STORY OF JEPHTAH: AN ORATORIO BY GIACOMO...

Story of Jephtah: An Oragorio by GiacomoCarissimi English Translation and Dramatic Staging

Item Type text; Electronic Dissertation

Authors Bishop, Bruce W.

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

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Link to Item http://hdl.handle.net/10150/194703

http://hdl.handle.net/10150/194703

STORY OF JEPHTAH:

AN ORATORIO BY GIACOMO CARISSIMI

ENGLISH TRANSLATION AND DRAMATIC STAGING

by

Bruce W. Bishop

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the RequirementsFor the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2007

2

THE UNIVERSITY OF ARIZONAGRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document prepared by Bruce W. Bishop entitled Story of Jephtah: An Oratorio by GiacomoCarissimi English Translation and Dramatic Staging and recommend that it be acceptedas fulfilling the document requirement for the Degree of Doctor of Musical Arts

_____________________________________________________________________ Date: 11/08/07Bruce B. Chamberlain

_____________________________________________________________________ Date: 11/08/07 Elizabeth R. Schauer

_____________________________________________________________________ Date: 11/08/07 John T. Brobeck

Final approval and acceptance of this document is contingent upon the candidate’ssubmission of the final copies of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction andrecommend that it be accepted as fulfilling the document requirement.

________________________________________________ Date: 11/08/07Document Director: Bruce B. Chamberlain

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for anadvanced degree at the University of Arizona and is deposited in the University Library tobe made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission,provided that accurate acknowledgment of source is made. Requests for permission forextended quotation from or reproduction of this manuscript in whole or in part may begranted by the head of the major department or the Dean of the Graduate College when inhis or her judgment the proposed use of the material is in the interests of scholarship. Inall other instances, however, permission must be obtained from the author.

Signed: Bruce W. Bishop

4

ACKNOWLEDGMENTS

I express gratitude to Bruce B. Chamberlain who has been constant in his support

and encouragement through this process. It required significant time from his impossibly

demanding schedule to accommodate my sabbatical. He prepared me to succeed in the

exams and on the podium. He demonstrates everything that he teaches with a

professional example that is inspiring. I am profoundly grateful for his tutelage,

friendship, and encouragement.

I appreciate my committee – Elizabeth Schauer, John Brobeck, Peter McAllister,

and Shelly Cooper – for helping me think, synthesize and grow. They are musical

mentors worthy of emulation. I appreciate their willingness to give time and expertise to

help me in my journey towards this degree.

5

DEDICATION

I dedicate this translation to the members of the Eastern Arizona College A

Cappella Choir 2007. Because I have known them, my life has been changed for the

better. Because I have taught them, I have been changed for good. I love them all.

I thank my colleagues at Eastern Arizona College who have been enthusiastic and

supportive. It is an honor to work with colleagues who are professional, decent people,

and good friends. Ramona Lines has made significant contribution to the success of this

lecture-recital and to Eastern Arizona College A Cappella Choir as accompanist, musical

foundation, and enthusiastic supporter.

My family have been constant in their interest, support, love and prayers. My

wife, Roberta did everything and more to clear the path so that I could focus and learn.

She has taught me a greater understanding of the meaning of love because of her

willingness to sacrifice and seek my welfare and success above concerns for self. I stand

amazed at the love she shows me.

6

TABLE OF CONTENTS

ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

CHAPTER 1. INTRODUCTION AND JUSTIFICATION FOR THE STUDY . . . . . . 12

CHAPTER 2. HISTORY OF ORATORIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

CHAPTER 3. GIACOMO CARISSIMI (1604-1674) – CAREER . . . . . . . . . . . . . . . . . 17

CHAPTER 4. GIACOMO CARISSIMI – HISTORIA DI JEPHTHE . . . . . . . . . . . . . . . 19

CHAPTER 5. ENGLISH TRANSLATION – OVERVIEW . . . . . . . . . . . . . . . . . . . . . . 21

CHAPTER 6. ENGLISH TRANSLATION – METHODOLOGY . . . . . . . . . . . . . . . . . 23

1. Chronicler – Tenor Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

2. Jephtah – Baritone Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

3. Army of Israel – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4. Chronicler – Treble Duet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

5. Army of Israel – Men . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

6. Army of Israel – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

7. Chronicler – Alto Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

8. Chronicler – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

9. Chronicler – Bass Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

10. Daughter of Jephtah – Soprano Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

11. Children of Israel – Treble Duet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39


7

TABLE OF CONTENTS - Continued

13. Children of Israel – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

14. Chronicler – Tenor Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

15. Jephtah – Baritone Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43




19. Jephtah - Baritone Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49



22. Chronicler – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

23. Daughter of Jephtah – Soprano Solo and Echo Duet . . . . . . . . . . . . . . . . . . 53

24. Chronicler – Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

CHAPTER 7. DRAMATIC STAGING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

CHAPTER 8. SYNOPSIS OF THE STORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

APPENDIX A. STORY OF JEPHTAH – SCORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

I. Chronicler: “Thus, when war was declared” . . . . . . . . . . . . . . . . . . . . . . . . . 63

II. Jephtah: “If Thou wilt deliver” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

III. Army of Israel: “Journeying, thus went Jephtah” . . . . . . . . . . . . . . . . . . . . 65

8


IV. Chronicler: “Then sounded trumpets” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

V. Army of Israel: “Flee and retreat” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

VI. Army of Israel: “Flee and retreat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

VII. Chronicler: “Then attacked Jephtah” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

VIII. Chronicler: “Then came laments” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

IX. Chronicler: “When, thus, victorious Jephtah” . . . . . . . . . . . . . . . . . . . . . . . 76

X. Daughter of Jephtah: “Commence to strike the timbrels” . . . . . . . . . . . . . . . 77

XI. Children of Israel: “Let Israel sing unto God” . . . . . . . . . . . . . . . . . . . . . . . 81

XII. Daughter of Jephtah: “Come sing with me to God” . . . . . . . . . . . . . . . . . . 83

XIII. Children of Israel: “Come let us sing our thanks” . . . . . . . . . . . . . . . . . . . 85

XIV. Chronicler: “When returning Jephtah” . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

XV. Jephtah: “Woe is me” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

XVI. Daughter of Jephtah: “How art thou, my father, undone” . . . . . . . . . . . . 91

XVII. Jephtah: “I opened my mouth” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

XVIII . Daughter of Jephtah: “My father” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

IXX. Jephtah: “But what can I do” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

XX. Daughter of Jephtah: “Send me away” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

XXI. Jephtah: “Go my daughter” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

XXII. Chronicler: “Then to the mountains” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

9


XXIII. Daughter of Jephtah: “Lament ye and mourn” . . . . . . . . . . . . . . . . . . . . 99

XXIV. Chronicler: “Weep now, oh children of Israel” . . . . . . . . . . . . . . . . . . 105

REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

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ABSTRACT

Although the Latin oratorio Jephtah by Giacomo Carissimi (1605-74) is well

known to the scholarly and musicological communities, the work has remained relatively

inaccessible to general audiences in the United States for a variety of reasons. The

lengthy Latin text poses problems for inexperienced church and school singers in the

United States, most of whom neither read nor understand Latin. Moreover, many

American church congregations and school concert audiences lack the musical

sophistication required to follow an English translation in a concert program while

simultaneously assimilating a complex work such as Jephtah, leaving them with an

incomplete sense of the drama and religious themes of the libretto. This is true even of a

relatively sophisticated group such as the Eastern Arizona College A Cappella Choir who

I conducted for my lecture-recital performance of Jephtah. In short, the challenge of

language provides an obstacle that distances general audiences and many singers from the

emotional impact of the story.

The research undertaken for my lecture-recital and the accompanying document

has suggested the following solutions to these problems. The scope and drama of

Jephtah can be rendered more accessible to performers and audiences if the oratorio is

performed in a fluent English translation that respects the word placement and the

meaning of the original text while capturing the energy and drama of Carissimi’s musical

11

setting. The power and expression of Carissimi’s music can be realized through

historically-informed vocal production in the choir. The instrumentalists can be trained

to accurately perform seventeenth-century continuo realization. To strengthen the

understandability and impact of the drama and the religious themes of the story, I staged

the oratorio with blocking, gestures, costumes, and properties. Although no systematic

attempt was made to assess in impact of this manner of performance upon the ensemble

or the audience, this approach to performance appeared to be well received by both. This

success suggests that this is an effective way to introduce general audiences to this work.

12

Howard E. Smither, A History of the Oratorio, vol. 1 (Chapel Hill: University of1

North Carolina Press, 1977), 215.

Ibid., 241.2

Ibid., 207-257.3

Ibid., 223.4

CHAPTER 1.

INTRODUCTION AND JUSTIFICATION FOR THE STUDY

Giacomo Carissimi (1605-1674) is considered to be one of the central figures in

the development of Baroque Latin oratorio. Historia di Jephte or Story of Jephtah is one1

of Carissimi’s best known works and is significant in the body of choral works of the

seventeenth century. Howard E. Smither devotes an entire chapter to the discussion of2

Carissimi and his role in the development of Latin oratorio. Smither lists thirteen extant3

Latin oratorios by Carissimi, however musicological writings differ on the precise

number ranging from none to thirty-three.4

Full performances of Jephtah are usually limited to university choirs, advanced

civic groups, and professional choral ensembles. The final chorus is more widely known

and performed as a free-standing motet. This powerfully dramatic work can be used in its

entirety for devotional and liturgical settings as well as in the concert hall. Two text

issues inhibit the accessibility of Story of Jephtah from being more widely performed.

First, the lengthy Latin text is daunting for inexperienced singers and is an obstacle that

makes the piece inaccessible for many church and school choirs. Second, many

13

contemporary church congregations and school concert audiences may get an incomplete

sense of the drama and religious themes of the libretto because of the Latin text.

However, the scope and drama of Jephtah would be readily accessible in the vernacular.

In this project, I have chosen to omit ornamentation markings in the vocal lines

and the continuo part of the score because the focus of the study was the English

translation of the libretto and the dramatic staging of the work. Additionally, the

ornamentation in the Wolters and Siedel edition, which I used as a model for my score, is

inconsistent and did not provide a good model for seventeenth-century ornamentation.

Historically-informed ornamentation should be part of a performance of Jephtah.

I believe Story of Jephtah should be made more accessible because it is a

powerful and rewarding work. Church choirs, undergraduate choral ensembles and high

school choirs can handle the choral movements of this work quite easily. The solo roles

of Jephtah and especially Filia (Jephtah’s daughter) are difficult. Soloists may be hired if

necessary.

For these reasons I created a singable English translation of Jephtah. In doing so,

care has been taken with the placement of verbs, with word accent patterns, and with

aurally descriptive text-elements to maintain the energy and drama of Carissimi’s original

work. Additionally, this English version of Jephtah has been staged theatrically including

costumes and props.

14

CHAPTER 2.

HISTORY OF ORATORIO

Drama and story-telling has been part of the human experience for all of recorded

history. In the seventeenth century a new musical genre, oratorio, continued this

tradition. Oratorio is a religious drama, typically performed without staging, scenery, or

costumes. Although an oratorio is now typically performed in a formal concert setting, it

originally had a purely spiritual function. Performing forces including soloists, chorus,

and orchestra are characteristic of oratorio.

Even though roots of oratorio can be traced to liturgical dramas, passions, and

mystery plays of the Middle Ages, the development of oratorio as a dramatic genre began

in the late Renaissance. Orlando Lasso composed motets recounting Bible dramas such

as Nuptiae factae sunt (1566) and Fremuit spiritus Jesus (1556). Musically, these motets

are not related to oratorio, but the text and the dramatic content of these stories relate

directly to oratorio.

The traditional view is that the beginnings of oratorio occurred in the 1550s when

Filippo Neri held spiritual meetings in the oratory, or prayer hall, of San Girolamo della

carità in Rome. These spiritual gatherings in the oratory included spiritual discussion,

sermon and song. Neri organized a group called the Congregazione dell’ Oratorio that

met as part of the spirit of reform sweeping the Roman Catholic Church following the

15

Howard E. Smither, “Oratorio, Carissimi and his Contemporaries,” The New5

Grove Dictionary of Music and Musicians, 2 ed., Ed. Sir Stanley Sadie (London:nd

Macmillian, 2001) 18: 504.

Ibid., 504.6

Council of Trent. “The music functioned as edifying entertainment and was intended to5

attract people to the spiritual exercises.” The first important performance in an oratorio6

hall was Rappresentatione di anima et di corpo by Emilio de’ Cavalieri. This was

performed in 1600 in the oratory at the Chiesa Nuova in Rome. Cavalieri incorporated

recitative singing style and monodic solo song with basso continuo accompaniment. This

work was structured like an opera, but had a sacred plot, thus a new genre: oratorio.

Oratorios were an outgrowth of the Jesuit Counter-Reformation in a move to bring

the faithful back to the church. Opera had gained massive popularity so the liturgical

genre oratorio became a means to bring theatricality and drama to religion and worship.

Additionally, the practice of performing dramatic biblical stories in the oratorio hall

skirted the prohibitions of the Council of Trent which had banned opera performance

during Lent. Dramatic oratorios used the popularity of opera and drama to inspire

renewed devotion and a return to church pietism. This led directly to the creation and

development of the genre oratorio by the mid-seventeenth century.

Lenten performances of religious drama grew in popularity. In 1639 “the French

viol player André Maugars visited a Roman oratory and heard two musical settings of

biblical stories, one from the Old Testament before the sermon and another from the New

16


North Carolina Press, 1977), 211.

Testament after the sermon.” The two-part form of early oratorio was shaped by the7

liturgical function of music before and after a sermon.

17

Andrew V. Jones, “Carissimi, Giacomo,” The New Grove Dictionary of Music8

and Musicians, 2 ed., Ed. Sir Stanley Sadie (London: MacMillian 2001), 5: 135.nd

Ibid., 136.9

Thomas D. Culley, Jesuits and Music: A Study of the Musicians Connected with10

the German College in Rome During the 17 Century and of their activities in Northernth

Europe (St. Louis: St. Louis University Press, 1970), 18.

Gloria Rose, “The Cantatas of Giacomo Carissimi,” Musical Quarterly (48:2,11

April 1962), 206.

CHAPTER 3.

GIACOMO CARISSIMI (1604-1674) – CAREER

Giacomo Carissimi was born in 1604 in Marino, a suburb of Rome. His first8

known employment was as a singer and subsequently as organist in the Cathedral at

Tivoli. In 1628, he became maestro di cappella at San Rufino in Assisi and he was9

appointed, at age 25, maestro di cappella of the German College and San Apollinare in

Rome.

The German College, founded in 1552 in an effort to strengthen GermanCatholicism, was managed by the Jesuits; its specific purpose was to train youngGermans for the priesthood. Beginning in the 1570s, music became increasinglyimportant at the college.10

San Apollinare was known for excellent music and talented musicians. Carissimi had an

ample budget and skilled musicians. It is said that he had 2 organs, 3 choirs and castrati

singers at his disposal . 11

Carissimi’s “music was disseminated to Jesuit churches all over Italy and was

carried to the German-speaking lands by generations of seminarians who studied at the

18

John Walter Hill, ed., Anthology of Baroque Music: Music in Western Europe,12

1580-1750 (New York: W.W. Norton & Company, 2005), 100.

Jones, 137.13

College.” While regarded as an extraordinary composer and musician, he was not12

known for having extraordinary ambition. He stayed in his comfortable post in Rome at

the German College and turned down the lucrative position of maestro di cappella at St.

Mark’s in Venice. In his later years, he refused to teach but continued in the positions at13

the German College for forty-four years until his death in 1674 at the age of 70.

