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Story of Jephtah: An Oragorio by GiacomoCarissimi English Translation and Dramatic Staging
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
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
Howard E. Smither, A History of the Oratorio, vol. 1 (Chapel Hill: University of7
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
Howard E. Smither, A History of the Oratorio, vol. 1 (Chapel Hill: University of14
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
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)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.”
30
4. Chronicler – Treble Duet
Latin Bruce W. Bishop translationEnglish word-for-word translation
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)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
32
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)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.
34
7. Chronicler – Alto Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.
35
8. Chronicler – Chorus (3-parts)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.
36
John R. Halliday, Diction for Singers, (Provo, Utah: BYU Press, 1968), 43.23
9. Chronicler – Bass Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
37
10. Daughter of Jephtah – Soprano Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
12. Daughter of Jephtah – Soprano Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.
41
13. Children of Israel – Chorus (6-parts)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
Latin Bruce W. Bishop translationEnglish word-for-word translation
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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15. Jephtah – Baritone Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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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16. Daughter of Jephtah – Soprano Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
17. Jephtah – Baritone Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
18. Daughter of Jephtah – Soprano Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
19. Jephtah – Baritone Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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.
50
20. Daughter of Jephtah – Soprano Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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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21. Jephtah – Baritone Solo
Latin Bruce W. Bishop translationEnglish word-for-word translation
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)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
54
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.
56
24. Chronicler – Chorus (6-part)
Latin Bruce W. Bishop translationEnglish word-for-word translation
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
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44
44
44
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Tenor Solo
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clared a gainst the child ren of
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.
..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
Jour ney ing, thus went
œ œ œ œ œ#
Jour ney ing, thus went
œ œ œ œ œ
Jour ney ing, thus went
œ œ œ œ œ
Jour ney ing, thus wentœ œ œ œ
œ
Jour ney ing, thus went
..
.˙˙
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
?
&
?
31Ó Œ ‰
jœ
to
‰œ œ œ œ œ œ
to bat tle a gainst Am
‰œ
œ œ œ œ œ
to bat tle a gainst Am
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
to bat tle a gainst Am
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
mon, a gainst Am mon.
œ œ œ œ œ
mon, a gainst Am mon.
œ œ œ œ œ œ
bat tle a gainst Am mon.
œœ
œœ
œ
mon, a gainst Am mon.
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
then was joined a gainst the host of
œ œ œ œ œ œ œ œ
then was joined a gainst the host of
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
Flee and re treat quick ly, turn back and scat ter, oh
œ œ œ œ# œ œ œ œ œ œ œ œ
Flee and re treat quick ly, turn back and scat ter, oh
∑
∑
∑
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
in fi dels! Flee and re treat quick ly,
.œ œ# œœ œ œ œ œ œ
in fi dels! Flee and re treat quick ly,
Óœ œ œ œ œ œ
Flee and re treat quick ly,
Ó œ œ œ œ œ œ
Flee and re treat quick ly,
Óœ œ œ
œ œ œ
Flee and re treat quick ly,
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
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 œœ
œ œ.œ œ
œ
turn back and scat ter, oh in fi dels!
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
Flee and re treat quick ly,
Óœ œ œ œ œ œ
Flee and re treat quick ly,
Ó
œ œ œ œ œ œ
Flee and re treat quick ly,
.œ œ œ ˙œœ
œœ œ œ
œœ
œ œ
- - -
-
-
-
-
-
-
-
&
&
&
V
V
?
&
?
65∑
∑
∑
œ 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 œ œ .œ œ œ
turn back and scat ter, oh in fi dels!
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
Flee and re treat quick ly, turn back and scat ter, oh
œ œ œ œ œ œ œ œ œ œ œ œ
Flee and re treat quick ly, turn back and scat ter, oh
œ œ œ œ œ œ œ œ œ œ œ œ
Flee and re treat quick ly, turn back and scat ter, oh
œœ œ œ œ œ œ œ œ œ œ œ
Flee and re treat quick ly, turn back and scat ter, oh
œ œ œœ œ œ
œ œ œœ
œ œ
Flee and re treat quick ly, turn back and scat ter, oh
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
œ œ œ œ 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
Be ye scat tered far.
