THE PRAYER OF DANIEL: FOR FLUTE (WITH ALTO FLUTE), CLARINET (WITH BASS
CLARINET), VIOLIN, CELLO, DOUMBEK, PERCUSSION, PIANO, BASS BARITONE
VOICE, AND MEN’S CHORUS
Jason Gutierrez , B.M.
Thesis Prepared for the Degree of
MASTER OF MUSIC
UNIVERSITY OF NORTH TEXAS
August 2003
APPROVED:
Joseph Butch Rovan, Major Professor Cindy McTee, Major Professor Paris Rutherford, Minor Professor James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse
School of Graduate Studies
Gutierrez, Jason, The Prayer of Daniel: for flute (with alto flute), clarinet
(with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone
voice, and men’s chorus, Master of Music (Composition), August 2003, 45 pp.,
30 illustrations, 30 references.
The Prayer of Daniel is a chamber piece in the style of an oratorio for
vocal bass-baritone soloist, flute doubling on alto flute, B flat clarinet doubling on
bass clarinet, violin, cello, piano, percussion on vibraphone and marimba,
doumbek (a middle eastern drum), and men’s chorus (TTBB). The approximate
duration is thirty minutes.
The text comes from the Old Testament book of Daniel, Chapter 9 verses
4 through 19. In these passages the prophet Daniel rends from his heart a prayer
of repentance, mercy and forgiveness on the behalf of a fallen nation. The
harmonic language of the composition combines both classical contemporary and
jazz sonorities. The rhythmic language is drawn from the meter of the text, and is
used to underscore the emotion of the prayer. These elements combine to form a
rich music experience that conveys the penitent heart of the prophet Daniel.
TABLE OF CONTENTS
PageList of Illustrations ………………………………………………………………. iii Chapter
1. Introduction The Prayer of Daniel ………………………………………………………. 1Motivation …………………………………………………………………. 3
2. Materials
Text…………………………………………………………………………. 6Ensemble…………………………………………………………………… 9
Bass-baritone……………………………………………………….. 9Piano………………………………………………………………... 12Doumbec…………………………………………………………… 16Flute………………………………………………………………… 20Clarinet……………………………………………………………... 21Violin……………………………………………………………….. 22Cello………………………………………………………………... 23Percussion ………………………………………………………… 25Men's Chorus……………………………………………………….. 27
3. Musical Identities
Pitch Material ……………………………………………………………. 30Rhythmic Identities ……………………………………………………... 34
4. Conclusion …………………………………………………………………. 40
Appendix 1 .……………………………………………………………………….. 41
Appendix 2 ………………………………………………………………………... 43
Bibliography ……………………………………………………………………….. 44
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LIST OF ILLUSTRATIONS
Figure Page
1. Bass-baritone, mm. 419-426……………………………………………… 11
2. Bass-baritone, mm. 366-370……………………………………………… 11
3. Bass-baritone, mm. 452-456……………………………………………… 12
4. Grieg Piano Concerto in A minor, second theme, mm. 23-26…………… 13
5. Piano and Bass-baritone, mm. 42-46……………………………………... 13
6. Sweeping ensemble passage, mm. 98-100……………………………….. 14
7. Piano and Bass-baritone, mm. 102-106…………………………………... 14
8. Piano, mm. 25-28………………………………………………………… 15
9. Piano bravura, mm. 68-69………………………………………………... 15
10. Doumbec, Flute, and Piano. Opening figure, mm. 1-3…………………… 17
11. Doumbec, Bass-baritone, and Piano, mm. 91-94………………………… 18
12. Doumbec with ensemble. Tutti passage, mm. 134-136…………………... 19
13. Alto-flute. Opening line, mm. 1-3………………………………………... 20
14. Clarinet, mm. 23-25………………………………………………………. 21
15. Bass-clarinet, mm. 35-40…………………………………………………. 22
16. Violin duet with cello, mm. 313-318……………………………………... 23
17. Cello and Bass-baritone, mm. 43-46…………………………………….. 23
18. Cello and Bass-baritone, mm. 52-58……………………………………... 24
19. Solo Cello, mm. 8………………………………………………………… 24
20. Solo Vibraphone, mm. 71-78…………………………………………….. 25
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21. Vibraphone and Bass-baritone, mm. 273-278……………………………. 25
22. Marimba and Doumbec, mm. 326-328…………………………………… 26
23. Marimba and Piano, mm. 61-62………………………………………….. 27
24. Bass-baritone and Men’s Chorus, mm. 329-331…………………………. 28
25. Bass-baritone and Piano, mm. 18-24……………………………………... 30
26. The octatonic mode used as the basis for melodic material……………… 31
27. Interval set derived from the exploitation of a second…………………… 32
28. Solo flute figure, mm. 32-35……………………………………………... 32
29. Bass-baritone and Piano, mm. 28-32……………………………………... 33
30. Alto-flute. Opening line, mm. 1-3 ..……………………………………… 35
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1. INTRODUCTION
The Prayer of Daniel
The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal
baritone soloist, C flute with alto flute doubling, B-flat clarinet with bass clarinet
doubling, violin, cello, piano, percussion on both vibraphone and marimba, doumbec, and
men’s chorus. The approximate performance time is 30 minutes. The text for The Prayer
of Daniel is found in the Old Testament book of Daniel, Chapter 9:4-19. The prayer was
written during the exilic period in Israel’s history at the time of the Babylonian captivity,
approximately 538 B.C. It is estimated1 that Daniel wrote this prayer when he was
approximately 90 years old, after being in captivity nearly all his life. Daniel recalls the
words of the prophet Jeremiah2 in chapter 9:2, hopeful that Israel would be nearing the
end of a 70-year exile.
The baritone soloist appears as Daniel, a prophet to captive Israel, who rends from
his heart a prayer of repentance, forgiveness and mercy on the behalf of a fallen nation.
This prayer comes as a reaction to the vision he was given in chapter 83 of a “little horn”
that would cause the desolation of many. The vision Daniel recorded in chapter 8 was so
powerful that Daniel wrote; “I, Daniel, was exhausted and lay ill for several days… I was
appalled by the vision; it was beyond understanding.”4 Shortly after having this vision,
Daniel witnessed the overthrowing of Babylon by the Medes. Although the ability of God
to return Israel back to their land was not in question, Daniel may have had questions as
1 McGee, Vernon J. Daniel. Through the Bible Commentary Series. 26 vols. Nashville, Tennessee: Thomas Nelson, 1975. pp.145. 2 Jeremiah 25:11 NIV, This whole country will become a desolate wasteland, and these nations will serve the king of Babylon seventy years. 3 Daniel 8, verses 23-25. 4 Ibid. verse 27.
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to the intent of the new regime toward his people. Aside from this question, Daniel’s
prayer is inspired by God’s faithfulness to his word. In the same way that God had
delivered Israel from the Egyptians, Daniel had faith God would certainly deliver them
home.5
The prayer recorded in the book of Daniel is a prayer that recognizes the holiness
of God, the sinfulness of a nation, the acceptance of punishment, the need for repentance
and the reconciliation of “the people who are called by his name.”6 My goal in
composing The Prayer of Daniel was to create a piece of music that conveyed the
spiritual aspect of Daniel, and to imply that the idea of repentance and turning to God is
the beginning of healing. Upon the completion of the temple in Jerusalem, the Lord
appeared to Solomon and said:
… if my people, who are called by my name, will humble themselves and pray and seek my face and turn from their wicked ways, then will I hear from heaven and will forgive their sin and will heal their land. (2 Chronicles, 7:14 NIV)
This paper will focus on the process I used to create the composition. I do not
discuss the measure-by-measure details of the composition, though I will refer to certain
passages to illustrate key points. I begin the first chapter of this document by discussing
my motivation for writing this piece. Next, I explore the materials that I used in the
composition itself. In addition to a discussion of the text, I discuss the makeup of the
ensemble, and key elements that make this piece unique. Finally, in the third chapter by
discussing the rhythmic elements of this project, I demonstrate how these elements are
brought together to achieve my goal.
5 Jeremiah 30:3. 6 Daniel 9:19
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Motivation
During the fall of 1999, as we approached the turn of the millennium, I was
involved in a study of the Old Testament book of Daniel. Familiar to me were the stories
of Daniel in the Lion’s den and of the handwriting on the wall, but I knew little of the
eschatological content within the last five chapters of this book. It was these chapters that
inspired me to compose a piece which I felt related to aspects of our current geo-political
climate.
During the last months of 1999, rumors of disaster circulated concerning the
Y2K7 bug as panic-gripped people stocked their shelves with tuna and water. In October
of 1999, the New York Times Magazine posted a story on its website titled “Israel’s Y2K
Problem”8. The first paragraph of this story clearly outlined the spiritual significance of
the Temple Mount for Jews, Christians, and Muslims as writer Jeffrey Goldberg posits:
“Will the peace process be stalled by the apocalypse?” The myriad of news stories and
various speculative reports appeared to indicate within the global community (as we
approached this event in history) that concerns surrounding peace were at a fevered pitch.
As we looked forward to this millennial milestone with hope that a new century
would usher in an era of peace on earth, so did Daniel in his day look forward to the end
of exile and a renewing of God’s people to the land of their forefathers. The very same
night that Daniel revealed the meaning of the handwriting on the wall to Belshazzar,
7 Year 2000 8 Goldberg, Jeffrey. Israel's Y2K Problem. 3 Oct. 1999. The New York Times Magazine. 20 Apr. 2003 <http://www.library.cornell.edu/colldev/mideast/isry2k.htm>.
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King of Babylon, Darius the Mede slew Belshazzar, beginning a new regime in Babylon.9
It was then that Daniel made his passionate plea for mercy and deliverance. Although
Israel returned to their land from exile, Daniel did not. Shortly after Daniel’s death, a
decree went out in the first year of the reign of Cyrus. It read:
This is what Cyrus king of Persia says: “The LORD, the God of heaven, has given me all the kingdoms of the earth and he has appointed me to build a temple for him at Jerusalem in Judah. Anyone of his people among you-may the LORD his God be with him, and let him go up.” (2 Chronicles 36:23)
The “millennium”, or event, that Daniel looked forward to had come to a new
generation of people who had never worshipped in the land of his forefathers. As this was
Daniel’s hope, it was also Daniel’s distress to know that one day the “little horn”10—
known to history as Antiochus Epiphanes of Syria—would desecrate the temple and seek
to exterminate the Jews.11 During the biblical period known as the tribulation12, a
person—identified as the Anti-Christ—will attempt to do the same as he sets himself up
as a god in the temple.
As I read Daniel’s prayer, I am amazed how relevant this 2700-year-old prophecy
is, and how I share some of the feelings that Daniel may have had. Daniel was sensitive
to the holiness of God that produced in him genuine feelings of remorse as he reflected
on the sins of his nation. Daniel also had the promise of God that the time would come
when they would return to the land. God had delivered Israel in the past, and there was
every confidence that he would keep his word to bring an end to this exile. In this prayer,
9 Daniel 5:30 NIV. 10 Daniel 7:11 11 McGee, Vernon J. Daniel 12 Revelation 13:6-8
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Daniel’s heart was not focused on his own desires; instead, he desired that God would be
glorified in the restoration and reconciliation of the people and city that bear his name.
I believe that Daniel’s prayer is a model for nationalistic prayer. Daniel affirms
his relationship to God by acknowledging God’s sovereignty, by confessing the sins of
his nation, accepting God’s just punishment, and asking for forgiveness and
reconciliation. Daniel prayed for mercy not for the sake of Israel, but for the sake of the
name of God. For, if it appeared that God mercilessly punished his own people, how
would he regard the nations of the world?
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2. MATERIALS
The Text
The text was the first element I took into consideration as I formed my concept of
this piece. Earlier, I showed the historical context in which Daniel prayed. In this section,
I will illustrate the emotional drive of Daniel’s prayer by examining the prior verse and
its relation to the prayer itself. My intention is to show how Daniel’s emotional drive
contributed to the overall inspiration of this composition.
The book of Daniel 9:3, gives us an indication of the passion Daniel had for
prayer. Describing the manner in which he prayed, Daniel wrote:
So I turned to the Lord God and pleaded with him in prayer and petition, in fasting, and in sackcloth and ashes.13 Pleading and turning to God demonstrates Daniel’s recognition of God’s
omnipotence, his sovereignty over Israel, as well as his own life. Daniel’s faith gave him
the assurance that God’s providence extended beyond that of his Medo-Persian captors.
Daniel’s faith was demonstrated during the same historical period as his prayer, when he
was thrown into the lion’s den14. This event was one of many events in Daniel’s life
where God had proved his faithfulness by delivering him from certain disaster. Daniel
wrote:
When he (Darius) came near the den, he called to Daniel in an anguished voice, "Daniel, servant of the living God, has your God, whom you serve continually, been able to rescue you from the lions?" Daniel answered, "O king, live forever! My God sent his angel, and he shut the mouths of the lions. They have not hurt
13 Daniel 9:3 14 We learn from Daniel 9:1 that this prayer historically took place in the first year of the reign of Darius, who was deceived into putting Daniel into the lion’s den, as read in the book of Daniel 6.
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me, because I was found innocent in his sight. Nor have I ever done any wrong before you, O king." 15 The fruit of Daniel’s devotion and faithfulness to God were demonstrated in his
deliverance from certain death. In this same way, Daniel’s prayer also demonstrates his
assurance, based not only on a lifetime of events, but also on historical events such as the
exodus from Egypt. Daniel recalls this event in his prayer, verse 15:
“Now, O Lord our God, who brought your people out of Egypt with a mighty hand and who made for yourself a name that endures to this day.”
Daniel lived in the assurance that God’s sovereignty and providence extended over Israel,
beyond their captors. Daniel knew that God would end the captivity of Israel and allow
them to return to their land.
The fervency of Daniel’s prayer is displayed in the words “… in fasting,
sackcloth, and ashes.”16 Fasting in sackcloth and ashes was not unheard of during times
of intense prayer and petition. Throughout the Old Testament, there are numerous
accounts of this type of concentrated prayer.
Sackcloth and ashes are used in the Bible as a means to outwardly symbolize an
inward state of repentance and mourning. The traditional use of ashes signifies the
sinfulness of mankind in contrast with the holiness of God. Easton's Bible Dictionary
describes the meaning of covering ones head with ashes as a token of self-abhorrence and
humiliation.17
In addition to ashes, sackcloth was worn as a means to intensify mourning. The
Smith's Bible Dictionary defines sackcloth and its use as:
15 Daniel 6:20 - 22 16 Daniel 9:3 17 Easton, Matthew George. Entry for 'Ashes'. Easton's Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/ebd/view.cgi?number=T338>.
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Cloth used in making sacks or bags, a coarse fabric, of a dark color, made of goat’s hair, (Isaiah 50:3; Revelation 6:12) and resembling the eilicium of the Romans. It was used also for making the rough garments used by mourners, which were in extreme cases worn next to the skin. (1 Kings 21:27; 2 Kings 6:30; Job 16:15; Isaiah 32:11)18
By wearing this coarse uncomfortable material, Daniel demonstrated that the
circumstances of Israel and the glory of God concerned him more than his physical
needs. Daniel makes his plea for mercy because he is concerned about the name of God,
as seen in the last line of the prayer:
For your sake, O my God, do not delay, because your city and your people bear your Name.19
Daniel suggests that the continuing captivity of God’s covenant people, past its prophetic
end, would be seen by other nations as the unfaithfulness of their deity. Daniel knew that
God acts not mercifully because men claim righteousness, rather that God is wholly
righteous and merciful. In other words, God’s mercy is not dependent upon the good
deeds of people, but of his nature. Likewise regarding the exodus, Moses wrote:
God heard their groaning and he remembered his covenant with Abraham, with Isaac and with Jacob. So God looked on the Israelites and was concerned about them.20
The third verse of chapter 9 adds depth to the emotional content of this prayer,
revealing several key elements I portray in the setting of this text; Daniel’s remorse over
sin, the holiness of God, acceptance of guilt and punishment, and the assurance of God’s
promises to reconcile with his people. The affection embedded in the third verse adds
18 Smith, Dr. William. Entry for Sackcloth. Smiths Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/sbd/view.cgi?number=T3700>. 19 Dan. 9:19 20 Exodus 2:24-25
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depth to the character and piety of Daniel, seen not only in this prayer, but also in the
entirety of his life. It was only after analyzing the verse preceding this prayer that I could
appreciate the emotionally charged atmosphere of the prayer itself. It was my
appreciation of Daniel’s penitence that became the cornerstone for my overall conception
of this piece.
Ensemble
In this section I will briefly discuss each member of the ensemble and their
musical roles. I will present these members in three hierarchical groups, each member in
order of musical and overall conceptual involvement. I have grouped these into core
group members (Bass-baritone, Piano, and Doumbec), essential ensemble (Flute,
Clarinet, Violin, Cello, and Percussion), and the added element of men’s chorus. I made
it a point to feature each instrumentalist, in some way, during the course of this
composition.
Core Group: Baritone-bass
Given the nature and author of this text, I felt that the vocal role of Daniel would
best be cast as a Bass-baritone. As I researched the text in the early phases of composing
melodic material, I imagined a vocal line with a solid lower range, a warm round tone,
with the ability to project in the upper range at full volume. My conception of the
baritone part required the lyric ability and sensitivity to express sorrowful prayer in the
upper range, mezza-voce. My interpretation of the text and analysis of Daniel’s writing,
aided me in visualizing the vocal color that I needed to portray wisdom in prayer.
9
In the nineteenth-century composition by George Fredrick Bristow, The Oratorio
of Daniel21, the part of Daniel was also cast as a baritone. A brief analysis of the tessitura
assigned to the baritone reveals a melody that floats in the upper vocal range in many of
the solo parts throughout this work. However, in the ninth section titled “Aria”, Bristow
explores a wider vocal range, as Daniel sings a song of praise to the Lord. The aria begins
with a simple chant-like melody, on the text “Blessed be the name of God forever.” The
melody begins on middle c’22 and expands down a fifth to f. The secondary melody uses a
wider range from B to d’, in contrast to the opening theme’s f to c’ range, singing of
God’s wisdom and might. This secondary theme culminates in a heroic crescendo
returning to the upper baritone range on c’. Bristow paints the next portion of text, “... of
deep and secret things” by dropping the range from f’ down to G. Once again there is a
gravitational return to the original melody on c’. Finally at the end of this aria, the
baritone leaps an octave to a high f’, double forte, making its way downward by way of
an F major arpeggio. Although Bristow does visit the baritone’s lower range, his
interpretation of Daniel focuses the baritone in the upper range. This is in contrast to The
Prayer of Daniel, where I center the tessitura on the staff in the baritone’s strong middle
range, between A and a’, for much of the setting. I attribute the differences in the center
of melodic gravity to Bristow’s Daniel being much younger than my Daniel. Bristow’s
21 Bristow, George Fredrick. The Oratorio of Daniel. Ed. David Griggs-Janower. Madison, WI: A-R Editions, Inc., 1999. 22 I will be using the Helmholtz nomenclature system to indicate pitch and octave. LLoyd, LLewelyn S, and Richard Rastall. Pitch Nomenclature. The New Grove Dictionary of Music Online ed. L. Macy. 1 May. 2003 <www.grovemusic.com>. See Appendix 2, pg. 43.
