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Compositions Sibley, Tamara Lynn 1999

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COMPOSITIONS by TAMARA LYNN SIBLEY B.Mus., Queen's University, 1995 B. A, Queen's University, 1996 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (COMPOSITION) in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the reqjahje^ a^fjld^ rd THE UNIVERSITY OF BRITISH COLUMBIA May 1999 © Tamara Lynn Sibley » 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Musi<o The University of British Columbia Vancouver, Canada Date DE-6 (2/88) Table of Contents Table of Contents n Amusia * Arrow's Flight 6 Pandemonium ^ Requiem o y I. Requiem aeternam • 4 * ILKyrie 4 4 III. Pie Jesu 4 8 IV. Sanctus 5 5 V. InParadisum 61 VI. Agnus Dei 6 3 VII. Libera me 6 8 VIII. Lux aeterna 7 4 Soliloquy to a Lover Lost 7 8 i i A M U S I A FOR SOLO PERCUSSION BY T A M A R A SIBLEY fay fM^CJcuV^Urvv. ST7l£,E [SI 6 © "f 3 H u S V * - S T A N D S C 3 > 52 •4 T E M P L - E S i r » - K S S<N>0U 6 T l M V A . t s i O ® 1 TAVA H 151 O T H - E i g S V K B O L - S A D J U S T S T - 4 U t i l i i f If i,lt l J \ I g SMW C U P T o 1t+e T e ^ ^ o e M g e : T V n s \4 <a_ uoeVrci- Curd- K u ^ o u r e u a pucx. 5 t o r r t t X r « - rvuivE. ^s* ipWt** S\r^\s. ba.f \ \ * \>» ^c^unacta S-fjwn. 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O&CjdMCLnLo - - i J - 1 I 3 2 3 T J T (to/«vvA.\UVi} - 5 -CH-1+ K \ a U * - ( 0 » L I G H T S U-P k~f f r i —K. 1 f ^  * 1 J|T ' /n l e t n r s A ^ ^ II L J 1 1 1 1 : i 7 T H ^ Arrow's Flight for string quartet By Tamara Sibley for String Quartet © 1998 7 2 3 1 4 lO P A N D E M O N I U M f o r o r c l i e s t r a . B Y T A M A R A SIBLEY Meanwhile the winged Heralds by command Of Sovran power, with awful Ceremony And Trumpets' sound throughout the Host proclaim A solemn Council forthwith to be held At Pandemonium, the high Capitol Of Satan and his Peers . . . . John Milton, Paradise Lost, Book 1 XL Pandemonium by Tamara Sibley Note to the conductor: The metre throughout should be conducted in four. Throughout the second section, there is a subjugation of the metre, resulting in a 3+3+3 against 3+2+2+2 feel, with some of the winds in the former. Programme note: Pandemonium is a work in three sections: Fallen Angels, Past Graces, and Revelations. In each of the first two sections, there is a distinct four-measure theme which winds its way through the orchestra. The last section combines these two themes, then returns to a semblance of the consonance with which the piece begins. Fallen Angels - The demons in Milton's Paradise Lost have a very strong memory of their former roles, having just fallen from Heaven. The main thematic figures stem from this sense of having fatten from grace, combined with the dissonances of their new surroundings. As the demons form an army with which to battle Heaven, rhythmic unity emerges, only to result in tonal chaos and a further descent. Past Graces - This section recalls happier times for the devils. The main theme of this section is, in a sense, an inversion of that from the previous section, for the motion is upward, rather