19


North Carolina Press, 1977), 215-16.

Ibid., 221.15

Hill, 104-107.16

CHAPTER 4.

GIACOMO CARISSIMI – HISTORIA DI JEPHTE

Giacomo Carissimi is credited as the originator of Latin oratorio, a new musical

sub-genre . In Carissimi’s day, the term oratorio still referred primarily to a building,14

thus he didn’t title his works as such. Instead, Carissimi used terms such as historie,

historia, dialogue motet, drama rhythmometrum, and cantata to describe works now

defined as oratorios. There are thirteen known Carissimi oratorios, the best known of15

which is Historia di Jephte (c. 1650), or, the Story of Jephtah. The text is drawn from a

story found in Judges chapters ten through twelve in the Old Testament. Rhetorical

devices such as anaploce, antistrophe, antithesis, aposiopesis, apostrophe, auxesis,

epizeuxis, hyperbole and noema are used in Jephthah to reflect the drama of the text and

are common to many sacred and secular vocal works of the seventeenth century. 16

Jephtah is in two parts with a mixture of Italianate recitative, arioso, aria, and duet as

well as three, four, and six-part chorus. All movements are accompanied by basso

continuo. No instrumental parts exist, but it would be characteristic of the time to use

colla parte instruments. Carissimi is credited with making the chorus a prominent part of

20

Ibid., 239.17

the oratorio drama. The chorus in Jephtah serves three distinct functions: 1) character17

in the drama, 2) narrator, and 3) reflective commentary.

21

Giacomo Carissimi, Historia di Jephte, Gottfried Wolters and Matthias Siedel18

eds. (Wolfenbüttel: Möseler Verlag, 1969).

John R. Halliday, Diction for Singers (Provo, Utah: BYU Press, 1968), 14.19

CHAPTER 5.

ENGLISH TRANSLATION — OVERVIEW

One of the first decisions I faced in creating a singable English edition of Jephtah

was whether to create a new realization of the figured bass or to use an existing

realization. The realization in the Wolters and Siedel edition is used in this translation of

Jephtah because the chords are voiced without melodic doubling so that the top note of

the chords does not usually double the vocal line. This makes the realization18

independent and interesting. It is also realized so that a novice can play the part exactly

as printed and it will sound like an authentic mid-Baroque continuo keyboard part. An

experienced continuo keyboardist can easily use this realization as a departure for more

elaborate ornamentation. The figured bass in the Wolters and Siedel edition is not

consistent throughout all movements, so I chose not to include any of the figurations in

my musical score.

This translation uses the English spelling of “Jephtah” as it appears in the Wolters

and Siedel edition because the percussiveness of the [t] was more in keeping with the

staging and dramatic choral production that I wanted for the oratorio than the [�] in the

word “Jephthah” as it appears in the King James Version of the Bible. The translation19

of the recitatives is difficult because recited dialogue delivers the bulk of the plot and

22

contains more quantity of text than do the arioso or chorus movements. English syntax is

required to allow the libretto to be clearly understood by the audience. This necessitates

some shifting of general word-order as well as rhythmic alteration. The translation does

not alter the plot-flow in the original Latin because of the inherent rhythmic and melodic

flexibility of the recitatives. In several movements, minor rhythmic changes were made

to accommodate the English text. It is common in the various editions of Jephtah to

include optional rhythms and alternative notes in the score to allow the performer to

express the text and to ornament the melody.

23

The author thanks Richard C. Jensen, Ph.D., Associate Professor of Classic20

Languages Emeritus at the University of Arizona, for his contribution to the accuracy ofthe English word-for-word translation in this document.

CHAPTER 6.

ENGLISH TRANSLATION — METHODOLOGY

1. Chronicler – Tenor Solo

Latin Bruce W. Bishop translationEnglish word-for-word translation20

Cum vocasset in proelium Thus, when war was declared againstwhen called to battle

filios Israel the children of Israelchildren Israel

rex filiorum Ammon by the king of Ammon,king of children Ammon

et verbis Jephte and Jephtah’s wordsand words Jephtah

acquiescere noluisset, were disregarded and ignored,comply with refused

factus est super Jephte then upon Jephtah descendedmade was upon Jephtah

Spiritus Domini, the spirit of God, the Lord,Spirit of God

et progressus ad as he went againstand advanced towards

filios Ammon the children of Ammon,children Ammon

24

Giacomo Carissimi, Jephte, Janet Beat ed. (London: Novello: 1974), iv.21

Giacomo Carissimi, Jephte (Latin Oratorio), Fiora Contino ed. (Dayton, OH:22

Roger Dean Publishing: 1976), iv.

votum vovit Domini dicens: Jephtah swore to God a solemn vow.vow vowed God saying

Prose translations

Troutbeck: “When the king of the children of Ammon made war against the children ofIsrael, and hearkened not unto the words of Jephthah, then there came upon Jephthah theSpirit of the Lord, and he went up against the children of Ammon and vowed unto theLord, saying:”21

Contino: “When the king of the sons of Ammon called the sons of Israel to battle, andwould not agree to the words of Jephthah, the spirit of the Lord came upon Jephthah, andhaving gone forth unto the sons of Ammon, he made a vow unto the Lord saying:”22

I am including the prose translation from the Beat and Contino editions in my

narrative. The Beat edition includes translation after John Troutbeck and is similar to the

poetic language of the King James Version while the Contino prose translation is a more

literal translation of the Latin. The mixture of both translations provide a balance of

poetic beauty and literal accuracy in understanding Jephtah.

Placement and clarity of verbs were important considerations in English text

choices. For example, “vocasset in proelium” is literally translated as “called to battle

against.” I use the words “war was declared” because the concept is clearer in

contemporary speech. The syllabic emphasis pattern of “war was declared” matches the

original Latin. Cognate names, e.g., “Israel,” “Ammon,” and “Jephtah,” were positioned

exactly as found in the original, maintaining identical rhythmic pattern and accent-

25

placement within the measure. Slight rhythmic alterations were made to fit the syllables

of the English “children of” and to allow the accent of the word “Israel” to fall on the

first beat of the measure. I use “fortitude” even though it is not a literal translation of

“forti” in this context because it has a similar sound, it fits the rhythmic scheme, and it

suggests strength of mind and courage in facing danger. The Latin word “Domini,” is

usually translated as “the Lord” but was originally “Jehovah” in Hebrew. I translated it

“God, the Lord” to indicate the reverence appropriate to the original Latin mingled with

the Hebrew notion of the God of Gods. The emphasis pattern is the same, and using two

titles of deity in one term adds appropriate weight to this reference to Jehovah, God of the

Hebrews.

26

2. Jephtah – Baritone Solo

Latin Bruce W. Bishop translationEnglish word-for-word translation

Si tradiderit Dominus If Thou wilt deliver, Oh Lord, my God,if deliver God

filios Ammon The children of Ammonchildren Ammon

in manus meas, into my hands,into hands mine

quicumque primus whatever firstwhoever first

de domo mea occurrerit mihi, out of my house doth emerge to meet me,from home my will meet me

offeram illum Domino I shall offer unto God, the Lord,I will offer him God

in holocaustum as a burnt offering.as burnt offering

Prose translations

Troutbeck: “If thou shalt indeed deliver the children of Ammon into my hands,whatsoever first cometh forth of the doors of my house to meet me, I will offer to theLord for a burnt offering.”

Contino: “If the Lord will deliver into my hands the sons of Ammon, whosoever comethfirst from my house unto me, him will I offer unto the Lord as a burnt offering.”

Movement two is a short solo recitative. The title character addresses God and

makes the vow that is central to the conflict and emotional content of Jephtah. Here, I

rendered the translation of “Domini” as “Lord, my God” instead of “God, the Lord” to

personalize Jephtah’s prayer. The phrase “God, the Lord” was used in the final phrase to

27

indicate increased majesty and solemnity of a burnt offering to Jehovah. The Latin

“holocaustum” is a richly descriptive word that most closely approximates the term

“burnt offering” in English.

28

3. Army of Israel – Chorus (6 parts)


Transivit ergo Jephte Journeying, thus went Jephtahtraveled then Jephtah

ad filios Ammon, to the children of Ammon,to children Ammon

ut in Spiritu forti with the spirit and fortitude that in spirit strong

et virtute Domini and valor of Godand valor of God

pugnaret contra eos. to battle against Ammon.fought against them

Prose translations

Troutbeck: “Then Jephthah passed over to the children of Ammon, and he fought in thespirit and the strength of God against them.”

Contino: “Then Jephthah went over to the sons of Ammon, that in a bold spirit and thestrength of the Lord he might fight against them.”

The chorus narrates the movements of the army of Israel. The choristers describe

the journey of the children of Israel as they travel to engage the people of Ammon in war.

The initial homophonic statement is straightforward. Verbs and proper nouns are placed

in the same positions in English as the original Latin. The word “Domini” is translated as

“God on high.” The words “on high” continue the flow of the phrase while still

conveying the narrating function of the chorus, as well as the majesty, respect, and awe

engendered in the reference to deity.

The Latin text “pugnaret” is set contrapuntally giving the aural picture of hand-to-

29

hand combat. The percussive consonants and text declamation accent pattern of

“pugnaret” are essential to the counterpoint. The infinitive “to battle” maintains the same

accent pattern and uses equally strong consonants. “Eos,” the Latin pronoun “them” is

replaced with the noun “Ammon” naming the foe specifically. The consonants of

“pugnaret” are matched with the English infinitive “to battle.” The English text

maintains similar consonant percussiveness of armed conflict portrayed in the six-part

polyphonic treatment of the word “pugnaret.” The final phrase, “contra eos,” is made

more specific to the impending conflict by the phrase “against Ammon” rather than the

direct translation of “against them.”

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4. Chronicler – Treble Duet


Et clangebant tubae Then sounded trumpetsand sounded trumpets

et personabant tympana and resonated tympani,and resounded drums

et proelium commissum est when battle then was joinedand battle joined was

adversus Ammon. against the host of Ammon.against Ammon.

Prose translations

Troutbeck: “And the trumpets sounded, and the drums were beaten, when battle wasjoined against the children of Ammon.”

Contino: “And the trumpets blared, and the drums beat, and the battle was begun againstAmmon.”

In this movement, a few rhythmic changes were made to accommodate the

English text. Carissimi created a canonic fanfare-like trumpet call on the text describing

instruments used to lead the armies of the day into battle. The English cognates,

“trumpets” and “tympani,” are percussive like the Latin counterparts, “tubae” and

“tympana.” The aggressive agogic accent pattern of the original Latin and crisp

consonants are integral to the trumpet-like articulation. English words were chosen to

imitate the percussiveness of brass instruments as exemplified by the plosive alliteration

of “commenced” and “contending.”

31

5. Army of Israel – Bass Chorus (ad lib)


Fugite, cedite, impii, Flee and retreat quickly, turn back, and run flee give way godless ones away. Scatter and cede the day infidels.

perite gentes, Oh, perish, gentiles.perish all peoples

occumbite in gladio; Fall down and die upon our swords.fall and die on/by swords

Dominus exercituum God, the Lord of Hosts,Lord of Hosts

in proelium surrexit, in might, now raises up an army.into battle has risen

et pugnat contra vos. He battles against you.and fights against you

Prose translations

Troutbeck: “Flee from us, yield to us, impious ones, give away, ye heathen, and fallbefore our mighty sword; for the God of Israel is risen up to battle and fights against ourfoes.”

Contino: “Flee, yield, ye impious, perish ye heathen, fall on the sword: the Lord of hostsis risen up to battle and fights against you.”

This is one instance in which Latin provides the perfect words “fugite” and

“cedite” while English required eight words to provide the same taunting challenge. The

English words create a kind of literary “trash talk” feel chosen to mesh with the rhythmic

pattern of the Carissimi score. The word “infidels,” in today’s context, has an intense

divisive, derisive flavor which matches the challenging insults hurled at Ammon by the

Army of Israel. I used dramatic license to say that the Lord of hosts raised an army to

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fight rather than a more literal translation because of staging this movement with all the

men singing unison the role of Army of Israel.

In this movement, English cognates are equivalent in accent and consonant

pattern. Wherever this was possible, I used a corresponding cognate. Adding the

expletive, “Oh,” maintains the correct number of syllables, and strengthens the

exclamation of the Army of Israel. The word “gentiles” gives greater religious flavor and

more Jewish context than the literal translation of “gentes” as the word “all peoples.”

33

6. Army of Israel – Chorus (6-parts)


fugite, cedite, impii, Flee and retreat quickly, turn back and flee give way godless ones scatter, oh, infidels!

corruite, Fall down and die!fall down

et in furore gladii dissipamini With our ferocious swords we defeat and and in furor swords be scattered scatter you. Be ye scattered far.

Prose translations

Troutbeck: “Flee from us, yield to us, impious ones, we scatter you, and with our keenand glittering swords we hew you down.”

Contino: “Flee, yield, ye impious; sink down and scatter under the fury of our swords.”

The discussion of the text setting of “fugite” and “cedite” in movement five

applies to the translation of this movement as well. The literal translation of “corruite,”

or fall down, was extended and the word “die” was added to complete this phrase. The

alliteration of “down” and “die” provides strong, combative, voiced consonants. The

word “ferocious” as an adjective describing swords adds to the intensity of the action of

the battle. Adding the word “far” in the final phrase of the movement to the concept of

being scattered amplifies the area of dispersion.

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7. Chronicler – Alto Solo


Et percussit Jephte viginti Then attacked Jephtah twentyand struck Jephtah twenty

civitates Ammon of the cities of Ammoncities of Ammon

plaga magna nimis. causing slaughter beyond any measure.blow great beyond measure

Prose translations

Troutbeck: “Jephthah therefore smote them, and took from them twenty cities, and therewas a grievous slaughter.”

Contino: “And Jephthah smote twenty cities of Ammon with an exceeding great blow.”

The word “attacked,” while not a literal translation, conveys battle in today’s

usage. “Causing slaughter” is a phrase descriptive of complete defeat and destruction

rather than calling the aftermath a great blow. The word “any” also intensifies the scope

of defeat.

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8. Chronicler – Chorus (3-parts)


Et ululantes Then came laments fromand howled

filii Ammon, the children of Ammon,children Ammon

facti sunt And before made they were

coram filiis Israel all the children of Israelbefore children Israel

humiliati. Ammon was broken.humble

Prose translations

Troutbeck: “And he subdued the children of Ammon, for the Lord delivered them to thechildren of Israel.”

Contino: “And moaning, the sons of Ammon were humiliated before the eyes of the sonsof Israel.”

“Laments” conveys the idea of howling or weeping heard from the people in

Ammon. In contemporary speech, “broken” evokes complete and utter loss in battle

more graphically than does the more literal translation “humiliated.” This parenthetical

statement by the chorus, functioning here as narrator, gives poignant emphasis to the

horrors of war. In translation, I try to capture and reflect the depth of pathos expressed in

this exquisite movement.

