Roderick Williams choral sampler

OxfordMusic

choral works by Roderick Williams published by OUP

2

Roderick Williams

choral sampler


Roderick Williams choral sampler

Contents:

Roderick Williams studied music and composition at

Oxford University. Alongside a successful performing

career as a baritone soloist, he has also developed a

strong reputation as a composer. Encompassing opera,

instrumental, vocal, and choral music, his works have

been commissioned and performed by such groups as

The Sixteen. the BBC Singers, and the Orchestra of the

Age of Enlightenment, and soloists including Sally

Matthews, James Rutherford, and Susan Bullock. His

music has been heard at Wigmore Hall, the Barbican,

the Southbank Centre, and on BBC Radio. He was

awarded an OBE for services to music in June 2017.

I want Jesus to walk with me – SATB & piano p.3

Let nothing trouble you – SATB unaccompanied p.13

O Adonai, et Dux domus Israel – SATB (divisi) unaccompanied p.28

O Guiding Night – SATB & piano p.42

The star has come – SATB unaccompanied p.57

from For Him all Stars: 15 carols for upper voices:

A Catch by the Hearth – upper voices p.64

from Christmas Spirituals for Choirs:

Children, go where I send thee – SATB & piano p.67

Mary had a baby - Tenor solo, SATB & piano p.91

2


CHORAL SONGS

SATB and piano

3

2

I want Jesus to walk

with me

for online perusal only

Roderick Williams

watch on

A


B.

SOPRANO

ALTO

TENOR

BASS

PIANO*

I want Jesus to walk with me

i) i = c.120–140

Š

Vb C p p p p

Vb C p p p p

Š

Vb

[

C p p p p

Bb # Š C p p p p

V

Swung duplets (h = i) i = c.120–140

8va

b C p p p q tŠŠ.

mp f

{ Bb C Š r Š r =Š tbŠeŠ Š bŠ r Š r #Š =Š Š Š

Swung duplets (h =

for online perusal only

p (quasi pizzicato)

arr. RODERICK WILLIAMS

V

8va

b #Š /Š Š r q r t #Š 5

/Š Š=Š f Š Š-

Š.

r q r t #Š /Š f

Š Š Š

{ Bb Š

=

r Š r =Š t bŠeŠ Š bŠ r Š r #Š

t

=ŠeŠ Š

9


BASSES

Bb p p p q

mp ben cantab.

Š Š ‰ ‰


V I want Je - sus

b Š Š r q tŠŠbŠŠ f

Š Š Š r q p B t Š f r =

8va

- .

Š tt#Š/Š

pp f f

{

legg.

Bb Š =Š Š #Š Š =Š Š #Š Š Š Š Š Š r q Š Š Š Š

* The bass line of the piano part may also be augmented by a double bass playing pizzicato.

4

Offprinted from Spirituals for Choirs, edited by Bob Chilcott (ISBN 0–19–343537–3)

G Oxford University Press 2001 and 2004

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

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

Printed in Great Britain


4

5

14


poco più

Bb Š Š Š Š ˆ q Š Š f ‰ ‰


to walk with me. I want Je - sus

Bb ‰ =Š t f

Š t t f Š f r

=Š tt#Š/Š f f

‰. r

Z ‰‰. ŠŠ

ŠŠŠ

{

poco più f

Bb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š

for online perusal only

18

Bb

Š Š Š Š Š ˆ mf

q Š #Š ‰ ‰


ˆ Bb

ˆˆ V ‰ Š . # Š e r # ‰ . ˆ‰ b‰

cresc.

Bb ŠŠ Š Š Š Š Š #Š Š =Š #Š Š Š Š Š

{

to walk with me. All a - long my

Š

22


Bb

Š Š Š Š Š ‰ ‰ Š

Š-

Š Š Š ‰ ‰

pil - grim jour - ney. Lord, Iwant Je - sus

V b ˆ‰ b‰ ‰ t b ŠŠe r =Še t bbŠ Š Š B b‰. r

-

{ BbbŠ Š bŠ =Š Š

Š bŠ Š Še t bŠ - Š Š Š =Š Š Š


A.

T.

B.

straight duplets

26

Vb p p mf

r Š ŠŠŠ ‰ ‰

In (a) my tri - als,

Vb p p p

[

‰ =‰

aah,

Bb Š Š Š Š ˆ p ‰ p ‰

to walk with me. aah

6

p

5

{

Bb # Š f

tt=Š f

q r Š Š = Š f

Š Š p f r Š Š =

straight duplets

Š f

Š #Š/Š f

p

Bb Š #Š Š Š Š Š Š Š Š r q

‰ Š Š

for online perusal only

S.

A.

T.

B.

30

Vb p p p p

ˆ

aah

Vb Š Š Š Š ˆ r Š ŠŠŠ ‰ ‰

Lord, walk with me. In (a) my tri - als,

Vb ‰ =Š Š Š

[

‰ =‰ Š t‰ Š f

ˆ

da da da ah ba ba aah

Bb ‰ Š Š Š ‰ ‰ Š f t=‰ bŠ ˆ

da da da ah ba ba aah

Bb Š Š Š Š = Š Š Š r Š Š = Š f

Š #Š/Š f

Š f t=‰

-

bbŠ r ŠŠ

Š tŠŠŠ

t Š f

ŠŠ f

{ Bb ‰ Š Š ‰ Š Š Šet ‰ - bŠ Š. ŠeŠ Š


34

Vb ˆ ‰ ‰ Š ‰ Š

ba

ba

più

Vb Š Š Š Š

f

Š ˆ q Š #Š

Lord, walk with me. When my

Vb ˆ ˆ #Š ‰ Š

[

ba

ba

Bb ˆ ˆ Š ‰ Š

ba

ba

Š Bb r

ŠŠ Š t ŠŠŠ

f

t ŠŠŠ

f r VŠ Še Š

# Š e Š # Š Š

Š

Š

Š

Š

poco cresc.

BbŠ. Še Š Š Š. Še Š Š Š. Še Še Š Še

{

6

7

for online perusal only

37


non troppo f

Vb Š Š Š bŠ-

Š Š Š Š bŠ Š bŠ-

Š bŠ Š Š Š Še - Š-

Še -

ba da da da de da ba da da da de da ba ba da da da

Vb ‰ ‰ Š Š Š Š Š ‰ ‰

heart is al - most break - ing,

Vb Š ŠŠŠ - Š Š ŠŠŠ - Š Š Š Š-

[

f

Š - =Š-

ba da da da ba da da da ba ba da da da

f

Bb Š Š Š bŠ-

Š Š Š Š bŠ Š bŠ-

Š bŠ Š Š Š bŠ-

f

Š-

Š-

ba da da da de da ba da da da de da ba ba da da da

f V b r Še t b

bŠe Š . r ŠŠe t b

bŠŠ Še Š Š .

r BŠ f

tbŠŠŠ

f

ŠŠ Š =Š

mf

f

{ BbŠ. Še Š Š bŠ. Še Š Š =Š Š. ŠebŠe Š Še


40

Vb r ‰ Š ‰ ‰ b‰ ‰ ‰ q

-ba da aah

Vb r Š-

Š Š Š ‰ ‰ Š Š Š Š ‰ q

Lord, Iwant Je - sus to walk with me.

Vb

[

r b‰ - Š ˆ b‰ ‰ ‰ q

ba da aah

Bb r ‰-

Š bˆ ‰ #‰ ‰ q

{

ba da aah

8

Bb rbb‰ Š r bŠ t Š t f

Š f r #Š =# = Š f

Š. t Š Š f

Š = Š f

Š >

Š

p

f

Bb rb‰ - Š Š. ŠeŠ Š Š Š Š#Š Š

Š Š Š Š Š

7

for online perusal only

S.

A.

T.

B.

44

Swung

mf sost.

Vbq bbŠŠŠŠ Š bbbbbb ‰ ‰ Š ŠŠ Š Š

Bb q

{

bŠŠbŠŠ Š ‰‰ ‰‰ ŠŠ bbbbbb

Š =ŠŠ Š

When I’m in trou - ble, Lord, walk with

mf sost.

8va>

Bb rVt b Š Š Š b Š bbbbbb ŠŠŠ

ŠŠŠ

r q t Še Š =Š Š Š >

Swung

f

Š

Bb Š r q bbbbbb Š Š Š Š Š Š Š Š


8

47

Vbbbbbb ˆ‰ =‰ ŠŠ t Še f

ŠŠŠ ‰ ‰

me. When I’m in trou - ble,

Bbbbbbb ˆ Š t =Še Š Š Š Š f

ŠŠ=Š ‰ ‰

V bbbbbb r t= ŠŠ > Š r t ŠŠe t ŠeŠ Š =Š/Š Š/Š. Š f f . Še t Š V

8va

> - > Š Š V

Š Š

{

meno f

mp

Bbbbbbb Š Š Š Š Š Š Š Š Š Š Š Š

50

Vbbbbbb Š Š Š Š Š ˆ Š r Š f =ŠŠ

Lord, walk with me. When my

Š Š Bbbbbbb

Š Š Š ˆ =ŠŠ r

Š Š

V bbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š >

f

8va-

- - - Š f t =ŠŠ > Š > Š Š Š > Š Š Š

V V V

{

cresc.

