Adamo GOSPEL OF MARY MAGDALENE vol 1

Mark Adamo

THE GOSPEL OF MARY MAGDALENE

FULL SCORE ACT I

From the G. Schirmer Rental Library Date of Printing_________

G. Schirmer, Inc. New York, NY

Mark Adamo

THE GOSPEL OF MARY MAGDALENE commissioned by San Francisco Opera David Gockley, General and Artistic Director

Adapted from the texts of, and research on, the Canonical and Gnostic Gospels

CONTENTS

ACT I Prolegomenon..............................................................1 Scene 1.......................................................................41 Scene 2.....................................................................107 Scene 3.....................................................................218 Scene 4.....................................................................323 Scene 5.....................................................................360

G. Schirmer, Inc. New York, NY

When religion becomes artificial, it remains for art to salvage the true essence of religion by perceiving its mythical symbols—which religion would have us believe to be the literal truth—only according to their figurative value, in order to make us see their profound, hidden truth through idealised representation. Richard Wagner

Why is there still a continuing sense, ranging from unease to revulsion, that arises in us when we hear the suggestion that Jesus might have been married? I suggest that far more than any of us realize, we are subconsciously victimized by the historic negativity toward women that has been a major gift of the Christian church to the world. J. S. Spong, Born of a Woman

If the Savior considered her to be worthy, who are you to disregard her? The Gospel of Mary, 10:9

SYNOPSIS ACT ONE One Midnight. Mary’s apartment. Mary Magdalene—wealthy, needy, searching—is rejected by yet another married man in whom she wants to “lose herself to find herself:” whom she wants to “hold and never let go.” His vengeful wife Tamar storms Mary’s bedroom and drives her into the street, terrifying Mary into near-madness: she’s about to have Mary stoned when the driven, haunted preacher Yeshua (Jesus) interrupts. When Tamar accuses Mary of adultery, Yeshua asks Tamar if she, herself, isn’t living with another man? Caught out, Tamar stalks out: gently, but also somewhat patronizingly, Yeshua talks Mary down from her trauma. She defends her affair as part of her search for meaning: Yeshua, oddly vehement, tells her she’s mistaken to look for it in erotic love alone. Mary asks how she can reward him for rescuing her: he tells her to find him at the synagogue at Capernaum. Two The next day. The synagogue at Capernaum. Mary finds two other itinerant rabbis, as well as Yeshua, preaching. But he disgusts her—he’s all fire-and-brimstone, wanting to bring not peace, but a sword—except at the end of his lecture, when he utters a brief, inchoate message of renunciation so beautiful, and so reminiscent of what she wanted in the scene before, that she halts, transfixed. But a smooth Pharisee questions Yeshua’s credibility, hints he’s illegitimate. Yeshua’s mother Miriam, and his brothers, appearing, try to avert an impending fracas: but Yeshua eludes his family and flees, rejecting them with such fury it shocks Mary. Miriam, recognizing Mary from Yeshua’s description of her, warns her to stay away from her son before he ruins her life, claiming that while Yeshua preaches love, he doesn’t practice it. Mary counters that maybe the true Yeshua is the man who saved her, not the angry preacher she’s just seen: and maybe she can teach him something. Miriam, impressed, blesses her and leaves: Mary decides to try to join the group. Three Days later: a café. Peter, Yeshua’s principal disciple, tries to repel Mary as Miriam did: he affirms that Yeshua’s going to be a political leader and free the Jews from the Romans, not merely preach of personal salvation. Mary, determined, dangles before him an offer of the kind of financial support she knows the group needs. Peter demurs: but Yeshua entering, recognizes Mary, and offers her an audition of sorts—if Mary can hold her own in the fractious, all-male group of his followers, they’ll accept her. Unseen by them all, the two Police from the first scene, suspicious that Yeshua’s group may be plotting political rebellion, have recorded their every word. Continuous: the group’s safe room. Yeshua leads Mary into the group: over time—though she disagrees often with Yeshua on matters like divorce, and often dominates the discussion—she earns their welcome. Peter worries that Yeshua is falling in love with Mary, and that the more Yeshua listens to her, the less he’ll want to take on the Romans. He plots to banish her. Mary struggles not to fall in love with Yeshua. The Police disrupt a meeting of the followers with their report of John the Baptist’s murder. By subtly quoting Peter, they hint they know of the group’s subversive plans, and that Yeshua could be murdered next if they continue. Yeshua flees: Mary pursues him. Yeshua confides the anguish of his abandonment of John the Baptist, his mentor, whom he did not defend. Mary consoles him with the same gentleness he showed her when they first met. They kiss: and walk to Yeshua’s apartment. Four Dawn. Yeshua’s apartment. Waking after lovemaking, Mary finds Yeshua withdrawn. She claims her desire for him makes her neither wrong nor insincere about striving for something higher. He doesn’t respond. Feeling she’s ruined things, Mary makes to go: Yeshua asks her to stay. Five Cana. The night of their wedding. Miriam dresses Mary’s hair. It’s against tradition, but Mary, trailed by Miriam, impulsively goes to Yeshua’s quarters to see him. Yeshua is being toasted by his followers when a haggard Peter bursts in. Yeshua dismisses the other men. Outside, Mary overhears Peter telling Yeshua to reject Mary, quoting Yeshua’s own words to remind him that women aren’t worthy of a life like theirs. Yeshua placates Peter by claiming he’ll “make Mary male”—that she’ll become less female as she evolves spiritually. Mary wants to burst in: Miriam drags her away, claiming Yeshua’s cruelty is her (Miriam’s) fault. Mary demands to know why Miriam constantly takes the blame for her son’s actions. Miriam confesses that Yeshua was illegitimate: she’d gotten pregnant by someone else while engaged to Joseph, and Yeshua blames Miriam for their resulting life of shame. As Mary comforts Miriam, Yeshua’s followers bear him across the courtyard to begin the wedding. Mary and Miriam withdraw. The followers cue Mary, who doesn’t appear; after repeating their summons, Mary appears, dressed not as a bride but as a groom. Yeshua dismisses the party. Mary excoriates Yeshua for his treatment of Miriam and herself, claims she’s had enough. Yeshua protests that he needs her. Mary retorts that Yeshua needs Peter, who doesn’t accept her; she threatens that, unless Peter makes peace with her, she’s gone. Yeshua summons Peter, forces him to kneel to Mary. Yeshua and Mary marry.

