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R U T H
A SACRED CANTATA
WORDS BY
EDWARD OXENFORD
MUSIC BY
ALFRED R. GAUL
Mus. Bac, Cantab.
Op. 34-
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RUTH.
CHARACTERS.
Naomi » ,, Contralio.
RuTH . . . . . . . , . . . . . . . . Soprano.
Orpah Soprano.
BoAZ . . Bass,
Eldeks, HANDaiAiDENS, Eeapers, &e., &c.
PART I.
SORROW.
In iJiB Country of Moah, and on the raad to
BetJileliem,
CHOEUS.
A grievous famine smote the land,
And chasten'd Judah's children sore ;
It was the Lord's divine command
That earth her fruits should yield no more !
O praise the Lord I He knoweth best
When peace and plenty to accord ;
To Him all things are manifest.
O praise the Lord ! O praise the Lord !
And now to Him it seemeth good
Again to send His people bread ;
And where of late gaunt Famine stood
Sweet Plenty raiseth up her head !
O praise the Lord ! He knoweth best
When peace and plenty to accord ;
To Him all things are manifest.
O praise the Lord ! O praise the Lord !
EEOITATIVE and AIR.— Naomi.
Now go your ways, my daughters well-beloved ;
Eetum ye each mito your mother's house ;
The Lord deal kindly with ye, as ye both
Have dealt with those departed, and with me.
O gracious Lord, cast down Thine eyes
Upon Thy servant her e,
And grant me strength thro' life's brief leugth
My earthly woes to bear.
It hath seem'd well, Almighty God,
That I should chasten'd be ;
But O I Avould not stay the rod,
For all is known to Thee !
If by the way I faint and fall,
Of burdens sore complain,
Pesert me not, but strength allot,
That I may rise again l
And when my Hfe on earth is o 'er.
Have mercy. Lord, on me,
And let me dweil for evermore
In Paradise with Thee !
CHOEAL EECITATIVE.
They lifted up their voice and wept again,
For grief and sorrow dwelt within their hearts.
TEIO. — Naomi, Orpah, and Ruth,
Naomi.
Farewell ! the hour has com^e f6T parting !
Farewell ! love's link must break at last I
Heed not the truant teardrops starting ;
They do but greet the mirror'd past !
Orpah,
'' Farewell ! " the word Is aU unspoken I
** FareweU P' it cannot yet be said I
For O our hearts .wiU theu be broken,
And peace for ever from us fled I
II
RUTH,
Ruth,
Alas ! and must we from thee sever ?
Alas I our souls are wrung with pain !
O say not it must be for ever,
But soon our lives will join again !
Naomi,
Alas ! my soul is fiU'd with sorrow,
Alas ! to part is bitter pain ;
Yet comfort from this promise borrow,
In Heaven we shall meet again !
Farewell !
Ah, no !
Farewell !
Ah, no !
Ye may no more beside me stay !
O we will cleave to one another !
Alas!
It may not be — away l
SOLO,— Ruth.
Entreat me not to leave thee, or to return
from foUowing after thee : for whither thou
goest, I wiU go; and where thou lodgest, I
will lodge : thy people shaU be my people, and
thy God my God.
CHOEUS.
Speak ! art thou that Naomi, daughter,
Who leffc us when famine was here ?
"When streams were despoil'd of their water,
And Earth was aU barren and sere ?
Yea I thou art the one who departed
With husband and sons in the past ;
Say, why art thou sorrowful-hearted
Now home thou art welcom'd at last ?
KECITATIYE.— i\^aomz.
Call me not Naomi,
Eor grief and woe are mine :
The Lord hath dealt full bitterly,
It was His will divine !
I went out full from Bethlehem,
All empty come I now,
Yet to tb© High God's just decree
My head I humbly bow.
CHOEUS.
Weep no more, for we will cheer thee !
Weep no more, but dry thine eyes !
To our hearts we will endear thee ï
From thy sorrow, daughter, rise I
Weep no more, the Lord will aid thee,
He ne'er faileth in distress ;
Bygone woes have only made thee
Fitter for new happiness !
Weep no more !
O weep no more !
PART IL
JOY.
In the ha7i>est field, at the ahode of Naomiy
and at the Gate of Bethlehem,
CHOEUS OF EEAPEES.
See ! the golden rays of moming
Now the meadows are adorning ;
Earth is from aU gloomy shadows,
Bom of sombre Night, releas'd !
O 'er the crest of distant mountain,
O 'er the brook and bubbling fountain,
Gleam anew the waking sunbeams :
Day appears within the E ast !
While the pearly dewdrops glisten
To the cornfields let us hasten,
There with songs of praise to lighten
Hours that are ordain'd for teil ;
Blithely we wiU do our reaping,
Still within our mem'ry keeping
Thoughts of Him who, in His mercy
Giveth us the fruitful soil !
See ! the mom, with pointed finger,
Biddeth us no longer ünger,
Warneth 'tis the time for labour
Golden stems of corn among.
To the fields then let us basten
While the pearly dewdrops glisten,
There the hours of toil to lighten
With thanksgiving and with song t
CHOEAL EECITATIYE.
Naomi had a kinsman of her husband's, a
mighty man of wealth, whose name was Boaz,
AIR,—Buth,
Let me hie unto the field
Where the reapers reap the corn ;
Scatter'd ears the ground willyield,
Fallen since the dewy mom.
RUTH.
UI
Kindly hearts I there may find —
Hearts that will not this deny,
While the golden sheaves they bind
To the sickles* melody.
'Mid the drooping sheaves to glean
Let me now, I pray thee, go ;
Where the reaper's scythe hath been
E ars of golden corn lie low.
Homeward then, with yellow spoil^
I shall haste at close of day,
Having gather'd from the soü
Wealth that others cast away.
EECITATIVE .—Naomu
Go,
my daughter, and may thy gleaning
prosper ;
May plenty cross thy footsteps, and thy heart,
When thoTi returnest home, be fill'd with joy
That dieth not to-day, but liveth on
Till thou from earthly scènes art call'd away !
AIE. — Boaz,
Go not from hence, my daughter,
But glean between the sheaves ;
The field is mine, and all is thine
That ev'ry reaper leaves.
Abide here by my maidens,
And join their mid- day rest ;
No tongue shall say thy gleaning nay,
Or aught thy search molest.
Go not from hence, my daughter,
But to my cornfields keep,
And follow close beside of those
Whose task it is to reap.
Thou shalt not be upbraided,
No voice thy hands shall stay ;
The field is mine, and all is thine
That thou canst glean to-day !
EECITATIVE and AIR.—Buth.
Why have I found grace in thine eyes, O
my lord ?
Why shouldst thou take knowledge of me,
eeeing I am a stranger ?
Past all knowledge
Is the Idndness
Thou dost show, my lord, to me ;
I am lowly,
And thy favour
AU unmerited must be !
There are many
More deserving,
There are many — I am least, —
Yet thy bounty,
Gracieus master,
Bids me join thy maidens' feast I
Deeds so kindly
Eill my bosom
With a wish thy name to land ;
Yea, for actions
Good and tender
Ev'ry heart would fain applaud.
Hear me offer
Loud thanksgiving,
Hear thine handmaid give thee praise ;
Gracious master,
Eor thy welfare
I shall pray throughout my days 1
EECITATIVE.— j^ofl^.
know the goodly deeds that thou bast done^
O my daughter !
And the Lord God of Israël,
Under whose wings thou art come to trust^
Shall give thee fuU reward !
CHOEAL EECITATIVE.
So she glean'd in the field until even,
And beat out that she had gleaned ;
Then went she up to the city,
And her heart was fill'd with joy.
DUET. — Naomi and Ruth,
Naomi.
With joyous heart I greet thee home,
O daughter, for thine hour is come !
No more thy weary lot shall be
To dweil, and weep, and wail with me !
Ruth,
With joyous heart thy cheek I press,
mother, full of tenderness ;
But, tho' we part, I stül shall be
A daughter evermore to thee.
Naomi and Ritth,
Earewell, my | ^^^^"^ } dear, farewell l
May joy upon thy pathways faU !
May peace beside thee ever dweil,
The gift of God, the Lord of aU.
Naomi,
Go, cleave to him who is thy lord :
His heart, with gracious love is stor'd.
Go, daughter, go ; thine hour is come
To leave me for a fairer home.
Ruth,
1 go, but in my heart will dweU
A love that years wiU not dispel ;
A deeper love there could not be,
For, mother, 'tis my love of thee.
IV
RUTH,
Naomi and Ruth,
FareweU, my { J^'" } dear, farewcU
May joy upon thy patliways f all !
May peace beside thee ever dweil,
The gift of God, the Lord of all.
CHOEALE.— NIG-HTFALL.
Look down, O Lord, from realms above,
Look down, we pray ;
All dangers of the night remove
From out onr way ;
Protect us with Thy watchful love
As thro' the day.
We put our hearty trust in Thee,
And Thee alone ;
O cease not, then, our guide to be,
Almighty One ;
The iils that threaten Thou canst see,
For all is known.
Look down, O Lord, from realms on high
We Thee implore ;
And guard us while the night is nigh
From peril sore ;
And we Thy Name shall glorify
For evermore,
INTEPiMEZZO.— DAYBREAK.
AVEDDING CHOEUS.
Hark, hark ! the cymbals clash,
The harps sound up to heavou ;
And by the tender dulcimer
Sweet melody is given.
With trumpet and with shawm
The air is now resounding,
And songs of joy without aUoy
Are through the land abounding.
The Lord who dwells above
Hath joined two hearts together.
And fiU'd them both with lasting lovo
That ne'er will break its tethcr.
So sing ye songs of joy.
And sound ye harps unceasmg ;
May life for them but prove a gem
With radiance aye increasing.
AIR,—Boaz,
Glory be to Thee, O Lord,
And praises never ceasing ;
O may Thy glory, day by day,
For ever be increasing.
On Thy servant Thou hast look'd,
From Thy great throne in heaven,
And to his most unworthy hand
A helpmate sweet hath given.
Grant that from Thy holy ways
My f eet may wander never,
But that to Thee my soul may cleave
For ever and for ever.
CHOEUS,
Eejoice, rejoice, rejoice,
For blessings round us fall ;
Your voices raise
In songs of x^raise
Unto the Lord of all.
In His kindness never ending,
In His mercy condescending,
He hath look'd upon His servant,
Blessings on his head bestowed.