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Daniel was set in the beginning of the Babylonian exile, whereas my Daniel is portrayed
near the end of his life and exile.
The vocal tessitura in The Prayer of Daniel is in the lower baritone range [A – a],
where the voice starts quietly and somberly flowing from section to section in arching
lines. These lines continue to ebb and flow, building to the climactic end in the upper
vocal range. This differs from Bristow’s Daniel as the distribution of pitches is weighted
lower in comparison.
Fig. 1. Bass-baritone, mm. 419-426.
This example shows that while the range rises above the staff, it then descends into the
resonant and comfortable baritone range. Although the majority of the baritone’s pitches
are in the mid to low range, the upper range is called upon to portray areas of sensitivity
and strength.
Fig. 2. Bass-baritone, mm. 366-370
In the above passage, Daniel pleads for God to turn away his anger and wrath. The
melodic line compliments this sentiment with gentle melodic phrasing in the upper range
of the baritone. This combination of range and dynamic exemplified in figure 2
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demonstrates the expressive use of the upper baritone range used in The Prayer of
Daniel.
Another application of the upper range is seen in the climactic ending, where the
baritone melody peaks on an f’ double forte as Daniel articulates the height of his
emotional plea: “For your sake, O my God, do not delay, because your city and your
people bear your Name.”23
Fig. 3. Bass-baritone, mm. 452-456.
This example, beginning on f, builds towards the climactic ending in a series of arching
phrases, finishing with a large heroic leap into the upper range that ends an octave above
on f’. This use of the upper range is less prevalent, but as we see both this example (fig. 3)
and the previous example (fig. 2), appropriately reflect the emphatic nature of the text
they portray.
Piano
My first instrumental consideration in scoring this piece naturally led me to the
piano. Without stating the obvious virtues of the piano to accompany the voice, the piano
has a tremendous capacity for expression and support in virtually all areas of a chamber
ensemble. My own experience as a pianist contributed to the overall style in which I
composed its ensemble, solo, and accompanying roles.
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23 Daniel 9:19
The accompanying role of the piano focused on supporting the baritone part, from
washes of sound in the pedal, to flowing arpeggiated voicings of the melodic line. Rarely
does the piano depart from supporting the baritone while he is singing. The performance
style in which I wrote the piano part combines elements of nineteenth-century romantic
figurations with elements of twentieth-century contemporary tonal structures. I will
discuss the harmonic identities used in this composition later in section three.
I found inspiration for a large part of the romantic accompaniment writing in the
romantic “Concerto for Piano in A Minor” by Edvard Grieg.
Fig. 4. Grieg Piano Concerto in A minor, second theme, mm. 23-26.
Fig. 5. Piano and Bass-baritone, mm. 42-46.
Looking at these two excerpts, we see the similarity in the singing cantabile playing
style, the fundamental movement in the bottom voice, and the flowing arpeggiated chord
movement in the inner voices. The result is an accompaniment that is rich in sonority,
making it easier for the vocalist to sing against the contemporary harmonic structures.
13
The secondary role of the piano is that of an ensemble player. Invariably the piano
oscillates between these two roles, accompanying the baritone and interacting with the
rest of the ensemble. In this example, the piano acts in concert with the ensemble,
completing a sweeping figure initiated by the winds and strings.
Fig. 6. Sweeping ensemble passage, mm. 98-100.
Immediately upon finishing this gesture, the piano returns to its supportive role.
Fig. 7. Piano and Bass-baritone, mm. 102-106
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An example of the pianist’s function in the ensemble comes in the second section
of the piece, beginning on measure 132. This section begins with a rhythmic cue from the
doumbec and the vocal line. Here, the piano abandons the baritone to play with the
ensemble. This departure lasts for 20 measures before the piano returns to accompany the
baritone in measure 152. Eight measures later, in measure 160, there is a downward shift
in tempo by means of metric modulation as the piano accompaniment drops out
altogether, favoring melodic support from the flute.
In addition to the ensemble duties of the piano, there are moments of brilliance
where the piano performs sweeping virtuosic passages. For example, in measure 25 – 28,
a dark wash of sound begins in the piano’s lower register that turns into a high sweeping
figuration ending in the piano’s upper range (fig. 8).
Fig. 8. Piano, mm. 25-28.
Fig. 9. Piano bravura, mm. 68-69.
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Beginning in measure 68, we see another example of piano bravura. This gesture
builds upon the climax of baritone and chorus by means of a rapid arpeggiation, ending in
a chromatic run that explodes in a release of sound from three successive cluster chords.
My conception of the piano is shown in these examples to serve several functions
in this composition. The pianist serves in the primary role of accompanist, and also
interacts in concert with the ensemble. We have seen that the piano will perform with the
ensemble apart from the vocalist, but that this departure is short-lived as the piano
quickly returns to its primary role. Lastly, the piano writing is marked with deep washes
of sound, brilliant sweeping bravura, and virtuosic passages.
Doumbec
The unique timbre of the doumbec was critically important to my conception of
this composition. Named after the three primary sounds it produces, doum – ka – tek24,
this middle-eastern hand drum’s character adds a dimension of location to this piece that
helps transport the listener to ancient Babylon. The doumbec also provides a musical
structure that assists the composition by heightening suspense in ensemble passages, by
providing rhythmic focus, and by providing rhythmic reinforcement to the ensemble. In
general, the doumbec stands as a symbol of the passionate heart of Daniel, as unique in
this ensemble as Daniel was unique amongst his people.
24 About the doumbek drum. Full Circle Drums. Full Circle Drums. 3 May. 2003 <http://www.fullcircledrums.com/about3.htm>.
16
Fig. 10. Doumbec, Flute, and Piano. Opening figure, mm. 1-3.
The doumbec is the first and last instrument to be heard in The Prayer of Daniel.
The sudden attack of the doumbec, followed by the pensive flute line, serves to initiate a
perceptual shift to the Middle East where this drama occurs.
In this example (fig. 10) we see the sudden attack of the doumbec followed by a
tremolo. The piano adds a thrust of sound to this opening gesture as the alto flute plays an
arching line comprised of sweeping figurations and driving rhythm. As this gesture is
played a second and third time, the doumbec forms a backdrop to the introspective mood
created by the ensemble.
The doumbec also fulfills a supportive role by providing rhythmic stability under
sparse ensemble writing. This type of support first occurs beginning in measure 79, and
continues to measure 120. We see an example of this in measure 91 where the baritone
enters accompanied by piano and doumbec.
17
Fig. 11. Doumbec, Bass-baritone, and Piano, mm. 91-94.
In this example, the doumbec provides a steady rhythmic pattern as the voice
executes its own rhythmically simple line. As with the voice, the piano offers little
rhythmic stability to this passage. The role of the doumbec here is to provide contrast,
rhythmic interest and metric stability, as the other parts float in the foreground with the
melody.
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Fig. 12. Doumbec with ensemble. Tutti passage, mm. 134-136.
The doumbec is also used to reinforce the ensemble by accenting tutti passages.
This type of reinforcement can be seen beginning in measure 134. In this example we see
the doumbec playing in rhythmic unison with the ensemble, resulting in added “punch” to
the accented structures. This also has the effect of increased contrast between ensemble
passages and the solo figures occurring in measures 135, 139, 142, and 148.
The three forms of writing I have described––suspenseful and contemplative,
rhythmic stabilizing, and supportive of ensemble passages––serve as constructs that
support the dramatic goals of the ensemble.
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Essential Ensemble
The essential ensemble is comprised of the remaining instruments, namely the
flute, clarinet, violin, cello, and percussion. In this section I will briefly discuss the nature
of each part.
Flute
The flutist in this piece doubles on alto flute. The primary role of the flute is
identified by the harmonic support it provides to the ensemble. Naturally, I have also
engaged the flutist’s ability to play complex passages on both C and alto flutes. As such,
the warm round tone produced by the alto flute inspired me to write the opening gesture.
Fig. 13. Alto-flute. Opening line, mm. 1-3.
This excerpt opens with a sudden burst of energy in the form of a downward
thirty-second quintuplet, ending in a leap upward of a minor ninth. The line continues
building intensity by accelerating and decelerating on a repeated a’’25. This continues
until the next measure where the intensity spills over into another thirty-second quintuplet
burst, followed by a downward decelerating line that finishes on a low d’, deep in the
resonant part of the instrument.
20
25 Written pitch.
The opening figure of a composition is the most important statement of the entire
piece, because the moment in which the initial impression of the piece was created cannot
be recaptured. Jazz composer Maria Schneider commented on introductions, stating:
“Be cautious with introductions, there is no such thing to an audience. They are snuggled in with your music right from the beginning.”26
While introductions may not be remembered several minutes into the piece, the effect
they have on the rest of the composition is enormous. The opening gesture of the alto
flute, in The Prayer of Daniel, is a musical reflection of the penitent state of mind Daniel
may have had moments before he began praying.
Clarinet
The role of the clarinet is very similar to that of the flute: to add harmonic support
to the ensemble as well as the performance of solo passages. Similar to the flutist’s ability
mentioned previously, the clarinetist’s ability to play complex solo passages is well
documented. In addition to the clarinetist’s supportive ensemble role, I have also made
use of its solo and melodic potential to play long sweeping arpeggiated gestures.
Fig. 14. Clarinet, mm. 23-25.
This example is similar to the opening line seen in the alto flute. Whereas the alto
flute began with a burst of thirty-second notes, the clarinet begins more cautiously on a
21
26 Schneider, Maria. "The Business of Music." Kenton Hall, University of North Texas. Denton, TX, 27 Feb. 2003.
single pitch, building volume as it reaches it peak more than two octaves higher. After
reaching the apex of this line, there is a sixteenth note quintuplet burst downward as it
ends a minor-ninth above where it began. The clarinet here serves to rhapsodically
reinforce the thematic idea initiated in the opening by the alto flute.
In addition to the B flat clarinet, I also call for the bass clarinet to perform in a
similar role. As I composed this piece, I felt attracted to the bass clarinet’s deep, rich,
chalumeau register. There are two ways that I call for this instrument as a solo
instrument, and to support root movement.
Fig. 15. Bass-clarinet, mm. 35-40.
In this passage the bass-clarinet evolves from the bottom of its register, barely
audible, and as it moves into the foreground it sweeps upward through the throat of its
midrange before making its way gently downward to its lower range. The haunting low
register contributes to the contemplative demeanor required to set the subject matter.
Violin
The violinist is used primarily as an ensemble member, rather than as a soloist.
Nevertheless, the violin is a featured soloist in several key spots. Long singing lines soar
above the accompaniment. The most pronounced use of the violin appears in its duet with
the cello. Here in measure 312, the violin pairs with the cello in rhapsodic counterpoint.
22
Fig. 16. Violin duet with cello, mm. 313-318.
Cello
The cello is perhaps the most important instrument in the essential ensemble. This
instrument fulfills several roles, most important of which is the support of the bass-
baritone. The cello fulfills this role two ways, first by supporting the vocal line (mm 44-
51), and second by countering the vocal line (mm. 52-58).
Fig. 17. Cello and Bass-baritone, mm. 43-46.
This passage clearly shows the nearly identical relationship between the voice and cello
parts. As this phrase nears completion, the cello moves from directly supporting the voice
in the foreground to supporting the root movement of the piano in the background. As the
passage continues, the cello assumes a supportive role by intensifying the vocal melody
with a counter melody. Ultimately, at the end of this passage, the cello returns to more
direct melodic support.
23
Fig. 18. Cello and Bass-baritone, mm. 52-58
Earlier I explained the supportive relationship the piano has to the voice, and I
would like to make clear that the cello by no means replaces that relationship; rather, as
this passage demonstrates, it reinforces and augments that relationship as the instrumental
counterpart to Daniel.
In addition to the aforementioned role, the cellist is also called upon to perform as
a soloist, most notably in its duet with the violinist as well as in the passage concluding
the work. Other ensemble passages include areas where the cellist has shorter expressive
moments, such as in the opening measures where the cellist continues the melodic
thought of the opening section.
Fig. 19. Solo Cello, mm. 8.
This passage demonstrates my approach to the expressive solo character of the
cello as it introduces thematic material (explained later) in the strong vibrant range of the
instrument. This passage, along with the previous passages I mentioned, provides a
glimpse into the nature of the musical role that the cello plays in this piece.
24
Percussion
The percussionist performs on both the vibraphone and the marimba. As with the
other instruments, the percussionist contributes to the ensemble by performing as a
soloist. At the beginning of the piece, the percussionist joins in the opening gesture by
echoing the alto flute’s passage on the vibraphone. Later, the percussionist is called upon
to support the pianist by reinforcing the harmonic structure with interspersed melodic
gestures. The opening section of the piece concludes with a vibraphone solo.
ig. 20. Solo Vibraphone, mm. 71-78.
his section makes use of intervallic structures and thematic material seen in the opening
1) shows the vibraphone in a rhapsodic pseudo-melody with
the voi
F
T
measure of the vibraphone. This solo is indicative of my approach in writing for
percussion, as The Prayer of Daniel is replete with rhapsodic passages for both
vibraphone and marimba.
This passage (fig. 2
ce. Notice that the vibraphone travels along the same path as the voice, offset by
melodic embellishments.
Fig. 21. Vibraphone and Bass-baritone, mm. 273-278.
25
26
The deep resonant and woody tone of the marimba called for a different
treatment. I made use of the marimba’s deep resonant range to support the harmonic
breadth of certain sections.
bec, mm. 326-328.
In this passage, the marim a by providing long sustained
tremolos on dissonant
ble is primarily
supportive, there is a small expressive line in the first section of the piece (fig. 23). A
closer look at this line shows that although it is embellished, the marimba closely follows
the melody set forth in the piano and voice parts. Here we see the b''-flat to g'' movement
in the piano in measure 61. The percussionist embellishes the piano's melodic outline
with tuplet figurations using the octatonic mode. The result of this passage expresses and
supports the Bass-baritone as he sings "… with those who love him."
Fig. 22. Marimba and Doum
ba contributes to the dram
chord structures.
Although my vision for the role of the marimba in this ensem
Fig. 23. Marimba and Piano, mm. 61-62.
I rely on the flexibility of the percussionist, in The Prayer of Daniel, to fulfill
several functions – as a soloist, as reinforcement to the background elements, and to
embellish various areas of melodic material. The contribution of this instrumental
presence rounds out the harmonic support within the ensemble and vocals parts, making
it a vital element in this group.
Added Element: Men’s Chorus
The final element of the ensemble I will discuss is the men’s chorus. The addition
of men’s chorus gives this ensemble the size and scope I felt it needed to meaningfully
portray the nature of the text. My conception of its musical function within the context of
Daniel’s prayer, is that of the nation of Israel echoing the sentiments of Daniel. Musically
it functions to give orchestral size to the overall outcome of the piece through
reinforcement and elaboration of the text. As with my treatment of the instrumentalists,
the chorus is featured in two prominent sections, both crucial to advancing the drama of
the text.
27
Fig. 24. Bass-baritone and Men’s Chorus, mm. 329-331.
An example of how the men’s chorus reinforces the text occurs in measures 329 –
331. In this excerpt we see the basses used in tandem with the solo bass-baritone voice.
This relationship is broken in measure 330 as the basses move to the octave.
Subsequently, the basses move to support root movement in an ascending line that
terminates in measure 332. The entrance of the tenors in measure 331, on the text “God is
righteous”, extends the musical phrase of the soloist as it starts the musical sequence on
the same pitch. This musical sequence is carried through to completion by the soloist in
measure 332. The overall technique of this section weaves the chorus into the fabric of
the ensemble in an unobtrusive and supportive manner.
Regarding the instrumentalists, featured solos have been written to enhance the
presence of the instrument in the ensemble. In my approach to the chorus in the setting of
this text, I felt it necessary to feature the chorus, elevating its status from background
ensemble to foreground participant. This makes the additional element of the men’s
chorus an absolute necessity in the overall expression of The Prayer of Daniel.
The first featured chorus event occurs a cappella, beginning in measure 168 and
continuing to 176. The style of this section is uncomplicated and penitent, as the text
28
reflects upon the mercies of God and the nation’s admission of guilt. The rich sonorous
virtues of the chorus, brought out by the slow movement of long weaving phrases, makes
the transition from the expressiveness of the previous section, ending in measures 160-
167, to a reflective mood beginning in measure 177.
The chorus plays another role of central importance as it carries the text through
the ensemble passages beginning in measure 381 and lasting to measure 406. Here Daniel
reappears to make his impassioned plea to God for mercy on Israel. During this last
section the basses play a fundamental drone as the tenors interact melodically with the
ensemble members. This final section places the chorus in both the background and
foreground, advancing the text and its meaning toward the finale.
29
3. MUSICAL IDENTITIES
In this section I will discuss the melodic language used in this piece. I will point
out areas where intervallic structures are developed in both melodic and harmonic
contexts. I will also explain the harmonic language used to support the linear features
found within this oratorio. Finally, I will bring these two areas into focus as I discuss the
rhythmic identities that were engaged to bind the music together.
Pitch Material
The first step I took in musically interpreting the text material was to imagine
myself as Daniel as I improvised a sung melody on the text of his prayer. During this
creative phase, I also began to formulate the basis of a pitch language as I explored
supportive harmonic structures that would reinforce the intent of the text. As I
contemplated Daniel praying in sackcloth and ashes, a solemn and reflective melodic
form began to take shape. At this time I also began to contemplate harmonic identities in
which to frame this emerging melodic expression. The first musical relationship to
solidify is seen in the opening baritone line.
Fig. 25. Bass-baritone and Piano, mm. 18-24.
30
Here in measure 18 (fig. 25), we see the relationship of a minor ninth between the E-flat
bass in the piano and the e-natural in the voice. The effect of the minor ninth
relationship in the opening baritone line serves to express, through hollow dissonance, the
anguish Daniel may have felt as he contemplated the nation’s separation from God
resulting from their sin. The juxtaposition of intervals of a second, between the melodic
line and fundamental, is a melodic identity seen throughout the piece.
After identifying the opening interval relationship, I began to experiment with
lines that weaved in and out of dissonance with the pedal E-flat. As my ideas began to
form, I identified the octatonic mode I felt had the greatest potential for harmonic and
melodic discovery.
