commentary to opus 90

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The Shrine of the Martyrs (in German and Latin) Oratorio for 5 Soloists, mixed Choir, Boys' Choir, Speaker, 3 Organs, Percussion Ensemble and large Orchestra, op. 90 (1988/1989)


2. Mare, fons, ostium aquae terrarum
the last part

10. Storm at sea (instrumental)

13. Who is there on the land?

42. Psalm 150 the last part


First performance: July 14, 1989, Würzburg, Cathedral St. Kilian
Barbara Schlick (soprano), Lioba Braun (contralto), Clemens Bieber (tenore), Martin Hummel (baritone), David Midboe (bass), Stephan Rehm (speaker), Würzburger Domchor with Mädchenkantorei, Domsingknaben (conductor: Franz J. Stoiber), Domorchester, percussion ensemble (conductor: Christoph Weinhart), Paul Damjakob (main organ), Gregor Frede (choir organ), Michael Hanf (organ in orchestra), chief conductor: Siegfried Koesler

Duration: 130 Minutes

Publisher: Schott Music ED 20290 / ISMN: M-001-14995-2 (Score and Piano Reduction available)

Conventus Musicus CM 100-1/2


The oratorio "The Shrine of the Martyrs" shares meaning and aim, theme and structure with the St. Kilian's Shrine by Heinrich Gerhard Bücker, which has stood in the west crypt of the Neumünster Church since 1987. Both works of art want to serve the glorification of God and proclaim the great deeds that have taken place in Christ and the saints. Both commemorate the martyrs who met their deaths here 1300 years ago, and at the same time the uncounted who suffered a similar fate before and after them. Finally, both offer help for reflection and decision.

Piece by piece, the oratorio takes up the theme of the shrine by transferring its structure into the language of music. At the beginning of the two large-scale corner movements are words from the "Lorica Patricks", which was already part of the daily life of many Irish at the time of the Apostles of the Franks:

" I arise today
Through a mighty strength, the invocation of the Trinity,
Trough belief in the threeness,
Through confession of the oneness
Of the Creator of Creation.

These words are like an omen that applies to the whole work. They direct the gaze to the triune God, who is praised with texts from medieval hymns to St. Kilian. He is "sea, source, mouth" of all that is good. Each choral part is defined by various three-toned motifs, each of which points to the mystery of the Trinity, both individually and in context, just as the relief of the mercy seat does in its own way.

This is followed by six movements, each consisting of two related halves, a biblical and a martyr's part. The first is in Latin, the second in German. According to the pictorial panels of the shrine, the theme is called:
Calling of the First Disciples - Calling of the Apostles of the Franks
Storm at sea - On the high seas
Sermon on the Mount - Missionary activity
High Priestly Prayer - Preparation for Death
The suffering of the Cross and death - Martyrium
Resurrection - Heavenly Glory
The biblical event is proclaimed in each case by the evangelist (baritone). Soloists and choir take up the message, meditate on it, give thanks for it and pass it on. Central biblical texts such as Rev 1,6: "The Lord has made us kings and priests before God his Father", Mt 5,3 - 10: the eight blessednesses, and Eph 4,4 - 6: the tripartite original Christian praise of God-given unity are heard.

The beginning of each martyr's part is a short word sung by Kilian (tenor). It takes up Irish motifs in which basic human situations are evoked. The questions thus posed find an answer in the Passio Kiliani - statements recited by a speaker from the organ stage. Soloists and choir respond to the events described and sing about them in words that are largely indebted to Irish testimonies. These lead into the praise we owe to Columban, a forerunner of St. Kilian:

"You are our all. You are our Lord and God."