Praise ye, then, the Lord of heaven,
Who to us this joy hath given ;
Praise the Lord, and let thanksgiving,
Eise to His divine abode.
Eejoice, rejoice, rejoice,
For blessings round us fall ;
Your voices raise
In songs of praise
Unto the Lord of alL
INDEX.
No.
1.
(Inteoduction (Instrumental)
(■Chobus
2.|
f Eecitative
AlK ...
^ JOhokal Eecitative
^•ITeio
4. AiK
IChoeus
Eecitati\^ ...
Choeus
6. Choeus
!Choeal Eecitative
Am...
Eecitative
8. AiE
I Eecitative
AlE
Eecitative
f Chobal Eecitative
' IDuet
11. Chobale
f Inteemezzo (Instrumental)
"^' i Weddino Choeus ...
18. AiE
14. Choetjs
A grievous famine
Now go your ways, my danghters
O gracious Lord...
Tliey lifted up tlieir voice and wept . . .
Farevï^ell !
Entreat me not to leave thee
Art thon that Naomi ?
Call me not Naomi
Weep no more ...
See, the golden rays of morning
Naomi had a kinsman ...
Let me hie mito the field
Go, my daughter
Go not from hence
Why have I found graco in tliine eyes ?
Past all knowledge is the kindness
I know the goodly deeds that thou hast done
So she glean'd in the field until even ...
With joyoTis heart I greet thee home ...
Nightfall
Daybreak
Hark ï hark ! the cymbals clash
Glory be to Thee, O Lord
Eejoice, for blessings round us fall
Page
1
2.
•1
-1
12
ia
18
21
2a
24
2G
33
36
37
39
43
44
45
48
52
53
69
RUTH.
PART I.-SORROW.
Words by Edward Oxenford. Music by Alfred R. Gaul.
No. 1.
80.
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^
-e^
-ö-
Him all things
i
are
man
i
festj— O
praise
#;
the
^
2:2:
E
"TJ
zi
-e^-
X2
Him all tliin^s
are
mun
fest,— O
praise
#
the
^
:P2:
-^s^
-s>-
-o-
i'^r^
Him all things are
1 2 4. i I f 1 :
1 4.
man
1^
fest,-
praise
1 4.
te^
t
i j^j-j i jj
2 . j — f^ —
1
A.
the
^3
-^
A
ff
^
tiï=Ê
:<S>-
-<S>-
-<S*-
22:
rrtZ/.
^
Lord,
i
O
praise
the Lord
öt
^
Lord,
^--
O
praise
iÉ
the Lord !
Lord,
O
rail.
praise
the
Lord !
m^!^=^
m
Lord,
^
O
praise
^
the Lord !
a tempo. "^
J — \ — U-4
-4^
f
?
:g:
f=T
rail.
P
A
A
mdö=^
!Ö
Z2:
-G^
'C5"
A. R. Gaul's Sacred Cantata, "Kuth-'
\U
No. 2.
(Eecit.— "NOW GO YOUE WAYS, MY DAUGHTEES."
\ AiE.-" O GEACIOUS LOED,"
ACOOMP.
ïte
Naomi. (Contralto.)
^
^
■ë — ^
5
-• — ^-
^
--fcir^
Nowgo your ways,
ad lib.
my daugh-ters well - be - lov'd ; Re - turn ye
n
a^a
-^-
~rj
d
trp-
^g
X2:
-c^
^:t
T^
r-
i
i
i
J^
j ^/iJ"-;^
s^^^
^^^
3ï=1^
^
^==S
^
t=rE:
eacli un - to your moth - er's house ; the Lord deal kind - ly with ye,
P^
m
^30-
L
V-
^
^
I
Sk^^a
^
^
i
irtc
^
rail.
^m
r7\
n
M J 1
ï
^
As ye both have dealt with those de - part - ed,
i
\^-
and with me !
^
m
^ vi
m
ij^
T5»-
^
?"«/?.
^
xt
z±
i«
-f^
:i^^^
Air.— ^' O GEACIOUS LOED."
^^
fm
ATidantino affettuoso.
A ndantin o affettuoso, é — 50.
4:1.
Ê^
Ê
^ir r-- r ^
^&
^^
1 ,r r
** — L
'^'i^> $ . r I r
I
I
:p=t
^
rnnu
f=F
I 1 i i •-^:
Fed,
Hï Pecf.
5}! Pee?.
*
i
J^
Naomi.
Ped.
* PecZ.
^ J^UU :::
1$
o gra
cious Lord, cast down Thine
%^
m
f -—rf f f
.ra^^.
i
ï
£
?
J - ^ 1 r-^-^^ ^
^nr "r
:itt
i
^4i^
P<!(i.
* Pê(?. *
A. R. Ganl's Sacred Cantata, " Euth."— (7.)
i
fcè
fciJ
-Ö-
üp - on Thy ser
vant
here,
}^
^
^
ï=
^
1 — ^
i'(-ti t f
•tF
i
s^^^
3
Erfe
•f*-
f
:s:
-c^
S=fs
g
lË:
:3:
F-: — ^
X And grant
me strength thro' life's brief length
my woes, my
m
j=^
-H-
5
S*^
-i-
i
i
3
7'=>Ta
r-^
W
rail.
Zit
^
^m
t
a tempo.
zi:
^=t^
earth - ly
i
fe^
woes
rail.
to
bear.
r —
It hath seem'd
^a
p
-Sh
i>^-^
t^Pi
E
^^P=^
f^
r-
^^^
z:
i
gg
-o-
^
p
5
S
Pet^.
* Ped.
* Pec^.
A. R. Gaul's »Sacred Cantata. " Kutli."
i^ih-ri' J' J- U ^^^
1
^
For all is known, is known to
Thee!
O
i
5^?=
t^ ' HJ ^' ' ij^' ^ ^-ö
e
^
23
=1:
i?^
:P^
^
B
^=F=5^^
t-: \-
-* •-
era
cious Lord, cast down Tbine e yes
up - ott Thy ser
§^
1 l
bj— ;_j_j-
m
m
¥
s
w
1 :*»
^ t.
è
i
^
B^
^
r f.
^
^
i
%^
j^^fti^^i
ëfe
^^
vant
here,
t^
And gr ant me strength thro' life's brief
^ ^ >
n
m
^^
3^2
■:t
W
^M
-Sf-
tfe:
-it -^
1^
-G>-
^
raZ?.
d tempo-
9- ö
fi
1^=^
■0 0-
zi
leiigth
A^ 1 ri
My woes, my earth - ly
woes to
bear.
i
^W^
a tempo
^
iöÉ
=^i?^
^
^
^r — ^-
i
Pcfif.
i
fe^
B
i
tE^
^-^
i^i
^
tiï
'^_>y -
^^
e
.1— ,_<<
^ é-
tii
^^
W^
?
^r=K
^
?
Ped,
* Peof,
i L
Ped
Ped.
Ped.
sfe Ped.
A. K. Gaul's Sacred Caiitata, "KuthJ
10
Ped. *
M
v=-.
\E=^.
^
Z^
-Gh
-m m-
Of hm - dens sore
com
plain,
De
É
3
<s> 1-
ë I Q
^i^=^^
1
I .^
^
f
I -4-
^
s
ikfel
^
S
-«sa-
^
^
'G*-
^T=-
^
1?*=^=
Ni ^ l, ^ r
^
i^ — ^ — ^
sert
me not, but strength al - lot,
That I may rise, may
m
^^=^
5
a
w^
i
e^
--fcfej^
=t
raZZ.
-(^-
2
a tempo.
f
è
it*
22
I2=t^
rise
rail.
gain
a tempo.
And wheu my life on earth is
^
-<S!-
-<S(-
^3
^>. /^
^^
^
i
■^
^^
g
^
Ped.
^ Ped,
* Pec^.
*
Ped,
*
fê^
^
^
-f^
o'er,
Have mer - cy, Lord, on
me,
ps^ j
P
bd=l-HrY
-^
rxi^
"O
m^
£
i
t
Ped,
* PefZ. :J« Ped. ^
A. Tï„ fïaurs SacTcd Cantata, " Kuth."
'T
Ped
! I
Pee?.
11
^m
^
And let
me dweil for ev - er - more
^
N-^
ï
WithThee, in
tr ^-^ — * 4* J
~2 ^
^^
^
f^
^-^■
^M
^
^
-eir
tB
Ped, sie iW.
-e^
I
1?*
^
i$
?:2:
Pa
ra - dise with
Thee !
If
by
the
^^
ö
:^
3:
ë
w
W
m. a-
T
tj-
£_[ I r
^m.
I
m
-iSfr-
-5
^=^-
$
i?*
>-j^ ^
^
È
-rJ-
-C3-
'&-
way I famt and fall,
Of hiir - dens sore
com
^^T^r^
1
3
n
u
^
ir ^r
■^i/- t f
«*-
^
SS
-ö-
.^-
Ê
1»
^^
s
£:
è
plaiii,
De - sert
me notj but strength al - lot^
I*
W ^ ^^ w^
m
s
^
i
F"
-ï
^fct?
g$!
-e»-
;=t 4
^
^
ra^^.
3
I
^
=^=^
:^2
That I may rise,
may
nse
gain.
f
M
W=^-
?
Si
^^^
£21
:ö:
1
rail.
:g:
i^
I
ie
ËB
1^
ZX
^
zi:
P
A. R. Gaul's Sacrcd Cantala, " Kuth.
^^ g jChoeal Eecit.— "THEY LIFTED UP THEIB VOICE AND WEPT."
ITkio.— ^^FAEEWELL."
jSOPEANO.
Alto.
Tenok,
Bass.
ACÖOMP.
Largo moderato.
m^
m^
È
e^ L^ 'j ^
b> 4- '
^
^^
ajjöi
They
lift
ed up their voice anii wept
^-g ^ ^ f ^
m
They
lift
ed up their voice and wept
:^:
^^^
-^/qsT
They lift - ed up their
^:F^
jC
voice and wept
They
Largo moderato.
lift
ed up their voice and wept
^
^
/
Z2:
?
771/
r
^
2^
-ö-
^
i
^
^
?>;==
^
ï
i
ra//.