ACT TWO One Day: A hillside. Yeshua, Mary, Miriam, Peter, The Two Police: a crowd. Yeshua, transformed by joy, teaches on a hillside. Now Yeshua dismisses the need for fasting or circumcision, claims God is for all nations, agrees that his forbears were right when they claimed “The only rule is to love your neighbor as yourself.” The crowd, energized, claims Yeshua as their political, as well as spiritual, Messiah: the Police attempt to quell them by leading the people in a hymn to the Emperor, but the people won’t be cowed, at which point the Police break up the rally by force. Peter spirits Yeshua, Mary, and Miriam to safety, and attempts to persuade Yeshua to accept the people’s coronation. Yeshua refuses: his movement is to remain spiritual, not political. Peter insists that saving souls can’t matter if people’s bodies are still enslaved: contends that if Yeshua wants to do what’s best for women, as well as for men, he’ll make sure that innocent girls like his mother will never be shamed by their oppressors again. Cornered, Mary reminds Yeshua of his promise never to abandon her, but Peter argues that if Mary truly loved Yeshua, wouldn’t she let him fulfill his mission? Mary threatens Yeshua that if he storms the Temple, she’ll not be here when he returns. Yeshua tells them both to leave him alone. Interlude The dark before dawn. A grove of olive trees. Yeshua prays. Peter has gathered the followers further down the hill: they wait for Yeshua to make a decision. Night falls. Yeshua decides; descends to them from his place in the grove; follows them back to the safe room. They are dressing and arming themselves for the Temple raid when Mary appears. She is dressed almost as a bride on her wedding night, and carries a tall alabaster jar. Two Dawn. The safe room. Yeshua dismisses the followers. Mary accepts that she must lose Yeshua, anoints him as a blessing. Three Months later: the morning of Yeshua’s execution outside of Jerusalem. As the Chorus intones passages from Zephaniah, Peter denies he knows Yeshua so as to elude suspicious questioners. Yeshua, trailed by Mary and Miriam, drags his cross to the Hill of Skulls. The two police render to an unseen superior their report of Yeshua’s ride into his arrest, torture under Herod, and crucifixion. Yeshua dies: Mary cradles his body.

Four Before sunrise, the next morning. The ruined safe room. Peter relives the guilt of denying Yeshua. Mary enters, consoling him the way she consoled Yeshua for abandoning John the Baptist. Peter warns her to flee: Mary reminds him she must anoint Yeshua for burial. Before she goes, Mary offers to make peace. Peter salutes her wisdom, but still withholds total reconciliation. Miriam, newly frail, her hair gone white, joins Mary: she scorns Peter for rejecting Mary. Mary restrains her. The women set out for Yeshua’s tomb. Interlude. On the way to the garden. The Chorus wonders what Mary will learn at the tomb. On their walk there, Miriam falls twice: Mary helps her to her feet. Five. Dawn. A green garden: in it, an elegant stone tomb, the stone blocking its opening rolled away. Mary warns Miriam that she may be too weak to manage the staircase to the crypt: Miriam tries, but falls a third time. Mary asks Miriam what she would tell the body of her son: Miriam says a final farewell, admits she still believes all this happened for a reason. Mary leaves Miriam at the top of the staircase leading to the crypt. Six. Inside the crypt: a pale stone bier bearing a shrouded corpse. Mary, distraught almost to madness, unwraps the head of the body on the bier, but doesn’t recognize it as Yeshua’s. Yeshua’s ghost appears behind Mary: she doesn’t see him. “Why are you weeping?” he asks. As in the Gospel of John (and The Song of Songs,) Mary, not turning, asks three times of the ghost, “Where have you taken him?” before he says her name, and she recognizes him. She moves to touch him: gently he tells her, “Let me go.” Mary cries that she did let him go, and look what’s happened: what was it for? Yeshua’s ghost tells her that she still has what she was looking for with him—that “something high, pure, strong.” Mary claims everything died with him: Yeshua reminds her that there’s still the story to tell, and Peter will only tell his version. Mary demurs, doubting her own strength; but Yeshua crowns her with his crown of thorns, charges her with telling their story, and reminds her that he will always be with her. Yeshua vanishes. Mary, crowned, makes her way to the stairs, atop which the waiting Miriam stands amazed; she climbs out of the tomb and into the morning light.

Leading Roles MIRIAM, soprano

Mother of YESHUA. Forty-five years of age. steely: haunted; possessed of a private grief.

MARY MAGDALENE, mezzo-soprano

Companion of YESHUA. Not yet thirty. joyous: worldly; yearning to transcend herself.

PETER, tenor

Follower of YESHUA, and younger than he. single-minded, visionary, but suspicious of women.

YESHUA, high baritone

Son of MIRIAM. Thirty. haunted, severe, yet longing for joy.

Supporting Roles PHARISEE, bass

Elder of the synagogue of Capernaum. attentive, witty, detached.

TWO POLICE, tenor, baritone

Agents of Herod Antipas. smooth, dry, watchful.

Solo Ensemble (combination roles) SOPRANO 1: SOPRANO 2: MEZZO-SOPRANO: TENOR 1: TENOR 2: BARITONE: BASS-BARITONE:

Seeker 1 and Girl 1 Seeker 2, Girl 2, and Tamar (vulgar, vengeful) Seeker 3 and Girl 3 Follower 1, Seeker 4, Preacher 1 (mystical), and Levi Follower 2 and Preacher 2 (wrathful) Follower 3, Simon (sympathetic but firm), and Onlooker (gleeful, jeering) Follower 4, Seeker 5, and Fishmonger (blunt, casual)

Chorus: SATB The audience

Supernumeraries JAMES and JOSES SQUAD OF POLICEMEN TWO EXECUTIONERS

Sons of Miriam. Young, strong, severe. ...who disperse the crowd at Yeshua’s second sermon. At Yeshua’s execution. Suspicious and shrewd.

The time is now. The place is Galilee, the first century C.E.

ROLES BY SCENE ACT ONE PROLEGOMENON.

SEEKERS, CHORUS.

SCENE 1.

TAMAR, MARY, PETER, TWO POLICE, YESHUA.

SCENE 2.

MIRIAM, THREE GIRLS, MARY, PREACHERS 1 & 2, TWO POLICE, PHARISEE, ONLOOKER, YESHUA, FISHMONGER, *JAMES, *JOSES.

SCENE 3.

MARY, PETER, TWO POLICE, YESHUA, FOLLOWERS, CHORUS.

SCENE 4.

MARY, YESHUA.

SCENE 5.

MIRIAM, MARY, PETER, YESHUA, FOLLOWERS, CHORUS.

ACT TWO SCENE 1.

MIRIAM, THREE GIRLS, MARY, PETER, PREACHERS 1 & 2, TWO POLICE, ONLOOKER, YESHUA, FISHMONGER, *A SQUAD OF POLICE, CHORUS.

SCENE 2.

*MIRIAM, MARY, PETER, YESHUA.

FIRST INTERLUDE.

*MARY, *PETER, *YESHUA, *FOLLOWERS.

SCENE 3.

MARY, *YESHUA.

SCENE 4.

*MIRIAM, *MARY, *SLAVE WOMAN, PETER, TWO POLICE, YESHUA, *ONLOOKERS, *TWO EXECUTIONERS, CHORUS.

SCENE 5.

MIRIAM, MARY, PETER.

SECOND INTERLUDE.

*MIRIAM, *MARY, CHORUS.

SCENE 6.

MIRIAM, MARY.

SCENE 7.

MARY, YESHUA.

* non-singing, either throughout or the given scene.

INSTRUMENTATION 3 Flutes (3rd doubling Piccolo) 3 Oboes (3rd doubling English Horn) 3 Clarinets in B-flat (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 players) Piano Harp Strings

to David Gockley, with infinite gratitude

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(Sunset. An empty space, ringed, perhaps in stairs: at its center, a bonfire flickers. Five Seekers--two men, three women--- assemble, dressed as we are: students, bankers, mothers, moderns all. Each holds a clearly recognizable Bible. They make to fling the book into the flames. They falter.)

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Perc. 2

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Perc. 3

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Bn. 12

Cbn.

