THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

AN ORGAN TRANSCRIPTION OF THE

MESSE IN C, OP. 169 BY

JOSEF GABRIEL RHEINBERGER

By

JAMES EDWARD LORENZ

A Treatise submitted to the College of Music

in partial fulfillment of the requirements for the degree of

Doctor of Music

Degree Awarded: Spring Semester, 2006

Copyright © 2006 James E. Lorenz

All Rights Reserved

ii

The members of the Committee approve the treatise of James Edward Lorenz on March 29, 2006.

_________________________ Michael Corzine Professor Directing Treatise

_________________________ Jeffery T. Kite-Powell Outside Committee Member

_________________________ Charles E. Brewer Committee Member

_________________________ Douglass Seaton Committee Member

The Office of Graduate Studies has verified and approved the above named committee members.

iii

TO MY WIFE

TABLE OF CONTENTS

List of Musical Examples....................................................................................................v

Abstract...............................................................................................................................vi

1. ORGAN TRANSCRIPTIONS AND THE LATE ROMANTIC PERIOD.............1

2. JOSEF GABRIEL RHEINBERGER: A BRIEF BIOGRAPHY AND

DESCRIPTION OF HIS MESSE IN C, OP. 169....................................................6

3. METHODOLOGY FOR TRANSCRIBING ORCHESTRAL

ACCOMPANIMENT FOR ORGAN....................................................................12

4. REGISTERING ORCHESTRAL TRANSCRIPTIONS ON THE

ORGAN.................................................................................................................25

CONCLUSION..................................................................................................................29

MESSE IN C, OP. 169

Kyrie......................................................................................................................33

Gloria.....................................................................................................................43

Credo......................................................................................................................57

Sanctus...................................................................................................................72

Benedictus..............................................................................................................76

Agnus Dei..............................................................................................................82

BIBLIOGRAPHY..............................................................................................................30

BIOGRAPHICAL SKETCH.............................................................................................32

iv

v

LIST OF MUSIC EXAMPLES

2.1. Gloria Intonation........................................................................................10

2.2. Credo Intonation........................................................................................10

3.1. Beginning transcription with melody and bass parts.................................16

3.2. Reducing string tremolandi to be playable on the organ...........................18

3.3. Simplifying passages in octaves................................................................19

3.4. Simplifying passages in octaves................................................................20

3.5. Making string passages subordinate to brass and woodwind theme..........21

3.6. Removing unnecessary notes.....................................................................23

vi

ABSTRACT

The primary purpose of this treatise is to afford churches and choirs of modest

means another piece of sacred choral music that can be performed without the need for a

large orchestra. This document explores the concept and issues of transcribing music that

was originally scored for choir and orchestra to create a version for choir and organ.

Josef Rheinberger’s Messe in C, op. 169, a multi-movement work for choir and orchestra

that had not yet been transcribed for choir and solo organ, and a valuable work of sacred

music in whole or in part, has been arranged to make it performable by a choir and

organist of moderate ability. Transcriptions such as Fauré’s Requiem, Duruflé’s

Requiem, and Handel’s Messiah served as models. The final score has been prepared

using the 2005b version of Finale, a music publishing software used professionally in the

music publishing business.

In addition to the final score the study provides information regarding the

historical setting in which such organ transcriptions of orchestral works were especially

popular, biographical information on Rheinberger, a description of the methodology used

to create the arrangement, and a discussion of issues encountered by the performing

organist in playing these types of transcriptions.

The organ arrangement of the Mass may be used in conjunction with other

editors’ previously published vocal scores. The full choral part has, however, been

included with the organ part in consideration of the situation where the organist and choir

director is the same person.

CHAPTER 1

ORGAN TRANSCRIPTIONS AND THE LATE ROMANTIC PERIOD At the turn of the twentieth century developments in technology, experiments in

organ design, evolving musical language, and general prosperity came together to

popularize a practice that had been around in some form for more than 500 years: the

organ transcription. “The popularity of the orchestra and the thirst for favorites of the

orchestral repertoire were in no small measure responsible for this trend. When an

orchestra was not available, the organ was the best substitute. Instant masterworks via

radio and phonograph were in their infancy in the 1920s, and until these media improved

in quantity and quality, the organ transcription remained an important part of the

repertoire” (Ochse, 344).

The popularity of transcribing music from one instrument or group of instruments

to another has diminished due to modern technology and recordings. It is no longer

necessary to attend a concert hall to listen to orchestral music; one need only listen to a

recording or a broadcast. This was not always the case, however. As recently as the

1920s, organists were called upon to perform, in addition to the repertoire originally

conceived for the organ, arrangements of operas, symphonies, and popular music.

“Beethoven, Schubert, Schumann, Mendelssohn, and Brahms each arranged some of their

own works for an instrument or combination of instruments other than the original, a

particularly favorite form of transcription being that for pianoforte (2 and 4 hands) from

the orchestral score” (Ellingford, vi). These arrangements made possible the performance

of music in situations that would have otherwise prevented it, and they provided an added

source of income for the composer. While the original instrumentation best reflects the

1

composers’ initial intent, purism exists more in modern performers’ approach to the

execution of the music than it did in the composers’ own times and minds.

With regard to orchestral-style organ development and the popularity of

transcriptions, it is difficult to be certain which event inspired the other, as transcriptions

for the organ have been around for centuries. Some of the earliest examples of keyboard

arrangements are included in the Buxheimer Orgelbuch, a manuscript dating from the

mid-fifteenth century. Johann Sebastian Bach transcribed concertos of both Johann Ernst

(1664-1707) and Antonio Vivaldi (1678-1741) for organ solo. During the Romantic

period organists such as Vincent Novello (1781-1861), Edward John Hopkins (1818-

1901), and W. T. Best (1826-1897) all arranged orchestral music for organ. W. T. Best,

the first organist of St. George’s Hall, Liverpool, published a work titled “Arrangements

for the organ from the scores of the Great Masters,” which runs to over 1,000 pages, a

product that clearly points to the popularity of this medium during this era (Ellingford,

vi).

Pipe organs began to change quite markedly during the nineteenth century. Early

developments included the systematic elimination of mixtures and mutations, as well as

anything above two-foot pitch, relying heavily on eight-foot pitch (Williams / Owen,

151). “The new style [of organbuilding] was, most undisputable of all, orchestral. Here

we find the common meeting ground for the followers of both Hope-Jones and Audsley.

Every major builder paid homage to the orchestra as a source of inspiration. So

unanimous was this trend that Audsley’s distinctions between the Church Organ and the

Concert-hall Organ became blurred, and the orchestra became the tonal ideal generally

applied” (Ochse, 344). During this period, stops with imitative names such as cello,

clarinet, saxophone, and French horn were included in specifications, almost always at

eight-foot pitch.

To this end the orchestral organ was developed to its epitome in the Wanamaker

organ of Philadelphia and the Atlantic City Convention Hall Organ. As described by The

Diapason in 1943, the Wanamaker organ with its 469 ranks and 30,067 pipes contains

divisions named Orchestral (38 ranks, 2,774 pipes), and String (88 ranks, 6,424 pipes).

In total, “there are ninety-six ranks of mixtures, seventy-six ranks of reeds, thirteen ranks

of vox humanas, 139 string ranks, fifty ranks of diapasons and ninety-five ranks of

2

flute…” (Ochse, 359-60). The Atlantic City organ, the largest pipe organ in the world,

has Great and Choir manuals seven octaves long, and the Swell manual was six octaves

long, as opposed to the standard five. The organ contains 22 divisions, including Wood

Wind, String Organ No. 1, String Organ No. 2, String Organ No. 3, Brass Chorus,

Fanfare, Orchestra Reeds, and Percussion (Ochse, 362-363). The purpose of this

apparent excessiveness was to create a tonal palette rivaling that of the orchestra.

Despite the fact that the style of organbuilding has changed from the turn of the

twentieth century, today’s organists are still required to perform transcriptions of

orchestral material as accompaniments to choral works.

[Recently], conductors and musical organizations have tended to shun choral performances with organ substituting for all or part of the orchestra, apparently feeling that if one can’t have all the instruments, a piece shouldn’t be performed. This, of course, mirrors the attitude of the organ world, where – at least until recently – organ transcriptions of orchestral works were scoffed at . . . (Vail, 68).

It is a shame that the first part of this statement is true for so many musicians.

There exist far too many musical and religious organizations that are not financially

capable of hiring the number of musicians it would take to perform works scored for

choir and orchestra. Furthermore, individual movements of larger works are very

regularly presented by church choirs during the course of worship services. The cost

incurred to hire an orchestra for such a small amount of music is prohibitive. The

reasonable choral conductor should consider the following points:

If budget constraints, space limitations, choirs too small to balance with full orchestra, and inadequate rehearsal time were not factors to contend with, who among us would not prefer to perform works for chorus and orchestra with the full complement of instruments rather than substituting the organ for all or part of the orchestra? There are [conductors] who still believe that the benefits of exposing their singers and audiences to the great choral-orchestral pieces even under less than ideal conditions and with modified forces far outweigh the disadvantages (Vail, 68).

The most common method of overcoming these issues in places of worship is to

use the organ. While not a replacement for the orchestra, the organ is the instrument that

3

can most effectively be substituted for a full orchestral scoring. The question arises then:

for how much orchestra should the organ substitute, and is it in good taste to rearrange

music from its original orchestration?

In the 19th and 20th centuries, . . . composers have often provided more than one instrumentation for some of their works, including alternative accompaniments for choral pieces. Brahms’s Psalm 13, Op. 27, for example, is scored for women’s chorus, with piano or organ or strings; and he made a piano duet version of the accompaniment for his Requiem – which was used for the first performance of the work in English, in 1871. Indeed, the commonly published two-hand piano reductions for all of Brahms’s choral-orchestral works are his own. Vaughan Williams was particularly mindful of practical considerations in many of his alternative, reduced orchestrations, such as for Dona nobis pacem, Hodie, Magnificat, and others. Barber provided a reduced orchestra version of his Prayers of Kierkegaard for a performance at the 1966 AGO National Convention in Atlanta. Duruflé made three versions of the accompaniment to his Requiem. A reduction of the orchestral score of Bernstein’s Chichester Psalms for organ, harp, and percussion (one player) is published and often performed. And for his already immensely popular Lux aeterna (1997), Morten Lauridsen has published accompaniments in three separate versions – for chamber orchestra, organ, or piano (Vail, 69).

In the case of the choral work at hand, Rheinberger himself produced two

versions of his Messe in C, op. 169. The original scoring is for full orchestra with strings,

woodwinds and brass. The second omits the wind and brass parts but provides an organ

part that covers the parts omitted. The organ part is not simply a condensation of the

winds but rather a re-working of these parts into an arrangement that looks and plays like

a piece of organ music. It is therefore quite clear that Rheinberger was fully aware that

the issues of space, time, and finances may well prevent a performing group from

employing a full orchestra. While it is not clear how he would have reacted to

eliminating the orchestra altogether, the fact that in this piece he already made a

concession to the need for such an undertaking suggests that, if it were well done, he

would likely have accepted it.

The volume of literature dealing with either the life and works of Josef

Rheinberger or of transcribing orchestral music for organ is rather small. Rheinberger is

best known for his organ sonatas, and it is about this topic that we have the largest body

of literature. With regard to his life and his other music, the best source for information

4

is articles in journals and entries in musical dictionaries. Though overshadowed by his

contemporaries Brahms, Wagner, and Liszt, Rheinberger deserves more attention as a

composer and pedagogue, if for no other reason than his unwillingness to subscribe to

either the Cecilian movement or the New German School of composition.

Literature involving the practice of transcription is also lacking. Though looked

upon in many circles as not being pure and true to the music of the masters, transcription

has brought to the masses music that might not otherwise have been heard at all. A

descriptive process of “how to transcribe” exists only in a few texts, which date from the

era of the concept at its most popular, namely the early twentieth century. The best

method at this time to understand transcription is to compare transcribed scores with their

original orchestrations, especially if the transcription has been rendered by the composer

himself.

5

CHAPTER 2

JOSEF GABRIEL RHEINBERGER: A BRIEF BIOGRAPHY AND DESCRIPTION OF HIS MESSE IN C, OP. 169

Josef Gabriel Rheinberger (1839-1901) is generally regarded today as a lesser

composer. Organists, however, have recognized that “although, so far as his operatic,

orchestral, and chamber music is concerned, Rheinberger may be described as a third-rate

composer, he was a first-rank man in his organ music” (Grace, i). While best known for

his organ sonatas, Rheinberger also composed large-scale sacred music, including a Mass

in C major, his op. 169.

Born March 17, 1839, in Vaduz, Liechtenstein, Rheinberger was trained as an

organist from the beginning. The organist and teacher Sebastian Pöhli gave the five-year-

old Rheinberger his first lessons. Progressing quickly, Rheinberger was organist at the

Chapel of St. Florian in Vaduz by the age of seven (Hochstein, ii), and he composed a

three-part Mass with organ accompaniment in 1847 (Shenton, 315). Beginning in 1848

Rheinberger studied with Philipp Schmutzer (1821-1898), the choir director of Feldkirch,

who taught him harmony, piano, and organ.

In 1851 Rheinberger’s father, treasurer to the prince of Liechtenstein, decided to

send the young musician to the conservatory in Munich, a move that permanently

relocated the young Josef to Germany. There he studied piano with Julius Emil Leonhard

(1810-1883), organ with Georg Herzog (1822-1909), and counterpoint with Julius Joseph

Maier (1821-1889). When he graduated in 1854, he became a private student of Franz

Lachner (1803-1890) (Shenton, 315). From 1860 to 1866 he was the organist at the court

church of St. Michael in Munich, and from 1864 to 1877 he was the conductor of the

Munich Oratorienverein, where he proved himself to be a capable choral conductor. He

6

also worked as a coach for the court opera, witnessing the premiere of Wagner’s Tristan

und Isolde (Gmeinweiser, 257).

1867 saw two important events in Rheinberger’s life. In April he married a

gifted poet and his former pupil, Franziska von Hoffnaass (1832-1892). In the fall he

was appointed as the professor of composition and organ at the Munich Conservatory,

where he remained until his death (Hochstein, ii).

Rheinberger was appointed Hofkapellmeister in 1877, a position that gave him

strong influence over the direction of sacred music in Munich (Gmeinweiser, 258). He

was granted the Knighthood of St. Michael in 1894 by King Ludwig of Bavaria, and the

Knighthood of St. Gregory the Great by Pope Leo XIII, to whom he had dedicated a

Mass in Eight Parts (Shenton, 315), and in 1899 the University of Munich awarded him

an honorary doctorate. He died on November 25, 1901, a few weeks after his retirement,

and was buried beside his wife in Munich. Their graves were disturbed during World

War II, however, and since 1950 they have been buried in Vaduz (Gmeinweiser, 258).

American musicians and musical scholars such as George Whitefield Chadwick

(1854-1931), Horatio Parker (1863-1919), Frederick Shepherd Converse (1871-1940),

Arthur Battelle Whiting (1861-1936), and about sixty other American musicians

(Bomberger, 53-54), and European musicians such as Engelbert Humperdinck (1854-

1921), Ermanno Wolf-Ferrari (1876-1948), Wilhelm Fürtwangler (1886-1954), Ludwig

Thuille (1861-1907), and Giuseppi Buonamici (1846-1914) (Shenton, 315) all benefited

from the teaching of Rheinberger. While he personally disliked the work of Wagner and

Liszt, Rheinberger never attempted to influence his students with his personal views. He

held tightly to tradition as a composer, drawing from the music of Bach, Mozart, and

middle-period Beethoven for inspiration, and therefore “he encouraged his students to

write absolute music rather than program music and to avoid the seemingly aimless

harmonic experiments of the late Romantics” (Bomberger, 56).

Today his music is chiefly remembered by organists and choirmasters, especially

through what is arguably his most highly individual body of work, the 20 organ sonatas,

and through his sacred music “in which he went his own way in contrast to the stylistic

inflexibility of followers of the Cecilian movement” (Gmeinweiser, 258).

7

During the nineteenth century the Cecilian movement within Catholic Church

music aimed to restore a Palestrina-like “purity” to liturgical music. Although he was

influenced by this movement, Rheinberger did not follow the movement’s requirements

to the letter, and as a result his mass settings were not added to the list of works that the

Cecilian Society regarded as suitable music for the liturgy (Hochstein, iii).

Rheinberger’s sacred vocal music includes eighteen settings of the Mass, four

Requiem Masses, five Stabat Mater settings, four oratorios, and a great many hymns,

motets, and offertories (Shenton, 315). Rheinberger’s Mass in C, op. 169, can be traced

back to a sketchbook of 1882, where he first set the theme for the Kyrie on paper, but

further dating of sketchbooks and autograph copies of his composition show that

Rheinberger began working on the Mass in earnest in May 1891, having completed the

initial draft by the 31st of the month. It was not until early 1892 that he completed the

Mass to his satisfaction. The first complete presentation of the work was on Easter

Sunday 1893, at the Cathedral of St. Gallen, Switzerland (Hochstein, iii, iv).

As mentioned earlier, this composition was scored in two versions, one for choir

and orchestra, and one for choir, string orchestra, and organ, in which the organ plays an

adaptation of the orchestral wind parts. In his “Comments for the Director” Rheinberger

states, “The organ part can be a worthy substitute for the wind instrument parts. The

brass, not obligatory, are only needed with larger performing forces” (Hochstein, 91).

Utilizing a six-movement format of Kyrie, Gloria, Credo, Sanctus, Benedictus, and

Agnus Dei, Rheinberger set the traditional Greek and Latin texts for four-part choir and

SATB soloists.

The Kyrie is in ABA form, with an obbligato violin part consisting of primarily

eighth notes. Rheinberger set the choral parts for the “Kyrie” sections in homophonic

texture, but he used imitation for the theme of the “Christe.” To further contrast this

middle section, the choir is initially reduced to soloists, and the prominence of the violin

part is reduced. The moment of recapitulation is clear, and the first eight measures of the

reprise are almost identical to those of the beginning.

The initial phrase of “Gloria in excelsis Deo” is to be intoned by a soloist. The

choral Gloria begins with a unison ascending melodic theme, and then repeats the theme,

harmonized, setting the text “et in terra pax.” The preface to the full score suggests an

8

adaptation of the opening theme of this Gloria for the intonation. The actual music for

this suggestion is missing, however. A second intonation suggestion is from the Mass for

Doubles found on page 26 of the Liber usualis (Example 2.1) (Hochstein, vi.). During

the text “Domine fili unigenite,” the violin part is reminiscent of the obbligato in the

Kyrie. The texture changes again at “qui sedes ad dexteram Patris,” where the vocal

force is reduced to soloists. A return to the opening ascending theme restores the choral

tutti at “Quoniam tu solus sanctus.” The fugue for the remaining text beginning with

“Cum sancto spiritu” is only three measures shorter than the preceding section, but it is

marked with a faster tempo, effectively shortening the duration of this half of the

movement. Rheinberger included a counter-subject from the beginning of the fugue, at

measure 166 the subject appears in stretto, and at 189 the coda quotes the opening

ascending line.

The Credo, like the Gloria, is to have its first line of text intoned. The suggestion

given in the score preface is from Liber usualis, page 64 (Example 2.2). The Credo is the

first movement not composed in C major but is rather in C minor. The first six measures

are sung in unison, followed by primarily homophonic material with brief sections of

imitation. Again, the violins present an obbligato theme stylistically similar to the

previous two movements. At measure 36, the text “Et incarnatus est,” the vocal parts are

again reduced to soloists, the key shifts to C major, and the violins interject the opening

notes of the chant “Salve Regina.” Full choir returns for the text “crucifixus¸” and the

descending chord progression from G major to E-flat major, unprecedented in this Mass,

emphasizes the text. Following four statements of an ascending theme on the text “et

resurrexit” and a return to the original tempo, the key returns to C minor and the

composition returns to its opening material. Measure 101 changes key back to C major

and sets the text of “et vitam venturi saeculi, amen,” accompanied by chords in the winds

and rapidly ascending string passages.

The Sanctus, in E-flat major, contrasts the opening movements in its relative

calmness. This contrasting mood is maintained until the “Osanna in excelsis” section is

reached. Rheinberger then increases the motion by introducing faster repeated notes in

the strings.

9

10

As the counterpart to the Sanctus, the Benedictus is composed in A-flat major and

opens with soloists instead of full choir. While the movement is not a fugue, imitation is

utilized throughout. At the return of the “Osanna in excelsis” the tutti choir enters.

Rheinberger does not use the thematic material of the Sanctus but rather maintains

independence within the Benedictus movement, which ends as it began thematically.

The tripartite text of the Agnus Dei is emphasized by the three key areas in which

each section begins: C major, F major, and E-flat major. A rocking violin obbligato

accompanies the choral writing, which, while largely homophonic, employs imitation at

each statement of the text “miserere nobis.” Creating a decided sense of finality, the

closing 43 measures of this movement for which the text is “dona nobis pacem”

constitute a fugue over a C pedal-point. The main subject is embellished by an

accompanying string figuration of sixteenth notes and syncopated rhythms.

The soloists’ writing is stylistically the same as the choral writing. The solos

function exclusively as a textural change, and there are neither extended solos for

individual voices nor soloists singing with the choir. The vocal range for the sopranos is

significant. The part reaches high A in almost every movement, and twice in the Mass the

part reaches high B-flat. The voicing of the remainder of the vocal parts is typical;

however, the bass soloist must sing a low E-flat.

Lasting approximately one half hour, this Mass setting presents no significant

rhythmic or harmonic difficulties to the singers. All editions maintain the original Latin

text without attempted translations. While the Mass is cohesive in its entirety, individual

movements may stand independently. The only possible exception to this is the separate

settings of the Sanctus and Benedictus, which, due to the text, are usually sung together.

11

CHAPTER 3

METHODOLOGY FOR TRANSCRIBING ORCHESTRAL ACCOMPANIMENT FOR ORGAN

Choral works such as Handel’s Messiah, Mendelssohn’s Elijah, Haydn’s Creation,

and Dubois’s The Seven Last Words of Christ have continually found favor with church

musicians and congregations alike. Every year, countless performances of these works, in

whole or in part, are given throughout the world in churches by volunteer choirs. Rarely,

however, are these performances given with the original orchestration. In fact, issues of

period instruments and historical performance practices are rarely considered by the

average volunteer performing group. Furthermore, more often than not, the accompanist

plays from the reduction given in the vocal score. These concessions are made primarily

because the cost of hiring a minimal orchestra of competent musicians would exceed these

churches’ annual music budgets.

Recognizing the fact that there are many churches where performing a sacred

work of this scope with original instrumentation is financially prohibitive, attempts are

often made by publishers and arrangers to create not just a rehearsal score, but rather a

“piano score.” While these scores usually succeed in capturing the rhythm, tonality, and

thematic material of the orchestra, they are often poorly suited to a pipe organ, the

instrument most commonly associated with traditional sacred choral music. “Often the

organist will simply play the piano reduction on the organ as best [as] he or she can, the

result being a constant doubling of the string parts as well as hit-or-miss covering of the

wind parts where they happen to be included in the reduction” (Vail, 70). The piano has

become the instrument of choice for these rehearsal scores because the piano is the

common instrument in a rehearsal space, the number of people who have moderate piano

12

skills far exceeds the number of capable organists, and it is indeed rare to find a

performance hall without a piano, but those with pipe organs are much harder to find.

Furthermore, if the work is ultimately to be sung with an orchestra, the piano is the more

practical instrument to be used in rehearsal for all the above reasons.

Dudley Buck’s 1877 handbook “Choir Accompaniment” states,

A knowledge of the . . . subject is indispensable to a good organist, for, perhaps, not one half of the compositions performed in our churches have accompaniments suitably written for the organ. Those suited only to the piano abound, even in compositions whose vocal character may render them worthy of church use. This state of things is unfortunate, for the player who may have tried the piece over upon the piano finds, upon coming to the organ, that the accompaniment falls off greatly in effect, and not unfrequently [sic] sounds simply detestable if played literally as written. Still, such pieces are expected to find their principal use in church with organ accompaniment; therefore the player has to adapt the same to his instrument as best he may. A woful [sic] amount of ignorance seems to exist as to the different ways by which an accompanist may help himself in this respect (Buck, 90).

The respected publisher Bärenreiter has taken note of this issue and instituted a

commissioned “Choir & Organ” series of these very types of transcriptions, including

music of Vivaldi, Fauré, Schubert, C. P. E. Bach, and Mozart.

Adapting accompaniments for considerations of practicality, however, is not a

new concept. While Louis Vierne was writing his Messe solenelle, his teacher, Charles-

Marie Widor, suggested that he re-write the orchestral accompaniment for organ, for the

reason that while many churches had two organs (common in large French churches),

most were not able to supply an orchestra. Maurice Duruflé transcribed the

accompaniment of his Requiem from orchestra to organ, and Gabriel Fauré’s Requiem

and Théodore Dubois’s The Seven Last Words of Christ have similarly been arranged by

others. Consequently, these latter two works have become very popular among church

choirs because of their accessibility.

The current trend is for academic and municipal choral directors to perform music

with an accompaniment as close to the original as feasible. But for church choirs,

performances of such pieces as Messiah “accompanied by organ alone are still, of course,

ubiquitous; and performances of other popular choral-orchestral works using organ only

13

in place of orchestra may also be heard – though not nearly as often as in the first half of

this century” (Vail, 68). It is perplexing then, why more choral-orchestral works,

especially those with sacred texts, have not been transcribed for choir and organ,

relieving organists of the need to sight-adapt or spend hours preparing their piano scores

to be more idiomatic to the organ.

