david and goliath: an oratorio john-luke addison
TRANSCRIPT
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David and Goliath: An Oratorio
John-Luke Addison
A thesis submitted to the Faculty of Graduate Studies
in partial fulfillment of the requirements for the degree of Master of Arts
Graduate Program in Music York University
Toronto, ON
April 2015
© John-Luke Addison, 2015
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Abstract
This thesis involves composing a dramatic work, David and Goliath: An Oratorio, for
chorus and orchestra, with an emphasis on emulating eighteenth-century English oratorio style.
A framework for writing compositions based on appropriating foreign cultural or historical
characteristics is suggested, with specific emphases on choral works incorporating sacred text.
The Baroque oratorio’s history is examined, and its prominence in ‘Georgian’ Britain throughout
the eighteenth century and its corresponding stylistic aspects is investigated, including form,
instrumentation, notation, harmony, and text. In addition, the cross-cultural differentiations of the
biblical text of David and Goliath are discussed, as it is paraphrased into a libretto to
complement music with similar tonality, figurations, and harmonic language of late Baroque
style.
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Acknowledgements
I wish to express my gratitude to a number of individuals who have assisted me on this
thesis, through suggestions, editing, and support. First, I am indebted to Professor Stephanie
Martin of York University and her devoted time and effort to supervising my research, as well as
Professors Mark Chambers, Michael Coghlan, and Michael Greyeyes for their valuable help with
consultations and editing. I also extend my appreciation to all the administrative staff that have
made this journey possible, especially Tere Tilban-Rios and her constant support and aid.
Furthermore, I am appreciative for the support of Robert Cooper and Chorus Niagara for
performing portions of the music, and their helpful suggestions and counsel. Finally, I am
grateful for the encouragement from my family and friends, providing editing assistance,
continual reinforcement, and helpful guidance throughout the endeavour.
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Table of Contents
Abstract……………………………………………………………………………………. Acknowledgements………………………………………………………………………... Table of Contents………………………………………………………………………….. Introduction………………………………………………………………………………... Chapter One: Georgian Britain and the Oratorio………………………………………….. Chapter Two: David and Goliath: A Cross-Cultural Examination………………………... Chapter Three: Compositional Analysis of David and Goliath: An Oratorio..…………… Conclusions………………………………………………………………………………... Bibliography……………………………………………………………………………….. Appendices Appendix A: Libretto of David and Goliath: An Oratorio………………………... Appendix B: Conductor’s Score of David and Goliath: An Oratorio……………..
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Introduction
The concepts of pastiche and cultural appropriation in music occur in several instances
throughout history, as many composers have attempted to evoke a certain quality of historical or
folk environment foreign to them. Works such as Mozart’s Symphony No. 29 and Grieg’s
Holberg Suite evoke elements of imitation, as the composers consciously attempted to suggest
Baroque stylistic features in the timbre, articulation, and texture of the orchestra. Similar to this
idea is appropriating styles from a different ethnic group or culture, such as the exotic touch that
French grand opéra often conveyed in works such as Bizet’s Carmen or Verdi’s Aida. Elements
of cultural appropriation are found throughout much of musical history in the adaptation of folk
dances, from J.S. Bach’s French suites to the Polish and Hungarian dances of Chopin and Liszt,
respectively. This thesis involves postulating a framework for integrating these types of stylistic
attributes from foreign sources, whether historical or geographical, while focusing on choral
compositions adapting sacred texts. The focus will be composing a dramatic work, David and
Goliath, for chorus and orchestra, with an emphasis on emulating eighteenth-century English
oratorio style. The Baroque oratorio’s history will be examined, whereby investigating its
prominence in ‘Georgian’ Britain throughout the eighteenth century and its corresponding
stylistic aspects, including form, instrumentation, notation, harmony, and text. In addition, the
biblical text of David and Goliath will be paraphrased into a libretto to complement music with
similar tonality, figurations and harmonic language of late Baroque and early Classical style.
This project has several research objectives, including historical analysis of the stylistic
traits of oratorio, the musical ‘language’ of Baroque English music, and the socio-cultural
landscape of religious drama in Georgian Britain, and a cross-cultural examination of the David
and Goliath story as it appears in different religions and cultures. The composition will
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incorporate these research elements into the music, and thereby create an oratorio in a style
similar to that of eighteenth-century Britain. Upon completing a thorough examination of
eighteenth-century style, a new work will be composed incorporating stylistic and compositional
paradigms from this period, however the composition will not be completely entrenched to
eliminate musical creativity and authenticity. The composition will thereby demonstrate an
effective framework of incorporating external sources into new music, with specific reference to
historic styles, cultural environments, and antiquated models.
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Chapter One: Georgian Britain and the Oratorio
The term ‘Georgian’ Britain is used to describe the reign of four Hanoverian Kings,
George I through George IV, in Britain between 1714 and 1830, having succeeded the House of
Stuart.1 This era in British musical history was rather heterogeneous, as several composers
gained national prominence with varied genres of works, both instrumental and vocal. Domestic
composers such as Thomas Arne, Jeremiah Clarke, Maurice Greene, and John Stanley have large
repertoires of music composed during this period, yet much of the acclaim of English Baroque
music belongs to George Frederic Handel and Johann Christoph Pepusch, both German
immigrants. Public concerts were increasingly popular moving into the 1720s, and as Michael
Tilmouth explains, “the emphasis on music-making shifted, with the modest attainments and
self-enjoyment of the amateur all too often discounted in comparison with the more brilliant and
extrovert achievements of the professional virtuoso.”2 This is evident in the rise of opera
throughout continental Europe, which was comparative in Britain at the beginning of the
Hanoverian succession, as Pepusch, Handel, and earlier, Henry Purcell, had capitalized on the
growth of the genre. Ilias Chrissochoidis contends that this growth could be attributed to political
reasons, including “increased tension with Spain, a wave of anti-Catholicism, and fierce
opposition to Robert Walpole’s policies,” which led to the creation of a national musical
identity.3 Yet the genre that grew the most during Georgian Britain, the English oratorio, as
Chrissochoidis explains, “holds the key for the historic transformation of [Handel] into a British
1. Neil W. Hitchin, “The Politics of English Bible Translation in Georgian Britain: The Alexander Prize,” Transactions of the Royal Historical Society 9 (1999), 78. 2. Michael Tilmouth, “The Beginnings of Provincial Concert Life in England,” Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, Christopher Hogwood and Richard Luckett, eds. (Cambridge: Cambridge University Press, 1983), 2. 3. Ilias Chrissochoidis, “Handel at a Crossroads: His 1737-1738 and 1738-1739 Seasons Re-Examined,” Music and Letters 90, no. 4 (2009): 603.
