John Harbison
BUT MARY STOOD Sacred Symphony for Soprano (or Mezzo) Six Voice Chorus and Strings (single or small Orchestra)
Full Score
From the Rental Library of G. Schirmer, Inc. Date of printing:___________________
Associated Music Publishers, Inc. New York, NY
John Harbison
BUT MARY STOOD Prelude.....................................................................1 Strings
I. Charity Never Faileth.........................................6 SATB motet
II. Let Not Your Heart Be Troubled.....................16 SATB motet
III. But Mary Stood.................................................26 Solo soprano, chorus, and strings
commissioned by the Cantata Singers and Ensemble in honor of David Rockefeller, Jr. David Hoose, Music Director Boston, Massachusetts 2006 First performance: Sunday, 19 March, 2006 by the Cantata Singers, David Hoose, conductor duration ca. 19 minutes
Associated Music Publishers, Inc. New York, NY
Program Note But Mary Stood (2005) was commissioned by the Cantata Singers in honor of David Rockefeller, Jr. It begins with a Prelude for string orchestra, actually composed last. It is a summary of many of the musical questions posed in the other movements. Next come two choral motets, both resulting from requests from important women in my life: my mother-inlaw, Alice Pedersen, and my mother, Janet Penfield. These women were both political activists and religious seekers. They asked me (many years ago) to memorialize them with settings of their favorite scriptural passages. The word “Charity” frames the text from Corinthians and is set as a symmetrical musical emblem, held by forces from above and below. More ambiguous harmonies describe various states of incomplete knowledge. In Let Not Your Heart Be Troubled the aural picture contrasts the idea of the Consoled, remaining behind, with Christ in His upward journey. Much of this music was composed while working with the Cantata Singers on Bach’s St. John Passion. There, at the moment of Jesus’ death, the two Marys move to the center of the stage. Jesus’ words to John, “Behold your mother,” ignited the power of the anima in the prayers and iconography of early Christianity. Mary Magdalene, her presence both contrasting and complementary to Jesus’ mother, is the first to see that the tomb is empty, the first to meet the risen Christ, the first to report it. (“Do not touch me,” says Christ in the King James version. “Cease clinging to me,” is the 1976 translation by the Catholic Council.) John, the last gospel writer, responds to the longing for the Eternal Feminine: compassion, approachability, and sensuality. My concluding movement, But Mary Stood, for soprano, double choir, and string orchestra, proposes the soloist as both Narrator and Mary, the double choir as Jesus. These three characters each have their own vocabulary, family related. The setting envisions a Mary Magdalene who was the true intimate of Jesus, who understood, intellectually and intuitively, his purpose on earth. In composing a piece to honor longtime Cantata Singers leader and colleague David Rockefeller, Jr. I resolved to make something that would live close to the center of the themes typically associated with the Cantata Singers. All of us who have been involved with this organization have been grateful for the places the subject matter has taken us. This was at the heart of David’s devotion to the group, and I feel privileged to be able to add to our common legacy. – John Harbison
Chorus Sop., M-Sop. Ten.
Chorus Alto, Bar., Bass Contrabass Violoncello
Viola
Violin I Soloist
Violin II Conductor
Texts: Charity Never Faileth (1 Corinthians 13: 8-13 [KJV])
But Mary Stood (John 20: 11-18 [KJV])
Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away. When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things. For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known. And now abideth faith, hope, charity, these three; but the greatest of these is charity. Let Not Your Heart be Troubled (John 14: 1-4 [KJV]) Let not your heart be troubled: ye believe in God, believe also in me.
But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away my LORD, and I know not where they have laid him. And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away. Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.
In my Father's house are many mansions: if it were not so, I would have told you. I go to prepare a place for you.
Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.
And if I go and prepare a place for you, I will come again, and receive you unto myself; that where I am, there ye may be also.
Mary Magdalene came and told the disciples that she had seen the LORD, and that he had spoken these things unto her.
And whither I go ye know, and the way ye know.
to David Rockefeller,Jr., in friendship
BUT MARY STOOD John Harbison
Prelude Andante, semplice
= 60
1 solo
I Violin 1 solo II
Viola 1 solo Violoncello
Contrabass
6
1 solo tutti
I Vn. tutti
1 solo
II
Va. 1 solo tutti Vc.