The very concept of transcription may best be summed up as follows:

“Transcription is not the imitation or reproduction of exactly similar effects. It is rather a

re-writing of the original form in order that the melodic and rhythmic phrases and figures,

the harmonic background, and all the principal features may be distributed as far as

possible, to suit the altered conditions of production or presentation. Transcription, as a

distinct art, is only possible, so far as instrumental music is concerned, when the

instruments for which the music is to be arranged are mechanically and tonally sufficient

for the purpose” (Ellingford, vii). Sir Hubert Parry writes, “The object of arrangement is

to make that which was written in one musical language intelligible in another” (as

quoted in Ellingford, vi).

The organ, as a wind-driven instrument itself, lends itself most readily to the

imitation of orchestral winds. There are at least three possible solutions for creating a

musically satisfying performance using organ in place of winds but with strings: “(1)

editing the published piano-vocal score with a red pencil, circling the parts that are to be

played, writing in the parts that are missing, and carefully registrating [sic] the entire

score for the organ on which it is to be played; (2) making an entirely new score of the

wind parts transcribed for organ; [(3) a] very convenient solution would be to use a

published transcription [of the wind parts] if one is available” (Vail, 70). This, while a

good possibility for concert settings of small organizations, is still likely to be outside the

realm of financial possibility for church settings, especially when movements of choral

and orchestral works are used as regular Sunday anthems. Therefore, the most practical

use of the time of the transcriber would be to forgo this noble effort to leave as much as

possible of the orchestration intact, and to create a tasteful adaptation requiring just one

organist to provide the accompaniment.

14

The introduction to Ellingford’s book The Art of Transcribing for the Organ

closes with a passage that provides a valuable starting point for anyone who endeavors to

transcribe orchestral music for organ (Ellingford, 3):

It would be very difficult to formulate rules for a subject which has so many facets, but the subjoined suggestions or guides may help to elucidate some problems in transcribing orchestral accompaniments for the organ. 1. Eliminate the unessential, and lay out the essential to the best advantage

on the organ. 2. Aim at simplicity and avoid complexity. 3. Complex and involved passages, though they may be technically playable

on the organ, should be altered and rewritten, unless the effect is artistic. 4. Avoid the exact reproduction of any idiom peculiar to one particular class

or group of orchestral instruments, which is not artistic and effective in the transcribed medium.

5. Alter the context or figures of an instrumental part, rather than reproduce an idiom which does not belong to the organ.

6. Avoid rapid repetitions either of single or double notes. These repetitions may often be technically or mechanically possible at a great speed on an organ – but they can never sound really well, because at the high speed one note will run into the other, and this merging of one sound into the next, results in the effect of one continuous sound, or at best, a sustained wobble!

7. Try to reproduce the spirit of the score – not the letter.

The first step in preparing an organ transcription is to familiarize oneself as

completely as possible with the piece of music at hand. One must study the score and

listen to performances as much as possible. If one cannot hear live performances of the

work, listening to as many quality recordings as possible with score and without is

imperative. The purpose of this process is to look and listen for important rhythmic and

harmonic moments and melodic motifs. If there are already one or more versions of the

accompaniment, especially those arranged by the composer, it helps to study and listen to

them, as composers often will make it clear through their own arrangements what they

felt was the most important material. Ultimately, one wants to reach the point where one

has completely internalized the music. Once this point has been reached, one will more

easily distill the salient features from the score and place them on paper.

One should begin a transcription with the bass and melody parts, if they indeed

are given to the orchestra (Example 3.1). This process is similar to writing out figured

15

&

&

?

&

&

&

B

?

?

##

#

44

44

44

44

44

44

44

44

44

Flute

Clarinet in Bb

Bassoon

Horn in F

Violin I

Violin II

Viola

Violoncello

Contrabass

∑

..˙

Molto Moderato. q = 100.

p

œœ

.˙

p

œb

>

w

∑

œ

p

tranquilloMolto Moderato. q = 100.

œœœ œ œ œ œ

..˙

p

œœ>

œœ

p

œœ

œœ

œœb

>

œ

p

œ œœ>

œ

p

œ œœ

∑

..˙ œœ

.˙ œb>

w

∑

œ œœœ œ œ œ œ

..˙ œœ

>

œœ

œœ

œœ

œœb

>

œ œ œœ>

œ œ œœ

∑

˙Ó

˙Ó

˙Ó

w

œ œœœ œ œ

œ œ

..˙ œ

œœ

œœ

œœ

œœ

œ œ œ œ

œ Œ Œ œ

∑

∑

∑

w

œ œ œ œœ œ œ

œ

.˙ œ

œœ

œœ

œœ

œœ

œ œ œ œ

œ Œ Œ œ

&

?

?

Org.

œ œœœ œ œ œ œ

∑

.˙œ

œ œœœ œ œ œ œ

∑

.˙œ

œ œœœ œ œœ œ

∑

w

œ œ œ œœ œ œœ

∑

w

Example 3.1. Beginning transcription with melody and bass parts. Kyrie: mm. 1-4.

16

bass realizations. Once the foundation and melody are placed on the page, all other

material must fit somehow within that framework. Since one is transcribing existing

material, voice-leading problems should not arise yet.

At this point, the issues of adapting to the organ figurations that are idiomatic to

another instrument should be addressed. String writing can often be problematic. String

instruments are often given passages of quick repetition, which give great power and

sense of motion. The same technique would be clumsy on the piano, if playable at all

because of the limitations of keyboard actions, and likely incapable of clear speech on the

organ. Rapid scale passages in thirds or sixths for strings are cumbersome on the piano

and ineffective on the organ. A tremolo of notes or chords for strings has a totally

different effect on the organ, sounding comical (Ellingford, vii). These passages must be

dealt with according to their context. Quickly repeated notes may simply be combined

and played as their collective note values (Example 3.2). Parallel scale passages may

present themselves at a point where the scales could be performed with two hands, if no

other significant material is presented within the orchestra at that time. If, however, a

pattern of thirds or sixths continues for a number of measures, it may be advisable to

leave out the inner voice and simply aim for what may be perceived as the effect of

restlessness and vigorous movement. Melodies duplicated at the octave are best

eliminated when there is other rhythmic and harmonic material (Examples 3.3, 3.4).

Above all, clarity and practicality need to be the goal of the transcription. Therefore,

judicious deletion of extra notes should be considered. The final product must reflect the

original while trying to be idiomatic to the organ.

An important consideration is the dynamic range of an orchestra. An indication

of pianissimo for the string parts may result in a dynamic softer than the woodwinds’

pianissimo. Conversely, the indication of fortissimo for the brass will certainly dominate

the sound of the orchestra. The orchestration may well be a swirling string pattern that is

an accompaniment to a brass and/or woodwind theme. In such an instance, the string part

will sound subordinate, and therefore, regardless of its notated dynamics, can most likely

be simplified (Example 3.5). The goal for the transcriber is to eliminate difficult

passages which may well not be heard anyway. Here again, listening to the piece will

17

&

&

&

?

&

&

B

&

&

B

?

?

bbb

bbb

b

bbb

bb

bbb

bbb

bbb

bbb

bbb

bbb

bbb

44

44

44

44

44

44

44

44

44

44

44

44

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

Violin I

Violin II

Viola

Violoncello

Contrabass

Ó Œ

œ

f

œ œ œn œ

f

œ œ œn œ

œ œ œ# œ

f

œ# œn œ œ

œ ˙ œ

f

œ ˙ œ

w

cresc.w

Ó Œ

cresc.jœ

. ‰

Jœ

‰

Jœ‰

Jœ‰

Jœ‰

∑

œ œ œ œn œ œ œ

cresc.

œ œ œ œ œœ œ œ œ œ œ œ œ œ

œ œ œ

3 3 3 3 3 3 3 3

œ œ œ œn œ œ œcresc.œ œ œ œ œ

œ œ œ œ œ œ œ œ œœ œ œ

3 3 3 3 3 3 3 3

œ œ œ œn œ œ œ

cresc.

œ œœ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

3 3 3 3 3 3 3 3

œ œ œ œn œ œ œ

cresc.

œ œ œ œ œœ œ œ œ œ œ œ œ œ

œ œ œ

3 3

3 33 3

3 3

œ œ

cresc.œ œ

œ œœ œn

œ œœ œn

œ œœ œn

œ œœ œn

˙# ˙n

œ œ œ œ

œ œ œ œ

˙^

˙^

˙

v

˙

v

jœ

.‰

jœ

.‰jœ

. ‰jœ

.‰

Jœ

.

‰

Jœ

.

‰

Jœ

.

‰

Jœ

.

‰

∑

œ

f

œ œ œn œ œ œ œ œœn œ œ œ œ œ

œ œ œ œb œ œœ# œ œ3 3 3 3

3 3

3 3

œ

f

œ œ œn œ œ œ œ œœn œ œ œ œ œ

œ œ œ œb œ œœ# œ œ3 3 3 3

3 3

3 3

œ

f

œ œ œn œ œ œ œ œœn œ œ œ œ œ

œ œ œ œb œ œœ# œ œ

3 3 3 3 3 3

3 3

œ

f

œ œ œn œ œ œ œ œœn œ œ œ œ œ

œ œ œ œb œ œœ# œ œ3 3

3 33 3 3 3

œ

f

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 3 6 6 6

.˙n œ

ƒ

.˙n œ

ƒ

.˙n œ

.˙# œ

ƒ

.˙œ

.˙ œ

ƒ

.˙ œ

.œ œ .œ œ .œ œ œ

ƒ

.œ œ .œ œ .œ œ œ

.˙ œ

ƒ.˙

œ

Ó

F

Œ

œ.

.

˙

˙

œ

œ

œ ≈ œ œ ≈ œ œ ≈ œ œ

ƒ

œ≈ œ œ ≈ œ œ ≈ œ œ

ƒ

œ≈œ œ≈œ œ≈œ œ

ƒœ

≈ œ œ ≈ œ œ ≈ œ œ

ƒ

œ≈œ œ ≈ œ œ ≈ œ œ

ƒ

&

?

?

bbb

bbb

bbb

Org.

œ œn œcresc.œœœ œœ

œœn œœb œœnœœ

w

œ

fœn œœn œœ œbœ#

œ˙nœ œn

œ ˙b

w

..˙n œ

ƒ

œœœn ≈œœœœœœ ≈œœœœœœ ≈œœœ œ

.˙

œ

Example 3.2. Reducing string tremolandi to be playable on the organ. Credo: mm. 98-99.

18

&

&

&

?

&

&

B

&

&

B

?

?

##

#

43

43

43

43

43

43

43

43

43

43

43

43

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

Violin I

Violin II

Viola

Violoncello

Contrabass

f

f

f

f

f

f

f

f

f

f

f

f

.˙

.˙

.˙

..˙#

.

.˙

˙

.

.˙˙

.˙

Œœœ

œ

# œœ

œ

œ œ# œ œœ# œ œ

œ œn œœ œ#

œ œ# œ œœ# œ œ

œ œn œœ œ#

.

.œœ# œ

œ..œœ

œ

œ.

.

œ

œ

œ

œ

.œ œ .œ œ .œ œ

.œ œ .œ œ .œ œ

.˙

.˙

.˙

..˙

.

.

˙

˙

.

.œœ œœ œœ ..œœ œœ

.

.

œ

œ

œ

œ

œ

œ

.

.

œ

œ

œ

œ

œœ

œ

Œ

œœ

œ

œ

ƒ

œ œ œ œ œ œ œ œ

S

œ œ œ

œ

ƒ

œ œ œ œ œ œ œ œ

S

œ œ œ

.

.œœ

ƒ

œœœœ ..œœ œœ

.œ

ƒ

œ œ

.œ

œ

.œ

ƒ

œ œ

.œ

œ

œ

Œ Œ

œ Œ Œ

œ

Œ Œ

œœœœ

^

œœ

^

œ

œœœ

^

œœ

^

œœ œœ

^

œœ

^

œ

œ

œ

œ

^

œ

œ

^

Œœœ

œ

Œ

œœ œ œ œ

S

œ œ œ œ œœ œ

œœ œ œ œ

S

œ œ œ œ œœ œ

œœ œœ œœ

œ

œ

œ

œ

œ

œ

∑

∑

∑

∑

Œœœ œœ

œ

Œ Œ

∑

œ

Œ Œ

œ

Œ Œ

œŒ Œ

œŒ Œ

œŒ Œ

&

?

?

Org.

œ œ# œ œœ# œ œ

œ œn œœ œ#

..œœ#œœœ...œœœ

œœœ...

œœœ

œœœ

.˙

œ

ƒ

œ œ œ œ œ œ œ

S

œ œ

œœœ œœœ

œœœ

.˙

œœ œ œ œ

S

œ œ œ œœ œ

œœœœœœ

œœœ

.˙

œ

Œ Œ

œ œ

Fœ

œŒ Œ

Example 3.3. Simplifying passages in octaves. Gloria: mm. 12-15.

19

&

&

&

?

&

&

B

&

&

B

?

?

bbb

bbb

b

bbb

bb

bbb

bbb

bbb

bbb

bbb

bbb

bbb

44

44

44

44

44

44

44

44

44

44

44

44

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

Violin I

Violin II

Viola

Violoncello

Contrabass

Ó Œœ

f

œ

Œ.˙

.˙

S

˙ œœœ

.˙ œœ

˙

˙n œ

œ

Œ

Ó Œ .œ

f

.œ œœ

.

.

˙

˙S

Œ

˙

˙

F

..

.

œœ

œ‰

‰œœ œ œ

S

œ œœ

‰ œœ œ ‰

œ œœ

˙˙

˙˙

œn

œn

œ

œ

œn

œn

œ

œ

˙b œ

Œ

Œ.˙

.˙

S

˙b œœ

œ˙ œ

œ

œ

˙

˙ œ

œ

Œ

œœ .œ œ œ œ.œ œ œ œ

∑

.˙˙ œœ Œ

‰œjœ œ œ

œœjœ œ œ

‰œjœ œ œ

œœjœ œ œ

˙˙

˙˙

œ

œ

œ

œ

œ

œ

œ

œ

Ó Œ œ

œ

Œ.˙

.˙

S

˙b œœœ˙ œ

œœ

˙

˙ œ œ

œœ

.˙

.˙

S

Œ

Ó Œ.œ

F

.œ œœ

∑

‰œœ œb œn

S

œ œœ

‰œœ œb ‰ œ œ

œ

˙˙

˙˙

œ

œ

œ

œ

œ

œ

œ

œ

˙

dim.

œ

Œ

Œ .˙

.˙

S

˙

dim.

œ

Œ

˙ œŒ

.˙˙n œ

dim.

Œ

∑

œœ

dim.

.œ œ œ.œ œ œ

Œ

∑

‰œ

p

œ œ œ œn œ œ

.˙

p

Œ

˙ œ Œ

˙n œ

œ

˙n œ Œ

&

?

?

bbb

bbb

bbb

Org.

‰œœ œ œ œ œ

œ

˙

˙œœœ œ

œ

œn

œn

œ

œ

‰œjœ œ œ

œœjœ œ œ

˙

˙

b œœœ œ

œ

œ

œ

œ

œ

‰œœ œb œn

S

œ œœ

˙

˙

b œœœ œ

œœ

œ

œ

œ

œ

‰

p

œœ œ œ œn œ œ

˙˙˙œœœ Œ

˙n œ œ

Example 3.4. Simplifying passages in octaves. Credo: mm. 28-31.

20

&

&

&

?

&

&

B

&

&

B

?

?

##

#

44

44

44

44

44

44

44

44

44

44

44

44

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

Violin I

Violin II

Viola

Violoncello

Contrabass

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

w

ww

ww

w

w

ww

.˙

.œ œ.˙

.œ œ

www

œ œ œœ œ œ

œœœ œ œ œ

œ

œœœ œœ œ œ

œœœ œ œ œ

œ

œœœœœœœœœœœœœœœœœœœœœœœœ

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

.˙ œ

.˙ œ.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙

œ

.˙

œ

..˙ œœ

.˙

œ

œ

œ œœœœ œ œ œ

œ œ œœ

œ

œ œœœœ œ œ œ

œ œ œœ

œœœœœœœœœœœœœœœœœœœœœœœœ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ œ œ œ œ œ œ œ œ œ œ

w

ww

ww

w

w

.˙ .œ œ

.˙ .œ œ

.˙

.œ œ

.˙

.œ œ

www

œ

œœ œ œ œ

œ œ œœœœ œ

œ

œœ œ œ œ

œ œ œœœœ œ

œœœœœœœœœœœœœœœœœœœœœœœœ

œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙ œ

.˙b œ

.˙b œ

.˙ œ

.˙ œ

.˙ .œ œ.˙

.œ œ

.

.˙˙

œœ

.˙b œ

œ

œœ œ œ œ

œ œ œœœœ œ

œ

œœ œ œ œ

œ œ œœœœ œ

œœœœœœœœœœœœœœœœœœœœœœœœ

œb œ œ œ œ œ œ œ œ œ œ œ

œb œ œ œ œ œ œ œ œ œ œ œ

&

?

?

Org.

www

Maestoso.

œœœœœœœœœ œ œ œ

œ

w

...˙˙

œœœ

‰œœœœœ œ œ œœ œ œœ

w

www

‰œœœœœœ œ œœœœ œ

w

.

..˙˙

œœœ

‰œœœœœœ œ œœœœ œ

wb

Example 3.5. Making string passages subordinate to brass and woodwind theme. Credo: mm. 101-104.

21

help the transcriber to appreciate which notes are more prominent and to eliminate those

which are not.

After the notes are on the page, the next step is for the transcriber to attempt to

perform the transcription – a simple practice frequently ignored. It may be found that a

better effect can be created by eliminating some repeated notes (Example 3.6), or

combining some but not all of the notes of an arpeggio into a chord. Figures that sounded

clear and important in the orchestra may be swallowed up by the timbre of the organ or

the acoustics of the room and therefore need adjusting. If possible, one should ask other

organists to try playing through the score. A passage that the transcriber finds easy may

well be problematic for another organist and vice-versa. A self-made recording of the

music can also be very telling, as it removes one’s focus from the page and re-directs it to

the ear. Many subtle errors can be detected this way. Also, listening to a recording while

following the new score can be advantageous; the score should look like the music

sounds.

Issues of basic registration should be addressed at this time. The transcriber needs

to consider at what point separate manuals should be employed. Where registration is

concerned, one must remember that every pipe organ sounds and functions differently.

To this end, basic suggestions work far better than names of particular stops. If a

particular solo stop is to be used, such as an oboe, then it should be marked as such.

However, while one instrument and performing hall may require the additional use of a

certain stop in the ensemble to add clarity or body, that sound may be overbearing and

obtrusive on another instrument. It is better to be more general than specific, for there are

organists who will simply draw the stops suggested without regard to the musical result.

Another useful piece of information to the performer might be the inclusion of original

instrumentation indications where figures were given to either specific instruments or

sections of the orchestra.

Sources for suggestions of registration are the organ literature and choral

literature that was originally intended to be accompanied by organ. The composers who

most regularly approached the sounds of the organ similarly to that of an orchestra were

those of the French Romantic period. Suggested registrations of César Franck (1822-

1890), Charles-Marie Widor (1844-1937), and Louis Vierne (1870-1937) are quite

22

&

&

&

?

&

&

B

&

&

B

?

?

##

#

43

43

43

43

43

43

43

43

43

43

43

43

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in F

Trumpet in C

Trombone

Violin I

Violin II

Viola

Violoncello

Contrabass

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

˙œ

˙a2. œ

.

.

œ

œJ

œ

œ

œ

œœ

œ

˙b œ.˙

œ œ œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙˙b

œœœ

œ œ œb œjœœ J

œ

œ œ œb œ

j

œœ

jœ

œœ œœ œœ œœœœœœ

˙b œ

˙ Œ

˙b œ

˙b œ

. .

. .

œ

œ

rœ

œ

œ

œ

˙ œœ

.˙

œ œ œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙˙˙

b œœ

œ

œ œ œb œ

Jœœ

jœ

œ œ œb œjœœ

jœ

œ œ œ

œb œœ

˙ œ

˙ Œ

˙œ

˙œ

œœ œ

œb œ

œ œn œb

.˙

˙œ

œ œ œ

.œ .œ

‰ Œ

∑

œ œ œ œjœ

œ jœ

œ œ œ œjœ

œ jœ

œœœœn

œœb

˙ Œ

˙ Œ

˙

Œ

˙

dim.

œ

œ ˙dim.

œ

œ œ œb

.˙

˙

dim.

œ

œ œ œ

.œ .œ

‰ Œ

∑

œ

dim.œ œ œ

jœ

œ jœ

œ

dim.

œ œ œjœ

œ jœ

œœb

dim.

œ

œœœb

˙ Œ

˙ Œ

&

?

?

Org.

˙œ

≈

œ œb œ

Jœœ Jœ

œœœ

b œœœ

œœœ

œœœ

œœœ

œœœ

.˙

œ˙b œœ œ œ

Jœœ

Jœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

.˙

œ˙

œ

œ œ œ

Jœ

œ

Jœ

œ

œ˙

œ

œ

n œœœ

b

.˙

œ

dim.

˙œ

œ œ œ

Jœ

œ

Jœ

œœœ

b œœœœb

.˙

Example 3.6. Removing unnecessary notes. Agnus Dei: mm. 93-96.

23

specific. German composers of the same period, Felix Mendelssohn (1809-1847),

Rheinberger (1839-1901), and Max Reger (1873-1916), gave more information in the

form of dynamics than actual registration. These composers’ instruments were designed

in such a way as to encourage these registration concepts. Modern organists, however,

play on instruments that are designed to play a broad spectrum of literature, and therefore

they must listen to whether or not the suggested registration succeeds. Further details of

this topic are discussed in the following chapter.

For the transcriber, experimentation is vital. Music that looks good on paper may

prove to be unmusical in practice and require a different approach. Simply copying

orchestral parts into a reduction score has produced many unplayable scores. The

orchestral parts must be distilled into organ music. There is a fine, however, line between

making the score playable and oversimplification. If an organist can reproduce the

emotion of the original orchestration while remaining sensitive to both the original music

and the organ, then the transcription is a success.

24

CHAPTER 4

REGISTERING ORCHESTRAL TRANSCRIPTIONS FOR THE ORGAN Transcriptions of choral-orchestral works for organ exist in many editions, each

influenced by the transcriber, his instrument, the room in which the transcription was

originally intended to be presented, and the choir. These transcriptions vary in

effectiveness and technical requirements. Generally, since transcriptions are intended to

substitute for multiple instrumentalists, they are harder to play. They must be approached

as organ literature and given the same amount of respect, if not more, to make them

succeed.

Besides simply playing the notes, the most pressing issue for an organist in

dealing with the performance of a transcription of orchestral music is that of registration.

It is impossible to duplicate the sound of bowed strings on an instrument whose sound is

produced exclusively by wind. Likewise, the timbre of “imitative” stops on the organ

often fails to be consistently convincing. How, then, should an organist attempt to

provide a suitable accompaniment for these works?

Early twentieth century organist Edwin H. Lemare (1865-1934), who was known

both for his orchestral transcriptions and his convincing performance of them, offers

insights to registration possibilities:

To represent anything resembling the strings in the orchestra a combination of stops is required. There is much more body in a violin than in a Viol d’orchestre or other imitative stop in the organ. Many such stops in themselves do not resemble their prototypes of the orchestra, but may be made to do so to a certain extent if the organist has mastered the art of mixing his tone-colours.

A Gamba, for instance, is a hideous-sounding stop at the best, and is only useful on a Choir organ to give predominance to the 8 feet “thin-toned” work.

25

. . . “string-toned effects.” A mixture of thin-toned “Celestes,” with “Vox Humana” (if soft) Tremulant, and the addition of a soft 8 feet Lieblich, is much more realistic than anything I know. But here again so much depends upon the voicing: certain combinations which would be very beautiful on an organ by one builder would be quite the reverse on that of another.

There are certain . . . imitative stops which are improved in combination with others: the Choir Clarinet, for instance, which sounds better when a soft 8 feet Lieblich is added. An Orchestral Oboe (properly voiced) with a soft 4 feet Flute can also be very beautiful.

Generally speaking, the Subs and Supers [octave couplers] are most useful in big chords on soft, string-tone stops, when one hand only is available: they ought never to be abused with the full organ or heavy-toned stops. Also, if there is only one 8 feet Tuba on the Solo organ, a Sub and Super are very acceptable, as they practically give an extra 16 and 4 feet reed; but of course the Tuba ought not to be used in more than three- or four-part harmony, when the disproportion of the 16 and 4 feet is not so noticeable.

The so-called Vox Humana stop (if it is voiced very softly) used with the Celestes, Tremulant, and a soft Lieblich, to give a little body, is a valuable addition to “String” or “Harp effects.” Speaking of Harp effects, I find that a soft Lieblich of 16 feet, combined with it, helps the illusion. We often see the instruction, “Swell to Oboe” or “Great to Principal.” Whoever heard of full chords on the oboes of an orchestra, even if there were a sufficient number? (Lemare, 9, 12)

These suggestions are indicative of both a playing style and an organ building

style which, while prevalent during Lemare’s time, have either lost favor or disappeared

completely. Rare is the organ from this period, with the tone colors Lemare suggests,

where the instrument has not been modernized, revoiced, rebuilt, or fallen into disrepair

from neglect and time. His comments suggest that organists were hard pressed even in

his own era to find instruments with such qualities. Ultimately, Lemare offers some

timeless advice, saying “one great thing to remember is contrast, viz., to endeavor to

make your accompaniment of a different tone-colour from your Solo” (Lemare, 12).

