œ

b b b b b b

˙.

j

œ

‰ Œ

D.B.

?

œ Œ Œ

œ

Œ Ó

arco

˙.

pp

˙.

4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 b b b b b b j

œ ‰ Œ Œ 4 2 4 PEV02 – 19


Fl.

114

& b b b b b b

Ob.

Cl.

& b b b b b b

& b b b b

œ

p

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ.

f

œ

J

œ œ œ œ œ œ.

j

œ

j

œ ‰ Œ Ó

pp

œ œ œ œ œ œ œ œ œ œ

pp

Bn

?

b b b b b b

Hn

&

Cym.

ã

& b b b b b b

Hp

?

b b b b b b

Solo

Chor.

& b b b b b b

& b b b b b b

œ ˙ œ œ

˙ œ œ œ œ

-par - ted, And the dreams

to which they cling Come not. Mad im-ag - in - ing Theirs,

˙

œ

œ Œ

œ.

3

œ œ œ œ ˙

Vn I

Vn II

Vn III

114

& b b b b b b

& b b b b b b

& b b b b b b

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ œ œ œ

p

œ œ œ œ

f dim.


œ œ œ

f dim.

œ œ œ œ œ œ.

f dim.

œ

J

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ.

j

œ


œ œ œ

pp

j

œ ‰ Œ Ó

pp

œ œ œ œ œ œ œ œ œ œ

pp

Va

Vc.

D.B.

B b b b b b b

?

b b b b b b

œ œ œ œ

˙.

œ


œ œ œ

f dim.

œ œ œ œ

f dim.

œ œ œ œ

œ œ œ œ

œ œ œ œ

pp

œ œ œ œ

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

4 4 2

?

b b b b b b 4 4 2

pp

PEV02 – 20


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

colla voce

a tempo

118

& b b b b b b 4 2 4 U

n n n n n n# 2 & b b b b b b 4 2 4 U

n n n n n n# 2 & b b b b 4 2 j

4 n n n n # #

œ.

#

œ

2 ˙ œ œ œ œ j j j j j

œ. œ œ.

œ œ. œ œ.

œ œ. œ œ j‰

ΠU

pp

?

b b b b b b 4 2 4 U

n n n n n n# 2 solo

& 4 2 4 U

Ó b˙

˙ b˙

2 pp

ã 4 2 4 U

2 & b b b b b b 4 2 4 U

n n n n n n# 2 ?

b b b b b b 4 2 4 n n n n n n# 2 u

& b b b b b b 4 2 j

œ. œ 4 n n n n n n# 2 ˙ œ œ œ œ j

œ œ œ ‰ Œ

U

I ween, and emp - ty - heart - ed!

& b b b b b b 4 2 4 U

Ó Ó

n n n n n n# 2 118

& b b b b b b 4 2 colla

4 voce a tempo

n n n n n n# 2 nœ


œ œ ˙ j

œ ‰ Œ Ó

U

& b b b b b b 4 2 4 j n n n n n n# 2 w

w w œ ‰ Œ U

Ó

& b b b b b b 4 2 j

œ. œ 4 U

j ‰ Œ

n n n n n n# 2 ˙ œ œ. j

œ œ.

j

œ œ. j

œ œ.

j

œ œ. j

œ ˙ ˙ ˙

B b b b b b b 4 2 œ œ 4 œ œ ˙

n

œ œ œ œ œ œ œ œ œ œ j

˙ œ ‰ Œ U

Ó n n n n n# 2 ?

b b b b b b 4 2 œ œ 4 œ œ ˙ œ œ œ œ œ œ œ œ œ œ j

˙ œ ‰ Œ U

Ó n n n n n n# 2 ?

b b b b b b 4 2 4 U

n n n n n n# 2 PEV02 – 21


Fl.

Ob.

D

#

&

124

#

&

Poco animato

2

2

Cl.

# #

& #

2

w

pp

œ

J ‰ Œ

Ó

w

œ

J ‰ Œ

Ó

Bn

? #

2

w

pp

œ ‰ Œ

J

Ó

w

œ ‰ Œ

J

Ó

Hn

Cym.

Hp

Solo

&

ã

#

&

? #

#

&

2

2

2

2

2

˙

pp

Œ Ó

œ

pp

œ Œ Ó

j

œ ‰ Œ

w

j

œ ‰ Œ

Ó

w

w

˙ Ó

[ mp ]

Œ ˙ œ œ ˙.

œ

Where

is the

Home

for

Chor.

#

&

2

Vn I

124

#

&

Poco animato

2

œ œ œ œ œ œ œ œ

pp

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

Vn II

#

&

2

œ œ œ œ œ œ œ œ

pp

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

Vn III

&

#

2

w

pp

bw

w

bw

w

˙

Ó

Va

Vc.

D.B.