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John R. Halliday, Diction for Singers, (Provo, Utah: BYU Press, 1968), 43.23

9. Chronicler – Bass Solo


Cum autem victor Jephte When, thus, victorious Jephtahwhen however victor Jephtah

in domum suam reverteretur, unto his dwelling returned,to domicile his returned

occurrens ei unigenita then out came running his only begottenrunning to meet him only begotten

filia sua cum tympanis daughter with tambourinesdaughter his with timbrels

et choris praecinebat: with tambourines and dancing.and dances sang She rejoiced, singing:

Prose translations

Troutbeck: “And Jephthah came to Mispeh unto his house when he returned, and behold,there came forth his only daughter to meet him with timbrels and with dances, and shesang thus:”

Contino: “When Jephthah, who had vowed a vow unto the Lord, saw his daughtercoming to meet him, for sorrow and tears he rent his clothes and said:”

Syntax differences make this recitative awkward to translate and keep the plot

clear. This narration is a significant moment in the drama and must be clearly understood

by the singer and the audience. Many of the cognates fall in the same places melodically,

thus maintaining the rhythmic integrity of the original. The free recitative becomes

arioso-like with the melisma on the text: “she rejoiced.” The open []] vowel of the word

“rejoiced” was chosen to elicit beautiful vocal production in the melismatic passage.23

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10. Daughter of Jephtah – Soprano Solo


Incipite in tympanis Commence to strike the timbrels loudbegin on timbrels

et psallite in cymbalis. and make, for joy, the cymbals sound.and play upon cymbals

Hymnum cantemus Domino, With sweet hymn singing to the Lord,hymn let us sing to God.

et modulemur canticum. we play unto Him our songs.and let us play song

Laudemus regem coelitum, we praise the King of heaven above,let us praise king of heaven

laudemus belli principem, we praise the prince of war and peace,let us praise of war prince

qui filiorum Israel victorem Who made the children of Israel victoriouswho children Israel victor anew today.

ducem reddidit.leader gave back

Prose translations

Troutbeck: “Come, strike the merry timbrels and sound the joyful cymbals. Let us singpraises unto the Lord, and let us magnify his name, yea, let us praise the God of heavenand magnify the mighty King who doth restore the conquering leader of the children ofIsrael.”

Contino: “Begin upon the timbrels, and sound the cymbals. Let us sing a hymn unto theLord, and measure a song. Let us praise the heavenly king, let us praise the Prince ofbattle, who returned the leader of the children of Israel to us in victory.”

Cognates serve the agogic accents of this song of celebration. Additional words

“loud” and “joy” amplify Jephtah’s daughter’s excitement in the victory. The Latin has

38

no verb describing timbrel performance pedagogy, so the verb “strike” was added to

complete the sentence. Crisp, percussive consonants on the primary beats of each

measure match the accent pattern of the Latin. The plural pronoun “we” was chosen for

staging purposes. Jephtah’s daughter sings to the chorus, staged as the people of Israel

who have gathered to hear the news of the battle with the Ammonites. In most phrases of

this arioso, additional words help the flow of the English and maintain the rhythm of the

original. The final phrase is rendered that God made them victorious anew, rather than

the more literal translation which would be that the victory was given back to them.

39

11. Children of Israel – Treble Duet


Hymnum cantemus Domino, Let Israel sing unto God, our hymn.hymn let us sing God

et modulemur canticum, Let Israel play a new song to God,and let us play song

qui dedit nobis gloriam Who made our host to be glorious,to him who gave us glory

et Israel victoriam. and Israel victorious. and to Israel victory

Prose translations

Troutbeck: “Sing unto the Lord, and offer hymns to him who giveth us the glory andIsrael the victory.”

Contino: “Let us sing a hymn unto the Lord, and measure a song who giveth us the gloryand Israel the victory.”

This duet is similar melodically and textually to the arioso section in movement

ten. The translation follows the same description given above. The addition of English

words allows the rhythm to be the same as in the Latin.

40



Cantate mecum Domino, Come sing with me to God on high.sing with me to God

cantate omnes populi, Come sing now, all you people, sing.sing all people

laudate belli principem, We praise our prince of war and might,praise of war prince

qui nobis dedit gloriam who now has made us gloriouswho to us gave glory

et Israel victoriam. and Israel victorious.and to Israel victory

Prose translations

Troutbeck: “Sing to the Lord with me, sing praises, all ye peoples, to the mighty Kingwho giveth us the glory and Israel the victory.”

Contino: “Sing with me unto the Lord, sing all people, praise the Prince of battle, whogiveth us glory and Israel the victory.”

This arioso is a melodic continuation of movements ten and eleven. The first two

phrases begin with the added command form verb “come” which invites the full

company, for the staging, to join in Jephtah’s daughter’s celebration in the chorus of

movement thirteen. The notion, in the biblical text, that God was the author of the

victory is conveyed using the verb “made” inferring that God has now made Israel

victorious and glorious. The English adverbial cognates convey identical meaning to the

Latin nouns.

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13. Children of Israel – Chorus (6-parts)


Cantemus omnes Domino, Come, let us sing our thanks to God.Let us sing all people to God

laudemus belli principem, We praise him, the prince of Israel’slet us praise of war prince victory.

qui dedit nobis gloriam who now has made us gloriouswho gave to us glory

et Israel victoriam. and Israel victorious.and to Israel victory

Prose translations

Troutbeck: “Let us sing unto the Lord and praise the mighty King who giveth us theglory and Israel the victory.”

Contino: “Let us all sing unto the Lord, let us praise the Prince of battle, who giveth usthe glory and Israel the victory.”

In my first draft of the translation, I used the more literal “Come, let us all sing

unto God” in the opening phrase of this chorus. However, this placed the words “all” and

“unto” on principal strong beats in the opening measures. The text was changed to better

place accented words on principal beats and to express the implied gratitude that Israel

felt to God for the victory. The adverbs “glorious” and “victorious” are cognates that

have the same syllabic and declamatory patterns as the Latin counterparts and both

modify the added verb “made.”

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14. Chronicler – Tenor Solo


Cum vidisset Jephte, When returning Jephtah, when saw Jephtah

qui votum Domino voverat, who vowed to God his solemn oath,who vow to God vowed

filiam suam venientem saw his only begotten daughter runningdaughter his coming out to meet him.

in occursum, in dolore He wept in anguish.to meet (him) in sorrow

et lachrimis scidit Then he rentand weeping he rent

vestimenta sua et ait: his clothes, and sadly proclaimedvestment his and said

Prose translations

Troutbeck: “And it came to pass, when Jephthah saw his only daughter, his well-beloved,coming forth to meet him, he remembered his vow to God, and he rent his garments andspake thus:”

Contino: “When Jephthah, who had vowed a vow unto the Lord, saw his daughtercoming to meet him, for sorrow and tears he rent his clothes and said:”

I shifted the word order to convey the impact of Jephtah’s seeing his daughter.

“Solemn” sanctifies the vow that Jephtah made. In the final phrase, the added word

“sadly” maintains the original rhythmic pattern and reflects Jephtah’s state of mind at

seeing his daughter running out to greet him in celebration. She was the first one that he

saw upon his return and he realized that she must be sacrificed according to his oath.

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Heu mihi! Filia mea, Woe is me. My only daughter.Woe is me daughter my

heu decepisti me, Woe! Thou hast undone me,woe you have undone me

filia unigenita, only begotten daughter,daughter only begotten

et tu pariter, and thou likewise,and you likewise

heu filia mea, woe, my only daughterwoe daughter my

decepta es. thou art undone as well.undone are

Prose translations

Troutbeck: “Woe is me! Alas! my daughter, thou hast undone me, thou, my onlydaughter; and thou, likewise, my daughter, are undone.”

Contino: “Woe, woe is me! My daughter, alas thou hast deceived me, and thou too aredeceived.”

The terms “woe” and ”undone” are poetic and somewhat archaic, however, they

convey, in theatrical English, the devastation that Jephtah experiences at this moment of

the drama.

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Cur ergo te pater, decipi, How art thou, my father, undone?how then you father I have undone

et cur ego And how then am I,and how I

filia tua unigenita your only begotten daughter, daughter your only begotten

decepta sum? now undone as well?undone am

Prose translations

Troutbeck: “How have I, O my father, undone thee, and how am I, thy only daughter,undone?”

Contino: “Why, father, have I deceived thee, and why am I too, deceived?”

This recitative uses the same archaic but theatrical language as discussed in the

translation of movement fifteen. The translation from the Latin to English is nearly

verbatim.

45



Aperui os meum ad Dominum, I opened my mouth in an oath to God:I opened mouth my to God

ut quicumque primus That which comes out firstthat whoever first

de domo mea from the doors of my house from home my

ocurrerit mihi offeram illum to greet me, I shall then offerwill have met I I will offer him

Domino in holocaustum. to the Lord as sacrificial offering.to God in burnt offering

Heu mihi! filia mea, Woe is me, my only daughter,Woe is me daughter my

heu decepisti me, Woe! For thou has undone me,woe you have undone me

filia unigenita, only begotten daughter. daughter only begotten

et tu pariter, And thou likewise,and you alike

heu filia mea, Woe! My only daughter,woe daughter my

decepta es. Thou art undone as well.undone are

46

Prose translations

Troutbeck: “I have opened my mouth to the Lord that whatsoever first cometh forth ofthe doors of my house to meet me, I will offer to the Lord for a burnt offering. Alas! mydaughter, thou hast undone me, thou, my only daughter, and thou likewise, my daughter,thou art undone.”

Contino: “I opened my mouth unto the Lord, that whosoever cometh first from my houseunto me, him will I offer unto the Lord as a burnt offering. Woe is me! My daughter,thou hast deceived me, and thou too art deceived.”

The translation of “Domini” here is “Lord, my God” as in movement two when

the original vow was made. The added words “the doors” convey the same idea as the

Latin. The adjective “only” is added in this movement to modify “daughter” and bolsters

the allegorical reference to Jesus Christ as the only begotten of God and makes it

consistent with “unigenita” frequently used in Jephtah.

47



Pater mi, si vovisti My father! If you swore a vowfather my if you vowed

votum Domino to God, our Lord,oath to God

reversus victor ab hostibus, returning victorious over our foes.returned a victor from enemies

ecce ego, filia Behold now I, yourbehold I daughter

tua unigenita, only begotten daughter,your only begotten

offer me in holocaustum offer up myself, a sacrificeoffer me as burnt offering

victoriae tuae, to thy victory.to victory your

hoc solum pater mi praesta But only, my father, grantthis only father my fulfill

filiae tuae unigenitae unto your only begotten daughterto daughter your only begotten

antequam moriar. one wish before I die.before I die

Prose translations

Troutbeck: “O my father, thou hast opened thy mouth to the Lord and hast returned tothy house victorious, therefore do to me according to thy vow, offer me for a burntoffering before the Lord, but this thing, O my father, grant to me, thy only beloveddaughter, before I die.”

48

Contino: “My father, if thou hast vowed a vow unto the Lord, and art returned a victorfrom the enemy, behold me, thine only-begotten daughter; offer me as a burnt offering forthy victory – but one thing only grant to me before I die.”

This example shows a phrase providing important double meaning that describes

Jephtah’s child and also implies that Christ is the only begotten of God. I maintain

consistency in the restatement of this phrase in other movements because of its

importance to the heart of the plot.

49



Quid poterit animam tuam, But what can I do to comfort your soul?what can soul to you

quid poterit te, What can I offer you,what can to (you)

moritura filia, consolari? doomed daughter, in consolation?about-to-die daughter console

Prose translations

Troutbeck: “But what can give thee consolation, yea, what can give thee, my unhappydaughter, consolation?”

Contino: “What can console thy spirit, what can console thee, my daughter, as you areabout to die?

The Latin text expresses this entire movement in one sentence. The translation

breaks the original phrase into two sentences conveying Jephtah’s desire to offer both

comfort and consolation to his daughter.

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Dimitte me, Send me awaysend me

ut duobus mensibus for the space of two monthsthat two months

circumeam montes, et cum to wander in the mountains.I may wander mountains and with

sodalibus meis, And with my friends, as companions,companions my

plangam virginitatem meam. mournful, lament there my virginity.I may bewail virginity my

Prose translations

Troutbeck: “O let me go, that for two months I may wander upon the mountains with mycompanions, bewailing my virginity.”

Contino: “Let me go, that for two months I may go about the mountains with mycompanions, bewailing my virginity.”

The English translation is close to the Latin text in this movement. Words are

added, as in other movements, to maintain rhythmic integrity and to allow coherence.

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Vade, filia mea unigenita, Go my daughter, my only begotten,go daughter my only begotten

et plange virginitatem tuam. and mournful, lament there thy virginity.and bewail virginity your

Prose translations

Troutbeck: “Go, my only beloved daughter, go and bewail thy virginity.”

Contino: “Go my daughter, go, my only-begotten, and lament your state.”

This recitative is translated nearly verbatim. The biblical pronoun “thy” is used in

context of Jephtah’s Biblical character and allegorical relationship to the role of God in

the Easter story. The final phrase “and mournful, lament there thy virginity” mirrors the

translation of the ending phrase of movement twenty and creates flow in the dialogue that

indicates Jephtah is listening and responding to his daughter. The same dramatic effect

exists in the Latin.

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22. Chronicler – Chorus (4-parts)


Abiit ergo in montes Then to the mountains wentwent then into mountains

filia Jephte, the daughter of Jephtah,daughter Jephtah

et plorabat cum sodalibus there lamenting, with her companions,and bewailed with companions

virginitatem suam, dicens: her virginity with sorrow, saying:virginity her saying

Prose translations

Troutbeck: “Then went the daughter of Jephthah unto the mountains and bewailed hervirginity, herself and her companions, saying:”

Contino: “Then the daughter of Jephthah went into the mountains, saying:”

This mournful chorus maintains in translation the bleak language and mood of the

Latin. “Lamenting” is used for “plorabat” for clarity.

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23. Daughter of Jephtah – Soprano Solo and Echo Duet


Plorate colles, dolete montes, Lament ye and mourn all ye hills,bewail hills grieve mountains and grieve all ye mountains.

et in afflictione cordis Howl in affliction of my broken heart,and in affliction heart

mei ululate! sorrow and grief!my howl

Echo: Ululate! Sorrow and grief!Howl

Filia: Ecce moriar virgo For I die as a virgin,behold I will die virgin

et non poteroand not I will (not) be able to

morte mea in my death not finding some consolationin death my

meis filiis consolari, in having childrenmy sons be consoled

ingemiscite silvae, fontes Then lament all ye woodlands, fountains,groan woods fountains

et flumina, and flowing streamsand rivers

in interitu virginis at the destruction of a virgin.on destruction virgin

lachrimate! Oh! Cry in anguish!weep

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Echo: lachrimate! Oh! Cry in anguish!weep

Filia: Heu me dolentem Woe! is my heartbreakWoe me grieving

in laetitia populi, amidst the joy of the multitude,amidst joy of people

in victoria Israel et gloria and the victory of Israel and gloryin victory of Israel and glory

patris mei, ego of my father. of father my I

sine filiis virgo, I am without children, a virginwithout sons virgin

ego filia unigenita, moriar I, the only begotten daughter now must dieI daughter only begotten will die

et non vivam. and not live more.and not will live

Exhorrescite rupes, obstupescite Quake and tremble ye rocks. Be astounded tremble rocks be astounded

colles, valles, et cavernae ye hills. Valleys and caverns hills valleys and caverns

in sonitu horribili resonate! in horrible sound resonate!in sound horrific resonate

Echo: resonate! Resonating!resonate

Filia: Plorate filii Israel, Lament then ye children of Israel,bewail children of Israel

plorate virginitatem meam, bewail ye at my virginity,bewail virginity my

55

et Jephte filiam unigenitam for Jephtah’s only begotten daughterand Jephtah daughter only begotten

in carmine doloris lamentamini. hear songs of deepest anguish. in song of sorrow lament Lamentation!

