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THE CRUCIFIXION FOR ORCHESTRA

by

RAMON A. ARAUJO, B.A.

A THESIS

IN

MUSIC THEORY

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

. Approved

Accepted

December, 1998

(5

f^0. Cop'

o

20 ; ^

ACKNOWLEDGMENTS

A project of this magnitude could not be accomplished without the

commitment and contribution of numerous individuals. The assistance of Dr.

Mary Jeanne van Appledom, which in many instances went beyond the call

of duty, has been invaluable. My most sincere gratitude is extended to her and

the other members of the committee. Dr. Wayne Hobbs, Dr. Donald R.

Tanner, and Dr. Eric Fried, for believing in my ability to carry out this

project. Dr. Eric Fried's input has been immensely usefiil in the scoring

aspect of this work and his contributions will forever be appreciated.

I would like to express my gratefulness to my parents for their constant

support and encouragement, which came in various forms. My most profound

gratitude is extended to my wife Evelyn who made abundant sacrifices and,

took upon her shoulders the task of conducting the first performance of

The Crucifixion.

Finally, I thank the Lord for carrying me through the troubled times and

for always being a source of inexhaustible inspiration.

TABLE OF CONTENTS

ACICNOWLEDGEMENTS ii

CHAPTER

I INTRODUCTION 1

n MELODIES, RHYTHMS, MOTIVES,

VERTICAL STRUCTURES, AND SCALES 2

III SCORE OF THE CRUCIFIXION 11

IV SUMMARY AND CONCLUSIONS 82

BIBLIOGRAPHY 83

APPENDIX

A INTRUMENTATION FOR THE CRUCIFIXION 84

B PROGRAM NOTES 85

C PROGRAM FROM RECITAL, DECEMBER 8, 1998. 89

m

CHAPTER I

INTRODUCTION

The Cnicifixion is a chamber orchestral work based on the events of the

crucifixion and ascension of Christ. It accoimts in a general way the happenings of

each moment according to the gospels of Matthew, Mark, Luke, John, and The

Acts. Although there are many musical works based on this theme, in this work, the

individual instruments have been assigned to the characters somewhat like

Prokofiev's "Peter and the Wolf," the difference being the lack of narrator.

Some of the individual melodies are derived fi"om "speech inflections" that

portray what the characters say at each moment. Other melodies are developed fi^om

synthetic, octatonic and various scales. The work also includes special effects which

illustrate non-musical sounds like the wind, yawning of the disciples, Judas' kiss of

betrayal, a lynching mob, rooster crows, hammering, the tearing of the temple's veil,

the earthquakes, sunrise and the rolling of the grave's entrance stone.

The focus of this musical narrative is to recreate, by the medium of the

orchestra, all of the known events that occurred during that period in Jerusalem

using the gospels and the book of Acts as the main source.

The choice of instruments is associated with the characters that they

represent. For example, the character of the angel Gabriel is portrayed by the

trumpet because of the bibhcal association of angels having "voices of the trumpet"

(Rev. 8:13). Jesus is symbolized by the Tenor Saxophone because of the clear,

smooth, and flowing sonority it produces, for example, "His voice was like the

sound of many waters" (Rev. 1:15).

The First movement is titied "Good Friday," and it accounts in a general way

the events that started in the Garden of Gethsemane and concludes with the death of

Christ on the Cross. The Second movement is titled "Sabbath, Day of Rest," and it

portrays the somber and sorrowfiil circumstance of the disciples following the

events on Calvary. The Third movement, titled "Sunday of Resurrection, and

Ascension," describes Christ's resurrection fi-om among the dead. His disciples'

reaction and finally His ascension to Heaven. Included in the score, as well as in

the program notes (see Appendix B), is a written outiine of the bibhcal excerpts that

suggest the scene of the moment as well as what each character is stating.

CHAPTER II

MELODIES, RHYTHMS, MOTIVES, VERTICAL STRUCTURES AND SCALES

Every event of this work is described by a corresponding bibhcal text, and it is by using these

texts as guidelines, that the analysis of The Crucifixion will be shown.

In opening measures of "Good Friday" a distant bell striking twelve times, the nervous chirping

birds and the howling of the wind, are included to make this scene come alive, and enable every

listener to visualize the happenings of these events.

E x . 1 m m . 1-9 (midnight beUs).

* Tub. BeU

1 ^ ^^6^ * — « L

L.V.

E x . 2 m m . 1 3 - 1 4 (Birds).

Pice. *• Rapid diss .

(^ ii \>%.^ *•-• V ^ ' W ^ i ^ f ^ i ^ i ' V ^ ' V ^ ^ ' ^ - .

^ .w

Ex.3 mm. 10-11 (wind). Vc. Gliss.

zz: ^

•^ui ^ ^ = * f i z : ^. -*^

fl|f V-

tc- fe) t^ Rapid Gliss.

^ CB Gliss.

^ £d ^ 'lA ^m^ =^5

V

The very tense, and anxious atmosphere described in Matthew 26:38 ("Then cometh Jesus with

His disciples unto a place called Gethsemane and saith unto them: My soul is exeedingly sorrowful,

even unto death: tarry ye here, and watch with Me."), is portrayed by the following vertical structures

that are exemplified below.

