Alan Bullard Wondrous Cross

OxfordMusic

for SATB choir and organ or piano, with optional soloists, congregation, and strings (string orchestra, string quintet, or string quartet)
Wondrous Cross is a reflective work suitable for church or concert choirs at Passiontide. Bullard skilfully weaves the traditional Seven Last Words of Christ with linking biblical passages, 3 well-known hymns, and settings of 4 well-known sacred texts, including 'Drop, drop, slow tears' and 'Ave verum corpus' (both of which may be sung as independent motets) to create a moving and at times dramatic work. The short solos are perfectly suited to members of the choir, and strings (quartet, quintet, or ensemble) may optionally join the organ or piano in the accompaniment. If performed liturgically, the work may be interspersed with prayers and readings. The result is a flexible and striking work that re-presents this timeless story for a modern audience.

SATB and organ or piano with optional strings

4

Cecilia Alan Bullard McDowall

Wondrous Cross


Alan Bullard

Wondrous Cross

for online perusal only

A meditation based on the traditional ‘Seven Last Words’ of Jesus Christ

for SATB choir and organ or piano

with optional soloists, congregation, and strings

click here for more information

B


3

Great Great Clarendon Street, Oxford OX2 OX2 6DP, 6DP, England England

Oxford Oxford University University Press Press is is a a department of of the the University of Oxford. of Oxford.

It furthers It furthers the University’s aim aim of of excellence in in research, research, scholarship, scholarship,

and and education by by publishing worldwide in in

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in in the the UK UK and and in in certain other countries

© © Oxford University Press 2012 2010

cecilia Alan Mc Bullard has has asserted asserted his his right right under the Copyright, Designs Designs

and and Patents Patents Act, Act, 1988, 1988, to to be be identified as as the the Composer of this of this Work Work

for online perusal only

Database right Oxford University Press Press (maker) (maker)

First published First by published Oxford University 2010 Press 2012

All rights All rights reserved. reserved. No No part part of of this publication may may be be reproduced, reproduced,

stored stored in a in retrieval a retrieval system, or or transmitted, in in any any form form by or any by any means, means,

without without the the prior prior permission in writing of of Oxford Oxford University University Press, Press,

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outside outside the the scope scope of of the the above should be be sent sent to to the the Music Music Copyright Copyright

Department, Oxford University Press, at at the the address address above above

Permission Permission to perform to perform this this work work in in public (except in in the the course course of divine of divine worship) worship)

should should normally normally be be obtained from the Performing Right Right Society Society Ltd. Ltd. (PRS), (PRS),

29/33 29/33 Berners Berners Street, Street, London London W1T W1T 3AB, 3AB, or or its affiliated Societies in each in each country country

throughout throughout the the world, world, unless the owner or or the the occupier occupier of the of the premises premises

being being used used holds a licence from the the Society Society

Permission Permission to to make make a a recording must be be obtained in advance in advance

from from the the Mechanical-Copyright Protection Society Society Ltd. Ltd. (MCPS), (MCPS),

Elgar Elgar House, House, 41 41 Streatham High Road, London London SW16 SW16 1ER, 1ER,

or its or affiliated its affiliated Societies in in each country throughout the the world world

1 13 355 7 9 10 8 664 42

2

ISBN ISBN 978–0–19–335923–9

978–0–19–337989–3

Music origination Printed by Enigma in Great Music Britain Production on acid-free Services, paper byAmersham, Bucks.

Printed Halstan in Great & Co. Britain Ltd., Amersham, on acid-free Bucks. paper by

Halstan & Co. Ltd., Amersham, Bucks.


Contents

3

Great Clarendon Street, Oxford OX2 6DP, England

198 Madison Avenue, New York, NY 10016, USA

Text 4

Oxford University Press is a department of the University of Oxford.

It furthers the University’s aim of excellence in research, scholarship,

and education by publishing worldwide in

1. Prelude 7

2. The First Words 8

Oxford New York

Auckland Bangkok Buenos Aires Cape Town Chennai

Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata

Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi

São Paulo Shanghai Taipei Tokyo Toronto

3. Hymn: There is a green hill far away 9

4. The Second Words 11

5. The Third Words 14

6. Hymn: When my love to God grows weak 16

Oxford is a registered trade mark of Oxford University Press

in the UK and in certain other countries

7. The Fourth Words 18

8. Chorus (or solo): Drop, drop, slow tears 19

© Oxford University Press 2007

9. Chorus/Hymn: Were you there? 22

Ronald Corp has asserted his right under the Copyright, Designs

and Patents Act, 1988, to be identified as the Composer of this Work

10. The Fifth Words 27

11. Chorus and solo/semi-chorus: Ave verum corpus 28

Database right Oxford University Press (maker)

12. The Sixth Words 33

First published 2007

13. Arioso: God so loved the world 33

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any means,

without the prior permission in writing of Oxford University Press,

or as expressly permitted by law. Enquiries concerning reproduction

outside the scope of the above should be sent to the Music Copyright

Department, Oxford University Press, at the address above

14. The Seventh Words 37

15. Chorus: In the departure of the Lord 37

16. Hymn: When I survey the Wondrous Cross 38

for online perusal only

Permission to perform this work in public (except in the course of divine worship)

should normally be obtained from the Performing Right Society Ltd. (PRS),

Instrumentation

29/33 Berners Street, London W1T 3AB, or its affiliated Societies in each country

throughout the world, unless the owner or the occupier of the premises

being used holds a licence from the Society

The work may be accompanied in two ways:

Permission to make a recording must be obtained in advance

from the Mechanical-Copyright Protection Society Ltd. (MCPS),

1. With organ or piano, using Elgar the House, keyboard 41 Streatham accompaniment High Road, printed London SW16 in the 1ER, vocal score.

or its affiliated Societies in each country throughout the world

2. With organ or piano and strings—string 1 3 quartet, 5 7 9 10 or 8 quintet, 6 4 2 or ensemble. In this version the keyboard

player should omit those passages in square brackets in the vocal score. String parts and full scores

ISBN 978–0–19–335923–9

are available to purchase or hire from the publisher’s Hire Library or appropriate agent.

