Misa Immaculada Concepcion

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(1)

(2) NIHIL OBSTAT: Rev. Fr. Leo Nilo C. Mangussad Minister of Liturgical Music. IMPRIMATUR: DATE:. + Gaudencio B. Cardinal Rosales, D.D. Archbishop of Manila 30th October, 2007. 7KH1LKLO2EVWDWDQG,PSULPDWXUDUHRI¿FLDOGHFODUDWLRQVWKDWDERRN RUSDPSKOHWLVIUHHRIGRFWULQDORUPRUDOHUURU1RLPSOLFDWLRQLV FRQWDLQHGWKHUHLQWKDWWKRVHZKRKDYHJUDQWHGWKH1LKLO2EVWDWDQG ,PSULPDWXUDJUHHZLWKWKHFRQWHQWVRSLQLRQVRUVWDWHPHQWVH[SUHVVHG 7KH\GRQRWQHFHVVDULO\VLJQLI\WKDWWKHZRUNLVDSSURYHGDVDEDVLF WH[WIRUFDWHFKHWLFDOLQVWUXFWLRQ.

(3) Alejandro D. Consolacion II. Misa Inmaculada Concepcion for cantor, congregation and mixed voices; with brass, percussions and organ VOCAL SCORE. Copyright © August 2007 by Alejandro D. Consolacion II Published and Owned by the Manila Cathedral-Basilica. All Rights Reserved It is illegal to photocopy music..

(4) PUBLISHED BY : Cathedral-Basilica of the Immaculate Conception MANILA METROPOLITAN CATHEDRAL-BASILICA Cabildo cor. Beaterio, Intramuros, Manila Tel.: 527.1796, 527.3889, 528.3876 Fax: 536.0192 Mobile: 0917.400.9131, 0928.743.0067 E-mail: [email protected], [email protected] www.manilacathedral.org © Alejandro D. Consolacion II 2007 Published and Owned by the Manila Cathedral-Basilica All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing from the publisher/owner or as expressingly permitted by law. Inquiries concerning reproductions outside the scope of the above should be sent to the publisher/owner . Permission to perform or to record the works (except in the course of divine worship) should be obtained from the Manila Cathedral-Basilica. First published 2007 Cover design by Matthew Niel Hebrona Cover is a detail of 6W$QQHRIWKH,PPDFXODWH&RQFHSWLRQcirca 1627 Composer’s photo by Ferdie Espeleta Music originated on Sibelius. INSTRUMENTATION (a) Large Ensemble: 3 Trumpets in Bb 2 Tenor trombones Bass trombone Tuba Timpani and Percussion (2 players) Organ E

(5) 6LPSOL¿HG(QVHPEOH 2 Trumpets in Bb Timpani and Percussion (1 players) Organ PDWHULDOVDYDLODEOHRQUHQWDOVRQO\

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(7) CONTENTS HG. l. na igi. Or. ¿ SOL. 6LP. MISA INMACULADA CONCEPCION Panginoon, Maawa Ka. 1. 55. Papuri sa Diyos. 4. 57. Alleluia. 22. 64. Santo. 27. 66. Misteryo ng Pananampalataya. 29. 68. Dakilang Amen. 30. 68. Ama Namin. 30. 69. Aklamasyon sa Ama Namin. 34. 71. Kordero ng Diyos. 35. 71. Mary Crowned with Living Light (QWUDQFH+\PQ

(8). 38. 73. Remember, O Mary Immaculate 2IIHUWRU\+\PQ

(9). 41. 74. Holy Mother of our Savior &RPPXQLRQ+\PQ

(10). 44. 76. Holy Mary, Now We Crown You )LQDO+\PQ

(11). 48. 78. MARIAN HYMNS.

(12) FOREWORD Minor Basilica of the Immaculate Conception MANILA METROPOLITAN CATHEDRAL-BASILICA CABILDO cor. BEATERIO, INTRAMUROS, MANILA, PHILIPPINES Tels. 527-1796, 527-3093, 527-3889, 528-3876 Fax: 536-0192. Alejandro D. Consolacion II‘s new composition, entitled 0LVD,QPDFXODGD&RQFHSFLRQ, launched at the 2nd 0DQLOD&DWKHGUDO%DVLOLFD3LSH2UJDQ)HVWLYDOLVDIUXLWRIDQLQVSLUHGHIIRUW,QDZD\LWLVWKH¿UVWE\SURGXFW RIWKHQHZO\UHVWRUHG3LSH2UJDQRIWKH0DQLOD&DWKHGUDO%DVLOLFD 0&%

