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.
2
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,
-joice
in the Lord al - way, and a-gain
I say, re- joice, re - joice in the Lord al - way,
Lord al - way, and a - gain I say, re- joice, re - joice in the Lord al - way,
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,
re - joice in the Lord al - way, and a -gain
I
and a - gain, and a - gain I say, re - joice,
I say, re - joice, and a -gain
I
and a- gain I say, re - joice, re - joice in the Lord al- way, in the Lord al - way,
and a- gain I say, re - joice, re - joice in the Lord al - way, and a-gain
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:
- ness be known un - to all men, let your soft - ness be known un - to all men: the
- ness be known un - to all men, let your soft - ness be known un - to all men:
mf
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
Je
- - 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.
pp
© Oxford University Press 1925. All rights reserved. Photocopying this copyright material is ILLEGAL.
Bairstow: Jesu, the very thought of thee 7
10
mf
- ness fills my breast; But
f
sweet-er
far, but
sweet-er
breast, fills my breast; But
breast, fills my breast; But
breast, fills my breast; But
mf
f
mf
sweet- er far, but
sweet-er
far, but sweet - -
mf
sweet-er
far,
for online perusal only
mf
f
15
ff
f
mf
far thy face to see, thy face to see, And
sweet
ff
- er far thy face
f
ff
- er, sweet -er
far thy face
sweet
- er far thy face
to see, thy
to see, thy
f
ff
to see, thy
f
f
mf
face to see, And
mf
face to see, And
f
face to see,
ff
f
mf
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
realisation)
9 5 4üüüüüüü # n
3
5
4
qui
per cru - cem,
Sal - va - tor mun - di,
who
by cru - el cross,
O Sa-
viour of the
Sal - va - tor mun - di, sal - - - va nos,
O Sa - viour of the world,
save us,
- va nos,
Sal - va - tor mun - di, sal - va nos, qui
save us,
O Sa - viour of the world, save us, who
sal - - - va nos,
world,
save us,
-va
- tor mun - di, sal - - va nos,
Sal - va - tor
Sa - viour of the world,
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
4 üüüüüüüü
JOHN BLOW
(c.1649–1708)
§ 6
di,
the
10
Blow: Salvator mundi
7
sal - - - va nos,
world,
save us,
mun
of
Sal
O
per
by
cru
cru
- -
- el
cem,
cross,
- va - tor mun- di, sal - va nos,
Sa-viour
of the world, save us,
-di,
sal
the
world,
# 6 5üüüüüüü
4üüüüüüüü #
- va nos,
save us,
qui
who
sal - va nos,
save us,
sal - va nos,
save us,
§ t
qui
who
per
by
per
by
cru - cem,
cru - el,
sal - va nos, qui
save us, who
6 6
#
cru
cru
sal - va nos,
save us,
-
-
cem,
el,
sal - va
save
mf
dim.
5
§
nos,
us,
per
by
#
per
by
for online perusal only
10
cru
cru
-
-
sal -
save
cem,
el,
va
nos,
us,
per cru -cem,
by cru - el,
qui per
who by
cru
cru
per
by
cru
cru
- cem et
- el cross shed
- cem,
Sal
- el cross,
O
san - gui-nem
re-de
-mi
blood with tears and re-deem
- va - tor mun - di, sal
Sa-viour
of the world,
cru
cru
- -
-
el
cem,
cross,
Sal
O
- va - tor mun- di, sal
Sa-viour
of the world,
qui
who
per
by
- va nos,
save us,
cru -cem,
cru - el,
mp
per
by
-
-
-
sti
ed
cru -cem,
cru - el,
7
t üüüü
´üüüü
b ü
y ü
#üüü
y ü
n 4
4üüü
#üüüüüüüüüüüüüüüüüü 6
5
6
4
7
4
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
§ü
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
-ing?
7 6 5
§
6 6 ´ 5
§
6 ´ üüüüü 6
© 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?
nei-ther
is it found in the
Where,where is the place of un-der-stand
- ing?
6 6 6 6 7 üüü 6 7 7 ´ 5 t - 6 ´
5 4 3 § # -
16
land of the liv -ing.