Music origination by Enigma Music Production Services, Amersham, Bucks.

Printed in Great Britain on acid-free paper by

Halstan & Co. Ltd., Amersham, Bucks.

Composer’s note

Wondrous Cross is designed for liturgical use or as a concert piece. If performed liturgically, the congregation

may join in the three hymns and also the first and last verses of ‘Were you there?’. The work

may also be interspersed with prayers and readings.

The work is designed with some vocal flexibility in mind, and may be sung entirely by SATB choir, with

groups of singers taking the unison lines, or by SATB choir and a range of soloists. Several movements,

including the settings of ‘Drop, drop, slow tears’ and ‘Ave verum corpus’, may be extracted from the

work for separate performance.

Duration: c.30 minutes (without any additional prayers or readings).


Text

The text is largely from the Authorized Version of the Bible and focuses on Jesus’s ‘Seven Last Words’. These are

sayings attributed to Jesus on the cross, and are to be found in the four Gospels. Traditionally they are used as a

Christian meditation for Lent, Holy Week, and Good Friday.

1. Prelude

2. The irst Words

And when they were come to the place, which is called Calvary, there they crucifi d him and the malefactors, one

on the right hand, and the other on the left. en said Jesus, Father, forgive them; for they know not what they do.

Luke 23: 33–4

3. Hymn: Th re is a green hill far away

for online perusal only

1. There is a green hill far away,

Outside a city wall,

Where the dear Lord was crucifi d,

Who died to save us all.

3. He died that we might be forgiv’n,

He died to make us good,

That we might go at last to heav’n,

Saved by his precious blood.

2. We may not know, we cannot tell,

What pains he had to bear,

But we believe it was for us

He hung and suffered there.

4. O dearly, dearly has he loved,

And we must love him too,

And trust in his redeeming blood,

And try his works to do.

C. F. Alexander

4. The econd Words

And one of the malefactors which were hanged railed on him, saying, If thou be Christ, save thyself and us. But the

other answering rebuked him saying, Dost thou not fear God, seeing thou art in the same condemnation? And we

indeed justly; for we receive the due reward of our deeds: but this man hath done nothing amiss. And he said unto

Jesus, Lord, remember me when thou comest into thy kingdom. And Jesus said unto him, Verily I say unto thee,

Today shalt thou be with me in paradise.

Luke 23: 39–43

5. The Th d Words

Now there stood by the cross of Jesus his mother, and his mother’s sister, Mary the wife of Cleophas, and Mary

Magdalene. When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his

mother, Woman, behold thy son! Then saith he to the disciple, Behold thy mother! And from that hour that disciple

took her unto his own home.

John 19: 25–7

6. Hymn: When my love to God grows weak

1. When my love to God grows weak,

When for deeper faith I seek,

Then in thought I go to thee,

Garden of Gethsemene.

2. There I walk amid the shades,

While the lingering twilight fades;

See that suffering, friendless one,

Weeping, praying there alone.


5

3. When my will to love grows weak,

When for stronger faith I seek,

Hill of Calvary, I go

To thy scenes of fear and woe.

5. Then to life I turn again,

Learning all the worth of pain,

Learning all the might that lies

In a full self-sacrific .

4. There behold his agony,

Suffered on the bitter tree;

See his anguish, see his faith,

Love triumphant still in death.

6. And I praise with fi mer faith

Christ, who vanquished pain and death;

And to Christ enthroned above

Raise my song of selfle s love.

J. R. Wreford and Samuel Longfellow

7. The ourth Words

Now from the sixth hour there was darkness over all the land until the ninth hour. And about the ninth hour

Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou

forsaken me?

Matthew 27: 45–6

8. Chorus (or solo): Drop, drop, slow tears

Drop, drop, slow tears,

And bathe those beauteous feet,

Which brought from heav’n

The news and Prince of Peace.

Cease not, wet eyes,

His mercies to entreat;

To cry for vengeance

Sin doth never cease.

In your deep fl ods

Drown all my faults and fears;

Nor let his eye

See sin, but through my tears.

Phineas Fletcher

9. Chorus/Hymn: Were you there?

1. Were you there when they crucifi d my Lord?

Were you there when they crucifi d my Lord?

Oh! Sometimes it causes me to tremble, tremble, tremble,

Were you there when they crucifi d my Lord?

2. Were you there when they nailed him to the tree?

3. Were you there when they pierced him in the side?

4. Were you there when the sun refused to shine?

5. Were you there when they crucifi d my Lord?

American folk hymn

10. The ifth ords

After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith, I thirst.

Now there was set a vessel full of vinegar: and they filled a sponge with vinegar, and put it upon hyssop, and put it

to his mouth.