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monument.”4 This brief description of the cultural milieu of Georgian Britain regarding music
will be expanded upon, as the socio-cultural landscape undoubtedly impacted the music
composed during the era. In addition, several aspects of oratorio, including etymology,
historiography, and form will be discussed, as well as musical characteristics such as the
treatment of melody, harmonic language and texture. These elements shall provide a concise
understanding of the subject and aid the application of the research into the thesis’ musical
composition.
First, the semantics of ‘oratorio’ will be examined, and the historiography on the subject
reviewed, to create a cohesive characterization on the genre in order to generate an accurate
musical interpretation. Malcolm Boyd creates a dialogue to question the terminology of
‘oratorio,’ as he points to the ambiguity of the term, having several different inferential
meanings: “a building (oratory); non-liturgical spiritual exercises; or a single musical
composition to a sacred text, possibly but not necessarily performed in an oratory.”5 Boyd
contends that much musicological research has been plagued by this ‘inexactitude,’ and “musical
compositions have been granted or denied the title of oratorio through imprecision, to bolster a
particular view of the nature of the genre, or to inflate the importance of the part played in its
development by a particular composer.”6 Several of Handel’s works have erroneously been
labeled oratorio, such as Hercules and Semele, two works based on mythology, not sacred texts,
the latter being an integral foundation of oratorio. The term secular oratorio is therefore
intrinsically self-refuting, and Howard Smither emphasizes that “in a genre classification of
Handel’s works based on the terminology of his time, [seven] compositions would be excluded
4. Chrissochoidis, 599. 5. Malcolm Boyd, “Baroque Oratorio: A Terminological Inexactitude?” The Musical Times 119, no. 1624 (1978): 507. 6. Ibid.
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from the oratorio category.”7 Because of these disputes, this thesis’ musical composition will
adhere to the foundational rudiments of oratorio as described by Smither, being “a sacred,
unstaged work with a text that is either dramatic or narrative-dramatic.”8
English oratorios were predominantly performed in theatres, and as William Weber
states, “the performances resembled both concerts and the opera in different respects.”9 Handel,
as Weber explains, was still very much a theatrical entrepreneur, and his oratorios would have
been abundant with subtle dramatic insinuations. This accounts for the use of dramatic elements
in his music, and because stage directions are continuously found in Handel’s autograph scores,
oratorio, though fundamentally lacking any stage action, was inherently dramatic in Handel’s
mind. Winton Dean points to examples in early works such as Israel in Egypt and Athalia, where
entrances and exits were written for characters along with scenery and landscape, and “later
oratorios are [also] full of stage directions, sometimes very detailed.”10 As Ralph Webb explains,
“in a dramatic/musical work, the words and music are inseparable and indivisible; the music
illuminates and articulates the dramatic situation,”11 which illustrates Webb’s idea of the basis
for the dramatic element of oratorio. Handel and others used voice and orchestra interchangeably
to create vivid interpretations of text, whereby using the timbre of instruments, word painting
and tonal structures to transform libretti into music. The “swiftness and intensity with which the
7. Howard E. Smither, The Oratorio in the Baroque Era: Protestant Germany and England (Chapel Hill, NC: The University of North Carolina Press, 1977), 350. 8. Boyd, 507. 9. William Weber, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford: Clarendon Press, 1992), 121. 10. Winton Dean, “The Dramatic Element in Handel’s Oratorios,” Proceedings of the Royal Musical Association 79 (1952-3): 34-39. 11. Ralph T. Webb, “Handel’s Oratorios as Drama.” College Music Symposium 23, no. 2 (1983): 125.
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composer’s imagination responds to the drama,”12 as Dean explains, gives life to his works
without using action, and thus is the foundation for the ability of an oratorio to effectively
translate the text into music.
Dean and Webb both write commentary on the dramatic element of eighteenth century
oratorio and the various methods composers such as Handel, Pepusch, Greene, and Arne used to
articulate these depictions. Dean goes into great detail about the use of the chorus, and how “they
are generally the central pivot on which [the action] all moves, as in many Greek tragedies, [and]
it is the fact that they are intensely concerned on the human level that it gives such power to their
dramatization of the moral issues at stake.”13 Therefore, one of the main differences in style of
the shift from opera to oratorio is the chorus’ centralized part of the music, and how it acts as a
mediator between the characters. Regarding the solo and ensemble music, Webb states “the
normal Baroque procedure placed the action in the recitatives, whereas the arias were reflective.”
Moreover, Webb points to four other differences English oratorio had from opera seria, the
majority of which deal with the structure and layout of music, as composers would “manipulate
musical conventions to accommodate dramatic synthesis.”14 These include the abandonment of a
hierarchal structure of importance between characters, as the main characters did not necessarily
have the most music to sing; the reduction of da capo arias to maintain the dramatic emphasis;
the augmentation of arias and duets to incite action rather than being merely reflective; and the
departure from using repetitive schemes in recitative and aria to make it “impossible to predict
12. Dean, 39. 13. Dean, 39. 14. Webb, 141.
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what would happen next.”15 The modification of the recitative sections is particularly significant,
as the secco tradition was being amplified by accompagnato and obbligato techniques.