BbbbbbbŠ Š Š Š Š Š Š =Š Š =Š =Š Š

53

Vbbbbbb ‰ bb‰ ‰ Š Š bbŠŠ Š Š Š ‰ Š Š ‰

head is bowed in sor - row,


Bbbbbbb

‰ ‰ Š Š Š Š ŠŠ Š bb‰ ‰

V

8va

bbbbbb Š Š Šbb>

bbŠ Š Š Š >

Š Š Š Šbb>

bbŠ Š Š Š > Š r tbbŠ>

Š Šf r t=

b= > ŠŠŠ

f

f

{ BbbbbbbbŠ Š bŠ

Š bŠ Š Š Š Š Š bbŠ Š

for online perusal only

9


10

56

Vbbbbbb -

Š Š

Š

ŠŠŠ Š Š ‰ ‰‰ =ŠŠ Š =ŠŠ Š

Lord, I want Je - sus to walk with

Bbbbbbb =Š -

Š ==ŠŠ ŠŠŠ bb‰ ‰ ‰ =Š Š ==ŠŠ bbŠŠ Š

-

V bbbbbb r B > =‰ Š bbŠ Š

.

r Vt Š Š Š =Š/Š Š/Š bŠŠ Š f

Š Š Š>

mf

{ Bbbbbbb Š =‰ Š bŠ Š Š Š Š =Š Š

Š

-

Vbbbbbb bˆ q = =Š Š

59

f

‰ ======# Še

=‰ Š =Š Š. Š f q

me. I want Je - sus

Bbbbbbb ˆ q

= Š Š Še

======# Š. Š f q

V bbbbbb q B=Š ŠŠ t

>

Š f r V = ==‰ ‰

> f

> .

> .

=‰. ======# Š. Š f r Š #Š

{ Bbbbbbb Š Š Š Š Š = ‰ Š = =====#

Š Š Š Š

>

V #

62

r t ŠeŠ r -

Š #Š Š Še q f

Š #Š. Š f Š Š

to walk with me oh yeah! I want

B# r t Še -

Š Š Š Še

r q f

Š Š. Š f

Š Š

-

V# ‰ Š

# Š #‰ r Š Š Š # ŠŠ

ŠŠŠ

ŠŠŠ

ŠŠŠ

ŠŠŠ

Š

f V V V V

{ B# Š Š Š Š Š Š Š Š Š Š Š bŠ

for online perusal only

fp f

meno f

9


10

11

V #

65

unis.

Š. ŠeŠ q r t Š Š Š f f

Š Š Š r ‰

Je - sus to walk with me, with

B#

Š. ŠeŠ q r t Š Š f

unis. Š f

Š Š Š

r


V# -

Š. Š

Š Š Š f

Š Š Š Š Š Š Š Š Š-

Š Š Š Š-

Š Š Š

-

f t

{

meno f

B# Š =Š Š Š =Š Š Š Š Š Š Š #Š

V #

68

( Š)

unis.

#Š ff

r Š #Š ‰ ‰ Š Š Š Š Š

me. All a - long my pil - grim

B#

Š unis.ff

r

Š #Š ‰ ‰ Š Š Š Š Š

V# #Š Š Š Š Š Š Š Š Š Š Š Š Š b>

Š Š Š Š >

Š Š = =Š Š Š b >

Š Š b Š Š =Š >

V V V

{ B# Š =Š Š Š Š f Š Š Š =Š Š Š Š

V #

71 straight duplets

decresc.

*

‰ ‰ r

Š-

decresc.

Š Š Š Š ‰ ‰

jour - ney Lord, I want Je - sus

B# ‰

Š-*


Š Š Š

r

Š ‰ ‰

decresc.

decresc.