§^^
^;^
^
a
S
••-^
gain,
P
For grief and sor - row dwelt with - in their
Q^alL
hearts.
i
]2=^
^
(S»-
gam,
$
For grief and
sor - row dwelt with - in their
rail
^^=^
hearts.
m
^=1
gain, For grief and sor - row dwelt with - in their
[ , P rail.
hearts.
s&ft
É
m
gam,
For grief and
sor
row dwelt
with - in their
rail.
-J u
hearts.
^
±
m^
¥
f
^
¥
^
> -^
-e»-
^^
tó
^
^
1
221
1^
S.V
A. E. Gaul'a Sacred Cantata, " Ruth."— (12.)
Andante pik lento.
Naomi.
Trio,— " FAEEWELL."
ött£:
-<s>^
Fare - well !
Andante plu lento, J = 69.
the hour
has corac
for
^
1^3
im ' ^i>^ j ^ 'j: ' 'j^^j^ ^-) ' 'j^j^^^^ ^
?
--^ \*_
^
-Sf-
-G>-^
^ea-
cre5.
dim.
m
t:l
i
part
W^^^nïm
ing ! Fare • well ! love's link must break at
^
tres.
dim.
^5
i
Efc
S
f
'^-
^
mft
^=t
last
Heed not
the
tru
ant tear
drops
^^
^-4
^m
Stei
ic^:
m
ö-
:i^
H3^
i
dim.
-J I
start - ing, They do
but grcet
the
mir
ror'd
^^^=3^^^
^ -TfTTTT ^ ^ -1 n * I Q =l
^i^^^i^^
3i
-^ *' »
:«^i!l_L;"^
dim.
gs^>— ^-
i
Ë5
3
-O-
-ö-
A. E. Gaul's SaoFcd Caiitata," Riith."— (13.)
14
^g
Orpah. (Contealto.)
^
'' Fare - well !"
the
mf
word
is all
uu
m.
.f-_
5
has
Past.
Fare - well !
the hour
i
^-i? ^ ^ _rrT
^^
^
— t
eB?
(S-
-Qf-
-^-
-S:
-Öi-
-€?-"
i
cre,s.
m
xz:
fz
c?/m.
22
^
spok - en I " Fare - well !'*
cres.
it
can
iiot yet ho
dim.
^s
w
come,
Fare - well !
loYe's link
m
must break
at
f^--^rniin ii iMinT^ ii^jnfflhjjjj-^
cres.
dim.
w\
fc=§±
\^^m
-<s-
^Efc
m/
S
P
?
:rz
said !
^^
For O
mf
our
hearts will then .
be
^
S
last!
Heed not
the tru
ant
tear
drops
w/ — — ■
^g
ËË^
-Sh
g
Ji-^
A. R. Gaul's Sacred Cantata, " Kuth."
-^
dim.
n:
122
^
bro - ken, And
dim.
peace
for
ev
er
from
us
^
-o-
start - ing, They
do
but greet
tho
S^E
5
=F^f==r3
j^-a^^i
^
mir
ror'd
^^P
"-^ïr-
n^
dim.
m d^-ri
f
i
Fj r
^
3
i
EtÉ
RUTH. (SOPEANO.)
-<S>-
^
^
^
las!
and must
we
from
thee
3re£:
:^
lied!
i
Fare - well ! "
IS
all
un
m
t5
ügtpS
^^^-i ^V J^
Past.
^
Z2
A - las ! my soul is fiU'd with
s
^^^^^^^^^^P^
ma
wf
^
ï^=^
-0,-
-^-
-ö-
cres.
dim.
^
^
:^
^21
^
2±
scv - er? A
er es.
las !
our souls
are Avrmif?
dim.
with
ht
spok - en ; " Fare - well ! "
cres.
it
can
110 1
dim.
yct
he
fc^^
^
^
sor - row, A
las!
to part
IS
bit
^
ter
#^'i- ->r M i , n iii .'MTfw n^rji':jji^iJg g
cï'es.
<^m.
m
i^
yt
-s>-=-
-SI-
^ — ^^
-ts»-*
'Ö-
-Ï5
A. U. Gfxul's Sacred Cantata, "Euth.
16
pair
O
-&-
say
5
n j— ^
For
not
OUT
it
hearts
must
will
i
be .
then
for
be
X ' a -
^3"
pam ; . . Yet
com
fort
from
this
i
^^t
S^ÏÏTO-l' J ^
rrr r fl^i-^
prom
ise
j^3jTjxjhj.M.g3gi
rr^
i'^ '5
W/
g^
^^^^=^
^1
P
^T
iï^
-(^-'
cZiHi.
i
:^
^fc
z±
ev - er, But soon
dim.
üiir
lives
wilI
jcin
Irfc
i
i
brok - en, And peace
dim.
for
ev
er
from
us
Ö:
:^
^
1^
bor - row, In
^ ^
ï
hea
ven
0-
we
shall
meet
SS
3
m
^
-ï
=t^.
ö
Sfc
É
-o-
gain!
Ah
no !
*
Ë
-©-
fled!
i
3
Ah
:m/i
:&
£=^m/-
Xi
£:
gain !
Fare
well !
Fare - wel! !
e^^^^
-i ' -j--^-
i^^ - JS^-g
- T*^ '^ -^^««>i>r
— V-m — I — f-
ï
ï^;^
^1=4
-SJiJ- '-Jiij: ^=i^
ïft=^
fcfe-g±
^s«—
— @
-e*-
HS*-
A. E. Gaul's Sacred Cantata, '' Rntli.
u
^
i
17
_ dim.
:^
¥=^
f
:F=Ï^
T — r
O we will cleave to one a - no - ther,
" dim.
N N S
:^
^
i
^
jV^— 1^
no ï
^^ f^=a
O we -will cleave to one a - no ■ ther,
.: dim.
:^=^
i^N-^S-^
=N— N— N
ö
g
^ #
^
Ye may no more be - side me stay ! It may not be, —
s
£
?=?
I H-3
P^^iT
^^^ _=
c?im.
i^z:
^
-(S-
Siti
^
-O.-
1 5
■F — F
C?2W.
^t> r 1 -
:^=^i=^
É
it^^t^
^ V-F— ^f
O we will cleave to one a - no - ther,
dim.
^ — ^ s — r^
1^ — ^
i
$
o we will cleave to one a ■ no - ther,
"-^ dim.
- V--^
way !
Ye may no more be - side me stay
It may
not
H ^ ^
r ^ Jr-F^i
^^
^-^: _
V
dim,
l^
.^^^
fïfe
fei2=?:
r^
-^
■f^
i
dim.
rail.
-m
/T^
/TN
Ë:1^3É=&
i
Ah
no !
all
rail.
W:
no
/T^
'bj ? r r
s
^B
i
Ah
no I
ah
ra??.
no !
■m
i^ö:
P
g
-Ê^
be,
ife
Fare - ivell !
fare - weU ! a tempo.
rail
^
g^j ' 4'^g
*^is
^^ p-^i^ . p^— 1 rail, ^
F^^
-^JUl
c2i»t.
W
^
1
^^
fiË:
:ë:^
A.E. Gaul's Sacred Cantata, "Ruth.
Nsl/
No. 4.
Am.— " ENTREAT ME NOT TO LEAVE THEE." »
Con espressivo, ^ ^ -<-~"^-^
AOCOMP.
^ ^ 56.
È^
i
O-^
lS>-
ÜX
RUTH. (SOPRANO.)
f-ff-t"
a
^Ö
^
;>
r^
acZ Zi6.
t?/m.
Ped,
*
a tempo.
^
ïs=P
f
^
?2:
En - treat me not,
en - treat me not, en - treat me not to
a tempo,
•^^sJ^d lib.
/Tn
^
^
^
dim
r
^<s»-
É
S
^P^
w
3=
ï
-=r
^ > ^ fe^
> fcr
£
^
■iP-= — *-
leaye thee, or te re - turn [ from foUowing af - ter thee
for whi - ther thou
:> I— .
i
^
9 — - ^ -
W
Wf
■^-^—é
tez:
mt
-^
m^
£
-<5^
^
1^
E
rS=l
r
jf^ t^
-p-
F
i
^
■^^=F
f--J_-^»
^^
:&
go - est, I
will go ;
^
t\ '^ J
M 1 —
i
i^fci*
3
tfs
-* •'i
Pr
j-
1 rr
i
^£fe=P2
-jS^^
i
m
Ë^
^
r^
^
E
^
and where thou lodg - est,
will lodge :
thy peo - ple
j
?-■ — ^ — ^
p
rnr^^rri^
r
f
■p-
32:
r
F
r
*-=^
■^ ^i -
^
.J L
^=¥
r^
* This Song is inserted by Mnd permiasion of W. C Stockley, Esq. A folio edition raay he obtained from thö
pubhshers of this work, or from Messrs. 9abln and Stockley, Birmingham.
A. R. Gaul's Sacred Cantata, " Ruth."— (18,)
10
$
fe
s=^
t:^«t
3Ö:
shall
• r
he, shall be my . . peo - ple,
and . . thy God
5
+^=;
'^
7?--
■# e-
fV
^
f
Hö-
^fcfe
^
E
3
i
^
^m
^
é ii
f' F
^
shall be my
God,
and thy God shall be my
E
1
-^^
\
3*
^
vi::^
i
J i;o
1
i
S^
fcb
-©!—
r=F
i
^
ö-
i
-ö-
God:
i^^^#^
*
f
£^
^
-2 1 ^
i
-2 ^1 ^
f -- ^n^-LL^- - ^it. ^-£!- f-^ f
p
«ife
p
pf
i: S^ ^ 'f'
3:2
-(S-^
^
>^ — #'
-e^
Where thon di - est.
will
die,
and thcre \yill
^' ^^i i ' *üui ' -iiitii'ii ' iHiii ' ii#i #
I 4t- J ' <^
1^:
i
^
i:
ti-¥
zj: it
m
-^
Quasi Rboit.
jF— y
5
-^— f^
:^Jï
?^
5=^
be bn - ri - cd :
rail.
the Lord do so to me,
\ cr u.". . . ■ / <2«<
^
^tM
^Mas^ i?ecz^.
ft?
rr?
P:
-5 -^
A. lï. Gaul's Sacred Canta^ta, "Kiith.
^
20
ad lih.
:/»:
ii
-C±
and more, more al - so, if anglit but death part thee and me.
i
:fc=i:
2b:
#
#
2d;
S
.^^ ^r
rcTT
:l-
f ad lih.
^^
:=r==F
^Z=Z3
a^
fe
-G>-
i^^
^^ a tempo.