One can see the embodiment of these and other transformations in several examples
throughout Georgian Britain. The continual expansion of the chorus from predominantly
homophonic to exploring different rhythms through melismatic sections and fugal texture can be
found in several of Handel’s choruses. These include early instances such as “Ye Sons of Israel
Mourn” from Esther (see Fig. 1) to later examples from Messiah such as “And the Glory of the
Lord” (see Fig. 2) and “For unto Us a Child Is Born” (See Fig. 3). Other English composers’
examples of innovative advancements include “Pretty Prattler, Sad Tho’ Sweet” from Maurice
Greene’s Phoebe (see Fig. 4), and “Let Not Those Who Love Complain” from Thomas
Augustine Arne’s Alfred (See Fig. 5). Among other factors, these works echo both the
development of the aria’s unpredictability and the expansion and increased prominence of the
chorus. Oratorio was expanding in continental Europe as well, as new breakthroughs can be
found in J.S. Bach’s St. John Passion, such as the chorus’ development in “Lässest du Diesen
Los” (see Fig. 6). A later example is C.P.E. Bach’s Die Israeliten In Der Wüste, particularly in
sections as “Gott, Meiner Väter Gott, was Lässest du mich Sehn” (see Fig. 7) and “O Bringet uns
zu Jenen Mauren” (see Fig. 8) where several innovative uses of form are implemented,
especially in the arias.
15. Webb, 140-141.
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Fig. 1: Expansion of polyphonic and fugal texture in Handel’s earliest oratorio, Esther.16
Fig. 2: Handel demonstrating four different textual lines moving in polyphony.17
Fig. 3: Melismatic layering over syllabic parts to emphasize text was a major initiative in Georgian Britain.18
16. George Frideric Handel, Esther (Kassel, Germany: Bärenreiter, 2002), 35. 17. George Frederic Handel, Messiah (New York: Dover, 1989), 17. 18. Ibid., 56.
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Fig. 4: Greene's innovative use of increasingly varied rhythms, particularly in the arias.19
Fig. 5: Expansion of the ensemble movements: Trio and Duet sections becoming increasingly
independent.20
Fig 6: A further example of text overlap in J.S. Bach's St. John Passion.21
19. Maurice Greene, Phoebe: A Pastoral Opera (London: Stainer and Bell, 2004), 65. 20. Thomas Augustine Arne, Alfred (London: Music Britannica 47, 1981), 48. 21. Johann Sebastian Bach, St. John Passion (London: Ernst Eulenburg, 1961), 74.
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Fig. 7: CPE Bach's development of the recitative sections to include choral responses.22
Fig. 8: Changing of meter amid arias became increasingly widespread, in both Georgian Britain and continental Europe, as demonstrated by CPE Bach.23
Other key factors of English oratorio allowing for dramatic effect are word painting and
the use of tonality and instrumental colour to depict mood or atmosphere. To Webb, the
abandonment of a dichotomy between drama and music is an integral element of oratorio, as “the
music articulates and complements the drama, or the drama prescribes the musical form and
22. Carl Philipp Emanuel Bach, Die Israeliten in der Wüste (Budapest: Editio Musica, 1971), 43. 23. Ibid., 24.
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style.” 24 The use of the orchestra, from using “violins to represent love, [and] trumpets to
represent patriotism,” as Eleanor Selfridge-Field describes, allowed the oratorio to achieve
“grandiosity that [opera] otherwise prevented.”25 Orchestration played a major role in creating an
artistic interpretation of text, as “selected use of instruments introduced a new dimension to the
existing choices for text illustration, which otherwise consisted of meter and melodic figure.”26
Smither’s account for the orchestration of English oratorio “ranged from basso continuo support
for arias and choruses throughout two-part accompaniments (continuo and unison violins) and
richer accompaniments in four, five, six, or even more parts, to large concerto grosso
accompaniments.”27 An important stylistic trait of the period is the orchestra’s subordinate role
in arias, as it is not meant to “provide contrapuntal competition, but complement it and fill in
while the voice rests.”28 It can be assumed that composers such as Handel, Greene, and Pepusch
would not have followed the same instrumental framework for every composition, and therefore
it is imperative to dissect the repertoire to gauge their various patterns.
Regarding the harmonic structure of the Baroque oratorio, Leonard Ratner suggests a
‘solar’ explanation for the tonality that composers of the period adhered to, saying that church
modes are reinforced, and “the tonic was a ‘sun’ surrounded by a constellation of closely related
keys.”29 David Ross Hurley, in a summation of Handel’s paradigms of oratorio composition,
proposes “unity of key is promoted by subordinating related degrees to the tonic, and by
24. Webb, 143. 25. Eleanor Selfridge-Field, “Italian Oratorio and the Baroque Orchestra,” Early Music 16, no. 4 (1988): 508. 26. Ibid., 510-511. 27. Smither, 355. 28. Ibid. 29. Leonard G. Ratner, Classical Music: Expression, Form, and Style (New York: Schirmer, 1980, 48-51).
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occasional returns of the tonic key.”30 Handel’s oratorios had deliberate tonal structures, and
Webb goes into great detail about the patterns of the keys chosen, emphasizing that artistic unity
is created by the methodical outline of tonality. In order to balance dramatic levels, Webb
contends that “static sections of lesser intensity must be written which either throw into sharper
relief the highly intensive sections or release and relieve the tension built up during the active
segments.”31 There is a striking example of this in Saul, where Handel “articulates Saul’s rage by
thrusting us into [a] previously unused tonality,” which gives the listener an abrupt sense of
tension, one of the many uses of tonal shifts for dramatic effect.32
In sum, English oratorio is a multi-faceted entity that, although staged without action, is
filled with dramatic elements and therefore gives the composer a greater challenge to convey text
and scenery than opera. Yet to be discussed is the application of text and music, and the
librettists’ methods of writing poetic syntax, language, and rhyme schemes from the period.
Through an analysis of several libretti written in eighteenth-century England, overarching themes
will be determined of literary models that writers such as Charles Jennens, Newburgh Hamilton,
and Thomas Broughton would have used to adapt religious text. These themes will broaden the
understanding of sacred text adaptation, and assist in developing a framework for compositions
based on integrating foreign sources. Furthermore, a thorough analysis of the Biblical story of
David and Goliath will shed light on the themes, characters, and subtext, providing conclusions
as to an accurate portrayal of the story. In addition, previous musical settings of the David and
Goliath story will serve as influence, as they will give guidance as to composers’ strategies
toward the treatment of the text. Moreover, examining the underlying sociocultural landscapes at
30. David Ross Hurley, Patterns of Creation in his Oratorios and Musical Dramas, 1743-1751 (New York: Oxford Univeristy Press, 2001), 99. 31. Webb, 128. 32. Ibid., 135.