Fig. 26. The octatonic mode used as the basis for melodic material.
I broke with the traditional octatonic formula by exchanging the last two intervals in
order to create a half step relationship between the d-sharp and e (fig. 26). Using this
mode, and the interval of a second, I was able to create melodic material I felt could help
portray Daniel’s ethnicity and geographical location.
In addition to the pitch environment present in this mode, the octatonic mode also
provided me with the basis to form a set of vertical structures. Given that the octatonic
scale is based on alternating major and minor seconds, I chose to exploit this interval
relationship – the second – in an effort to create added harmonic and melodic interest. As
I explored this interval and its inversions – including qualities (major and minor) and
31
Fig. 27. Interval set derived from the exploitation of a second.
augmentations (ninths and augmented seconds) – I was able to derive a set of interval
relationships that express a subset of the initial mode. This example (Fig. 27) shows the
interval classes I derived from the interval of a second. The primary set shows the
original group of seconds in their minor, major, and augmented forms. Added to the
primary set are inversions to the original group. (The inversion to the augmented second
appears later in the tertiary category because of its function as a consonant interval.)
The secondary set is an expression of the original primary set, extended beyond
the octave. Because these intervals possess a milder degree of dissonance than the
primary class, I focused on their potential to create wide sweeping lines of bravura in solo
passages, and to maintain tension in extended hollow voicings.
Fig. 28. Solo flute figure, mm. 32-35.
An examination of this line (fig. 28) reveals that the sweeping figure begins with two
overlapping ninths followed by two overlapping sevenths. The flute continues to sweep
through the upper range, ending on a final leap from f’’ up a minor ninth to f’’’-sharp by
32
way of appoggiatura. The ninths in the secondary interval set and the sevenths in the
primary inverted set provided me with the means to cover a wide harmonic range using
dramatic and expressive gestures.
The tertiary set is created from the relationship between the second and seventh
intervals (above the root) in the primary set. This permutation introduces consonant
structures into the into the interval matrix, providing relief to the predominantly dissonant
sonorities. The second interval of this set appears earlier as the minor seventh in the
primary inversion, listed here to show the relationship that exists in the voices above the
fundamental e'. The last set labeled “tertiary inversion”, shows the last two remaining
tertiary relationships that have not been expressed in their original or inverted form.
Fig. 29. Bass-baritone and Piano, mm. 28-32.
An example of this approach to melodic form and harmonic support can be seen
in the baritone passage beginning in measure 28. In this example (fig. 29), the baritone's
melodic line floats over an E-flat bass27, weaving in and out of a ninth relationship to the
fundamental. Here, this melody is restricted to the octatonic mode, apart from the end
where the melody cadences on A-natural. I felt that this deviation from the A-flat
(present in the octatonic mode) was necessary to complete the melodic phrase. Though
33
27 The fundamental E-flat is implied by the piano in measure 25, not shown in this figure.
this phrase resolves on a non-modal tone, the tension is maintained by the downward
minor second resolution into a sweeping piano figure. The piano begins a fifth below on a
D, and by way of the minor ninth, drives its way upward to an e'-flat based chord on beat
three. This approach to experimentation and exploration of the basic intervallic structure
of the octatonic scale led me to create a foundation for the harmonic and melodic
relationships in this piece.
Overall, the melodic material in The Prayer of Daniel has the appearance of a
through-composed melody, although recurring melodic identities can be heard
throughout. The reason for this is that the melodic gestures rely more on intervallic
relationships rather than traditional melodic development. The melodic development
within The Prayer of Daniel focuses on the development of tension and release between
the melodic line and its supporting harmony, as expressed by primary, secondary and
tertiary identities. It was through this approach that this ensemble illuminates the
sensitive character of Daniel’s prayer.
Rhythmic Identities
Thus far I have discussed my approach to creating melodic material and how I
drew pitch structures from the interval of a second. Earlier I gave general examples on
how I used the instruments to create gestures based on these linear and supportive
structures. In this last section I will discuss my approach to creating some of the rhythmic
identities that were used to bring these two aspects of the music together.
34
The Prayer of Daniel is divided into five sections, each of which carries an
overriding theme in the text. Starting with the first section, Daniel acknowledges the
holiness of God and the sinfulness of the nation. The function of the opening measures is
to establish a mindset of concentration and focus as Daniel begins to address God.
Fig. 30. Alto-flute. Opening line, mm 1-3.
The opening figure (fig. 30) begins with sharp attack and a crisp burst of notes, as if
Daniel were dropping to his knees in sorrowful contemplation while he began to pray.
One of the most identifiable rhythmic features (seen here in the opening) is that of the
repeated feathered beamed notes. This rhythmic identity is prevalent throughout much of
the whole composition as a figure to help establish a sense of contemplation.
In addition to the opening, we see the figure of the repeating feathered beamed
notes in the recitative section beginning in measure 29028. The context here calls for a
timeless sense of reflection as Daniel contemplates the extent of the chastisement that
Israel has been suffering. Musically, this is reflected by a deep sonorous open chord in
the piano followed by a reinforcement of Daniel’s statement by way of a light open-
voiced figure to a feathered beamed and repeated e’’’. The feathered beam and repeated
note figure continues in the violin as the recitative transitions to the next section, a tempo.
35
28 Refer to the score for the remainder of this section.
The baritone also uses this repeated figure in each of the recitative areas. An example of
this may be seen in measure 298-303 at the conclusion of the second recitative. This use
of the repeated note motif adds a chant-like ambiance to the contemplative nature of the
text. We see an adaptation of this rhythmic motif in the piano part beginning in measure
307, where the inner voice of the piano repeats a note until measure 312. In various
forms, the repeated note figuration that is present in the opening measures of this piece is
present throughout.
Looking at the second section of this piece, from measure 132 to 159, we see
another way in which the use of rhythm helps to augment the meaning of the text. In this
section, as Daniel make his confession of guilt, he also recognizes that the consequences
of Israel’s transgression is seen in the scattering of the nation. Reflecting the scattering of
Israel, the piano abandons the baritone to join the ensemble. Staccato tutti chords add
weight to the musical representation of the gravity of Israel’s situation, as seen in the text.
In addition, the meter is unsettled and changing, until at the end it shifts by way of metric
modulation to a slower tempo. Ultimately this peak of emotion winds down to a hushed
choral section, restating the merciful attributes of God and the recognition of the nation’s
sin. Throughout this section, staccato rhythms and shifting meter are used to emphasize
the displacement of Israel.
A shift from agitation, seen in the text as the scattering of Judah, to the
contemplative, seen in the text as Daniel’s confession of guilt, plays out musically in the
change from unsettled rhythmic patterns to homophonic movement by all voices. The
drama continues to unfold as Daniel drops out altogether leaving only the choir, in
measure 168, to reflect on God’s merciful nature. The shift to homophony begins in
36
measure 151, as the piano rejoins to directly support the baritone. The relief of tension
sets in at measure 160, after a brief metric modulation down a degree in tempo as the
meter begins to even out. In measures 166 and 167, a full stop is achieved as the
ensemble holds two final chords while the men’s chorus sets up the next section with a
pyramid-style cadence, the text of which ends the baritone’s thought and simultaneously
begins the text of the next thought29. Finally, the second section completes in an a
cappella setting that uses simple meter and rhythm in long flowing lines to create feelings
of contemplation and sincerity over the sorrow of Israel’s sin that carries all the way to
the conclusion of this section in measure 192.
In the second section of The Prayer of Daniel, we see a shift from unsettled to
settled meter in both the music and the text. This is accomplished rhythmically by means
of shifting meter coupled with accented passages on off beats and accentuated by fleeting
solo passages. The action begins to slow as the ensemble rejoins in support of the
baritone, accentuated by a downshift in tempo to a simpler meter by means of metric
modulation. Ultimately, the transformation to a contemplative mood is completed as the
men’s chorus executes long slow legato phrases, a cappella, in a simplified meter that is
carried through until this sections end. Overall, it is shown that the rhythm plays a
primary role in the expression of melody and harmony, adding and subtracting weight
from the music to fit the textual overtone of the prayer. On the whole, metric changes
serve to direct the flow of the music as musical points are made.
The third section of The Prayer of Daniel, measures 193 through 336, exhibits the
same attributes that we have seen in the first two sections: shifting meter, fleeting
29 Daniel 9: 9-10.
37
passages, and feathered beams on repeated notes. A major point of interest occurs at
measure 245 with a flute solo. Appearing at the end of a rhythmically active section, this
solo contrasts the previous section by acting to remove the sense of time that it created.
The flute solo is performed in a free non-conducted expressive style that emphasizes the
flute’s tonal qualities and agility. The secondary purpose of this solo is to act as a
transition between the previous agitated section into the cantabile section beginning on
measure 254. Many of the rhythmic features already mentioned above in regards to the
first two sections comprise the remainder of the third section.
The rhythmic textures that end the second section, measures 185 – 192, are seen
again in section three at measure 381. While the third section’s use of rhythm follows
similar lines, it also recapitulates some of the rhythmic motifs and arching solo figures
from the opening measures of the piece. As this section increases in intensity, the
doumbec assumes the feathered beam tuplet motif, and mingles it in its own steady
rhythm. Throughout this last section, beginning in measure 381, the doumbec serves to
provide a steady pulse as other layers of the texture come together.
In my analysis of the text, I felt that the development of the music called for
rhythms that could express feelings of remorse, anticipation, and momentary bursts of
emotion. Rather than approaching rhythmic identities as a basis for identification of
melodic themes, I approached the use of meter and rhythm as a way to frame the
contextual mood of the piece and to control the flow of music. Within the list of rhythmic
identities I have mentioned, I employed what I felt was the appropriate rhythmic
compliment to the harmonic language, with the goal of supporting the emotive
framework of Daniel’s prayer.
38
CONCLUSION
The Prayer of Daniel is an emotionally dynamic work based on the penitent heart
of Daniel as he sought the mercies of God in the midst of distress. As Daniel’s prayer is a
model for repentant prayer, so my challenge was to express this model in musical terms
that accentuated Daniel’s passion. Each player in the ensemble plays a vital role in
expressing Daniel’s passion by fulfilling both ensemble and solo roles. The Bass-baritone
carries the emotional weight of the piece through the dramatic use of the baritone range.
The drama created in the melodic line is supported by the piano through a combination of
romantic figuration and contemporary tonal structures.
The ensemble supports the efforts of the vocalist by reinforcing and echoing the
melodic sentiment of Daniel, by way of rhapsodic passages and supportive rhythmic
structures. Harmonically the ensemble augments the intervallic interplay as control over
tension is maintained through primary, secondary, and tertiary structures. These
structures, coupled with rhythmic interplay, serve as tools that I used to respond to the
intensity of Daniel’s petition. And just as the doumbec was used to translate location and
character, in the end it stands as the final expression of Daniel’s beating heart.
The challenge of setting this text was a unique compositional experience for me.
Upon completing The Prayer of Daniel, I could see that a transformation toward maturity
had occurred in my writing. This piece exhibits a greater depth of sensitivity and
character than pieces I have composed before and during this process. Personally, my
study of this biblical figure has enhanced my spiritual life, as it helped me to more clearly
understand the immutable attributes of God.
39
APPENDIX 1
The Prayer of Daniel Daniel 9:4-19
4 I prayed to the LORD my God and confessed30:
The Prayer
"O Lord, the great and awesome God, who keeps his covenant of love with all who
love him and obey his commands, 5 we have sinned and done wrong. We have been
wicked and have rebelled; we have turned away from your commands and laws. 6 We
have not listened to your servants the prophets, who spoke in your name to our kings, our
princes and our fathers, and to all the people of the land.
7 "Lord, you are righteous, but this day we are covered with shame-the men of
Judah and people of Jerusalem and all Israel, both near and far, in all the countries where
you have scattered us because of our unfaithfulness to you. 8 O LORD, we and our kings,
our princes and our fathers are covered with shame because we have sinned against you. 9
The Lord our God is merciful and forgiving, even though we have rebelled against him;
10 we have not obeyed the LORD our God or kept the laws he gave us through his
servants the prophets. 11 All Israel has transgressed your law and turned away, refusing to
obey you.
"Therefore the curses and sworn judgments written in the Law of Moses, the
servant of God, have been poured out on us, because we have sinned against you. 12 You
have fulfilled the words spoken against us and against our rulers by bringing upon us
great disaster. Under the whole heaven nothing has ever been done like what has been
30 Verse numbers are in superscript, preceding the verse. The first half of verse four is not set in this composition.
40
done to Jerusalem. 13 Just as it is written in the Law of Moses, all this disaster has come
upon us, yet we have not sought the favor of the LORD our God by turning from our sins
and giving attention to your truth. 14 The LORD did not hesitate to bring the disaster upon
us, for the LORD our God is righteous in everything he does; yet we have not obeyed
him.
15 "Now, O Lord our God, who brought your people out of Egypt with a mighty
hand and who made for yourself a name that endures to this day, we have sinned, we
have done wrong. 16 O Lord, in keeping with all your righteous acts, turn away your
anger and your wrath from Jerusalem, your city, your holy hill. Our sins and the iniquities
of our fathers have made Jerusalem and your people an object of scorn to all those around
us.
17 "Now, our God, hear the prayers and petitions of your servant. For your sake, O
Lord, look with favor on your desolate sanctuary. 18 Give ear, O God, and hear; open
your eyes and see the desolation of the city that bears your Name. We do not make
requests of you because we are righteous, but because of your great mercy. 19 O Lord,
listen! O Lord, forgive! O Lord, hear and act! For your sake, O my God, do not delay,
because your city and your people bear your Name."
41
APPENDIX 2
HELMHOLTZ NOMENCLATURE SYSTEM
!
"
#$
$
C'' B''
$$
C' B'
$$
C B
$$
c b
$
$
c' b'
$$
c'' b''
$$
c''' b'''
Helmholtz Nomenclature System
The Helmholtz system identifies the “c” below middle-c in lower case type.
Octaves above c are indicated with a tick mark next to the letter in accordance with their
relationship to the primary c. Octaves below c are in upper case type. The first octave
below c does not bear a tick mark, while the following octaves do attach a tick mark to
the letter.
I chose to use this nomenclature system to reference exact pitches as I discuss
them in this document, and because this system is widely used and accepted. In this
document, I use Arial font to indicate pitches based on this system. In the case that a pitch
is referred to and the font remains in Times, no specific pitch is referenced; rather a
general pitch class is implied.
42
BIBLIOGRAPHY
. The Cloisters. Compact Disc. Henry Herford, Robin Bowman. New World Records, 80327-2, 1997. About the doumbek drum. Full Circle Drums. 3 May. 2003 <http://www.fullcircledrums.com/about3.htm>. Adler, Samuel. The Study of Orchestration. 2nd ed. New York, NY: W. W. Norton and Company, 1989. Bible Gateway. Gospel Communications International. Gospel Communications. 20 Apr. 2003 <http://bible.gospelcom.net>. Bristow, George Fredrick. The Oratorio of Daniel. Ed. David Griggs-Janower. Madison, WI: A-R Editions, Inc., 1999. Coroniti, Josepf. Poetry as Text In Twentieth-Century Vocal Music: From Stravinsky to Reich. Studies in the History and Interpretation of Music. 35 vols. Lampeter,, Dyfed, Wales, UK.: The Edwin Mellen Press, 1992. Crumb, George. "Frederico's little songs for children: for soprano, flute (also piccolo, alto flute, and bass flute), and harp." Quest. Compact Disc. Bridge, 9069 Bridge, 1996. ______. Frederico's little songs for children: for soprano, flute (also piccolo, alto flute, and bass flute), and harp. New York, NY: C. F. Peters, 1987. ______. Quest, Premiere Recordings. Compact Disc. Speculum Musicae. Bridge Records, #9069, 1996. ______. Quest: for Soprano Saxaphone, Harp, Contrabass and Percussion (Two Players). New York, NY: C.F. Peters Corp., 1996. Druckman, Jacob. "Dark Upon the Harp." Windows. Compact Disc. Composers Recordings Inc., CD 781 CRI, 1998. ______. Dark Upon the Harp. SCORE. Bryn Mawr, Pennssylvania: Theodore Presser Company, 1968. Easton, Matthew George. Entry for 'Ashes'. Easton's Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/ebd/view.cgi?number=T338>. G. Schirmer Publications Department. The G. Schirmer Manual of Style and Usage. New York, NY: G. Schirmer, 1990.
43
Goldberg, Jeffrey. Israel's Y2K Problem. 3 Oct. 1999. The New York Times Magazine. 20 Apr. 2003 <http://www.library.cornell.edu/colldev/mideast/isry2k.htm>. Greig, Edvard. Piano Concerto in A-Minor. NewYork, NY: C. F. Peters, 9999. Heussenstamm, George. The Norton Manual of Music Notation. New York, NY: W. W. Norton and Company, 1987. Historical Estimates of World Population. U.S. Census Bureau. U.S. Census Bureau. 20 Apr. 2003 <http://landview.census.gov/ipc/www/worldhis.html>. Jr., Irvin Baxter. Endtime Ministries. Endtime Ministries. 20 Apr. 2003 <http://www.endtime.com/html/past_article.asp?ID=76>. Lahaye, Tim. Revelation Unveiled. Grand Rapids, Michigan: Zondervan Publishing House, 1999. LLoyd, LLewelyn S, and Richard Rastall. Pitch Nomenclature. The New Grove Dictionary of Music Online ed. L. Macy. 1 May. 2003 <www.grovemusic.com>. McCalla, James. Twentieth-Century Chamber Music. New York, NY: Schirmer Books, 1996. McGee, Vernon J. Daniel. Through the Bible Commentary Series. 26 vols. Nashville, Tennessee: Thomas Nelson, 1975. Mender, Mona. Music Manuscript Preparation. Metuchen, N.J., & London: The Scarecrow Press, Inc., 1991. Messiaen, Olivier. Quartet For the End of Time. Compact Disc. The Vox Music Group, CDX5083, 1993. Musgrave, Thea. "Orfeo III." Music of Our Time. Compact Disc. 2001 Orchestra. Compsers Recordings Inc., CD 723 CRI, 1996. Nelson, Thomas. Daniel 9: Keyhole of Biblical Prophecy. Audiotape. Denton Bible Church, #861, 1999. Penderecki, Krzysztof. Dies Irae; Oratorio Dedicated To The Memory Of Those Murdered At Auschwitz. Krakow, Poland: Polkie Wydawnictwo Muzyczne, 1967. Penderecki, Krzysztov. "Oratorio Dedicated to the Memory of Those Murdered at Auschwitz, for solo voices (soprano, tenor, bass), mixed choir and orchestra." Krzysztov Penderecki, Volume 5. Compact Disc. Polskie Nagrania, PNCD 021A+B, 1989.