^
^ ^ h ^
W
^
-m 9-
i^
j-i t ? ?H ^
En - trea t me not to leave thee, or to re
/-^ a tempo. "^
i
N i !
m
£
F
^
ï?^
-5: ^ y: J: 'iw l^
-®;^
dim.
r ^r
miit=c
i^
^
HSI-
f
■o-
■::f
^tr^
^. trs^t^
^
ïf
^ ^ ^
turn from
fol-lowing af
i^^
ter thee : for whi - ther thon go - e st I
j — ^ — j , I ^ i
"^' ^ J ^J j n^
t,
-öt-
■^gr
d:
.^ M
?=:
'^
r
to leave
thee.
^
3
^
I
1^
p
rit.
iEti
P
Ï
m^f=i
:rt
^
'Gk-
-et-—
^^
A. K. Gaul's Sacred Cantata, " Euth."
No. 5.
tSOPBANO.
Alto.
Tenor.
Bass.
r Chorus.—" AET THOU THAT NAOMI ? *'
ACCOMP.
60,
J.
i
Kecit.— " CALL ME NOT NAOMI
Chorus.—" WEEP NO MOEE."
'Maestoso quasi Recit. P mf
\
fe3£
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g-^ V I V ^^^7^
^^
«A
£=t
i
Speak ! art thouthatNa - o - mi, dauglitcr, Who leftuswhenfaminewas here? When
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i
Speak! art thouthatKa - o - mi, daughter, Wlio leftuswhenfaminewas here? When
\cA~- -. MM ^ II . - — ■ P i> N -^/-\
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fe
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^
g
t:^
^gi-ii^t d :: gz rP --~ ^-''-f T"r r-^i:^
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Speak! art thouthatNa - o - mi, daughter, Who leftuswhenfaminewas here?
^^
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When
f
Speak! art thouthatN'a - o - mi, daughter, Who leftuswhenfaminewas here?
Maestoso quasi Redt. ,
When
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streams were
despoil'd of their wa - ter,
And eaiü was all bar-ren and sere ?
Yea!
^
5
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streams were despoiPd of their wa - ter. And earth was all bar-ren and sere ?
^
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streams were
despoil'd of their wa - ter,
And earth was all bar-ren and sere '\
W^0
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iprzrpr
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È
=52=i:gf
streams were despoiled of their wa - ter.
And earth was all
s
bar-ren and sere ?
N 1 N .
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Andante con moto.
fcnt
JEZjcrjc
gfet r-r — F
1
thou art the one who de - part - ed ^ ^. ,
. ^ . _ _ . J_ « ^^^^^-
^
T^:
-^
With hus- band andsons in the past
ïk JPtd ïtï Ptd,
A. R. Gaul's Sacred Cantata, ''RTith."— (21.)
22
w
rail.
a tempo.
^zzmfz
Yea!
m
$
g^^
^
:£
:^m/L
Vt^hy art thou sor - row - fiü heart - ed, ^
Yeal
:?C3
^
£:
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Now home thouartwelcom'dat last?
I rail. a tempo.
* • ^ ' w <
i
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^=^
^3
^^-=0^^-^^
ec?. *
PetZ. * Ped, Jic
^^^gl-^-^
a &■
^
£:
:m
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thou arttheone whode-part - ed
i
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t/
Say,
^S
o:
With hus - band and sons in the past ;
i
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ö*
£
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thou arttheone whode-part - ed
^fcfc
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Say,
e
23
V '^ \ ng
rir^ - gi^-^
With hus - band and sons in the past ;
^
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w^
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Pet?. * Ped * Pee?.
si: PecZ.
I
it
rrnrg
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^zzzg:
i
why art thou sor - row-ful heart - ed
: l2 „ I ^ =^A
rail.
^S
^
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W
Now home tiiouartwelcom'dat last?
i
f;
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^
■\vliy art thou sor - row-ful heart - ed
rail. _^.
^ ^^^
Ped. *
A, K. Gaul's Sacred Cantata,'*EutJL"
Eecitative.— ** CALL ME NOT NAOMI/'
^dt
JNAOMI. ^ ^ *. ^ , w
-^
^^^^
r ~i N
^o=^
P
m
Call me not Na - o - mi,
Quasi Sedt. J = 60.
For grief and sor - row are mine;
The
m^' ë
tri— ^nJ: ^^
f
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p
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B:
ê
^
^
^
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^ f -
J J I J. J -^ ^
£=at
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Lord hath dealt fuU bit - ter - ly, — It was His will di • vine ! I
i
M
fc^
^ IJ T^J
£
Tot
^
m^=m
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o-
f^
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J J I .
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m/*
r P
ft^r=»*
s
f
zi
went out full from Beth - Ie- hem, All emp - ty come I now, Yet
i
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mf
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raZ?-
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N" fc
i
/TN
^
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^^
3
# > .:#
aM— ^
é é é \ r j
^s
to the High God's just de - cree My head I hum - bly bow.
rail. ^.^
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s
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p f if f f ^
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ES
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A. E. Gaul's Sacred Cantata, "Euth."— (2£-,)
Chorus.—" "WEEP NO MOEE."
i
EE
Con moto.
P m
n-
I
IT^
f.
-é—9-
Weep . . no more, for we . . . ^^411 cheer thee ! Weep . . uo more^ but
i
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a
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w/.
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i
:p=p:
^— y
it
:>irr±
Weep
ne more, for we
will cheer thee ! Weep . . no more, but
^ifep
tzft
Con moto. J.= 84.
ï^
T*-^*
&
ï^^q
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-o-
-e?-'
-Ö-"
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F— . *• f =^=^
»»/t
:l^=i
dry . . thine eyes !
i
:tzÉ=*:
To
our hearts we
— É=at
will en - dear thee,
s^
r™/;-
iszzt
I
p:
iryr
:Mz=É:
y~ ry
dry . . thine eyes!
To
our hearts we will en - dear thee,
^^
^
^
5c:pK
-^
-^
f From thy sor - row, daugh - ter, rise
Weep
no more, the
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Weep
no more, the
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From thy sor - row, daugh - ter, rise
Weep . . no more, the
i^
ms-
Weep
no more, the
A. B. Gaul's Sacred Cantata, " Euth."— (24.)
25
i
-k
T*-»:
i
«ï^*^
I
Lord . . willaid thee, He .
fa I M \. H ^
-i^h -F
ue'er fail - eth
m
distress ;
1^
-ë—^
-*-=-
^
22
Lord . . willaid
b^ ^— ^
^
thee, He
t
ne'er fail
eth
m
distress ;
W
y~?7
Lord . . willaid thee^ He . . ne'er fail - eth
m
:i=?:
distress ;
^
(S>-^
Lord
will aid thee,
He
ne'er fail
eth
m
distress ;
idr; 1^3 -^ \ -^^. cH
^^ ^ -^' Pee?. * -^c
^
i
rail.
s
^
i
*^ By - gone woes have on
ly made thee Fit - ter for new hap - pi-ness.
r.alL
^
^
^
m-^ — m-
By - gone woes have
i
r^
^
on - ly made thee Fit - ter for new hap - pi-ness.
.^ — >, rail.
rT--v 1
^
^=^
l
J^zTjè.
^^
z:^
•^ By - gone woes have on
\ h
m^
ly made thee Fit - ter for new hap - pi-ness.
t
^
^
:p=p:
E
By - gone woes have on
ly made thee Fit - ter for new hap
px-ness.
^ ^
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Weep . . no more^ O
maw. mosso .
weep no more, O
^^^^
weep .
rail,.
no more !
r7\
d:
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— ^'^z:::^^ — ^-^^^
Weep . . no more,
.u^menojnosso,.
-G^T
weep
rail..
more !
weep no more, O
$
no
^
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^^
i
I
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Weep . . no more,
jmenojmiosso*.
weep no more, O
^j ) p\: 1^
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weep
no more !
a
-e?-
Weep . . no more,
meno mosso.
weep no more, O weep
no
more l
^m
5
S
^=^
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^
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/ï Unaceompanied.
N I
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A. E. Gaul's Sacred Cantata, "Kutli."
EXD Oli^ THE FIPtöT VAIiT.
PART II.-JOY.
No. e. Choeus OF Eeapees.— " SEE THE GOLDEN EAYS OF MOENING."
Allegretto con moto.
AOÖOMP.
i
ti:
&
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r — H-
mf Three dotted crotchets in each bar.^
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m
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ten.
f
f
^^
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r ^ I
m,i
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Ped
PedJ
Ped)
&
Chorus of Maidens.
SOPEANOS.--^
L AN G
5&
^^
H2ZiLz2:}
See ! the gold- en rays of mom - ing Now the mead - ows
f
tr — t
f
are a - dorn
mg;
i
Alto.
mJL
jj-J^i-P-;. ^' 4 4^ ' i. i. ^5^
é é
! the gold- en rays of niorn - ing Kow the mead - ows are a - dom
c/
mg;
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r
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m
m
ffi
p
r' I r
f
mf
m^
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* Ped.l
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IJ J-/JISI i^ l -j
$
nJ'J ,J
T — r#
-F^— ^
T g r i^"^' !^
g' r gr ' f
é' ' m
Earth is from all gloora- y shad - ows, Born of som - bre Niglit, re
leas'd !
i
£
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E
^
Earth is from all gloom- y shad - ows, Born of som - bre Night, re
1 -^
9 W
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leas'd !
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ii
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f^
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r
r~ r~ "^
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^
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r
Pa?
Pedf'
Ped.' * Pec^.f *
4. E. Gaul's Sacred Cantata, "Euth."— (26.)
Ped,
V
27
Chobüs of J^Ie.n'.
ÏEHOBS. ~^
%
t-ir::;L
^ ^ ^ trZ^
0'er the crest of dis - tant moun - tain, 0'er thebrookaDdbub-bling foun
Basses. -^
-nfA ^ n N 1 N !. ^- .i \ r-j ^
tairij
i^ J T ;-J J' \ JTJ: J. i J '^'^T i- A i
^EE
Ê
'^~P-
-^-r->n
O^er the crest of dis - tant moun
tain,
^
^^1^
0'er tlie broolc and bub-bling foun
Ê
^
tain,
J-JtT^l ^Ui f '^U J'4>^i -' I j.: ^
m/
«E *- .— ^B *-
;h rr Cl , gh g? >i , gh ^
i
I
"^
^
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5
Pec;.i
Pêrf.l
*
Ped.\
i
J nJ
^
3^
^
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p
^r P-
f
1 — yf^ — ^
Gleam a - new the wak - ing sun - beams, J)slj ap-pcars with-in the east ! . ,
pe
7^
i^
5t
A
f_
Gleam a - new the wak - ing sun - beams, Day ap-pears witli-in the east !