John 19: 28–9

for online perusal only


6

11. Chorus and solo/semichorus: Ave verum corpus

Ave verum corpus, natum de Maria Virgine;

Vere passum immolatum in cruce pro homine:

Cuius latus perforatum fluxit aqua et sanguine:

Esto nobis praegustatum in mortis examine.

Jesu, our redeemer, born of the Virgin Mary;

On the cross he suffered and was sacrific d for humankind.

For his side was pierced and fl wed with water and holy blood:

Now his body feeds us in his death, for evermore.

Mediaeval Latin Hymn, English paraphrase A.B.

12. The ixth Words

When Jesus therefore had received the vinegar, he said, It is fin shed.

John 19: 30

13. Arioso: God so loved the world

God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but

have everlasting life. For God sent not his Son into the world to condemn the world; but that the world through

him might be saved.

John 3: 16–17

14. The eventh Words

Father, into thy hands I commend my spirit: and having said thus, he gave up the ghost.

Luke 23: 46

for online perusal only

15. Chorus: In the departure of the Lord

In the departure of the Lord,

Of mortal body’s vital breath,

There lies a mystery worth record,

Which he did show us here on earth:

That we, in life and death, each hour

Must follow Christ our Saviour.

Sir William Leighton

16. Hymn: When I survey the Wondrous Cross

1. When I survey the Wondrous Cross,

On which the Prince of glory died,

My richest gain I count but loss,

And pour contempt on all my pride.

3. See from his head, his hands, his feet,

Sorrow and love fl w mingled down;

Did e’er such love and sorrow meet,

Or thorns compose so rich a crown?

2. Forbid it, Lord, that I should boast,

Save in the death of Christ my God;

All the vain things that charm me most,

I sacrifice hem to his blood.

4. Were the whole realm of nature mine,

That were a present far too small;

Love so amazing, so divine,

Demands my soul, my life, my all.

Isaac Watts


for Lion Walk Church, Colchester

Wondrous Cross

A meditation based on the traditional ‘Seven Last Words’ of Jesus Christ

1. Prelude

ALAN BULLARD



Relaxed and calm q = c.80

*


















ORGAN

or PIANO



p espress. poco



slightly prominent

Organ: Solo 8'









8






Ped. 8', 16'






















pp mp poco









slightly prominent

Solo 8'












17







A little more movement q = c.92



mf f p





rit.











25


Slower and relaxed q = c.80


pp



Ped. 8', 16'

















for online perusal only


slightly prominent

Solo 8'












*Throughout the work, omit the sections in square brackets if strings are used.

This work may be accompanied either by organ or piano alone (using this score), or by string quartet, or string quintet/orchestra (2 vn, va, vc, db), together

with organ or piano. A full score and set of string parts are available on sale or hire from the Publisher’s Hire Library; the keyboard player uses this vocal

score, omitting the sections in square brackets.

© Oxford University Press 2012

Printed in Great Britain

OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP

The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.


8

Luke 23: 33–4






Simply and freely

TUTTI or SOLO

mp

2. The First Words


And

when they were come to the place, which is called Cal - va - ry,



37





mf




there

they cru - ci - fied

him and the ma - le - fac - tors,


for online perusal only

41 Slower

p








one on the right hand, and the oth - er on the left. Then

said Je - sus,



48



Relaxed and calm q = c.72

pp

SOPRANOS


ALTOS

TENORS



BASSES












Fa- ther, for-give

them,



pp




p

mp







Fa- ther, for-give

them, Fa- ther, for - give them, for -



p












mp










Relaxed and calm q = c.72






pp





54






-give


them,


p




for






- give them; for they know not,

for they

for they

rit.

know not,

know

for they know not what

not

what

they

they

















p p

do.

p



do.

attacca


3. Hymn: There is a green hill far away

9

C. F. Alexander (1818–95) altd. William Horsley (1774–1858)

accompaniment and descant Alan Bullard

Moderato, always serene q = c.92


+ CONGREGATION in unison p

S.



A.









1. There


T.


B.





p

Moderato, always serene q = c.92







p








Ped. 8'

66



mp








the dear Lord was cru- ci- fied, Who died to save us all. 2. We may not know, we can









mp















mp






(Piano LH: + lower octave ad lib., to bar 77)

Ped. 8', 16'

72






pains he had to bear, But we be - lieve it was for us He hung and suf - fered















is a green hill far a - way, Out - side* a ci - ty wall, Where

for online perusal only

- not tell, What









*originally ‘Without’


10

77






p









there.

3. He















Ped. 8'

p

Piano RH: optional 8ve to end of hymn

p

died that we might be for - giv’n, He died to make us good, That














for online perusal only

82







SOPRANO DESCANT

mf





we might go at last to heav’n,




Saved by his pre - cious blood.















mf








Ped. 8', 16'









4. O

ALL OTHER VOICES


mf



4. O

dear - ly, dear-

ly

dear - ly, dear-

ly

87





poco rit.









has he loved, And we must love him too, Trust in his re - deem ing


- blood, And

f





has he loved, And we must love him too, And trust in his re - deem-ing

blood, And







f




try his works to

try his works to

poco rit.


do.

do.

