(13) DQGD¿WWLQJUHYHODWLRQRIKRZ0&%¶V acknowledged role as the launching venue of new liturgical compositions in the Archdiocese of Manila becomes a functional reality. Indeed, in restoring the historic, half-a-century-old MCB Pipe Organ to its original form and function DIWHU¿IWHHQ\HDUVRIYLUWXDOGHPLVHZHLQWHQGHGWREULQJEDFNWKHULFKPXVLFDOWUDGLWLRQRIWKH0DQLOD&DWKHGUDO which in the 1960s and ‘70s was home to big concerts, generally featuring popular liturgical songs. Central to our objectives is to make the pipe organ an instrument of inspiration, its wonderful sounds a compelling invitation to talented local musicians, especially conductors and composers, to come up with more songs that are best sung with the pipe organ accompaniment. It is important to note that the MCB Pipe Organ is the biggest in Southeast $VLDDQGLWEHKRRYHVXVWRJRWRJUHDWOHQJWKVOHYHUDJLQJRQLWVKLVWRULFDOYDOXHDQGFXOWXUDOVLJQL¿FDQFH Our decision to make the Manila Cathedral-Basilica Pipe Organ Festival an annual event emphasizes MCB’s desire to echo resoundingly the continuing call for greater support to the MCB Pipe Organ and the challenge for PRUH OLWXUJLFDO FRPSRVLWLRQV WR ¿QG WKHLU ZD\ WR JORULRXV HQQREOHPHQW ,QFLGHQWDOO\$OHMDQGUR¶V SURSRVDO WR come up with a new song and launch it at the 2nd MCB Pipe Organ Festival came at a time when the CathedralBasilica was conceiving the plan of commissioning someone to compose a Marian liturgical song that would ¿UVWEHKHDUGDWDQGEHDGRSWHGDVVRPHNLQGRIDQLGHQWLW\VRQJRIWKH0&%ZKLFKLVD0LQRU%DVLOLFDRIWKH Immaculate Conception. In a way, he came as a handy catch, and we commissioned him to the projects thereby. 7KHFRLQFLGHQFHLWLVLQVSLULQJWRSRLQWRXWLVDFRQÀXHQFHRISXUSRVHRIDVKDUHGGHVLUHWRJLYHJORU\WR*RG through the marvel of music and the magical melody of the soul. Through the annual MCB Pipe Organ Festival, we hope to offer a continuing venue for the launching and popular propagation of more compositions of this kind in the future and from different composers. Our invitation continues and we await more responses.. (SGD.) MSGR. NESTOR CERBO Rector.

(14) PREFACE. The Manila Cathedral-Basilica is not only the seat of the bishop; it is also the center and the inspiration for the liturgical life in the diocese. “Liturgical services are not private functions, but are celebrations of the Church, which is the sacrament of unity, namely the holy people united and arranged under their bishop.” (Constitution on the Sacred Liturgy, Sacrocantum Concilium n. 26) Bearing this in mind and the organ being the perfect instrument to be used in the liturgy, the Cathedral had its pipe organ restored in 2006 and organized a yearly festival wherein the focus is the liturgy. Special attention is given to the music performed during the celebration of the Eucharist on December 8, this being the feast day of its patron saint, Mary the Immaculate Conception, and December 10, the anniversary of the dedication of the PostWar Manila Cathedral - Basilica. For a long time, the singing of a choir during the liturgy eliminated the participation of the assembly; the people were simply to listen. With the initiation of the 2nd Vatican Council, the possibility for the community to participate became evident. The advent of contemporary/new music eventually eliminated the art-music of the choir. The highlight of the Second Manila Cathedral-Basilica Pipe Organ Festival (2007) is the newly composed Mass in Tagalog together with a set of Four Marian Hymns by Alejandro D. Consolacion II. The Mass is written for congregation, cantor and choir with organ and brass. The diversity of talents present in the Church is recognized resulting in a festive and rich harmonious accord. In most parishes, the Ordinary of the Mass is entirely sung by the congregation. In this composition, however, the community, cantor and choir alternate, accompanied by the organ. A healthy balance between listening and participating is explored in this composition, adding a rich polyphonic music to and thus enriching the simple congregational singing. The alternate singing becomes the outward evidence of a church, working as the Body of Christ, with its many parts making up a single unit. May this 0LVD,QPDFXODGD&RQFHSFLRQ encourage the many choirs in our parishes to sing in Four Parts (Mixed Voices), challenge the quality of playing among our organists, and enjoin the congregation to participate and be one in worship.. (SGD.) LEO RENIER. /HR5HQLHULVDSURIHVVRURIVDFUHGPXVLFDW0DU\KLOO6FKRRORI7KHRORJ\+HZDVWKHIRXQGHUDIRUPHUFRQGXFWRU DQGSUHVHQWO\WKHDUWLVWLFGLUHFWRURIWKH/DV3LxDV%R\V&KRLU+HVHUYHVDVDFRQVXOWDQWIRUWKHDQQXDO3LSH2UJDQ )HVWLYDODWWKH0DQLOD&DWKHGUDO%DVLOLFD.