The depth saith: It is not in me; and the sea saith: It is not with
mf
for online perusal only
6 5 6 #
# 6 üüü 5
§
5
§
6 §üüü tüü 6
5
5
§
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
§
!
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
It can - not be got - ten for gold, it can - not be got - ten for
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
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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
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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
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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
4ü
#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
5ü
Lord, let me know mine end, and the num - ber
#ü 6ü 6
42
´ü
5ü
# 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
5ü
# #ü 6 # 6 7ü #üüü 6 6 6 6ü # #ü #ü
5ü
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
- bi -
- tive
la
ju
- - -
- - -
-us
in
- ed with
De
-cend
- ti
-bi
- us in
- ed with
-
-
o
la
- -
- -
iu
fes
iu
fes
ti
bi
-
-
o
la
ti o
bi- - - ne, et
la - tion, the might Do - mi - nus,
- y Lord,
- -
- -
ne,
tion,
et
the
- bi - la - ti - o - ne, et
- tive ju - bi - la - tion, the might Do - mi -nus,
et
- y Lord, the
- bi-la
- ti - o - ne, et
- tive ju - bi - la - tion, the might Do - mi - nus,
- y Lord,
- - - -
- - - -
ne,
tion,
et
the
et
the
Do -
might mi -nus,
et Do - mi-nus
- y Lord, the might-y
Lord
Do - mi -nus,
et
might - y Lord, the
Do -
might mi -nus,
et
- y Lord, the
et
the
Do - mi -nus,
et
might - y Lord, the
Do
might - mi -nus
in
-y Lord with
Do -
might mi -nus
in
- y Lord with
Do -
might mi -nus
in
- y Lord with
Do -
might mi -nus
in
- y Lord with
mf
for online perusal only
18
vo - ce tu
sound of trum
vo - ce tu
sound of trum
vo - ce tu
sound of trum
vo - ce tu
sound of trum
with
in
sound vo - ce tu
of trum
- bae, in
- pet, with
- bae, in
- pet, with sound
vo
- bae, in vo -
- pet, with sound ce tu
of trum
vo -
sound ce tu
of trum
- ce tu
of trum
- bae, in vo -
- pet, with sound ce tu
of trum
- bae, in vo -
- pet, with sound ce tu -
of trum -
- bae,
in
- pet,
with
bae,
pet,
- - bae, in vo -
- pet, with sound ce of
vo - ce tu
sound of trum - -
- bae, in vo -
- pet, with sound ce tu -
of trum - bae,
pet,
with
in
sound vo - ce tu - bae, in
of trum -pet,
with sound vo - ce tu
of trum - -
- bae, in
- pet, with
vo -
sound ce tu
of trum
-
-
bae,
pet,
in
with
cresc.
vo - ce tu
sound of trum - -
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
-to
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,
O Lord,
mp
6 ! § 9 5 7
§ ! 2
5 5 6 6 6 7 § 6 7 7 6 6
3 4 §ü
!
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,
O
B.
hear my pray - er, O Lord, hear my
§üü
9 8 6ü
!ü
7
§
9
m üü
8 t
4
t
#
7
cresc.
§ 6üü o 5 5üü
! w ! 3 §üü
5
!
n üü
§üüü
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
and let my cry - ing come un - to thee, hear my
hear my pray - er, O Lord, and let my
mf
4 6 § 5 6 5 6 7 6 6 6
2 ! ! 3 § 5
§ 6
!
7
6üü
üüü
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
- ing come un - to thee, and let my
T.
and let my cry - - ing come un -
cry
- ing come un - to
thee,
B.
and
f
cresc.
7üüüüüüüü 6 6 ´
§ 6
5!
§
6
§
y
!
7üüüü
w üüü
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
§üüüü
6üüü
cresc.
6
§
Ä
6
ff
4
§
5üüüüüüüü
§
mp
[ ]
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
2ü
6 üüüüüüüüü 7ü
3ü
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
3ü
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
© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.
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
- gry: shall thy jea-lous
- 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 #
Ëüüü
§ o
mp
´
cresc.
#üüü
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
© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.
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
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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
© Oxford University Press 2010. Photocopying this copyright material is ILLEGAL.
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.
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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