B #

? #

? #

2

2

2

Ó

˙

pp

w

pp

˙

pp

œ œ œ œ

w

bw

œ ‰ Œ

J

Ó

œ

J ‰ Œ

˙

w

˙

œ œ œ œ

w

bw

œ ‰ Œ

J

Ó

w

w

w

w

PEV02 – 22


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

#

&

130

#

&

# #

& #

? #

&

ã

#

&

? #

#

&

[ mp ] Chorus

#

&

œ b

˙ b

œ

#

&

#

&

&

#

B #

? #

? #

œ œ œ œ œ œ œ œ

ppp

œ

pp

œ

pp

w

pp

w

Ó

pp



œ œ œ œ œ œ

œ œ œ œ bœ

œ œ œ Ó

˙

me?

130

œ

œ


œ œ œ bœ

œ œ œ

O Cyp - - - rus,

pp


pp

œ

pp

w

bw

pp

w

pp

w

pp

˙

˙


Ó


œ

œ



3


˙ œ bœ

w

w

bb

œ

œ bœ

3

# œ œ œ bœ

œ œ

3

œ


œ ˙

œ bœ

set in the sea,


œ œ bœ


bw

w

w

3

œ


œ œ

3

œ


œ œ

œ œ œ

Œ

œ


œ œ

n œ ‰ Œ Ó

J

j

n œ ‰ Œ Œ œ

j

œ ‰ Œ

j

œ ‰ Œ

#w

Œ œ

Aph œ .

œ.

œ œ œ



œ

j

n œ ‰ Œ

nnw

w

j

œ ‰ Œ Ó

Ó

di

Ó

œ

œ

Πppp

œ

te’s

œ œ

œ œ


œ

ro

n ‰

œ œ

œ œ

œ œ œ œ œ

w

3

3

œ œ œ œ œ

- - - home in the soft sea -

œ œ

œ œ

œ

œ

œ

œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ

˙

˙

3

˙

˙

PEV02 – 23


Fl.

Ob.

Cl.

Bn

#

&

134

#

&

# #

& #

? #

Ó

˙

Ó

Ó

Ÿ È ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3

˙

˙ ˙ œ

pp

œ

pp

3

b œ

3

n œ

œ n œ

pp

˙

pp

œ

œ .

n œ .

w

3

3

b œ

J œ œ Œ

j

œ

n œ

˙ œ

3

b œ ‰ œ b ˙

J

b w

pp

n œ .

‰ Ó

j

b œ ‰ Œ Ó

Hn

&

˙

˙

pp

œ .

3

j

œ

b œ

˙

b ˙

pp

b œ

œ

Cym.

ã

Hp

#

&

? #

Ó

Ó

Œ

pp

œ

b œ œ œ œ b œ

œ

œ œ Œ

b œ œ œ œ b œ œ œ

œ œ œ b œ œ œ œ Œ

b œ

Œ

Ó

œ œ œ b œ œ œ œ b œ

j

œ

‰ Œ

Solo

#

&

œ . ‰ Ó

Ó

Œ

3

b œ

n œ

3

œ œ œ b œ

œ

Chor.

#

&

- foam,

Ó

œ

3

b

œ

œ œ n

Would I could

b œ .

3

j

b œ

.

b œ

wend to thee;

Ó

Where the

wings of the Loves are

Œ

[ pp ]

b b œ

Ah

b b

b œ

n œ

Vn I

Vn II

Vn III

Va

Vc.

D.B.

134

#

&

#

&

#

&

B #

? #

? #

œ

œ

œ

œ

œ

b œ

œ œ œ œ œ œ n œ

˙

˙

˙

˙

3

˙ œ œ b œ œ œ œ

Ó

pp

˙

3

3

œ

œ .

b œ .

œ .

b œ

J œ œ œ œ

3 3

œ

J

b œ

3 3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˙˙

˙

œ

pp

3

j

œ

b œ

b œ œ œ b œ œ b œ

w

3

œ

˙

˙

œ

3

b œ

n œ

n œ

b œ

b œ œ œ œ œ œ œ

pp

œ œ œ œ œ b œ œ œ

pp

b ˙

pp

˙

b œ

b œ œ b œ

b œ

b œ

b œ

j

b œ ‰ Œ Ó

n œ

œ

œ

PEV02 – 24


Fl.

137

nw

#

&

œ

J ‰ Œ


nw

œ

J ‰ Œ

Ó

Ob.

#

&

w

w

w

œ

J ‰ Œ

Ó

Cl.

Bn

# #

& #

? #

Œ


pp

œ nœ

œ nœ

œ



pp



3

œ

œ

nw

bw

w

pp

bw

w

j

n œ ‰ Œ Ó

Hn

&

bw

˙


œ

bw

w

j

# œ ‰ Œ Ó

Cym.

ã

Hp

#

&

? #

Œ Ó

œ

p

œ Œ Ó

Solo

#

&

n˙.

furled,

œ

And

bœ.

œ bœ.

J

3

œ œ

J

faint the heart of the

˙.

world.

j

œ ‰

Œ ˙ œ œ

Aye, un-to

Chor.