44
Pinkham, Daniel. The Passion of Judas. Boston, MS: E. C. Schirmer Music Company, 1976. Ross, Ted. The art of music engraving and processing; a complete manual, reference and text book on preparing music for reproduction and print.. Miami, FL: Hansen Books, 1970. Saint-Saëns, Camille. "Duo: Soprano - Baritone." Oratorio de Noël, op. 12. Compact Disc. Le Madrigal de Lyon, Orchestre de Chambre de Lyon. Arion, ARN 68059, 1989. Schneider, Maria. "The Business of Music." Kenton Hall, University of North Texas. Denton, TX, 27 Feb. 2003. Schwanter, Joseph. "Distant Runes and Incantations." Music of Our Time. Compact Disc. 2001 Orchestra. Compsers Recordings Inc., CD 723 CRI, 1996. Smith, Dr. William. Entry for Sackcloth. Smiths Bible Dictionary. 28 Apr. 2003 <http://www.studylight.org/dic/sbd/view.cgi?number=T3700>. Smoldon, W. L. The Play of Daniel. Ed. David Wulstan. Sutton, Surrey. England: The Plainsong and Mediaeval Music Society, 1976. Stone, Kurt. Music Notation in the Twentieth Century, A Practical Guidebook. New York, NY: W. W. Norton and Company, 1980. Thompson, Frank Charles, ed. The Thompson Chain Referenced Bible NIV. Grand Rapids, Michigan: Zondervan Publishing House, 1983.
45
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Piano, Bass-baritone voice, and Men's Chorus (TTBB)
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œ œœb
44
∑
∑
œ
3j
œœb
3
‰œ
œ#
3
œ
œ
œ
˙
œ œœb
∑
∑
∑
∑
∑
∑
∑
˙b œœ
45
∑
∑
˙b œœ
‰ œb
œb
œnœ
.˙
˙b œœ
∑
∑
∑
∑
∑
∑
∑
.œ.œ#
46
∑
∑
.œb.œ
‰ œb œn
œ
œb œ
.˙
.œb.œ
∑
∑
∑
∑
- 6 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
2
4
3
4
2
4
3
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
˙#
47
∑
∑
˙#
3
‰
œ#
œ#
3
œn
œ œb
˙#
˙#
(keeps)
∑
∑
∑
∑
∑
∑
∑
˙#
48
∑
∑
3
‰œ
œ#
3
œ
œ
œ
˙
˙
b
b
∑
∑
∑
∑
∑
∑
∑
∑
˙
49
∑
∑
3
œœ#
œ
3
œb
œbœ
˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
50
∑
∑
˙n
‰
j
œ
‰
œb
œbœ
œn
œ
˙b
‰J
œn
F
˙ œœ
his
∑
∑
∑
∑
∑
∑
∑
∑B
51
∑
∑
.œ
j
œ
‰
œ
œ
œ
˙N
.œ
J
œ
∑
∑
∑
∑
∑
∑
∑
‰
p
j
œ#œ
œ œ
œ
52
∑
∑
˙# œ œ
‰
œb
œb
œ
œ œ
.˙b
˙#
J
œ
J
œ
co - ve -
∑
∑
∑
∑
∑
∑
∑
œ
‰
P
j
œb
3
œœ
œ
53
∑
∑
˙ œ œ
‰
œ œb
œ œb
œ
˙# œN
.˙
nant
∑
∑
∑
∑
∑
∑
∑
f
˙œ
54
∑
∑
˙œ
‰
œ
œ
œb
œœ
.˙
˙œ
of
∑
∑
∑
∑
- 7 -
&
&
&
B
ã
&
&
?
?
&
&
?
?
4
2
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
˙
‰J
œb
55
∑
∑
˙ œ œb
‰
œ
œ
œ#œ
œb
.˙
˙ œ œb
love
∑
∑
∑
∑
∑
∑
Œ ‰
P
J
œ œ#
œ# œ# œ
.œb
P
J
œœ#
œ
56
∑
∑
˙# œœ
‰
œ#
œ
œ#
œ#œ
.˙
.˙#
∑
∑
∑
∑
∑
∑
f
.˙
f
.˙
57
∑
∑
.
.
˙
˙
‰
œ#
œ
œ
œ œ
.˙
.˙
∑
∑
∑
∑
∑
∑
J
œ
‰ Œ
J
œ
‰ Œ?
58
∑
MRB
3
œ#
π
œ œ#
3
œb
œœb
6
œ#
œ
œ
œ#
œ#
œ
6
œb
œb
œbœn
œ œ#
∑
∑
∑
∑
∑
Ó ‰
F
3
œœ#
œ
∑
f
œ# œnœ
f
œ œ#
œ
59
∑
f
œ
œ
b
æ
œ
œ
æ
œ
œ
æ
.˙
˙b œ œœ
.
.
˙
˙
‰
œ
œb
œ œb
œ
œb œ˙
with those
∑
∑
∑
∑
œb œj
œ
˙
Œ ‰
j
œ
F
Bb CLAR.
J
œ œ
˙
Œ
j
œb ˙
Œ
60
∑
.
.
˙
˙
æ
.˙
œ
j
œ
˙
.
.
˙
˙
œ
œœ# œ
œ
œ
œ
j
œ
˙
∑
∑
∑
∑
‰J
œbj
œ
œœ
j
œ
œ œœ
œ#
J
œ# .œn œb
∑
∑B
61
∑
expressively
œb
æ
5
œ
œb œbœ
œ
œ
æ
œ
œ œœ
.
.
œ
œ
b
b
J
œ
œ
.
.
œ
œb
J
œ
œb
w
w
‰
œ
œb
œb
œ#
œn
œœb
.œb
J
œ.œ
J
œ
who
∑
∑
∑
∑
j
œb
.œ# œ ˙#
P
œ#>
œ
3
≈
œ#œ#
.˙n>
‰
SUL - G
ñ
j
œ œ œ
f
œ#j
œ œnœ
Ó ‰
p
œ# œ#
œ#
62
∑
œ# œ œ œ
f
.
.
˙
˙
b
b
æ
>
œ# œ œ œ
f
.˙#
œ# œn..
˙˙
#
˙
˙
˙
˙
#
#
œœ
œ
#
#
# œœ
œ ‰
π
œ œ
œ#
œ# œ œ œ ˙#
love him
∑
∑
∑
∑
- 8 -
&
&
&
B
ã
&
&
?
?
&
&
?
?
4
5
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
˙
Ó
Ó ‰
P
j
œ
3
œ#
œ
œ
œ#
.œ#j
œ œnœ ˙#
3
œ#
œ
œ œ#
3
œ#
œ#œ# œn
63
∑
∑
˙
˙
Ó
3
œ#
œ
œ
3
œb
œ
œb
3
œ#
œ#œ#
3
œ
œn
œn
∑
∑
∑
∑
∑
∑
œ#
œœb
œ
f
˙n
j
œ
‰ Œ Ó
œ#œ
œ#œ
f
˙b
64
∑
∑
ƒ
˙
˙
˙
b
œ#
œ œ
œ#
œb
œb œn
œ ˙˙
˙
n
b
Ó Œ
œ
œ
>
∑
∑
∑
∑
∑
∑
œ
Œ ‰
f3
œ
œ
œn>
œ
∑
œ ‰j
œ
>
˙
?
65
∑
∑
j
œ#œ#
j
œ#
œ# j
œ#.˙n
œ
œ
œ
b
n
¨
œœ
œ
#
¨
.
.
.
˙
˙
˙b
œ
œ
‰j
œ
œ
>
˙
˙
∑
∑
∑
∑
∑
∑
œ
Œ Ó
∑
∑
66
∑
∑
∑
w
w
P
J
œ#
J
œ#œn œ œb
.œn œb
we have sinned
∑
∑
∑
∑
∑
∑
∑
∑
67
∑
∑
œ œb
˙
œb
œn
6
œb
œ
œ
œb
œ œ#
6
œ
œn œ
œn œ œb
œb
œ
œœb
œ
œn
œ#
œ
r
œb œœ# œ œ œb
.œb œ
‰
j
œ
J
œn
and
∑
∑
˙b ˙n
Ah
œb
J
œ œbœb
J
œn
Ah
- 9 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
5
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
68
∑
∑
œ#
j
œ œ
sweeping, in the manner of a harp
˙
œb
œ
œb
6
œb
œ
œ
œ
œ
œ
6
œ
œœ
œ#
œ#
œ
6œ
œœb œ
œ
œ
12
œ
œbœb
œn
œ
œ
œb
œbœb
œn
œn
œ
r
œn
5
œb œb œ œ
œ
.œ#
J
œj
œ ˙
J
œ
‰
done
œ œ œ œ
˙
j
œ
‰
Ah
œ œ œ œ ˙
J
œ ‰
Ah
œ œ ˙
J
œ
‰
(Ah)
.œ#
J
œ ˙
J
œ ‰
(Ah)
∑
∑
∑
∑
69
∑
∑
10
œb œœb œb œn œ œb œn œb œn
‰
Ï
j
œœœœ
b (Palm Chord)˙
‰
J
œœ ˙
∑
Œ ‰
ƒ
J
œœ
J
œ
J
œb
and done
Œ ‰
ƒ
J
œœ
J
œ
J
œb
and done
Œ ‰
ƒ
J
œœ
J
œ
J
œb
and done
Œ ‰
ƒ
J
œ œb œ œ
and done
Œ ‰
ƒ
J
œ œ
J
œ
J
œ
and done
π
w
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
∑
Ó Œ
π
œ
∑
70
Œ
j
¿
Í
.˙
æ
Œ
Í
VBE
.˙
>
æ
w
wwb
>
f
Œ .
.
˙
˙
>
ww
w
w
wrong
w
wrong
w
wrong
w
wrong
wb
wrong
f
œ
Œ Ó
∑
f
w
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
∑
71
f
˙
æ
f
.˙
æ‰
SOLOj
œ
∑
w
w
∑
∑
∑
∑
w
- 10 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
Œ
F
.˙
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œN
Ó Œ
F
œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
P
w
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
π
w
72
˙
æ
pedal each phrase
(Vibe)
œ
œœ œ#
œ
œ œ œ
3
œ#
œœ#
œn
∑
∑
∑
∑
∑
p
w
Ooh
p
w
Ooh
w
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
w
w
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œ
F
w
73
ñ
˙
æ
œ œ# œ
œ
œœ#
œ
œ œ œn
œ#
œ
∑
∑
∑
∑
∑
w
w
∑
∑
∑
w
74
Ó Œ ‰
π
j
œ
.œ#œ
3
œ#
œ#
œ œ œ œ
3
œ œ œ
∑
∑
∑
∑
∑
w
Ahh
w
Ahh
∑
∑
∑
P
˙ .œ
j
œ
75
.œ
j
œ .œ J
œ
œb œ œ œœb
w
∑
∑
∑
∑
∑
˙
F
œ
œ
We
˙
F
œ
œ
We
∑
∑
∑
w
76
.œ
j
œ .œ J
œ
œ œb
œn œ
œœ#
œ
œn
≈
œ
œn œb
œ#
∑
∑
∑
F
œ
œ ˙
We
F
œ
œ˙
We
w
w
∑
∑
∑
∑
77
j
œ œ
j
œ .œ
œœ
œ œ œbœ œ#
>
œ
>
œ
>
œŒ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
78
œ œ œ œ
œœ
œb
>
œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
- 11 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
5
4
4
4
5
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
◊
Ó Œ
P
œ
Ó Œ
P
œ
∑
P
˙b
˙
79
œ œ œ œ
œœ
(Vibe) œb œ œ œ
w
∑
∑
∑
∑
∑
P
wb
We
˙b ˙
We
œb œ œ œn
œ œ œ œ
Œ
P
œb œ œ
˙b
˙b
80
P
œœ
œ
œ ≈ œœ
œœ
œœ
œ ≈ œ
œœ
π
œ
œ
œb
œb
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
∑
∑
∑
P
.˙b œn
We
wb
We
w
˙b˙b
f
.˙
J
œ
‰
f
.˙
J
œ ‰
f
.˙
j
œ
‰
f
.˙
J
œ
‰
81
œ
r
¿
œœ ≈ œ
œœ
œœ
œ
œ œœ
œœ
œ
œ œb
œb
œb
œ œb
œn
f
.œ
>
æ
J
œ
∑
∑
∑
.˙ Œ
have,
.˙
Œ
have,
.˙b
Œ
have,
.˙
Œ
have,
∑
∑
∑
∑
82
œ œœ
œ œœ
¿
œ
3œ œ œ
æ
π
˙
æ
∑
∏
rumble, wash of sound in the pedal
œ
œ œb
œb
œ
œ œ
œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
83
j
œ œ
j
œ œ
¿
œ
∑
∑
œ
œ
œb
œb
p
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
84
œœ
œ ˙
∑
∑
w
w
w
w
b
b
Ó
F
˙b
We
∑
∑
∑
∑
∑
∑
∑
∑
85
¿ œ
œ
œ Œ Œ
œ
∑
˙ .˙
‰
œ
œbœ .˙
wb œ
˙.˙
∑
∑
∑
∑
∑
∑
∑
∑
86
œœ
œœ
œ œ
∑
.˙b
œ
‰
œb œb
œbœb œ
œ
b
wn
.˙b
œ
have been
∑
∑
∑
∑
- 12 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
5
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
87
.œ
¿
œœ
œœ
3
œ œ œ
∑
.œ
j
œ
œ
3
œb
œb
œb
‰
œœ
œ
3
œœ
œwb
.œj
œ œ
3
œb
œb
œb
wi - cked and have re -
∑
∑
∑
∑
Ó Œ ‰
π
j
œ.
Ó Œ ‰
π
j
œ.
Ó Œ ‰
π
j
œb..
Ó Œ ‰
π
j
œ#..
88
.œ
¿
œœ œ œ
¿
œ
∑
sweep lightly
wb
Ó ‰
π 6
œ
œnœ
œ#
œ#
œ# œ
w
w
˙b
J
œ
‰ Œ
belled
∑
∑
∑
∑
j
œ.
‰ Œ ‰
F
J
œb>
œ
j
œ.
‰ Œ ‰
F
j
œ
>
œ
j
œb.
‰ Œ ‰
F
j
œ
>
œ
j
œ#.
‰ Œ ‰
F
J
œ>
œ
89
.œ
¿
œœ
j
œœ j
œ
MRB
3
œ#
œ œb
3
œ
œnœ# œn
œ
œ# œ
æ
œ#
.
.˙
˙
#
#
>
P
.
.
.
˙˙
˙
∑
∑
∑
∑
∑
∑
Ó ‰
p
J
œb. œ
Ó ‰
p
J
œ. œ#
Ó ‰
p
j
œ
.
œ
Ó ‰
p
J
œ.
œb
90
.œ
¿
œœ œ
j
¿ œ
œ
.œ
æ
J
œ#
3œ œ œ
∑
∑
∑
∑
∑
∑
∑
Í
˙b
J
œ ‰ Œ
Í
˙#
j
œ
‰ Œ
Z
˙#
j
œ
‰ Œ
Í
˙n
j
œ ‰ Œ
91
œœ
œ œœ
¿
œ
f
w#
æ
>
˙# ˙
F
ww#
‰j
œ
œ ˙
w
Ó
F.œb
J
œb
We
∑
∑
∑
∑
∑
∑
∑
∑
92
œœ
œ œœ
œ ¿
œ
∑
œ
œœ
œ
3
œœ
œ
3
œ
œœ
œ
œœ
œ
have turned a -
∑
∑
∑
∑
‰
J
œ
˘
Œ Œ
p
œ
‰
j
œ
fl
Œ Œ
p
œ#
‰
j
œ
fl
Œ Œ
p
œ
‰J
œb˘
Œ Œ
p
œ#
93
‰j
œœ
œœ œ
¿
œ
∑
œ#
œ# ˙
˙
˙
#
œ#
œ
œ
œ ˙#
˙#
J
œ ‰ œa
way from
∑
∑
∑
∑
œ
œb
œ œb
œ# œ
œ œ
œ œb
œb œb
œ œb
œb œb
94
œœ
œ œœ
¿
œ
∑
p
œ
œ
œ#
œ
œ
œ
b
n
b œ
œ
œ
b
n
œ
œ
œ
b
b
œb
œb
œb
œ
œ
œn
œ
œ
œ œb
œb œb
your com -
∑
∑
∑
∑
- 13 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
3
4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
.œb
J
œb œœb
.œ
J
œ œœb
.œb
J
œb œ
œn
.œb
J
œb œ
œn
95
œœ
œ œœ
œ ¿
œ
∑
.
.
.
œ
œ
œ
#
j
œ
œ
œ
#
#
#
œ
œ
œ
#œ
œ
œ
n
#
#
œb
œb
œb
œ
œ
œn
œ
œ
.œb
J
œb œ
œn
mands and
∑
∑
∑
∑
‰
Í
J
œ>
˙
‰
Í
J
œn>
˙
‰
Í
J
œ#>
˙
‰
Í
j
œ#
>
˙
96
‰
j
¿
J
œ
œ œ
œ
‰ .
VBE
pedal each phrase
r
œ œ#
œ œb
œ
œnœ# œn
œ
f
.
.
.
˙
˙˙
#
.
.
.
˙
˙
˙#
.˙#
laws.
∑
∑
∑
∑
f
œ#
Œ Ó
f
œ
Œ Ó
f
œŒ Ó
f
œ
Œ Ó
97
.œ
j
œ
œœ
¿
œ
f
œ#
‰
P
œ œ
œ
œ# œn œ
œ
œ
œœ
Œ Ó
œ
œ
œ
Œ Ó
∑
∑
∑
∑
∑
‰œ œ
œœb œ œn œb œb
f
œn
‰
œ œ#œ
œn œ œ# œn œb
f
œ#
Œ ‰
œ œ œ# œ#
œ
œ
Ó ‰
J
œ
98
‰¿
œœ
œœ œ
œ
‰œ œ
œ
œ# œn œ œ# œ#
œ
œ
∑
∑
∑
∑
∑
∑
∑
œ
Œ Œ
œ
Œ Œ
œ# œ#
œ#œ
f
˙
œ# œ#
œ#œ
f
˙
99
.œ œ
œ
œ œ
¿
œ
œ# œ#
œ#œ
ƒ
˙
æ
∑
‰
f
œœ
œ œ
œ œ#
5
œ#
œ œbœ
œ
∑
∑
∑
∑
∑
Œ Œ ‰
P
J
œ>
Œ Œ ‰
P
J
œ>
Œ Œ ‰
P
j
œn
>
Œ Œ ‰
P
J
œb>
100
j
œ œ
j
œ œ
¿
œ
∑
œb
œnœ
œ
3
œb
œb
œ
œ
∑
∑
∑
∑
∑
J
œ.