V# r t #ŠŠe r t=#Še

r = Š


straight duplets

Š r Še t

> > > Še Š Še

{

meno

B# Š Š bŠ Š Še t b‰. Š =Š

f

> Š ŠŠŠ Š

for online perusal only

* Altos and basses can miss out the top note and join on the ‘E’.

~~~~~~~~~~~~~~~

gliss.


12

V # 74

r bŠ Š Š

p

- Š ˆ Š r Š

Š

to walk with me, walk with

B# r

bŠ-

Š Š Š ˆ Š

Š

Š

r

V# p

r ##Š ==Še Š t

- . Š e Š

Š

{ # Še Š ŠŠe ŠŠ Š ŠŠ Š #Š Š Š

B#

Š Š Š bŠ =

e

p

Š

- . ‰ Š Š ‰ Š Š

V #

77

cresc. al fine

ˆ Š r Š Š ˆ

me, walk with me,

B# ˆ ˆ Š Š ŠŠ ŠŠ ˆ

r


V#

cresc. al fine

t

Š e Š

Š

{ # Š

Š

Š ŠŠ ŠŠ Š ŠŠ Š #Š Š Š r Š

Š # Še Š ŠŠe

poco cresc.

B#

Š. Še Š Š ‰ Š Š ‰ Š Š

V #

80

(

r )

Š Š Š #‰. r p

( )

walk with me.

B#

Š Š r

#Š Š ‰.

r p

V# ŠŠ Š ŠŠ #Š Š Š Š r Š

Š # Še Š Še p

>

{

non troppo

B#

f

‰ Š Š ‰ Š Š Š r q

for online perusal only

11

Music origination by Barnes Music Engraving Ltd., East Sussex.

Printed in Great Britain by Halstan & Co. Ltd., Amersham, Bucks.


NEW

HORIZONS

13

2

Sacred

SATB a cappella

for online perusal only

RODERICK WILLIAMS

Let nothing trouble you


14

St Teresa of Ávila

trans. unattrib.

SOPRANO

ALTO

TENOR

BASS

Commissioned by the Genesis Foundation for Harry Christophers and the members of The Sixteen

Let nothing trouble you

Moderato, senza rigore q = 66


SOLO or SMALL

GROUP ad

lib.

Let



p sostenuto

Let

no

p sostenuto

pp






Let

no - thing, no - thing,

let



RODERICK WILLIAMS



- thing, let no -thing,

no

- thing, let

p dolce e semplice

pp



no - thing

no -





for

rehearsal

only




Moderato, senza rigore q = 66





for online perusal only


p





( )




4











no - thing,

no - thing, let no thing,





trou-ble

you,

poco cresc.

Let no-thing

fright-en

you, Ev

poco più f molto legato

’ry-thing

is fleet - ing,




- thing, let no - thing,

no - thing, no - thing,

legato e senza cresc.

B. 1 ad lib.

pp sostenuto






No


- thing,

no





pochiss. marcato

-

dim.




- no -

- thing, no - thing, no - thing,
















poco cresc. poco più f dim.













Let nothing trouble you is recorded by The Sixteen, conducted by Harry Christophers, on their CD O Guiding Night (COR16090).

© Oxford University Press 2011

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.


15

TUTTI SOPRANOS

3

lunga

8

p

poco cresc.





fleet - ing, fleet - ing,

Let no-thing

trou - ble you, Let no-thing

p

poco cresc.


no - thing, no - thing,

Let no-thing

trou - ble you, Let no-thing


p

poco cresc.





- thing, no - thing,

Let no - thing, Let no-thing

TUTTI p

BASSES poco cresc.




no - thing, no - thing, no - thing, Let

no - thing, Let no-thing

lunga





( )







p

poco cresc.







poco meno mosso

12

mf

p








fright-en

you, God a-lone

is un - chang - ing,

God a-lone

is unmf

p






fright - en you, God a-lone

is un - chang - ing, God a -lone

is unmf

p






fright-en

you, God a-lone

is un - chang-ing,

God a -lone

is unmf

p







fright - en you, God a-lone

is un - chang - ing,

God a -lone

is unpoco

meno mosso











mf

p























for online perusal only


16

4

16





a tempo e accel.

mp





















- chang - ing. Pa-tience

can ob-tain

ev ’ry

mp

mf







rit. e dim.

- chang - ing.

Pa-tience

can ob - tain ev - ’ry -thing,

ev - ’ry-thing,

mp

- chang - ing.

Pa-tience

can ob - tain ev - ’ry -thing,

ev - ’ry-thing,

mp

mf

mf

mf

- -thing,

ev - ’ry-thing,

- chang - ing.

Pa-tience

can ob - tain ev - ’ry -thing,

ev - ’ry-thing,



























for online perusal only

a tempo e accel.






mp












mf




rit. e dim.









20





ev

ev



- ’ry - thing.

The


- ’ry - thing.

The

a tempo

p ma deciso

one

p ma deciso

one

cresc. e accel.

3





who pos-ses

- ses God wants for

3




who pos-ses

- ses God wants for










3

ev - ’ry - thing.

The who pos-ses

- ses God wants for









ev



- ’ry - thing.

The







a tempo

p ma deciso

one

p ma deciso








p

one

3

who pos-ses

- ses God wants for

3

3

cresc. e accel.


17

23

a tempo

f


3

3







3

3





3

3



no - thing, wants for no - thing:

God



no - thing,

no - thing,

3

wants for no - thing:





3

3

3







no - thing,

God

wants for no - thing: God

wants for



3

no - thing:

f

f

f

God

a - lone suf - fi - ces,

a - lone suf - fi - ces,

a - lone suf - fi - ces,

a - lone suf - fi - ces,

5






















3 3

3



3 3

3


















a tempo






f








27





for online perusal only

molto dim.

mp








sub. p






God a - lone suf - fi - ces,

God

a

-

lone,



molto dim.





mp sub. p




molto dim.

mp sub. p








God a - lone suf - fi - ces,

God a - lone,



God a - lone suf - fi







God a - lone suf - fi - ces,

-

molto dim.

ces,

God

mp

God

a

a

-

-

lone,

sub. p



lone,
























molto dim.







mp






sub. p


18

6

30



























mp



God

mp

God

mp

God

mp


God


a

a

a


a

sub. p

mp







- lone

suf - fi - ces, God

sub. p

mp

- lone

suf - fi - ces, God

sub. p

- lone

suf - fi - ces, God

sub. p







mp

mp




- lone

suf - fi - ces, God

a

a

a

a

-

-

-

-

sub. p



lone,

sub. p

lone,

sub. p

lone,

sub. p



lone,



for online perusal only
























mp sub. p mp sub. p





















34










SOLO or SMALL GROUP ad lib.

espress.

Let

no

mp

God

mp

God

a

a

-

-

sub. p



lone,

sub. p


lone,

poco cresc.







- thing trou-ble

you, Let no - thing


mp


God

a

-

sub. p



lone,

























mp sub. p poco cresc.


19

7

38 mp

cresc. e string. poco a poco



- is un-chang-ing,



mp











suf - fi - ces, God a - lone, God a - lone is un-chang-ing,

TUTTI TENORS

mp









fright-en

you, God a - lone, God a - lone is un-chang-ing,

mp






suf - fi - ces, God a - lone, God a -lone

is un-chang-ing,

cresc. e string. poco a poco














mp
















a tempo f

41











- is un-chang-ing,

is un-chang-ing,

God a -





f










God a - lone is un-chang-ing,

is un-chang-ing,

God a -







f





God a - lone is un-chang-ing,

is un-chang-ing,

God a -


f






God a - lone is un-chang-ing,

is un-chang-ing,

God a -

a tempo












f




















suf - fi - ces, God a - lone, God a lone








God a lone





for online perusal only


20

8

44








- lone

poco accel.


dim.



- lone

is un - chang - ing, un - chang - ing, un - chang - ing, un -



- lone

is un - chang - ing, un - chang - ing, un - chang








- lone

is un - chang - ing, un - chang - ing, un - chang - ing, un -



is un - chang - ing, un - chang - ing, un - chang

dim.

dim.

dim.

-

-







for online perusal only

poco accel.
















dim.



48



- chang - ing, un - chang - ing,







- -

ing,



- chang - ing, un - chang-ing,

un - chang-ing,

un - chang - ing,

p





- -


ing,


21













Tempo primo

53

p










p

pochiss. cresc.

God a - lone is un - chang - ing,


p


un - chang - ing,

God is un- chang-ing,

un -




p


God

Tempo primo







p



58 pochiss. cresc.

pp



is un - chang - ing,

God a - lone is un-chang - ing,

pochiss. cresc.

pp




- chang - ing,

God a - lone is un - chang - ing,



p pochiss. cresc.

p espress.



God a - lone,

Let no-thing

pochiss. cresc.

pp






a - lone,

God


for online perusal only







9


22

10

63





God a - lone is un - chang - ing, un -











God is un - chang - ing,

God a - lone is

trou -ble

you, Let

poco cresc.









no-thing

fright-en

you, Ev

poco più f molto legato

- ’ry-thing

is fleet - ing,





a - lone

is un - chang - ing,

un -

for online perusal only









poco cresc.






poco più f





67






- chang- ing, un - chang - ing.

Trou-ble

you, no






p

poco cresc.

un - chang - ing.

Trou-ble

you, no - thing

p

poco cresc.

dim.



fleet

- ing,

fleet ing,


- Let no- thing trou -ble

you, Let

- chang - ing.

Trou-ble

you, no


p


p

-

poco cresc.

thing


no-thing

poco cresc.

-

thing










p

poco cresc.

dim.


23

11

poco meno mosso

71

poco più f

p




fright-en

you, God a- lone is un - chang - ing,

God a-lone

is unpoco

più f

p






fright-en

you, God a - lone is un - chang - ing, God a-lone

is unpoco

più f

p












fright-en

you, God a- lone is un - chang - ing,

God a-lone

is unpoco

più f

p






fright-en

you, God a- lone is un - chang - ing,

God a-lone

is unpoco

meno mosso








poco più f

p













a tempo

rit. e dim.

75

mp

f








- chang - ing. Pa-tience

can ob - tain ev -’ry-thing,

ev - ’ry-thing,

mp

f










- chang - ing.

Pa-tience

can ob - tain ev -’ry-thing,

ev - ’ry-thing,

mp

f










- chang - ing.

Pa -tience

can ob - tain ev -’ry-thing,

ev - ’ry-thing,

mp

f







- chang - ing.

Pa-tience

can ob - tain ev -’ry-thing,

ev - ’ry-thing,

a tempo

rit. e dim.













mp

f

























for online perusal only


24

12

79



p dolce

pp




a tempo

p


3

cresc. e accel.








ev

p dolce

- ’ry - thing.



ev

p dolce

- ’ry - thing.

pp

3



ev

p dolce


ev

- ’ry - thing.


pp


3




- ’ry - thing.

pp


The

p

The

p

The

p

The

one who pos - ses - ses


3

one who pos - ses - ses

one who pos - ses - ses

one who pos - ses - ses


for online perusal only









a tempo


p dolce pp p




cresc. e accel.



3

3


82



3

3






God wants for no - thing,

3

3






God wants for no - thing,

3

wants for no - thing:



wants for no - - thing:

3

3




God wants for no - thing,

wants for no - thing:

3



3

3

3






God wants for no - thing,

wants for no - thing:





















3 3

3



3










3







3


25

85

a tempo

f







p




13




God

a - lone suf - fi - ces, God a - lone suf - fi - ces.

f

p










God

f

God


a tempo

a - lone suf - fi - ces, God a - lone suf - fi - ces.

p




a - lone suf - fi - ces, God a lone

f




God





f











- suf - fi - ces.

a - lone suf - fi - ces, God a - lone suf - fi - ces.






p

p












for online perusal only