4z-^ï
> 1 ,. ^ ' "^ '•■ crcs. .
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f
C^t riJ ^N
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f=F
r g f' f ^
PecL
ï
Pe(?,
^
SOPBANO,
?
-^ \
S
^^P
F-*-
*=5=
See ! the gold -en ray
A.LTO,
' ■ ' \ "• — -r-^ ^sid —
of morn - ing Now the mca - dows are a
dorn -
^m
5
i
ing
^
:^
^ i rf
W ^ ^
See ! the gold - en rays of morn - ing Now the mea - dows are a - dom
^ Tenor. . ^ ,
i
4
m
mg
^^
^^
See! the gold -en rays of mom - iug Now the mea - dows are a - dorn
Bass.
^
nJ- J
mg;
^
^ r gr Mf ^^
the gold - en rays of morn - ing Now the mea - dows are a - dorn
mg
P=^=^^^^ ^
I -^Th
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p
f
f
/.
^
Ph'^j n,i
^
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j' i' i
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Ad. P"^- . *
A. It, Gaul's Sacred Cantata, " rvutli."
PecL
"Ped.
i
4
7^~r^
28
ratc
-i'<!--S
I
Earth is from all gloom-y shad - ows, Bom of som - bre Night, re
rail
Bor
^=^=-
leas^!
^
ï
£
-m — •«-
^=^^-^— H-^-
Ë=3:
i
Earth is from all gloom - y shad - ows, Boni of som - bre Night, re - leas'd !
rail — !
W^^
P==P=^e=
^^-^-
Earth is from all gloom - y shad - ows, Born of som - bre Night, re
rail
leas'd I
V=^
a=Ë=3E=
-^
Earth is from all gloom - y shad - o ws, B orn üf som - bre Night, re
rail.
i
^ ,rr-i -
j j i
é I é
m
^
leas'd !
a tempo. \ j
i
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i
é é ë
:tÉ:
i?±
?
r
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mf
£
r . i ir .f
^^^^^
^
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Perf.
*
Ptd.
Ped.
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ten.
é
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Êza
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5
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t
t=i:l
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PetZ.
i
SOPRANOS.
ml
t39
fe
Mï Ped\
I
* PeczJ
ïê
^s
P^
^
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?
F-T
While the pearl- y dew- drops glis - ten, To the corn - fields let us lias
.Alto._
ten.
mf.
^
^v-r«5
^-^
^
^-j- ' i. A '^¥
^
While thepearhy dew- drops glis - ten, To the corn -fields let us has - ^ ten,
^
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f
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m
ii
3
E
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r
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^
mf '-
^
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tj ^'.n^
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* P(?(7.
prf.
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r-rr
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:p— p:
There with songs of praise to light - en Iloiirs that are or-dain'd f or toil. . .
^s
-p-^-
^^=^=^^
^=^=^:
rjy^^r^
There with songs of praise to light - en Hours that are or-dain'd for
toil. .
i
^ I
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J:
^
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M
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fcac
f
L" I
Ë
r . ,jr if r
i
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i
Pec^.
Pee?"?"
A. 11. GauVs Sacred Cantata, " Kuth."
* Ped
29
Tenors.
Blithe-ly ^ve will do om reap
Basses.
ing, Still with-in ourmem-Vy keep - ing
•^J J'.TJ'J i'
i
^
s
1 — ï^i — '• r P T— ^ — 1-
r^
r — tn — t^
Still ^ith-in our'meni - 'ry keep
Blithe-Iy we will do our reap
in.^,
r^^rr^c^
J^ïü
J5^.
^^=^^^^^ ^#- ^^4^^-^ ^
SÊ
r
W/ ^
Pee?.
r
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^
jsi
* Pee?.
Pec/.
P
:^
-iP — #'
0—^'
^
-|iF <EL
Thoughts of Him who, in His mer
ff— ^-
*i
1 t V
cy, Giv - eth us the fruit - ful
soil.
jt=*
-^i=
rf
f
ft^^=t^^
Thoughts of Him who, in His mer
1 \ 'y \ > \ I
cy, Giv - eth us the fruit - ful
soil.
""^
i
^Mp ^" Vf^ ^^Wf^
f^^:
èMiJ
Pet^. * Pet?.-^-
^£^
^W^-
cres.
t ^r r
Pec^.
I
fe
SOPRANO.
a=s
i
^
1
i
zSUÊt
^
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B
I
See ! the gold- en rays of morn - ing Now the mead - ows are a - dorn
Alto,
ms:
^
È
1^=?^
é^
~m-^
-9 w
$
-^
See ! the gold - en rays . of niorn - ing Now the mead - ows are a - doiïi
Tenoe.
lug;
:&
m
'^^^
m
See! the gold -en rays of morn - ing Now the mead- ows are a - dorn
ƒ Bass.
inR
i
^^-
?
^
See ! the gold - en rays of mom - ing Now the mead - ows are a - dorn
mg:
^^^
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^'
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1^
l|ZZ»i
r
7
^
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J-lsfz
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r
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f
Ped) ^
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Fed,
*
Pet?, * Pet;,
A. R. Gaul's Sacred Cantata "Buth.'
80
i
-. . N 1
^-C-£H ^
Ö^
E
i
I
Earth is froni allgloom-y shad - o^s, Bern of som- bre Night, re = leas'd!
?
^
^
J
i^
-*—^
Earth isfrom allgloom-y shad- ows, Bom of som - brc STiglit, re - leas'd!
i
I:
g
jra??..
# ' #
S
^ ^ =p
È=3:
Eai-tli is from all gloom-y shad- ows, Bom of sora-breNight, re
ralU
g^
^
leas'd !
?^P^^
f=:3ri
Earth isfrom allgloom-y shad - ows, Boni of som - bre Night, re - leas'd!
f
* ^ jjj
j-:^j- ^j
ralL
'1
a tempo
■^
è=J^
W=3t
;*-
r p~r' f^~^-:mf
£
f- , tr f is--
NL_-tü * _p !
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fi^
Ped.
* P€^.
fó:W.
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i^^^^^
^
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^^^ — ^
f>j j^ h I J^ ^
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Ê
^i
f
p ^ >^r '— ?
^
T^^^^^T-^T
Ped.
Ped.
s!< Pa?.
SOPEANOS.
*ï==3t:3it
f^-T-
^
See! themorn,w^ithpoint-ed fing - er, Bid-deth us no long -er ling
Alto.
er,
yrfz
JTTT^I^XZ::^ ^
w
Ös
^Pi
-^ *-#
See ! the morn,with point-ed fing - er, Bid-deth us no
long-er Hng
er,
i
^=È
^
53
te
É
i
^
f^
P
f
f
ï---^^
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è
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e^;
^
^s^^^r^^
f
Pee^.
Ped. * Ped. :te
A. "R. Gaul's Saered Cantata, " Ruth."
f
Ped.
31
f r r.f t^^ ^
r t r ^
F=^ z
Warn-eth 'tis the time for la - "bour Gold-eu sterns of corn a
mong.
i
i
^e
•^- ^' i i'''^ -^^'-i' -J^
Ê:^
F
3=
Warn-etli 'tis the time for la
P^.^^.^
£
hour Gold - en sterns of coni
m
3!
J:
é
f
3
^
tf—r
f
i r-
^t
£
fc=^
^-Ul-gJi-g^L^
g|:^g g
f
r
P(?tZ
Ped
Ped
r
P(?(^.
Tekohs.
-«1
To the fields theii let iis has
Basses.
^^^^-^^J'J ^ I J
ten While the pearl-y dew-drops glis
>— t-
^
ten,
)
^ g^
1- irr-' r g-H ^ --f
To the fields then let iis has
AYhile the pearl-y dew-drops glis -
ten,
ten
i
m
^
j>5_j
lÊ
■j. ^'4^-i- ^' ^=^
SIÊ
©^^^^^
ï
1»=^
*-*
m/
1
£
I
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@
Peet
*
Ptd.
^
J-4^^
-U=-J-
^
^jg
i i — ^
Thero the hoiirs of teil to light - en Witli tlianksgiv - ing and with song !
È^=^=^^
m d S
> I J
^
f
■0 *-
^ ' r' r- r ^'r ^ r- r
1 — F1 — t?"
There tlie hours of toil to light - en With thanksgiv - ing and with
song
i
I:
^
l^i iyUi '^' 7t'^
^Tt
h. I
Ét
e- r t r , J ^J
Cï'é^.
It
E
^
r g r- r-,i4 ^ \
=t^
Perf.-#-
Pe^.^ *
A. R. Gaul's Sacred Cantata, "Ruth."
32
1
fe
SOPRANO.
f^
F^^^ ££
F^=?^
^-
:Mi:=é:
i
I
See ! the gold- en rays of mom - ing Now the mea - dows are a - dorn - ing
Alto
^
i
^
the
i
m
See ! the gold - eu rays of mom - ing Now the mea - dows are a - dorn - ing
" Tenor =.. , . 1 ps
Ê
■^* I* i«
t
=«^
^jg
! the gold- en rays of mom - ing Now the mea - dows are a - dorn - ing
ASS... .. ., ^ ■ ^ — * : ^-0 ' j»* ^
:p=p:
t
^
See ! the gold - en rays of morn - ing Now the mea - dows are a - dorn - ing
|^±^^g3
]^:ii
É
• — ^-
$
f^
f
fi
^
Ped) hJ Pedf -•' -*"*
r-p ? ^
r
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Ped.
Ped.
ralL
E
3
P=P=S:
ï^
£=rtr
, Born of
*»w
*
Earth is from all gloom- y sha - dows
som - bre Night, re
j^all
leas'd 1
:i=*
^
^
$
Earth is from all gloom- y sha - dowSj Born of som - bre Night, re - leas'd !
m
^ — W
W^^^
£=ti
in,
m
Earth is from all gloom - y sha - dows, Born of som - bre Night, re
rail
leas'd !
i
^^
Ë
i
Earth is from all gloom - y sha - dow s, Bo rn of som - bre Night, re - leas'd !