Cb.
Copyright Š 2006 by Associated Music Publishers, Inc. (BMI) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by federal law and subject to criminal prosecution.
2
11
tutti
’
I Vn.
’
tutti
II
’ Va.
’
tutti
Vc.
’ Cb.
17
1 solo
I Vn.
1 solo
II
Va. 1 solo
Vc.
Cb.
23
tutti
I Vn.
tutti
II
Va. tutti Vc.
Cb.
3
1 solo
29
tutti
5
5
5
I 3
Vn.
1 solo
II pizz. Va.
Vc. pizz. Cb.
34 I
3
Vn.
3
tutti
3
arco Va. cresc. Vc. cresc. arco Cb. cresc.
cedendo
a tempo
’
I Vn.
’
II
’ Va.
’ Vc.
’ Cb.
3
3
3
3
3
3
II
39
3
4 45 I 3
Vn. II 3
Va. 3
in fuori Vc. arco pizz. Cb.
cedendo
51 I
3
3
3
3
3
3
3
3
legato
Vn. II
legato
Va. 3
Vc.
Cb.
a tempo 57
1 solo
I Vn.
1 solo
II
Va. 1 solo Vc.
Cb.
5 tutti 62 I Vn.
tutti
II
Va. tutti
Vc.
Cb.
66 I Vn. II
Va.
Vc.
Cb.
71
1 solo
I Vn.
1 solo
II
Va. 1 solo Vc.
Cb.
6
to Alice Pedersen
I. Charity Never Faileth Tempo giusto
= 63–69
Soprano Cha
ri
ty
ne
ver
fail
eth:
but whe ther there be
Cha
ri
ty
ne
ver
fail
eth:
but whe ther there be
Cha
ri
ty
ne
ver
fail
eth:
but whe ther there be
Cha
ri
ty
ne
ver
fail
eth:
but whe ther there be
Alto
Tenor 8
Bass
Tempo giusto
= 63–69
Piano (for rehearsal only)
7 S pro
phe cies,
they
shall
fail;
whe ther there be
tongues,
pro
phe cies,
they
shall
fail;
whe ther there be
tongues,
pro
phe cies,
they
shall
fail;
whe ther there be
tongues,
pro
phe cies,
they
shall
fail;
whe ther there be
tongues,
A
T 8
B
Pno.
7
12 S they
shall
cease;
whe ther there be know ledge,
it
shall
they
shall
cease;
whe ther there be know ledge,
it
shall
they
shall
cease;
whe ther there be know ledge,
it
shall
they
shall
cease;
whe ther there be know ledge,
it
shall
A
T 8
B
Pno.
17 S va nish a way.
For we
know in
part,
and we pro phe
sy
in
A va nish a way.
For we know
in part,
and we pro phe sy
T 8
va nish a way.
For we
know in
part,
and we pro phe
sy
in
B va nish a way.
Pno.
For we know
in part,
and we pro phe sy
8
22 S part,
For we know
in part,
and we pro phe sy
in part.
A in part,
For we
know in
part,
and we pro phe
sy
in
part.
T 8
part,
For we know
in part,
and we pro phe sy
in part.
B in part,
For we
know in
part,
and we pro phe
sy
in
part.
Pno.
27
cresc.
dim.
S But when that
which is per fect
is
come,
then that
which is
in
part
shall
cresc.
be dim.
A But when that
which is per fect
is
come,
then that
which is
in
part
shall
be
cresc. T 8
But when that
which is
per fect
is
come,
then that
which is
in part shall
then that
which is
in part shall
cresc. B But when that
Pno.
which is
per fect
is
come,
9
33
(dim.)
staccato
S done a
way,
a
way.
When I was a child,
(dim.)
staccato
A done a
way,
a
When I was a child,
way.
dim.
I
staccato
T 8
be done a
way,
a
way.
When I was a child,
dim.
I staccato
B be done a
way,
a
When I was a child,
way.
Pno.
38 S I spake as a child,
I
un der stood as a
child,
A spake as a child,
I
un der stood as a
child,
I
spake as a child,
I
un der stood as a
child,
I
T 8
B I spake as a child,
Pno.
