Composer’s Note - Canticle Distributing Home · The conductor, the choir, and the cellist should keep the text in mind through the whole work. —Taylor Scott Davis ... nine scenes,

Composer’s NoteIt is a difficult task to capture the feelings and emotions of Good Friday, but Terry's incred-

ibly beautiful texts—which are sometimes almost difficult to speak—paint such vivid pic-tures. My hope is that the music does not find itself in the way of these images, but instead subtly enhances them. Whether that is done through discovering the nearly-defensive tone of “Caesar Is Our King,” or the handing off of melody between the choir and cello in “Only God Knows,” the crisp consonants called for in “Black-skinned Simon,” or the cold and lonely lullaby in “No Crying He Makes,” the idea was to simply find the essence of the text and offer it a musical companion. The conductor, the choir, and the cellist should keep the text in mind through the whole work.

—Taylor Scott Davis

Author’s NoteThe Tradition of the Stations of the Cross

To encounter the Stations of the Cross via the visual and performing arts is to walk with Jesus from Pilate’s house to Calvary, and then to watch as Jesus’ body is placed in the tomb. Tradition holds that, during Holy Week in the ancient Church, pilgrims made their way to Jerusalem to walk the path he walked during the last days and events of his suffering. Scripture reading and prayer accompanied this walk, underscoring significant places and events along the way. By the sixteenth century, CE, fourteen stations came to be accepted in many circles. Eight of those stations related to events recorded directly in the gospels (the basis of this work), while the other six are devotional allusions to legend and the gospels. The Stations of the Cross invite the worshiper into a drama that is not a time of pretending, but a time of entering into the story.

The Texts of these Anthems

This work is intended to create a conversation between ancient scripture texts and current hard speech. Each anthem in this choral cycle, with the exception of the Maundy Thursday anthem, “Salvation Stands with Open Arms,” is in dialogue with the specific biblical passage from which it emerged. The Maundy Thursday anthem is in dialogue with the several passages and well- known Lenten songs that describe the crucifixion scene. The anthem texts are simple as pain is simple, as hope is simple. Yet, a careful reading, singing, and hearing of each anthem will reveal words or phrases that expose complexities in processing pain and hope, and in living as Christ-followers in our complex and confusing time. Read, sing, hear, and think deeply and prayerfully.

—Terry W. York

Available EditionsChoral Score—MSM-70-300Cello Part—MSM-70-300ALenten Devotional Guide (printed copy)—MSM-70-300BLenten Devotional Guide (e-copy)—MSM-70-300C

Program NotesReturn to Me is designed as a musical journey through the Stations of the Cross. The music depicts

nine scenes, beginning with the sharing of the bread and wine in the upper room on Maundy Thursday. The texts of each piece may be reprinted in the order of worship as an aid to the worshiper.

Silence

The music is set in a simple style with solo cello, choir and piano. The starkness of the settings helps depict the gravity of the events taking place. Silence is an important element in this service, and adequate time for personal reflection should be given at the conclusion of each musical seg-ment. Silence during the processional and recessional is also very appropriate.

Prayer

One may wish to write prayers or meditations that may be inserted into the program at appropri-ate points.

Artwork

It is possible to enhance the performance of this work through the use of printed, projected, or displayed art depicting the Stations of the Cross. If the art is projected, it should be done in a way that gives adequate time for reflection on each piece of artwork. It is better to allow time to focus on only one or two pieces per musical selection. Please be aware that some artwork may be copyrighted and that copyright laws must be observed.

Scripture

The simplest and most effective form for this service would be to read scripture prior to each of the choral anthems. The contrast between hearing the biblical language and hearing the musi-cal interpretation of that scene in modern day language will create a poignant experience for the worshiper.

Luke 22:14–23:56—Salvation Stands with Open Arms

John 19:1–3—Hail, King of the Jews

John 19:15–17—Caesar Is Our King

Luke 23:26; Matthew 11:28–30—Black-Skinned Simon

Luke 23:27–28—Daughters of Jerusalem, Weep

Luke 23:32–38—What Was That He Said

Isaiah 53:10–12—Only God Knows

Luke 23:44–46—This Mid-Day Night

Luke 23:50–56—No Crying He Makes

Devotional Guide

Dr. Terry York has written a daily Lenten Devotional Guide to aid the congregation during this journey through the Lenten season. It may be purchased in a digital format to be used on church websites, Facebook pages, church newsletters, or other digital formats. It may also be printed as a personalized devotional booklet. Printed copies of this guide are also available from MorningStar Music Publishers.