Œœ œ .œ# œ œ
Be ye scat tered far.
.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
Be ye scat tered far.
Œ œ œ .œ œ œ
Be ye scat tered far.
Œœ œ
.œ œœ
Be ye scat tered far.
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
fore all the chil dren of
www
˙# ˙n
-- - -
- - - -
- - - -
&
&
V
&
?
84œ# œ œ œn œ œ
fore all the chil dren of
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
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&
?
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
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-
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"
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&
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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 ˙
.˙ œ œ œœ œ œ
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
.˙ œ œ œœ œ œ
˙˙ 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
œ œ œ œ 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
&
&
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?
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
œ œ œ œ œ œ œ œ#
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
œ œ œ œ œ œ œ œ œ œ œ
host
www
˙˙
w˙
œ œ œ œ œ œ œ œ
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"
&
&
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142œ œ œ œ œ œ œ œ
˙
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
œ œ œ œ œ œ œ œ œ œ œ
host
www
˙˙
w˙
œ# œ œ œ œ œ œœ
to be
œ œ œ œ œ œ œ œ#
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
&
&
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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"
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&
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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
Come let us sing our
œ œ œ œ œ#
Come let us sing our
∑
∑
∑
..
.˙˙
œœœ#
.˙œ
.œJœ ˙
thanks to God.
.œJœ ˙
thanks to God.
.œjœ ˙
thanks to God.
∑
∑
∑
www
w
œ œ œ œ œ
Come let us sing our
œ œ œ œ œ#
Come let us sing our
œ œ œ œ œ
Come let us sing our
œ œ œ œ œ
Come let us sing our
œ œ œ œ œ
Come let us sing ourœ œ œ œ
œ
Come let us sing our
..
.˙˙
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
praise Him, we praise Him the
œ œ œœ œ œ
praise Him, we praise Him the
∑
∑
∑
...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
Prince of Is rael's vic to
œœ œ œ
.œjœ
Prince of Is rael's vic to
∑
∑
∑
.œjœ .œ
jœœ
œ œœœ œœ ˙˙
œœ œ œ
˙
œ‰ Jœ œ œ œ
ry. We praise Him, we
œ ‰Jœ œ œ œ
ry. We praise Him, we
œœ œ œ œ
ry. We praise Him, we
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
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael'sœ œ
œ œ œ œ œ
praise Him the Prince of Is rael's
...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 ˙˙
˙˙
- - - - - -
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- - - - - -
- - -
- - -
- - -
85XIII. Chorus: "Come let us sing our thanks"
&
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V
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&
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174œ œ œ
œ .œ œ œ œ
now has made us glo ri ous and
œ œ# œ œ .œ œ œ œ
now has made us glo ri ous and
œ œ œœ .œ œ œ œ
now has made us glo ri ous and
∑
∑
∑
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
glo ri ous and Is ra el vic
.œ# œ œ œ œ# œœ œ
glo ri ous and Is ra el vic
.œ œ œ œ œ œ œœ
glo ri ous and Is ra el vic
..
.œœœ#
jœœœ
œœœ#œœœœœœœœn
.œjœ œ œ œ
œ
- - - - - - -
- - - - - - -
- - - -- - -
- - - - -
- - - - -
- - - - -
&
&
&
V
V
?
&
?
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
ous. We praise Him, we
˙ Ó
ous.
˙ Ó
ous.
œ ‰jœœ œ œ
ous. We praise Him, we
˙Ó
ous.