Formally and ideally, the final movement builds a bridge to the beginning of the oratorio. Once again the "Lorica Patricks" is heard, now expanded by the reference to the saints:
"I rise today
in the preaching of the Apostles,
in the faith of the confessors,
in the witness of the martyrs."
Verses from the medieval Latin Cilian sequence follow. In them, original chorale melodies and archaic sounds are combined with modern forms of expression. Then the great Hallelujah is intoned, uniting all the participants. Just as Psalm 150 crowns the biblical Psalter, so it forms the glorious final apotheosis in the oratorio. At the end is the doxology. The verse sung at the beginning: "Glory be to the Father, and to the Son, and to the Holy Spirit" resounds again; now it is completed with the words: "As in the beginning, so now, and ever, and unto ages of ages. Amen. "
Bishop Paul-Werner Scheele (in the programme of the first performance on 14 July 1989)

Bertold Hummel speaks about his oratorio
Bertold Hummel infront of Shrine of Kilian with the score of his oratorio (Foto: Theresia Ruppert)

On 12 November 2000, I heard the "Shrine of the Martyrs", the opus summum of my former teacher Bertold Hummel, for the second time in the Würzburg Cathedral. The elemental force of this work - in this respect comparable to Orff's "Carmina burana" - shook me. What great knowledge of the nature of nature and man has flowed into this score: Unforgettable the weaving and fragrant sounds of "Spring", the dangerous cleavage of the Duke who wishes that his wickedness might be transformed into goodness, unforgettable the beautiful alto solo in which Hummel has appropriated the music of J.S. Bach, unforgettable the strange sounds after the recapitulation: here an arc is spanned over 2000 years of Christian faith experience.
Claus Kühnl (5.12.2000)


Musica Sacra July/August, 1989

Oratorio of the century in Würzburg cathedral

The première of Bertold Hummel's "The Shrine of the Martyrs" is a great success.

One can almost say that music history for more than two hundred years has spoken about choral works of religious content, including some using scriptural texts, which bear the title "oratorio". This is however a term often used to describe the form, with the result that some speak of "secular oratorios", really a nonsensical formulation, even if Haydn includes large-scale "thank-you and amen" passages in his Four Seasons, but in all of this there are no real oratorios. This is not the place to investigate the reasons for this. But the question does present itself when one is confronted with a genuine oratorio, as in the case of Bertold Hummel's work, "The Shrine of the Martyrs".

The composer Hummel is no doubt familiar to church musicians, in name at least, even if they have not yet played or sung anything of his, for his name appears constantly amongst recent publications of church-music. And a good organist will not only confront his congregation with modern music when he plays the meanwhile famous "Alleluja", but perhaps win it over, for the celebrated Easter Alleluja is present and easily heard throughout.

Hummel knows what an oratorio in its original sense really is. He was a practising church musician for many years and does not confuse the term from the house of prayer, the "oratorio", with the usage of the concert-hall. He knows how to work, at the end of the second millenium of the Christian era, with texts from the Bible, legend and from the redoubtable Christian doctrine of salvation. He draws on tradition and writes appropriately for the present day, and has obviously risen to the challenge of these texts, for the result is for the listener convincing and gripping.

The concept for the texts came from Bishop Paul-Werner Scheele in collaboration with the composer, a practice that was and is normal for all great vocal works. The whole work was a commission by the Bishop of Würzburg, from the diocese, that is, of the apostles to the Franks. It marks the 1300th anniversary of the martyrdom of the saints Kilian, Colonat and Totnan.

As Bishop Scheele writes in his notes in the superbly presented programme booklet, the work shares "idea and aim, theme and structure with the Shrine of Kilian, by H.G. Bucker, installed in the west crypt of the Neumünster Church." The relevant faces of the shrine which inspired the content and message of the texts are shown as illustrations at the appropriate points in the notes. In the text itself, there are extracts from the ancient Irish "Lorica of Patrick" , biblical events and texts from the New Testament; in addition, there are medieval texts, hymns, sequences and other spiritual poetry.

The forces required for this work, Hummel's op. 90, arouses astonishment at first glance. Five solo singers, a narrator, large choir, girls' choir, boys' choir, orchestra, percussion ensembles in the orchestra and in the organ loft with the large organ, choir organ, organ in the orchestra. But the work is written for St. Kilian's Cathedral in Würzburg, where all this is possible.

The interaction of spatial features and musical work is no new phenomenon. The prime example is no doubt French organ music, in which the organ itself adds a special component. For a performance in another church, the composer would certainly adapt the work, at least in part.

Perhaps it is going into detail a lot, but it seems to me that the work is so significant that one is justified in identifying by name all the compositional elements and practices that reflect the whole musical tradition of the Christian Occident.