(15) 7KHFRPSRVHUZULWHV It was March 2007 that I received an invitation from Msgr. Nestor Cerbo, rector of the Manila CathedralBasilica (MCB), to compose a congregational mass for the use of the Cathedral. It was also during this time that I received my new appointments as Titular Organist of the Union Church of Manila and as sub-organist at the MCB. Being offered this chance to write works that will highlight the glorious Cathedral organ was also a good opportunity for my dream of composing works for choir and organ to come into fruition. I am deeply humbled and honored for this possibility. Since this is a congregational mass, writing simple melodies that will be easily remembered by the community was my goal, melodies that will stimulate the senses and uplift the congregation to join in singing with one accord in the worship of God. The 0LVD,QPDFXODGD&RQFHSFLRQ is written in two versions. The original is for Cantor, Choir and Organ with RSWLRQDOEUDVVHQVHPEOHDQGSHUFXVVLRQV7KHVHFRQGLVZULWWHQLQDVLPSOL¿HGIRUP±IRUFDQWRUFRQJUHJDWLRQ and keyboard. This may be used in small churches that do not have choirs to tackle singing in voices. I wrote the accompaniment for organ, later on transcribing the original organ part for a keyboard instrument to give consideration to churches that use the keyboard or piano. The inclusion of chords above the piano accompaniment will be useful for amateur organists and will encourage other instrumentalists to join in worship. 7KHPXVLFFRPSRVLWLRQRIWKLV0DVVDFFRPSDQLHVWKHPRRGRIWKHOLWXUJ\7KHXVHRIWKHRUJDQHYRNHVGLJQL¿HG feelings in the celebration. The cantor leads the community. The choir parts were written in simple harmonization encouraging both amateur and professional choirs to showcase their God-given talents. The last section of this book includes four hymns for Mary, the Immaculate Conception. I wrote these to preserve hymn singing during the liturgy. I personally believe that the teachings of the church and its theology are located in hymns. Hymnody has been my mission for the past year after being made aware of the weakening of hymn singing in churches not only in the Philippines but also worldwide. Most of the Marian text was drawn from the Liturgy of the Hours. It is my fervent hope that parishes will be able to utilize all these works, the 0LVD,QPDFXODGD&RQFHSFLRQ and the Marian Hymns, to enrich their church worship and for the community to be able to participate more in the liturgy. My deepest gratitude I give to the people who have contributed wholeheartedly to this mission, namely; Msgr. Nestor Cerbo, for his dedication and enthusiasm in propagating the liturgy through music; Leo and Donna Renier, for their perpetual support and guidance; Cealwyn Tagle, for his continuous and enduring encouragement especially in organ music; Ferdinand Bautista, Holland Buela and Jonathan Ayson, for their constructive listening and editing of the initial music score; Matthew Niel Hebrona, for his creative graphic designs; Ferdi Espeleta, for sharing his talents in photography; Jean Arevalo, for her uplifting lyrics and for patiently and meticulously SURRIUHDGLQJWKH¿QDOPXVLFVFRUHP\IDPLO\IRUDOZD\VORYLQJPHLQJRRGWLPHVDQGLQEDGDQGWR$OPLJKW\ God, the source of all wisdom. 7KDWLQDOOWKLQJV*RGPD\EHJORUL¿HG. ALEJANDRO D. CONSOLACION II.

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(17) commissioned by the Manila Cathedral-Basilica for the 2nd Pipe Organ Festival. MISA INMACULADA CONCEPCION for cantor, congregation and mixed voices; with brass, percussions and organ. Panginoon, Maawa Ka ALEJANDRO D. CONSOLACION II. Voices. Organ. . . . . . . . . p espress.. Sw.. . Ped.. cresc.. mp. Ka.. Pa. . . . . . . -. . . . no - on,. . . . . . ngi - no - on,. -. . . . ngi - no - on, ma - a. . -. wa. ma. -. a. -. . ma - a. . -. wa. . . . . wa. . Ka.. Ma - a. . mp cresc.. SOPRANO. ALTO. . . . . -. . TENOR. . . . BASS. mp cresc.. . . © Copyright 2007 Alejandro D. Consolacion II Published/owned by the Manila Cathedral-Basilica Photocopying this copyright material is ILLEGAL.. . . . . wa. Ka. with CONGREGATION. Ma - a. . . . . . . Ka.. Pa. . -. ngi -.

(18)

(19) . 14. . . Pa. . . . . . . .

(20)

(21) .

(22) . . . . . p legato. Ch. 8' and 2'. . . 8. CANTOR SOLO. Moderato ( q = c.105 ). -. wa. . Ka. . . . sa. . -. a. -. . poco dim.. . . . -. poco dim.. sa. . a. . . . -. . . .

(23) 2. CHOIR only. . . 23. . . mf espress.. . . . min.. Kris. . . . . Solo. . . . . . . -. . . . Ka.. . . . . Ka. . . . . . ma - a. . Sw.. . . . Kris. -. . . . a. . . -. . . . . . dim.. . . . . . . . . . p. . . . -. . . . . . -. . . to,. ma -. . . . . Ma - a. dim.. . . -. . . wa. . . . . . . . . .

(24) Ch. 8' and 2'. . p. Sw.. . . Ka.. min.. . Kris. wa. . -. . ma - a. p. . Ka.. . . . . Man.. Ped.. sa. wa. . . to,. . . -. . . . . . . cresc.. cresc.. . mf. . 39. . mf espress.. . wa. . to,. . . . . 3. . 31. a. . -. . . . .