M
i
t
^-
m
Ë^ÖEi^:
^
f^r='r
»
£É
f :
J— F^^-
W=-4 ^
r
k '^# ; g
r^^
Ped.
*
Ped.i
Perf?"
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g
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w
r-
T' T' T^T'
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^^
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^
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f
r -^ r T^r
Pet?.
ü:
A. H. Gaul's Sacred Cantata, " Bath.
W
No. 7.
fioPBAiro.
Alto.
Tenor.
Bass.
ACCOMP.
J n 54.
i
tó
ChoralRecit.— «NAOMI HAD A KINSMAN."
.Am.—'* LET ME HIE UNTO THE FIELD/'
Eecit.— **G0, MY DAUGHTEE."
Moderato. ^
^ — ^-
^r^
5
*
E
I?
*t
s
jn/
Na - o - mi had a kins - man, a kins • man of her
r -1
:s=p:
i?=i^
#*
atzati^
5.--
:i=t
i
lA
Na - o - mi had a kins - man,
Izi^— p"^^;
j«/.
^É
^=?i:
^
I-*
^
Na - Q - mi
j» /f , ir ^
-F 1-
had a kins - man,
kins - man of her
— ^^ fel — ^
É
is3
*t
kins - man ot her
^ Sf - \ |\ -tz
:t=^
Na
mi
had a kins -man, a kins - man of her
i
y
Moderato.
f
:i=*:
^iï
?2:
r^^
mm
^
-G>-
-iS-
*^Ë
1=^
*t
ƒ
atZ ^iö.
%A
n
\^-^-^-r-V\^^^ ^^
321ÖS
?
t:£ii!ft
J-
hus- band's, a migh - ty man of wealth, whose name was Bo - az.
W^\^ J'1^."
fefc
s
^5=^
fgtïs
S
^^
I
^-i— #-
^-nr
ty man of wealth, whose name was Bo - az.
hus- band's,
^
a migh
P^-TJ-^
ite
::it
É
ajgtfs
öri
^ü*
hus- band's, a migh - ty man of wealth^
'— — • -ff
^
whose name
was Bo - az.
^f-
5e
^ I u r
Sa
S^v
I— k-^
5t=5t
hus- band's, a migh - ty man of wealth, whose name was Bo - az.
rf^
^
^^
^::j y ^ . cj - ' r
M
lïfc
pps
3^^
/.
%-i %^ ^ ^ i t^ :
i^
ad Ub,
mf
iMi
^^
^
^
5
Aii«.— «LET ME HEB UNTO THE FIELD."
U
iS
Allegretto.
a
S
jj. Allegretto. J = 80. -^ ^^
B
ïEi
e:
Ê:
ii^E
j=t
n
' s i j -f ^^t
^ft
S
^
t^
« I # ^
-^^
A. R. Gaul'B Sacred Cantata, ''Ruth."-(33.)
34
%k
KUTH.
^=^^
■^
ê
-5a-
fe
:ö
^&^
Let me hie un - to the fie ld,
ï
*=5=«
i é
^5
-ö*-
S
r «r • f
-* — • — 15;
^n
3:
i
1 e ig
5 ^^<^'r
ï^=&=
^p=^i=
r=t^
f — h--+
?e=5=Ht
?:
^ — ^
Seat - ter'd ears the ground will yield,
^Yhere the reap - cis reap the corn ;
nr3j~^
*=S:
-^
t
i
¥
T
^
^
^
-a—L
■^-
-"1-
i
tó
s
g=p^
^
i5=fs
ï
V p ^ p
^^
■*_a-
Fall - en since the dew - y mom.
fall - en since the dew - y mom.
Kind-ly
I'
%A
m
L^ l 3 | J
^
I
Ir — k
m
It
g
Ti
r
n
J=:^
±±L
!.. I 'i
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:^
-ST^
^
^^
É:
P
-» — ^ — •-
zz
ïs=fs
^ ' - •
T3L
k
hearts
I there maj find.
Ilearts that will
not this de - ny, While the
/^
5
I -g: b^ i-^
_^- n* -#- T#
r^i: tJ-iji^
"■^ ^
«fe
ö
r
^
-H-i
Sr^
tif
-f^
rail.
^
* gp .*^
st=^
?«=^
:SÏ=t^
^
/;>
ï^=i^
^
^ ^ I
gold - en shoaves they bind ïo the sick-le's me - lo - dy,
te the sick le's me - lo -
rail.
iil^i^^
ï
'=f=f
^
*• ^ j
-^
.*:^ N."^^
^
■*s
^=*
r^r
^
-«S<-
P
^
■^
y
f
T-r
-&-
A. R. Gaul's Sacred Cantata, " Butli."
35
l
s
a tempo.
i
I
ir-
a tempo.
^
Bi
rni ^i JTn ^ag
^
m
3^1
i h
g g J y^^
J=ii:
ëê
-#— ^
^m
-&■
7
s
I
■^
^
^
e
tH-^^ L' u
^t=ï^
'M id the droop - ing sheaves to gle an Let me now, I pray thee,
^^^
^
^
f
f
^
^
^)--j-
-Gh-
^
^
f^=
Wh ere the reap - er's scythe hath b een, Ear s of gold - en corn lie
a
é ^ ë
* — #
i
1:
r
r *r ^
^
I i
-J^-
^=f
■y*-
^
i
^=15
t^=ï^
^ ^
:z2
ears of gold-en corn lie low.
Ilomewaxd then, with ycl - low
ë
feï
3
^ïï
«
— ^ 1 —K « —
2:?
■*- -#-
t^
1^
g
^^^
**i
I
?2:
> [ ^
i^=J^
T^
^^
^=tï
É^É
# tf
spoil,
I shall haste at close of day,
Hav - ing ga - ther'd from the soil
ia
H, ■ I ,; J i: ^ i ^
¥^
J ^ ^^
-• — j j w —
acit*:
-ë — z
r
li'j-: -ï-
^tt
iz^
f?=:f:
^
t-t
^i^
■i^
-h-^
-^4-P
A. K.Gaul's Sacred Cantata, "Euth.'
i
*.t
36
ralL
rr\
m
^•J'J'flF r
a tempo.
W^ J >
P ' P
-G>-
5^=^
fel
^
Wealtli that o-thers cast a - way, wealth that o-thers cast a - way.
. ^ I ralU
J J| al
s
/7N
a tempo.
4 ' #
^^
1=3
i
-^-
b:
«t
•H-^fe^
5=5^
e=
i
.^i
i^
m- '^^-c^
#=F
-^
-e^
^^3"
^^
I
Moderato pin lento,
Naomi.
Eecit.— " GO, MY DAUGHTEE."
N^^s^s-
r ■ F M' 1 j-i ;■ ;■ J-. ^^4^^E
C' ^- ^ ^
Go, my daughter, and may thy glean-ing pros-per ; May plen-ty cross thy foot- steps, and
Moderato piü lenio. é = 52.
i
i
^ I p '^ ^ ^ ^ 1
É
E
i
1?
1=^
T'-^^-^T
r
V-
m hr-^. ^
isj:
:3
2::::
i?
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'c;^^
i
t
ï'aZ^.
Is*
a tempo.
^
^ j'i ,^/- .^■j - l F^^ Ji'
¥
E f é
*
may thy lieart, when thou re - turn - est home,
rail.
^ j, *' j
u.
be fiirdmthjoy, be filMmthjoy That
a tempo. ^ ^ ^^
S^
jr^^ -^^
^^^^
^1
^
tri r
^
^^ — ^
¥
riri^
^-o^
3:
i
lï*
a
s
ra/?.
^^
^
^
P^=?E5
ö=^
di-ethnot to-day, but liv - eth on Till thou f romearthly scènes art call'd a - wayl
I
ife
s
''~Tj~] j. i' i .7Tj I. N i~r.T^ 'i , -i-j '' 4"^ I I
as
I
A. R. Gaul's Sacred Cantata, "Ruth."
No. 8.
Am—" GO NOT FEOM HENCE.'
VoiOE.
Allegretto.
s
■^ /^
Allegretto. ""^"^ ^ ^
±It
*s-
:ÉE
^
ACOOMP.
PP >S'o7^^ of Eeapers in the distance.
^
f
«:
r
fj JS r
f^^
mm
m
IJ
^m
-iÖ-
^
Ö
-^-
B
^^
^
I
igT;^l| i
Andantino.
BoAZ. (Bass.)
3=4?
F •
^
Go not from hence, my daugh - ter, But glean be- tween the sheaves
Go not from hence, ray daugh - ter, But to my coni - fields keep,
The
And
field is
fol- low
i
m
Andantino. é = 56.
r_
\ V
i
I
I
'T -r
r
r r
i
t—T
:J=a
^
-i i -
-ö-
Comi.
ga^
y ^
?
. . T f -? I r tr r r I r . "P^^ e^
mme,
close
and all is thine That ev' - ry reap
be*side of those Whosetask it is .
er leaves, that ev' - xy
to reap, whosetask it
ife
f' ' i '^Ji'i
1 i
3
^E
5
^IsÖ
Ei
5
^
i
-H«-
A. R. Gaul's Sacred Cantata, "Euth."-(37.)
88
1"' g g n r
^
er leaves. A - bide here by my maid-ens, And join their mid-day
to reap. Thou shalt not be up - braid • ed, No voice thy hand shall
i
é
^^
t^
r
gj —
^-
^-^
j.j- j^^
Y
J I ^ ■ J -^ IMLt
« (S^-
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-- 1
w^
^
s^
ï=?2
M
^==P:
fc
^^
rest ; No tongue shall say thy glean - ing nay, Or ought thy search mo -
stay ; The field is mine, and all is thine That thou canst glean to -
M^
«
^^
^
m
t
lest,
day.
No tongue shall say thy glean - ing nay, Or ought thy search mo
The field is mine, and all is thine That thou canst glean to
i
m
m
^
4:
TZ^.i
s
i
-wv- *
T
r
r
^m
ê
t
m
rf
3
121
-/ l
■^l
^^
"1-r-
lest
day
1*1
O^ Ij
"T^ ■ / r: .j
^
i
fe
e
f
5
ë
^
ï
^3
I
A. K. Gaul's Sacred Cantata, "Iluth."
No.-9.
VoiCB.
ACOOMP.
[Eecit.— "WHY HAYE I POUND GRAGE IN THINE EYES."