than downward. The theme moves throughout the orchestra, often doubled in thirds, fifths and sixths. The fugal passage near the end of this section dissolves any sense of order as the demons are forced to come to terms with their position. Revelations - There are several connotations to the title of this section, including the act of revealing that which was previously hidden, the knowledge of God, and the final book of the New Testament, in which both the Apocalypse and the new Jerusalem are envisioned. In a sense, this section combines these ideas, for there is a movement from chaos to something that is close to order. Whether this order results from a knowledge of God's intent, from the resolution of the battle between Heaven and Hell, or from the demons reaching a separate peace with themselves is impossible to say. The orchestra: Piccolo 2 C Flutes 2 Oboes 2Bl? Clarinets B b Bass Clarinet 2 Bassoons 4 F Horns 2 C Trumpets 2 Trombones Timpani Percussion 1: Percussion 2: 1st Violins 2nd Violins Violas Violoncelli Contrabasses Suspended cymbal Marimba Temple blocks Tarn tarn Xylophone Vibraphone Field drum 12. SCORE IN C Tempo diavolo • = 120 Piccolo 2 Oboes Horns I/II 2 Trumpets Timpani P a n d e m o n i u m I. Fallen Angels Tamara Sibley PPP < > 13 - 7 7 \>fhfiM " "—m 9 \? \? \T ^ 7 7 --r—r IV - r — f - r — r — - r — r '_—j^V "V K7 7 — -• I * - *—' — -^ — 7 7 - ' x- - =^ = = ~4--6-12 to LU j ~ ~ n nnm \,m nnm L LI U U ~ C ^ pp J^ i.J J J J * • >. III ^ r r- -r- r- JSB 1. 1. J. J J J J J J ^ S E Tpt. Timp. Tl Jl ri rrrj pp\ pp 11 - ) o -ff r / r r r r n ^ J r rr r r r r r — g r- r r r r' r r r J / CJ CJ L-L/ J J CJ [J L f f J J J J J J J J1 r /r r r r r r ~ ^ L _ _ J / C J L J ^ C T J. J J J J J J~T~7T J J C J C J C ^ Q " C _ J J LJ CJ C_^* t _ _ _ J J CJ CJ L M It diminuendo diminuendo diminuendo —1 £ 1— damp s/m. damp ( m J • • —1—X • • i i i i — y J w—j—y— \J. i U ~ i ^ w . . \,, | -fv.—w— vw m )}m -UTVJ— 1 1 J . L J l -— * «i /»/> =P5 24 ~ )4r-Tpt. Timp. fc\ f\ f\ #s h* - ? /t ^ ^ £\ £\ ^ . e ^ _^  - I f -10 25 M £s £\ £\ h O /^ r \ f N £ \ ^ e ^  ^ / *T \ £\ g\ £\ 51 3. fievelahcnS Pice. Tpt. Timp. cresc. poco a poco rj\j JJ J>JJJ J M J JUIJ |J ^ j ) jw f p f rr f l rrr r nln r rr ri r If r 'r P I Pf * f f T j _, J J^ LJ d> r r *r r ;J J M p'r rr r'Tf r r r v r r r ^ cre.se. poco a poco 5? Pice. Tpt. Timp. Vln. n / 7fc -2?-Tpt. Timp. Or g» cr r r £=t_ =!=£ ^ fltfl n 7 diminuendo -2l°-Tpt. Tim p. Cb. subito }8 ml Requiem for unaccompanied SATB chorus by Tamara Sibley Let us remember the dead With words and sounds possessing beauty enough To honour them, With beauty enough to be worthy Of the memories they leave here, In our hearts and minds. Dedicated to the memory of my grandfathers, Edgar Sibley and Edward Milton, my grandmother, Esther Sibley, and all those whom I have loved. 