Following spoken text from the Lorica of Patrick, the Trinity is honoured with organ and percussion and the listener is thrown into the music of our times. He is led out of this with a monumental unison Trinity verse, set in archaic ductus, from a vesper hymn for the feast of Kilian.

At the calling of the first disciples, the Evangelist (baritone) is introduced with a recitative accompanied by transparent orchestra relating the text of the calling of Simon and Andrew as recorded in Mark (Mk. 1, 16-18), the recitative elements enriched with extensive and demanding melismatic passages. A classical accompagnato comes to mind with the setting of part of the first Epistle of Peter referring to the royal priesthood (1 Pet. 2,9). The choir responds with "Dominus fecit nos regnum" (Rev. 1,6) in a mysteriously restrained setting in finest polyphony.

For the calling of the apostles to the Franks, Kilian (tenor) is introduced with a wonderful cantilena. The following texts are from Luke on discipleship, culminating in an anonymous text from the 12th century with a strikingly beautiful representation of life and nature with the omnipresence of Christ, a choir of women's voices merges with the resplendent solo soprano, heard above the rest, to form a fascinating synthesis of sound.

In the third part, "Storm on the Lake", one thinks of nature scenes in the Baroque or Early Classic period, despite the instrumentation with percussion and two organs producing a very threatening atmosphere, giving way then to the Evangelist recalling with a recitative the pericope recounting the storm on the lake (Mk. 4, 37-40).

A very central part of the whole piece is the Sermon on the Mount, in which even the opening statement of the Evangelist, "et aperiens os suum dicens" (Mt 5,1 f), simply sends shivers down the spine. The following eight Beatitudes are given very varying settings, whereby the combined sonority of the solo alto and the male voice chorus in the Beatitude of the pure in heart invites comparison with something as unforgettably beautiful as the Alto Rhapsody by Brahms.

The voice of the Duke (bass) seizes your attention immediately during the section on the mission of the apostles to the Franks, when he asks God to change his heart. The instrumentation and the diction cause the prince to appear, even in a musical sense, "worldly".

Striking in concept - and also in interpretation - is the setting of "Unum corpus et unus Spiritus" (Epistle to the Ephesians), which complements the high priestly prayer (Jn. 17,1), solo alto and woodwind blend in a particularly pleasing sound of great transparency. Here again, as so often in this oratorio, we hear an extended vocalise, taking the most beautiful of Gregorian melismas and developing them virtuosically but nevertheless meditatively. Something similar happens with soprano and full orchestra on the text from John's gospel, "Greater love has no man than to lay down his life for his friends", which comes after the moving portrayal by the Evangelist of the events of Golgotha - the context is perfect, preparing the way to the following scene with the martyrdom of the Irish monks. The next sections are "Resurrection" and "Heavenly Glory"; during the "Christus resurrexit a mortuis" (1. Cor, 20-22), the ancient melody "Christ ist erstanden" is woven into the composition, almost imperceptibly, symbolising a participation of the faithful.

The final section, honouring the three apostles to the Franks, introduced again with the opening prologue of the narrator, presents the Kilian Sequence in compositional forms from unisono via organum to mixed choir. With the final crowning of the work in the setting of Psalm 150, the composer puts the seal on a work, lasting somewhat more than two hours, that has achieved indescribable greatness and compositional density. This density, one might have expected or feared in the face of such a huge assembly of forces, could have produced a one-sided work. But this is not the case. For the fullness and monumentality in this oratorio is achieved in a wonderfully structured and transparent variety, which in turn can only be a result of the equally varied texts.

In this final section, he lets the psalm verses of "Laudate Dominum in sanctis eius", following the opening Halleluja, sound out embedded in a ritornello-like instrumental idea in which awe-inspiring clusters in the strings are surrounded radiantly by a halo brass. Set into this are the verses for choir, narrator, declaiming choruses, bass solo, soprano solo and finally the whole ensemble. In the closing "Gloria Patri", all forces are involved in a slow diminuendo, finishing with the boys' choir alone in " saecula saeculorum. Amen", not left to die away in echoes but reduced step by step until the final sound fades away. A close which captured the imagination of the audience in the over-filled St. Kilian's Cathedral; minutes of silence followed before the storm of applause broke out.