Ex.4 Strings p g

mm. 6-9 mm. 10-12 GP

nun. 13 G7

i EPen t . / ' po^V)

mm. 14

m * s

m E

Jesus' cry of desperation to the Father for strength to endure the looming hardships, decribed

in the book of Luke 22:42 ("Father, if thou be willing, remove this cup fi^om Me: nevertheless not my

will, but thine be done."), is illustrated by the melody below, performed by the Tenor Saxophone and

consisting of the notes found in the nine-tone scale A'', B'', B'', C, D , 'E^, E \ F, G, (AI"). The bottom

pentachord is derived fi'om the octatonic scale and the upper fi-om a semi-tone construction.

Ex. 5 mm. 15-17. * T.Sax. . 3~ :

£ J =^ 1 vif

Of the scales used in The Crucifixion the two most common are the Jewish Ahavoh-Rabboh

and the Octatonic Major. The Jewish Ahavoh-Rabboh scale is appropriately used in some of Jesus'

solo melodies and in brief transitions between scenes. Ex. 6 shows this scale based on tonic C.

Ex.6

(Jewish Ahavoh-Rabboh)

i t i t ^

Ex. 7 is an exceipt from "Good Friday" mm. 46-51 that contains the Jewish Ahavoh-Rabboh

scale. In this moment, Jesus is telling His disciples that "It is enough, the hour has come; behold the

Son of man is betrayed into the hands of the sinners" (Mark 14:41).

Ex.7

T.Sax (Jesus)

The Octatonic Major scale is different in many ways than the Jewish Ahavoh-Rabboh scale,

some of the main differences being the split-sixth scale degree (A-flat and A-natural), the substitution

of the E-flat in comparison with the D-flat of the Jewish scale, and the B-natural and G-flat of the

octatonic scale compared to B-flat and the G-natural of the Jewish scale. In Ex. 8 the Octatonic Major

scale is shown based on the tonic C.

Ex.8

(Octatonic Major)

T T T :#*= ztac :fes=

One of the most important uses of the Octatonic scale is Judas' dialogue with Jesus at the time

of Jesus' capture and this scale is also used throughout the accompanying string section. Ex. 9 is an

extraction from "Good Friday," mm. 64-67.

Ex.9

I Oboe (Judas)

\>d \id Z ^ !

^ ^S^3^ f m ^=5;

^

ff

The effects produced in The Crucifixion depict a mood, an atmosphere, gestures, actions and

non-musical sounds. Judas' kiss of betrayal is produced by "smacking" the oboe's reed imitating a

kiss sound.

Ex. 10

Oboe (Judas) m. 68

"Smack" the reed producing a kiss sound.

V

JJJ

Other non-musical actions such as the one described in Matt. 26:56 ("Then all the disciples

forsook Him, and fled.") are portrayed by "running" figures such as those shown below in Ex. 11.

Ex. 11

Vln. I nun.70-71

These figures are imitated through m. 75 by all the instrument groups with the exception of the

percussion which carries a driving rhythmic pattern of support that pushes the music forward, as

illustrated in Ex. 12

Ex. 12 Timp. mm. 72-73

'''^i\iii\iiini\\iii\^iUH\iniiiiiiniiiii^.

This timpani rhythmic pattern is followed first by the Contrabass and later by the rest of the

strings while the woodwinds play the "running" figures from Ex. 11, and end on a double sforzando.

The second scene portrayed in The Crucifixion, takes place at the High Priest's palace where the mob

had taken Jesus. Peter followed the crowd fi'om afar and warmed himself by a fire when a maid saw

him and asked if he was one of Jesus' disciples. The maid's questionings are represented by the entire

orchestra playing in different octaves and in the Octatonic Major scale, and speaking the motive shown

in Ex. 13. Peter denied Him saying, "woman, I know Him not" (Luke 22:57). The motive that the Alto

Saxophone I plays is derived fi-om those very words (see Ex. 14). "Peter left the place and went out to

the porch; and the rooster crew" (Mark 14:68) (see Ex. 15). More than twice, was Peter questioned

about his relationship with the Savior, but each time Peter denied Him. The last time that Peter was

questioned, he vehementiy denied Him by swearing and cursing. This is illustrated in the saxophone by

an effect that consists of distorting the pitch through the gurghng of the throat (see Ex. 16).

Ex. 13, mm. 80-81. ^Tutti ^ ,

B

Ex. 14, m. 82.

Alto Sax. (Peter) "And he denied Him, saying, woman, I know Him not " (Luke 22:57).

3 ^ -^ : ? —

( w o - man. I know Him V •

not! )

Ex. 15,m. 83.

Clar. I (Rooster crow) 1> . ^ ^

JJJ

Ex. 16, m. 87.

.Alto Sax. (Peter) accel.

JJJ

„A A ^ ^ A A ^ ^

[gurgle angrily]

i - 4^ g

"And the multitude rose and led Him unto Pilate " (Luke 23:1). The Jewish chiefs and priests

were looking for a fast trial and instigated the people to demand Christ's crucifixion. Pilate is portrayed

by the bassoon and the rest of the people by the orchestral tutti. The bassoon's inquiries are answered

by a fortissimo-accented tutti motive, after each solo bassoon phrase. The vertical structures used in

these measures consist of successive quartal chords that accompany the Jewish Ahavoh-Rabboh

melody played by the bassoon.

Ex. 17, mm. 95-97.