#

&

b n b

.

˙.

j

œ ‰

Œ

b b œ

b b

b œ

n œ

b n b

.

˙.

j

œ ‰

Ah

Vn I

137


#

&


œ œ œ œ œ œ



œ œ œ œ œ œ



œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

Vn II

#

&

œ nœ

œ œ œ œ œ œ

œ œ œ œ

œ bœ

œ œ

œ nœ

œ œ œ œ œ œ



œ œ œ œ œ œ



œ œ œ œ œ œ

Vn III

&

#



œ bœ

œ bœ

œ





bw

bw


j

œ ‰ Œ

Va

B #

w

˙


œ

w

bw

nw

Vc.

? #

bw

˙


œ

bw

bw

nw

D.B.

? #

pizz.


Œ Ó

pp

PEV02 – 25


Fl.

#

&

142

Ob.

Cl.

Bn

#

&

# #

& #

? #

j

œ ‰ Œ

Ó

Œ œ œ œ

ppp

Ó Œ œ

pp

œ œ ˙.

˙ œ œ œ

˙.

3

j

œ ‰

3

œ œ œ œ œ

Hn

&

nw

pp

w

œ ‰ Œ Ó

J

#w

˙

˙

Cym.

ã

#

&

Hp

? #

Solo

#

&

œ œ ˙

œ œ œ œ œ

œ œ ˙ œ

3

œ œ œ œ œ œ

3

œ œ œ œ œ œ

Paph - os’ isle,

where the rain - less mead-ows smile with rich-es rolled from the hun - dred - fold Mouths

of the

Chor.

#

&

Vn I

142

# œ œ œ œ œ œ œ œ

&

œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ

Vn II

#

&

œ œ œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

Vn III

&

#

Œ œ œ œ

pp

œ œ . ˙

w

˙

˙

Va

B #

˙

˙

w

w

3

˙ œ œ œ

3

œ œ œ œ œ

Vc.

? #

˙

˙˙

w

w

w

˙

˙

D.B.

? #

œ

Œ

œ

Œ

œ Œ Ó

œ

Œ

Ó

œ

Œ œ Œ

PEV02 – 26


Fl.

Ob.

Cl.

Bn

#

&

147

#

&

# #

& #

? #

œ œ ˙


œ œ œ œ œ œ œ

pp

#w

pp

œ œ œ œ œ œ œ nœ

pp

˙.


pp


œ œ œ œ œ œ œ

w

œ œ œ œ œ œ œ

w

œ


#w

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ nœ

˙.



œ œ œ œ œ œ œ

w

œ œ œ œ œ œ œ œ

w

Hn

&

˙

# ˙

# ˙.

œ

pp

#w

# ˙. œ

#w

Cym.

ã

Hp

#

&

? #

Œ

pp

œ

pOOPoOOO

œ

Ó

Œ œ Œ

œ Œ Ó

Œ

œ

œ

Ó

Œ œ Œ

œ Œ Ó

Solo

#

&

œ œ ˙

Chor.

#

&

far - off Nile,

w

Ah

Stream -ing be - neath the waves

To the roots of the sea - ward

3

j

#wœ

œ

j

œ œ nœ

˙w

.

3

œ œ œ

œ œ œ

#w œ nœ

Ah

caves.

˙

j

œ

‰ Œ

J

Vn I

Vn II

147

#

&

œ œ œ œ œ œ œ œ

#

&

œ œ œ œ œ œ œ œ

˙.

pp

˙.

pp

œ


w

w

œ œ œ œ œ

3

œ œ œ œ nœ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ œ œ œ

Vn III

&

#

˙

˙


œ œ œ œ œ œ œ


œ œ œ œ œ œ œ


œ œ œ œ œ œ œ


œ œ œ œ œ œ œ

Va

Vc.

D.B.

B #

? #

? #

œ œ ˙

˙ ˙˙

Ó

œ

Œ

b

w

pp

œ

pp

arco

w

pp

œ œ œ

œ

œ

n

w

w

w

b

w

œ

w


œ œ œ

œ

n

w

w

nw

w

PEV02 – 27


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

Ó ˙

152

#

& ˙ Ó

b

? # j

œ ‰ Œ Ó

#

& j

œ ‰ Œ Ó Ó


# #

& #

? #

&

ã

#

&

? #

˙

œ ‰ Œ

J

j

œ ‰ Œ

Ó

Ó

Ó

Ó

Ó

Ó



n

bn˙

n b˙

#

& Œ œ œ œ œ œ œ.

j

œ b˙

But a bett er land

is there

#

&

152

#

&

#

&

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ nœ

œ œ œ

œ œ œ œ œ œ œ œ

&

#

w

Ó


B #

? #

w

w

˙

˙



˙

˙

˙

˙

Ó

Ó

œ

Ó

Ó

Ó

Ó

Ó

Ó


œ œ œ

- Where O - lym - pus


œ œ œ œ œ œ œ

œ œ œ

˙

w

w

Ó

œ œ œ œ œ

Ó


n˙.

pp

. ˙

bw

b˙.