Hn. in F 13

Hn. in F 24

Tbn. 12

B. Tbn./ Tuba

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Perc. 1

¢

°

{

b˙˙

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Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

?

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in

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4 in time

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(CBSN.)

12 Fl. 12

Fl. 3

Ob. 12

Cl. 3 in Bb

Bn. 12

Cbn.

Hn. in F 13

° & ?

Hn. in F 24

bœœ

Ó

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b -œœ J

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Tpt. 3 in C

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Perc. 1

Harp

Piano

Skr. 1.

Skr. 2.

{ {

&

b˙

œ.

œ

born,

be

re

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& b˙ born,

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Skr. 5.

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Vn. I

Vn. II

Va.

Vc.

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f

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in time

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with

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from3

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p

p

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5 ° &

p

16 Cascading q = 96 Fl. 12

4 Ó 4

∑

‰.

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7 7 bœ bœbœ bœ bœbœbœbœbœ œbœ bœ œœ œbœbœ bœ œ œ œœ œœ œ œ œ R b œ bœ œ œ œbœ œœbœœbœ bœ bœ œ ≈ ≈ 7

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Cbn.

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6

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j œ œ œ œbœbœ bœ œ œ œ bbœœ

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&

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7

(1.)

˙

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p

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Tpt. in C 12

&

∑

4 4

∑

∑

∑

Tpt. 3 in C

&

∑

4 4

∑

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∑

?

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4 4

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4 4

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/

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∑

{&

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Hn. in F 13

Hn. in F 24

Tbn. 12

B. Tbn./ Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

¢

°

Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

Vn. I

Vn. II

Va.

soft mallets

4 bbw 4 bw w

bœ

pp

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bw

bœ bœ b bœœ

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beau ti - ful,

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j bœ

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pres de la table &

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pp

sul tasto, flautando

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bœ

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all my

bœ bœ b œ œ bœ œ I have loved it

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all my

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all my

bœ œ bœ bœ bœ œ I have loved it

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The Gospel of Mary Magdalene—Act I

6 accel.

° bbw & w

˙˙

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∑

& w

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j œ

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20 Fl. 12

pp

Fl. 3

pp

∑

&

Ob. 12

& Ó

Eng. Hn.

n˙

œ

pp

mf

bœ œ

pp

˙ sub. p

<n>œj <n>œJ -

‰ ‰

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j œœ

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j œ

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Œ

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∑

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∑

∑

∑

Tpt. in C 12

&

∑

∑

∑

∑

Tpt. 3 in C

&

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

TO MARIMBA

∑

∑

∑

∑

∑

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∑

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& w <n> w

1 Cl. in Bb 2

&

Cl. 3 in Bb

Hn. in F 13

Perc. 1

¢

˙ ˙ ∑

{&

Perc. 3

¢/

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& ?

{

G§ C§ B§

&

Piano

Skr. 1.

Skr. 2.

? &

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pp

° › TO VIBRA-SLAP ∑ &

Perc. 2

Harp

pp

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Tbn. 12

Timp.

˙

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Hn. in F 24

B. Tbn./ Tuba

w

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Bn. 12

Cbn.

pp

˙˙

mf

˙ ˙ sub. p

/

∑ bw

˙

life.

Skr. 4.

Skr. 5.

Vn. II

Va.

Vc.

Cb.

‰

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‰

& w

˙

j œ

‰

& nw ‹ life.

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life.

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œ J

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me

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ask

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(pp)

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of

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pp

The Gospel of Mary Magdalene—Act I

7 ° &

24 Fl. 12

&

Fl. 3

q = 120 œœ

p

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& bœœ

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p

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p

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p

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‰

&

Eng. Hn.

Cbn.

q = 72

#>œœ J

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j #œœ > f

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Tpt. in C 12

&

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Tpt. 3 in C

&

∑ 1. PREPARE HARMON MUTE

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this:

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The Gospel of Mary Magdalene—Act I

8 ° &

∑

∑

∑

∑

Fl. 3

&

∑

∑

∑

∑

Ob. 12

&

∑

∑

∑

∑

Eng. Hn.

&

∑

∑

∑

∑

1 Cl. in Bb 2

&

∑

∑

∑

∑

B.s Cl.

?

∑

∑

∑

∑

Bn. 12

?

∑

∑

∑

∑

? ¢‹

∑

∑

∑

∑

28 Fl. 12

Cbn.

Hn. in F 13

°? ˙.

a2

˙.

p

(a2)

? œj

Hn. in F 24

p

‰

Œ

j #œ

mf

Œ

∑

‰

Œ

Œ

#˙.

mf

&

∑

∑

∑

Tpt. 3 in C

&

∑

∑

∑

+ ? œj +

B. Tbn./ Tuba

Timp.

¢

?

Œ œ o

‰

Ӝ. +

*slowly cover (o-+) and uncover (+-o) hole in mute, keeping volume consistent:

œ œ

˙ ˙

? Œ

œ

p

°

Œ œ +

œ o

˙ ˙ Œ

p

+ œ J

œ +

Œ

Œ

‰

œ œ

˙ ˙

œ

Œ

œ

mf

#œ p

Ó

#œœ p

∑ + œ Œ

o œ Œ

œ œ

mf

p

˙

Tpt. in C 12

Tbn. 12

#œ

Ó

a2

ord., no mutes

Œ

˙

#œ

˙ ˙

œ œ

p

p

Ó

œ

p

/

∑

∑

∑

∑

Perc. 2

{&

∑

∑

∑

∑

Perc. 3

¢/

∑

∑

∑

∑

Perc. 1

{

? Œ

Harp

? Œ

{

&

Piano

Skr. 1.

Skr. 2.

Skr. 5.

#œœ

˙ ˙

˙ ˙

œ œ

∑

#œ & J

≈

& œJ

≈

j & œ

≈

#œ & J ‹ learn:

‰

? œJ

‰

learn

∑

œ

œ

that

through

me,

œ R

œ

œ

that

through

me,

r œ

œ

œ

through

me,

Œ

#œ

man

#œ

man

#œ

man

Œ

Œ

Œ

-

-

-

œ

kind

œ

œ. came

œ.

kind

came

œ

œ.

kind

came

œ

Vn. II

˙˙

˙ ˙

˙ ˙

to

œ

to

œ

to

mf

œ

œ

#œ

fall;

That

my

bo

mf

œ

œ

#œ

That

my

bo

œ fall;

mf

œ

œ

fall;

Ó Ó

∑

œ

œ

That

my

bo

mf

œ

œ

#œ

That

my

bo

mf

œ

œ

That

my

œ -

-

-

œ bo

dy,

œ -

‰

dy,

œ

‰

œ

Œ

dy,

Œ ∑

œ J

∑ #œ

through

which

œ J

œ

through

which

j œ

#œ

through

which

Œ

œ

#œ

all

life

œ

#œ

all

life

œ

#œ

all

life

œ springs

œ springs

œ springs

Ó

dy,

œ -

‰

Œ

Œ

Ó

dy,

° &

∑

∑

∑

Ó

&

∑

∑

∑

Ó

œ.

œ

is

the

œ.

œ

is

the

#œ.

œ

is

the

œ.

œ

is

the

œ.

œ

is

the

div.

#œœ

mf

#œ

mf

Va.

Vc.

B #œ p

œ-

œ-

#œ-

œ-

? œ œ

œ˙

œ

œ˙

œ

? ¢‹ œ p

˙

p

Cb.