‰ Œ Ó
J
œ.
‰ Œ Ó
j
œn.
‰ Œ Ó
J
œb.
‰ Œ Ó
101
’ ’ ’ ’
∑
œ
Œ Ó
Œ
ƒ
.
.
.
˙
˙
˙
b
n
>
.
.
.
˙
˙
˙
b
b
b
∑
∑
∑
∑
∑
∑
∑
∑
∑
102
’ ’ ’ ’
∑
∑
w
w
ww
w
w
Œ
Fœ#
3œ œ œ#
we have not
∑
∑
∑
∑
- 14 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
œ#.
‰ ‰
Í
œ#
>
˙
œ#
.
‰‰
Í
œ#
>
˙
œ#.
‰‰
Í
œ#
>
˙
œ.
‰ ‰
Í
œ
>
˙
103
’ ’ ’ ’
Ó Œ ‰
F
(Vibe)
j
œ
F
.
.œœ
bb
j
œ
œœ
bb
˙
˙
˙
.
.
œ
œ
j
œ
œ
n ˙
˙
.œb
J
œ ˙
lis - tened
∑
∑
∑
∑
J
œn
^
‰ Œ Œ
j
œ#
^
‰ Œ Œ
j
œ
œn
^
‰ Œ Œ
j
œ
^
‰ Œ Œ
104
œœ
œ
¿ œœ
œ
œ
œ
œ
œ
œ
.
.
.
œ
œ
œ
.
.
.
œ
œ
œ
.œ.
.
œ
œ
.œ
.œ
to your
∑
∑
∑
∑
‰
p
J
œ#
¯
Œ Œ ‰
J
œ#¯
‰
p
j
œ#
<
Œ Œ ‰
j
œ
<
‰
p
j
œ
œ
#
#
<
Œ Œ ‰
j
œ
œ
<
F
.œ
J
œ# ˙
105
.œ
j
œ
j
œœ
¿ œ
.œ
æ
j
œ#æ
˙æ
.
.
.
œ
œ
œ
b
b
j
œ
œ
œ
#
#
#
f
˙
˙
˙
Œ ‰j
œ
j
œ# ˙
w
w
.œ#
J
œ# ˙
pro - phets
∑
∑
∑
∑
Ó ‰
P
J
œ#œ
Ó ‰
P
j
œ#œ#
Ó ‰
P
j
œœ#
P
.œ
J
œ œ
œ
106
’ ’ ’ ’
P
.œ
æ
j
Ͼ
œæ œ
æ
Œ .
p
j
œ
œ
œ
#
#
œ
œ
œ
œ
œ
œ#
J
œ œ
œ
w
w
Œ . J
œ# œœ
your pro -
∑
∑
∑
∑
˙ ˙#
˙ ˙
˙ ˙
˙ œ#
œ
107
’ ’ ’ ’
˙æ
œ#æ
œ
æ
˙
˙
˙
˙
˙
˙
#
˙ ˙#
.
.
˙
˙
œ
œ
˙ ˙#
phets
∑
∑
∑
∑
˙Œ ‰
œ œ#
˙ Œ ‰
œ# œ#
˙
Œ ‰
œ œ#
œ#
œ#
˙
108
’ ’ ’ ’
œbæ
œ#æ
˙n
æ
Œœ
œœ
œ
n
#
#
3
œ
œœ
œ
œ œ#œ
œ
œ
œ
˙
˙
b
b
˙
˙
n
n
Œœ
3œb
œb œb
who called on your
∑
∑
∑
∑
œœ œ# œ#
Í
.˙>
œœ#
œb œn
Í
.˙>
œœ œ# œ# œn œ#
œ#
œ
Í
˙>
œ#
œ œ#
œ#
œ
Í
˙>
109
j
œœ
j
œœ
œœ ¿
œ
Œ
P
œ œ#
œ#
œ
Í
˙
æ
f
w
w
w
#
w
w
#
#
wn
name
∑
∑
∑
∑
f
3œ œ œ ˙
f
3œ œ œ ˙
f
3œ œ œ ˙
.œ
‰
P
œœ#
110
.œ
j
œ
j
œœ
¿
œ
f
3œ
œ
œ
œ
œ
œ
æ
˙
˙
æ
∑
π
w
w
#
#
Ó
Pœ
œ#
to our
∑
∑
∑
∑
- 15 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
˙#
Œ
œ
111
.œ
j
œ œ
œ
∑
w
w
w
#
w
w
˙#
Œ
œ
kings our
∑
∑
∑
∑
Ó Œ ‰
P
œ œ#
Ó Œ ‰
P
œ# œ#
Ó Œ ‰
P
œ œ#
˙#˙
112
.œ
j
œ œ
œ ¿
œ
Ó Œ ‰
P
(Vibe)
œ œ#
˙˙
˙
#
F
˙
˙
˙
w
w
˙#˙
prin - ces
∑
∑
∑
∑
œ œ# œ
œ
œ œ#
œœ
Í
˙>
œ# œn œ#
œ
œ œb
œœ#
Í
˙>
œ œ# œ
œ
œ# œ#
œœ
Í
˙>
œ
Œ Ó
113
.œ
j
œ œ
œ
œ œ# œ
œ
œ# œ#
œœ
Í
˙
æ
>
w
w
w
w
w
œ
Œ Ó
∑
∑
∑
∑
J
œ
‰ Œ Ó
J
œ‰ Œ Ó
w
Œ
˙ œ
114
.œ
j
œ œ
œ ¿
œ
J
œ
‰ Œ Ó
Œ ˙˙
˙˙
#
#
œ
œ
œœ
n
n
p
w
w
Œ
˙ œ
our
∑
∑
∑
∑
‰
F
œ>
œ.
‰ œ# ≈
p
œ#œn œ
‰
F
œ
>
œ
.
‰œ
≈
p
œ#œ œ#
‰
F
œ
>
œ.
‰
œ#
≈
p
œ#œ œ
˙ ˙#
115
.œ
j
œ œ
œ
‰
F
œ
œ
œ
>
œ
œ
œ.
‰ œ
œœ
b
b
≈
œ#œ œn
˙
˙
˙˙
F
˙˙˙˙
#
#
w
w
˙ ˙b
fa -
∑
∑
∑
∑
f
œ#>
≈
P
œœ# œ
f
J
œ
sp
œ
J
œb
f
œ#>
P
≈œ
œn œ#
f
J
œ
sp
.œ
f
œ
>
P
≈
œœ# œ
f
j
œ
sp
.œ
˙Œ œ# œ#
116
.œ
j
œ œœ
œ ¿ œ
œœ
œ
#
>
≈
œœ# œ
œœ
œ
N
#
nœœ
œ
Œ
˙
˙˙
˙
#
#
˙˙
˙˙
#n
˙
˙
˙
˙
#
#
˙Œ
J
œb
J
œb
thers and to
∑
∑
∑
∑
wn
∑
∑
.˙ œ
117
.œ
j
œ œ
œ
∑
ww
ww
#
w
w
.˙n œ
all the
∑
∑
∑
∑
Ó Œ ‰
P
œ#œ
Ó Œ ‰
P
œ
œ
Ó Œ ‰
P
œ#œ
œ# œ#
3
œ
œ
œ#
118
.œ
j
œ œ
œ ¿
œ
Ó Œ ‰ œb
œ
œ
œœ
#
#œœ
œ
#n
œœ
œ
n
œ
˙
˙
b
b
˙
˙
b
b
œ# œ#
3
œ
œ
œ#
peo - ple of the
∑
∑
∑
∑
- 16 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
5
4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
œ# œ# œœ
‰
Z
J
œ#>
œ ‰
Z
œ#>
œ
œb œ œ#œ ‰
Z
j
œ
>
œ ‰
Z
œ
>
œ
œ# œ# œœ
‰
Z
J
œ>
œ‰
Z
œ
œ
>œ
œ
w#
119
¿
œœ
œœ œ œ
œœ
æ
>
P
(Vibe)
œ# œ# œœ
‰
J
œœ
œ
#
>œœ
œ
3
œ œœ#
f
J
œ
œ
#>
‰
˙
˙
˙
# Ó
˙
˙
‰ .
π
r
œ œ#
œ# œ
œ
w#
land.
∑
∑
∑
∑
‰
J
œ
˘
π
œ œ œ
‰
j
œ
fl
π
œ# œ œ
‰
J
œ#
˘
π
œ œ
œ
‰ J
œ#˘
π
œ œ œ
120
‰j
œ
>
π
.˙
æ
œ#
œ œb
œ
.˙
æ
∑
w#
∑
∑
∑
∑
∑
œ œ
P
˙#
œ# œ
P
˙#
œ# œ#
P
˙
œ
œ#
P
˙
121
˙æ
∑
∑
Ó
P
˙
˙
>
˙
˙#
∑
∑
∑
∑
∑
Rubato q»§º( )
J
œ ‰ Œ Ó
J
œ ‰ Œ Ó
J
œ
‰ Œ Ó
j
œ
‰ Œ Ó
122
˙æ
∑
∑
w
ww
w
P
In the manner of a recitative, expressive use of tempo.
œ
J
œ
J
œ
J
œb
J
œ œ
Lord you are righ - teous
∑
∑
∑
∑
∑
∑
∑
∑
123
˙æ
∑
∑
w
ww
w
w
#
b
n
˙
Œ
J
œ
J
œ#
but this
∑
∑
∑
∑
∑
∑
∑
∑
124
˙æ
.˙æ
∑
l.h.
7
œ
œœ
œb
œbœb
œ .˙
˙
j
œ#
j
œ#
j
œn œ#
j
œ
day we are co - vered with
∑
∑
∑
∑
∑
∑
∑
F
A tempo
œœb œ
.œ#‰
125
˙æ
∑
œ
œb œ
˙#
P
w
ww
w
b
w
shame.
∑
∑
∑
∑
∑
∑
∑
œœb
J
œ œ#
J
œn
126
.˙æ
∑
œnœb J
œ œb
J
œ
œœ
œ
b
.
.
.
œœ
œ
j
œœ
œ
b
∑
∑
∑
∑
∑
- 17 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
Ó Œ
π
œ#
Œ œ#œ œ# œn
w#
127
P
œœ
œ .œ
j
œ
∑
w#
Í
w#
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
( )œn
∑
∑
∑
∑
∑
∑
5
œ œ#œ#
œ
f
œ œ œ
œbœ
.œœ œ#
˙
˙
˙.œ
j
œb
128
œœ
œ .œ
j
œ
∑
∑
˙ œ≈
p
distant rumble
œ œ# œn œ œb
∑
∑
∑
∑
∑
‰
j
œ
5
œbœb
œ
œ
œ ˙
j
œ#
.œ
P
J
œn œ# œ
j
œn
.˙b≈
œ œ œb
P
œ œb œ œ œ# œ œ œ œb
129
.œ
j
œ .œ
j
œ
∑
∑
f
w
ß
.
.˙˙
Œ
.
.
.
˙˙
˙
b
>
∑
∑
∑
∑
∑
w
w
œ œ
3
œb œ œ#
f
œ#
.œ>
œn
.œ>
œ
œ
ä
œ
f
œ
œ
bâœ
œ
â
œb
ä
130
Í
˙
>
æ
∑
∑
w
ww
ww
w
∑
∑
∑
∑
∑
Deliberate q»¡º¢( )
J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
w>
Ó Œ ‰ J
œ
131
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œb.˙
132
Ó ‰¿>
œœ
∑
∑
∑
Ó Œ ‰
P
j
œ
The
∑
∑
∑
∑
∑
∑
∑
w
133
˙ .œœ
œ
∑
∑
∑
œ
œ
J
œb
J
œ>
œ
men of Ju - dah
∑
∑
∑
∑
‰
f
œ>
œ.
P
œ>
œ.
Œ
‰
f
œ
>
œ.
P
œb
>
œ.
Œ
‰
f
œœ
##
>
œœ.
P
œœ
#
>
œœ
.Œ
‰
f
œ
>
œ.
P
œ
>
œ.
Œ
134
‰j
œ
j
¿ œœ
œ
Œ
∑
‰
f
j
œ
œ
œ
b
b
>
j
œ
œ
œ
.
P
j
œœ
œ
b
>
œœ
œ
.
Œ
‰
j
œ
œ
‰
j
œ
œ
>
œ
œ
Œ
.˙
J
œ‰
∑
∑
∑
∑
- 18 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
2
4
3
4
4
4
2
8
6
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
œ>
œ.
ß
œ>
œ.
Ó
œ
>
œ.
ß
œb
>
œ.
Ó
œœ
##
>
œœ.
ß
œœ
#
>
œœ.
Ó
œ
>
œ.
ß
œ
>
œ.
Ó
135
œ
j
¿ œœ
œ
Ó
Œ Œ ‰
P
(Vibe)VBE
œœ œ#
œ# œ# œn
œ
œ
œ
b
b
>
œ
œ
œ
.
ß
œœ
œ
b
>
œœ
œ
.
‰
P
œœ œ#
œ# œ# œn
j
œ
œ
‰ œ
œ
Ó
∑
∑
∑
∑
∑
‰
π
swell
J
œ#
>
f
œ
‰
π
J
œ#
>
f
swell
œ
‰
π
j
œ
œ
n
n
>
f
swell
œ
œ
‰
π
J
œ#>
f
swellœ
136
‰j
œ œ
ƒ
˙#
æ
f
˙˙
˙
#
˙
˙#
Œj
œ
j
œ
and the
∑
∑
∑
∑
∑
∑
∑
∑
137
œœ
œ œ
∑
∑
∑
j
œ#
J
œb
J
œ
J
œ
R
œr
œJ
œ>
peo - ple of Je - ru - sa - lem
∑
∑
∑
∑
œ#
>
œ#
.
œ
>
œ
.
‰
Ç
J
œ#
>swell
œ
œb
>
œb
.
œ
>
œ
.
‰
Ç
J
œ#
>swell
œ
œ
>
œ
.
œ
>
œ
.
‰
Ç
j
œ
>
swell
œ
œ#
>œ
.
œ
>
œ
.
‰
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168
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177
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4
2
4
4
4
3
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
π
j
œ
‰ Œ Ó
185
∑
(Marimba)
w
æ
∑
∑
œ# œ J
œ
J
œb ˙b
All Is - ra - el
Ó ‰
P
J
œb œ
The LORD
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P
J
œ œ
The LORD
Ó ‰
P
J
œ œ
The LORD
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P
j
œ œ
The LORD
∑
∑
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π
J
œo
œ
o
∑&
186
∑
˙
æj
œ
>
.œ
æ
Œ
π
œ‰
j
œ œ
œ
J
œ œ
Œ
œ
‰
j
œ œ
œ
J
œ œ
œb
J
œn
œ
J
œb œ
has trans - gressed your
‰
J
œb œn
J
œ
J
œ œ
our God, our God,
‰
j
œb œn
j
œb
j
œ œ
our God, our God,
‰J
œb œn
J
œ
J
œ œ
our God, our God,
‰
J
œb œ
j
œ
j
œ œ
our God, our God,
Œ ‰
p
j
œ
>
∑
œo
Œ
Œ ‰
P
J
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187
∑
.œ
æ j
œ
>
œ
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j
œ
>
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#
œ
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œ
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œ
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law,
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our
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our
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J
œ
our
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j
œ
our
w
∑
Ó Œ ‰
π
j
œ
wo
?
188
∑
w
ww
#
æ
w
ww
#
w
w
Œ œ# œ
J
œ#j
œn
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and turned a - way
fw
God,
f
ww
#
God,
f
w
God,
f
w
God,
∑
∑
3
˙ ˙ ˙
∑
189
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
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6
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f
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P
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190
∑
∑
∑
∑
Ó Œ
p
mezza voce
œ
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re -
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∑
∑
∑
∑
∑
˙
J
œ
‰ Œ
œ
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191
∑
∑
∑
∑
J
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J
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J
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J
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fu - sing to o -
∑
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∑
∑
∑
∑
.˙
192
ñ
.˙
æ
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∑
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bey you.
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- 25 -
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&
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ã
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&
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4
4
4
2
8
3ˆ3ˆ2
4
5
4
2
8
3ˆ3ˆ2
4
3
8
6
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
◊
∑
∑
∑
∑
193
j
¿
f
œœ
œ
œ
j
¿ œœ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
194
∑
∑
p
œœ œœ
S
œœ#
˘
‰
j
œœ
˘
p
œœœœa
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˘
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˘œœ
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∑
∑
∑
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∑
P
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œ œ
f
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P
J
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‰
S
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P
j
œ
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‰
S
œ
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>
P
J
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‰
S
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195
∑
P
VBE
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l.v.œb>
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‰
j
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fl
œ
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.
‰
ß
J
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#
˘
∑
∑
∑
∑
∑
∑
∑
∑
∑
196
j
¿ œœ
œ
œ
j
¿ œœ
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
197
∑
∑
p
œœ œœœœ#
Z
œœ
˘
‰
p
j
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j
œœ
fl
œœœœ
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˘
‰J
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˘œœ
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∑
∑
∑
∑
∑
P
œb œœ œ
f
œ>
P
œb
œ
f
œb>
P
j
œœb
‰
f
œ
œ
b
>
P
.œb œ
f
œb>
198
∑
P
œb
œ
œb œb
f
l.v.œb>
Z
œ
œ
#
#
>
œœ
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#
n#
>
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> œœ
#>
∑
∑
∑
∑
∑
∑
∑
∑
∑
199
j
¿ œœ
œ
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œ ‰
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œ
œ
∑?
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∑
∑
∑
∑
∑
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œ.
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œ.
∑
∑
200
˙
Œ
P
œb.
œb.
œ.
œ. œ
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œ.
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œb.
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œ
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œ
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œ. œb
.
œ
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œb œb œ
.
œ. œ
.
∑
∑
∑
∑
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- 26 -
&
&
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ã
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&
&
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8
6
4
2
8
3ˆ3ˆ2
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
(◊)
f
œ>
œ œ
‰
œ
Í
œ>
f
œ#>
œ œ ‰ œ
Í
œ>
f
œ
œ#
>
œ
œ
œ
œ
‰ œ
œ
Í
œ
œ
>
f
œ
>
œ œ‰ œ
Í
œ>
201
j
¿
f
œ œ
œ
‰
j
¿ œ
Í
œ
f
(Vibe)œn>
œ œ ‰
œ
œ
Í
œ
œ
>
æ
f
œ
œ
>
œ
œ
œ
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œ
Í
œ
œ
>
œ
>
œ œ
‰
œ œ
>
∑
∑
∑
∑
∑
˙
˙#
˙
˙#
˙
202
˙
æ
˙
˙
æ
‰
j
œ
œ
œ
œ
>
&
‰
j
œ
œ
œ
œ
œ
œ
>
∑
∑
∑
∑
∑
sp
œb
œb
œ
œ œ
∑
∑
∑
203
∑
sp
œb
œb
œ
œ
l.v.œ
æ
œb
œb
œ
œ
p
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
204
j
¿
P
œ
>œ
œ
j
¿ œ
>œ
œœ
œœ
>
π
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œ
b
b
>
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œ
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‰
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>
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œ
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n
n
>œ
œ
œ
œ
.