Modern organists must often work with instruments that have been designed to be

as accommodating as possible to the organ literature, that is, to play all periods and styles

of music equally. Instruments are rarely built today where registration suggestions such

26

as those given by Lemare are practical, if even possible. Stops such as the Vox Humana

can vary greatly from instrument to instrument, and they are quite often omitted from

stoplists altogether. Registering any accompaniment on the organ is subject first to a rule

of musical taste: “In the field of accompaniment, Registration is paramount. Whether

playing with an orchestra or ensemble, or acting as a substitute for it, the player has the

greatest responsibility in the choice of stops – Registration can make or marr [sic] your

efforts” (Lindley, 5).

Words often used to describe an orchestral timbre include “lush,” or “rich.” And

it is these very qualities that Lemare and his contemporaries were trying to emulate.

Neo-Baroque organs often are supplied with divisions full of bright, high-pitched stops,

and few eight-foot stops. Such is also the case of many small church organs, where

physical space and budget constraints are concerned. Frequently one can solve this

potential registration problem by: “. . . mixing diapasons and flutes and coupling unison

ranks together over two, three or even four manuals, which will generally produce the

warmth of sound that one’s playing and singing colleagues require” (Lindley, 5).

It must be remembered, however, that ultimately the registration needs to be at a

volume to support but not overpower the singers, clear of speech without being too edgy,

and colored with a combination of stops that allows the organist to make registration

changes smoothly and subtly. Treating organ stops as orchestral instruments is a mistake.

The addition of a trumpet to the organ ensemble will not have the same effect as the

addition of brass instruments to the strings of an orchestra. Likewise, imitative stops with

woodwind nomenclature are usually voiced to function as solo sounds, not in ensembles,

with the exception of many flute stops which often function as foundation. “The organist

should not, of course, try to duplicate the orchestral sounds, but should nonetheless

attempt to approximate the instrumental colors in a general way when practical to do

so. . . ” (Vail, 71).

The ability for an organist to control the swell boxes effectively often becomes

paramount. If, during the course of a melody, the original notes descend and crescendo,

an instrument built along classic principles will often fall off in effect. Pipe organs are

usually built either with dynamics that are even from top to bottom within a rank, or,

often, the volume and intensity of the stop will increase toward the top of its compass.

27

Neither of these voicing styles will allow the melody to descend and remain prominent.

Only orchestral-style organs will usually have flue stops that “bloom” toward the bottom

of their compass. Depending on the texture of the accompaniment, the organist may need

to take this point into consideration and adjust the swell box for the solo stop in order to

allow the melody to remain equally balanced and prominent.

Certain parameters were set in the following transcription. At a minimum, the

performance organ is to consist of two manuals and pedal, with one enclosed division.

Use of additional manuals may be made by the organist as he sees appropriate. The

keyboard compasses are expected to be within current American Guild of Organist

standards of five octaves for the manual, and thirty-two notes for the pedal. Where these

compasses are not available, possible amendments to the score will need to be judiciously

made by the organist. Tempo markings are all original. Registrations are suggestions,

and must be considered carefully by the organist and/or conductor. Familiarity with this

work will aid to the success of these decisions. Making rehearsal recordings and

listening to them shortly after they are made can help to avoid registrations problems.

Each organ and room is different, and therefore no simple rules can be made other than to

play the music not as an orchestra, but as an organist.

28

CONCLUSION

There are many reasons why a director or performing group may endeavor to sing

a choral work in whole or in part that originally required orchestral accompaniment. It is

not, however, always practical to hire the number of musicians needed to accompany

these pieces properly. Whether for reasons of budget, physical space, or time, organists

are often called on to provide a substitute for an orchestra. As this practice is becoming

more accepted, publishers are systematically providing arrangements designed

specifically for organ in addition to the already popular piano scores.

The music for which this is being done is primarily that which has either already

found favor with audiences or was written by a composer with whom audiences are

already familiar. There is, however, a large body of music that is largely ignored because

the composers are little known. Such is the case of much of Rheinberger’s music. The

present treatise offers a transcription of a choral work which offers an affordable and

practical way to present music that might not otherwise have been heard.

Rheinberger’s Messe in C has already found favor with those who have helped

prepare this transcription and participated in experimental performances of individual

movements during the course of worship services. The choral writing has been found to

be both manageable and satisfying. The transcriber hopes that this piece will gain in

popularity and aid in the appreciation of Rheinberger’s other music.

29

&

&

V

?

&

?

?

c

c

c

c

c

c

c

Soprano

Alto

Tenor

Bass

Organ

Molto moderato. q = 100∑

∑

∑

∑

œ

p

Molto moderato. q = 100

œœœ œ œ œ œ

œœœœœœœœœœœœb>

.˙œ>

∑

∑

∑

∑

œ œœœ œ œ œ œ

œœœœœœœœœœœœb>

.˙œ>

.˙

p

œ

Ky ri

.˙

p

œ

Ky ri

.˙

p

œ

Ky ri

.˙

p

œ

Ky ri

œ œœœ œ œœ œ

œ œ œ œ..˙ œ

w

.˙œ

e e

.˙ œ

e e

.˙ œ

e e

.˙ œ

e e

œ œ œ œœ œ œœ

œ œ œ œ.˙ œ

w

œ ˙œ

lei

w

lei

˙ ˙

lei

w

lei

œ

œ œœ œ œ œ œ#

˙ ˙w

w

.˙œ

son, e

.˙ œ

son, e

.˙œ

son, e

.˙ œ

son, e

œ œ œ œœ œ œœ

œœ œœœ

œ Œ Œ œ

- - - - - - -

- - - - -

- - - - - - - -

- - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

7œ

F

˙ œ

lei

˙

F

˙b

lei

˙

F

˙

lei

w

F

lei

7

œ

F

œ œœ œb œ œ

œ

˙ ˙˙ ˙

&

w

œ œ œ œ

p

son, e

˙ œ œ

p

son, e

˙œœp

son, e

˙ œ œ

p

son, e

œ

œ œœ œ œ œ

p

œ

.

.˙˙ œœ

˙ ˙

˙ ˙

lei

w

lei

œ ˙ œ

lei

˙ ˙

lei

œœ œœ œœ œœ

wœ œ œ œ

˙ ˙

w

son.

œ œœ œ

son.

˙# ˙n

son.

.˙ œ

son.

œœœœœ œ œ œ

œ œœ œ

˙# ˙n

.˙ œ.

.˙ œ

Ky ri

.˙ œ

Ky ri

˙.œJœ

Ky ri

.˙

œb

Ky ri

œb œ œœ œ œœœ

œœœ

Œ œœœ

b Œ

œ. œb . œ. œ.

œ ˙ œ

e e

.˙ œ

e e

w

e,

.˙œb

e e

œ

cresc.

œ œœ œ œ œ

œ

www

œ.

Œ œ.œb .

- - - - - - - - - - - - -

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

Messe in COp. 169

JOSEF RHEINBERGEROrgan transcription by

JAMES EDWARD LORENZKYRIE

Tutti.

Tutti.

Tutti.

Tutti.

tranquillo

dolce

Suggested registration:Man I. Foundations, Strings 8' (oboe 8')Man. II Foundation 8, II-IPed. 16, 8, II-Ped.

Man. I

Man. II

[violin]

30

&

&

V

?

&

&

?

S

A

T

B

Org.

13

wcresc.

lei

w#

cresc.

lei

˙

cresc..œJœ

Ky ri

.˙

cresc. œ

lei

13

œ œ œ#œ œ œœœ

œœœ#Œ œœœŒ

œ.œ. œ. œ.

œ ˙ œf

son, e

.˙ œ

f

son, e

.˙ œf

e e

.˙nœf

son, e

œ œ œœ œ œ œ

œ

œœœœœœœœœœœœ

˙

œ. œ.

˙ ˙

lei

w

lei

œ˙ œ

lei

˙ œ œ

lei son, e

œ

f

œ œ œ

‰œ œ œ

˙ ˙.˙ œ

˙ ˙

˙ ˙

son, e

˙ ˙

son, e

˙ ˙

son, e

œ˙ œb

lei

œ œ œœœ œ œœ

˙ ˙

œ˙ œb

˙# œ œ

lei

œ œb œ œ

lei

œ œ œ œ#

lei

w

œ# œb œ œ œ œ œœ

œœœœb œœ œ

œ#

w

.˙œ

son, e

.˙ œ

son, e

.˙œ

son, e

.˙ œb

son, e

œ œœœ œ

œ œ

œ

œœœ˙˙

œœœn

.˙ œb

- - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

19˙ ˙b

lei

w

lei

œ˙b œ

lei

˙ œ œ

lei son, e

19œ œ œ

œb

‰œb œ œ

˙ ˙˙b.˙b œ

˙ ˙

˙ ˙

son, e

˙ ˙

son, e

˙b ˙

son, e

œb

˙b œb

lei

œ œb œœœ œ œœ

˙˙b

˙˙

.˙b œb

œ œn œ œb œ

lei

œ œb œ œ#

lei

œ œ œb œ

lei

w

son.

œ œ œ œn œ œ œ#œ

œœœœb œœb œœn

w

.˙ Œ

son.

.˙ Œ

son.

.˙ Œ

son.

.˙Œ

œ œœœœ

œœn ˙ œœ

˙

œ œ

œ

p˙n œ œ

Ky ri

˙

p

˙#

Ky ri

Ó ˙

p

Ky

.˙p

œ

Ky ri

œ

p

œ œ œ œ œ# œœ

œœœ

Œ œœ# Œ

w

.˙ œcresc.

e e

˙ ˙

cresc.

e e

œ ˙ œcresc.œ

ri

˙ ˙#

e e

œ œœœ œ

cresc.

œ œ œ

wœ ˙ œ œ

˙ ˙#

- - - - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - -

Man II.

Man I.

31

&

&

V

?

&

&

?

S

A

T

B

Org.

25

œ ˙ œ œ

lei

˙ ˙n

lei son,

.˙ œ

e e

˙

cresc.˙#

lei

25

œœ œ œ œ

œœ œ

˙ ˙n.˙ œ

˙ ˙#

w

son,

œ

f

˙ œ œ#

Ky ri

˙ ˙

lei

˙ ˙#

son e

œœ œœœ œœœ

œ

f

˙ œ œ#˙ ˙

˙ ˙#

˙

f˙#

Ky ri

˙#œ œ

e e

˙#f

˙

son, Ky

œfœ œ œ#

lei son, e

œ#

f

œ# œœ œ œ# œ

œ

˙## ˙œ œ

œ œ œ œ#

œ œ# ˙

e e lei

.˙ œ#

lei

œ œ ˙

ri e

œ œ œ œ

lei son, e

œ œ œ# œ œœœœ#

.˙ œ#w

œ œ œ œ

œœ œ œ

son, e

œ œn œ œ

son, e

œœ# œ œ

e lei

.˙ œ

lei

œ

dim.

œœ œ œ œ# œ œ

œ œœ#œœ œ

œ œn ˙

?

.˙ œ

˙˙#

lei

˙# ˙lei

œ# œn œ œ

w

œ#œ œœ œ œ œ œ

œ#

p

œ œ œw#

&

w

- - - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

31

.˙Œ

son.

.˙

Œ

son.

.˙ Œ

son.

.˙ Œ

son.

31

œ œ# œœ œ#>

œ œ œ

˙>

F

œ œ

˙ Œœ.

∑

∑

∑

∑

œ œ œ œ# œ# œ œ œ

œ œ# œ#œ˙ œ œ#

˙# Œœ.

∑

∑

∑

∑

œ œ# œœœœ œ œ

œ œœœ

.˙œœb

.˙œ

∑

∑

∑

∑

œnœ œœ œ#œœœ

œ œ œ#œ

w

œ Œ œ Œ

∑

˙

fSolo.

œ œ

Chris te e

∑

∑

œ

p

œ œ œ# œœ# œœ

œœ œ.˙

?

˙Œ œ.

˙fSolo.

˙

Chris te

œ œ# œ œ

lei

∑

∑

˙ ˙

‰œ œ# œ œ œ œ œ

˙œ# œw

- -

-

- - - - -

[w.w.]

32

&

&

V

?

&

?

?

S

A

T

B

Org.

37

œ Œ Œ œ

e

.˙Œ

son,

∑

˙fSolo.

œ œ

Chris te e

37

‰ œ

œ œ# œœ# œœ

œ. œ. ˙œ œ

˙ Œ œ.

˙ ˙

lei son,

∑

Ó Œœ#fSolo.

e

œ œ# œœ

lei

˙ ˙

‰

œ œ œ œ# œ œ œ

˙œ œ#

-

˙˙

-

&

- -

œ Œ Ó

Ó ˙>

Chris

˙ œ# œ

lei son,

œ

œ œ œ

son, Chris te e

‰ œ

F

œ œ œ# œ œ œ

˙˙ Œ œ œ œ

F

œœ# œœ

œ Œ Ó

˙ œ œ#

Chris te,

˙ œ œ

te,

˙ ˙#

Chris te,

˙#˙

lei son,

œ œ#œ œ œœ œ#œ

˙-

˙#-

˙#˙

œœ œ œ

Chris te e

œ œn œ œb

Chris te e

œ œn ˙

Chris te,

Œœ# œ œn

Chris te e

œœ œn œœœ œœb

œ œœn œ œb

˙

˙

w

lei

œ

œ œ œ œ

lei son, e

˙ ˙

Chris te

˙# œ œ#

lei son, e

jœ

œ œ œJœ

œ

œœ œœœ

œ œ

œœ# œ œ#

- - - - - - - -

- - - - - - - -

- - - - -

- - - - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

43

œœ# œœ

son, e

œ# œ œœ

lei son, e

œœ œœ

e

w#

lei

43

œœ# œœ

œœ# œœ œœ

œœ

.˙# Œ

˙#˙#

lei

˙# œ# œ

lei

œ# œ œ œ#

lei son,

w

˙#˙#

˙# œ# œœ# œ œ œ

.˙#Œ

˙ Ó

son.

˙Ó

son.

˙S

œ# œ

Chris te e

˙ Ó

son.

œ

p

œ# œ œ œœ# œœ

˙ œ# œ

œ Œ Ó

∑

˙

STutti.

˙#

Chris te

œ œ# œ# œ

lei

∑

˙ ˙#

‰

œ œ# œ œ# œ œ œ

œ œ# œ# œ

œ# Œ ˙

˙fTutti.

œ# œ

Chris te e

œŒ Ó

.˙#Œ

son.

∑

œ œœ# œ œ#œ œ œ

w#

˙ œ# œ

.˙ Œ

œ œ# œ# œ

lei son, e

Ó ˙#

f

e

∑

˙FTutti.

.œ#

Jœ

Chris te e

œ œ# œ# œ œ œ œœ

œ œ# œœ#œœ

˙ .œ#

Jœ

- - - - - - -

- - - - - - -

- - - - - - - - -

- - - - - - - -

33

&

&

V

?

&

&

?

S

A

T

B

Org.

49˙S

˙

lei son,

˙ œn œ

lei son, e

Œ œfTutti.œn œ

Chris te e

˙ œ œ

lei son, e

49˙

S

˙

˙˙

S

œœnœœ

.˙ œ.

Œ œœ œ

Chris te e

˙ ˙#

lei son,

˙

S

˙

lei son,

˙S

˙

lei son,

‰œ.œ

œ œ œ

˙œœ ˙˙

œ# œœœ

˙˙

˙S

˙

lei son,

˙ œ œ

Chris te e

˙ œ œ

Chris te e

œ œ œ#œ

Chris te e

˙

S

˙

˙˙

œœœœ

œ œ œ#œ

Œ œœ œ

Chris te e

˙ ˙#

lei son,

˙

S

˙

lei son,

˙S

˙

lei son.

‰ œ.œ

œ œ œ

˙˙w

-˙˙#

--

-

wnS

lei

˙# œ œ

Chris te e

.˙ œ

Chris te,

œ

œ œ œ#

Chris te e˙n -

f

˙n -

˙#..˙œ œœœ

œ

œ œ œ#

.˙ œb

son, e

œœ# œ

œ

lei son, e

œ œ œ œ

Chris te e

œ œ œ œ#

lei son, e

.˙ œœb

œ

œœœ# œœ

œ

?

œ œ œ œ#

.˙ œ

lei

œœ# œ œ

lei son, e

œ œ œœ#

lei son, e

œ œ œœ#

lei son, e

.œœ# œ

œœ

œ œ œœ#

œ œ œœ#

- - - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

56

œ œ œ œ

son,

œœ# ˙

lei son,

œ œ# œ œ

lei son,

œœ œ œ#

lei son,

56

œœ

dim.

œœ#œ œ

œ œ# œ œ

œœ œ œ#

˙ œ# œ

Chris te,

œ ˙ œ

cresc.

Chris te,

œ œ œ œ

cresc.

Chris te,

.˙ œ

Chris te

˙œ ˙

p

œ# œœ

œ œ œ œ

w

œ œ œ œ

Chris te e

œ œ# œ œ

Chris te e

œ œ œ œ

Chris te e˙f

˙

Chris te

œœ œœ# œœ œœ

œ œ œ œ

œ Œ ˙

˙

f˙

lei

œ#

f

œ œ œ

lei son, e

œ

fœ œ œ

lei son, e

œ Œ ˙

e

˙ ˙

œ# œ œ œ

œ œ œ œ

w

˙˙#

œ˙ œ

lei

˙# ˙

lei

w

lei

˙˙#œ˙ œ

˙# ˙

œ Œ ˙

.˙ Œ

son.

.˙

Œ

son.

.˙ Œ

son.

.˙Œ

son.

.

.˙˙ œœ

œ œœœ œ œœ œ

w

∑

∑

∑

∑

..˙œœ

œ œ œ œ œ œ œ œ#

œŒ˙

- - - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - -

Man. I

Man. II

Man. IMan. II

Man. II

34

&

&

V

?

&

?

?

S

A

T

B

Org.

63

∑

∑

∑

∑

63

œ ˙ œ

.

.˙œ

˙ ˙#

˙.˙.

∑

∑

∑

∑

œ

˙ ˙˙

œn

‰œ œœ œn œ œ œ

˙. ˙#

.

∑

∑

.˙

Fœ

Chris

.˙F œ

Chris

..˙

F

œœœœ Œ Ó

œ œœœ œ œœ œ

˙Ó

Ó Œ œ

f

e

Ó Œœ

f

e

.˙ œf

te e.˙ œ

f

te e

œœ œœ

œœ

œœ

œ œ œ œœ œ œ œ

˙

˙

œ ˙ œ

lei

w

lei

.˙ œ

lei

wb

lei

œœ

f

œ œ œœ˙

˙

œ œ œ œ œ œ œ œ

wb

.˙ Œ

son.

.˙Œ

son.

.˙ Œ

son.

.˙Œ

son.œ

dim.

œ œœ œ œ œ

œ

...˙˙

Œ

.˙Œ

- - - - -

- - - - -

- - - - - - - -

- - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

69

.˙

p dolce

œ

Ky ri

.˙

p

œ

Ky ri

.˙

p

œ

Ky ri

.˙

p

œ

Ky ri

69

œ

pœœœ œ œœ œ

..˙ œœœ œ œ œ

w

.˙œ

e e

.˙ œ

e e

.˙ œ

e e

.˙ œ

e e

œ œ œ œœ œ œœ

..˙ œœ œ œ œ

w

œ ˙œ

lei

w

lei

˙ ˙

lei

w

lei

œ

œ œœ œ œ œ œ#

w˙ ˙

w

.˙œ

son, e

.˙ œ

son, e

.˙œ

son, e

.˙ œ

son, e

œ œ œ œœ œ œœ

œœ œœœ

œ Œ Œ œ

œ

f

˙ œ

lei

˙

f

˙b

lei

˙

f

˙

lei

w

f

lei

œ

f

œ œœ œb

œ œœ

˙˙

˙

&

w

œ œ œ œ

son, e

˙ œ œ

son, e

˙œœ

son, e

˙ œ œ

son, e

œ

œ œœ œ

dim.

œ œn œ

.

.˙˙ œœ

˙ ˙

- - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - -

Man. I

Man. II

35

&

&

V

?

&

&

?

S

A

T

B

Org.

75

˙

dim.

˙

lei

.˙

dim.

œ

lei

œ

dim.

˙ œ

lei

˙dim.

˙

lei

75

œ

p

œ œœ œœ œœ

.˙œ ˙ œœ

œŒ œ Œ

.˙Œ

son.

.˙

Œ

son.

.˙# Œ

son.

.˙ Œ

son.

œœ œ œ# œ

œ œn œ

w#˙

œ. œ.œ. œ.

.˙S

œ

Ky ri

.˙

S

œ

Ky ri

∑

∑

œœ œ œ# œ œ œ œ

..˙

F

œœ

œŒ Ó

.˙# œ

e e

.˙ œ

e e

.˙S

œ

Ky ri

.S

œ

Ky ri

‰œ œ œ# œ œ œ œ#

ww#

.˙œ

.˙S

œ

lei

.˙S

œ

lei

.˙ œ

e e

.˙œ

e e

‰œ œ œ# œ œ œ œ

..˙ œœ

.˙œ

.˙ Œ

son.

.˙# Œ

son

.˙S

œ

lei.˙S

œ#

lei

‰œ œ œœ œ œ œ

..˙# Œ

.˙

œ

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

81˙ƒ

œ œ

Ky ri

˙

ƒœb œ

Ky ri

w

son,

˙Œ œ

son, e

81

œœ œœ

‰œ œœ

˙˙

fœœbœœ

w

œ œ œ œ

e e

œ œ œ œ

e e

œ Œ Ó

.˙b œ

lei son,

œ œn œ œœ œ œ œ

œœœœ

œœœœ

.˙b œ

w

˙˙

lei son.

w

lei

˙ƒ

œ œ

Ky ri

˙ƒ œb œ

Ky ri

œœ œœ

‰œ œœ

˙˙

œœbœœ

w

∑

˙

˙

son,

œ œ œ œ

e e lei son,

œ œ œ œ

e e lei son,

œ œn œb œ œ œ œ œ

œœœœ

œœœœ

˙b ˙

˙ ˙b

˙π

˙

Ky ri

˙

π

˙

Ky ri

˙π

˙

Ky ri

˙π

˙b

Ky ri

œ

π

œ œœ‰œ œbœ

w˙˙. ˙

˙.

˙.

˙b.

.˙bœb

e e

.˙b œ

e e

.˙b œ

e e

.˙ œ

e e

œbœb œœbœbœ œ œ

œœœbb.

œœœ.

Œœœœ.

.˙

œ

- - - - - - -

- - - - - - - - - - -

- - - - - - -

- - - - - - - - -

36

&

&

V

?

&

&

?

S

A

T

B

Org.

87

˙b ˙b

lei

˙b ˙

lei

˙b ˙

lei

˙ ˙b

lei

87

œb œ œ œb œb œ œ œ

œœœbb.

œœœ.

Œœœ.

˙ ˙b

.˙ Œ

son,

.˙bŒ

son,

.˙b Œ

son,

.˙bŒ

son,

œb œ œb œœ œn œ

œb

œœœbb.

œœœ.

Œœœœ.

.˙bŒ

˙ ˙

Ky ri

.˙b œ

Ky ri

˙ ˙

Ky ri

˙b ˙

Ky ri

œ

π

œbœbœ œ œ œ

œ

œœb.œœ.

Œœœ.

˙b

˙b

.˙b œ

e e

.˙ œ

e e

.˙ œ

e e

.˙ œ

e e

œb œœœ œ œœœ

œœœb.

œœœ.

Œ œœœ

.˙ œ

˙nf

˙

lei

˙

f

˙n

lei

˙

fœn œ

lei

wf

lei

œn

f

œ œœ œ œ œ

œ

œœœnœœœ œ

œœœ

˙

˙

œ œ œ œ

w

˙n ˙n

w

w>

œ

w

œ œ œ˙ ˙

?

˙

˙

- - - - - - - - - - - -

- - - - - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

93

.˙ Œ

son,

.˙Œ

son,

.˙ Œ

son,

.˙ Œ

son.

93

œ

p

œœœ œ œœ œ

..˙œœ

w

Ó Œœp

e

Ó Œ œ

p

e

Ó Œ œ

p

e

∑

œ œ œ œœ œ œœ

..˙œœ

w

œ ˙œ

lei

w

lei

˙ ˙

lei

∑

œ

œ œœ œ œ œ œ#

œ

w˙

œ˙ ˙

&

w

.˙ Œ

son,

.˙Œ

son,

.˙ Œ

son,

∑

œ œœœ œ œœ œ

..

.

˙

˙

œœ

w

∑

∑

Ó ŒœF

e

Ó ŒœF

e

œ œ œ œœ œ œœ

..˙ œœ

w

∑

Ó Œ œf

e

œ ˙œ

lei

w

lei

œ

cresc.

œ œœ œb œ œ

œ

œ

.˙˙

œœ

w

- - - - -

- - - - - -

- - - - - - - - -

- - - -

37

&

&

V

?

&

&

?

S

A

T

B

Org.

99

Ó Œœf

e

œ ˙ œb

lei

.˙œbf

son, e

.˙ œf

son, e

99

œœ œ œn œ œ œb

œ

œ

.˙˙

œœœbb

f

w

œ ˙ œ

lei son, e

˙ ˙b

S

son, e

.˙ œb

lei

˙ ˙

lei

œ

œ œœœœb œœ

œ

˙ ˙b˙ œ.˙ œb

w

œ ˙ œ

lei son, e

˙ ˙

lei

.˙ œb

˙ ˙bS

son, e

œœ œœœœb œœ

œ

˙ ˙

˙ œ.˙ œb

w

œ œ˙

lei

.˙

œ

son, e

.˙ œmarc.

son, e

.˙ œ#

lei

œ

œ œœn œ œ œ

œ

œ œ

˙

..˙

œœ#?

w

w

˙ ˙

lei

œ œœ œ

lei

˙ ˙

˙ ˙

w˙œ œœ œ &

.˙

Œ

.˙ Œ

son,

.˙ Œ

son,

.˙Œ

son,

.˙ Œ

son.