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both the time of the biblical story and eighteenth-century Britain will give insight to the cultural
and religious economies, and whether these would have impacted a musical adaptation of the
text. Along with considerations on text adaptation, examination of repertoire from the period and
the stylistic traits previously discussed will prove valuable in the thesis’ musical composition.
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Chapter Two: David and Goliath: A Cross-Cultural Examination
The David and Goliath story found in the Bible, a seemingly heroic tale of good against
evil, fundamentally lends itself to the potential for dramatic musical accompaniment. In order to
gain as much information about the text, characters, and themes to accurately portray the story, a
cross-religious examination of the story will be presented, as well as analyses of previous
musical adaptations of the story. While the majority of these compositions do not fall within the
eighteenth century, they will give direction of artistic strategies toward approaching the text, and
demonstrate other composers’ treatments of the characters’ timbres and vocal ranges;
instrumentation and orchestral colour; and overarching plot themes. These facets will all help
determine how composers have perceived the story and what kind of atmosphere they sought to
evoke for the various scenes. Furthermore, analyzing the various libretti composed for
eighteenth-century English works will examine the various paraphrases of the text and how each
librettist treated the language and syntax. Finally, a discussion of the cultural milieu of Georgian
Britain, as well as the underlying historical themes at the time of the biblical story will give
insight as to the appropriate treatment of the text, characters, and the respective music reflecting
them, as patronage or other factors may have impacted librettists’ and composers’ strategies
toward adaptation.
The story, though commonly referenced from 1 Samuel 17 (the long version), is also
referenced twice more in the Old Testament, in 2 Samuel 21:15-22, and 1 Chronicles 20:5 (short
versions), as well as the Babylonian Talmud in Sotah 42(b), the Qur’an in Sura 2 (Al-Baqara),
Ayah 251, and the Dead Sea Scroll 4QSama. The biblical narrative describes a courageous boy,
David, slaying a ferocious, superhuman giant, Goliath, and his eventual rise to being King of
Israel. This account comes into question when other translations of the story are considered, as
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the Qur’an mentions minimal information about Goliath’s size and physical attributes, whereas
the biblical version goes into great length about his vastness and terror. In the King James
biblical translation, Goliath’s head is removed by David’s sword, whereas the Qur’an takes a less
violent approach: “[the Israelites] defeated [the Philistines] by permission of Allah, and David
killed Goliath, and Allah gave him the kingship and prophethood and taught him from that which
He willed.”33 The Qur’an conveys a more sympathetic approach to Goliath, and discredits the
biblical emphasis of David’s improbable feat against a much stronger Goliath. In the Babylonian
Talmud, “the Philistines came [relying] upon the might of Goliath,” and that he stood with
impudence, taunting the Israelites before him.34 Furthermore, Benjamin Johnson looks at
4QSama, comparing the text to that of the three biblical versions, and reaches a conclusion that
“the few extant variants for the narrative of David and Goliath in 4QSama will not solve the
debate about the short and long versions of the story,” but rather it “giv[es] evidence that the
long version of the David and Goliath story has stronger textual support than previously
recognized.”35 Therefore, these conflicting interpretations make a libretto adaptation
controversial, as there are evidentially several different variations of the way the premises, such
as the depiction of violence, can be communicated.
Upon investigation of the literature on the subject, there appear to be several other
incongruities with the story, and scholars have attempted to reconcile these through historical
research by pointing to errors in translation, therefore causing some information to be
misleading. In the biblical versions, much of the text appears to be lost in translation, as there are
numerous inconsistencies found with names and narratives in the accounts. An example of such
33. Qur’an: 2:251 (E.H. Palmer Translation). 34. Talmud: Sotah 42b (Johanan bar Nappaha Translation). 35. Benjamin J.M. Johnson, “Reconsidering 4QSama and the Textual Support for the Long and Short Versions of the David and Goliath Story,” Vetus Testamentum 62, no. 4 (2012): 549.
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is the misleading information of who killed Goliath, as the 2 Samuel text reads “Elhanan the son
of Jaareoregim, a Bethlehemite, slew Goliath the Gittite, the staff of whose spear was like a
weaver's beam.”36 Conversely, the 1 Chronicles passage indicates “Elhanan the son of Jair slew
Lahmi the brother of Goliath the Gittite, whose spear staff was like a weaver's beam.”37 Johnson
points out discrepancies with the fluctuating information of Goliath’s height and the reasons
could be either “a scribal exaggeration in order to aggrandize David’s feat, [or] a scribal
rationalization in order to give the account more verisimilitude.”38 In addition, Dominique
Barthélemy et al. create a dialogue of these, and other, inconsistencies with the story, and try to
rationalize which translation should be accredited with being the most accurate. Factors such as
literary historical marks, rhetorical critical observations and textcritical approaches influenced
their opinions, and ultimately the scholars came to different conclusions, citing merit to all
accounts.39 Therefore, the diversity of depicting the characters and story in an adapted dramatic
text is sizeable, as there are several routes to assessing the underlying issues presented in the
different versions.
Heda Jason investigates the thematic basis of the story, including an analysis in
ethnopoetic terms, in an attempt to “determine whether or not to consider the story as stemming
from oral literature, and if so, to which genre does it belong; and further, how does this fact
contribute to our understanding of the Biblical text.”40 Jason presents several foundational
similarities between David and Goliath and the classic fairy-tale structure, such as the use of
formulaic numbers. This is evident in the fact that David has three older brothers, and “the plot
36. 2 Samuel 21:19 (Authorized [King James] Version). 37. 1 Chronicles 20:5 (AV). 38. Johnson, 540. 39. Dominique Barthélemy, et al., The Story of David and Goliath: Textual and Literary Criticism (Fribourg, Switzerland: Fribourg University Press, 1986), 121. 40. Heda Jason, “The Story of David and Goliath: A Folk Epic?” Biblica 60, no. 1 (1979): 36.