The Text:

"The Shrine of the Martyrs "

Text selected and prepared by Paul-Werner Scheele

I. The most holy Trinity

1. Speaker, Percussion and Organ
I arise today
Through a mighty strength, the invocation of the Trinity,
Trough belief in the threeness,
Through confession of the oneness
Of the Creator of Creation.
(Lorica of Patrick)

2. Boys (small organ-loft) and Organs I and II, Mixed Choir and Orchestra
Mare, fons, ostium aquae terrarum:
Deus, tu omnium caput bonorum.
A te bona fluunt, ad te recurrunt.
Laus tibi, Trinitas, laus et potestas,
te laudant flumina, coelum ac terra,
a mari ad mare laus sit hac die.
(First and last stanzas from a Vesper hymn for the Feast of St. Kilian)

Sea, wellspring, estuary, waters of the earth:
God, you source of all good things,
Good things flow from you, they return to you again.
Praise be to you, o Trinity, praise and might,
rivers, heavens and earth praise you,
may you be praised from sea to sea this day.

Adoranda veneranda Trinitatis est usia.
Trinitatis sub figura sacramenta latent plura.
(First stanza of the sequence from the Mass for the Feast of St. Kilian)
Gloria Patri, et Filio, et Spiritui Sancto.

The Being of the Trinity is to be adored and honoured.
Under the forms of the sacraments is the manifold Trinity.
Glory be to the Father and to the Son and to the Holy Spirit.

II. The calling of the first disciples.

3. Evangelist (Baritone) and Orchestra
Praeteriens secus mare Galilaeae vidit Simonem et Andream, fratrem Simonis, mittentes retia in mare.
Dixit eis Jesus: Venite post me et faciam piscatores hominum. Et protinus relictis retibus secuti sunt eum.
(Mk. 1,16-18)

As Jesus passed by the Sea of Galilee, he saw Simon and Andrew, Simon's brother, throwing their nets out upon the sea. Jesus said to them "Come, follow me! I will make you fishers of men." And they immediately left their nets and followed him.

4. Peter (Bass) and Orchestra
Succincti lumbos mentis vestrae. (1 Pet. 1, 13)
Vos autem genus electum,
regale sacerdotium, gens sancta,
populus in acquisitionem,
ut virtutes annuntietis eius,
qui de tenebris vos vocavit
in admirabile lumen suum. (1 Pet. 2,9)

Prepare your minds for action.
You are a chosen people,
a royal priesthood, a holy nation,
a people belonging to God,
so that you may proclaim the great deeds of him
who called you out of darkness
into his wonderful light.

5. Choir and orchestra
Dominus fecit nos regnum, sacerdotes Deo et Patri suo,
ipsi gloria et imperium in saecula saeculorum. Amen. (Rev. 1,6)

The Lord has made us to be a kingdom and priests to serve his God and Father
- to him be glory and power for ever. Amen.

The calling of the Apostles to the Franks.

6. Kilian (Tenor) and Orchestra
I seek the key, the key to Paradise.
(Irish folk-song)

7. Speaker, Percussion, Organs II and III (organ-lofts)
Admonished by the Gospel and moved in heart and soul, Kilian recalled the words of Christ: "If anyone wishes to be my disciple, let him deny himself, take up his cross and follow me."
(Passio KiIiani minor 2)

8. Kilian (Tenor):
I will follow you wherever you go. (Lk. 9,57)
Choir and Orchestra:
Foxes have holes and the birds of the air have nests, but the Son of Man has nowhere to lay his head. (Lk. 9,58)
Colonat (Bariton):
I will follow you wherever you go. (Lk. 9,57)
Choir and Orchestra:
Leave the dead to bury their dead, but you, go and proclaim the kingdom of God. (Lk. 9.60)
Totnan (Bass)
I will follow you wherever you go. (Lk. 9,57)
Choir and Orchestra:
Whoever follows me will never walk in darkness but shall have the light of life. (Jn. 8, 12)

9. Soprano solo, Women's Choir and Orchestra
May-time, fairest season,
noisy are the birds,
green the woods, the ploughs are in the furrow,
the ox in the yoke,
green is the sea,
the lands grow many-coloured.
On hill, in dale, in the islands of the sea,
in every way one goes,
there is no seclusion from the blessed Christ.
(Welsh Anonymous, 12th cent.)