œœœœœœ
.œœœ œ
jœ#
œ
œœ œ
- - - - - - -
- - - - - - -
- - -- - - -
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
86
&
&
&
V
V
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&
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182œ œ
œ œ œ œ
praise Him, we praise Him, we
œ œ œ œ œ œ
praise Him, we praise Him, we
Œ ‰jœ œ œ œ
we praise Him, we
Œœ œ œ œ
We praise Him, weœ œ œ œ œ œ
praise Him, we praise Him, we
Œ ‰jœœ œ œ
We praise Him, we
œœœœœœ
œœœœœœ
œ œœ œ
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael's
œ œ œ œ œ œ œ
praise Him the Prince of Is rael'sœ œ
œ œ œ œ œ
praise Him the Prince of Is rael's
...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 œœ .œ œ œ œ
now has made us glo ri ous and
œ œ# œ œ .œ œ œ œ
now has made us glo ri ous and
œ œ œœ .œ œ œ œ
now has made us glo ri ous and
∑
∑
∑
œ œ# œ ...œœœ
jœœœ
œœœœœœœœ
œ œ œœ .œ
Jœ
- - - - -
- - - - -
-- - - -
-- -
- - -
- - -
&
&
&
V
V
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&
?
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 œ œ œ
glo ri ous and Is ra el vic
.œ# œ œ œ œ# œœ œ
glo ri ous and Is ra el vic
.œ œ œ œ œ œ œœ
glo ri ous and Is ra el vic
..
.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
ous, and Is ra el vic
œ œ .œ œ œ œ
ous, and Is ra el vic
œœ .œ œ œ œ
ous, and Is ra el vic
œ œ œ œ œ œ
ous, and Is ra el vic
œ œ œ œ œ œ
ous, and Is ra el vic
œ œœ œ
œ œ
ous, and Is ra el vic
˙˙
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
&
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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"
&
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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
&
&
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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
œ œ œ œ œ œ œ œ
"That which comes out first from the doors
˙˙# ˙
˙˙
˙ ˙#
-
&
&
?
226œ œ œ œ œ œ œ œ
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"
&
&
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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#
˙ ˙
.œ œ œ œ œ œ œ œ
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
œ œ œ œ œ œ œ
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#
Then to the moun tains
œ œ œ œ œ
Then to the moun tains
œ œ œ œœ
Then to the moun tains
˙˙
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
ment ing, with her com
œ œ œ œ œ
ment ing, with her com
œ œ œ
œ œ
ment ing, with her com
.
..˙˙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"
&
&
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&
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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
∑
˙ ˙
-
-
&
&
&
&
?
317∑
œ œ ˙
an guish!
œ œ# ˙
guish!
∑
˙˙
Œ ˙ œ# œ
Woe! is my
∑
∑
www
w#
œ œŒ
œ
heart break. Woe!
∑
∑
ww
Œ ˙ œ#
w
-
-
-
101
&
&
?
320œ œ# œ œ œ
is my heart break
www
Œ ˙ œ#
w#
‰œ œ
œ œœ .œ# œ œ
'midst the joy of the mul ti tude,
˙˙
˙˙#
˙# ˙
- - -
&
&
?
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#
- - - - - -
&
&
?
325.œ œ œ .œ
jœ#
child ren, a vir
˙˙
˙˙
˙˙
œ# œ œ œ œ œ œ œ
gin. I, the on ly be got ten
ww#˙ ˙
w
œ œ .œjœ#
daugh ter now must
w.
.
˙˙
œ
œ
˙˙
- - - - - -
&
&
?
328jœ#Jœ .œ œ œ œ
.œ# œ
die
˙˙#
˙˙
˙˙
œ# œ# ˙ œ
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#
w
-
102
&
&
?
331
˙‰ œ# œ œ œ œ
rocks. Be as tound ed ye
www
w#
˙œ# œ œ
hills. Val leys and
www#
w
œ œœ .œ œ œ œ
cav erns in hor ri ble sound
˙˙
˙˙#
w
- - - - - -
&
&
?