(25) 3. . . DESCANT SOPRANOS. 47. . mp espress.. . . Pa. ALL VOICES and CANTOR unis.. mp espress.. . . Pa. -. -. . . ngi - no - on, ma - a. . . ngi - no - on, ma - a. . -. wa. . -. . Ka.. Pa. -. . . . wa. Ka.. Pa. . . . . ngi - no - on, ma - a. -. ngi -. . -. wa. .

(26)

(27) . . . . 54. . . no - on,. . . . ma. . -. a. -. . Ka.. Pa. -. . . . wa. Ka,. ma. . .

(28) . . 61. . Ka,. . . . . . sa. . . . a. . . . ngi - no - on,. . . . . . -. -. . ma. -. -. a. a. -. -. . wa. Ka.. . . Ka.. . with CONGREGATION. . . . . . unis. poco cresc.. . . min.. .

(29) . . . . Ma - a wa poco cresc.. Ma - a. . . p. . . wa. . . . Sw.. p. . . . . -. . wa. . . . . . . .

(30) . . . .

(31) 4. Papuri Sa Diyos. . . CANTOR. Jubilant ( q. = c.70 ). Voices. Organ. Pedal. . . . .

(32) . .

(33). . . mf sempre marcato. Gt.. . pu - ri. sa. . . .

(34) . . Diyos. sa. Ka - i - ta - a - san, at sa. mp. . . . . .

(35)

(36) . . . . .

(37) . . . . . . . . .

(38) . . . lu - pa'y. . . sa. . . Diyos. sa. Ka - i - ta. . . . . . . . Pa -. . ka - pa - ya. . . .

(39) . 2.. . . Pa - pu - ri.

(40) .

(41) . .

(42) . mf.

(43)

(44) . . 13. . . .

(45)

(46) . . . Sw.. . 2.. with reeds. 1. . . . 6. . . 1.. a - san. . at. . sa.

(47) . .

(48) .

(49) . .

(50) .

(51) . lu -. .

(52) .

(53) . . cresc.. . pa - an.. . . . cresc.. -. -.

(54) . pa'y. ka -.

(55) 5 20. . .

(56) . . .

(57) . . pa - ya. . . . . -. . -. . an.. . . . . 34 .

(58) . lu - pa'y. . . . . .

(59)

(60)

(61) f sempre marcato. . . . . . .

(62) . . Pa - pu - ri. sa. Diyos. sa. Ka - i - ta.

(63) .

(64) .

(65) .

(66) .

(67) . . ANTIPHON mf unis.. CHOIR and CONGREGATION. . . Gt. .

(68)

(69) . .

(70) . . pa.

(71) . . . 27.

(72) . . . -. . . a - san. at sa.

(73) .

(74) . Gt. brightly. Sw.

(75)

(76) . .

(77) .

(78) . . . .

(79) .

(80) . ka - pa - ya - pa - an.. .

(81) .

(82) . . Pa - pu - ri. . . . sa. .

(83) . . . .

(84) . . Diyos. sa. Ka - i - ta -. . . . . . .

(85) . . .

(86)

(87) . .

(88)

(89) .

(90) .

(91) .

(92) . .

(93)

(94) .

(95)

(96) . .

(97) .

(98) 6. . . 41. div.. a - san. at sa lu. . . -.

(99) .

(100) .

(101) .

(102) . pa'y. ka. -. pa. -. .

(103) .

(104) . ya. -.

(105) . ff. . pa. -.

(106) . . an.. . . . . div..

(107) . . .

(108) . .

(109) . . . . . . . 48. . .

(110) . ff. . .

(111) .

(112) .

(113) .

(114) . . ff sempre marcato.

(115)

(116) .

(117) . . . . . mf. CANTOR. . . 1. At sa. . . . . . . . . . . . . . . . . . . .

(118) . .

(119) . . .

(120)

(121)

(122) . . . .

(123) . .

(124) 7.

(125)

(126) . 54. . . . lu. - pa'y. ka - pa - ya - pa - an. . Sw.. mf. . . .

(127) . .

(128) . . . Pi - nu - pu - ri.

(129) . . . . 69. . . . . . . . f with CONGREGATION. . Si - na. -.

(130) . f. Si - na. .

(131) . Ka.

(132) . f. -.

(133) . . .

(134) . . sam - ba. sam - ba.

(135) . Ka. Ka. . na. . .

(136) . . na - min,. -.

(137)

(138) . ra - ngal. Ka. . .

(139) . .

(140) . . na - min,.

(141) . . . .

(142) . Ka. . Ni - lu - lu - wal - ha - ti. . cresc..

(143) . Ni - lu - lu - wal - ha - ti. na - min,.

(144) . Di - na. .

(145) . . .

(146) . trmpt.. .

(147) . . .

(148) . . . . - min,. . . . Ped.. 61. . . . sa ma - nga ta - ong may ma - bu - ting ka - lo - o - ban.. . . . . . .

(149)

(150) . Ka. . na - min,.

(151) na - min,.

(152) . Gt. . . . f. . Sw.. . . .

(153). . . .