Prose translations

Troutbeck: “Lament, ye valleys, bewail, ye mountains, and in the affliction of my heartbe ye afflicted! [Echo: be ye afflicted!] Lo! I shall die a virgin and shall not in my deathfind consolation in my children. Then bemoan me, ye woods and fountains and rivers,make lamentation for the death of a virgin. [Echo: make lamentation] See, in the victoryof Israel, in the glory of my father, I, in my virginity childless, I an only beloved daughter,must die and no longer live. Then tremble, ye rocks, be astonished, ye mountains, valleysand caves, resound with horror and fearfulness! [Echo: be resounding!] Weep, ye childrenof Israel, weep for a hapless virgin, and lament for Jephthah’s only daughter with songs ofsadness.”

Contino: “Weep, weep ye hills, grieve, grieve ye mountains, and in the afflictions of myheart moan. Lo, I shall die a virgin, and may not in my death find consolation in my sons. Groan, ye forests, springs and rivers; at the death of a maiden, weep. Alas that I shouldsorrow in the joy of my people, in the victory of Israel, and the glory of my father. I,childless, I, an only daughter, shall die and not live. Shudder, ye rocks, be astonished, yehills, valleys and caves, resound in horror! Weep, weep ye children of Israel, lament mein a song of sorrow.”

The three words chosen by Carissimi to echo in the arioso penultimate movement

are critical to the score as they provide the emotional climax for this character. Setting

this text with the haunting echo voices is a device that dramatically amplifies Jephtah’s

daughter’s lament. I was unsuccessful in maintaining the rhyme scheme of the echo

words in the Latin original. “Sorrow and grief” became her cry and the first echo.

There are three obscure English cognates for “lachrimate” but these are not often used or

readily recognized in common usage. Therefore a phrase in the second echo expresses

her weeping with “o cry in anguish!” The cognate used in the third echo, “Resonate,”

connects with the concept of all creation resonating with her howling and weeping.

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24. Chronicler – Chorus (6-part)


Plorate filii Israel, Weep now, oh children of Israel.Bewail children of Israel

plorate omnes virgines, Weep now, oh all ye virgins weepbewail all virgins

et filiam Jephte for Jephtah’s dearand daughter Jephtah

unigenitam only begotten daughter, weep.only begotten

in carmine doloris In songs of bitter sorrow grieve.in song of sorrow

lamentamini Lamentations sound.lament

Prose translations

Troutbeck: “Weep, ye children of Israel, weep, O all ye maidens, and lament forJephthah’s only daughter with songs of sadness.”

Contino: “Weep ye children of Israel, weep all ye virgins, and lament the only-begottendaughter of Jephthah in a song of sorrow.”

Both of these phrases from the final movement reflect, with English text, the

intent and affect of the original. “Weep now” is in command form. The exclamation

“oh” intensifies the expression of grief. “Bitter sorrow” clearly expresses lamentation.

57

CHAPTER 7.

DRAMATIC STAGING

As this project developed, it became clear that the endeavor to translate Jephtah

into English to make it more accessible to contemporary choristers and audiences might

be supported by approaching the performance from the standpoint of today’s theatricality.

Character development, costumes, properties, and stage movement became an integral

part of the lecture-recital performance of this project.

The libretto and scope of the drama was discussed during all rehearsals so that the

chorusisters understood their role at any particular moment in the plot. The staging of

Jephtah was approached with character, stance, facial expression, and gesture to reflect

the roles played by the chorus. The principal characters were involved in detailed

discussion to aid in appropriate character development and blocking. For example, the

daughter must reflect the elation and pride of the victory achieved by her father and his

army in battle in movements ten through fourteen as she leads Israel in songs of

celebration. She must then change motivation to reflect her sadness and concern when

her father tells her of his vow and that she was the first person he saw upon his return

home. Rehearsals with all soloists also focused on delivering the recitative movements as

dialogue in a drama rather than measured music.

Biblical costumes provide a heightened visual element to the story which may

enhance the experience for performers and audience. I was able to borrow the costumes

from the Mesa Easter Pageant. The Church of Jesus Christ of Latter-day Saints presents

58

this drama each spring and has a wardrobe stock of several thousand costumes. Their

staff provided guidance as to head coverings, jewelry, shoes, and the robes. Jephtah and

his daughter were costumed in rich, warm colors, while the other choristers were given

robes in muted earth-tones. This contrast of color helped the principal characters stand

out. It is interesting to note the impact that the costumes have had in the entire process.

At the dress rehearsal, the commitment to acting and range of real emotion grew

significantly. Portions of Jephtah have been performed for high school audiences,

college assemblies, general public, and the lecture-recital with positive feedback about

how the costumes helped people better understand and feel the drama.

Stage properties defined roles, such as that of the narrator or chronicler who reads

from a Torah-like scroll. The final motet was strengthened by the use of white lilies

which each singer held and some of them laid lilies center stage in mourning for the

daughter of Jephtah.

Appropriate gestures and stage movement indicate dramatic action and character

relationship. These combine with the visual aspects of the costumes and stage properties

to enhance the theatricality of the story. The premiere performance of this translation

was, therefore, not an attempt to perform Jephtah in a completely historically-informed

manner, but rather to further support the intent of this editor in making the work more

accessible to contemporary singers and audiences.

59

CHAPTER 8.

SYNOPSIS OF THE STORY

The story of Jephtah is found in Judges chapters ten through twelve in the Old

Testament of the Christian Bible.

Jephtah was known as a brave man but was the son of a harlot and, as such, had

been denied his inheritance. The people of Ammon declared war against Israel and were

camped in Mizpeh in the borders of Gilead, the place where Jephtah lived. Because of

the impending trouble with the Ammonites, the elders of Gilead asked Jephtah to be their

captain to fight the Ammonites. He accepted their request.

Jephtah attempted, through diplomacy, to resolve the dispute with the people of

Ammon. They claimed Gilead as the land of their fathers. Jephtah argued with the

people of Ammon that the Amorites and not the Ammonites had possessed the land when

Israel had escaped from Egypt 300 hundred years earlier. Jephtah said that Israel had

conquered the land from the Amorites. The people of Ammon had never laid claim on

the land until this moment. Jephtah said that Gilead had been given to Israel by God.

Ammon denied this premise and readied for war.

Gaining no diplomatic solution, Jephtah determined to lead the army of Israel to

battle against the Ammonites. First, he made a solemn vow to the Lord that in exchange

for victory, he would make sacrifice to God the first thing he saw upon his arrival home.

He swore this oath so that salvation might come to the Kingdom of Israel.

The armies of Israel were triumphant and Jephtah returned home, having defeated

60

The Holy Bible: King James Version (New York: Oxford University Press,24

1985), Judges 11: 32-33.

the Ammonites. “So Jephtah passed over unto the children of Ammon to fight against

them; and the Lord delivered them into his hands. And he smote them from Aroer, even

till thou come to Minnith, even twenty cities, and unto the plain of the vineyards, with a

very great slaughter. Thus the children of Ammon were subdued before the children of

Israel.”24

Jephtah’s daughter, upon learning of the great victory her father had achieved, ran

out to meet him to celebrate the great triumph. She was, thus, the first thing that Jephtah

saw upon his return — his only begotten daughter.

Jephtah was devastated and completely undone because of his vow and told his

daughter about the oath that he had made to God and how she had caused the vow to

come down upon her because she was the first to greet him. She told him that he must

fulfill his promise. She was willing to be sacrificed, the only begotten daughter of the

victor, for the greater salvation and glory of Israel. She asked for time to go to the

mountains with her friends for two months to lament her death without the chance of

becoming a mother. Many Hebrew girls desired to become mothers and perhaps, even

the mother of the promised Messiah. In the final two movements, the daughter of Jephtah

sings her lament and then the chorus, playing the role of the children of Israel, sings a

lament mourning Jephtah’s only begotten daughter.

The similarities to the New Testament story of Jesus Christ are clear. Both stories

focus on an only begotten child offered as a willing sacrifice to bring salvation to Israel

61

and faithful believers. This was the perfect dramatic story for the Lenten season.

Carissimi’s oratorio humanizes the drama and tragedy of a child submitting to the will of

a loving father for the greater good. The Bible doesn’t indicate exactly what happened to

the daughter of Jephtah. It is my opinion that in this oratorio Carissimi intended his

audience to see this story as shadow of the Passion and sacrifice of Jesus Christ.

62

APPENDIX A

STORY OF JEPHTAH

SCORE

V

&

?

44

44

44

1.œJœ œ œ œ

Thus, when war was de

Tenor Solo

www

w

.œJœ œ œ œ

œ œ

clared a gainst the child ren of

w˙˙

˙˙

˙ ˙#

.œ œ œ.œ œ œ

Is ra el by the

www

w

.œ

Jœ œ œ

king of Am mon,

˙˙ ˙

.œ

jœ

˙˙

‰ œœ œ œ œ œ

œ

and Jeph thah's words were dis re

www

w

- - - - - -- -

V

&

?

6œ œ œ œ ˙

gard ed and ig nored,

˙˙ ˙ .œ

jœb

˙˙

‰Jœb œ œ œ œ

œ

then up onJeph thah de

œœ ˙˙b ‰ œ œ

œ

wb

œ œ œ .œ œ œ

scend ed the spir it of

˙˙b ˙

˙b

˙b ˙

.œb œ œ Œ œœ

God, the Lord, as he

.

..œœœb j

œ œ œœ œ

wb

.œ œ œ œ .œ œœ

went a gainst the child ren of

˙˙b ˙

˙˙

˙b ˙n

- - -- - - -

V

&

?

11œ œ œ œ œ œ

Am mon, Jeph thah swore to

œœœ œ œ œ

˙˙

w

.œJœJœ .œ

God a sol emn

˙˙

œ œ˙˙

œ œ œ œ

˙ ˙

w

vow.

www

w

- - -

63I. Chronicler: "Thus, when war was declared"

*

* Contunio realization is after the Wolters and Siedel edition. Figured bass has been eliminated.

V

&

?

44

44

44

14

.œjœ .œ œ œ œ œ

If Thou wilt de liv er; O

Baritone Solo

www

w

.œ œ œ ‰Jœ œ œ œ

Lord, my God; the Child ren of

˙˙ ˙

˙

w

- - -

V

&

?

16

œ œ œ œ œ ˙

Am mon in to my hands,

œœœœœœb

˙.œ

jœ

w

‰ œ œ œœ œ œ œ#

what ev er first out of my

www

w#

œ œœ œ œ œ œ œ

house doth e merge to meet me,

˙˙œ

œ

˙..œœ

jœœ

˙# ˙

- - - - -

V

&

?

19œ œ œ œ œ œ

.œ œ œ

I shall of fer un to God, the Lord,

˙˙ ˙

.œ

jœ

˙˙

‰ œ œ œ ˙

as a burnt of

˙˙œ œ

˙˙œ œ# œ œ œ œ œ

˙# ˙

w

f'ring.

www

w

- - -

II. Jephthah: "If Thou wilt deliver, O Lord"

64

&

&

&

V

V

?

&

?

44

44

44

44

44

44

44

44

22œ œ œ œ œ

Jour ney ing, thus went

Chorus (6-part)

œ œ œ œ œ


œ œ œ œ œ#


œ œ œ œ œ


œ œ œ œ œ

Jour ney ing, thus wentœ œ œ œ

œ


..

.˙˙

œœœ#

.˙œ

˙ œ œ œ

Jeph thah to the

˙ œ œ œ

Jeph thah to the

˙ œ œ œ

Jeph thah to the

˙ œ œ œ

Jeph thah to the

˙ œœ œ

Jeph thah to the˙ œ

œ œ

Jeph thah to the

..

.˙˙

œœœ

.˙œ

œ œ œ ˙

child ren of Am

œ œ œ œ œ

child ren of Am

œ œ œ ˙

child ren of Am

œ œ œ˙

child ren of Am

œ œœ ˙

child ren of Amœœ œ˙

child ren of Am

œœœ

˙œœ ˙˙œ

œœ˙

˙Ó

mon

˙ œ œ œ œ œ

mon, with the spir it and

˙ Ó

mon

˙ Ó

mon

˙ Ó

mon

˙ Œ œ œ

mon with the

˙˙ œœœ

œœœ

˙ œ œ

∑

œ œ œ œœ œ œ œ

for ti tude, the for ti tude and

œ œ œ œ œœ œ œ œ

with the spir it and for ti tude and

∑

∑

œ œ œœ œ œ œ

œ œ

spir it and for ti tude, the for ti

œœœ

œœœ œœ

œ

œœœ

œœ œ

œ

- - - - -

- - - - - - - - - -

- - - - - - - -

- - - - -

- - - - -

- - - - - - - - - -

&

&

&

V

V

?

&

?

27∑

œ œ œ œœ œ œ œ

.œ# œJœ jœ#

va lor of God on high to

œ œ# œ œ .œ œ .œ

jœ

va lor of God on high to

∑

Ó ‰ œœ œ

to bat tle

œ œœ œ œ œ

.œ œ œ œ

tude and va lor of God on high to

œœœ

œœœ

.

..œœœ#

jœœœ

œœ ˙

Œ ‰Jœœ œ œ œ

to bat tle a gainst

œ œ Œ Ó

bat tle,

œ œ ‰Jœ œ œ œ œ

bat tle, to bat tle a gainst

‰Jœœ œ œ œ œ œ œ

to bat tle, to bat tle a gainst

Œ ‰jœœ œœœ

to bat tle a gainstœ œŒ Ó

bat tle,

...œœœ

J

œœœ.œœœJ

œœ

jœœœ

˙œœœ

œ œ œ œ œ ‰Jœ

Am mon, to bat tle, to

Œ ‰ jœœ œ ‰

jœ

to bat tle, toœ œ œ Œ ‰ j

œ#

Am mon. to

œ .œJœ œ# œ

Am mon, to bat tle,

œ œ œœ œ ‰ j

œ

Am mon, to bat tle, to

‰œœ œ

‰œœ œ

to bat tle, to bat tle,

œœ

œ œ œœœœœœœœœ#

œœœœ

œ œ œ œ œ œ

bat tle a gainst Am mon,

œ œ œ œ œ œ

bat tle a gainst Am mon

œ œ œ œ œ œ# œ

bat tle a gainst Am mon,

Ó Œ ‰Jœ

to

œ œœœœ œ œ

bat tle a gainst Am mon, to

Ó ‰ œœ œ

to bat tle,

œœœ

œœœœœœœœœ œ#œœœ

œœœœœ

- - - - - -

- - - - -

- - - - - - - -

- - - -

- - - - - - -

- - - -

65III. Army of Israel: "Journeying, thus went Jephthah"

&

&

&

V

V

?

&

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31Ó Œ ‰

jœ

to

‰œ œ œ œ œ œ

to bat tle a gainst Am

‰œ

œ œ œ œ œ


œ œ œ œ œ œ œ œ œ#

bat tle, to bat tle a gainst Am

œ œ Œ Œ ‰Jœ

bat tle, to

‰ œœ œ

œœ

œ


œœœ

œœœ

œœœ

œœœ

œœœ œ#

œœ

œœ

œ

œ œ œ œ œ œ

bat tle a gainst Am mon.œ œ œ œ œ

mon, a gainst Am mon.

œ œ œ œ œ# œ


œ œ œ œ œ


œ œ œ œ œ œ

bat tle a gainst Am mon.

œœ

œœ

œ


œœœ

œœœ

œœœ

œœœ œ#

œœœ

œœ

œœ

œ

- - -

- - - - -

- - - - -

- - -

- - - -

- - -

- - - - -

66

&

&

&

?