AiE.— " PAST ALL KNOWLEDGE IS THE KINDNESS."
IEeoit.— " I KNOW THE GOODLY DEEDS THAT THOÜ HAST DONE."
RüTH. ad Ub.
^
i
^
-<s^
$
Wliy have I fouiid grace in Thine eyes, O my Lord !
ad Ub,
^
é ê
-f^s
-&
S
T
^
ZZ
122:
■é
W
w^
"cr
-<5^-
-&-
i
t
^
ralL
ns
liï
i^
é é
m é ;a
E
Why shouldst thou take know-ledge of mej See - ing I am
i
^
a stran-ger '\
rail. /-^
i
^m
l«*
^
* *
a
^
:s2:
ff
z:cr
iste
m
Z2:
zz
i^
:©:
p'v^f^r c^- m
fel
AiK.— " PAST ALL KNOWLEDGE IS THE KINDNESS."
AUego'eUo con moto,
RUTH.
£
^
Past , . all know - ledge
A Uegretio con moto, 0»=z8S^
is . . the kind - ness Thou . . dost show, my
.. —^A ^
^=^
ar-f
^
S
i::^M^
^yf
fe^
iz=J
1^-^
r
t^;4:
M- '■! •
^
(}>' r r
?E=i:
^
&=(=
lord, to . - me; •
am low - ly» and . . . thy fa - vour
M
i y ^ j? ^j.' ^j^ JTji ijj ^ jj ^j j jj ^ jjiji ^j ^^
aö
^ I
^m
IX.
r
J-,-^- T-
l'i^T
A. B. Gaul's Sacred Cantata, "Kuth.'M39.)
40
m
v==t
All
un - me
rit - ed
must be !
^ J ! j^
f -1 fl 1 r i ^ ^
^^
r=^
f
F=t
*é
#- -it
i
i
#
-Jl- J- 'I —
^^73
# #
^ ■ ^ ^ :^ip
^=t
#y
V. j
There are ma - ny
more
de-ser - ving,
^
m
t=t
^^
^
f
X 1
^r^
r r rr- f ir-g
There are ma - ny — I
am least : —
^
Yet . . . thy boiin - t y,
i^^^
^i^ -1 n-1 :^?=^
^
•p — ^
■p — n-
^^
SI
^ ' é
^
: -ï. ^^^^
rr-r.J-r- r
M
;'j- J- t
M
p • •
%^
i
gra - cious mas - ter, Bids . . me join thy maid - en's f east !
i
# 1 * ^ é ^
T^j^nr^^
"t^ — ^
't 4
Wf^
rp-^ . rTJQ'j
^
^^
3
f^f r:^r
i
-5- 5
m
^
f ir-fr^T^r
itiï:
?
Yet . , thy boun - t y,
gra
cious mas - ter,
Bids
me join thy
1 X
&
^
i X i,A-n
i
^
ö
s
alt*
ï*
^s n-f T g/ r: , ,n^-^^ .r r^ oi
* j>
^;^f^v-^
,t=
f
■dr
A. B. Qaul's gacred Cantata, "Buth.
41
rail.
r ;J._J.
a tempo.
maid
ralL
en's feast
a tempo.
\
f 1 1 -1 ,rT
EO
J..
J:
ro^
ï
^^
^
^'-^
^
•C^^^^ ^. ^.^ T^-'
i
a
raZZ.
^
ra/Z.
fo*
Deeds . . so kind - ly
*^r> i K
r;ir^l,J- ,r-r ? ^
*
^^
p r #
muj ' U/C£/fcf- " Li r ^ H
□u
3X1
^ 1
i
«
É
$
^
^=:*
^^^
4 . ' Jc^v 1
i
14
3^
^^
^
^
fiU .
my bo - som
With . . a wish thy name to laud ;
Yea,
i
. for ac - tions good
and ten - der, Ev' - ry heart would
P
tt
*4-T— t
^^
^W
ïfefe
i^
i^
S
i^
^5^=^
**
fain
ap - plaud !
Z_!L
^^&
Hé^
^
^^J5 ^^
f
^
rrr i^'Ti ^- ^é-ra^i O
rO-
^
> * p
T^ r^ tz:: ^
^^=^
r;^
X 1
A. R. Gaul's Sacred Cantata, " Ruth.
ri
ytp
» f ^
?!=^
Hear . . me of - f er, loud . . thanksgiv - ing, Hear . . tliine hand - maid
**
' ':i^r^JTs}'s}-'i^^'^2!ii^'m
fey 1:
3
i
^." -i. P- ïzï
4
t. l 4_i.
È
^^
* ,, \
i i ^ r-
# * #
; fcm -^.^
^
e'
shall pray through - out . . my days ! . , Gra - cious nias - ter,
f- ■ ■ ■ ■ — ■ ' ' " ■■■ ' ■■
*4
r'^PiZj^JJJhj^OJ^J'O
1 X
^
m
^B
^
ip{^ , ^0-j
¥
F
■^
fci
raö.
^
^
f— H ^
E
^^
f or . . thy wel - f are I . . shall pray through - out . . my days \ .
ralL
^s
p
^ éZZz^ ' — * ^ * * >
t rJ^-T: .g^O^
É
^É
ffiiiï
^
B^
^
-2. S
A. E.. Gaul's Sacred Cantata, " Kuth.'
43
E
a tempo.
' rr r'' ; . fr': | J^'J Jg gi
rail. ■
1
^
J-
^^^
ï=="
i
B
-S-' -0- H- H-
Eecit.— "I KNOW THE GOODLY DEEDS THAT THOU HAST DONE."
BoAZ. ad Ub. _
T T^ e gj f
^ g g g ^
W W ^
-^.'/ i/
I know thegood-ly deeds tliatthou hast done, O my daugh-ter ! And the
i
* tU^ir ^
colla voce.
P
22:
HS>-
^iii 1" f "^ T' s r ^
t-zz-f^
Lord God of Is - ra - el,
un - der whose wings thou'rt come to
i
i
È
^
T=*S>-
^:gr
V*^
^iM4
^::.^
1
^
zz:
ifcr
^ M^
£
raM.
^
E
:^=;^
r f
trust.
tó
^
Shall give thee,
shall give thee
full
valL
re • ward !
i. ] ] >
r
i
-Oh
i
-©^
1
^
XP^
A. R. Gaul's Sacred Cantata, " Ruth,'
No. 10..
SOPBANO.
Alto.
Ü
Tenob.
Babs.
{ Chokal Eecit.— ** 80 SHE GLEAN'I) IN THE FIELD UNTIL EYEN."
Duet.— '*WITH JOYOUS HEAKT I GEEET THEE HOME."
Anda7ite,
fe^
1^ tf * ^ • J ^
Ps=^
s
So she gleaii'd in the field uu - til ev - en, And beat out tliat she had
M
•*— #
^
fT^
is=qsi
So she glean'd in the field un - til ev - en, And beat out that she had
i
I
^^
^
^
3
ö^
So she glean'd in the field un - til ev • en, And beat out that she had
P
^=^
W^-m m-
^^
<^ I
^ P n~
ACOOMP.
J=66.
So she glean*d in the field un - til ev - en. And beat out that she had
Andante. \
?
o-
r
jpr
"^
-^
^
r
i
TT
C^
P
S
2*
1-^
rail.
s
^
ï^=ft:
^
* é' é
zzz.
& m-
-c^^
glean'dj Then went she up to the ei - t^^ And her heart was fill'd with joy.
I
x=t
iJ J J :t.^\^ j jN^'i. j:u ii"3 -
z±
glean'd, Then went she up to the ei - ty, And her heart was filFd with joy.
*
^ J ^.^
I
^
^
é ^ \ fJ
^z:
-# — ^
^
glean'd, Then went she up to the ei - ty, And her heart was fiU'd with joy.
-■^±
^^JIJ J J /•
m
r> ^ !* :
Jt=i
5z=t£
glean'd, Then went she up to the ei - ty, And her heart was fill'd with joy.
rail.
m
i^^
i
'f' y ^
-o *
"C~
t=f
i ' I o:
i
@
1
s
p * * ^ -c'^ ^
r'
A. R. Gaul's Sacred Cantata. "Riith."— (44.)
$
Duet.—" WITH JOYOÜS EEAET I GEEET THEE HOME."
Tempo moderato.
1^
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With joy-ousheartlgreet thee home, .... Odaughter, for tliine hour is.
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46
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thee ! Fare - well, mymo-ther dear, fare - well !
Naomi.
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47
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No. 11
Choeaie.— " NIGHTFALL.»
Obqak.
cl-54.
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Largo JReligioso.
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Look down, O Lord, fz'om realms a
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bove, Look down we
pray
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Look down," O Lord, from realms a
Tenor.
bove, Look down
we
pray;
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pray
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cres, dim. cres.
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r
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50
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vi/
61
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No. 12.
(Intermezzo.— '*DAY BREAK."
Iwedding Chorus.— '* HARK! HARK! THE CYMBALS OLASH!"
Calmato.
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53
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a tempo*
WEDDING CÏÏOEUS.
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Alto.
clash, hark ! hark ! the cym - bals ^clash, the
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221
Hark ! hark ! hark ! hark ! the cym- hals, hark ! the cym - bals clash, hark ! the
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a tempo. , ,
hark ! the
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^
54
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harps, the . . harps sound up to heav'n !
Hark ! hark ! hark ! hark ! the
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And by
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(yea,)
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Sweet
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55
i
3
3
S
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M
by the ten - der
dul
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I
giv'n ! . . With
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A. R. Gaul's Sacred Cantata, '^Kuth."
^
ë
^
57
3
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joiü'd
two hearts,
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ther, And
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58
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122:
smg ye
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A. R. Gaul'a Saered Cantata, " Ruth.
59
^
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W
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A. R. Gaul's Sacred Cantata, " Ruth."
60
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ge
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61
a tempo.
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62
^
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03
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The air
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Gé
'O'
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Lord
who dwells,
the Lord who dwells a
bove
Hath
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A. R. Gaul's Sacred Cantata, " Ruth.'
i
1
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ne'er
&
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65
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joy,
SO
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22:
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Joy,
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songs of
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SOPEANO
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A. li. Gaul'a Sacred Cantata, " Rutli."
9f:
THE END.
MR. GAUL'8
PASSION MUSIC.
MUSICAL STANDARD.