I
un der stood as a
child,
10
42 S I thought as a child: but when I be came a man,
I
but when I be came a man,
I
A thought as a child:
T 8
thought as a child:
but when I be came a man,
B I thought as a child:
but when I be came a man,
Pno.
46
cresc.
S put a way,
I
put a way,
I
put a way
child
ish
I put a way, cresc.
I
put a way
child
ish
cresc. A put a way,
T 8
I put a way,
I put a way,
I put a way child
ish things,
I put a way,
I put a way child
ish things,
cresc. B I put a way,
Pno.
11
50 S things,
child ish things,
child ish things.
things,
child ish things,
child ish things.
For
now
we
For
now
we
A For
now
T 8
child ish things,
child
ish things.
child ish things,
child
ish things.
B For
now
Pno.
56 S see
through a
glass,
dark
ly,
For
A we
see
through a
glass,
dark
ly,
For
now
T 8
see
through a
glass,
dark
ly,
For
B we
Pno.
see
through a
glass,
dark
ly,
For
now
12
62
dim.
S now
we see
through
a
dark
glass,
ly,
but
dim. A we
see
through a glass,
dark
ly,
but
dim. T 8
now
we see
through
a
dark
glass,
ly,
but
dim. B we
through a glass,
see
dark
Pno.
68 S then
face
to
face,
face
to
face:
then
face
to
face,
face
to
face:
then
face
to
face,
face
to
face:
then
face
to
face,
face
to
face:
A
T 8
B
Pno.
ly,
but
13
74 S Now I
know
in
part,
now I know
in part;
but then
shall I
part;
but then
shall I
A Now I know
in part,
Now I
know
in
T 8
Now I
know
in
part,
now I know
in part;
but
then
part;
but
then
B Now I know
in part,
Now I
know
in
Pno.
79
dolce
cresc.
S know
e
as
ven
al
so
I
am
known,
as
al
so
al
so
dolce
cresc. A know
e
as
ven
al
so
I
am
known,
as
cresc.
dolce
T 8
shall I know
e
ven
as
al
so
I
am
known,
cresc.
as
al
dolce
B shall I know
Pno.
e
ven
as
al
so
I
am
known,
as
al
14
84 S I
am
known.
And
now
a
bi deth,
I
am
known.
And
now
a
bi deth,
so
I
am
known.
And
now
a
bi deth,
so
I
am
known.
And
now
a
bi deth,
A
T 8
B
Pno.
89 S faith
hope
cha
ri ty,
A and now
a
bi deth
faith
hope
cha
ri ty,
and now
a
bi deth
faith
hope
cha
ri ty,
cha
ri ty,
T 8
B faith
Pno.
hope
15
95 S these,
these
three;
but
the
great
est
these,
these
three;
but
the
great
est
these,
these
three;
but
the
great
est
these,
these
three;
but
the
great
est
A
T 8
B
Pno.
101
rit.
dim.
dim.
lunga
S of
these
dim.
is
rit.
cha
ri
ty. lunga
dim.
A of
these
dim.
is
rit.
cha
ri
ty. lunga
dim.
T 8
of
these
dim.
is
rit.
cha
ri
ty. lunga
dim.
B of
these
is
rit.
Pno.
cha
ri
ty. lunga
16 Janet Penfield in memoriam
II. Let Not Your Heart Be Troubled Poco allegro
= 72–80
non legato S 3
Let not non legato
your heart
be
trou bled,
Let
your heart
be
trou bled,
Let not non legato
your heart
be
trou bled,
Let
your heart
be
trou bled,
let
not
your
heart
let
not
your
heart
let
not
your
heart
let
not
your
heart
3
A not
non legato T 8
3
B 3
not
Poco allegro
= 72–80
3
Pno.
3
6
più legato
3
S be
trou bled. 3
You
be
lieve in
God,
più legato
A be
trou bled.
You
be lieve in
God, più legato
T 8
be
3
trou bled.
You
be
più legato B 3
be
trou bled. 3
Pno.
3
You
be lieve in
17
11
poco stacc.