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would have been the same had only one brother functioned in the story, [but] in such a case,
there would have been no formulaic number, and the result would have been two characters
alone.”41 Similarly, anthropomorphic terms in the text contribute to an understanding of the oral
tradition, such as the inclusion of only one woman in the story (Saul’s daughter), the emphasis
on David’s youth, and group characters functioning as a single person. Furthermore, only two
characters are described in physical terms, and “the one detailed description of costume and
equipment worn refers not to David, as is customary in the historical and national epic.”42
Finally, similar to the adaptation of Saul, all the characters are human and natural, including
Goliath, and “no deeds beyond normal mortal ability are attributed to him.”43 David relies on his
physical strength, not on God, to defeat Goliath, and does not have supernatural powers. Jason
concludes that the story is certainly a work of oral literature, and therefore these elements should
be taken into consideration when adapting a libretto, rather than relying solely on the biblical
translation.
There have been numerous attempts to adapt the David and Goliath story to music,
including versions by Handel (though only the victory celebration at the onset of Saul), Giacomo
Carissimi, Arthur Honegger, Johann Kuhnau, and Karel Salomon. These adaptations have
several elements in common, but ultimately all take different approaches to the story. Carissimi’s
Dialogo Del Gigante Golia presents a short narrative-dramatic work, primarily with recitative
sections and occasional choruses, which articulate the archetypal Baroque chorus style of
addressing moral issues and acting as a mediator between characters. Carissimi’s Goliath is a
bass voice who relentlessly taunts the Israelites and David, a soprano. The text is predominantly
41. Jason, 47. 42. Ibid., 49. 43. Ibid., 50.
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a paraphrase of the 1 Samuel text, presenting Goliath as superhuman and the Israelites being
extremely afraid. The chorus declaims in a homophonic chorus “heu nos miseros, heu dolentes,
heu perditos (Woe to us, poor wretches, woe men of sorrows, woe lost men),”44 exemplifying the
pessimism and hopelessness the Israelites felt. Karel Salomon, an Israeli composer, composed
David and Goliath: A Miniature Opera in Three Scenes, which incorporates Israeli musical
elements into the score, and depicts a more dreadful characterization of Goliath by having him
shout boasts onomatopoetically (“ou-a”, etc.) and incessant taunts at David.45 Salomon’s
emphasis on making Goliath seem invincible therefore makes David’s victory even more
satisfying, as several dances and choral victory chants ensue following Goliath’s demise. This
adaptation of the story furthers Carissimi’s portrayal of David as divine, emphasized through the
first scene where David’s father, Jesse, stresses that no individual at his age could achieve
victory over such a man as Goliath.
Arthur Honegger’s Le Roi David is labeled as a symphonic psalm, and it briefly presents
the David and Goliath story in a narrative between two musical movements, Entrée de Goliath,
and Chant de victoire. Goliath’s entrance is represented through a trombone fanfare in the
Dorian mode, emphasizing his powerful appearance and cruel intentions (see Fig. 10). Following
a narration of the biblical passage, the chorus declaims David “L’Eternal l’a choisi, l’Eternal le
soutient (Chosen and supported of God)” in a victorious chorus.46 Honegger did not choose to
depict Goliath as unconquerable, and ultimately a more sympathetic characterization is
44. Giacomo Carissimi, “Dialogo Del Gigante Golia,” Dialogo Del Gigante Golia Oratorios, Orchestra and Chorus of Musica Fiata, La Capella Ducale (Roland Wilson, Conductor. CPO: Deutschlandfunk, 2005). 45. Karel Salomon, David and Goliath; A Miniature Opera in Three Scenes (Tel-Aviv: Israeli Music Publications, 1957), 32. 46. Arthur Honegger, Le Roi David: Symphonic Psalm in Three Parts, After a Drama by Rene Morax (Lausanne, Switzerland: Foetisch Freres, 1952): 11.
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presented. In contrast to Salomon and Carissimi’s emphasis on Goliath’s demise, Honegger’s
approach is more about exalting David and maintains the focus on his achievement. A further
example of the story adapted to music is in Kuhnau’s Piano Sonata, Der Streit Zwischen David
und Goliath, where the composer employs several artistic uses of text painting to emphasize
Goliath’s might and bravado. Kuhnau even marks instances of musical motif above the staff,
such as “vien tirata la selce colla frombola nella fronte del Gigante (the sling with a rock is
pulled back in front of Goliath),” at which point there is a descending line followed by a sixty-
fourth note ascending run to imitate the sling stretching and releasing a rock at Goliath (see Fig.
11). This is followed by Goliath’s death (marked “casca Goliath”), which is translated through a
descending bass line, modulating from C major to F minor. These instances demonstrate that
Kuhnau sought to illustrate a vivid image of David courageously defeating an enormous Goliath,
and the creative uses of technique and subtitles assist him in achieving this representation.
Fig. 10: Fanfare used to depict Goliath's entrance in Honegger's Le Roi David.47.
Fig. 11: Kuhnau’s use of subtitles and musical artistry to portray Goliath's death.48
47. Honegger, 11.
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Considerations of the libretti written during Georgian Britain reveal parallels to the
cultural and religious economy and their relationships with music. Ruth Smith goes into detail of
the various inspirations librettists used to paraphrase biblical commentary and the religious
debate on these adaptations of scripture. To Smith, “the language respected the style of the
original,” and the poetic stylizations bring out key features of “repetition, the use of abstract
terms for concrete; [and] the attribution of sense and action to inanimate objects.”49 The English
oratorio text had several common structures, such as simple characters that were exalted and
edifying, leading to controversy in Georgian Britain amongst Church and literary circles, such as
the debatable adaptation of Samson as a person independent from God. Smith explains that
several groups desired to view certain biblical characters as godlike, as they “preferred to show
Samson as intermittently divinely inspired, but at the same time to show the miraculous elements
in his life as reconcilable with reason,” contradictory to the viewpoints of contemporary
orthodox theologians.50 Additionally, these individuals were concerned with discrediting
miracles and other divine elements, such as “the implausibility of a personal God revealing
Himself.”51 Regarding this thesis’ adaptation of the David and Goliath story, David Hunter
asserts that British composers “attempted to craft their works to appeal to the anticipated paying
audience,”52 and therefore, despite views to the contrary on text adaptations of divine
48. Johann Kuhnau, Piano Sonata: Der Streit Zwischen David und Goliath (Leipzig: Breitkopf und Härtel, 1901), 129. 49. Ruth Smith, “Intellectual Contexts of Handel’s Oratorios,” Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, Christopher Hogwood and Richard Luckett, eds. (Cambridge: Cambridge University Press, 1983),128-129. 50. Smith, 126. 51. Ibid. 52. David Hunter, “Patronizing Handel, Inventing Audiences: The Intersections of Class, Money, Music and History,” Early Music 28, no. 1 (2000): 41.