¥ strings i-

- y < ^ *\\ ^ = ^ bias? E T C

Bsn. (PUate)

^

ff

^ .j^n 1 yfi>.yTi\W i * ^ ^ —- ^strings

: — ^ ^ ^ — E :

Jf tf tttf u

"Then Pilate dehvered Him therefore unto them to be crucified. And they took Jesus and led

Him away " (John 19:16). Jesus was followed by a large procession of people from all places. The

news of His trial and verdict had spread throughout Jerusalem and everyone flocked to the hills of

Calvary to see the crucifixion. The imitation of a drumroll by the Violoncello and Contrabass, transport

the hstener to a lugubrious procession that depicts the grief of the people. Ex.18 illustrates the text

above.

Ex. 18,mm.ll5-116

Vc. & CB

"And many women were there beholding afar off, which had followed Jesus from Galilee,

ministering unto Him: Among which was Mary Magdalene, Mary the mother of Jesus and Mary the

mother of James " (Matt. 27:56). As they watched the scene the three Marys could not hold back their

tears, their beloved Christ was being led to the cross, and there was nothing that could prevent it. The

mentioned text is portrayed by the solo first Clarinet joined subsequently by Clarinets n and HI. In Ex.

19, there are a few measures of the first Clarinet's solo.

Ex. 19, mm. 117-119 Cl. I (Mary Magdalene)

I ^ - ^

r' p r- p i

Then Christ was nailed to the cross and His words, "Father into thy hands I commend My

spirit" (Luke 23: 46), were His last. The sun was darkened, "And behold, the veil of the temple was

rent in twain from top to bottom; and the earth did quake, and the rocks rent" (Matt. 27:52). The

tearing of the veil is musically depicted by the Violoncello as shown in Ex. 20.

Thunder roared and everything shook violently, nature itself was replenished with indignation

towards the cruelty diplayed by the soldiers and death-hungry mob. Finally everything was silenced,

there was an unearthly stillness pierced only by the distant sound of a bell, indicating the third hour of

the day (see Ex. 21).

Ex. 20,m. 151 On C string, and with heavy

_ pressure, play a very slow down bow. Vc. "veil tearing"

^ i

Ex. 21, mm. 163-166 .Tub. bells rit Let die

I I

The second movement, "Sabbath, Day of Rest," pictures Jesus resting in peace. As the sun rose

through the clouds that morning, the disciples could not find solace for their grief-stricken souls (see

Ex. 22). That was a day fiill of uncertainty about what the fiiture would bring to the disciples. The

mentioned sunrise in Sabbath, Day of Rest," is depicted by a rising harmonic series on F. The Violins

imitate the twitter of morning birds with interpolated trills which are also a part of the F overtones

(see Ex. 23).

Ex. 22, mm. 1-8.

Vln. I

Vhi.n

via.

Of the scales used in "Sabbath, Day of Rest," the whole tone scale is used to give the final touch

of the rising sun as illusfrated below on Ex. 23.

Ex. 23, m. 28. ^

i ^

»"_

V -

1 vip

s —er-

S — ^ mp

After the sunrise a slow, melanchohc melody is carried by the Violoncello and Viola, later to be

joined by the rest of the strings. The scale used, consists of all twelve tones depicting all of the eleven

remaining disciples and Mary Magdalene.

Ex. 24, mm. 32-42. . ^ L^—v^ ^ ^

q T - to= w :^#^ s m ^

p d

W^

• ^ ^

3

^ # H t

P

f 0 ^ * m tfm

^

m ^ ^

^

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^ ^ ^

The third movement titied "Sunday of Resurrection, and Ascension," begins with the following

text: "And when the Sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome,

had bought spices that they might come and anoint Him " (Mark 16:1), (see Ex.25). This verse is

depicted by three Clarinets, two Alto Saxophones and the Horn. The first Clarinet plays a solo passage

that is subsequently joined by Clarinets n, and m, the Alto Saxophones, and finally the Horn.

Ex. 25, mm. 4-6. ^Cl. I (Mary Magdalene)

subito

te f~r i^ i ^

Cl. n (Maiy the mother of James)

i- -TO f^m subito P

> •

^

Cl. in (Salome) subito V

^ • — • - L f r r P m

^ ^

"And behold there was a great earthquake " (Matt. 28:2) brings music of wind and percussive

sounds. The early rays of sim were barely spreading when the wind started howling once again.

A great earthquake marked the death of the Messiah and a great earthquake witnessed Christ coming

forth from the grave as a conqueror of hfe. The earthquakes in The Crucifixion are depicted by the

entire orchestra. The Percussion begins the action with sporadic Bass Drum rim shots, which are

later joined by the string players tapping on the wood of their instruments. To add detail, the Piccolo,

Trombones and Violoncellos perform various types of ghssandos imitating the moaning wind (see p.

65).

Amid the reeling of the earth, the flashing of hghtning and roaring of thunder, a majestic angel

with all its glory and splendor exclaims, "Son of God, come forth; Thy Father calls Thee " (White, p.

686). His voice resembles the sound of the trumpet, and with a sounding effortiessness, he removes

the grave's entrance stone and bows down at the resurrection of his Master (see Ex.26). Jesus comes

forth from the tomb in all His splendor and magnificence and cries "I am the resurrection and the hfe "

(White p. 687), (see p. 72). All of the angehc host burst into joyous songs of praise and honor of the

Redeemer, all of nature replenished itself with exulting sounds of praise and worship (see Ex. 27).