S be lieve
al so poco stacc.
in
me,
be lieve
al so
in
me.
A be lieve
al so poco stacc.
in me,
be lieve
al
so
in me.
T 8
lieve in
God,
be lieve
al so poco stacc.
in
me,
be lieve
al so
in
B God,
be lieve
al
so
in me,
be lieve
al
so
Pno.
marcato
17
3
3
3
3
S In my
fa ther’s house,
in my
fa ther’s house
marcato 3
3
3
3
A In my fa ther’s house, marcato 3
in my fa ther’s house 3
3
T 8
me.
In my
3
fa ther’s house,
in my fa ther’s marcato
B in
3
me. 3
Pno.
3
3
3
3 3
3
3
3 3
3 3
3
In
18
21
, ma evidente; più legato
S are
ma ny man sions,
are ma ny
man sions,
are
ma ny man sions,
più legato 3
are
3
3
A ma
ny
man sions,
are
3
ma
ny
man sions,
più legato T 8
house
are
ma
ny
man
sions,
are
man
sions,
più legato
marc.
B 3
3
my fa ther’s house
are
ma
ny
man
sions,
in my
Pno.
3
3
26 3
S 3
marc. 3
3
3
In
my fa ther’s house
3
A marc. 3
In my
fa ther’s house,
in my fa ther’s house
3
3
3
T 8
in my fa ther’s house,
in my fa ther’s house più legato
B 3
3
fa ther’s house
in my
3
fa ther’s house
are 3
3
Pno.
3
3
3
3
3
3
3
3
3 3
3
19
30
pi첫 legato
accentato
S are
ma
ny
man
sions:
If
it
were
pi첫 legato A are
ma
ny
man
sions:
pi첫 legato 3
3
3
accentato
3
T 8
are
ny
ma
man
sions,
are
ma
ny
man sions:
If
B ma ny man
Pno.
sions,
3
are
ma ny
man sions,
are
ma ny
3
3
man sions:
3
35 S so,
not
I
would have
told
you.
A
T 8
it
were
not
so,
I
would
have
told
you.
accentato B If
Pno.
it
were
not
so,
I
would have
told
you.
20
41 S And if
I
go
and
A I
go
to
pre pare
a place
for
you.
And if
I
go
I
go
T 8
And if
B And if
I
go
and
Pno.
47
cresc.
S pre pare
a place
for
you,
and
if
I
go
and
cresc. A and
pre pare
a place
for you,
and
if
I
go
cresc. T 8
and pre pare
a
place,
and
if
and
if
I
go
cresc. B pre
Pno.
pare
a
place,
I
go
and
21
53
dolce, chiaro
cresc.
S pre pare
a place
for
you,
I
will
come
a
gain,
dolce, chiaro
cresc. A and
pre
pare
a
place
for you,
will
I
cresc. T to pre
8
pare
a
place,
cresc.
dolce, chiaro
B pre
pare
a
place,
I
will
come
Pno.
59
pi첫 animato
S and re
ceive
you
un
to
my
self:
I
A come
a
gain,
and re
ceive
you
un
to
my
self:
dolce, chiaro T 8
I
will
come
a
gain,
and re
ceive
you
un
to
my
B a gain,
Pno.
and re ceive
you
un
to
my self,
re
ceive
you
self:
22
64 S will
come
a
gain
and
re
ceive
you
un
to
my
self;
pi첫 animato A I
will
come
a
gain
and
re
ceive
you
pi첫 animato T I
8
will
come
a
gain
and
re ceive
pi첫 animato B un
to
my
self:
I
come
will
a
gain
and
re
Pno.
69 S that
where
I
am
that
where
there
A un
to
my
self:
you
un
to
ceive
you
I
am
that
where
T 8
my
self:
un
to
I
am
that
where
B
Pno.
my
self:
I
23
75 S ye
may
be
al
so,
al
A there
ye
may
be
al
so.
T 8
there
ye
may
be
al
B am
there
ye
may
be
al
Pno.
81
A tempo, galleggiante
cedendo
S so.
And
whi ther I
go
cedendo A And
whi ther
I
go
cedendo T 8
so.