f


Luke 23: 39–43

116

126



Fast h. = c.58

4. The Second Words




f















101

MEN (unis.) or BASSES or SOLO f rhythmic and clear


And one

of the ma- le - fac-

tors













MEN (unis.) or TENORS or SOLO




f

But the

ff

p

f



ff



angry and mocking

108

f

f






which were hanged railed on him, railed on him, say - ing, If thou be Christ,




























if thou be Christ, if thou be Christ, Christ, save thy - self, save thy - self and us.








f













o-ther

an-swer-ing

re - buked him

























for online perusal only












11


12

133

mp espress.

rall.




say-ing,


Dost not thou fear God, see- ing thou art in the same con-dem

- na-

tion?






mp p













142



Slower q = c.144

p




And

we

in- deed just - ly;

for we re - ceive the due re - ward of our


poco pp














151




deeds:

mf


but

for online perusal only




rit.




this man hath done no - thing a - miss.







mp











pp



161


Fast h. = c.58

mp




And


he said un - to



mp


mf


Je


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Lord,



f


f p



re - mem- ber me, Lord,











mf






re -


13

171 rit.








-mem-ber

me when thou com-est

in- to thy king - dom.






p

pp poco















Very slow q = c.56

L’istesso tempo q = c.56

181


mp

mf espress.

SOP.






ALTO

Ve- ri- ly, ve -ri

- ly I say un- to thee,

MEN or SOLO

p

TEN.





And Je- sus said un - to him,

BASS mp mf espress.

Very slow q = c.56

L’istesso tempo q = c.56








pp






Piano LH: 8va bassa

186


pp









To - day shalt thou be with me in pa - ra - dise.









pp





ppp


for online perusal only

Man.


14

5. The Third Words

John 19: 25–7

Calm and expressive q = c.92




mp espress.



Now there stood by the cross of Je - sus his











p

legato







Man.

Ped.

198

mf




mo - ther, and his mo- ther’s sis - ter, Ma - ry the wife of Cle - o - phas, and Ma - ry Mag - da -









mf











203

mp











-le - ne.

When Je - sus

there - fore saw his mo - ther, and the di -












p gently

















tenuto

a tempo

208

p

poco








-sci - ple stand - ing by, whom he loved,

he saith un- to his mo - ther,






















for online perusal only


S.

A.

T.

B.

214



mf

p



Wo - man, wo- man, be- hold thy son,







mf

mf p mf












p






be

- hold thy




















15

221






228



son!



S./A. (unis.) or SOLO

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mf
















p

be

p

p

-





hold,










for online perusal only



pp

be

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be - hold, be -

rit.

mo

rit.

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ther!











pp


S.








pp

be - hold,



(Man.)

hold

be - hold,


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f

hold,





f

ther!



mo


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ther!


16

Slower q = c.60

Moderato q = c.80

MEN (unis.) or BASSES or SOLO

237 p











And from that hour that di

- sci- ple took her un- to his own home.









p

p









Ped.

6. Hymn: When my love to God grows weak

attacca

J. R. Wreford (1800–81) and Samuel Longfellow (1819–92) Orlando Gibbons (1583–1625)

arranged and descant Alan Bullard

S.

A.

T.

B.


p




Moderato q = c.80

+ CONGREGATION in unison

1. When

3. When


my

my


love

will

to

to

p

Moderato q = c.80


God

love

grows weak,

grows weak,

When for deep - er

When for stron - ger


faith

faith







p








I

I


seek,

seek,

Then

Hill

in

of



thought I

Cal - va -











249





for online perusal only

mf





go

-ry,

to

I

thee,

go

Gar

To

-den

of

thy

Geth - se - ma - ne.

scenes of fear and woe.

2. There

4. There

I walk

be-

hold








mf












mf



a - mid the shades,

his a - go - ny,

While the lin-

Suf-

fered on

gering

the


17

255











twi - light

bit - ter

fades;

tree;

See

See

that

his

suf

an

-

-

fering,

guish,

friend

see

- less one,

his faith,

Weep

Love

- ing, pray

tri - um -

- ing there

phant still













a - lone.

in death.






















for online perusal only

260


f


5. Then

to life I turn a - gain, Learn - ing all the worth of pain, Learn - ing all the might that lies



f










Piano RH: optional 8ve to end of hymn




f













266







In a full self - sa - cri - fice.






SOPRANO DESCANT

ff

6. And

ALL OTHER VOICES



ff





6. And



ff


I praise with fir - mer faith Christ, who van-quished


I praise with fir - mer faith Christ,who van - quished


18

271







pain and death; And to Christ en- throned a - bove Raise my song of self - less love.





pain and death; And to Christ en- throned a - bove

Raise my song of self - less love.























for online perusal only

Matthew 27: 45–6



Very slow q = c.40

MEN (unis.) or SOLO


Now

7. The Fourth Words

pp but rich






from the sixth hour there was dark - ness o - ver all the land un - til the ninth hour.







pp







281




TUTTI (unis.) or SOLO


f

Dramatically q = c.88



f



And


a-bout

the ninth hour Je - sus cried with a loud voice, say - ing,


S.

A.

T.

B.





286






f sempre

E




- li,

E - li,

la

MEN (unis.) or SOLO

mf











f sempre










- ma sab -ach

- tha - ni?



that

is


to say,


S.

A.

T.

B.

291



pp sempre




My

God, my God, why














pp sempre

rit.






hast thou for







rit.






- sa - ken me,

ppp

for

ppp




- sa - ken me?







ppp



16' (32')





19

Phineas Fletcher (1582–1650)

8. Chorus (or solo): Drop, drop, slow tears

S.