˙

œ-

#œ-

œ-

œ-

#œ-

œ-

œ

œœ

#œœ

œ˙

œ

#œ˙

œ

œ œ

œ

œ

˙

mf

mf mf

œ

Œ

∑

œ

learn:

Vn. I

Œ

b#˙˙

∑

œ R

that

Œ

mf

∑

learn

Skr. 4.

˙˙

?

learn

Skr. 3.

#˙˙

3

œ

˙

œ

The Gospel of Mary Magdalene—Act I

9 ° &

32 Fl. 12

Surging q = 84

∑

∑

∑

q = 69

∑

Fl. 3

&

∑

∑

∑

∑

Ob. 12

&

∑

∑

∑

∑

Eng. Hn.

&

∑

∑

∑

∑

1 Cl. in Bb 2

&

∑

∑

∑

∑

B.s Cl.

?

∑

∑

∑

∑

Bn. 12

?

∑

∑

∑

∑

∑

∑

∑

∑

Cbn.

? ¢‹

Hn. in F 13

°? ˙.

Hn. in F 24

? <n> ˙

(a2) &

mf (a2)

.

˙.

˙

b˙ .

˙

mf

ff

˙˙..

& b˙˙..

Tpt. in C 12

mf

∑

&

Tpt. 3 in C

? œ

Tbn. 12

˙.

Timp.

mf

¢

?

? °

mf

œ œ œ

f

œ J

‰

Œ

j œ œ

‰

Œ

Œ

˙. ˙.

‰

∑

‰

∑

TO HARMON MUTES

‰

∑

ff

j œ >.

˙ ∑

Œ

>œ. œ J

˙˙

mf (a2)

B. Tbn./ Tuba

j œ >. ff b>œ. J

TO HARMON MUTES

‰

∑

ff

∑

∑ j œ œ >.

˙ ˙

‰

∑

ff

∑

∑

∑

/

∑

∑

∑

∑

Perc. 2

{&

∑

∑

∑

∑

Perc. 3

¢/

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

Perc. 1

Harp

Piano

Skr. 1.

Skr. 2.

{ {

? & &

f

bœ

‰

source,

<n>œ f

‰

source,

& <n>œ

‰

œ & ‹ source,

‰

?

‰

f

Skr. 3.

source,

f

Skr. 4.

Skr. 5.

œ

f

source,

° bœ . & œ.

Surging q = 84

Vn. I

f

div.

Vn. II

& n œœ. .

œ J

œ

the

ve

œ J

œ

the

ve

j œ the

ve

œ J

œ

the

ve

œ J

œ

the

ve

j œ

unis.

j œ

B œ. f

Vc.

Cb.

j œ

-

-

-

-

ry

source

œ

>˙.

ry

source

nœ

>˙.

ry

source

œ

>˙.

ry

source

œ -

>˙.

ry

b>˙.

˙ ˙ ˙ ˙ ˙

œ

œ

q = 69

˙.

˙

j >œ

˙.

˙

ff

ff

unis., IV

˙.

IV

˙.

f

ff

j >œ

˙.

f

ff

ff

sin.

sin.

‰

unis.

> ˙.

of

> bœœ J

œ

sin.

(non dim.)

˙˙

div.

> ˙.

œ

‰

b˙˙..

sin.

(non dim.)

œ

j >œ

˙˙

> ˙.

(non dim.)

‰

˙˙..

nœ

f

œ

>œ œ J

`div.

˙

œ

œ

source

œ

? ¢‹ ˙

œ

sin.

(non dim.)

of

˙.

f

œ

of

œ

œ œ

œ

> ˙.

(non dim.)

of

nœ

? ˙ ˙

œ

of

œ

unis.

f

Va.

œ

nœ

unis.

˙.

f

‰ ‰

˙.

f

˙.

f

The Gospel of Mary Magdalene—Act I

10 ° &

∑

Fl. 3

&

∑

Ob. 12

& Œ

36 Fl. 12

4 4 1.

Œ

& Ó

∑

∑

∑

7 8

∑

∑

∑

7 8

œ

4 4w

˙.

œ

4 4 bw

˙.

pp

(E. H.)

Eng. Hn.

q = 84 4 4

pp

bœ

mf sub. p

œ

&

∑

4 4

∑

∑

B.s Cl.

?

∑

4 4

∑

∑

Bn. 12

? Œ

1 Cl. in Bb 2

Cbn.

Hn. in F 13

? ¢‹ œ ° &

f

pp

∑

œ mf

4 4

∑

∑

4 4

∑

4 4

∑ HARMON MUTE, stem half out r

‰. Ó

∑

4 4

∑

œœ

œ

∑

Tbn. 12

B. Tbn./ Tuba

Timp.

¢

? ?

°

7 8

w bw

sub. p

∑

∑

7 8

5

Œ

7 8

sub. p

take off mutes

7 8

j bœ œ ‰ œ b œ œ œ œ sub. p

œ

œ bœ

mf

take off mutes

j ‰ œ ‰ œJ

œ œ œœ œ œ œ œ œbœ œœ œ œ bœ œ œ

mf

Ó Ó

Ó

senza sord.

∑

4 4

∑

∑

Œ

∑

4 4

∑

∑

Œ

4 4

∑

∑

7 8

7 8

p

?

∑

∑

9

Ó

7 8

∑

5

HARMON MUTE, stem half out

∑

7 8

œ œ œ œ bœ œ œ Œ

p

sub. p

∑

5

œ bœ

7 8

w

mf

˙˙..

4 4

∑

&

Tpt. 3 in C

j ‰ œ

∑

&

Tpt. in C 12

4 nww 4

pp

œ

?

Hn. in F 24

bœ

Œ

7 8

w

˙ ˙

n

œœ

pp

7 8

˙ b˙

œ œ

7 8

n

pp

∑

4Y 4æ p

Y. æ

VIBRA-SLAP

ossia: PLAYER 1 to MARIMBA

7 8

∑

7 8

/

∑

Perc. 2

{&

∑

4 4

∑

∑

∑

Perc. 3

¢/

∑

4 4

∑

∑

∑

7 8

?

∑

4 4

∑

∑

∑

7 8

?

∑

4 4

∑

∑

∑

7 8

&

∑

4 4

∑

∑

∑

7 8

?

∑

4 4

∑

∑

∑

7 8

Perc. 1

Harp

Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

Vn. I

{ {

pp

œ J

4 >œ bœ œ 4

& œ

j œ ‰ ‰

& œ

j œ ‰ Œ

4Π4

& œ

j œ ‰ Œ

4 Ó. 4

& œ ‹

j œ ‰ Œ

4 Ó. 4

? œ

œ ‰ Œ J

4 4

° & ˙

So

‰

poi - son - ous,

q = 84 4Ó 4

j œ ‰

œ bœ J

this

pp

‰

sto

œ -

j œ

œ

‰

Œ

Ó

Œ

ry!

j > œ œ œ œ

So

Œ

∑

poi - son ous,

pp

pp

It

‰ bœj ‰ ‰

œ

œ

this

sto

j œ

So

> œ

poi -

bœ

j œ

> œ

So

poi -

œ

∑

‰

Œ

Ó

Œ

ry!

-

3

son

œ ous...

-

3

son

pp

-

Va.

Vc.

