&
?
&
?
b
b
b
b
b
b
b
b
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
A
T
B
.
Mm
.
Mm
.
œ œ
œ
œ
.
.
*
Tenebrae VIII (Instrumental)
Suspended (q = ca. 40) rubato F1
π (covered)
Alto
Suspended (q = ca. 40) rubato F1
**[Alto Fl.]
**[Vla.]
**[Vlc.]
π (covered)
w
w
w
œ œ
œ #
w
w
b
œ
.
b
.
b
œ b
œ b
œ œ œ n
œ
.
b
&
?
&
?
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
A
T
B
4
.
b
œ
w
w
œ
œ n œ
œ œ
œ b
.
b
œ
w
rubato e molto espressivo
rubato e molto espressivo
.
.
b
.
b
œ b
œ œ b œ œ n
.
.
b
œ
Œ Ó
œ Œ Ó
œ
œ b
œ ∫ œ
œ
Œ Ó
œ
Œ Ó
n.
n.
∑
U
∑
U
w b
U
∑
U
molto lunga
molto lunga
molto
lunga
molto
lunga
0:40
31
*Optional Choreography during Lesson VIII (instrumental meditation): During the instrumental meditation, the women of
the chorus may turn around as quietly as possible–one by one–so that they are facing away from the congregation or
audience. (The altos will be humming as they turn around. The 6 measures of the part should be memorized, so that the
vocalists can sing with closed books held at their sides.) They should turn around very gradually and in a random order
so that the overall effect of the action is not "choreographed," but seemingly, it is their natural response to the events of
the overall journey of the Tenebrae, especially Peter's denial of Jesus, which is the focus of Tenebrae VIII and IX.
**A keyboard reduction of the instrumental ensemble is provided to aid in rehearsal of the optional choreography.
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