‰
œ
œ
>œ
œ
.
‰
J
œ
œ
.
∑
∑
∑
∑
∑
∑
∑
∑
∑
205
œœ
œœ ‰
j
œ
π
MRB
œ
œ œb
œb œb
œ
œn œb
œ œ
œ
œn
˙˙
˙
b
b
>
Œ
˙
˙
>
Œ
∑
∑
∑
∑
∑
∑
Œ
P
œ# œn
œ œ#œb œn œ œ œ#
œb œ œ#
∑
∑
206
œœ
œœ
œ œ œœ
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œb
œb œb
œ
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œ œ
f
œ
œn œb
œ œ œ œ œ#
œ.
œ.
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.
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œ.
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.
œ
.
œ
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œ.
œb.
œb. œb
. œ.
R
œ
∑
∑
∑
∑
∑
∑
œ#
Œ Ó
∑
Ó Œ ‰
j
œ
J
œb>
207
˙
Ó
œ>
Œ ‰
VBE
f
œb
œb
œ .œb
Œ . j
œ
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##
>
˙
˙˙
ww
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ƒ
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j
œ
œ
>
˙
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w
w
∑
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∑
∑
∑
Œj
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Í
˙b>
‰j
œ
j
œ
>Í
.˙
∑
Í
w
208
∑
œ
Œ Ó
∑
∑
∑
∑
∑
∑
∑
- 27 -
&
&
&
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ã
&
&
?
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&
&
?
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8
3ˆ3ˆ2
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
209
j
¿
p
œ œ
j
¿ œ
æ
œ.
j
¿ œ œ
j
¿ œ
æ
∑
p
œ
œœ
##
>
œ
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œ
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‰ ‰
œ
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>
œ
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œ
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J
œ
œ
.
‰
J
œ
œ
.
‰ ‰
F
J
œ
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.
‰
J
œ
œ
.
∑
∑
∑
∑
∑
F
œb
œ œœ#
.˙#
Œ ‰
p
j
œbœ œ
œœ
Œ ‰
p
J
œ#
œ# œ
œ
œ
Œ ‰
p
J
œ œ# œ œ œ
210
.˙
æ
∏
J
œ ‰
p
(Vibe)
œb
œ œœ#
.˙#
∑
∑
∑
∑
∑
∑
∑
∑
œ
j
œb
fl
‰ ‰
j
œb
Í
œ
>
œ#
j
œ#
fl
‰ ‰
J
œ
Í
œ>
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J
œ˘
‰ ‰J
œ
Í
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211
Ó Œ
π
œ
æ
π
œ
œ
b
b
æj
œ
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b
b
fl
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œ
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#
.
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æ
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b
b
b
>
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b
fl
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>
p
j
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œ
.
‰
j
œ
œ
œ
fl
‰ ‰
j
œ
œ
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ß
œ
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∑
∑
∑
∑
∑
∑
w
w
w
212
.œ
æ
j
¿ œ œ œ
j
¿ œ
p
œ
w
w
æ
Œ .
P
.
.
.
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œ
b
b
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ww
w
b
b
w
w
w
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∑
∑
∑
∑
∑
∑
∑
213
∑
∑
‰
F
œœb œ
œ
œ œb ˙˙˙
j
œ
œ
œ
>
Ó
˙
˙
˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
214
∑
∑
˙˙˙
Ó
˙
˙
˙
˙
˙
˙ Ó
Œ
f 3
J
œb
J
œ J
œ œ
J
œ
J
œ#
There - fore the cur - ses
∑
∑
∑
∑
∑
∑
∑
∑
215
∑
∑
‰
œb œ œbœb œb
œ œb
F
˙
˙
b
b
˙
˙
b
J
œ‰ Œ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
216
∑
∑
˙˙˙
b
b
œ
œ
œ œb
˙
˙
˙
n
n ‰
œb
œ
œn
œb œb
œn
J
œJ
œn œb
and swo - rn judge -
∑
∑
∑
∑
- 28 -
&
&
&
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ã
&
&
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&
&
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4
3
8
3ˆ3ˆ2
4
4
8
3ˆ3ˆ2
4
3
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
217
∑
∑
‰œ
œ œb
œœ œ
œ
w
w
w
b
b
b
J
œ
J
œ ˙
J
œ ‰
ments
∑
∑
∑
∑
∑
∑
∑
∑
218
∑
∑
œb œ
œ
œ œ
œ
œ
œ
˙
˙
˙
b
b
b
∑
∑
∑
∑
∑
Œ . Œ .
P
œ œ
Œ . Œ .
P
œ œ
Œ . Œ .
P
œ œ
Œ . Œ .
P
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219
∑
∑
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j
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.
.
.
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J
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.
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P
J
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J
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writ - ten in the law of
∑
∑
∑
∑
f
.œb
J
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f
.œ#
j
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f
.œ
j
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f
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j
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220
∑
∑
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#
j
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‰
cresc.
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.
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œ
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J
œ
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˙
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f
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J
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Œ
Mo - ses,
∑
∑
∑
∑
P
w
P
w
P
w
P
˙˙
221
π
œ
>
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> œ œ
>
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∑
œ œb
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œ
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F
œ œ
the
Ó Œ
P
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the
Ó Œ
P
œ œ
the
Ó Œ
P
œ œ
the
Ó Œ
P
œ œ
the
w
w#
w
3˙
˙˙
222
œ
>
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>œ
œœ
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>
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>œ
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∑
3˙
˙
n˙˙
˙
n
˙˙
3
˙˙
˙
3˙˙
˙
ser - vant of
3˙
˙
˙
ser - vant of
3
˙ ˙
˙
ser - vant of
3˙
˙˙
ser - vant of
3˙
˙˙
ser - vant of
‰
Z
J
œ˘
Œ Ó
‰
Z
J
œ#
˘
Œ Ó
‰
Z
j
œ
œ
fl
Œ Ó
f
w#
223
‰
F
J
œ
æ
j
œ œ œ Œ œ
œ
œ
MRB
‰
f
J
œb
æ
j
œœ œ Œ
œ œœ
f
w
w
#
&
w
w
#
#
Í
w#
God,
Í
w#
God,
Í
w
God,
Í
w#
God,
Í
w#
God,
∑
∑
∑
∑
224
j
¿ œ
>
œ œœ.
j
¿ œ
>
œ œœ
œœ
æ
œ.
œb
>
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œ
>
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Œ . Œ .
P
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Œ . Œ .
no pedal
œ#
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ƒœ
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have been
ƒ
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have been
ƒ
œ
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have been
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have beenƒ
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have been
- 29 -
&
&
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ã
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&
&
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4
3
4
4
8
3ˆ3ˆ2
4
4
4
3
8
3ˆ3ˆ2
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
225
‰
j
¿
J
œ.
œ
æ
j
œ
>
‰
‰
(Marimba)
J
œb.
œ
æ
J
œ
>
‰
œœ
œ#
f
œ>
œb
œ
œœ
œ#
œ>
œb
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
226
Œ
Í
.˙
æ
∑
Í
3
œ œ
œb
f
˙
˙
˙
b
b
b‰
œb œ
3
œ œbœb
˙
˙
Œ
F3
œ œ J
œ#˙#
‰
J
œ#
poured out on
∑
∑
∑
∑
∑
∑
∑
∑
227
j
œ
œ ¿
œ
j
œ
œ j
œ
∑
˙˙˙
˙
bb ˙
˙˙˙
n
#
#
w
w
˙b˙
us
F
œ œ
œb
œb œ
œ
poured on us
F
œ œ
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poured on us
∑
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∑
∑
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∑
228
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∑
.
.
.
.
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w
w
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J
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be-cause
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j
œ
be-cause
.œ Œ ‰ j
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j
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be-cause
∑
∑
∑
∑
∑
∑
229
.œ
.œ
œ
¿
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Œ .
π
VBE
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F
.
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w
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we have
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>
j
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we have
.œ
>
j
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we have
∑
∑
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Ten. 2
Ten. 2
Bs. 1
Bs. 2
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4
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4
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Vln.
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Bs. 1
Bs. 2
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241
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243
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4
5
4
4
8
6
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Vln.
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Ten. 2
Ten. 2
Bs. 1
Bs. 2
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(Alto Fl.)
6
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4
4
8
6
4
3
8
6
4
4
8
6
Fl.
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Vln.
Vc.
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Perc.
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Ten. 2
Bs. 1
Bs. 2
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257
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258
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259
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260
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261
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264
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8
6
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
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265
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267
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269
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270
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&
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8
5
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
√
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p
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p
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J
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273
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279
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8
9
4
3
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Bs. 1
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‰ ‰ Œ . Œ .
ƒ
J
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ƒ
J
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‰ ‰ Œ . Œ .
285
∑
∑
ƒ
Burst!
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286
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f
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.
.
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287
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π
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288
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ñ
(Vibe)
œ
3
œ œ œ œ œ œ œ
π
.˙
∑
∑
∑
∑
∑
∑
- 37 -
&
&
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ã
&
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4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
∑
289
∑
f
(Vibe)
œ œ œ œ
3
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
290
∑
P
Recitative, rubato ( )q»•º
w
æ
∑
f
w
w
w
#
w
w
#
#
&
Œ
P
mezza voce
R
œ
R
œ
R
œ
R
œ
œb œb
Un - der the whole heav - en
∑
∑
∑
∑
∑
∑
∑
∑
291
∑
l.v.
˙
>
Ó
π
light and airy
œb
œ
œ
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f
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J
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∑
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∑
∑
Œ
U
Œ Ó
Œ
U
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Œ
U
Œ Ó
Œ
U
Œ Ó
292
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U
Œ Ó
Œ
U
Œ Ó
œ
U
Œ
π
j
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¯
‰
œ
>
3
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U
Œ
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U
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293
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P
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,
no - thing has ev - er been done, like
Ó Œ
U
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Ó Œ
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∑
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294
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w
w
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w
w
3
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j
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what has been done to Je - ru - sa -
∑
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7
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œ
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f
˙
∑
∑
295
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π
œ
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p
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w
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lem.
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œ œ œ œ œ
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296
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.....................slide
- 38 -
&
&
&
?
ã
&
&
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&
&
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?
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
j
œ
>
.œj
œ#
>
j
œ# œ
j
œ
>œ
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≈
R
œ#
˙
∑
∑
297
˙
æ Ó
(Vibe)
˙
æ Ó
P
œœ œ#
œ
œœn
œ œ#
Ç
R
œ>
œ œ œ œ œ œ
f
œ
∑
∑
∑
∑
∑
∑
A tempo q»•º( )
˙
j
œb
˙n
J
œ
‰ Œ Ó
Ó
R
œ
Ç
Sul G
˙
>
∑
298
∑
∑
P
œb œ
œ ‰
5
œ
œ œb
œbœ
œ œ
Œ
P
R
œb
R
œ
R
œ
R
œ
œ œ
Just as it is writ - ten
∑
∑
∑
∑
œ
,
6œ œb œ œ# œ œ
F
œn œ
3
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∑
˙
p
œ œ œ œ œ
∑
299
∑
∑
œœœ
#
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3‰
œ œ
˙
˙
b
b ˙
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Œ
j
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œ
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3
J
œ
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in the law of
∑
∑
∑
∑
f
w
∑
j
œ
Ç
œ
>
∑
300
∑
∑
œ
œ
œ
#œ
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b
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˙
˙
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Mo - ses,
∑
∑
∑
∑
π
J
œ
‰ Œ Ó
∑
.˙
∑
301
∑
∑
˙
˙
˙
n
#
j
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œ
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œ
##
j
œ
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n
˙
˙
˙
˙˙
˙
‰
cresc. poco a poco
J
œ
J
œ
J
œ J
œ œb
J
œ
all this di - sas - ter has
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
j
œ
ß
œ
>
∑
302
∑
∑
œ
œ#
œn
3
œ
œ
œ
œ
˙
˙
˙
Œ
˙
3
‰
j
œ
j
œ
come up - on
∑
∑
∑
∑
∑
∑
˙ œ œ œ œ
∑
303
∑
∑
Œ˙
˙
˙
>
Œ
˙
˙
˙
#
#
#
>
˙
J
œ
‰
us.
∑
∑
∑
∑
∑
∑
j
œ
ß
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∑
304
∑
∑
œ
3
œ œbœ
.
.
.
˙
˙
˙
f œ3
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Yet we have not
∑
∑
∑
∑
- 39 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
4
4
3
4
2
4
4
4
2
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
˙
J
œ
‰ Œ
∑
305
π
Muted with left hand.
.œ
j
œ
.œ
J
œ
Œ
P
(Vibe)
œ
œ
œ œ#
l.v.˙#
œ#˙
œn
œ
œ
œ
œ#
˙œn
w
˙#Œ
3
‰œn
œ
sought the
∑
∑
∑
∑
∑
∑
Œ ‰
F
J
œ# ˙
∑
306
’ ’ ’ ’
Œ ≈
œ#
œ# œ
l.v.˙n
∑
œ
œ
œ
b
b œ#
œ#
œ#
œ ˙
œ
œ
œ
3
œ œ œ œ œ
œ#.œ# ‰
J
œ j
œn
fa - vor of the
∑
∑
∑
∑
∑
∑
.œ
J
œ.œ
J
œb
∑
307
’ ’ ’ ’
Œ ‰ œ#
œ
l.v.˙
3
œb œ œ œ œ
œ
œœœ
˙
˙
b
œb
œn
w
w
#
#
œ.œb ‰
œb
œ
Lord our
∑
∑
∑
∑
∑
∑
œ.œ
J
œb
∑
308
.œ
j
œœ
œ
Œ Œ ‰J
œb
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œ
b
b
.
.
.
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j
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.
.
˙
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˙
b
b
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God, by
∑
∑
∑
∑
∑
∑
œ œ
∑
309
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œ
3
œ
œ œ#
3
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œ
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3
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˙
˙
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#
#
#
3
J
œ
J
œn
J
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3
J
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J
œJ
œ
tur - ning a - way from our
∑
∑
∑
∑
∑
∑
œ#
ƒ
˙n
J
œ
‰
∑
310
.œ
j
œ J
œ
œ
j
œ
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3
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3
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œ
#.
.
˙
˙
#
3
œ œ œ œ œ œ œ
w
w
w
œ# ˙#
‰ J
œ
sins, and
∑
∑
∑
∑
∑
∑
∑
∑
311
œ œ
3
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3
œ œ# œ#
3
œb
œ œ
3
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#
œ
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œ
œ
œ
#
#
#
3
J
œb
J
œ
J
œ
3
J
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J
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J
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giv - ing at - ten - tion to
∑
∑
∑
∑
∑
∑
∑
Œ
π
DUET.˙
312
.œ
j
œ .œ
j
œ
œ#
3
œœ œ
œ
œ
Ó
3
œ œ œ.˙
ww
w
#
ww
w
œ˙
Œ
your truth
∑
∑
∑
∑
- 40 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
Œ ‰
DUET
P
expressively
j
œb œ
œ
œn
œ
œ
.œ#
F
expressively
œ œ#
œœ ˙
313unmuted
P
˙
>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ# ‰
œ
3
œ
œœ
3
œ# œ
œn
œ
œ œ
.œ
œ# ˙
314
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ
J
œ# œ œ#
3
œ#œ
œ .œ œ
3
œ œœ#
ƒ
.œœ
315
∑
∑
∑
∑
∑
∑
∑
∑
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∑
∑
œ œ ˙ œ
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316
∑
∑
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∑
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∑
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‰
J
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317
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∑
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∑
∑
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‰
J
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318
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∑
∑
∑
∑
∑
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∑
∑
∑
∑
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.œ j
œ œ
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319
∑
∑
∑
∑
∑
∑
∑
∑
∑
- 41 -
&
&
&
?
ã
&
&
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&
&
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4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
œ#3
œ
œ#œ
5
œœ œ#
œn
œ .œ
‰
π
.œ
œ# œ#
œ œœ œ
5
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320
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ j
œ#
J
œ# œnœ œ#
ƒ
˙^
‰
œ œ
321
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
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œj
œ œ# œ.œ œ#
œ
f
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œ
3
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322
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∑
∑
∑
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∑
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U
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q»¡º¢A tempo ( )
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Ó
U
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r
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323
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324
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ß
w
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j
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w
w
slide
ß
˙ ˙
325
ß
˙
æ
∑
w
w
ww
w
f
w
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∑
∑
∑
∑
∑
- 42 -
&
&
&
?
ã
&
&
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&
&
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4
2
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
◊
Ó
5
œ
œœ
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ß
˙>
∑
∑
∑
326
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˙æ
p
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w
w
w
w
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>
w
w
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∑
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∑
p
Deliberate q»¡º¢( )
6
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∑
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∑
327
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w
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j
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not hes - i - tate to
∑
∑
∑
∑
∑
Œ
π
œb œn
œœ
∑
∑
328
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>
P
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bring di - sas -
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∑
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∑
f
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π
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∑
329
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ter up - on us
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P
j
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up - on us
∑
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w
∑
330
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∑
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for the Lord our
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for the Lord our
‰ .
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p
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f
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∑
331
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r
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P
j
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J
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God is
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God is
- 43 -
&
&
&
?
ã
&
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
(◊)
√
J
œ
Œ . Œ
P
œb
œ œb
œ
J
œ
‰ Œ Ó
∑
∑
332
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˙
>
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P
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n
.
.
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J
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J
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J
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in ev - ery thing he does
∑
∑
‰
f
J
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right - eous
‰
f
J
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right - eous
.˙ œ#
∑
Ó Œ
p
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∑
333
∑
f
˙
Œ
p
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˙
˙
Œœ#
˙˙
˙
w
w
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, yet
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334
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4
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4
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Bs. 1
Bs. 2
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337
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342
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343
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4
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Perc.
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Bs. 1
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(Alto Fl.) ˙Ó
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345
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348
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349
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Ten. 2
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q k»•º
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dures to this day, this
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Fl.
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Bs. 1
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Pno.
∑
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360
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361
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(Bass Cl.)j
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362
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363
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367
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Fl.
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Perc.
Ten. 2
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Bs. 1
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Pno.
