Christmas carols by women composers
A selection of carols for SATB choirs by women composers, published by OUP
A selection of carols for SATB choirs by women composers, published by OUP
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Spring 2024<br />
<strong>Christmas</strong> <strong>carols</strong><br />
<strong>by</strong> <strong>women</strong><br />
<strong>composers</strong>
<strong>Christmas</strong> <strong>carols</strong> <strong>by</strong> <strong>women</strong> <strong>composers</strong><br />
Contents<br />
Kathleen Allan – Ring out, ye bells! SATB More info 254<br />
Kerry Andrew- Adam and the Mother SSATB More info 4<br />
Kristina Arakelyan – Ave maris stella<br />
Carol Barnett – Angelus ad virginem<br />
SATB & piano or<br />
organ<br />
SATB & opt.<br />
tambourine<br />
More info 258<br />
More info 11<br />
Carol Barnett – Bells, Blessings SATB More info 262<br />
Barbara Bell (arr. Rutter) – La Berceuse<br />
(French Lulla<strong>by</strong>)<br />
SATB & pf or<br />
chamber orch.<br />
More info 26<br />
BE Boykin – Coventry Carol S to T solo /SATTB More info 267<br />
Margaret Burk – What cheer? SATB & organ More info 274<br />
Valerie Capers – It came upon the<br />
T solo, SATB More info 282<br />
midnight clear<br />
Valerie Showers Crescenz – <strong>Christmas</strong> in SSAATTBB More info 38<br />
Saint Petersburg<br />
Eleanor Daley – The Huron Carol SATB More info 51<br />
Reena Esmail – A Winter Breviary:<br />
SATB More info 56<br />
i. We look for you<br />
ii. The Year’s Midnight<br />
iii. The Unexpected Early Hour<br />
Joanna Forbes L’Estrange – A Present for<br />
the Future<br />
SATB (divisi) &<br />
organ<br />
More info 287
Jessica French – The Oxen SATB More info 295<br />
Laura Hawley – The Christ-child SATB & organ More info 299<br />
Laura Jēkabsone – As Joseph was a-<br />
SATB (divisi) More info 72<br />
walking<br />
Lib<strong>by</strong> Larsen – A Simple Gloria SATB More info 87<br />
Cecilia McDowall – Advent Moon<br />
SATB, organ & opt.<br />
handbells<br />
More info 91<br />
Cecilia McDowall – Annunciation SATB (divisi) More info 102<br />
Cecilia McDowall – Brightest Star SSATB More info 112<br />
Cecilia McDowall – Christ is the morning SATB & organ More info 127<br />
star<br />
Cecilia McDowall – A <strong>Christmas</strong> Carol SATB & organ More info 138<br />
Cecilia McDowall – In dulci jubilo SATB & organ More info 309<br />
Cecilia McDowall – Lo! He slumbers in his SATB More info 148<br />
manger<br />
Cecilia McDowall – The Magi SSATB More info 397<br />
Cecilia McDowall – Now may we singen SATB More info 152<br />
Cecilia McDowall – O magnum mysterium SATB (divisi) More info 160<br />
Cecilia McDowall – O nata lux SSATB More info 166<br />
Cecilia McDowall – O Virgo virginum SATB More info 171<br />
Cecilia McDowall – There is no rose SATB (divisi) More info 179<br />
Becky McGlade – A spotless Rose SATB (divisi) More info 189<br />
Becky McGlade – O little town of<br />
SATB More info 197<br />
Bethlehem<br />
Becky McGlade – Of the Father’s love<br />
begotten<br />
SATB More info 318
Becky McGlade – See amid the winter’s<br />
SATB More info 204<br />
snow<br />
Becky McGlade – What child is this? SATB More info 329<br />
Tawnie Olson – I saw a stable SATB More info 333<br />
Kim Porter – <strong>Christmas</strong> Eve SATB More info 278<br />
Sarah Quartel – Before the Song was<br />
SATB & piano More info 336<br />
Done<br />
Sarah Quartel – Iesous ahatonnia’ SATB & piano More info 343<br />
Sarah Quartel – On this silent night SATB & pf More info 211<br />
Sarah Quartel – Silent Night S duet, SATB (divisi) More info 222<br />
Sarah Quartel – This endris night SATB More info 232<br />
Sarah Quartel – Wexford Carol SATB & pf More info 238<br />
Ghislaine Reece-Trapp – Earth grown old SATB More info 355<br />
Zanaida Stewart Robles – Now the<br />
SATB More info 358<br />
Rejoicing<br />
Annabel Rooney – Gaudete! SATB (divisi) More info 246<br />
Caroline Shaw – The Children’s Eye M solo, SSAATTBB More info 360<br />
Suzzie Vango – Gaudete SSATB also av More info 375<br />
Lucy Walker – There is no rose S solo, SATB More info 384<br />
Errollyn Wallen – Road to Refuge SATB & piano More info 389
CHRISTMAS CAROLS<br />
SSATB a cappella<br />
4<br />
2<br />
for online perusal only<br />
Adam and the<br />
Mother<br />
Kerry Andrew<br />
A
5<br />
Adam and the Mother<br />
Anon. 14th/15th cent.<br />
adap. Kerry Andrew<br />
(see p. 2 for details)<br />
KERRY ANDREW<br />
SOPRANO 1<br />
Lilting q. = 50<br />
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SOLO or TUTTI<br />
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SOPRANO 2<br />
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<br />
© Oxford University Press 2009<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
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52<br />
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S. 2 <br />
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for online perusal only<br />
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cresc.<br />
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9>endris = recently passed
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X501 Adam and the Mother ANDREW<br />
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sleep’.<br />
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sleep’.<br />
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sleep’.<br />
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Processed in England <strong>by</strong> Enigma Music Production Services, Amersham, Bucks.<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd., Amersham, Bucks.
CHRISTMAS CAROLS<br />
11<br />
SATB (with divisions) a cappella with optional tambourine<br />
2<br />
for online perusal only<br />
Angelus ad virginem<br />
(Gabriel to Mary came)<br />
Arranged <strong>by</strong><br />
Carol Barnett<br />
A
12<br />
Commissioned <strong>by</strong> the National Lutheran Choir for their <strong>Christmas</strong> Festival, 2010<br />
Anon. 14th cent.<br />
trans. W. A. C. Pickard-Cambridge (vv. 1–3, 5);<br />
Carol Barnett (v. 4)<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
Nimble, joyous q. = 100 ( e = e throughout)<br />
p<br />
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p<br />
nn*<br />
Angelus ad virginem<br />
(Gabriel to Mary came)<br />
1. An<br />
1. Ga<br />
-<br />
-<br />
ge - lus<br />
bri - el<br />
ad<br />
to<br />
vir<br />
Ma<br />
-<br />
-<br />
Melody: 14th-cent. Irish<br />
arr. CAROL BARNETT<br />
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gi -nem<br />
Sub - in - trans<br />
ry came, And en - tered<br />
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in<br />
at<br />
conher<br />
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for online perusal only<br />
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BASS<br />
for<br />
rehearsal<br />
only<br />
6<br />
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Nimble, joyous q. = 100 ( e = e throughout)<br />
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dwell<br />
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ve,<br />
ing,<br />
Vir - gi - nis for - mi - di - nem De - mul -cens,<br />
in - quit: ‘A<br />
With his sa - lu - ta - tion glad Her maid - en fears dis - pel<br />
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ling,<br />
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A - - - - - ve!<br />
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*Alternatively, play this note on a pitch pipe.<br />
© Oxford University Press 2013<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
11<br />
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13<br />
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3<br />
A<br />
‘All<br />
- ve, re<br />
hail, thou<br />
- gi - na vir<br />
queen of vir<br />
- gi - num; Coe - li ter<br />
- gins bright! God, Lord of<br />
- rae - que Do - mi-<br />
num’<br />
earth and hea - ven’s height,’<br />
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for online perusal only<br />
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soon be born in<br />
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pure - ness,<br />
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14<br />
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the gate<br />
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bright, The<br />
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23<br />
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kind.’<br />
mp<br />
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‘Quo<br />
‘How<br />
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should I,<br />
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should I?’<br />
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28<br />
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vi<br />
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32<br />
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5<br />
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‘qua - li - ter’,<br />
‘How should I?’<br />
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Qua - li - ter in - frin - ge -rem<br />
Quod<br />
am to man a strang - er?<br />
How should I my strong re - solve, My<br />
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‘How should I?’<br />
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- ma men - te vo - vi?’ ‘Spi - ri - tus Sanc - ti gra - ti - a<br />
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mp<br />
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‘Spi - ri - tus Sanc - ti gra - ti - a Per -<br />
‘Pow’r from the Ho - ly Ghost on high Shall<br />
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15<br />
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6<br />
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good<br />
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Shall bring to pass this mys - ter - y.<br />
Be of good<br />
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Ne<br />
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ti - me -as,<br />
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have no fear: Be<br />
gau - de - as, Se -<br />
of good cheer, Be -<br />
p<br />
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Per - fi - ci - et haec om<br />
Shall bring to pass this mys<br />
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40<br />
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-as,<br />
Quod cas - ti - mo - ni - a<br />
cheer, That still thy chas - ti - ty<br />
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-as,<br />
Quod cas - ti -mo<br />
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cheer, That still thy chas - ti - ty<br />
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-cu<br />
- ra, Quod cas - ti - mo - ni - a<br />
Ma - ne - bit in te<br />
- liev - ing That still thy chas - ti - ty<br />
In God’s al - might - y<br />
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Quod cas - ti - mo - ni - a Ma - ne - bit in te<br />
cheer, That still thy chas - ti - ty In<br />
God’s al-might<br />
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44<br />
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mp<br />
p cresc. poco a poco<br />
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De - i po-<br />
ten - ti - a!’<br />
ah ah<br />
ah ah<br />
Shall all un-sull<br />
- ied be.’<br />
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De - i po-ten<br />
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ah ah<br />
ah<br />
Shall all un-<br />
sull - ied be.’<br />
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cresc. poco a poco<br />
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pu - ra De - i po-<br />
ten - ti - a!’<br />
ah ah<br />
ah<br />
keep - ing Shall all un - sull - ied be.’<br />
p<br />
cresc. poco a poco<br />
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pu - ra De - i po-<br />
ten - ti - a!’<br />
ah ah<br />
ah<br />
keep - ing Shall all un-sull<br />
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3. Ad<br />
haec vir - go no - bi - lis Re -<br />
ah<br />
3. Then to him the maid re - plied, With<br />
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3. Ad haec vir - go no - bi - lis Re -<br />
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3. Then to him the maid re - plied, With<br />
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17<br />
for online perusal only<br />
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7
8<br />
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- spon - dens in - quit e - i:<br />
‘An - cil - la sum hu - mi - lis Om-<br />
no - ble mien su - per - nal; ‘Lo! the hum - ble hand - maid I Of<br />
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‘An - cil - la sum hu - mi - lis Om-<br />
no - ble mien su - per - nal; ‘Lo! the hum - ble hand - maid I Of<br />
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57<br />
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- ni - po - ten - tis De - i. Ti - bi coe - les - ti nun - ti - o,<br />
God the Lord e - ter - nal! With thee, bright mes - sen - ger of heav’n,<br />
<br />
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-ni<br />
- po-ten<br />
- tis De - i. Ti - bi coe - les - ti nun - ti - o,<br />
God the Lord e - ter - nal! With thee, bright mes - sen-ger<br />
of heav’n,<br />
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zm zm - ma - la zm zm -ma<br />
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zm zm - ma - la zm zm - ma-la<br />
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18<br />
for online perusal only
Tan - ti se - cre - ti con - sci - o, Con - sen - ti-<br />
ens et cu - pi - ens Vi -<br />
By whom this won -drous<br />
news is giv’n, I well a - gree And long to see Ful-<br />
<br />
<br />
Tan - ti se - cre - ti con - sci - o, Con - sen - ti-<br />
ens et cu - pi -ens<br />
Vi-<br />
By whom this won-drous<br />
news is giv’n, I well a - gree And long to see Ful-<br />
<br />
<br />
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zm Con - sen - ti - ens, Vi -<br />
I long to see Ful -<br />
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zm Con - sen - ti - ens, Vi -<br />
I long to see Ful -<br />
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65<br />
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mp<br />
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- de - re Fac - tum quod au - di - o,<br />
Pa - ra - ta sum pa -<br />
- fill - ed Thy gra - cious pro - phe - cy.<br />
As God my Lord doth<br />
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mp<br />
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- de - re Fac - tum quod au - di - o, Pa - ra - ta sum pa -<br />
- fill - ed Thy gra - cious pro - phe - cy. As God my Lord doth<br />
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for online perusal only<br />
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9
10<br />
69<br />
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will it,<br />
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will<br />
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will,<br />
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S.<br />
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24<br />
cresc. poco a poco<br />
for online perusal only<br />
Ut<br />
for<br />
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to win, And<br />
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to win, And<br />
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from our sin Re -<br />
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in heav’n may live.<br />
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heav’n may live.<br />
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heav’n may live.<br />
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Processed in England <strong>by</strong> Enigma Music Production Services, Amersham, Bucks.<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.
CHRISTMAS<br />
SATB and piano<br />
26<br />
2<br />
for online perusal only<br />
La Berceuse<br />
(French Lulla<strong>by</strong>)<br />
Barbara Bell<br />
Arranged <strong>by</strong> John Rutter<br />
A
27<br />
La Berceuse<br />
(French Lulla<strong>by</strong>)<br />
Words and music <strong>by</strong><br />
BARBARA BELL<br />
arranged <strong>by</strong> John Ruer<br />
Tendrement<br />
q = c.100<br />
<br />
<br />
SOPRANO<br />
(SOLO or FULL)<br />
1. Ma<br />
<br />
<br />
mp delicately<br />
mp<br />
<br />
PIANO<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ped.<br />
Ped.<br />
<br />
5<br />
<br />
<br />
chan - - son et mon coeur per - du,<br />
L’a -<br />
<br />
<br />
<br />
p<br />
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<br />
sim.<br />
for online perusal only<br />
<br />
<br />
<br />
9<br />
<br />
<br />
<br />
<br />
- mour de Ma - rie et la grâ - ce de Dieu; Les<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
La Berceuse, written in 1975 when Barbara Bell was 17 years old, was a prizewinner in the Bach Choir carol competition<br />
in that year; the co-adjudicators were Sir David Willcocks and John Rutter. The present new choral arrangement<br />
was first performed <strong>by</strong> Voces8 and the Royal Philharmonic Orchestra in the Royal Albert Hall on the 40th anniversary of<br />
the première.<br />
The accompaniment has been orchestrated <strong>by</strong> John Rutter for 2 flutes, 2 clarinets, 2 bassoons, crotales, harp, and strings.<br />
Scores and parts are available on hire from Oxford University Press or its appointed agent.<br />
© Oxford University Press 2016 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
28<br />
3<br />
13<br />
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<br />
an<br />
- ges dans un ciel si bleu, Pe -<br />
<br />
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S.<br />
A.<br />
17<br />
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tit<br />
- bé - bé dans le ma - - tin.<br />
(FULL SOPRANOS)<br />
mf`cantabile<br />
Ma<br />
T. <br />
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mf`cantabile<br />
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Ped.<br />
mp<br />
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21<br />
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for online perusal only<br />
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29<br />
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dim.<br />
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mp<br />
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tin.
S.<br />
A.<br />
T.<br />
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37<br />
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Lul<br />
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p<br />
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lo,<br />
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dou ce<br />
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Lul - la-ley<br />
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lul - la - ley lo, lul -<br />
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lul - ley - lo,<br />
lul - la, lul -<br />
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30<br />
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5<br />
for online perusal only<br />
43<br />
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cresc.<br />
mp<br />
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dors, bé - bé.<br />
Lul - la-ley<br />
- lo,<br />
lul - la-ley<br />
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- la - ley - lo.<br />
Lul - ley, lul - la-ley<br />
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lul - la ley<br />
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la<br />
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cresc.<br />
cresc.<br />
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Lul<br />
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cresc.<br />
- la - ley - lo.<br />
Lul<br />
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mp<br />
mp<br />
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mp<br />
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lul<br />
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31<br />
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49 p<br />
C<br />
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dim.<br />
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Dou - ce-ment<br />
dors, je te ber - ce - rai.<br />
dim.<br />
p<br />
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lo,<br />
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dim.<br />
p<br />
dim.<br />
lul<br />
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p<br />
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- lo, ley - lo, je te ber - ce - rai.<br />
<br />
- ce - rai.<br />
<br />
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C<br />
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for online perusal only<br />
<br />
p<br />
mp<br />
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54<br />
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mp<br />
Aw<br />
mp<br />
Aw<br />
*mf cantabile<br />
<br />
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<br />
2. Les trois rois et leurs<br />
mp<br />
Aw<br />
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*1st basses may be added to tenors from here to bar 72 if desired.
32<br />
7<br />
59<br />
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aw<br />
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aw<br />
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aw aw aw<br />
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for online perusal only<br />
65<br />
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aw<br />
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aw aw aw<br />
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ber<br />
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aw<br />
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Roi des rois dans le<br />
p<br />
aw<br />
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p
8<br />
71<br />
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D<br />
mp<br />
unis.<br />
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D<br />
Lul<br />
mp<br />
- la- ley - lo, lul - la- ley lo,<br />
<br />
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p<br />
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Lul - la- ley - lo, lul - la- ley - lo, lul<br />
( mp)<br />
p<br />
p<br />
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ment,<br />
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ma - tin. Lul - la- ley - lo, lul - la- ley - lo, lul<br />
mp<br />
Lul<br />
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<br />
33<br />
<br />
<br />
p<br />
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for online perusal only<br />
78<br />
<br />
cresc.<br />
mp<br />
<br />
<br />
<br />
dou - ce-ment<br />
dors, bé - bé.<br />
Lul - la-ley<br />
- lo,<br />
lul<br />
<br />
- la, lul - la - ley - lo.<br />
Lul - ley, lul - la-ley<br />
- lo,<br />
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<br />
lo,<br />
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<br />
cresc.<br />
cresc.<br />
- lul - la - ley - lo.<br />
Lul<br />
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<br />
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cresc.<br />
- la, lul - la - ley - lo.<br />
Lul<br />
mp<br />
mp<br />
- la- ley, lul - la- ley, lul<br />
mp<br />
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lul<br />
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ley,<br />
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34<br />
9<br />
84<br />
<br />
dim.<br />
<br />
<br />
- lo,<br />
Dou - ce-ment<br />
dors, je te ber<br />
lul<br />
dim.<br />
p<br />
p<br />
- ce - rai.<br />
<br />
<br />
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- la - ley lo,<br />
dim.<br />
dim.<br />
- lo,<br />
lul<br />
je te ber<br />
p<br />
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<br />
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lul - la - ley - lo, ley - lo, je te ber<br />
<br />
- ley - lo, je te ber<br />
p<br />
- ce - rai.<br />
<br />
- ce - rai.<br />
<br />
- ce - rai.<br />
for online perusal only<br />
<br />
<br />
p<br />
<br />
89<br />
E<br />
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E<br />
<br />
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<br />
<br />
mp espress.
35<br />
10<br />
95<br />
<br />
<br />
pochiss. rit.<br />
<br />
<br />
<br />
F a tempo<br />
mp dreamy<br />
Ah<br />
<br />
mp dreamy<br />
<br />
<br />
<br />
<br />
Ah<br />
<br />
<br />
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mp dreamy<br />
<br />
Ah<br />
pochiss. rit.<br />
a tempo<br />
F<br />
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p<br />
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<br />
for online perusal only<br />
101<br />
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<br />
<br />
<br />
mp dreamy<br />
Ah<br />
<br />
<br />
Ah<br />
<br />
Ah<br />
<br />
<br />
<br />
<br />
ah
36<br />
11<br />
107<br />
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<br />
ah ah<br />
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ah<br />
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ah<br />
mp<br />
<br />
ah<br />
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for online perusal only<br />
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113<br />
G<br />
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p<br />
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<br />
Lul - la- ley - lo,<br />
lul - la-ley<br />
- lo,<br />
dou - ce- ment, dou ce-<br />
<br />
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Lul - la- ley - lo,<br />
lul - la-ley<br />
lo,<br />
G<br />
p<br />
p<br />
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<br />
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Lul - la- ley - lo,<br />
lul - la-ley<br />
- lo,<br />
lul - la - ley lo,<br />
p<br />
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Lul<br />
<br />
pp<br />
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- la- ley - lo,<br />
lul - ley - lo,<br />
lul - la, lul -
37<br />
12<br />
119<br />
<br />
cresc.<br />
mp<br />
<br />
<br />
dors, bé - bé.<br />
Lul - la-ley<br />
- lo,<br />
lul - la-ley<br />
- lo,<br />
<br />
<br />
H<br />
cresc.<br />
<br />
- la - ley - lo.<br />
Lul - ley, lul - la-ley<br />
- lo,<br />
lul - la ley<br />
cresc.<br />
mp<br />
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<br />
la<br />
<br />
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- - ley - lo.<br />
Lul - la-ley,<br />
lul - la- ley, lul<br />
cresc.<br />
mp<br />
<br />
- la - ley - lo.<br />
Lul<br />
<br />
<br />
p<br />
<br />
<br />
mp<br />
mp<br />
- la- ley - lo,<br />
lul<br />
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- la-ley,<br />
lul - la-ley<br />
-<br />
<br />
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H<br />
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<br />
<br />
X610 La Berceuse BELL Arr. RUTTER<br />
for online perusal only<br />
125<br />
rall. al fine<br />
p<br />
pp<br />
<br />
<br />
dim.<br />
<br />
<br />
Dou - ce-ment<br />
dors, je te ber - ce - rai.<br />
dim.<br />
<br />
lo,<br />
p<br />
pp <br />
<br />
<br />
- je te ber<br />
dim.<br />
p<br />
- ley - lo, je te ber<br />
dim.<br />
p<br />
lul<br />
dim.<br />
- ley - lo, je te ber<br />
rall. al fine<br />
- ce - rai.<br />
- ce - rai.<br />
pp <br />
<br />
<br />
<br />
<br />
lo,<br />
- ce - rai.<br />
<br />
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<br />
pp<br />
<br />
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<br />
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<br />