Contents1. Salvation Stands with Open Arms 5

2. Hail, King of the Jews 12

3. Caesar Is Our King 21

4. Black-Skinned Simon 29

5. Daughters of Jerusalem, Weep 37

6. What Was That He Said 44

7. Only God Knows 51

8. This Mid-Day Night 59

9. No Crying He Makes 67

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MSM-70-300

Terry W. York, ASCAP Taylor Scott Davis

SATB, Cello, and Piano1. Salvation Stands with Open Arms

Copyright © 2012 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. 1.800.647.2117 www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Newly authored, and copyright © 2012 with this publication. Referencing Luke 23:32-38 (NRSV).Music: Newly composed, and copyright © 2012 with this publication.

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MSM-70-300


Two-part Mixed Voices, Cello, and Piano2. Hail, King of the Jews




Text: Newly authored, and copyright © 2012 with this publication. Referencing John 19:1-3 (NRSV).Music: Newly composed, and copyright © 2012 with this publication.

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MSM-70-300


SATB, Tenor Solo, Cello, and Piano3. Caesar Is Our King




Text: Newly authored, and copyright © 2012 with this publication. Referencing John 19:15-17 (NRSV).Music: Newly composed, and copyright © 2012 with this publication.

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MSM-70-300


ATB, Cello, and Piano4. Black-Skinned Simon




*Sopranos may sing with Altos.

**Each time “Black-skinned” occurs, put a percussive final consonant on beats 2 and 4.

Text: Newly authored, and copyright © 2012 with this publication. Referencing Luke 23:26; Matthew 11:28-30 (NRSV).Music: Newly composed, and copyright © 2012 with this publication.

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Alto

Tenor

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Cello

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MSM-70-300


SATB, Cello, and Piano5. Daughters of Jerusalem, Weep




*Piano accompaniment provided in measures 2-21 is for rehearsal only.


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MSM-70-300

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œœ

œœ

∑

w

w

w

w

Unison

SA

TB

P

Unison

∑

œ œ œ œ ˙

Soon he will be dead.

œœ

œœ

∑

w

w

w

w

P

44

MSM-70-300


SATB, Baritone Solo, Cello, and Piano6. What Was That He Said





&

?

?

&

?

b

b

b

b

b

7Ó œ œ œ

what was that,

œ œ œÓ

What was that,

œœ

œœ

∑

ww

w

w

œ œ œ œ ˙

What was that he said?

œ œ œ œ ˙#

What was that he said?

œœ#

œœ

∑

www#

w

w

&

?

?

&

?

b

b

b

b

b

9

œ œ œ œ ˙

Nailed up on the cross,

Ó Œ ‰ Jœ

He

œœ œ œ

∑

w

w

∑

œ œ œ œ ˙

dies with the thieves.

œœ

œœ

∑

w

w

-

45

MSM-70-300

&

?

?

&

?

b

b

b

b

b

11Ó

œ œ œ

roll the dice

œ œ œÓ

Roll the dice,

œœ œ

œ

∑

w

w

œ œ œ œ ˙

For the clothes he leaves.

œ œ œ œ ˙#

For the clothes he leaves.

œ

œœ#

œ

∑

w

w

&

?

?

&

?

b

b

b

b

b

13∑

∑

œœ œ

œ

‰

œœ œ

jœ

w

w

cresc.

cresc.

Pedal harmonically

∑

∑

œœ œ œ œ

œ œ œ œ# œ

jœ

œ œ œ

jœ

˙

˙

œ

œ#

# œ

œ

Div.

Div.

œ œ œ .œjœ

Shame up on shame, The

œ œ œ .œJœ

œ œ œ .œjœ

Shame up on shame; The

œ œ œ œ œ œ

Shame up on shame, The

œœ œ œ

œ œœ

œ

wwww

Œ

.

.

˙

˙>

f

f

f

f

-

-

-

46

MSM-70-300

&

&

?

?

####

####

####

####

44

44

44

44

AltoSolo

SopranoAlto

TenorBass

Cello

∑

w

Oo.

˙ ˙

Oo.

wOo.w

Oo.

Œ œœ

Jœ .œ

q = 68

P

P

P

P

P sempre dolce

∑

ww

ww

Jœ

‰ œœ

œ œ

∑

ww

w

w

œ œ œ œœ

∑

ww

w

w

œ œ œ œJœ

.œ

,

,

,

,

&

&

?

?

####

####

####

####

5Œ

œœ œ œ

On ly God knows

w

Oo.

˙ ˙

Oo.

w

Oo.

w

Oo.

w

F


The pain of nails in

ww

ww

∑

œœ .˙

hands and feet.

w˙ ˙

ww

∑

-

51

MSM-70-300


SATB, Alto Solo, and Cello7. Only God Knows




Text: Newly authored, and copyright © 2012 with this publication. Referencing Isaiah 53:10-12 (NRSV).Music: Newly composed, and copyright © 2012 with this publication.

&

&

?

?