. ˙

cleaves


œ

œ


œ

the

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

n˙.


b˙.

b˙.

œ

œ œ œ œ œ œ œ



w

nw

nw

j

œ ‰ Œ

b˙.

air,


Ó

œ

The

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ bœ

w

b˙.

b˙.


œ œ


j

œ ‰ Œ

PEV02 – 28


Fl.

Ob.

Cl.

Bn

#

&

157

#

&

# #

& #

? #


Ó


œ n˙


ppp


w

w

E

# # # #

# # # #

# # # ## #

# # # #

Slower, appassionato

œ œ œ

mf

œ œ œ

mf

œ œ œ

mf

˙.

mf

˙.


˙.

˙.


Hn

&

bw

w

#˙.

mf

˙.

Cym.

ã

Hp

#

&

? #

# #

# #

# #

# #

Œ

mf



œ nœ


6



Œ




œ œ œ

6

Œ

Solo

#

&


œ nœ




b œ b˙.

# #

# #

mf

œ œ œ



Chor.

#

&

high still dwell Where the

Mus - es dwell,

Fair - est of

# #

# #

mf

œ œ œ

all


things


Fair - est of

all

things

Vn I

Vn II

#

&

157 œ

#

&

b œ œ œ œ œ œ œ



œ œ œ œ œ œ


œ œ œ œ œ œ œ



œ œ œ œ œ œ

# # # #

# # # #

Slower, appassionato

œ œ œ


mf

œ œ œ

˙.


Vn III

Va

Vc.

D.B.

&

#

B #

? #

? #

bw

b˙.

bw



b b w

bw

w ?

# #

# #

4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3

# # # # 4 3

# # # # 4 3

# #

# # 4 3

mf

œ œ œ

mf

˙.

mf

œ œ œ œ œ œ

mf

˙.

mf

# œ

.


#

˙.

œ.

˙.

œ

œ # œ

PEV02 – 29


Fl.

Ob.

Cl.

Bn

# #

& # #

161

# #

& # #

#

& #

# ## #

? # #

# #

œ

œ

œ

˙.

œ

œ

œ

œ

œ

œ

˙

f

˙

f

˙.

f

n˙.

f


œ

# œ œ œ

œ

œ

œ

œ œ œ

˙.

˙

f

œ

f

˙

f

nw

f








Hn

&

˙.

˙

f

œ

œ

# œ # œ

˙

f

˙

Cym.

ã

Hp

Solo

# #

& # #

? # # # #

# #

& # #

˙

œ

Œ

œnœnœœœ nœ

f


6

nœnœœnœnœ

Œ Œ


˙

œ

6

˙

œ

nœbœ

nœbœœ œ 6


œ


œ nœœ

˙

f

6

nœœ


œ œ nœœ

œ

6 6


œ œ œœnœ

Chor.

#

& #

# #

fair!

˙

O

œ

there


is


Grace,

˙

and

œ

there is the

f

nn˙

bœ œ

fair!

O

there

is

Grace,

and

there is the

Vn I

Vn II

Vn III

Va

Vc.

D.B.

161

# #

& # # œ œ

# #

& # #

&

# #

# #


œ

œ


œ œ œ

˙

f


f

˙

f

4 4 4 4 4 4 4 4 4 4 4 4 4 B # # # # ˙

n˙.

4 n n˙

œ

.

œ# œ œ œ# œ œ

f

? # # # #

4 œ nœ

œ œ nœ

œ

n

. ..

œ œ

n œ

œ œ œœ # œ œ œ

f

? # #

# # n˙.

œ

˙.

˙

4 f

œ



œ

œ

œ

œ

œ

œ

# œ œ œ

˙

f


f


f


f


f


f


˙˙


˙˙ b


p




PEV02 – 30


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

# #

& # #

165

# #

& # #

#

& #

# ## #

? # # # #

&

ã

# #

& # #

? # # # #

# #

& # #

#

& #

# #

w

Ó J

pp

˙ œ ‰ Œ

J

pp

Œ Ó

bw

œ

pp

œ Œ Ó

pp

# ˙

pp

˙ # ˙ ˙

œ

Œ Ó

œ Œ Ó

[ p ]

˙.