89








p


Pa

-


tience,




Pa tience,

- pa -tience,

pa - tience, pa-tience,

pa - tience,



p


Pa

- tience, pa-tience,

pa - tience,


26

14

94




mp espress.


Pa

- tience can





pa - tience,

pa - tience, pa - tience,

pa

sim.


-


tience,

sim.






pa

- tience, pa

- tience, pa - tience,

pa - tience,



sim.


pa - tience, pa - tience, pa - tience,

pa - tience,







for online perusal only











mp





98





ob

- tain

ev - ’ry - thing,

can ob - tain ev - ’ry - thing,




pa - tience,

pa - tience, pa - tience,

pa - tience,







pa

- tience,

pa - tience,

pa - tience,

pa - tience,








pa

- tience,

pa - tience, pa - tience,

pa - tience,


27

102




dim.



can ob - tain ev - ’ry - thing,

can ob - tain ev - ’ry - thing,


pa

dim.

- tience,

pa




- tience, pa - tience,

pa - tience,





15



dim.



pa - tience,

pa

- tience,

pa - tience,

pa - tience,




dim.


pa

- tience,

pa

- tience, pa - tience,

pa - tience,


for online perusal only





dim.






106





can ob-tain

ev - ’ry-thing,



pp

pp

ev

morendo


- ’ry - thing.

morendo






pa-tience,

pa-tience,

pa

- tience, pa - tience.



pp

morendo

pa - tience, pa - tience.





pa-tience.










Processed in England by Enigma Music Production Services, Amersham, Bucks.

Printed in England by Halstan & Co. Ltd, Amersham, Bucks.



pp





Loch Rannoch, 17 November 2010


NEW

HORIZONS

28

2

Advent

SATB (with divisions) a cappella

for online perusal only

RODERICK WILLIAMS

O Adonai, et Dux domus Israel


O Adonai, et Dux domus Israel

Performance directions

Structure

The motet is performed as follows:

Solo Soprano opening phrase A sung once.

· Solo and chorus Sopranos sing B and continue improvising until the

solo Soprano cues the Coda.

· Once B is established in upper voices, lower voices begin at and sing

through to the end of their music.

· The Celebrant joins at E .

During the last line of the Celebrant’s music, the solo Soprano begins the

Coda by singing the initial phrase, overlapping with the singing of the

Celebrant and lower voices.

The chorus Sopranos (with the soloist ad lib.) respond with the exit phrase,

repeating as many times as necessary to cover their exit (see below).

The upper and lower voices are not necessarily meant to synchronize the end

·

·

of the motet; either part may end first.

Notation

· In the absence of barlines, an accidental lasts for all successive notes unless

cancelled by a further accidental, a change of pitch, or a rest.

· In free chant passages, the value is taken to be a longer note and

the value a shorter one. Actual duration of notes is

determined in performance by the conductor (for the choir) and the soloists.

The rest is taken to be a longer rest, a shorter rest.

· The slurring of the diphthong in ‘Ado-nai’ ( ) is not meant to give

undue stress to the last vowel. Rather, the choir should sing a longer first vowel

and synchronize the change.

The Celebrant’s part should be performed with great freedom, and all aspects of

·

pacing, dynamics and expression are left to the performer. The commas are

suggested phrasings and can be breaths of indeterminate length; both they and

the alignment of the part in the score are for guidance only.

29



C


for online perusal only

Positioning of singers

The preferred arrangement of the singers is as follows:

· The solo Soprano (solo Angel) should begin from a high vantage point.

The chorus Sopranos (chorus of Angels) should sing from different parts

of the building, still from on high if possible.

· Altos, Tenors and Basses (the People) should be placed at the back of the

audience or in their midst, with the conductor visible to them, but not necessarily

to the audience.

· Before starting his solo at E , the Celebrant should walk to a position in front

of the audience (for example, at a pulpit or lectern), and address the audience

directly.

· During the Coda the Sopranos should leave their positions and start to exit.

The solo Soprano should lead off during the initial phrase as a signal for

the other Sopranos to follow. The chorus Sopranos should repeat their exit

phrase as necessary to cover their exit. The last ‘veni’ should be very much in

the distance.

This piece may also be performed in any standard choir formation.

·

Style

The pacing and dynamics of the motet are left to the imagination of the

soloists and conductor and may differ with each performance.

The delivery of the Celebrant should contrast with the rest of the motet; it

should be dramatic, impassioned, highly communicative – almost operatic.

·

·


30

Commissioned by Jeffrey Skidmore for Ex Cathedra

for performance at St Paul’s Church, Birmingham

O Adonai, et Dux domus Israel

Advent antiphon

RODERICK WILLIAMS

SOPRANOS

A

SOLO

S.


Solo Angel








O

A

- do - nai,

O A - do - nai,










ve

- ni, ve - ni

ad re - di - men - dum nos.

B

S.




Solo Angel and Chorus of Angels







O

A - do - nai,

O


A



- do - nai,











for online perusal only






ve

-

ni,

ve

- ni, ve - ni

ad

re

- di - men - dum nos.

The Sopranos sing from pp. 4–5 only.

At B , the soloist improvises using the cells 1-5, in any order, repeating at will. Most important is

that the soloist uses frequent gaps or rests between entries – these are as much a part of the

improvisation as the notes. One by one the chorus Sopranos begin improvising, using the same cells

while imitating what they hear around them. Again, the use of rests is important so that the

resulting texture is not too dense. Rather, it should be made up of unpredictable entries led in part

by the solo Soprano.

The Sopranos should continue this improvisation until the start of the Coda.

Offprinted from Cantica Nova: 18 new motets for choirs (ISBN 978-0-19-335536-1)

© Oxford University Press 2004

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.


31

5

Coda

SOLO

S.



Initial phrase – Solo Angel










O

A

- do - nai,

O A - do - nai,








ve

- ni, ve - ni

ad re - di - men - dum nos.




Exit phrase – Chorus of Angels









O

A

- do - nai,

ve - ni, ve - ni,

ve

-

ni.








O

A

- do - nai,

ve - ni, ve - ni,

ve

-

ni.



for online perusal only





O

A

- do - nai,

ve - ni, ve - ni,

ve

-

ni.

The solo Soprano begins the Coda by singing the initial phrase during the last line of the Celebrant’s

music (before G ).

The chorus Sopranos, with the soloist ad lib., then sing the exit phrase, repeating as many times as

necessary to cover their exit.

The Sopranos should exit during the singing of the Coda, and the last ‘veni’ should be very

much in the distance.


6

Advent antiphon

32

Commissioned by Jeffrey Skidmore for Ex Cathedra

for performance at St Paul’s Church, Birmingham

O Adonai, et Dux domus Israel

RODERICK WILLIAMS

ALTO

TENOR

BASS

C






The People

O,


O,

O,





O A - do - nai, A - do - nai,


O A - do - nai, A - do - nai,


O A - do - nai, A - do - nai,

for online perusal only

for

rehearsal

only
















O A - do - nai,

A - do - nai,

A - do -





O A - do - nai,

A - do - nai,

A - do -











O A - do - nai,

A - do - nai,

A - do -

















Offprinted from Cantica Nova: 18 new motets for choirs (ISBN 978-0-19-335536-1)

© Oxford University Press 2004

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.


33

7








- nai, A - do - nai,

ve - ni ad re - di- men - dum nos,





- nai, A - do - nai,

ve - ni ad re - di- men - dum nos,











- nai, A - do - nai,

ve - ni ad re - di- men - dum nos,




for online perusal only

























ve - ni ad re - di- men - dum nos in bra -chi

- o ex - ten - to.





ve






- ni ad re - di- men - dum nos in bra -chi

- o ex - ten - to.










ve - ni ad re - di- men - dum nos in bra -chi

- o ex - ten - to.


A.

8



34

D






Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,

T.1

T.2

B.








Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,




Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,


Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,

for online perusal only





















O A- do - nai,

A- do - nai, A- do - nai, A- do - nai,








O A- do - nai,

A- do - nai, A- do - nai, A- do - nai,



O A- do - nai,

A- do - nai, A- do - nai, A- do - nai,








O A- do - nai,

A- do - nai, A- do - nai, A- do - nai,


35

9




ve



- ni ad re - di-men

-dum

nos, ve - ni ad re - di-men

-dum

nos


ve ni



- ad re - di-men

-dum

nos, ve - ni ad re - di-men

-dum

nos



ve - ni ad re di



ve




- -men

-dum

nos, ve - ni ad re - di-men

-dum

nos




- ni ad re - di-men

-dum

nos, ve - ni ad re - di-men

-dum

nos



















for online perusal only



























in bra - chi - o ex - ten - to.

Ve - ni, ve - ni.









in bra - chi - o ex - ten - to.

Ve - ni, ve - ni.





in bra chi





- - o ex - ten - to.

Ve - ni, ve - ni.


in bra - chi - o ex - ten - to.

Ve - ni, ve - ni.


10

36

SOLO

A.

T.1

T.2

B.

E








Celebrant (TENOR or BARITONE Solo)

pacing and dynamics ad lib.

O,

3 3 3

O A - do - nai, A- do - nai, A- do - nai, A - do

O A - do - nai,

A - do - nai,


O,

O A - do - nai,

A - do - nai,

O,

O,






O A - do - nai,

A - do - nai,

O A - do - nai,

A - do - nai,









-

for online perusal only










3










- nai, A-do

- nai,

O A - do - nai, et Dux do -mus Is -ra -el,







O A - do - nai,

A- do-nai,

A- do-nai,

A - do -




O A - do nai,

- A- do-nai,

A- do-nai,

A - do -


O A - do - nai,

A- do-nai,

A- do-nai,

A do






O A - do



- nai,

- -

A- do-nai,

A- do-nai,

A - do -


qui Moy - si in









3








- nai,

ve

i

3

- gne flam - mae ru -bi

ap-pa

- ru - i - sti,

unis.

- ni ad re - di- men - dum nos,

- nai,

ve - ni ad re - di- men - dum nos,

- nai,

ve - ni ad re - di- men - dum nos,

unis.

- nai,

ve










37




- ni ad re - di- men - dum nos,








11

for online perusal only





















3 3

et e - i in Si - na, in Si - na le - gem de di -





- sti:

ve - ni ad re- di- men -dum

nos in bra -chi