####

####

####

####

8

˙

Ó

œ œ œ œ

On ly God

w

(Oo.)

w

(Oo.)

.˙ œ

(Oo.) Oo.

Ó Œ œ

p

P

,

,

,

Œ

œ œ .œjœ

The pain of

w

knows

w

Oo.

w

Oo.

w

˙œ

œ

P

,

œ œ ˙ œ

bend ing neck and

w

Oo.

.˙ œ

.˙ œ

.˙ œ

œ˙

œ

-

-

&

&

?

?

####

####

####

####

11

w

knees.

œ .˙

(Oo.)

˙ ˙

(Oo.)

w

(Oo.)

w

(Oo.)

œœ

˙

∑

w˙ ˙

ww

˙ œ œ

,

,

,

,

Œ

œœ œ œ

On ly God knows

w

Oo.

w

Oo.

w

Oo.

w

Oo.

w

-

52

MSM-70-300

&

?

?

##

##

##

53

œ œ œ œ œ œ

On ly God knows; God the

œ œ œ œ œ œ

On ly God knows; God the

œ œ œ œ œ œœ œ œ œ œ œ

Œ

œ œ œ œ

œ œ œ œ

Par ent, God the

œ œ œ œ

Par ent, God the

.œjœ .œ

jœ

.œJœ .œ

Jœ


w

Child,

w

Child.

œ.˙

w

.˙ œ

cresc.

cresc.

- -

- -

&

?

?

##

##

##

56

œ œ œb œn

God the Child.

.˙ œ

œ .˙

˙ ˙b

wb

œœ

œ œ œ

Oo.

˙ ˙

Oo.

ww

w

ƒ

ƒ

ƒ


˙ œ œ

ww

w end melody

&

?

?

##

##

##

59˙

˙

(Oo.)

œ œ ˙

(Oo.)

ww

∑

˙ ˙w

ww

œœ

œœ

rit.

rit.

rit.

P

ww

w

w

œ œ œ.œ

Jœ

p

p

∑

∑

w

U

U

u

p

58

MSM-70-300

&

&

V

?

&

?

bbb

bbb

bbb

bbb

bbb

bbb

44

44

44

44

44

44

42

42

42

42

42

42

44

44

44

44

44

44

Soprano

Alto

Tenor

Bass

Piano

‰jœ œ œ ˙

The Sav ior’s grief,

‰ jœ œ œ ˙


‰Jœ œ œ ˙


‰Jœ œ œ ˙


‰jœœ œœ œœ

˙˙

‰J

œœ

œœ

œœ

˙̇

(For rehearsal only)

Expressively ( q = 46 )P

P

P

P

‰ jœ œ œ œ œ

a heal ing sor

‰ jœ œ œ ˙

a heal ing sor

‰jœ œ œ ˙

a heal ing sor

‰jœ œ œ ˙

a heal ing sor

‰ jœ œ œ œ œ˙

‰

J

œœ

œœ

œœ

˙˙

˙

row;

˙

row;

˙

row;

˙

row;

˙̇

˙˙

- - -

- - -

- - -

- - -

59

MSM-70-300


SATB divisi, a cappella8. This Mid-Day Night





&

&

V

?

&

?

bbb

bbb

bbb

bbb

bbb

bbb

44

44

44

44

44

44

45

45

45

45

45

45

43

43

43

43

43

43

42

42

42

42

42

42

4‰ jœ œ œ ˙

His night a womb

‰ jœ œ œ œ œ

His night a womb

‰jœ œ œ

jœ œ

jœ

His night a womb, a womb

‰jœ œ œ ˙

His night a womb

‰ jœ œ œ ˙

‰œ œ

‰

J

œœ

œœ

œœ

jœ œ

jœ

‰ ˙

œ œ œ œ œ ˙

for our to mor row.

œ œ œ œ œ ˙

for our to mor row.

œ œ œ œ œ ˙

for our to mor row.

œ œ œ œ œ ˙

for our to mor row.

œœ œœ œœ œœ œœ ˙˙

œœ

œœ

œœ

œœ

œœ

˙˙

Ó ‰ jœ

His

Œ

œ œ

His tears,

œ œ œ œ

His tears, his

œ œ œ œ

His tears, his

Œ

œ œœœ

œ œœ œœ œœ

- -

- -

- -

- -

&

&

V

?

