Program No. 4 Cumorah Notes Program Pastorale (6) Narration: (a) Joseph Smith 2:25, (b) Doctrine & Covenants 135:1,5, (c) Doctrine & Covenants 128:20. Time: 1823-1844 A.D. This movement is a contemplation of the pastorale loveliness of the Hill Cumorah, in New York State where the original plates of the Book of Mormon were obtained, and of the simplicity and sincerity of the boy Joseph Smith who found them there in 1823. It expresses also the tragedy of the portending martyrdom which was to eventually result from the events of Cumorah and others related to it. The music is a simple theme followed by two variations. II. PROPHETS No. AND No. 8 The Conversion of Alma The Christ theme is interwoven. Narration: Mosiak 27, excerpts. No. 6 The Vision of Nephi and the earliest writer in the Book of Mormon, Alma’s prophesied Old Testament counterparts, of the coming of the Messiah. In a transcendent vision he was shown the Messiah at various periods in his mortal existence, six centuries before the events transpired. The music is an alternating series of variations on Nephi and Christ themes. The Nephi theme’s first announcement suggests an mountain. The Hebrew vision has ram’s five horn parts, played each off on the suggested musically by use (1) For he that is mighty hath done to me great things; And holy is his name. and the Child. (Choral text: IV. GREAT Matt. 21:9, Hosanna to the Son of David! Behold the Lamb of God, Yea, even the Son of the Eternal Father! (3) Vision of the Pastoral Savior. (Choral Text: The Lord is my shepherd; I shall not want. I lie down by still waters He restoreth my soul. (4) Vision of Christ’s arrest. (No chorus.) (5) Vision of the Crucifixion, Psalm 23, paraphrased.) and King Lamoni: A Testimony Narration: Alma 17-19, excerpts. Time: c. 90 B.C. This movement is in three part form. First is a reflection on the sionary journey into a strange land by Ammon, a son of King Mosiah, miswho declined his inheritance in favor of service to the Lord. A scherzo-like middle section suggests his skirmish with those who scattered the flocks of King Lamoni. The final of the Redeemer. section represents King Lamoni’s No. 11 General Moroni arid His Captains: (Choral Text: I Nephi 19:13 paraphrased.) Crucified the CHRIST! MESSAGES No. 10 Ammon Narration: Crucified! Crucified! Crucified! They words: Narration: Mormon 4:14. The composer envisioned an ancient central American locale for this Lamanite scene. In contrast to the other movements this has a pagan quality achieved in part by use of 16 percussion instruments requiring 6 players. Vision of Mary (Choral text from Luke 1:46, 47, 49) : My Soul doth magnify the Lord Vision of the Virgin I Nephi 11:21) The worship theme No. 9 Lamanite Processional and Sacrificial Dance of And my spirit hath rejoiced in God my Savior. (2) revives and declares his conversion. III. INTERLUDE side of a distant (except 4) and separated by orchestral variants on the Nephi Theme: Alma INTERMISSION Se ae, chorus ancient behalf. is developed to the movement’s climax, where the chorus sings Alma’s “Yea, every knee shall bow, and every tongue confess before him.” its name, as did his Time: c. 100 B.C. The conclusion of the angelic visitation is suggested. A Cortege brings paralyzed Alma to his father. Male voices sing the words of prayers in the received 19:15 paraphrased.) Narration: Mosiah 11-17 excerpts. Time: 178 B.C. This is a Toccata for organ, strings and percussion, in 2nd rondo form, A-B-A-C-A. Part A: Suggests the violence of the prophetic utterances of Abinadi to the people of King Noah. Part B: Suggests the splendor of King Noah’s palace. reports Abinadi. Part A: Abinadi is bound and taken before the King. Part C: Abinadi is protected by divine power until his message is delivered. Transition: The death penalty is proclaimed. Part A: Abinadi is burned. and Moroni Narration: I Nephi: 1-33, excerpts. Time: c. 600 B.C. Nephi, the Prophet after whom the Nephite nation I Nephi No. 7 The Burning of Abinadi Narration: (a) The Words of Mormon, (b) Mormon 8:1, (c) Moroni 10:4, 5. Time: 385-421 A.D. on the American Continent. The abridgement of the Nephite sacred records was made largely by Mormon. His son Moroni completed the work. The music is in the form of a two part canon, in which each of two voices (cellos and violas) play the same melody, one leading and the other following. The canon is enlarged by additions of other string groups. A recurring four note motive suggests the majesty of the Prophet Mormon and the rich library of Nephite records at his disposal. (Choral text: Praise to the Holy One of Israel. Praise the Lord of Hosts, God the Son! PROPHESIES 5 Mormon Choral Postlude Notes The short Herald introduction, Alma 46, excerpts. theme the Time: is the basis spirit of General declaration of testimony Liberty c. 73 B.C. for this Moroni’s two-part prayer movement. for the After liberty a of his