- o ex - ten - to.



ve ni





- ad re- di- men -dum

nos in bra -chi

-o

ex - ten - to.








ve - ni ad re- di- men -dum

nos in bra -chi

-o

ex - ten - to.







ve - ni ad re- di- men -dum

nos in bra -chi

-o

ex - ten - to.


12

38





O A - do nai,







Ve

- O A- do- nai, A- do-

nai,

F


3

et Dux do - mus

- ni, ve - ni.

O, O A - do - nai,


Ve - ni, ve - ni.

O, O A - do - nai,


Ve ni,

Ve






- ve - ni.

O, O A - do - nai,

- ni, ve - ni.

O, O A - do - nai,














for online perusal only






















3

Is - ra - el,

ve - ni,

O A - do nai,








A

- do - nai,

O A - do - nai,




A - do - nai,

O A - do - nai,





A - do nai,



A


- O A - do - nai,




- do - nai,

O A - do



-


- A - do -

nai,


13








- nai, A -do -nai,

A -do -nai,

ve - ni ad re - di- men - dum nos in






A - do - nai, A- do - nai, A - do - nai,



A - do - nai, A- do - nai, A - do - nai,



A - do - nai, A- do - nai, A - do - nai,





A - do - nai, A- do - nai, A - do - nai,









3 3



bra - chi - o ex - ten - to.

Dux do - mus Is - ra - el,


unis.





ve - ni

ad re - di - men - dum nos,




ve - ni

ad re - di - men - dum nos,





ve - ni

ad re - di - men - dum nos,

unis.







ve - ni

ad re - di - men - dum nos,










39

for online perusal only


14

40



ve - ni ad re - di - men -dum

nos




ve

- ni ad re - di - men - dum nos




ve - ni ad re - di - men - dum nos






ve - ni ad re - di - men - dum nos







ve




- ni ad re - di - men - dum nos








for online perusal only















in bra -chi

-o

ex ten







3 3

(long)

- - to. Ve - ni, ve - ni, ve - ni.

in bra - chi - o

ex - ten - to.

Ve - ni, ve - ni.




in bra - chi - o

ex - ten to.






in bra - chi - o

ex - ten to.



- Ve - ni, ve - ni.

- Ve - ni, ve - ni.

in bra - chi - o

ex - ten - to.

Ve - ni, ve - ni.


A.

T.

B.













G

O,


O,


O,

A



A - do - nai, A - do - nai,

A - do nai,



A

15





O A - do - nai,

A - do - nai,




O A - do - nai,

A - do - nai,

O A - do - nai,

A - do - nai,





- do - nai, A - do - nai,

A - do - nai,

O.

- O.

- do - nai, A - do - nai,

A - do - nai,

O.


















for online perusal only







41


NEW

HORIZONS

42

2

Sacred

SATB and piano

for online perusal only

RODERICK WILLIAMS

O Guiding Night


43

Commissioned by the Genesis Foundation

for Harry Christophers and the members of The Sixteen

O Guiding Night

St John of the Cross (1542–91)

trans. Kieran Kavanaugh and Otilio Rodriguez

RODERICK WILLIAMS

SOPRANO

ALTO

Allegro non troppo q = 92




TENOR

BASS



PIANO

4

7









poco cresc.

Allegro non troppo q = 92





ff




poco dim.

con Ped.



3 3












for online perusal only






f



ff

3


f

Music © Oxford University Press 2012. Text from The Collected Works of St John of the Cross, translated by Kieran Kavanaugh and Otilio

Rodriguez, © 1964, 1979, and 1991 by Washington Province of Discalced Carmelites, ICS Publications, 2131 Lincoln Road, NE Washington,

DC 20002-1199, USA (www.icspublications.org).

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.

3

3 3


solo p espress.

p

An extended version of O Guiding Night is recorded by The Sixteen, conducted by Harry Christophers, on their CD of the same

name (COR 16090).

3

3





( f )


mp

















mp

( f )

3 3


S.

A.

10





p hushed, excited

3

One dark night, fired with love’s ur - gent long-ings,

p hushed, excited

3




T.

B.




bright



3

44


3






3

6


3


13












p

(O




(the

mf


mf

the sheer


sheer grace!)





grace!)


p

I

went out un - seen, my

I went out

p

un - seen,

p

Un - seen,

cresc.







house

my house




cresc.

my house


poco cresc.






16





for online perusal only

p


mf sost.






be - ing now all stilled.






p

On

mf





mf sost.

that

glad


4

19




45

3







22







25






night, on that glad



In

p

se-

cret,

p

did I look

p

for

mf

night,

sost.

no one saw me, nor

in se - cret,

p (senza cresc.)

In se- cret,

in se - cret,


poco cresc.

at




















3

a-ny-thing, with no o-ther

light

( p )

in se

with no

( p )

-








cret,



p

o-ther light or guide

3




3

with

sempre poco cresc.

no






sost.











for online perusal only



or guide

3

o-ther

guide,

















poco cresc.









3

3

than the

than

3





the



3 3


46

28








one






that




that

burned

burned








3




3

in

3




3

in




my




my



heart.



poco rit.

mf

mf



heart.


poco rit.





5







31


a tempo














p dolce








34





for online perusal only





espress.






poco rit.




S.

A.

38



a tempo

mf sost.




T.

B.





This


mf sost.

guid-ed

me more sure - ly than the light of noon






a tempo


6

41






to where he was a wait




45



well–




p dolce

- - ing me– him

p dolce












molto

there

molto




3

in

3

3

a


mf

place

mf






where















3






47








3





3

no one ap

3


3

I knew so










- peared



for online perusal only



49













mf espress.








mp


54

3





48

7









58

p



Poco meno mosso






















sost. e dolce




S.

A.

62





S. O

p

guid - ing night!




T.

B.






T. O

p


guid - ing night!










espress.




for online perusal only



3






66





O

night

more love

- ly than the dawn!




O

night

more love

- ly than the dawn!







A. p

O


B. p O

3


8

69


49





night





night

that has u - nit - ed

the Lov

- er with his be -









that has u - nit - ed

the Lov












- er with his be -





72



- lov



for online perusal only






- ed.


- lov - ed.




















76








un poco più f



O

guid

un poco più f




- ing night!







mf






O


O




night




night


O


O


night

79








more love

more love -

night more love




more love

-

- ly than the dawn!



ly than the dawn!

- ly than the dawn!



ly

than the dawn!











50










non troppo f



O night that has u -



non troppo f




















9

for online perusal only

82


- nit




- ed the Lov - er with his be- lov - ed, trans



mp

mp

poco più mosso

- form ing

3

3

- the be-

3



poco più mosso









mp












86


- lov




- ed in her Lov - er,













poco cresc.

( mp )


Trans


mp





3

- form - ing the be -









3




3


51

10

90




- lov


mf











- ed, trans




mf

- form

ing


mf

- - - the be - lov - ed.
























94





poco allarg.

f


O


f

poco allarg.



guid






a tempo


- ing night! O guid - ing





a tempo























f



for online perusal only

















97








night! O night that has u -


100


- nit




104









a tempo

espress. 3






108






11

poco rit.

p



- ed the Lov - er

with his be - lov - ed.

p

poco rit.



a tempo

p







3

f




O guid - ing night! O guid - ing



f

3 3 3

3

3 3





3 3 3










sub. f




52


for online perusal only


53

12

111



allarg. a tempo


f














115



night!










O

f

allarg.

guid -ing

night more love - ly than the dawn,








a tempo





3 3 3 3

f























for online perusal only






more love - ly than the dawn.








3
















mf dim.

118











u

-

pon

p

3

my flow - er-ing

breast

p


bright


3

which I kept whol - ly for him a-lone,

p


p










p

(in se




-

cret)


54

121




there



there

he

lay



he

sleep

lay

- ing,


sleep

-


ing,


13

and I ca -ress

-ing

him

p molto sost.





p molto sost.

and I -ress

him





there he lay




sleep

-

ing,





-ress him

p molto sost.



there

he

lay

sleep

-

ing,



for online perusal only










124







3

there in a

3




p molto sost.

3





3



3


3

breeze from the fan - ning ce - dars.





3

3

















p



127








O guid - ing night! O















p sonore






p



p




guid




- ing night!









p cantabile


14

131





p


O

night more love

55




- ly than the dawn!



poco meno mosso

( p )


I

a -

p






poco meno mosso



135











p espress.

3

- ban - doned and for - got my -self,

lay-ing

my face










3

poco cresc.










3

3

poco cresc.




3

on my Be -

for online perusal only


138







- lov






- ed;

all


















*p






things ceased;












I went



3

( )

3

out from my-

self,

3






3




*The piano can support the choir ad lib. until b. 144, using the small notes.


142



146



tempo flessibile colle parole


3









3

leav-ing

my cares

3

3

*tenors stay on A§ and 1st basses on Ab

tempo flessibile colle parole






for - got - ten

a - mong the lil - ies.

*













pp









56

















15





O

pp

the sheer grace! O

guid

- ing night! O


























guid -






149




for online perusal only

pp



rit. al fine






- ing

night!


div.









(opt.) pp


rit. al fine








Processed in England by Enigma Music Production Services, Amersham, Bucks.

Printed in England by Halstan & Co. Ltd, Amersham, Bucks.


NEW

HORIZONS

57

2

Christmas

SATB unaccompanied

for online perusal only

RODERICK WILLIAMS

The star has come


58

for Marie Curie

The star has come

Robert Seatter (b. 1955)

RODERICK WILLIAMS

SOPRANO

°

& 4

Bright, fun q = c.100

‰ Ó ‰

f fp >

œ j œ

The star,

œ

f fp > *

œ j ˙

the star,

˙

port.

¿ j ‰


ALTO

& 4

f fp >

f fp > *

œ j w œ

œ

˙ ˙

The star, the star, the

port.

¿ j ‰ Ó Œ ‰

f

œ j

for online perusal only

TENOR

BASS

¢

&


?

4

4

p

The

p

‰ Ó ‰ œ J

œ œ œ J

˙ w ˙ Ó

œ

J

The star,

the star,

w œ œ ˙ w ˙

Œ ‰

star, the star, the

p

œ

J

5

°

&

&


f

fp

f fp > > >

œ j ˙

œ j œ œ

œ j ˙ ˙

the star,

the star

has come,

f fp

fp

star, the star has come

with a

p

˙ œ œ œ ˙ œ œ œ w ˙

?

¢

Ó

f

f

>

fp > >

( q ) 3

˙ œ œ ˙ œ

œ œ œ ˙ ˙ ¿ j ‰ Œ œ œ

3

& ‰ œ ˙ œ œ œ œ w ˙ J J J Œ Œ œ


the star, the star has come, the

star, the star has come,

fp

port.

port.

( q )