44

44

44

44

37œ œ œ œ œ œ

Then sound ed trum pets, and

Treble Duet

Ó œ œ œ

Then sound ed

...˙˙ œœœ

w

.œ œ œœ .œ œ œ

res o na ted tym pan i,

œ œ œ .œ œ œœ

trum pets, and res o na ted

...˙˙ œœœ

w

‰jœ .œ œ œ œ œ œ

when bat tle then was joined a

.œ œ œ Ó

tym pan i,

.œjœ œœ

œœœœ

œœœ

œœœ

œœœœ

œœ œ œ œ œ

- - - - - - - -

- - - - - - -

-

&

&

&

?

40œ œ œ œ œ œ

gainst the host of Am mon.

Ó ‰ jœ .œ œ

when bat tle

˙ œ œ œœœœœ œœœ œœ œœ

œ œœœœ

œ

∑

œ œ# œ œ œ œ œ œ

then was joined a gainst the host of

œ œ œjœ œ

jœœœ œœ#

œœ œœœœœœ œœ œœ

œ œ œ œ œ œœœ

‰jœ .œ œ œ œ .œ œ

When bat tle then, When bat tle

œ œ ‰Jœ .œ œ

Am mon. When bat tle

œ œ# ...œœœ

jœœœ

œœœnœ

œ

œœ

œ œ

- - -

- - - -

&

&

&

?

43œ œ œ œ œ

œ œ œ


œ œ œ œ œ œ œ œ


œœœœœœ

œœœ

œœœ

.œjœ

œœ œ œœ œœ

œ œ œ œ œ œ œœ

œ œ œœ œ œ œ

Am mon, the host of Am

œ œœ œ

œ œ œ

Am mon, the host of Am

œœ

œ œ œœœœœœ

œœœœœœ œœ

œ œ

œœ œ

œœœ

w

mon.

w

mon.

www

w

-

--

- -

-

IV. Chronicler: "Then sounded trumpets" 67

?

&

?

44

44

44

42

œ œ œœ œ œ

œ œ œ œ

œ œ œ

Flee and re treat, quick ly, turn back and run a way

Bass Chorus (ad lib)

œœœ

œœœœœœ œœœ

œœ

œ

œ

œ œ œ .œ œ œœ œ œ

cede the day in fi dels. Scat ter and

...œœœ

jœœœ

œœœ

œœœ

œ œ œœ

- - - - - -

?

&

?

44œ œ œ .œ œ œ

‰ Jœ

cede the day in fi dels. Oh,

...œœœ

J

œœ# œœœ œ œ œ

œ œ œ

œ

œ œ œ œ ‰ Jœ

per ish gen tiles. Oh,

.œœœ

œœ

jœ œœœ

œ œ œ

œ œ œ

œ

œ œ œ œ‰ Jœ

per ish gen tiles falljœœ

jœ# œœœ œ œ œ

œœ

œœ

œ œ œ

œ

- - - - - -

?

&

?

47.œ# œ œ

œ .œ œ œ œ

down and die, fall down and die up

˙˙#

˙˙

˙˙

.œ œ .œ œ .œJœ

on our

˙ œ œ# œ .œ

m

œ˙ ˙˙

˙ ˙

˙Ó

swords.

www

w

.œ œ œ œ .œ# œ œ œ

God, the Lord of Hosts, in might now

˙˙#

‰œ œ

œ

w

-

68

V. Army of Israel: "Flee and retreat, quickly"

?

&

?

51.œ œ œ œ œ œ

œ

rais es up an ar my, now

˙˙˙

œœœ œ œ œ

˙ ˙

.œ œ œ œ œ œ œ

rais es up an ar my, He

˙˙˙

œœœœ œ œ

˙ ˙

œbœ œ œ œ œ œ# œ

œ œ œn œ

bat tles a gainst you.

œœœb œœœ

œœœœœœ#œœœ#

œœœn

œbœ œ œ œ

œ

- - - - - -

?

&

?

54œ

‰Jœ œ œ œ œ

He bat tles a gainst

œœ œ œ œ œ

.œjœ#

œ œ œ œ

œ œ œœ œ œ

œ œ œ# œœ œ œ# œ

œ œ œn œœ

œ

you. He

˙ œœœ

œœœ#œœ#œœ#

œœ

œœ

œœ œ œ œ

œœ œ œ œ

bat tles a gainst you, He bat

.œjœ# œœœœœœ

œœœ

œœ œœœ œœ

œœ œ œ œ

œ œ

- - - - -

?

&

?

57œ œ œ œ œ œ .œ

Jœ

tles a gainst

œ œ..œœ œœ

jœ œ

jœ#œœ œ œ

œ# œœ œ

œ

˙ ˙

w

you.

www

w

- -

69

&

&

&

V

V

?

&

?

44

44

44

44

44

44

44

44

59œ œ œ œ œ œ œ œ œ œ œ œ

Flee and re treat quick ly, turn back and scat ter, oh

Chorus (6-part)

œ œ œ œ œ œ œ# œ œ œ œn œ


œ œ œ œ# œ œ œ œ œ œ œ œ


∑

∑

∑

œœœ

œœœ#œœœ# œ

œœœœœn

œœ

œœ

œ

.œ œ œœ œ œ œ# œ œ

in fi dels! Flee and re treat quick ly,

.œ œ œœ œ œ œ œ œ


.œ œ# œœ œ œ œ œ œ


Óœ œ œ œ œ œ

Flee and re treat quick ly,

Ó œ œ œ œ œ œ


Óœ œ œ

œ œ œ


œœ

œœœ# œœ

œn œœœ#

.œ œ#

œœ œ

œ

- - - -

- - - -

- - - -

-

-

-

- - -

- - -

- - -

-

-

-

&

&

&

V

V

?

&

?

61œ œ œ œ œ œ .œ œ# œ

turn back and scat ter, oh in fi dels!œ œ œ œ œ œ .œ œ œ

turn back and scat ter, oh in fi dels!œ# œ œ œ œn œ .œ œ œ#

turn back and scat ter, oh in fi dels!

œ œ œ œ œ œ .œ œ œ




œ œ œœ

œ œ.œ œ

œ


œœœ# œ

œœœœœn œ

œ.œ œ#

œœœ#

œœ

œœ

œ

∑

Ó ‰Jœ .œ œ

Fall down and

‰jœ .œ œ ˙#

Fall down and die!

∑

∑

∑

˙˙˙

˙˙#

˙# ˙

- -

- -

- -

- -

- -

- -

-

-

-

-

-

-

70

VI. Army of Israel: "Flee and retreat quickly"

&

&

&

V

V

?

&

?

63œ œ œ œ œ œ œ œ œ œ

With our fe roc ious swords we de feat and

˙ Ó

die!

∑

∑

∑

∑

˙˙

.œœœ

jœ

œœœœ œœ

˙œ

œœ

.œ œ œ Ó

scat ter you.

∑

∑

Óœ œ œ œ œ œ


Óœ œ œ œ œ œ


Ó

œ œ œ œ œ œ


.œ œ œ ˙œœ

œœ œ œ

œœ

œ œ

- - -

-

-

-

-

-

-

-

&

&

&

V

V

?

&

?

65∑

∑

∑





œ œ œ œ œœœ œœ œ .œ œ œœ

œœ

œœ

œ œ œ œ œ œ œ œ œ œ œ œ

Flee and re treat quick ly, turn back and scat ter, ohœ œ œ œ œ œ œ œ œ œ œ œ






œœ œ œ œ œ œ œ œ œ œ œ


œ œ œœ œ œ

œ œ œœ

œ œ


œœœ

œœœ

.œjœ

œœœœ œœ

œœ

œœ

œ

-

-

-

- - -

- - -

- - -

- -

- -

- -

- - -

- - -

- - -

71

&

&

&

V

V

?

&

?

67.œ œ œ ‰ J

œ .œ œ

in fi dels! Fall down and

.œ œ œ ‰Jœ .œ œ

in fi dels! Fall down and

.œ œ œ Ó

in fi dels!

.œ œ œ Ó

in fi dels!

.œ œ œ Ó

in fi dels!

.œ œœ Ó

in fi dels!

.œ œ œœœ˙˙˙

œœ

œœ ˙

˙ Ó

die!

˙ Ó

die!

Ó ‰Jœ .œ œ

Fall down and

‰ Jœ .œ œ ˙

Fall down and die!

∑

∑

˙˙

˙˙˙

˙ ˙#

- -

- -

- -

- -

- -

- -

&

&

&

V

V

?

&

?

69∑

Ó œ œ œ œ œ

With our fe roc ious

˙ Œœ œ œ#

die! With our fe

‰Jœ .œ œ ˙

Fall down and die!

‰Jœ .œ œ ˙

Fall down and die!

‰ Jœ .œ œ ˙#

Fall down and die!

˙˙

˙˙#

˙˙

œ œ œ œ œ œ œ œ œ œ

With our fe roc ious swords we de feat and

œ œ œ œ œ œ œ œ œ œ

swords we de feat and scat ter you. Be ye

œ œn œ œ œ œ œ œ œ

roc ious swords we de feat and

∑

∑

∑

œ

œ œœ

œœ

œœœœ

œ œ œ œ


- -

- - - -

- -

-

-

72

&

&

&

V

V

?

&

?

71.œ œ œ Œ œ œ

scat ter you. Be ye

.œ œ# œŒ œ œ

scat tered far. Be ye

.œ œœ Œ œ œ

scat ter you. Be ye

Œ œ œ .œ œ œ

Be ye scat tered far.

Œ œ œ .œ œ œ


Œœ œ .œ# œ œ


.œ œ# œœœœœœ

œœœ

œœ

œœ

.œ œ œ œ œ .œ œ œ

scat tered far. Be ye scat tered far.

.œ œ œ œ œ .œ# œ œ

scat tered far, Be ye scat tered far.

.œ# œ œœ œ .œ œ œ

scat tered far. Be ye scat tered far.

Œ œ œ .œ œ œ


Œ œ œ .œ œ œ


Œœ œ

.œ œœ


œœœ#œœœ

œœœœœœ

œœ

œœ

- - -

- - -

- - -

- -

- -

- -

73

&

&

?

c

c

c

73

œ œ œœœ œ

Then at tack ed Jeph thah

Alto Solo

˙˙

‰œ œ

œ

w

œ œ œ œ œ œ œ

twen ty of the cit ies of

..˙˙ ˙

œ

˙ ˙

œ œœœ œ œ

œœ

Am mon caus ing slaugh ter be yond

˙˙

˙˙

˙˙

- - - - - - - - -

&

&

?

76.œ

Jœ ˙

an y mea

.œœœœœ

Jœ˙œ œ œ

œœ ˙

w

sure.

ww

w

- -

VII: Chronicler: "Then attacked Jephthah"

74

&

&

V

&

?

c

c

c

c

c

78∑

Chorus (3-part)

Œ ˙b œ œ

Then came la

Œ˙ œ œ

Then came la

wwwb

w

Œ ˙ œ œ

Then came la

œ œ œ œ œ œ

ments from the chil dren ofœ# œ œ œn œ œ

ments from the chil dren of

www

˙# ˙n

œ# œ œ œn œ œ

ments from the chil dren of

w

Am

˙ ˙b

Am

˙˙# ˙

˙˙

n

˙ ˙b

˙b ˙

Am mon,

˙ ˙#

mon,

w

mon,

w˙b ˙#

w

∑

Œ˙n œ

and be

Œ ˙ œ

and be

wwwnggg

w

Œ ˙ œ

and be

œ œ œ œ œ œ

fore all the chil dren of

œ# œ œ œn œ œ


www

˙# ˙n

-- - -

- - - -

- - - -

&

&

V

&

?

84œ# œ œ œn œ œ


w

Is

˙ œb œ

Is ra

˙˙# ˙

˙˙

n

˙ ˙b

.œjœ œ œ

Is ra el Am

.œjœ# .œ

jœ

ra el Am

˙ ˙

el Am

w˙ ˙#

w

œ ˙ œ

mon was

˙ ˙

mon was

˙ ˙

mon was

wwwb

w

w

bro

˙ ˙#

bro

w

bro

ww˙ ˙#

w

w

ken.

w

ken.

w

ken.

www#

w

- -- - -

- - - -

- - - -

VIII: Chronicler: "Then came laments"75

?

&

?

44

44

44

89Œ œ œ œ œ

œ

When, thus, vic tor ious

Bass Solo

www

w

œ œ ‰ œ œœ

Jeph thah un to his

‰

œ œœ ˙˙

w

œ œœ˙

dwell ing re turned,

œœœ

œœœœœœœ œœ

˙˙

‰ œœ œ œ œ œ œ

then out came run ning his

www

w

- - - - - --

?

&

?

93œ œ œ œ œ œ œ œ

œ

on ly be got ten daugh ter with

œœœ

œœœ

˙˙

˙˙

.œ œ œ œ ˙

tam bour ines and danc

œ œ ˙

˙˙˙

œ œ# œ œ

œ œ ˙

œ‰œ œ œ œ œ œ œ œ

ing. She re joiced,

œœœœ œ œ

œ œ ˙˙

˙˙

- - - - - - - -

?

&

?

96œ œ œ œ œ œ

œ œ œ œ œ œ

˙˙

˙˙

˙ ˙

œ œ œ œ œ œ ˙

sing

˙ ˙˙œœ

œœ œ œ œ œ œ œ œ œ

˙ ˙

w

ing.

www

w

-

IX. Chronicler: "When, thus, victorious Jephthah"

76

&

&

?

44

44

44

99Œ ‰

jœ

.œ œ œ œ

Com mence to strike the

Soprano Solo

99...˙˙

œœ

.˙ œ#

.œ œ œ œ .œ œ œ œ

tim brels loud, and make, for joy, the

..

.œœœ

jœœ

.œœœ œœ œ

jœ#

.œ jœ œ œ

- -

&

&

?

101.œ œ œ

œ.œ œ œ œ

cym bals sound. Com mence to strike the

101

˙˙

œœœ

œœœ

˙ œœ

.œ œ œ œ .œ œ œ œ

tim brels loud, and make, for joy, the

...œœœ

jœœ.œœœ œœ œ

jœ

.œJœ œ œ

- - -

&

&

?

103.œ œ œ œ .œ œ œ œ

cym bals sound, and make, for joy, the

103˙œ œ œ

œœœœœœœ#

˙ œ œ

.œ# œ œ œ .œ# œ œ

œ

cym bals sound, and make, for joy, and

˙˙#

œœœ#œœ

˙œ œ

- -

77

X. Daughter of Jephthah: "Commence to strike the timbrels"

&

&

?

23

23

23

105.œ œ œ œ .œ œ œ

make, for joy, the cym bals sound.

105

.œœœ œœ œ

jœ# ˙˙

œ œ˙

q»h

˙ ˙˙

With sweet hymns

www

˙˙˙

w ˙

œ œ œœ œ œ

sing

www

˙˙

w ˙

˙ œ œ œ œœ œ

ww˙˙ ˙

˙

w ˙

- -

&

&

?

109œ œ œ œ œ

œ œ œ

109

w˙ œ œ

w ˙

.˙ œ œ ˙

www

˙

˙

w ˙

˙ .˙ œ

ing to the

˙

˙ww

˙ ˙

˙ w

.˙ œ œ œœ œ œ

Lord

www

˙˙

w ˙


www

˙˙

w ˙#

-

&

&

?

114˙ œ œ œ œ

we play

114

...˙˙

œœ ˙œ œ

.˙ œ ˙

œ œ .˙ œ

un to Him our

w˙ ww˙#

˙ w

.˙ œ œ œœb œ œ

songs. Play

w˙ ww

˙

˙ w


˙˙ ww

˙˙

˙ w#

˙ œ œ œ œ

...˙˙

œœ ˙œ œ

.˙ œ ˙b

-

78

&

&

?