5 1 Requiem by Tamara Sibley I. Requiem aeternam II. Kyrie III. Pie Jesu IV. Sanctus V. In paradisum VI. Agnus dei VTI. Libera me VIII. Lux aeterna Note: When I decided to compose a requiem, I thought at great length about the people that I had lost. This led me to the decision to create a requiem of a more intimate nature than many that currently exist. Gone were any instruments other than the human voice. Gone were the overuse of dissonance, the blurring of the text, the grand proportions used by composers like Berlioz and Verdi. Although I find those requiems beautiful and powerful, I wanted to reclaim that aspect of death and mourning that is personal and quiet and simple. I wanted to pay tribute to the people that I had lost in terms that they would have understood. In composing the music, I decided to make use of simple lines, of simple textures, and emulate early music, without adhering firmly to the rules of counterpoint. The result is a modal, yet modern, setting that creates a warmth and intimate sound. The music to which the opening text is set acts as a type of refrain, reappearing in three of the eight movements. Each movement has a fairly distinct character, notably the Sanctus, In paradisum, and Agnus dei, which form the central triumvirate. The text was set almost instinctively, both rhythmically and in terms of pitch, with consideration to the tone and meaning of the Latin. The requiem is a macabre lullaby, sending the dead to their slumber, hence the quiet that pervades much of the music. I would like to thank Dr. Stephen Chatman for his guidance and contribution during the composition of this piece. I would also like to thank Dr. Mark Sirett and Dr. Olga Malyshko, both of whom contributed to my love of the human voice. Vancouver, March, 1999 "Good night, sweet prince, And flights of angels sing thee to thy rest. " Requiem I. Requiem aeternam for unaccompanied SATB chorus Tamara Sibley Soprano Alto Tenor Bass Piano (reh. only) Adagio J = 7 2 a i t « i — * — « M — # m Re-qui-em ae - ter-nam P 4 • «• do - na e - is do- mi- ne et lux per Re-qui-em ae - ter-nam J • do - na e - i s do-mi-ne et lux per Re-qui-em ae - ter-nam P do - na e - i s do-mi-ne et lux per m i r r r pi* r r n M S r r Re-qui-em ae - ter-nam do - na e - i s do-mi-ne et lux per *—#—#^ # 5 J • «• r tit r r 11 1998 Tamara Sibley 2 De - i in Si - on, et ti - bi re - de - tur vo - turn in Je -De - i in_ ST^ on, et ti - bi- de - tur vo - turn in Je -Do ae ter nam, do EE A na is mi -ae ter nam, do na_ ts Do - mi ¥'l,ils P r f ^ J j J . j 16 , m n m _E|EE»—* » =»z^^!^»==zrEJE:E:! -*—rt ru - sa- lem. Ex au - di ex - au - di o - ra- t i -o-nem me - am, ad te ru - sa- lem. Ex -4-au - di ex - au | > n t 7 -di o - ra- t i -o-nem me - am, ad te ne. Ex - au - di ex - au P f di. o - ra- t i -o-nem me - am, ad te j r r i ne. Ex - au - di ex - au di o - ra- t i -o-nem me - am, ad te iUh, JT* c j ^ , — J — — r r J 1 p P—t i — i i n 4 1—4 — ik " t L < 7 3— ^ M d J3-r H 4 r i » — ' • 9 1 < i * — % i (9 4 1 ^ > l>vf =: r A p_J 3=«— p— - p — 2 1 • — » — 4 7 -3 ~ mp p — -h r r p r \'j r r J ! i r r f plij r r i ^  i^Tr r r om-ms ca - ro ve-ru-et. mp Re - qui - em P ae - ter - nam do - na e - i s «< * om-nis ca - ro ve-ni-et. J j J J g Re - qui - em P ae - ter - nam do - na e - i s j f r r- P is r r '* r r r om - ms ca - ro ve - ni - et. Re - qui - em P ae - ter - nam z r = = - mp p r J ii ,n -i n r r r p >* r do - na e - i s om-ms ca - ro