¿ j ‰ Ó

mf

p

* The portamenti need not be exactly synchronized within each voice part, certainly in terms of pitch. The effect is of a shower of stars,

rather than a single star in each voice part. In general, the slide should aim to span at least an octave.

First performed by Canticum, directed by Mark Forkgen, at Southwark Cathedral on 11 December 2017.

Duration: 2.5 mins

© Oxford University Press 2019

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.


59

9

°

&

&

>

-

œ œ œ - ˙ œ œ œ œ ¿ ‰ œ œ œ J

œ œ ˙ ‰

mf cresc. f

3

3

flash and a

fla

-

sh

zoom

cresc.

cresc.

and a fla - sh,

3

a flash and a

zoom,

the star has

3

f

-

-

œ ¿ Œ ‰ œ

>

œ œ œ œ œ ˙ ˙ ‰ œ J œ œ

and

a zoom,

3

flash and a

zoom,

the star has

f

˙ œ œ J

œ œ ˙ ˙ ‰ œ J

œ œ

œ

J

œ

œ

3

&


?

¢

star,

the star, the star has

p cresc.

f

œ ˙ œ œ œ œ œ ˙ ‰ œ J

œ œ

star,

the star, the star has

12

°

&

15

° 3

& 4

3

& 4

? 3

¢ 4

come

poco rall.

come out of the night now in - to this room.

p

3

3

4

- -

- -

3

œ œ œ J œ œ œ œ œ J œ j œ

- -œ -œ w

out

a tempo

pp

The

3

of the night

3

pp

The

star, the star,

star, the star,

The star, the star,

p hushed, excited

The star, the star,

p

room.

p

room.

p

4

œ j ˙ œ œ j w w

*

Œ Œ ‰ œ 4

œ

J ˙ œ J w ˙

> >

4

now

in

- to this

& -

œ -

œ j œ œ œ -

œ œ j -œ -

œ j œ

-œ -œ w

-

& œ

-

œ œ œ œ -œ œ - - - -

J J

œ œ œ J

œ œ

‹ 3

come out of the night now in - to this

w

?

- -

- -

3

œ œ œ œ - - -

¢ J

œ œ œ œ J œ œ œ œ

J

w

&


come

out


Œ Œ ‰

for online perusal only


3

of the night

4 Ó ‰

p hushed, excited

Ó ‰

now

in

3

- to this



œ b˙

> >

room.

œ j œ œ œ ˙ w


J

*

˙

port.

port.

¿

J


¿

J ‰

3

4

3

4

3

4

3

4

* The portamenti need not be exactly synchronized within each voice part, certainly in terms of pitch. The effect is of a shower of stars,

rather than a single star in each voice part. In general, the slide should aim to span at least an octave.


60

4

19

°

&

&

˙

˙

?

¢


Ó ‰

Œ ‰

pp

The

p

The

star,

star,

pp

The

The

cresc.

œ j ˙ œ œ œ œ ˙

star,

cresc.

the

cresc.

the

cresc.

star,

the star has come

œ j œ œ j ˙ œ œ j ˙

star has come

& Ó Œ ‰ œ œ

J ‹ >

œ J >

˙ œ œ j ˙


p


J


>

star has come


>


œ bœ


the star has come

for online perusal only

22

mf

f

°

& Œ œ n-œ

œ j œ œ ˙ ‰ œ œ œ œ J

œ œ

& Œ

?

¢

Œ

to

mf

to

mf

to

mf

to

all who wait - ed here, the star has come which

f

œ -œ œ j œ œ

all who wait - ed here, the

& Œ

œ ‹ -œ œ j œ œ

all who wait - ed here, the


-œ œ j œ œ # ˙

all who wait - ed here, the

˙ ‰ œ j œ œ œ œ œ

f

f

star has come which

˙ ‰ œ J

œ œ œ œ œ

star has come which

‰ # œ œ œ œ œ œ

J

star has come which

25

°

&

-

mf

˙ œ ˙ Œ œ œ w

burned so bright,

mf

burned so bright,

mf

burned so bright,

now it burns

& b˙


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now it burns

œ œ œ -

& œ nœ

˙ Œ œ œ œ b˙


now it burns


mf

? n˙ -œ ˙

¢

Œ œ œ b˙

burned so bright, now it burns


œ


61

°

&

¢

28

&

&


?

poco rall.

p

3

˙ ˙ w 4 Œ Œ ‰

˙

œ


˙

so

p

so

p

so

p

so

near.


œ w


œ

near.

w

near.

w

near.

3

4

3

4

3

4

Œ Œ ‰

a tempo

f decisive

œ j

The

f decisive

œ j

star has come,

The star has come,

f decisive

Œ Œ ‰ œ J 4 œ œ ˙ J

Œ Œ ‰ œ j 4 œ

The star has come,

f decisive

The

4

œ

4

œ

œ

J

œ

J

œ

J

˙

˙

˙

star has come,

5

for online perusal only

32

°

&

&

&


?

¢

œ

œ

3

œ ˙ ˙ Ó Œ œ œ

>

œ œ œ j

the star has come, straight as a win - ning,

mf

f

3

œ ˙ ˙ Œ œ œ

>

œ œ œ œ œ

the star has come, straight

mf

>

œ œ œ

3

as a win - ning, straight as a

mf

œ œ œ œ ˙ ˙ Ó œ œ œ œ œ

œ

œ

œ

œ œ

the star has come, straight as a win -

œ œ

œ ˙ ˙

the star has come, straight as a win -

mf

Ó œ œ œ œ œ

35

°

&

f

> œ œ

>

œ œ œ

3

straight as

&

win

˙

a win-ning

dart,


œ

J

the star has come, the star has come,

œ œ œ œ œ j œ ‰ œ J

œ œ ˙ ‰ œ J

œ œ ˙

- ning dart, the star has come, the star has come,

f

œ œ ˙

œ

œ

˙

‰ œ J

œ œ œ J

œ ‰ œ J

œ œ œ J

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œ

J

œ

œ

œ

J

œ

&


?

¢

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f

œ œ ˙

- ning dart,


the star has come, the star has come,

œ

J

œ œ ˙

the star has come, the star has come,


œ

J

œ œ œ J


6

38

°

&

&

?

¢

œ


œ

J œ œ

œ ˙ œ œ œ œ -˙

J

the star has come which is made

œ ‰ œ œ œ ˙ œ J bœ

the star has come which is made

‰ œ J

œ œ œ ˙ œ œ

mf

œ

the star has come which is made

the star has come which is made

mf

mf

of

of

of

of

light,


j œ œ j -˙

œ

-

& œ

J

˙


œ


62

light,

light,

mf


œ œ J

b˙ œ œ œ bœ

j -˙ # œ

light,

for online perusal only

41

°

&

&

&


?

¢

poco meno mosso

p

Œ œ œ œ ˙ Œ œ œ œ ˙

Œ

the

p

œ

the

p

the

p

the

star has come, the

# œ œ ˙ Œ

star has come, the

star has come, the

star has come, the

p

p

œ

p

p

star has come

# œ # œ ˙

star has come

Œ œ œ # œ ˙ Œ # œ œ œ n˙

Œ

star has come

# œ œ œ # ˙ Œ œ # œ œ n˙

star has come

44

°

&

Œ

& Œ

?

¢

Œ

-

œ œ œ œ j œ œ œ œ

-

œ # œ ˙ œ

pp

which

pp

which

pp

which

pp

which

is made of light now here in my heart, now

œ œ œ œ j œ

-

œ œ œ œ œ ˙ -

œ

is made of light now here in my heart, now

& Œ

‹ œ œ œ œ j œ

-

œ œ œ # œ œ # ˙ -

œ

is made of light now here in my heart, now


œ œ œ j œ œ œ œ œ œ

-

˙

-

œ

is made of light now here in my heart, now


47

°

&

&

poco rall.

œ œ œ œ

here in my heart. The star,

the

f f fp

U

fp >

>

? U

¢ œ œ œ œ

˙

Tempo I

œ œ # œ œ # ˙ Œ ‰

U ˙ >

Ó Œ ‰

œ j ˙ œ œ

here in my heart. The star, the

f fp

U p

œ >

& œ œ œ ˙ Œ ‰ œ w J


œ j ˙


63

here in my heart. The star, the

f fp

here in my heart. The

f

fp

œ j ˙ œ

Ó Ó Œ ‰

port.

star,

port.

¿ j ‰ Œ ‰

star,

star,

f

¿ j ‰ ‰ œ j

œ j œ

œ

J ˙ œ

>

port.

7

for online perusal only

51

°

& > ˙

&

&


?

¢

fp

star,

˙

œ

port.

¿

J ‰ ‰

œ

port.

œ

port.

¿ j ‰ ‰

f

the

fp

star,

f

the

star,

f

the

fp f p f

>

¿ j ‰ ‰ œ j ˙ œ J

>

œ j ˙

star,

the star, the

fp f p f

> >

¿ j ‰ Œ ‰ œ j ˙ ‰

œ j œ œ J

f fp

f

œ

œ

J ˙ ˙ ‰ J œ

> >

star,

f

the

œ J

star,

œ

œ

port.

port.

port.

fp f p f

œ j œ

port.

Y

Y

p

Y

Y

port.

port.

port.

port.

œ

f


œ ‰

œ j œ

the star

œ j œ

the star

the star

the star

œ

has

œ

has

œ ‰ œ J

œ œ

œ ‰

œ

J

œ

has

œ

has

55

°

&

&

?

¢

˙


come, the star has come, the

˙ ‰

come, the star has come, the

come, the star has come, the

come, the star has come, the

p

œ œ ˙

>

p

œ œ ˙

>

p

˙ >

& ‰ œ œ œ œ ‰ œ œ œ

J ‹

˙ ‰

œ j

œ

œ

œ j œ œ

œ

J

œ

œ

œ


œ ‰

œ ‰

p

> œ œ ˙

port.

Y

port.

port.

port.

port.

f

w

star.

f

w

star.

f

w

star.

f

w

star.


64

from For Him All Stars: 15 carols for upper voices

for Richard Vendome and the Oxford Girls’ Choir

A Catch by the Hearth



English trad.










for online perusal only





























RODERICK WILLIAMS

(b. 1965)



* During the piece, the choir divides into 2, 3, and eventually 4 parts. Each time the choir should be split evenly.

© Oxford University Press 2006. Photocopying this copyright material is ILLEGAL.


A Catch by the Hearth 85




65

















for online perusal only


86 A Catch by the Hearth




















































66

for online perusal only


67

from Christmas Spirituals for Choirs

4. Children, go where I send thee

arr. RODERICK WILLIAMS

SOPRANO

ALTO

TENOR

BASS

TUTTI or SOLO (see footnote)†

How

Tempo ad libitum


will you send

mf






TUTTI or SOLO (see footnote)†

Child

mf




- ren, go

where




I


send

thee.





me?

for online perusal only

PIANO

(Optional)*

Tempo ad libitum



mf







3



mf

I’m



bm

Allegro

p




gon- na send thee one by one ’cos One was the lid - dle bid - dy



doot


cresc.






doot





doo







doo doot bm



doot







doot






doo



ba

- by that’s


doo




doot

Allegro



p






cresc.









* It may be desirable to have the bass line played on another instrument (electric bass) or even to have

two players at the keyboard, dividing bass line and harmony ad lib.

† These ad lib. bars (see also bars 83, 84, and 102) can be solo, with complete freedom, or tutti as notated.

© Oxford University Press 2003. Photocopying this copyright material is ILLEGAL.


68

Children, go where I send thee 17

5




born,



born,

mf




born,





mf



bm



doot

born,

born









doot doo doo doot bm

in Beth - le - hem.

doot




doot






un poco meno

doot doot

doo


doo



doo

in

doot

Beth - le -

for online perusal only


mf











un poco meno




O child -ren

go where

7





mf




doot doot doo

doo

doot

go,

I send thee.





how,




Well

(mf )







- hem

doot

doo doo

doot doo





O child ren

- go,




O sis - ter how

mf





how,

will you send

me?


69

18

Children, go where I send thee

10

I’m




mp

gon



- na send








thee


two

by

two

’cos

Two





sim.



was Paul

cresc.






an’




Si - las and




mp




hm

doot



doot

doo

doo

doot

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sim.




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cresc.

doo



doo doot




hm bur - dp














mp





cresc.



S.

12





ba by

One was the lid - dle bid - dy - that’s born,

f





born,

A.





for online perusal only


f




doot

doot

doo

doo

doot

born,

born,

T.


B.


hm

doot



doot


doo



doo

doot






f

f

born,








born,

hm

bur

-

dp

born,

born,













f


70

Children, go where I send thee 19

14



born in Beth





- le - hem.

Go,

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doot doot


doo


doo doot


doot doot doo


doo

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O bro-ther

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hm

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go where I send




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17

where,


S.

A.


where



will you




send


me?


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doot




