Alan Bullard Wondrous Cross

SATB and organ or piano with optional strings

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

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

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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

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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

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

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

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

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.

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

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'

Ped. 8', 16'

pp mp poco

slightly prominent

Solo 8'

A little more movement q = c.92

mf f p

rit.

Slower and relaxed q = c.80

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.

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.

Luke 23: 33–4

Simply and freely

TUTTI or SOLO

2. The First Words

And

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

there

they cru - ci - fied

him and the ma - le - fac - tors,

for online perusal only

41 Slower

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

said Je - sus,

Relaxed and calm q = c.72

SOPRANOS

ALTOS

TENORS

BASSES

Fa- ther, for-give

them,

Fa- ther, for-give

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

Relaxed and calm q = c.72

-give

them,

for

- give them; for they know not,

for they

rit.

know not,

know

for they know not what

not

what

they

p p

do.

attacca

3. Hymn: There is a green hill far away

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

1. There

Moderato, always serene q = c.92

Ped. 8'

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

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

Ped. 8', 16'

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’

there.

3. He

Ped. 8'

Piano RH: optional 8ve to end of hymn

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

for online perusal only

SOPRANO DESCANT

we might go at last to heav’n,

Saved by his pre - cious blood.

Ped. 8', 16'

4. O

ALL OTHER VOICES

4. O

dear - ly, dear-

poco rit.

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

- blood, And

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

blood, And

try his works to

poco rit.

do.

Luke 23: 39–43

116

126

Fast h. = c.58

4. The Second Words

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

But the

angry and mocking

108

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.

o-ther

an-swer-ing

re - buked him

for online perusal only

133

mp espress.

rall.

say-ing,

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

- na-

tion?

mp p

142

Slower q = c.144

And

indeed just - ly;

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

poco pp

151

deeds:

but

for online perusal only

rit.

this man hath done no - thing a - miss.

161

Fast h. = c.58

And

he said un - to

- sus,

Lord,

f p

re - mem- ber me, Lord,

re -

171 rit.

-mem-ber

me when thou com-est

in- to thy king - dom.

pp poco

Very slow q = c.56

L’istesso tempo q = c.56

181

mf espress.

SOP.

ALTO

Ve- ri- ly, ve -ri

- ly I say un- to thee,

MEN or SOLO

TEN.

And Je- sus said un - to him,

BASS mp mf espress.

Very slow q = c.56

L’istesso tempo q = c.56

Piano LH: 8va bassa

186

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

ppp

for online perusal only

Man.

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

legato

Man.

Ped.

198

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

203

-le - ne.

When Je - sus

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

p gently

tenuto

a tempo

208

poco

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

he saith un- to his mo - ther,

for online perusal only

214

Wo - man, woman, behold thy son,

mf p mf

- hold thy

221

228

son!

S./A. (unis.) or SOLO

Then saith he to the di - sci - ple,

hold,

for online perusal only

- hold thy

be - hold, be -

rit.

ther!

be - hold,

(Man.)

hold

be - hold,

thy

- hold thy

hold,

ther!

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.

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

Moderato q = c.80

+ CONGREGATION in unison

1. When

3. When

love

will

Moderato q = c.80

God

love

grows weak,

When for deep - er

When for stron - ger

faith

seek,

Then

Hill

thought I

Cal - va -

249

for online perusal only

-ry,

thee,

Gar

-den

thy

Geth - se - ma - ne.

scenes of fear and woe.

2. There

4. There

I walk

be-

hold

a - mid the shades,

his a - go - ny,

While the lin-

Suf-

fered on

gering

the

255

twi - light

bit - ter

fades;

tree;

See

that

his

suf

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

5. Then

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

Piano RH: optional 8ve to end of hymn

266

In a full self - sa - cri - fice.

SOPRANO DESCANT

6. And

ALL OTHER VOICES

6. And

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

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

271

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

pain and death; And to Christ enthroned 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.

281

TUTTI (unis.) or SOLO

Dramatically q = c.88

And

a-bout

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

286

f sempre

- li,

E - li,

MEN (unis.) or SOLO

f sempre

- ma sab -ach

- tha - ni?

that

to say,

291

pp sempre

God, my God, why

pp sempre

rit.

hast thou for

rit.

- sa - ken me,

ppp

for

ppp

- sa - ken me?

ppp

16' (32')

Phineas Fletcher (1582–1650)

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

Slow and expressive q = c.69

Drop,

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

Drop,

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

for online perusal only

Drop,

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

Drop,

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

OPTIONAL

ACCOMP.