Slow and expressive q = c.69

mp







Drop,

drop, slow tears, And bathe those beau - teous feet, Which brought from

A.


mp





Drop,

drop, slow tears, And bathe those feet, Which brought from

T.




mp


for online perusal only







B.

Drop,

drop, slow tears, And bathe those beau - teous feet, Which brought from

mp






Drop,

drop, slow tears, And bathe those feet, Which brought from


OPTIONAL

ACCOMP.




Slow and expressive q = c.69



mp




















NOTE: If necessary, this chorus may be accompanied, by strings when available, otherwise by organ or piano.

It may also be sung as a solo aria (soprano, or tenor 8ve lower) by singing the soprano line and using the instrumental accompaniment.


20

302






f

heav’n

f

heav’n

f



The news and Prince of Peace.

The news and Prince of Peace.



heav’n The news and Prince of Peace. Cease

heav’n

The news and Prince of Peace.

p

p

p

pp

Cease

pp

Cease

pp

Cease




not, wet eyes, His mer - cies to en -





not, wet eyes, His mer - cies to en -


not, wet eyes, His mer - cies to en - treat;

f

p

pp








not, wet eyes, His mer - cies to en -


for online perusal only









f p pp























308







-treat;


-treat;




-treat;

poco accel.




To


To



To

To

cry for ven - geance Sin

cry for ven - geance Sin

cry for ven- geance Sin

f

f

f

poco rit.

doth ne - ver cease. In

doth ne - ver cease. In

a tempo

pp







pp

pp

doth ne - ver cease. In

f







cry for ven - geance Sin






pp

doth ne - ver cease. In

your

your

your

your

deep




deep


deep

deep




poco accel.







f

poco rit.

a tempo


















pp


21

313



poco a poco cresc.






floods Drown all my faults and fears; Nor let his eye See


poco a poco cresc.





floods Drown all my faults and fears; Nor let his eye See

poco a poco cresc.






floods Drown all my faults,








all my faults and fears; Nor let his eye See





floods Drown all

poco a poco cresc.




my faults and fears; Nor let his eye See














for online perusal only

poco a poco cresc.

















f

sin,

f

sin,

f

sin,

f

sin,

f

but

but

but

but

through

p

through

p

through

p

through

p

p

my

my

my

my

mp

317


















tears,

mp

tears,

mp

tears,

mp




tears,

rit.

rit.

p

through







p

through

p

through

p

through

my

my










my

pp

tears.

pp

tears.

my

pp

tears.

pp

tears.

mp p pp

( )


22

9. Chorus/Hymn: Were you there?

Note: Congregation sing (optionally) in verses 1 and 5 only, seated

American folk hymn

arr. Alan Bullard

Expressive, flexible, but not too slow or over-sentimental h = c.60

CHOIR TUTTI + CONGREGATION in unison p






1. Were you there when they cru - ci-fied

my







pp legato

p



Ped. 8'

328







Lord?

Were you there when they cru-ci-fied

my Lord? Oh!
















(in strict time)

336 mf

p









some- times it cau - ses me to trem- ble, trem- ble, trem- ble, Were you there when they cru- ci-fied

my












mf

p









for online perusal only


342

CHOIR S./A. unis.


CONGREGATION TACET

mp


S.

A.


Lord?

2. Were you there when they nailed him to the tree?

CHOIR T./B. unis.

mp




T.

B.


Lord? 2. Were



mp











349




Were you there when they nailed him to the tree? Oh!

mf






nailed him to the tree? Oh! some - times it cau -ses

me to




cresc.




+ 16'

356



mf

p




some - times it cau - ses me to trem - ble, trem - ble, trem - ble,

Were you

p







trem - ble, trem - ble, trem - ble,

Were you there when they nailed him to the





mf

p









you there when they nailed him to the tree? Were you there when they

for online perusal only

23


24

360





there when they nailed him to the tree?

3. Were



tree?

mf

mf

you there when they pierced him in the





















366



















side? Were you there when they pierced him in the side?



for online perusal only
















371





Oh,



Oh,

Oh,




oh,



f

poco rit.

some - times it cau - ses me to trem - ble, trem - ble,
















f

376




pp



pp


A little slower

p



trem - ble,

Were you there when they pierced him in the



p













the

side?




side, the side?

side?

(Slower)


T./B. unis.


mf



4. Were

you


381

(T./B. unis.)



there

when the sun re-fused

to shine? Were you there when the sun re-fused

to

25




Organ: 4'















pp



(downward arpeggios: Piano only)











387


S.

A.

S./A.

mf




unis.

diminuendo


T.

B.

(T./B.)










shine?











mf

Oh!




mf








some-times

it cau

- ses me to

unis.











diminuendo






diminuendo



393








for online perusal only



pp











trem - ble, trem - ble, trem - ble, Were

















pp







pp



you there when the sun re - fused to shine?



Organ: 8'


pp


26

398

Tempo primo h = c.60

SOPRANO DESCANT

mf













5. O were you there? O were you there? O were you there?

A./T./B. + CONGREGATION in unison

mf

5. Were you there when they cru- ci - fied my Lord? Were you there when they cru- ci-fied

my


Tempo primo h = c.60

mf





















for online perusal only

405



O were you there? Oh!

f

it cau - ses me to

f




Lord?