Cb.

j œ ‰

& ˙ B œ ?

œ

? ¢‹ œ

4 4

œ It

œ

Ó.

Œ j bœ

‰

ous,

bœ J

So

œ

It

œ

this

> œ poi

3

œ -

son

-

sto

bœ

œ

Œ

Œ

ry!

-

j œ

‰

ous,

this

œ It

œ

sto

-

Œ

œ

ry!

-

œ It

. œ bœ

has

hurt

. œ bœ

has

hurt

.

œ bœ

has

hurt

. œ bœ

has

hurt

. œ bœ has

hurt

œ œ œ me

all

my

7 8

7 8

œ œ œ

7 8

œ œ

7 8

me

œ me

all

all

my

my

œ œ œ me

all

my

œ œ œ me

all

my

7 8 7 8

extreme pont.: glassy

Œ

‰.

bœ R p

œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ 7 7

7

extreme pont.: glassy

Vn. II

œ

?

∑

7

œ bœ œ œ

6 6 œ œ œ ≈ ≈ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ 6

œ

p

6

œ œ

œ

mf

œ mf

œ

j œ ‰

Ó

7 8

œ

j ‰ œ

Ó

7 8

œ J

Œ

sub. p

sub. p

extreme pont.: glassy

œ

j ‰ œ

4 4

∑

œ

j ‰ œ

4 4

∑

∑

œ

j ‰ œ

4 4

∑

∑

Ó

œ bœ

Œ

p

œ

œ bœ œ œ œ bœ

mf sub. p

Ó

‰

Œ ∑

div.

œœ

7 8

œ bœ

7 8

pp div. pp

7 8

The Gospel of Mary Magdalene—Act I

Fl. 12

11

Driving: q = 152 40 (2 + 2 + 3) ° 7 ∑ &8

Fl. 3

7 &8

Ob. 12

7 &8

Eng. Hn.

∑ œœ. J

‰

7 & 8 œj .

‰

∑

∑

4 Ó 4

∑

∑

4 4

Œ.

∑

∑

4 Ó 4

to Ob.

Œ.

∑

∑

4 4

œ >œ

œ >œ

#n>œœ

>œœ

f

∑

7 &8

∑

∑

∑

4 Ó 4

B.s Cl.

? 87

∑

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

∑

4 4

∑

. ? 87 bbœœJ

Cbn.

Hn. in F 13

Tpt. in C 12

7 &8

Tbn. 12

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

∑

¢

Œ

∑

Œ

Œ

∑

7 &8

Tpt. 3 in C

Perc. 1

∑

° 7 &8 ? 87

Timp.

Œ.

Œ

?7 ¢‹ 8

Hn. in F 24

B. Tbn./ Tuba

‰

Œ

Œ

∑

Œ

Œ

Œ

j œ

b˙

œ J

#˙

mp a2

Œ

Œ

Œ

a2

Œ

œ-

j œ-

4 4

n-œ

-œ J

4 #˙ 4

mf

mp

mf 1. f, solo

n˙ œ

j #œ

senza sord. 2. mp senza sord.

j œ

j œ

mp

<n>œœ J

œ ‰ œ ‰

bœ j œ bœœ J

œœj

œ

> œœ

mf

‰

mf

œ #œ .J

œ ‰

œ ‰

Skr. 5.

#œœ J-

4 <n>œœ 4 J

Vn. II

Vc.

Cb.

bœ

>j œœ

> œœ >

f

> œœ >

Œ

‰

j nœ

‰

>œ

>œ

Œ

œ ‰

nbœœ J

œ ‰

> œ #œ > f

> œ œ >

Œ

j œœ -

4 4 ##˙˙

œ n>œ f

œ >œ

> œ #œ f> >œ nœ

> œ œ > >œ œ

f

? 87

∑

∑

∑

4 4

∑

∑

∑

∑

4 4

∑

° 7 / 8

{

Œ

Œ

j œœ

Œ

MARIMBA (ossia 2 players)

? 87 œœ J p

œ <n>bœœ ‰ J

? 87 bœ bœ

œ #œ J

œ ‰

œ ‰

œ œ

œœ

#œœ J

œœ J

œ <n>bœœ ‰ J

j nœœ

bbœœ

œœ

œ #œ J

œ ‰

mp

œ ‰

œ œ

# œœ J

œ nœ-

##˙˙

mp

&

nœœ J

œœ J b b œœ

mf

œ <n>bœœ ‰ J œœ

œ #œJ mf œ œ

œ ‰

œ ‰

#œœ J nœœ J

4 <n>œ 4 œ J

œ ‰

œ ‰

bœœ J

4 ##œœ 4

œœ

f

7 ¢/ 8

∑

∑

∑

4 4

∑

? 87

∑

∑

∑

4 4

∑

? 87

∑

∑

∑

4 4

∑

7 &8

∑

∑

∑

4 4

∑

? 87

∑

∑

∑

4 4

∑

{ {

7 .. &8 ˙

˙..

7 & 8 <n>˙..

˙..

f

˙..

life.

˙..

œ J

‰

4 ˙ 4

f

j œ

‰

f

j œ

‰

f

j œ

‰

˙..

˙..

4 4 ˙

7 & 8 #˙.. ‹ life.

˙..

˙..

4 ˙ 4

? 87 #˙..

˙..

Driving: q = 152 + 2 + 3) ° (2 7 ∑ &8 7 &8

∑ ‰

≥j bœ

≥ ? 87 bnœœj

‰

? 7 #œ≥ ¢‹ 8 J pp

œ≥ œJ

‰

≥ B 87 <n>œj

ϳ J

‰ ‰

#œœ≥ J nœ≥ J

‰

‰

≥j <n>œ

‰

‰

≥j œ bœ

‰

‰

#ϳ J

‰

≥j bœ

‰

nœ≥ œJ

‰

ϳ J

‰

ϳ J

‰

#œœ≥ J

‰

≥j œ

p ord.

∑ nœ≥ J

‰

ord.

∑

nϳ J

≥j œ

p

‰

‰

‰

‰

‰

‰

≥j bœ unis.

≥ j #œ #œ≥ J

≥ bœ J

‰

≥j œ

‰

‰

≥j œ

‰

‰

≥ j œ

‰

ϳ J

‰

unis. o nœœ ‰ J

‰

mf

4 4

‰

4 4

j #œ

‰

‰

4 4 #œ.

‰

j nœ

‰

‰

4 4 #œ

‰

nœ J

‰

‰

4 ˙ 4

mf mf

œ œ I

œ œ

‰

I

#œ œ <n> œ œ bœ œ œ œ nœ

f

‰

mf

œ I

œ J

#œ œ b œ œ œ œ #œ

o j œ

mf

Œ

I

4 ˙ 4

‰

Œ

I

f

˙..

Œ

&

4 ˙ 4

7 & 8 ˙..

unis.

Va.

Œ

∑

life.

Vn. I

>œ

? 87

life.

Skr. 4.

n>œ f

4 j 4 œ

life.