44

44

44

119

œ œ .˙ œ

un to Him our

119

w˙b w

w˙#

˙ w

h»q

h»q

œ‰Jœœœ œ

œ

songs! We praise the King of

...œœœ#

jœœ# ˙œœ

œœ

˙ œ œ#

.œ œ œ

œœœ œ

œ

heav'n a bove We praise the prince of

.

..œœœ

jœœ ˙œœ

œœ

.œ jœ œ œ

- -

&

&

?

122.œ œ œ


war and peace. Who made the chil dren of

122...œœœ

jœœœœ

œœœ

.œJœ œ œ#

.œ œ œœœ œ œ œ

Is ra el vic to ri ous a

.

..œœœ

jœœœ

œ œœœ

œ œœœ œb

.œ

Jœ œ

œ œœb

- - - -- - -

&

&

?

124œ œ œ œ .œ œ œ ‰

Jœ

new to day. Who

124.œ

jœ# œ

œœ# œ œœœœb œ

œ

œ œœ œ

œ œ œ œ œ œ .œ# œ œœ

made the chil dren of Is ra el vic

œœœœœœ

...œœœ#

jœœ

œ œ# .œjœn

- - - - -

79

&

&

?

126œ œ œ œ œ œ œ œ .œ œ

to ri ous a new to

126œ œ œ

œ.œ

jœ#

œ œ œ œœ

œœ

œœœœ œ œ

œ ‰jœœ œ œ œ

day, vi cto ri ous a

œœœœœœ

œ œ# œœœ œœœœœœ

œ œ œœœ œ

.œjœ ˙

new to day.

œ œ# œ œ œ œ ˙˙œœ

œœ

œ œ˙

- - - - - - - - -

80

&

&

&

?

23

23

23

23

129˙ ˙ ˙

Let Is rael

Treble Duet

˙ ˙ ˙#

Let Is rael

www

˙˙#

œ œ œœ ˙

œ œ œ œ œ œœ œ œ œ œ

sing

œ œ# œ œ œ œœ œ œ œ œ

sing

www

˙˙˙

w˙

œ œ œ œ œ œ œ œ#

un to

œ# œ œ œ œ œ œœ

un to

www# ˙

˙

w ˙

.˙# œ ˙

God, our hymn.

.˙ œ ˙

God, our hymn.

...www#

.w

˙ ˙ ˙#

Let Is rael

˙ ˙ ˙

Let Is rael

www

˙˙#

œ œ œœ ˙

- - -

- - -

&

&

&

?

134œ œ# œ œ œ œ œ œ œ œ œ

play

œ œ œ œ œ œ œ œ œ œ œ

play

www

˙˙

w˙

œ# œ# œ œ œ œ œœ

a new


a new

www# ˙

˙˙

w ˙

.˙ œ ˙

song to God,

.˙# œ ˙

song to God,

..

.www#

.w

˙ ˙ ˙

who made our

˙ ˙ ˙

who made our

www

˙˙

œ œ œœ ˙

&

&

&

?

138œ œ œ œ œ œ œ œ œ œ œ

host


host

www

˙˙

w˙


to be

œ œ œ œ œ œ œœ

to be

www

˙˙

w ˙

.œJœ œ œ œ œ

glo ri ous, and Is ra

.œJœ œ

œ œ œ

glo ri ous, and Is ra

..

.˙˙

œœ˙˙

.˙ œ ˙

œ œ .˙ œ

el vic to ri

œ œ œ œœ .œ

Jœ

el vic to ri

˙˙˙

ww.˙ œ

˙ w

- - - - - -

- - - - - -

81

XI. Children of Israel: "Let Israel sing unto God"

&

&

&

?


˙

ous,

œ œ œ œ œ œ œ œ˙

ous,

www

˙˙

w ˙

˙ ˙ ˙#

who made our

˙ ˙ ˙

who made our

www

˙˙#

œ œ œœ ˙

œ œ# œ œ œ œ œ œ œ œ œ

host


host

www

˙˙

w˙

œ# œ œ œ œ œ œœ

to be


to be

www# ˙

˙˙

w ˙b

&

&

&

?

146.œ

Jœ œ

œ œ œ

glo ri ous and Is ra

.œ#Jœ œ œ œ œ

glo ri ous and Is ra

...˙˙# œ

œœ˙˙œ œ

.˙ œ ˙

œ œ .˙ œ

el vic to ri

œ œ .˙ œ#

el vic to ri

˙˙˙

ww

.˙ œ#

˙b w

.˙ œ œ œ

ous, and Is ra

˙

˙ œ œ#

ous, and Is ra

.

..˙˙# œ

œ˙˙œ œ

.˙ œ ˙

œ œ .˙ œ

el vic to ri

œ œ .˙ œ#

el vic to ri

˙˙˙

ww

.˙ œ#

˙ w

.w

ous.

.w

ous.

.

..www

.w

- - - - - - - - - - - -

- - - - - - - - - - - -

82

&

&

?

44

44

44

151Œ ‰

Jœœœ œ

œ

Come sing with me to

Soprano Solo

˙˙ ˙

œœœœ

˙ œ œ#

.œ œjœ J

œœ

œ œœ

God on high. Come sing now, all ye

.

..œœœ

jœœ ˙

œœœœ

.œ jœ œ œ

&

&

?

153.œ œ

Jœ Jœ œ œ œ œ

peo ple, sing. We praise our prince of

...œœœ

jœœœœœ

œœœ

.œJœ œ œ#

.œ œjœ Jœ œ œ œ œ

war and might, who has made our host

.

..œœœ

jœœœœœ

œœœ

.œ jœ œ œ#

-

&

&

?

155

.œ# œjœ

jœœ œ œ œ

glo ri ous and Is ra el vic

...œœœ#

jœœ œœ œ œœœ

.œjœ œœœœn

œ œ œ œ .œ œ œ ‰Jœ

to ri ous. We

.œjœ# œ œ œœœœ

œœœ

œœ

œ œœ œ

œb œ œ œ .œ œjœ

Jœ

praise our prince of war and might, who

œœœb œ

œœ

...œœœ

jœœ

œb œn .œJœ

- - - - - -

&

&

?

158œ œ œ œ .œ œ

jœ Jœ

now has made us glo ri ous and

œœœ

œœœ

.

..œœœ

jœœœ

œ œ# .œ

Jœn

œ œ œ œ œ œ œ œ .œ œ

Is ra el vic to ri

œ œœ

.œjœ#

œœ œœœ œb œœ

œœ

œœœœb œ œ

œ œ œ Jœ jœœ œ œ œ

ous, and Is ra el vic

œœœ

œœœ

œœœ œœ#œœœ

œ œ œ œ

- - - - - - - - - -

83

XII. Daughter of Jephthah: "Come sing with me to God"

&

&

?

161œ œ œ œ .œ œ œ œ œ œ œ

œ œ œ

to ri ous,

˙œœ œœ#˙˙.œ

jœ

œ œ.œ

jœ

JœJœ.œ œ œ

œ.œ œ

and Is ra el, and Is ra

˙˙˙

˙˙

˙ ˙

- - - - - -

&

&

?

163œ œ

œ œ œ œ œ œ œœ œ œ œ

el vic to

˙˙#

˙œ œ

˙ œ œ

.œjœ ˙

ri ous.

˙˙

œ œ# œ œ œ œ œ œ ˙˙

˙˙

- - -

84

&

&

&

V

V

?

&

?

44

44

44

44

44

44

44

44

165œ œ œ œ œ

Come let us sing our

Chorus (6 part)

œ œ œ œ œ


œ œ œ œ œ#


∑

∑

∑

..

.˙˙

œœœ#

.˙œ

.œJœ ˙

thanks to God.

.œJœ ˙

thanks to God.

.œjœ ˙

thanks to God.

∑

∑

∑

www

w

œ œ œ œ œ


œ œ œ œ œ#


œ œ œ œ œ


œ œ œ œ œ


œ œ œ œ œ

Come let us sing ourœ œ œ œ

œ


..

.˙˙

œœœ#

.˙œ

.œJœ œ ‰

Jœ

thanks to God. We

.œjœ œ ‰

Jœ

thanks to God. We.œJœ œ ‰

jœ

thanks to God. We

.œJœ ˙

thanks to God.

.œJœ ˙

thanks to God..œJœ ˙

thanks to God.

www

w

œ œ œ œ œ œ

praise Him, we praise Him the

œ œœ œ œ œ


œ œ œœ œ œ


∑

∑

∑

...œœœ

jœœ...œœœ

jœœœ

.œJœ .œ

Jœ

&

&

&

V

V

?

&

?

170œ œ œ œ .œ

Jœ

Prince of Is rael's vic to

œœ œ

œ .œ

Jœ


œœ œ œ

.œjœ


∑

∑

∑

.œjœ .œ

jœœ

œ œœœ œœ ˙˙

œœ œ œ

˙

œ‰ Jœ œ œ œ

ry. We praise Him, we

œ ‰Jœ œ œ œ


œœ œ œ œ


Œœ œ œ œ

We praise Him, we

Œ œ œ œ œ

We praise Him, we

Œ œœ œ œ

We praise Him, we

œœœ œœœ

œœœœœœ

œ œœ œ


praise Him the Prince of Is rael's








praise Him the Prince of Is rael'sœ œ

œ œ œ œ œ


...œœœ

jœœœœœœ

œœœ

.œ

Jœ œ œ

.œJœ œ ‰ J

œ

vic to ry. Who

.œ

Jœ .œ

Jœ

vic to ry. Who

.œjœ œ ‰ j

œ

vic to ry. Who

.œJœ ˙

vic to ry.

.œjœ ˙

vic to ry.

.œjœ˙

vic to ry.

˙˙.œ

jœ ˙˙

˙˙

- - - - - -

- - - - - -

- - - - - -

- - -

- - -

- - -

85XIII. Chorus: "Come let us sing our thanks"

&

&

&

V

V

?

&

?

174œ œ œ

œ .œ œ œ œ


œ œ# œ œ .œ œ œ œ


œ œ œœ .œ œ œ œ


∑

∑

∑

œ œ# œ ...œœœ

jœœœ

œœœœœœœœ

œ œ œœ .œ

Jœ

œ œ œ œ .œJœ

Is ra el vic to ri

œ œ# œ œ.œ

Jœ

Is ra el vic to ri

œ œ œœ .œ

jœ

Is ra el vic to ri

∑

∑

∑

œ œ# œ.œjœ

œœœœœœœœ ˙˙

œ œ œœ ˙

˙ Ó

ous,˙ Ó

ous,

˙Ó

ous,

Œ œ œ œ œœ

Who now has made us

Œ œ œ# œ# œ œ

Who now has made us

Œœœ œ œ

œ

Who now has made us

œœœ#œœœœœœœœ# œœœ

œœœ

œœœ œ œ

œ

∑

∑

∑

.œ œ œ œ œ œ œ œ


.œ# œ œ œ œ# œœ œ


.œ œ œ œ œ œ œœ


..

.œœœ#

jœœœ

œœœ#œœœœœœœœn

.œjœ œ œ œ

œ

- - - - - - -

- - - - - - -

- - - -- - -

- - - - -

- - - - -

- - - - -

&

&

&

V

V

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&

?

178Ó Œ

œ

and

Ó Œ œ#

and

Ó Œ œ

and

.œJœ ˙

to ri ous,

.œjœ# ˙

to ri ous,

.œJœ˙

to ri ous,

.œjœ# ˙˙

˙˙#

˙˙

.œ# œ œŒ œ

Is ra el, and.œ œ œ Œ œ

Is ra el, and

.œ œ œŒ œ

Is ra el, and

Œœ# .œ œ œ œ

and Is ra el, and

Œ œ .œ œ œ œ

and Is ra el, and

Œ œ.œ œ œ œ

and Is ra el, and

˙˙#

˙˙

˙˙

.œ œ œ œ .œJœ

Is ra el vic to ri

.œ œ œ œ .œjœ

Is ra el vic to ri

.œ œ œ œ .œjœ#

Is ra el vic to ri

œ œ œ œ .œJœ

Is ra el vic to ri

œ œ œ œ .œjœ

Is ra el vic to ri

œ œœ œ

.œJœ

Is ra el vic to ri

œœœ

œœœ˙˙.œjœ#

œœ˙

œ ‰Jœ œ œ œ

ous. We praise Him, we

œ ‰Jœ œ œ œ


˙ Ó

ous.

˙ Ó

ous.

œ ‰jœœ œ œ


˙Ó

ous.

œœœœœœ

.œœœ œ

jœ#

œ

œœ œ

- - - - - - -

- - - - - - -

- - -- - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

86

&

&

&

V

V

?

&

?

182œ œ

œ œ œ œ

praise Him, we praise Him, we

œ œ œ œ œ œ


Œ ‰jœ œ œ œ

we praise Him, we

Œœ œ œ œ

We praise Him, weœ œ œ œ œ œ


Œ ‰jœœ œ œ

We praise Him, we

œœœœœœ

œœœœœœ

œ œœ œ










praise Him the Prince of Is rael'sœ œ

œ œ œ œ œ


...œœœ

jœœœœœœ

œœœ

.œ

Jœ œ œ

.œJœ œ ‰ J

œ

vic to ry, Who

.œ

Jœ œ ‰

Jœ

vic to ry, Who

.œjœ œ ‰ j

œ

vic to ry, Who

.œJœ ˙

vic to ry,

.œjœ ˙

vic to ry,

.œjœ˙

vic to ry,

˙˙.œjœ ˙˙

˙˙



œ œ# œ œ .œ œ œ œ




∑

∑

∑

œ œ# œ ...œœœ

jœœœ

œœœœœœœœ

œ œ œœ .œ

Jœ

- - - - -

- - - - -

-- - - -

-- -

- - -

- - -

&

&

&

V

V

?

&

?

186œ œ œ œ .œ

Jœ

Is ra el vic to ri

œ œ# œ œ.œ

Jœ

Is ra el vic to ri

œ œ œœ .œ

jœ

Is ra el vic to ri

∑

∑

∑

œ œ# œ.œjœ

œœœœœœœœ œœ

œ œ œœ ˙

˙ Ó

ous,

˙ Ó

ous,

˙Ó

ous,

Œ œ œ œ œœ

Who now has made us

Œ œ œ# œ# œ œ

Who now has made us

Œœœ œ œ

œ

Who now has made us

œœœ#œœœœœœœœ# œœœ

œœœ

œœœ œ œ

œ

∑

∑

∑



.œ# œ œ œ œ# œœ œ


.œ œ œ œ œ œ œœ


..

.œœœ#

jœœœ

œœœ#œœœœœœœœn

.œjœ œ œ œ

œ

Ó Œœ

and

Ó Œ œ#

and

Ó Œ œ

and

.œJœ ˙

to ri ous,

.œjœ# ˙

to ri ous,

.œJœ˙

to ri ous,

.œjœ# ˙˙

˙˙#

˙˙

.œ# œ œŒ œ

Is ra el, and.œ œ œ Œ œ

Is ra el, and

.œ œ œŒ œ

Is ra el, and

Œœ# .œ œ œ œ

and Is ra el, and

Œ œ .œ œ œ œ

and Is ra el, and

Œ œ.œ œ œ œ

and Is ra el, and

˙˙#

˙˙

˙˙

- - - - - -

- - - - - -

-- -- - -

- - - - - - -

- - - - - - -

- - - - - - -

87

&

&

&

V

V

?

&

?