Slow and expressive q = c.69

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.

302

heav’n

The news and Prince of Peace.

heav’n The news and Prince of Peace. Cease

heav’n

The news and Prince of Peace.

Cease

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

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

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

for online perusal only

f p pp

308

-treat;

poco accel.

cry for ven - geance Sin

cry for vengeance Sin

poco rit.

doth ne - ver cease. In

a tempo

doth ne - ver cease. In

cry for ven - geance Sin

doth ne - ver cease. In

your

deep

poco accel.

poco rit.

a tempo

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.

sin,

but

through

317

tears,

rit.

through

tears.

mp p pp

( )

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

pp legato

Ped. 8'

328

Lord?

Were you there when they cru-ci-fied

my Lord? Oh!

(in strict time)

336 mf

sometimes it cau - ses me to tremble, tremble, tremble, Were you there when they cru- ci-fied

for online perusal only

342

CHOIR S./A. unis.

CONGREGATION TACET

Lord?

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

CHOIR T./B. unis.

Lord? 2. Were

349

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

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

me to

cresc.

+ 16'

356

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

Were you

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

Were you there when they nailed him to the

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

for online perusal only

360

there when they nailed him to the tree?

3. Were

tree?

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,

poco rit.

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

376

A little slower

trem - ble,

Were you there when they pierced him in the

the

side?

side, the side?

side?

(Slower)

T./B. unis.

4. Were

you

381

(T./B. unis.)

there

when the sun re-fused

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

Organ: 4'

(downward arpeggios: Piano only)

387

S./A.

unis.

diminuendo

(T./B.)

shine?

Oh!

some-times

it cau

- ses me to

unis.

diminuendo

393

for online perusal only

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

you there when the sun re - fused to shine?

Organ: 8'

398

Tempo primo h = c.60

SOPRANO DESCANT

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

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

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

Tempo primo h = c.60

for online perusal only

405

O were you there? Oh!

it cau - ses me to

Lord?

Oh!

some - times it cau - ses me to

411 Slower

trem

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

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

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

Slower

ppp

10. The Fifth Words

John 19: 28–9

Simply and freely

TUTTI or SOLO

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

mf f

I thirst,

thirst, thirst.

mp mf f pp

Relaxed and calm q = c.72

Simply and freely

TUTTI or SOLO

432 p

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

and they filled a

436

mp cresc.

sponge

for online perusal only

with vin - e - gar, and

put

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

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

su,

ve-rum

cor

our re - deem

pus,

er,

su,

ve-rum

cor

our re - deem

p sim.

pus,

er,

448

na - tum de

born of

the

- ri - a

Vir - gin

Vir

- gi - ne;

- ry;

the

cross

pas

suf

sum,

fered,

for online perusal only

mp mp

454 rit.

the

cross

pas

suf

- sum im- mo - la - tum in

- fered and was sa - cri -

cru - ce pro

ficed for

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)

460

a tempo

mp espress. e cantabile

- 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 -

ve,

su,

mp espress. e cantabile

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

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;

Vir

- gi -

- ry;

- ri - a

Vir - gin

p sim.

Vir

- gi -

- ry;

for online perusal only

467

SOLO/SEMI-CHORUS

pp poco a poco cresc.

- re,

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

tum in cru

- ly,

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

Tru

-ne;

Vir

- re

the cross he

- gi - ne;

- ry;

pas - sum, ve

suf - fered, on

- - re pas

the cross

- 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

the cross,

on the cross he was

im - mo

and was

cru

- la -tum

in cru - ce

sa - cri - ficed

cri -

pro

for

474 Pochissimo più mosso q = c.92

- -

mi - ne:

man-kind.

ce,

fered,

Cu-ius

For his side

mi - ne:

Cu-ius

la - tus per

man-kind.