In the meantime the archangel stayed by the tomb to tell Mary Magdalene and the others, the

good news.

Ex. 26, mm. 27-30.

"Son of God, come forth; Thy Father calls thee," (White pg. 686). ,Tr. (Gabriel) K .- / " ^ \

4& -- \ p "

8

The "joyous sounds of praise" referred to earher, consist of the vertical constructions shown

below. This rhythmic pattern is carried throughout several measures by the entire orchestra and finally

"explodes" into simultaneous trills by the woodwinds and heavy beating of the percussion.

Ex. 27, mm.58-60.

G(add2) Em7(add4)

^ ^

"And they returned from the sepulcher, and told all these things unto the eleven, and to all the

rest. It was Mary Magdalene, Joana, and Mary the mother of James. And their words seemed to them

as idle tales, and they beheved them not" (Luke 24: 9-11). The scene of the three women telling the

rest of the disciples what had happened is depicted in Ex. 28.

Ex. 28, mm. 72-76. — > •

r rr;«at!f 1 ^

ff

• fT^m m m M)\ M 1 ^iJt^wi }M m m TU

"And Jesus came and spake to them, saying. Go ye therefore and teach all nations, baptizing

them in the name of the Father, and of the Son, and of the Holy Ghost: Teaching them to observe

all things whatsoever I have commanded you: and, lo, I am with you always, even unto death " (Matt.

28:18-20). "And as He had spoken these things, while they beheld. He was taken up; and a cloud

received Him out of their sight" (Acts 1:9), (see Ex. 29). "And while they looked steadfastiy toward

heaven as He went up, behold two men stood beside them in white apparel; which also said. Ye men

of Galilee, why stand ye gazing up into heaven? that same Jesus, which is taken up from you into

heaven shall so come in like manner as ye have seen Him go into heaven " (Acts 1:10-11), (see Ex. 30).

Ex. 29, mm. 88-91. cresc.

WW. i . pocoapoco

Ex. 30, mm. 93-96 Tr. (Two angels)

•"fifflSisaiflsiLii ;5£iHiia!iajfii!iiftiKjaiiiUiaHii;;: .iiiiiiffiuamisiiffl Mummsi

CHAPTER III

SCORE

OF

THE CRUCIFIXION

10

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The Crucifixion Good Friday

Score in C

Ramon Araiijo

Rubato j=80 \1

Pice.

BI-CI. n m ^

Bsn.

Alto Saxes n

Tenor Sax.

FHn.

CTr. n I

Tromb. n

Timp.

Perc. n

Rubato J=»0

Tubular Bell

m o

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L.V, "Then cometh Jesus with his disciples unto a place called Gethsemane and saith unto them: My soul is exeedingly sorrowful, even unto death: tarry ye here and pray with me " (Matthew 26:36-38).

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Tenor Sax.

12

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113

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(

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m \r%(±)

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S So t?<±)

m So

m

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Jesus: "Father, if thou be willing, remove this cup from me: nevertheless not my will, but, thine, be done " (Luke 22:42).

13

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116!

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Gabriel, the Angel of the Lord.

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18

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Fl.

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Tenor Sax.

FHn.

Tromb.

Timp.

Vln. 1/

Vln.

mp

mp

f^ l mp

"And being in agony he prayed more eamestly. And wiien He rose up fiom prayer, and was come to His disciples, he found them sleeping for sorrow" ( Luke 22: 44-45).

mp "And He said unto them: Why sleep ye? rise and pray, lest ye enter into temptation" (Luke 22: 46).

19

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Cl. n

m

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"And He came and found them asleep again: fcji their eyes were heavy" (Matt. 26:43).

Alto Saxes

Tenor Sax. t g fid S ^ ^

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FHn.

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Tenor Sax.

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Vln. I|

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[46

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"Sleep on now, and take your rest: it is enough, the hour has come; behold the Son of man is betrayed into the hands of sinners. Rise up, let us go; lo he that betrayeth Me is at hand " (Mark 14: 41-42).

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23

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}=100

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24

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154

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25

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!56!

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Vln.

accel.

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All of nature laments the capture of the Savior.

27

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Pice.

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"Jesus therefore, knowing all things that would come upon Him, went forth and said unto them; Whom seek ye?" (John 18: 4).

28

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i64 "Now he that betrayeth Him gave them a sign, saying, \diomsoever I shall kiss, that same is He: hold Him fest" (Matt. 26:48).

Pice.

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I I I I /CN

i i i i "And they answered Him, Jesus of Nazareth" (John 18:5).

"And forthwith Judas came to Jesus, and said, hail, hail, master; and kissed Him" (Matt. 26:49).

"smack" the reed produci a kiss sound

K D K P zr ife tr

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ff ^ ^

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"Jesus saith imto them, I am He" (John 18:5).

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"Betrayest thou the Son of Man with a kiss?" (Luke 22:48).

PP

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29

Kili^i^LL^dS *US> •uaii:i.i:uiH-:^u a.

Pice.

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!70 "And they laid their hands on Him, and took Him " (Mark 14:46).

A A 1

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"Then all the disciples forsook Him, and fled " (Matt. 26:56). 171J . ^^-^ I A

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31

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32

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33

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Pice.