III. Storm at sea

10. Solo for two Organs (II and III) and Percussion (organ loft)

11. Evangelist (Baritone) and Orchestra
Et exoritur procella magna venti et fluctus se mittebat in navem, ta ut iam impleretur navis. Et erat ipse in puppi supra cervical dormiens; et excitant eum et dicunt ei: "Magister, non ad te pertinet quia perimus?" Et exsurgens comminatus est vento et dixit mari: "Tace, obmutesce!" Et cessavit ventus, et facta est tranquillitas magna. Et ait illis: "Quid timidi estis? Necdum habetis fidem?
(Mk. 4, 37-40)

Suddenly a mighty wind arose and the waves came over the side of the ship, so that it began to fill with water. But he lay in the stern of the boat on a cushion and slept. They woke him and cried, "Master, are you not concerned that we are going to be lost?" Then he arose, rebuked the wind and said to the sea, "Silence, be at peace.!" And the wind ceased, and it was completely calm. He said to them, "Why are so afraid? Are you still without faith?"

12. Choir, Soprano solo, Alto solo and Orchestra
Confiteantur Domino propter misericordiam eius
et mirabilia eius in filios hominum,
et sacrificent sacrificium laudis
et annuntient opera eius in exsultatione.
Tenor solo
Et statuit procellam eius in auram,
et tacuerunt fluctus eius.
Choir, Soprano solo, Alto solo and Orchestra
Confiteantur Domino propter misericordiam eius
et mirabilia eius in filios hominum,
et exaltent eum in ecclesia plebis et in conventu seniorum laudent eum.
(Ps 107, 21f.; 29; 21; 32)

Let all the people thank the Lord for his mercy, for his wonderful dealings with humankind. Let them dedicate him thank-offerings and proclaim his deeds with jubilation. He transformed the storm into a breeze, so that the waves of the sea fell silent. Let all people thank the Lord for his mercy, for his wonderful dealings with humankind. Let them proclaim him in the assembly of the people and praise him in the meetings of the elders.

On the high seas

13. Kilian (Tenor) and Orchestra
Who is there on the land?
Who is there on the waves?
Who is there upon the swell?
Our Lord and God.
(Iro-Scottish folk-song)

14. Speaker, Percussion, Organ II and III (organ loft)
Kilian gathered his companions and disciples around him and started to persuade them to leave their native land and their parents in accordance with the Gospel and, without anything, to follow Christ. Joining together resolutely, they left everything behind them and set out.
(Passio Kiliani minor 2)

15. Choir, Soprano solo, Tenor solo, Men's Chorus (speech), Boys' Choir and Organ II
Fix your minds on Christ!
Heave, men! And let resounding echo sound our "heave"!
High waves arise with the storm, it brings furious rain.
Yet the men row strongly, spiting the weather.
Intent on their goal, they overcome the storm, they overcome the rain,
their will defeats all hindrances, their efforts are unflagging,
Heave, men! And let resounding echo sound our "heave"!
Fix your minds on Christ!

IV. The Sermon on the Mount

16. Evangelist (Baritone) and Orchestra
Videns autem turbas, ascendit in montem:
et cum sedisset, accesserunt ad eum discipuli eius;
et aperiens os suum dicens.
(Mt. 5, 1 f.)

When Jesus saw the crowds, he went up a mountain.
He sat down, and his disciples came to him.
Then he opened his mouth and taught them, saying:

17. Mixed Choir, Boys and Orchestra
Beati pauperes spiritu,
quoniam ipsorum est regnum caelorurn.
Alto solo
Beati, qui lugent, quoniam ipsi consolabuntur.
Solo Quartet
Beati mites, quoniam ipsi possidebant terram.
Bass solo and Women's Choir
Beati, qui esuriunt et sitiunt iustitiam, quoniam ipsi saturabuntur.
Choir and Boys
Beati misericordes, quia ipsi misericordiam consequentur.
Alto solo and Men's Choir
Beati mundo corde, quoniam ipsi Deum videbunt.
Solo Quartet
Beati pacifici, quoniam filii Dei vocabuntur.
Choir and Boys, Alto solo, Bass solo
Beati, qui persecutionem patiuntur propter iustitiam, quoniam ipsorum est regnum caelorum.