œ

π

œœœ œ œœ œ

..

.

˙

˙

œœ

w

- - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - -

- - - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

105

∑

Ó Œ œ

π

e

∑

∑

105

œ œ œ œœ œ œœ

..˙ œ

w

∑

w

lei

∑

∑

œ ˙œ

w˙ ˙

?

w

∑

.˙Œ

son,

Ó Œœπ

e

∑

œ ˙œ

w

˙

w

∑

∑

w

lei

∑

œ ˙œ

w˙ ˙

w

∑

∑

.˙ Œ

son.

Ó Œ

Ϲ

e

œ ˙œ

w˙

w

∑

∑

∑

wb

lei

œ ˙œ

wb˙ ˙

w

Ó ˙π

e

Ó

˙

π

e

∑

.˙Œ

son,

œ ˙œ

..˙ œ

w

w

lei

w

lei

Ó ˙π

e

Ó ˙

π

e

œ ˙ œ

œ ˙ œ

w

- -

- - - - - -

- - - -

- - - -

38

&

&

V

?

&

?

?

S

A

T

B

Org.

113

w

w

w

lei

w

lei

113

œ ˙ œ

œ ˙ œ

w

w

son.

w

son.

w

son.

w

son.

œ

morendo

œœœ œ œ

œ œ

w..˙œœ

w

˙ Ó

˙

Ó

˙

Ó

˙ Ó

œ œ œ œ œœ œœ

www

w

∑

∑

∑

∑

œ Œœœœ

Œ

www

œ

Œ œ

œ

Œ

∑

∑

∑

∑

www

U

www

U

w

w

U

- - - -

- - - -

- - - -

- - - -

39

&

&

V

?

&

?

?

43

43

43

43

43

43

43

Soprano

Alto

Tenor

Bass

Organ

Maestoso. q = 108∑

∑

∑

∑

Œ

Maestoso. q = 108

œf

œ

∑

∑

∑

∑

∑

∑

œ œ œ

∑

∑

Œ œ

f

œ

Et in

Œ

œ

f

œ

Et in

Œœ

f

œ

Et in

Œ

œfœ

Et in

œ œœœ

marc.

œœœ

Œ œ œ

Œ

œ œ

œ œ œ

ter ra pax,

œ œœ

ter ra pax,

œ œœ

ter ra pax,

œ œ œ

ter ra pax,

œœ

œœ

œ

œ

œœœ œ

œ œ œ

˙Œ

˙ Œ

˙ Œ

˙ Œ

œ

œ . .. .œœ

rœœ

.œœ

...œœœ

œœœ...

œœœœœœ

.˙

Œœ

p

œ

pax ho

Œ

œ

p

œ

pax ho

Œ œ

p

œ

pax, ho

Œ œ

p

œ#

pax, ho

œœ

jœœœ

p

œœœ

jœœœ

œœœ Œ Œ

œ

œ. œ#.

.œj

œ œ

mi ni bus,

.œj

œ œ

mi ni bus,

.œJœ œ

mi ni bus,

œœ œ

mi ni bus,

jœœœ

œœœ

œœœ

jœœœ

..˙

œ.

œ. œ

- - - -

- - - -

- - - -

- - - - -

GLORIAMan. II Full to reedsMan. I FoundationsPed. Full with light reed

Man. I

40

&

&

V

?

&

?

?

S

A

T

B

Org.

8

œ œ

cresc.

œ

pax ho

œ œ

cresc.

œ

pax ho

œ œ

cresc.œ

pax ho

œ œ

cresc.

œ#

pax ho8

jœœœ

œœœ

cresc.

œœœ

jœœœ

..˙

œ œ œ#

.œJœ œ

mi ni bus

.œj

œ œ

mi ni bus

.œJœ œ

mi ni bus

œœ œ

mi ni bus

jœœœ

œœœ

œœœ

jœœœ

..˙

œœ œ

œ œ

f

œ

bo nae

œ œ

f

œ

bo nae

œ œ

f

œ

bo nae

œ œf

œ#

bo nae

jœœœ

œœœ

œœœ

jœœœ

..˙

œ œ œ#

œ œ œ

vo lun

˙# œ

vo lun

œ œ œ

vo lun

˙# œ

vo lun

jœœœ

f

œœœœ#

œœœœ

jœœœœ

.˙

&

.˙#

.˙

ta

.˙#

ta

.˙

ta

.˙

ta

œ œ# œ œ œ# œ œ œ œn œ œ œ#

..œœ#˙n

œœœ...

œœœ

œœœ

.

..

œœœ

œœœ

.˙

.˙

tis.

.˙

tis.

.˙

tis.

.˙

tis.œ

ƒ

œ œ œ œ œ œ œ œ œ œ œ

œœœ œœœ

œœœ

.˙

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

14œ

Œ Œ

œ Œ Œ

œ Œ Œ

œŒ Œ

14œ

œ œ œ œ

S

œ œ œ œ œœ œ

œœœœœœ

œœœ

.˙

∑

∑

Œ œ

p

œ

Lau

∑

œ

Œ Œ

œ œ

F

œ

œŒ Œ

∑

∑

œ œ œ

da mus te,

∑

∑

œ œ œ

∑

Œœ

pœ

be ne

Œ œ

p

œ

be ne

œŒ Œ

Œ

œp

œ

be ne

Œ˙˙

p

œ œ œ

Œ ˙

.œ

Jœ œ

di ci mus

.œj

œ œ

di ci mus

∑

.œJœ œ

di ci mus

.œj

œ œ.˙

˙ œ

.˙

˙ Œ

te,

˙Œ

te,

Œ œ

F

œ

a do

˙

Œ

te,

˙ Œ

œœ

F

œ

œ Œ Œ

∑

∑

œ œ œ

ra mus te,

∑

∑

œ œ œ

∑

Œœ

F

Jœ

Jœ

glo ri fi

Œ œ

Fj

œj

œ

glo ri fi

œŒ Œ

Œ

œF

Jœb

Jœ

glo ri fi

Œœœ

œœ

œœ

œœ

œ œ œb

Œ ˙

- - - - - - -

- - - - - -

- - - - -

- - - - - - -

Man. II Man. I Man. II

Foundations ( +oboe)

41

&

&

V

?

&

&

?

S

A

T

B

Org.

22œ œ

œ œ œ

ca mus

œ˙

ca mus

∑

˙ œn

ca mus22

œ

˙ œ

œœ œ œ

˙ œ

.˙

˙ Œ

te,

˙Œ

te,

Œ.œ

π

Jœ

gra ti

˙

Œ

te,

œœŒ Œ

œ

Œ Œ

œ Œ Œ

∑

∑

œ œ œ

as a gi

∑

∑

∑

∑

.œ

p

Jœ œ

gra ti as

dolce

.œ

pj

œ œ

gra ti as

.˙

mus,

.œp

Jœ œ

gra ti as

.œ

π

Jœ œ

..˙

.˙

œ œ œ

a gi mus

œ œ œ

a gi mus

œ œ œ

a gi mus

œ œ œ#

a gi mus

œ œ œ

œœ œœ

œœ

œ œ œ#

.˙

ti

.˙#

ti

.˙

ti

.˙

ti

‰ œœ# œ œ œ

.

.˙˙

#

.˙

˙Jœ

Jœ

bi prop ter

˙# Jœ

Jœ

bi prop ter

˙Jœ

Jœ

bi prop ter

˙# Jœ

Jœ

bi prop ter

œ#œ

œ œ œ œ

œœ

œœ

# œœ#

˙#œ œ

.œ

Jœ œ

mag nam

˙ œ

mag nam

˙ œ

mag nam

œ œ# œ

mag nam

.œ

Jœ œ

˙ œ œ#.˙

œ œ# œ

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

30

œ œ œ

glo ri am

œ œ œ

glo ri am

œ œ œ

glo ri am

œ œ œb

glo ri am30

œ œ œ

˙ œœ ˙

˙ œb

.˙

tu

.˙#

tu

˙œ

tu

.˙

tu

‰œ#

F

œ œ œ œ

..˙˙

#

.˙

˙ Œ

am.

˙nŒ

am,

˙ Œ

am,

˙Œ

am,

œn œ œ œ. œ

. œ.

˙˙

nŒ

œ

œŒ

œf

œ œ

Do mi ne

∑

∑

∑

œ

f

œ œ

∑

∑

˙ œ

De us,

˙

f

œ

De us,

œf

œ œ

Do mi ne,

∑

˙ œ

Œœ œ

∑

œ œ œ

rex coe

œ œ œ

rex coe

œ œ œ

rex coe

œf

œ œ

Do mi ne

jœ.

F

œ œ.

œ.

œ.

..˙

œ œ œ

˙ œ

les tis,

˙ œ

les tis,

˙ œ

les tis,

œ

œŒ

De us,

˙ œ

..˙

œ.

œ.Œ

œf

œ œ

De us

∑

∑

∑

œ

f

œ œ

∑

∑

- - - - - - - - - - -

- - - - - - - -

- - - - - - - - -

- - - - - - - -

Man. I

[violin]

(Man. II)

42

&

&

V

?

&

&

?

S

A

T

B

Org.

38

˙ œ

pa ter,

˙

f

œ

pa ter

œf

œ œ

pa ter

∑

38

‰

œf

œ œ œœ

œ œ œ

∑

œ œ œ

om

œ ˙

om

œ ˙

om

œf

œ œ

pa ter om

œ œ œ œ œ œ

œœœœ

œœ

œ œ œ

.œ

Jœ œ

ni po tens,

.œj

œ œ

ni po tens,

.œJœ œ

ni po tens

.j

œ Rœ ˙

ni po tens,

œ

S

œœ œ

œœ

.œ˙ Œ

jœ œ

œ.

œ.Œ

.œ

p

Jœ œ

Do mi ne

.œ

pj

œ œ

Do mi ne

.œ

p

Jœ œ

Do mi ne

.œbp

Jœ œ

Do mi ne

‰ œ

p

œ œb œb œ

.˙œ

.

œ. Œ

œb.

œb .

Œ

˙b œ

fi li

˙b œ

fi li

˙ œb

fi li

˙ œ

fi li

œb œ œb œ œ œ

.˙bœ

.

œ

.Œ

œ.

œ.

Œ

˙b œ

u ni

˙b œ

u ni

˙b œ

u ni

œ œb œ

u ni

œb œbœb œb œ œ

.˙b œb

.

œ

. Œ

Œœb œ

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

44

.œJœ œ

ge ni te,

.œnj

œ œ

ge ni te,

.œJœ œ

ge ni te,

.œnJœ œ

ge ni te,44

œœ# œ œn œ œb

..˙˙œ

.

œ.

Œ

œn Œ Œ

˙b œ

Je

.˙

Je

˙ œb

Je

.˙

Je

œb œ œn œ œ œ

˙b œœ

.

œ

.Œ

œ.

œ.

Œ

œ œbœ

su

˙ œ

su

˙b œb

su

.˙b

su

œ œn œbœ œb œb

œ œbœœ

.œ

. Œ

œb.

œb .

Œ

.˙b

Chris

.˙b

Chris

.˙

Chris

.˙b

Chris

œbœb œ œ

œœ

.˙bœb

.œ. œ

.

œb .œb .

Œ

.˙

te,

.˙b

te.

.˙b

te,

˙ œb

œ œb œ œœ

œ

..˙b

˙b œb

.œbj

œ œ

Do mi ne

dolce

˙Œ

∑

˙ Œ

te,

œb

π

œb œ œœ

œ

.˙bŒ ˙b

.˙

- - - - - - - - - - -

- - - - - - - - - -

- - - - - - - -

- - - - - - - - - - -

43

&

&

V

?

&

&

?

S

A

T

B

Org.

50

˙b œ

De us,

Œœb

p

œ

De us,

Œœb

p

œ

De us,

∑

50

œ œb œ œ œ œ

.˙b

œ ˙b

.˙b

˙ œ

ag nus

œ œb œ

ag nus

œ œb œ

ag us

.œb

pj

œ œ

Do mi ne

‰œb œ œ

œbœ

.˙œ ˙b

.˙b

˙ œ

De i,

œb ˙

De i,

œb ˙

De i,

˙b œ

De us,

œ œb œ œ œ œ

.œ ˙b

.˙b

œb œ œ

fi li us

.œbj

œœb

fi li us

.œbj

œ œ

fi li us

˙ œ

ag nus

œbœb œ œ œ

œ

œb œ œ.˙b

.˙

œbœb

œb

pa

.˙bpa

.˙b

pa

˙ œ

De i,

œb œ œbœ

œœb

œœ

bb

œœ

œœ

.˙

˙

Œ

tris,

˙

Œ

tris,

˙nŒ

tris,

.œ

Fj

œn œ

fi li us

œ

F

œb œ œn œ œ

..˙n

?

.œj

œn.

œ.

- - - - - - - -

- - - - - - - -

- - - - - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

56

‰Jœ

F

œJœ

Jœ

qui tol lis pec

∑

‰Jœ

F

œJœ

Jœ

qui tol lis pec

œb œb œ

pa tris, qui56

œ. œ œn œn œ œ

œœb .œœb . œ

œ&

œœ œ

œ œb œ

ca

∑

˙b œ

ca ta

.œJœ œ

tol lis pec

˙b

Œ

œ

F

œb œ

.˙b

.˙

œ œb œb

ta

Œ œ

F

œb

mi se

˙b œb

mun

˙ œ

ca ta

∑

œ œb œb˙b œb

˙ œ

œb ˙

mun di,

.œb

^j

œ œn

re re,

œœ Œ

di,

œn œ Œ

mun di,

‰ œb œ œb œ œ

œ˙

œ œn

˙œ

‰Jœ

f

œJœ

Jœ

qui tol lis pec

œŒ Œ

Œ œ

f

œb

mi se

Œœb

fœ

mi se

‰ œ œn œn œ œ

˙ œb

œb œb œ

œ œb œ

ca ta

∑

˙b œ

re re

˙ œb

re re

.˙b

f

œ œb œ˙b œ

˙ œ

œ œb œb

mun di,

∑

˙b œb

no bis,

˙ œ

no bis,

˙b œb

œ œb œb˙b œb

˙ œ

- - - - - - - - - - - -

- - -

- - - - - - - - - -

- - - - - - - - -

44

&

&

V

?

&

&

?

S

A

T

B

Org.

63.œb

S

Jœ œ

sus ci pe

Œ œb

f

œ

sus ci

.œ

Sj

œ œ

sus ci pe

.œn

S

Jœ œ

sus ci pe63

‰ œbœ

œœ

œb

.œbj

œ œ.˙

.˙n

œ œb œb

de pre

œbœn œ

pe de pre

œb œb œ

de pre

œ œ œb

de pre

œb

dim.

œ œbœn

œ œ

œœbœœ

nb

œœ

œ œ œb

˙

p

œ

ca ti

˙

p

œ

ca ti

˙b

p

œ

ca ti

˙bp

œ

ca ti

‰ œ

p

œ

œ ‰ œ

...˙˙b

˙b œ

˙

œ

o nem

˙ œ

o nem

˙n œ

o nem

˙n œ

o nem

œ

œ ‰œ œ œ

...˙˙n

œn

œn

œ

.˙

S

no

.˙

S

no

.˙

S

no

˙S

œ

no stram,

œ

f

œœb œ œ œ

...˙˙

˙

œ

œ Œ

˙Œ

stram,

˙ Œ

stram,

˙ Œ

stram,Solo.

Œ Œ

œ

qui

œ œ œ œb œ œ

œœœ

Œ

œœ?

˙ œb

∑

∑

∑

œ œb œ

se des ad

.˙p

œ œb œ.˙

œŒ Œ

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

70

∑

Œ Œ œ

qui

Solo.

∑

œ œ œ

dex te ram70

˙

œ

œ œ

œ

œ ˙

˙b œn

∑

œœ œ

se des ad

∑

˙ œ

pa reis,

œœ œ

˙ œ

œ œb œ

.˙

∑

œb œ œ

dex te ram

Œ Œœ

qui

Solo.

œ œ œb

mi se

œb œ œ˙

œ

œ œ œb

.˙#

∑

˙ œ

pa tris,

œ œ œ

se des ad

.˙

re

˙

œœ œ œ

.˙

Œ

œ œ

˙ Œ

Œ Œœ

qui

Solo.

˙Œ

œ œb œ

dex ter am

˙ Œ

re,

˙ œ

S

œ œb œ

.˙

.˙

œœn œ

se des ad

Œœ œ

mi se

˙# œ

pa tris,

∑

œœn œ

œ# œn œ

˙ œœ

.˙

œ œœ

dex te ram

˙ œ

re re

œn œ œ

mi se

Œ œ œ

mi se

œ œœ

.˙

œ œ œ

.˙#

˙

S

œ

pa tris,

˙

S

œ

no bis,

˙S

œ

re re,

˙#S

œ

re re,

‰œ

p

œ œ œ

œ

˙˙#>

œœ

&

.˙

- - - -

- - - - - - - -

- - - - - -

- - - - - - - - - - -

Man. II Man. I

45

&

&

V

?

&

&

?

S

A

T

B

Org.

78

Œ œ#

p

œ

mi se

Œœ#

p

œ

mi se

Œ œ

p

œ

mi se

Œœ

pœ

mi se78

.˙#

Œœœ

#.

œœ.

Œœ

œ

˙>

œ

re re,

˙

>

œ

re re,

˙>

œ

re re,

˙n > œ

re re,

œ œ# œ œ œœ

œ

œ.

œœ.

Œ

œ

œŒ

Œ œ#

f

œ

mi se

Œœ#

f

œ

mi se

Œ œ

f

œ

mi se

Œœf

œ

mi se

.˙#

Œ˙#œ œ

f

Œœ

œ

.˙#

re

.˙#

re

.˙

re

.˙

re

‰ œ

f

œ œ œ œ#

...˙˙

##

.˙

˙

œ

re

˙ œ

re

˙ œ

re

˙œ

re

œ œ œ œ œœ

p

˙˙ œ

.˙

œ.

.˙

p

no

.˙

p

no

.˙

p

no

.˙

p

no

œ œ œ# œ œ œ

œœœ.

œœœ.

Œ

œ.

œ.

Œ

.˙#

.˙#

.˙

.˙

œ œn œ œ# œ œ#

œœœ

##.

œœ.

Π?

œ.

œ.

Œ

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

85

œŒ Œ

bis.

œŒ Œ

bis.

œ Œ Œ

bis.

œ Œ Œ

bis.85

œœ

^

f

œ

^

œŒ Œ

œ

Œ Œ

∑

Tutti.

∑

Tutti.

∑

Tutti.

∑Tutti.

œ

^

œ

^

œ

^

∑

∑

Œ œ

f

œ

Quo ni

Œœ

f

œ

Quo ni

Œœf

œ

Quo ni

Œ

œf

œ

Quo ni

œ

œ œ

Œ

œœ œœ

Œ

œ œ

œ œ œ

am tu so

œ œ œ

am tu so

œ œœ

am tu

œ œ œ

am tu

œ œ œ

œœ

œœ

3

œ œ œ

3

œ œ œ

&

œ œ œ

˙ œ

lus

˙ œ

lus

˙ œ

so lus

œ œ œ

so lus˙ œ

˙˙ œœ

œ œ œ

œ œ Œ

san ctus,

œ œ Œ

san ctus,

œ œŒ

san ctus

œ œ Œ

san ctus,œ œ œ

œ œ œ

œœ.

œœ.

Œ

œ.

œ.

Œ

.˙p

tu

∑

.˙p

tu

.˙p

tu

.˙

p dolce

.˙

..˙

.˙

œ œ œ

so lus

.˙

p

tu,

œ œ œ

so lus

˙ œ

so lus

œ œ œ.˙

œ .˙nœ œ

.˙

- - - - - - - -

- - - - - - -

- - - - -

- - - - -

Man. I Man. II

46

&

&

V

?

&

&

?

S

A

T

B

Org.

93˙

Jœ

Jœ

Do mi

.˙b

S

tu

˙Jœ

Jœ

Do mi

˙œ

Do mi93

˙ œ œ.˙b

S

.

.˙˙

.˙

.˙

nus,

œb^

œ

^

œ

^

so lus al

.˙

nus,

œ œ œb

nus, tu

.˙œ œ

^

œ

^

.˙œ œ œb

?

.˙

.˙f

tu

˙b

f

Jœ

jœ

tis si

.˙

f

tu

˙

f

œ

so lus,

.˙˙b

f

œ œ

.

.˙˙

.˙

œ œ œ

so lus al

˙ œ

mus, al

œ œ œ

so lus al

œ œ œ

œb

so lus al

œ œ œ˙ œ

˙œ œ œ

.˙

˙S

Jœ

Jœ

tis si

˙

S

jœ

jœ

tis si

˙bS

Jœ

Jœ

tis si

˙bS

Jœ

Jœ

tis si

˙˙b

S

œœ

œœ

˙bb œœ œœ

.˙

˙Œ

mus,

˙Œ

mus,

˙ Œ

mus,

˙Œ

mus,

œœ

.

S

œ œœ œ œ

..˙

.˙

.˙n

Je

.˙

Je

.˙n

Je

Œœb >

œ

Je su,

.

.˙˙

n

.˙

Œ

œb œ

∑

˙œ

su

˙ œ

su

˙ œ

su

œ œb œb

Je su

˙˙ œ

œ

˙ œb

œ œb œb

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

101

.˙

Chris

.˙

Chris

.˙

Chris

.˙

Chris101

‰œ# œ œ œ œ

œœœ

. œœœ

.

Œ

œ.

œ.Œ

œŒ Œ

te.

œn

Œ Œ

te.

œ Œ œ

f

te. Cum

œŒ Œ

te.

œ.

f

œ. œ

. œ. œn

. œ.

œœœ

. œœœ

.œ

f

œ.

œ.Œ

∑

∑

.˙

marc.

Poco animato. q = 126.

san

∑

˙

Poco animato. q = 126.

œ

.marc.

∑

∑

∑

.˙

cto

∑

œ œœ

.˙

∑

∑

∑

˙j

œj

œ

spi ri

∑

œ œ œ

.˙

∑

∑

∑

˙ œ

tu in

∑

œ œœ#

˙ œ

∑

∑

∑

œ œ œ#

glo ri a

∑

œ

Œ

œ

œ œ œ#

∑

∑

∑

œ œ œ#

De i

∑

œ

Œœ

Ÿ

œ œ œ#

∑

- - -

- - -

- - - - - - - - -

- - -

Man. I

Full to mix.

47

&

&

V

?

&

?

?

S

A

T

B

Org.

109

∑

∑

œœ œ œ œ

pa tris,

∑

109

œ œ œ

Œœ

œœ œ œ œ

∑

∑

Œ Œœ

f marc.

Cum

œ œ œ

a

∑

œ œ œ œœ

œ

œ œ

Œ

∑

∑

.˙

san

˙ œ

men, cum

∑

..˙

marc.

Œœ œ

∑

∑

.˙

cto

˙ œ

san cto

∑

.˙˙ œ

œ œ œ

∑

∑

˙j

œj

œ

spi ri

œ œ œ

spi ri

∑

.˙œ œ

œ

˙ œ

∑

∑

˙ œ

tu in

œ œ œ#

tu in

∑

˙œ œ

œ

˙œœ

#

∑

∑

œ œ œb

glo ri a

œ œn œ

glo ri a

∑

œ œœ

œ

œ#

b

œ œn œ

.˙

∑

œ œ œb

De i

œœ œ

De i

∑

œ˙ œ œ

œb

œ œœ

.˙

- - - - - -

- - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

117

∑

œœ œ œ œ

pa tris,

œ ˙

pa tris,

∑

117

œœ œ œ œ œ

œ œ œ

.˙

Œ Œ œ

f marc.

Cum

œ œ œ

a

Œ œ œ

a

∑

œ œœœ

f

œ œ œœ

˙ œ#

.˙

san

œœ

œ

men, a

˙œ

men, cum

∑

.˙

œœ

œ

˙œ>

.˙

.˙

cto

.˙

men,

œ œ œ œ œ

san cto

∑

.˙ œ

>

œ œ œ œ œ

.˙

˙j

œj

œ

spi ri

œ œ œ œ œ

a

œ œ œ

spi ri

∑

.˙œ œ œ œ œ

œ œ œ

˙Œ

˙ œ

tu in

.˙

men,

œb œ œ œ œ

tu in

∑

˙ œœ

œb œ œ œ œ

˙ Œ

œ œ œ#

glo ri a

Œ Œœb

cum

.œj

œ œ

glo ri a

∑

˙œ œ œœ#b

˙ œ

∑

œ œ œ#

De i

˙ œ

san cto

˙n œ

De i

∑

œ œ œ#˙ œn

˙n œ

∑

- - - - - - -

- - - - -

- - - - - - - -

48

&

&

V

?

&

?

?

S

A

T

B

Org.

125

œœ œ œ œ

pa tris,

œn œ œ

spi ri

œ œ œ

pa tris,

∑

125

œœ

œ œ œ œ

œ œœœœ

∑

œ œ œ

a

œ œ œ œ œtu in

œb ˙

a

Œ Œ œ

f marc.