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75; > 19-

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"But Peter followed Him afer off unto the high priest's palace, and sat with the servants to see the aid " (Matt 26:58).

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"And a certain maid beheld Peter as he sat by the fire, and eamestly looked upon him, and said, this man was also with Him "(Luke 22:56).

"And he denied Him, saying, woman, I know Him not" (Luke 22:57).

"And went out into the porch; and the cock crew" (Mark 14:68).

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183; 8f,a_

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"And a maid saw him again, and began to say to them that stood by. This is one of them. And he denied it again " (Mark 14: 69-70).

"And a little after, they that stood by said again to Peter, Surely thou art one of them: for thou art Galilaean, and thy speech agreeth therrto " (Mark 14:70).

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87

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"But he began to curse and to swear, saying, I know not this man of whom ye speak " (Marie 14:71).

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"And the second time the cock crew. And Peter called to mind the word that Jesus said unto him. Before the cock crow twice, thou shalt deny me thrice. And wiioi he thought thereon, he wqjt" (Marie 14:72).

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"And the multitude arose and led Him unto Pilate. Then he wait out unto them and said. What accusation bring ye against this Man?" (Luke 23:1 and John 18:29).

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i95 "And the chiefs accused Him of many things: but He answered nothing " (Mark 15:3).

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39

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199'

" But they cried, saying. Crucify Him, crucify Him " (Luke 23:21).

Pice.

Cl. n

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"And Pilate asked Hun, saying. Art thou the king of the Jews? And Jesus answered saymg, Jhou sayest it" (Luke 23:3).

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106

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"Pilate saith unto them. What shall I do with Jesus which is called Christ? They all said unto him. Let Him be crucified " (Matt. 27:22).

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44

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[n3| " Then Pilate delivered Him therefore unto them to be crucified. And they took Jesus and led HBm away" (John 19:16).

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"And many women were there beholding afar off, which followed Jesus from ^ \ Galilee, ministering unto Him: Among which was Mary Magdalene, Mary

the mother of Jesus and Mary the mother of James " (Matt. 27:56).

Pice.

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Vh. I

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1121!

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I125i

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via.

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"Daughters weep not for me, but weep for yourselves and for your children " (Luke 23:28).

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iI31t "And as they led Him away they laid hold upon one Sunon. And on him laid the cross, that he might bear it after Jesus " (Luke 23:26).

Pice.

Fl.

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FHn.

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f iE^

"And one of the malefactors which were hanged railed on Him, but the other rebuked, saymg. Dost not thou fear God, seeing thou art in the same condemnation? And he said unto Jesus, Lord remember me when thou commest in thy kingdom " (Luke 23:40-42).

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Vhi. I

Vhi.

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"And Jesus said imto him. Verily I say unto thee today, thou shalt be with Me in paradise " (Luke 23:43).

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50

140

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subito pp

51

jTT-i "My God, My God, why hast thou forsaken Me?. And the sun was darkened " — (Mark 15:34 and Luke 23:45).

Pice

Cl. n

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52

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1471

"Father, into thy hands I commend my spirit: and having said thus, he gave up the ghost " (Luke 23:46).

Pice.

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11511

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^

"And, behold, the veil of the temple was rent in twain fi-om top to bottom; and the earth did quake, and the rocks rent" (Matt 27: 52).

Strings: Randomly tap with knuckles on the wood

m On C string, place heavy pressure, then play a very slow d own bow.

"veil tearing"

I I I I:

Rim. shot.

Uim y,!i i I i

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11611

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56

The Crucifixion Sabbath, Day of Rest

Score in C

1=115

Vhi. I

"At last Jesus was at rest. The long day of shame and torture had ended... That was a never-to-be forgotten sabbath to the sorrwing disciples; as they shed their tears over the One they loved " (White p. 676 and 681).

Ramon Araujo

8

57

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The Crucifixion Sunday-of Resuirectiofl, and Ascension

Score m C

Pice.

Fl.

Ob.

m Ramon Araujo

"And when the Sabbath was past, Mary Magdalene, Mary the mother of James, and Salome, had bought q)ices that they might come and anoint Him," (Mark 16:1).

Cl. n

m

Bsn.

Alto Saxes

Tenor Sax.

Hn.

Tr.

Tromb.

Tunp.

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via.

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61

Cl. n

Alto Saxes

Tenor Sax.

Tromb.

Vhi. I

Vln. n '

62

Cl. n

Alto Saxes

Tenor Sax

63

10 "And, behold there was a great earthquake " (Matt. 28:2).

Cl. n

Alto Saxes

Tenor Sax

Tromb

Vhi. I

Vln. n '

64

! l 5 l I — 1=5^ accel.

Cl. n

Alto Saxes

Tenor Sax.

Tromb

Vhi. I

Vln.n

65

'19!

Cl. n

Alto Saxes

Tenor Sax.

Vhi

Vk

Tromb

66

'For the angel of the Lord descended from Heaven, and came and — rolled back the stone from the door, and sat upon it" (Matt. 28:2).

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Tr.

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Vhi. n

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ff "And he cries. Son of God, come forth; Thy Father calls thee," (White, p. 686).

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m 67

"Jesus comes forth from the grave. He comes forth in majesty and glory, the angel of host bow low in adoration be£ots the Red^mer, and welcome Him with songs of praise" (White, p. 686-687).

