English Church Music Volume 1: Anthems and Motets

OxfordMusic

Oxford Choral Classics: English Church Music assembles in two volumes around 100 of the finest examples of English sacred choral music of the past five centuries. The first volume, dedicated to anthems and motets, presents both favourite and lesser-known works, from the exceptional Renaissance polyphony of Taverner, Tallis, and Byrd, through the Restoration led by Purcell, to the glorious works of the great nineteenth- and twentieth-century composers, including Wesley, Elgar, Stanford, Vaughan Williams, and Howells. The volume contains a number of more substantial works, including Mendelssohn's Hear my prayer, Stainer's I saw the Lord, and Naylor's Vox dicentis: Clama, as well as a wonderful selection of shorter pieces, from Gibbons's O Lord, in thy wrath to Walton's Set me as a seal upon thine heart. With the second companion volume of canticles and responses, this bipartite collection presents a comprehensive survey of English sacred music at its best.

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sample pages

CHORAL

CLASSICS

English Church Music

Volume 1: Anthems and Motets

EDITED BY ROBERT KING

Series Editor John Rutter


2

CHORAL

CLASSICS

English Church Music

Volume 1: Anthems and Motets

edited by robert king

series editor

john rutter

A


CONTENTS

1. Anon. Rejoice in the Lord alway 1

2. Bairstow Jesu, the very thought of thee 6

3. Blow Salvator mundi (O Saviour of the world) 9

4. Boyce O where shall wisdom be found? 16

5. Byrd Ave verum Corpus (Hail, O hail, true body) 32

6. Byrd Haec dies (This is the great day) 36

7. Byrd Justorum animae (God holds the righteous) 42

8. Byrd Sing joyfully 46

9. Elgar They are at rest 53

10. Gibbons O clap your hands 57

11. Gibbons O Lord, in thy wrath 71

*12. Farrant or Hilton Lord, for thy tender mercy’s sake 76

13. Goss These are they which follow the Lamb 78

14. Greene Lord, let me know mine end 80

15. Hadley My song is love unknown 90

16. Harris Faire is the heaven 96

17. Harwood O how glorious is the kingdom 115

18. Howells Like as the hart desireth the waterbrooks 126

19. Ireland Greater love hath no man 132

20. Lewis The souls of the righteous 141

21. Mendelssohn Hear my prayer 146

22. Morley Nolo mortem peccatoris (I ask not the death of sinners) 162

23. Naylor Vox dicentis: Clama 166

24. Parsons Ave Maria (Honour we Mary) 181

25. Philips Ascendit Deus (God has ascended) 187

26. Purcell Hear my prayer, O Lord 193

27. Purcell I was glad when they said unto me 199

28. Purcell Let mine eyes run down with tears 210

29. Purcell Lord, how long wilt thou be angry? 224

30. Purcell Remember not, Lord, our offences 232

31. Stainer God so loved the world 236

32. Stainer I saw the Lord 238

33. Stanford Beati quorum via (How blessed are faithful souls) 255

34. Stanford Coelos ascendit hodie (Heaven receives our Lord today) 260

35. Stanford How beauteous are their feet 269

36. Stanford I heard a voice from heaven 276

37. Stanford Justorum animae (The hand of God holds faithful souls) 281

38. Tallis Loquebantur variis linguis 285

39. Tallis O Lord, give thy Holy Spirit 293

40. Tallis O nata lux de lumine (O holy light once born of light) 296

*41. Tallis If ye love me 298

42. Taverner Dum transisset Sabbatum 300

43. Tomkins When David heard 307

44. Vaughan Williams O how amiable are thy dwellings 314

45. Vaughan Williams O taste and see 318

46. Walton Set me as a seal upon thine heart 320

47. Wesley Blessed be the God and Father 324

48. Wesley Praise the Lord, O my soul 333

49. Wesley Thou wilt keep him in perfect peace 351

50. Wesley Wash me throughly 356

51. Wood O thou the central orb 361

Commentary 368

Index of Orchestrations 378

* In order to minimize page turns, these anthems have been placed out of alphabetical order.


PREFACE

The aim of the Oxford Choral Classics series is to offer choirs a practical and inexpensive working library

of standard repertoire in new, reliable editions. The majority of works are classics of the repertoire, but also

included are pieces of music that are less widely known but are of especial value. Inevitably, any such

anthology reflects the personal perspective of its editor, and for this volume of English church music in

particular, for which there is such a fine and varied range of repertoire from across more than five centuries,

the available selection is exceptionally rich and could easily have filled several volumes. Cornerstones of the

repertoire, such as Byrd’s Haec Dies and Sing joyfully, Stanford’s Beati quorum via, Harris’s Faire is the

heaven, and Purcell’s Remember not, Lord, our offences, are set alongside less frequently performed works

such as Patrick Hadley’s wonderful My song is love unknown, Purcell’s melancholy Let mine eyes run down

with tears, and Wesley’s Praise the Lord, O my soul. This last anthem was an especial joy to discover afresh,

for its concluding movement is often performed but is only an extract from a much larger work. This

volume allows choirs the option to perform either the full work or just the well-known extract. Returning

to original sources has produced some fascinating variants: the many singers who will know Howells’s

eloquent Like as the hart can finally see the composer’s original thoughts for the soprano descant that

decorates the return of the opening theme, and can then choose between that early setting or the more

frequently heard version.

The specific parameters followed have been these:

1. The period covered ranges from around 1500 to the present day, although copyright considerations

have limited the scope and amount of twentieth-century music included. A parallel intention has been

to present a representative selection of music from each century.

2. Pieces originally intended to have orchestral accompaniment, rather than organ, have been excluded,

hence the omission of the rich seam of Restoration verse anthems with strings by Purcell and his

contemporaries, of Elizabethan works originally intended to be accompanied by viol consort, and of

eighteenth-century works by Handel and his contemporaries (resulting in a relative dearth of music

from that century in this volume). None of these categories of anthem sound as well in organ

transcription as they do in their original instrumental versions. However, both Mendelssohn’s famous

Hear my prayer and Hadley’s My song is love unknown exist with the composer’s own organ

accompaniment, made at the time of the first performance.

3. By and large, extracts from larger pieces have been omitted (though Hadley’s anthem was simply too

good to miss out, and may tempt choirs to programme the full cantata in a future concert).

for online perusal only

Translations

Many, if not most, of the choirs using this book will never need to make use of the singing translations

provided. Others—including, for example, those serving the largest Christian denomination in the United

States—have little choice but to sing in English. It does not seem right that they and their listeners should

be denied the experience of so much of the best English choral literature for lack of an English text. The

policy in this volume, therefore, has been to provide singing translations for everything except the longest

Latin pieces, such as Naylor’s Vox dicentis: Clama and Tallis’s Loquebantur variis linguis, which seem most

likely to be performed either by concert choirs or in churches where the use of Latin is not an issue.

The principles governing the singing translations in the Oxford Choral Classics series are: to be

as faithful as possible to the meaning and flavour of the originals; to alter the rhythms of the originals

as little as possible; and to make the English texts as singable as possible. Where these principles come

into conflict and one or more of them has to be sacrificed, singability remains the primary aim. The style

of religious language is also a factor. Whilst respecting the viewpoint that religious texts should be

presented in contemporary language, it seems appropriate that music of a past period should reflect the

language of that time, especially when in most cases there is an extensive corpus of settings by that

composer already in English that uses similarly ‘historic’ language. For those reasons, in the translations

for this collection there has been no hesitation in using ‘thou’ or in echoing phrases from older bibles,

hymns, and prayer books.

iv


Preface

Editorial practice

The policy of the Oxford Choral Classics series is to use primary sources, printed or in manuscript,

wherever possible, and this has resulted in the elimination of some long-standing errors. In presenting the

editions, the aim is first and foremost to serve the practical needs of non-specialist choirs, keeping the music

pages as clean and uncluttered as possible, though not neglecting the needs of the scholar. Prefatory staves

are given for pre-1700 sources. References to clefs and pitch follow the standard conventions. Note values

in early pieces have generally been reduced to give a pulse; pitches have been transposed to suit standard

voice ranges; editorial barring has been shown in a modern, standard way; and key signatures have been

modernized. Punctuation, capitalization, and spelling of texts has been modernized, with the Liber Usualis

as a principal point of reference for Latin texts and the Authorized Version for biblical texts. Psalm

numbering follows Protestant usage. Editorially completed text underlay is not shown in italics, as this

convention would present a confusing appearance when italics are already being used for the singing

translation. Indications of ligature and coloration are omitted, though care has been taken with editorial

underlay never to move to a new syllable in the middle of a ligature. Obvious scribal or printing errors in

sources are silently corrected; cases of doubt or discrepancy between sources are listed in the commentary.

Dynamics and expression marks have been positioned as in their sources, even where this may lead to

slightly differing policies across the volume. Some composers, for instance Wesley, are not always wholly

consistent in their dynamic schemes, and editorial dynamics have been added only where considered

really necessary. All material in square brackets or in small print is editorial. In pre-1700 pieces, full-size

accidentals are those that appear in the source; they are silently omitted when made unnecessary by a

modern key signature, and also omitted for immediate repetitions of the same note in the same bar. Small

accidentals are editorial. Cautionary accidentals are shown full size in round brackets. Cancelling

accidentals customary in modern notation but absent in the source are shown full size in round brackets.

Crossed slurs are editorial; dotted slurs have been inserted only when felt to be really necessary, and

indicate that the underlay of the translated text and the original text differ. Syllabic slurs in voice parts, as

used in modern publishing style, have not generally been added. Beaming and stemming of notes has

been modernized.

Not everyone will agree with the inclusion of editorial suggestions of tempo and dynamics. To some

choir directors they are an irritation, whereas to others they are thoroughly useful. As a compromise

solution, suggested dynamics have been added into the keyboard parts in pre-1700 pieces, making them

available to those who would like to consider them but easy to ignore for those who would not. Such

markings are, necessarily, a general guide only, and cannot take account of the natural rise and fall of

individual voice parts within a polyphonic texture. So many factors—not least of all the size and acoustic

of a building—can affect the choice of speed and dynamics between performances, even by the same choir

on consecutive nights, that such editorial markings should be treated as tentative suggestions only, and

never as a prescription. For that reason, dynamic suggestions have not generally been added to verse (solo)

sections, as soloists will surely wish to follow their own interpretations.

for online perusal only

Keyboard parts

Keyboard parts of a cappella pieces are given in their most readable and playable form, without always

showing the movement of individual polyphonic voices, especially where these cross. This sometimes results

in apparent parallel fifths and octaves, but this is surely preferable to the frequent sight of upstems and

downstems crossed. Where all the voices of a texture are impossible to play, the keyboard reduction has

been discreetly simplified. Editorial musica ficta is incorporated into the reduction without qualification,

surely preferable to the alternative of a mass of small or bracketed accidentals (most of whose origins can

in any case, if required, be quickly deduced from the vocal lines above). Accidentals follow the convention

of homophonic keyboard music, not polyphony, and are not duplicated within a bar at the same pitch if in

different voices.

Seventeenth- and eighteenth-century pieces originally published with a basso continuo part (even where

this is no more than a basso seguente) have been assumed to be intended for accompanied performance.

Those Restoration anthems by Purcell and his contemporaries that were undoubtedly accompanied by

continuo instruments, but for which no continuo part survives, have had their figured basses editorially

provided. Where relevant and apposite, any figures from the original figured bass have been included

(though often in the original manuscripts these are written in a different, sometimes later, hand), with such

v


Preface

existing figures editorially enhanced and completed to create a consistent style of figured bass across the

volume. The wide variety of styles of ‘shorthand’ figures have also been standardized to meet modern

editorial practice. Such editorial continuo realizations are intended both as a workable solution for

performers who wish to play them exactly as written (when they will produce a thoroughly satisfactory

continuo part), and also as a basis for more experienced players who may wish to create their own

realizations from the figured bass alone.

Full scores and parts for instrumentally accompanied items are available on rental from the publisher

or copyright owner (see Index of Orchestrations, p. 378).