(154) 8 77. . . . . .

(155) . . Pi - na - sa - sa - la - ma - tan.

(156) . Ka. . Pi - na - sa - sa - la - ma - tan. Ka. . .

(157) . . . . . . . . . na - min. da - hil.

(158) . cresc..

(159) . . cresc..

(160) . sa. . da - ki -. . . . . . na - min. da - hil. sa. da - ki -. la.

(161) . . . .

(162) . . . . . la.

(163) . . . . 84. . . Mong. . Mong. . .

(164) kal. -.

(165) kal.

(166) . . . wal. -. wal. ha. -. -. . ha.

(167) . -. . . ti - an.. . ff.

(168) . . . . . ti - an.. . . . .

(169) . ff.

(170) . .

(171) .

(172) . . . . . ff marcato .

(173) . . . .

(174) . ff.

(175) . -.

(176) . cresc.. . . .

(177) . .

(178) .

(179) . .

(180) 9. . . 90. . . . ANTIPHON mf unis.. . .

(181) . .

(182) .

(183) . . . . sa Diyos sa ka - i - ta . Pa - pu - ri. .

(184). .

(185)

(186) . . 97

(187) . . . a - san. . . 104. . . ka - i - ta. . .

(188)

(189) . . . . .

(190) .

(191) . div.. .

(192) . . . . Pa - pu - ri. . .

(193) .

(194) . sa. .

(195) . .

(196) . Diyos. sa. . . div. . . . .

(197)

(198) . mf brightly. ka - pa - ya - pa - an..

(199)

(200) .

(201) . . . at sa lu - pa'y. . . . . . . .

(202) . . -. . a - san. .

(203) . . at sa. lu. . -.

(204) . pa'y.

(205) .

(206)

(207)

(208)

(209) . . . . ka.

(210) . -. pa. . -.

(211)

(212)

(213) ya.

(214) .

(215) . pa.

(216) . -.

(217) .

(218) .

(219) . -. . . .

(220) . .

(221) .

(222) .

(223) . .

(224) .

(225) . . .

(226) .

(227) . .

(228) . .

(229) 10 110. . . . . . ff. . . . . . CANTOR mf. . . 2. Pa - ngi-. . . . . . . . . . . . . . . . . . . . an.. . ff. . ff marcato. .

(230) .

(231) . . .

(232) . 118. . no - ong Diyos,.

(233)

(234)

(235)

(236) . mf.

(237) . . Ha - ri ng. . Ped..

(238) . .

(239). . . . . . . 126. . . . no - ong. He - su - kris -. . . to,. . . .

(240) . . . Pa - ngi-. .

(241) . . . .

(242) . . .

(243) . Bug - tong. na. A - nak,.

(244) . .

(245) . . . . . poco cresc.. . . .

(246) . La - ngit, Diyos A-mang Ma - ka - pang - ya - ri - han sa la - hat.. . . . .

(247) . . Sw.. . . .

(248) 11 134. f. . . with CONGREGATION. Pa. . . -. . . . f. . ngi - no. -.

(249) . ong.

(250) . f. Pa. . -. ngi - no -. ong.

(251) . . . Diyos,. . Kor - de.

(252) . . ng. .

(253) . . . . . . . . . . . . . . f

(254)

(255) . . . .

(256) . . . . Diyos,.

(257)

(258) . Kor - de. -. ro. ng. Diyos,.

(259) . ro. . -. . Diyos,. A-.

(260) A-.

(261) . . . . . . . . . . . . .

(262) . 142. . nak. . . nak. ng. ma,. A -. nak. ng.

(263) .

(264)

(265) . .

(266) .

(267)

(268) . . . . ng. . . . A -. . A -. ma,. f. A -. f. . . . . nak. . A -. . ng.

(269) A -. .

(270) . . .

(271) .

(272)

(273) .

(274) 12 150. . . . . . . ff. . . . ma.. . . . ff. ma.. . . ff. . . . . . . . . . . . . ff marcato.

(275) .

(276) .

(277) . . . . . 157. . ANTIPHON mf unis..

(278) . Pa - pu - ri. . . sa.

(279) .

(280)

(281) .

(282) . . .

(283) . . Diyos. sa. ka - i - ta - a - san at sa lu - pa'y. . . mf unis.. . .

(284) .

(285) . .

(286) . ka - pa - ya - pa - an.. . . . . .

(287)

(288)

(289)

(290).

(291)

(292)

(293)

(294)

(295)

(296)

(297)

(298) .

(299) . . . . . . . .

(300) .

(301) 13.

(302) . 165. div..

(303) . . . . Pa - pu - ri. . . . sa. .

(304) . . Diyos. sa. ka - i - ta - a - san. . . . at sa lu. . . div.. -.

(305) .

(306) .

(307) .

(308) .

(309) .

(310) . pa'y. ka. -. . . . .

(311) . . . . 172. pa. . . -. .

(312) . . . .

(313) .

(314) . . ya. -. pa.

(315) .

(316) .

(317)

(318) .

(319)

(320) . .

(321)

(322) . . ff. -. an.. . .