Cl. n

Alto Saxes

Tenor Sax

Tromb

Vln. I

Vk. n

69

Cl. n

Alto Saxes

Tenor Sax.

Tromb

Vk. I

Vln.n

70

Cl. n

Alto Saxes

Tenor Sax.

71

148

Cl. II

Alto Saxes

Tenor Sax.

Tromb

Vln. I i

Vk. n

72

Cl. n

Alto Saxes

Tenor Sax.

Tromb.

Vln. I

Vk.n

73

158 "^^ returned from the sepulcher, and told all these things unto the eleven, and to all the rest. It was Mary Magdalene, Joana, and Mary the mother of James " (Luke 24: 9-10).

Cl. n

Alto Saxes

Tenor Sax.

Tromb

Vln. I

Vln. n

74

"And their words seemed to them as idle tales, and they belived them not" (Luke 24:11).

Cl. n

Alto Saxes

Tenor Sax.

Tromb.

Vln. I /

Vln.

75

"And they remembered His words; The Son of man must be delivered into the hands of sinfiil men, and be crucified, and the third d^ rise again " (Luke 24:7-8).

Cl. n

Alto Saxes

Tenor Sax.

Tromb.

Vln. I

Vk. n '

76

And Jesus came and spake unto them, saying. Go ye therefore and teach all nations, baptizing them in the name of the Father, and of the Son and of the Holy Ghost: Teaching them to observe all things wh^soeve;-1 have commanded you: and lo, I am with you always, even unto the end of the world " (Matt. 28:18-20).

!74| > _ » > » > » \

Cl. n

Alto Saxes

Tenor Sax.

Tromb.

V k . I

Vk. n

77

"And as He had soken these things, while they beheld. He was taken up; and a cloud received Him out of their sight" (Acts 1:9).

cresc.

Cl. n

Alto Saxes

Tenor Sax

Tromb.

Vln. I

Vk. n

78

"And while they looked steadfastly toward heaven as He went up, behold two men stood beside them in white apparel; which also said, Ye men of Gahlee, wiiy stand ye gazing up into Heaven? that same Jesus, which is taken up from you into Heaven shall so come in like manner as ye have seen Him go into Heaven "

i84 (Acts 1:10-11).

Cl. n

Alto Saxes

Tenor Sax

Tromb.

Vln. I

Vln.

79

Cl. n

Alto Saxes

Tenor Sax.

Tromb

Vk. I

Vk. n

80

Cl. n

Alto Saxes

Tenor Sax.

Tromb

Vk. I

Vk.

81

CHAPTER IV

SUMMARY AND CONCLUSIONS

The goal of this project is to depict, by means of the orchestra the

events of the crucifixion, and although not all of the happenings are included,

the biblical texts employed present a general visualization of what took place.

The manner in which the orchestral effects were utilized, and the

programmatic approach of this work, present an alternative to an already

great number of Twentieth-Century compositional techniques.

I hope that the hstener can reap every portion of meaning fi"om this

work, and I also hope the hstener can enjoy the music as much as I enjoyed

writing it.

The premiere perfomance occurred on December 8,1998, at Texas

Tech University, Lubbock, Texas, with conductor Evelyn R. Araujo and

members of the Texas Tech University Symphony Orchestra.

82

BIBLIOGRAPHY

Cope, David. Techniques of the Contemporary Composer. Schirmer Books, New York, 1997.

Kennan, Kent & Donald Grantham. The Technique of Orchestration Fourth ed., Prentice-Hall, New Jersey, 1990.

Plantinga, Leon ed. Anthology of Romantic Music. W.W. Norton & Company. New York, 1984.

Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. W.W. Norton & Company. New York, 1984.

The Holy Bible. King James Version, Thomas Nelson PubUshers, 1990.

White, Ellen G. The Desire of Ages. Inspiration Books, Phoenix, 1983.

83

APPENDIX A

INTRUMENTATION

FOR

THE. CRTTCTFTXTON

The orchestra and roles assigned consist of

Piccolo

Flute

Oboe

B-flat Clarinet I

B-flat Clarinet II

B-flat Clarinet HI

Bassoon

Alto Saxophone I

Alto Saxophone n

Tenor Saxophone

F-Hom

C-Trumpet I

C-Trumpet H

Trombone I

Trombone n

Timpani

Percussion I

(Tubular BeUs, Crash Cymbal, Thunder Sheet, Bell Tree, Gong,

Suspended Cymbal, Snare Drum, Triangle).

Percussion II

(Suspended Cymbal, Thunder Sheet, Bass Drum,

Snare Drum. Crash Cymbal, Gong).

Violins I

Violins II

Violas

Violoncellos

Contra Basses

Birds & effects

Birds & effects

Judas

Mary Magdalene

Mary the mother of Jesus

Mary the mother of James

Pilate

Peter

John

Jesus

Joseph of Arimathea

Gabriel, Angel of the Lord

Second Angel

1st thief & effects

2nd thief & effects

Special effects

Special effects

Special effects

Accompaniment & effects





84

APPENDDC B

PROGRAM NOTES

"Good Friday"

The first scene depicted in the first movement takes place at the Garden of

Gethsemane where Jesus went with His disciples to pray. Matt. 26:36-38 describes

where the action took place and the somber atmosphere that surrounded it. It was

ahnost midnight, "Then cometh Jesus with them unto a place called Gethsemane

and saith unto the disciples. Sit ye here, while I go and pray yonder. And He took

with Him Peter and the two sons of Zebedee, and began to be sorrowful and very

heavy."