Acknowledgements

My grateful thanks go to the many people without whom I could not have created this volume. Suggestions

of works for inclusion came from, among others, Helen Hogh, Margaret King, Peter Nardone, John Scott,

and Roger White. The generous assistance of the librarians of many notable collections across Britain is

acknowledged, especially: the staff of the Rare Books and Manuscripts department of the British Library;

Peter Horton at the Royal College of Music, London; Mark Statham of Gonville and Caius College,

Cambridge; Frank Bowles at Cambridge University Library; Martin Holmes at the Bodleian Library,

Oxford; and the staff and librarians of the Fitzwilliam Museum, Cambridge; the Victoria and Albert

Museum, London; and Christ Church College, Oxford. Helpful advice on sources of texts and manuscripts

was given by Andrew Carwood, Nick Flower, Peter Nardone, and Geoffrey Webber. John Morehen loaned

a hard-to-find microfilm, and Lynda Sayce and John Harte expertly helped locate a significant number of

original volumes and manuscripts. At OUP, David Blackwell, Head of Music Publishing, has given

steadfast support throughout the production of the volume, and Anna Williams was invaluable in

contacting librarians across Britain to gain access for me to copies of some remarkable manuscripts. My

editor Robyn Elton has been a tower of strength in seeing through and co-ordinating a complex operation

with patience, good humour, and an inspiring eye for detail. Great thanks are due to John Rutter for

entrusting this important collection to me, for ensuring that the high standards of previous volumes in the

series were maintained, for sharing innumerable insights, and for showing me a host of tricks in the Sibelius

music setting programme that I would never have worked out for myself.

Greatest thanks, however, go to my wife Viola, who patiently tolerated my late nights and early mornings,

my long, library-burrowing, absent hours, the piles of manuscripts taking up ever more space in our

office, and the occasional exasperations and more frequent triumphs as another number was completed.

Without her good-humoured support the volume would still be nowhere near completion. Our young son

Johannes has watched the volume progress with great excitement, and nothing would give the project

greater purpose and completion, and me greater pleasure, than if, in a few years’ time, he himself should

be singing from a copy of this volume. So it is to him that this volume is dedicated, as a representative of

all those singers who hopefully for many years to come will continue that most noble of traditions: choirs

across the world singing the finest English church music.

for online perusal only

ROBERT KING

Suffolk, June 2010

vi


Philippians 4: 4–7

SOPRANO




Re

1. Rejoice in the Lord alway

- joice in the Lord al - way, and a-gain

I say, re - joice,

ANON.

(mid-16th century)


ALTO





Re

- joice in the Lord al - way, and a - gain I say, re - joice, re -



for online perusal only

TENOR


Re

- joice in the

BASS



Re -


joice


ORGAN

(optional) *

Brightly h = 69




mf










7




re

- joice in the Lord al - way,






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in the Lord al - way, and a - gain I say, re - joice, re - joice in the Lord al - way,





















* Vocal parts reconstructed from surviving organ score. See commentary.

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


2

Anon: Rejoice in the Lord alway


14









and a - gain I say, re - joice,

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I


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I say, re - joice, and a -gain

I



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I



























for online perusal only





21





27


say, re- joice,

and a-gain

I say, re - - joice. Let your

say, re - joice,

and a - gain I say, I say, re-joice.

Let your

and a - gain I say, re - joice, and a - gain I say, re - joice. Let your

say, re - joice, and a-gain

I say, re - joice, a - gain I say, re - joice. Let your

soft

soft

soft

soft






p












- ness be known un - to all men, let your soft - ness be known un - to all men:

- ness be known un - to all men, let your soft - ness be known un - to all men:

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6

Words attributed to

St Bernard of Clairvaux (12th century)

Translation by E. Caswall

SOPRANO

ALTO

TENOR

BASS


p




Andante tranquillo [ q = 66 ]

Je

p

Je

2. Jesu, the very thought of thee

p

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- - su, Je - - su, the ve ry


- - su, the ve - ry thought of thee, the ve - ry thought of

pp

ten.





- su, the ve - ry thought of thee, the ve - ry thought of

pp

p

ten. p


Je

EDWARD C. BAIRSTOW

(1874–1946)

pp

ten.




- thought of

pp

ten.





- - su, Je - - su, the

(for

rehearsal

only)




for online perusal only

Andante tranquillo [ q = 66 ]



p














ten.

pp





5

pp









thee, the ve - ry thought of

pp

thee With sweet - ness, with sweet - -

ten.







thee, the ve - ry thought of thee With sweet - ness, with sweet - ness fills my

thee, of thee With sweet- ness fills my breast, with sweet- ness fills my

ve



- ry thought

pp

ten.









of thee With sweet-ness

fills my breast, fills my


ten.

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© Oxford University Press 1925. All rights reserved. Photocopying this copyright material is ILLEGAL.


Bairstow: Jesu, the very thought of thee 7

10




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9

Book of Common Prayer

(Antiphon in the Office of the Visitation of the Sick)

English version by Robert King



SOPRANO 1


cresc.








Sal - va -tor

mun -di,

sal - - va nos,

O Sa-viour

of the world,

save us,

SOPRANO 2





Sal - va -tormun

-di,

sal - - va nos,

ALTO

O Sa-viour

of the world,

save us,



Sal - va -tormun- di, sal -

TENOR

O Sa-viour

of the world,




Sal - va -tor

mun -

O Sa-viour

of


BASS






Sal

O

Mournfully q = 76



-

ORGAN

mp

(editorial


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qui

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Sal - va - tor mun - di, sal - - - va nos,


O Sa - viour of the world,

save us,




- va nos,

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save us,

O Sa - viour of the world, save us, who





sal - - - va nos,

world,

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save us,

O Sa - viour






n

4

5

4

3. Salvator mundi

(O Saviour of the world)

for online perusal only

§ 9 6 n

5

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.

n üüüüüüüü

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JOHN BLOW

(c.1649–1708)

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10

Blow: Salvator mundi

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- el cross,

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blood with tears and re-deem

- va - tor mun - di, sal

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16

Job 28: 12–15, 18, 20–1, 23–8

SOPRANO 1

SOPRANO 2

ALTO

TENOR

BASS

ORGAN

(see commentary )


VERSE SOLO














4. O where shall wisdom be found?

[Con moto q = 76]

mf

mp





6- 6 5 6 7 6 ü 6ü 9 8 6 6 6 5

§ü

§ 4 4 4 §

WILLIAM BOYCE

(1711–79)





[Con moto q = 76]









O




where shall





6- 6 5

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for online perusal only

6







SOLO



wis-dom

be found?












SOLO

Where, where shall wis-dom

be found?

SOLO

SOLO








Where, where shall wis-dom

be found?




Where, where shall wis-dom

be found?












And where is the place







of un-der-stand

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7 6 5

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© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Boyce: O where shall wisdom be found? 17

11





Where,where is the place of un-der-stand

- ing?






Where,where is the place of un-der-stand

- ing? Man know-eth

not the price there-of;





Where,where is the place of un-der-stand

- ing?

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6 6 6 6 7 üüü 6 7 7 ´ 5 t - 6 ´

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land of the liv -ing.




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18

Boyce: O where shall wisdom be found?

21







It




It can - not be got - ten for




It can - not be got - ten for gold, be got - ten for





It can - not be got - ten for gold, be got - ten for gold,



me.







§ 6

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23



can - not be got - ten for gold, it can - not be got - ten for gold, it



gold, be got - ten for gold, it can - not be got - ten for


gold, it can - not be got - ten for gold, it can - not be got - ten for




it can - not be got - ten for gold, it can - not be got - ten for



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for online perusal only







! § 6 6


32

Sequence Hymn for Corpus Christi

by Pope Innocent VI (d. 1362)

English version by Robert King

SOPRANO

ALTO

TENOR

BASS



Superius





Medius



Tenor


Bassus





5. Ave verum Corpus

(Hail, O hail, true body)

A

Hail,

A

Hail,

A

Hail,

A

Hail,

- ve ve

O hail,

- ve ve

O hail,

- ve

ve

O

hail,

- ve ve

O hail,

- rum Cor

true bo

- rum Cor

true bo

- rum Cor

true bo

- -

- -

- -

- -

- rum Cor

true bo

-

-

- -

- -

pus,

dy,

pus,

dy,

pus,

dy,

pus,

dy,

WILLIAM BYRD

(c.1540–1623)





na

of

-

na -

of





na -

of



na -

of

tum

the

tum

the

tum

the


tum

the

de

bless-

(for

rehearsal

only)

for online perusal only

Calmly q = 69







p














6









de Ma - ri - a

bless - ed Vir - gin

de Ma - ri - a

bless - ed Vir - gin

de Ma - ri - a

bless - ed Vir - gin

-

Ma

ed

- ri - a

Vir - gin

Vir

Ma

-

-

Vir -

Ma -


Vir -

Ma -

Vir

Ma

-

-

gi

ry

gi - ne: Ve

ry born: you

gi - ne: Ve

ry born: you

gi

ry

- ne: Ve

born: you

- ne: Ve

born: you

- re pas

who suf

- re pas

who suf

- re pas

who suf

- re pas

who suf

-

-

-

-

-

-

-

-

sum,

fered,

sum,

fered,

sum,

fered,

sum,

fered,

im

sa

im

sa

im

sa

-

-

im

sa

-

-

- mo - la -

- cri - fi -

mo

cri

-

-

la

fi

-

-

mo - la - tum

cri - fi - ced,

- mo - la -

- cri - fi -


cresc. dim. mp cresc.






























© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Byrd: Ave verum Corpus 33

12









-tum

in

-ced,

on


- tum

- ced,

in

on


cru

cross

cru

cross


- ce

pro

hung for

in

on

- ce pro

hung for

cru - ce pro ho

cross hung for sake


ho

sake

ho

sake

- mi ne:

of man:


- Cu

from

- mi - ne: Cu

of man: from

- mi - ne: Cu

of man: from



- ius la

whose side

- ius la

whose side

- ius la

whose side

- tus per

most cruel

- tus per

most cruel

- tus per

most cruel

- fo - ra -

- ly pier-





-

-

-

-

fo

ly

fo

ly

-

-






-tum

in

-ced,

on



cru

cross

- ce

pro

hung for

ho - mi - ne: Cu

sake of man: from

- ius la

whose side

- tus per

most cruel

-

-

fo

ly

-







mf
















for online perusal only









mp







18




- tum, un

- ced, came

- da flu - xit san - gui - ne, san

forth streams of ho - ly blood, ho

-

-

gui

ly

- ne:

blood:

Es -

grant











- ra - tum,

pier - ced,

-ra

- tum,

pier - ced,

- ra - tum,

pier - ced,

un

came

- da flu

forth streams

- xit san - gui - ne, san -

of ho - ly blood, ho -

un

came

un

came

- da flu -

forth streams

xit

of

san

ho

- da flu - - xit san

forth streams

of ho

gui - ne:

ly blood:




Es -

grant

- gui - ne: Es -

- ly blood: grant

-

-

gui

ly

- ne:

blood:




Es -

grant




















dim.












mf


36

Psalm 118: 24

English version by Robert King

SOPRANO 1

SOPRANO 2

ALTO

TENOR 1

TENOR 2

BASS




Superius

Haec

This

di - es quam

is the great day which

Haec

This

fe-cit

Do -

by the Lord


mi

is

-nus,

Do

made, by

- mi - nus,

the Lord,

Haec

This

di - es quam fe -cit

Do - mi-

nus,

is the great day which by the Lord is made,

haec di

this is

Medius


Contratenor


Sextus


Tenor

Bassus








6. Haec dies

WILLIAM BYRD

(This is the great day)

(c.1540–1623)





di -

is the great




Haec

This

-

the

for online perusal only

S.

A.

6



-

great

-es

day

(for

rehearsal

only)

es

day


Joyfully = 76




mf


quam fe -cit

Do - mi- nus,

haec

which by the Lord is made,

this

quam fe - cit

which by the

Do

Lord









- mi - nus,

haec

is made,

this





di - - es quam

is the great day which






di - -

is the great


T.









B.




quam

which

fe -cit

Do

by the Lord

- mi - nus,

Do

is made,

by


Haec

This

di - - es quam fe -cit

Do - mi- nus, quam

is the great day which by the Lord is made, which




- mi - nus,

quam

the Lord,

which


di - - es quam

is the great day which

fe

by

- cit Do

the Lord

fe

by

fe - cit

by the


- cit Do

the Lord










- mi-

is

- - mi-

is

Haec di - - es quam fe - cit Do - mi -nus,

This is the great day which by the Lord is made,













© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Byrd: Haec dies 37

S.

12




fe -cit

Do

by the Lord

-es

quam

day

which

A.


T.

B.