Cum

œœ

œœ œ œ œ

œ

œb ˙

Ó œ

œ

œ œ

men, a men,

˙j

œj

œ

glo ri

œœ œ

men, a men,

.˙

san

Œ œ œ

.˙

œ œ œ

.˙

œ œ Œ

a men,

˙Œ

a,

œœ œ œ œ

a

.˙

cto

œ œ

œ

œ œ œ œœ œ

Œ

.˙

∑

Œ œ œ

De i

˙œ

men, a

˙Jœ

Jœ

spi riœ Œ Œ

œ œ

œ œœ

.˙

Œ Œœ

cum

œ œŒ

pa tris,

˙Œ

men,

˙ œ

tu in

œ œ

œ

œ œœœ

.˙

˙ œ

san cto

Œ œ œ

a men,

∑

œ œ œb

glo ri a

œœ

œœ

œœ

œ œ œ

œ œ œb

˙œ

spi ri

Œ œ œ

a men,

Œ Œ œ

a

œ œ œb

De i

œœ

œœ œ

œ

œ œ œ

œ œ œb

- - - - - - - - -

- - - - - - - -

- - - - - - - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

133

œ œ œ œ œ

tu in

Œœ œ œ œ

a men,

œ Œ Œ

men,

œœ œ œ œ

pa tris,133

œœ

œœ

œœ

œœ

œœ

œœ œ

œœ œ œ œ

.œ

jœ œ

glo ri

.˙a

∑

œ œ œ

a

.œœ œ œ

jœ œ

˙œ

œ œœ#

œ

œ œ

a De i

œ

Œ Œ

men,

Œ œ œ

a men,

˙ Œ

men,

œ.œ

Jœ œ œ

œ œ

˙œ

œ‰

œ œ œ

œœ# œ œ œ

pa

Œœ# œ

a men,

œ#˙

a men,

Œ Œ œ#f

cum

œ .œ#Jœ œ

œ# œ œ œ

œ#˙

.œJœ œ#

œœ œ

tris, De i

˙ œ

a men,

œ œ œ

a men,

.˙^

san

œœ œ

œ œ œ œ

œ œœ

.˙

œ#œ œ œ# œ

pa tris,

œ Œ œ

cum

œ ˙#

a men,

.˙^

cto

œ#œ œ œ# œ

œ œ œ

œœ# œ

.˙

.˙#

a

œ#œ œ œ œ

san cto

Œ œ œ

a men,

˙Jœ

Jœ

spi ri

.˙#

œ# œœ œn œ œ

œœ

œ

.˙

- - - - - - - - - - -

- - - - -

- - - - -

- - - - - - -

49

&

&

V

?

&

?

?

S

A

T

B

Org.

140.˙n

men,

œ# œ œ

spi ri

˙

œ

a men,

˙ œ

tu in140

.˙n

œ# œ œ

‰

œ œn œ œ œ

˙ œ

.˙

a

œ œ œ œ œ

tu in

∑

œ œ œ#

glo ri a

˙ œœ œ œ œ œn

œ œ ˙

œ œ œ#

œ œ œ

men, cum

œ# œ œ

glo ri a

∑

œ œ# œ#

De i

œ œ œ˙# œ

œ œœ œ#

œ œ# œ#

œ œ œ

san cto

œ œ œb

De i

∑

œœ œ œ œ

pa tris,

œ œ œœ œ œb

œ

Œ ‰ Jœ

œœ œ œ œ

œ œ œ œ œ#

spi ri

.˙

pa

Œ Œ œf

cum

œ# œ œ

a

œ œ œ œ œ#˙ œ

œ œ œ

œ# œ œ

.˙

tu

œ œ œ# œ œ

tris,

.˙^

san

œ œœ

˙ œ

œ œ œ# œ œ

.˙

œ œœ

œ œ œ# œ

in glo

.˙

a

.˙

cto

˙

œ

men, cum

œ œ œ# œ˙ œ

.˙

˙

œ

- - - - - - -

- - - - - - - - - - - -

- - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

147œ œ# œ

ri a

˙# œ

men, cum

˙Jœ

Jœ

spi ri

˙

œ

san cto147

œ œ# œ˙# œ

.˙

˙

œ

œ œ œ#

De i

˙n œ

san cto

˙ œ

tu in

œ# œ œ

spi ri

œ œ œ#˙n œ

˙

œ

œ# œ œ

˙ œ

pa tris,

˙ œ#

spi ri

œ# œ œn

glo ri a

.˙

tu

˙ œœ œ# œ#

œ# œ œn

.˙

˙ œ

a men,

˙n œ#

tu in

œ œ œb

De i

œ Œ œ

in

˙ œœn œ œ#

œ œ œœb

.˙

œ œ œ

a

œœ œ

glo ri a

œœ# œ œ œ

pa tris,

œ œ œ

glo ri a

œ œ œœœ œ

œœœ# œ œ œ

œ œ œ

˙ œ#

f

men, cum

œ# œ œ

De i

œ œ œ

a

œ œ œn

De i

˙ œ#œ# œ œ

œ œ œ

œ œ œn

.˙

san

œ œ œ œ œ#

pa tris,

œ# œ œ

.˙

pa

.˙^

œ œ œ œ œ œ#

œ# œ œ

˙

œ

.˙^

cto

œœ

œ

a

˙ œ

men, in

œœ œ œn œ

tris, in

.˙^

œœ

œ

˙ œ

œœ œ œn œ

- - - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - -

50

&

&

V

?

&

?

?

S

A

T

B

Org.

155

˙Jœ

Jœ

spi ri

œ œn œ# œ œ#

œ# œ œ

glo ri a

œ# œ œ#

glo ri a155

.˙œ œ œ# œ œ#

œ# œ œ

œ# œ œ#

˙œ

tu, cum

˙ œ

men, cum

˙ œ

De i

œ œ œb

De i

˙œ^

˙œ

œ

˙ œb

˙œ

.˙n ^

san

.˙

san

œ œ œ œb œ

pa

.˙

pa

.˙n^

œœ œ œ œb œ

.˙

˙Œ

.˙

cto

˙œb œ

cto

.˙b

œ œb œ œ œ

.˙^

œbœ œ

œ œ

œ œb œ œ œ

˙b Œ

˙Jœ

Jœ

spi ri

.˙

spi

œ œ œb œ œ

.˙

.˙^

œœ

œ œb œ œ

.˙

.˙

˙ œ

tu in

œ œ œ œ œ

ri

˙ œ

tris, in

œ œ œ œ œ#

˙ œ‰ œ

œ œ œ œ

œ œ œ œ œ#

œ# Œ ‰j

œ

œb œ œn

glo ri a

œŒ œb

tu un

œ œb œ

glo ri a

˙ œ

tris, in

œbœ œ

œ œn œœ

œb

œb

œ œœ

˙ œ

- - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

162

œ œ œ#

De i

.œj

œ œ

glo ri a

œ œ œ

De i

˙œ

glo ri162

œœ œ

œ œ œ#œ

œœ

œ œœ# œ

˙œ

œœb œ œ œ

pa tris,

œœ œ œb œ

De i

œœ œ

pa tris,

.˙b

a

œœb œ œ œ

œœ œ œb œ

œœ œ

.˙b

œ œ œ

a

œ œn œb

pa

œb œ œb

a

œœ œ œ œ

De i

œ œ œ

œ œ œb

œb œ œb

œœ œ œ œ

œ œ œ œ œ

œ œ œ

tris,

œ œ œ

men,

.˙

pa

œœ

œ œ œ œœ œ œ

œ œ œ

.˙

œœ œ œ œ

œb œ œ

a

œ œ œ

a

œn Œœf

ris, cum

œœ œ œ œ

œb œ œ

œ œ œ

œn Œœn ^

˙ Œ

men,

˙ Œ

men,

˙Œ

men,

.˙

san

œœ œn œ

œ œ œ

.˙

.˙

∑

∑

Œ Œœ#

f

cum

.˙

cto

œ# œ œ œb œ œ

Œ Œ

œ# ^

.˙

- - - - - - - - -

- - - - - - - - - -

- - - - - - - - -

- - - - - - - - -

51

&

&

V

?

&

?

?

S

A

T

B

Org.

169

∑

∑

.˙

san

˙Jœ

Jœ

spi ri169

œb

œ œ œ œ œ

.˙

.˙

∑

Œ Œ œ#

f

cum

.˙

cto

œb œ œ

tu in

œ# œ œ œn œ œ

.˙

œb œ œ

∑

.˙

san

˙Jœ

Jœ

spi ri

œ œ œ

glo ri

œ œ œ œ œ œn

.˙

œ œ œ

Œ Œœ#

f

cum

.˙n^

cto

œ œ œ

tu, cum

œ#Œ œ

a, cum

œ œ œ

œ œ# œ

œ œ œ

œ#Œ

œ

.˙

san

˙j

œj

œ

spi ri

.˙

san

.˙

san

.˙

ƒ

.˙

.˙

œ œn œ

.˙

cto

˙œb œ

tu in

.˙

cto

œb œ œ

cto

.˙œb œ

..˙b

œb œ œ

˙Jœ

Jœ

spi ri

œ# œ œn

glo ri

˙nœ

spi ri

œ œ# œ#

spi ri

.˙œ# œ œn

˙nœ

œ œ# œ#

˙# œ

tu in

˙ œn

a, in

˙œ

tu in

œ œb œ

tu in

˙#

œ#

˙ œœ

œ œb œ

- - -

- - - - - - -

- - - - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

177.œ

Jœ œ

glo ri a

.œ#j

œ œ

glo ri a

.œJœ œ

glo ri a

œ œn œ

glo ri a177 .

..

˙˙#

œœ# œœ œœ

œ> œn œ

˙# œ

De i

˙ œ

De i

˙# œ

De i

œ œ œ

De i...

˙˙

#

##

œœ# œœ œœ

œ> œ œ

.˙

pa

.˙

pa

.˙

pa

.˙

pa....

˙˙˙

œœ

œœ

œœ

œ> œ œ

˙# œƒ

tris, cum

œ œ œ

ƒ

tris, cum

˙ œƒ

tris, cum

œ œ œ

tris,...

˙

˙#

#

œœ# œœ œœ

œ> œ œ

.˙

san

.˙

san

.˙

san

.˙ƒ

a ....

˙˙˙

ƒ

œ œ œ

.˙

.˙

cto

.˙

cto

.˙

cto

.˙

men,

...˙˙

œ œ œ

.˙

˙Jœ

Jœ

spi ri

˙j

œj

œ

spi ri

˙Jœ

Jœ

spi ri

.˙

a

œ œ# œ œ œ œ..˙˙

œ œ# œ œ œ œ

.˙

˙ œ

tu in

˙ œ

tu in

˙ œ

tu in

œ Œ œ

men, in

œ œ œn œ œ œ

...˙˙

&

.˙

- - - - - - -

- - - - - - -

- - - - - - -

- - - - - - - - - -

+ Reeds

Tutti

52

&

&

V

?

&

&

?

S

A

T

B

Org.

√

185

œ œ œ#

glo ri a

.œj

œ œb

glo ri a

.œJœ œ

glo ri a

.œJœ œ

glo ri a185 œ œ œ#

˙ œbœ œ œ

˙ œ

˙ œ#

De i

˙ œ

De i

œœ œ

De i

˙ œ#

De i

œ

œ

œ#

.˙

œœ œn

˙ œ#

œœ œ#

pa tris,

˙ œ

pa tris,

œœ œ#

pa tris,

˙ œ

pa tris,

œœ œ#

.˙

œœn œ#

˙

œ

˙œ

a

œ œ œ œ œ

a

˙ œn

a

.˙

a

˙œ

œ œ œ œ œ˙ œn

?

.˙

˙ Œ

men,

˙Œ

men,

˙ Œ

men,

˙ Œ

men,œ

œ œ œœ œ

œ Œ œœœœ

Œ Œ

œ Œ

œ

∑

∑

∑

∑

œœ œ œ

œ œ

œœœ Œ

œœœ

œ Œ

œ

Œ œ œ

a men,

Œ œ œ

a men,

Œœ œ

a men,

Œ

œ œ

a men,œ

œ œ œœ œ

œœœ Œ

œœœ

œ Œ

œ

˙ œ

a men,

˙œ

a men,

˙ œ

a men,

˙ œ

a men,œ

œ œ œœ œ

œœœ Œ

œœœ

œ Œ

œ

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

193

œ Œ Œ

œ Œ Œ

œœ

marc.

œ

a men,

œ

Œ Œ

193 œ

œ

^

œ

^

œœœ œ œ

œ Œ Œ

∑

∑

œ œ œ

a men,

∑

œ^

œ^ œ

œ œ œ

∑

Œœ œ

a men,

Œ œ œ

a men,

œ œ œ

a men,

Œ œ œ

a men,

œ

œ œ œ œ œ œ œ œ

œ œœ

œœ

Œ œ œ

.˙S

a

.˙

S

a

.˙

.˙S

a

.˙S

a

œ œ œ œ œ œ œ œ œ# œ œ œ

.

.

˙

˙

S

.˙

.˙

men.

.˙

men.

.˙

men.

.˙

men.œ

Π..

œœ

œœ

œœ

Œ..

œœ

œœ

.˙

œ Œ Œ

œ Œ Œ

œŒ Œ

œ

Œ Œ

œœ

Œ.œ œ

œœ Œ .œ œ

œ Œ

œ

∑

∑

∑

∑

.˙

U

.˙

U

.˙

U

- - - - - -

- - - - - -

- - - - - - - -

- - - - - -

53

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

c

Soprano

Alto

Tenor

Bass

Organ

Andante. q = 84

œ

Fjœ

jœ œ œ

Pa trem om ni po

œ

Fjœ

jœ œ œ

Pa trem om ni po

œ

Fjœ

jœ œ œ

Pa trem om ni po

œF

JœJœ œ œ

Pa trem om ni po

w

Andante. q = 84

w

F

∑

˙ .œjœ

ten tem, fa

˙ .œjœ

ten tem, fa

˙ .œjœ

ten tem, fa

˙ .œJœ

ten tem, fa

‰˙

œ œ œ ‰ œ œ œ

˙˙

˙˙

˙ ˙

œ œœjœjœ

cto rem coe li et

œ œœjœjœ

cto rem coe li et

œ œœjœjœ

cto rem coe li et

œ œœ

Jœ

Jœ

cto rem coe li et

œœœœ œœ œœ

˙Œ œœ

œ œ˙˙

˙ .œ

jœ

œ œ Œjœjœ

ter rae, vi si

œ œ Œjœjœ

ter rae, vi si

œ œ Œjœjœ

ter rae, vi si

œ œŒ JœJœ

ter rae, vi si

‰œ#

S

œœ œn œ œ œ

œœœ...˙˙n

˙Œœ

.œ

>

jœœ

œ

bi li um om

.œ>

jœœ

œ

bi li um om

.œ>

jœœ

œ

bi li um om.œ>

Jœœ

œ

bi li um om

‰

œn œœ œ œ œ

œ

˙˙˙

˙ ˙

- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - - - - - -

CREDOMan. II Foundations (oboe)Man I. Foundations, II-IPed. 16, 8, II-Ped. I-Ped.

Man I.

54

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

6

œ œœ

œ

ni um et

œ œœ

œ

ni um et

œ œœ

œ

ni um etœ œ

œ Œ

ni um

6

‰œ œœ œ œ œ

œ

˙˙˙

˙ ˙

JœJœ

Jœ

Jœ œœ#

in vi si bi li

JœJœ

Jœ

Jœ œœ#

in vi si bi li

JœJœ

Jœ

Jœ œœ#

in vi si bi li

Ó ŒJœ

F

Jœ

et in

œ œ œ œ œœœœ#

˙˙n œœ˙ œœ

œ œ œ œ ‰ œ ‰

˙ Ó

um

˙ Œ jœ

F

jœ

um et in

˙ Ó

um.œ

Jœ .Jœ#Rœ œ

u num Do mi num

‰ œ œœ œ ‰ ‰

œ# œnœ œ ‰

wp

˙ ˙n#

œ‰ jœ œn

‰ jœ

Œ.œF

Jœ œ

fi li um

.œJœ.jœ#rœ œ

Je sum fi li um

Ó Œ .jœnrœ

fi li

œœ^ œn ^

œ^

Je sum Chris tum

‰ œ œœ œ ‰ ‰

œ# œnœ œ ‰

w˙ ˙n#

œ ‰jœ œ ‰

jœ

- - - - - - - - -

- - - - - - - - - -

- - - - - - - - -

- - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

10.œ

Jœ œ œ

De i u ni

.œjœ œ œ

De i u ni

œJœ

Jœ .œ

jœ

um De i un ni

Œ .jœrœœ

JœJœ

fi li um De i

10

‰ œœ œ#œ‰ ‰ œ

œ œ œ‰

˙ œ œ˙ ˙

œ ‰jœœ œ œ

œ œ œn œ œ#Œ

ge ni tum,

.œjœ œ

Œ

ge ni tum,

œ œnœ œ œ Œ

ge ni tum,

.jœrœjœjœ œ Œ

u ni ge ni tum,

‰œ œ œn œ œ œ œ# œ œ œ œ œ

. œ. œn .˙ œ Œœ œn

œ œ œœ

Œ

˙ œ Œ

Jœ

f

JœJœJœ

˙b

et ex pa tre na

Jœf

JœJœJœ ˙

et ex pa tre na

Jœf

JœJœJœ ˙

et ex pa tre na

Jœf

JœJœJœ ˙

et ex pa tre na

œ.f

œ œ œœ œ œ˙

˙

b

œ

œ œœœ œ œœ œ œ

œ

œ ˙

- - - - - - - - -

- - - - - - - - - -

- - - - - - - - -

- - - - - - - - - - - - -

55

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

13œ jœjœ

.JœRœ œ

tum an te om ni a

œjœjœ .jœrœ œ

tum an te om ni a

œ jœjœ.JœnRœ œ

tum an te om ni a

œJœJœ .JœRœ œ

tum an te om ni a

13œœ œ œ œ

œ œ œ˙

˙

œœ œ œ

œ œ œœ œn œn

˙ ˙

.JœRœ œ

œ

Fjœjœ

sae cu la. De um de

.jœrœ œ œ

Fjœjœ

sae cu la. De um de

.JœRœ œ

œ

F jœjœ

sae cu la. De um de

.jœrœ œ œ

F jœjœ

sae cu la. De um de

œœ

. œœ œ œn œ œ

jœ œ œ œ

œœ. œœœ

^

‰

œœœœœœ

œ. .œ

^

œ œ œ

œb-œ- ‰ Jœ

JœJœ

De o, lu men de

œ- œ-

‰ jœjœjœ

De o, lu men de

œ-œ-‰JœjœJœ

De o, lu men de

œ- œ-

‰ jœ

jœjœ

De o, lu men de

‰œ œ œœ> œ œ œ

œ œ‰

œ œ œ

œ œ‰œ.œ. œ.

.JœbRœ œ Œ

JœJœ

lu mi ne, De um

.jœrœ œ

Œ jœjœ

lu mi ne, De um

.JœRœ œ Œ

JœJœ

lu mi ne, De um

.jœ Rœ œ

Œ JœJœ

lu mi ne, De um

‰œ œ œ

œ> œ œ œ

œœœœ Œ

œ œ

œ œŒœ

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

17

œb œ ‰JœjœJœ

ve rum de De o

œ œ ‰jœjœ

jœ

ve rum de De o

œ œ ‰jœJœjœ

ve rum de De o

œn œ ‰JœJœ

Jœ

ve rum de De o

17

‰ œb œœ œ> œ œ œ

œ œ‰œ œ œ

œn œ ‰ œ. œ. œ.

œb œ Ó

ve ro,

œn œÓ

ve ro,

œ œ Ó

ve ro,

œ œÓ

ve ro,

‰ œb œ

œ œn> œ œ œ

œn . œ.

Œ

.œœœœn

œ. œ.

Ó

.Jœf

Rœ œ

Œœ

ge ni tum, non

.jœ#

frœ œ

Œ œ

ge ni tum, non

.Jœf

Rœ œ Œ œ

ge ni tum, non.Jœf

Rœ œ

Œœ

ge ni tum, non

‰

œ

f

œ œ œn> œ œ œ

˙˙# Œ

œœœ

œ.

œ.Œœ.

œn-œ-ŒJœJœ

fac tum, con sub

œ- œ-Œjœjœ

fac tum, con sub

œ-œ-Œ JœJœ

fac tum, con sub

œ-œ-ŒJœJœ

fac tum, con sub

‰

œ

œn

œ œ> œ œ# œ

˙˙˙n

Œ

œœœ

œ.œ.Œ œ

- - - - - - - -

- - - - - - -

- - - - - - - -

- - - - - - - -

56

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

21

.œjœ œ œ

stan ti a lem

.œjœ œ œ

stan ti a lem

.œJœ œ œ

stan ti a lem.œ

Jœ œ œ

stan ti a lem

21œ œn œ œ œ œ œn œ œ œ

.œjœ œ^œ^

ww

œ.

œ.Œœ

œ

^

œ

^Ó

pa tri,

œ

^

œ

^Ó

pa tri,

œ^œn^Ó

pa tri,

œ œÓ

pa tri,

œ.

œ œ œ# œ œ œn œ

œœ^œœn^

Ó

œ

^

œ

^Ó

œ

F

œ œ .jœrœ œ

per quem om ni a

œ

F

œ œ .jœrœ œ

per quem om ni a

œ

F

œ œ .jœrœ œ

per quem om ni a

œF œ œ .JœRœ œ

per quem om ni a

w

wF

∑

.œjœ œ

‰ jœ

fac ta sunt: qui

.œjœ œ

‰ jœ

fac ta sunt: qui

.œjœ œ

‰ jœ

fac ta sunt: qui

.œjœ œ ‰

Jœ

fac ta sunt: qui

‰œ

F

œ œ ‰ œ œ œ

˙˙

˙˙

˙ ˙

- - - - - - -

- - - - - - -

- - - - - - -

- - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

25

œjœjœ.jœrœjœjœ

prop ter nos ho mi nes et

œjœjœ.jœrœjœjœ

prop ter nos ho mi nes et

œjœjœ.jœrœjœjœ

prop ter nos ho mi nes et

œ

JœJœ.JœRœ

Jœ

Jœ

prop ter nos ho mi nes et

25

œœœœ

œ.

œ œ œ

œ œœœœ

œœ

œ

^

œ

^

˙

^

œ œœjœnjœ#

prop ter nos tram sa

œœ œ#

jœjœ

prop ter nos tram sa

œn œ œn JœJœ

prop ter nos tram sa

œ œ œJœjœ

prop ter nos tram sa

œœœœœ# .

œ œn œ#

œœœn œœ˙˙n#

œ œ .œjœ

œœ Œ œ

f œ

lu tem de

œ œ Œ œ

f

lu tem de

œ œ Œ œf

lu tem de

œn œ Œ œ

f

lu tem de

œœ œn œ œ#> œ

œ

f

œ

..˙nœœœ

œn

œnŒ œ

˙ œœœ

scen dit de

˙ œ œœ

scen dit de

˙ .œJœ

scen dit de˙n .œ

Jœ

scen dit de

‰œœ œ œ œ œ

œ

˙

˙œœœ œ

œ

œn

œn

œ

œ

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

57

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

29

˙b œ Œ

coe lis,

˙ œ Œ

coe lis,

˙ œ

œ

œ

coe lis, des

˙ œœœ

cor lis, des

29

‰œjœ œ œœœjœ œ œ

˙

˙

b œœœ œ

œ

œ

œ

œ

œ

Ó Œ

œ

F

œ

de

Ó Œ

œ

F

œ

de

˙b .œdim.

Jœ

cen dit de˙ .œ dim.

Jœ

cen dit de

‰œœ œb œn

S

œ œœ

˙

˙

b œœœ œ

œœ

œ

œ

œ

œ

˙ œ Œ

coe lis,

˙ œŒ

coe lis,

˙ œ Œ

coe lis,

˙n œ œp

coe lis, des

‰

p

œœ œ œ œn œ œ

˙˙˙œœœ Œ

˙n œ œ

Œ œ œ œ

des cen dit

Œœ œ œ

des cen dit

Œœ œ œ

des cen dit

˙n œ œ

cen dit, des

‰

œ œœ# œœ œ œ

Œ

œœœ Œ

œœœ

wn

Œœ#

p

œ œ

de coe lis.

Œœ

p

œ œ

de coe lis.

Œ œn

p

œ œ

de coe lis.

˙ œ œ

cen dit de

‰ œœœn œ œn œ#

œ

Œ

œœœn#œ œœœ

˙ œ œ

- - - - -

- - - - - - -

- - - - - -

- - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

nnn

nnn

nnn

nnn

nnn

nnn

nnn

S

A

T

B

Org.

34

∑

∑

∑

w

p

coe

34

‰œ

π

œ# œn œn œbœn œ

Ó ‰ œœ œ

w

∑

∑

∑

w

.œ‰ .œ ‰

...œœœ‰

...œœœn‰&

w

Ó

Adagio. q = 63.

Œ œp Solo.dolce

Et

Ó Œœ

p Solo.

Et

∑

w

lis.

∑

Ó

Adagio. q = 63.

Œ œœ

dolce

ww

π

œ œ œ œ

in car na tus

œ

dolce

œ œœ

in car na tus

∑

œ Œ Ó

∑

œœ œœ œœ œœ

ww

˙jœ‰ œ

est de

˙jœ

‰œ

est de

∑

∑

‰ œπœ œœ œ œ

..˙œœ

ww

- - -

- - -

- - - - - - - -

Man II

soft 16, 8 uncoupled

Man. II Flts. 8 & 4

[clar]

Man I. light principal, uncoupled

[vln]

58

&

&

V

?

&

&

?

S

A

T

B

Org.