Oh!

some - times it cau - ses me to











f




















411 Slower

pp








trem











trem - ble, trem - ble, trem - ble, Were


- ble, trem - ble, trem - ble, Were














you there when they cru - ci- fied my Lord?

pp



you there when they cru - ci- fied my Lord?

Slower




pp















ppp



ppp



ppp


27

10. The Fifth Words

John 19: 28–9

Simply and freely

TUTTI or SOLO

p






Af - ter this, Je - sus know - ing that all things were now ac -

420







-comp - lished,

that the scrip - ture might be ful - filled, saith,

Relaxed and calm q = c.72

424





p

mp

mf f

pp


S.





A.







I thirst,

I thirst,

I

thirst, thirst.

p






T.

B.









mp mf f pp

Relaxed and calm q = c.72









pp





Simply and freely

TUTTI or SOLO

432 p

3












Now there was set a ves - sel full of vin - e - gar:

and they filled a

436

mp cresc.

mf

3





sponge

for online perusal only

with vin - e - gar, and

put

it up - on hys - sop, and put it to his mouth.


28

Mediaeval Latin Hymn

English paraphrase: A.B.

11. Chorus and solo/semi-chorus: Ave verum corpus




Andantino q = c.84

Ped.


SOLO or SEMI-CHORUS


mp espress. e cantabile


A

Je

-

-

ve

su,

ve-rum

cor

our re - deem

-

-

pus,

er,

a

Je

-

-

ve

su,

ve-rum

cor

our re - deem









p sim.












-

-

pus,

er,

448

mf







na - tum de

born of

Ma

the

- ri - a

Vir - gin

Vir

Ma

- gi - ne;

Ve

- ry;

On

-

the

re

cross

he

pas

suf

-

-

sum,

fered,





















for online perusal only

mp mp










454 rit.



ve

on






-

the

re

cross

he

pas

suf

- sum im- mo - la - tum in

- fered and was sa - cri -

cru - ce pro

ficed for

ho

hu

-

-

mi - ne:

man - kind.






































NOTE: this movement may also be sung as a solo aria (soprano, or tenor 8ve lower) by following these instructions:

1. After the first two bars, cut to bar 460, and sing Soprano line until bar 485

2. From bar 485, cut to bar 492, and sing Solo line

3. Bars 504–7, sing Soprano; bars 508–end, sing Solo

A modified version of this anthem, for SATB (without soloist) and organ/piano is available separately (ISBN 978-0-19-337999-2)


S.

460


a tempo

mp espress. e cantabile



mf

29

A.

T.

B.

A

A

Je




- ve ve - rum cor - pus,

Je - su, our re - deem - er,

mp espress. e cantabile

-

-

ve,

su,

mp espress. e cantabile

A - ve,

Je - su,

a tempo

a

Je

A -

Je -

ve,

su,

a

Je

mp espress. e cantabile

a

Je

-

-

-

-

-

-

ve

su,

ve

su,

ve

su,

a

Je

-

-

ve

su,

ve - rum cor - pus,

our re - deem - er,

ve - rum

cor

our re - deem

-

-

ve - rum

cor

our re - deem

pus,

er,

-

-

pus,

er,

na - tum de

born of

na - tum de

born of

Ma

the

Ma

the

- ri - a

Vir - gin

- ri - a

Vir - gin

na - tum de Ma - ri - a, Ma

born of the Vir - gin, the

ve - rum

cor - pus, na -tum

de Ma - ri - a

our re - deem - er, born of the Vir - gin

Vir - gi - ne;

Ma - ry;

mf


Vir

Ma

- gi -

- ry;





- ri - a

Vir - gin

mf


p sim.

mp








Vir

Ma


- gi -

- ry;


for online perusal only

S.

A.

T.

B.

467



SOLO/SEMI-CHORUS

pp poco a poco cresc.

mf


- re,

ve - re pas - sum im - mo - la-

tum in cru

- ly,

tru - ly he suf - fered, on the cross he suf

mf

Ve

Tru





-ne;




mf

Vir

Ma

Ve

On

mf

Ve

On

- re

the cross he

- gi - ne;

Ve

- ry;

On

mf

pas - sum, ve

suf - fered, on

- - re pas

the cross

mf

- re

the cross he

pas - sum

suf - fered

im- mo - la -tum

in cru - ce pro

and was sa - cri - ficed for

- - sum im- mo - la -tum

in cru - ce pro

he was sa - cri - ficed for




-ne;


Ve - re,

ve - re pas - sum

On the cross he suf - fered



- re pas - sum

im - mo - la-tum

in

the cross,

on the cross he was

im - mo

and was

cru

sa

- la -tum

in cru - ce

sa - cri - ficed











mp





-

-

-






-

cri -



pro

for


30

474 Pochissimo più mosso q = c.92




ho

hu




- -

- -

-

-

mi - ne:

man-kind.

ce,

fered,

mf

Cu-ius

la

For his side

mf

mi - ne:

Cu-ius

la - tus per

man-kind.

For his side was pierced,

Pochissimo più mosso q = c.92


- tus per

was pierced,

f




ho mi - ne:

Cu- la

-

hu




-

-

- ce

- ficed

-

ho

hu


-

-

man-kind.

pro

for







ho

hu

- mi - ne:

- man-kind:

For

mf

ius

his

side

Cu-ius

la

For his side

mf

- tus per

was pierced,

f

- tus per

was pierced,

f

f

-

-

-

fo

was

fo

was

fo

was

fo

was

- ra - tum flux

pierced and flowed

- ra tum

pierced and

- flux

flowed

- ra - tum flux

pierced and flowed

- ra - tum flux

pierced and flowed










mf




f























dim.