- mi - nus,

is made,

fe

by

- cit Do

the Lord

Do - mi- nus,

haec

Lord is made,

this

-nus,

Do - mi - nus, haec

made, the Lord is made, this

-nus,

haec

made,

this

quam

which





di - -

is the great

quam fe - cit Do - mi- nus, quam

which by the Lord is made, which






- - mi - nus,

quam

is made,

which


di - - es

quam

is the great day,

which

fe -cit

Do - mi-

by the Lord is

fe -cit

Do - mi-

by the Lord is

di - - es quam fe -cit

Do - mi- nus, quam fe - cit

is the great day which by the Lord is made, which by the

es

day



quam fe -cit

Do - mi- nus, quam

which by the Lord is made, which

fe -cit

Do - mi-nus,

haec di - - es quam

by the Lord is made,

this is the great day which























fe - cit

by the

fe -cit

Do - mi -nus,

by the Lord is made,









for online perusal only

S.





B.


18




fe -cit

Do- mi- nus, quam

by the Lord is made, which

-nus,

quam

made, which

- nus,

quam

made,

which

Do - mi- nus, quam

Lord is made, which

fe-cit

Do

by the Lord

fe-cit

Do - mi-nus,

Do

by the Lord is made, by

fe

by

fe

by

- cit Do

the Lord

- cit Do

the Lord

- mi - nus. Ex - sul - te - mus, ex - sul - te -

is made. Ce - le - brate it, ce - le - brate







- - mi - nus. Ex - sul - te - mus

the Lord is made. Ce - le - brate it




A.


T.











- mi - nus. Ex - sul - te - mus

is made. Ce - le - brate it

- mi - nus.

Ex - sul - te -

is made.

Ce - le - brate

Do-mi

- nus, quam fe-cit

Do - mi-nus,

Do - mi - nus. Ex - sul - te - mus, ex

Lord is made, which by the Lord is made, which is made. Ce - le - brate it, ce

quam

which








fe-cit

Do- mi -nus,

quam fe-cit

Do

by the Lord is made, which by the Lord













sul - te -

le - brate

- mi - nus.

Ex - sul - te -

is made.

Ce - le - brate

Allegro q = 132
















f


-

-

mus

it


mus

it



mus

it


mus

it


42

Wisdom 3: 1–3

English version by Robert King


SOPRANO 1

Medius



Ju - sto - rum a - ni - mae in ma - nu

God holds the right - e - ous for ev - er

SOPRANO 2 Superius




Ju - sto - rum a - ni - mae in ma - nu De

God holds the right - e - ous for ev - er in -

ALTO Contratenor


Ju - sto - rum a - ni - mae in ma - nu De -

Tenor

God holds the right - e - ous for ev - er in

TENOR




Ju - sto - rum a - ni - mae in ma - nu De - i

God holds the right - e - ous for ev - er in his

BASS Bassus








Ju - sto - rum a - ni - mae

in ma nu

God holds the right - e - ous

for ev - -

er

Adagio ma non troppo q = 72




(for


rehearsal

p

only)



6




De - i sunt, et non

in

his hand: they shall tan - get il - los, et non tan - get

be de - li - vered, they shall be de-





- - i sunt, et non tan - get il - los, et non tan - get

his hand: they shall be de - li - vered, they shall be de -




- - i sunt, et

his hand: they non tan - get il - los, et non tan - get

shall be

de - li - vered, they shall be de -li

il

- -







sunt, De - i sunt, et non tan - get il - los

tor -

hand, in his hand: they shall be de - li - vered

from death’s

men - tum

dark








De

in

- his

i

hand:

sunt,

et non tan - get

they shall be de -










cresc.

mp







7. Justorum animae

(God holds the righteous)

for online perusal only

WILLIAM BYRD

(c.1540–1623)




© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Byrd: Justorum animae 43




11










il - los

- li - vered from

tor - men - tum

death’s dark

mor

tor

il - los tor - men - tum mor

- li - vered from death’s dark tor

- los

- vered

mor

tor

from

tor - men - tum mor

death’s dark tor

tis,

- - ment,

from

tor










- tis, tor - men - tum mor

- ment, from death’s dark tor

- tis, tor -

- ment, from death’s

men - tum mor tis,

dark tor - - ment, from

tor -

death’s

men - tum

dark

-

-

tis.

ment.

- men - tum mor

death’s dark tor

- tis,

- ment, from

tor -

death’s

men - tum mor - tis, tor -

dark tor - ment, from men - tum mor

death’s dark tor


il - los

-li

- vered

from

tor - men - tum mor

death’s dark tor








mf










mor tis,

tor - - ment,

tor - men - tum mor

from death’s dark tor


- tis, tor -

- ment, from

men - tum

death’s dark










dim.




-

-

mor

tor



-

-

- -

- -


for online perusal only


16





-tis.

-ment.

-tis.

-ment.








Vi

Sin

-

-

Vi

Sin

tis.

- - ment. Sin

Vi

tis.

- - ment. Sin

Vi

mp


si

ners

sunt

and

- -

- -

Vi

Sin

si

ners

- si sunt

- ners and

o

the

sunt

and

o

the

- - cu - lis,

un - wise,

o

the

- cu - lis

un - wise

-

cu

un

- lis

- wise

o

the

- si sunt o - - - cu - lis

- ners and the un - wise

- -

- -

si

ners



sunt

and









o

the

- - cu - lis

un - wise



in

ap

- si - pi - en - ti -

- pear - ed to

-

un

cu

- -

wise

lis



in - si

ap - peared
























in

ap

-

-

-

in

ap

-

-


46

Psalm 81: 1–4

8. Sing joyfully

WILLIAM BYRD

(c.1540–1623)

Sing joy-

Quintus


SOPRANO 1






Sing joy - ful - ly un - to God our

Cantus

SOPRANO 2






Sing joy - ful - ly un - to God our

ALTO 1

Altus



Sing joy - ful - ly un- to God our

ALTO 2

Sextus



TENOR

Tenor








BASS

Bassus






Lively h = 58




ORGAN

mf






5



S. strength, un - to God our strength, our strength. Sing



strength, un - to God our strength, un to


A. strength,

un-to

God our strength, un to






Sing


T.


- ful - ly un - to God our strength, our strength, our strength. Sing loud,


B.


Sing




f







for online perusal only

- God our strength. Sing loud,

- God our strength. Sing

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Byrd: Sing joyfully 47

S.

A.

T.

B.

11










loud, sing loud, sing loud un - to

the God of Ja - cob.







sing loud un- to the God of Ja - cob, un - to the God of Ja - cob.






loud un - to theGodof Ja -cob,

sing loud un - to the God of Ja - cob.





loud, sing loud un-to

the God of Ja - cob, sing loud un-to

the God of Ja - cob.





sing loud un- to the God of Ja - cob,

the God of Ja - cob.







loud, sing loud un-to

the God of Ja - cob, un - to the God of Ja - cob.



















for online perusal only

S.

A.

T.

17










Take the song and bring forth the tim - brel,




Take the song and bring forth the tim - brel,

and


Take the song, take the song, the song and bring


Take the song, the song, the song and bring forth the tim - brel,

Take the song, take the song, the song and bring forth the tim - brel,

B.

Take the song, take the song and
















mf


Words by John Henry Newman

(1801–90)


SOPRANO

They are at rest, they are at rest; We may not stir

p

pp

p

ALTO ten.



They are at rest, they are at rest; We may not stir

p

pp ten.

p


TENOR





They are at rest, they are at rest; We may not stir

p

pp

p


ten.

BASS





They are at rest, they are at rest; We may

Lento e sostenuto rit. a tempo

[ q = 48 ]



(for


rehearsal

p

pp ten.

only)









4

dim.

cresc.

dim.





heav’n of their re -pose

By rude in -vok-ing

voice, or prayer ad-drest

dim. cresc.

dim.



heav’n of their re -pose

By rude

in -vok-ing

voice, or prayer ad-drest

dim. cresc.

dim.






heav’n of their re -pose

By rude

in-vok

- ing voice, or prayer ad-drest

dim.

cresc.

dim.



heav’n of their re -pose

By rude in-vok-ing

voice, or prayer ad-drest





dim. cresc.

dim.





not



In


In In




the


the


the


stir




way


way


In


way



the


-

-


-



9. They are at rest

Lento e sostenuto rit. a tempo

p

pp ten.

p

for online perusal only










EDWARD ELGAR

(1857–1934)

53

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54

Elgar: They are at rest

7

-

-

dim. e rit.

ward-ness

to those Who

dim. e rit.

Tranquillo

dolciss.

pp











pp


ward-ness

to those Who in the moun

dim. e rit.

pp

way-ward-ness

to those Who in the moun

in

the moun-tain

grots of E - den lie,

- tain grots of E

- tain grots of

cresc.


- den lie, And

dolce cresc.




E

- den lie, And

for online perusal only



dim. e rit.

- ward-ness

to those Who in the moun - tain grots of E

Tranquillo

dolciss.

pp

cresc.












- -

dim. e rit. pp cresc.

den






















10




espress.

p

pp

dim.



And

hear the four - fold riv

dim.

- er as it mur

hear the four - fold riv - er, the four - fold riv-er

as it mur

p

pp

a tempo

mf

- - murs by. And

mf

- - murs by. And

mf

dim. p pp









hear the four - fold riv- er, the four - fold riv-er

as it mur - - murs by. And

dim.

lie, And hear the four





p

- fold riv

pp

- er as it mur - - murs by. And

mf

a tempo

dim. p pp mf








sooth-ing



sooth-ing



sooth-ing
















sooth-ing


57

Psalm 47

10. O clap your hands

ORLANDO GIBBONS

(1583–1625)

SOPRANO






Medius

Decani


O clap your hands to - ge - ther, all

for online perusal only

ALTO

Choir

I

TENOR

Contratenor Decani







O clap your hands to -

Tenor Decani







O clap your hands to

- ge - ther, all ye peo - ple, all

BASS

Bassus Decani




O clap your hands to - ge - ther,

SOPRANO

Medius Cantoris




O clap your hands to - ge - ther,

ALTO

Choir

II

TENOR

Contratenor Cantoris


Tenor Cantoris










O clap your

BASS

Bassus Cantoris







O clap your

(for

rehearsal

only)


Joyfully = 112




mf










© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


58

Gibbons: O clap your hands

4



ye peo - ple, O clap your hands to - ge - ther, all ye peo - ple, ye peo - ple;









hands to - ge - ther, O clap your hands to - ge - ther, all ye peo - - ple;

O



O clap your hands to - ge - ther, O clap your hands to - ge -ther,

all ye peo - ple, all ye peo -ple;

O








9

- ge - ther,

O clap your hands to - ge - ther, all ye peo - ple; O sing


ye peo - ple, O clap your hands to - ge ther,




hands to





O clap your hands to

O clap your hands to

f

- all ye peo - ple, ye peo - ple;


- ge - ther, all ye peo - - ple;

O



- ge - ther, all ye peo - - ple;

O

- ge - ther,

O clap your hands to - ge - ther, all ye peo - ple;



























O sing un-to

God with the voice of me - lo - dy.












mf





for online perusal only





un -to

God with the voice of

me - lo - dy, of me - lo - dy. For the Lord



O sing un -to

God with the voice, the voice of me - lo - dy.






sing un- to God with the voice of me - lo - dy, of me - lo - dy.



sing un- to God with the voice of me - lo - dy.


sing un- to God with the voice of me - lo dy,


For the Lord is

- of me - lo - dy. For the Lord is high





sing un- to God with the voice of me-lo

- dy.

For the Lord is high and to be









O sing un-to

God with the voice of me - lo - dy.


Gibbons: O clap your hands 59

14





For the Lord is high and to be fear - ed, and to be fear - ed;




is high and to be fear- ed, for the Lord is high and to be fear -ed;



For the Lord is high and to be fear - - ed; he is the great






For the Lord is high and to be fear - ed;






high and to be fear - ed; he is the great King of






and to be fear - ed, and to be fear - ed;

he is the great



fear

for online perusal only






19

- ed, for the Lord is high, is high and to be fear - ed;







For the Lord is high and to be fear - ed;













he is the great King of all the earth, of all the earth,










he is the great King up-on

all the earth, up - on all the earth, he is the






King, he is the great King up on







all the earth, the earth,

he is the great King




King up - on all the earth, he is the great King up - on




he is the great King of all the earth,

he is








- all the earth,

he is the great King up-on

all the earth, he is

he is the great King of all the earth, he is the great King, the great King of


Psalm 6: 1–4

SOPRANO 1

SOPRANO 2

ALTO 1

ALTO 2

TENOR

BASS

71

11. O Lord, in thy wrath








O Lord, in thy wrath, in thy wrath re -buke

me







O Lord, in thy wrath re - buke me







O Lord, in thy wrath re-buke me not,








O Lord, in thy wrath, O








O Lord, in thy wrath






O Lord, in thy

Andante espressivo q = 66




(for

rehearsal

p

only)









for online perusal only



ORLANDO GIBBONS

(1583–1625)

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


72

Gibbons: O Lord, in thy wrath

S.