39

.JœRœ œ .œ

jœ

spi ri tu san

.jœrœ œ œ œ

spi ri tu san

∑

∑

39

∑

œœœœ .œœ œ

jœ

ww

˙ Œ JœJœ

cto ex Ma

˙Œjœjœ

cto ex Ma

∑

∑

‰ œœ œœ œ œ

..˙œœ?

ww

.œjœœ œ

ri a vir gi

.œ#jœ œn œ

ri a vir gi

Œ œp Solo.œ œ

et ho mo,

Ó Œœp Solo.

et

˙#œ˙nœ

Œ

œp œ œ

ww

.œjœ

œ œ

ne: et ho mo

.œjœ œ œ

ne: et ho mo

Œ ‰Jœ œ œ

et ho moœ œ œ œ

ho mo, ho mo

˙

œ

œ

œœ

œw œ œ œ

w

˙ . .œ

S

Rœb

fac tus

˙b . .œn

S rœ

fac tus

˙ . .œbS

Rœ

fac tus

˙ . .œ#S

Rœ

fac tus

˙˙b ˙n

S

˙˙

˙

˙#

b

w

Œ œ Œ œ

.œ ‰ Œ.JœfTutti.

Rœ

est, cru ci

.œ‰ Œ .

jœ

fTutti.rœ

est, cru ci

.œ ‰ Œ.JœfTutti.

Rœ

est, cru ci

.œ‰ Œ

.JœfTutti.

Rœ

est, cru ci

jœœ‰.œ

f

œ œ

œ

J

œœ‰

.œ œ œ

œ

œŒ Ó

- - - - - - - - - - -

- - - - - - - - - - -

- - - - -

- - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

45˙

.œ ‰

fi xus

˙ .œ ‰

fi xus˙

.œ ‰

fi xus

˙ .œ‰

fi xus

45

wwb

f π

wwb

&

.˙b

Œ

.œbp jœb œ œ

e ti am pro

.œ

pjœ œb

œbe ti am pro

.œb

pjœ œ œ

e ti am pro

.œbp

Jœ œ œ

e ti am pro

∑

..œœb˙b

jœœb œœ œ

œb

wb

œ œnŒ œb

F

no bis sub

œb œ

Œœ

F

no bis sub

œ œ Œ œ

F

no bis sub

œ œ Œ œb

F

no bis sub

≈ œ

p

œb œn œb œn œœb ≈œ

F

œb œn œb œn œœb

œœ

œœn

˙

˙

b

˙ ˙b

.JœbRœJœ jœb .œ

Jœb

Pon ti o Pi la

.jœrœjœjœb œ

œb

Pon ti o Pi la

.jœbrœjœjœ œ œ

Pon ti o Pi la

.jœbrœ JœbJœ œb œb

Pon ti o Pi la

∑

œœ ˙bœœb œœb

œœbœ œb

œbœb œœb œb

- - - - - - - -

- - - - - - - -

- - - - - - - -

- - - - - - - -

(Man. II)Tutti, Man. I

[w.w.]

[strings]

Man. II

Man. I

59

&

&

V

?

&

&

?

S

A

T

B

Org.

49

œb.œS

Jœb

Jœb

Jœ

to pas sus et se

œŒ Œ œb

S

to pas

œb Œ ŒœS

to pas

œ Œ Ó

to

49 ≈

œ

p

œbœb.œ œb œ œ

Ó Œœœb

>

œœœbb

Œ Ó

œ Œ Ó

.Jœbrœb ˙ Œ

pul tus est,

jœjœbjœjœb .jœrœ œ

sus et se pul tus est,

Jœ

Jœb

Jœb

Jœ .JœRœ œ

sus et se pul tus est,

Œ.œS

Jœb

Jœbjœ

pas sus et se

œb˙b

Œ

œœ œœbb œœb œœ˙

∑

Œ.œ

Jœb œb œ

Ó Œ œnS

pas

œŒ Œ œnS

pas

œ Œ Œ œnS

pas

.jœnrœ œ Ó

pul tus est,

Œ œb œnœb .œb œ

œœ Œ Ó

Œ œb œb .œ œ

˙b œb œ

œb Œ Ó

sus,

œb Œ Ó

sus,

œb Œ Œ œπ

sus, pas

Ó Œœbπ

pas

œb .œœ œ

œœœ .œn œn

œb œn œ.œ œn

œb

œb œn œ

ΠϹ

œn œb

pas sus, pas

Œ˙

π

œn

pas sus

w

sus

œn œb œŒ

sus, pas sus

˙.˙ œœ œb

w

œ œb œœ

- - - - - -

- - - - -

- - - - -

- - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

54

œnjœbjœ œ œ œ#

œ

sus et se pul tus

.œbjœ œ œ

et se pul tus

œ jœjœ œ œ

et se pul tus

œ œ# œ œb

et se pul tus

54

œn.˙b œ.œb

jœ œ#

œ .˙

œ œ# œ œb

œn Œ Ó

est.

œŒ Ó

est.

œ Œ Ó

est.

œŒ Ó

est.

œ œnœœ œb

S

œb œœ

œœn

Œ ˙ ..œœbJ

œœ

œŒ˙

∑

∑

∑

∑

œn œœ œœ

S

œ œ œb

œœœ Œ..œœbJ

œœ

œŒ ˙

‰ .rœ

fTempo I.

.jœrœ .jœrœ œ# œ R

œnRœ

Et re sur re xit ter ti a

∑

∑

∑

œTempo I.

Œ œœœœ.f

Œ

œœ ˙

f

œ# œœ œ

œŒ œ Œ

- - - - - -

- -

- -

- -

Foundations

Full to light reeds

60

&

&

V

?

&

&

?

S

A

T

B

Org.

58˙ œ

Œ

di e

∑

∑

‰ .rœ

f

.jœrœ .jœrœ œn œ R

œRœ

Et re sur re xit ter ti a

58˙ œœ

œœ.

Œ

œœœœ.˙ œn œ

œ œ?

œ. Œ œb.Œ

∑

∑

‰ .rœ

f

.jœrœ .jœrœ œ œ

rœRœ

Et re sur re xit ter ti a˙ œ

Œ

di e

œœœœ

.

Œ

œœœœ

.

Œ

˙ œ Œ

Œ

˙ œ œœ œ

œ.Œœ.

Œ

∑

‰ . rœ

f

.jœrœ .jœrœ œ# œ

rœ

rœ

Et re sur re xit ter ti a

˙ œ Œ

di e

∑

œœœœ

.

Œ

œœœ

.

Œ

˙ œ œ# œœ œ

œ.Œ œ.

Œ

‰ Jœf

JœJœ‰ JœJœJœ

se cun dum scrip tu ras

œ.˙

di e

‰JœJœJœ ‰JœJœJœ

se cun dum scrip tu ras

‰ Jœf

Jœ jœ ‰JœJœ jœ

se cun dum scrip tu ras

Jœ œœœ

ƒJ

œœœ ‰œœœJ

œœœ

‰

œœJ

œœ‰

œœJ

œœ

‰ .œ ‰ .œ

- - - - -

- - - - - -

- - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

62

‰ RœRœJœJœ‰ JœJœJœ

et as cen dit in coe lum,

‰rœrœjœjœ ‰jœjœjœ

et as cen dit in coe lum,

‰RœRœJœJœ ‰JœJœJœ

et as cen dit in coe lum,

‰RœRœJœJœ ‰JœJœJœ

et as cen dit in coe lum,

62

‰œœœ

J

œœœ ‰œœœJ

œœœ

‰

œœœ

J

œœœ‰

..œœ

‰ .œ ‰ .œ

‰ œJœ ‰JœJœ

RœRœ

se det ad dex ter am

‰ œjœ ‰jœjœrœrœ

se det ad dex ter am

‰ œJœ ‰JœJœRœRœ

se det ad dex ter am

‰ œJœ ‰Jœ#JœRœRœ

se det ad dex ter am

‰ œœœ>

J

œœœ ‰œœœJ

œœœ œ

‰

œœ>

J

œœ‰

œœJ

œœ

‰.œ‰.œ#

w

pa

œ.œ

S

œ œ œ

pa

œ.œ

S

œ œ œ

pa

w

pa

wœœ.œ œ œ œ

œœ.œSœ œ œ

œ œ œœ œœ œ#

œ Œ Ó

tris,

œ Œ Ó

tris,

œ Œ Ó

tris,

œŒ Ó

tris,

œ

œ

marc.

œ# œ œn œ œb œ œ

œœ œ# œ œn œ œb œ œ

œ œ# œ œn œ œb œ œ

œ

Fjœ

jœ œ œ

et i te rum ven

œ

Fjœ

jœ œ œ

et i te rum ven

œ

Fjœ

jœ œ œ

et i te rum ven

œF

JœJœ œ œ

et i te rum ven

wŒœ œ œ

wf

Œ

œ œ œ

∑

- - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - -Registration as at beginning

61

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

67

.œjœ œ

‰ jœ

tu rus est cum

.œjœ œ

‰ jœ

tu rus est cum

.œjœ œ

‰ jœ

tu rus est cum

.œjœ œ ‰

Jœ

tu rus est cum

67

‰œ œ œ ‰ œ œ œ

w˙F

˙

˙ ˙

˙ ˙

.jœrœ œ

œjœjœ

glo ri a, ju di

.jœrœ œ

œjœjœ

glo ri a, ju di

.jœrœ œ

œjœjœ

glo ri a, ju di

.JœRœ œ

œ

Jœ

Jœ

glo ri a, ju di

œœœœ

œ.

œ œ œ

.œ œ œ œœ œœ

œœ

œ œ œ œ

œ œ œ

marc.jœjœ

ca re vi vos et

œ œ œ

marc.

œjœjœ

ca re vi vos et

œ œ Ó

ca re

œ œÓ

ca re

œ

œ œ# œ œ œn œœ

f

œ œ œœ œn œœ œ

œœ

-œœn -

Ó

˙Ó

˙˙

mor tu

˙˙

mor tu

œf

œjœjœ .œ

jœ

vi vos et mor tu

Ó œfœ

Jœjœ

vi vos et

œ

œ œ œœ œ œ

S

œœ

œ œ œ œ œ œ œ œœ œ

Ó œ

f

œ œ œ

- - - - - - - - -

- - - - - -

- - - - - - -

- - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

71

˙ œ œ

os, cu jus

˙œ œ œ œ

os, cu jus

˙ Œjœjœ

os, cu jus

.jœnrœ œ Ó

mor tu os,

71

‰ œ œ# œœn œœ# œ

œ œn œnœ œ

˙.œ œ œ Œ œ

S œ œ œ œ

˙n Ó

œJœJœœ œ

reg ni non e rit

œjœjœœ œ

reg ni non e rit

œ œjœjœ œ œ

reg ni non e rit

Œ œœ œ œ œ

non e rit

œ

œ œœœœœ œœ

œ œ œ œ œ œ œœœœ

Œ œœ œ œ œ

.œ œ# œŒ jœn

pjœ

fi nis, et in

.œ œ œŒ jœ

p

jœ

fi nis, et in

œ œ ŒJœbp

Jœ

fi nis, et in

.œn œ œ Œ Jœp

Jœ

fi nis, et in

.œ œ# œœn œœ œb

S

Œ

.œ˙œ œ ˙

˙nbp

.œn œ œ œb

œ

- - - -

- - - -

- - - -

- - - -

62

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

74

.JœRœ œ .œ

Jœ

spi ri tum sanc tum

.jœrœ œ .œ

jœ

spi ri tum sanc tum

.JœRœ œ .œ

jœ

spi ri tum sanc tum

.JœRœ œ .œ

Jœ

spi ri tum sanc tum

74

‰

œ

p dolce

œ œ œ œ œ œ

˙w

˙

œŒœŒ

jœœjœ œ J

œf

Jœ

Do mi num et vi

.œjœ œ

Œ

Do mi num

.œJœ œ Œ

Do mi num

œ œ œ œ Œ

Do mi num

jœœjœ œ.œ

f

œ œ œ œ œ

œ˙œ œ

œœŒ&

œ Œ œ Œ

.œnjœ œ œ

vi fi can tem,

∑

∑

Ó Œ Jœf

Jœ

et vi

˙n œœœ# œ œœ œ

‰ œœb œœ œœ œœ

Π?

œ Œ œ

œ

Ó Œjœ

F jœ

qui ex

Ó Œ jœ

Fjœ

qui ex

Ó Œ jœ

Fjœ

qui ex

.œJœ œ œ

vi fi can tem,

‰ œœb œœ œœ œœ œ œœ.p

œœ.

Œ˙

œ. œ.

˙ œ Œ

- - - - - - - - -

- - - - -

- - - - -

- - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

78

.JœRœJœJœ œ

JœJœ

pa tre fi li o que pro

.jœrœjœjœ œ

jœjœ

pa tre fi li o que pro

.jœrœjœjœ œ

jœjœ

pa tre fi li o que pro

∑

78

œ

œ œ œ œ œ œ œ œ œ œn œ œ œ

œ.˙œ œ

œœ œ

˙ ˙

jœœ

jœ œ J

œf

Jœ

ce dit, qui cum

˙ œ

jœ

fjœ

ce dit, qui cum

œ œ œ œ œŒ

ce dit,

Ó Œjœ

f jœ

qui cum

jœœ

jœ œ.œ œ œ œ œ œ

œ˙

œ œ œ œœ

˙ ˙

œnjœjœ .JœRœ œ

pa tre et fi li o

œ

jœjœ .jœ

rœ œ

pa tre et fi li o

‰œfœ

Jœ œ œ œ œ

qui cum pa tre

œJœJœ .JœRœ œ

pa tre et fi li o

˙n

f

œ

œ œn œ œ œ œ

‰œœb œœ œœ œœ

œœ œœ œœ

∑

.œ

f

‰.œ ‰

- - - - - - - -

- - - - - - - -

- - - - - - -

- - -

63

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

81

.JœRœJœJœ œ

JœJœ

si mul a do ra tur et

.jœrœjœjœ œ

jœjœ

si mul a do ra tur et

.jœnrœjœjœ œb

JœJœ

si mul a do ra tur et

Jœ

Jœ

Jœjœ œb

œb

Jœ

Jœ

si mul a do ra tur et

81

œœ œ ‰

Jœ œ œœ

œ œ ‰

œbœn œ œ œ œ

˙n œb œ

œ œ œ œ œb

œb œ œ

˙p

JœJœJœcresc.

Jœ

con glo ri fi

.jœ

p

rœjœjœ œ œ

cresc.

con glo ri fi ca tur,

.Jœ

p

RœJœJœ œ œ

cresc.

con glo ri fi ca tur,

.Jœp

RœJœJœ œ œ

cresc.

con glo ri fi ca tur,

˙

p

‰œ

cresc.

œ œ œ œ œ

‰ œ œ œœ œ œ œ œ

˙ ˙

œ

œ œ

œ

œ œ .œJœ

ca tur, qui lo

.jœrœjœjœ œ œ

con glo ri fi ca tur,

.JœbRœJœJœ œ œ

con glo ri fi ca tur,.JœRœJœJœ œ œ

con glo ri fi ca tur,

˙ œ œ œ œ œ œ œ

‰œ œ# œ œ œ œ

œ œ

˙b ˙

œ

œ œ

œ

- - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

84.Jœbf

Rœ ˙

JœJœ

cu tus est, qui lo

.œn

fjœ .jœrœ œ

qui lo cu tus est,

.œ

f

Jœ .JœRœ œ

qui lo cu tus est,

.œf

Jœ .JœbRœ œ

qui lo cu tus est,

84 ‰œb œ œ œ œ œ

œ

œ œnœbœ œ œ œ ˙

wwwnbf

˙ ˙b

.œbJœ ˙

cu tus est

.jœ

rœjœjœ .œ J

œ

qui lo cu tus est

.œJœ .JœRœ œ

qui lo cu tus est

.JœRœJœJœ ˙n

qui lo cu tus est

œœœb œœnœœœœ œœ œœœœ œ œ œn

œn œ œ

˙˙ œ

œ

˙ ˙n

œ œœ œn

per pro phe

œ œ œ œœ

per pro phe

œœb ˙

per pro phe

œœ œ œ

per pro phe

œ œœ œn

œœœœb œœ

œ œn œnœ œ

œœ ˙

- - - - - - -

- - - - - - - - - -

- - - - - - - -

- - - - - - - -

64

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

87.œ‰ Ó

tas.

.œ ‰ Ó

tas.

.œ ‰ Œ

œ

p

tas. Et

.œ ‰ Œ œ

p

tas. Et

87œ

œ‰ œb ‰ œ. œ

œn

œœœœb

˙‰jœ œ œ

œœ ˙

Ó Œ

œ

F

Et

Ó Œ

œ

F

Et

.œjœœnjœjœ

un nam sanc tam ca.œ

JœœnJœJœ

un nam sanc tam ca

‰œ œœb œ ‰ ‰

œn œœ œ ‰

˙˙

p˙˙n

œ‰ jœ.œ.

‰ jœ.

.œjœœn

jœjœ

u nam sanc tam ca

.œjœœn

jœjœ

u nam sanc tam ca

.œjœ

jœ Jœb

Jœ

Jœ

tho li cam et a po

.œJœJœ Jœb

Jœ

Jœ

tho li cam et a po

‰œ œœb œ

‰ ‰œn œœ œ

‰

˙˙ ˙

˙nœ œb œ œ

œ.‰ jœ.œ.

‰jœ.

.œjœ

jœ Jœb

Jœ

Jœ

tho li cam et a po

.œjœ

jœ Jœb

Jœ

Jœ

tho li cam et a po

Jœjœjœjœ .œ

jœb

sto li cam ec cle si

Jœ

Jœ

Jœ

Jœ .œ

Jœb

sto li cam ec cle si

‰œ

œ œ œb ‰ ‰œ

œ œ œ ‰

œ˙ œ

œb œ œœ œ œ .œ

Jœb

œb.‰Jœ. œ.

œ.

- - - - - - -

- - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

91

Jœjœjœjœ .œ

jœb

sto li cam ec cle si

Jœjœjœjœ .œ

jœb

sto li cam ec cle si

œ

Œ Ó

am,

œ Œ Œ œf

am, con

91

‰œœ œ œ œ œ œ

œœ œb

œœ

œ

F

œ œ œŒ œ œœ

œ.œ. œ.

œ.

œ

Œ Ó

am,

œ

Œ Œœ

f

am, con

∑

.JœRœ œ

œJœJœ

fi te or un num bap

‰œ œn œ œ œ œ ‰

œ œ œ œ œ œ

˙˙

˙˙b

œ‰ jœ œ

‰jœn

Œ Jœf

Jœ .œ

Jœ

in re mis si

.JœRœ œ œ

jœjœ

fi te or u num bap

Œjœ

f jœnJœjœJœJœn

in re mis si o nem

œœ Œ

JœJœ

tis ma in re

‰œ œ œn œ œ œn ‰ œ œ œ œ œ œ

œœ˙f

˙œ œn œ œ œ œn

œ ‰jœ œ ‰

Jœb

.œ

Jœ œ œ

o nem pec ca

œœ

Ó

tis ma

.œJœ ˙

pec ca to

Jœ

JœJœ

Jœ.œJœ

mis si o nem pec ca

‰

œœn œ œœ œ œ

œ

œ

œ

œœœ

˙˙

œœ

œ ‰jœ œ œ

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - -

- - - - - - - - - - - -

65

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

95

˙# ˙

to rum,

Œ.œS

Jœn œ œn

pec ca

œ œ œ ˙n

rum,œ œn œn ˙

to rum,

95

œ#

œ#‰œ œ

‰ jœn

πœœ œœn œœn ..œœ

J

œœn

˙˙

Ó ŒJœp

Jœ

et ex

œn œb œ

jœ

pjœ

to rum, et ex

Ó Œjœ

pjœ

et ex

Ó Œ Jœpjœn

et ex

œ œn œœ œœb œœ

œn˙ .œnœb œ œ œœ

w

œcresc.œ

JœnJœJœJœ

spec to re sur rec ti

œn

cresc.

œbjœjœ

jœjœ

spec to re sur rec ti

œ

cresc.

œjœ

jœjœjœ

spec to re sur rec ti

œ

cresc.œJœJœ

Jœ jœn

spec to re sur rec ti

œ œn œœ œœ œœ

œœn œœb œœnœœ

w

œ œ œnJœJœ

o nem mor tu

œn œb œ

jœjœ

o nem mor tu

.œjœ œ œ œ

jœ

o nem mor tu

œ œ œ œ œ jœn

o nem mor tu

œ œn œcresc.œ œœ œœ

œœn œœb œœnœœ

w

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

nnn

nnn

nnn

nnn

nnn

nnn

nnn

S

A

T

B

Org.

99

œf

œœ œn

o

˙n

f

˙b

o

œ

f.˙

o

˙f .œ

Jœ#

o

99

œfœn œœn œœ œbœ#

œ˙nœ œn

œ ˙b

w

œn Œ Œ œ

ƒ

rum, et

œŒ Œ œ

ƒ

rum, et

œn Œ Œ œ

ƒ

rum, et

œŒ Œ

œƒ

rum, et

..˙n œ

ƒœœœn ≈œœœœœœ ≈œœœœœœ ≈œœœ œ

.˙

œ

w

Maestoso.

vi

w

vi

w

viw

vi

www

Maestoso.

œ œ œœ œ œ

œœœ œ œ œ

œ

w

- - - - - - - - - - -

- - - - -

- - - - - -

- - - - - - - - - - -

Tutti

66

&

&

V

?

&

?

?

S

A

T

B

Org.

102˙

Œœ

tam, et

˙n Œ œ

tam, et

˙ Œ œ

tam, et

˙Œœ

tam, et

102...˙˙

œœœ

‰ œ œœœœ œ œ œ

œ œ œœ

w

w

vi

w

vi

w

vi

w

vi

www

‰ œœ œ œ œ

œ œ œœœœ œ

w

˙Œœ

tam ven

˙ Œ œ

tam ven

˙ Œ œ

tam ven

˙b Œ œ

tam ven

.

..˙˙

œœœ

‰ œœ œ œ œ

œ œ œœœœ œ

wb

.˙# œ

tu ri

.˙ œ

tu ri

œ ˙ œ

tu ri

˙

.œJœ

tu ri

œœ#˙#œ œ

œ

œœœœ

˙ ˙˙˙

˙

˙

- - - - - -

- - - - - - -

- - - - - - -

- - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

106˙ œ œ

sae cu li,

˙ œ œ

sae cu li,

˙ œ œ

sae cu li,œœ œ œ

sae cu li,

106˙˙˙

S

œœœœœ

˙˙œœ œ œ

˙œ œ

.œjœ˙

a men, a

.œjœ ˙

a men, a

.œjœ

˙

a men, a

.œJœ˙

a men, a

œ œ# œn œ œ œ œ œ#œ

S

œ œn œ œ œ œ œ#

ww

w

˙ ˙

w

w

˙ ˙

œ

S

œ œ# œ œ

S

œ œ# œ œ

S

œ œ œ# œ

S

œ# œ œ

www

w

œ Œ Œœ

men, et

œ Œ Œ œ

men, et

œŒ Œ œ

men, et

œ Œ Œ œ

men, et

œœœœ

.

œ ≈ œ œœœœœ

œœœ

. œ ≈ œ œ œœ

œ.Œ Œ

œ

- - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - -

67

&

&

V

?

&

?

?

S

A

T

B

Org.

110œ œ Œ

œ œ

vi tam ven

œ œ Œ œ

vi tam ven

œ œ Œ œ

vi tam venœ œ

Œ œœ

vi tam ven

110œœœœ ≈ œ œ œœ

œ œ

œœ œ ≈ œ œ œœ

˙ Œœ

œ œ˙S

tu ri sae

œ œ Ó

tu ri

œ œ Ó

tu riœ œ

Ó

tu ri

œœœœ ≈ œ˙˙

œœ œ ≈ œ œ œœ

˙ Ó

. .œ

Rœ ˙

cu li,

. .œ

rœ ˙

sae cu li,

. .œRœ˙

sae cu li,. .œ

Rœ ˙

sae cu li,

œ œœ œ# œœ œ œœ œ œœ œœ œn œ

www

˙

˙

˙ ˙

a

˙ ˙

a

.˙œ

a

˙ ˙

a

œ œ œœ œ œ#œ œ œ œ œ œn œ œ

œ œ

www

˙ ˙

- - - - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - -

- - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

114w

men.

w

men.

w

men.

w

men.

114œ œœ œ œ œ

œœ œ œ

œ œ œ œœœ

œœœœ ‰ .

R

œœœœ

œœœœ

œœœœ

w

œŒ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ

‰ .R

œœœœ

œœœœ

œœœœ

wwww

w

∑

∑

∑

∑

œœœœ Œ

œ

Œ

œœœœ Œ œ Œ

œ

Œ œ Œ

∑

∑

∑

∑

w

U

w

U

w

U

68

&

&

V

?

&

&

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

c

Soprano

Alto

Tenor

Bass

Organ

Adagio. q = 60∑

∑

∑

∑

˙

π dolce

Adagio. q = 60.œ

jœ

.˙ œ

w˙˙

∑

∑

∑

∑

∑

œ œ œ œ œœ

˙ ˙

œ.œjœ œ œ˙˙

?

∑

∑

∑

∑

∑

œ œ œ œ .œ

jœ.˙ œ

œ œ œœœœ œ œ œn

∑

∑

∑

∑

∑

œ œ œ ˙œ œ œ ˙

œ œ œ œ ˙n˙ ˙

&

∑

˙

π dolce

˙

San ctus,

˙

π

˙San ctus,

˙

π

˙

San ctus,

˙π

˙

San ctus,

‰ œœ. œœœ

. œœœ

.

‰ œœ. œœœ

. œœœ

.