doo


doo




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T.

B.



where,



Well

pp



O sis -


ter

I’m

mf



I

gon - na send


thee


for online perusal only

three







mp

by

three

’cos

Gon - na send ’em


71

20

Children, go where I send thee

19






doot







doot




doo


doo




doot

cresc.

sim.


sim.



doot





doot



doo


doo


doot

Three





Three

was the He


-

brew - ren an’

child



child - ren an’

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Two

was Paul and Si - las


an’




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Si - las an’



















cresc.



21





doot





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doo


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born,




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One

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ba

-

by

that’s



ba - by that’s

born,

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f



born,

born,







born,










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72

Children, go where I send thee 21

23












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doo


mf

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mp doot

doot

doo

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doot

O

child

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in Beth - le - hem.



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in Beth - le - hem

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doo



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25 mf



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where


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thee.

how,

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go




for online perusal only

mf


how,

mf




So tell me, how



will


you




send


me?


O






mf


73

22

Children, go where I send thee

I’m gon - na send

27





mp

I doot doot

mp





I

thee four by




doo



mp

four ’cos Four was the four

doo

gon-na

send

doot



doot



doot

that stood at the door and






thee Four



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stood


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at


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it


mp


















Three was

29






the He

-

brew

child - ren








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doot

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Three

doot



doot


doo



for online perusal only

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an’




Two



was Paul


cresc.

and


Si - las

an’




child

- ren

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Two

Si -

las

an’

















cresc.


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31





One was

the lid

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- dle bid - dy

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74

doo doot



ba - by that’s

f




born,

Children, go where I send thee 23



born,

f





born,


born,




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born,


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by

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33



born

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in

Beth

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le

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hem.



born

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mf



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doo



mf

for online perusal only

doo




in Beth

doot

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mp


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doo




in Beth - le -



















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mp


24

35

Children, go where I send thee




mf



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doot

mf


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doo


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75

doot



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-hem

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doo

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der

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- dup bom

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37




go



Go,

where



I


send



thee





How,

Go,








Go,



for online perusal only

How




How,

are you gon



-

na send

(either note)




me?


76

complicated against the rhythm in the r.h., a simplified version can be used:



Children, go where I send thee 25

39


doot




mp doot doo


doo doot doot



doot doo


doo doot




mf

I’m gon - na send thee six by six ’cos Six was the six that ne - ver got fixed an’

doot

mp





doot doo


doo doot doot







doot doo


doo doot




mf



doo doo doo doot doo doot doo doo doo doot doo doot








mp


*



41


cresc.


doot

doot doo


doo doot





doot doo


doo an’





Five was the five that came back a-

live an’Four was the four that stood at the door

doot




doot doo

doo doot doot




doot doo

doo doot





cresc.

sim.

doo doo doo doot doo doot doo doo doo doot doo doot






cresc.





* Ideally the l.h. should shadow the bass vocal part. If this becomes too

for online perusal only


77

26

Children, go where I send thee

S.

43






A.




Three was the He - brew


doot




doot


doo



child


- ren an’ Two


doo doot

doot


was Paul




doot

an’


doo


Si

- las an’



doo doot

doot




T.

B.







doot

doo





doo


doot





doot


doot




doo





doo


doot


doo

doo

doo doot

doo

doot

doo

doo

doo doot

doo

doot















45




One



f



ba by

was the lid - dle bid - dy

- that’s born,


born,





doot




doot


doo

for online perusal only


doo

doot

f


born,



born,





doo

doot




doo




doot





doo

doo




doot




doo

doo



doot



doot




f




born,

born,




born,



born,




f


78

Children, go where I send thee 27

47











born in Beth - le - hem.

Go,




mf









born doot

doot

doo

doo doot doodoot

doot

doo

doo doot

Go,

born doot





doo

doot

mf



mf

doo doo doot doo

doo doo doot doodoot




doot



doo

doo

doot

Go,








doot doo doo doo doot O child-ren

go where I send thee.


for online perusal only







mf
















S.

A.

T.

B.

50


f










How

how,

will


you send

me?





f


gliss.

p ma distinto







How,

O

I’m

gon

- na send

thee eight

by eight ’cos








p


79

28

Children, go where I send thee

52




mp








Eight,

doot

p



doot



doo

doo

doot




Se-ven,

doot



doot



doo

doo

doot







Eight was the eight that stood at the gate an’

mp

Se-ven

was the se-ven

that got in-to

hea-ven

an’








for online perusal only

54



Six,



p

Six, doot





cresc. poco a poco




doot





doo





doo doot




Five,




doot



Five, doot



doo

doo doot




cresc. poco a poco

Six was the six that ne - ver got fixed an’ Five was the five that came out a - live an’









cresc. poco a poco




mp

56








Four, doot doot




cresc. poco a poco


doo



Four was the four that stood at





mf cresc.








doot



doo doot Three, doot



the door


an’ Three






mf cresc.

was the He-brew


mf cresc.




doo



doo doot


child - ren an’


80

Children, go where I send thee 29

58







Two, doot doot







Two

was Paul




an’

doo



Si



doo doot One, doot





- las an’ One





doot





was the lid - dle bid - dy



doo







doo doot



ba - by that’s






60











f

born,

f


f




f

born,

born,





born,





born,





born,


for online perusal only

born


in Beth le










born


doot






doo

- - hem

doot





doo



doo




doot




doo



doo




doot


doot



62





meno f



doo





meno f



doot




doo



doot




meno f


doo


doo




doot




doo



doo








oo

fp cresc.





mf

doot


mf

fp cresc.

doo



doot






mf




doo


doo


doot


81

30

Children, go where I send thee

64






doot



doot



O child - ren

f


doo


I




doo

doot

I,


f

I




I




I



I yi yi yi









I,

yi yi yi yi
















f





I’m

67


mp



mp

gon - na send






them ten



by

ten ’cos



Ten

was the ten

cresc. poco a poco




that


ne - ver got in



an’





mp

I,

mp

doot




doot



doo doo

doo




doot


doo

for online perusal only

doo doot Ten, doot



doot Ten,



doot




doo




cresc. poco a poco

doo doo doot


doo

doo doot


doot












mp




cresc. poco a poco


82

Children, go where I send thee 31

69


Nine

Nine,

was

doot

the

nine






Nine,




doo





doot



that



doo

came



doo




doot



on be - hind an’


doo


doo




doot


doot



70




Eight

Eight,

Eight,


was the eight

doot







doo


doot





that


doo



stood

doo




doot




at the gate

doo


doo




an’

doot


doot




71

Se



sempre cresc.


for online perusal only




Se

- ven was the se - ven that got

- ven, doot

doot

doo

sempre cresc.

Se






-

ven,


doo




sempre cresc.

doo




doot


in

- to hea

doo


doo




- ven an’

doot


doot


83

32

Children, go where I send thee

72




Six was the six





Six,




doo







that ne - ver got fixed an’


doo doot




doo




doot



that came







Five was the five

Five,





doo



doo

doot







back a - live an’

doo


doot




74



Four




for online perusal only











was the four

who stood at

the door

an’ Three was the He - brew

child

- ren an’










Four, doo doo doot doo doot Three, doo doo doot doo doot












f

76



Two




f

Two,


f



was Paul



doo

an’







doo

doot



Si



doo



- las an’ One





doot One,




was the lid - dle bid - dy








doo



doo

doot






ba

doo

- by that’s




doot


84

Children, go where I send thee 33

S.

78


born




poco dim.




mf



ba

- by born

ba

- by born

in Beth - le - hem

A.

born,



mf








born,


T.


B.


born,


born,





born,

born,




mf

Doo

mf

doot

doot




doo

doot

doot