A.

T.

B.

5





not, O Lord, in thy wrath re - buke me not, re - buke me

not, re

- buke me not, re - buke me not, O Lord, in thy wrath re -buke

me

O Lord, in thy wrath re - buke me not, O Lord, in thy wrath








Lord, in thy wrath re - buke me not:

wrath

re-buke

me not, O Lord, in thy wrath re-buke

me not, re - buke

re - buke me not, re - buke me not, re - buke me not, Lord, in thy wrath re -buke

me


























































for online perusal only

S.

A.

T.

B.

11







not, me not: nei-ther

chas - ten

not, re

- buke me not: nei -ther

chas - ten me in thy dis - plea - sure.









re - buke me not: nei-ther

chas - ten me in



not:


nei-ther

chas - ten me in thy dis - plea - sure,


me not, re - buke me not: nei -ther

chas - ten me in thy dis- plea -








mp

nei-ther

chas ten








- me in thy dis - plea- sure,

nei-ther


76

Words from Henry Bull:

Christian Prayers and Holy Meditations (1568)

SOPRANO



12. Lord, for thy tender mercy’s sake





Lord, for

RICHARD FARRANT

or JOHN HILTON

(late 16th century)




thy ten-der

mer-cy’s

sake, lay not our sins to our charge, but for-

ALTO






for online perusal only

Lord, for thy ten-der

mer - cy’s sake, lay not our sins toour charge, but for-

TENOR

BASS






Lord, for thy ten-der

mer-cy’s

sake, lay not our sins to our charge, but for-







ORGAN

(see commentary)



Andante con moto q = 76






Lord, for thy ten-der

mer-cy’s

sake, lay not our sins to our charge, but formp

cresc. mf




6








-give

that is past, and give us grace to a-mend

our sin-ful

lives: to de-cline

from sin and in-cline to vir - tue,


-give

that is past, and give us grace to a-mend our sin -ful

lives: to de - cline from sin and in - cline to vir - tue,




-give

that is past, and give us grace to a-mend

our sin-ful

lives: to de-cline

from sin and in-cline

to vir -tue, that we may




-give

that is past, and give us grace to a-mend

our sin-ful

lives: to de - cline from sin and in - cline to vir-tue, that we may








dim. mp cresc. mp





© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


78

13. These are they which follow the Lamb

Revelation 14: 4–5

JOHN GOSS

(1800–80)

Moderato [ q = 84 ]

mp


SOPRANO

These are they which fol - low the Lamb whi - ther-so-ev- er he go - eth.

mp

ALTO



These are they which fol - low the Lamb whi - ther-so-ev- er he go - eth.

mp


TENOR



These are they which fol - low the Lamb whi - ther-so-ev- er he go - eth.

mp


BASS



These are they which fol - low the Lamb whi - ther-so-ev- er he go - eth.

Moderato [ q = 84 ]






ORGAN

mp






7

mf

cresc.

dim.



These were re-deem-ed

from a-mong

men, be - ing the first-fruits

un-to

God and to

mf

cresc.

dim.




These were re-deem-ed

from a-mong men, be - ing the first-fruits

un-to

God and to the

mf

cresc.

dim.





These were re-deem-ed

from a-mong

men, be - ing the first-fruits

un-to

God and to the

mf

cresc.

dim.




These were re-deem-ed

from a-mong

men, be - ing the first-fruits

un - to God and to








mf

cresc.








for online perusal only

the

the

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


80

Psalm 39: 4–7, 12–13

SOPRANO

ALTO

TENOR

BASS

14. Lord, let me know mine end



( )


Largo [ q = 96 ]

Lord, let me know mine











Lord,

MAURICE GREENE

(1696–1755)

let me know mine



for online perusal only

ORGAN

(editorial

realisation)



Largo [ q = 96 ]






´ 6 5ü








#ü 6 ´ Ä 6 ´ 6 6ü

2 5ü

#üüüü



6



end,

and the num-ber

of my days; that I may be cer-ti- fied how


© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.

Lord, let me know mine end, and the num-ber

of







end, and the num - ber of my days, the num - ber of my days;

üü 6 6üü

5üü

5

3

6 6ü


Lord, let me know mine end, and the num - ber
















#ü 6ü 6

42

´ü





# üü 6 ´5






6 6


Greene: Lord, let me know mine end 81

13





long I have to live, how long I have to live.







my days; that I may be cer-ti-fied

how long I have to live.






that I may be cer-ti-fied

how long, how long I have to live.




of my days; that I may be cer-ti-fied

how long I have to live.
















´ü








# #ü 6 # 6 7ü #üüü 6 6 6 6ü # #ü #ü


20






Be

- hold,

be - hold,




Be

for online perusal only




- hold,

be - hold,

























6 ´ n 6 ´ 6

4

Ä 6 6 üü 6 6 üü üü 6ü 6 6 #üüü


90

15. My song is love unknown

(from Cantata for Lent)

Words by Samuel Crossman (1623–83)

and Edward Denny (1796–1889)

Text compiled by Charles Cudworth (1908–77)

PATRICK HADLEY

(1899–1973)

* ORGAN

6

TENOR

SOLO







q = 60




pp


Ped.

p





My

song is love un-known,

My Sa-viour’s

love to


p

[Man.]


me; Love to the love - less shown That they might love -lier

be. O, who am I, that for my
























for online perusal only

11




15

sake My Lord should take frail flesh and die? He

mp











mp









Ped.














came

from his blest

throne, Sal-va-tion

to be-stow; But men madestrange and none The longed-for

Christ would know.




























Man.

* Hadley also scored this anthem for orchestra. Score and parts are available on rental (see p. 378).





© The Estate of Patrick Hadley. By permission of the Master and Fellows of Pembroke College, Cambridge.

Photocopying this copyright material is ILLEGAL.


Hadley: My song is love unknown 91

19










But O, my Friend, my Friend in-deed,

Who at my need his life did spend.











(Man.)








for online perusal only

23







Più mosso

mf




In

life no house, no home My Lord on earth might have; In death no friend-ly













mf









28

rit.

Tempo primo q = 60

p




3








tomb But what a stran - ger gave. What may I say? Heaven was his home;

p

[Ped.]





























33









But mine the tomb

where-in

he lay.
















rit.


96

Words by Edmund Spenser

(1553–99)

Adagio h = 60

SOPRANO

ALTO

Choir

I

TENOR

BASS

SOPRANO

ALTO

Choir

II

TENOR

BASS

(for

rehearsal

only)


pp








Faire, faire is the heav’n Where hap-py

soules have

pp




Faire,


pp







Faire,

pp





Faire,

pp








Faire,

faire, faire is the heav’n,

pp





Faire,

faire, faire is the heav’n,

pp





Faire,

faire, faire is the heav’n,



pp





Faire,

faire, faire is the heav’n,


Adagio h = 60













pp



16. Faire is the heaven

for online perusal only




WILLIAM H. HARRIS

(1883–1973)

faire is the heav’n Where hap-py

soules have

faire is the heav’n Where hap-py

soules have

faire is the heav’n Where hap-py

soules have



© 1925 Summy-Birchard Music. All rights administered in the UK & Europe by Warner/Chappell Music Ltd. Reproduced by permission

of Faber Music Ltd. All rights reserved. Exclusive print rights in the rest of the World administered by Alfred Music Publishing Co., Inc.

All rights reserved. Used by permission. Photocopying this copyright material is ILLEGAL.


Harris: Faire is the heaven 97

6




place

In full en - joy - ment of fe - li - ci-tie;

p







place

In full en - joy - ment of fe - li - ci-tie;

p






place

In full en - joy - ment of fe - li - ci-tie;

p


place

In full en - joy - ment of fe - li - ci-tie;

pp

p





faire is the heav’n Where hap-py

soules have place

In full enfaire

is the heav’n Where hap-py

soules have place

In full en-

pp

p





pp

p






faire is the heav’n Where hap -py

soules have place

In full enfaire

is the heav’n Where hap-py

soules have place

In full en-



pp

p














pp

p











for online perusal only





p


98

Harris: Faire is the heaven

12




Whence they doe still be - hold the glo - rious face Of the Di -





Whence they doe still be - hold the glo - rious face Of theDi-







Whence they doe still be-hold

the glo - rious face Of the Di -






Whence they doe still be-hold

the glo - rious face Of the Di-

- ment of fe - li- ci-tie;





-joy



-joy

-ment

of fe - li- ci-tie;








- joy - ment of fe - li- ci-tie;

-joy

- ment of fe - li- ci-tie;




































for online perusal only


Antiphon for the

Feast of All Saints

SOPRANO

ALTO





17. O how glorious is the kingdom

Maestoso




TENOR BASS




Maestoso



ORGAN

Gt. f




Ped.



3











6















© 1899 Basil Harwood, transferred to Banks Music Publications 1976. Reproduced by permission.

Photocopying this copyright material is ILLEGAL.


115

BASIL HARWOOD

(1859–1949)










f























for online perusal only


116

Harwood: O how glorious is the kingdom

poco accel.

9





cresc.






rall.

11



















ff












[ ff ]

a tempo

13 f







O how glo - rious is the king - dom where - in all the

f







O how glo - rious is the king - dom where - in all the

f









O how glo - rious is the king - dom where - in all the

f








O how glo - rious is the king - dom where - in all the

a tempo





f












f



for online perusal only


126

18. Like as the hart desireth the waterbrooks

Psalm 42: 1–3

HERBERT HOWELLS

(1892–1983)

SOPRANO

ALTO




Not too slowly, but with quiet intensity



TENOR

BASS

ORGAN








p

(T. & B. unis.)


Not too slowly, but with quiet intensity














p


Like as the hart




for online perusal only

T.

B.

6








de - sir-eth

the wa - ter-brooks,

so long-eth

my soul af-ter

thee, O God.



















T.

B.

12



mf




My soul is a - thirst for God, yea, e - ven for the











poco

3












© Oxford University Press 1943. All rights reserved. Photocopying this copyright material is ILLEGAL.


Howells: Like as the hart desireth the waterbrooks 127

19


S.

A.

T.

B.




liv





- ing God.








molto espressivo

f When shall I



come

When shall I

When shall I come




f

When

molto espressivo









shall I



to ap-

come

to ap-


come








for online perusal only

26

-pear


dim. molto p










to ap

-

pear

be-fore

the pre-sence

be-fore

of

God?

God?



-pear







to ap



dim. molto

- pear

be-fore

the pre-sence

dim. molto

be-fore

of

God?










p

God?







p





32



S.


Ch.


Più animato (un poco)

SOPRANOS mf

My

cresc.


tears have been my meat day and night, while they












mp



Sw.










cresc.


132

19. Greater love hath no man

Words from the Bible

(see commentary)

JOHN IRELAND

(1879–1962)

SOPRANO





Moderato q = 80


ALTO





for online perusal only

TENOR

BASS

* ORGAN












Moderato q = 80



p







Ped.








p


Ma

- ny wa - ters can-not

quench love,


























9








mf




* Ireland also scored this anthem for orchestra. Scores and parts are available on rental (see p. 378).

© 1912 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 1DZ, UK, www.stainer.co.uk. Reprinted by kind permission.

Photocopying this copyright material is ILLEGAL.

p

Ma

p

Ma

p

nei-ther

can the floods drown it. Ma

p

Ma

- ny wa - ters can-not

quench

- ny wa - ters can-not

quench





















- ny wa - ters can-not

quench



- ny wa - ters can-not

quench


Ireland: Greater love hath no man 133

16




love,

love,

love,

cresc.

nei -ther

can the floods drown it.

mf cresc.

nei -ther

can the floods drown it.

nei-ther

can the floods drown it.

cresc.




love,

mf cresc.

nei-ther

can the floods drown it.





























non legato

for online perusal only

cresc.





24










Poco più moto

f

Love

f

Love

f

Love

f





Love



is strong as death, love is strong as death.



is strong as death, love is strong as death.



is strong as death, love is strong as death.


is strong as death, love is strong as death.