Blessed are the poor in spirit,
for theirs is the Kingdom of Heaven.
Alto solo
Blessed are those who mourn, for they shall be comforted.
Solo Quartet
Blessed are the meek, for they shall inherit the earth.
Bass solo and Women's Choir

Blessed are those who hunger and thirst for righteousness, for they shall be satisfied.
Choir and Boys
Blessed are the merciful, for they shall receive mercy.
Alto solo and Men's Choir
Blessed are the pure in heart, for they shall see God.
Solo Quartet
Blessed are the peacemakers, for they shall be called children of God.
Choir and Boys, Alto solo and Bass solo

Blessed are those suffer persecution for righteousness' sake, for theirs is the Kingdom of Heaven.
(Mt. 5,3-70)

Missionary activity

18. Kilian (Tenor) and Orchestra
I will walk in God's ways and God will follow my footsteps.
(Iro-Scottish folk-song)

19. Speaker, Percussion and Organ (organ loft)
Kilian and his companions baptised and preached. "Inspired with awe and in holy zeal, they did everything that could contribute to the salvation of souls and the spreading of the Gospel."
(Passio Kiliani minor 1)

20. Boys and Orchestra
We proclaim Christ crucified.
(1 Cor. 1, 23)
Kilian (Tenor), Colonat (Baritone), Totnan (Bass)
Cross of Christ, be before me, to guide me.
We proclaim Christ crucified.
Kilian, CoIonat, Totnan
Cross of Christ, be behind me, to protect me.
We proclaim Christ crucified.
Kilian, CoIonat, Totnan
Cross of Christ, help in the caves and on the heights.
(Attributed to Columcille)
We proclaim Christ crucified.
Peace of souls, peace of Heaven, peace of the Eternal One.
(Ortho nan Geidheal)
Kilian, Colonat, Totnan
Christ is our peace.
(Eph. 2, 14)

21. Duke (Bass) and Orchestra
O, Son of God,
do a miracle for me,
and change my heart;
It is Thou
who makest the sun bright
together with the ice;
Thou cause the hazelnut to bloom,
through you the corn give forth shoots,
hou fair ear of our wheat.
O, Son of God,
do a miracle for me,
and change my heart;
change my evil in my heart to goodness.
(Irish; Tadhg Ög Ö hViginn, died 1448)

The High Priestly Prayer

22. Evangelist (Baritone) and Orchestra
Jesus dixit: Pater, venit hora: clarifica filium tuum, ut filius clarificet te.
Non pro his rogo tantum, sed et pro eis, qui credituri sunt, ut omnes unum sint: ut mundus credat.
(Jn. 17, 1; 20f.)

Jesus said: Father, the hour is come. Glorify your Son, so that the Son may glorify you.
I do not pray for those who are here, but for those who will believe, that they may be one, so that the world may believe.

23. Alto solo and Woodwind
Unum corpus et unus Spiritus, una spes, unus Dominus, una fides, unum baptisma;
unus Deus et Pater omnium, qui super omnes et per omnia et in omnibus. Amen.
(Eph. 4, 4-6)

One body and one Spirit, one hope, one Lord, one faith, one baptism, one God and Father of all, who is over all and through all and in all.

Preparation for death

24. Kilian (Tenor) and Orchestra
My deepest longing and wish is to see God's face.
(Anonymous, 11th cent.)

25. Speaker, Percussion and Organs II and III (organ loft)
As the time of suffering approached, Christ's martyrs dedicated themselves day and night
to prayer and fasting, joyful without sadness and accepting everything without fear.
(Passio Kiliani minor 9)

26. Kilian (Tenor) and Orchestra
Brothers, let us be watchful!
Soon, the Lord will be with us
and knock upon the door.
Brothers, let us be watchful,
that he may not find us sleeping.
Kilian (Tenor), Colonat (Bariton), Totnan (Bass)
Let us fill our lamps with oil as long as there is time.
(Passio KiIiani major 13)