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#
- - - - - - - -
&
&
?
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.
œ# .œjœ œœ
œœœ œœœœ
œ œ œœ
- - - - - - - - -
&
&
&
&
?
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.
œ œ# œ Ó
nat ing.
∑
œœÓ
Œ ‰jœ œ œ œ
La ment then, La
∑
∑
www
w
- - -
- - -
- -
103
&
&
?
343œ œ .œ# œ œ
ment ye chil dren of
w
w˙ ˙b
˙ ˙#
.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
w˙ ˙#
˙ ˙#
- - - - - - -
&
&
?
346˙ Œ œ#
ty and
www##
w
œ# œ œ œ œ œ œ
Jeph thah's on ly be got ten
˙˙## ˙
˙
˙ ˙
œ œœ
.œ œ œ œ
daugh ter in songs of deep est
ww˙ ˙
w#
- - - - - -
&
&
?
349.œ
Jœ ˙
an guish,
˙ ‰ œ œ œ˙ ˙
w
.œ#Jœ ˙
la men ta
w˙##
˙
˙ ˙
œ œ# œ‰
jœ#
tion, for
˙˙# œ œ#
˙˙#
˙˙
- - - -
&
&
?
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
- - - - - - -
&
&
?
355.œ#
jœ ˙
la men ta
w˙#
˙
˙ ˙
œ œ# ˙
tion.
˙˙œ œ#
˙˙
˙˙
- - -
104
&
&
&
V
V
?
&
?
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
now, oh chil dren of
œ œ œ œ œ
now, oh chil dren of
∑
œ œ œ œ œ
now, oh chil dren of
˙˙
˙˙˙
˙ ˙
∑
.˙ œ
Is ra.œ œ œ .œ
Jœ
Is ra
˙ ˙
Is ra
∑
.˙ œ
Is ra
w˙ ˙
˙
w
Ó ˙#
weep
˙# Œœ
el, weep
˙ Œ œ
el, weep
˙ ˙
el, weep
Ó ˙
weep˙ ˙
el, weep
˙˙# ˙
˙
˙ ˙
- - -
- - -
- - -
- - -
&
&
&
V
V
?
&
?
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 yeœ œ œ œ
now, oh all yeœ 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
˙Ó
weep˙# Ó
weep
˙ Ó
weep
˙Ó
weep˙# Ó
weep˙ ˙
weep in
˙˙
˙˙n
˙
˙
˙
˙
∑
∑
∑
Ó˙
in
∑
.œJœ .œ
Jœ
songs of bit ter
w˙ ˙
˙
˙
˙
˙
˙
- - - -
- - - -
- - - -
- - - -
- - - -
- - - - -
&
&
&
V
V
?
&
?
369∑
∑
∑
.œJœ .œ
Jœ
songs of bit ter
Ó ˙
inw
sor
˙˙
˙˙˙
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
˙ ˙
sorÓ
˙
in
.œjœ .œ
jœ
songs of bit ter
w
sor
˙ ˙
row, sor
w
w˙ ˙
w
- -
-
- - -
- - -
- -
106
&
&
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V
V
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&
?
373w
.œJœ .œ
Jœ
songs of bit ter
w
sor
.˙ œ
row
.˙ œ
row
w
..˙˙ ˙ œœ
w
.˙œ
row, sor˙ ˙
sor row,
œ œ˙
row, sor row
œ œ œ œ˙
sor
w
w
ww˙˙
w
˙˙
row grievew
grieve
˙ ˙#
grieve
w
grieve.
w
grieve.w
grieve.
ww˙ ˙#
w
œ œ .œJœ
La men ta tionsœ œ .œ
Jœ
La men ta tions
Œ ˙n œ
La men
.˙ œ
La men
Œ ˙œ
La men
w
La
wwwn
w
- - - - -
- - - - -
- - - -
- - -
- -
-
&
&
&
V
V
?