Skr. 3.

f

∑

mf

Œ

>œ

? 87

∑

Œ

>œ

b˙

œ

j œ

#œ-

Œ

f

> 4 nœœ. 4

#œ -

Œ

f

1 Cl. in Bb 2

Bn. 12

>œœ

∑

Œ Œ

<n>>œœ

œ

bœ f

3

j #œ

f

f

f

œ

œ

3

bœ

œ

œ

3

œ

#œ

nœ œ œ œ

nœ #œ n œ nœ œ œ œ nœ <n>œ J

<n>œ. >œ J

‰

Œ

The Gospel of Mary Magdalene—Act I

12 ° &

∑

Œ

&

∑

Œ

&

∑

Œ

&

∑

Œ

&

∑

B.s Cl.

?

∑

Bn. 12

?

∑

44 Fl. 12

Fl. 3

Ob. 12

Ob. 3

1 Cl. in Bb 2

Cbn.

Hn. in F 13

B. Tbn./ Tuba

Timp.

Perc. 1

Mar.

Perc. 3

Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

Vn. II

Va.

Cb.

∑

bœœ J

‰

Ó

∑

∑

j #œ-

‰

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

j œ œ-

‰

Ó

j œ œ-

b-œ bœ J

‰

a2

œ.

(f)

œ.

j -œ

œ.

œ.

-œ J

‰

‰

‰

Ó

∑

∑

‰

Ó

∑

∑

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Tpt. 3 in C

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(f)

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Hn. in F 24

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13 ° &

∑

∑

6 8

∑

∑

7 8

Fl. 3

&

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∑

6 8

∑

∑

7 8

Ob. 12

&

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7 8

6 8

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Tpt. in C 12

&

∑

∑

6 8

∑

∑

7 8

Tpt. 3 in C

&

∑

∑

6 8

∑

∑

7 8

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48 Fl. 12

Œ

‰

bœœ J

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3

p

∑

&

Ob. 3

& Œ

‰

j b >œ

bœ

(f) B.s Cl.

Bn. 12

Cbn.

Hn. in F 13

Timp.

Perc. 1

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

‰

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14 ° 7 &8

∑

∑

∑

4 Ó 4

7 &8

∑

∑

∑

4 Ó 4

52 Fl. 12

Fl. 3

(2 + 2 + 3)

Ob. 12

7 &8

∑

∑

∑

4 Ó 4

Ob. 3

7 &8

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∑

∑

4 4

1 Cl. in Bb 2

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∑

?‰

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‰ ‰

7 &8

Tpt. 3 in C

7 &8

Tbn. 12

? 87

B. Tbn./ Tuba

Timp.

Perc. 1

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

¢

∑

Œ

∑

Œ

∑

? 87

Œ

∑

Œ

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lies.

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lies.

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f

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Tpt. in C 12

. œœ

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3

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j #œ 3

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2 4

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2 4

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The Gospel of Mary Magdalene—Act I

15 ° 2 &4

∑

4 4

∑

∑

∑

Fl. 3

2 &4

∑

4 4

∑

∑

∑

Ob. 12

2 &4

∑

4 4

∑

∑

∑

Ob. 3

2 &4

∑

4 4

∑

∑

∑

1 Cl. in Bb 2

2 &4

∑

4 4

∑

∑

∑

B.s Cl.

? 42

∑

4 4

∑

∑

∑

Bn. 12

? 42

∑

4 4

∑

∑

∑

Cbn.

?2 ¢‹ 4

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

∑

∑

∑

∑

56 Fl. 12

Hn. in F 13

° 2 &4

Hn. in F 24

? 42

∑

4 4

Tpt. in C 12

2 &4

∑

4 Ó. 4

Tpt. 3 in C

2 &4

∑

4 Ó 4

? 42

∑

4 Ó. 4

? 42

∑

4 4

∑

∑

∑

? 42

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

∑

w 4 w 4 bw w bw

Tbn. 12

B. Tbn./ Tuba

Timp.

Perc. 1

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

¢

° 2 / 4

2 {& 4

{

(BASS DRUM)

2 ¢/ 4 Œ

‰

2 &4

∑

? 42

∑

2 &4

∑

? 42

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2 &4 œ

can

2 &4 œ

can

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2 &4 œ

can

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Skr. 5.

Vn. I

Vn. II

Va.

Vc.

Cb.

2 &4 œ ‹ can ? 42

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f

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ff

not

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œ -

Œ

ry!

Œ

The Gospel of Mary Magdalene—Act I

16 ° Ó &

60 Fl. 12

Fl. 3

Ob. 12

‰

& Ó

‰

& Ó

‰

œœ. J

‰

(f)

œ ##œœ

œ œœ

(f)

‰

œ #œ

(f)

œ. J

e=e 6 8

∑

‰

#œœ. J

∑

‰

∑

3 4 Œ

∑

6 8

∑

6 8

∑

#œœ f

3 4 Œ

œ

f

3 4 Œ

œœ f

bœ. J

‰

6 8

∑

3 4 Œ

∑

#œ f

∑

&

1 Cl. in Bb 2

œœ

(f)

& Ó

Ob. 3

œœ

Ó

j # œœ >

‰

6 8

Œ

3 4 Œ

∑

œœ

f

(f)

?

B.s Cl.

∑

Ó

Perc. 3

Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

Cb.

6 8

Œ

6 8

Œ

6 8

p

#œœ . p

œ

Œ

6 8

∑

3 4 Œ

j bb>œœ

‰

Œ

6 8

∑

3 4

∑

6 8

œ

f

p

∑

6 8

∑

∑

6 8

∑

3 4

∑

6 8

∑

∑

6 8

∑

3 4

∑

6 8

° & ?

Ó

. & œœ

œœ.

Œ

Ó

∑

6 8

∑

3 4

∑

6 8

& œ.

œ.

Œ

Ó

∑

6 8

∑

3 4

∑

6 8

Œ

Ó

∑

6 8

∑

3 4

∑

6 8

. ? bbœœ

œœ.

?

∑

∑

6 8

∑

3 4

∑

6 8

?

∑

∑

6 8

∑

3 4

∑

6 8

∑

∑

6 8

∑

3 4

∑

6 8

{&

∑

∑

6 8

∑

3 4

∑

6 8

{

∑

6 8

∑

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∑

6 8

6 8

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∑

6 8

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3 4 Œ

Œ

¢

° &

¢/ non arp.

Œ

‰

#>¿ J f

¿ >

To TAM-TAM, soft mallets

#>¿

Œ

∑

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ff

{

TOM-TOMS

Œ

? bb˙˙..

Œ

?

∑

∑

6 8

∑

3 4

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&

∑

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6 8

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3 4

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f

> ° œ & Ó

>pizz. & œœÓ B bœ > ? #>œ

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œ

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Can

-

f

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-

f

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not

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not

not

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Œ

œ

œ

>j œ

‰

throw

>œ J

‰

not

Œ

>j œ

throw

not

Œ Œ

œ

>j œ

‰

#œ -

œ

throw

œ

Œ

Œ

‰

bœ

f

>j œ

throw

œ

f

œ

‰

throw

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Œ

> #Oœ J

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arco

‰

it

it

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a

a

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it

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it

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way;

But

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way;

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way;

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way;

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way;

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Œ ‰ ‰ ‰ ‰

p

j #>œ

col legno battuto

j n>œ

Ó

j b>œœ

Ó

div., col legno battuto

col legno battuto #>œ Ó J f

un

#œ

un

#œ

un

#œ

p

œ

#œ

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un

unis.