Poco più moto











f marcato






























































Man.


141

Wisdom 3: 1–3

20. The souls of the righteous

GERAINT LEWIS

(b.1958)

SOPRANO

ALTO



Very slow and tranquil q = c. 66




TENOR

BASS









ORGAN

for online perusal only

Very slow and tranquil q = c. 66






p molto legato



Ped.

5


(loco)






mp sempre legato

mf






10

(hushed) p

The

(hushed) p











f

p


souls of the right - eous




































© assigned to Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


142

Lewis: The souls of the righteous

16




are in the hand of


22



28

p







mp


God,



mp

right-eous

are in the hand of God, and the pain of death







p


f

f

p

the



p










p

souls

of the

shall not touch them.








for online perusal only




















f


146

Psalm 55: 2–8, paraphrased by

William Bartholomew (1793–1867)

SOPRANO

SOLO

SOPRANO





Andante [ = 76 ]


21. Hear my prayer


FELIX MENDELSSOHN

(1809–47)


Hear my pray - er, O God, in-cline

thine


ALTO





for online perusal only

TENOR

BASS








* ORGAN

Andante [ = 76 ]







p







5






ear!


Thy-self

from my pe - ti - tion do not hide! Hear my pray - er, O God, in -cline

thine















9




ear!





Thy-self

from my pe - ti - tion do not hide, thy-self

from my pe - ti - tion do not
















* Mendelssohn also scored this anthem for orchestra. Score and parts are available on rental (see p. 378).

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Mendelssohn: Hear my prayer 147

13


17

hide! Take heed to me! Hear

sf

how in pray- er I mourn

to thee, hear how in pray-er

I mourn to thee,









cresc.






cresc.









hear how in pray - er I mourn to thee! Take heed to me, take heed to me! With-out

thee all is

































pp


pp





















for online perusal only

21



25

29

dark, I have no guide, I have no guide, no guide, with - out thee all is dark, I have no


guide,

cresc.




I

[cresc.]

have no

sf

guide.

pp

pp

cresc.

Hear my pray - er, O God, in-cline

thine ear! Thy-self

from my pe-





























[ p]





-ti

- tion do not hide, thy-self

from my pe - ti - tion do not hide! Hear my


148

Mendelssohn: Hear my prayer

S.

solo

33

pray-er,

O God,in cline

Allegro moderato



*


- thine ear! The en -e-my

shout-eth,

f

f



S. (S. & A. unis.)



A.

Hear my pray- er, O God, in-cline

thine ear! The

T.



(T. & B. unis.) f f


B.

*




en -e

- my

Hear my pray- er, O God, in-cline

thine ear! The en -e

- my

Allegro moderato




mf





mf








for online perusal only





sf

f



[


]




39






49

the god-less

come fast! In - i-qui

-ty,

ha-tred

up- on me they cast.

f

f


shout-eth,

the god-less

come fast! In - i - qui-

ty,


f

f




shout-eth,

the god-less

come fast!


ha -tred

up- on me they cast.

[ ]

sf







sf

In - i - qui-

ty,

The wick- ed op - press me, Ah, where shall I fly?

The

ha -tred

up- on me they cast. The























wick-ed

op - press me,

f





wick-ed

op - press me,

























* The intention of the apparently conflicting pauses seems to be for the organ to hold the for the written length under the soloist’s paused ‘God’,

and the organ then to lift the chord while the soloist completes the paused note, singing the last three syllables unaccompanied.


162

Poem probably by John Redford (d. 1547)

Translation by Robert King

SOPRANO

ALTO

TENOR

BASS











22. Nolo mortem peccatoris

(I ask not the death of sinners)





No

I








- lo mor

ask not

No

I

No

I

- ask

lo mor

not

- tem pec

the death

-

tem

the

-

ca

of

pec-ca

death of

-to

sin


-

-

ris,

ners,

- to - ris,

sin - ners,

no

I

THOMAS MORLEY

(c.1557/8–1602)

- lo mor-tem

pec - ca-

ask not the death of

pec - ca -

the death

to

of

sin - -

- lo mor-tem

pec-ca

- to - ris, pec - ca -

ask not the death of sin - ners, the death of








No

I

- ask

lo mor - tem pec - ca-

not the death of


Andante ma con moto q = 80










(for

rehearsal

p

only)











for online perusal only

6










-to

sin

-

-

ris,

ners:

Haec

These

-ris,

Haec sunt ver -

-ners:

These words spake the

ba Sal

bless

sunt ver -ba

Sal -va-to - ris.

words spake the bless -ed

Sa - viour.


-to

- ris, Haec sunt ver- sin - ners: These words spake ba Sal

the bless

-to

sin

-

-

ris,

ners:

Haec

These

sunt

words

- -

ver -

spake ba Sal

the bless

-

-

-

-



ed

va - to - ris.

Sa - viour.



va -to

- ris.

ed Sa - viour.




va -to

- ris.

ed Sa - viour.
















Fa - ther, I am thine on- ly Son,


Fa - ther, I am thine on- ly Son, Sent



Fa

Fa

mf

- ther, I am thine on- ly Son, Sent down from



- ther, I am thine on-ly

Son,


















© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Morley: Nolo mortem peccatoris 163

13





Sent down from heav’n, man - kind to save. Fa - ther, all








down from heav’n, man - kind to save, sent down from heav’n, man-kind

to save. Fa -




heav’n, man- kind to save, man-kind

to save, sent down from heav’n, man-kind

to save. Fa -



for online perusal only





Sent downfrom heav’n, man - kind to save, man-kind

to save. Fa -
















18











things ful - fill’d and done Ac-cord-ing

to thy will, thy will, I have. Fa -ther,

my will now all



-ther,

all things ful - fill’d and done Ac-cord

- ing to thy will, I have. Fa - ther, my will now



-ther,

all things ful-fill’d

and done Ac-cord

- ing to thy will, I have. Fa - ther, my will now



-ther,

all things ful - fill’d and done Ac-cord

- ing to thy will, I have. Fa - ther, my will now
































mp


166

Isaiah 40: 6–11

SOPRANO


12


Allegro marcato = 112

23. Vox dicentis: Clama

f

Cla

- ma;

Quid

f

E. W. NAYLOR

(1867–1934)




cla - ma - bo?

ALTO

TENOR

BASS

12



12








12 f


Vox

cen

f




di -


Cla

f

- ma;

Quid

Cla - ma; et dix - i Quid

f

- tis: Cla - ma;

Quid,

f

f

f

quid

cla - ma - bo?



cla - ma - bo?




cla - ma - bo?

for online perusal only

(for

rehearsal

only)

Allegro marcato q = 112






f


















The voice said: Cry;

And he said: What shall I cry?

7

meno mosso q = 96

pp


S.



p

O

- mnis ca - ro

meno mosso q = 96

pp

foe

-

num,

O

pp

O

pp

O

pp

o

- mnis ca - ro foe - num,

A.



- mnis ca - ro foe - num,

T.


B.

- mnis ca - ro foe - num,




- mnis ca - ro foe - num,




p pp pp mf


All flesh is grass, and all the goodliness thereof is as the flower of the field











mf


Et


o-mnis

glo-ri-

a


© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Naylor: Vox dicentis: Clama 167

16



poco meno mosso

p


Et o -mnis

glo - ri - a e - ius qua - si







e


- ius qua - si flos, qua

p

Et

p

Et

o

- mnis glo - ria qua - si

o -mnis

glo - ri - a e - ius qua - si

dim.

p


- si flos a





- gri,

o - mnis glo - ri - a






for online perusal only




dim p p




poco meno mosso


















S.

22



poco rit.

a tempo


p





A.

T.

B.








flos a - gri.

Ve

flos a - gri.

flos a - gri. Ve

qua

qua

- si flos a - gri.

- si flos a - gri.

con espressione

mf

- re foe - num est po - pu-

lus.

p

Ve

Ve

Ve

Ve

- re foe - num est


p







- re foe - num est

- re foe - num est


p



- re foe - num est

p






- re foe - num est


poco rit.








a tempo







mf



p












Surely the people is grass


181

after Luke 1: 28, 42

English version by Robert King

SOPRANO

24. Ave Maria

(Honour we Mary)

ROBERT PARSONS

(c.1535–71/2)






ALTO 1

ALTO 2

TENOR

BASS










A - ve Ma - ri - a, Ma - ri -

Ho - nour we Ma - ry, ho - -


Con dolcezza q = 69

(for


rehearsal

mp

only)




A - ve Ma - ri - a,

Ho - nour we Ma - ry,

A

Ho

a

ho

-

-

ve

nour





-

-

Ma

we

- ri - a,

Ma - ry,



ve

nour

A - ve

Ho - nour

a

ho

Ma-ri

we Ma


Ma

we

-

-

-

-

-


ri -

Ma-

for online perusal only

6












-ve

-nour

-


A

Ho

- -

- -

ve,

nour,

Ma - ri - - - a, Ma - ri

we Ma - - - ry, ho - nour

- - - - - a,

- - - - - ry,

- - - - -

- - - - -

- a, Ma - ri

nour we Ma





Ma - ri

ho - nour

a

ho

-

-

ve

nour

- - a, Ma

we Ma

a, Ma ri

ry, ho - - - - a,

nour we Ma - ry,

- a, Ma

we Ma

a -

ho -

ve

nour

Ma - ri

we Ma




-

-

-

- ri

- - -


ri

- -

-









Ma -ri

-

we Ma -




- - - - - - a, a - ve Ma -ri

-

- - - - - - ry, ho - nour we Ma -















© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


182

Parsons: Ave Maria

12









- a,

gra

-ry,

grace

- -

- -

- a,

gra

-ry,

grace

- a, gra

- ry,

-

-

- ti - a ple

grace - ful and fa

ti - a ple

ful and fa

- -

- -

na,

voured,

gra -

grace -

- - - na, gra

- - - voured, grace

- a,

gra - ti - a ple

- ry,

grace - ful and fa






mf


- ti - a ple

- ful and fa


ti - a ple

ful and fa

- ti - a ple

- ful and fa

-

-

na,

voured,



a, gra - ti - a ple - - na, gra - ti - a ple

ry, grace - ful and fa - - voured, grace - ful and fa



-

-

- na,

gra-

- voured, grace-



- - -

- - -
















- - - - - -

- - - - - -















for online perusal only

17













- na, gra -

-voured,

grace ful

ti -a ple

- and fa

- ti - a ple

- ful and fa

- na,

-voured,

-

-

gra

grace

gra

grace

- ti - a ple

- ful and fa

-

-

na,

voured,


- - - - - - na,

Do - mi-nus

- - - - - - voured,

God is with




- - - - - - - na, Do - mi-nus

te

- - - - - - - voured, God is with - in


- ti a

- ful and

- ple

fa


- - - - - na,

Do - mi-nus

- - - - voured,

God is with




na,

gra - ti - a ple - - - na, Do - mi-nus

te -

voured,

grace - ful and fa - - - voured, God is with - in

















-


187

Psalms 47: 5, 103: 19

English version by Robert King

SOPRANO 1

SOPRANO 2

25. Ascendit Deus

(God has ascended)


Cantus


A -

God

scen

has

PETER PHILIPS

(c.1560/1–1628)

- dit De - us in

as-cend

- ed with fes

iu - bi - la - -

-tive

ju - -

Quintus

ALTO

TENOR

BASS

Altus



Tenor


A - scen

God has

- dit De

as-cend

- us in

- ed with




A

God

Bassus

- scen -

has

ORGAN

(optional)



for online perusal only

Joyfully = 63




f









6





-

-

ti - o - - ne, in iu - bi - la - ti - o - ne, a -

bi - la - - tion, with fes -tive

ju - bi - la - tion, God scen - dit

has as - cend

De


A

God

iu - bi -la

- ti-o

- ne, in

fes-tive

ju - bi - la - tion, with

- dit De

as- cend

- - ed

us

A

God


in

with

iu

fes

- scen - dit De

has as-cend

- scen - dit De

has as-cend

- bi - la - ti

- tive ju - bi

iu - bi - la -ti

- o

fes-tive

ju - bi - la

- us in

- ed with



- us

in

- ed

with

-

-

ne,

tion,

fes

iu - bi

- tive

- us in

- ed with

3














- la -

ju -

a - scen-dit

De

God has as - cend










- o - - ne, a -

- la - - tion, God scen -dit

has as -





fes

iu


- bi - la - - -

- tive ju - - -










3


-

-




© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


188

Philips: Ascendit Deus

12











iu

fes

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la

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-us

in

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-

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o

la

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iu

fes

iu

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ti

bi

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o

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ti o

bi- - - ne, et

la - tion, the might Do - mi - nus,

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ne,

tion,

et

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et

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vo - ce tu

sound of trum

vo - ce tu

sound of trum

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sound of trum

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of trum

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vo

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vo -

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193

Psalm 102: 1

26. Hear my prayer, O Lord

HENRY PURCELL

(1659–95)

SOPRANO 1











And let my cry - ing come un-

SOPRANO 2







ALTO 1







Hear




my pray - er, O Lord, and let my cry - ing

ALTO 2



TENOR 1



Hear

my pray -er,

O

TENOR 2




BASS 1



Hear

my

BASS 2






for online perusal only





ORGAN

(editorial)


Lento expressivo = 72


p









! § ! 6

§

6

4

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


194

Purcell: Hear my prayer, O Lord

6




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thee, hear my pray- er, O Lord, and let my

S.