&
?
377˙ œ œ
sound. La men
˙ œ œ
sound. La men
˙# ˙
ta
w
ta
.œjœ œ œ œ
ta tions sound. La men
˙ ˙
men
˙˙# ˙
˙
˙ ˙
.˙ œ
ta tions
.˙ œ
ta tions
˙ ˙#
tions
˙ ˙
tions
.˙ œ
ta tions.˙ œ
ta tions
ww
˙ ˙#
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
Óœ œ
La men
Ó œ œ
La men
.˙ œ
ta tions
˙˙˙
˙˙
w
- - - - - -
- - - - - -
- - -
- - - -
- - - - - -
- - - - - -
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
Ó œ œ
La men
w
ta
˙˙˙
˙˙
w
˙# ˙
La menÓ œ œ
La men
.œjœ œ œ œ
ta tions sound. La men
.œ
Jœ œ œ œ
ta tions sound. La men.œ
Jœ œ œ œ
ta tions sound. La menw
˙˙# ˙˙
w
.˙ œ
ta tions.˙ œ
ta tions
˙ ˙#
ta tions
.˙ œ
ta tions
.˙ œ
ta tions.˙ œ
tions
ww
˙ ˙#
w
- - - - - -
- - - - - -
- - - - - - -
- - - - - - - -
- - - - - - -
- - -
&
&
&
V
V
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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
now, oh chil dren of
œ œ œ œ œ
now, oh chil dren of
œ œ œ œ œ
now, oh chil dren of
∑
œ œ œ œ œ
now, oh chil dren of
˙˙
˙˙˙
˙ ˙
∑
.˙ œ
Is ra.œ œ œ .œ
Jœ
Is ra
˙ ˙
Is ra
∑
.˙ œ
Is ra
w˙ ˙
˙
w
Ó ˙#
weep
˙# Œœ
el, weep
˙ Œ œ
el, weep
˙ ˙
el, weep
Ó ˙
weep˙ ˙
el, weep
˙˙# ˙
˙
˙ ˙
- - -
- - -
- - - -
- - -
108
&
&
&
V
V
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&
?
389œ 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 yeœ œ œ œ
now, oh all yeœ 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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V
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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˙ ˙
˙
˙
˙
˙
˙
- - - -
- - - -
- - - -
- - - - -
- - - -
- - - - -
109
&
&
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V
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&
?
397∑
∑
∑
.œJœ .œ
Jœ
songs of bit ter
Ó ˙
inw
sor
˙˙
˙˙˙
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
˙ ˙
sorÓ
˙
in
.œjœ .œ
jœ
songs of bit ter
w
sor
˙ ˙
row, sor
w
w˙ ˙
w
- -
-
- - - -
- - -
- -
&
&
&
V
V
?
&
?
401w
.œJœ .œ
Jœ
songs of bit ter
w
sor
.˙ œ
row
.˙ œ
row
w
..˙˙ ˙ œœ
w
.˙œ
row, sor˙ ˙
sor row,
œ œ˙
row, sor row
œ œ œ œ˙
sor
w
w
ww˙˙
w
˙˙
row grievew
grieve
˙ ˙#
grieve
w
grieve.
w
grieve.w
grieve.
ww˙ ˙#
w
œ œ .œJœ
La men ta tionsœ œ .œ
Jœ
La men ta tions
Œ ˙n œ
La men
.˙ œ
La men
Œ ˙œ
La men
w
La
wwwn
w
- - - - -
- - - - -
- - - -
- - -
- -
-
110
&
&
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V
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&
?