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<br />
<br />
<br />
<br />
pp
CHRISTMAS<br />
For Unaccompanied Mixed Choir (SSAATTBB)<br />
38<br />
2<br />
<strong>Christmas</strong> in Saint Petersburg<br />
for online perusal only<br />
Valerie Showers Crescenz<br />
A
Choir I<br />
Choir II<br />
for<br />
rehearsal<br />
only<br />
[<br />
! 4<br />
3<br />
]<br />
[<br />
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$ = 148<br />
Q<br />
Q<br />
S.<br />
mp<br />
C<br />
with intensity<br />
C C C C<br />
C B C C C C<br />
Win-ter in Saint Pe-ters-burg, snow-flakes swirl-ing<br />
# 34 Q Q Q Q Q<br />
A.<br />
! 4 3 mp<br />
C<br />
39<br />
for the Oxford Summer Institutes at Lehigh<br />
<strong>Christmas</strong> in Saint Petersburg<br />
For Unaccompanied Mixed Choir (SSAATTBB)<br />
Valerie Showers Crescenz<br />
with intensity<br />
C. C . C . C C. C C . C. C . C C. C C . C.<br />
Al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu,<br />
with intensity<br />
mp<br />
T.<br />
# 3<br />
C Ċ Ċ C Ċ Ċ C Ċ Ċ C Ċ Ċ C Ċ Ċ<br />
4<br />
$ = 148<br />
! 3 Q Q<br />
4 C C C C C<br />
C B C C C C<br />
mp Ċ<br />
# 3 C C Ċ C<br />
C Ċ C Ċ C<br />
C Ċ C Ċ C<br />
C Ċ C Ċ C<br />
C Ċ C Ċ C<br />
4<br />
for online perusal only<br />
sim.<br />
6<br />
[<br />
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[<br />
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! C C C C BO<br />
B S C C C C C<br />
C C C C<br />
through the leaf-less trees; horse-drawn sleighs are weav-ing tracks through the<br />
# Q Q Q Q Q<br />
! C C . C. C C . C. C C . C. C C . C. C C . C.<br />
al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu,<br />
# C Ċ Ċ C Ċ Ċ C Ċ Ċ C Ċ Ċ C Ċ Ċ<br />
! C C C C BO<br />
B S C C C C C<br />
C C C C<br />
Ċ<br />
# C C Ċ C Ċ C C Ċ C Ċ C C Ċ C Ċ C C Ċ C Ċ C C Ċ C<br />
Copyright © 2005, Oxford University Press, Inc. Assigned to Oxfrord University Press, 2010
4<br />
11<br />
[ (S.)<br />
! C CO<br />
Q Q<br />
h C C C C C BO<br />
B S<br />
snow like a gi-ant tap - es - try.<br />
# Q Q Q Q Q Q<br />
]<br />
[<br />
!<br />
(A.)<br />
40<br />
S., A. mp with intensity<br />
Q Q Q Q . . . .<br />
C C C C C C C C C C C C C<br />
. C<br />
. . . . . . C C C C C C . . . . .<br />
]<br />
al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu,<br />
mp with . intensity<br />
(T.)<br />
. .<br />
T., B.<br />
# C Ċ Ċ C Ċ Ċ C Ċ Ċ C Ċ Ċ Ċ Q Q Q Q C C C C C C<br />
. . . .<br />
for online perusal only<br />
! C C C C C C C C BO<br />
B S<br />
C C. C. C C. Ċ<br />
C.<br />
# C C Ċ C Ċ C C Ċ C Ċ C C Ċ C Ċ C C Ċ C C Ċ CC Ċ ĊC Ċ<br />
C C C C<br />
S., A.<br />
17 with intensity<br />
[<br />
]<br />
mp<br />
! C<br />
C C C C C C B C C C C C C C C BO<br />
Win-ter in Saint Pe-ters-burg, moon and stars are hid-den <strong>by</strong> the clouds;<br />
# Q Q Q Q Q<br />
[<br />
!<br />
C ĊC Ċ C C ĊC Ċ C C ĊC Ċ C C ĊC Ċ C C ĊC Ċ C<br />
. . . . . . . . . .<br />
al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu,<br />
# Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ<br />
] C C C C C C C C C C C C C C C<br />
. . . . . . . . . .<br />
! C C C C C C B C C C C C<br />
C C<br />
C C C BO<br />
C C C C C . . . .<br />
# C Ċ CC Ċ ĊC Ċ<br />
C C C<br />
ĊC Ċ<br />
C C C<br />
ĊC Ċ<br />
C C C<br />
ĊC Ċ<br />
C C C C
[<br />
22<br />
]<br />
[<br />
! S<br />
B C C C C C C B C C CO<br />
# Q<br />
!<br />
T., B.<br />
41<br />
g<br />
h C C C C C<br />
ev-’ry roof - top glazed with snow, i - cy fog is hang-ing like a<br />
with intensity<br />
mp<br />
C C C C C C B C C CO<br />
g<br />
C C<br />
h C C C C C<br />
. . . . . . . . . .<br />
C C C C C C C C C C C C C C C C C C C C<br />
. . . . . . . . . .<br />
5<br />
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al - le - lu, al - le - lu, al - le - lu, al - le - lu, al - le - lu,<br />
. .<br />
. . .<br />
# Ċ Ċ Ċ Ċ Ċ<br />
C C C C C C C C C C C C C C C<br />
. . . . . . . . . .<br />
! C<br />
g<br />
B S<br />
C C C<br />
C C C C C B<br />
C C C C C C C C CC COO<br />
C C<br />
C C C C<br />
. . . . . .<br />
# C Ċ CC Ċ ĊC Ċ<br />
ĊC Ċ<br />
ĊC Ċ<br />
ĊC Ċ<br />
C C C C C C C C C C C C C<br />
for online perusal only<br />
[<br />
27<br />
#<br />
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! C Y C C C C C CY C C C C C C C C C ff BO<br />
!<br />
al - li - lu - i - ya, al - li-lu-i - ya, al - li-lu - i - ya!<br />
C<br />
ff<br />
CY C C C C C C C C C Y C C C C C W B<br />
C<br />
allarg.<br />
BO<br />
B? O<br />
W B C W ? BO<br />
al - li - lu - i - ya, al - li-lu-i - ya, al - li-lu - i-ya, al - li - lu - i - ya!<br />
Í! S Y C C C C C<br />
C C<br />
Y C C C C C C ff<br />
C C<br />
CCC C C C C C C C W ? BO<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li-lu, al-li-lu-i-ya, al - li - lu - i - ya!<br />
# S C C C C C C C C C C C C C<br />
ffC<br />
CCC C<br />
!<br />
! C<br />
C C Y C C ? C B O<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li-lu, al-li-lu-i-ya, al - li - lu - i - ya!<br />
C C C ff<br />
C C C Y C C C C C C Y C C C C C BO<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li - lu-i - ya,<br />
ff<br />
CY C C C C C C C C C C C C Y C C C B<br />
BO<br />
B? O<br />
?<br />
C B C BO<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li-lu, al - li - lu - i - ya!<br />
ff<br />
Í! C C C C C C C C C YC<br />
C C C W C<br />
#<br />
CCC C<br />
W C C C C C(X)<br />
C<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li-lu, al-li-lu-i-ya, al - li - lu - i - ya!<br />
C C C C YC<br />
C C C C C C C C<br />
ffC<br />
CCC C C C C C<br />
al - li - lu-i - ya, al-li - lu - i - ya, al - li-lu, al-li-lu-i-ya, al - li - lu - i - ya!<br />
!<br />
C Y C C<br />
C C C<br />
Y C C<br />
C C C C<br />
C Y<br />
C C<br />
C C<br />
C C C C C allarg.<br />
C<br />
W B C<br />
C C C<br />
C C C C C C<br />
g<br />
ff<br />
# C Y<br />
C C<br />
C<br />
C C C CY C T Y C C<br />
C W C C C C C W<br />
Y C X<br />
C<br />
Y<br />
C C C C C C C C C C C C C<br />
50<br />
for online perusal only<br />
?<br />
BO<br />
?<br />
BO<br />
?<br />
W W B O<br />
B? BO<br />
B<br />
June 2004,<br />
Bethlehem, Pennsylvania
CHRISTMAS CAROLS<br />
SATB unaccompanied<br />
51<br />
2<br />
for online perusal only<br />
The<br />
Huron Carol<br />
Eleanor Daley<br />
A
52<br />
The Huron Carol<br />
Jesse Edgar Middleton (1872–1960)<br />
Flowing i = 76<br />
Vbb 4 p q r t mf unis.<br />
SOPRANO<br />
Še Š Š Š Š Š Š<br />
ALTO<br />
Š Š<br />
1. ’Twas in the moon of win-ter-time when<br />
p<br />
TENOR Vbb<br />
[ 4 ˆ ˆ ˆ<br />
ah<br />
ah<br />
p<br />
Bbb BASS 4 ‰. Š ‰. Š ˆ<br />
ah<br />
ah<br />
4<br />
Vbb ŠŠŠ Š Š. Še Š Š Š Š Š Š Š Š Š Š Š Š Š. Še<br />
for online perusal only<br />
Trad., arr. ELEANOR DALEY<br />
all the birds had fled, that might-y Git-chi Man - i - tou sent an - gel choirs in-stead; be -<br />
Vbb<br />
[<br />
ˆ ˆ ˆ<br />
ah<br />
Bbb ‰. Š ˆ ‰. Š<br />
ah<br />
ah<br />
7<br />
poco rit.<br />
Vbb Š Š Š Š Š. Š Š Š Š Š Š Š Š Š Š Š<br />
- fore their light the stars grew dim, and wan-d’ring hun - ters heard the hymn:<br />
Vbb<br />
[<br />
ˆ<br />
Š Š Š Š Š Š Š<br />
ah<br />
Bbb ‰.<br />
‰. Š Š Š Š Š Š<br />
An arrangement of this piece for upper voices is available in World Carols for Choirs: 29 <strong>carols</strong> for upper voices, compiled and edited <strong>by</strong><br />
Bob Chilcott and Susan Knight (978–0–19–353232–8).<br />
Offprinted from World Carols for Choirs: 31 <strong>carols</strong> for mixed voices, compiled and edited <strong>by</strong> Bob Chilcott and Susan Knight<br />
(978–0–19–353231–1).<br />
Music © Oxford University Press 2005 and 2007. Text used <strong>by</strong> permission of The Frederick Harris Music Co., Limited, Mississauga,<br />
Ontario, Canada. All rights reserved.<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
S.<br />
A.<br />
T.<br />
B.<br />
4<br />
9 a tempo<br />
Vbb<br />
Š Š Š Š Š Š<br />
64 Š Š Š Š Š Š Š Š Š F<br />
Š 4‰.<br />
Je - sus your King is born, Je - sus is born, in ex - cel - sis glo - ri - a.<br />
pp<br />
Vbb<br />
[<br />
r ‰. 64 ‰ . Š Š Š F<br />
4 ‰ .<br />
ah<br />
pp<br />
Bbb r ‰. 64 ‰. Š Š Š F<br />
4 ‰.<br />
ah<br />
Vbb r Šp<br />
Š Š Š Š Š Š Š Š Š Š Š Š Š<br />
p<br />
53<br />
for online perusal only<br />
ah<br />
ah<br />
Vbb r Š. Še Š Š Š Š Š Š Š Š Š Š Š<br />
ah<br />
ah<br />
Bbb t mf unis.<br />
Š Š Š Š Š Š Š Š Š ŠŠŠ Š Š. f<br />
Š f<br />
2. With - in a lodge of bro - ken bark the ten - der babe was found, a<br />
14<br />
Vbb ‰ Š Š Š Š Š Š Š Š Š Š ŠŠ Š<br />
Vbb Še Š Še ‰ Š Š Š Š Š<br />
Bbb Š Š Š Š Š Š Š Š Š Š Š Š Š. Š f<br />
rag - ged robe of rab - bit skin en - wrapped his beau - ty round; but<br />
poco rit.<br />
16<br />
Vbb ‰ Š Š Š Š Š ‰ Š Š Š Š Š Š<br />
ah<br />
Vbb Š. Še Š Š Š Š Š Š Š Š<br />
ah<br />
Bbb Š Š Š Š Š. Š Š Š Š Š Š Š Š Š Š Š<br />
as the hun - ter braves drew nigh, the an - gel song rang loud and high:
S.<br />
A.<br />
T.<br />
B.<br />
S.<br />
* A.<br />
T.<br />
B.<br />
S.<br />
A.<br />
T.<br />
B.<br />
18<br />
Vbb<br />
Š Š ŠŠ Š Š Š 64 Š Š Š Š Š Š Š Š Š ŠŠŠ Š Š ŠŠ 4‰.<br />
F<br />
a tempo<br />
mf<br />
Je - sus your King is born, Je - sus is born, in ex - cel - sis glo - ri - a.<br />
Bbb ŠŠŠŠ Š Š Š ŠŠŠ Š 64 Š Š ŠŠŠŠ Š Š ŠŠŠŠ Š Š Š Š 4 ‰.<br />
E<br />
20<br />
Vbb t mp<br />
Še ŠŠŠ Š Š Š ŠŠ ŠŠŠ Š Š Š Š Š. ŠŠe Š Š Š Š Š Š Š Š<br />
3. The ear-liest moon of win-ter-time is not so round and fair as was the ring of glo-ry on the<br />
Vbb t mp<br />
Še ŠŠ ŠŠŠŠŠ Š Š Š Š Š Š.<br />
Še Š Š Š Š Š Š Š Š<br />
3. The ear-liest moon of win-ter-time is not so round and fair as was the ring of glo-ry on the<br />
Bbb r p p p<br />
24<br />
poco rit.<br />
Vbb<br />
Š Š Š Š Š. Še Š Š ŠŠ Š Š. Š ŠŠ Š Š Š Š Š Š Š Š Š<br />
help-less in-fant there. The chiefs from far be-fore him knelt with gifts of fox and bea-ver pelt.<br />
Vbb<br />
Š Š Š Š Š. Še Š Š ŠŠŠ. Š ŠŠŠ Š Š Š Š Š Š Š<br />
help-less in-fant there. The chiefs from far be-fore him knelt with gifts of fox and bea-ver pelt.<br />
Bbb p p p<br />
27<br />
a tempo<br />
<br />
SEMICHORUS<br />
Vbb p 64 p 4 q r t<br />
([)<br />
mf<br />
Vbb<br />
Š Š ŠŠ Š Š Š 64 Š Š Š Š Š Š Š Š Š ŠŠŠ Š ŠŠ 4 ˆ<br />
Je-sus your King is born, Je - sus is born, in ex-cel-sis glo - ri - a.<br />
Bbb ŠŠŠŠ Š Š Š ŠŠŠ Š 64 Š Š ŠŠŠŠ Š Š ŠŠŠŠ Š Š Š Š 4<br />
ˆ<br />
mf<br />
* or Tenor at pitch.<br />
54<br />
for online perusal only<br />
Še<br />
unis. mf<br />
4. O<br />
5
6<br />
30<br />
<br />
Vbb Š Š Š Š Š Š Š Š ŠŠŠ Š Š. Še Š Š Š Š Š Š Š Š<br />
([)<br />
chil-dren of the for - est free, O Sons of Man - i - tou, the Ho - ly Child of earth and heav’n is<br />
Vbb p<br />
ˆ ‰. Š ˆ<br />
ah<br />
Bbb ˆ ‰. Š ˆ<br />
p<br />
poco rit.<br />
33<br />
<br />
cresc.<br />
Vbb Š Š Š Š Š. Še ŠŠŠ Š Š. Š ŠŠ Š Š ŠŠŠ Š Š Š<br />
([)<br />
born to-day for you; come kneel be-fore the ra - diant boy, who brings you beau-ty, peace and joy,<br />
mp cresc.<br />
Vbb ‰. Š ‰ ‰ Š Š ‰ Š Š ‰<br />
( join choir)<br />
ah<br />
Bbb ‰. Š ˆ‰ ‰ ˆ‰ ‰<br />
mp cresc.<br />
Vbb<br />
Š 64 Š ‰ Š Š Š 54 36<br />
a tempo<br />
f mp mf<br />
dim. ten.<br />
cresc.<br />
Š Š Š Š ŠŠ Š Š Š Š Š Š ŠŠ Š ŠŠŠŠ Š Š Š ŠŠŠ Š Š Š<br />
4<br />
Je-sus your King is born, Je - sus is born, in ex-cel-sis glo-ri - a, in ex-cel-sis glo -<br />
Bbb Š Š Š Š ŠŠŠ 64 q 54 ten.<br />
ŠŠŠ Š Š Š Š Š Š Š<br />
Š<br />
Š Š<br />
ŠŠ‰ ŠŠŠ Š ‰.<br />
f dim. mf cresc.<br />
f dim. poco a poco<br />
pp<br />
in ex-cel-sis glo - -<br />
Vbb 4 molto rit.<br />
39<br />
Š Š Š Š Š Š Š Š 54 Š<br />
F<br />
Š. Š Š Š Š 4 ˆ<br />
f Š Š Š Š ‰ Š<br />
- - - - - - ri - a.<br />
Bbb Š ‰ Š Š Š 4<br />
Š Š Š Š. Š 54 Š Š Š Š 4 f Š. Š f Š Š Š<br />
Eˆ<br />
f<br />
dim. poco a poco<br />
- - - - - - ri - a.<br />
Music origination <strong>by</strong> Barnes Music Engraving Ltd., East Sussex.<br />
Printed <strong>by</strong> Halstan & Co. Ltd., Amersham, Bucks., England.<br />
55<br />
for online perusal only<br />
pp<br />
4
56<br />
CHRISTMAS<br />
SATB unaccompanied<br />
for online perusal only<br />
A Winter Breviary<br />
Reena Esmail
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voiceJunction<br />
72<br />
2<br />
SATB (with divisions) unaccompanied, with two soloists<br />
Laura Jēkabsone<br />
As Joseph was<br />
for online perusal only<br />
a-walking<br />
Difficulty level
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CHRISTMAS<br />
SATB (with divisions) unaccompanied<br />
87<br />
2<br />
for online perusal only<br />
A Simple Gloria<br />
Lib<strong>by</strong> Larsen<br />
A
M. K. Dean (b. 1950)<br />
88<br />
Commissioned <strong>by</strong> the University of St. Thomas Liturgical Choir,<br />
St. Paul, Minnesota, in celebration of its 30th Anniversary 1977–2007,<br />
Robert Strusinski, conductor<br />
A Simple Gloria<br />
LIBBY LARSEN<br />
SOPRANO<br />
ALTO<br />
<br />
<br />
Serene, clear q = 76<br />
mf<br />
<br />
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TENOR<br />
BASS<br />
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And<br />
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mf<br />
it was in a sim-ple<br />
Glo - ri - a<br />
that qui - et morn,<br />
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5<br />
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And it was in a sim ple<br />
for online perusal only<br />
<br />
- Glo - ri - a<br />
the Child was<br />
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born.<br />
9<br />
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The an gels<br />
Glo<br />
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a<br />
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that e- choed gent - ly through the<br />
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12 poco a poco accel. e cresc.<br />
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stars.<br />
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The shep herds<br />
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Glo<br />
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- heard the sim - ple Glo - ri a,<br />
Offprinted from Rubino (ed.), An American <strong>Christmas</strong> (ISBN 978–0–19–337978–7).<br />
© Kenwood Editions 2007. Assigned to Oxford University Press 2013 and 2019.<br />
- ri - a,<br />
glo<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
<br />
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- ri - a,<br />
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- glo - ri - a,<br />
Duration: 2.5 mins<br />
Printed in Great Britain
15<br />
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89<br />
Radiant q = 112<br />
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glo<br />
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- ri - a, glo - ri - a. 1>Glo<br />
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19<br />
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2>Sal<br />
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- va - tor mun - di na - tus est. >3>Er - go nos cum gau - di - o, cum<br />
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sub. p<br />
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gau - di - o, cum<br />
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for online perusal only<br />
gau - di - o, 4>Na<br />
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f<br />
- tus est Em -<br />
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28 rit.<br />
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- ma - nu - el, Em - ma - nu - el,<br />
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el,<br />
1>Glory to God in the highest. 2>The Saviour of the world is born. 3>Now, with joy,<br />
4>Emmanuel is born.
4<br />
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broadly<br />
32<br />
<br />
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Na<br />
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- tus est Em - ma - nu - el.<br />
Tempo I ( q = 76)<br />
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90<br />
mp warmly<br />
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Glo<br />
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mp warmly<br />
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Glo<br />
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X739 A Simple Gloria LARSEN<br />
S.<br />
A.<br />
36<br />
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glo<br />
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T.<br />
<br />
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for online perusal only<br />
<br />
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glo<br />
- - - ri - a,<br />
glo - - ri - a,<br />
B.<br />
glo -<br />
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glo - ri - a,<br />
glo - ri - a,<br />
glo - ri - a, glo -<br />
41<br />
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glo<br />
glo<br />
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p<br />
glo-,<br />
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glo<br />
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<br />
- - ri - a,<br />
<br />
<br />
<br />
- ri - a, <br />
<br />
<br />
<br />
p<br />
<br />
glo-,<br />
glo-,<br />
<br />
<br />
glo<br />
glo<br />
glo<br />
<br />
pp<br />
<br />
- ri - a.<br />
pp<br />
<br />
<br />
<br />
- ri - a.<br />
<br />
pp<br />
<br />
- ri - a.<br />
Processed in England <strong>by</strong> Enigma Music Production Services, Amersham, Bucks.<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.
NEW<br />
HORIZONS<br />
91<br />
2<br />
<strong>Christmas</strong><br />
SATB, organ, and optional handbells<br />
for online perusal only<br />
CECILIA Mc DOWALL<br />
Advent Moon
92<br />
for Stuffy, turning 70, and for Lida, who would have been 100<br />
Advent Moon<br />
Angier Brock<br />
(b. 1947)<br />
CECILIA McDOWALL<br />
HANDBELLS<br />
(optional)<br />
<br />
<br />
Always flowing q = c.84<br />
mp dolce<br />
<br />
<br />
<br />
SOPRANO<br />
p dolce<br />
<br />
<br />
Let the com-ing<br />
of the One<br />
poco<br />
ALTO<br />
<br />
Let<br />
p dolce<br />
<br />
for online perusal only<br />
<br />
poco<br />
the<br />
com-ing<br />
of the One<br />
TENOR<br />
<br />
<br />
<br />
mp<br />
<br />
The<br />
BASS<br />
<br />
mp<br />
<br />
The<br />
Always flowing q = c.84<br />
<br />
<br />
<br />
ORGAN<br />
<br />
<br />
p dolce<br />
<br />
Man.<br />
mp<br />
<br />
Advent Moon was commissioned for the Choirs of Bruton Parish Church, Williamsburg, VA, and first performed <strong>by</strong> the choirs,<br />
under the direction of Rebecca Davy, on 1 December 2013.<br />
© Oxford University Press 2014. Text © Angier Brock 2013, reproduced <strong>by</strong> kind permission of the author. Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
S.<br />
A.<br />
T.<br />
B.<br />
5<br />
<br />
<br />
<br />
<br />
<br />
<br />
One<br />
mp<br />
<br />
<br />
<br />
One who ar<br />
<br />
<br />
<br />
<br />
mf<br />
who ar - ran-ges<br />
O - ri- on and the Plei-a-des<br />
be- gin in dark - ness.<br />
mp<br />
<br />
<br />
<br />
<br />
mf<br />
who ar - ran - ges O - ri- on and the Plei-a<br />
- des be-gin<br />
in dark - ness.<br />
mf<br />
who ar<br />
93<br />
<br />
<br />
- ran - ges O - ri - on be-gin<br />
in dark - ness.<br />
mf<br />
<br />
<br />
- ran - ges O - ri - on in dark - ness.<br />
<br />
3<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
mf<br />
<br />
HB.<br />
9<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
S. <br />
<br />
A. <br />
T.<br />
B.<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp dolce<br />
Let<br />
mp dolce<br />
Let<br />
mp legato<br />
Ped. 8' only<br />
the night be cold,<br />
the night be cold,<br />
mf<br />
mf<br />
mf<br />
<br />
mf<br />
mf<br />
cold,<br />
mf<br />
cold,<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
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<br />
<br />
<br />
mp<br />
with<br />
mp<br />
<br />
with<br />
<br />
mp<br />
Man.
4<br />
13<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
snow.<br />
mp<br />
drifts<br />
of snow. ah<br />
mf cresc.<br />
<br />
<br />
ah<br />
mf cresc.<br />
mf cresc.<br />
drifts of snow. Let<br />
mf cresc.<br />
<br />
<br />
<br />
drifts of snow. Let<br />
<br />
<br />
mf cresc.<br />
<br />
<br />
<br />
<br />
<br />
Ped. + 16'<br />
<br />
<br />
<br />
<br />
<br />
94<br />
<br />
<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
ah<br />
ah<br />
there be one li - ly,<br />
there be one li - ly,<br />
<br />
<br />
<br />
<br />
<br />
<br />
for online perusal only<br />
17<br />
<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
one li - ly bloom-ing,<br />
and whis-pered<br />
mes-sa- ges, whis-pered<br />
mes-sa<br />
ges,<br />
<br />
<br />
<br />
<br />
one li<br />
mp<br />
<br />
<br />
- ly bloom-ing,<br />
and<br />
mp<br />
one li - ly<br />
bloom - ing, and whis<br />
mp<br />
mp legato<br />
mp<br />
mp<br />
- and<br />
whis-pered<br />
mes-sa- ges, whis-pered<br />
mes-sa- ges, and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Man.<br />
<br />
<br />
<br />
<br />
- pered mes - sa - ges, and<br />
- pered mes - sa - ges, and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
one li - ly bloom - ing, and whis
95<br />
5<br />
21<br />
<br />
<br />
<br />
mf<br />
<br />
kneel<br />
mf<br />
kneel<br />
mf<br />
<br />
<br />
kneel<br />
- - ing.<br />
The<br />
mf<br />
- - ing.<br />
The<br />
mf<br />
mf<br />
mf<br />
fierce<br />
<br />
earth spins in<br />
fierce earth spins in<br />
<br />
<br />
<br />
<br />
kneel<br />
mf<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
- - ing.<br />
The fierce<br />
<br />
- - ing.<br />
The<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ped.<br />
<br />
<br />
mf<br />
earth<br />
spins in<br />
<br />
fierce earth spins in<br />
<br />
<br />
<br />
for online perusal only<br />
S.<br />
A.<br />
T.<br />
B.<br />
25<br />
f<br />
<br />
<br />
<br />
<br />
ex - pect - a - tion<br />
be<br />
<br />
<br />
<br />
<br />
ex<br />
ex<br />
f<br />
<br />
<br />
<br />
<br />
ex - pect - a - tion be neath<br />
mf<br />
mf<br />
- pect - a - tion<br />
be<br />
f<br />
mf<br />
- pect - a - tion<br />
be<br />
f<br />
mf<br />
- neath the long night’s moon, Ad - vent<br />
<br />
- neath the long night’s moon, Ad - vent<br />
<br />
<br />
<br />
<br />
- neath the long night’s moon, Ad-vent<br />
<br />
- the long night’s moon, Ad-vent<br />
<br />
<br />
<br />
<br />
f mf<br />
<br />
<br />
<br />
<br />
<br />
Man.
96<br />
HB.<br />
S.<br />
A.<br />
T.<br />
B.<br />
6<br />
29<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
moon.<br />
moon.<br />
moon.<br />
<br />
<br />
mp<br />
<br />
mf<br />
Like<br />
mf<br />
<br />
<br />
moon.<br />
Like the rest-less<br />
fox cross-ing<br />
frost ed -<br />
ah<br />
<br />
mp floating<br />
<br />
mp floating<br />
<br />
<br />
ah<br />
<br />
<br />
<br />
the rest-less<br />
fox cross-ing<br />
frost-ed<br />
mead - ows,<br />
<br />
<br />
ah<br />
ah<br />
- mead ows,<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
33<br />
Ped.<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
p legato<br />
the<br />
p legato<br />
the<br />
sil-vered<br />
owl in si - lent flight,<br />
sil-vered<br />
owl in si - lent flight,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Man.<br />
p dolce
38<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
each of us is hun<br />
mp<br />
<br />
each of us is hun<br />
mp<br />
is<br />
mp<br />
is<br />
<br />
<br />
hun<br />
hun<br />
mf cresc.<br />
- gry.<br />
Sing,<br />
mf cresc.<br />
- gry.<br />
Sing,<br />
mf cresc.<br />
- gry. From<br />
mf cresc.<br />
- gry. From<br />
mf<br />
<br />
<br />
sing,<br />
<br />
<br />
<br />
<br />
<br />
<br />
97<br />
sing,<br />
rooms of un - told long - ing, we<br />
<br />
rooms of long - ing, we<br />
<br />
7<br />
<br />
<br />
42<br />
(Man.)<br />
mf cresc.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
sing ca - rols,<br />
sing our ca - rols, our<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ped.<br />
<br />
sing ca - rols,<br />
sing our ca<br />
mf<br />
sing our sea - soned ca - rols, we<br />
mf<br />
mf legato<br />
Man.<br />
<br />
mf<br />
mf<br />
mf<br />
mf<br />
sea-soned ca<br />
- rols, our sea-soned ca -<br />
sing our sea - soned ca - rols,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
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<br />
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<br />
<br />
<br />
sing our sea - soned ca - rols, we sing our sea - soned ca - rols,<br />
<br />
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<br />
<br />
<br />
<br />
<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
<br />
-<br />
<br />
<br />
rols,<br />
<br />
rols,
98<br />
S.<br />
A.<br />
T.<br />
B.<br />
8<br />
46<br />
<br />
<br />
watch,<br />
<br />
watch,<br />
<br />
<br />
watch,<br />
<br />
<br />
and<br />
and<br />
wait.<br />
wait.<br />
<br />
mp<br />
Let<br />
the com-ing<br />
of the<br />
<br />
<br />
<br />
mp<br />
Let<br />
mp<br />
the<br />
com-ing<br />
of the<br />
<br />
<br />
<br />
<br />
watch,<br />
<br />
and<br />
and<br />
wait.<br />
<br />
wait.<br />
<br />
<br />
<br />
<br />
Let<br />
the<br />
com-ing<br />
of the<br />
<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
*<br />
<br />
<br />
p<br />
<br />
<br />
(Man.)<br />
50<br />
<br />
<br />
mf<br />
<br />
<br />
One<br />
mf<br />
who kin - dles fires, fires of<br />
<br />
<br />
One<br />
<br />
<br />
who kin - dles fires, fires of<br />
<br />
<br />
<br />
<br />
One<br />
<br />
mf<br />
<br />
<br />
who kin - dles fires, fires of<br />
mf<br />
<br />
who<br />
kin<br />
- dles fires, fires of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf mf<br />
<br />
<br />
<br />
<br />
<br />
*Cue-sized notes are optional throughout.<br />
Ped.
54<br />
<br />
<br />
<br />
hope,<br />
f<br />
<br />
<br />
<br />
hope,<br />
<br />
f<br />
<br />
99<br />
<br />
<br />
mp dolce<br />
<br />
come,<br />
mp dolce<br />
<br />
come,<br />
<br />
<br />
9<br />
<br />
<br />
<br />
<br />
hope,<br />
f<br />
f<br />
mf dolce<br />
whose<br />
mf dolce<br />
faith-ful-ness<br />
runs<br />
<br />
<br />
hope,<br />
whose<br />
faith-ful-ness<br />
runs<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp dolce e legato<br />
<br />
Man.<br />
<br />
<br />
58<br />
<br />
<br />
<br />
come, be like the com-ing<br />
of a child, a child.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
come, the com- ing of a child, a child.<br />
<br />
<br />
<br />
far be-yond<br />
our sight, be like the com - ing of a child, a child.<br />
<br />
<br />
far be yond<br />
- our sight, the com - ing, com - ing of a child.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ped.
HB.<br />
S.<br />
A.<br />
T.<br />
B.<br />
10<br />
62<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Let<br />
<br />
67<br />
<br />
mf<br />
mf cresc.<br />
ah<br />
mf cresc.<br />
Let<br />
mf cresc.<br />
ah<br />
mf cresc.<br />
mf cresc.<br />
<br />
<br />
<br />
quiet arms,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ah for - give - ness, quiet arms, quiet,<br />
ah for - give - ness, quiet arms, quiet,<br />
mp<br />
there be milk, for - give- ness, milk, for - give - ness, quiet arms, quiet,<br />
there be milk, for-give-ness,<br />
milk, for - give - ness, quiet arms, quiet<br />
<br />
p<br />
<br />
mf<br />
<br />
mp<br />
mp<br />
Man.<br />
mp<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
100<br />
for online perusal only<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
quiet arms,<br />
arms,<br />
p<br />
quiet<br />
p<br />
p<br />
quiet<br />
quiet<br />
arms.<br />
arms.<br />
arms.<br />
mf<br />
Come<br />
mf<br />
Come,<br />
mf<br />
Come,<br />
Love,<br />
<br />
Love,<br />
<br />
quick - ly, Love, our dear - est<br />
<br />
<br />
arms,<br />
quiet<br />
arms. Come quick- ly, Love, our dear-est<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
p mf<br />
<br />
<br />
<br />
<br />
<br />
Ped.