#œ

p unis., col legno battuto

Ó

œ

#œ

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Ó Œ

p

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p

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bœ -

p

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un

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-

-

-

-

-

mf

sub. p

3 œ 4

6œ 8

bœ J

6 8 #œ

bœ J

6 8œ

j bœ

6 bœ 8

bœ J it

is

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it

is

cor

e=e 6œ 8

bœ J

œ

j œ

3 œ 4

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j œ

less

it

less

less

it

less

less

it

œ

is

bœ J

6 8 bœ

j bœ

p arco

p unis., arco

6œ 8 6 8

p

j bœ

cor

-

mf

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cor

œ

is

j œ

cor

-

-

mf

œ

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j œ

cor

-

mf

œ J

mf

mf

mf

mf

#œ J

‰ ‰

-

j œ

ted,

sub. p

‰

-

j œ

ted,

sub. p

j œ

‰

rec

-

sub. p

mf

non div., arco

6 8 #œœ

j œ

3 4 œ

rec

3 4

#œ

rec

3 4 nœ

rec

-

sub. p

-

3 4 nœ

non arp.

b>œ

‰

ted,

‰ ‰

ted,

‰

j œœ.

‰

‰

j œ

‰

3 4 bœœ

unis. œ. ‰ J

3 4 Œ

Œ

sub. p div.

sub. p

ted,

-

j œ un

‰

-

j œ un

‰

-

j œ un

‰

sub. p

j œ un

#œ. J

sub. p

6 8 6 8

‰

-

6 8

œ >œ

œ J

rec

6 8

f

&

pizz.

Vc.

œ.

3 4

pizz.

Va.

Œ

p

∑

Can

Vn. II

6 8

6 8

div., pizz.

Vn. I

œœ.

‰

(f)

˙.. & ˙˙.

Harp

Œ

p

∑

Tbn. 12

Mar.

6 8

∑

Tpt. 3 in C

Perc. 1

# œ.

? ¢‹

Tpt. in C 12

Timp.

Œ

p

∑

Hn. in F 24

B. Tbn./ Tuba

6 8

?

Bn. 12

Hn. in F 13

Œ

j œ >

(f)

Cbn.

. œœ

-

œ J un

-

6 8 6 8 6 8 6 8 6 8

j œ

6 8

unis.

j œ

6 8

‰

j nœ

6 8

‰

œ J

6 8

div. a2, pizz.

# œœ œ p

6 8

The Gospel of Mary Magdalene—Act I

17 ° 6 &8

∑

3 4 Œ

6 &8

∑

3 4 Œ

6 &8

∑

3 4 Œ

Ob. 3

6 &8

∑

3 4 Œ

1 Cl. in Bb 2

6 &8

∑

3 4 Œ

? 68

∑

3 4 Œ

Bn. 12

? 68

∑

3 4

Cbn.

?6 ¢‹ 8

∑ ∑

64 Fl. 12

Fl. 3

Ob. 12

B.s Cl.

Hn. in F 13

° 6 &8

. œœ

Œ

e=e 12 8

∑

7 8

∑

Œ

12 8

∑

7 8

∑

Œ

12 8

∑

7 8

∑

Œ

12 8

∑

7 8

∑

Œ

12 8

∑

7 8

∑

Œ

12 8

∑

7 8

∑

∑

12 8

∑

7 8

∑

3 4

∑

12 8

∑

7 8

∑

3 4

∑

12 8

∑

7 8

f

f

f

#œœ œ œœ

#œ

f f

f

œœ œ

p

# œ. p

œœ. p

œ. p

#œœ . p

œ

p

a2

œ

œ

bœ

œ

œ

‰

bœ J

‰

œ-

mf a2

Hn. in F 24

? 68

∑

3 4

∑

12 8

∑

7 œ 8 J

Tpt. in C 12

6 &8

∑

3 4

∑

12 8

∑

7 8

∑

Tpt. 3 in C

6 &8

∑

3 4

∑

12 8

∑

7 8

∑

Tbn. 12

? 68

∑

3 4

∑

12 8

∑

7 8 œ

? 68

∑

3 4

∑

12 Œ. 8

B. Tbn./ Tuba

Timp.

Perc. 1

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

¢

? 68

Skr. 5.

Va.

Vc.

Cb.

n œ.

mf

œ.

œ.

2

œ.

7 8

∑

∑

3 4

∑

12 8

∑

7 8

6 &8

∑

3 4

∑

12 8

∑

? 68

∑

3 4

∑

12 8

∑

7 8 j œœ mf 7 j 8 bœœ

6 ¢/ 8

∑

3 4

∑

12 8

∑

? 68

∑

3 4 Œ

Œ

? 68

∑

3 4 Œ

Œ

6 &8

∑

3 4

∑

6 &8

∑

3 4

∑

° 6 &8

{

{ {

6 & 8 nœ

bœ J

6 & 8 #œ

bœ J

6 &8 œ

j bœ

6 & 8 bœ ‹ less

œ J

less

it

it

it

it

? 68 #œ

œ J

° 6 nœ &8

bœ J

it

6 & 8 #œœ

bœ J

B 68 bœ

j bœ

? 68 œ ?6 ¢‹ 8

j bœ

mf

œ

is

j œ

com

sub. p

-

mf

œ

is

j œ

com

-

œ

is

com

-

mf

œ

is

œ

j œ

com

-

mf

œ J

‰ ‰

-

j œ

ted,

sub. p

‰

-

j œ

ted,

sub. p

j œ

‰

ple

3 4 nœ

ple

3 4

œ >œ

#œ J

-

sub. p

mf

j œ

3 œ 4

sim.

b>œ

#œ

ple

3 4 œ

ple

-

sub. p

3 4 nœ

œ J

‰

#œ. J

‰

œ

j œ

3 œ 4

j œ

3 4 œ

div.

j œ

3 4 nœ

j œ

œ J

3 4 bœœ

unis. œ. ‰ J

3 4 Œ

Œ

œ œ nœ ∑

mf

mf

mf

-

sub. p

sub. p

sub. p div. sub. p

Œ Œ Œ

ted,

com

mf

ple

ted,

is

-

Œ

Œ

ted,

j œœ .

&

12 ˙. 8

7 8 ˙˙˙

7 8

∑

How

can

mf

œ

12 œ. 8

How

can

mf

œ

How

can

mf

œ

How

can

mf.

œ

12 nœ. 8 12 œ. 8 12 œ 8

2

˙.

I

stay?

œ 2

2

2

œ

˙.

7 8 ˙..

b˙ .

7 .. 8 ˙

stay?

I

stay?

œ

˙.

Œ

e=e 12 nœ. 8

-œ

-œ

˙.

‰

Œ

12 œ. 8

œ-

œ-

b˙˙..

‰

Œ

12 œ. 8

-œ

-œ

b˙ .

. 12 œ 8

-œ

-œ

˙.

12 Œ. 8

Œ.

mf unis. mf

7 ≥ 8 j œ

2

2

mf

7 ≥ 8 œj

2

‰

‰

unis. 7 ≥ ‰ 8 j œ 7 ≥ ‰ 8 j bœ

div.

2

mf

j nœ bœ

‰

‰

‰

‰

‰

‰

‰

‰

.. 7 ˙ 8

2

stay?

j œ œ-

7 8 ˙..

b˙ . stay?

œ

‰

7 8 ˙..

I

I

j bœ œ-

œœ..

∑ œ

bœ-

œœœ...