ve-m-et. Re - qui - em ae - ter - nam i J p ^ «i <i do - na e - i s A i» f o 1»—(S>-:5E Do-mi - ne et lux per pe - tu - a_ lu - ce - at e is Do-mi - ne et lux per pe - tu - a_ lu - ce - at e is. PP r ii r r i i f pf f- ii!f r r p d * o lux per pe tu - a- lu - ce - at e is. PP P tl ii m r Do- mi - ne et lux per pe - tu - a_ lu - ce - at rit. is. ^ 1 //. Kyrie for unaccompanied SATB chorus Tamara Sibley Andante J = 92 Soprano Ky - ri - e e - le son,- ky - ri - e © 1998 Tamara Sibley 5 P m fi •= • m ky - ri - e e - le P • • . son. d * son.. Chris - te, Chris - te e W P ky - ri - e e - l e - i - son.-P Chris - te, • fi •= e - le son,. k y - r i - e e - l e - i 1 1 t i j j j i J j j » A V t * i I * • j 1 (I 1 f r r r 1 —r—r— m m d r ~t F 1 c a J J J — • — - — * — — » — > — • — r r r 1 '—f- 1 r r r ' r r M P le -Chris - te, Chris l - son, I - . son, le Chris - te, Chris - te le —TTr-son, W P Chris - te le I - son, '>'! J'J J Chris - te, Chris P (9 te son.- Chris - te, Chris - te ? " I'1' r r 4? 6 7 39 P P J = I* |» * P m ky - ri - e e - le - i son,_ ky - ri - e ky - ri - e e - l e - i son. * m -1 r J J e - l e - i - son, flip ky - ri - e e - l e - i - son. • p son,. ky - ri - e e - l e - i - son, J J -0 * J J J » f t 46 , mm e - le l - son.. Ky — — ri - «. son Ky e - l e - i Ky r r * '.r- r . k y - r i - e e - l e e cresc. son. e - l e - i - son. 46 I J J J ///. Pie Jesu for unaccompanied SATB chorus Tamara Sibley 1998 by Tamara Sibley 48 9 sem - pi - ter - nam re - qui- em. pp \ Cs 8 J- J li " J IJ J J 112 sem pp P' ter - nam re - qui- em. Cs r- r il f f lr r f E E f f sem - pi - ter - nam J J J J EjEgE j i r r j j re - qui- em. CS * — * — _ CS p—p—(9— 10 11 19 P Adagio I=eo m d A -J— J A re = qui= em re= qau em. | 0 0 jp -0— 0 p a re - qui- em. re- qui- em. j J =lj=g J J i f J J —l i i -at—* ter - namtl_ re- qui-em. Pi - e Je - su do - mi-ne do - na e - is re mp qui em -6 Pi - e Je - su do - mi-ne do-na e - is re - qui - em •m—wt ter - nam re-qui-em. em J J J |[ P t>f J J | j J (ipr p || m \,m p p|p p I j ter - nam re-qui-em. Pi - e Je - su do - mi-ne do-na e - is re mp '•n r i' i r r r nr rr r 1 ^ r r 1 * r r ; 9-qui 4£ em ter - nam re-qui-em. Pi - e Je - su do - mi-ne do-na e - is re qui em r * i 9j f p P P 19— w P ( b a r i t o n e ) 2 5 "tf' Pi e Je - su do-mi-ne do-na e-is, do-na e-is re-qui-em sem-pi-ter - nam 71 12 Adagio J = 60 13 re-qui-em sem - pi-ter-nam re re - qui-em re - qui- em qui - em. Pi - e Je SU sem - pi-ter-nam re qui - em. Pi - e Je f~S pp SU sem - pi-ter-nam re qui - em. Pi - e Je S7\ PP su do - mi do do -S J i n » g g—-j re-qui-em sem - pi-ter-nam re ft 14 71 IV. Sanctus for unaccompanied SATB chorus Tamara Sibley Molto allegro J = 132 f Soprano Alto Tenor Bass Piano (reh. only) ^ i f J i If J M l ^ m San-ctus, san- ctus, san - ctus, Q P M |» J * 13 San- ctus, san- ctus, san - ctus, do-mi-nus De-us Sa San- ctus, san-ctus, san-ctus, do-mi - nus De - us il i 1 3E p—*—p do-mi-nus De-us Sa - ba-oth! ba-oth! Sa - ba-oth! r P r San-ctus, san-ctus, san-ctus, do-mi - nus De - us Sa ba-oth! 1^ ^ P P-s mp / L « m n i • i * b-= * * * * * - p T 1 Pie - ni sunt coe - li et mp ter - ra glo - ri - a tu - a, glo - ri J J- J Pie - ni sunt coe - li et mp ter - ra glo - ri - a tu Pie - ni sunt coe - li et ter - ra glo - ri - a m p j * Pie - ni sunt J J coe et LTL7 r r © 1998 Tamara Sibley 16 fe ~» -fr--tu a! f p p — 0 Ho - san - na p j » in_ ex eel sis |* glo - ri tu - a! Ho - san - na in- ex eel sis p tu Ho L-san - na in ter - ra glo - ri - a tu - a, E f e E E Ho - san - na in H i p p J » r r r "V~ r r f== r r ~ T I Ho - san - na Ho - san - na Ho - san - na Ho - san - na in ex - eel -•* # Ho - san - na Ho - san - na P P p ~-Ho - san - na p P ' i r r r ^ i ( 7 7 Ho - san - na in ex - eel -*^T-- 1 P f~F 1 r f~~p | - p — • —r—r " \ — -fTn—1—i / i 1 i LJ 1 1 r r r 1 f J i « l — sis Ho - san - na Ho san - na Ho san - na_ 0 <t»>J j j in ex - eel 1 J m p w IP P p i p P 17 21 SIS. r J > San - ctus, san - ctus, * i * r j san - ctus, do - mi - nus De - us S l i p sis. San - ctus, san - ctus, — • — san - ctus, do - mi - nus De - us d i \ f •m p sis. San - ctus, / , d— san - ctus, d— san - ctus, do - mi - nus De - us d d d p p =g SIS. San - ctus, san - ctus, san - ctus, do - mi - nus De - us n J 3 = T / H p d P Sa ba- oth! Be - ne - die tus qui ve mp net in no - mi - ne do - mi - ne 1 1 1 « ^ Sa ba- oth! Be - ne - die tus qui ve mp net in no - mi - ne r p r p-= 1 «I p mp ±= • Sa - ba- oth! Be - ne - die ,1 r f :1 f 7> 18 * y i p - p p f J—•- p p f no - mi - ne do mi - ne. •/I Ho - san - na in- ex p * do - mi - ne no - mi - ne do - mi-ne. Ho - san - na ex J rJ net in no - mi - ne do mi ne. J. j ' j Ho - san - na in •£ r-p ^ tus qui ve - net in no - mi - ne do - mi ne. Ho - san - na in 1 > y f E H " r p r J . E? ^ d d P = * 1 I 36 F — F — F » r r r ^ r r r r r eel - sis Ho - san - na Ho - san - na Ho - san - na Ho - san - na d \p JE eel - sis Ho - san - na Ho - san - na Ho - san - na Ho - san - na i»—F P P P E W ex - eel sis Ho - san - na Ho - san - na Ho - san - na_ _m_ • F I T F r S ex - eel sis Ho - san - na Ho - san - na Ho - san - na-af* IbP* ^0 p g i i > r 78 19 ~m P = ? = in ex - eel sis. mf 0 p : , j r | p Ho - san - na in- ex eel mt sis in ex - eel sis. Ho - san - na in ex - eel sis. in ex - eel sis. E# ~p p~ r r J 46 p p ~ p — p -Ho - san - na Ho - san - na Ho - san - na Ho - san - na in ex E2E A* * m_ ex eel mf sis Ho - san - na Ho - san - na Ho - san - na B p p 8 -p - p P P =g Ho - san - na in_ ex - eel mf sis Ho - san - na P P m p p ; Ho - san - na in- ex U J J r r r P P T i» » — E i E m t p p 20 51 cresc. fi~r P | P m~~P p J 0 J I , f eel sis. Ho - san cresc. na Ho - san - na Ho - san - na Ho - san - na * 0 Ho - san - na in cresc. ex - eel sis. Ho - san - na Ho - san - na d 0 0 0 Ho - san na Ho - san - na cresc. Ho - san - na in_ ex - eel sis. » p — f P P 1— _ p p eel sis Ho - san - na Ho - san - na Ho - san - na Ho - san - na ^ r1 f j j J • al | J J J J 3 r * -f * J J . 