101<br />
72<br />
<br />
<br />
cresc. poco a poco<br />
<br />
<br />
our sweet - est dawn- ing. Come, fill us with your light, come,<br />
cresc. poco a poco<br />
<br />
<br />
<br />
our sweet - est dawn- ing. Come, fill us with your light, come,<br />
cresc. poco a poco<br />
<br />
<br />
<br />
<br />
deep and sweet est dawn - ing. Come, fill us with your light, come,<br />
cresc. poco a poco<br />
<br />
<br />
<br />
deep and sweet - est dawn - ing. Come, fill us with your light, come,<br />
<br />
<br />
<br />
cresc. poco a poco<br />
<br />
<br />
<br />
<br />
<br />
76 poco rit.<br />
<br />
<br />
<br />
f<br />
<br />
f<br />
<br />
<br />
fill us with your light, come, fill us with your light.<br />
f<br />
<br />
<br />
<br />
fill us with your light, come, fill us with your light.<br />
f<br />
<br />
<br />
<br />
fill us with your light, come, fill us with your light.<br />
f<br />
<br />
<br />
fill us, come, fill us with your light.<br />
poco rit.<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
for online perusal only<br />
Processed in England <strong>by</strong> Enigma Music Production Services, Amersham, Bucks.<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.<br />
11
CHRISTMAS<br />
SSATB (with divisions) unaccompanied<br />
102<br />
2<br />
for online perusal only<br />
Annunciation<br />
Cecilia McDowall<br />
A
103<br />
Commissioned <strong>by</strong> conductor Janet Lincé for Choros and first performed on 4 December 2005<br />
at the Church of St Peter and St Paul, Deddington, Oxfordshire<br />
Annunciation<br />
John Donne (1572–1631)<br />
CECILIA McDOWALL<br />
SOPRANO 1<br />
°<br />
&<br />
Spacious, expressive, and flexible q = c.92<br />
6<br />
4<br />
mp<br />
œ ˙ œ ˙ œ ˙ œ 3 ˙ œ ˙ ˙<br />
4 4 4<br />
Sal<br />
- va - tion to all, to all that will is<br />
SOPRANO 2<br />
&<br />
6<br />
4<br />
mp<br />
œ<br />
3<br />
# ˙ œ ˙ bœ<br />
4 ˙ œ<br />
4 ˙ bœ<br />
4 ˙ ˙<br />
Sal<br />
- va - tion to all, to all that will is<br />
ALTO<br />
&<br />
mp<br />
6<br />
4 bœ<br />
˙ œ ˙ nœ<br />
for online perusal only<br />
3<br />
4 # ˙ œ 4 b˙<br />
œ 4 nœ<br />
˙<br />
Sal<br />
- va - tion to all, to all that will is<br />
TENOR<br />
6<br />
3<br />
& 4 Œ ∑ 4 ∑ 4 ∑ 4 ∑<br />
‹<br />
BASS<br />
? 6<br />
3<br />
¢ 4 Œ ∑ 4 ∑ 4 ∑ 4 ∑<br />
Spacious, expressive, and flexible q = c.92<br />
for<br />
rehearsal<br />
only<br />
&<br />
{<br />
&<br />
6<br />
4<br />
6<br />
4<br />
œ<br />
mp<br />
# ˙˙<br />
œ ˙ bœ<br />
3<br />
4 ˙ œ<br />
4 ˙ bœ<br />
3<br />
bœ<br />
˙ œ ˙ œ 4 # ˙ œ 4 b˙<br />
œ 4 nœ<br />
4<br />
˙<br />
˙<br />
˙<br />
Duration: c.4 mins<br />
© Oxford University Press 2018<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
104<br />
4<br />
5<br />
°<br />
&<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
mf<br />
w œ Œ Œ œ 6 œ œ œ<br />
4 ˙ œ œ œ bœ<br />
˙ œ<br />
nigh;<br />
mf<br />
p espress.<br />
That<br />
All, which al<br />
- ways is All ev -’ry<br />
- where, Which<br />
w œ Œ Œ œ 6 œ<br />
4 œ bœ<br />
˙ œ œ bœ<br />
œ ˙ œ<br />
nigh;<br />
mf<br />
w œ Œ Œ<br />
nigh;<br />
mf<br />
p espress.<br />
That All, which al<br />
p espress.<br />
- ways is All ev -’ry<br />
- where, Which<br />
6<br />
œ 4 œ œ œ ˙ œ œ œ œ ˙ œ<br />
That<br />
All, which al - ways is All ev -’ry<br />
- where, Which<br />
w œ Œ Œ œ 6 œ œ œ ˙ œ œ œ œ œ<br />
4<br />
œ bœ<br />
Nigh;<br />
mf<br />
p espress.<br />
That<br />
All, which al<br />
- ways is All ev -’ry<br />
- where, Which<br />
# w œ Œ Ó 6<br />
4 ∑ Ó Œ Œ<br />
Nigh;<br />
p espress.<br />
bœ<br />
Which<br />
for online perusal only<br />
&<br />
{<br />
&<br />
ww w<br />
mf<br />
w<br />
# œ Œ Œ<br />
6<br />
œœ œ Œ Œ œ œ<br />
4 œ bœ<br />
˙ œ œ bœ<br />
p espress.<br />
6<br />
œ 4 œ œœ œ ˙˙ œ œœ œ œ œ œ bœ<br />
œ<br />
˙<br />
œ<br />
9<br />
°<br />
&<br />
&<br />
&<br />
œ œ bœ<br />
œ œ œ 3<br />
4 œ bœ<br />
œ 4 ˙ Œ<br />
can<br />
- not sin, and yet all sins must bear,<br />
bœ<br />
œ 3<br />
œ œ œ œ 4 œ œ œ 4 ˙ Œ<br />
can<br />
- not sin, and yet all sins must bear,<br />
3<br />
œ œ œ œ œ œ 4<br />
œ œ bœ<br />
can<br />
- not sin, and yet all sins must bear,<br />
˙ œ œ œ 3<br />
6<br />
& bœ<br />
4 bœ<br />
œ œ 4 ˙ œ 4 b˙<br />
œ œ ˙<br />
‹<br />
can - not sin, and yet all sins must bear, Which can - not die,<br />
mp<br />
? b˙<br />
œ œ œ œ 3 œ œ œ # ˙ œ 6 œ ˙ # ˙<br />
¢<br />
4 4 4<br />
œ<br />
can<br />
- not sin, and yet all sins must bear, Which<br />
4<br />
˙<br />
Œ<br />
mp<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
can<br />
∑<br />
∑<br />
∑<br />
- not die, yet<br />
&<br />
{<br />
&<br />
b œ<br />
œ<br />
œ<br />
b˙<br />
œ œ œ bœœ<br />
œ<br />
œ œ 3<br />
4 œ bœ<br />
bœ<br />
4 ˙˙ Œ<br />
3 b<br />
?<br />
œœœ<br />
œ œ<br />
# ˙<br />
6 b #<br />
4<br />
4<br />
œ ˙œ ˙ œ œ˙ ˙<br />
4<br />
œ<br />
mp<br />
6<br />
4<br />
∑
105<br />
5<br />
13<br />
°<br />
&<br />
&<br />
&<br />
?<br />
¢<br />
&<br />
{<br />
mp<br />
Ó Œ œ œ 6<br />
4 ˙ œ b˙<br />
4 œ ˙ bœ<br />
˙ œ œ j ‰ Œ<br />
choose but die, Sal - va - tion to all.<br />
mp<br />
mf<br />
Ó Œ œ œ 6<br />
4 ˙ œ 4 ˙ œ ˙ œ ˙ œ œ j ‰ Œ<br />
Ó<br />
choose but die, Sal - va - tion to all.<br />
mp<br />
mf<br />
6<br />
œ œ 4 ˙ # œ 4 b ˙<br />
choose<br />
6<br />
& b˙<br />
œ # œ œ œ 4 ˙ œ 4 ˙ # œ ˙ œ ˙ œ œ J ‰ Œ<br />
‹<br />
yet can not<br />
œ<br />
Ó<br />
? b˙œ<br />
6<br />
b˙<br />
œ œ œ 4 # ˙ œ 4 ˙ œ ˙ # œ ˙ œ œ J ‰ Œ<br />
can<br />
b˙<br />
Œ<br />
4<br />
œ 6 b˙<br />
# 4 b<br />
# œ<br />
6<br />
œ œ 4 # ˙˙ œ 4 ˙ # œ ˙<br />
mf<br />
but die, Sal - va - tion to all.<br />
mf<br />
- choose but die, Sal - va - tion to all.<br />
mf<br />
- not choose but die, Sal - va - tion to all.<br />
œ<br />
Œ<br />
œ<br />
œ<br />
˙<br />
˙<br />
mf<br />
bœ<br />
˙ œ # ˙ œ œ j ‰ Œ<br />
œ<br />
˙<br />
bœ<br />
# ˙<br />
œ<br />
œ j ‰<br />
œ ˙ œ œ J ‰ Œ<br />
Œ<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
for online perusal only<br />
17<br />
°<br />
&<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
{<br />
?<br />
3<br />
6<br />
4 # œ œ œ 4 # ˙ ˙ 4 Œ # ˙ œ œ ˙ œ 4<br />
3<br />
6<br />
6<br />
4 # œ œ œ 4 # ˙ ˙ 4 Œ # ˙ œ œ œ 4 ˙ œ ˙<br />
4 œ œ œ # œ<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
p dolce<br />
Lo,<br />
p dolce<br />
faith- ful Vir<br />
6<br />
# œ œ 4 ˙ # ˙ 4 Œ<br />
œ œ œ ˙ ˙ 6<br />
6<br />
4 4 Œ ˙ œ œ œ 4 ˙ œ ˙<br />
4 œ œ œ œ<br />
poco<br />
# œ œ ˙ ˙<br />
4<br />
4<br />
poco<br />
# œ œ ˙<br />
4<br />
- gin, yields<br />
poco<br />
p<br />
Lo, faith- ful Vir - gin, yields<br />
p dolce poco<br />
p<br />
œ<br />
Lo, faith- ful Vir - gin, yields<br />
p dolce poco<br />
p<br />
Lo,<br />
Lo,<br />
faith- ful Vir<br />
p dolce<br />
œ<br />
# œ œ<br />
faith- ful Vir<br />
œ<br />
6<br />
4<br />
6<br />
# 4 Œ<br />
6<br />
4<br />
p<br />
˙<br />
- gin, yields<br />
p<br />
- gin, yields<br />
# ˙ ˙˙<br />
Œ<br />
˙<br />
him - self to lie In pri<br />
6<br />
# œ œ œ 4 # ˙ œ 4 # ˙ # œ œ œ œ<br />
# œ œ œ # ˙ œ<br />
6 ˙ # œ œ<br />
4 4<br />
œ œ<br />
4<br />
6 # ˙ œ œ œ<br />
4<br />
# œ<br />
# œ œ œ # ˙ 6<br />
4<br />
œ ˙ # œ œ<br />
4<br />
6<br />
4<br />
mf<br />
mf<br />
him - self to lie In pri<br />
mf<br />
him - self to lie In pri<br />
mf<br />
him - self to lie In pri<br />
mf<br />
him - self to lie In pri<br />
# ˙ œ œ<br />
p dolce poco p mf<br />
œ<br />
˙<br />
Œ<br />
˙<br />
œ<br />
˙<br />
# œ<br />
œ<br />
- son, in thy<br />
- son, in thy<br />
- son, in thy<br />
- son, in thy<br />
- son, in thy<br />
# œ<br />
# ˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ
106<br />
6<br />
22<br />
°<br />
&<br />
&<br />
?<br />
¢<br />
&<br />
{<br />
mp dolce<br />
˙ ˙ œ œ nœ<br />
œ ˙ œ 6<br />
4 œ ˙ œ ˙ ˙ œ<br />
4<br />
womb;<br />
mp dolce<br />
and though he there Can take no sin,<br />
mf<br />
6<br />
# ˙ ˙ œ # œ œ œ ˙ œ 4 œ ˙ # œ 4 # ˙ ˙ œ<br />
womb;<br />
mp dolce<br />
and though he there Can take no sin,<br />
mf<br />
6<br />
& # ˙ ˙ œ # œ # œ œ ˙ œ 4 œ # ˙ # œ 4 # ˙ ˙ œ<br />
&<br />
‹<br />
womb;<br />
mp dolce<br />
and though he there Can take no sin,<br />
mf<br />
˙ ˙ œ œ œ œ ˙ œ 6<br />
4 œ ˙ œ nw<br />
4<br />
womb;<br />
mp dolce<br />
œ<br />
˙<br />
and though he there Can take no sin,<br />
mf<br />
# ˙ ˙ # œ ˙ # ˙ ˙ 6 œ<br />
4<br />
4 # ˙ œ ˙<br />
womb, in thy womb; Can take no sin, take<br />
##˙<br />
mp dolce<br />
œ<br />
˙<br />
œ<br />
nœ<br />
##œ<br />
# œ<br />
˙<br />
? œ ˙ œ<br />
<br />
˙œ # ˙<br />
œ˙ œ œ œ<br />
#<br />
˙œ ˙ #<br />
œ˙ ˙ ˙<br />
4<br />
˙<br />
œ<br />
4<br />
œ<br />
˙ # œ<br />
# #<br />
œ<br />
mf<br />
no<br />
6 <br />
4 ##˙<br />
˙<br />
mf<br />
nw<br />
6 œ<br />
4<br />
# ˙ œ<br />
sin,<br />
˙<br />
nor<br />
nor<br />
nor<br />
œ<br />
for online perusal only<br />
26<br />
°<br />
&<br />
&<br />
&<br />
&<br />
‹<br />
œ œ œ œ œ œ 5 ˙ 6<br />
4 # œ œ œ # w ˙<br />
4<br />
thou give, yet he will wear, yet he will wear,<br />
œ # œ œ 5<br />
6<br />
# œ œ œ 4 ˙ # œ œ # œ w ˙<br />
4<br />
Œ Ó<br />
thou give, yet he will wear, yet he will wear,<br />
œ<br />
5<br />
6<br />
# œ œ œ œ œ 4 ˙ œ œ # œ 4 w ˙ Œ Ó<br />
thou give, yet he will wear, yet he will wear,<br />
œ Œ Œ Ó 5<br />
6<br />
4 ∑ 4 Œ Œ # œ ˙ œ œ ˙ ˙ œ<br />
? œ 5<br />
6<br />
¢ Œ Œ Ó 4 ∑ 4 Œ Œ<br />
mf<br />
Tak -en<br />
from thence, flesh, which<br />
mf<br />
Tak -en<br />
from thence, flesh, which<br />
Œ<br />
Ó<br />
œ # œ ˙ # ˙ # œ œ ˙<br />
4<br />
4<br />
4<br />
4<br />
4<br />
&<br />
{<br />
œ<br />
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## œ<br />
œ<br />
œ<br />
œ 5<br />
œ<br />
˙<br />
4<br />
##œ<br />
œ<br />
# œ<br />
? œ<br />
Œ Œ Ó 5<br />
6<br />
4 ∑ 4 Œ Œ<br />
6<br />
4<br />
# <br />
w<br />
˙ Œ Ó<br />
# œœ ˙œ ˙ œ # œ˙ ˙ # œ ˙œ œ ˙<br />
4<br />
4
107<br />
7<br />
30<br />
°<br />
&<br />
&<br />
&<br />
4<br />
4<br />
4<br />
mf<br />
force<br />
mf<br />
force<br />
mf<br />
force<br />
6<br />
& 4 # ˙ œ œ # w ˙ Œ 4 # ˙ # œ ˙ # œ # ˙ œ œ J ‰ Œ<br />
‹<br />
death’s force may try. -va - tion to all.<br />
f<br />
?<br />
6<br />
¢ 4 # ˙ œ œ # w ˙ Œ 4 # ˙ # œ ˙ # œ # ˙ œ œ J ‰ Œ<br />
& 4<br />
#<br />
{<br />
4<br />
?<br />
may try. Sal<br />
f<br />
may try. Sal<br />
may<br />
try,<br />
try.<br />
may<br />
try.<br />
f<br />
Œ # ˙ œ # w ˙ # œ 6 ˙ œ ˙ œ<br />
4<br />
# ˙ œ œ J<br />
‰ Œ<br />
f<br />
- va - tion to all.<br />
Œ # ˙ œ # w ˙ # œ 6 ˙<br />
4 œ ˙ œ # ˙ œ œ J<br />
‰ Œ<br />
Œ # ˙ œ # ˙w ˙ ˙<br />
- va - tion to all.<br />
6<br />
# œ 4 ˙<br />
Sal<br />
death’s force may try. -va<br />
- va - tion to all.<br />
f<br />
œ ˙<br />
4 Œ<br />
6<br />
# # ˙˙<br />
œ # w ˙ ˙ ˙ # œ<br />
œ ˙<br />
# ˙ œ 4 ˙<br />
f<br />
#<br />
# ˙ œ œ 6<br />
# # w ˙˙ #<br />
Œ 4 ## ˙ œ ˙<br />
- tion to all.<br />
# œ # ˙ œ œ j ‰ Œ<br />
œ<br />
# ##<br />
# ˙<br />
œ n<br />
œ j ‰ Œ<br />
# œ # ˙ œ œ J ‰ Œ<br />
4<br />
4<br />
4<br />
4<br />
4<br />
4<br />
4<br />
35<br />
°<br />
&<br />
4<br />
Œ<br />
p<br />
pp<br />
p cresc.<br />
2 6<br />
# œ nœ<br />
œ 4 ˙ 4 œ # ˙ ˙ œ ˙ œ ˙ œ<br />
&<br />
4<br />
Œ<br />
Ere<br />
p<br />
for online perusal only<br />
<strong>by</strong> the spheres<br />
pp<br />
time<br />
p cresc.<br />
was cre - a - ted, thou<br />
2 6<br />
# œ nœ<br />
œ 4 # ˙ 4 œ # ˙ ˙ œ # ˙ œ ˙ œ<br />
&<br />
4<br />
Œ<br />
Ere<br />
p<br />
<strong>by</strong> the spheres<br />
pp<br />
time<br />
p cresc.<br />
was cre - a - ted, thou<br />
2 6<br />
# œ œ œ 4 ˙ 4 œ ˙ # ˙ œ ˙ œ # ˙<br />
&<br />
‹<br />
4<br />
Œ<br />
Ere<br />
p<br />
<strong>by</strong> the spheres<br />
pp<br />
time<br />
p cresc.<br />
was cre - a - ted, thou<br />
# œ œ œ 2 6<br />
4 n˙<br />
4 œ ˙ ˙ œ ˙ œ œ ˙<br />
?<br />
¢<br />
4<br />
Œ<br />
Ere<br />
p<br />
<strong>by</strong> the spheres<br />
pp<br />
time<br />
p cresc.<br />
was cre - a - ted, thou<br />
# œ œ œ<br />
2 ˙ 6 œ ˙ # ˙ œ # ˙ œ œ ˙<br />
4 4<br />
Ere<br />
<strong>by</strong> the spheres<br />
time<br />
was cre - a - ted, thou<br />
&<br />
4<br />
Œ<br />
2 6<br />
# œ nœ<br />
œ 4 # ˙ 4 œ<br />
# ˙ ˙<br />
œ<br />
˙ # œ œ ˙˙ œ<br />
{?<br />
4<br />
Œ<br />
p pp p cresc.<br />
# œ œ œ<br />
2<br />
n˙<br />
6 œ ˙ # ˙ œ # ˙<br />
4 4<br />
œ<br />
œ<br />
˙
108<br />
8<br />
39<br />
°<br />
&<br />
&<br />
?<br />
¢<br />
&<br />
{<br />
f<br />
# ˙ œ œ # œ ˙ ˙ œ œ nœ<br />
œ ˙ œ 4 œ ˙ œ<br />
Wast<br />
f<br />
˙<br />
Wast<br />
f<br />
mp<br />
in his mind,<br />
mp<br />
who is thy Son, and Bro - ther,<br />
œ œ # œ # ˙ ˙ œ # œ œ œ ˙ œ 4 œ ˙ # œ<br />
in his mind,<br />
mp<br />
who is thy Son, and Bro - ther,<br />
& # ˙ # œœ œ œ # ˙ ˙ œ # œ # œ œ ˙ œ 4 œ # ˙ # œ<br />
Wast<br />
f<br />
in his mind,<br />
mp<br />
who is thy Son, and Bro - ther,<br />
˙ & œ œ œ œ ˙ ˙ œ œ œ œ ˙ œ 4 œ ˙ œ<br />
‹<br />
Wast<br />
f<br />
˙<br />
Wast<br />
#<br />
# ˙ <br />
f<br />
in his mind,<br />
mp<br />
who is thy Son, and Bro - ther,<br />
# œ œ œ œ œ œ # œ œ ˙ # ˙ œ ˙ 4<br />
# ˙ ˙<br />
in his mind, in his mind, Son, thy Son, thy Son,<br />
œ<br />
œ<br />
œ<br />
# ˙<br />
# mp<br />
˙<br />
? ˙ # œ œ œ ˙<br />
œ œ<br />
œ # œ<br />
˙œ œ<br />
˙ #<br />
œ˙ œ œ œ ˙œ ˙ #<br />
œ˙ ˙ ˙<br />
4<br />
œ<br />
nœ<br />
##œ<br />
# œ<br />
˙<br />
œ<br />
4<br />
œ<br />
˙ # œ<br />
# #<br />
œ<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
for online perusal only<br />
43<br />
°<br />
&<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
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6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
6<br />
4<br />
mf<br />
˙ ˙ œ œ œ œ # œ œ œ ˙ # œ œ œ œ<br />
Whom<br />
mf<br />
Whom<br />
mf<br />
Whom<br />
mf<br />
Whom<br />
mf<br />
thy<br />
thou con - ceiv’st,<br />
6 <br />
4 ##˙<br />
˙<br />
mf<br />
Son,<br />
thou con - ceiv’st, con - ceived; yea thou art<br />
# ˙ ˙ œ œ # œ œ # œ œ œ ˙ # œ œ # œ œ<br />
# ˙ ˙ œ œ<br />
thou con - ceiv’st, con - ceived; yea thou art<br />
# œ œ œ œ œ ˙ œ œ # œ œ<br />
thou con - ceiv’st, con - ceived; yea thou art<br />
œ ˙ œ ˙ œ Œ Œ Ó<br />
˙ œ ˙ œ<br />
œ<br />
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Œ Œ Ó<br />
## œ<br />
œ<br />
? 6<br />
œ˙ ˙ œ ˙ œ<br />
4<br />
Œ Œ Ó<br />
∑<br />
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4<br />
w 5 ˙ 3<br />
4 Œ œ œ 2 ˙ ˙ Œ œ ˙ ˙ ˙<br />
5<br />
#<br />
w 4 ˙ Œ<br />
Œ Œ œ bœ<br />
œ œ 5 œ œ 3<br />
4 œ bœ<br />
œ 2 # ˙ ˙ Œ<br />
Œ Œ # œ ˙ œ 5 # ˙<br />
3<br />
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2 ˙ ˙ Œ<br />
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5 # ˙<br />
4<br />
Œ œ œ 3<br />
2 ˙ ˙ Œ œ b˙<br />
˙ ˙<br />
now, Fa ther’s mo - ther, Sal<br />
f<br />
now, Fa ther’s mo - ther, Sal<br />
f<br />
now,<br />
Œ<br />
Œ<br />
mf<br />
Thy<br />
mf<br />
Thy<br />
œ<br />
#œ<br />
3<br />
œ œ 2 ˙ ˙<br />
Fa ther’s mo - ther, Sal<br />
f<br />
Mak -er’s<br />
mak - er, and thy Fa ther’s mo ther,<br />
Mak<br />
bœ<br />
˙<br />
œ<br />
3<br />
2<br />
3<br />
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# ˙˙<br />
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- Sal<br />
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b<br />
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f<br />
f<br />
- va - tion to<br />
- va - tion to<br />
# œ b ˙<br />
b˙<br />
˙<br />
- va - tion to<br />
œ ˙ # ˙ ˙<br />
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# œ ˙ ˙ # ˙<br />
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œ b˙<br />
# b<br />
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4<br />
4<br />
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for online perusal only<br />
50<br />
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4<br />
4<br />
4 # w œ Œ Œ<br />
poco meno mosso<br />
pp dolce<br />
w œ 6<br />
& 4<br />
Œ Œ œ ˙ œ ˙ ˙ œ œ<br />
4<br />
œ bœ<br />
‹<br />
all. Thou<br />
?<br />
4<br />
4<br />
4<br />
w œ Œ Œ œ 6 œ œ œ<br />
4 ˙ œ œ œ bœ<br />
˙ œ<br />
all.<br />
Thou hast light in dark; and<br />
pp dolce<br />
w œ Œ Œ œ 6 œ<br />
4 œ bœ<br />
˙ œ œ bœ<br />
œ ˙ œ<br />
all.<br />
all.<br />
w<br />
all.<br />
œ<br />
Thou hast light in dark; and<br />
pp dolce<br />
œ<br />
6<br />
4 nœ<br />
œ œ ˙ œ œ œ œ ˙ œ<br />
Thou hast light in dark; and<br />
pp dolce<br />
Œ Ó 6<br />
4 ∑ Ó Œ Œ<br />
poco meno mosso<br />
hast light in dark; and<br />
pp dolce<br />
w œ 6<br />
# Œ Œ œ œ<br />
4 œ bœ<br />
˙ œ œ bœ<br />
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w<br />
œ<br />
Œ<br />
Œ<br />
pp dolce<br />
œ œ˙ œ œ ˙œ ˙ œ œ˙ œ œ ˙œ<br />
6<br />
œ bœ<br />
4<br />
bœ<br />
And
110<br />
10<br />
54<br />
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&<br />
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œ œ œ ˙ bœ<br />
˙ œ ˙ œ bœ<br />
œ œ œ œ œ<br />
shutst in lit - tle room, Im - men - si - ty cloi - stered<br />
bœ<br />
œ œ # ˙ œ ˙ bœ<br />
# ˙ œ œ nœ<br />
œ bœ<br />
# œ œ<br />
shutst in lit - tle room, Im - men - si - ty cloi - stered<br />
œ œ œ ˙ œ ˙ œ ˙ œ œ œ œ bœ<br />
œ œ<br />
shutst in lit - tle room, Im - men - si - ty cloi - stered<br />
˙ œ ˙<br />
& œ ˙ œ œ bœ<br />
bœ<br />
œ œ ˙ œ<br />
‹<br />
shutst in lit - tle room, Im - men - si - ty cloi - stered<br />
? b˙ œ ˙ bœ<br />
˙ ˙ œ œ œ œ ˙ œ<br />
¢<br />
shutst in lit - tle room, Im - men - si - ty cloi - stered<br />
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œ b œ œ<br />
# ˙ œ<br />
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# œ œ<br />
4<br />
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˙ œ œ˙ œ bœ<br />
for online perusal only<br />
˙ œ˙ œ œ<br />
bœ<br />
œœœ<br />
œ œœ ˙ œ<br />
4<br />
57<br />
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œ œ œ w œ Œ Œ<br />
6<br />
& 4 b˙ œ w œ Œ Ó 4 ∑ 4 Ó Œ œ<br />
‹<br />
in thy womb.<br />
?<br />
4<br />
4<br />
4<br />
œ<br />
mf<br />
bœ<br />
œ œ w œ Œ Œ œ 6<br />
4 # ˙ œ ˙ bœ<br />
4 ˙ œ<br />
in thy dear womb.<br />
mf<br />
in thy dear womb.<br />
mf<br />
in thy dear womb.<br />
mf<br />
mf<br />
Sal<br />
p<br />
6<br />
œ 4 ˙ œ ˙ œ 4 ˙ -˙<br />
˙ œ # w œ Œ Œ bœ<br />
6<br />
4 ˙ œ ˙ nœ<br />
in thy womb.<br />
mf<br />
p<br />
Sal<br />
p<br />
Sal<br />
p<br />
Sal<br />
p<br />
- va - tion to all, sal -<br />
œ<br />
6<br />
nœ<br />
œ # œ w œ Œ Œ œ 4 # ˙ œ ˙ bœ<br />
4 ˙ œ<br />
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n<br />
b˙<br />
n b œ<br />
œ<br />
# œ ww w<br />
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œœ œ Œ Œ<br />
œ<br />
- va - tion to all, sal -<br />
- va - tion to all, sal<br />
6<br />
4<br />
œ Œ Œ bœ<br />
6<br />
4 ˙ œ ˙ nœ<br />
# ˙ 4 bœ<br />
4<br />
4<br />
-<br />
p<br />
Sal -<br />
- va - tion to all, sal -<br />
# ˙ œ ˙˙<br />
bœ<br />
˙<br />
˙<br />
˙<br />
œ<br />
# ˙ bœ
111<br />
11<br />
62<br />
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¢<br />
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cresc. al fine<br />
b 3 3<br />
6<br />
4 ˙ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ<br />
2<br />
4<br />
Œ Œ<br />
- va - tion to all, sal - va - tion to all, sal - va-tion<br />
to all,<br />
cresc. al fine<br />
3 3<br />
6<br />
& # œ ˙ bœ<br />
4 ˙ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ<br />
2<br />
4<br />
Œ Œ<br />
&<br />
# œ ˙ œ<br />
- va - tion to all, sal - va - tion to all, sal - va-tion<br />
to all,<br />
3<br />
˙ œ œ 4 ˙<br />
- va<br />
cresc. al fine<br />
cresc. al fine<br />
3 - 3<br />
6 -<br />
& # œ ˙ bœ<br />
4 œ ˙ 2<br />
˙ ˙ ˙ 4<br />
œ ˙ œ œ œ ˙ œ Œ Œ<br />
‹<br />
- va<br />
3 # ˙ 3<br />
4 bœ<br />
2 ˙ ˙ nœ<br />
3<br />
4<br />
? # œ<br />
˙˙ n b œ 3 # œ˙ 3<br />
4 bœ<br />
2 ˙ ˙ nœ<br />
3<br />
6<br />
2 # ˙ ˙ bœ<br />
4 ˙ œ # œ œ b n œ ˙ œ Œ Œ<br />
- tion to all, sal - va - tion to all, sal - va-tion<br />
to all,<br />
- tion to all, sal<br />
cresc. al fine<br />
œ ˙<br />
- va - tion to all, sal<br />
3 ˙<br />
2 # ˙˙˙<br />
- va-tion<br />
to all,<br />
6 # ˙<br />
4 bœ<br />
œ œ nœ<br />
- va - tion to all, sal - va - tion to all, sal - va-tion<br />
to all,<br />
# ˙ b<br />
œ˙ œ œ<br />
cresc. al fine<br />
nœ<br />
œ<br />
˙ œ<br />
œ ˙<br />
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6 œ œ<br />
˙ 4<br />
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b œ n<br />
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4 bœ<br />
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# ˙ œ Œ Œ<br />
˙<br />
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# ˙ œ Œ Œ<br />
4<br />
4<br />
4<br />
4<br />
4<br />
4<br />
4<br />
for online perusal only<br />
67<br />
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b ˙<br />
#˙˙<br />
4<br />
˙ ˙ w œ J ‰ Œ ˙ w 3 ˙ ˙<br />
2<br />
sal<br />
f<br />
sal<br />
f<br />
sal<br />
f<br />
sal<br />
poco rit.<br />
- va - tion,<br />
sal - va - - tion to all.<br />
˙ ˙ w œ J ‰ Œ ˙<br />
bw<br />
3 ˙<br />
2 ˙ ˙ w<br />
- va - tion,<br />
sal - va - - tion to all.<br />
# ˙ ˙ # w œ j ‰ Œ<br />
3<br />
# ˙ b w 2 ˙ ˙<br />
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sal - va - - tion to all.<br />
b˙<br />
˙ w œ J ‰ Œ<br />
3<br />
# ˙ # w 2 ˙ ˙ ˙ w<br />
- va - tion,<br />
sal - va - - tion to all.<br />
f<br />
ff<br />
˙ ˙ w œ J ‰ Œ 3<br />
˙ w 2 ˙ # ˙ ˙ w<br />
sal<br />
˙<br />
˙<br />
f<br />
- va - tion,<br />
sal va<br />
˙<br />
˙<br />
˙<br />
w<br />
w<br />
œ<br />
œ<br />
J<br />
‰ Œ<br />
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#<br />
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w œ J ‰ Œ # ˙ # w 3<br />
2 ˙<br />
- - - tion to all.<br />
poco rit.<br />
b b w<br />
3<br />
2<br />
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b˙<br />
˙ b<br />
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w
NEW<br />
HORIZONS<br />
112<br />
2<br />
<strong>Christmas</strong><br />
SSATB unaccompanied<br />
for online perusal only<br />
CECILIA McDOWALL<br />
Brightest Star
Seán Street (b. 1946)<br />
Baron Alexander Moncrieff Coutanche (1892–1973)<br />
SOPRANO 1<br />
°<br />
&<br />
Commissioned <strong>by</strong> IFAC for the 9th International Competition for Young Conductors,<br />
organised in collaboration with ECA-EC.<br />
Brightest Star<br />
Expressive, always flowing q. = c.72<br />
mf<br />
œ j œ<br />
><br />
Cold,<br />
cold,<br />
2<br />
113<br />
fp mf mp<br />
cold,<br />
CECILIA McDOWALL<br />
ÍÍÍÍÍÍÍÍÍÍ<br />
b œ. œ. œ œ ˙. ˙. ˙. j ‰ ‰ Œ.<br />
SOPRANO 2<br />
&<br />
mf<br />
œ j œ œ. œ. œ bœ<br />
><br />
Cold,<br />
cold,<br />
2<br />
fp mf mp<br />
b ˙. ˙. ˙. j ‰ ‰ Œ.<br />
for online perusal only<br />
cold,<br />
ÍÍÍÍÍÍÍÍÍÍ<br />
ALTO<br />
TENOR<br />
BASS<br />
?<br />
¢<br />
Expressive, always flowing q. = c.72<br />
for<br />
rehearsal<br />
only<br />
&<br />
{<br />
6 8<br />
6 8<br />
6 8<br />
6 8<br />
6 8<br />
6 8<br />
6 8<br />
&<br />
mf<br />
2<br />
œ j ><br />
œ œ. œ. œ œ ˙. ˙. ˙. j ‰ ‰ Œ.<br />
Cold,<br />
cold,<br />
fp mf mp<br />
cold,<br />
ÍÍÍÍÍÍÍÍÍÍ<br />
&<br />
‹<br />
mf<br />
œ j bœ<br />
œ. ˙. ˙. ˙. ˙. j ‰ ‰ Œ.<br />
><br />
Cold,<br />
cold,<br />
fp mf mp<br />
cold,<br />
ÍÍÍÍÍÍÍÍÍÍ<br />
mf<br />
œ j œ œ. ˙. ˙. ˙. ˙. j ‰ ‰ Œ.<br />
><br />
Cold,<br />
cold,<br />
fp mf mp<br />
cold,<br />
ÍÍÍÍÍÍÍÍÍÍ<br />
?<br />
œ j > œ b œ.<br />
mf<br />
><br />
œ<br />
J<br />
œ.<br />
œ<br />
2<br />
b œ<br />
f<br />
b ˙. ˙. . ˙. .<br />
b œ œ. . ˙. . ˙˙. . ˙˙. . ˙˙. .<br />
∑<br />
∑<br />
Duration: 3.5 mins<br />
First performed in Paris on 20 October 2019 <strong>by</strong> Le Choeur de l’Orchestre de Paris.<br />
First UK performance in St John’s Smith Square, London, on 29 January 2020 <strong>by</strong> The Choir of Royal Holloway, conducted <strong>by</strong> Rupert Gough.<br />
Music © Oxford University Press 2020<br />
Text © Seán Street 2020. Reproduced <strong>by</strong> kind permission of the author.<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
114<br />
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cold,<br />
p<br />
cold,<br />
2<br />
2<br />
cold.<br />
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cold,<br />
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cold,<br />
cold,<br />
cold,<br />
p<br />
mf<br />
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2 2<br />
cold.<br />
2 2<br />
˙. œ. œ. œ. œ œ œ. œ œ ˙.<br />
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ÍÍÍÍÍÍÍ<br />
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cold.<br />
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mp<br />
& ˙. ˙. ˙. œ. œ. ˙. ˙.<br />
‹<br />
cold,<br />
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cold,<br />
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cold,<br />
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p legato<br />
p dolce<br />
Ad<br />
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2<br />
vent,<br />
Ad - vent,<br />
p dolce<br />
2<br />
pp<br />
b œ. œ œ ˙. œ. Œ.<br />
p dolce<br />
pp<br />
2<br />
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pp<br />
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p legato<br />
œ. œ. ˙. ˙. ˙. œ. œ. œ œ œ.<br />
cold,<br />
p<br />
came<br />
came<br />
cold,<br />
2<br />