191.œ œ œ œ .œ

Jœ

Is ra el vic to ri

.œ œ œ œ .œjœ

Is ra el vic to ri

.œ œ œ œ .œjœ#

Is ra el vic to ri

œ œ œ œ .œJœ

Is ra el vic to ri

œ œ œ œ .œjœ

Is ra el vic to ri

œ œœ œ

.œJœ

Is ra el vic to ri

œœœ

œœœ

˙˙.œ

jœ#

œœ

˙

œ œ .œ œ œ œ


œ œ .œ œ œ œ


œœ .œ œ œ œ


œ œ œ œ œ œ


œ œ œ œ œ œ


œ œœ œ

œ œ


˙˙

œœœ

œœœ

˙œ

œ

.œjœ œ œ

to ri ous, vic

.œjœ# œ œ

to ri ous, vic.œ

Jœ œ

œ

to ri ous, vic

.œJœ œ œ

to ri ous, vic

.œjœ œ œ

to ri ous, vic

.œJœœ œ

to ri ous, vic

˙˙ .œ

Jœ#˙˙

˙˙

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

&

&

&

V

V

?

&

?

194.˙ œ

to ri

.˙ œ

to ri

.˙ œ#

to ri

.˙ œ

to ri

.˙ œ

to ri

.˙ œ

to ri

...˙˙˙

œœœ#

˙

˙

w

ous.

w

ous.

w

ous.

w

ous.

w

ous.

w

ous.

www

w

- -

- -

- -

- -

- -

- -

88

V

&

?

44

44

44

196Œ.œ œ œ œ

When re turn ing

Tenor Solo

www

w

œ œ‰œ œ œ

Jeph thah, who vowed to

‰ œ œ œ ˙˙

w

.œ œ œ .œ œ œ

God his sol emn oath,

‰ œ œ œ œ œ œ œ

w

- - - -

V

&

?

199œ œ œ œ œ œ œ œ œ

saw his on ly be got ten daugh ter

www

w

œ œ œ œ œ œ

run ing out to meet him.

˙˙ ˙

‰ jœ œ œ

˙ ˙

Œœb œ œ

He wept in

wwwb

w

-- - - -

V

&

?

202.œb

Jœ ˙

an guish.

‰œ œb œ

œ œb œbœ

w

œ œ œ œ .œJœ

Then he rent his clothes, and

wwwb

w

œ# œœ ˙

sad ly pro claim

œ œ œ ˙˙œœœ œ œ# œ œ œ œ œ œ

w

w

ed:

www

w

w

- - - -

XIV. Chronicler: "When returning Jephthah"89

V

&

?

44

44

44

206œ‰ Jœ œ œ

Woe! Woe is me,

Baritone Solo

www

w

.œ# œ œ œ œ

my on ly daugh ter!

˙˙#

˙˙

˙ ˙

Œœœ# œ œ

Woe! Thou hast un

˙˙ ˙

˙#

˙ ˙

œ œ œ œ œ .œ œb

done me, on ly be got ten

˙˙ ˙

˙#

w

- - - - -

V

&

?

210œb œ Œ

œbœ

daugh ter. Thou hast

œœœb œ

œ ˙b

Œœ

˙˙

.œjœ ˙

un done me.

˙˙

œ œ# ...œœœn

jœœ

˙˙

Œ œ œ œ# œ

And thou like wise,

˙˙

˙˙#

˙ ˙

Œœ.œ# œ œ

Woe! my on ly

˙˙ ˙

˙#

˙ ˙

- - - -

V

&

?

214œ œ œ œ œ .œ

Jœ#

daugh ter thou art un done as

œœœ .œ

jœ œœ˙ œ œ#

œ ˙b œ

œœ œ œ .œ

jœ#

well, thou art un done as

˙ ˙˙

˙ ˙.œ

jœ#

w

well.

ww

w

w

- - -

90

XV. Jephthah: "Woe! Woe is me"

&

&

?

44

44

44

217Œœ œ œ œ

How art thou, my

Soprano Solo

www

w

œ œ œ# ˙

fath er, un done?

˙

˙œ œ# ˙

..œœ#

jœœ#

˙ ˙

Œ œ˙

And how

ww#.˙ œ

w

œ œ œ œ œ œ œ œ œ

then am I, your on ly be got ten

w˙#

˙˙

w

- - - -

&

&

?

221.œ œ œ œ .œ

Jœ

daugh ter, now un done as

œ œ œ œ œ .œ œ..œœ J

œ ˙

˙ ˙

w

well?

www#

w

- -

XVI. Daughter of Jephthah: "How art thou, my father"

91

&

&

?

44

44

44

223Œ ‰jœ# œ œ œ

I o pened my

Baritone Solo

www#

w

œ# œ œ# .œ œ œ

mouth in an oath to God:

˙˙# ˙

..œœ

jœœ#

w


"That which comes out first from the doors

˙˙# ˙

˙˙

˙ ˙#

-

&

&

?


of my house to greet me,

˙˙ ˙

˙# ˙

œ œ œ œ œ .œ œ œ œ

I shall then of fer to the Lord as

www

w

œ œ œ œ# ˙

sac ri fi cial of

˙ œ œ œ œ#˙ œ# œ#

˙ ˙

- - - - -

&

&

?

229

œ‰ Jœ œ œ

f'ring." Woe is me,

˙˙# œ

œœ

≈ œ œ œ

˙˙

.œ# œ œ œ œ

my on ly daugh ter.

˙˙˙#

˙˙#

˙ ˙

Œœ

‰ œ# œ .œ œ

Woe! For thou hast un

œœœ≈ œ œb œ ˙˙

#

˙ ˙

- - -

92

XVII. Jephthah: "I opened my mouth"

&

&

?

232œ œ œ œ œ œ œb

done me, on ly be got ten

˙˙ ˙

˙#

w

œb œ Œœbœ

daugh ter. Thou hast

œœœb ≈ œ œ œn ˙

˙b

˙˙

.œjœ ˙

un done me,

‰ œœn œ œœ#

˙˙b

˙˙

- - - - -

&

&

?

235Œ œ œ œ# œ

and thou like wise.

˙˙n

˙˙#

˙ ˙

Œœ

.œ# œ œ

Woe! My on ly

˙ .œ

jœ ˙˙#

˙ ˙

œ œ œ œ œ .œ

Jœ#

daugh ter, thou art un done as

œœœ

≈

œ œb œœ œ œ

œ œœ

œ ˙b œ

- - -

&

&

?

238œ

œ œ œ .œjœ#

well. Thou art un done as

˙ ≈

œn œ œœ

˙œœ

œœ

w

well.

ww#

w

-

93

&

&

?

44

44

44

240Œ œ# œ œ

My fath er!

Soprano Solo

www#

w

Œœ# œ œ

My fath er,

ww#.˙ œ œ

w

Œ œ œœ œ œ œ

if you swore your vow to

www#

w

.œ œ œ ‰ œ œ œ

God, our Lord, re turn ing

˙..œœ

jœœ ˙˙

w

&

&

?

244œ œ

œ .œjœ

vic to ri'ous o'er our

˙˙ ˙

˙œ œ# œ œ

˙ ˙

˙ ‰ œœ œ

foes. Be hold now

www

w

œ œ œ# œ œ .œ œ

I, your on ly be got ten

˙˙

˙˙˙#

˙ ˙#

œ œŒœ œ#

daugh ter, of fer

˙..œœ

jœœ#˙˙

w

- - - - -

&

&

?

248œ# œ œ œ œ œ œ

up my self, a sac ri fice

˙˙˙#

‰ jœ œœ# œ

˙# ˙n

œ# œ .œJœ

to thy vic to

œ œ# œœ ˙˙

œ .œ

Jœ# œ

œ# œn ˙

˙Œ œ#

ry. But

www#

w

œ œ Œ œ#

on ly, my

www

w#

œ œ œ œ œ œ

fa ther, grant un to your

Œœ œ˙˙˙

w#

- - - - - -

&

&

?

253

œ œ œ œ œ# œ œ

on ly be got ten daugh ter

˙˙˙

˙˙#

˙# ˙

œ œœ .œ

jœ

one wish be fore I

˙ ˙˙.˙ œ#

˙ ˙

w

die.

www#

w

- - - - -

94

XVIII. Daughter of Jephthah: "My father!"

V

&

?

44

44

44

256Œ ‰ Jœ# .œ œ œ

But what can I

Baritone Solo

ww˙# .œ

jœ

w

œ œ œ# œ œœ

do to com fort your

˙

˙

˙˙#

‰ œ

Jœ#

˙ ˙


soul? What can I of fer you, doomed

˙˙ ˙

˙

˙ œ# œn

- -

V

&

?

259œ# œ œ

œ œ .œjœ

daugh ter, in con so la

.˙˙˙# ˙

˙

œ

˙# ˙n

w

tion?

www#

w

- - - -

95

XIX. Jephthah: "But what can I do"

&

&

?

44

44

44

261‰œ œ œ

˙#

Send me a way

Soprano Solo

ww#.˙

œ

w


for the space of two months to

˙˙# ˙

˙˙

˙ ˙#

.œ œ œœ œ# œ

wan der in the moun tains.

˙˙

˙#

˙# ˙

- - -

&

&

?

264‰ œ# œ œ œ œ œ#

And with my friends, as com

www#

w

œ œ ‰ œ œ œ

pan ions, mourn

œœœ#‰œ œ ˙˙˙

w#

.œ œb œ ‰ œœb œ

ful, mourn

œœœœœœb

œb œ ˙˙˙

˙˙n

- - - -

&

&

?

267.œ œb œ

‰ œ œb œ

ful, la ment, there,

œœœ

œœ.œb œ

œœœ

œœœb

˙ ˙

œ# œ ˙ œ

my vir gi ni

˙œœ#

œœb ˙œ œ

œ œb ˙

w

ty.

wwwn

w

- - - - -

96

XX. Daughter of Jephthah: "Send me away"

V

&

?

44

44

44

270Œ œ œ œ# œ

Go my daugh ter.

Baritone Solo

˙˙

˙˙#

˙ ˙

œ œ# œ œ œ œ œ œ#

Go my daugh ter, my on ly be

.

..

˙˙˙

œœœ

w#

œ# œ œœ œ œ#

got ten and mourn ful, and

˙˙#

˙˙#

˙ ˙

- - - - -

V

&

?

273œ .œ

Jœ œ œ

mourn ful la ment there

˙

˙ .œ

Jœ ˙

‰ jœœ œ

˙# ˙

œ œ ˙ œ#

thy vir gin i

œœ œ

˙˙

˙ œ œ#

˙ ˙

w

ty.

www#

w

- - -- -

97

XXI. Jephthah: "Go my daughter"

&

&

V

?

&

?

44

44

44

44

44

44

276œ œ œ œ œ

Then to the moun tains

Chorus (4-parts)

œ œ œ œ œ#


œ œ œ œ œ


œ œ œ œœ


˙˙

œœœœœœ#

˙ œœ

˙ œ œ

went the daugh

˙ œ œ

went the daugh

˙ œ œ

went the daugh

˙ œ œ

went the daugh

˙˙ œœ

œ

œœœ

˙ œ œ

œ œ œ œ œ

ter of Jeph

œ œ œ ˙

ter of Jeph

œ œ œ ˙

ter of Jeph

œ œœ˙

ter of Jeph

œœœœœœ ˙˙

œ œ

œœ˙

˙ .œJœ

thah, there la

˙ .œjœ

thah, there la

˙ .œJœ

thah, there la

˙ .œjœ

thah, there la

˙˙ ...

œœœ

jœœœ

˙ .œjœ

œb œ œ œ œ

ment ing, with her com

œ œ œ œ œ


œ œ œ œ œ


œ œ œ

œ œ


.

..˙˙b

œœœ

˙

˙

- - - - - -

- - - - - -

- - - - - -

- - - - - -

&

&

V

?

&

?

281.œ

jœ œ œ

pan ions, her vir

.œ#jœ œ œ

pan ions, her vir

.œJœ œ œ

pan ions, her vir

.œJœ œ œ

pan ions, her vir

...˙˙# œœ

œ

˙ ˙

œ œ œ œ

gin i ty. with

œ œ œ œ

gin i ty. with

œ œ œ œ

gin i ty. with

œœœ œ

gin i ty. with

˙œœœœ˙œ œ

œœœ œ

˙ ˙

sor row,

˙ ˙#

sor row,

œ œ# ˙

sor row,

˙˙

sor row,

˙˙œ œ#

˙˙#

˙˙

w

say

w

say

.˙ œ

say

.˙ œ

say

ww.˙ œ

.˙ œ

w

˙ ˙#

w

w

w

w˙ ˙#

w

w

ing:

w

ing:

w

ing:

w

ing:

www

w

- - - - - -

- - - - - -

- - - -

- - - - -

- -

-

XXII. Chronicler: "Then to the mountains"

98

&

&

&

&

?

44

44

44

44

44

Score

287Œ ‰

jœ œ .œ œb

La ment ye, La

Soprano Solo and Echo Duet

∑

Echo 1:

∑

Echo 2:

www

w

œ œ œ ˙ œ#

ment and mourn all ye

∑

∑

˙œ œ œ ˙

œœ œœ#

œ œ ˙

œ ‰ Jœ œ œ œb

hills. And grieve ye, and

∑

∑

˙˙

˙˙

˙˙

- -

&

&

?

290œ œ œ ˙ œ#

grieve ye moun

œœb œ ˙˙.œ œ œ œ œ#

œ œb ˙

˙œ# œ œ œ œ

tains. Howl in af flic tion

˙˙#

˙˙˙

w

œ œ œ œ ˙

of my bro ken heart.

˙˙˙

˙˙

˙# ˙

- - - -

&

&

?

293

œn œ œ œ œ ˙

Sor row

˙˙˙n ˙

Œœ œ œ œ

˙ ˙

œ œ# ˙

and grief.

œœ œœ## ˙˙#

˙˙

œ œ œ œ œ œ œ œ œ

Howl in af flic tion of my bro ken

ww˙ ˙

˙# ˙

- - - -

&

&

?

296˙ œb œ œ œ œ

heart. Sor row

˙˙

˙˙b

˙˙

.˙ œ#

and

.˙

Œœ œ œ œ œ œœ#

˙ ˙

w

grief.

www#

w

-

99

XXIII. Daughter of Jephthah - Echo: "Lament ye"

&

&

&

&

?

299∑

.˙ œ œ œ œ

Sor row

œb œ œ œ œ ˙

Sor row

∑

˙ ˙

∑

œ œ ˙

and grief.

œ œ# ˙

and grief.

∑

˙˙

Œ ˙b œ œ

For I

∑

∑

wwwb

w

-

-

&

&

?

302

.œ# œ œ œ œ

die as a vir gin,

˙˙# ˙

˙b

w

Œ œ œ.œ œ œ œ

in my death not find ing

wwwn

w

œ# œ# œ œ œ œ œ œ

some con so la tion in hav ing

˙œœ# œ

œ# œœ

œœœœ

œ# œ# œœ

- - - - - -

&

&

?

305.œ

Jœ# ˙

child ren.

˙# .œ

Jœ#˙˙#

œ#œ

˙˙

Œœ œ .œ œ# œ

Then la ment all ye

www

w#

œ œœ# œ œ

wood lands, foun tains and

˙˙˙

˙˙#

˙ ˙

- - - -

&

&

?

308.œ œ œ ‰ œ œ œ

flow ing streams at the de

˙˙

˙˙#

w

Jœ œ œ œ .œ œb œ

struc tion of a vir gin.

˙˙# ˙

˙œ œb

˙˙

œb œ œb œ ˙

Oh! Cry in an

.˙b˙b ˙

œ œ œ

w

- - - - -

100

&

&

?