0 p f Jf p 0 in_ ex eel sis in_ ex eel Jf sis in- ex eel sis. m--0-ex eel Jf sis. p p p =p in_ 5 ex eel sis. ex eel Jf sis. ex eel sis. ex eel foO V. In paradisum for unaccompanied SATB chorus Soprano Alto Tenor Bass Piano (reh. only) Molto adagio * = 50 P Tamara Sibley In pa - ra - di - sum de - du - cant an - ge - li;-in tu - o m ad - ven-tu sus - ci - pi - ant temar-ty - res, e t_ per-du-cant— te in c i - v i - t a - t e m , mf et-— per-du-cant— te in c i - v i - t a - t e m p i p p i f 1 ^ TJ ' r^ r L r 1998 Tamara Sibley 61 22 i ^ m + r — > I U U r U Cj a >L/ C ^ P san - ctam Je - ru - sa - lem • m m Cho-rus an-ge - lo -rum te— sus-ci-pi-at; et cum L a - z a - r o • 7 n n n P m ^ W san - ctam Je - ru - sa - lem. Cho-rus an-ge - lo -rum te— sus-ci - pi-at; et cum L a - z a - r o / san - ctam Je - ru - sa - lem. m Cho-rus an-ge - lo -rum te— sus-ci-pi-at; et cum La - za - ro m Cho-rus an-ge - lo -rum te— sus-ci - pi-at; et cum La - za - ro 14 l J J M f • /• a 4 ) • ^ j • m I r * 4 i ^ _ dim. 9 mf tTT~r. : rj"J i O Tf [_? ii 'H-quon - dam' pau - pe - re_ ae - ter - nam_ ha - be as re - qui - em. quon - dam pau - pe - re VI. Agnus Dei for unaccompanied SATB chorus Tamara Sibley 1998 Tamara Sibley 24 25 26 mp A-gnus de - i _ qu i - to l - l i s , - qui- tol - lis pec - ca - ta 27 VII. Libera me for unaccompanied SATB chorus Soprano Alto Tenor Bass Piano (Reh. only) Allegro moderate J = 112 Tamara Sibley L i - be- ra me P rTs Do-mi-nede mor-te ae ter-na, in di-e i l - la tremenda; 1 quan=do coe = li mo = ven = di sunt et ter= ra dum ve= ne= ris . ju = di = ca= re sae= cu= lum per © 1998 by Tamara Sibley £>8 29 15 rT\ tutti p i=gnem. Tre=mens fac=tus rT\ i u t t i P rrs sum e=go et ti = me= o, Dum di cus= si - o J J '« J J ~ da; quan- do coe - li mo - ven di sunt et t e r rs if ^ -H ^ -H 7 l> 4 1 4 4 , u J - 1 - i '1 J JJ J -4 4 *» 4 if «j> " 4 | — T ; 1 » i st -4 J *» s -4 1 g a - i - :il -• l i r r . lit f r 5C p P [' p ve - ne - vit at - que j j I l j J = ven-tu - ra ra: quan-do coe - li mo - ven - di SI O J \'i dum ve - ne ns- di ca re sae cu S p 3z: 30 Merio rribsso J = 72 rs,, pp » P lum per ~ » — " — * gnem. Di - es <r\ „ pp i-rae cu - la - mi m Di - es pp i-rae di » P es il - la cu - la - mi Di - es •rae il - la 4 b ^ J IL cu - la - mi m m 1-D 31 43 pp Re- qui- em PP ae - ter - nam do - na e - i s Jo - hu - ne et lux per m Re - qui- em PP ae - ter- nam do - na e - i s Do - mi - ne et lux per >• t J J J- J ' l i i y jr i i ifi^ Re - qui - em JP]P_ ae - ter- nam do - na e - i s Do - mi - ne Re-qui-em ae - ter-nam do - na e - i s Do - mi - ne et lux per • = = • 1 p #-= 1 m— m < » c j •-• f-* • < r 'if 0 * 1 1 • I ^ f ~ g • (9 1 » 1 » 1 p 7 M 4- 4— 9 i 1 9 4- P P 4 48 Moderato J = 90 PP J J J J 18 *zz*z tu- a. lu - ce - at e - is. pe L i - be - ra me PP Do- mi- ne de 0 * 0 at e - is. * 0-pe - tu-a- lu - ce - L i - be - ra me pp L i be --d * L i - be - ra me pe - tu- a_ lu - ce - at e - is. L i be i f pp piii *r"rr r j J"r r r r*r ! i r r pe - tu- a_ lu - ce - at e - is. L i - be - ra me Do-mi-ne de 7-32 60 • 0- • I* 0 ven - di sunt et ter-ra, Dumve-ne-r is rv J l j J J i J j u -d i - ca - r e sae-cu-lum per i - gnem. • na in di - e r v il - la tre men 3E JL ter - na in di - e il - la tre men i f r 11 r r J J ib,J J r J If f P f 1 p r J J Ijg da; 0 \ dk ven - di sunt et ter-ra, Dumve-ne-r is j u -d i - ca - r e sae-cu-lum per i - gnem. w » » m 33 Meno mosso j =72 S 6 P i f II I* f r J 13 L i - be - ra me, 4b J* J