doo

doo

doo




doot


doo

doo

doo


doot

doot


doot
















mf



80




fp cresc.


oo





doot




doot

for online perusal only


doo

mf


doot




doot


doo


doo


doot






doo

doot




doo

doot



doo

doo




doot


doo



doo




fp cresc.

doo

doot

mf



doot



doo


doo


doot








mf


85

34

Children, go where I send thee

S.

A.

82






doot




doot


doo

Tempo ad libitum


Go,

T.

B.






O child - ren, go





Go,

where I send

3







thee.











Tempo ad libitum










gliss.


84






will you send


Allegro

I’m gon - na send

mp







thee twelve by twelve ’cos




How

me?

I,




How,




for online perusal only


mp

I,



doo


doo



doot


doo



doot








Allegro




mp


86

Children, go where I send thee 35

86

* was

the


Twelve




Twelve,






Twelve,

twelve





doo

Dis



doo

- ci ples






doot


-












doo

an’

E -



E -





doot


E

-

for online perusal only

- le - ven was the e - le - ven A

87


cresc. poco a poco




- le - ven,

cresc. poco a poco




- pos - tles











an’




- le






- ven,

doo

cresc. poco a poco


doo





doot


doo






doot



88





Ten,

Ten was the ten that ne - ver got in









Ten,

doo

doo doot









doo

an’

doot






Nine,

Nine was the nine that came on





Nine,




* From this point onwards a crossed notehead indicates that a word is to be spoken not sung.

doo


doo

doot







doo



be-

hind



an’



doot


87

36

Children, go where I send thee

Eight,

90


mf cresc.











Eight


the eight

was

that

stood

at the gate

an’






Eight,










mf cresc.

Eight,



mf cresc.




doo


doo

doot


doo

doot




Se - ven,

91














an’


Se

- ven was

the

se

- ven that got

in

- to hea

-

ven



for online perusal only

Se - ven,









Se

- ven, doo

doo

doot

doo

doot


88

Children, go where I send thee 37

Six was the six that ne - ver got

92 mf cresc.









Six,

Six,





doo


doo doot



doo


fixed


an’



doot

Five was the five

that


Five,

doo

doo

came out



doot

doo

a - live




doot

Six,

doo

doo



Five,













an’

doo doot

doot

Five,

doo

doo doot

doo

doot














94




for online perusal only

(See footnote on page 25)























Four,

doo doo

doot

doo

doot Three,

doo

doo doot

doo

doot

Four




f cresc.

Four,

was the four that stood at






doo




doo








doot

doo

the door an’ Three was theHe-brew







doot Three,








doo

doo





doot

child-ren

an’



doo


doot



f cresc.


89

38

Children, go where I send thee

96


f













Two




f

Two,

was Paul



Si

doo

an’




doo doot

doo

- las an’ One




doot



One,

was the lid - dle bid - dy





doo

doo

doot

ba

doo

- by that’s



doot











98



born,

Subito meno mosso ‘bluesy’




born, that

born,




3

ba - by was


born,

born,



born,



born,



born,


ba

-


by

born,





for online perusal only

born,






born,




born,

doo - be doo

doo be

-

born,

doo- be doo

doo be

born,

doo be doo

doo

Subito meno mosso ‘bluesy’


















3 3


Children, go where I send thee 39

born,

ba - - by





3 3 3 3

born ba - by born ba - by born ba - by born ba - by

3 3 3 3




mf

born,

boo

doo

doo - be

(swung

triplets)





mf



Tempo ad libitum

born

in Beth le

102

f - -


(he) - hem.

lunga

3

ff







born,

. . . hem.

born ba - by

. . . hem.

3







f

ff

born,

. . . hem.

Tempo ad libitum





ff

f









(p.30) The vocal bass line can be developed ad lib. using extra percussive sounds with the piano shadowing

(see footnote page 25); this ossia is an example:






I, doo doo doot doo - ba doot

(p.34) The bass line can be further developed ad lib:



I, t k dum dum bum t bum ti bum

(p.37)

The alto and soprano parts should copy whatever bass pattern is used in bar 85.



Six, t k dum dum bum t bum ti bum


born,

101 mf









gliss.


Four, t k dum


dum


bum

t

bum

ti

bum

90

for online perusal only

gliss.


91

from Christmas Spirituals for Choirs

Mary had a baby

TENOR

SOLO

Slow, very bluesy

mf intense 3 more intense! 3



Ma - ry



had a ba - by,



arr. RODERICK WILLIAMS



Ma-

ry




had a ba - by,


SOPRANO





mf



Yes,

Lord.

ALTO



mf





Yes,

Lord.

TENOR




mf






Yes,

Lord.

BASS

for online perusal only



mf




Yes,

Lord.

PIANO

(Optional)

Slow, very bluesy






mf








© Oxford University Press 2003. Photocopying this copyright material is ILLEGAL.


92

Mary had a baby 49

4








stronger still

f





Ma - ry had a ba - by,




f




Ye


- hes my



Yes,

mf



my

mf


Yes,


Lord.



Ye

f


- hes my



mf

my


Yes, my

mf




Yes, my



Lord.


Lord.


Lord.





Ye

f


Ye

f



Ye


for online perusal only

- hes my




- hes my



- hes my













f






7



Lord;



Lord;

p

p

p

Fast swing (boogie-woogie)

mp leggiero






the peo - ple keep a - com - in’ an’ the train done gone.

mp


mp


Lord;


p

mp

Lord;

p


mp





Lord;

Fast swing (boogie-woogie)







done

done

done

done


mp



gone.


gone.


gone.


gone.












mf


93

50

Mary had a baby

10



Ma









mf



- ry had a ba




-


by,


mf (non troppo forte)



Yes, Lord.

mf (non troppo forte)


Yes, Lord.

mf (non troppo forte)




Ma


- ry had a ba







Yes, Lord.

mf (non troppo forte)



Yes, Lord.


















-


by,


for online perusal only

13







Yes,


Yes,





Yes,



Yes,





my


my


my


my


* Solo part can join chorus line here ad lib.


Lord.




Ma - ry had a ba



Lord.



Lord.



Lord.



















f *

- by, Yes,


f


Yes,

f


Yes,

f


Yes,

f


Yes,

f


Lord;




Lord;





Lord;




Lord;


Lord;











più p



the

p



the

p


the

p


the

p



the


94

Mary had a baby 51

16


leggiero



peo



peo



- ple keep a - com - in’ an’ the train

leggiero




done



gone.




peo



- ple keep a - com - in’ an’ the train

leggiero




- ple keep a - com - in’ an’ the train

leggiero




peo - ple keep a - com in’

leggiero





- an’ the train


peo - ple keep a - com - in’ an’ the train

p leggiero







done


done


done


done

gone.


gone.

gone.


mf


Where


did she lay



gone.






3



mf




him?

for online perusal only

19



S.


A.

T.

B.



Yes,



mf


mf



Yes,



Lord.


Lord.




Laid him in

a man




- ger,








3


mf



Yes,

mf




Yes,




my


my





Lord.



Lord.


95

52

Mary had a baby

22










wrapped him in the swad - dlin’, Yes,



oo

p cresc.


p cresc.


oo





f



f


Yes,

f




Yes,

f

Lord;

Lord;


più p



p







Lord;




the peo- ple keep a - com -in’

an’ the

the


- ple . . . com - in’

peo

the peo-

ple keep

p




a com


- - in’ an’







p


p

. . . keep a . . .






the

an’ the



for online perusal only

25




train







done


done


done

gone.

p

oo

p


oo

gone.




yeah!



yeah!



gone.

mf


What




did she name him?




named him




Je - sus,










mf sonore


96

29

mp



Hoo


Hoo





- ba da - um ba - da

mp


- ba da - um ba


- da




















f


Yes,

f


Yes,

f


Yes,

f


Al - migh - ty Sa - viour, Yes,






Mary had a baby 53



Lord;

Lord;






Lord;


più p


Lord;






f




the



p

32


p



peep


for online perusal only



come

keep

f



keep a

Stars

shi

-


nin’

p


peep



keep


come



train


done


gone.



p




oo





peo - ple keep a-com

- in’ an’ the train















done



gone.







mf


97

54

Mary had a baby

35



mf



Yes,

mf



Yes,


mf


Yes,




Lord,


a -




- vin’ in the e - le - ments

mo







Yes,




Lord,

Yes,




Lord,













Yes,








my Lord,



3




Lord,



Lord,







38












decresc.




Stood a





for online perusal only

- bove a sta- ble Yes,



f


Yes,

f


Lord;




Lord;





the

peo - ple keep a - com - in’ an’ the


decresc.




peo - ple keep a - com - in’ an’ the

decresc.








Yes,

f


Yes,

Lord;




Lord;


peo - ple keep a - com - in’ an’ the

decresc.




peo - ple keep a - com - in’ an’ the














f




















decresc.


98

Mary had a baby 55

41





train

S.


A.

train


T.

train




B.

train




44







* Falsetto ad lib.


TENOR SOLO


done


done


done


done





gone.

f




Ma-ry

had a ba - by




gone.

gone.




gone.




- ry had a ba



mf



-

by











Yes


Yes


my


my



Lord,


Lord,




*

f


f


Yes

f


Yes

f


for online perusal only


Yes

f


Yes



Lord,




Lord,



Lord,



Lord,














oo

poco meno f ma cresc.






Ma-

Ma -

Ma - ry had a ba - by, Ma-

poco meno f ma cresc.





Yes my Lord,





Yes my Lord,

Ma


f














-

Ma - ry had a ba - by, Ma

poco meno f ma cresc.







-

Ma - ry had a ba - by, Ma

poco meno f ma cresc.


- - -


99

56

47

*










Mary had a baby




- ry had a ba-by,

Ma




top note ad lib






- ry had a ba-by,

Ma






- ry had a ba-by,

Ma







- ry had a ba-by,

Ma









- ry had a ba -by,

Ma






- ry had a ba -by,

Ma





- ry had a ba -by,

Ma


- ry

had














- ry had a ba -by,

Ma













- ry had a ba - by








- ry had a ba - by, the



- ry had a ba - by,






- ry had a ba - by


a














S.


50

sub. p

peo




for online perusal only




A.


T.

B.

- ple keep a - com - in’ an’ the train . . .

p


the

* Solo part can join chorus line here ad lib.



peo - ple keep a - com - in’ an’ the train . . .

p

sub. p






boy

the peo

sub. p





boy

the peo - ple keep a




sub. p





the

- ple keep a - com - in’ an’ the

p

-


100

Mary had a baby 57

52




peo ple


p secco


train


p secco

- keep a - com - in’ an’ the train


train . . .



p secco




done


done









-com

- in’ an’ the train . . .

train

p secco


train





for online perusal only







done


done












55




gone.

What



(comic high voice ad lib.)


hap - pened to the train?



gone.


gone.


gone.










p







(comic low voice ad lib.)


It


done



gone.


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