311œ œ# œ

œ œ œ

guish. Foun tains and

œœb œœ#˙n

Œœ

˙˙

.œ œ œ‰ œ œ œ

flow ing streams at the de

˙˙˙n

˙˙˙

w#

Jœ œ œ œ .œ œ œ

struc tion of a vir gin:

.˙˙˙

œœ

œœœ

˙ ˙

- - - - - -

&

&

&

&

?

314œb œ œ œ ˙

Oh! Cry in an

∑

∑

.˙˙b ˙

œ œ œ

.˙ œ

œ œ# ˙

guish!

∑

∑

œœ œœ#˙

˙˙

∑

.˙ œ œ œ

Oh! Cry in

œb œ œ œ ˙

Oh! Cry in an

∑

˙ ˙

-

-

&

&

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317∑

œ œ ˙

an guish!

œ œ# ˙

guish!

∑

˙˙

Œ ˙ œ# œ

Woe! is my

∑

∑

www

w#

œ œŒ

œ

heart break. Woe!

∑

∑

ww

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w

-

-

-

101

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320œ œ# œ œ œ

is my heart break

www

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w#

‰œ œ

œ œœ .œ# œ œ

'midst the joy of the mul ti tude,

˙˙

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- - -

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322‰ œ œ

œ œœ .œ œ

JœJœ

and the vi ct'ry of Is ra el and

˙˙˙

˙˙

˙# ˙

œ œ .œ œ œ œ

glo ry of my fa ther.

˙˙˙

˙˙

˙ ˙

Œ .œJœ œ œ

I am with out

www

w#

- - - - - -

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325.œ œ œ .œ

jœ#

child ren, a vir

˙˙

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œ# œ œ œ œ œ œ œ

gin. I, the on ly be got ten

ww#˙ ˙

w

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daugh ter now must

w.

.

˙˙

œ

œ

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- - - - - -

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328jœ#Jœ .œ œ œ œ

.œ# œ

die

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˙˙

˙˙

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and not live

‰ jœ# .œ œ ‰

jœ .œ œ

œ# œ œ œ

˙ ˙

˙‰ œ# œ œ œ œ

more. Quake and trem ble ye

www#

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-

102

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331

˙‰ œ# œ œ œ œ

rocks. Be as tound ed ye

www

w#

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hills. Val leys and

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w

œ œœ .œ œ œ œ

cav erns in hor ri ble sound

˙˙

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w

- - - - - -

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334.œ œ œ œ œ œ

œ œ œ

res on ate, re so

˙˙œ œ

˙

˙

˙˙

œ œ œ œ œ

nate. Val leys and

œœ

œ œ# œœœ˙˙

œœ ˙

œ œœ.œ œ œ œ

cav erns in hor ri ble sound

ww˙ ˙

w#

- - - - - - - -

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337.œ œ œ œ

.œ œ œ œ

re so nate, in hor ri ble sound

˙˙œ œ

˙˙n#

w

.œ œ œ œ œ œ œ œ œ œ œ

re so nate, re

˙˙

œ œn ˙˙

w

œ œ œœ œ œ œ

so nat ing.

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œœœ œœœœ

œ œ œœ

- - - - - - - - -

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340∑

œ œ œ œ œ œ œ œ œ œ œ œ œ

re so

œ œ œ œ œ œ œ œ œ# œ œ œ œ

re so

∑

.˙ œ

∑

œ œ Ó

nat ing.

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nat ing.

∑

œœÓ

Œ ‰jœ œ œ œ

La ment then, La

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www

w

- - -

- - -

- -

103

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ment ye chil dren of

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.œ œ œŒ œ#

Is ra el. La

˙..œœ#

jœœ#˙˙

w

œ œ œ# œ œ .œ œ

ment ye at my vir gin i

w

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˙ ˙#

- - - - - - -

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346˙ Œ œ#

ty and

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w

œ# œ œ œ œ œ œ

Jeph thah's on ly be got ten

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˙

˙ ˙

œ œœ

.œ œ œ œ

daugh ter in songs of deep est

ww˙ ˙

w#

- - - - - -

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349.œ

Jœ ˙

an guish,

˙ ‰ œ œ œ˙ ˙

w

.œ#Jœ ˙

la men ta

w˙##

˙

˙ ˙

œ œ# œ‰

jœ#

tion, for

˙˙# œ œ#

˙˙#

˙˙

- - - -

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352œ œ œ œ œ œ œ

Jeph thah's on ly be got ten

˙˙ ˙

˙#

˙ ˙

œ œœ .œ œ œ

œ

daugh ter hear songs of deep est

ww

˙ ˙

w#

.œbjœ ˙

an guish,

˙˙b ˙

‰ jœ œ œ

w

- - - - - - -

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355.œ#

jœ ˙

la men ta

w˙#

˙

˙ ˙

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tion.

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˙˙

˙˙

- - -

104

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44

44

44

44

44

44

44

44

357∑

Chorus (6-parts)

Ó ˙

Weep

Ó ˙#

Weep

Ó˙

Weep

∑

w

Weep

www#

w

∑

œ œ œ œ œ

now, oh chil dren of

œ œ œ œ œ


œ œ œ œ œ


∑

œ œ œ œ œ


˙˙

˙˙˙

˙ ˙

∑

.˙ œ

Is ra.œ œ œ .œ

Jœ

Is ra

˙ ˙

Is ra

∑

.˙ œ

Is ra

w˙ ˙

˙

w

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weep

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el, weep

˙ Œ œ

el, weep

˙ ˙

el, weep

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weep˙ ˙

el, weep

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˙

˙ ˙

- - -

- - -

- - -

- - -

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361œ œ œ œ

now, oh all yeœ œ œ œ

now, oh all ye

œœ œ œ

now, oh all ye

œ œ œ œ



now, oh all ye

˙˙

˙˙˙

˙ ˙

.œ œ œ .œJœ

vir gins,˙ ˙

vir gins,

.˙ œ

vir gins,

.œ

Jœ .œ

jœ

vir gins,

.˙ œ

vir gins,.˙ œ

vir gins,

w˙ ˙

˙

w

˙ Œœ

weep for˙

Œ œ

weep for

˙# Œ œn

weep for

˙Œœ

weep for

˙ Œ œ

weep for˙ Œ œ

weep for

˙˙# ˙

˙n

˙ ˙

œ .œJœ œ

Jeph thah's dear,.œ

Jœ ˙

Jeph thah's dear,

œ .œjœ œ

Jeph thah's dear,

œ .œJœ œ

Jeph thah's dear,

œ .œjœ œ

Jeph thah's dear,

.œjœ ˙

Jeph thah's dear,

...˙˙

œœœ

.˙ œ

- -

- -

- -

- -

- -

- -

105

XXIV. Children of Israel: "Weep now, oh children of Israel"

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365œ œ œ œ œ

on ly be got tenœ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got tenœ œ œ

œ œ

on ly be got ten

˙˙

˙˙

˙˙

.˙ œ

daugh ter.˙# œ

daugh ter

.˙ œ

daugh ter

.˙ œ

daugh ter.˙# œ

daugh ter.˙ œ

daugh ter

www#

w

w

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weep˙# Ó

weep

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weep

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weep˙# Ó

weep˙ ˙

weep in

˙˙

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˙

˙

˙

˙

∑

∑

∑

Ó˙

in

∑

.œJœ .œ

Jœ

songs of bit ter

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˙

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∑

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songs of bit ter

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inw

sor

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w

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in∑

∑

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sor

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jœ

songs of bit ter˙ ˙

row, sor

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w

w

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songs of bit ter∑

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in

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row,

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sor

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row

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in

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songs of bit ter

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row, sor

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- -

-

- - -

- - -

- -

106

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row, sor˙ ˙

sor row,

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row, sor row

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sor

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w

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row grievew

grieve

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grieve

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grieve.

w

grieve.w

grieve.

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w

œ œ .œJœ

La men ta tionsœ œ .œ

Jœ

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Œ ˙n œ

La men

.˙ œ

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La

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sound. La men

˙ œ œ

sound. La men

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ta

w

ta

.œjœ œ œ œ

ta tions sound. La men

˙ ˙

men

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˙

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.˙ œ

ta tions

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ta tions

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tions

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tions

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ta tions.˙ œ

ta tions

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˙ œ œ

sound. La men˙ œ œ

sound. La men

w

sound.

w

sound.

w

sound.

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sound. La men

˙˙

˙˙

w

.œ

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ta tions sound..œ

jœ ˙

ta tions sound.

Ó œ œ

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ta tions

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˙˙

w

- - - - - -

- - - - - -

- - -

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- - - - - -

- - - - - -

107

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381Ó œ œ

La menÓ œ œ

La men

.œjœ ˙

ta tions sound.

.œ

Jœ ˙

ta tions sound..œ

Jœ ˙

ta tions sound.

˙ œ œ

sound. La men

˙˙ œ

œœ

œœœ

w

.œjœ ˙

ta tions sound..œ

Jœ ˙

ta tions sound.

Ó œ œ

La men

Óœ œ

La men

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w

ta

˙˙˙

˙˙

w

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La menÓ œ œ

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.œjœ œ œ œ


.œ

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ta tions sound. La men.œ

Jœ œ œ œ

ta tions sound. La menw

˙˙# ˙˙

w

.˙ œ

ta tions.˙ œ

ta tions

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ta tions

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ta tions

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ta tions.˙ œ

tions

ww

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w

- - - - - -

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- - - - - - - -

- - - - - - -

- - -

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385w

sound.˙ ˙

sound. Weep,

˙ Œ œ#

sound. Weep,

˙ Œœ

sound. Weep,

˙ Ó

sound.

˙Œ œ

sound weep,

˙˙

˙˙#

˙˙

∑

œ œ œ œ œ


œ œ œ œ œ


œ œ œ œ œ


∑

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˙˙

˙˙˙

˙ ˙

∑

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Is ra.œ œ œ .œ

Jœ

Is ra

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∑

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w˙ ˙

˙

w

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weep

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el, weep

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el, weep

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el, weep

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weep˙ ˙

el, weep

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˙

˙ ˙

- - -

- - -

- - - -

- - -

108

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389œ œ œ œ


now, oh all ye

œœ œ œ

now, oh all ye

œ œ œ œ



now, oh all ye

˙˙

˙˙˙

˙ ˙

.œ œ œ .œJœ

vir gins,˙ ˙

vir gins,

.˙ œ

vir gins,

.œ

Jœ .œ

jœ

vir gins,

.˙ œ

vir gins,.˙ œ

vir gins,

w˙ ˙

˙

w

˙ Œœ

weep for˙

Œ œ

weep for

˙# Œ œn

weep for

˙Œœ

weep for

˙ Œ œ

weep for˙ Œ œ

weep for

˙˙# ˙

˙n

˙ ˙

œ .œJœ œ

Jeph thah's dear,.œ

Jœ ˙

Jeph thah's dear,

œ .œjœ œ

Jeph thah's dear,

œ .œJœ œ

Jeph thah's dear,

œ .œjœ œ

Jeph thah's dear,

.œjœ ˙

Jeph thah's dear,

...˙˙

œœœ

.˙ œ

- -

- -

- -

- - -

- -

- -

&

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393œ œ œ œ œ

on ly be got tenœ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got ten

œ œ œ œ œ

on ly be got tenœ œ œ

œ œ

on ly be got ten

˙˙

˙˙

˙˙

.˙ œ

daugh ter.˙# œ

daugh ter

.˙ œ

daugh ter

.˙ œ

daugh ter.˙# œ

daugh ter.˙ œ

daugh ter

www#

w

w

˙Ó

weep˙# Ó

weep

˙ Ó

weep

˙Ó

weep˙# Ó

weep˙ ˙

weep in

˙˙

˙˙n

˙

˙

˙

˙

∑

∑

∑

Ó˙

in

∑

.œJœ .œ

Jœ

songs of bit ter

w˙ ˙

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˙

˙

˙

˙

- - - -

- - - -

- - - -

- - - - -

- - - -

- - - - -

109

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397∑

∑

∑

.œJœ .œ

Jœ

songs of bit ter

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inw

sor

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w

w

Ó˙

in∑

∑

˙ ˙

sor

.œjœ .œ

jœ

songs of bit ter˙ ˙

row, sor

˙˙ ˙

˙

w

w

.œJœ .œ

Jœ

songs of bit ter∑

Ó ˙

in

w

row,

w

sor

w

row

ww˙ ˙

w

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sorÓ

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in

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songs of bit ter

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sor

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row, sor

w

w˙ ˙

w

- -

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.œJœ .œ

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songs of bit ter

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sor

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row

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row

w

..˙˙ ˙ œœ

w

.˙œ

row, sor˙ ˙

sor row,

œ œ˙

row, sor row

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sor

w

w

ww˙˙

w

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row grievew

grieve

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grieve

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grieve.

w

grieve.w

grieve.

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w

œ œ .œJœ


Jœ

La men ta tions

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La men

.˙ œ

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La

wwwn

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- - - - -

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- - - -

- - -

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-

110

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405˙ œ œ

sound. La men

˙ œ œ

sound. La men

˙# ˙

ta

w

ta

.œjœ œ œ œ


˙ ˙

men

˙˙# ˙

˙

˙ ˙

.˙ œ

ta tions

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ta tions

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tions

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ta tions.˙ œ

ta tions

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w

˙ œ œ

sound. La men˙ œ œ

sound. La men

w

sound.

w

sound.

w

sound.

˙ œ œ

sound. La men

˙˙

˙˙

w

.œ

Jœ ˙

ta tions sound..œ

jœ ˙

ta tions sound.

Ó œ œ

La men

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ta tions

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˙˙

w

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409Ó œ œ

La menÓ œ œ

La men

.œjœ ˙

ta tions sound.

.œ

Jœ ˙

ta tions sound..œ

Jœ ˙

ta tions sound.

˙ œ œ

sound. La men

˙˙ œ

œœ

œœœ

w

.œjœ ˙

ta tions sound..œ

Jœ ˙

ta tions sound.

Ó œ œ

La men

Óœ œ

La men

Ó œ œ

La men

w

ta

˙˙˙

˙˙

w

˙# ˙

La menÓ œ œ

La men

.œjœ œ œ œ


.œ

Jœ œ œ œ

ta tions sound. La men.œ

Jœ œ œ œ


˙˙# ˙˙

w

.˙ œ

ta tions.˙ œ

ta tions

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ta tions

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ta tions

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tions

ww

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w

- - - - - -

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- - - - - - -

- - - - - - -

- - - - - - -

- - -

111

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413w

sound.w

sound.

w

sound.

w

sound.

w

sound.

w

sound.

www

w

œ œ .œ

Jœ


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la men ta tions

w

Œ˙ œ

La men

˙ œ œ

La men

w

La

www

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˙ œ œ

sound. La menw

sound.

∑

.˙ œ

ta tions

˙# ˙

ta

˙ ˙

men

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˙

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œ œ œ œ œ

ta tions sound. La men∑

∑

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sound. La men

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tions.˙ œ

ta tions

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w

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ta tionsÓ

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ta tions

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sound. La˙ œ œ

sound. La men

w˙ ˙.˙ œ#

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sound. La men˙ ˙

men

œ œ œ œ œ


w

sound.˙ ˙

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ta

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ww

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419.˙ œ

ta tions.˙ œ

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ta tions

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La men.˙ œ

ta tions.˙ œ

tions

ww

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w

sound.w

sound.

˙ œ œ

sound. La men

œ œ œ œ œ


˙ œ œ

sound. La men

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sound. La men

˙˙˙

w

w

Ó œ œ

La menÓ œ œ

La men

.œjœ ˙

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116

Rose, Gloria. “The Cantatas of Giacomo Carissimi.” Musical Quarterly. 48:2, (April1962) 204-215.

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