&

?

bbb

bbb

bbb

bbb

bbb

bbb

42

42

42

42

42

42

44

44

44

44

44

44

7

œ œ

wa ter,

œ œ

wa ter,

œ œ

wa ter,

œ œ

wa ter,

œœ œœ

œœ

œœ

Œ

œ œ œ‰ j

œ

and his blood; This

Œ

œ œ œ

Œ

and his blood;

jœ œ

jœ œ Œ

and his blood;

œ œ œ Œ

and his blood;

Œ

œ œ œœ

‰ jœ

jœ œ

jœ œ

œ Œœ œ

U

U

U

U

U

u

œ œ œ œ .œjœ

mid day night, a womb, a

œ œ œ œ .œjœ


œ œ œ œjœ œ

jœ


œ œ œ œ .œjœ


œ œ œ œ .œjœ

œœ

œœ

œœ

œœ

jœ œ

J

œœ.œ

,

,

,

,

molto rit.

molto rit.

molto rit.

molto rit.

molto rit.

- -

- -

- -

- -

60

MSM-70-300

&

&

V

?

&

?

bbb

bbb

bbb

bbb

bbb

bbb

10jœ .œ œ œ œ œ

womb for our to

˙ œ œ œ œ

womb for our to

˙ œ œ œ œ

womb for our to

˙ œ œ œ œ

womb for our to

j

œ .œ œœ œœ œœ œœ˙

˙˙

œœ

œœ

œœ

œœ

a tempo

a tempo

a tempo

a tempo

a tempo

œ œŒ ‰ J

œ

mor row. The

œ .˙

mor row.

œ œ Ó

mor row.

œ œ Ó

mor row.

œ œ

Œ ‰jœ

œ .˙

œœ

œœ Ó

*

œ œ ˙ œ œ

Sav ior’s death, the

w

(oh.)

∑

∑

œ œ ˙ œ œ

w

∑

q = 68

q = 68

- -

- -

- -

- -

&

&

V

?

&

?

bbb

bbb

bbb

bbb

bbb

bbb

42

42

42

42

42

42

44

44

44

44

44

44

13œb œ ˙ œ œ

Par ent’s loss, the

w

(oh.)

∑

∑

œb œ ˙ œ œ

w

∑

œ œ œ œœ œb œ

Spir it’s leav ing;

w

∑

∑

œ œ œ œœ œb œ

w

∑

.œJœ

How

˙

∑

∑

.œjœ

˙

∑

,

- - -

61

MSM-70-300*The final syllable of “tomorrow” in the Alto part is sustained through measure 19, beat 3.

?

?

?

###

###

###

44

44

44

TenorBass

Piano

∑

www

œœ

œœ

Gently ( q = 54 )

p

Pedal harmonically

∑

www

œœ

œœ

∑

www

œœ

œœ

?

?

?

###

###

###

4Ó Œ ‰

jœ

A

Ó Œ ‰ Jœ

www

œœ

œœ

p˙ œ œ

gain, God’s Son

˙ œ œ

www

œœ

œœ

.˙ ‰

jœ

sleeps. A

.˙ ‰ Jœ

www

œœ

œœ

- -

?

?

?

###

###

###

7 .œjœ

jœ œ

jœ

gain, no cry ing he

.œ

Jœ

Jœ œ

Jœ

www

œœ

œœ

.˙ ‰

jœ

makes.

A

.˙ ‰‰

www

œœ

œœ

.œjœ

jœ# œ

jœ

gain, his bod y is

∑

www

œœ

œœ

-

- -

67

MSM-70-300


SATB and Piano9. No Crying He Makes





?

?

?

###

###

###

10 œ œn œ œ ˙

wrapped a gainst the cold,

˙ œ œ œ œ

wrapped, wrapped a gainst the

ww

œœ

œ œ œ

F

F

F

œ œ œ œ ˙

wrapped a gainst the cold,

˙ œ œ œ œ

cold, wrapped a gainst the

œ œ œ œ ˙œ œ ˙

&

œœ œ

œ

- -

- -

&

?

&

?

###

###

###

###

12∑

œ œ œ œ

wrapped a gainst the

.˙ œ

cold, the

œ œ œ

œ

w

wwn

SA

TB

˙ œ œ

Where are the

˙ œ œ

w

cold.

˙ ˙

cold.

ww

œ#œ

œœ

œœ

œœ

P

p

œ ˙jœ

‰

shep herds?

œ ˙Jœ

‰

∑

ww

œœ

œœ

œœ

œ

œ

--

&

?

&

?

###

###

###

###

15

˙ œ œ

Where are the

˙ œ œ

∑

ww

œœ

œœ

œœ

œœ

w

kings?

w

Ó œ œÓ œ œ

Jo seph,

ww

œœ

œœ

œœ

œ

œ

P

Œ

œœ œ œ

Jo seph, where are

Œ

œ œ œ œ

˙ ˙˙ ˙

where are

wwww

œ

œ

œ

œ

œ

œ

œ

œ

P

-

-

68

MSM-70-300

Documents

Composer’s Note - Canticle Distributing Home · The conductor, the choir, and the cellist should keep the text in mind through the whole work. —Taylor Scott Davis ... nine scenes,