cold,<br />
2<br />
∑ ∑ b œ.<br />
œ œ ˙. œ. Œ.<br />
∑<br />
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b œ<br />
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p 2 2<br />
U<br />
& bœ<br />
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Ad<br />
Ad<br />
- vent came cold.<br />
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mf<br />
mf<br />
mf<br />
5<br />
poco più mosso q. = 80<br />
p intense<br />
Ad<br />
Ad<br />
- vent in<br />
p intense<br />
- vent in<br />
p<br />
p intense<br />
2 2<br />
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œ œ œ œ ˙. ˙. ˙. œ œ j Œ œ j<br />
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U<br />
p intense<br />
& ˙. œ bœ<br />
œ œ bœ<br />
œ œ. ˙. œ œ J Œ œ J<br />
‹ 2 2 2<br />
came cold.<br />
Ad<br />
2<br />
came<br />
cold.<br />
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NH248 Brightest Star McDOWALL<br />
for online perusal only<br />
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CHRISTMAS<br />
SATB and organ<br />
127<br />
2<br />
for online perusal only<br />
Christ is the morning star<br />
Cecilia McDowall<br />
A
The Venerable Bede (672/3–735)<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
BASS<br />
ORGAN<br />
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Commissioned <strong>by</strong> St Andrew's Parish Church Choir, West Tarring, Worthing (Malcolm Munro, Conductor),<br />
in loving memory of Cherry Taylor<br />
Always flowing q = c.80<br />
4<br />
Always flowing q = c.80<br />
Christ is the morning star<br />
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Christ<br />
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128<br />
is the morn<br />
is the morn<br />
CECILIA McDOWALL<br />
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for online perusal only<br />
4<br />
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star,<br />
star,<br />
poco<br />
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mf<br />
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# ˙. œ œ<br />
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Duration: 3.5 mins<br />
First performed <strong>by</strong> St Andrew’s Parish Church Choir, conducted <strong>by</strong> Malcolm Munro, on 1 November 2015, and <strong>by</strong> the Choirs of<br />
Bruton Parish Church, Williamsburg, Virginia, USA, conducted <strong>by</strong> Rebecca Davy, on the same day.<br />
© Oxford University Press 2016<br />
Christ is the morn - ing star,<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ œ œ œ<br />
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Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
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138<br />
2<br />
<strong>Christmas</strong><br />
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A <strong>Christmas</strong> Carol
139<br />
G. K. Chesterton (1874–1936) CECILIA McDOWALL<br />
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CHRISTMAS<br />
SATB unaccompanied<br />
148<br />
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Lo! He slumbers<br />
in his manger<br />
Cecilia McDowall<br />
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149<br />
for Joy Hill<br />
Lo! He slumbers in his manger<br />
Isaac Watts (1674 –1748)<br />
CECILIA McDOWALL<br />
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Duration: 2.5 mins<br />
First performed in the UK <strong>by</strong> St Albans Choral Society, directed <strong>by</strong> George Vass, at Marlborough Road Methodist<br />
Church on 14 December 2019.<br />
First performed in the US <strong>by</strong> the Choir of Bruton Parish Church, Williamsburg, Virginia, directed <strong>by</strong> Rebecca Davy on<br />
1 December 2020.<br />
© Oxford University Press 2020<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
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for online perusal only<br />
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near him, See his face and sing his praise! Then<br />
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sing<br />
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NEW<br />
HORIZONS<br />
152<br />
2<br />
<strong>Christmas</strong><br />
SATB a cappella<br />
for online perusal only<br />
CECILIA Mc DOWALL<br />
Now may we singen
153<br />
for Michael Lock<br />
Commissioned <strong>by</strong> the Concord Singers<br />
Now may we singen<br />
15th-cent. English<br />
CECILIA McDOWALL<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
BASS<br />
Lightly, with joy q. = 76<br />
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unis. f<br />
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1. This Babe to us that now is born, Won-der<br />
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hath y wrought,<br />
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- 1 He > would not loss what was for lorn,<br />
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bold - ly a - gain it brought; And thus it is For- sooth y -<br />
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1 ywrought made<br />
2 forlorn lost, forsaken<br />
3 forsooth ywis in truth indeed<br />
- - en.<br />
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- nought but that is His. Now<br />
© Oxford University Press 2008. Originally published in The Ivy and the Holly: 14 contemporary <strong>carols</strong> (ISBN: 978-0-19-336180-5).<br />
This edition offprinted 2013.<br />
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<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
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may we sing - en,<br />
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Printed in Great Britain
13<br />
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now may we sing en<br />
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- as it is. Quod pu er<br />
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154<br />
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pochiss. rit.<br />
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2. This bar - gain lov - ed He right well,<br />
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we<br />
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The price was high and bought full dear. Who would suf - fer and<br />
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p leggiero<br />
27<br />
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sing - en.<br />
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for<br />
us feel As did that Prince with-out<br />
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4 quod puer natus est nobis because a boy is born to us<br />
B. p leggiero
4<br />
155<br />
30<br />
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Now may we sing - en, now may we sing - en as it is. Quod pu - er<br />
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for online perusal only<br />
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39 pochiss. rit.<br />
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quod pu er<br />
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S.<br />
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43<br />
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quod pu - er na - tus est no - bis.<br />
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3. Hisran<br />
- som for us hath y - paid; Good rea-son<br />
have we to be His.<br />
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3. His<br />
hath Good we to.<br />
mf<br />
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3. Now<br />
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may<br />
we
47<br />
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Be mer - cy asked and He be prayed, Who may de - serve the heav -en<br />
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Be and He de - serve<br />
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156<br />
sing<br />
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en.<br />
5<br />
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for online perusal only<br />
S.<br />
A.<br />
T.<br />
B.<br />
50<br />
p leggiero<br />
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bliss.<br />
And thus it is For - sooth y - wis, He ask - eth<br />
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nought but that is His. Now may we sing - en, now may we sing - en<br />
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Quod pu<br />
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as it is. Quod pu - er na - tus est, na tus<br />
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6<br />
60 pochiss. rit.<br />
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quod pu er<br />
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157<br />
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64<br />
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- na - tus est, na - tus est no - bis.<br />
quod pu - er na - tus est no - bis.<br />
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4. Now<br />
may<br />
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4. To<br />
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some pur - pose God made man; I trust well to<br />
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for online perusal only<br />
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we sing -<br />
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sal<br />
- va - tion. What was his blood that from him ran But fence a -<br />
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70<br />
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p leggiero<br />
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- en.<br />
And thus it is For - sooth y -<br />
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- gainst dam - na - tion?<br />
73<br />
mp<br />
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- wis, He ask eth<br />
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mp<br />
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p leggiero<br />
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- nought but that is His. Now<br />
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may we sing - en,
76<br />
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now may we sing en<br />
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- as it is. Quod pu - er na<br />
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158<br />
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quod<br />
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for online perusal only<br />
82 pochiss. rit.<br />
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na tus<br />
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pu<br />
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- est, na - tus est no - bis.<br />
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na - tus est no - bis.<br />
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85<br />
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5. Al - migh - ty God in Tri - ni - ty, Thy mer - cy we pray with<br />
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5. Now<br />
88 <br />
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whole heart, whole heart, Thy mer - cy may all<br />
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we<br />
may
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91<br />
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sub. pp<br />
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woe make fell And dan-gerous<br />
dread from us to start. And thus it<br />
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sub. pp<br />
sing<br />
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94<br />
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is For-sooth<br />
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p<br />
159<br />
en.<br />
NH115 Now may we singen McDOWALL<br />
97 mf<br />
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Now may we sing - en, now may we sing - en as it is. Quod pu - er<br />
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mf Quod pu - er<br />
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mp<br />
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<br />
<br />
<br />
na - tus est, na - tus est, quod pu - er<br />
f<br />
mp<br />
f<br />
<br />
<br />
<br />
<br />
<br />
na<br />
for online perusal only<br />
- tus<br />
est,<br />
103<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
na - tus est, quod pu - er na - tus est no - bis.<br />
ff<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
quod pu - er<br />
na - tus est no - bis.<br />
rit.<br />
f<br />
na<br />
-<br />
tus,<br />
ff<br />
Processed in England <strong>by</strong> Enigma Music Production Services, Amersham, Bucks.<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.
160<br />
<strong>Christmas</strong><br />
SATB (with divisions) unaccompanied<br />
for online perusal only<br />
CECILIA MC DOWALL<br />
O magnum mysterium<br />
(No. 1 from Trinity Triptych)
Responsorial chant<br />
SOPRANO<br />
ALTO<br />
Sustained, in wonderq = c.84<br />
4<br />
4<br />
mpdolce<br />
O<br />
O<br />
161<br />
O magnum mysterium<br />
No. 1 from Trinity Triptych<br />
mpdolce<br />
CECILIA McDOWALL<br />
ma gnum my ste ri um, oo<br />
ma gnum my ste ri um, oo<br />
TENOR<br />
4<br />
mfsonorous, always<br />
mp<br />
mf<br />
O<br />
ma gnum my ste ri um, O,<br />
O,<br />
et<br />
BASS<br />
4<br />
mfsonorous, always<br />
mp<br />
mf<br />
O<br />
for online perusal only<br />
ma gnum my ste ri um, O,<br />
O,<br />
et<br />
Sustained, in wonderq = c.84<br />
4<br />
for<br />
rehearsal<br />
only<br />
4<br />
mfsonorous mp dolce mf<br />
9<br />
p<br />
mp<br />
O<br />
ma gnum, oo<br />
p<br />
mp<br />
O<br />
ma gnum, oo<br />
mp<br />
ad mi ra bi le sa cra men tum, ut<br />
a ni ma li<br />
mp<br />
ad mi ra bi le sa cra men tum, ut<br />
a ni ma li<br />
mp<br />
© Oxford University Press 2022<br />
Trinity Triptych was commissioned <strong>by</strong> Phoenix Chorale and Artistic Director Christopher Gabbitas in honor of the centenary of Trinity Episcopal Cathedral,<br />
Phoenix, Arizona, as the first in a five-part series of new works <strong>by</strong> female <strong>composers</strong> of the 21st century. It was first performed on 16 December 2021, in Arizona, USA.<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
Duration: c.3 mins<br />
Printed in Great Britain
162<br />
4<br />
15<br />
mf<br />
f<br />
mp<br />
Do<br />
mi num na tum, ja cen<br />
tem in prae se pi o.<br />
mf<br />
f<br />
mp<br />
Do<br />
mi num na tum, ja cen<br />
tem in prae se pi o.<br />
mf<br />
mp<br />
mf<br />
a<br />
vi de rent... O,<br />
O, O<br />
ma<br />
mf<br />
mp<br />
mf<br />
a<br />
vi de rent... O,<br />
for online perusal only<br />
O, O<br />
ma<br />
mf f mf<br />
21<br />
p<br />
mp<br />
Be<br />
p<br />
a ta Vir go, cu jus<br />
mp<br />
Be<br />
a ta Vir go, cu jus<br />
mp<br />
gnum, O ma gnum my ste ri um. mm<br />
Be a ta Vir go,<br />
mp<br />
gnum, O ma gnum my ste ri um. mm<br />
Be a ta Vir go,<br />
mp
163<br />
5<br />
27<br />
cresc.<br />
mf<br />
S.1<br />
vi sce ra,<br />
cresc.<br />
Be<br />
mf<br />
a-, Be a ta<br />
S.2<br />
vi sce ra,<br />
cresc.<br />
Be<br />
a ta, Be a ta<br />
mf<br />
A.<br />
vi sce ra,<br />
Be<br />
a ta Vir<br />
mf<br />
T.<br />
for online perusal only<br />
Be<br />
a ta Vir go,<br />
mf<br />
B.<br />
Be<br />
a ta Vir go,<br />
cresc.<br />
mf<br />
32<br />
mp<br />
S.<br />
Vir go, Vir<br />
go, Vir go, Vir<br />
mp<br />
A.<br />
go, cu jus vi<br />
mf<br />
sce ra me ru e runt<br />
mp<br />
T.<br />
cu<br />
jus<br />
vi<br />
sce ra me ru e runt<br />
mf<br />
mp<br />
B.<br />
cu<br />
jus<br />
vi<br />
sce ra me<br />
mp
164<br />
6<br />
37<br />
p<br />
mpcresc.<br />
go, Vir go,<br />
Do mi num Je sum, Je sum Chri stum, Do<br />
p<br />
mpcresc.<br />
por ta re<br />
Do mi num Je sum, Je sum Chri stum, Do mi num<br />
p<br />
mp cresc.<br />
por<br />
ta<br />
re<br />
Je<br />
sum, Do mi num<br />
p<br />
mpcresc.<br />
ru e runt por ta<br />
re<br />
Je<br />
sum,<br />
Do<br />
p<br />
mp cresc.<br />
43<br />
f<br />
mf<br />
mf solemn<br />
mi<br />
num.<br />
O<br />
for online perusal only<br />
ma gnum my ste ri um,<br />
f<br />
mf<br />
mf solemn<br />
Je sum Chri<br />
stum.<br />
O<br />
ma gnum my ste ri um,<br />
f<br />
mf<br />
mf solemn<br />
Je sum Chri<br />
stum.<br />
O<br />
ma gnum my ste ri um, O ma gnum my<br />
f<br />
mf<br />
mf solemn<br />
mi<br />
num.<br />
O<br />
ma gnum<br />
my<br />
f<br />
mfsolemn
165<br />
7<br />
50<br />
mp dolce<br />
f<br />
Al le lu ia, Al le lu ia, O<br />
mp dolce<br />
f<br />
Al le lu ia, Al le lu ia, O<br />
f<br />
ste ri um, O ma gnum my ste ri um,<br />
f<br />
for online perusal only<br />
ste ri um, O ma gnum my ste ri um,<br />
mp dolce mf f<br />
57<br />
sempre f<br />
ritardando<br />
O<br />
ma gnum my ste ri um.<br />
sempref<br />
O<br />
ma gnum my ste ri um.<br />
sempref<br />
O, O ma gnum<br />
my ste ri um.<br />
sempref<br />
O, O ma gnum<br />
my ste ri um.<br />
ritardando<br />
sempref
166<br />
<strong>Christmas</strong><br />
SSATB unaccompanied<br />
for online perusal only<br />
CECILIA MC DOWALL<br />
O nata lux<br />
(No. 2 from Trinity Triptych)
Office Hymn at Lauds<br />
SOPRANO 1<br />
SOPRANO 2<br />
ALTO<br />
TENOR<br />
BASS<br />
for<br />
rehearsal<br />
only<br />
Luminousq c.69<br />
4<br />
4<br />
4<br />
4<br />
4<br />
mf dolce<br />
O na ta lux, lux, O<br />
mf dolce<br />
mp<br />
mf<br />
O<br />
Luminousq c.69<br />
4<br />
4<br />
167<br />
O nata lux<br />
No. 2 from Trinity Triptych<br />
na ta lux, lux, lux,<br />
mf dolce<br />
lux,<br />
mf dolce<br />
lux,<br />
mf dolce<br />
lux,<br />
mp<br />
lux,<br />
mp<br />
mf dolce mp mf<br />
lux,<br />
mp<br />
lux,<br />
CECILIA McDOWALL<br />
O<br />
na<br />
ta<br />
8<br />
mp<br />
mf<br />
stagger breathing, where necessary<br />
na ta lux, Je<br />
su,<br />
Je<br />
su,<br />
for online perusal only<br />
stagger breathing, where necessary<br />
mp<br />
lux de lu mi ne,<br />
mp<br />
re demp tor sae cu li,<br />
Je<br />
mp<br />
su re demp tor sae cu li,<br />
Je<br />
su re demp tor sae cu li,<br />
mp<br />
sae<br />
cu li,<br />
mp<br />
© Oxford University Press 2022<br />
Trinity Triptych was commissioned <strong>by</strong> Phoenix Chorale and Artistic Director Christopher Gabbitas in honor of the centenary of Trinity Episcopal Cathedral,<br />
Phoenix, Arizona, as the first in a five-part series of new works <strong>by</strong> female <strong>composers</strong> of the 21st century. It was first performed on 16 December 2021, in Arizona, USA.<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
Duration: c.3.5 mins<br />
Printed in Great Britain
168<br />
4<br />
17<br />
p<br />
mf<br />
mp<br />
Lau<br />
des,<br />
lau<br />
des.<br />
p<br />
mf<br />
mp<br />
p<br />
Lau<br />
mf<br />
des,<br />
lau<br />
mp<br />
des.<br />
Lau<br />
des,<br />
lau<br />
des.<br />
p<br />
mp<br />
mf<br />
mp<br />
sup<br />
pli cum<br />
Lau<br />
des pre ces que su me re, lau<br />
des.<br />
mf<br />
mp<br />
Dig na re cle mens sup pli cum<br />
Lau des pre ces que su me re,<br />
lau<br />
des,<br />
mp mf mp<br />
24<br />
mp<br />
mp<br />
Qui<br />
mp<br />
car ne quon dam, O<br />
mp<br />
Qui<br />
car ne, car ne quon dam,<br />
mp<br />
for online perusal only<br />
mp<br />
mf<br />
Qui<br />
car ne, car ne quon dam,<br />
qui<br />
car<br />
ne<br />
mp<br />
mf<br />
p<br />
Qui<br />
mf<br />
car<br />
ne<br />
lau<br />
des.<br />
Qui<br />
car<br />
ne<br />
mp mp mf
169<br />
5<br />
31<br />
f<br />
f<br />
O<br />
na ta lux de lu mi ne, O<br />
f<br />
O<br />
na ta lux de lu mi ne, con<br />
quon dam, O,<br />
O na ta lux, de lu mi ne, con<br />
f<br />
quon dam con<br />
f<br />
for online perusal only<br />
quon dam con<br />
f<br />
38<br />
mf<br />
O<br />
mf<br />
na ta lux de lu mi ne,<br />
te gi Dig na tus, O,<br />
mf<br />
O na ta lux de lu mi ne,<br />
p cresc.<br />
te gi Dig na tus,<br />
mf<br />
Nos<br />
p cresc.<br />
mem bra con<br />
te gi Dig na tus,<br />
Nos<br />
mem bra con<br />
mf<br />
p cresc.<br />
te gi Dig na tus, dig<br />
na tus es pro per di tis, Nos<br />
mem bra con<br />
mf<br />
p
170<br />
6<br />
44<br />
mf<br />
mp cresc. poco a poco<br />
O<br />
na ta lux, lux,<br />
mf<br />
mp cresc. poco a poco<br />
lux,<br />
O<br />
na ta lux de lu mi ne, lux,<br />
lux,<br />
mf<br />
mp cresc. poco a poco<br />
fer<br />
mf<br />
ef<br />
fi ci, lux, lux,<br />
mp cresc. poco a poco<br />
fer...<br />
lux,<br />
Tu i be a ti, lux,<br />
mf<br />
mp cresc. poco a poco<br />
fer...<br />
lux,<br />
lux,<br />
mf<br />
mp cresc. poco a poco<br />
49<br />
f<br />
ritardando<br />
mf<br />
mp<br />
pp<br />
O<br />
f<br />
na ta lux,<br />
mf<br />
O<br />
mp<br />
lux.<br />
pp<br />
O<br />
for online perusal only<br />
na ta lux, lux,<br />
O<br />
lux.<br />
f<br />
mf<br />
mp<br />
pp<br />
lux,<br />
lux,<br />
O<br />
lux.<br />
f<br />
mf<br />
mp<br />
pp<br />
cor po ris,<br />
lux,<br />
lux,<br />
O<br />
lux.<br />
f<br />
mp<br />
pp<br />
lux,<br />
ritardando<br />
O<br />
lux.<br />
f mf pp
171<br />
<strong>Christmas</strong><br />
SATB unaccompanied<br />
for online perusal only<br />
CECILIA MC DOWALL<br />
O Virgo virginum<br />
(No. 3 from Trinity Triptych)
172<br />
O Virgo virginum<br />
No. 3 from Trinity Triptych<br />
O Antiphon: <strong>Christmas</strong> Eve<br />
SOPRANO<br />
4<br />
With joyq = c.112<br />
mf<br />
(stagger breathing)<br />
f<br />
CECILIA McDOWALL<br />
mf<br />
O<br />
Vir<br />
go,<br />
O<br />
Vir go vir gi<br />
ALTO<br />
4<br />
mf<br />
(stagger breathing)<br />
f<br />
mf<br />
O<br />
Vir<br />
go,<br />
O<br />
TENOR<br />
4<br />
mf<br />
f<br />
mf<br />
O<br />
Vir<br />
go,<br />
O<br />
Vir go vir gi<br />
BASS<br />
4<br />
mf<br />
for online perusal only<br />
f<br />
mf<br />
O<br />
Vir<br />
go,<br />
O<br />
4<br />
With joyq = c.112<br />
for<br />
rehearsal<br />
only<br />
4<br />
mf f mf<br />
7<br />
e e<br />
num, quo mo do, quo-, quo mo do fi et is tud, quo<br />
e e<br />
2 6 2 4 2<br />
4 8 4 4<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
2 4<br />
Vir go vir gi num, quo-, quo mo do fi et is tud, quo<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
2 4<br />
num, quo mo do, quo-, quo mo do fi et is tud, quo<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
2 4<br />
Vir go vir gi num, quo-, quo mo do fi et is tud, quo<br />
e e<br />
2<br />
4<br />
e e<br />
6 8<br />
2 4<br />
4 4<br />
2 4<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
2 4<br />
© Oxford University Press 2022<br />
Trinity Triptych was commissioned <strong>by</strong> Phoenix Chorale and Artistic Director Christopher Gabbitas in honor of the centenary of Trinity Episcopal Cathedral,<br />
Phoenix, Arizona, as the first in a five-part series of new works <strong>by</strong> female <strong>composers</strong> of the 21st century. It was first performed on 16 December 2021, in Arizona, USA.<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
Duration: c.2.5 mins<br />
Printed in Great Britain
173<br />
3<br />
13<br />
2<br />
4<br />
5<br />
8<br />
4<br />
f<br />
mp<br />
mo do fi et is tud?<br />
O<br />
Vir<br />
go<br />
2<br />
4<br />
5<br />
8<br />
4<br />
f<br />
mp<br />
mo do fi et is tud?<br />
O<br />
Vir<br />
go<br />
2<br />
4<br />
5<br />
8<br />
4<br />
f<br />
mp<br />
(stagger breathing)<br />
mo do fi et is tud?<br />
O<br />
Vir<br />
go,<br />
2<br />
4<br />
5<br />
8<br />
4<br />
f<br />
mp<br />
(stagger breathing)<br />
for online perusal only<br />
mo do fi et is tud?<br />
O<br />
Vir<br />
go,<br />
2<br />
4<br />
5<br />
8<br />
4<br />
f<br />
mp<br />
2<br />
4<br />
5<br />
8<br />
4<br />
19<br />
mf<br />
f<br />
vir gi num,<br />
O<br />
Vir go vir gi num, quo<br />
mf<br />
f<br />
vir gi num,<br />
O<br />
Vir go vir gi num, quo<br />
mf<br />
f<br />
O<br />
Vir go vir gi num, quo<br />
mf<br />
f<br />
O<br />
Vir go vir gi num, quo<br />
mf<br />
f
174<br />
4<br />
25<br />
6 8<br />
2 4<br />
6 8<br />
4 4<br />
3 4<br />
mf<br />
mo do fi et, quo mo do, quo mo do, quo mo do fi<br />
et<br />
is<br />
6 8<br />
2 4<br />
6 8<br />
4 4<br />
3 4<br />
mf<br />
mo do fi et, quo mo do, quo mo do, quo mo do fi<br />
et<br />
is<br />
6 8<br />
2 4<br />
6 8<br />
4 4<br />
3 4<br />
mf<br />
mo do fi et, quo mo do, quo mo do fi et, fi<br />
et,<br />
6 8<br />
2 4<br />
6 8<br />
4 4<br />
3 4<br />
mf<br />
mo do fi et, quo mo do, quo mo do, quo mo do fi<br />
et,<br />
fi<br />
6<br />
8<br />
2<br />
4<br />
6 8<br />
4 4<br />
3 4<br />
mf<br />
6<br />
8<br />
2<br />
4<br />
6 8<br />
4 4<br />
3 4<br />
31<br />
mp<br />
mf<br />
4<br />
2<br />
4<br />
tud?<br />
Qui a nec pri mam si mi lem, qui a nec pri<br />
4<br />
mp<br />
mf<br />
2<br />
4<br />