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individuals, it can be inferred that the text may have glorified David and execrated Goliath to
appeal to the typical patrons, the upper class, nobility and clergy.53
In sum, an examination of the audience of Georgian Britain may provide the best insight
and guidance as to composing a libretto for David and Goliath. The fact that Handel was an
entrepreneur and needed to make income from his music, as Hunter suggests, causes one to infer
that the music would be written to depict a certain point of view, such as the uproar that occurred
from the Saul adaptation. In particular, there are evidently several different routes in interpreting
the characterization of Goliath, and the stylistic representation of the antagonist in Georgian
Britain drama, such as Polyphemus in Acis and Galatea, Tolomeo in Giulio Cesare, and Harapha
from Samson, will shed light on the appropriate portrayal. In Saul, Handel has already presented
an interpretation of David, which will help to discern a suitable characterization, including vocal
range, language, and whether there was an element of divine inspiration. From the research of
Barthélemy et al., it is clear that the discrepancies of the story are vast, and therefore discretion
must be used to eliminate the ambiguities of the various texts. Jason’s research, however,
suggests that the story’s oral tradition prevents the sole reliance on biblical text, as the
aforementioned themes of physical descriptions, formulaic numbers, and anthropomorphic terms
are integral in comprehending the story’s subtext and nuance.
53. Hunter, 34.
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Chapter Three: Compositional Analysis of David and Goliath: An Oratorio
The concluding section of this thesis will analyze the composition David and Goliath: An
Oratorio itself, whereby examining the musical and textual elements implemented from the
research. First, a comprehensive analysis of the libretto, including biblical text paraphrase, will
undergo an evaluation, and other examples of the era will be drawn to demonstrate its similarity
to libretti composed during Georgian Britain. Justifications for rhyme schemes, text language,
and archaic stylizations will also be presented to rationalize their usage in the text. Furthermore,
an explanation of the adaptation of the David and Goliath story will be provided, with regard to
its themes, subtext, and comparisons to other musical adaptations of the story. As well, through a
comprehensive analysis of the composition’s musical aspects, such as tonality, instrumentation,
timbre, and texture, parallels will be drawn to other compositions to provide evidence that it
stylistically fits a similar framework to an eighteenth-century style. Moreover, individual
analyses of the choral and instrumental parts will validate these stylistic formulae, as well as the
broader issues of organization and structure of music. Vocal analyses will include the
organization of chorus, recitative and aria sections, as well as vocal ranges and stylistic parallels
to other English oratorio vocal scores. The instrumental evaluations will include orchestration,
the ‘doubling’ of various instruments by others, counterpoint, and voice leading, while once
again drawing on parallels of period examples.
The libretto of David and Goliath is drawn from the King James (Authorized Version)
text of the bible, while using the long version (1 Samuel 17). The recitative sections are literal
paraphrases from the biblical text, slightly adapted to represent a declamatory style, rather than
narrative. In addition, several recitatives are modified to create a poetic stylization, such as in the
fifth recitative. This stems from an operatic tradition, as evident in Handel’s Acis and Galatea,
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whereby the recitatives are modeled to have a rhyme scheme, such as “Lo, here my love, turn,
Galatea, hither turn thy eyes/ See, at thy feet the longing Acis lies.”54 Conversely, Handel
modifies the recitative formula in his oratorios, as in Samson where very few rhyming couplets
exist. An example of this is Samson’s recitative “Justly these evils have befalI'n thy son/ Sole
author I, sole cause, who have profan'd.”55 David and Goliath implements the use of both styles
of recitative language, as it is difficult to pinpoint exactly where in Georgian Britain, if at all,
composers abandoned one method and commenced another. Furthermore, abbreviated suffixes,
used to lyricize text and truncate syllables, are frequently employed in David and Goliath, as
they are in Georgian Britain oratorio, such as in John Stanley’s Zimri, where one finds text such
as “Why art thou thus, when in the blossom’d bow’r,”56 and “Embrac’d by beauty and regal’d
with wine.”57 While these examples merely offer a taste of the language of Georgian Britain, one
can see the syntax that this thesis’ composition parallels, and that it provides a starting point in
an examination of the entirety of the work.
Ruth Smith, in her aforementioned analysis of Handel’s librettos, offers several
distinctive qualities of the language found by his librettists. For example, “an insistence on
pathos, the use of contrast, the presentation of emotion rather than action; the extended use of the
Chorus for unqualified commentary; the centrality on the virtuous nation rather than the
sympathetic individual and the championship of that nation by an accessible yet miraculous
God.”58 Several of these facets are apparent in David and Goliath, such as the Israelites’
consistent fear of Goliath and pleas of mercy (“Save us, God and guide/ Thy mercies provide.”)
54. George Frideric Handel, Acis and Galatea (Kassel, Germany: Bärenreiter, 2001), 47. 55. George Frideric Handel, Samson: Oratorio in Three Acts (Hans Dieter Clausen, ed. New York: Bärenreiter, 2011), 35. 56 John Stanley, Zimri: An Oratorio (Huntingdon, England: King’s Music, 1988), 29. 57. Ibid., 46. 58. Smith, 118.