The ambiance by now is veiy intense. The wind howls and birds twitter in the

middle of the night as if foreseeing the fate of the Savior. In the midst of this

atmosphere Jesus cries out "Father, if thou be willing, remove this cup fi-om Me:

nevertheless not My will, but, thine be done" (Luke 22:42). Seeing Jesus' anguish

over His fate, the Father sends His archangel, Gabriel, to give Jesus words of

comfort.

The disciples in the meantime have fallen asleep, but Jesus awakens them to

pray with Him, time and time again. At last Jesus is prepared to meet His destiny as

described in His words, Mark 14:41-42, "The hour has come; behold the Son of

man is betrayed into the hands of sinners. Rise up, let us go, lo he that betrayeth Me

is at hand." While He was still speaking the noise of the murderous mob could be

heard piercing the stillness of the night. As they approached, nature itself panicked;

the wind howled more fiercely and the twitter of the birds became more frantic and

frenzied. All of nature lamented the capture of the Messiah.

"Jesus then knowing all things, went forth and said unto them; Whom seek

ye? And they answered Him, Jesus of Nazareth" (John 18:4-5). "Now he that

befrayeth Him gave them a sign, saying, whomsoever I shall kiss, that same is He:

hold Him fast" (Matt. 26:48). "And Jesus saith unto them, I am He" (John 18:5).

"And forthwith Judas came to Jesus and said, hail, hail, master; and kissed Him"

(Matt. 26:49). and Jesus asked him, "betrayest thou the Son of man with a kiss?"

(Luke 22:48). "And they laid their hands on Him and took Him" (Mark 14:46).

"Then all the disciples forsook Him and fled" (Matt. 26:56). "But Peter followed

Him afar off unto the high priest's palace and sat with the servants to see the end"

(Matt. 26:58). "And a certain maid beheld Peter as he sat by the fire, and eamestly

85

looked upon him, and said, this man was also with Him" (Luke 22:56). And he

denied Him three times before the rooster crew twice.

"And the multitude arose and led Him unto Pilate. Then he went out unto

them and said. What accusation bring ye against this Man?" (Luke 23:1 & John

18:29). "And the chiefs accused Him of many things: but He answered nothing"

(Mark 15:3). Pilate could not find fault in Jesus but the chiefs and priests insisted on

His crucifixion. "And Pilate asked Him, saying are You tiie king of the Jews? and

Jesus answered saying. Thou sayest it" (Luke 23:3). Then "Pilate saith unto them.

What shall I do with Jesus which is called Christ? They all said unto him, let Him be

crucified" (Matt. 27:22). "And they cried again and again, crucify Him, crucify

Him" (Mark 15:13). "Then Pilate delivered Him therefore unto them to be crucified"

(John 19:16).

Jesus was then led to the cross and "Many women were there beholding far

ofi", which had followed Jesus from Gahlee, ministering unto Him: Among which

was Mary Magdalene, Mary the mother of Jesus and Mary the mother of James"

(Matt: 27:56). Jesus only had the strength to glance and ask them not to weep for

Him. By this time the agony was unbearable, and the soldiers fearing he migjit not

be able to walk to the cross, "laid hold upon one Simon. And on Him laid the cross,

that he might bear it after Jesus" (Luke 23:26).

The time had come and Jesus was nailed to the cross and hfted up so

everyone could see. "And one of the malefactors which were hanged railed on Him

but the other rebuked him, and then said unto Jesus, Lord remember me when thou

commest in thy kingdom" (Luke 23:40-42). "And Jesus said unto him. Verily I say

unto thee today, thou shalt be with Me in paradise" (Luke 23:43).

Jesus then prayed for His oppressors and commended His spirit to the Father.

"And having said thus, he gave up the ghost" (Luke 23:46). "And behold, the veil of

the temple was rent in twain from top to bottom; and the earth did quake, and the

rocks rent" (Matt. 27:52). Finally all was still. A deatiUike stiUness reigned at

Calvary, pierced only by tiie distant stiiking of a bell marking the tiiird hour of the

day.

"SabhathJ^^LofRest"

Sabbath was now at hand and at last Jesus was at rest. That indeed was a

somber Sabbath for the disciples who could not find solace for their grief-stiicken

souls. As the sun rose through the clouds they wondered what tiie fiitiire lay ahead.

86

"Sundav of Resurrection, and Ascension"

"And when the Sabbath was past, Mary Magdalene, and Mary the mother of

James, and Salome, had bought spices tiiat tiiey might anoint Him"( Mark 16:1).

The early rays of the sun were barely spreading when the wind started

howhng once again. A great earthquake had marked tiie deatii of Christ and another

earthquake witnessed the Messiah coming forth from the grave as a conqueror of

life. Amid the reeling of the earth, the flashing of lightning, and roaring of thunder a

majestic angel witii all its glory and splendor exclaims, "Son of God, come forth;

Thy Father calls Thee" (White, p.686). His voice resembles tiie sound of tiie

trumpet, and with astounding effortlessness, he removes the grave's enfrance stone

and bows down at the resurrection of his Master. Jesus comes forth and cries "I am

tiie resurrection and tiie hfe" (White, p. 687). Immediately all of tiie angelic host

burst into joyous songs of praise in honor of the redeemer, and all of nature

replenished itself with exulting sotmds of praise and worship.