tud, fi et is tud?<br />
Si<br />
for online perusal only<br />
mi lem, qui a nec pri<br />
mp<br />
mf<br />
4<br />
2<br />
4<br />
fi et is tud?<br />
Qui a nec pri mam si mi lem, qui a nec pri<br />
4<br />
mp<br />
mf<br />
2<br />
4<br />
et, fi et is tud?<br />
Si<br />
mi lem, qui a nec pri<br />
4<br />
2<br />
4<br />
mp<br />
mf<br />
4<br />
2<br />
4
175<br />
5<br />
37<br />
2<br />
4<br />
6<br />
8<br />
mam si mi lem vi sa es nec ha be re<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
2<br />
4<br />
2<br />
4<br />
2<br />
4<br />
6<br />
8<br />
mam si mi lem vi sa es nec ha be re<br />
6<br />
8<br />
mam si mi lem vi sa es nec ha be re<br />
6<br />
8<br />
mam si mi lem vi sa es nec ha be re<br />
2<br />
4<br />
2<br />
4<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
6 8<br />
2 4<br />
4 4<br />
6 8<br />
2 4<br />
4 4<br />
2<br />
4<br />
6<br />
8<br />
2<br />
4<br />
6<br />
8<br />
2<br />
4<br />
4<br />
2<br />
4<br />
6<br />
8<br />
2<br />
4<br />
6<br />
8<br />
2<br />
4<br />
4<br />
43<br />
4<br />
2<br />
4<br />
mp<br />
5<br />
8<br />
4<br />
p<br />
se quen tem, ha<br />
be re se quen tem.<br />
4<br />
for online perusal only<br />
2<br />
4<br />
mp<br />
5<br />
8<br />
4<br />
p<br />
p<br />
se quen tem, ha<br />
be re se quen tem.<br />
ah<br />
4<br />
2<br />
4<br />
mp<br />
5<br />
8<br />
4<br />
p<br />
se quen tem, ha<br />
be re se quen tem.<br />
ah<br />
4<br />
2<br />
4<br />
mp<br />
se quen tem, ha<br />
5<br />
8<br />
4<br />
be re se quen tem.<br />
p<br />
4<br />
2<br />
4<br />
5<br />
8<br />
4<br />
mp<br />
p<br />
4<br />
2<br />
4<br />
5<br />
8<br />
4
176<br />
6<br />
49<br />
p<br />
3<br />
4<br />
4<br />
mp espress.<br />
p dolce<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
ah<br />
Fi<br />
li ae Je ru sa lem, Je<br />
ru<br />
sa<br />
3<br />
4<br />
4<br />
mp espress.<br />
p dolce<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
Fi<br />
li ae Je ru sa lem, Je<br />
ru<br />
sa<br />
3<br />
4<br />
4<br />
mp espress.<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
Fi<br />
li ae Je ru sa lem,<br />
3<br />
4<br />
4<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
for online perusal only<br />
3<br />
4<br />
4<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
mp espress.<br />
p dolce<br />
3<br />
4<br />
4<br />
6 8<br />
4 4<br />
3 4<br />
4 4<br />
55<br />
4<br />
lem,<br />
6 8<br />
4 4<br />
2 4<br />
4 4<br />
mp<br />
Je ru sa lem. Di<br />
f<br />
4<br />
6 8<br />
4 4<br />
2 4<br />
4 4<br />
mp<br />
f<br />
lem,<br />
Je<br />
ru sa lem. Di<br />
4<br />
mp<br />
quid<br />
6 8<br />
4 4<br />
2 4<br />
4 4<br />
me ad mi ra mi ni? Je ru sa lem. Di<br />
f<br />
4<br />
mp<br />
quid<br />
6 8<br />
4 4<br />
2 4<br />
4 4<br />
me ad mi ra mi ni? Je ru sa lem. Di<br />
f<br />
4<br />
6<br />
8<br />
4<br />
2<br />
4<br />
4<br />
mp<br />
f<br />
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6<br />
8<br />
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2<br />
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4
177<br />
7<br />
61<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
vi num est my ste ri um, di vi num my ste ri um, -ste ri um, -ste ri um,<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
vi num est my ste ri um, di vi num my ste ri um, -ste ri um, -ste ri um,<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
vi num est my ste ri um, di vi num my ste ri um, -ste ri um, -ste ri um,<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
vi num est my ste ri um, di vi num my ste ri um, -ste ri um, -ste ri um,<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
4<br />
6 8<br />
2 4<br />
6 8<br />
2 4<br />
67<br />
2<br />
4<br />
4<br />
mf<br />
3<br />
4<br />
mp<br />
mf<br />
4<br />
-ste ri um, hoc quod cer<br />
ni<br />
tis.<br />
O<br />
2<br />
4<br />
4<br />
for online perusal only<br />
3<br />
4<br />
mf<br />
4<br />
-ste ri um, hoc quod cer<br />
ni tis, cer ni tis.<br />
2<br />
4<br />
4<br />
3<br />
4<br />
mf<br />
mp<br />
mf<br />
4<br />
-ste ri um, hoc quod cer<br />
ni<br />
tis.<br />
O<br />
2<br />
4<br />
4<br />
3<br />
4<br />
mf<br />
-ste ri um, hoc quod cer<br />
ni tis, cer ni tis.<br />
4<br />
2<br />
4<br />
4<br />
3<br />
4<br />
4<br />
mf mp mf<br />
2<br />
4<br />
4<br />
3<br />
4<br />
4
178<br />
8<br />
73<br />
4<br />
4<br />
4<br />
4<br />
Vir go vir gi num, quo mo do, quo<br />
O Vir go vir gi num, quo mo do, quo<br />
Vir go vir gi num, quo mo do, quo<br />
O Vir go vir gi num, quo mo do, quo<br />
f<br />
6 8<br />
2 4<br />
f<br />
mo<br />
mo<br />
do,<br />
6 8<br />
2 4<br />
do,<br />
6 8<br />
2 4<br />
f<br />
f<br />
mo<br />
6 8<br />
2 4<br />
mo<br />
NH267 O Virgo virginum McDOWALL<br />
for online perusal only<br />
4<br />
6 8<br />
2 4<br />
f<br />
4<br />
6 8<br />
2 4<br />
78<br />
2<br />
4<br />
mf<br />
6 8<br />
2 4<br />
4 4<br />
quo mo do fi<br />
poco rit.<br />
et, fi et is tud? O Vir go, O!<br />
f<br />
2<br />
4<br />
mf<br />
6 8<br />
2 4<br />
4 4<br />
f<br />
quo mo do fi<br />
et, fi et is tud? O Vir go, O!<br />
2<br />
4<br />
do,<br />
mf<br />
6 8<br />
2 4<br />
4 4<br />
quo mo do fi et, fi et is tud? O Vir go, O!<br />
f<br />
2<br />
4<br />
mf<br />
6 8<br />
2 4<br />
4 4<br />
f<br />
do,<br />
quo<br />
mo do fi et, fi et is tud? O Vir go, O!<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4<br />
poco rit.<br />
mf<br />
f<br />
2<br />
4<br />
6 8<br />
2 4<br />
4 4
CHRISTMAS<br />
SATB (with divisions) unaccompanied<br />
179<br />
2<br />
for online perusal only<br />
There is no rose<br />
Cecilia McDowall<br />
A
180<br />
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182<br />
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183<br />
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Ā
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for online perusal only
CHRISTMAS<br />
SATB (with divisions) unaccompanied<br />
189<br />
2<br />
for online perusal only<br />
A spotless Rose<br />
Becky McGlade<br />
A
190<br />
A spotless Rose<br />
15th-cent. German<br />
Trans. Catherine Winkworth<br />
BECKY McGLADE<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
°<br />
& bb<br />
& bb<br />
Espressivo q = 82<br />
mp<br />
3<br />
4<br />
3<br />
4<br />
œ œ œ ˙ œ œ œ œ œ j œ œ Œ<br />
A<br />
mp<br />
spot<br />
- less Rose is blow - - - ing,<br />
œ œ œ ˙ œ œ œ œ œ j œ œ<br />
A<br />
spot<br />
- less Rose is blow - - - ing,<br />
3<br />
& b b 4 ∑ ∑ ∑ ∑<br />
‹<br />
Œ<br />
3<br />
2<br />
3<br />
2<br />
3<br />
2<br />
for online perusal only<br />
BASS<br />
for<br />
rehearsal<br />
only<br />
? 3<br />
¢ b b 4 ∑ ∑ ∑ ∑<br />
{<br />
& b b<br />
Espressivo q = 82<br />
3<br />
4<br />
œ œ œ ˙ œ œ œ œ<br />
mp<br />
œ j œ œ Œ<br />
? b b 3<br />
4 ∑ ∑ ∑ ∑<br />
3<br />
2<br />
3<br />
2<br />
3<br />
2<br />
5<br />
° 3<br />
3<br />
& bb 2 œ j œ œ j œ œ œ œ 4 œ bœ<br />
œ nœ<br />
j œ œ Œ<br />
Sprung from a ten - - der root,<br />
3<br />
3<br />
& bb 2 œ j œ œ j œ œ œ œ j 4 œ œ œ<br />
œ<br />
Sprung from a ten der<br />
- root,<br />
3<br />
3<br />
& b b 2<br />
∑ 4 ∑ ∑<br />
‹<br />
˙<br />
Œ<br />
? 3<br />
3<br />
¢ b b 2<br />
∑ 4 ∑ ∑<br />
& b b<br />
{<br />
3<br />
2<br />
3<br />
œ j œ œ j œ œ œ œ œ 4 œ bœ<br />
J<br />
? b b 3<br />
3<br />
2<br />
∑ 4 ∑ ∑<br />
œœ<br />
œ nœ<br />
j œ˙ œ Œ<br />
Duration: 2.5 mins<br />
© Oxford University Press 2020 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
191<br />
3<br />
8<br />
°<br />
& bb œ œ œ ˙ œ œ œ œ œ j œ œ Œ<br />
Of an - cient seers’ fore - show - - - ing,<br />
mp<br />
&<br />
‹<br />
b b Of<br />
- - - - ing,<br />
œ œ œ œ œ œ œ J<br />
œ œ J<br />
œ œ œ Œ<br />
& bb œ œ œ ˙ œ œ œ œ œ œ œ<br />
Of an - cient seers’ fore show<br />
Œ<br />
Of<br />
an<br />
an<br />
- cient seers’ fore - show - - - ing,<br />
mp<br />
?<br />
¢ b b œ œ œ œ œ œ œ œ J œ œ œ œ Œ<br />
- cient seers’ fore - show - - - ing,<br />
for online perusal only<br />
& b b<br />
{<br />
? b b<br />
œ œ œ ˙œ œ<br />
œ œ œ œ œ œ œ j œ œ œ Œ<br />
(mp)<br />
œ<br />
œ œ œ œ œ<br />
J<br />
‰ œ œ œ œ œ j œ œ œ<br />
œ œ Œ<br />
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°<br />
3<br />
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4 œ J nœ<br />
œ J œ 2 œ<br />
Of Jes - se<br />
pro<br />
& bb œ œ œ œ 4 œ<br />
Of Jes - se<br />
pro<br />
3<br />
& b b œ œ œ œ 4 nœ<br />
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mf<br />
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mf<br />
- - mised fruit; Its fair - est<br />
3<br />
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˙<br />
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- - mised fruit; Its<br />
œ œ nœ<br />
3<br />
4 œ œ nœ<br />
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Of Jes - se<br />
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4
4<br />
192<br />
15<br />
°<br />
3<br />
4<br />
& bb ˙ œ nœ<br />
˙œ œ œ<br />
œ 4 œ<br />
bud un - folds<br />
to light<br />
n˙<br />
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J<br />
œ<br />
œ<br />
# œ J<br />
3<br />
& bb 4 œ j œ nœ<br />
˙ œ 4 n<br />
œ œ<br />
j J œ œ<br />
j<br />
J<br />
bud un - folds<br />
to light<br />
3<br />
& b b 4 œ œ œ nœ<br />
œ nœ<br />
œ J œ 4 nœ œ œ J œ j<br />
‹<br />
fair - est bud un - folds<br />
to light<br />
?<br />
¢ b b<br />
& b b<br />
{<br />
? b b<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
Œ Œ œ œ œ nœ<br />
˙<br />
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J<br />
œ<br />
Un<br />
n<br />
œ œ œœ œ<br />
œ œ<br />
œ<br />
4<br />
- folds<br />
to light<br />
œ<br />
œ<br />
nœ<br />
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œ<br />
w<br />
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nœ<br />
4<br />
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n<br />
nœ œ j œœ œ j<br />
4 w<br />
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J<br />
œ<br />
œ<br />
# œ J<br />
18<br />
°<br />
& bb<br />
œ<br />
˙ œ n J<br />
for online perusal only<br />
mp<br />
unis.<br />
3<br />
# ˙ Œ œ œ œ 2 œ ˙ ˙ œ<br />
4<br />
& bb n<br />
œ<br />
?<br />
¢ b b<br />
œ j œ<br />
J<br />
˙<br />
Ó<br />
A<br />
mp<br />
- mid the cold, cold<br />
3<br />
b˙<br />
2 ˙ ˙ # œ nœ<br />
j<br />
3<br />
& b b nœ œ j ˙ Œ œ œ œ 2 œ œ ˙ ˙<br />
‹<br />
A<br />
3<br />
œ œ j ˙ Ó ˙ 2 ˙ n˙<br />
mp<br />
A<br />
- mid the cold<br />
- mid the cold, cold<br />
mp<br />
A<br />
bœ<br />
- mid the cold<br />
œ j<br />
4<br />
4<br />
4<br />
& bb n<br />
{<br />
œ ˙<br />
œ J<br />
# Œ 3<br />
˙<br />
œ bœ˙ œ 2 œ˙ ˙<br />
mp<br />
? nœœ<br />
<br />
b b œ œ 3<br />
œ œJ<br />
˙˙ Œ œ œ œ ˙<br />
œ˙ 2 ˙ n<br />
˙˙ bœ<br />
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˙<br />
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# œ<br />
œ<br />
nœ<br />
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œ<br />
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4<br />
4
193<br />
5<br />
21<br />
°<br />
3<br />
& bb œ<br />
4 œ œ œ 4 Œ œ œ œ ˙ œ 4 œ œ Ó<br />
win - ter,<br />
And in the dark mid - night.<br />
3<br />
4<br />
3<br />
& bb 4 # ˙ ˙ 4 Œ<br />
win ter,<br />
œ œ nœ<br />
- And in the dark mid - night.<br />
œ<br />
˙<br />
4<br />
˙<br />
Ó<br />
3<br />
4<br />
3<br />
& b b 4 œ œ J<br />
œ œ 4 Œ œ œ œ œ ˙ 4 ˙ Ó<br />
‹<br />
win - ter,<br />
And in the dark mid - night.<br />
3<br />
4<br />
?<br />
¢ b b<br />
4<br />
˙<br />
win<br />
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˙<br />
ter.<br />
3<br />
4<br />
∑ ∑ 4 ∑<br />
for online perusal only<br />
3<br />
4<br />
4<br />
& b b #<br />
{<br />
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˙<br />
4 œ˙ œ Ó<br />
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j œ œ<br />
˙ 3<br />
4 Œ œ œ œ œ ˙ ˙<br />
4<br />
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3<br />
4<br />
3<br />
4<br />
25<br />
° 3<br />
& bb 4 ∑ ∑ ∑ ∑<br />
3<br />
& bb 4 ∑ ∑ ∑ ∑<br />
5<br />
4<br />
5<br />
4<br />
&<br />
‹<br />
b b<br />
3<br />
4<br />
(mp)<br />
œ œ œ ˙ œ œ œ œ œ j œ œ Œ<br />
5<br />
4<br />
The<br />
Rose which I am sing - - - - ing,<br />
?<br />
¢ b b<br />
3<br />
4<br />
(mp)<br />
œ œ œ ˙ œ œ œ œ œ J œ œ Œ<br />
The<br />
Rose which I am sing - - - - ing,<br />
5<br />
4<br />
{<br />
3<br />
& bb 4 ∑ ∑ ∑ ∑<br />
? b b<br />
3<br />
4<br />
(mp)<br />
œ œ œ<br />
˙ œ œ œ œ œ J œ œ Œ<br />
5<br />
4<br />
5<br />
4
6<br />
194<br />
29<br />
° 5<br />
3<br />
& bb 4 ∑ 4 ∑ ∑<br />
5<br />
3<br />
& bb 4 ∑ 4 ∑ ∑<br />
mp<br />
œ œ œ<br />
Is from its<br />
mp<br />
œ œ œ<br />
Is from its<br />
5<br />
3<br />
& b b 4 œ j œ œ j œ œ œ 4 œ bœ<br />
œ nœ<br />
j œ œ Œ œ œ œ<br />
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Where - of I - sai - ah said, Is from its<br />
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¢ b b<br />
5<br />
4<br />
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J<br />
Where<br />
œ œ œ œ œ J<br />
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œ ˙ Œ œ œ œ<br />
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for online perusal only<br />
5<br />
4<br />
& b b ∑ ∑ ∑<br />
{<br />
? b b<br />
5<br />
4<br />
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J<br />
3<br />
4<br />
œ œ œ œ œ œ<br />
J<br />
3<br />
4 œ bœ<br />
J<br />
œœ<br />
œ nœ<br />
j œ˙ œ Œ<br />
œ œ œ<br />
mp<br />
œ œ œ<br />
33<br />
°<br />
& bb ˙ œ œ œ œ œ j œ œ Œ œ œ œ<br />
sweet root spring - - - ing<br />
In Ma - ry,<br />
4<br />
& bb ˙ œ œ œ œ œ œ œ<br />
sweet root spring ing<br />
?<br />
¢ b b<br />
& bb<br />
{<br />
- - - In Ma - ry,<br />
& b b œ œ œ œ œ J œ J<br />
œ œ œ Œ œ œ œ œ<br />
‹<br />
sweet root spring - - - ing<br />
In Ma - ry,<br />
œ<br />
J<br />
sweet root spring - - - ing<br />
In Ma - ry,<br />
? œ œ<br />
‰<br />
œ œ b b œ<br />
J<br />
œ œj œ œ œ Œ œ œ nœ œ<br />
Œ<br />
œ œ œ œ<br />
œ œ œ œ œ œ œ œ Œ œ œ nœ<br />
˙<br />
œ œ<br />
œ œ œ œœ œ œ j œ œ Œ œ œ<br />
œ œ<br />
4<br />
4<br />
4<br />
4<br />
4
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7<br />
37<br />
°<br />
& bb<br />
& bb<br />
4<br />
4<br />
mf<br />
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J<br />
pur<br />
mf<br />
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pur<br />
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nœ<br />
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3<br />
nœ<br />
œ œ 2<br />
˙<br />
œ<br />
Œ<br />
nœ<br />
œ œ 4 nœ<br />
˙ œ<br />
- est Maid; For through our God’s<br />
Ó<br />
4<br />
cresc.<br />
cresc.<br />
- est Maid; For through our God’s<br />
Œ<br />
œ<br />
great<br />
nœ<br />
œ œ œ œ<br />
great<br />
3<br />
4<br />
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&<br />
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b b<br />
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pur<br />
mf<br />
nœ<br />
4 œ nœ<br />
œ œ œ<br />
- - est Maid; For through our<br />
cresc.<br />
God’s great<br />
œ 3<br />
œ nœ<br />
œ 2 ˙ Ó Ó 4 Ó Œ œ<br />
pur<br />
- est Maid; great<br />
cresc.<br />
3<br />
4<br />
3<br />
4<br />
for online perusal only<br />
4<br />
& b b<br />
{<br />
mf cresc.<br />
? b b<br />
4<br />
œ j<br />
œ<br />
œ<br />
nœ<br />
j nœ œ œ<br />
nœ œ œ œ 3<br />
nœ œ œj 2<br />
˙˙ Ó Œ<br />
3<br />
2<br />
œ<br />
˙<br />
œ<br />
Œ<br />
nœ<br />
œ œ<br />
4 n<br />
nœ<br />
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nœ<br />
œ nœ<br />
œ œ œ<br />
4<br />
3<br />
4<br />
3<br />
4<br />
40<br />
f<br />
°<br />
& bb 3<br />
4 ˙ œ nœ<br />
4 ˙ Œ œ œ œ œ ˙ œ<br />
love and might,<br />
The Bless - ed Babe she<br />
& bb 3<br />
4 œ œ œ 4 n w<br />
love and might,<br />
f<br />
Ó<br />
˙ b ˙ ˙<br />
The Babe she<br />
f<br />
3<br />
& b b 4 nœ<br />
œ œ 4 w Œ œ œ œ œ ˙ œ œ<br />
‹<br />
love and might,<br />
The Bless - ed Babe she<br />
?<br />
¢ b b<br />
3<br />
4<br />
œ<br />
nœ<br />
j œ œ 4 w<br />
love and might,<br />
f<br />
Ó ˙ ˙ ˙<br />
The Babe she<br />
3<br />
4<br />
& bb n n b<br />
{<br />
? b b<br />
3<br />
4<br />
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nœ<br />
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4<br />
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w<br />
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nJœ<br />
w<br />
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f<br />
˙ Œ œ œ˙<br />
Œ<br />
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˙<br />
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œ
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8<br />
44<br />
°<br />
3<br />
& bb p<br />
œ œ œ œ 2 ˙ Œ œ œ 4 œ œ œ œ œ œ<br />
bare us In a cold,<br />
?<br />
¢ b b<br />
& b b<br />
{<br />
Meno mosso q = 68<br />
3<br />
& bb œ œ œ œ 2 ˙ Œ Ó 4 Ó b˙<br />
bare us, cold,<br />
3<br />
& b b œ œ œ œ<br />
2 ˙ Œ Ó J 4 Ó ˙<br />
‹<br />
bare us, cold,<br />
? b b<br />
œ œ œ œ œ 3 ˙<br />
2<br />
3<br />
2<br />
Œ Ó 4 Ó ˙<br />
bare us, cold,<br />
œ œ œ œ<br />
œ<br />
œ<br />
œ<br />
Meno mosso q = 68<br />
˙ Œ œ œ 4 œ œ œ b œ œ<br />
˙œ<br />
œ œj œ 3 ˙ <br />
œ œ 2<br />
Œ Ó 4 Ó<br />
p<br />
p<br />
p<br />
p<br />
˙<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
X783 A spotless Rose McGLADE<br />
for online perusal only<br />
47<br />
rall.<br />
pp<br />
° 3<br />
3<br />
& bb 4 œ ˙ 2 œ œ œ œ œ ˙ œ w Ó<br />
cold win - - - ter’s night.<br />
pp<br />
3<br />
3<br />
& bb 4 ˙ nœ<br />
2 bœ<br />
œ œ œ œ œ œ ˙ ˙<br />
cold win<br />
Ó<br />
3<br />
3<br />
& b b 4 œ œ ˙ 2 œ œ œ œ œ œ œ J w Ó<br />
‹<br />
cold win - - - ter’s night.<br />
?<br />
¢ b b<br />
& b b<br />
{<br />
3<br />
4<br />
3<br />
4<br />
b˙ 3<br />
2 ˙ n˙<br />
cold<br />
rall.<br />
pp<br />
pp<br />
win<br />
œ<br />
3<br />
˙ ˙ nœ<br />
2 b<br />
œ œ œ<br />
œ œ ˙œ œ œ<br />
? 3<br />
œ<br />
b b<br />
œ ˙ 3 œ œ nœ<br />
œ<br />
4 b˙<br />
2 ˙ n˙<br />
pp<br />
- - - ter’s night.<br />
- - - ter’s night.<br />
œ<br />
w<br />
w<br />
˙<br />
œ j œ œ œ<br />
w w Ó<br />
˙<br />
Ó<br />
Ó
CHRISTMAS<br />
SATB unaccompanied<br />
197<br />
2<br />
for online perusal only<br />
O little town of Bethlehem<br />
Becky McGlade<br />
A
198<br />
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for online perusal only
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for online perusal only
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for online perusal only
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for online perusal only
CHRISTMAS<br />
SATB unaccompanied<br />
204<br />
2<br />
for online perusal only<br />
See amid the winter’s snow<br />
Becky McGlade<br />
A
205<br />
See amid the winter’s snow<br />
Edward Caswall (1814–78)<br />
BECKY McGLADE<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
BASS<br />
°<br />
&<br />
Andante q = 84<br />
SOPRANOS<br />
1. See a<br />
mp<br />
#<br />
3<br />
2<br />
œ<br />
Ó<br />
œ<br />
- mid<br />
the win - ter’s snow,<br />
œ ˙ œ œ<br />
∑<br />
?# 3<br />
¢ 2 Ó<br />
∑<br />
œ<br />
5<br />
4<br />
5<br />
4 Ó<br />
œ<br />
Ó ˙ œ œ<br />
mp<br />
Born<br />
mp<br />
for<br />
œ œ œ<br />
3<br />
°<br />
& #<br />
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˙ œ œ œ œ œ<br />
for online perusal only<br />
œ œ˙ ˙ œ œ<br />
4<br />
œ<br />
˙ ˙ œ<br />
3<br />
4<br />
?#<br />
¢<br />
us<br />
(2.) built<br />
<br />
on<br />
the<br />
earth be<br />
star - ry<br />
- low;<br />
See<br />
skies;<br />
He<br />
˙œ œ œ œ œ œ œ ˙œ œ<br />
œ<br />
the<br />
who,<br />
J œ œ œ ˙<br />
œ<br />
J<br />
4 ˙<br />
ten - -<br />
throned<br />
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in<br />
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& # 4<br />
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œ # œ œ n˙˙ œ œœ œœ<br />
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5<br />
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Lamb<br />
height<br />
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pears,<br />
lime,<br />
Pro<br />
Sits<br />
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the<br />
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che<br />
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-<br />
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nal<br />
ru<br />
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œ œj<br />
5<br />
4<br />
© Oxford University Press 2021 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.<br />
Duration: 4.5 mins
206<br />
3<br />
10<br />
°<br />
& # 5<br />
4<br />
mf<br />
œ ˙ œ œ<br />
˙<br />
œ<br />
œ œ œ œ 4<br />
˙œ œ œ<br />
œ œ<br />
5<br />
4<br />
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¢ 4<br />
years:<br />
- bim:<br />
Hail,<br />
˙<br />
˙<br />
œ<br />
œ œ œ œ<br />
mf<br />
thou ev - er - bless - ed morn! Hail, re -<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
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for online perusal only<br />
mp<br />
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is born in<br />
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J œ ˙ œ J œ œ œ<br />
say What your joy ful<br />
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¢ 4 Ó<br />
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to<br />
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25<br />
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have<br />
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for online perusal only<br />
mp<br />
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n<br />
2 #<br />
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nœ œ œ<br />
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3<br />
4<br />
ye<br />
left<br />
your<br />
sheep<br />
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b n # 3 #<br />
¢<br />
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mp<br />
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3<br />
4<br />
28<br />
° 3<br />
& # 4<br />
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¢ 4<br />
poco rall.<br />
∑<br />
# œ˙ ˙ 4 Ó Œ œ steep?<br />
a tempo<br />
mp<br />
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˙<br />
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4<br />
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4<br />
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poco rall.<br />
f<br />
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j ˙<br />
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sing - - ing<br />
“Peace<br />
on earth”<br />
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¢<br />
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poco meno mosso<br />
a tempo<br />
mp<br />
37<br />
pp<br />
°<br />
5<br />
3<br />
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5. Sa - cred<br />
mp<br />
,<br />
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3<br />
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pp<br />
of the Sa - viour’s birth.’<br />
40<br />
° 3<br />
5<br />
& # 2 œ ˙ œ 4 œ œ œ<br />
˙ œ œ ˙ œ œ œ œ<br />
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What a ten - der love was<br />
?# 3 œ ˙ œ<br />
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for online perusal only
209<br />
6<br />
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p<br />
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#<br />
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5<br />
4<br />
bliss<br />
Down to such<br />
a<br />
world<br />
as<br />
for online perusal only<br />
˙<br />
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¢ 2<br />
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p<br />
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& # this! Hail, thou ev er<br />
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5<br />
4<br />
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¢ 4<br />
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210<br />
7<br />
52<br />
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4<br />
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- demp tion’s<br />
3<br />
4<br />
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˙<br />
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- hap - py dawn! Sing through all Je -<br />
?# 5<br />
¢ 4<br />
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55<br />
°<br />
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5<br />
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# ˙<br />
for online perusal only<br />
mp<br />
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3<br />
2<br />
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# œ œ œ J J # œ<br />
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- - sa - lem, Christ is born, Christ is<br />
˙<br />
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3<br />
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¢ ˙ œ 4 ˙ œ<br />
# œ œ œ œ j 2<br />
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58<br />
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& #<br />