˙ ˙w

œ Œ œ Œ

-

-

-

-

SANCTUSMan. II String celeste 8'Man. I Flute 8'Ped. Soft 16, 8

Man. II

Man. I

(add)

69

&

&

V

?

&

&

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

6

˙ ˙

san ctus,

˙ ˙san ctus,

˙ ˙

san ctus,

˙ ˙

san ctus,

6

‰ œœ.

œœœ.

œœœ.‰ œœ. œœœ

. œœœ

.

˙ ˙w

œ Œ œ Œ

œ œ˙

san

œ œ ˙

san

.˙ œ œ

san

œ œ ˙

san

‰ œœ.

‰ œœ.‰œœ.œœ.

œœ.

œœœœ

˙˙

œ œ ˙

œ ˙œn

w#

˙n˙

w

‰œ#.œœn.

œœœ.‰œ.œœ.

œœœ.

œ

w#˙

œn

˙

˙

˙n Ó

tus

˙ Ó

tus

˙ Ó

tus

˙Ó

tus

œœn. œœ œ ‰œ œ#œn

˙n ˙n#

w

Ó . .œ

Rœn

Do mi

Ó. .œ

rœ

Do mi

Ó. .œ#

rœ

Do mi

Ó . .œ rœ

Do mi

‰œ œnœ. .œ‰

Jœ œ#

œn

p

rœn

˙n˙n#

w

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

&

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

11

˙n Ó

nus

˙Ó

nus

˙ Ó

nus

˙Ó

nus

11

˙n. .œ

rœ

˙˙n

‰œœ œn ‰

œ œnœ

˙ ˙

Ó. .œfp

Rœ

De

Ó ˙

fp

De

Ó ˙n

fp

De

Ó ˙fp

De

˙. .œ>

F

rœ

˙˙n

‰

œœ œ‰

œ œnœ

˙ ˙

˙Ó

us,

˙ Ó

us,

˙ Ó

us,

˙ Ó

us,

˙. .œb

˙

rœ

œ œœœœœœ œœœœœœbœœ

˙ ˙

Ó

˙ƒ

De

Ó ˙ƒ

De

Ó. .œ

ƒ

Rœ

De

Ó ˙ƒ

De

˙˙

ƒ

˙˙

œœ.œœœœœœœ.œœœœœœ

˙ ˙

œ œœ œ

us Sa ba

œ œ œ .œ œ

us Sa ba

œ œ œ œ

us Sa ba

œ .œ œœ œ

us Sa ba

œ

wœœ-œ-

œ œœ œ˙œœ

œ .œ œ˙

- - - - - -

- - - - - -

- - - -

- - - - - -

(add II-I)

Man. I

70

&

&

V

?

&

&

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

16˙

‰ Jœp

Jœ

Jœ

oth. Ple ni sunt

˙ ‰ jœ

p

jœjœ

oth. Ple ni sunt

˙ ‰ Jœp

Jœ

Jœ

oth. Ple ni sunt

˙‰Jœp

Jœjœ

oth. Ple ni sunt

16œœ œœœœ œ œ

œœœ œ œœœœ œ œ

œ œ œœœœ œ œ

œ œ œjœ Jœ

coe li, coe li et

œ œ œjœjœ

coe li, coe li et

œ œ œJœJœ

coe li, coe li et

œ œ œJœJœ

coe li, coe li et

‰œ

p

œ œ

‰

œ œ œ

wwœœ.

œœ.

œœ.

œœ.

∑

œ œœF

JœJœ

ter ra glo ri a

œ œ œ

Fjœjœ

ter ra glo ri a

œ œ œ

F

JœJœ

ter ra glo ri a

œ œ œF

JœJœ

ter ra glo ri a

‰

œ œ œ

‰

œ œ œ

wœœ.

œœ.

œœ.

œœ.

?

∑

.œ œ œ

œf

Jœ

Jœ

tu a, ple ni sunt

œ œœ

f

Jœjœ

tu a, ple ni sunt

œ œ œf

JœJœ

tu a, ple ni sunt

œ œ œf

JœJœ

tu a, ple ni sunt

.œœ

F

œ œœ

œ

œ

f

œœœ

‰ œœ œ‰œ œ œ

œ œ œœ

- - - - - - - -

- - - - - - - - -

- - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

20œ œ œ

JœJœ

coe li, coe li et

œ œ œjœjœ

coe li, coe li et

œœ œ

JœJœ

coe li, coe li et

œ œ œJœJœ

coe li, coe li et

20œœ

S

œœœ

œœœœ

‰

œ œ œ

‰œ œ œ

˙ ˙

œ œœƒ

Jœ

Jœ

ter ra glo ri a

œ œ œƒ

JœJœ

ter ra glo ri a

œ œ œƒ

JœJœ

ter ra glo ri a

œ œ œƒ

Jœ

Jœ

ter ra glo ri a

œ.˙ œ œœ ˙

‰ œƒœ œ‰œ œ œ

.˙œ

œ œ œœœ

tu a. O

˙ œœ

tu a. O

œ˙ œ

tu a. O

˙ œ œ

tu a. O

˙ œœœ

œ

‰

œ œ œ

‰œ œ œ

w

.œ Jœ .œ

Jœ

san na, o

˙ .œjœ

san na, o

˙ .œJœ

san na, o

œ œJœJœn œ œ

Jœb

Jœ

san na, o san na, o

.

.

œ

œ

S

Jœ œœ

‰

jœ

œ

˙˙

œ‰ J

œœ

œ œ œ œn œ œ œb œ

- - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

71

&

&

V

?

&

?

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

24

.œ Jœ .œ

Jœ

san na, o

˙ .œ Jœ

san na, o

˙ .œJœ

san na, o

Jœ

JœJœJœn œ œ

Jœb

Jœ

san na in ex cel sis, o

24.

.

œ

œ Jœ œœ

‰

jœœœ

˙˙

œ‰ J

œœ

œ œ œ œn œ œ œb œ

œ œ œn œ œ œœœ

san na in ex

œn œ œ œ œn œœ œ

san na in ex

.œ

Jœ œ œ

san na in ex

.œJœ œ œ

san na in ex

œœnœœ œœœœ œœnœœœœ

œœ

˙.˙ œœ

˙

œ

˙ œ

˙˙

cel

˙ ˙

cel

˙ ˙

cel

.˙

œ

cel

˙˙

S

˙˙

œ œn œœ œ œœ œœœ

&

˙ ˙

œ‰ jœ

p cresc.jœ

jœ ‰

jœ

sis, o san na, o

œ ‰ jœ

p cresc.jœjœ‰ jœ

sis, o san na, o

œ‰Jœ

p cresc.

JœJœ ‰ J

œ

sis, o san na, o

œ ‰ Jœp cresc.

Jœ

Jœ ‰ J

œ

sis, o san na, o

œœ

pœœ œ# œœœœ œœn œœœ œ

cresc.

œ œœœœ œœ œ#

33

3

3

œœœ

‰ jœ œ œ

‰ œœ

œ

œœ œ

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - -

&

&

V

?

&

&

?

bbb

bbb

bbb

bbb

bbb

bbb

bbb

S

A

T

B

Org.

28jœJœ ‰

Jœ

f.Jœ

RœJœJœ

san na, o san na in ex

jœ

jœ ‰

jœ

f

.jœ

rœjœjœ

san na, o san na in ex

JœJœ

‰ Jœf

.Jœ R

œJœJœ

san na, o san na in ec

Jœ

Jœ

‰Jœf

Jœ

Jœ

JœJœ

san na, o san na in ex

28œœœ

f

œ œœn œœœ œ

œ œœœœœœ œ œ

œœœœ

œ œ œ

3 3 3 3

œœœœ ‰ œœ ˙

˙

œ œœ œ

œ œÓ

cel sis.

œ^

œ

^Ó

cel sis.

œœ^Ó

cel sis.œ

œ^Ó

cel sis.œœœœ‰ . R

œœ œœ œœ

œœœŒ ˙˙

œ

‰ .Rœ œ œ

∑

∑

∑

∑

œœ

.

Œœœ.

Π?

œœœ.

Œœœ.

Œ?

œ.

Œ œ.Œ

∑

∑

∑

∑

œœœœ Œ Ó

U

wwww

U

w

U

- - - - -

- - - - -

- - - - -

- - - - -

Man. II

Man. I

72

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

43

43

43

43

43

43

43

Soprano

Alto

Tenor

Bass

Organ

Andante. q = 69∑

∑

∑

∑

∑

Œ

œ

p

Andante. q = 69

œ

∑

∑

∑

∑

∑

∑

œ œœ

∑

∑

∑

∑

∑

∑

œn œœ

∑

∑

∑

∑

∑

Œ Œ œœ

pdolce

œ œ œœ

∑

∑

∑

∑

∑

œœ œœnb œœ

.˙œ œ œ

∑

∑

∑

∑

∑

œ˙b

>

œ.œ

jœb

.œœ œ

∑

∑

∑

∑

∑

œ

.˙n

>œ œ œ œ

.˙œœ œ

∑

∑

∑

∑

∑

jœ œ .˙b ˙

..˙&

.˙

BENEDICTUSMan. II flute 8, string 8Man. I flute 8 II-IPed. Soft 16, 8

Man. II

73

&

&

V

?

&

&

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

9

Œœ

pSolo. dolceœ

Be ne

∑

∑

∑

9

Œœœ

œœœ.

œœœ.

‰ jœœœ

‰ jœœœ

jœ.‰ Œ Œ

œ œœ

di ctus qui

∑

∑

∑

œ œœ

œœœœœœ

‰ jœœœ

‰ jœœœ

jœ ‰ Œ Œ

˙ œ

ve

∑

∑

Œœ

Solo. œdolce

Be ne

˙ œ

œœœœœœ‰jœœœ‰jœœœ

jœ‰ Œ Œ

˙ ‰Jœ

nit, qui

∑

∑

œn œœ

di ctus qui

.˙

œœœn œœœ

‰ jœœœ

‰ jœœœ

jœ ‰ Œ Œ

.œ

Jœn œ

ve nit in

Œœ

Solo. marc.

œ

Be ne

∑

˙ œ

ve nit,

.œjœn œ

.˙

œœœ

œœœ

‰jœœœ

‰jœœœ

Jœ ‰ Œ Œ

.œJœ œ

no mi ne

œ œ œdi ctus qui

∑

œ Œ Œ

.œ

jœ œ

.˙

œœœœœœ‰jœœœ‰jœœœ

jœ ‰ Œ Œ

- - - - - - - - -

- - -

- - - -

&

&

V

?

&

&

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

15œ

.œJœ

Do mi

˙ œ

ve nit,

∑

Œ ‰Jœ

œœn

qui ve

15œ

.œ

jœ

.˙

œœœœœœ‰jœœœ‰ j

œn

?

Jœ ‰ Œ Œ

˙ œ œn

ni, qui

œœ œjœjœ

ve nit in

∑

Jœ

Jœb œ œ .

JœRœ

nit in no mi ne

˙ œ œnœ œ œ œ œ œ

œ œb œ œ œœn

&

Jœ ‰ Œ Œ

.˙p

ve

.œjœ œ

no mi ne

Œœ

Solo.œ

dolce

Be ne

.Jœ

Rœ œ Œ

Do mi ni,

.

.

˙

˙

œœœœœœ

‰ jœœœ

‰ jœœœ

˙Œ

œ œ œ œ œ

nit in

.jœrœ œ

‰jœ

Do mi ni, qui

œ œœ

di ctus qui

∑

œ

œ

œ œ œ œ

œœœœœœ

‰ jœœœ

‰jœœœ

jœ ‰ Œ Œ

.œ

Jœ œ œ

no mi ne

œ ˙

ve nit,

˙ œ

ve

Œ Œœ

be

.œ

Jœ œ œ

œœœœœœ‰jœœœ‰ jœœœ

jœ ‰ Œ Œ

- - - - - - - - - - -

- - - - - - -

- - - - - -

- - - - - -

Man. I

74

&

&

V

?

&

&

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

20

.jœn

rœ˙

Do mi ni,

Œ Œ œf

qui

˙ ‰Jœ

nit, qui

œ œ œ œ œn

ne

20

.œn œœ œ

œœœn œœ

‰

jœœœ

‰

jœœœn

jœ ‰ Œ Œ

œœf œ

be ne

œœn ˙

ve nit,

.œ

Jœn œ

ve nit in

œ œ.œJœn

di ctus qui

œœn ˙

Œ œ

F

œœœœœœ‰

jœœœ‰

jœœœn

Jœ ‰ Œ Œ

œ ˙

di ctus,

Œ œf

œ

be ne

.œJœ œ

no mi ne

.œJœ œ

ve nit in

œœ˙

œœœœœœ‰

J

œœœ ‰

J

œœœ

jœ ‰ Jœ‰ Œ

Œ œ œ œ œ

be ne

œ ˙

di ctus,

œ.œJœ

Do mi

œ.œJœ

no mi ne

œ ˙

œœœ

œœœ‰

jœœœœœœœ

Jœ ‰Jœ ‰ Œ

œ œ ˙

di ctus,

œŒ Œ

˙ œn

ni,

˙ œn

Do mi

.

.

˙

˙

œœœœ œŒ

Jœ ‰ Œ Œ

Œ.œS

Jœ

be ne

Œ .œ

Sjœ

be ne

˙f

œ

be ne

˙

Œ

ni,

Œ

ÍS

˙

.˙

œœœ

œœœ

‰jœœœ

‰jœœœ

˙ Œ

- - - - - - - - - -

- - - - - -

- - - - - - -

- - - - - - - - - -

&

&

V

?

&

&

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

26

œn œn .œ Jœ

di ctus qui

œ .œ

jœ

di ctus qui

œn œn .œJœ

di ctus qui

‰ Jœf œ œ œ

qui ve nit,

26

œn œn .œ

jœ

œ ˙

œœœnœœœn‰jœœœ

‰jœœœ

Jœ‰ Jœ

‰jœ ‰

œn œn .œ Jœf

ve nit in

œ .œ

jœ

f

ve nit in

œn œn .œJœf

ve nit in

‰ Jœf œ œ

Jœ

Jœ

qui ve nit in

œnœœn œœ

‰ Jœ

f

œœœnœœœn

œ œ œ œ?

Jœ‰ Jœ

‰ ‰Jœ

œ œn œ œ œ œ

no mi ne

œ œ œ

no mi ne

˙ œn œ

no mi ne

œ œn œ œœ

no mi ne

œ.˙œn œ œ œ œ

œ œn œ œœ

Jœ ‰ Œ Œ

˙ œ

dim.

Do mi

œn œ œœ œ œ

Do mi

˙œ

dim.

Do mi

.Jœ

Rœ ˙n

Do mi ni,

˙ œœn œ œ

œ œ œ

.œ œ ˙n

Œ ŒJœn ‰

˙ Œ

ni.

˙ Œ

ni.

œ Œ Œ

ni.

Œ œ

dolceœ

Be ne

œœœ.p

œœœ.

‰jœœœ‰jœœœ

Œ œœ

Jœ ‰ Œ Œ

∑

∑

∑

œn œœ

di ctus qui

œœœœœœ

‰jœœœ

‰jœœœ

œn œœ

Jœ‰ Œ Œ

- - - - - -

- - - - - -

- - - - - -

- - - - - - - - - -

Man. II

Man. II

Man. I

75

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

32

∑

∑

Œ œnFœ

Be ne

˙ œ

ve

32

œœœnœœœ

‰jœœœ‰jœœœ

˙ œ

Jœ‰ ŒJœn ‰

Œ .œnp

Jœ

Be ne

∑

œn œnœ

di ctus qui

˙ œ

nit, qui

œœœnnœœœ

‰jœœœn ‰jœœœ

.˙

Jœ‰ Œ

Jœ ‰

œ œcresc.œ

di ctus qui

‰ jœ

Fœ œ œ œ

qui ve nit,

œ˙

ve nit

œnpœ

cresc.œ

ve nit, qui

œœœnœœœ‰

jœœœ‰

jœœœ

..˙n

Jœn ‰ Œ

Jœ ‰

œ œn œ

ve nit in

œ œ œn

ve nit in

‰ jœ

œ œ

Jœn

Jœ

qui ve nit in

œ œ œ#

ve nit in

œ˙

cresc.

œn˙n

‰Jœ

œ œ œn œ

Jœ ‰ Œ

Jœ# ‰

œ œn œ

no mi ne

.œJœb œ œ

no mi ne

œ œb œ œ œ œ

no mi ne

.œJœœ

no mi ne

œ.œ Jœb œ œ˙n

œ œb œ œ œ œ

Jœ‰ Œ œ

.Jœfrœ ˙

Do mi ni.

.jœ

frœ ˙

Do mi ni.

.jœ

f

Rœ ˙

Do mi ni.

.Jœ

f

Rœ ˙

Do mi ni.

œœ

f

œœœ œœ

œœ ≈œœœ˙˙

.˙

- - - - - - - -

- - - - - -

- - - - - - - - -

- - - - - - - -

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

38

œ Œ Œ

œŒ Œ

œ œFœ

Be ne

œ Œ

œF

Be

38 œ

dim.

œn œ

˙œœ

p

œ

œœœ Œ

œ

‰ Jœ

>

˙ Œ

Œ Œœp

Be

Œ .œb>

pjœ

Be ne

˙ œ œ

di

œ œ œ

ne

Œ Œœ

˙ œb

œœ œnœ œ œ œ

Œ Jœ‰ jœ‰

œ œ œ

ne di

œb ˙

di ctus,

œœœ

ctus qui

.œ

Jœ

Jœjœb

di ctus qui

œ œ œ

œ œ œ

œ.œ œœœ œ œb

Jœ‰ Œ Œ

œœ

cresc.œ

ctus, be

Œ .œ

cresc.jœ

be ne

.œn œcresc.œ œ

ve

œ

cresc.œ‰ Jœf

ve nit in

œœœ

œ œ œ

œ

œ œnœ œ œ

Œ Jœ‰jœ ‰

œ œ œf

ne di

œ .œnJœf

di ctus qui

œœœf

nit, qui

.œ

Jœ œ œ

no m ne

œ œ œ

œ œn œ

œœœœ œ œ

Jœ‰ Œ Œ

œœ ‰

Jœ

ctus qui

œ œ œ œ œ œ

ve nit in

.œnJœ œ œ

ve nit,

.jœrœ

.œ

Jœ

Do mi ni, qui

œ

f

œ‰ jœœ œ œ œ œ œ

jœ œn

œ œ œ

œ

˙

- - - - - - -

- - - - - - -

- - - - - - - - - -

- - - - - - - - - -

Man. II

76

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

44

œ œ œ œnJœ jœ

ve nit, qui

.œjœ œ

no mi ne

œœ œ œ œ

ve nit in

œn œ œb

JœJœb

ve nit, qui

44

œ œ œ œn œ œ.œ

Jœ œ

œn œ œ œb œ œb

‰œn œ œ

œ

œ œ œ œ

jœ jœ

ve nit in

.œjœjœ

jœ

Do mi ni, in

œœ œ œ

jœjœ

no mi ne, in

œn œ œb

Jœjœ

ve nit in

œ œ œ œ œ œ.œ

Jœ œ

œn œ œ œb œœœ

œœ œ œ

jœ ‰

.˙

no

œ œ œ

no mi ne

œ œœ œ œ œ

no mi ne

œn œœ œ œ œ

no mi ne

.˙

œœn

œœ

œœœœœœb œœ

∑

Jœ jœ œ œ

jœ

jœ

mi ne Do mi

˙ œ

Do mi

˙ œ

Do mi

˙

œ

Do mi

œ

œ

p

œ œ œ œ

œ.˙œ œœ

Œ Œ œ

œ Œ Œ

ni.

œ

Œ Œ

ni.

œ Œ Œ

ni.

œŒ Œ

ni.

jœ ≈

œn

f

.œœ .œ œ

J

œœ≈ œn .œ œ .œ œ&

?

jœ≈œn .œ œ .œ œ

- - - - - - - - - -

- - - - - - - -

- - - - - - -

- - - - - -

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

49

‰

Tutti.jœ

fjœjœ

jœJœ

O san na in ex

‰

Tutti.jœn

fjœjœjœjœ

O san na in ex

‰

Tutti.

Jœf

JœJœJœJœ

O san na in ex

‰

Tutti.jœ

f

Jœ

Jœ

Jœ

Jœ

O san na in ex

49

œœœn

F

œ œ œ

œ

œ ‰

˙

Jœ œ œ

œ Œ Œ

œ œ ‰Jœ

cel sis, o

.œ œ œ‰jœ

cel sis, o

.œ œ œ ‰Jœ

cel sis, o

œ œ ‰Jœ

cel sis, o

œ.œ

f

œœœœ œn œ œ

œœœ

.œ

.œœ œ œ œ

œ œœ

Œ Œ œ

œ œ ‰Jœ

san na, o

.œ œ œ‰jœ

san na, o

.œ œ œ ‰Jœ

san na, o

.œ œ œ‰ Jœ

san na, o

œ

.œ œœœ

œ œ œ œœœœ

..œœœœœœ œ œ

œ œœ

Œ Œœ

œ œ œ

san

.˙

san

œn œ œ

san

.˙n

san

œ œœn œ.˙

œn .˙nœ œ

∑

.˙

na.

.˙

na

.˙

na.

.˙

na.

˙˙œœœ

p..˙

∑

œŒ Œ

œ Œ Œ

œŒ Œ

œ

Œ Œ

œ

dolce

œ œ

œœ

œœ œœ

œœ

‰ œ œ œ&?

∑

- - - - - - - -

- - - - - - - -

- - - - - - - -

- - - - - - - -

Man. I

Man. II

[strings]

77

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

55

∑

Œœ

^

œ

^

in ex

∑

∑

55 œœ œœœœœœ œœ œœ

œ œ œ˙

œ œ œ

∑

‰ Jœf

jœ

jœ

jœ

jœ

O san na in ex

œ œ œ

cel sis, o

‰ jœ

f

Jœ

JœnJœb

Jœ

O san na in ex

‰Jœf

JœJœJœJœ

O san na in ex

.œS

œ œ œ

.œ œn œb

Jœ

.˙

œ .œjœ

cel sis, o

.œjœ œ

san na, o

œ œœ

cel sis, o

˙ œ

cel sis,

‰ œœ œ œ œœ .œ

Jœ

.˙

œ œœ

.˙

œ>.œjœ

san na, o

.œ>

jœ œ

san na, o

œ œœ

san na, o

˙ œ

in ex

‰ œœ œ œ œœ

S

.œ

Jœ

.˙

œ œœ

.˙

œ>œ .jœrœ

san na in ex

.œ>

jœ .jœrœ

san na in ex

œ œ

jœJœ

san na in ex

.˙

cel

‰

jœ ‰

jœ ‰jœ

œ

S

œ œ

.˙

œ œ œ

.˙

œ œ œ œ

cel

˙œ

cel

˙ œ

cel

.˙

‰ œ œ œ œ

.˙

.˙˙ œ

.˙

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

&

&

V

?

&

?

?

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

S

A

T

B

Org.

61

˙jœ ‰

sis.

˙jœ‰

sis.

˙Jœ ‰

sis.

˙jœ‰

sis.

61 œ

œ

pdolce

œ

œœœœœœ‰ J

œœœ‰ J

œœœ

œŒ Œ

∑

∑

∑

∑

œ œœ

‰ J

œœœ‰ J

œœœ‰ J

œœœ

∑

∑

∑

∑

∑

œn œœœœ

sfp

‰ J

œœœ‰ J

œœœŒ

Œ Œœ

∑

∑

∑

∑

..

.˙˙

‰ . R

œœœ.πœœœ. œœœ.

.˙

∑

∑

∑

∑

..

.˙˙

U

...˙˙

U

.˙

U

Man. I

78

&

&

V

?

&

?

?

43

43

43

43

43

43

43

Soprano

Alto

Tenor

Bass

Organ

Andante. q»¶™

Œ œ

π

œ

Ag nus

Œ œ

π

œ

Ag nus

Œ œ

π

œ

Ag nus

Œœπœ

Ag nus

∑

∑

∑

œ ˙

De i,

œ ˙

De i,

œ ˙

De i,

œ ˙

De i,

∑

∑

∑

œ Œ Œ

œ Œ Œ

œ Œ Œ

œŒ Œ

≈œ œ œœœ œ œœœ œ œ

œœ.

p

œœ.

‰jœœ.

.˙

œ. œ.‰jœ.

Œ Œ œ œ

qui

Œ Œœ

qui

Œ Œ œb œ

qui

Œ Œ œ

qui

œ œ œ œœœ œ œœœ œ œ

œœ.

œœ.

Œ˙ œ œ

œ. œ.‰jœ.

.˙bS

tol

.˙

S

tol

.˙

S

tol

.˙

S

tol

≈ œ œ œœbœ œ œœœ œ œ

œœœœ

‰

jœœ.˙b

œ. œ.‰jœ.

- - - - - -

- - - - - -

- - - - - -

- - - - - -

AGNUS DEIMan. II foundations 8'Man. I light principal, II-IPed. 16, 8, II-ped

Man. I

Man. II

[violins]

79

&

&

V

?

&

?

?

S

A

T

B

Org.

6

˙ ‰jœ

lis, qui

˙‰ jœ

lis, qui

˙ ‰jœ

lis, qui

˙# ‰jœ

lis, qui

6

œ œ œ œœœ œ œ

œœ œ œ

œ

œ

œ ‰

jœ

.˙

œ# . œ.‰jœ.

œ œ œ

tol lis pec

œ œ œ

tol lis pec

œ œœ

tol lis pec

œ œ œ

tol lis pec

≈œ œ œœœ œ œœœ œ œ

œœ

œ œœœ œ œ

œ.

œ.

œ.