"On the evening of Good Friday, the congregation
of St. Augustine's Church were invited to attend the
first performance of their organist's new sacred work
— a musical illustration of subjects connected with
the ' Passion * of the Saviour. In this fresh musical
product Mr. Gaul has the advantage of an open
field, till very recently closed almost entirely to the
Anglican Church composer; so that at the outset
his work claims the merit of distinctiveness. The
texf of Mr. Gaul's work, varied and elaborate in
structure, is the compilation of the Rev. J. C. Blissard,
author at the same time of the original lyrical por-
tions of the work. The course of sacred events con-
nected with the Passion is laid out by the writer so
as to form a series of six distinct ' scènes,' the literary
construction of these being similar in plan through-
out, but each preserving its own separate unity and
point of narrative or dramatic interest. The subjects
of these divisions, each occupied with a particular
stage of the Mystery, are respectively : ' The Traitor
at the Table/ * The Denial,' * The Condemnation
before Pilate,' *The Mockery on Calvary,' * The
Shadow of Death,' and * The Holy Sepulchre.' Each
comprises a prophetic portion (the words selected
fromthose passages of Holy Writ *foreshadowing' the
event), and preceded by a short choral^ which is
retained unaltered throughout the work ; a narrative
portion dealing with the especial event, and what
may be termed the lyrical epode, a hymn embodying
the subjective reflection on the preceding passages,
and in which the whole congregation is supposed to
take part. The author has executed the compilation
and versification with commendable judgment and
skill. As regards the composer's share in the work
it must be noted, in the first place, that whilst en-
deavouring to illustrate in the best manner possible
the outward course of the events, the dramatic ele-
ment, properly so called, has been carefully kept out
of the work. Individual characterisation has been
avoided by allotting the different solo musical pas-
sages without regard to any representative character.
This arrangement has no doubt been prompted by
judicious reasons, and there is much to be urged in
its favour. Mr. Gaul has adopted the arioso style of
musical setting for the solo portions of his work. In
certain parts, as in the melodious so.'o, * Blessed are
the departed,' the writing approaches the ordinary
aria form, but in general the more declamatory style
is preserved. There is no imitation of archaic forms
in either melodies or harmony, and in the descriptive
episodes the composer has not been tempted into
tneairical exaggeration in order to secure dramatic
effect. The style of the composition, in short,
resembles generally that of Mr. Gaul's previous
writmgs — the same effective, grateful part-wriling,
and the same expressive and melodious treatment of
the solo voice. In those sections, notably that of
the Unjust Condemnation, where the realistic element
is predominant, the composer has manife^ted his
ability to write with dramatic force and intensity as
well as with lyric charm. In this respect the choral
writing distinguished itself in comp^irison with that
in the 'Holy City' and other of the composer's
works. Among the items which impressed us most
favourably was the chorus, 'The fining-pot is for
silver,' the beautiful choral passage * VVatch and
pray,' the whole of the choral passages of the con-
demnation scène (the original treatment of tWs scène
evades any comparison with the part of the Passion
music of other writers); the contralto air, 'Oh, hear
ye this, all ye people'; the fine chorus, ' Consider
this," the culminating poïnt of the scène on Calvary;
the trio for soprano, tenor, and bass, * Thou hidest
Thy face, O Lord'; the quartet, * Hath God forgotten
to be gracious'; the strikingly effective chorus, * God
is not a man that He should lie'; the solo before
mentioned, ' Blessed are the departed,' with its
choral appendage (soli quartet); and last, but not
least in merit, the fine setting of Adelaide Proctor's
lines, *Why should'st thou fear the beautiful angel
Death,' full like the poem of a sweet, subdued, de-
licious calm. Mr. Gaul has not written new hymn
tunes for Mr. Blissard's lyrics ; the tunes selected
for this occasion were from among those in ordinary
congregational use. Altogether considcred, Mr.
Gaul's new work will undoubtedly greatly enhance
his already high reputation in the line of sacred com-
position. An overflowing congregation testified to
the great interest taken in the service. On Saturday
evening the work was repeated, the attendance being
almost equally large with that of the previouvs
evening."
BIRMINGHAM DAILY MAIL.
*'A second experience simply confirms the remark
hazarded on the first presentation, viz., that the
work is not only the most important Mr. Gaul has
yet given to the world of art, but is one that, whea
familiar, must arrest attention."
Vöcal Score, paper covers, 2s. 6d.; diüOj paper boards, 3s.; scarlet cloth, 4s,
LONDON AND NEW YORK: NOVELLO, EWER & CO.
:-^'
„1882. ,
OPN^iQNSOF THE LONJ^ÖIJ ANÖ mDVlNCiAL PRBSS- .
^
eANTATA
'-%
^C^MPOSED EXPRBSSLY TOR
THE ABpyÈ FeSf^l^L,
^ # ^ DAILY TELEGRAPH.
"Altogether, a go«]^ sdund musical work is thia * Holy City.' I
have no besitatiaii Mlft^iiig tfakt it creditabiy represents E-tiglish art,
and dó«B boaaur notmüf %o the skill but to the judgment ana tasfe of
Mr. GauU " V.
" The CliorQft, *'^hifie^ the Mngdom,* proves that he knows how to
wrït^forimpQHrtrtg^ effect as weU «sfor simple musiciaoship. * Ijet the
sea make a lioise/ Jic, beIóo|a''*lto the successes of massive choral
writing, anéthe éntire chorus with ita fueal concltjsion, * Let the
heavens rejoice ' gives evidences of grand design and adequate musi-
cianship.
" The scriptural texta have been chosen with much judgment.*'
; f STANDARD. ^ '
•' ' The Holy City' is a healthy, straightforward work, with plenty
01 vigour and spiHt ab^t thé writing. It is not of the ' new-fangled '
school. ^f .
** From iirst to last Mr. Gaul exercises his undeniable talent in a
thorqughly legitimate ditection, and gladdens the ears of liis auditors
with plenty pf jtonic an4.döR»ïnant.
'*The receplion w^ iavourable in the extreme» and the Cantata
must hencefo^h be claissêd among the successes whicb the Birming-
ham Musical Festivals have brought to light."
DAILY CHRONICLE.
*' Mr. Gaul is a local composer creditabiy known in the metropolis.
It wilJ be a matter for surprise if the Cantata, ' The Holy City,'
should not augment his reputation wherever it may be heard, inas-
much as it is a right spirited work, evincing the gift of melody and
an excellent knowledge of effective choral writing."
MORNING POST.
" Mr. Gaul has given to the world pieces of sacred music which have
attained a reputation beyond the narrow circle of provincial fame. In
his *Holy City' he has also shown that he can write like a thorough
rnusician inpther and. more severe styles. The air and chorus ('A
hew Heave^qk luad a new Earth *) with its pianissimo ' Sanctus • is
^ s|^«ndid idéa.' As a whöle the Cantata is a good specimen of earnest
musiciaobfaii] and well-used means."
ACADEMY.
" Thjpre is a great deal of good and skilful writing,"
MUSICAL TIMES.
" " * The Holy City » is evidently the work of a thoughtful as well as a
clevéi- composer, and should make its mark among thoroughly English
productions of a sacred character."
DAILY NEWS.
"The Woik is throughout the production of a thoroughly trained
and earnest rnusician. The Orchestral introduction — iilustrative of
contemplation — is melodious, and contains some good orchestral
writing. The pieces for solo voices evince a comnE»and of agreeable
and flowing melody, and are well suited to the respecttve voices,"
GUARDIAN.
" Melodious, amooth, and^well writtenfroilF beginning to end.
aïUSICAtiSTANDARD.
" The work is throughout chaTacterised by dulcet, gr^ceful melÏJdy,
The choral numbers show Mt. Gaul aX his ti^st ; we reftiark here the
sure practised hand of the writer, wha has already made himself not
a little famous by this class of work."
FIGARQ.
" The Cantata is eminently er(||table
choSen.'
ainj the wörds admirably
MANCHESTER GUARDIAN. ^.
"'The Holy Qity ' has been received with every mvk of approval—
approl^al richly deserved, and if London should ever be made the
Bcenp of such music meetings as are held triennially at Birmingham,
Leeds, and Norwich, Mr. Gaul maybe said to have earned the right to
be represented. The compose* has in him a pure melodie? vein» on
which he has freely drawn in giving the èpproximate musical expres-
sion to the beautiftil sacred poem-hymns incorporated ia his word-
book or libretto." ,
BIRMINGHAM DAILY POST.
"Everything is carefuUy rounded off and finished in form and out-
line, and the cuhivated musician is evident alike in the part-writing
for the voices and the command of orchestral resources,"
BIRMINGHAM DAILY GAZETTE.
" We hope and believe th'at the reception given last night to Mr.
Gaul and to his 'Holy City' Cantata will prove an earnest of its
popularity and acceptance throughout the length and breadth of the
land.
" We think highly of ' The Holy City* music for its yein of pleasing
melody, and for the good disposition of the voice parts in the choruses,
The instrumentatioh has evidently received careful attention."
. BIRMINGHAM DAILY MAIL.
'' Ftïjra tttïe-paere to the final chorus there is such/t>erfeGt organisa-
tion, genuine melody, and musical consistency in the just apporti»3n-
ment of subject-matter^ thatythe Cantata is certain of a popular career."
NORWICH DAILY PRESS.
*' To name any of the particular pieces for special CQmmendation
would be to name the whole, for every one portrays an earnest and
thoughtful mind, as well as scholarly design."
ATHENEUM.
" We must first recognise the gentene musical feeling shown by the
composer.
"The vocal writing is excellent, and shows good cómmand of the
resources of counterpoint. To sum up, 'The Holy City,' though not
a great, is a musicianly and pleasing work which does credit to its
ser."
NORWICH MERCURY,
" The general impression of the music is eminently pleasing : this
arises from the perfect smooth ness and elegance of Mr, GauUs style^
and the unimpeded flow of natura] melody."
MANCHESTER COURIER.
" A most interesting, tuneful, and scholarly work."
LIVERPOOL DAILY COURIER.
" This fine work will considerably enhance Mr, Gaul'a reputation as
a musician," ^v.
**The Work is an hönour to English Art, and has elevated its composer into a place of distinction
amongst native Musicians,"^@^^tfM.
Vocal Score, paper cover „.
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Vöice parts, for the use of Choral Societies
Band Parts on Loan.
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price 2s. 6d.
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