And let my cry - ing come un - to thee,

A.





come, my cry - ing come un - to thee, and let my cry - ing come un-

for online perusal only





And let my cry

- ing come un - to thee, hear my pray- er, O Lord,




Lord, and let my cry - ing come un - to thee,



T.




Hear

my pray- er, O Lord,





pray- er, O Lord, and let my cry - ing

B.




Hear

my pray-er,

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mp



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5 5 6 6 6 7 § 6 7 7 6 6

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Purcell: Hear my prayer, O Lord 195

S.

13



cry










- ing come un - to thee, and let my cry - ing come un-





and let my cry - ing come un - to thee,

A.







-to

thee, hear my pray -er,

O Lord,


for online perusal only




my pray - er, O Lord, and let my cry - ing











and let my cry - ing come un -to

thee,

T.





hear





my pray-er,

O Lord, and let my cry - ing come un - to thee,





come un - to thee, come un - to thee, hear my pray -er,

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196

Purcell: Hear my prayer, O Lord

S.

A.

T.

B.

19




-to

thee, hear my pray-er,

O


hear my pray - er, O Lord,












come un - to thee, and let my cry - ing come un - to thee,







and let my cry - - ing come un - to thee,



Lord,

and let my







pray - er, O Lord, and let my cry - ing come un - to thee,





cresc.




for online perusal only

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hear my pray - er, O Lord, and let my

mf









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Purcell: Hear my prayer, O Lord 197

S.

25






Lord, and let my cry - ing come un - to thee, and







and let my cry - ing come un - to thee, let my cry - -




A.





pray - er, O Lord, and let my cry - ing come,

for online perusal only




and let my cry - ing come un -






cry



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T.










and let my cry - - ing come un -



cry




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198

Purcell: Hear my prayer, O Lord

30



[ ]




let my cry - ing, cry - - - ing come un - to thee.

S.





- ing come, my cry - ing come un - to thee.

[ ]



[ ]


my cry - ing, cry - ing come un - to thee.

A.

[ ]




-to

thee, let my cry - - ing come un - to thee.





cry





- - - ing come, my cry - ing come un - to thee.



[ ]



T.







-to

thee, and let my cry - ing come, my cry - ing come un - to thee.


[ ]



for online perusal only











[ ]

my cry - ing, my cry - ing come un - to thee.

B.

[ ]



let my cry - ing come un - to thee.



più f



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cresc.


6

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ff






4

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[ ]

t.s.



[ ]

pp


199

27. I was glad when they said unto me

Psalm 122: 1, 4–7

HENRY PURCELL

(1659–95)

SOPRANO 1

SOPRANO 2

ALTO

TENOR

BASS









I was glad, was glad when they said un - to














ORGAN

(editorial)







Joyfully = 116






I was glad, was glad when they said un - to



I was glad when they said un - to

I was glad, I was glad when they said un-to


I was glad, I was glad, was glad when they said un - to

f

















for online perusal only

üüüüüüüüü 7

r2

9

73

6 9

7

6











me: we will go in - to the house, in-to

the house of the Lord.


me: we will go in - to the house, the house of the Lord.



me: we will go in - to the house of the Lord. For

me: we will go, we will go in - to the house of the Lord. For thi-ther

the

me: we will go in - to the house, the house of the Lord.

6

4
















7 6

43

6

5

u

!

#

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


7üüü 6 6 u y üüü

t üü

! 4üüüü




















t.s.

5

#

5

#

mf


200

Purcell: I was glad when they said unto me

14









ev’n the tribes of the Lord,

For thi - ther the tribes go up, ev’n the tribes of the




thi - ther the tribes go up,






ev’n the tribes of the Lord, for thi - ther the

3 ü 5

2

6 7ü


6 üüüüüüüüü 7ü


ev’n the tribes of the Lord, ev’n the

tribes go up, ev’n the tribes of the Lord, the tribes of the Lord,















6 7 5

3









for online perusal only

21














for thi - ther the tribes go up, ev’n the tribes of the Lord: to tes - ti - fy

Lord, ev’n the tribes of the Lord, ev’n the tribes of the Lord: to tes - ti - fy


tribes of the Lord, ev’n the tribes of the Lord: to tes - ti - fy


for thi - ther the tribes go up: to tes - ti - fy

tribes go up, ev’n the tribes of the Lord, the Lord: to tes - ti - fy

6üüüüüüü 6


cresc.








ü ü 7ü § 6

§

6

Ä

5

#

#üüüüü

f

























7

6

4

6

4

3


210

Jeremiah 14: 17–22

SOPRANO 1



28. Let mine eyes run down with tears


VERSE


HENRY PURCELL

(1659–95)

SOPRANO 2

ALTO



SOLO





And let them not cease,




for online perusal only

TENOR

BASS

SOLO










SOLO




Let mine eyes run down with tears night and day,

Let mine eyes run


ORGAN

(editorial

Mournfully = 63


realisation)











6 5 7 # 5


6 4

2

4









SOLO



SOLO



And let them not

cease,


let mine eyes run down with tears night and




And let them not cease, let mine eyes run



down with tears night and day, and let them not cease, night and day,













6 § 6

43

§üüüüüüüüüüüüüüü 6 4üüüüüüüüü § n

§

6

Ä














© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Purcell: Let mine eyes run down with tears 211

7















let mine eyes run down with tears night and



day, let mine eyes run down with tears night and



down with tears night and day, let them not cease night and

and let them not cease, let mine eyes run down with tears, and let them not

and let them not cease, let them not cease night and



























for online perusal only

6 9 8 6

4 6üüüüü 3

6

5

9

7

#

6

#

7 6

43

10




day: for the vir -gin

daugh - ter of my








day: for the vir-gin

daugh -ter

of my peo - ple, for the vir -gin

daugh -


day: for the vir -gin

daugh - ter of my peo - ple is

cease: for







the vir-gin

daugh - ter of my peo - ple, for the vir-gin

daugh - ter




day: for the vir -gin

daugh - ter of my peo - ple, for the vir-gin















# § 7 6

5

5 6 9 8 6


224

29. Lord, how long wilt thou be angry?

Psalm 79: 5, 8–9, 13

HENRY PURCELL

(1659–95)

SOPRANO 1

SOPRANO 2

ALTO

TENOR

BASS







Lord,

how




Lord, how long wilt thou be an - gry,




Lord, how long wilt thou be an - gry, wilt thou be




for online perusal only

ORGAN

(editorial)

Gently = 66



mp







t.s.






6 5

3üüü

6 5

§

Ä

2

6 6

43

5

3

7



Lord, how long wilt thou be an - gry, wilt thou be an - gry, Lord,




long wilt thou be an - gry,

how long wilt thou, wilt thou be an - gry: shall thy

an

wilt thou be an - - gry:

shall thy jea -lous

- y




- gry:

shall thy jea-lous

- y burn like









7 6 5 6 6 5 7 6

# #üü 3 Ä 3 #üüüüüüüüüüü

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Lord, how long wilt thou be

t § # 6

5#

5 6

3üü





















6 m 6

5


Purcell: Lord, how long wilt thou be angry? 225

13













how long wilt thou be an - gry:

shall thy jea-lous

- y


jea-lous

- y burn like fire for ev - er, shall thy jea-lous

- y burn like fire

burn like fire, shall thy jea-lous

- y

fire, shall thy jea-lous

- y burn like fire for ev - er, shall thy jea-lous

- y

an



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- y burn like fire, like fire for

cresc.



9 5 7 6 7 6

§ ! # # 5
















6

5




9 6 9

!

6

§

for online perusal only

19





burn like fire for ev - er?

for ev - er?

burn like fire for ev - er? O re-mem-ber

not, O re -

burn like fire for ev - er? O re - mem-ber

not, O re - mem-ber

not,

ev

[ ] VERSE

- - - er? O re - mem-ber

not, O re - mem-ber

not our

7üü 6 5 7 §

§ # 4 4 #

mf













SOLO











SOLO



SOLO














! 6ü 6 7üüü 6 §üü 6üüüü


232

Words from the Litany

SOPRANO 1

SOPRANO 2

ALTO

TENOR

BASS






30. Remember not, Lord, our offences







Re- mem- ber, re- mem-ber

not, Lord, our of - fen - ces, re- mem-ber,

re-




HENRY PURCELL

(1659–95)


Re- mem- ber, re- mem-ber

not, Lord, our of - fen -ces,

re- mem-ber,

re-












Re- mem- ber, re- mem-ber

not, Lord, our of - fen - ces, re- mem-ber,

re-

Re- mem- ber, re- mem-ber

not, Lord, our of - fen - ces, re- mem-ber,

re-




Re- mem- ber, re- mem-ber

not, Lord, our of - fen - ces, re- mem-ber,

re-

ORGAN

(editorial)



Solemnly = 66


p










for online perusal only





mp



# 4

2

6

5

6

5

#üüü

§

6














-mem- ber not, Lord, our of - fen - ces, nor th’of-fen

- ces of our fore - fa -thers;




-mem-ber

not, Lord, our of - fen - ces, nor th’of-fen

- ces of our fore - fa -thers;


-mem-ber

not, Lord, our of - fen-ces,

nor th’of - fen - ces of our fore - fa -thers;

nei - ther




-mem-ber

not, Lord, our of - fen-ces,

nor th’of - fen - ces of our fore - fa -thers;


-mem-ber

not, Lord, our of - fen - ces, nor th’of-fen

- ces of our fore - fa -thers;

nei -





6

5










dim.




# 6 6 9 5

5 3

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.



6

4

Ë

# 7 #






p






# #


Purcell: Remember not, Lord, our offences 233

13







nei

- ther take thou ven- geance of our sins, nei -

but spare us, good Lord, nei - ther take thou ven - geance of our sins, good

take thou ven - geance of our sins, but spare us, good

nei

- ther take thou ven - geance of our sins, good












- ther take thou ven - geance of our sins,



#





cresc.

üüüü t Ëü 6 u

6

#






mf


















#üüü 6üüüüüü 6 § # 5 6







for online perusal only




18








- ther take thou ven - geance of our sins, but spare us, good Lord, nei -



Lord, nei - ther take thou ven - geance of our sins,



Lord,


nei -ther

take thou ven - geance of our sins, nei - ther



Lord, good Lord, nei - ther take thou ven - geance of our


but spare us, good Lord, nei - ther take thou






















Ëüüü

#üüü







dim.



7 6 6

5

6 7

5 #

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mp



´




cresc.

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236

John 3: 16–17

31. God so loved the world

(from The Crucifixion)

JOHN STAINER

(1840–1901)

SOPRANO

ALTO

TENOR

BASS









Andante ma non lento q = 90

p




God







so loved the world, God






cresc.





so loved the world, that he gave his




p cresc. world, that he






for online perusal only

10






mf


p



on - ly be -got

- ten Son, that who-so

be - liev - eth, be-liev-eth

in him should not

pe -rish,

should not








cresc.

mf p cresc.






20






f

pe-rish,

but have ev - er - last ing


f




p




- life. For

p





cresc.