˙f

œ

ca ta

˙

f

œb

ca ta

˙f

œ

ca ta

œ

f œ œ

ca ta

œ

f

œ œ œœœ œ œœbœ œ œ

œœ

œœ

œœ˙ œb

œ

œ œ

.˙

mun

.˙

mun

.˙

mun

.˙

mun

≈œ œ œœœ œ œ

œœ œ œ

œ œ ‰

jœ

.˙

˙‰jœ

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

10

˙ Œ

di,

˙Œ

di,

˙ Œ

di,

˙Œ

di,

10

œ

p

œ œ œœœ œ œ

œœ œ œ

œœ

œœ

Œ

œ œ Œ

œ

pœ

œ

mi se

∑

∑

∑

≈œ œ œœœ œ œœ œ œœ

œœ

œ˙ œ

˙ œ

˙ œ#

cresc.

re re

œ

p

œœ

cresc.

mi se

∑

∑

≈ œ œœ œœ œœ œ œ œ œ

˙ œ#œ œ

œ

œ œ œ

œ œ œ

no

˙ œ

re

œ

Fœ

œ#

mi se

∑

≈œ œ œœœ œœ ≈ œ œ#

œ

œ

Fœ œ

˙ œ

˙œ

- - - - - - - - - -

- - - - - - - -

- - - -

80

&

&

V

?

&

?

?

S

A

T

B

Org.

14˙ œ

fœ

bis, mi se

˙

œfœ

re, mi se

˙ œb

re re,

œ

f œb œb

mi se

14œ

f

œœ œ œ œ

œb œœ œ œ œ

.˙ .˙

œ œb œb

œ œœ œ

re re, mi se

œ œ œ œ

re re, mi se

œn

fœ œ

mi se

œ œ œ œ

re re, mi se

œ œ œn œ œ# œœ œœœ œœ

œ œœ

œ œn œ

˙

œ

œœ œ

re re

œ œ œ

re re

œ œ œ

re re

œ œ# œ

re re

œ œ œœ

≈œ œ œ œ œ

œ# œ

œœ œœœ œ

œœ# œ

˙ œ

no

œ œ œ œ

no

œ œ œ œ

no

˙ œ

no

≈œ œ œœ œ œ œ œ œ œ œ

˙ œœ œ œ œ

˙ œ

- - - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

18

˙# Œ

bis.

œ œ œ

œ œ œ

˙ Œ

bis.

18

≈œ œ œ≈œ

dim.

œ œ≈œ œ œ

.˙# œ œ œ

.˙

∑

œ

Œ Œ

bis.

œ œpœ

bis. Ag nus

Œ œpœ

Ag nus

œ

p

Œ Œ

œ Œ Œ

.˙

Œ œpœ

Ag nus

Œ œ

p

œ

Ag nus

œ ˙

De i,

œ ˙

De i,

∑

∑

˙Œ

œ ˙

De i,

œ ˙

De i,

œ Œ Œ

∑

≈ œ œ œœœ œ œœœ œ œ

.˙

πœœ

œœ

‰J

œœ

œ œ‰ jœ

œ Œ œ œ

qui

œ Œ œ

qui

Œ Œœb œ

qui

Œ Œ œ

qui

œ œ œ œœœ œ œœœ œ œ

˙ œ œœœb

œœ

‰J

œœ

œ œ‰ jœ

- -

- - - - - - -

- - - - - - - -

- -

81

&

&

V

?

&

?

?

S

A

T

B

Org.

23.˙bS

tol

.˙

S

tol

.˙S

tol

.˙S

tol

23

≈ œ

F

œ œœœ œ œœœ œ œ

.˙bœœ

œœ

‰J

œœ

œ œ ‰Jœ

˙ ‰Jœf

lis, qui

˙ ‰jœ

f

lis, qui

˙ ‰Jœf

lis, qui

˙# ‰Jœf

lis, qui

≈ œ œb œœœ œ œ

œœ œ œ

˙ ‰

jœ

œ œ

‰Jœ

œ# œ ‰Jœ

œ œb œ

tol lis pec

œb œ œ

tol lis pec

œb œ œ

tol lis pec

œ œb œ

tol lis pec

≈

f

œb œ œœœ œ œœœ œ œ

œœb œœœœ

œ œb œ

˙ œ

ca ta

˙b œ

ca ta

˙b œ

ca ta

˙bœb

ca ta

≈œ œ œb

œbœ œ œœ œœ œ

˙.˙b

œœ

˙bœb

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

27.˙b

mun

.˙

mun

œ œ œb

mun

.˙

mun

27

≈œb œ œœœ œ œœœ œ œ

.

.˙˙b œ œ œb

.˙

˙ Œ

di,

˙#Œ

di,

˙ Œ

di,

˙ Œ

di,

œ# œœ œ# œ

œ# œ œb œ œ œb œ

˙˙# Œ

˙ Œ

∑

œ

p

œbœ#

mi se

∑

∑

œ

p

œbœœ#

‰Jœ œ œ œn œb œ

˙ œ

∑

˙ œ

re re

∑

œ

pœbœ#

mi se

˙˙

œœ

‰Jœ œ œ œ œb œ

˙b œ

œ

Fœb

œn

mi se

˙b œb

no bis,

∑

˙ œn

re re

œœœb

cresc.

œœœb

œœœnb

‰ Jœ œ œ œb œb œ

˙ œ

- - - - - -

- - - - - - -

- - - -

- - - - - - -

Man. II

Man. I [violas]

82

&

&

V

?

&

?

?

S

A

T

B

Org.

32

˙ œ

re re

˙ œ

mi se

œ

Fœb

œn

mi se

˙b œ

no

32

˙œœ

œœœ

‰ Jœ œ œ œb œb œœn

˙b œ

œb œ œfœ

no bis, mi se

œ œœfœ

re re, mi se

œ œb œfœ

re re, mi se

.œ ‰

œf œ

bis, mi se

œb .

f

œœ œœ œ œ

œœbœœœœ

œ œ œ

œb œ œ œ

re re, mi se

œ œb œ œ

re re, mi se

œ œb œ œ

re re, mi se

œb œ œ œ

re re, mi se

≈ œœbœb œ œ

≈œœ œ

œœb œœ œœ

œb

œb

œ

.˙bS

re

.˙bS

re

˙b

Sœb

re

.˙S

reœb

S

œ

≈

œ œb œn œ œ œb œb

...˙˙˙bbb

.˙

˙b œπœ

re, mi se

˙ Œ

re,

˙bŒ

re,

˙bŒ

re,

œ œb œb œ

jœ.

‰œ

π

œb œ

œœb œœ œ

œb

œb

œ

- - - - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - -

- - - - - - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

37œb œnœ

re re,

∑

Œ Œœbπœ

mi se

∑

37œ œnœœ# œ œ

œ œn œb>

œn œb œ

˙b œœ

mi se

Œ Œ

œ

π

œ

mi se

œb œœ

re re

Œ Œ œb

π

œ

mi se

˙b

dolce

œœ˙œ

œ œœ

˙ œb

˙ œ

re re

œ œ# œœ œb

re re

œb œ œœ œ

no

˙ œ

re re

.˙œ œ# œ

œ œb

œb œ œœ œ

.˙

œ ˙#>no

˙ œ

no

˙b œ

bis.

.˙

no

œ ˙#>˙ œ

˙b œ

.˙

œ Œ Œ

bis.

œb

Œ Œ

bis.

Œ œpœ

Ag nus

œ

œbpœ

bis. Ag nus

œœb

Œ Œ

œœ Œ Œ

œŒ Œ

Œ œb

p

œ

Ag nus

Œ œ

p

œ

Ag nus

œb ˙

De i,

œ ˙b

De i,

∑

∑

∑

œ ˙b

De i,

œb ˙

De i,

∑

œŒ Œ

≈ œ

π

œ œbœbœ œ œœœ œ œ

œœb œœ‰ J

œœ

œb œ ‰Jœ

- - - - - - -

- - - - - -

- - - - - - - - -

- - - - - -

Man. I Man. II

Man. II

Man. I

83

&

&

V

?

&

?

?

S

A

T

B

Org.

44

œ Œ œb œ

qui

œ Œ œ

qui

Œ Œ œb œ

qui

Œ Œ œb

qui

44

œb œ œ œbœbœ œ œœœ œ œ

˙b œb œœœb œœ

‰Jœ

œb œ ‰Jœ

.˙bS

tol

.˙

S

tol

.˙bS

tol

.˙bS

tol

≈ œ

F

œ œbœbœ œ œœœ œ œ

.˙bœœb œœ

‰J

œœ

œb œ ‰Jœ

˙ ‰Jœ

f

lis, qui

˙ ‰jœ

f

lis, qui

˙b ‰Jœf

lis, qui

˙n ‰Jœf

lis, qui

≈ œb œb œœœ œ œ

œœ œ œ

.˙œœb œœ

‰J

œœ

œn œ ‰Jœ

œ œb œ

tol lis pec

œb œ œ

tol lis pec

œb œ œ

tol lis pec

œ œb œ

tol lis pec

≈ œb œ œœœ œ œ≈ œ œb œ

œœb

f

œœœœ

œ œb œ

- - - - - -

- - - - - - -

- - - - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

48˙ œ

ca ta

˙b œ

ca ta

œbœ œb

ca ta

˙b œ

ca ta

48

≈œ œb œb

œbœ œ œ ≈

œ œ œ

.œœbb

œœ

œœ

œb œ œ

.˙bS

mun

œ œ œb œ

mun

.˙bS

mun

.˙bS

mun

≈œb œ œb œ œ

œ œ≈

œb œb œ

..˙bb œb œ œb œ

œb

œb

œ

˙Œ

di.

˙b Œ

di.

˙Œ

di.˙b

Œ

di.

œ œb œb œ œœn œb œ œb

>œ>

œœœbb ..œœ

J

œœ

œb

œb

œ œ

Œœfœ

Ag nus

Œ œb

f

œ

Ag nus

Œ œnf œ

Ag nus

Œœnfœ

Ag nus

œn

^ œ

f

œn

œœbœœn œœœ

œn ˙

- - - - - - - - -

- - - - - - - -

- - - - - - - - -

- - - - - - - - -

Man. I

84

&

&

V

?

&

?

?

S

A

T

B

Org.

52œb ˙

De i,

œb ˙

De i,

œ ˙b

De i,œ ˙

De i,

52

≈ œ

œ

marc.ƒ

œ

œ

œ

œ

.œb œœ œb œ

3

œœbb œ

.œ œœ œb œ

3

.˙

Œœb œ

ag nus

Œœ# œ

ag nus

Œ œœb

ag nus

Œœb œ

ag nus

Œœb

˙#œ

.˙bŒ œ œb^

.˙b

^

œS

œ ‰Jœ

p

De i, qui

œn

S

œ‰ jœ

p

De i, qui

.œn

Sœ œ ‰

jœ

p

De i, qui

œbSœ‰Jœp

De i, qui

œ˙nœœ

dim.

œœ

.œn œ œ œœ œ

‰J

œœ

œ œ‰Jœ

œ .œjœ

tol lis pec

œ .œjœ

tol lis pec

œ .œjœ

tol lis pec

œn œ œb

tol lis pec

œ

˙

p

œ ‰jœœ

‰ Jœ œ œ œb œb œ

S

˙n œb

˙ œb

ca ta

˙ œ

ca ta

˙ œ

ca ta

œ œ œ

ca ta

˙˙n

œœb

‰ Jœ œ œ œb œ œ

œ œ œ

.˙b

mun

.˙

mun

.˙n

mun

.˙#

mun

..˙b

..˙n#

Œ˙

- - - - - - -

- - - - - - -

- - - - - - -

- - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

58

˙Œ

di,

˙

Œ

di.

˙n Œ

di.

˙Œ

di,

58

œœ

‰œœœJ

œœœ œ

œ‰

œ œb œ

œŒ Œ

∑

∑

∑

∑

œœœ

b

Œœœœ œ

pœ œ œœ œb œ

∑

∑

∑

∑

∑

œœœ

b Œœœ

œ œ œœ

œ œ

Œ Œœb œ

∑

∑

∑

∑

œ œ˙b

.˙b

˙œb

∑

∑

∑

∑

œ˙#œ œ

.œJœb œn œ

˙bœn

∑

∑

∑

∑

˙n œœ œ œb

œ œ# œn

˙ œ

∑

∑

∑

∑

œ˙.œJœb œ

.œJœ œ œœ

.˙

∑

∑

˙

p tranquillo

L'istesso tempo.

œ

do na

∑

˙tranquillop

L'istesso tempo.

œ

œ œ œ œ Jœ œ Jœ

.˙π

-

Man. II

Man. I Man. II

[strings] Both hands Man. I

(add)

85

&

&

V

?

&

?

?

S

A

T

B

Org.

66

∑

∑

˙ œ

no bis

∑

66

˙ œ

œœ œ œ Jœœ Jœ

.˙

∑

∑

˙œ

pa

∑

˙œ

œ

œ œ œ# Jœ œJœn

.˙

∑

∑

˙ œ

cem,

∑

˙ œ

œ œ œ œ

Jœ œjœ

.˙

∑

˙

p

œ

do na

œœb œ

do na

∑

œ œ œ œ œœ

œœœ

œ œ

œb œ

.˙

∑

˙b œ

no bis

˙ œ

no bis

∑

˙b œœ œ œ œ

Jœ œ Jœ

œœ œ

.˙

∑

˙œ

pa

œ œ œ œ œ

pa

∑

˙œ

≈ œ œn œ

Jœ .œ

œœ œ œ œ

.˙

- - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

72

∑

˙ œ

cem,

œœ œ

cem,

∑

72

˙ œœœ œ œ

jœœjœ

œœ œ

.˙

˙

pœ

do na

œ œ œ

do na

œ œb œ

do na

∑

œ œœ œ

jœ œ

jœ

œ œ

œ

œb œ

.˙

˙ œ

no bis

œn œ œ

no bis,

œb ˙

no bis,

∑

œ œ œ œjœ œ

jœœn

œœ œœ

œb ˙

.˙

˙œ

pa

œb œ œ

no bis

œ .œ#jœ

no bis

∑

œ œ œ œ#

jœœ jœ

œœb œ œ

œ ˙#

.˙

.˙

cem,

˙ œ

pa

œœ œn

pa

∑

œ œ œ œ#

jœœ

jœ˙ œ

œœ œn

.˙

- - - - - -

- - - - - - - - -

- - - - - - - - - -

86

&

&

V

?

&

?

?

S

A

T

B

Org.

77

Œ œb

dolce

œ

do na

˙ Œ

cem,

œ œŒ

cem,

˙

pœ

do na

77

œ œœ œ

jœb

˙

œjœ

œ œ œ

.˙

˙ œ

no bis

Œ œ œ

do na

∑

˙b œ

no bis

œœ œ œjœ œ

jœ

˙b œœ œ

œ

.˙

˙b

S

œ œ

pa

œ œ œnpa

∑

˙œ

pa

œ œ œb œ

jœœ œ œœ

jœ

œœb

œœ œœ œ

.˙

œ

œœ

cem, do

˙

Œ

cem,

∑

˙ œ

cem,

œ

œœ

œœ œ

jœœjœ

œœ œœœ

.˙

.˙

na

Œ œœ#

do

˙

F

œ

do na

˙ œ

do na,

œ

F

œ œ œ

Jœ œ

Jœ

œœœ

œœœœ#

.˙

- - - - - - -

- - - -

- - - -

- - - - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

82

ŒœF

œ#

pa

.˙

na

˙ œ

no bis

ŒœF

œ

do na

82

œ˙ œœ#

œœœ

bœn œ œ# œ

œ

œ œ œ

.˙

.˙

cem,

Œ œF

œ

pa

˙œ

pa

˙ œ#

pa

œbœœœ œ œjœœ Jœ

œ œœœœ#

.˙

Œœfœ

do na

.˙b

cem,

œœfœ

cem, do na

˙Œ

cem,

œ œ œb œJœœ jœ

œb˙œ œœ

.˙

˙ œ

no bis

œ œ œ œ

do na

œ œb œ

pa cem,

˙

fœ

do na

œœ

f

œ œ œ

jœœ jœ

œ œb œœ

.˙

˙ œ

pa cem.

Œœ œ

pa cem,

∑

˙b œ

no bis,

œ˙ œœ œ œ

Jœ.œ

˙b œ

.˙

- - - - - - -

- - - -

- - - - - - - -

- - - - - - -

87

&

&

V

?

&

?

?

S

A

T

B

Org.

87

˙b œ

do na

˙

f

œ

do na

∑

œ œ œ

do na

87

œ˙ œœb œ œjœ

œ

jœ

œ œ œ

.˙

œ œ œ

pa cem,

˙b œ

no bis,

∑

˙ œ

no bis

œ œ œb œJœ

œ

jœ

œ˙ œ œœ

.˙

Œ œnmarc.œœ

do na

˙ œ

do na

˙

f

œ

do na

œ œ œ

pa

œ œ œ œjœn œ

jœ

œœœ

n œœœœ

.˙

.œ

jœ œ

pa cem,

˙ œ

no bis,

˙ œ

no bis,

œ Œ Œ

cem,

œ œ œ œ

Jœœ œœ Jœ

˙ œœŒ Œ

.˙

˙

f

œ

do na

Œœ œ

do na,

˙ œ

no bis

˙f œœ

do na

˙œ

≈œ# œn œ

Jœœ

Jœ

˙œœ

œœ

œœœ

.˙

- - - - - - - -

- - - - - - - - - -

- - - - - - - -

- - - - - - -

&

&

V

?

&

?

?

S

A

T

B

Org.

92˙ œ

pa cem,

Œœ œ

do na

˙ œ

pa cem,

.œJœ œ

no bis,

92œ œ# œn œ

Jœœ Jœ

.œ œ

˙˙œ œ

œœœ

.˙

˙ƒ

œ

do na

œ

ƒ

˙

pa cem

.œƒ

Jœ œœ

do na

˙bƒ

œ

no bis

≈

ƒ

œ œb œ

Jœœ Jœ

˙œ

œœœ

b œœœ

œœœ

œœœ

œœœ

œœœ

.˙

˙b œ

no bis

Œ œ œ œ

do na

. .œRœ œ

no bis,

˙ œœ

pa cem,

œ˙b œœ œ œ

Jœœ

jœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

.˙

˙œ

pa

œ œb œ

no bis pa

˙ œ œ

no bisœ œn œb

do na

œ˙

œ

œ œ œ

Jœ

œ

Jœ

œ

œ˙

œ

œ

n œœœ

b

.˙

˙œ

cem,

œ˙

cem,

œ ˙

pa cem,

œ œ œb

pa cem,

œ

dim.

˙œ

œ œ œ

Jœ

œ

Jœ

œœœ

b œœœœb

.˙

- - - - - - - - - - -

- - - - - - -

- - - - - - - - -

- - - - - - - -

88

&

&

V

?

&

?

?

S

A

T

B

Org.

97

.˙np

do

Œœ

p

œ

do na

Œ œpœ

do na

œ œbpœ

do na

97

œœœnb

p

œ œœ œ œœnœ‰

jœ

œœœœœœ

.˙

.˙

na

œb œ œ

no bis,

œ œ œ

no bis,

œ œ œb

no bis,

‰ jœ-

‰ jœ-‰jœ-œb œ œ

.˙œœœ œœb

.˙

œ

π

œ œb

no bis

˙

π

œ

no bis

˙

π

œ

no bis

œπœ œ

no bis

‰

π

jœ.

‰jœ.

‰ jœb .

˙ œœ

œb œ œ.˙

.˙

œ œ œ

pa

.˙pa

œb ˙

pa

œ œ œ

pa

‰

jœ.

‰jœ.

‰jœ..˙

œœb œ œ.˙

.˙

.˙

cem.

.˙

cem.

.˙

cem.

.˙

cem.

≈œ

p

œ œœœ œ œœœ œ œ

Œ..œœ

J

œœ

.˙

jœ ‰ Œ Œ

.˙

.˙

.˙

.˙

..˙

œœ

œ

π

œ œ.œ œ

&

.˙

jœ‰

jœ‰

jœ‰

- - - - - - -

- - - - - -

- - - - - -

- - - - - -

&

&

V

?

&

&

?

S

A

T

B

Org.

103

œŒ Œ

œ

Œ Œ

œ Œ Œ

œ Œ Œ

103˙

Œ

˙Œ

≈ œ œ œœœ œ œ

œœ œ œ

?

.˙

∑

∑

∑

∑

..˙

‰

π

j

œ œœ.œ œ

.˙

jœ ‰

jœ ‰

jœ ‰

∑

∑

∑

∑

˙

π

Œ

˙ ‰jœ

.˙

jœ ‰jœ ‰ Œ

∑

∑

∑

∑

..˙

˙

Jœ ‰Jœ ‰ ‰

Jœ

.˙

∑

∑

∑

∑

..

.

˙

˙

U

.

.

.

˙˙˙

U

.˙

U

Man. II

Man. II{R.H. Thumb}

89

BIBLIOGRAPHY

Bomberger, E. Douglas. “Rheinberger, Boulanger, and the Art of Teaching Composition.” Journal of Music Theory Pedagogy 12 (1998): 53-64.

Buck, Dudley. Choir Accompaniment: Illustrations in Choir Accompaniment with Hints

in Registration. Boston: Wayne Leupold, 1992. Dubois, Théodore. The Seven Last Words of Christ, organ score by Norris L. Stephens.

New York: G. Schirmer, 1959. Duruflé, Maurice. Requiem, pour soli, orchestre et orgue, op. 9. Paris: Durand, 1948. Ellingford, Herbert F. The Art of Transcribing for the Organ. New York: H. W. Gray,

1922. Fauré, Gabriel. Requiem, op. 48, pour soli, choeur et orchestre symphonique: Version de

concert, 1900, éditée par Jean-Michel Nectoux. Paris: J. Hamelle, 1998. Fauré, Gabriel. Requiem, orchestra parts. Alexandria, IN: H. T. FitzSimons, 1987. Fauré, Gabriel. Requiem, organ score. Edited by John Brock. Alexandria, IN: H. T.

FitzSimons, 1988. Fauré, Gabriel. Requiem, organ Score. Edited by John Rutter. Chapel Hill, N.C.:

Hinshaw Music, 1984. Gmeinwieser, Anton Würz/Siegfried. “Rheinberger, Josef (Gabriel).” In The New Grove

Dictionary of Music and Musicians, 2nd edition, ed. Stanley Sadie. London: Macmillian, 2001. 21: 257-58.

Grace, Harvey. The Organ Works of Rheinberger. New York: Novello, 1925. Handel, George Frideric. Der Messias. Leipzig: C. F. Peters, 1939. Handel, George Frideric. Messiah. Edited by Watkins Shaw. London: Novello, 1966.

90

Handel, George Frideric. Messiah, organ score by Warren Hutton and Mary Lou

Robinson. New York: G. Schirmer, 1961. Irmen, Hans-Josef. Thematisches Verzeichnis der musikalischen Werke Gabriel Josef

Rheinbergers. Regensburg: G. Bosse, 1974. Lemare, Edwin H. The Organ Music of Edwin H. Lemare: Series I (Original

Compositions). Edited by Wayne Leupold. Boston: E. C. Schirmer, 1990. Liber usualis. Great Falls, MT: St. Bonaventure Publications, 1997. Lindley, Simon. Aspects of the Art of Accompaniment: an Address to the Durham

Seminar of the Royal College of Organists, October, 1998. http://www.simonlindley.org.uk/accompaniment.html

Ochse, Orpha. The History of the Organ in the United States. Bloomington: Indiana

University Press, 1975. Rheinberger, Josef Gabriel. Messe in C, op. 169. Edited by Wolfgang Hochstein.

Stuttgart: Carus, 1994. Rheinberger, Josef Gabriel. Messe in C, soli, chorus and orchestra. New York: Edwin F.

Kalmus. Shenton, Kenneth. “‘His Position Is Next to Bach Himself’: Josef Rheinberger 1831-

1901.” Organist’s Review 87/344 (November 2001): 315-19. Vail, James. “The Use of the Organ Transcription in Choral-Orchestral Works.” The

American Organist 34/2 (February 2000): 68-71. Williams, Peter and Barbara Owen. The New Grove Organ. New York: W. W. Norton,

1988.

91

BIOGRAPHICAL SKETCH

James Edward Lorenz was born on July 28, 1974, in Kingston, New York. His

first keyboard lessons were given by his grandmother Etta Doyle, when he was only 5.

Having continued to progress in music through public school, he played baritone horn

and eventually tuba for the school bands. He began private organ study at the age of 15

with Barbara Lottridge, the organist of the historic Old Dutch Church in the Stockade

District of the City of Kingston. In 1990 he was appointed organist of the First

Congregational Church in Saugerties, New York, and assumed the dual role of Organist

and Choir Director a year later.

In 1992 Lorenz began his college career at Concordia College, in Bronxville, New

York, under the direction of Dr. Richard Heschke. He received a Bachelor of Music

degree in Church Music in 1996, graduating cum laude. In 1997 he married Jill Henry

and moved to Tallahassee, Florida, to attend The Florida State University and continue

study with Michael Corzine. While in Tallahassee, he was employed by Trinity United

Methodist Church as the organist and helped to design and install a new pipe organ for

the church. He earned a Master of Music degree in Organ Performance from The Florida

State University in 2000 and immediately began work on the doctorate.

Lorenz is the Organist and Choirmaster at St. Luke’s Episcopal Church, Fort

Myers, Florida. He has played recitals as a guest artist throughout Florida, as well as his

native New York State. He is a past officer of local chapters of the American Guild of

Organists and a member of Pi Kappa Lambda, the national music honor society.

92