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The action is presented only in the recitative sections, whereas the arias and choruses are all
reflections of emotion based on the action. The Israelites (the ‘virtuous nation’) retain the
centrality of the oratorio, and remain a mediator between the two main characters, congruent to
the chorus style of English oratorio. Finally, the accessible and miraculous God aids David in the
defeat of Goliath, exemplified by the Israelites praising God, not David, in the final chorus. This
is similar to the end of Handel’s Joshua, upon which the chorus sings “The great Jehovah is our
awful theme/ Sublime in majesty, in pow'r supreme/ Hallelujah,” following the conquering of the
city of Debir.59 These elements described in David and Goliath demonstrate that the Baroque
oratorio ideals are preserved, and the themes presented are in line with those in librettos written
during Georgian Britain.
Several influences led to the ultimate judgment of the representation of the main
characters in the story. As previously mentioned, Handel has depicted David in Saul, and David
and Goliath attempts to keep the characterization relatively similar, using a tenor voice and
having an essence of divine support. David is always optimistic, and acts as a succor to the camp
of Israelites, despite being a youth who has never gone to war. David’s faith grounds his
confidence and humility, and consistently articulates his devotion and trust in God, saying lines
such as “the Lord will deliver me from his hand,” and “be not afraid, the Lord is with thee.”
Goliath is also briefly portrayed in Saul, using terms such as monster, boaster, haughty, and
impious, while having a dreadful hand.60 These adjectives clearly indicate how Handel, and the
librettist Charles Jennens, sought to interpret Goliath: as an arrogant brute who deserved no
sympathy from the audience. This depiction is further articulated in David and Goliath, as this
59. George Frederic Handel, Joshua: Oratorio (Leipzig: J. Rieter-Biedermann, 2003), 127. 60. George Frederic Handel, Saul: Oratorio in Three Acts (Kassel, Germany: Bärenreiter, 1962), 5.
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ruthless and gruesome persona, articulated by a bass voice, is defined in descriptions such as
ogre, marauder, and giant, while having a menacing tongue and ruthless hand. Similarly, Saul is
depicted as a bass, as he is in Handel’s depiction, and the wise, caring character of Jesse is
represented as a tenor, similar to the portrayal of the Wise Men of Handel’s Belshazzar.61 There
is also an Israelite, warning the others of Goliath’s approach, who is represented by a tenor voice
and has an inherent element of wisdom, cautioning the other Israelites not to listen to his taunts,
“for his will and his words are poison.” Once again, the libretto seizes an opportunity to amplify
Goliath’s wickedness, and instantly indicates to the audience that the giant is not to be trusted.
The vocal score is representative of eighteenth-century tonality, with several nuances of
source material from Handel and other composers of Georgian Britain. Following the overture,
the oratorio begins with a chorus in A minor, “Prepare for War, O Israel,” immediately setting a
somber and subdued mood, as the Israelites prepare for their impending battle with the Philistine
army. The beginning introduction almost serves as a second overture, with a dotted rhythm and
slow pace, from which the chorus enters in a declamatory, homophonic style. As the piece moves
within the diatonic chords of the harmonic minor scale, the music depicts the anxiety that the
Israelites admit they have, singing “may God our fear and doubt dispel.” This anxiety is created
through the preparation of cadences through the use of diminished-seventh chords and pedal
point, as the alternating harmonies above the continual bass give the music elements of
turbulence and unsteadiness. The movement changes moods following a fermata, into the
parallel major, upon which the chorus advises each other to remain hopeful and courageous,
where the four voices move in polyphony following a soprano and alto duet. The music then
transports the mood back to the original melancholic feeling through an immediate modulation
61. George Frederic Handel, Belshazzar: An Oratorio (London: Novello, 1927), 108.
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back to the parallel minor and original warlike tempo. This is further evident as the chorus ends
the movement with a reprise of the original melody, re-establishing the sentiments expressed
earlier in the piece, particularly the doubt they have in their capability to defeat the Philistines.
The piece is similar to the opening of Handel’s Susanna, as the chorus “How long, O Lord, Shall
Israel Groan” creates the same hopeless and pessimistic feeling, also in the A minor key.62
Following the opening chorus, the aforementioned Israelite warns their camp to beware of
Goliath and not to listen to his boasts. Goliath then enters, and the first words he sings are an
attempt to increase the Israelites’ fear by pointing out their apprehension toward him. He then
challenges the Israelites to send out a soldier to fight him, and upon his line, “give me a man,”
the vocal line stretches high, imitating a shout.
Goliath’s first aria, “Behold, They Hide,” has a comedic aura as he mocks the piteous
Israelites and their terror toward him. Its mood is similar to “O Ruddier than the Cherry” from
Handel’s Acis and Galatea, with the orchestra’s staccato technique further emphasizing the
lighthearted feeling as Goliath ridicules the Israelites (see Fig. 12). The vocal line explores
several melismatic textures, but ultimately remains relatively in unison with the rhythm of the
orchestra. Upon Goliath’s aria ending, the chorus immediately enters in with their response,
“Horror, Terror, The Giant’s Tongue Is Cruel,” once again affirming their doubt and fear. This
chorus features several eighteenth-century stylistic features, including fugal textures, unison
singing, and the use of homophony to emphasize text. Several lines are in fugal polyphony, as
each voice takes the melody one after another, whether inverted, retrograde or at a different
pitch, to therefore create a texture where all voices are interweaving together. The first two bars
are in unison, as the words “Horror, Terror” are all the same pitches. This is done to emphasize
62. George Frederic Handel, Susanna (Leipzig: Deutsche Händelgesellschaft, 1858): 126.
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the text, as is any instance of homophony, so no different harmony or rhythm conflicts with the
meaning of the lyrics or creates ambiguity. The chorus sings the line “tempests form within the
land” as a diminished seventh chord in homophony, and continues to create tension underneath
the orchestra’s unyielding and suspenseful sixteenth note arpeggios. This leads the piece to a
final, solemn cadence in C minor, stressing the discomfort that the Israelites feel now that
Goliath has declared, “doom awaits thy piteous cry.”