For his side was pierced,

Pochissimo più mosso q = c.92

- tus per

was pierced,

ho mi - ne:

Cu- la

- ce

- ficed

man-kind.

pro

for

- mi - ne:

- man-kind:

For

ius

his

side

Cu-ius

For his side

- tus per

was pierced,

- tus per

was pierced,

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

dim.

with

for online perusal only

481

qua,

ter,

flux

flowed

- qua,

flux

- ter,

flowed

qua,

ter,

- qua, flux

- ter, flowed

- it a - qua

with wa - ter

- it a - qua

with wa - ter

and

san

gui-

ne:

ly blood:

gui

flux - it a - qua et san - gui-

ne:

flowed with wa - ter and ho - ly blood:

with

- qua et

- ter and

san

gui

ne:

blood:

ne:

blood:

486

Es - to no

Now his bo

Es - to no

Now his bo

Es - to no

Now his bo

Es - to no

Now his bo

bis

prae

feeds

prae

feeds

- bis prae

- dy feeds

bis

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.

mor - tis ex

death, for

mor - tis ex

death, for

mor - tis ex

death, for

mor - tis ex

death, for

- a - mi - ne,

ev - er - more,

- a - mi - ne,

ev - er - more,

- a - mi - ne,

ev - er - more,

- a - mi - ne,

ev - er - more,

poco rit.

for online perusal only

a tempo q = c.92

492

SOLO/SEMI-CHORUS

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

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

Es - - to

no - - bis

prae - - sta - tum in

Now

a tempo q = c.92

his

- -

Es - - to

no - - bis

prae - gu - sta - tum in

Now

his

bo - - dy

feeds us in

his

Now

- - to

his

- - to

his

- -

bis

feeds

prae

feeds

prae

feeds

his

- gu - sta - tum in

us in his

- gu - sta - tum in

us in his

mp p mf

498

mor

- tis ex - a - mi

504

rit.

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

his death, for ev - er - more.

death,

mor

death,

mor

death,

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.

Tempo 1 q = c.84

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

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

A - ve verum cor - pus, a - ve verum cor - pus,

a - ve!

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

er,

Je - su!

A - ve,

a - ve verum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!

A - ve,

a - ve verum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!

A - ve,

a - ve verum

cor - pus,

a - ve!

Je - su,

Je - su, our re - deem - er,

Je - su!

rit.

sim.

ppp

er -

- ne.

more.

- a - mi - ne.

- er - more.

- a - mi - ne.

ev - er - more.

- a - mi - ne.

ev - er - more.

pp p

rit.

for online perusal only

Man.

John 19: 30

Simply and freely

TUTTI or SOLO

12. The Sixth Words

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

- he said,

516

Relaxed and calm q = c.72

rit.

ppp

is fin - ished, it

is fin - ished, is

mf mp p

fin-

ished,

fin-

ished,

fin-

ished.

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

528

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

poco

532

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

should not pe - rish,

should not

for online perusal only

Ped.

536

pe - rish,

but have ev- er - last - ing life,

ev- er- last ing

- life,

(sempre f )

540 sub. pp poco

Adagio q = c.66

life.

Solo

espress.

Man.

For

545

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

the world;

549

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.

562

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

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

not

566

pe - rish, should not pe - rish,

but have ev - er last

- - ing life,

for online perusal only

570

rit.

ev - er- last - ing life.

a tempo

ffp p legato poco

Man.

574 rit. al fine

Luke 23: 46

585

L’istesso tempo q = c.66

ppp

Very slow

- ther,

L’istesso tempo q = c.66

14. The Seventh Words

TUTTI or SOLO

and

hav

- ing said

thus,

cresc. molto

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

my spi-rit:

cresc. molto

fff

gave up the ghost.

fff

Ped.

Sir William Leighton (c.1560–1617)

590 Simply and slowly q = c.84

15. Chorus: In the departure of the Lord

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

for online perusal only

lies

596

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

each

602 Slower rit.

hour Must fol - low Christ

our Sa - viour, must

fol

- low Christ

our Sa - viour.

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

614

+ CONGREGATION in unison

1. When

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

rich

est

624

for online perusal only

gain I count but

loss, And pour con

- tempt on all my pride. 2. For

- bid it, Lord, that

633

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

the vain things that charm me

most,

643

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

651

for online perusal only

-row and love flow mingl - ed down; Did

e’er such love and sor - row

658

SOPRANO DESCANT

meet, Or thorns com

- pose so rich a crown?

4. Were

the whole realm of

ALL OTHER VOICES

Piano RH: optional

the whole realm of

Ped. 8’, 16’

for online perusal only

665

cresc.

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

so a - maz - ing, so di -

cresc.

- maz - ing, so di -

674

-vine,

allargando

- mands my soul, my

allargando

a tempo

rit.

- mands my soul, my

life,

all.

life,

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

Alan Bullard Wondrous Cross

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