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in Beth - le - hem.<br />
ff mp pp<br />
œ<br />
# w<br />
born,<br />
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œ<br />
w œ # œ # œ<br />
#<br />
œ <br />
œ œ œ 4 n<br />
J œ<br />
Christ is born<br />
œ<br />
œ<br />
J<br />
4<br />
U<br />
˙œ œ œ œ ˙<br />
œ œ œ<br />
u<br />
ff mp pp<br />
in Beth - le - hem.<br />
in<br />
rall.<br />
Beth<br />
U<br />
w<br />
- - le - hem.<br />
U<br />
œ<br />
˙ œ j œ nœ œ œ œ œ œ œ œ<br />
u<br />
œ<br />
œ œ<br />
œ j<br />
w<br />
uw<br />
Music originated <strong>by</strong> Andrew Jones
CHRISTMAS<br />
SATB and piano<br />
211<br />
2<br />
for online perusal only<br />
On this Silent Night<br />
Sarah Quartel<br />
A
212<br />
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for online perusal only
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for online perusal only
215<br />
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for online perusal only
216<br />
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for online perusal only
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for online perusal only
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CHRISTMAS<br />
222<br />
Soprano duet and SATB (with divisions) unaccompanied<br />
2<br />
for online perusal only<br />
Silent night<br />
Franz Grüber<br />
Arranged <strong>by</strong> Sarah Quartel<br />
A
223<br />
Silent night<br />
Josef Mohr (1792–1848)<br />
trans. John F. Young (1820–85)<br />
FRANZ GRUBER (1787–1863)<br />
arr. Sarah Quartel<br />
SOPRANO DUET<br />
or SMALL GROUP<br />
With wonder and quiet delight q = 88<br />
poco rit.<br />
3<br />
& 4 ∑<br />
unis.<br />
mp<br />
Œ œ œ bœ œ J œ ˙ Œ œ œ œ bœ<br />
oo<br />
oo<br />
œ<br />
SOPRANO<br />
° 3<br />
& 4 ∑ ∑ ∑ ∑ ∑ ∑<br />
ALTO<br />
3<br />
& 4<br />
p<br />
˙ œ ˙ ˙ ˙ œ ˙˙ ˙˙<br />
Si<br />
- lent night, ho - ly night,<br />
TENOR<br />
3<br />
4<br />
p<br />
˙ œ ˙ ˙ ˙ œ b˙<br />
˙<br />
Si<br />
- lent night, ho - ly night,<br />
&<br />
‹<br />
?<br />
BASS<br />
¢<br />
3<br />
4<br />
p<br />
˙<br />
œ<br />
for online perusal only<br />
b˙ ˙˙<br />
˙˙<br />
œ<br />
b<br />
˙˙ ˙˙ <br />
Si<br />
- lent night, ho - ly night,<br />
for<br />
rehearsal<br />
only<br />
&<br />
{<br />
?<br />
With wonder and quiet delight q = 88<br />
3<br />
4<br />
3<br />
4<br />
Œ<br />
˙ œ ˙˙<br />
<br />
p<br />
˙<br />
œ<br />
œ œ bœ<br />
˙˙<br />
<br />
œ j œ<br />
b˙ ˙˙<br />
˙˙<br />
˙ Œ<br />
˙ œ ˙˙<br />
<br />
œ<br />
b<br />
b ˙ œ<br />
œ<br />
poco rit.<br />
œ<br />
˙˙<br />
<br />
˙˙ <br />
bœ<br />
œ<br />
© Oxford University Press 2018<br />
Duration: c.3.5 mins<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
224<br />
4<br />
7<br />
a tempo<br />
& ˙<br />
∑ ∑ ∑ ∑ ∑<br />
°<br />
&<br />
p<br />
œ œ j œ ˙ ˙ œ œ j œ ˙ ˙<br />
Si<br />
- lent night, ho - ly night,<br />
&<br />
˙ œ ˙ ˙ ˙ œ ˙ ˙<br />
loo loo loo loo loo loo<br />
˙ œ ˙ b˙ ˙ œ ˙ b˙<br />
¢<br />
&<br />
‹<br />
?<br />
loo loo loo loo loo loo<br />
˙<br />
œ<br />
b<br />
˙˙ ˙˙ ˙˙<br />
loo loo loo loo loo loo<br />
œ<br />
b<br />
˙˙ ˙˙ <br />
for online perusal only<br />
&<br />
{<br />
?<br />
a tempo<br />
˙<br />
œ œ J œ ˙˙ ˙<br />
˙<br />
œ<br />
b˙˙<br />
œ œ j œ<br />
˙ ˙˙ ˙<br />
b<br />
˙˙ ˙˙ ˙˙<br />
œ<br />
b<br />
˙˙ b˙˙<br />
˙ <br />
˙˙ <br />
S.<br />
13<br />
°<br />
&<br />
˙ œ ˙ ˙ ˙ œ ˙ ˙<br />
All is calm, all is bright<br />
A.<br />
T.<br />
&<br />
&<br />
‹<br />
˙ œ ˙<br />
loo loo loo loo loo loo<br />
˙ œ ˙ ˙<br />
˙ ˙ œ ˙˙<br />
loo loo loo loo loo loo<br />
˙<br />
˙ ˙ œ ˙ ˙<br />
B.<br />
?<br />
¢<br />
˙<br />
œ ˙˙ ˙˙ ˙˙<br />
loo loo loo loo loo loo<br />
œ<br />
˙<br />
˙<br />
˙<br />
˙<br />
&<br />
{<br />
?<br />
˙<br />
˙<br />
˙<br />
œ<br />
œ<br />
œ<br />
˙<br />
˙<br />
˙ <br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙˙<br />
˙˙<br />
œ<br />
œ<br />
˙ <br />
˙<br />
˙<br />
˙ <br />
˙<br />
˙<br />
˙˙
°<br />
&<br />
¢<br />
&<br />
{<br />
°<br />
&<br />
¢<br />
19<br />
&<br />
&<br />
‹<br />
?<br />
?<br />
25<br />
&<br />
&<br />
‹<br />
?<br />
&<br />
{<br />
?<br />
mp<br />
˙ œ œ œ J<br />
œ œ œ j œ ˙ ˙ œ œ œ J<br />
œ<br />
Round<br />
mp<br />
˙<br />
oh<br />
mp<br />
˙<br />
oh<br />
mp<br />
oh<br />
mp<br />
ten<br />
yon vir - gin mo - ther and child, Ho - ly in - fant so<br />
˙<br />
˙<br />
˙<br />
mf<br />
- der and mild, Sleep<br />
mf<br />
oh<br />
mf<br />
oh<br />
mf<br />
oh<br />
mf<br />
5<br />
˙<br />
˙<br />
˙<br />
oh<br />
˙<br />
oh<br />
œ<br />
˙<br />
˙ ˙˙ <br />
oh<br />
œ ˙<br />
˙ œ œ<br />
˙<br />
œ j œ<br />
˙<br />
˙ <br />
˙˙<br />
in hea - ven - ly peace,<br />
˙<br />
˙ œ ˙˙ œ ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
œ<br />
˙<br />
˙ <br />
˙ ˙ œ ˙<br />
˙<br />
˙ ˙˙ ˙˙ ˙˙<br />
˙ œ œ<br />
˙<br />
œ j œ œ<br />
˙<br />
˙<br />
˙ ˙˙<br />
˙˙<br />
˙˙ œ œ<br />
œ œ j œ ˙<br />
˙<br />
˙<br />
˙ ˙ œ<br />
˙<br />
˙<br />
œ<br />
˙<br />
œ j<br />
œ<br />
˙<br />
˙<br />
œ<br />
˙<br />
˙<br />
˙˙ œ œ<br />
œ j<br />
˙ œ œ œ J œ ˙ ˙<br />
˙<br />
˙<br />
˙<br />
˙ ˙˙ ˙˙ ˙˙ <br />
˙ œ œ<br />
˙ œ j œ<br />
˙<br />
˙<br />
˙<br />
˙ <br />
225<br />
for online perusal only<br />
˙
226<br />
31<br />
& ∑ ∑<br />
mp<br />
°<br />
S. & œ œ ∑ ∑ ∑<br />
œ œ œ j œ ˙<br />
A.<br />
6<br />
&<br />
Sleep<br />
mp<br />
˙<br />
SOPRANO DUET or SMALL GROUP<br />
in hea - ven - ly peace.<br />
p<br />
∑<br />
mp<br />
Œ œ œ bœ œ J œ ˙<br />
oo<br />
˙ ˙ œ ˙ ˙ ˙ œ<br />
T.<br />
&<br />
‹<br />
oo<br />
mp<br />
Si<br />
p<br />
- lent night, ho - ly<br />
˙ œ˙ ˙ ˙ œ ˙ ˙ ˙ œ<br />
B.<br />
?<br />
¢<br />
oo<br />
mp<br />
Si<br />
p<br />
˙<br />
˙ ˙˙ ˙˙<br />
oo<br />
Si<br />
- lent night, ho - ly<br />
œ<br />
b˙ ˙˙<br />
˙˙<br />
- lent night, ho - ly<br />
œ<br />
&<br />
œ<br />
˙<br />
œ œ œ œ ˙ œj Œ<br />
œ ˙ œ ˙˙<br />
<br />
œ œ bœ<br />
˙˙<br />
<br />
œ j œ ˙<br />
˙<br />
œ<br />
{?<br />
mp<br />
˙<br />
˙<br />
˙<br />
p<br />
˙˙<br />
œ<br />
for online perusal only<br />
b˙ ˙˙<br />
˙˙<br />
œ<br />
37<br />
&<br />
Œ<br />
œ<br />
oo<br />
°<br />
& ∑ ∑<br />
œ œ bœ<br />
œ ˙ Œ œ œ bœ œ J œ ˙<br />
p<br />
oo<br />
œ œ j œ ˙ ˙ œ œ j œ<br />
Si<br />
- lent night, ho - ly<br />
&<br />
&<br />
‹<br />
?<br />
˙˙ ˙˙ ˙ œ ˙ ˙ ˙ œ<br />
night, si - lent night, ho - ly<br />
b˙ ˙ ˙ œ ˙ b˙ ˙ œ<br />
¢<br />
night, si - lent night, ho - ly<br />
b ˙ ˙˙ ˙˙<br />
œ<br />
b<br />
˙˙ ˙˙ ˙˙<br />
night, si - lent night, ho - ly<br />
œ<br />
&<br />
{<br />
?<br />
Œ<br />
˙˙<br />
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œ<br />
œ<br />
œ<br />
˙˙<br />
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b<br />
b ˙ ˙˙ ˙˙<br />
bœ<br />
œ ˙<br />
œ œ Œ<br />
J œ ˙˙˙<br />
œ<br />
b<br />
˙˙ œ œ bœ<br />
˙˙<br />
<br />
b ˙˙<br />
œ j œ œ œ j œ<br />
˙˙<br />
œ
227<br />
7<br />
43<br />
&<br />
°<br />
&<br />
&<br />
Œ œ œ bœ œ œ b ˙ Œ bœ<br />
J<br />
˙<br />
night,<br />
oo<br />
˙<br />
mf<br />
oh<br />
mf<br />
Shep<br />
mf<br />
- herds quake<br />
night, Shep - herds quake<br />
mf<br />
oh<br />
b œ<br />
bœ<br />
<br />
b˙<br />
œ ˙ ˙<br />
b<br />
˙ ˙ ˙˙ œœ ˙˙ ˙˙<br />
˙<br />
b˙ ˙ œ ˙ ˙<br />
œ j bœ<br />
¢<br />
&<br />
‹<br />
?<br />
night,<br />
for online perusal only<br />
Shep<br />
mf<br />
b ˙ ˙˙ b ˙˙<br />
- herds quake<br />
b œ b<br />
˙˙ ˙˙ <br />
night, Shep - herds quake<br />
&<br />
Œ<br />
˙˙˙<br />
œ œ bœ<br />
˙˙<br />
<br />
œ j œ b<br />
ḃ<br />
˙<br />
œ<br />
œœ<br />
œ<br />
bœ<br />
bœ<br />
bœ<br />
<br />
œ j<br />
œ<br />
{?<br />
b ˙ b ˙˙<br />
mf<br />
b<br />
b˙<br />
˙ œ b<br />
˙˙ ˙˙ <br />
48<br />
&<br />
°<br />
&<br />
&<br />
˙ Œ œ œ bœ œ j œ ˙ Œ<br />
oh<br />
˙ œ ˙ ˙ ˙ œ œ œ J<br />
œ<br />
at the sight; Glo - ries stream from<br />
˙ œ ˙<br />
˙<br />
˙ œ ˙ œ<br />
∑<br />
at the sight; Glo - ries stream from<br />
˙ œ b˙<br />
˙ <br />
˙ œ ˙ œ<br />
&<br />
‹<br />
?<br />
¢<br />
at the sight; Glo - ries stream from<br />
˙<br />
œ<br />
b<br />
˙˙ ˙˙ ˙˙<br />
at the sight; Glo - ries stream from<br />
œ<br />
˙˙<br />
œ<br />
&<br />
{<br />
?<br />
˙<br />
˙<br />
œ<br />
œ<br />
œ˙ ˙ œ œ bœ <br />
˙ œ j œ<br />
b<br />
b ˙ ˙˙ <br />
˙<br />
˙<br />
˙<br />
œ<br />
œ<br />
œ<br />
œ œ J œ ˙˙<br />
œ
228<br />
8<br />
53<br />
&<br />
°<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
hea<br />
hea<br />
hea<br />
hea<br />
∑<br />
œ œ J<br />
œ ˙ Œ œ œ œ œ œ œ œ œ<br />
Hea<br />
- ven a - far,<br />
hosts sing Al - le - lu -<br />
œ œ j œ ˙ ˙ œ œ œ J<br />
œ œ œ j œ<br />
- ven a - far,<br />
Heav’n - ly hosts sing Al - le - lu -<br />
œ œ j œ ˙ ˙ œ ˙ œ œ œ j œ<br />
- ven a - far,<br />
Heav’n - ly hosts sing Al - le - lu -<br />
œ œ j œ ˙<br />
œ<br />
œ<br />
- ven a - far,<br />
Heav’n - ly hosts sing Al - le - lu -<br />
œ j œ œ<br />
˙˙<br />
œ<br />
˙ œ ˙ œ œ œ j œ<br />
˙˙<br />
œ<br />
- ven a - far,<br />
Heav’n - ly hosts sing Al - le - lu -<br />
˙˙<br />
œ<br />
œ<br />
œ<br />
œ j œ œ<br />
for online perusal only<br />
&<br />
{<br />
?<br />
œ œ œj œ œ<br />
˙<br />
œ<br />
œ<br />
œ j œ œ œ ˙˙<br />
œ j œ<br />
˙ œ œ œ œ œ œ<br />
œ<br />
˙˙<br />
œ<br />
œ<br />
˙˙<br />
œ œ œ<br />
œ<br />
œ œ œ œ œj œ œ<br />
œ<br />
58<br />
&<br />
°<br />
&<br />
&<br />
- ia!<br />
Christ<br />
- ia!<br />
Christ<br />
f<br />
- ia!<br />
Christ<br />
f<br />
f<br />
f<br />
œ œ ˙ Œ œ œ œ œ œ œ ˙ œ œ ˙<br />
˙<br />
˙<br />
˙ œ<br />
the Sa - viour is born, born!<br />
˙ œ œ œ J œ ˙ ˙<br />
the Sa - viour is born,<br />
the Sa - viour is born,<br />
˙ ˙ œ œ œ œ ˙<br />
œ<br />
œ œ ˙<br />
˙ œ ˙<br />
˙<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
{<br />
?<br />
- ia!<br />
Christ<br />
f<br />
˙<br />
˙<br />
œ<br />
˙<br />
- ia!<br />
Christ<br />
œ œ ˙<br />
˙<br />
˙œ œ<br />
˙<br />
˙<br />
œ<br />
f<br />
˙<br />
the Sa - viour is born,<br />
œ<br />
œ<br />
œ<br />
the Sa - viour is born,<br />
œ œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ ˙˙ ˙˙ <br />
œœœ<br />
œj œ œœ œ˙<br />
œ<br />
œ<br />
˙<br />
œ <br />
œ<br />
˙˙˙ ˙˙˙ <br />
œ<br />
œœ œ ˙<br />
˙
229<br />
S.<br />
A.<br />
T.<br />
B.<br />
63<br />
°<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
{<br />
?<br />
69<br />
°<br />
&<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
{<br />
?<br />
˙ ˙˙ ˙<br />
˙ <br />
˙˙ ˙<br />
˙˙ <br />
poco rit. a tempo<br />
9<br />
mf<br />
mp<br />
œ œ œ œ œ j œ ˙ ˙<br />
Œ ˙ ˙<br />
Christ the Sa - viour is born!<br />
oo<br />
mf<br />
mp<br />
˙ ˙ ˙ <br />
˙ ˙˙<br />
˙˙<br />
born!<br />
oo<br />
mf<br />
mp<br />
˙ œ˙ ˙ œ œ j œ ˙ œ œ j œ ˙<br />
born!<br />
Si - lent night, ho - ly night,<br />
mf<br />
mp<br />
˙<br />
˙ ˙˙ ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
born!<br />
oo<br />
poco rit.<br />
a tempo<br />
œ<br />
œ<br />
˙ œ œ<br />
œ ˙ œj œ ˙<br />
˙<br />
œ œ J œ ˙˙ œ œ J œ ˙˙ mf<br />
mp<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙ ˙ ˙ ˙ ˙ ˙<br />
oh<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
oh<br />
˙ œ ˙ ˙ œ ˙ ˙ œ œ œ J<br />
œ<br />
Son of God, love’s pure light; Ra - diance beams from<br />
˙ ˙<br />
˙ ˙ ˙ ˙<br />
˙<br />
˙ ˙ ˙<br />
˙<br />
˙<br />
oh<br />
˙˙ œ ˙ ˙˙ œ ˙ ˙˙ ˙<br />
<br />
œ<br />
˙ œ œ J œ<br />
for online perusal only<br />
˙<br />
˙<br />
˙
230<br />
10<br />
75<br />
°<br />
&<br />
˙ œ ˙ ˙<br />
˙<br />
˙<br />
œ<br />
˙ ˙<br />
œ<br />
˙<br />
oh<br />
&<br />
˙ œ ˙ ˙ ˙ ˙ œ ˙<br />
oh<br />
&<br />
‹<br />
?<br />
œ œ j œ ˙ ˙ œ œ œ J<br />
œ œ œ j œ ˙<br />
thy ho - ly face, With the dawn of re - deem - ing grace,<br />
¢<br />
˙<br />
˙<br />
˙<br />
˙ œ ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
œ<br />
oh<br />
&<br />
˙ œ œ ˙<br />
˙<br />
˙<br />
˙˙<br />
œ<br />
˙<br />
˙ œ<br />
˙<br />
˙<br />
{?<br />
œ ˙<br />
˙ œ j œ ˙<br />
˙<br />
œ<br />
for online perusal only<br />
˙<br />
˙ œ œ<br />
˙<br />
˙ œ j œ œ ˙<br />
˙ œ j œ ˙<br />
˙<br />
œ<br />
81<br />
°<br />
&<br />
&<br />
mf<br />
˙ œ œ œ J œ ˙ ˙<br />
Je<br />
mf<br />
˙<br />
- sus, Lord, at thy birth,<br />
œ œ œ j œ œ˙<br />
poco rit.<br />
˙ ˙ œ ˙<br />
Je<br />
mf<br />
- sus, Lord, at thy birth,<br />
˙ œ œ œ J œ ˙ ˙<br />
&<br />
‹<br />
?<br />
Je<br />
- sus, Lord, at thy birth,<br />
¢<br />
˙<br />
mf<br />
œ<br />
œ œ j œ ˙<br />
˙<br />
˙<br />
˙<br />
&<br />
{<br />
?<br />
Je<br />
˙ ˙˙<br />
mf<br />
˙<br />
- sus, Lord, at thy birth,<br />
œ œ<br />
œ<br />
œ œ œ œ J<br />
œ poco rit.<br />
˙<br />
˙œ ˙ ˙˙ œ ˙<br />
œ j œ ˙˙ ˙˙
231<br />
S.<br />
85<br />
3<br />
& ∑ 2 ∑<br />
°<br />
&<br />
mp<br />
SOPRANO DUET or SMALL GROUP<br />
Broader q = 78<br />
mp<br />
3<br />
4 œ œ j œ ˙<br />
Si<br />
- lent night,<br />
œ 3<br />
3<br />
œ œ 2 ˙ ˙ ˙ 4<br />
˙ ˙<br />
11<br />
A.<br />
T.<br />
&<br />
&<br />
‹<br />
?<br />
¢<br />
&<br />
{<br />
Je<br />
mp<br />
oo<br />
mp<br />
- sus, Lord, at thy birth.<br />
3<br />
3<br />
˙ 2 w 4 ˙ ˙<br />
˙ 3<br />
3<br />
2 w 4 ˙ œ œ J<br />
œ<br />
oo oo Si - lent<br />
mp<br />
3<br />
3<br />
˙<br />
˙ 2 w ˙<br />
4 ˙<br />
B. b<br />
?<br />
oo<br />
œ<br />
3<br />
3<br />
˙ œ œ 2 ˙ 4<br />
ẇ ˙ œ<br />
˙<br />
mp<br />
˙<br />
3<br />
2<br />
oo<br />
oo<br />
Broader q = 78<br />
3<br />
w 4<br />
˙˙ ˙˙ b ˙<br />
˙<br />
œ j œ ˙˙ œ œ J œ<br />
for online perusal only<br />
89<br />
&<br />
°<br />
&<br />
&<br />
&<br />
‹<br />
ho<br />
Si<br />
Si<br />
night.<br />
- - ly<br />
night.<br />
p<br />
U<br />
? ˙<br />
¢ b b<br />
˙<br />
˙<br />
˙ ∑<br />
œ œ œ œj œ œ ˙<br />
<br />
Ė<br />
& b b<br />
{<br />
?<br />
˙<br />
bœ<br />
˙<br />
b˙<br />
˙ œ <br />
b˙ molto rit.<br />
- lent night.<br />
p<br />
U<br />
b˙<br />
˙ ˙ ˙<br />
p<br />
U<br />
bœ<br />
j œ ˙ ˙ ˙ ˙<br />
p<br />
U<br />
œ œ œ œ ˙ ˙ ˙<br />
- lent, ho - ly night.<br />
p<br />
U<br />
b˙ ˙ ˙ ˙<br />
molto rit.<br />
bœ<br />
˙<br />
J<br />
œ œ œ œ<br />
p<br />
Si<br />
- lent night.<br />
U<br />
˙<br />
˙<br />
˙<br />
b<br />
b<br />
˙˙ ˙˙ ˙˙<br />
œ œ œ ˙<br />
∑ œ œJ œ <br />
uĖ
CHRISTMAS<br />
SATB unaccompanied or with optional handbells<br />
232<br />
2<br />
for online perusal only<br />
This endris night<br />
Sarah Quartel<br />
A
233<br />
Commissioned <strong>by</strong> Luther College Collegiate Chorale and Jennaya Robison, conductor<br />
This endris night<br />
15th cent., adap.<br />
SARAH QUARTEL<br />
‹<br />
&<br />
HANDBELLS *<br />
(optional )<br />
Luminous q. = 52<br />
‹<br />
œ œ œ œ œ ˙ ˙ ˙ ˙ ˙<br />
## 6<br />
˙˙<br />
& 8<br />
˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ <br />
mf<br />
unis. mp<br />
°<br />
SOPRANO 6<br />
ALTO & # # 8 ∑ ∑ ∑ Œ Œ<br />
œ j œ œ j œ œ j<br />
oo<br />
TENOR 6<br />
BASS ¢ & # # 8 ∑ ∑ ∑ ∑ ∑<br />
‹ ##<br />
&<br />
6<br />
˙ ˙˙ ˙ <br />
˙ ˙˙ ˙ <br />
˙ ˙˙ ˙ <br />
˙ ˙˙ ˙ <br />
˙ ˙˙ ˙ <br />
S./A.<br />
°<br />
¢ & # #<br />
for online perusal only<br />
nœ œ œ œ œ œ œ œ œ œ œ j œ nœ<br />
œ œ œ j œ œ j œ œ j nœ œ œ œ<br />
oo<br />
œ œ<br />
â ä<br />
‹ ˙ ##<br />
˙˙ ˙ <br />
˙ ˙˙ ˙ ˙ ˙˙ ˙ <br />
&<br />
∑ ∑<br />
11<br />
S.<br />
°<br />
& # #<br />
p<br />
œ œ œ œ œ œ œ œ j ‰ ‰ ˙ œ œ œ œ œ j<br />
oo<br />
A.<br />
& # #<br />
œ œ œ œ œ œ œ œ j ‰ œ j œ œ j œ œ j nœ œ œ œ œ œ œ œ œ œ œ j<br />
This en - dris 1 night I saw a sight, a star as bright as<br />
T.<br />
B.<br />
?#<br />
¢ #<br />
∑<br />
∑<br />
p<br />
˙<br />
˙<br />
˙<br />
˙<br />
œ<br />
˙<br />
œ<br />
oo<br />
1<br />
endris = other<br />
* If handbells are not available, this part may be played on any percussion instrument of similar timbre, such as a glockenspiel, or on the<br />
organ using an appropriate stop. Note that since handbells are written an octave lower than sounding pitch, this part should be played an<br />
octave higher if played on a non-transposing instrument. If omitting the instrumental part, begin the piece at bar 4.<br />
Duration: 3 mins<br />
Also available in a version for SSAA unaccompanied or with optional handbells (or percussion, or organ) (ISBN 978–0–19–352914–4).<br />
© Oxford University Press 2020<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
234<br />
4<br />
16<br />
°<br />
& # #<br />
œ<br />
nœ<br />
œ œ ‰ ˙ œ œ œ œ œ j œ nœ<br />
œ J J ‰ j œ<br />
oo<br />
mp<br />
This<br />
ä<br />
& # #<br />
?#<br />
¢ #<br />
œ œ j ‰ j œ œ œ œ œ œ j nœ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ j ‰ j œ<br />
day, And ev - er a-mong,<br />
a mai - den sung,‘Lul - ly, <strong>by</strong> <strong>by</strong>, lul - lay, lul-lay.’<br />
œ<br />
œ<br />
œ<br />
œ<br />
‰<br />
˙<br />
˙<br />
oo<br />
˙<br />
˙<br />
œ<br />
˙<br />
œ<br />
œ<br />
œ<br />
mp<br />
This<br />
œ j œ<br />
J ‰ œ<br />
j<br />
J<br />
mp<br />
â<br />
for online perusal only<br />
21<br />
°<br />
& # #<br />
œ<br />
love<br />
j œ<br />
J œ<br />
j n<br />
œ<br />
J œ œ œ œ<br />
J<br />
œ<br />
œ œ œ œ œ œ œ œ<br />
j œ <br />
J<br />
œ<br />
did<br />
- ly la - dy sat and sang, And to her child<br />
did say, did say:<br />
?# ¢ # œ<br />
j œ<br />
J œ<br />
œ<br />
j œ œ œ œ œ œ œ j œ<br />
œ œ j œ œ j œ<br />
œ œ<br />
œ nœ<br />
œ œ j J ‰ j œ œ<br />
J<br />
J J<br />
J<br />
did<br />
say:<br />
say:<br />
nœ j ‰ j œ<br />
J J<br />
œ<br />
j œ<br />
J œ<br />
œ j<br />
œ<br />
J<br />
‘My son, my bro-<br />
ther,<br />
œ j œ<br />
œ<br />
J œ<br />
œ j<br />
œ<br />
J<br />
26<br />
°<br />
& # #<br />
?#<br />
¢ #<br />
n<br />
œ<br />
œ œ œ<br />
J<br />
fa<br />
œ<br />
œ œ<br />
- ther dear, Why li - est thou thus<br />
œ œ œ œ œ œn<br />
œ œ œ J j ‰ œ<br />
j<br />
J<br />
in<br />
in<br />
in<br />
hay?<br />
hay, in hay?<br />
œ œ œ œ œ œ œ j œ œ œ œ<br />
J<br />
œ œ œ œ j œ nœ<br />
j œ J œ<br />
œ œ œ j<br />
‰ œ J J<br />
hay?<br />
My<br />
n<br />
œœ œ œ œ nœ<br />
J<br />
sweet<br />
œ<br />
n œ J<br />
- est bird, ’tis<br />
œ j œ<br />
J œ<br />
œ j<br />
œ<br />
J<br />
30<br />
°<br />
& # # nœ œ œ œ<br />
J<br />
?#<br />
¢ #<br />
thus<br />
œ<br />
œ<br />
nœ<br />
œ œ<br />
œ<br />
J<br />
mf<br />
re- quired, though thou be king<br />
j œ j nœ<br />
œ<br />
J<br />
œ œ bœ<br />
J<br />
ve<br />
-<br />
ray, 2<br />
nœ œ œ<br />
œ œJ œ œ <br />
œ<br />
J nœ œ œ j<br />
J ‰ j<br />
J<br />
œ<br />
J<br />
mf<br />
œ j œ œ œ<br />
œ nœ œ<br />
J J<br />
œ<br />
n<br />
n b<br />
œ œ œ œ<br />
j<br />
nœ<br />
J<br />
ve - ray, 2 ve - ray, but ne - ver-the-less<br />
I<br />
nœ<br />
n<br />
j<br />
œ<br />
J<br />
œ j ‰<br />
J<br />
œ j<br />
œ<br />
J<br />
bœ œ<br />
œ œ œ<br />
b<br />
nœ<br />
n<br />
j<br />
œ<br />
J<br />
2<br />
veray = in truth
235<br />
34<br />
will<br />
mp<br />
°<br />
& # # nœ nœ<br />
œ j<br />
œ œ œ J<br />
œ œ œ œ<br />
j<br />
J<br />
“By <strong>by</strong>, lul -<br />
not cease to sing,<br />
?# œ nœ<br />
j<br />
¢ # #<br />
œ j œ<br />
œ œ nœ<br />
œ J<br />
œ<br />
œ j œ<br />
œ<br />
J<br />
œ<br />
œ œ œ n<br />
œ<br />
œ œ<br />
J J j ‰ œ<br />
j œ<br />
J<br />
lay.” ’<br />
j œ œ j<br />
J<br />
œ œ<br />
The child then spake whilst<br />
œ j œ œ<br />
œ nœ<br />
j œ œ œ j<br />
nœ<br />
œ œ ‰ j œ œ œ œ œ œ œ<br />
j<br />
J J J<br />
5<br />
mp<br />
“By <strong>by</strong>, lul - lay, lul - lay.” ’<br />
38<br />
°<br />
& # #<br />
mf<br />
nœ<br />
œ œ nœ<br />
œ œ œ<br />
œ<br />
œ<br />
J<br />
œœ œ # œ œ œ œ œœ œ œœ<br />
nœ j ‰ j œ<br />
œ<br />
J J<br />
for online perusal only<br />
j œ œ j<br />
J<br />
œ œ<br />
she did sing, and to his mo-ther<br />
did say, ‘Yea, I am known as<br />
?# ¢ # n œ œ œ œ j œ œ<br />
œ œ œ œ œ œ nœ<br />
œ œj œ œ œ œ œ<br />
œ œ œ n œ œ j œ œ œ ‰ œj j œ œ œ œ œ œ œ<br />
j<br />
J J<br />
mf<br />
42<br />
°<br />
& # # nœ<br />
œ œ nœ<br />
œ œ œ<br />
Hea<br />
œ<br />
œ<br />
J<br />
œœ œ œ œ # œœœ œ œ œ œ n<br />
n<br />
J j ‰ œ<br />
j<br />
J œœœ œœ œ œ nœ<br />
œ œ œ<br />
be laid.<br />
- ven-King<br />
in crib though I For an - gels bright down<br />
?# ¢ # n œ œ œ œ j œ œ<br />
œ œ œ œ œ œ nœ<br />
œ œj œ œ j œ nœ<br />
œ œ j œ j<br />
œ œ œ œ nœ<br />
œ œJ ‰<br />
œ<br />
œ J œ œ œ œ œj œ œ œ œ œ<br />
be laid, be laid.<br />
46<br />
°<br />
& # # nœ œ œ<br />
œ<br />
œ nœ<br />
œ œ nœ œ œ<br />
f<br />
nœ<br />
œ bœ œ œ œ œ <br />
œ n n b<br />
J œ œ œ œ j ‰ j<br />
J<br />
œ<br />
J œ nœ<br />
œ<br />
J<br />
œ<br />
œ j<br />
œ<br />
J<br />
?#<br />
¢ #<br />
on me light; thou know - est ’tis no nay. 3 And for that sight thou<br />
œ œ œ j nœ<br />
œ œ œ œ œ bœ<br />
J<br />
f<br />
œ j œ œ œ<br />
nœ<br />
œ œ œ œ œ œ<br />
œ n<br />
œ<br />
nœ œ œ j ‰ œj œ J J<br />
bœ œ<br />
J bœ<br />
œ œ œ nœ<br />
j<br />
nœ<br />
œ œ œ<br />
for that sight thou<br />
3<br />
no nay = undeniable
50‹ ##<br />
HB. & ∑ ∑<br />
S.<br />
A.<br />
?#<br />
¢ #<br />
may<br />
mp “By<br />
°<br />
& # # n œ nœ<br />
œ<br />
J #<br />
œ œ<br />
j J œ œ<br />
j<br />
J<br />
T.<br />
B.<br />
6<br />
œ<br />
œ œnœ<br />
de-light<br />
to sing, “By<br />
mp<br />
<strong>by</strong>,<br />
<strong>by</strong>,<br />
lul<br />
œ j œ œ œ œ œ œ œ J<br />
œ œ œ j nœ<br />
j<br />
J œ J œ<br />
œ<br />
mp<br />
lul - lay.” ’<br />
-<br />
236<br />
œ œ œ œ œ œ œ œ <br />
œ œ<br />
J nœ<br />
œ œ œ œ j ‰ ‰<br />
J ‰ nœ<br />
J<br />
lay.” ’<br />
œ<br />
œ<br />
p<br />
ah<br />
nœ<br />
j œ œ<br />
nœ<br />
œ œ ‰ J œJ<br />
ah<br />
mf<br />
Œ<br />
œ œ nœ<br />
n<br />
œ œ œ<br />
œ j œ œ œ<br />
b˙<br />
œ œ œ<br />
n<br />
n<br />
n<br />
œ œœ œj<br />
œ œ<br />
nœ<br />
œ œ œ œ œ j<br />
nœ<br />
3<br />
4<br />
3<br />
4â ä<br />
3<br />
4<br />
S.<br />
A.<br />
T.<br />
B.<br />
‹ ##<br />
&<br />
3<br />
4<br />
55<br />
°<br />
& # # 3<br />
4<br />
& # # 3<br />
4<br />
?# 3 bœ˙ œ<br />
¢ # 4<br />
‹ ##<br />
&<br />
60<br />
°<br />
& # #<br />
& # #<br />
?#<br />
¢ #<br />
may de - light to sing, “By <strong>by</strong>, lul<br />
œ<br />
f<br />
f<br />
oh<br />
˙<br />
6<br />
˙˙ ˙ <br />
8<br />
mf<br />
mp<br />
mf<br />
- lay, lul-lay.” ’<br />
n˙ ˙ nœ<br />
6 ˙ œ œ œ 8<br />
nœ<br />
f<br />
oh<br />
œ œ œ ˙<br />
6<br />
œ 8 œ œ j œ œ j nœ œ œ œ œ œ œ œ œ œ œ j<br />
f<br />
˙ ˙˙ ˙ <br />
4<br />
skill = reasonable<br />
œ œ œ œ<br />
œ<br />
œ<br />
n˙<br />
˙ ˙˙ ˙ <br />
oh<br />
œ<br />
œ<br />
‘Now sweet son, since it is so, that all is at thy<br />
mp<br />
nœ<br />
œ 6 ˙<br />
8 ˙<br />
oh<br />
˙ ˙˙ ˙ <br />
œ œ ‰ ˙ œ œ ˙ œ nœ<br />
œ J J ‰ œ j<br />
œ œ j ‰ j œ œ œ j œ œ j nœ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ œ j<br />
will, I pray thee grant to me a boon, if it be right and skill, 4 that<br />
œ<br />
œ<br />
œ ‰<br />
for online perusal only<br />
˙<br />
˙<br />
n˙<br />
œ œ ˙<br />
p<br />
˙ ˙˙ ˙ <br />
˙<br />
˙<br />
˙ ˙˙ ˙ <br />
˙ ˙˙ ˙ <br />
˙<br />
˙<br />
˙ ˙˙ ˙ <br />
mp<br />
mp<br />
that<br />
mp<br />
œ œ<br />
œ j ‰ œj<br />
œ J J<br />
that<br />
ä<br />
â
237<br />
65<br />
°<br />
& # #<br />
S.<br />
A.<br />
n<br />
n n n n n n n<br />
œ<br />
œ œ œ œj œ j<br />
œ nœ<br />
œ œ œ œ œ œ œ œ œ<br />
œ œ œJ<br />
J<br />
œ œ œ œ œ<br />
œ<br />
j J<br />
œ ‰<br />
œ<br />
j<br />
J J<br />
f<br />
7<br />
9 8<br />
9 8<br />
T.<br />
B.<br />
?#<br />
¢ #<br />
child or man, who will or can, be mer<br />
nœ<br />
œ<br />
j j<br />
J œ nœ<br />
œ œ j nœ<br />
œ j<br />
J œ<br />
J<br />
œ œ<br />
J<br />
child or man, who will or can, be mer<br />
f<br />
nœ<br />
bœ<br />
- ry on my day, to<br />
œ j œ<br />
œ nœ<br />
J<br />
œ j œ œ j ‰<br />
J œ œ J<br />
nœ<br />
j<br />
œ<br />
J<br />
- ry on my day, to<br />
69<br />
2<br />
poco rit.<br />
mf<br />
° 9 6<br />
& # # n<br />
8<br />
œ b<br />
œ n<br />
n<br />
œ œ<br />
j n œ œ œ 8<br />
œ j œ<br />
J J # œ ‰ œ<br />
j œ J J œ œ œ<br />
j œ<br />
J œ œ œ œ œ œ j ‰ j<br />
J œ œ œ<br />
2<br />
bliss them bring and I shall sing,<br />
2<br />
mf<br />
“Lul - lay,<br />
mp sempre<br />
“Lul - ly, <strong>by</strong> <strong>by</strong>,<br />
?# 9 bœ<br />
6<br />
¢ # 8<br />
nœ œ nœ<br />
j œ œ j œ œ<br />
bœ<br />
nœ œ œ œ œnœ<br />
8 œ j ‰<br />
œ j œ J J œ œ J<br />
œ œ œ j œ J œ œ J<br />
œ œ œj œ<br />
J<br />
2<br />
bliss them bring and I shall sing,<br />
mf<br />
“Lul - lay,<br />
mp<br />
lul<br />
-<br />
lay,<br />
lul - ly, <strong>by</strong> <strong>by</strong>, lul -<br />
lul<br />
lay,<br />
mp sempre<br />
“Lul - ly, <strong>by</strong> <strong>by</strong>, lul -<br />
ly,<br />
-<br />
lul -<br />
mp<br />
lul -<br />
<strong>by</strong> <strong>by</strong>, lul -<br />
HB.<br />
‹ ##<br />
&<br />
73<br />
rit.<br />
∑<br />
for online perusal only<br />
just under tempo molto rit.<br />
˙ ˙˙ ˙ <br />
mf<br />
˙ ˙˙ ˙ <br />
œ œ <br />
œ œ <br />
U˙<br />
˙˙ ˙ <br />
°<br />
& # #<br />
- ly, <strong>by</strong> <strong>by</strong>,<br />
n<br />
n<br />
œ œ œ œ œ œ<br />
œJ ‰ œ<br />
J<br />
mf<br />
- lay.” ’ oo<br />
- lay.” ’<br />
?# ˙<br />
¢ # bœ<br />
nœ<br />
lul - lay.” ’<br />
- lay.” ’<br />
oo<br />
˙ <br />
#<br />
n<br />
œ œ œ œ ˙œ œ œ<br />
J J<br />
˙<br />
˙<br />
U<br />
œ œ œ ˙ ˙ <br />
˙˙ ˙ u<br />
n˙<br />
œ œ ˙<br />
˙<br />
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Music originated <strong>by</strong> Andrew Jones<br />
Printed in England <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.
