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)
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)
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)
Press
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 "...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.
FAS
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)
Translation:
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.
Translation:
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)
Translation:
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)
Translation:
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)
Translation:
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)
Translation:
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)
Translation:
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
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!
(Columba)
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.)
Translation:
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.
Translation:
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.
Boys
We proclaim Christ
crucified.
Kilian, CoIonat, Totnan
Cross of Christ, be behind
me, to protect me.
Boys
We proclaim Christ crucified.
Kilian,
CoIonat, Totnan
Cross of Christ, help in the caves and on the heights.
(Attributed to Columcille)
Boys
We proclaim Christ
crucified.
Choir
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.)
Translation:
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)
Translation:
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,
Boys
Give me your love,
Soprano
solo, Tenor solo
that my lamp may burn and never be extinguished.
Boys
Give me your love,
Soprano solo, Tenor solo
that
it may shine for me and be a light to others.
Choir
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)
Boys
Give me your love,
(Columba)
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)
Translation:
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)
Translation:
No-one has greater love than this, this he lay down his life for his friends.
Choir
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)
Sopransolo
Deus caritas est.
(1 Jn. 4, 16)
Translation:
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.
Martyrium
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:
Halleluja.
Sicut enim in Adam omnes moriuntur,
ita et in Christo omnes vivificabuntur.
Halleluja.
(1 Cor. 15, 20-22)
Translation:
Christ is risen from the dead as the first of those who had fallen asleep.
Halleluja.
Since by man came death, by man also came the resurrection of the
dead.
Halleluja.
For as in Adam all died, so in Christ are all made living
again.
Halleluja.
36.
Solo Quartet and Orchestra
Surrexit Dominus vere.
(Lk. 24,34)
Choir
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)
Choir
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)
Translation:
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.
(Columba)
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.)
Choir
You are everything to us.
Boys
You are our life,
our light.
Choir
You are our one and only.
Boys
You are our salvation,
you are our food, our drink.
Soprano solo,
Alto solo
You are our one and only.
Choir
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.
Boys
Isti
enim in agone
spe mercedis et coronae
servierunt Trinitati.
Soloists
Cui et nos serviendo,
Laudes, preces effundendo
eius mirae bonitati.
Boys
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)
Translation:
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
Halleluja!
Choir
Laudate
Dominum in sanctis eius,
Speaker
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.
Halleluja.
(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.
Translation:
Halleluja!
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!
Halleluja!
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.