∑
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p
(Bass Cl.)
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368
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369
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371
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372
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373
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4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
To C Flute
(Bass Cl.)
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375
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376
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378
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379
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380
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4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
Í
Slower, lamenting q»§º( )
(Bass Cl.)
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381
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382
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˙ ˙#
∑
∑
w#
383
p
unmeasured, ad lib.
œ
>
f
œ
w
w
#
#
æ
∑
w
∑
Œ
œ# œ
œ
Our
Œ
œ# œ
œ
Our
w#
Our
w#
Our
˙ ˙#
π
œ#
7
œ
œ œ#œ
œ#
œ#
œ
f
œn œ œ œ œ œ œ œ
∑
w#
384
P
.œ
j
œ .œ
j
œ
p
VBEw#
æ
∑
p
w
w
#
#
w
w
w
#
∑
w#
w#
w
w
˙ ˙#
∑
∑
w#
385
f
œ
>
π
.˙
æ
w
æ
∑
w
w
#
#
w
www
#
∑
Œ
œ# œ
œ
Our
Œ
œ# œ
œ
Our
w#
Our
w#
Our
˙ ˙#
∑
∑
w#
386
p
œ
>
f
œ
w
æ
∑
w
w
#
#
w
www
#
#
∑
.œ#
j
œ#œ
œ
.œ#
j
œ#œ
œ
w
w
- 51 -
&
&
&
?
ã
?
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
˙
Ó
Œ
p
(Bass Cl.)
.˙#
Œ
p
.˙#
w#
387
P
.œ
j
œ .œ
j
œ
(Vibe) wa
æ
∑
w
w
#
#
œ
œœœ
#.
.
.
.
˙
˙˙˙b
∑
f
œ œb œ œn .˙
sins
f
wN
sins
f
w#
sins
f
w#
sins
∑
œn œ#
œ œœ
œœ œ
Í
œ#
3
‰
œ œ œ œn
œ#
œ œ
œœb
œ
˙ ˙#
w#
388
.œ œœ
œ œ
h
œ
w
æ
∑
w
w
#
#
∑
∑
∑
w#
(humm)
w#
(humm)
Ó Œ
colla voce
œ#
f
˙
Ó
˙ ˙#
w#
389
.œ œœ
œ .œ œ.œ
œ
w
æ
∑
π
w
w
#
#
wwww
∑
Ó Œ
œ#
Our
Ó Œ
œ#
Our
w#
Our
w#
Our
œ
œ œ
P
œ# œ œ
To Bb Clarinet∑
˙ ˙#
w#
390
’ ’ ’ ’
w
æ
∑
w
w
#
#
œœœœ
.
.
.
.
˙˙˙
˙
nb
∑
œ
œ
j
œ
j
œ#
j
œ
j
œ
sins and the in -
œ
œ
j
œ
j
œ#
j
œ
j
œ
sins and the in -
w#
sins
w#
sins
.œ œb œœ œ
∑
.˙ œ#
.˙# œ
ä
391
.œ œœ
œ œ
h
œ
w
æ
∑
w
w
#
#
˙
˙˙
˙
#
#
˙
˙
˙˙#n
∑
.
J
œ
R
œb œ
,
œ œ
iq - ui - ties of our
.
J
œ
R
œb œ Œ
j
œ#
j
œ
iq - ui - ties of our
.˙# œ
our fa -
.˙# œ
our fa -
f
œb
œb œn
.œ
œ#œ œ#
œ œ
∑
˙#
Ó
p
.˙# œ
ä
392
œ
¿
œœ
œœ
œœ œ
¿
œœ
œœ
œœ
w
æ
∑
w
w
#
#
œ
œ
œ
b
n
˙˙n œ
œ
#
#
∑
œb ˙ œ#
fa - thers have
œb ˙nœ#
fa - thers have
.˙# œ
thers have
.˙# œ
thers have
- 52 -
&
&
&
?
ã
?
&
?
?
&
&
?
?
4
3
4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
◊
.œn
j
œb.œ
j
œ
∑
∑
p
.˙# œ
ä
393
œ
¿
œœ
5
œ œ œ œ œ œ
¿
œœ
œœ
œœ
(Vibe) w
æ &
∑
w
w
#
#
w.œ
J
œ.œ
J
œ
∑
.˙n Œ
made
.œ
j
œb
,
.œ
j
œ
made, have
.˙# œ
made have
.˙# œ
made have
p
.˙
∑
‰
J
œœ# œ œ
P
.˙#
394
œ œ œ œ
¿
œœ
5
œ œ œ œ œ
‰
j
œ
œ
æ œœ
#
æ
œ
œ
æ
œ
œ
æ
‰ j
œ
œ
œœ
œ
# œ
œ
œ
œ
œ
œ
J
œ œ œ œ
f
w
w
#
#
w
∑
‰
J
œœ# œ œ
,
Je - ru -
.˙
made
.˙#
made
.˙#
made
P
.˙ œ
∑
˙œb
œn
F
.˙# œ
ä
395
œ
¿
œœ
œœ
œœ œ
¿
œœ
œœ
œœ
.
.
œ
œ
>œ
œ
#
#
>
3
œ
œ
n
n
>
œ
œ
b
b
>
œ
œ
>
œ
œ
#
#
>
œ
œ
>
æ
.œ œ#
3
œn œb œ
œ#
œœ
œœb
3
œ
œœ
œ
œœ
##
œ
œœn
œ
œ
œ
n
#
œ
œœ#
w
w
#
#
∑
.œ œb
3
œ œb œ
œb
œ
sa - lem
.˙ œ
sha - lom
.˙# œ
sha - lom
.˙# œ
sha - lom
œ œ œ œ œ
∑
˙‰
J
œ
œ œ# œ
ä
œ œ
396
œ œ œ œ
¿
œœ
5
œ œ œ œ œ
Ó Œ?
∑
œ
œ
œ
œ
#
#
œ
œ
œ
œ
œ
œ
‰
j
œ
œ
œb
.
.
.
œ
œ
œ
j
œ
œ
œ
∑
.˙
j
œ
j
œ œ
j
œ
j
œ
Je - ru - sa -
j
œ
j
œ# œ
j
œ
j
œ
Je - ru - sa -
j
œ
j
œ# œ
j
œ
j
œ
Je - ru - sa -
.˙# œ
∑
.˙œb
Í
w
397
œ
¿
œœ
œœ
œœ œ
¿
œœ
œœ
œœ
∑
‰
œ œb œ œb œ
œb
J
œb
.
.
œ
œb
œ
œ
œ
œ
œ
œn
w
w
∑
‰
œ œb œ œb
J
œ
œb
and your peo -
.˙b œ
lem peo -
w
lem
w
lem
w
∑
w
œ ‰
f
J
œ œbœb
398
œ
¿
œœ
œœ
œœ œ
¿
œœ
5
œ œ œ œ œ
∑
wn
w
w#
œ
œ
‰
j
œ
œ
œ
œ
b
b
œ
œ
b
b
∑
w
ple.
wn
ple
œ Œ Ó
œ ‰
J
œ œbœb
your peo -
- 53 -
&
&
&
?
ã
?
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
(◊)
∑
∑
‰
F
œ œn œ# œ œ
3
œ œ# œn
.˙ œ
399
Í
Slightly muted with left hand.
.œ
>
œ .œ œ .œ œ .œ
[repeat ad lib.]
œ
P
[ad lib.]
(Vibe) w
w
æ œb
∑
w
w
∑
‰
œ œn œ# œ œ
3
œ œ# œn
your
‰
œ œn œ# œ œ
3
œ œ# œn
your
‰ œ œn œ# œ œ
your peo -
.˙ œ
ple peo -
Ó Œ ‰
F
J
œ
Ó Œ ‰
F
J
œ#
œ œ# œ œ
j
œ œ
J
œ
.˙
‰j
œ
400
’ ’ ’ ’
w
w
æœb œn
∑
P [ad lib.]
w
w
æ œb œn
∑
œ œ# œ œ
j
œ œ
J
œ
peo - ple an
œ œ# œ œ
j
œ œ
J
œ
peo - ple an
.œ
J
œ œ ‰
J
œ
ple an
.˙
‰j
œ
ple an
œ œ œ# œ
˙ œ œ
w
˙ œ œ
401
’ ’ ’ ’
w
w
æœb
œœn
∑
w
w
æœb
œœn
∑
œ œ ˙
ob - ject of
œ œ œ# œ
ob - ject of
w
ob -
˙ œ œ
ob - ject of
œ œœ œ#
˙ ˙
w
˙ ˙
402
’ ’ ’ ’
w
w
æ œb œnœ#
∑
w
w
æœb œn
œ#
∑
œ œ œ œ
scorn to all those
œ œœ œ#
scorn to all those
˙ ˙
ject of
˙ ˙
scorn to
œ œ œ œ# œ œœ#
œœ
œ
‰ J
œ œ#œ#
œœ
w
w
403
’ ’ ’ ’
w
w
æœn
œnœb
œb
∑
w
w
æœn
œnœb
œb
∑
.˙ œ
a - round
œ œ œ œ# œ œœ#
œ
j
œ
a - round
œ‰
J
œ œœ#
œ
j
œ
scorn, a - round us
w
those
J
œ
J
œ œ œ
‰ J
œ
‰
J
œN œ œ‰
J
œ
‰J
œ œ œ
‰J
œ
‰j
œ œ œ
‰j
œ
404
‰j
œ ˙æ ‰
j
œ
‰
ƒJ
œ
œ
>˙
˙
æ
‰
J
œ
œ
>
∑
‰
ƒ
j
œ
œ
>
˙
˙
æ ‰j
œ
œ
>
∑
‰
J
œ œ œ ‰
J
œ
a - round us a -
.˙
‰j
œ
us. a -
‰
j
œN œ œ ‰
J
œ
a - round us a -
‰j
œ œ œ
‰j
œ
a - round us a -
œ ˙
Œ
œ ˙
Œ
œ ˙
Œ
œ ˙
‰ j
œ
405
Ͼ
˙æ
Œ
œ
œ
æ
˙
˙
æ
Œ
∑
œ
œ
æ
˙
˙
æ Œ
∑
œ ˙ ‰
J
œ
round us. O
œ ˙
‰j
œ
round us. O
œ ˙ ‰
J
œ
round us. O
œ ˙
‰ j
œ
round us. O
- 54 -
&
&
&
?
ã
?
&
?
?
&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
√ √
∑
∑
π
Thoughtful and solicitous, più mosso q»§º - ¶™( )
O
w
˙#.œ
j
œ
406
∑
∑
Ç
sweeping, in the manner of a harp
œ# œœ
œ œ# œœ
œ
œ#
f
œ
œœ œ œ
œœ œ œ
œœ œ
œ#
œ#
œ#
œ# œ
œ
œ
Ó Œ Œ
w#
God
w#
God
w#
God
w#
God
∑
∑
O
w
˙
.œ
J
œ#
407
π
.œ œ
.œ
œ .œ œ
œ
œ
∑
Œ Œ
˙
π
w
www
w#
Œ
f
œ
.œ
J
œ#
Now our
J
œ ‰ Œ Ó
j
œ
‰ Œ Ó
J
œ ‰ Œ Ó
j
œ
‰ Œ Ó
∑
∑
O
w
.˙œ#
408
ñ
œ
>
œ œ œ œ œ œ œ
∑
π
sweep
œ# œœ
œ œ# œœ
œ
œ#
œ
f
œœ œ œ
œœ œ œ
œœ œ
œ#
rumble, wash of sound in the pedal
œ œ
œ
œœ œ
œ
œ#
œ#
œ# œ
œ
œ
œ#
.˙
π
Œ
God,
∑
∑
∑
∑
∑
∑
O
w
œ
œ
.œ
J
œ#
409
P
œ œ œ œ .œ œ.œ
œ
∑
Œ Œ
.œ
J
œ#?
œœ œ#
œ
œœ œ
œ....
˙˙˙
˙
>
w#
Œ ‰ j
œ
.œ
J
œ#
hear our
∑
∑
∑
∑
∑
∑
O
w
˙n
j
œ ‰œ
410
Í
.œ
>
œ .œ œ .œ œ .œ œ
∑
w&
sweep
œ#œ œ#
œ œ#œ œ#
œ œ
œ œ
œ
œn
œ# œ
œn
˙
˙
˙
œ
œ
œ
œ
˙#
˙
j
œ ‰
P
œ
prayers the
∑
∑
∑
∑
- 55 -
&
&
&
?
ã
?
&
?
?
&
&
?
?
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
√
∑
∑
∑
3
œ#œ
œ œ œb
3
œ œn œ
411
’ ’ ’ ’
[repeat ad lib.]
∑
∑
˙
˙
œ
œ
b œ
œ
n
˙
˙b
œ
œ
# œ
œ
n
3
œ#œ
œ œ œb
3
‰ J
œn
J
œ
prayers and pe -
∑
∑
∑
∑
∑
∑
Ó O
˙
#
#
œœ œb
3
‰
œœ
412
’ ’ ’ ’
∑
Œ
p
œ ˙#
w
wwww
w
#
#
F
œœ œb
3
‰ J
œ
J
œ
ti - tions of your
∑
∑
∑
∑
∑
∑
.
.O
˙
œ˙#
413
.œ œ .œ œ œ œ
∑
Œ Œ
œ#
.
.
.
.
˙˙˙
˙
#
#
œ˙#
ser -
∑
∑
∑
∑
∑
Ó
∏
˙
O
w
#
#
∏
wn
414
’ ’ ’ ’
[repeat ad lib.]
∑
w
?
sweep
œ#
œ# œœ
œ
œ# œœ
F
œ
œœ œ
œ
œœ œ
π
˙œ
œ
œ# œ
œ
wn
vant
∑
∑
∑
∑
Ó ‰
P
colla voce
œ œ#œ
F ∏
w
O
w
∑
415
’ ’ ’ ’
∑
cantabile
P
œ œ œ œ#œ
œ
œœ#
œ
œœ
œ
œœ
œœ
π
œ#
.œ# œ .œ œ .œ œ .œ
Ó ‰
Fj
œ œ#œ
For your
Ó ‰
P
J
œ œ œ
For your
Ó ‰
P
J
œ œ œ
For your
Ó ‰
P
œ œ#œ
For your
Ó ‰
P
œ œ# œ
For your
- 56 -
&
&
&
?
ã
?
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&
&
?
?
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
œ œ
‰ J
œ#
3
œ œœ
Ó
π
˙b
O
w
#
#
∑
416
.œ œ
.œ
œ .œ œ
œ ¿
œ
∑&
œn œ œ œb
3
œ
j
œ
œ
œnœ
œ
œœ
œ œ œœœ
œb
J
œœ
œœ
œ#
.œ# œ .œ œ .œ œ
œ œ
‰J
œ#
3
œ œ
J
œ
sake O Lord
œ œ ‰
J
œ
3
œ œ-
J
œ
sake O Lord
œ œ ‰
J
œ
3
œ œ-
J
œ
sake O Lord
œ œ
‰J
œ#
3
œ œ-
œ
sake O Lord
œ# œ ‰
J
œ
3
œ œ
-œ
sake O Lord
œ
J
œ
˘
‰ ‰J
œ œ
P
w
O
œ
j
œ
œ
#
#
fl
‰ Ó
∑
417
’ ’ ’ ’
[repeat ad lib.]
VBE
Ó ‰
Í
j
œ
>
œ œ œ œ
œ.˙œ
œ
œœ
b œœ
œ
#n
œ
œ œ
œ
œ œ
œ
œ
œ
œ#
.œ# œ .œ œ .œ
œ
J
œ˘
‰ ‰ J
œ
R
œ
R
œ
R
œ
R
œ
look with fa - vor on your
œ
J
œ
˘
‰
˙
look on
œ
J
œ
˘
‰
˙
look on
œ
J
œ#
˘
‰˙
look on
œ
J
œ
˘
‰˙
look on
œ œ œbœb œ œ
œ
œ
Œ ‰
P
j
œ
5
œ œ#
œ#œ
œ
∑
∑
418
’ ’ ’ ’
6
œ œ œ œ œ œ œb
>
æ
œ œb
œ#
œ
f
œ
æ
œ œb
œœ
œ
œ
œ
œb
œ
œ
œ œb
œœ
œb
œ
œ#
.œ# œ .œ œ .œ œ .œ
3
R
œ
R
œ
R
œ
R
œ
R
œ œbœb œ œ
œ
de - so - late sanc - tu - a -
œ ˙b œ
your sanc - tu -
œ ˙b œ
your sanc - tu -
œ ˙bœ
your sanc - tu -
œ ˙bœ
your sanc - tu -
œœ œ
Œ Œ
.œ œ œb œ
f
˙#
∑
Ó Œ
F
colla voce
œ
419
’ ’ ’ ’
œ œ œ
P
˙
˙
n
n
æ
œœ œ œ œœœ œ
œb
œ
œ
œ
œ
œ
œn
œ#
œ#
.œ# œ .œ œ .œ œ .œ
œœ œ Œ
œ
ry Give
œ œ
Œ
œ
a - ry Give
œ œ
Œ
œ
a - ry Give
œœ œ Œ
œ
a - ry Give
œœ œ Œ
œ
a - ry Give
∑
∑
∑
.œ
J
œb.œ œ#
3
œn œ
œ œ
420
’ ’ ’ ’
w
w
æ
œb
œ
>
.œj
œb
œ œ
œ
œ
œ œ#
œbœb
œn
œœ
œ
œœ
œ#
.œ# œ .œ œ .œ œ .œ
.œ
J
œb
œ
3
‰œ œ
ear, O God, and
.œ
J
œb
œ
3
‰
œ œ
ear, O God, and
.œ
J
œb
œ
3‰
œ œ
ear, O God, and
.œ
J
œb
œ
3
‰œ œ
ear, O God, and
.œ
j
œ# œn
3
‰œ œ
ear, O God and
∑
∑
∑
.œ
J
œ
œ
œ œœ#
3
œ œ#
œ œ#
421
’ ’ ’ ’
w
w
æ
œ# œn
>
œ œ œ œœ
œœ
œ
œœ
œ
œœ
œ
œœ
œ#
.œ# œ .œ
œn
.œn œ .œ
.˙ 3
‰ œ œ#
hear o -
.˙
3
‰
œ œ#
hear o -
œ œ˙b
3‰
œ œ#
hear o -
˙
œ œ ˙
3
‰ œ œ#
hear o -
.˙
3
‰ œ œ#
hear o -
- 57 -
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4
3
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
.œ#
J
œn.œ
J
œ
422
’ ’ ’ ’
(Vibe)w
w
#
#
æœ
œ
.œ#
j
œn˙
œ
œ# œ#
œ#
œn
œœ
œœ
œœ
œ
œ
.œ œ .œ œ .œ œ .œ
.œ#
J
œn.