-

-

-

-


it

with


it

with

it

with


it

with



for online perusal only

S.

A.

T.

B.

481


a

wa

a

wa




a

wa

a

wa



-

-

qua,

ter,

mf

flux

flowed

mf

- qua,

flux

- ter,

flowed

-

-

qua,

ter,

- qua, flux

- ter, flowed



- it a - qua

with wa - ter

- it a - qua

with wa - ter

mf

et

and

et

and

san

ho

san

ho

-

-

-

-

gui-

ne:

ly blood:



gui

ly

flux - it a - qua et san - gui-

ne:

flowed with wa - ter and ho - ly blood:

mf


-

it

with

a

wa

- qua et

- ter and

san

ho

-

-

gui

ly

-

-

ne:

blood:





ne:

blood:








mf


486





Es - to no

Now his bo

mp

Es - to no

Now his bo

mp

Es - to no

Now his bo

Es - to no

Now his bo

-

-

-

-

bis

dy

bis

dy

prae

feeds

p

prae

feeds

p

- bis prae

- dy feeds

p

-

-

bis

dy

prae

feeds

- gu - sta - tum in

us in his

- gu - sta - tum in

us in his

- gu - sta - tum in

us in his

- gu - sta - tum in

us in his

poco rit.

mf


mp

p






mor - tis ex

death, for

mf

mor - tis ex

death, for

mf

mor - tis ex

death, for

mf

mor - tis ex

death, for

- a - mi - ne,

ev - er - more,




- a - mi - ne,

ev - er - more,





- a - mi - ne,

ev - er - more,

mp






- a - mi - ne,

ev - er - more,

poco rit.






p

p








31





for online perusal only

S.

A.

T.

B.

a tempo q = c.92

492

SOLO/SEMI-CHORUS

p

mp




Es - to no - bis prae - gu - sta - tum in mor - tis, mor -

Now his bro - ken bo - dy feeds us in his death,


p


Es - - to

no - - bis

prae - - sta - tum in

Now

p

Es

Now

a tempo q = c.92

his

bo

- -



Es - - to

no - - bis

prae - gu - sta - tum in

Now

his

bo - - dy

feeds us in

his

p




Es

Now

p

- - to

no

his

bo

- - to

no

his

bo

- -

- -

- -

- -

dy

bis

dy

bis

dy

feeds

prae

feeds

prae

feeds

gu

us

mf

in

his

- gu - sta - tum in

us in his






- gu - sta - tum in

us in his


mp p mf


32

498




mf

p


mor

- tis ex - a - mi

504

rit.

p


- - tis, mor - tis ex - a - mi - ne.

his death, for ev - er - more.

death,

mf


mor




death,

mf

mor

death,

mf



mor

death,

- tis, mor

his

death,

- tis, mor

his death,

for

- tis ex

for

- tis, mor - tis ex

his death, for

- tis, mor - tis ex

his death, for

rit.

ev

p

Tempo 1 q = c.84

Tempo 1 q = c.84

p




a - ve, a - ve, a - ve!

Je - su, Je - su, Je - su!


mp

p

pp




A - ve ve- rum cor - pus, a - ve ve- rum cor - pus,

a - ve!

Je - su, our re - deem - er, Je - su, our re - deem-

er,

Je - su!

mp

p

pp




A - ve,

a - ve ve- rum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!


mp

p

pp






A - ve,

a - ve ve- rum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!

mp

p

pp






A - ve,

a - ve ve- rum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!

rit.





sim.

ppp




-

er -

- ne.

more.



- a - mi - ne.

ev

p

- er - more.

- a - mi - ne.

ev - er - more.

p

- a - mi - ne.

ev - er - more.










pp p









rit.










for online perusal only




pp






Man.


John 19: 30

Simply and freely

TUTTI or SOLO

12. The Sixth Words

p

3







When Je - sus there - fore had re - ceived the vin - e gar,








- he said,

p


33







S.

A.

516




Relaxed and calm q = c.72

mf


mp





p




rit.

pp




ppp



T.

B.




It

is fin - ished, it



is fin - ished, is



mf mp p

fin-

ished,

fin-

ished,

fin-

ished.




pp

ppp



Relaxed and calm q = c.72









for online perusal only





rit.



mf mp p




13. Arioso: God so loved the world

John 3: 16–17

Adagietto q = c.72



SOLO (Mezzo-Soprano or Baritone) or SEMI-CHORUS







Man.


mp espress.


God

so loved the

p legato poco poco


34

528







world, God so loved the world, that he gave his on - ly be - got - ten




poco



poco

532








Son, that who - so - ev- er be- liev - eth in him


mf

should not pe - rish,

should not


for online perusal only


Ped.




mp

p


536









pe - rish,

but have ev- er - last - ing life,

ev- er- last ing

f

- life,

(sempre f )
















f










540 sub. pp poco

Adagio q = c.66






pp

life.
















pp

Solo

espress.

Man.

p

For


35

545



God sent not his Son in - to the world to con-demn

the world;






549

f

p



through












poco cresc. p pp


(pp)







Ped.

553 L’istesso tempo q = c.66





be saved.







pp legato

poco







Man.