CHRISTMAS<br />
SATB and piano<br />
238<br />
2<br />
for online perusal only<br />
Wexford Carol<br />
Arranged <strong>by</strong><br />
Sarah Quartel<br />
A
239<br />
for Torin Chiles, Director of Music, in thanks for musical gifts shared during lockdown,<br />
and for the New St. James Pres<strong>by</strong>terian Church Choir Family, London, Ontario, Canada<br />
Wexford Carol<br />
Trad. Irish carol<br />
arr. SARAH QUARTEL<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
BASS<br />
° 3<br />
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¢ b b4<br />
With quiet wonder q = 69<br />
∑ ∑ ∑<br />
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With quiet wonder q = 69<br />
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our good God for us has done in send - ing his be - lov - ed son.<br />
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&<br />
With<br />
Duration: 3.5 mins<br />
© Oxford University Press 2021<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
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Music and text origination <strong>by</strong> Katie Johnston
CHRISTMAS<br />
SATB (with divisions) unaccompanied<br />
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Gaudete!<br />
Annabel Rooney<br />
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ANNABEL McLAUCHLAN ROONEY<br />
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Rejoice! rejoice! Christ is born of the Virgin Mary; rejoice!<br />
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This piece has been recorded <strong>by</strong> the Choir of Christ’s College, Cambridge, conducted <strong>by</strong> David Rowland, on the album<br />
As a seed bursts forth (Regent Records).<br />
Duration: 2 mins<br />
© Oxford University Press 2021 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
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let us devoutly sing songs of joy.<br />
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the world is renewed <strong>by</strong> Christ the King.
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254<br />
for the Junior Choir of St. Michael’s Choir School, Toronto<br />
<strong>Christmas</strong> at Massey Hall, 2014<br />
Ring out, ye bells!<br />
Paul Laurence Dunbar<br />
(1872–1906)<br />
KATHLEEN ALLAN<br />
(b. 1989)<br />
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for online perusal only<br />
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1 lorn = lonely, forlorn<br />
© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
255<br />
Ring out, ye bells! 209<br />
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210 Ring out, ye bells!<br />
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* move straight on to the mm
257<br />
Ring out, ye bells! 211<br />
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* move straight on to the mm
258<br />
Ave maris stella<br />
15th- cent. English*<br />
KRISTINA ARAKELYAN<br />
(b. 1994)<br />
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* From Edith Rickert, Ancient English <strong>Christmas</strong> Carols 1400 –1700 (London, 1910).<br />
1 Hail, star of the sea 2 And ever virgin<br />
© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
259<br />
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Ave maris stella 51<br />
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3 Nurturing Mother of God
260<br />
52 Ave maris stella<br />
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4 Happy gate of heaven † Godes = God’s
261<br />
Ave maris stella 53<br />
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262<br />
60<br />
Bells, Blessings<br />
Alfred, Lord Tennyson (1809 –92) (adap.)<br />
and Carol Barnett<br />
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(b. 1949)<br />
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* Close straight onto the ng of ring where possible, throughout.<br />
© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
263<br />
Bells, Blessings 61<br />
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264<br />
62 Bells, Blessings<br />
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265<br />
Bells, Blessings 63<br />
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266<br />
64 Bells, Blessings<br />
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* peace may be sung as an alternative to Christ
CHRISTMAS<br />
267<br />
Soprano or baritone solo and SATTB (with divisions) unaccompanied<br />
for online perusal only<br />
Coventry Carol<br />
B. E. Boykin
268<br />
Coventry Carol<br />
from the Pageant of the Shearmen and Tailors (16th cent.)<br />
arr. B. E. BOYKIN (b. 1989)<br />
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© Oxford University Press 2023 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
269<br />
3<br />
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270<br />
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271<br />
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272<br />
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273<br />
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274<br />
What cheer?<br />
Words from Richard Hill’s<br />
Commonplace Book (16th cent.)<br />
MARGARET BURK<br />
(b. 1990)<br />
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© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
275<br />
304 What cheer?<br />
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276<br />
What cheer? 305<br />
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277<br />
306 What cheer?<br />
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278<br />
What cheer? 307<br />
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279<br />
308 What cheer?<br />
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280<br />
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What cheer? 309<br />
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310 What cheer?<br />
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281<br />
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for online perusal only
CHRISTMAS<br />
282<br />
Tenor solo and SATB (with divisions) unaccompanied<br />
for online perusal only<br />
It came upon the midnight clear<br />
Valerie Capers
283<br />
It is with thanks and appreciation that I dedicate this music<br />
to my dear friend and colleague, Dr Sylvia Eversole<br />
It came upon the midnight clear<br />
E. H. Sears<br />
(1810–76)<br />
Trad. English<br />
arr. VALERIE CAPERS (b. 1935)<br />
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© Oxford University Press, Inc. 2003. Assigned to Oxford University Press 2010.<br />
© Oxford University Press 2023.<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
284<br />
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285<br />
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286<br />
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CHRISTMAS<br />
SATB (with divisions) and organ<br />
287<br />
for online perusal only<br />
A Present for the Future<br />
Joanna Forbes L’Estrange
288<br />
Dedicated to Grace and Annabelle, granddaughters of Elisabeth and Rupert<br />
A Present for the Future<br />
Words and music <strong>by</strong><br />
JOANNA FORBES L’ESTRANGE (b. 1971)<br />
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© Oxford University Press 2023 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
289<br />
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Music and text origination <strong>by</strong> Katie Johnston<br />
Printed in Great Britain <strong>by</strong> Halstan & Co. Ltd, Amersham, Bucks.
295<br />
256<br />
for Gary James and the Choir of St. Paul’s Episcopal Church, Seattle, Washington<br />
The Oxen<br />
Thomas Hardy<br />
(1840 –1928)<br />
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JESSICA FRENCH<br />
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296<br />
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297<br />
258 The Oxen<br />
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* Keyboard reduction for rehearsal only.<br />
1<br />
barton = farm building 2<br />
coomb = little valley
298<br />
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299<br />
234<br />
Commissioned <strong>by</strong> the Metropolitan United Church Choir School,<br />
London, Ontario, for their 2019 Service of Nine Lessons and Carols<br />
The Christ-child<br />
English: G. K. Chesterton<br />
(1874 –1936)<br />
Latin from a sequence for Pentecost<br />
LAURA HAWLEY<br />
(b. 1982)<br />
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© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
300<br />
The Christ-child 235<br />
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1 And on earth, peace
236 The Christ-child<br />
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2 Fill the inmost heart 3 of your faithful
238 The Christ-child<br />
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4 Come, Holy Spirit
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240 The Christ-child<br />
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* small notes optional
307<br />
242 The Christ-child<br />
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5 We adore you
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CHRISTMAS<br />
SATB (with divisions) and organ<br />
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In dulci jubilo<br />
Cecilia McDowall
310<br />
Commissioned <strong>by</strong> Cathedral Commissions of Wells Cathedral<br />
for Jeremy Cole and the Choir of Wells Cathedral<br />
In dulci jubilo<br />
English text translated from German<br />
<strong>by</strong> R. L. Pearsall<br />
CECILIA McDOWALL<br />
(b. 1951)<br />
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1 In sweet jubilation<br />
© Oxford University Press 2023<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
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2 In a manger 3 In mother’s lap. You are Alpha and Omega! 4 O infant Jesus!
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5 O best of boys! 6 O prince of glory! Draw me after you!
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7 O love of the Father, O mercy of the Son!
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7<br />
8 Through our sins 9 The joys of heaven
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10 Where are the joys
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11 New songs 12 In the king’s courts
317<br />
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318<br />
CHRISTMAS<br />
SATB unaccompanied<br />
for online perusal only<br />
Of the Father’s love begotten<br />
Becky McGlade
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329<br />
311<br />
What child is this?<br />
William Chatterton Dix<br />
(1837– 98)<br />
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BECKY McGLADE<br />
(b. 1974)<br />
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330<br />
312 What child is this?<br />
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331<br />
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332<br />
314 What child is this?<br />
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333<br />
I saw a stable<br />
Mary Coleridge (adap.)<br />
(1861–1907)<br />
TAWNIE OLSON<br />
(b. 1974)<br />
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334<br />
I saw a stable 119<br />
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120 I saw a stable<br />
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CHRISTMAS<br />
SATB and piano<br />
336<br />
for online perusal only<br />
Before the Song was Done<br />
Sarah Quartel
337<br />
Commissioned <strong>by</strong> the Fort Worth Chorale of Schola Cantorum of Texas,<br />
Karen Kenaston-French, Artistic Director<br />
Before the Song was Done<br />
Sara Teasdale<br />
(1884 –1933)<br />
SARAH QUARTEL<br />
(b. 1982)<br />
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1 chrysoprase = an apple-green gemstone<br />
© Oxford University Press 2023 Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
338<br />
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341<br />
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342<br />
7<br />
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for online perusal only
CHRISTMAS<br />
SATB and piano<br />
343<br />
for online perusal only<br />
Iesous ahatonnia’<br />
arr. Sarah Quartel<br />
Text <strong>by</strong> Andrée Levesque Sioui<br />
Foreword <strong>by</strong> Dr Jeanette Gallant
FOREWORD<br />
Choral groups recently have distanced themselves from the Huron Carol, concerned it either<br />
has been culturally appropriated, or is insensitive to the Wendat people. Sarah Quartel’s new<br />
arrangement—with texts <strong>by</strong> Wendat poet Andrée Levesque Sioui—invites choirs and audiences,<br />
alike, to reflect on the truths of the past while preparing for a more cohesive future. To honour<br />
its origins, the name of the piece has been changed to Iesous ahatonnia’. The term ‘Huron’ is<br />
considered derogatory, depicting how French settlers referred to the bristled hairstyle of Wendat<br />
men in colonial times.<br />
Contact, Colonization, and Christianization<br />
344<br />
During the seventeenth century, Wendake—the Wendat’s ancestral home—was situated on what<br />
is known, today, as Canada’s Georgian Bay. Despite being a formidable community pre-contact,<br />
the Wendat Confederacy experienced social and religious division, as well as displacement during<br />
the 1600s, due to disease and warfare. For instance, contact with French fur traders exposed the<br />
Wendat to diseases such as smallpox, causing considerable loss of life. The arrival of the Jesuits<br />
then culminated in social schisms because of competing spiritual beliefs. Finally, Haudenosaunee<br />
attacks in 1648 and 1649 split the Wendat Confederacy into various groups. In time, some Wendat<br />
(now called the Wyandot) ended up in Michigan, Ohio, Oklahoma, and Kansas, while others<br />
assimilated with Indigenous groups, especially the Haudenosaunee. Others eventually established<br />
themselves near present-day Québec City in Jeune Lorette—later renamed Wendake—where they<br />
remain today.<br />
for online perusal only<br />
A Brief History<br />
Iesous ahatonnia’ is believed to have been written in the 1640s <strong>by</strong> Jesuit priest Jean de Brébeuf. The<br />
song likely was transcribed after Brébeuf’s death <strong>by</strong> his replacement, Father Pierre-Joseph-Marie<br />
Chaumonot (c.1660). This original Wendat-language version, previously thought to be lost, is<br />
housed at the Bibliothèque de l’Assemblée nationale du Québec.<br />
In historical documents like the Jesuit Relations, the carol is not mentioned during<br />
Father Brébeuf’s stay among the Wendat. However, there is an account of Father Chaumonot<br />
administering the last rights to a dying Wendat girl on <strong>Christmas</strong> day in 1688. The child is said to<br />
have sung Jesus is going to be born, a tune performed <strong>by</strong> the Wendat during <strong>Christmas</strong> festivals.<br />
This is possibly a reference to Iesous ahatonnia’, which translated means: ‘Jesus, he is newly made,<br />
just born’.<br />
The Lyrics<br />
The story of Iesous ahatonnia’ was first published in Ernest Myrand’s book Noëls Anciens de la<br />
Nouvelle France (1899) and has been the song’s accepted history for many years. Writing amid<br />
religious conflict between French Catholics and English Protestants, Myrand described the song<br />
as Canada’s ‘first’ <strong>Christmas</strong> carol, written to teach the Wendat the nativity story. Because this<br />
account was repeated and monumentalized in print culture (even in English Canada), the song<br />
was assumed to exist in static form. However, the text changed three times in different historical<br />
contexts from Wendat, to French, and then to English.<br />
These variations started when Myrand asked Wendat notary Paul Tsa8enhohi Picard<br />
(1845–1905) to adapt a six-verse Wendat version <strong>by</strong> Father Girault de Villeneuve (1718–94),
which Picard’s family had inherited. Because Girault’s rendition had been used as a tool of religious<br />
conversion, rhetorical principles (i.e. persuasive language) and Wendat cultural symbols were<br />
embedded in the text. Due to declining Wendat-language instruction, Picard had only a book<br />
knowledge of the Wendat language. Therefore, his version was not a direct translation, but signified<br />
Wendat acculturation in its use of Christian images and a more obedient, deferential tone. The 1927<br />
English-language text <strong>by</strong> Jesse Edgar Middleton (1872–1960) bears no resemblance to its Wendat<br />
or French predecessors. Instead, it is steeped in the popular, though derogatory, nineteenth-century<br />
literary trope: the ‘Vanishing Indian’.<br />
The Melody<br />
345<br />
Equally fascinating is the song’s melodic history, which became embroiled in the nineteenth-century<br />
French nationalist movement. In Myrand’s book, Iesous ahatonnia’ is presented as a Gregorian<br />
melody, based on the French folksong Une Jeune Pucelle. However, this tune has been traced back to a<br />
Renaissance Italian folksong called Madre non mi far Monaca, found throughout Europe in vocal and<br />
instrumental collections from the sixteenth to nineteenth centuries.<br />
Madre non mi far Monaca would first appear in France in a 1576 song collection <strong>by</strong> Jehan<br />
Chardavoine, but under the title Une Jeune Fillette. By the late seventeenth and eighteenth centuries,<br />
this song can be found in Catholic church collections of organ noëls. In his book Histoire de la chanson<br />
populaire en France (1889), French folksong scholar Julien Tiersot claimed that both organ noels—Une<br />
Jeune Fillette and Une Jeune Pucelle—had remained unchanged since the seventeenth century. Using<br />
this source, Myrand likely formulated a musical origin story for Iesous ahatonnia’, not only tying the<br />
text but also the melody to the <strong>Christmas</strong> tradition.<br />
The only similarities between Iesous ahatonnia’ and these early sources, however, are the<br />
beginning four notes and the octave leap after the first phrase repetition. This not only suggests that<br />
the melody changed over time, but that Iesous ahatonnia’ had become part of Tiersot’s folksong<br />
classification system called timbre (i.e. how traditional melodies were borrowed and set to new texts).<br />
In 1910, Tiersot reprinted Myrand’s melodic transcription of Iesous ahatonnia’, citing it as the best<br />
example of the Gregorian tradition in North American Indigenous communities. Since Gregorian<br />
chant had become symbolic of the French nationalist tradition, Iesous ahatonnia’ helped shape a<br />
particular image of French Canada, one in which a Catholic social identity was being upheld.1<br />
for online perusal only<br />
DR JEANETTE GALLANT (D.Phil. Oxon)<br />
© Oxford University Press 2024<br />
1This foreword is a brief synopsis of a comprehensive article written <strong>by</strong> Gallant for Choral Canada’s national<br />
journal, Anacrusis. For full citations see: Gallant, J. (2020). The Huron Carol—The Construction of a<br />
Canadian Cultural Icon. Anacrusis. 38(3): 14-20.
TEXTS<br />
Asterisked terms are explained in the guide that follows.<br />
Iesous ahatonnia’<br />
346<br />
Sky Woman,* Yäa’tayenhtsihk, fell from the sky at sea.<br />
An island formed on Turtle’s back*, Atïio’ diving deep.<br />
From battling Twins* rose harmony, creation’s Circle, öniändih.<br />
Singing ahskennon’nia, ahskennon’nia, singing ahskennon’nia.<br />
Then came the missionaries with their own mythology:<br />
a child born to Mother Mary, come to set souls free.<br />
Three Magi bearing gifts they came, led <strong>by</strong> a star to praise His name.<br />
Iesous ahatonnia’, ahatonnia’, Iesous ahatonnia’.<br />
The Jesuits’ story, fashioned as the Wendat’s own,<br />
drove some toward these new beliefs as death and war had grown.<br />
As conflict grew, division came; the Circle severed, ever changed.<br />
Höndatrawanh, höndatrawanh, höndatrawanh.<br />
Sing thanks to those who’ve come before to teach us harmony.<br />
A world of peace where differences can shape our unity.<br />
True friendship grows a Circle strong, for generations yet to come!<br />
Singing ahskennon’nia, ahskennon’nia, kwaten’ndiyonhrahchondiah.<br />
Iesous ahatonnia’<br />
for online perusal only<br />
Andrée Levesque Sioui<br />
L’Ancienne, Yäa’tayenhtsihk, tomba du ciel en mer.<br />
Une île sur le dos de Tortue,* Atïio’ firent la terre.<br />
Les Jumeaux contraires* harmonisent le grand Cercle, öniändih.<br />
Chantant ahskennon’nia, ahskennon’nia, chantant ahskennon’nia.<br />
Les missionnaires arrivèrent avec leur mythologie:<br />
pour libérer les âmes, un enfant naît de Marie.<br />
Portant des cadeaux, Trois Rois Mages suivent l’étoile pour rendre hommage.<br />
Iesous ahatonnia’, ahatonnia’, Iesous ahatonnia’.<br />
Le récit des Robes noires,* reformulé pour les Wendats,<br />
en convertit plusieurs en temps de guerre, ehonstorat.<br />
Le conflit et la division changent à jamais les relations.<br />
Höndatrawanh, höndatrawanh, höndatrawanh.<br />
Chantons merci aux guides* qui sont venus pour l’harmonie.<br />
Tous unis dans nos différences, la paix dans nos esprits.<br />
Semons les amitiés sincères pour ceux qui viendront sur la terre!<br />
Chantons ahskennon’nia, ahskennon’nia, kwaten’ndiyonhrahchondiah.<br />
Andrée Levesque Sioui
Explanation of terms<br />
347<br />
Sky Woman/l’Ancienne: the English name for the Wendat’s first woman (or ancient one) who, while<br />
pregnant, fell from the Sky World to the Water World (earth)/le nom donné à la première femme qui<br />
tomba du Monde-Ciel au Monde-Mer (la terre) alors qu’elle était enceinte<br />
Turtle’s back/une île sur le dos de Tortue: aquatic animals dove to the bottom of the sea to gather<br />
dirt to create an island on Big Turtle’s back on which Sky Woman could live/les animaux aquatiques<br />
plongèrent au fond de la mer et rapportèrent de la boue pour créer une île sur le dos de Grande Tortue<br />
où l’Ancienne pourrait vivre<br />
battling Twins/les Jumeaux contraires: male twins (Creators) referred to as Order and Chaos, believed<br />
to be the grandchildren of Sky Woman/les frères jumeaux (Créateurs) qui représentent l’Ordre et le<br />
Chaos, les petits-fils de l’Ancienne<br />
des Robes noires: a name for the Jesuits, from the Wendat word Hatitsihenstatsih (black/like coal),<br />
which references the Jesuits’ black clothing/un nom donné aux Jésuites en langue wendat,<br />
Hatitsihenstatsih (noir/comme le charbon), qui désigne leurs vêtements noirs<br />
for online perusal only<br />
aux guides: ancestors and spiritual leaders of all belief systems and world views/les ancêtres et les guides<br />
spirituels des différents systèmes de croyance et de visions du monde<br />
Definitions of the Wendat text<br />
Iesous ahatonnia’<br />
Yäa’tayenhtsihk<br />
Atïio’<br />
öniändih<br />
ahskennon’nia<br />
ehonstorat<br />
höndatrawanh<br />
kwaten’ndiyonhrahchondiah<br />
Jesus is born/Jésus est né<br />
the Ancient (Sky Woman)/l’Ancienne<br />
the wild animals/les animaux sauvages<br />
for a long time/longtemps<br />
peace/la paix<br />
they will hurry up/ils se dépêcheront<br />
they have separated and taken different paths/ils se sont séparés en<br />
chemin, allant chacun de son côté<br />
let us prepare our minds/préparons nos esprits<br />
NOTE: These new texts <strong>by</strong> Andrée Levesque Sioui are copyrighted and their use, outside of performing this<br />
score, violates copyright law. The Wendat words in these texts were gifted to this project and their use in another<br />
context requires permission from the lyricist.