God sent not his Son in -to

the world to





cresc.

con -

mf

28

p






-demn

the world, God





mf

sent not his Son in-to

the world to con-demn

the world; but







© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.





p

that the

world through


238

32. I saw the Lord

Isaiah 6: 1–4

and anonymous 11th-century Latin hymn

translated by J. D. Chambers (1803–93)

JOHN STAINER

(1840–1901)

SOPRANO



Allegro maestoso q = 120

ff




I



saw the Lord






sit -ting

up-on

a throne, high and lift - ed



Choir

I

ALTO

TENOR

BASS

ff













I

ff


I

saw the Lord

saw the Lord

sit -ting

up-on

a throne, high and lift - ed

sit -ting

up-on

a throne, high and lift - ed

ff






I



saw the Lord





sit -ting

up-on

a throne, high and lift - ed


SOPRANO





ff


I



saw the Lord


for online perusal only




sit -ting

up-on

a throne, high and lift - ed


ALTO

Choir

II

TENOR

BASS

ff













I

ff


I

saw the Lord

saw the Lord

sit -ting

up-on

a throne, high and lift - ed

sit -ting

up-on

a throne, high and lift - ed

ff







I



saw the Lord





sit -ting

up-on

a throne, high and lift - ed



Allegro maestoso q = 120






ORGAN


ff






























Ped.

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


Stainer: I saw the Lord 239

S.

A.

7





ff

















T.

B.



up, high and lift-ed

up, and his train fill-ed

the tem - ple.


ff















S.

A.

T.

B.





ff








up, high and lift-ed

up, his train fill-ed

the





ff













mf cresc.














f



















for online perusal only

14



[ f ]






[ f ]



tem





I saw the Lord sit-ting

up-on

a throne, high and lift-ed

[ f ]









- - ple.

I saw the Lord sit -ting

up-on

a throne,




[ f ]

















mf






sf



sf


255

33. Beati quorum via

(How blessed are faithful souls)

Psalm 119: 1

English version by Robert King

CHARLES VILLIERS STANFORD

(1852–1924)

SOPRANO 1



Con moto tranquillo ma non troppo lento [ q = 104 ]

p




Be

How

- a - ti

blessed are

quo -rum

vi

faith - ful souls

- a in - te - gra

which un - de-filed

est:

are:

SOPRANO 2


p



Be

How

-

a - - ti quo -rum vi

blessed

are faith-ful

souls

- a in - te - gra

which un - de-filed

est:

are:

ALTO




p


Be - a - - ti quo -rum

How blessed

are faith-ful

vi

souls

- a in - te - gra

which un - de-filed

est:

are:

TENOR







p


Be

How

-

BASS 1



p

Be-

How

BASS 2





for online perusal only



p


Be-

How

(for

rehearsal

only)


Con moto tranquillo ma non troppo lento [ q = 104 ]





p














© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


256

Stanford: Beati quorum via

S.






10

-a

- ti

quo- blessed are faith rum vi

- ful souls

- a

blessed

p

[ ]


- - ti quo- are faith rum vi

- ful souls

- a in - te - gra est,

which un - de-

filed are,

-

a

which un

in

- - de

te gra

- - filed are,

est,

p

Be

How

Be

How

[ p ]

- a - ti quo-rum

blessed are faith -ful

[ ]



A.

T.

B.





- a - ti quo-rum

blessed are faith -ful


Be - a - ti quo-rum

How blessed are faith - ful






quo-rum

vi

blessed are faith

- -

ful

quo-rum

vi

blessed are faith - -

ful

- a - - ti quo- blessed

are faith rum vi - a in - te gra

- ful souls which un - de - - filed are,

est,

quo-rum

vi

blessed are faith - -

ful


















for online perusal only

S.

20





vi - a in- te - gra

souls which un-de

-filed

vi - a in- te - gra

souls which un-de

-filed

est,

are,

est,

are, faith quo -rum

vi

- ful souls

vi - a in-

te - gra est, quo-rum

souls which un-de-filed

are, faith-ful

- a in- te - gra

souls which un-de

-filed

- a in- te - gra

souls which un-de

-filed

- a in-

souls which un de

te - gra

- -filed










est,

are,

est,

are,

est,

are,



vi

souls

vi - a in- te - gra est:

which un-de

-filed

are:

- - a in- te - gra est:

which un-de

-filed

are:

- - a in-

te - gra est:

which un-de-filed

are:

vi - a in- te - gra est:

which un-de

-filed

are:

quo- faith rum vi - a in- te - gra

- ful souls which un-de

-filed

est:

are:

est:

are:






A.








T.

B.











Qui am- bu lant

those who as - - pire

in

to

Qui am- bu lant

those who as - - pire

in

to

Qui am- bu lant

those who as - - pire

in

to



le -

walk








le -

walk



quo-

faith rum vi - a in-

- ful souls which un-de

te - gra

-filed







le -

walk

ge

in

ge

in

ge

in


260

Words: Medieval Ascension hymn

English version by Robert King

34. Coelos ascendit hodie

(Heaven receives our Lord today)

CHARLES VILLIERS STANFORD

(1852–1924)

SOPRANO

ALTO

Choir

I

TENOR

BASS








Allegro [ q = 92 ]

f






Coe los

Hea- - as cen

ven re- - - dit ho -di

- e,

ceives our Lord to-day,

f

Coe -los

as-cen

-

Hea-venre-ceives

f

Coe-

los as-cen

-

Hea-ven

re-ceives

f



dit ho-di

- e,

our Lord to-day,

dit ho-di

- e,

our Lord to -day,

Coe los

Hea- - ven re

as cen

- - - dit ho-di

- e,

ceives our Lord to-day,

Je- Je sus Chri- - sus Christ stus Rex

our most

Je-sus

Chri-stus

Rex

Je-sus

Christ our most

Je-sus

Chri-stus

Rex

Je-sus

Christ our most

Je- Je sus Chri- - sus Christ stus Rex

our most

glo - ri - ae,

glo-rious

King,


glo - ri - ae,

glo-rious

King,




glo - ri - ae,

glo-rious

King,



glo - ri - ae,

glo-rious

King,

for online perusal only

SOPRANO

ALTO

Choir

II

TENOR

BASS






f

Al-le-lu

- ia!

Al-

le - lu - ia!

f

Al-le-lu

- ia!

Al-

le - lu - ia!

f

Al-le-lu

- ia!

Al-

le - lu -ia!

f

Al-le-lu

- ia!

Al-le-lu

-ia!

Al- le-lu- ia!

Al -le

- lu-ia!
















Al- le-lu- ia!

Al -le

- lu-ia!


Al- le-lu- ia!

Al -le

- lu-ia!


Al-

le-lu-

ia!

Al-le-lu-ia!

(for

rehearsal

only)




Allegro [ q = 92 ]



f





















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Stanford: Coelos ascendit hodie 261

5





f




ff


Al - le-lu

Al - le - lu

-

-

ia!

ia!

Gu-ber

- nat coe

Ru - ler of hea

- -

- -

lum

ven

et

and

ter- fair earth,

ram, Al-le

Al- - le -



f


Al - le-lu

Al - le - lu

-

-

ia!

ia!

Gu- Ru ber - nat coe

- ler of hea

- -

- -

lum

ven

et

and

ff


ter- fair earth,

ram, Al-le- Al -le-







[ f ]


for online perusal only


ff


Gu-ber

- nat coe

Ru - ler of hea

- - lum et

- - ven and

ter- fair earth,

ram, Al-le

Al- - le -




[ f ]


Gu-ber

- nat coe

Ru - ler of hea

- -

- -

lum

ven

ff

et ter- and fair earth,

ram, Al-le

Al- - le -






Se -

He det ad Pa - tris dex-te-ram,

Al - le-lu

sits at God’s right hand on high,

Al - le - lu

-

-


ia, al - le-lu

- ia,

ia, al-

le - lu - ia,





Se -

He det ad Pa -

sits at God’s

tris

right


dex-te-ram,

Al - le-lu

-

hand on high,

Al - le - lu -

ia,

ia,

al - le-lu

- ia,

al - le - lu - ia,






Se - det ad Pa - tris dex-te-ram,

Al - le-lu

He sits at God’s right hand on high,

Al - le-lu

-

-


ia,

ia,

al - le-lu

- ia,

al-

le-lu

- ia,





Se -

He det ad

sits at Pa -

God’s

tris

right

dex-te-ram,

Al

hand on high,

Al



-

-

le-lu

le-lu

-

-

ia,

ia,



al - le-lu

- ia,

al-

le-lu

- ia,

























ff


269

35. How beauteous are their feet

Words by Isaac Watts

CHARLES VILLIERS STANFORD

(1674–1748)

(1852–1924)

Con moto [ q = 112 ]

p


SOPRANO



How beau-teous

are their feet, Who stand on Si - on’s

ALTO




TENOR



BASS


Con moto [ q = 112 ]






ORGAN

p





Ped.

7

hill,

Who

p






How beau-teous

their feet, Who stand on Si - on’s hill, Who

p






How beau-teous

are their feet, Who stand on Si - on’s hill, Who

p



How beau-teous

their feet, Who stand on Si - on’s hill, Who















for online perusal only











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270

Stanford: How beauteous are their feet

14



bring sal

bring sal

- va - tion on their tongues, And

- va - tion on their tongues, And



p

p

p

words of peace










words of peace

bring sal - va - tion on their tongues, And words of peace

bring sal - va - tion on their tongues, And words of peace

p


for online perusal only

















24




in

in

in

- stil!

How hap-py

are our ears





- stil!

How hap - py are our


- stil!

How hap

p cresc.








in



- stil!

How





p
















p

p

p

cresc.

cresc.

cresc.

That

- py are our ears That hear this









hap - py are our

cresc.


276

Revelation 14: 13

SOPRANO

SOLO

SOPRANO

ALTO

TENOR

BASS

Lento [ q = 76 ]

p





I

heard a voice from heaven,

say-ing

un - to me:

p

p


4 SOLI TUTTI


[ ]



Write,





36. I heard a voice from heaven

CHARLES VILLIERS STANFORD

(1852–1924)

from

p

From

p


From

hence-forth

hence-forth

hence-forth







for online perusal only

(for

rehearsal

only)



Lento [ q = 76 ]





p





p


S.

A.

T.

B.

8










pp

bless

pp


bless

pp

bless

pp

bless

- ed, bless

- ed, bless

- ed, bless

- ed, bless


poco

p

- ed, bless -ed

are the dead which die in the Lord, the

poco p


- ed are

poco p

- ed are

poco

p

- - ed are

the dead which die in the Lord,






the dead which die in the Lord, the



the dead which die in the Lord, the







pp poco p





















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Stanford: I heard a voice from heaven 277

16

dead which die in the Lord:

pp





S.

Solo

S.

Ev’n



so saith the Spi - rit;

[ pp] 3 SOLI TUTTI

[ p]

saith the Spi



B.






-



rit;

bless

- ed, bless -


A.





which die in the Lord: bless - ed, bless - ed


T.




dead which die in the Lord: bless - ed, bless - ed

dead which die in the Lord: bless - ed, bless -

















for online perusal only


pp













p








25





S.

- ed are the dead which die in the Lord: for they rest from their




A.

T.






are the dead which die in the Lord: for they rest from their




are the dead which die in the Lord: for they rest, they rest, rest from their


B.








- ed are the dead which die in the Lord: for they rest, they rest, rest from their


281

37. Justorum animae

(The hand of God holds faithful souls)

Wisdom 3: 1–3

CHARLES VILLIERS STANFORD

English version by Robert King

(1852–1924)

Andante moderato [ q = 88 ]

p

f

p


SOPRANO




Ju -sto

- rum

The hand of God

a - ni -mae

in ma - nu De - i sunt, in ma

holds faith -ful

souls e - ter - nal- ly, holds souls - nu

e -

p

f

p

ALTO


Ju -sto

- rum

The hand of God

a - ni -mae

in ma - nu De - i sunt, in ma - nu

holds faith -ful

souls e - ter - nal- ly, holds souls e -

p

f

p


TENOR







Ju - sto -rum

The hand of God

a - ni -mae

in ma - nu De - i sunt, in ma

holds faith -ful

souls e - ter - nal- ly, holds souls - nu

e -

p

f

p

BASS



Ju - sto -rum

The hand of God

a - ni -mae

in ma - nu De - i sunt, in ma -

holds faith -ful

souls e - ter - nal- ly, holds souls nu e -

Andante moderato [ q = 88 ]




(for




p

rehearsal

f p

only)







7




De - i sunt.

Ju - sto - rum

-ter - nal - ly.

The hand of God

a - ni -mae

in ma - nu

holds faith -ful

souls e -



De - i sunt.

Ju - sto-rum

a - ni - mae in ma - nu, in ma - nu

-ter - nal - ly.

