English Church Music Volume 1: Anthems and Motets

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.


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.


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 -


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, rejoice, re - joice in the Lord al - way,

Lord al - way, and a - gain I say, rejoice, 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 alway, in the Lord al - way,

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

I


21

27

say, rejoice,

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: the


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)


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



mf

f

mf

sweet- er far, but

sweet-er

far, but sweet - -

mf

sweet-er

far,


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)


§ 9 6 n

5


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 mundi, 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


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 mundi, 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


6

SOLO

wis-dom

be found?

SOLO

Where, where shall wis-dom

be found?

SOLO

SOLO


be found?


be found?

And where is the place

of un-der-stand

-ing?

7 6 5

§

6 6 ´ 5

§

6 ´ üüüüü 6


Boyce: O where shall wisdom be found? 17

11

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

- ing?


- ing? Man know-eth

not the price there-of;


- ing?

nei-ther

is it found in the


- 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


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


! § 6 6

32

Sequence Hymn for Corpus Christi

by Pope Innocent VI (d. 1362)


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)


Calmly q = 69

p

6

de Ma - ri - a

bless - ed Vir - gin

de Ma - ri - a


de Ma - ri - a


-

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.


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


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


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


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


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


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,


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,


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


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)


WILLIAM BYRD

(c.1540–1623)


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

-

-

- -

- -


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


- God our strength. Sing loud,

- God our strength. Sing


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


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


loud, sing loud un-to

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


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.


p

pp ten.

p

TENOR


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.


By rude

in -vok-ing


dim. cresc.

dim.


By rude

in-vok

- ing voice, or prayer ad-drest

dim.

cresc.

dim.


By rude in-vok-ing


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


EDWARD ELGAR

(1857–1934)

53


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


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


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


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



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


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


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)


ORLANDO GIBBONS

(1583–1625)


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


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 - pleasure,

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


Lord, for thy ten-der

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

TENOR

BASS


mer-cy’s

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

ORGAN

(see commentary)

Andante con moto q = 76


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


our sin-ful

lives: to de-cline

from sin and in-cline

to vir -tue, that we may

-give


our sin-ful

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

dim. mp cresc. mp


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-ever he go - eth.

mp

ALTO


mp

TENOR


mp

BASS


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.


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

un-to

God and to the

mf

cresc.

dim.


from a-mong


un-to

God and to the

mf

cresc.

dim.


from a-mong


un - to God and to

mf

cresc.


the

the


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


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


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


- 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


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.)


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,


pp

Faire,


pp

Faire,


Adagio h = 60

pp

16. Faire is the heaven


WILLIAM H. HARRIS

(1883–1973)

faire is the heav’n Where hap-py

soules have


soules have


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


p

place


p

place


pp

p


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


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;


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.


115

BASIL HARWOOD

(1859–1949)

f


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


f


f


a tempo

f

f


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


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


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


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.


p

Ma

p

Ma

p

nei-ther

can the floods drown it. Ma

p

Ma


quench


quench


quench


quench

Ireland: Greater love hath no man 133

16

love,

love,

love,

cresc.

nei -ther

can the floods drown it.

mf cresc.

nei -ther


nei-ther


cresc.

love,

mf cresc.

nei-ther


non legato


cresc.

24

Poco più moto

f

Love

f

Love

f

Love

f

Love

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


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.


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


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).


Mendelssohn: Hear my prayer 147

13

17

hide! Take heed to me! Hear

sf

how in prayer 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


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 prayer, O God, in-cline

thine ear! The

T.

(T. & B. unis.) f f

B.

*

en -e

- my

Hear my prayer, O God, in-cline

thine ear! The en -e

- my

Allegro moderato

mf

mf


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)


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 only Son,

Fa - ther, I am thine only Son, Sent

Fa

Fa

mf

- ther, I am thine only Son, Sent down from

- ther, I am thine on-ly

Son,


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 -


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


-ther,

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


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

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.


T.

B.



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


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


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


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-


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 -


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-

- - -

- - -

- - - - - -

- - - - - -


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


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)


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

-

-


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


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


ORGAN

(editorial)

Lento expressivo = 72

p

! § ! 6

§

6

4


194

Purcell: Hear my prayer, O Lord

6

-to

thee, hear my prayer, 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-


And let my cry

- ing come un - to thee, hear my prayer, O Lord,

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

T.

Hear

my prayer, O Lord,

prayer, 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,


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


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.


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,


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


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.

[ ]


[ ]

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


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

!

#


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


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,


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


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


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 -


daugh - ter of my peo - ple is

cease: for

the vir-gin

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

daugh - ter


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


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


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

§


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)


not, Lord, our of - fen -ces,

re- mem-ber,

re-



re-



re-



re-

ORGAN

(editorial)

Solemnly = 66

p


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


-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


nei -

6

5

dim.

# 6 6 9 5

5 3


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


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


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


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


sit -ting

up-on


ff

I

saw the Lord

sit -ting

up-on


SOPRANO

ff

I

saw the Lord


sit -ting

up-on


ALTO

Choir

II

TENOR

BASS

ff

I

ff

I

saw the Lord

saw the Lord

sit -ting

up-on


sit -ting

up-on


ff

I

saw the Lord

sit -ting

up-on


Allegro maestoso q = 120

ORGAN

ff

Ped.


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


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


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


p

Be-

How

(for

rehearsal

only)

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

p


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


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


in

to

Qui am- bu lant


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


34. Coelos ascendit hodie

(Heaven receives our Lord today)


(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,


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


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 ]


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


(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



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


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


(1852–1924)

from

p

From

p

From

hence-forth

hence-forth

hence-forth


(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


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 -


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



(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



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 - - -


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

rehearsal

only)

The apostles spoke in many tongues: alleluia.


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 -


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




ORGAN


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


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


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


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


Je - su

O ho - ly light once born of light,

Je - su

Tenor

BASS 1


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)



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,


and

Bassus


THOMAS TALLIS

(c.1505–85)


(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.


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

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,


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


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

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


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

English Church Music Volume 1: Anthems and Motets

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