œ

œ ˙

Œ

Heart’s

p

De - sire

. ˙

œ nœ

˙

Ó

œ

And

˙

ppp


œ œ œ œ œ nœ

ppp

˙

ppp


# œ Œ Ó

ppp

˙

˙

˙







nœ nœ


peace to a


w

b œ ‰ Œ Ó

J

w

w

ppp

w

w

œ ˙ œ

- dore thee, thou Spi - rit of Guid - ing

˙

œ nœ

pp

˙

˙

˙

j

œ œ



œ œ œ œ œ œ




j

œ nœ


nœ nœ


Heart’s

De - sire

Vn I

165

œ nœ

# #

& # #

pp

œ œ œ # œ œ œ

œ œ œ œ œ nœ

œ œ

œ # œ œ œ œ œ œ œ

œ nœ

œ œ nœ


œ œ


# œ œ œ œ œ œ œ

Vn II

# #

& # #

œ œ œ œ œ nœ

pp

œ œ

œ œ œ œ nœ


œ œ

œ nœ

œ œ œ œ œ œ

œ œ œ œ nœ


œ œ

œ nœ

œ œ œ œ œ œ

Vn III

Va

# #

& # #

B # # # #

˙

pp

œ nœ

pp


œ œ œ œ œ œ

˙

œ nœ


œ œ nœ


œ œ

˙



œ œ œ œ œ œ œ œ

w

œ œ œ œ œ nœ

œ œ

˙



œ œ œ œ œ œ œ œ

Vc.

D.B.

? # # # #

? # #

# #

w

pp

w

pp

w

w

˙

ppp

˙

ppp





w

w

˙

˙





PEV02 – 31


Fl.

Ob.

Cl.

Bn

Hn

Cym.

Hp

Solo

Chor.

Vn I

Vn II

Vn III

Va

Vc.

D.B.

poco animando

n n n n

170

# #

& # #

j

˙. œ ‰ œ nœ

œ œ œ œ œ œ

pp

˙.

Œ

? # #

# # w

w

œ ‰ Œ

J

Ó

n n

n n

# #

& # #

n n n n

# #

& # ## # œ

J ‰ Œ Ó

n nn n# #

? # # # #

&

ã

# #

& # #

w

w

soft stick

w

ppp

w

œ ‰ Œ

J

Ó

n n n n

n n n n

? # # # # w

w

n n n n

# #

& # #

n n

j

n n

w

w

œ ‰ Œ Ó

Ó Œ

œ

Fire!

A

#

& #

# #

n n

n n

170

œ nœ

œ œ

# # œ

& # #

# œ œ œ œ œ œ œ œ nœ

n n



n n

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ppp

pp

# #

& # # œ œ œ œ œ nœ

œ œ

n n

œ œ œ œ n n



œ œ œ nœ

œ œ œ œ œ œ œ nœ

œ œ œ œ œ œ

ppp

œ bœ

œ œ œ œ œ œ

pp

&

# #

# #

œ nœ

œ œ œ œ œ œ

w

pp

w

œ ‰ Œ

J

Ó

n n

n n

B # # œ œ œ œ # # œ œ œ œ œ nœ

œ œ n n



œ œ

n n

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ppp

œ œ œ œ œ œ œ

pp

? # # # #

œ nœ

œ œ œ œ œ œ œ nœ

œ œ œ œ œ œ

w

w

ppp

n n n n œ bœ

œ œ œ œ œ œ

poco animando

PEV02 – 32


Fl.

175

&

b˙.

pp

Œ

bw

˙

Ob.

&

Cl.

Bn

&

?

˙

pp

Ó

˙

Ó

Hn

&


pp

Ó


Ó

Cym.

ã

&

Hp

?

Solo

&

œ.

j

œ œ # œ

# ˙. œ

˙.

# œ

#œ.

j

œ ˙

j

œ ‰ Œ

God of Heaven is

he,

And

born

in

maj - es - ty;

Chor.

&

Ó

Vn I

175

&

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ

Vn II

&

œ bœ

œ œ œ œ œ œ



œ œ œ œ œ œ

œ bœ

œ œ œ œ œ œ



œ œ œ œ œ œ




œ

Vn III

&

Va

B

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ

Vc.

?

œ bœ

œ œ œ œ œ œ



œ œ œ œ œ œ

œ bœ

œ œ œ œ œ œ



œ œ œ œ œ œ



œ œ

D.B.

?

pizz.


Œ Ó

p

# #

4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4


Œ Ó

PEV02 – 33


Fl.

180

&

F

j

œ ‰ Œ

Ó

Ob.

&

solo

œ

œ œ œ bœ

˙

p semplice

œ œ œ œ bœ

œ œ œ


œ œ œ œ œ œ œ

3


œ œ œ œ

œ

3


œ ˙

Cl.

&

# #

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

Bn

?

Hn

&

Cym.

ã

Hp

&

?

legato

œ

pp


œ œ

œ œ œ œ

œ bœ

œ œ

œ œ

œ œ

œ œ œ bœ

œ

œ œ œ œ œ

œ œ b˙

œ œ ˙


3

b œ

b˙œ

œ


œ œ œ b

3

Solo

&

Ó


œ œ

Yet hath he

. ˙

mirth

œ œ

in the


œ œ œ œ œ

joy of the Earth, And he

3


œ œ œ œ

œ

3


œ œ œ

lov - eth con -stant - ly Her who brings in - crease,

Chor.