(323) . . . . . . . . . . . ff . . .

(324) . . . . . 178.

(325) .

(326)

(327) . poco rit.. . . . poco dim.. .

(328). . . .

(329). . . ff marcato.

(330) .

(331)

(332)

(333) . . . . . .

(334) . .

(335) .

(336)

(337). . . .

(338)

(339). . . .

(340) 14 Andantino ( q. = c.52 ). 182. . . . .

(341)

(342) p. CANTOR. . . ng ma - nga ka - sa - la - nan ng. I - kaw na nag - a - a - lis. . . . . . . . . . . . . . . . . . . . . Andantino ( q. = c.52 ). Sw.. . . . p legato. . . . . . 189. . . . . . . . .

(343) . . .

(344) . . I - kaw na nag - a - a - lis. mp unis.. . . Ma - a - wa Ka sa. .

(345). . . . . . a - min,. ma - a - wa Ka sa. . .

(346) . . . ng ma-. . . . . a - min.. . mp unis.. . . . .

(347) . mp moving.

(348)

(349)

(350)

(351)

(352)

(353)

(354)

(355) . CHOIR and CONGREGATION.

(356) . .

(357)

(358) . . san - li - bu - tan,. . . .

(359) . . . . . . . . .

(360) 15 196. . . . . nga. . . . . ka - sa - la - nan ng san - li - bu - tan,. . . . mp unis..

(361) . Tang - ga - pin Mo ang a - ming ka - hi - li - ngan,. . . . . . . . . . 201. . . . . . . . . . . . . . . . . . . . . . . . . . .

(362)

(363)

(364)

(365)

(366)

(367)

(368)

(369)

(370)

(371) na na - lu - luk - lok. ff with conviction. .

(372) . . ff. . . . sa. ka - nan ng.

(373)

(374) . . . . . . . . .

(375)

(376) . A - ma,. . mf.

(377) . ff with conviction. . . . . . CHOIR I - kaw ONLY. li - ngan.. . . . . . .

(378) . . . . .

(379) . . . . . mp unis.. . . tang - ga - pin Mo ang a - ming ka - hi-. Ma-.

(380) 16.

(381)

(382) .

(383) . 207. . . a - wa Ka sa. . . . . . . mf. Man.. . mf. . . . . . . . rit.. . . . . . min.. . . . mp. . . . . . . . Gt.. f marcato. . Ped.. Jubilant ( q. = c. 70 ). a -. . a - min.. . . Sw.. . . mf. Ma - a - wa Ka sa. . . 214. Ma - a - wa Ka sa.

(384)

(385)

(386)

(387) . . . rit..

(388)

(389)

(390) . . a - min.___. . . . . . mp. . TENORS and BASS mf. . . . 3. Sa - pag-.

(391)

(392).

(393)

(394) .

(395)

(396) . . . . 222. . . . . kat. . Sw.. mf. . . I - kaw. cresc.. . la - mang ang ba- nal,. .

(397) . . .

(398) . . . . . . . . I - kaw. la - mang ang. Pa - ngi - no - on.. . . . .

(399) . . . . . mf. . . I - kaw. . Gt. f.

(400)

(401)

(402) .

(403) . .

(404) . 230. . la -. mang,. . . . . Sw..

(405) . O He - su - kris - to,. . . .

(406)

(407) . . . 237. . . . . f with CONGREGATION. . .

(408) f

(409) . . Ka - sa - ma. Ka - sa - ma. . . . . Ped. . f. 244. .

(410) . ti - an.

(411) . . ti - an.

(412) . . . .

(413) . Sw.. . . .

(414) .

(415) . . ang. Ka. . -. ta.

(416) . -. . . . . .

(417) . ng Es - pi - ri - tu.

(418) . . San - to,. ng Es - pi - ri - tu. sa. as. -.

(419) . .

(420) . . San - to,. sa.

(421) . -. Ka. . . ta - a - san.. -. . . .

(422) . . .

(423) . . lu - wal. lu - wal.

(424) . Trmpt..

(425) . -. ha -. . . -. ha -. Gt. f

(426) .

(427)

(428) . ng Diyos.

(429)

(430) . ng Diyos. . .

(431) . . Ka. 17.

(432) . sop div.. Gt.

(433)

(434)

(435)

(436)

(437) . . .

(438) .

(439) .

(440) . A - ma,. A -.

(441) . A - ma,.

(442)

(443)

(444) . . men,. . .

(445) . .

(446) . . ng. Diyos.

(447) . .

(448) . .

(449) . . . . . A -. men,. ng. Diyos.

(450) . A-.

(451) . A-.

(452) . . . .

(453) 18 252. . . . . . A. . A. ma,. -. . . . . . . . . . . . . . . . . men.. . ma,. . . -. . men.. . . . . ff. . . . .

(454) . . .

(455)

(456) .

(457)

(458) . . . .

(459) . SOPRANOS DESCANT. 259. . . . . . . CHOIR, CANTOR and CONGREGATION. . . f unis..

(460) . Pa - pu - ri. .

(461). .

(462) . . . . . .