12 8 œ

bœ

∑

∑

mf

œ

j œ œ

‰

7 8

I

p

‰

∑

can

# œœ sim. œ

‰

j ## œœ j œ œ

˙ 7˙ 8

How

Œ

‰

12 8

12 nœ. 8

œJ

∑

7 8

b˙˙..

. 12 ˙ 8

œ

b œ-

∑

(MARIMBA)

b˙˙˙...

mf

7 8

bœ

b˙ ˙

12 8

unis.

Vn. II

1.

∑

less

Vn. I

2

3 4

less

Skr. 4.

‰

œ

mf

∑

less

Skr. 3.

Œ.

1.

bœ

2

unis., arco

nœ.

mf

œ.

œ.

2

œ.

7 8 ˙

‰

≥ j bœ

≥ j bœ

‰ ‰

≥j œ bœ

div.

≥ j œ

≥ j œ

‰

≥ j œ

‰

‰

≥ j œ

‰

≥ j œ

‰

‰

‰

‰

-œ J

The Gospel of Mary Magdalene—Act I

18 ° &

∑

12 8

∑

7 8

∑

∑

4 4

Fl. 3

&

∑

12 8

∑

7 8

∑

∑

4 4

Ob. 12

&

∑

12 8

∑

7 8

∑

∑

4 4

Ob. 3

&

∑

12 8

∑

7 8

∑

∑

4 4

68 Fl. 12

& Ó

1 Cl. in Bb 2

bœ bœ 12 œ b œ œ 8 ˙˙. bœ . 3

Œ

mf

? Ó

B.s Cl.

Hn. in F 13

Œ

mf

pp

‰

‰

Œ.

7 8

∑

∑

4 4

bœ bœ 12 8 ˙.

j œ

‰

‰

Œ.

7 8

∑

∑

4 4

∑

7 8

∑

∑

4 4

∑

7 8

∑

∑

4 4

3

?

∑

12 8

? ¢‹

∑

12 8

Bn. 12

Cbn.

œ

j œœ

° &

(a2)

œ (a2)

? œ J

Hn. in F 24

œ

bœ

œ

‰

bœ J

‰

œ

bœ

-œ

b œ-

12 j 8 œ

‰

‰

Œ.

-œ J

12 œj 8

‰

‰

Œ.

pp

Tpt. in C 12

&

∑

12 8

Tpt. 3 in C

&

∑

12 8

? œ

Tbn. 12

B. Tbn./ Tuba

Timp.

Perc. 1

Mar.

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

Skr. 3.

¢

? ?

œ

bœ

{

& n œj nœ ? bœj œ

{

‰

j ## œœ j ‰ œ œ

‰

Skr. 5.

Vn. II

Va.

Vc.

Cb.

œœ..

b˙˙..

7 8 ˙˙

œœ..

˙˙

œœ..

∑

7 8

∑

∑

4 4

∑

7 8

∑

∑

4 4

j œ œ-

12 8

∑

7 8

∑

∑

12 8

∑

7 8

∑

∑

12 8

∑

7 8

∑

∑

4 4

to Vib.

j nœ bœ j œ œ

7 ˙ 8 ˙

pp

œ. œ.

˙ ˙

4 4 4 4

∑ æ ˙æ

æ œ.æ

pp

4 4

‰

‰

12 8

∑

7 8

∑

∑

4 4

‰

‰

12 8

∑

7 8

∑

∑

4 4

12 8

∑

7 8

∑

∑

4 4

∑

& ˙˙˙

Œ.

12 8 . ˙

˙ ?˙

b ˙˙˙...

Œ.

12 ˙. 8

{

œ. œ.

4 4

‰

mp

7 8

˙˙˙

œœœ...

˙˙˙

Œ.

Eb Ab

4 4

b˙˙..

7 8 ˙˙

œœ..

˙˙

Œ.

4 4

&

∑

12 8

∑

7 8

∑

∑

4 4

&

∑

12 8

∑

7 8

∑

∑

4 4

˙.

7 8 .. ˙

& ˙

Œ.

& ˙

Œ.

& ˙

Œ.

p

12 8 . œ

How

How

& ˙ ‹

p

12 œ. 8

Œ.

& B ?

j œ

‰

j bœ

‰

j œ

? ¢‹ ˙

‰

j bœ

‰

j bœ

‰

j œ

‰

j œ

j œ bœ

div.

p

‰

j œ

‰

j œ

‰

‰

12 8

‰

12 8

‰

12 8

‰

12 8

‰

12 Ó. 8

p

‰

p

j œ

p

-œ J

p

œ

2

œ

2

œ

2

can

‰ ‰

œ I

can

can

œ I

can

œ

œ I

can

p

12 8 . œ

How

° unis. ‰ & œj

2

p

12 8 . œ

Œ.

? ˙

œ

p

12 8 . œ

How

Vn. I

˙˙

pp

How

Skr. 4.

œœ..

. 12 w 8 w.

‰

¢/

4 4

˙˙

bœ-

j bœ œ-

° &

pp

7 8

b ˙˙..

bœ

œ

œ

b˙ ˙

pp

2

stay?

7 8

b ˙.

stay?

7 8

˙.

stay?

4 4

˙..

˙..

4 4

˙..

˙..

˙..

4 4

œ I

b˙ .

stay?

7 8 ˙..

˙..

4 4

œ

˙.

˙..

I

stay?

7 8 ˙..

4 4

∑

7 8

∑

∑ œ.

p

œ.

œ.

œ.

‰

j bœ

‰

j œ

‰

œ

bœ

œ

œ b-œ J

œ

7 8

‰

bœ

7 8 j œ

∑

2

bœ

œ bœ

œ

p

p

p

b˙ p

7 8 ˙

div. unis.

œ

œ

7 8

2

unis.

-œ J

div. unis.

bœ

œ

œ bœ

bœ

bœ-

4 4

œ-

œ

œ

j œ

j œ

‰

j bœ

‰

j œ

‰

j bœ

4 4

bœ

bœ-

œ

bœ

œ

œ

bœ

bœ-

4 4

‰

-œ J

œ

b-œ J

‰

-œ J

4 4

‰

-œ J

sim.

b˙ sim.

˙

-œ J

‰

-œ J

4 4

The Gospel of Mary Magdalene—Act I

19 ° 4 &4

72 Fl. 12

slowing greatly

q = 84

∑

q = 92

∑

∑

∑

Fl. 3

4 &4

∑

∑

∑

∑

Ob. 12

4 &4

∑

∑

∑

∑

Ob. 3

4 &4

∑

∑

∑

∑

1 Cl. in Bb 2

4 &4

∑

∑

∑

B.s Cl.

? 44

∑

∑

∑

Bn. 12

? 44

∑

∑

∑

Cbn.

?4 ¢‹ 4

∑

∑

∑

∑

∑

∑

Hn. in F 13

° 4 &4

Timp.

Perc. 1

¢

Perc. 3

Harp

Piano

Skr. 1.

Skr. 2.

Skr. 3.

Skr. 4.

Skr. 5.

. œj mp

Vn. II

Va.

Vc.

Cb.

œ bœ J-

1.

Ó

&

j bœ-

? 44

∑

∑

. œœ .

sfzp

‰

œ

bœ.

∑

∑

∑

œ œ

œ. œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

Œ

bœ b œ.