&

Vn I

180

&

œ

Œ

Ó

Ó

Œ

œ œ

pp

œ œ ˙

˙

3



œ

Vn II

Vn III

&

&

œ

solo

œ

Œ

p semplice

Ó

œ œ œ bœ

˙

œ

œ œ œ bœ

œ

œ œ

Ó

Œ


pp


œ œ œ œ œ œ œ

œ

œ œ b˙

3


œ œ œ œ


œ

Œ

Ó

3


œ ˙

Va

B

œ Œ Ó

Ó Œ bœ

pp

œ

œ œ b˙

3


œ œ œ

Vc.

?

œ Œ Ó

Ó Œ œ œ

pp

œ œ ˙


œ œ bœ

3

D.B.

?

œ Œ Ó

PEV02 – 34


Fl.

Ob.

Cl.

185

&

Ó ˙ b b b

pp

j

,

& œ œ œ œ œ b œ ‰ Œ

œ œ œ œ bœ

œ œ œ œ œ j

˙ œ ‰ Œ b b b

pp

#

& # Ó

n n


b

pp

. ˙

˙.


œ œ


w

w

Bn

?

Ó


pp


b b b

œ



œ

œ bœ


œ

Hn

&

Ó

˙

p

˙.



w

Cym.

ã

Hp

&

?


œ



Œ

œ b œ œ Œ

b b b

b b b

Solo

&

œ œ


œ œ

. ˙

œ

,

˙

Ó

b b b

The Feed - er of Child -

ren,

Peace.

Chor.

&

b b b

œ

œ

œ œ b b œ

No grudge hath he

bb œ

of the

n

˙

œ œ

great; No scorn

Vn I

Vn II

Vn III

185

&

&

&


œ b˙

Œ œ

pp

œ

œ œ œ œ


j

b œ

‰ Œ

œ nœ

˙

. ˙

˙

œ

,

,

,


œ œ œ

pp

œ

pp

œ œ œ bœ

œ

œ œ œ œ


Ó

w

œ œ


pp



b b b

b b b

b b b

œ

œ





œ

œ

œ Œ Ó

œ bœ


œ

Va

Vc.

D.B.

B

?

?

œ œ

œ bœ

˙

˙

˙

˙

˙


,

,

œ œ

pp

œ bœ

pp

œ œ

œ œ

œ œ bœ

œ œ bœ

Ó

arco


pp




b b b

b b b

b b b

œ

œ

œ







œ

œ

œ

œ bœ

œ bœ

œ bœ




œ

œ

œ

PEV02 – 35


Fl.

Ob.

Cl.

Bn

191

& b b b

& b b b

& b

?

b b b

œ œ œ œ.

œ bœ

œ bœ

b œ œ.


j

œ

j


œ

animando

˙

Ó

˙



˙

˙

pp



œ

œ œ œ œ

˙

˙

œ ˙ œ

œ



œ

G

œ

œ œ œ œ œ

J

œ œ œ œ

J

3 3 3 3

ff marcato

œ


J

œ œ œ œ

œ œ œ œ

J

3 3 3 3

ff marcato

œ


J

œ œ œ œ

œ œ œ œ

J

3 3 3 3

ff marcato

3 3 3 3


j

œ œ œ œ œ

ff marcato

j

œ œ œ œ

n n n

n n n

n # #

n n n

Hn

&

œ bœ

b œ œ.

j


w

w


f



œ

Cym.

ã

Hp

& b b b

?

b b b

œ œ œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ

pp

œ bœ

bœ œ

œ bœ bœ

œ

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ œ œ

œ

œ



bœ bœ

œ

œ

œ œ œ œ œ œ

œ œ œ œ

œ œ b œ œ

f

œ

œ



bœ bœ

œ

œ

n n n

n n n

Solo

& b b b

n n n

Chor.

& b b b

œ b b œ b b œ

of

n .

œ.

j

n

œ

cresc.

œ

œ

œ

œ.

the mean es - tate; But to all that liv - - - eth His

j

œ

˙

œ

œ

˙.

wine

œ

b œ

he

n n n

Vn I

Vn II

191

& b b b

& b b b

œ bœ


œ

animando

˙æ

p

˙æ

˙æ

˙æ

œ

æ

˙æ

œ

æ

œ

æ

œ æ

œ

æ

œ

æ

œ


J

œ œ œ œ

œ œ œ œ

J

3 3 3 3

ff marcato

œ

œ œ œ œ œ

J

œ œ œ œ

J

3 3 3 3

ff marcato

n n n

n n n

Vn III

Va

& b b b

B b b b

œ bœ


œ

w æ˙æ

p

cresc.

˙æ

w æ˙

æ

˙

æ

œ -

f

œ

b œ-

œ œ œ œ œ

J

b œ- œ -

œ œ œ œ

J

3 3 3 3

ff marcato

n n n

n n n

Vc.

D.B.