And
whi ther,
and
And
whi ther,
and
cedendo
B so.
cedendo
Pno.
A tempo, galleggiante
24
87 S ye
know,
and the
way
ye
know,
and the
way
A
( sempre) T 8
whi ther
I
go
know ye ( sempre)
B whi ther I
go
ye
know
Pno.
93
leggiero
S ye
know,
and the leggiero
A ye
know,
T 8
and the
way,
and the
way,
B
Pno.
and the
25
99 S way
ye
know,
and the
way
way
ye
know,
and the
way
A
leggiero T 8
and the
way
ye
know,
and the way
way
ye
know,
and the way
leggiero B and the
Pno.
105 rit.
dolce dim.
S
rit.
dim.
ye
know.
ye
know.
dolce
A
rit.
dim.
dolce
T 8
rit.
dim.
ye
know.
ye
know.
dolce
B
rit.
Pno.
26
III. But Mary Stood
Con moto
= 100
Con moto
= 100
Chorus I
Soprano
MezzoSoprano
Tenor 8
Chorus II
Alto
Baritone
Bass
Solo Soprano
I Violin II
Viola cresc.
Violoncello cresc.
Contrabass cresc.
27
7 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
28
13 S
M-S
T 8
A
Bar.
B
Solo Sop. But
I Vn. II
Va.
Vc.
Cb.
Ma
ry
stood
with
29
20 S
M-S
T 8
A
Bar.
B
legato cresc. Solo Sop. out
I Vn. II
Va.
Vc.
Cb.
at the
se pul chre weep
dim.
30
27 S
M-S
T 8
A
Bar.
B
(dim.) Solo Sop. ing:
I Vn. II
Va.
Vc.
Cb.
31
34 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn.
non legato
dim.
II dim. Va. dim. Vc. dim. Cb. dim.
32
41 S
M-S
T 8
A
Bar.
B
Solo Sop.
3
I 3
Vn. II
Va.
Vc.
Cb.
drammatico
3
3
3
3
33
46 S
M-S
T 8
A
Bar.
B
legato Solo Sop. and
I Vn. II
Va.
Vc.
Cb.
as
she wept,
34
52 S
M-S
T 8
A
Bar.
B
3
3
Solo Sop. she stooped down,
and looked
in
to the
se pul chre,
I Vn. II
Va. flautando Vc.
Cb.
3
35
59 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va. ord. Vc.
Cb.
36
65 S
M-S
T 8
A
Bar.
B
Solo Sop. And
I Vn. II
Va.
Vc.
Cb.
seeth two
an gels
in white
sit ting,
the
one
at the
37
72 S
M-S
T 8
A
Bar.
B
legato Solo Sop. head, and the
I Vn. II
Va.
Vc.
Cb.
oth er
at the feet,
where the
bo dy
of
Je
sus
had
38
79 S
M-S
T 8
A
Bar.
B
Solo Sop. lain.
I Vn. II non legato Va.
Vc.
Cb.
39
86 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
40
92 S 1 solo M-S Wo
man
why
Wo
man
why
1 solo T 8
A
Bar.
B
chiaro Solo Sop. And they say un to
her
div. I Vn. II
Va.
Vc. (actual pitch)
Cb.
41
99 S
M-S weep
est
thou?
weep
est
thou?
T 8
A
Bar.
B
Solo Sop.
unis. I Vn. II
Va.
Vc.
Cb.
div.
drammatico
cresc.
42
105 S
M-S
T 8
A
Bar.
B
intenso Solo Sop. She saith un to
them,
Be cause
I Vn. unis. II
Va.
pizz. Vc. marc., sonoro pizz. Cb. marc., sonoro
they have
43
110 S
M-S
T 8
A
Bar.
B
Solo Sop. ta ken
I Vn. II
Va.
Vc.
Cb.
a
way
my Lord,
44
114 S
M-S
T 8
A
Bar.
B
Solo Sop. and
I Vn. II
Va.
Vc.
Cb.
I
know
not
where
they
have laid
him,
45
119 S
M-S
T 8
A
Bar.
B
Solo Sop. And
I Vn. II
Va.
Vc.
Cb.
when she thus
had said,
46
124 S
M-S
T 8
A
Bar.