In the meantime, the archangel stayed by the tomb to tell Mary Magdalene

and the others the good news.

"And returned from the sepulcher, and told all these things unto the eleven,

and to all the rest. It was Mary Magdalene, Joana, and Mary the mother of James.

And their words seemed to them as idle tales, and they beheved them not" (Luke

24: 9-11). "And they remembered His words; The Son of man must be delivered

into the hands of sinful men, and be crucified, and the third day rise again" (Luke

24:7-8).

"And Jesus came and spake unto them, saying. Go ye therefore and teach all

nations, baptizing them in the name of the Father, and of the Son, and of tiie Holy

Ghost: Teaching them to observe all things whatsoever I have commanded you: and

lo, I am with you always, even unto the end of the world" (Matt. 28: 18-20). "And

as he had spoken these things, while tiiey beheld. He was taken up; and a cloud

received Him out of their sight. And while they looked steadfastly toward heaven as

He went up, behold two men stood beside them in white apparel; which also said,

Ye men of Gahlee, why stand ye gazing up into heaven? That same Jesus, which is

taken up from you into heaven shall so come in like manner as ye have seen Him go

into heaven" (Acts 1:9-l 1).

87

APPENDDC C

PROGRAM FROM RECITAL, DECEMBER 8,1998.

88

Texas Tech University School of Music Lubbock, Texas

COMPOSERS CONCERT Tuesday, Decembers, 1998, 5:00 p.m.

Hemmie Recital Hall

THE CRUCIFIXION, a work for Chamber Orchestra Ram6n Arauio 1. Good Friday 2. Sabbath, Day of Rest 3. Sunday of Resurrection and Ascension

CHAMBER ORCHESTRA "EVELYN ARAUJO, CONDUCTOR

"n ' ' ° ' ° M u ,r.-.. ^^^° Saxophone Violin Violoncello Donna Maher (Birds) Paul Peacock (John) *Erlc Fried (concertmaster) "Michael Newton

"Ann Catherine Yates mirds^ Adam Coffman (Peter) S f ^ 'S, » • Danny Mar Ânn Cathenne Yates (Birds) Tenor Saxophone ::;Shuro Chattenee Contrabass Lan Luther (Judas) Hector Aguero (Jesus) tnzabeth Green Ahmet Taviloglu Bassoon Trumpet ^ Shaun Lan Cameron Logan (Pilate) O^ ^ n Taviloglu (Angel) "*Vasu Reddy Percussion Clarinet Joseph Vandiver (Gabriel) • ' ° ' ^ Bradley Calame Joshua Kurzweil "o--" i o ^ l u!!!? Danny Sanchez

fMatv Ma^dalsne^ "Daniel McConnell -Jacob Hood Theresa Ann Savte (J^êph of Arimathea) Nicacio Lopez rneresa Ann Savoie Trombone "Francisco Marchan

(Mary, mother of James) ' ™, v^ Chelsea Harper P' "'P Castillo (Thief 1)

(Mary, mother of Jesus) ^"^" f "^^®" ( hief 2)

DIP-STICK RAG Jason Allen Hurt Jeff Keene, xylophone

ESTILO (style) Wallace David Turner Paul Peacock, alto saxophone • Joseph Vandiver, trunnpet • Jeremiah Evans, piano

SING HALLELU! for SATB Choir, Unaccompanied David Lamar Forrest text by David Lamar Forrest

SOPRANOS ALTOS TENORS BASSES Jenna Chastang Michelle Babb "Matt Grove Mark Garner **Adrienne Grove Julie Flemmons Hal Snyder Jeb Mueller

Kristin Short Amy Jo Stroven Jeff Wall Thomas Triplett Ryan Williamson '

Thomas Juneau, Conductor David Evans, chimes • **Sarah Pang and "Clinton Barrick, rehearsal pianists

POINT-COUNTERPOINT Kenneth Hurst Introduction - Fugue 1 Interlude - Fugue 2 Interlude - Fugue 3

Canonic Voices Kenneth Hurst, guitar • Josh Cowan, viola • **fîchael Newton, violoncello

ABENDMUSIK "Timothy Grace **Douglas Droste, violin • Steven Nazworth, saxophone • Ricardo Rasura, harp

BRASS QUARTET Jason Smith Neil Hershey, flijgelhorn • Rachel Mann, horn

"David Stern, euphonium • Bernard Williams, tuba

EXPRESSION MOBILITY "Robert Tucker **Katsunori Hanaoka, piano

INCANTATIONS *Mary Jeanne van Appledom I. In Memoriam II. Bacchanal III. Ambience IV. Ritual

*Amy Anderson, oboe • *William F. Westney, piano

PASSACAGLIA Gary D. Belshaw Guest Artist

Brenda Wristen, piano

*Texas Tech University School of Music Faculty; "Teaching Assistant, "*Lubbock Youth Symphony Orchestra Member

The composers whose compositions are premiered this afternoon are from the classes of Dr. Mary Jeanne van Appledom.

Ushers are provided through the courtesy of Mu Phi Epsilon, Music Fraternity. Hemmie Recital Hall is maintained by Phi Mu Alpha

89

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