?

b b b

?

b b b

œ bœ

œ bœ



œ

œ

œ

œ





œ

œ

œ

œ





œ

œ

3 3 3 3

j j

nœ œ œ œ œ œ œ œ œ œ

> > > > > > > >

ff marcato

3 3 3 3

j j

nœ œ œ œ œ œ œ œ bœ

œ

> > > > > > > >

ff marcato

n n n

n n n

PEV02 – 36


Fl.

Ob.

Cl.

Bn

195


&

&

#

& #

?



œ

œ

J

3 3


J

3 3

œ œ # œ œ.

œ œ n œ nœ.

# œ œ œ

J n œ œ.

3

j


3

œ œ œ bœ

j

œ

3 3 3 3

œ

J

œ

J

œ

J

œ bœ

œ

œ

œ œ œ œ œ.

J

3 3

œ bœ

œ œ œ œ.

J

3 3

3 3

j

œ # œ œ œ n œ œ.

œ

ppp



œ


J

œ

J

œ

J

œ-

J

œ œ œ œ œ-

J

œ œ œ œ

3 3 3 3

pp

œ- bœ

œ œ œ œ- œ œ œ œ

J J

pp

w

pp

œ

3 3 3 3



fp

˙

Ó

fp

Ó ˙

fp

œ

pp

j

œ œ œ œ ˙

fp

3 3

Hn

&


-

ff

j œ- œ œ - œ - b œ-

j

œ - œ œ - œ -

3 3 3 3

œ -

j œ- œ œ - œ j

- bœ

3 3

‰ Œ

˙

pp

œ

j

œ

3 3

œ œ œ

j

œ ‰ Œ ˙

fp

Cym.

ã

Hp

&

?

nn


œ

œ

Œ

Œ

œ

n

b œ

Œ

Œ

Ó

Ó

œ

mf


Œ

Œ

Solo

&

Chor.

&

n

˙ œ Œ

giv

[ mf ]

œ

œ

œ

œ

Œ ‰

j

œ

œ

- - - eth,

Grief - less, im - mac - u - late;

On - ly on

œ

œ.

œ

œ œ œ

Ó

Ó

[ f ]

œ œ œ

Vn I

Vn II

195 œ

&

&

œ

œ

J

3 3


J

3 3

œ œ # œ œ.

œ œ n œ nœ.

œ

J

œ

J

œ œ œ œ # œ œ.

J

3

3

œ bœ

œ œ œ œ.

J

3 3

œ

J

œ

J

œ J

œ œ œ œ Ó

pp

3 3

œ bœ

J

pp

3 3

œ œ œ Ó

3 3

j

œ œ œ œ œ ˙æ

p

f

3 3

j

œ œ œ œ œ ˙æ

p

f

Vn III

Va

Vc.

D.B.

&

B

?

?


œ

j


œ œ œ bœ

j

œ

3 3 3 3

ff marcato

# œ œ œ b œ œ.

J

3 3

œ œ œ

œ

J

3 3 3 3

j j

œ bœ

œ œ œ bœ

œ œ bœ

œ

> > > > > > > >

3 3 3 3

j j

œ bœ

œ œ œ bœ

œ œ bœ

œ

> > > > > > > >

œ -

b j

œ-

œ œ - œ - b œ-

j

œ - œ œ - œ -

3 3 3 3

nœ # œ œ œ b œ œ.

J

œ

ppp

œ

ppp

3 3





œ

œ

œ

J

˙

pp

œ

œ

œ

j


n- œ œ œ œ œ œ - J J œ

pp

3 3

œ œ œ

œ œ œ

3 3 3 3





fp

œ

p

œ

p

bw

æ w

j



3 3


æ

f

œ œ œ

æ ˙˙

f

PEV02 – 37


Fl.

Ob.

Cl.

Bn

œ # #

& J ‰ Œ Ó

j

# #

w œ ‰ Œ Ó

p ff

# #

& œ ‰ Œ Ó

j

# #

J

w œ ‰ Œ Ó

p ff

#

& # j

# # # ## #

œ ‰ Œ Ó

j ‰ Œ Ó

w œ

p ff

?

#w w w # # # #

pp

199

Hn

&

˙

j

œ ‰

Œ

w

pp

w

f

j

œ ‰ Œ

pp

Ó

Cym.

ã

&

# #

# #

Hp

?

# #

# #

Solo

&

# #

# #

Chor.

&

œ.

them

j

# œ ˙

that spurn

˙

Joy,

Œ

œ œ

may his

. ˙

ang

-

# œ

er

w

burn.

# #

# #

Vn I

199

&

œ.

3 3

j j

# œ œ œ œ œ œ

˙æ.

ff

# œ æ

pp

w

# #

# #

w æ w æ

w æ w æ w

Vn II

&

œ.

j

œ

œ

3 3

j

œ œ œ œ

˙æ.

ff

œ æ

pp

w

# #

# #

Vn III

&

bw

æ wæ

w

bw

æ wæ

w

b æ w

w

æ

w

ff

bw æ w æ w

pp

w

# #

# #

Va

Vc.

D.B.

B

?