27. Boys and Orchestra
Give me your love.
Soprano solo, Tenor solo
which knows no fading,
Give me your love,
Soprano solo, Tenor solo
that my lamp may burn and never be extinguished.
Give me your love,
Soprano solo, Tenor solo
that it may shine for me and be a light to others.
Nothing shall extinguish your love in us, no flood, whether of the earth, the air or the sea.
You yourself say, "Even great waters cannot extinguish love."
(Song of Songs 8, 7)

Give me your love,

VI. The suffering of the Cross and death

28. Evangelist (Baritone) and Orchestra
Crucifiguntur cum eo duo latrones. Cum vidisset Jesus matrem et discipulum stantem, quem diligebat, dicit matri: Mulier, ecce filius tuus. Dicit discipulo: Ecce mater tua. Cum ergo accepisset acetum, Jesus dixit:
Consummatum est!
(Mt. 27, 38; Jn. 19, 26f., 30)

There were two robbers crucified with him.
As Jesus saw his mother and the disciple whom he loved standing by her, he said to his mother: Behold, your son! Then he said to the disciple: Behold, your mother! When Jesus had taken the vinegar, he spoke: It is finished!

29. Soprano solo and Orchestra
Maiorem dilectionem nemo habet, ut animam suam quis ponat pro amicis suis.
(Jn. 16, 13)

No-one has greater love than this, this he lay down his life for his friends.
Neque mors neque vita
neque angeli neque principatus
neque instantia neque futura
neque virtutes nequo altitudo
neque profundum,
neque alia quaelibet creatura
potent nos separare a caritate Dei,
quae est in Christo Jesu Domino nostro.
(Rom. 8, 38f)

Deus caritas est.
(1 Jn. 4, 16)

Neither death nor life, neither angels nor demons, neither nor present nor future, neither forces of the depths nor the heights nor any other kind of creature can seoarate us from the love of God which is in Jesus Christ, our Lord.
God is love.


30. Kilian (Tenor) and Orchestra
Christ, my friend, my helper, my longing is for the land to which you have gone before me.
(Anonymous, 12th cent.)

31. Speaker, Percussion, Organ (organ loft)
At night, as they were united as one in the praise of god, the executioner came to them, his sword drawn, equipped to kill them according to the orders of the Duchess Geilana. As Kilian saw this, he said to his companions:
Now is the day we have longed for come. Join with me in the spiritual battle, without fear and without trembling, for the Lord says to us: "Do not fear those who kill the body, but cannot kill the soul."
(Mt. 10, 28)
All were decapitated in the same way and received the martyr's crown.
(Passio Kiliani minor 10)

32. Men's Choir and Orchestra
Behold, it is I. I am the Alpha and the Omega, the First and the Last, the Beginning and the End. Blessed is the one who washes his robe, he has the right to the Tree of Life.
(Rev. 22, 13f)

33. Soprano solo and Orchestra
O King,
yours is the Tree of Life with its flowers,
to each side, the top and the branches stretch out
over the fields and the plains of Heaven.
Its fruit and leaves do not wither,
lovely is the flock of birds that finds shelter there.
Each of the good, brightly coloured birds has a hundred feathers,
and for each feather sings clearly and purely a hundred songs.
(Irish, Anonymous, 988)

VII. Resurrection

34. Solo for two Organs (II and III) and Percussions (organ lofts)

35. Evangelist (Baritone), Boys and Orchestra
Christus resurrexit a mortuis, primitiae dormientium. Halleluja.
Quoniam enim per hominem mors, et per hominem resurrectio mortuorum:
Sicut enim in Adam omnes moriuntur, ita et in Christo omnes vivificabuntur.
(1 Cor. 15, 20-22)

Christ is risen from the dead as the first of those who had fallen asleep.
Since by man came death, by man also came the resurrection of the dead.
For as in Adam all died, so in Christ are all made living again.