B
Solo Sop. she
I Vn. II
Va.
Vc.
Cb.
turned
her
self back,
and saw
Je
sus
stan
ding,
and
47
131 S
M-S
T 8
A
Bar.
B
Solo Sop. knew
I Vn. II
Va.
Vc.
Cb.
not
that it
was
Je
sus.
Je
sus
saith un
to
her,
48
137 S Wo tutti
man,
Wo
man,
why
Wo tutti
man,
Wo
man,
why
Wo
man,
Wo
man,
why
Wo
man,
Wo
man,
Wo
man,
Wo
man,
Wo
man,
Wo
man,
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn.
div.
II
Va.
arco Vc. arco
div.
Cb. marc.
49
144 S weep
est thou?
weep
est thou?
weep
est thou?
M-S
T 8
cresc. A why
weep
est
thou,
whom
seek cresc.
Bar. why
weep
est
thou,
whom
seek cresc.
B why
weep
est
thou,
whom
seek
Solo Sop.
I Vn. II
Va.
div. Vc. cresc. unis. Cb. cresc.
50
149
cresc.
S whom
seek
est thou?
cresc. M-S whom
seek
est thou?
cresc. T 8
whom
seek
est thou?
(cresc.) A est thou? (cresc.) Bar. est thou? (cresc.) B est thou? chiaro Solo Sop. She,
I cresc.
Vn.
II cresc. Va. cresc.
Vc. (cresc.)
Cb. (cresc.)
sup pos ing
51
154 S
M-S
T 8
A
Bar.
B
intenso Solo Sop. him to
be the
gard en er,
saith
un
to him,
Sir,
if
I Vn.
unis.
II
Va. unis., pizz. Vc. marc., sonoro pizz. Cb. marc., sonoro
52
159 S
M-S
T 8
A
Bar.
B
Solo Sop. thou
I Vn. II
Va.
Vc.
Cb.
have
borne
him
hence,
53
163 S
M-S
T 8
A
Bar.
B
Solo Sop. tell
me
where
thou
hast
laid
him,
I Vn.
cresc.
II cresc. Va. cresc.
Vc. cresc.
Cb. cresc.
54
167 S
M-S
T 8
A
Bar.
B
Solo Sop. and I will take
I Vn.
(cresc.)
II (cresc.) Va. (cresc.)
Vc. (cresc.)
Cb. (cresc.)
him
a
way,
55
171 S
M-S
T 8
A
Bar.
B
Solo Sop. Je sus saith un to
I Vn. II
Va.
Vc. arco Cb.
her,
56
176 S Ma
ry.
Ma
ry.
Ma
ry.
Ma
ry.
Ma
ry.
Ma
ry.
M-S
T 8
A
Bar.
B
Solo Sop. She
I Vn. II
Va.
arco Vc.
Cb.
57
182 S
M-S
T 8
A
Bar.
B
Solo Sop. turned
I Vn. II
Va.
Vc.
Cb.
her
self
and
said un
to
him,
Rab
bo
ni;
58
188 S
M-S
T 8
A
Bar.
B
Solo Sop. which is
I Vn. II
Va.
Vc.
Cb.
to
say,
Mas
ter,
59
Meno mosso
rit.
194
= 88
S Touch
me
not;
Touch
me
not;
Touch
me
not;
rit. M-S
rit. T 8
rit. A Touch
me
not;
Touch
me
not;
Touch
me
not;
rit. Bar.
rit. B
Solo Sop. Je sus
saith un
to
rit.
her,
Meno mosso
= 88
div. I Vn. II
Va.
Vc.
Cb.
div.
60
200 S for
I
am
not yet
as
cen
ded
for
I
am
not yet
as
cen
ded
for
I
am
not yet
as
cen
ded
M-S
T 8
A for
I
am
for
I
am
for
I
am
Bar.
B
Solo Sop.
I Vn.
unis.
II div. Va.
Vc.
Cb.
61
206 S to
my
to
my
to
my
M-S
T 8
A not
yet
as
cen
ded
to
my
Fa
ther,
not
yet
as
cen
ded
to
my
Fa
ther,
not
yet
as
cen
ded
to
my
Fa
ther,
Bar.