?

bw

æ bw

bw

æ f

bw

ff

bw

æ ff

w

w æ

w

pp

# œ # œ œ œ

pp

# œ # œ œ œ

pp


w

# œ # ˙ œ

# œ # ˙ œ

w

w

œ ˙.

œ . ˙

# # # #

# # # #

# #

# #

PEV02 – 38


Fl.

# #

& # #

205

Ob.

# #

& # #

Cl.

# #

& # ## #

Bn

? # # # #

Hn

&

Cym.

ã

Hp

# #

& # #

? # # # #

w

pp

w g

g

w

w

g

w

w

Solo

# #

& # #

Alto solo

Ó œ œ œ

Love

thou the

3

œ œ œ œ.

j

œ

Day and the Night; Be

3

œ œ œ œ œ œ

glad of the Dark and the

˙

Light;

3

œ œ œ

And a

-

œ œ œ œ œ

vert thine eyes from the

Chor.

#

& #

# #

Vn I

205

# #

& # #

w

pp

w

w

w

w

Vn II

Vn III

# #

& # #

#

& #

# #

w

pp

w

w

w

w

Va

B # # # #

w

pp

w

w

w

w

Vc.

D.B.

? # # # #

? # #

# #

w

pp

˙

Ó

w

w

w

w

PEV02 – 39


Fl.

# #

& # #

210

Ob.

# #

& # #

Cl.

# #

& # ## #

Bn

? # # # #

Hn

&

Cym.

ã

Hp

# #

& # #

? # # # #

w

gw

g

w

w

Solo

# #

& # #

3

œ œ œ œ œ œ

3

œ œ œ œ œ

˙.

Œ

lore of the wise, That have

hon - our in proud men’s

sight.

Chor.

#

& #

# #

Ó Œ ‰ j œ

Chorus

The

œ œ œ œ

sim - ple name - less herd of Hu-man - i - ty

œ

3 3

œ œ œ œ œ

Vn I

210

# #

& # #

w

w

w

w

w

Vn II

# #

& # #

w

w

w

w

w

Vn III

&

# #

# #

Va

B # # # #

w

w

w

w

w

Vc.

? # # # #

w

w

w

w

w

D.B.

? # #

# #

w

pp

w

w

w

PEV02 – 40


Fl.

# #

& # #

215

più lento

H

Ob.

Cl.

# #

& # #

# #

& # ## #

Ó. Œ

solo

œ œ

pp

Bn

? # # # #

Hn

&

Cym.

ã

Hp

# #

& # #

? # # # #

3

Ó. Œ

œ œ nœ

œ œ œ

3

pp

Ó. œ nœ

œ Œ Œ

3


3

œ œ œ nœ

œ Œ Ó .

Œ

3

Œ

œ œ œ n œ Œ Œ

3

Solo

# #

& # #

Chor.

Vn I

#

& #

# #

215

# #

& # #

‰ j œ œ œ œ œ œ

w

Hath deeds and faith that are

più lento

œ œ ˙ œ

truth e-

nough

j

œ

‰ Œ Ó

for

˙

me!

Ó.

Œ Ó.

con sord.

solo

œ

pp


œ

œ.


œ ˙.

J

Vn II

Vn III

# #

& # #

#

& #

# #

w

j

œ

‰ Œ Ó

Ó.

˙.

pp

Ó. Œ

con sord.

con sord.

solo

œ

pp

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PEV02 – 42


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PEV02 – 44


THE

VAUGHAN

WILLIAMS

COLLECTION

The Vaughan Williams Collection brings together a series of newly-edited

editions of his incidental music published by Promethean Editions.

Recognised as one of the major musical figures of his time, Ralph Vaughan

Williams began his career as a folk song collector, music editor of The English

Hymnal and founding conductor of the Leith Hill Festival, and went on to

generate a vast musical output that includes song settings, symphonies,

chamber music, opera and choral music.

Ralph Vaughan Williams’ incidental music for Gilbert Murray’s English

translation of Euripides’ The Bacchae is edited for orchestra by Alan Tongue.

Vaughan Williams was brought into the production of three Greek plays by the

dancer Isadora Duncan, with the public performance taking place at London’s

Royal Court Theatre on Friday 31 May 1912. A preview of the production,

appearing in The Globe, remarked of Vaughan Williams’ musical settings: “they

are an attempt at something new, and something which is neither German nor

French. This music is no experiment in style. It would seem, rather, as though

the composer had disclaimed all styles and all schools, and found direct

inspiration in the material of the poet’s inspiration, and the result is something

of undeniable beauty.”

The publisher gratefully acknowledges the support of

The Vaughan Williams Charitable Trust in the publication

of this edition.

ISMN 979-0-67452-292-2

Promethean Editions Limited

PO Box 10-143

Wellington 6143

New Zealand

www.prometheaneditions.com

Printed in New Zealand • PEV02 • PNY PREPEV02

Ralph Vaughan Williams Incidental music to The Bacchae PEV02

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