405˙ œ œ
sound. La men
˙ œ œ
sound. La men
˙# ˙
ta
w
ta
.œjœ œ œ œ
ta tions sound. La men
˙ ˙
men
˙˙# ˙
˙
˙ ˙
.˙ œ
ta tions
.˙ œ
ta tions
˙ ˙#
tions
˙ ˙
tions
.˙ œ
ta tions.˙ œ
ta tions
ww
˙ ˙#
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
Óœ œ
La men
Ó œ œ
La men
.˙ œ
ta tions
˙˙˙
˙˙
w
- - - - - -
- - - - - -
- - -
- - -
- - - - - -
- - - - - -
&
&
&
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V
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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
ta tions sound. La men
.œ
Jœ œ œ œ
ta tions sound. La men.œ
Jœ œ œ œ
ta tions sound. La menw
˙˙# ˙˙
w
.˙ œ
ta tions.˙ œ
ta tions
˙ ˙#
ta tions
.˙ œ
ta tions
.˙ œ
ta tions.˙ œ
tions
ww
˙ ˙#
w
- - - - - -
- - - - - -
- - - - - - -
- - - - - - -
- - - - - - -
- - -
111
&
&
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&
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413w
sound.w
sound.
w
sound.
w
sound.
w
sound.
w
sound.
www
w
œ œ .œ
Jœ
La men ta tionsœ œ .œ
Jœ
la men ta tions
w
Œ˙ œ
La men
˙ œ œ
La men
w
La
www
w
˙ œ œ
sound. La menw
sound.
∑
.˙ œ
ta tions
˙# ˙
ta
˙ ˙
men
˙˙# ˙
˙
˙ ˙
œ œ œ œ œ
ta tions sound. La men∑
∑
˙ œ œ
sound. La men
˙ ˙#
tions.˙ œ
ta tions
˙˙ ˙
˙#
w
.˙ œ#
ta tionsÓ
˙
La.˙ œ
La men
.˙ œ
ta tions
˙˙
sound. La˙ œ œ
sound. La men
w˙ ˙.˙ œ#
w
˙ œ œ
sound. La men˙ ˙
men
œ œ œ œ œ
ta tions sound. La men
w
sound.˙ ˙
menw
ta
˙ ˙
ww
- - - - - - - - - - -
- - - - -
- - - - -
- - - - - -
- - - - -
- - - - - -
&
&
&
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V
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&
?
419.˙ œ
ta tions.˙ œ
ta tions
.˙ œ#
ta tions
Óœ œ
La men.˙ œ
ta tions.˙ œ
tions
ww
w.˙ œ#
w
sound.w
sound.
˙ œ œ
sound. La men
œ œ œ œ œ
ta tions sound. La men
˙ œ œ
sound. La men
˙ œ œ
sound. La men
˙˙˙
w
w
Ó œ œ
La menÓ œ œ
La men
.œjœ ˙
ta tions sound.
.œ
Jœ ˙
ta tions sound..œ
Jœ ˙
ta tions sound.
.˙ œ
ta tions
˙˙ 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
˙ œ œ
sound. La men
˙˙˙
˙˙
w
˙# ˙
La menÓ œ œ
La men
œ œ œ œ œ
ta tions sound. La men
œ œ œ œ œ
ta tions sound. La menœ œ œ œ œ
ta tions sound. La menw
ta
˙˙# ˙
˙
w
.˙ œ
ta tions.˙ œ
ta tions
.˙ œ#
ta tions
.˙ œ
ta tions
.˙ œ
ta tions˙ ˙
tions
ww
˙ ˙#
˙ ˙
- - - - - - -
- - - - - - -
- - - - - - - - - -
- - - - - - - - - - - -
- - - - - - - - - -
- - - - - - -
112
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425˙ œ œ
sound. La menw
sound.
˙ œ œ
sound. La men
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ta tions sound.œ œ .œ
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ta tions sound.
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w
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sound. La men
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ta tions sound. La men
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ta tions sound. La men
˙ ˙
men
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w
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ta
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taw
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-
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113
114
REFERENCES
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116
Rose, Gloria. “The Cantatas of Giacomo Carissimi.” Musical Quarterly. 48:2, (April1962) 204-215.
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