B
Solo Sop.
I Vn.
div.
II unis. Va.
Vc.
Cb.
62
212 S Fa
ther,
to
my
Fa
ther:
Fa
ther,
to
my
Fa
ther:
Fa
ther,
to
my
Fa
ther:
to
my
Fa
ther:
to
my
Fa
ther:
to
my
Fa
ther:
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
but
63
218 S go
to my breth
ren,
and
say un
to
them,
M-S but
go
to my breth
ren,
and
say un
to
them,
T 8
but
go
to my breth
ren,
A but
go
to my breth
ren,
and
say un
to
Bar. but
go
to my breth
go
to my breth
ren,
B but
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
ren,
64
224 S
M-S
T 8
A them,
I
as
cend,
I
as
cend
I
as
cend,
I
as
cend
I
as
cend,
I
as
cend
Bar.
B
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
unis.
65
231 S I
as
cend
un to my
Fa
ther,
un to my
I
as
cend
un to my
Fa
ther,
un to my
I
as
cend
un to my
Fa
ther,
un to my
M-S
T 8
A un to my
Fa
ther,
un to my
Fa
ther,
un to my
Fa
ther,
un to my
Fa
ther,
un to my
Fa
ther,
un to my
Fa
ther,
unis.
div.
div.
unis.
Bar.
B
Solo Sop.
(div.) I Vn. div. II
div. Va.
Vc.
Cb.
unis.
66
237
cresc.
S Fa
ther,
and your
Fa
ther;
3
and to
3
my
God
and
your
God,
your
God,
your
God,
cresc.
3
M-S Fa
ther,
and your
Fa
ther;
and to
my
God
3
and cresc.
T 8
Fa
ther,
and your
Fa
ther;
3
and to
and your
Fa
ther;
and to
God
and cresc.
3
3
A
3
my
my
God,
and
your
God,
and your
cresc. Bar. and your
Fa
ther;
3
and to
my
God,
3
and
your
God,
and your
cresc.
3
B and your
Fa
ther;
and to
my
God,
3
and
your
God,
Solo Sop.
3
I Vn. II
3
unis.
div. 3
3
3
3
unis.
cresc. div.
div.
cresc. unis.
Va. cresc.
Vc.
3
3
cresc. 3
3
Cb. cresc.
and your
67
rit.
Tempo I
= 100
Tempo I
= 100
243 (cresc.) S and your
God.
rit. (cresc.) M-S and your
God.
rit. (cresc.) T and your
8
God.
rit. (cresc.) A God.
rit. (cresc.)
Bar. God.
rit. (cresc.) B God.
Solo Sop.
rit.
unis.
I Vn.
(cresc.)
II (cresc.) Va. (cresc.)
Vc. (cresc.) Cb. (cresc.)
unis.
68
249 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va.
Vc.
Cb.
5
5
6
69
255 S
M-S
T 8
A
Bar.
B
Solo Sop.
I
6
5
Vn. II sub.
Va. sub. I Vc. sub. non legato Cb.
70
261 S
M-S
T 8
A
Bar.
B
Solo Sop.
I Vn. II
Va. pizz. Vc. pizz.
*
IV
Cb. non legato *Harmonics sound as written.
I
71
267 S
M-S
T 8
A
Bar.
B
espr. Solo Sop. Ma ry
I Vn. II
Va.
Vc.
Cb.
6
72
272 S
M-S
T 8
A
Bar.
B
Solo Sop. Mag
I Vn. II
Va.
Vc.
Cb.
da lene
came
and
told
the dis
ci ples
that
she
had
seen
73
278 S
M-S
T 8
A
Bar.
B
dolce Solo Sop. the
I Vn. II
Va.
Vc.
Cb.
Lord
and that
he
had
spo
ken
these
things
un
to
74
285 S
M-S
T 8
A
Bar.
B
Solo Sop. her.
I Vn. II
Va.
arco Vc.
arco Cb.
75
291
lunga
S
M-S
T 8
A
Bar.
B
lunga
Solo Sop.
lunga
I dim. Vn. II dim.
Va. dim.
Vc. dim.
Cb.