(463) . . sa. Diyos. sa. ka - i - ta. f. . . Pa - pu - ri. FINAL ANTIPHON. . . . . sa. . Diyos,. . . . . Pa - pu - ri.. -. f sempre staccato. . . a - san. at sa. .

(464)

(465)

(466)

(467) .

(468) . . . . .

(469) 19 266. . . At. .

(470) . . . . sa. lu - pa'y. ka. . lu - pa'y. . . . .

(471) . . . . . Pa. . . -. -. . . ya. -. .

(472) . . . . . Pa. . pu - ri.. Lu cresc.. . a - san. . -. . . at sa. Lu. cresc.. -. pa'y. .

(473) .

(474) .

(475) .

(476) .

(477) .

(478) . pa'y. ka. . sa.

(479) . Pa - pu - ri. sa. Diyos. sa. . . . . . . div..

(480) . -. pa. -. -. pa. .

(481) . . . ka. pu - ri. . . . -. . . .

(482) .

(483) . . . . div..

(484) . . . . pa - an.. pa - an.. . . . ka - i - ta. . . -. . . Diyos,. -. . . . 272. pa. .

(485) .

(486) . .

(487) . -. . ka - pa - ya. . . -. . . . . ya. -. pa.

(488) .

(489) . . ya. -. pa.

(490) .

(491) . -. -. . . . .

(492) . . .

(493) . .

(494)

(495) .

(496)

(497) . .

(498) .

(499) 20. . 278. . . . . . . . . . . . . . . . . . . . . . . an.. an.. . . . . .

(500) .

(501) . . 285. . . . . . . . . poco a poco cresc.. A -. men.. ff.

(502) . poco a poco cresc.. A -. men.. ff. poco a poco cresc..

(503) .

(504) . . . . ff . .

(505). . .

(506) . . . . .

(507)

(508) A-. . . . . . . .

(509)

(510) A-. . men.. . . . . men..

(511)

(512) . .

(513) .

(514)

(515) .

(516) . . ff. . . . . .

(517) 21. . .

(518) . . .

(519) . 292. . . . . . . fff

(520) A

(521). fff A.

(522) .

(523) . . . . non rit.. fff. . . . . .

(524) .

(525) . . . . -. -.

(526) men!.

(527) . . . . . men.. . . . men.. . . . . .

(528) . . . non rit..

(529) . . . . .

(530) . .

(531) . A -.

(532) . . . . .

(533) . A -. . 297. . . . . . . . .

(534) . . . . . . . . . . . . . . men!. . . .

(535)

(536) . . . . . .

(537) sfz

(538)

(539) . .

(540) 22. Alleluia. . . . . . 1. . Jubilant ( q. = c.70 ). . Voices. Organ. Pedal. Gt.. . . . . . . lu.

(541) -. ia,. . Sw.. . . . . . . al - le -. . . Al - le - lu. .

(542) . . lu. -.

(543) -. ia,. al - le. . . . . al - le. .

(544)

(545) . ia,. -. . . . . lu - ia,. 2. . . .

(546) . . .

(547) .

(548) . .

(549)

(550) al - le. . . . . lu.

(551) . . . Al - le -. -.

(552) . mf.

(553)

(554) . . . . . . . . .

(555)

(556)

(557) . 13. . . . CANTOR. 2.. f sempre marcato. mf. . . . . . .

(558). . 6. . 1.. . -. ia..

(559) . -. . lu. . . -. . . . . ia..

(560) . .

(561) 21. . .

(562) . With CONGREGATION. . . . . Al - le - lu mf. -. Al - le - lu mf. -. . . . . Al - le - lu. . . . . lu. . . lu. . lu. . lu . . . -. . -. . -. -. . ia,.

(563) . ia,. -. le. . . . al. -. le. . . ia.. -. . ia,. ia,. al. -. le. . . . . . . lu - ia,. -. -. lu -.

(564) . -. . . ia,. . lu - ia,. lu,. . ia,. . . al - le. .

(565) . .

(566) . .

(567) . . . . lu - ia,. .

(568) . al. . le. . -. -. . le. -. -. . . -. le -. -. -. -. -. . al. . -. al. -.

(569) . al. -. ia,. ia,. lu - ia,. . . -. . lu - ia. Al - le - lu.

(570) . .

(571) . . al - le - lu - ia.. -. -. Al - le - lu. . al - le. . -. . -. -. . .

(572) . al - le. -. . al. . .

(573) . . -. . le.

(574) . -. . . . .

(575) . Al - le. Al. -. -. . . . -. . lu -. . ia.. -. . . lu -. ia,. . . . le. -. lu. . -. . . -. . . . -. . al - le. -. le. . . ia,. -. . al - le. ia,. al - le - lu - ia.. . .

(576) . . lu.

(577) . al. . -. -. . . -. . . 27. . . . al - le.

(578) . -. Al - le - lu. . . . . . ia,. mf. . al - le.

(579) . mf. . . ia,. -. . Al - le - lu. . 23. . . . ia,. al - le -. . . . lu - ia.. Al. . . -. . -. . -. . le. . . -. lu -. ia,. . . .