J
œ
R
œ
J
œ
J
œ
pen your eyes and see the
.œ#
J
œnœ Œ
pen your eyes
œ# œ# œnœ
pen your eyes
.œ#
j
œ ˙n
pen your eyes
.œ#
j
œ ˙n
pen your eyes
∑
∑
Ó Œ
3
‰
F
œbœb
œ# œ œ œ# œn œ# œn œb ˙
423
’ ’ ’ ’
f
œ
œ
#
#
>
œ
œ
œ
œ
>
œ
œ
>
Œ
œ# œ œ œ# œn œ# œn œb œ
œ œb
3
œ œbœb
œ œb
œ#
œ#
œ#
.œ
œ
œ# œ œ
R
œ# œn œ# œn œb œ
3
‰
J
œb
j
œb
de - so - la - tion of the
j
œ#
j
œ œ œ
Œ
so - la - tion
j
œ#
j
œ œ œ
Œ
de - so - la - tion
j
œ#
j
œ œ œ Œ
de - so - la - tion
j
œ#
j
œ œ œ Œ
de - so - la - tion
∑
∑
œœ
˙
‰ J
œ
˙b
‰
œ œ œ
424
’ ’ ’ ’
∑
œ
œ œ œ
.œ
œ
.œ
œ
.œ
œ
.œ
œ
≈
œb
œ œ
œ
œ œ
œ
œ œ
œ
œ
œœ œ
‰
œ œ œ
ci - ty that
∑
∑
∑
∑
∑
∑
œ œ
.œ# œ# œn œ# œn œb œ
.œ
J
œ œ# œ œ œ# œn
425
’ ’ ’ ’
∑
œ
œ
œ
.œ œ
œ# œ œ œ# œn
œ œ œ
œœ
œœ#
œn
.œn œ .œ
œ#
≈
.
j
œ#
.œn
J
œ œ# œ œ œ# œn
bears your name,
∑
∑
∑
∑
∑
∑
≈
œb œœ
˙
Œ
≈œ# œn œb ˙
˙#
Œ
426
’ ’ ’ ’
.˙#
Œ
F
œ-
œ-
œ-
≈
œ# œn œb œ œ œœ
œ# œn œb œ
œb
œb
œ
œ
œ
œ
œ
œ
œ
œ
#
#
œ#
.œ# œ .œ œ .œ
≈œ# œn œb ˙ Œ
your name
≈
P
œ# œn œb ˙
Œ
your name
≈
P
œ# œn œb ˙
Œ
your name
Ó ‰
J
œ œ
your name.
Ó ‰
J
œ œ
your name.
∑
∑
∑
∑
427
’ ’ ’ ’
˙
æ
>
Ó
œ œœ œœ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ#
.œ# œ .œ œ .œ œ .œ
Œ
F
œ
J
œ
J
œ œ
We do not
Œ
F
œ
j
œ
j
œ œ
We do not
Œ
F
œ
j
œ
j
œ œ
We do not
J
œ ‰
F
œœ œ œ
We do not
J
œ ‰
F
œœ œ œ
We do not
- 58 -
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&
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ã
&
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&
&
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4
3
4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.√
∑
∑
∑
∑
428
.œ œ
œœ
œ œ œ
∑
œ
.œ
j
œ
œ
œœ
œ
œ#
œœ
œœ
œ
œb
œ
œ
œ
#
#
œ
œ#
œ#
œ
œ
œ
œ
œ
˙#
œ œ œ
R
œ
.œ#
J
œb
make re - quests of
œ œ œ
r
œ
.œ#
J
œb
make re - quests of
œ œ œ
r
œ œ# œ
make re - quests of
œ œ œ
R
œ.œ#
j
œn
make re - quests of
œ œ œ
R
œ.œ#
j
œn
make re - quests of
∑
∑
∑
∑
429
.œ œ
.œ
œ .œ œ
œ œ
œ
(Vibe)œ œ œ
F
œœb
.˙ Œ
œ œ œœ
œbœ
œbœ
œ
œ
œ
œ
œœb
œ
œ
œb
œ
œ
.œ
œ
.œ
œ
.œ
œ
.œ
œ œ œ œ
˙
Œœ
œb
you be -
.˙ Œ
you
.œ
j
œb˙b
you
w
you
w
you
∑
∑
∑
∑
430
.œ œ
œœ
œ œ œ
j
œb œœ
œj
œ œœ œ
œœ
œb œœ œœ
œb
œ
œ
œb
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œœ
œ
œœ
œ œ œ
j
œb œœ
œbj
œb œœ œ
cause
∑
∑
∑
∑
∑
∑
∑
∑
431
3
œ œ œ
3
œ œ œ œ œ
fl
j
œ œ
‰
P
œ
œ
b
b
œ
œ
b
œ œ œ œ œb
œ
œ
b
œ
œb
œ
œ
œ œ
œ
œ ˙
˙
œ œ
J
œ œn ‰
J
œbJ
œb
we are
Ó
œb
œb
we are
Ó
œb œ
we are
Ó
J
œb
J
œ
we are
Ó
J
œb
J
œ
we are
∑
∑
∑
∑
432
Í
unmeasured, ad lib.
œ
>
f
œ
f
œ
œbœœn ˙
˙#
Marimba
3‰
F
œ œ
œ
œ
œ
b
b
œœ
œ
˙
‰ J
œ
œ
œ
œ
œ
œ
œ
œ œ
.
.
˙
˙
b
b
&
?
œ œ ˙
3
‰
p
J
œ
J
œ
right - eous but be -
œ œ .˙b
right eous
œb .˙b
right eous
œb .˙
right eous.
œb .˙
right eous.
Œ
π
œ
˙
Œ
π
œ#
˙
Œ
π
œ˙˙
p
w
433
π
˙æ
˙æ
˙˙
æ
?
Œ .
5
œ
œ
œ
œ
œ
˙
&
w
w
w
w
w
œ
3
J
œ
J
œ
J
œ
mezza voce
œœn œ
cause of your great
∑
∑
∑
∑
- 59 -
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&
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4
3
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
√
w
w#
w
w#
w#
434
Ó ‰
P
j
œ œ
>
(Marimba)œ>
œ>
œ
æ
œœ#> œ
œ
æ
∑
w
www
w
w
b
#
#
b
œbœ œ œ
œ# œ
mer - cy
∑
∑
∑
∑
Ó
π
˙b
∑
∑
œ
Œ ÓB
435
∑
˙˙
æ
Ó&
∑
w
www
w
w
&
˙
Ó
∑
∑
∑
∑
Light, with a sense of anticipation q»§º( )sempre legato
w
Ó
π
˙b
π
O
w
#
#
π
w
436
∑
VBE
Œ
P
Ͼ
œ
œ
æ
œb
æ
p
˙b
œb
œn
‰
Liberal use of sustain pedal, ad lib.
œ
œœ
J
œœ
J
œb
ppleading, intense expressivness
˙b œ œn œb
Lord lis - ten
∑
∑
∑
∑
‰ J
œb .˙
sempre legatoœ
Œ Œ
œb
O
w
#
#
w
437
∑
œ
æœæ
J
œ
æ
œb
æ J
œ
æ
˙b
.œ
J
œ
œ œb œœ œ œb
œ
œ
‰
œb œb œn.œ
J
œ
O Lord
∑
∑
Ó
π with intensity
˙
Lord
Ó
π with intensity˙
Lord
œb.˙
˙ ˙
O
w
#
#
w#
438
∑
.œ
æJ
œb
æ
.œ
æ
J
œb
æ
œ
œ
œb œ
œ
œ
œb
j
œb
.œb
˙
œœ œ#
J
œ
œ
œ
œb
lis - ten Lord
Ó ‰
p
with intensity
œ
œ
œb
Lord
Ó ‰
p
with intensity
œ
œ
œb
Lord
sempre legato
œ ˙ œ
lis - ten Lord
sempre legatoœ ˙ œ
lis - ten Lord
cresc. poco a poco
.˙ œb
Ó
cresc. poco a poco
˙
O
w
#
#
w#
439
∑
.˙
æ
œ
æ
J
œb.œ
œ
œ œb
œb
œb
œ œ
œ#
œ
œb œb œ œœ œ
lis - ten
œb œb œ œœ œ
lis - ten
œb œb œ œœ œ
lis - ten
˙# ˙
lis - ten
˙# ˙
lis - ten
- 60 -
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&
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B
ã
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4
3
4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
(√)
◊
˙b œ
œb œœ œ
.
.O
˙
#
#
.˙#
440
∑
(Vibe).˙
æ
œb 3
J
œ
œ œ
3
‰ œb
œb
(ad lib. legato pedaling)
œœ
3
œ œœ#
3
‰
œ#œ œ
œ
3
œ œœ#
O Lord
3
‰œ#
œ œœ
3
œ œœ
O Lord
3
‰œ#
œ œœ
3
œ œœ
O Lord
Œ˙b
O
Œ˙b
O
w
œb œ œ
‰
œn œb
œ
O
w
#
#
˙# ˙
441
∑
f
œ
æ
.˙b
æ
œb œ œœ
œn œb
œb
œ
œ
œ
œœ
Œ
œ
?
œ# œn œ
‰
œ œ#
J
œ
lis - ten Lord
œ# œn œ‰ œ œ#
j
œ
lis - ten Lord
œ# œn œ‰ œ œ#
j
œ
lis - ten Lord
˙bÓ
Lord
˙bÓ
Lord
rallentandoœ œb œ ˙
˙ ˙
O
˙
b
b
˙b
˙
˙?
442
∑
˙
æ
˙
˙
æ
‰ .
.
œ
œ
b
b œ œn œ
œ
b
b
œ œ
.œ
j
œ œ
(end ad lib. pedal)
œ
œ
.
.
˙
˙
œ œb ˙
Œ
lis - ten
œ œb ˙ Œ
lis - ten
œ œb ˙ Œ
lis - ten
.˙ œ
Lis - ten
.˙ œ
Lis - ten
A tempo
f
q»•º( )
œb
Ó .
f
œ#
Ó .
˙
œ œ œ
sempre legato
˙b œ œ
443
∑
Í
w
w
b
b
æ
[ad lib.]
œn
Œ œœ
œ œ
œ
f
‰
œb
œ œ
œb
œn
œ
œ œ
œ œ#
w
w
b
b
Œ
Fœ
J
œ
J
œ œ
Lord lis - ten
∑
∑
F
˙b œ œ
Lord lis - ten
F
˙b œ œ
Lord lis - ten
‰
F
œ œ œ
J
œ œ
J
œ
‰
F
œ œ# œ
J
œœ#
J
œ
‰
F
œ œ œ
J
œœ#
J
œ
F
.œb
j
œ ˙
444
∑
w
w
b
b
æ
œnœ#
j
œœ#
j
œœ œ œ œ
J
œ
œœœ J
œ
‰
œb
œœ ˙
˙#
w
w
b
b
‰ J
œ
J
œ
J
œ
J
œœ#
J
œ
O Lord for - give
∑
∑
.œb
j
œ ˙
O for - give
.œb
j
œ ˙
O for - give
.˙
œ# œ# ˙
œ# œ# ˙
.˙
445
∑
.
.
˙
˙
b
b
æ
œ#œ#
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œb
œb œ
œ
œb
œb
.˙
œ# œ# ˙
∑
∑
.˙
.˙
- 61 -
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&
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ã
&
&
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&
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4
4
4
3
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
◊
.˙
Œ
.œ œb
3
œ œ
œ œ*œ œ œ œ œ œ
Œ˙ œ œ#
˙ ˙
446
∑
(Vibe)w
w
æ
œ
œ#
.œ œb
3
œ œb
œ .œ
j
œ#
˙
˙#
œ
œb
œ
œ
b
˙
˙
n
n
˙
˙#
.œ œb
3
œ œb J
œ œ œ œ#
O Lord!
∑
∑
˙n ˙
O Lord!
* These are not tuplets
˙n ˙
O Lord!
∑
˙
Ó
.œn
J
œ œ œ#œ#
j
œ
œ
.˙ œ
447
∑
w
w
æ
œ
œ#
.œn
j
œ œ œ#œ#œ
œb œ
œ
#
#
œ
œ
œ#
œ œ#
.œ
œ
œ
œ
œ
œ
.œn
J
œ œ œ#œ#
r
œ
œ
Hear and act
∑
∑
.˙ œ
Hear and
.˙ œ
Hear and
œb ˙n
-
∑
œ ˙
.˙
448
∑
.
.
˙
˙
æ
œn
œ œ œ
˙
˙
n œœ
b
3
œ
œ
œ œ# œ
œ
œ ˙
∑
∑
.˙
act.
.˙
act.
œ
-
œb
œ
œ œ
œ
∑
w
œ# œ .œ
j
œ
449
œœ
œ œ
œœ
œ œ
¿
œœ
œœ
œœ
w
w
#
#
æ
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œ œb
œ
œ
œ
œ
œ
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œœ
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œ
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œ
w
fœ œb
œ
œ
J
œJ
œ
For your sake O my
∑
∑
œ# œ .œ
j
œ
For your sake my
œ# œ .œ
j
œ
For your sake my
.˙b
≈
œ#
œ#
œ
∑
w
œ#.˙
450
œœ
œ œ
œœ
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¿
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œ
œ
#
#
æ
.
.
˙
˙
æ
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‰
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b ˙
˙ œœ
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œ
#
#
#
œ
œ
œ
˙
œ
œ
˙#
‰ J
œ#
J
œ
J
œ
God do not de -
∑
∑
œ# ˙ œ
God de -
œ# ˙ œ
God de -
œ ˙#
Œ
∑
.œ
J
œ œ œ
œ
œ
œ
˙ ‰
J
œ
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451
œœ
œ œ
œœ
œ œ
¿
œœ
œœ
œœ
˙
˙
#
#
æ
˙
˙
æœ œ
œ
œ
œ#
œ
œ
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b
n
b
J
œ
œ
œ
j
œ
œ
œ#
˙
˙
#
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˙
˙
œ ˙#
lay
Ó ‰ j
œ
j
œJ
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be -cause your
Ó ‰ j
œ
j
œ
j
œ
be -cause your
˙ ‰
J
œJ
œ
J
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lay be - cause your
˙ ‰
J
œJ
œ
J
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lay be - cause your
- 62 -
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4
2
4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
(◊)
œ œ
J
œ
‰
œ œ
œ# œ
J
œ ‰ œ œ
˙
J
œ
‰
œ œ
œ œ
j
œ
‰
œ œ
452
œœ
œ œ
œœ
œ œ
¿
œœ
œœ
œœ
(Vibe)
w
w
æ
œb
œn
œ
œ
œ#
-œ
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œ
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j
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œ
œ
‰
œ
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‰œ
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Œ ‰
f
J
œ
3
œ œ#œ
j
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your ci -
œ œ
J
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‰J
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ci - ty and your
œ œ
J
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J
œ
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ci - ty and your
œ œ
J
œ‰
J
œ
J
œ
ci - ty and your
œ œ
j
œ
‰ j
œ
j
œ
ci - ty and your
œb-
œ
J
œ
‰
œ
œ#-
œ
J
œ ‰ œ
œ-
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J
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‰
œ
œ .˙
453
œœ
œ œ
œœ
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¿
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œœ
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w
w
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j
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ty, your peo -
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454
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5
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w
w
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ple bear
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bear your
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bear your
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bear your
J
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J
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J
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j
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455
f
j
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j
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j
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your
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f
.˙
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f
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456
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f
j
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F pedal each chord
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name.
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name.
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name.
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name.
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4
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4
4
Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
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5
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w
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Pstagger breathing
w
Hmm
Pstagger breathing
w
Hmm
Pstagger breathing
w
Hmm
opt.
Pstagger breathing
w
w
Hmm
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5
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459
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5
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460
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n
b
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b
b
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b
b
œ
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œ
w
w
∑
w
w
w
w
w
œn Ó Ó
∑
ƒ
.˙
Ó
expressively
Ó
3
‰
P
SOLO
œb œ
.œ œ#œ
461
Ó
P
œ
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œ
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˙
˙
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æ
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π
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n
b
?
w
w
b
b
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∑
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∑
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3œ
J
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œ
œ
462
.œ
¿ œ
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∑
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œ
bœ
œ
œ
b
b
b
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b
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b
n
&
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∑
∑
∑
∑
∑
- 64 -
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Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.
∑
∑
∑
.œ œ œ# .œ
œbœB
463
.œ
œ
.œ J
œ>
œ
œ
∑
œ
œ
œ
b
œ
œœ
#n
œ
œœ
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œ
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n
œœ
˙˙bb œœ#
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œn
œ œ
.œ œ œb
œ
464
p
played simply, like a heartbeat
œ
>
œ
œ .œ J
œ
∑
œ
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œ
œ
œ
bœ
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œ
œ#
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˙˙b
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∑
∑
∑
∑
∑
∑
∑
∑
œ œb œ œ‰ . R
œ#
?
465
œœ
œ œœ
∑
œ
œ
œ
œ
œ
œ
b
b
b œ
œ
œ
œ
œ
œ
n
n
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œ
n œœ
bb œ
œ
n
b
∑
∑
∑
∑
∑
∑
∑
∑
.œn œb .˙
466
.œ œœ
œ œœ
∑
œ
œ
œ
b
b
bœ
œ
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n
n
œb
˙
˙
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bb
?
∑
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∑
‰
J
œ# œ œ
œ œ#
467
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∑
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œ
œ
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bœ
?
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bb ˙
˙
b
b
∑
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∑
∑
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∑
∑
∑
‰ J
œb.œ
œ
J
œ .œ#
468
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∑
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˙˙
bb ˙
˙
∑
∑
∑
∑
∑
- 65 -
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Fl.
Bb Cl.
Vln.
Vc.
Doum.
Perc.
Ten. 2
Ten. 2
Bs. 1
Bs. 2
Pno.◊
◊
∑
∑
∑
‰
j
œ# œn ˙b
469
‰
π
faint pulse, distant
j
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∑
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.
.
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b
j
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˙
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b
b
∑
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∑
∑
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∑
w
470
‰j
œ ˙ œ
∑
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w
w
∑
∑
∑
∑
∑
∑
∑
∑
∏
wn
471
.œ
j
œ .œ
j
œ
∑
ww
ww
b
#
w
w
b
b
∑
∑
∑
∑
∑
∑
∑
∑
w
472
.œ
j
œ .œ
j
œ
∑
ww
ww
w
w
∑
∑
∑
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∑
∑
∑
∑
w
473
˙.œ
j
œ
∑
ww
ww
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
474
p
roll with fingers
˙æ
>
∑
ww
ww
w
w
∑
∑
∑
∑
∑
- 66 -