WENDAT PRONUNCIATION GUIDE<br />
Iesous ahatonnia’<br />
[‘jɛ sus ɑ hɑ ‘to͂ njɑʔ]<br />
Yäa’tayenhtsihk [ça ɑʔ tɑ ‘çɛ͂hː tsihː k]<br />
Atïio’<br />
[ɑ ‘ti joʔ]<br />
öniändih<br />
[o ni ‘a n͜dihː]<br />
ahskennon’nia<br />
[ɑhː skɛ͂ ‘no͂ʔ njɑ]<br />
ehonstorat<br />
[ɛ ho͂ ‘sto ɾɑt]<br />
höndatrawanh<br />
[ho n͜dɑ ‘tɾɑ wɑ͂hː]<br />
kwaten’ndiyonhrahchondiah [kwɑ ‘tɛ͂ʔ n͜di ço͂hː ɾɑhː ‘ʃo͂ n͜djɑhː]<br />
Wendat lies forward in the mouth and is rich in fricative continuants.<br />
Stressed syllables are phonetically marked as [ ‘ ].<br />
Comma following vowels o’, en’, ia’, etc. is phonetically marked as glottal stop [ʔ]. Wendat glottal<br />
stop—a break in the airflow—occurs after a vowel, not before as in English uh oh.<br />
Letter a [ɑ] father, o [o] smoke.<br />
Letters an [ɑ͂] French sans/English sauna, en [ɛ͂/æ͂ ] French main/English lamp, on [o͂] French<br />
ton/English Sony.<br />
Letters än [an] fan, ön [on] bone.<br />
Letters i, ï [i] French vite. The forward tongue position of [i] is higher than English meet.<br />
Letters ia [jɑ] yard, io [jo] yoke.<br />
Letter group nd [n͜d]: a continuant grouping. Sing [n] to [d] without stopping the airflow.<br />
Letter r [ɾ]: one flip of the tip of the tongue. Pronounce very as [‘vɛdi]: substitute [ɾ] > [‘vɛɾi].<br />
Letter t: pronounce as in French with no release of air: [t], not [tʰ]. Phonetic diacritical [ʰ] indicates<br />
soft release of air.<br />
Letter h: syllable initial [h] home. Syllable final [h:]: extend soft release of air.<br />
Letter ch: pronounce as [ʃ] shoe. The lips are forward, the hiss is intense.<br />
Letter y: pronounce as German ich-Laut [ç] squeezed gently forward through the [j] space of yard<br />
just behind the alveolar ridge. The hiss is less intense than with [ʃ]. Letter y pronunciation is<br />
distinct from ch.<br />
Language Additional Resources: WENDAT KWAWENNONTAHKWIH. Wendat Language Website<br />
<br />
© Oxford University Press 2024<br />
348<br />
for online perusal only<br />
Pronunciation guide provided <strong>by</strong> Elizabeth Brodovitch
349<br />
Iesous ahatonnia’<br />
Andrée Levesque Sioui<br />
Traditional<br />
arr. SARAH QUARTEL<br />
SOPRANO<br />
ALTO<br />
TENOR<br />
BASS<br />
PIANO<br />
°<br />
& bb b b 4 ∑ ∑ ∑ ∑<br />
? ¢ b b b b 4 ∑ ∑ ∑ ∑<br />
{<br />
Expansive and with mystery q = 60<br />
Expansive and with mystery q = 60<br />
&b b b b nœnœ<br />
œ œ ˙<br />
nœnœnœ<br />
œ ˙<br />
4 ˙<br />
˙<br />
˙<br />
n<br />
˙<br />
˙<br />
n<br />
f mp f<br />
mp<br />
? b b b b ?<br />
4<br />
˙ &<br />
&<br />
˙˙<br />
œ œ œ œ ˙ <br />
<br />
˙˙ ˙˙<br />
œ œ œ œ ˙<br />
Ped.<br />
Ped.<br />
?<br />
3<br />
2<br />
3<br />
2<br />
3<br />
2<br />
3<br />
2<br />
for online perusal only<br />
S./A.<br />
5<br />
° 3<br />
¢ &b b b b 2<br />
{<br />
∑<br />
Slightly faster q = 69<br />
SOPRANOS & ALTOS unis. mp<br />
3<br />
&b b “”<br />
”<br />
b b b<br />
“<br />
˙<br />
2 ˙<br />
4<br />
˙ ˙ ˙<br />
b<br />
˙<br />
˙˙ ˙<br />
n<br />
mf mp<br />
? 3<br />
b b b b ?<br />
?<br />
2<br />
<br />
<br />
˙ ˙ ˙<br />
& 4 ˙ ˙ ˙<br />
&<br />
˙<br />
˙<br />
˙<br />
Ped. ø ø<br />
4 Ó Œ ‰ j œ œ œ œ œ œ œ œ œ<br />
Sky Wo - man,* Yä -<br />
L’An - cienne, Yä -<br />
a’ -<br />
a’ -<br />
&<br />
ta - yenh-tsihk,<br />
fell<br />
ta - yenh-tsihk,<br />
tom -<br />
˙<br />
n˙˙<br />
8<br />
°<br />
¢ &b b b b<br />
{<br />
&b b b b<br />
& bb b b<br />
(Ped.)<br />
œ œ œ œ œ ‰<br />
from<br />
- ba<br />
˙<br />
˙<br />
the<br />
du<br />
sky<br />
ciel<br />
at<br />
en<br />
sea.<br />
mer.<br />
˙˙<br />
n<br />
˙<br />
œ j œ œ œ œ œ œ œ œ<br />
An<br />
Une<br />
?<br />
ø<br />
is<br />
île<br />
˙<br />
n<br />
˙<br />
˙<br />
- land formed<br />
sur le<br />
on<br />
dos<br />
&<br />
Tur<br />
de<br />
˙<br />
n˙˙<br />
- tle’s<br />
Tor -<br />
back,*<br />
tue,*<br />
A<br />
A<br />
-<br />
-<br />
* Please see the translation guide on page 2 for denitions of asterisked words.<br />
Music © Oxford University Press 2024<br />
Text © Andrée Levesque Sioui. Reproduced <strong>by</strong> kind permission. All rights reserved.<br />
Duration: 3 mins<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
350<br />
8<br />
°<br />
¢ & bb b b œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ<br />
- tï - io’ div - ing deep. From bat - tling Twins* rose har - mo ny,<br />
- tï - io’ firent la terre. Les Ju - meaux con - traires* har - mo - nisent<br />
”<br />
& bb b b ˙<br />
˙˙<br />
“ “”<br />
œ œ œ œ œ<br />
& bb b b<br />
˙<br />
n<br />
?<br />
?<br />
˙<br />
œ bœ<br />
&<br />
œ œ<br />
&<br />
œ<br />
œ<br />
(Ped.)<br />
ø<br />
ø<br />
{<br />
°<br />
¢ &b b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
- a - tion’s Cir - cle, ö - ni - ä - ndih. Sing - ing ah - sken - non’ - nia,<br />
le grand Cer - cle, ö - ni - ä - ndih. Chan - tant ah - sken - non’ - nia,<br />
&b b ”<br />
b b “ “”<br />
œ œ œ nœ<br />
˙ ˙<br />
n<br />
œ œ<br />
œ œ œ œ œ œ<br />
{<br />
°<br />
¢ &b b b b<br />
{<br />
10<br />
12<br />
? b b b b<br />
14<br />
(Ped.)<br />
poco rit.<br />
œ<br />
ah<br />
ah<br />
-<br />
-<br />
&<br />
œ<br />
- cre -<br />
?<br />
?<br />
œ & œ<br />
œ<br />
œ œ œ œ<br />
œ œ œ<br />
ø ø ø ø<br />
sken-non’<br />
- nia,<br />
sing -ing<br />
ah<br />
sken-non’<br />
- nia,<br />
chan-tant<br />
ah<br />
a tempo<br />
for online perusal only<br />
œ œ œ ˙ œ œ œ œ œ œ w<br />
- sken -<br />
- sken -<br />
non’<br />
non’<br />
-<br />
-<br />
Tempo I (q = 60)<br />
&b b b b Óœ œ œ œ œ n ˙ ˙<br />
œ œ ˙ ˙<br />
œ œ<br />
˙<br />
n<br />
f<br />
? b b b b œ œ œ<br />
œ œ œ œ œ œ<br />
œ<br />
œ œ œ œ œ œ ˙˙ &<br />
˙˙<br />
nia.<br />
nia.<br />
?<br />
ø<br />
17<br />
Ped. sim.<br />
°<br />
&b b b b ˙<br />
S./A.<br />
Ó<br />
∑ ∑<br />
Ped.<br />
?<br />
¢ b b<br />
T./B. b b ∑ ∑<br />
& bb b b nœ<br />
nœ<br />
œ œ ˙<br />
˙<br />
˙<br />
˙<br />
n<br />
mp<br />
f<br />
& bb b b œ œ œ œ ˙ ? <br />
<br />
˙˙<br />
&<br />
˙˙<br />
{<br />
Ped.<br />
nœ<br />
mp<br />
TENORS & BASSES unis. mf<br />
Ó Œ ‰ œ j<br />
nœ<br />
n œ œ ˙<br />
œ œ œ œ ˙<br />
Then<br />
Les<br />
?<br />
ø
351<br />
T./B.<br />
20<br />
° ?<br />
¢ b b b b<br />
came<br />
mis<br />
& bb b b<br />
{<br />
mf<br />
? b b b b<br />
Tempo II (q = 69)<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j<br />
the mis - sion - ar<br />
- sion - naires ar - ri<br />
˙œ œ bœ<br />
œ<br />
bœ<br />
œ œ œ<br />
˙œ<br />
- ies<br />
- vèrent<br />
with<br />
a -<br />
their<br />
vec<br />
own<br />
leur<br />
(Ped.) ø ø sim.<br />
œ<br />
nœ<br />
œ œ<br />
œ<br />
œ<br />
œ<br />
myth<br />
my -<br />
- o<br />
tho<br />
-<br />
-<br />
lo<br />
lo<br />
-<br />
-<br />
gy:<br />
gie:<br />
a<br />
pour<br />
˙œ œ ˙<br />
œ nœ<br />
œ œ œ œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
9<br />
° ?<br />
¢ b b b b<br />
{<br />
22<br />
&b b b b<br />
? b b b b<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ J<br />
child<br />
li - bé<br />
born<br />
- rer<br />
to<br />
les<br />
˙œ œ œ œ<br />
œ<br />
œ œ œ<br />
Mo - ther<br />
â - mes,<br />
Ma<br />
un<br />
˙œ œ œ œ<br />
œ<br />
œ œ œ<br />
- ry, come<br />
en - fant<br />
to<br />
naît<br />
set<br />
de<br />
souls free.<br />
Ma - rie.<br />
Three<br />
Por -<br />
˙œ œ ˙<br />
œ œ œ œ œ œ<br />
œ<br />
œ œ œ<br />
œ<br />
œ œ œ<br />
for online perusal only<br />
24<br />
° ?<br />
¢ b b b b<br />
&b b b b<br />
{<br />
? b b b b<br />
Ma<br />
- tant<br />
- gi bear<br />
des ca -<br />
- ing gifts<br />
deaux, Trois<br />
they came, led<br />
Rois Mages<br />
poco rit.<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
˙œ œ œ œ<br />
œ<br />
œ œ œ<br />
˙œ œ œ œ<br />
œ<br />
œ œ œ<br />
<strong>by</strong><br />
suivent<br />
˙œ<br />
œ<br />
a<br />
l’é -<br />
star<br />
toile<br />
to<br />
pour<br />
œ œ œ<br />
œ œ œ<br />
praise<br />
rendre<br />
˙œ<br />
œ<br />
His<br />
hom<br />
-<br />
name.<br />
mage.<br />
nœ<br />
œ œ<br />
œ œ œ<br />
26<br />
° ?<br />
¢ b b b b<br />
& bb b b<br />
{<br />
? b b b b<br />
a tempo<br />
œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ<br />
œ<br />
Ie-sous<br />
a - ha - ton - nia’, a - ha - ton - nia’,<br />
Ie-sous<br />
a - ha - ton -<br />
˙<br />
œ ˙ œ œ œ œ œ œ œ Ó œ œ œ œ œ n ˙ œ œ œ œ ˙œ ˙œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ
352<br />
S.<br />
A.<br />
T./B.<br />
10<br />
29<br />
°<br />
& bb b b<br />
?<br />
¢ b b b b<br />
& bb b b<br />
{<br />
? b b b b<br />
Ó Œ ‰<br />
˙ ‰<br />
- nia’.<br />
T.<br />
B.<br />
mf<br />
œ<br />
j<br />
J<br />
The<br />
Le<br />
œ œ œ œ œ œ œ œ<br />
Jes<br />
ré<br />
-<br />
-<br />
u<br />
cit<br />
-<br />
its’<br />
des<br />
œ<br />
j<br />
J œ œ œ œ<br />
˙<br />
œ œ œ ˙ Ó<br />
œ œ œ œ<br />
œ<br />
œ œ œ<br />
œ<br />
œ œ œ<br />
˙<br />
˙<br />
sto - ry, fash - ioned<br />
Robes noires,* re - for - mu -<br />
œ œ œ œ<br />
œ œ œ œ<br />
Ó<br />
31<br />
°<br />
&b b b b<br />
œ œ œ œ n<br />
œ<br />
‰<br />
œ<br />
j<br />
J<br />
œ œ œ œ œ œ œ œ<br />
?<br />
¢ b b b b<br />
as<br />
- lé<br />
the<br />
pour<br />
Wen<br />
les<br />
- dat’s own,<br />
Wen - dat,<br />
œ œ œ œ œ<br />
œ œ œ œ œ<br />
‰<br />
drove<br />
en<br />
œ j<br />
œ<br />
J<br />
some to - ward these new<br />
con - ver - tit plu - sieurs<br />
œ œ œ œ<br />
be<br />
en<br />
- liefs as<br />
temps de<br />
œ œ œ œ<br />
œ œ œ œ<br />
°<br />
33<br />
&b b b b death<br />
guerre,<br />
œ œ œ œ n<br />
œ<br />
‰ œ<br />
j<br />
J<br />
for online perusal only<br />
f<br />
œ œ œ œ œ œ œ<br />
œ<br />
œ<br />
and<br />
e<br />
-<br />
war<br />
hon<br />
had grown.<br />
- sto - rat.<br />
As<br />
Le<br />
con - flict<br />
con - flit<br />
?<br />
¢ b b œ œ œ œ œ œ j<br />
b b œ œ œ œ œ ‰<br />
œ œ œ œ œ œ œ œ<br />
œ<br />
J<br />
f<br />
grew,<br />
et<br />
di<br />
la<br />
- vi - sion came; the<br />
di - vi - sion<br />
poco rit.<br />
a tempo<br />
°<br />
35<br />
&b b b b Cir<br />
œ œ œ œ<br />
œ œ œ œ<br />
mf<br />
œ œ n<br />
œ œ œ œ œ œ œ<br />
œœ<br />
- cle sev - ered,<br />
changent à ja - mais<br />
?<br />
¢ b b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
ev<br />
les<br />
-<br />
er<br />
re<br />
changed.<br />
- la - tions.<br />
Hö<br />
Hö<br />
mf<br />
-<br />
-<br />
nda<br />
nda<br />
-<br />
-<br />
tra<br />
tra<br />
-<br />
-<br />
wanh,<br />
wanh,<br />
œ œ œ
37<br />
°<br />
& bb b b œ œ œ œ n ˙ œ œ œ œ œ<br />
hö nda<br />
?<br />
¢ b b b b œ œ œ œ œ œ œ<br />
˙˙ <br />
˙˙ ˙ Ó<br />
{<br />
40<br />
°<br />
&b b b b<br />
?<br />
¢ b b b b<br />
&b b b b<br />
{<br />
& bb b b<br />
{<br />
-<br />
hö-nda<br />
poco rit.<br />
poco rit.<br />
sim.<br />
tra<br />
tra<br />
- wanh,<br />
- wanh,<br />
hö<br />
hö<br />
-<br />
-<br />
nda<br />
nda<br />
& bb b b ∑ ∑<br />
? b b b b ∑ ∑<br />
? b b b b<br />
? b b b b<br />
Ó Œ ‰<br />
ny.<br />
nie.<br />
-<br />
-<br />
tra<br />
tra<br />
f<br />
Sing<br />
Chan<br />
unis.<br />
f<br />
A<br />
Tous<br />
œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ<br />
11<br />
f<br />
Ó<br />
œœ ˙<br />
- wanh.<br />
- wanh.<br />
f<br />
œ œ œ œ œ<br />
œ<br />
œœœ œ œ œ<br />
f<br />
œ œ œ œ œ<br />
œ<br />
œ œ œ œ œ œ<br />
Ped. ø ø<br />
a tempo<br />
œ œ œ œ œ<br />
œ œ œ œ<br />
thanks to those who’ve come be - fore to<br />
- tons mer - ci aux guides* qui sont ve -<br />
a tempo<br />
œ<br />
œœ œ œ œ œ<br />
œ œ œ œ œ<br />
œ œ œ œ<br />
world of peace where dif - f’ren - ces can<br />
u - nis dans nos dif - fé - rences, la<br />
œ<br />
œœ œ œ œ œ<br />
œ œ œ œ œ<br />
œ œ œ œ œ œ<br />
œ j œ œ œ œ<br />
œ<br />
J<br />
Ó Œ ‰ œ j œ œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ<br />
œ<br />
42<br />
°<br />
&b b b b œ œ j<br />
œ œ œ œ œ<br />
teach us har - mo -<br />
- nus pour l’har - mo -<br />
?<br />
¢ b b b b œ œ œ œ œ<br />
œ<br />
œ<br />
œ œ œ œ<br />
œ œ œ œ œ œ œ<br />
œ œ œ œ œ<br />
œ œ œ œ œ œ<br />
œ œ œ œ œ<br />
œ<br />
nœ<br />
œ œnœ<br />
353<br />
for online perusal only<br />
œ j œ œ œ œ<br />
œ<br />
J<br />
œ j œ œ œ œ œ œ œ œ<br />
œ<br />
œ
354<br />
12<br />
44<br />
°<br />
& bb b b œ œ j<br />
œ œ œ œ œ<br />
shape our u - ni - ty.<br />
paix dans nos es<br />
?<br />
¢ b b b b<br />
{<br />
& bb b b<br />
? b b b b<br />
-<br />
prits.<br />
ff<br />
nœ<br />
j œ œ œ<br />
œ œ<br />
J<br />
True<br />
Se<br />
œ œ œ œ œ œ<br />
j<br />
J<br />
ff<br />
-<br />
friend- ship grows<br />
mons les a -<br />
a<br />
mi<br />
-<br />
Cir<br />
tiés<br />
- cle strong, for<br />
sin - cères pour<br />
œ œ œ œ œ œ œ<br />
œ<br />
œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ<br />
œ<br />
œ œ œ œ œ<br />
œ<br />
œ œnœ<br />
œ<br />
ff<br />
œ<br />
œ<br />
œ œ œ œ<br />
œ œ<br />
œ œ œ<br />
œ<br />
œ œ œ œ<br />
X916 Iesous ahatonnia’ arr. QUARTEL<br />
°<br />
&b b b b gen<br />
?<br />
¢ b b b b<br />
{<br />
46<br />
&b b b b<br />
? b b b b<br />
U<br />
œ œ<br />
œ œ œ œ<br />
u<br />
rit. meno mosso q = 48<br />
unis. p<br />
œ œ œ œ<br />
œ œ œ œ<br />
- er - a - tions yet to come!<br />
ceux qui vien-dront<br />
sur la terre!<br />
œ œ œ œ<br />
œ œ œ œ<br />
nœ<br />
œ œ<br />
œ œ œ<br />
u<br />
rit. meno mosso q = 48<br />
œ œ œ œ œ<br />
œ<br />
œ<br />
for online perusal only<br />
œ œ œ œ ˙˙<br />
u<br />
p<br />
p<br />
poco rit. Tempo I (q = 60) poco rit.<br />
49<br />
°<br />
&b b b b ∑ U<br />
œ œ œ œ œ<br />
∑<br />
œ w ˙ Ó<br />
kwa - ten’ -ndi-yon-hrah<br />
- cho<br />
kwa - ten’ -ndi-yon-hrah<br />
- cho<br />
Sing-ing<br />
ah - sken-non’<br />
-nia,<br />
Chan-tons<br />
ah - sken-non’<br />
-nia,<br />
unis.<br />
U<br />
˙˙<br />
n œ œ œ œ<br />
- ndiah.<br />
- ndiah.<br />
œ œ œ œ œ œ œ œ œ ˙<br />
ah -<br />
ah -<br />
sken-non’<br />
- nia,<br />
sken-non’<br />
- nia,<br />
œ œ œ œ œ œ œ œ œ ˙<br />
œ<br />
œ œ œ œ œ œ ˙ n<br />
œ œ œ œ œ œ œ œ œ<br />
˙˙<br />
?<br />
¢ b b b b œ œ œ œ œ<br />
œ w ˙ Ó ∑ ∑ u<br />
{<br />
& bb b b<br />
? b b b b<br />
poco rit. Tempo I (q = 60) poco rit.<br />
˙<br />
˙<br />
˙<br />
˙˙˙<br />
˙<br />
˙<br />
˙<br />
n<br />
˙ ˙˙ ˙˙<br />
Ped.<br />
&<br />
nœnœ<br />
œ œ ˙<br />
œ œ œ œ ˙<br />
?<br />
˙<br />
˙<br />
<br />
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˙˙<br />
˙<br />
n<br />
˙˙<br />
Ped.<br />
&<br />
nœnœ<br />
n œ<br />
œ<br />
U<br />
˙<br />
œ œ œ œ ˙<br />
u<br />
Music originated <strong>by</strong> Andrew Jones
355<br />
for Hazel<br />
Earth grown old<br />
89<br />
Christina Rossetti<br />
(1830 –94)<br />
GHISLAINE REECE-TRAPP<br />
(b. 1992)<br />
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© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
356<br />
90 Earth grown old<br />
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Earth grown old 91<br />
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358<br />
186<br />
Now the Rejoicing<br />
Words and music <strong>by</strong><br />
ZANAIDA STEWART ROBLES (b. 1979)<br />
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* In the verses, the melody may be sung <strong>by</strong> any voice or group of voices, with the drone accompaniment hummed <strong>by</strong> the tenors and basses or<br />
divisi basses, and this may be varied as desired for each verse. Humming may be replaced with nn, ah, oo, etc., at the conductor’s discretion.<br />
© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
359<br />
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Now the Rejoicing 187<br />
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CHRISTMAS<br />
360<br />
Mezzo-soprano solo and SSAATTBB unaccompanied<br />
for online perusal only<br />
The Children’s Eye<br />
Caroline Shaw
361<br />
Commissioned <strong>by</strong> the St Jacob’s Chamber Choir, Stockholm,<br />
and first performed on 17 December 2016 <strong>by</strong> Anne Sofie von Otter<br />
and the St Jacob’s Chamber Choir, directed <strong>by</strong> Gary Graden<br />
The Children’s Eye<br />
English: Robert Louis Stevenson (1850 –94)<br />
Latin: Advent antiphon<br />
CAROLINE SHAW<br />
(b. 1982)<br />
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* Dotted hairpins indicate a gradual change from one vocal sound to the next.<br />
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© Caroline Shaw Editions, under exclusive licence to Oxford University Press. All rights reserved.<br />
Printed in Great Britain<br />
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP<br />
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
362<br />
3<br />
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1 O Wisdom 2 Coming forth from the mouth of the Most High
364<br />
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3 reaching from one end to the other
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367<br />
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4 mightily and sweetly ordering all things
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5 come and teach us the way of prudence
374<br />
15<br />
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* Small notes indicate another possible melodic pattern; alternatively, the soloist may improvise their own.<br />
† The piece may finish at the end of bar 82 if preferred.
375<br />
92<br />
for Papagena<br />
Gaudete<br />
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Piae Cantiones (1582)<br />
arr. SUZZIE VANGO<br />
(b. 1982)<br />
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© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
376<br />
Gaudete 93<br />
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377<br />
94 Gaudete<br />
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378<br />
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Gaudete 95<br />
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379<br />
96 Gaudete<br />
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380<br />
Gaudete 97<br />
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381<br />
98 Gaudete<br />
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382<br />
Gaudete 99<br />
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383<br />
100 Gaudete<br />
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384<br />
285<br />
There is no rose<br />
Anon. 15th cent.<br />
LUCY WALKER<br />
(b. 1998)<br />
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385<br />
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286 There is no rose<br />
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386<br />
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1 A wonderful thing
387<br />
288 There is no rose<br />
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2<br />
Of equal form
388<br />
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There is no rose 289<br />
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3 Let us pass
389<br />
to my goddaughter, Esther Maeve Swift Colchester<br />
Road to Refuge<br />
Words and music <strong>by</strong><br />
ERROLLYN WALLEN<br />
(b. 1958)<br />
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© Oxford University Press 2023. Photocopying this copyright material is ILLEGAL.
390<br />
Road to Refuge 213<br />
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for online perusal only
391<br />
214 Road to Refuge<br />
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392<br />
Road to Refuge 215<br />
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for online perusal only
393<br />
216 Road to Refuge<br />
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394<br />
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Road to Refuge 217<br />
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for online perusal only
218 Road to Refuge<br />
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for online perusal only
396<br />
Road to Refuge 219<br />
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for online perusal only
CHRISTMAS<br />
SSATB unaccompanied<br />
397<br />
for online perusal only<br />
The Magi<br />
Cecilia McDowall
Nicholas Dakin<br />
for Stephen and Vivien Tilsley<br />
Commissioned <strong>by</strong> Graham Ross and the Choir of Clare College, Cambridge,<br />
with the support of Professor Eric W. Nye<br />
The Magi<br />
CECILIA McDOWALL<br />
SOPRANO 1 & 2<br />
ALTO<br />
TENOR<br />
BASS<br />
°<br />
&<br />
&<br />
Always light, but with energy q. = c.88<br />
mf<br />
œ œ j œ œ j ‰ œ œ œ œ j œ œ j œ œ j œ j ><br />
œ œ œj œ bœ<br />
œ<br />
J<br />
Al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - le -<br />
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- kin-cense<br />
a new-er<br />
way, a new-er<br />
way of prayer And<br />
2<br />
king to king, Fran - kin-cense<br />
a new-er<br />
way, a new-er<br />
way of prayer And<br />
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for online perusal only<br />
S. 1<br />
S. 2<br />
A.<br />
T.<br />
B.<br />
70<br />
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&<br />
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myrrh,<br />
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myrrh,<br />
2<br />
ah<br />
f<br />
f<br />
(stagger breathing if necessary)<br />
2<br />
myrrh, myrrh, a balm, a balm for death’s sharp<br />
mf<br />
2<br />
f<br />
myrrh, myrrh, a balm for death’s sharp sting, for<br />
2<br />
myrrh, myrrh, a balm for death’s sharp sting, for<br />
2<br />
myrrh, myrrh, a balm for death’s sharp sting,<br />
f<br />
sting,<br />
mf<br />
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2<br />
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mf<br />
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j œ j œ œ ˙˙ œ œ J œ J œ<br />
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sharp sting.<br />
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sharp sting.<br />
mf<br />
death’s<br />
b-œ<br />
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sharp sting, death’s sharp sting.<br />
œ - - ><br />
& œ œ J J b œ ˙ b œ œ j œ œ b˙ ˙ ˙<br />
‹<br />
J<br />
death’s sharp sting, death’s sharp sting.<br />
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¢<br />
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death’s sharp sting.<br />
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poco<br />
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p poco p<br />
œ œ j œ œ j œ œ j œ œ j ‰ œ œ œ œ j œ œ œ j œ œ œ j œ œ j œ œ j<br />
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poco<br />
bœ<br />
j œ œ j œ bœ<br />
j œ<br />
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p<br />
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lu<br />
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p poco p ><br />
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J<br />
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j œ<br />
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p poco p<br />
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88<br />
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mf<br />
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mf<br />
mf<br />
mf<br />
hours re-turn,<br />
the<br />
hours re-turn,<br />
the<br />
2<br />
hours re-turn,<br />
the<br />
hours,<br />
2 2<br />
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> - -<br />
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2<br />
11<br />
for online perusal only<br />
&<br />
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> > - -<br />
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2 2<br />
ways are steep:<br />
ways are steep:<br />
2 2<br />
f<br />
><br />
& œ œ j œ œ b œ ˙ # œ # œ œ # œ œ J<br />
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ways are steep, dark<br />
f<br />
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ways are steep, dark<br />
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hours, the ways are<br />
hours, the ways are<br />
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mf<br />
Œ Œ # œ œ œ œ œ J œ b œ œ œ j b˙<br />
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Long hours lost in thought un - clear,<br />
mf<br />
2<br />
Œ Œ œ j œ œ œ œ œ œ œ ˙ ˙ œ Œ<br />
poco<br />
poco<br />
mf<br />
mf<br />
Long hours lost in thought un - clear,<br />
mf<br />
& # 2<br />
œ # œ # œ œ bœ<br />
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œ ˙ œ œ J ‰ b œ œ œ œ bœ<br />
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‹ 2<br />
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steep:<br />
Long hours lost in thought un -<br />
mf<br />
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2 2<br />
steep: Long hours lost in thought un -<br />
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for online perusal only<br />
œ<br />
2<br />
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bœœ<br />
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106<br />
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thought<br />
un<br />
mp<br />
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thought<br />
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p<br />
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2<br />
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mf<br />
2<br />
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mf<br />
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mf<br />
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mf<br />
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b<br />
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j<br />
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bœ œ œ œ œ œ œ<br />
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13<br />
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for online perusal only<br />
S. 1<br />
S. 2<br />
A.<br />
T.<br />
B.<br />
116<br />
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&<br />
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f<br />
ah<br />
f<br />
2<br />
gone,<br />
f<br />
2<br />
2<br />
2<br />
gone,<br />
f<br />
gone,<br />
f<br />
gone,<br />
(stagger breathing if necessary)<br />
œ œ œ ˙ œ œ J œ ˙<br />
œ œ bœ<br />
œ œ œ J J<br />
œ œ œ œ J J<br />
œ œ bœ<br />
œ œ J J<br />
œ œ œ<br />
gone,<br />
gone,<br />
gone,<br />
gone,<br />
b˙ œ bœ œ œ<br />
œ œ œ ˙ œ œ ˙<br />
bœ<br />
œ<br />
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b ˙ œ œ bœ<br />
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gone<br />
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2<br />
f<br />
bœ˙˙ œ œ J J<br />
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120<br />
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mf<br />
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from their gods,<br />
mf<br />
˙ œ œ j œ j œ œ œ ˙<br />
from<br />
mf<br />
their<br />
gods,<br />
œ œ j œ j œ œ œ j œ j œ ˙ ˙<br />
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mp<br />
mp<br />
mp<br />
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â<br />
mf<br />
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bœ<br />
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gone, an - o - ther way,<br />
mf<br />
2<br />
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for online perusal only<br />
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124<br />
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T.<br />
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mf<br />
œ œ j œ j œ ˙ ˙ ˙<br />
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way, from their gods,<br />
p<br />
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