(580) 24 33. .

(581).

(582) . . al. . .

(583) . ia,. al. . al. . lu. . . . -. -. -. -. . ia,. al. . . al. . . le. -. -. -. -. le. -. . le. -. -. -. . 38. le. . -. -. -. -. -. -. . . . . . . . . . -. -. le. . . . . lu. -. . . . . ia.. . . . . . . . . . . . . . . lu. lu. . -. -. ia.. . lu. . ia.. -. .

(584) . . . . . . . "Ma - pa. . -. . lad ang ma - nga. . . . . . . . ia.. . . . .

(585) .

(586) . . . ia.. Sw.. . . . . Nag -. -. . mp legato. . lu. . . wi - ka ang Pa - ngi - no - on,. . CANTOR.

(587) . . .

(588)

(589) . . .

(590) . . . . ta - ong. nag -. .

(591) 25 42. . . . ti. . . . -. . . ti - pon. . . . . sa. A - king. . . . . . . . . . . . . Al - le. . - lu. - lu. . Al - le. - lu. -. -. mf. . . . Al - le. - lu. -. mf. Al - le. . . . . . . . . . . - lu. -. ia,.

(592) . al - le -. . . . .

(593) . ia,. al.

(594) . . . . ia,. ia,. al. al. . . . . -. -. -. lu -. ia..

(595) . . . . . .

(596)

(597) . . .

(598) . . al. -. le - lu.

(599) . .

(600)

(601) . . . . . . lu - ia,. le - lu,. . . . al - le. ia,. le - lu - ia,. -. . . al - le - lu -. . . . . ia,.

(602) . mf. . . . -. mf. Al - le. . .

(603) . With CONGREGATION. . Al - le. . . . . . . Nga - lan.". . 45. . cresc.. al - le. al - le - lu - ia,. . . le - lu - ia,. al - le. . . al - le. . -. -. lu. -. . lu. -. -. -. lu. -. -. lu. -. Gt.. mf. . Sw.. . . . . . . . .

(604) 26. . . 52. . . ia.. ia,. . . . . Al - le - lu. . al - le. ia,. -. lu - ia. Al - le - lu. al - le - lu - ia..

(605) . al - le - lu - ia..

(606) . . Ped.. .

(607) . . . le. . . Al. . . . -. lu. -. -. lu. -. le. -. -. lu. -. . . . -. -. lu. -. -. lu. . . lu -. ia,. . . . . lu -. -. lu. . . le. -. lu. . ia,. -. . . . . . . -. . -. . ia,. al - le. .

(608) . al -. ia,. al -. al. . -. . . . . .

(609) . ia.. -. ia.. . . -. . .

(610) . -. . lu - ia,. -. . al -. . . . . . . . . . . . . . . . . . . . ia.. -. . . ia.. -. -. . . . -. . . -. -. . . -. -. . poco rit.. -. . . le - lu - ia. al . le. le. . Al. . . le .

(611) . . al - le. . . . . . . ia,. Al - le. 58. . . . al - le.

(612) . . . . ia,. -. . . ia, al - le - lu - ia. . . . . . -. .

(613) . . ia,.

(614) . . rit. poco . ia.. ff. . . 2. . . . 2. . . . . .

(615) 27. Santo Triumphantly ( q = c. 115 ). Voices. Organ. 10. . . . . . CHOIR and CANTOR. f proclaiming. . .

(616) . San - to, San - to,. . . . . f. . . Ped.. ri - han, Na - pu - pu - no ang. . la - ngit at. . . . . 18. . . . . CHOIR. . . to,. Pan - gi - no - ong Diyos. . . . . . . . . ng. na ma- ka -pang - ya-. . ka - lu- wal - ha - ti. . . -. . . . . . . . . an. Mo.. . . cresc.. Ho - sa - na, ho - sa - na sa.

(617). . .

(618) .

(619) mf . Ho - sa - na, ho - sa - na sa. ka - i - ta - a - san. Ho - sa - na, ho - sa - na sa. ka - i - ta - a - san. Pi -. . . f with CONGREGATION. . . . f. . . . . . . . . lu - pa. . . . . -. Trmpt. Gt.

(620)

(621). . . . . . San.

(622). . f. ka - i - ta - a - san. Ho - sa - na, ho - sa - na sa. mf

(623). . ka - i - ta - a - san. Pi -.

(624)

(625) . . . . . . . . . . . . . . . mf. .

(626) 28 27. CANTOR and CHOIR. . . . nag - pa - la. . . Nga - lan ng. . . . sa. . . ang na - pa - ri - ri - to. . . . . . . ff with CONGREGATION. . . Ho -. . . . ff. . Ho -. . . . . . . . . sa -. . . . sa -. . . . . . . . . . . na. . na. . . ka. . . . . . . ho - sa - na. sa. . . sa - na,. . . . sa. ka. . . ka. . . . . . -. -. .

(627) i - ta.

(628) i - ta.

(629) . ka.

(630) . -. i - ta. rall.. -.

(631) . -. i - ta. -.

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