558 pp espress.

poco a poco cresc.


so loved the world, God so loved the world, that he gave his


poco

poco a poco cresc.












but that the world through him might be saved,





him

for online perusal only






God



Ped.


36

562






on - ly be - got - ten Son, that who-so

- ev- er be- liev - eth in him should









f

f

not




566








pe - rish, should not pe - rish,

but have ev - er last


- - ing life,
































for online perusal only








570

rit.




p

ev - er- last - ing life.

a tempo










ffp p legato poco


Man.



574 rit. al fine









pp


Luke 23: 46

S.

A.

T.

B.

585




L’istesso tempo q = c.66

ppp

pp

Fa

ppp

Very slow


- ther,

Fa


L’istesso tempo q = c.66

14. The Seventh Words






TUTTI or SOLO

p


3



and

hav



- ing said

thus,

cresc. molto










- ther, in - to thy hands I com-mend

my spi-rit:











pp

cresc. molto

fff



pp

he


fff

gave up the ghost.




fff





Ped.














pp




37





Sir William Leighton (c.1560–1617)

590 Simply and slowly q = c.84

p

S.

A.



15. Chorus: In the departure of the Lord







mf

T.

B.



In

p


the de - par - ture of the Lord, Of mor - tal bo - dy’s vi - tal breath, There


for online perusal only








mf

lies




a


596





f





mys - tery worth re - cord, Which he did show us here on earth: That we, in life and death,












f

each

602 Slower rit.

p





hour Must fol - low Christ







our Sa - viour, must



p


fol






- low Christ









our Sa - viour.


38

16. Hymn: When I survey the Wondrous Cross

Isaac Watts (1674–1748)

Edward Miller (1735–1807)

accompaniment and descant Alan Bullard




Moderato q = c.96


p





















S.

A.

614



mf



+ CONGREGATION in unison









T.

B.





1. When







mf

I sur - vey the Won - drous Cross, On which the Prince of glo - ry died, My





mf













rich

-

est

624






for online perusal only



p








gain I count but





loss, And pour con






- tempt on all my pride. 2. For



p

- bid it, Lord, that


633















39



I should boast, Save in the death of Christ my God; All




the vain things that charm me





most,

I




643














sa - cri - fice them to his blood. 3. See from his head, his hands, his feet, Sor -
















p









651



for online perusal only














-row and love flow mingl - ed down; Did












e’er such love and sor - row


40

658






SOPRANO DESCANT

f


meet, Or thorns com






- pose so rich a crown?






4. Were



4. Were

the whole realm of

ALL OTHER VOICES

f





Piano RH: optional

the whole realm of












Ped. 8’, 16’

f


for online perusal only

665





cresc.


na

na

- ture mine, That were a pre - sent far too small; Love

- ture mine, That were a pre - sent far too small; Love

so a - maz - ing, so di -

cresc.


















so





cresc.

a

- maz - ing, so di -




674

-vine,

-vine,

De

De





allargando


ff







- mands my soul, my

allargando

a tempo

rit.




- mands my soul, my

life,

my

all.

ff




ff





life,

my




all.





a tempo








rit.


















Easter 2011


Wondrous Cross is a refl ctive work suitable for church or concert choirs at Passiontide.

Bullard skilfully weaves the traditional Seven Last Words of Jesus Christ with linking biblical

passages, 3 well-known hymns, and settings of 4 well-known sacred texts, including ‘Drop, drop,

slow tears’ and ‘Ave verum corpus’ (both of which may be sung as independent motets) to create a

moving and at times dramatic work. The short solos are perfectly suited to members of the choir,

and strings (quartet, quintet, or ensemble) may optionally join the organ or piano in the accompaniment.

If performed liturgically, the work may be interspersed with prayers and readings. The

result is a flex ble and striking work that re-presents this timeless story for a modern audience.

Alan Bullard was born in London in 1947 and studied at the Royal College of Music with

Herbert Howells. Having for many years combined composition with a post as a college

lecturer, he now devotes most of his time to writing music, and is also an examiner for the

ABRSM. Alan Bullard’s compositions are performed and broadcast throughout the world, and

appear on a number of CDs.

Wondrous Cross ALAN BULLARD

Alan is editor of The Oxford Book of Flexible Anthems and The Oxford Book of Flexible Carols,

which won the Music Industries Award for Best Classical Publication in 2010. Many of his

shorter choral works are published by OUP, both separately and in anthologies. His carol ‘Glory

to the Christ Child’ was performed and broadcast by the choir of King’s College, Cambridge in

the 2007 and 2008 Services of Nine Lessons and Carols. He is also co-author with his wife Janet

of Pianoworks, a tutor and repertoire series for the older beginner.

OTHER CHORAL MUSIC BY ALAN BULLARD AVAILABLE FROM

OXFORD UNIVERSITY PRESS

Alan Bullard Anthems: 10 anthems for mixed voices

Alan Bullard Carols: 10 carols for mixed voices

Alan Bullard (ed.): The Oxford Book of Flexible Anthems

Alan Bullard (ed.): The Oxford Book of Flexible Carols

A number of separate pieces, including the anthems ‘The Feast of Palms’ and ‘Rest in the Lord

of Life’ and the carols ‘Angel Alleluias’ and ‘Scots Nativity’, are also published by OUP.

For more information about choral music published by Oxford University Press, please go to

www.oup.com/uk/music/choral

cover illustration: © Spectral-Design/Shutterstock.com

1

www.oup.com

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