36. Solo Quartet and Orchestra
Surrexit Dominus vere.
(Lk. 24,34)
Absorpta est rnors in victoria.
Ubi est, rnors, victoria tue?
Ubi est, mors, stimulus tuus?
(1 Cor. 15, 54f.)
Solo Quartet
Surrexit a mortuis et ecce praecedit vos.
(Mt. 28, 7)
Deo eutern gratias, qui dedit nobis victoriarn per Dorninurn nostrurn Jesurn Christum.
(1 Cor. 15, 57)
Solo Quartet and Choir
Deus conresuscitavit nos et consedere fecit in caelestibus in Christo Jesu. Halleluja.
(Eph. 2, 6)

The Lord is risen indeed.
Death is swallowed up in victory.
Death, where is your victory?
Death, where is your sting?
He is risen from the dead. He has gone before you.
But thanks be to God, who has given us the victory through Jesus Christ our Lord.
God has awoken us from the dead with Christ and given us a place with him in Heaven. Halleluja.

Heavenly Glory

37. Kilian (Tenor) and Orchestra
Oh King of Glory, you are able to give great gifts. Nothing is greater than you.

38. Speaker, Percussion and Organ
My friend Kilian, arise. You shall be at my side eternally as victor.
(Passio Kiliani major 13)

39. Kilian (Tenor), Colonat (Baritone), Totnan (Bass) und Orchestra
Yes, our King and Lord, we want to dwell for ever in your royal palace, we wish to feast in celebration at your table in eternity.
(Anonymous, 10th cent.)
You are everything to us.
You are our life, our light.
You are our one and only.
You are our salvation,
you are our food, our drink.
Soprano solo, Alto solo
You are our one and only.
You are our Lord and God.

VIII. Kilian, Colonat and Totnan

40. Speaker, Percussion and Organ (organ loft)
I arise today
Through a mighty strength, the invocation of the Trinity,
Trough belief in the threeness,
Through confession of the oneness
Of the Creator of Creation.
I arise today in the preaching of the Apostles, in the faiths of the confessors, in the witness of the martyrs.
(Lorica of Patrick, 8th cent.)

41. Men's Choir and Orchestra
Servi Christi sunt tres isti:
Colonatus et Totnanus et beatus Kilianus.
Mixed Choir
Salve vera spes sincera.
Trinitatis sub figura nostri tam expressa cura.
Isti enim in agone
spe mercedis et coronae
servierunt Trinitati.
Cui et nos serviendo,
Laudes, preces effundendo
eius mirae bonitati.
Exoremus donis eius
Nos tam bonis his patronis
Combeari et sociari
in aeterna requie.
(Sequence for the Feast of St. Kilian by John GaIIicus, stanzas 6, 10 and 11)

These three are servants of Christ:
Colonat and Totnan and the blessed KiIian.
Hail to you, true, clear hope.
Image of the threefold God, promising us his care.
Even in their struggle with death,
the three served the triune God.
They hoped for reward and crowns.
He and his great goodness
are the objects of our faithful service,
our offering of songs of praise and our petitions.
We beseech you that through your grace
we may forever remain united
with the good patron saints
in eternal blessedness.

42. Mixed Choir, Boys and Orchestra
Laudate Dominum in sanctis eius,
Laudate eum in firmamento virtutis eius,
Chorus (spoken)
laudate eum in magnalibus eius,
laudate eum secundum multitudinem magnitudinis eius.
Bass solo
Laudate eum in sono tubae,
Soprano solo
laudate eum in psalterio et cithara,
Speaker, Soloists, Choir, Boys, Orchestra and Organs
laudate eum in tympano et choro,
laudate eum in cymbalis benesonantibus
laudate eum in cymbalis iubilationis:
omne quod spirat, laudet Dominum.
(Ps. 150)

Boys, Choir, Orchestra and Organs
Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen.

Praise God in his sanctuary,
praise him in his mighty fortresses!
Praise him for hid great deeds,
praise him for his great strength!
Praise him with the sound of the trumpet,
praise him with harp and lyre!
Praise him with tambourine and dancing,
praise him with strings and flute!
Praise him with the clash of cymbals,
praise him with resounding cymbals!
Let everything that has breath praise the Lord!
Glory be to the Father and to the Son and to the Holy Spirit,
as it was in the beginning, is now and ever shall be, world without end. Amen.

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