J i» Do-mi-ne, de mor- te ae - ter-na, in di - e il - la IJ J J J ISI J j J U J J J J l i L i - be - ra P me, Do-mi-ne, de mor-te ae - ter-na, in di - e il - la L i - be - ra P me, •-'H R r - f ii p Do - mi - ne, de mor-te ae - ter- na, j J ^ J 3 in di - e il - la SI J J J 11 L i - be - ra me. Do-mi-ne, de mor-te ae - ter-na, 3 ^ in di - e il - la VIII. Lux aeterna for unaccompanied SATB chorus Adagio i~7Z Tamara Sibley Soprano Alto Tenor Bass f i n p f) d: P Lux ae- ter - na lu P f P m si f r SJ J ii r r r r ir r Q • r • Lux ae - ter-na lu - ce-at e - is, Do-mi-ne, cum san-ctis tu - is © 1998 Tamara Sibley ?4 35 13 ±± LJ J J J i i J (j i r r J -d—0- J II J J J J lil J ae - ter - na lu ce - at e - is, Do - mi - ne, cum san - ctis tu - is - * — * — * — _ _ ne, cum san - ctis tu - is ae - ter-nam, qui - a pi - us es. ^ 1 J?r fljllf I 12 j J p |J J J U J f-f-Q4ir qui - a pi - us es. Lux ae - ter- na lu - ce - at e - is, i. % u r r » — P * lu - ce - at e - is, lu - ce - at e - is, Lux ae - ter na 13 J * J I 1 7 r h £ I \~ ' • m H I » ? f? 7 ^ cresc. mf 0 f J f1 r j jfjiy ( ii r f f r 'r r ^ r r ^ cresc 1 — —i 1 •4—i |M 1 mi ^ J J 1 J i 4 1—J 1 I-V--4r-^ —J 1—0 0--4 ioix ae - t e r -na lu - ce-at e - is, Do-mi-ne \> J"p J i J J it j f J f ij P- nr f~^ ' i f [ r Lux ae - ter - na cresc. lu - ce - at e - is, Do-mi-ne, cum san-ctis tu - is j r r r f ii r i* r r r r i r r ^ r |ij Lux ae - ter - na lu - ce - at e Do-mi-ne, cum san-ctis tu - is IT 36 25 cresc. m ae - ter-nam, cresc. qui - a pi - us es. in ae - ter-nam, cresc. qui - a pi - us es. r r r P Re-qui-em ae - ter-nam PP Re-qui-em ae - ter-nam PP 0 m — f s-m ae - ter-nam, cresc. if r i J r qui - a pi - us es. in ae - ter-nam. qui - a pi - us es. Re-qui-em ae - ter-nam PP % r r r pu Re-qui-em ae - ter-nam 25 #—p- #—P-3 i r r r r r d o - n a e - is, Do-mi-ne, et lux per pe - tu-a- lu - ce - at j_ ' J J j i fn=^ # • ^ 5E d o - n a e - is, Do-mi-ne, et lux per pe tu-a lu - ce - at n i [ r r f r- f ii r r ii f p ^ f la [/ r r d o - n a e - is, Do- mi- ne, lux ce - at d o - n a e - is, Do- mi- ne, et lux per pe - tu-a_ lu - ce - at 4 ^ i [j f i ;i i J. i 'J J Si J -1 J 37 Re - qui - em P ae - ter - nam d o - n a e- is, Do-mi-ne, e - is. Re-qui-em ae - ter - nam d o - n a e- is, Do-mi-ne, et lux per ce - at Do - na e - is re - qui - em. 1 1 1, tt &1 » J kl VD P 4 * *>•[>• y i ' ? ' > w » > • • — f- < » f -r-»—i A . • -» * < 1 • r f • —5— r * ?-4 < # * 4 * J * — » -F" F" F" M/ 4 4- :2= 4 ^. • >> "\ 9 9 9 O 1 ^sr <fb/o a,//o /curiam^ Sib/e^ 7° r JulJ> 1 — - — ^ Sul A Sul)> 5 * = - 6 M ^ ( J jUr f I l i f t ' 4 A - h EE -Zr fag 7 r, 7 17 i n £ 6 > y f S ~ V Jf-4^ > > 6 m 3 ! • c ife. —^ =r r r is H i A. 2 f *= -f * r > i 1—L—4 V T » — f — T ~ ^"— 4 l *K-£ 5— 1 %\ 7 (— := -4 f — f i Jbt jL i 1 C^CAC . ZZZ f- v r i 5 l S*—^P — £ 4 i-— • — ^ — ^ f r> 'a ;? ^ > V ^—r = ^ - J ^ f — 2 = 4 ^ ' ~ip tr*— - / - — -J-W-J 1 > : . p o c o » < ^ > V—* l "P 1 0-' •f- T ^ 1 T * r i •^=* r J -) L ^ J — ^ 1 Jf / •0- ^M-1 f ay T#=T ' \ 1 4>#f f i y 7 1 i f ' + \^=A te-: •J =J— - $ n M P 1 'hr- 1 » » 0 >oco •— %J 1 SI 0-1 81 

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