The hand of God holds faith -ful

souls, faith -ful

souls

e -





De - i sunt. Ju -sto-rum

a - ni -mae

in ma - nu

-ter

- nal - ly. The hand of God holds faith-ful

souls, holds faith

De - i, in

- ful, holds ma - nu

souls e -







De - i sunt.

Ju - sto-rum

a - ni -mae

in

-ter - nal - ly.

The hand of God holds faith-ful





















for online perusal only

© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


282

Stanford: Justorum animae

13

f




De

-ter

f

- - i

- - nal sunt,

-ly,

in ma

God’s hand

p


De i sunt,

dim.

f







p

dim.

- nu, ma

holds souls

dim.

pp

- - nu De

e - ter

pp

- - - i

- - - nal-

- - in ma - nu, ma - - nu De - - - i

-ter

- - nal - ly, God’s hand holds souls e - ter - - - nal-

f p dim. pp




De - - i sunt,

-ter

- - nal - ly,

ma

souls



in

God’s ma

hand

- nu De - i sunt,

in ma

e - ter-nal-ly,

God’s hand

p




- nu, ma

holds souls

- nu, ma

holds souls




f p dim. pp











- - nu De - - - i

e - ter - - - nal-

pp

-

nu

e

De - - -

- ter - - -










for online perusal only

20

f











sunt,

-ly,

-

-

- - i

nal

sunt,

ly,

sunt,

ly,

mf


sunt, et

- ly, and

non

the

mf

et

and






mf


non

the

tan-get

il los

e - vil tor- - ment

tor -

of

mf

et

and

cresc.

non

the

et

and

non

the

tan-get

il - los tor - men - tum ma

e - vil tor-ment

of ma - lice shall

cresc.

men

ma

cresc.

- -

- -














cresc.

tan - get il - los tor

e - vil tor-ment

of

cresc.




tan-get

il - los tor - men -

e - vil tor-ment

of ma - -

tum ma

lice shall




- li - ti - ae, tor -

touch them not, of









- li - ti - ae, tor

touch them not, of









-


Sarum Responsory for

First Vespers at Pentecost

285

38. Loquebantur variis linguis

THOMAS TALLIS

(c.1505–85)


INTONATION


Lo -que

- ban - tur



va - ri - is lin - guis



va - ri - is lin - - - - guis A - po -



va - ri - is lin - - - - guis A - po - -


va -






va - ri - is lin - guis A - po - sto -


va - ri - is lin -

Andante risoluto q = 100







mf








SOPRANO 1


SOPRANO 2

ALTO 1

ALTO 2





TENOR



BASS 1

BASS 2

for online perusal only




(for

rehearsal

only)



The apostles spoke in many tongues: alleluia.

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286

Tallis: Loquebantur variis linguis

S.

A.

T.

7














va


A

- ri - is lin - - guis

A - po - sto - li, A - po-sto

-



- po - sto - - - li, A - po-sto

- - li,

va - ri-




- sto - li, A - po - sto - - li, A - po - sto - li, A - po - sto - li, va -

- sto -li,

A- po-sto

- - - - li, A - po - sto - - - - li,

-ri

- - is lin - - - - guis

A - po -













for online perusal only

B.

S.

A.

T.

- li, A-po

- sto - - - - - li, A - po -sto

- -



- guis

A - po - sto - li, A - po-sto

- li,

va - ri-



















14

- li,

va - ri - is lin - - guis

A - po - sto - - -








li,


-is

lin - - guis

A - po - sto - - - li:


- ri-is

lin - guis,

va - ri-is

lin - - - - guis A - po - sto -

va













- ri-is

lin - guis, va - ri-is

lin - guis A - po- sto - - - - li: al -

- sto - - - - - - - - - li:

al - - le -


















B. -

va - ri - is lin - - guis A - po - sto - -









-is

lin - - guis

A - po sto














- - - - - - - li,


293

Lidley’s Prayers, 1566

SOPRANO


39. O Lord, give thy Holy Spirit




O Lord, give thy Ho - ly Spirit in - to our

THOMAS TALLIS

(c.1505–85)

ALTO

TENOR

BASS






O Lord, give thy Ho - ly Spirit in - to our








O Lord, give thy Ho - ly Spirit in - to our


O Lord, give thy Ho - ly Spirit in - to our





ORGAN







for online perusal only

Andante con moto = 84






mp





5




hearts, and light - en our un - der - stand - ing, that we may dwell in the fear of thy



hearts, and light - en our un - der - stand - ing, that we may dwell in the fear of thy






hearts, and light -en

our un-der-stand

- ing, our un - der-stand

- ing,

that we may dwell in the



hearts, and light - en our un - der-stand

- ing,

that we may





















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294

Tallis: O Lord, give thy Holy Spirit

10









Name, in the fear of thy Name, in the fear of thy Name all the days of our life,





fear of thy Name, in the fear of thy Name, in the fear of thy Name
























15





life, all the days of our life: that we may


all the days of our life, all the days of our life: that





all the days of our life, all the days of our life: that




the days of our life, all the days of our life: that








cresc.

mf




Name, in the fear of thy Name all the days of our

for online perusal only

dwell in the fear of thy Name, in the fear of thy Name, in the fear of thy Name all


296

Office Hymn for Lauds on

the Feast of the Transfiguration

English version by Robert King

Superius


SOPRANO






O na - ta lux

de lu - mi - ne, Je - su re -demp

Discantus

O ho - ly light once born of light, Je - su re -deem-


ALTO








O na - ta lux de lu - mi - ne,

Je - su re -

O ho - ly light once born of light, Je - su re -

Contratenor

TENOR






O na - ta lux de lu - mi - ne,

Je - su

O ho - ly light once born of light,

Je - su

Tenor


BASS 1







O na - ta lux de lu - mi - ne,

Je - su re -

O ho - ly light once born of light, Je - su re -

Bassus


BASS 2







O na - ta lux

de lu -

O ho - ly light once born mi - ne,

Je - su re -

of light, Je - su re -

Dolce ma con moto q = 88





(for









rehearsal

p


only)








4



- tor sae-cu

- li, Di-gna-re

cle - mens sup-pli

cum

- er of man - kind, with lov-ing

kind - ness pray re - - ceive

Lau - des pre -

the praise and prayer

ces - que su-me-

we of - fer





-demp

- tor sae - cu - li, Di-gna-re

cle - mens sup- - deem - er of man-

kind, with lov-ing

kind - ness pray pli - cum Lau-des

pre - ces - que su-me-

re - ceive the praise and prayer we of - fer





re-demp

tor

re-deem

- - er

sae - cu -

of man-kind,

li,

Di-gna-re

cle - mens sup-pli

cum

with lov-ing

kind - ness pray re - - Lau-des

pre -

ceive the praise and prayer

ces - que su-me-

we of - fer





-demp

- tor sae - cu - li, Di-gna-re

cle -

- deem - er of man - kind, with lov-ing

kind mens sup-pli

cum

- ness pray re - - Lau-des

pre -

ceive the praise and prayer

ces - que su - me-

we of - fer





-demp - tor sae-cu

- li, Di-gna-re

cle -mens

sup - pli - cum Lau-des

pre - ces - que su-me-

-deem

- er of man - kind, with lov-ing

kind -ness

pray re - ceive the praise and prayer we of - fer






mp








40. O nata lux de lumine

(O holy light once born of light) THOMAS TALLIS

(c.1505–85)

for online perusal only


















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298

John 14: 15–17

SOPRANO

(or ALTO)

ALTO

TENOR

BASS

Secundus

Contratenor


Medius








Tenor





41. If ye love me

If ye love me, keep my com- mand-ments,

and I will

If ye love me, keep my com- mand - ments,

If ye love me, keep my com- mand - ments,

and

Bassus




If ye love me, keep my com- mand - ments,

THOMAS TALLIS

(c.1505–85)






for online perusal only

(for

rehearsal

only)




Gently h = 54




mp














cresc.




6




pray the Fa - ther,

and he shall give you a - no-ther








and I will pray the Fa - ther, and he shall give you a - no-ther



I will pray the Fa - ther,

and he shall give you a - no -






and I will pray the Fa - ther, and he shall give you a -



















dim.







© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.


300

Mark 16: 1–2

42. Dum transisset Sabbatum

JOHN TAVERNER

(c.1490–1545)

4





Sab - - ba - - - - - -

BASS 2





INTONATION


Dum trans - is -set:




Sab - ba - - - - tum, Sab-ba

-


ALTO



TENOR





Sab-ba

- tum, Sab-ba

- - - - tum


BASS 1

SOPRANO







for online perusal only

(for

rehearsal

only)




mf

Sab

Andante con moto q = 66

- ba - - - - - - - -







When the sabbath was past Mary Magdalene, and Mary the mother of James, and Salome had brought sweet spices


- tum,

Ma - ri - - a Mag-da

-le-

Ma-ri

- - - - - - - a

Mag - da -



Ma-ri

- - - a Mag -da

-le

- -

- tum, Ma - ri - - - a Mag - da - - - le -











- tum, Ma - ri - - - - a Mag-da- le - - - ne,













































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Taverner: Dum transisset Sabbatum 301

8






- - - - - ne

et Ma-ri

-


- le - - - - - - - ne et Ma-ri

- - -





-ne,

Mag-da

-le

- ne, Mag -da-le

- - - - - ne et Ma- ri - -



- - - - ne

et Ma - ri - a





Mag -da-le

- ne et Ma-ri

- - - - - - -
















12




- - a Ja - co - bi et Sa - lo - - - - - me e - me -



- - - - - a Ja-co

- bi et Sa-lo-me,

et Sa - lo - -





- - - a Ja-co

- bi et Sa - lo - - me e - me -


Ja - co - bi et Sa - lo - me





- a Ja-co

- bi

et Sa - lo - - - - - me































for online perusal only


2 Samuel 18: 33

43. When David heard

307

THOMAS TOMKINS

(1572–1656)

SOPRANO

ALTO 1

ALTO 2

TENOR

BASS

Cantus













Quintus

Altus

Tenor








When Da - vid heard that Ab - so -lon

was

When Da - vid heard that Ab - so-lon

was


When Da - vid heard that Ab - so - lon was slain,




Bassus








When Da - vid heard that Ab - so -lon

was



for online perusal only

(for

rehearsal

only)




Andante moderato q = 80






mp











5












slain, that Ab - so - lon was slain he went up to his cham-ber




slain, that Ab - so -lon,

Ab - so - lon was slain he went up to his cham-ber,



that Ab - so - lon

was slain, was slain






slain, that Ab - so -lon

was slain, was slain he went up to his cham-

ber




























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308

Tomkins: When David heard

10




ov

- er the gate, the gate, and wept, and








he went up to his cham-ber

ov - er the gate, the gate, and wept, and wept,




he went up to his cham-ber

ov - er the gate, the gate, and wept, and wept,














ov


- er the gate, and wept, and wept, and





He went up to his cham-ber

ov - er the gate, and wept, and





for online perusal only
























15














wept, and wept: and thus he said, and



and wept: and thus he said, and thus he said,



and wept, and wept: and thus he said, and thus he said,

wept, and wept: and thus he said, and thus he said,

wept, and wept: and thus he said, and thus he said, and


314

Psalms 84: 1–4; 90: 17 and paraphrase of

Psalm 90:1 by Isaac Watts (1674–1748)

SOPRANO

ALTO

TENOR

BASS

*ORGAN










44. O how amiable are thy dwellings

Andante moderato q = 60


Andante moderato q = 60


mp


RALPH VAUGHAN WILLIAMS

(1872–1958)

(S. & A. unis.) p

O

[ p ]

how a-mia-ble

are thy








Man.





Ped.













7




3

dwell - ings, thou Lord of hosts! My soul hath a de-sire

and long - ing to









3















for online perusal only







13


3





en-ter

in-tothe courts of the Lord: My heart and my flesh re - joice in the liv-ing

God.

(T. & B. unis.) p


My heart and my flesh re

- joice in the liv-ing

God.



















* This anthem is also available in arrangements for brass and for strings. Scores and parts are available (see p. 378).

© Oxford University Press 1940. Renewed in the U.S.A. 1968.

Reproduced by permission. All rights reserved. Photocopying this copyright material is ILLEGAL.


Vaughan Williams: O how amiable are thy dwellings 315

18



(unis.) p


and

the swal-low

a nest where she may lay her young:




(unis.) p



Yea,

the spar-row

hath found her an house,













for online perusal only




Man.




Ped.

23



f







p

e


- ven thy al

f

f

- tars, O Lord of hosts, my King and my