Fig. 12: Orchestra's use of staccato to create lighthearted feel.63
David’s first aria is preceded by a short recitative between he and Jesse, where David is
instructed to go to the Israelite camp where his brothers are and deliver them supplies. Upon
David’s arrival at the destination, he notices the fear of the Israelites and questions the rationality
of their emotions, as he claims “the ogre is weak behind his mighty words,” and that Goliath has
a “false veneer.” David’s da capo aria, “Be Not Afraid” is a comforting piece in F major, with a
lyrical melody that stays relatively diatonic, with two instances of modulating to the dominant
key of C. The light melody emphasizes the comfort and consolation that David is attempting to
bring the Israelites, and the use of suspensions in the orchestration accentuates this tranquil
63. Ebenezer Prout, ed., “O Ruddier Than The Cherry,” Songs and Airs by George Frideric Handel, Volume II: For Low Voice (Boston: Oliver Ditson Company, 1905), 1.
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atmosphere created. The tenor aria’s music and atmosphere resemble several pieces throughout
Georgian Britain, such as “Descend, Kind Pity, Heav'nly Guest” from Handel’s Theodora (see
Fig. 13), and “Though Storms Awhile the Sun Obscure” from Arne’s Alfred (see Fig. 14).
Following the aria, David decides to put himself forth as the candidate to fight Goliath, stating
that the Philistines will be powerless “if the marauder’s blade shall fall.” Once again, the
recitative is presented in rhyming couplets, similar to several of Handel’s operatic recitatives,
and the final cadence into E minor sets the key for the concluding music for Part One, the chorus
“David and Goliath, May Evil Fates Relent.”
Fig. 13: Handel's use of light orchestration, subtle modulations, and dominance of text to create tranquil atmosphere.64
Fig. 14: Arne's emphasizing of melody brings attention to the lyrical quality of the music.65
64. George Frederic Handel, Theodora: Oratorio in Three Parts (New York: Bärenreiter, 2009), 43. 65. Thomas Augustine Arne, The Masque of Alfred (London: John Walsh, 1757), 65.
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The final chorus of Part One is an agitated, thrilling movement, further expressing the
Israelites’ fears and uncertainty. The orchestral sixteenth-note introduction sets the mood for the
piece, and is articulated by trumpets and drums to elicit a warlike feel. The chorus goes through
several harmonic modulations, alternations between polyphony and homophony, and several
fugal sections, such as in the extended “Amen” section toward the end. From an extended
opening theme in E minor where the chorus continually cries “David and Goliath” in antiphony,
the music is transported into B minor through cadential preparation via secondary dominant
motion. A shift to G major for the text “let Jesse’s son be kept by heav’n and Goliath’s day
lament” and the “Amen” section presents a contrasting texture, as the move to the major key
depicts a certain element of hopefulness that the Israelites still maintain. These continuous
modulations combined with the unrelenting pace signify the unrest and insecurity that the
Israelites feel, which is culminated by accented, staccato notes at measure 92. These notes
signify the beating of war drums, further emphasized by the triplet pickups on the timpani. The
piece takes the listener through several different emotions, and ultimately finishes with a sense of
deep fear and pessimism for David’s life, concluded with a final a cappella plea, and an “Amen”
in E minor. Part One as a whole is very macabre and somber, and is intended to illustrate the
profound terror that the Israelites feel toward the Philistines and Goliath. The dark atmosphere
created is similar to Act One of Handel’s Jephtha, as the respective moods remain relatively
analogous. In both cases, however, there are instances of tension being released, such as “These
Labours Past, How Happy We,”66 which is comparable to David’s “Be Not Afraid;” both
movements serving as contrasts to the overall subdued ambiance.
66. George Frederic Handel, Jephtha (London: Novello, 1880), 35.
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While Part One had a relatively similar emotion throughout, Part Two has much more
elasticity of emotion. It begins with a recitative where Saul discourages David from going into
battle against Goliath. David informs Saul that he had protected his flock from lions and bears,
and that he would be protected against Goliath, saying “the Lord will deliver me from his hand.”
Saul reluctantly agrees, and gives him his armour to aid him in battle. David then delivers his
second da capo aria, “All Ye Who Fear, Lend Me Thine Ears,” in C major, in which he once
again tries to calm the spirits of the Israelites with his reassurance that he would defeat Goliath.
The highly embellished melody is comparable to “Why do the Nations” from Messiah (see Fig.
15), and stays relatively diatonic with few modulations, very typical of English oratorio arias.
Next, there is a duet, “Come To Me,” in which Goliath continues his ceaseless taunts at David,
whereas David remains steadfast in his faith that he will be protected by God. This is highly
influenced from Samson, where Samson and Harapha engage in a hostile duet, “Go, Baffled
Coward, Go.” In this example, both characters have an individual verse where they indicate their
sentiments, after which the vocal lines sing upon another, eliciting somewhat of a quarrelling
atmosphere.67 “Come To Me” is written as a passacaglia, in triple meter with an ostinato bass, in
which the melody dominates the accompaniment. The orchestra simply plays chords underneath
the two voices, with exception to a middle section where pizzicato strings underline dueling
melismatic harmonies. The dramatic shift from C major in the preceding aria into the previously
unused F-sharp minor is intentional, tritone interval between keys emphasizes the shift in mood
from comfort to unrest.
67. Handel, Samson, 66.
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Fig. 15: Example of Handel using melismatic embellishments in the vocal melody.68
The penultimate chorus of David and Goliath, “David, O Terror,” segues from a
crescendo in the preceding movement, and reaffirms the terror that the Israelites feel as the battle
is about to commence. The listener is instantly reminded of “Surely, He Hath Borne Our Griefs”
from Messiah in the rhythm and tonality (see Fig. 16), yet is dissimilar in that not all the voices
are singing in homophony at the beginning. Once again, the chorus explores several different
musical textures, including fugue, unison, and antiphony, and alternating between major and
minor sections. The homophonic shouts of “David” at measure 48 are particularly of note, as
they represent the Israelites final call to David to have unwavering faith as he departs for battle.
Similar to other pieces thus far, the movement ends with a cadence to the tonic minor, F-sharp,
reinforcing the mood of the Israelites’ hopelessness and despair. The final recitative marks the
climax of the drama, as David defeats Goliath with his sling and stones. David remains confident
in his confrontation with battle and strong in faith, as he credits a divine influence having control
of the stones’ paths, saying, “be swift, ye stones, fulfill thy holy chore.” After David launches the
stones, Goliath acknowledges his blood has been shed, and that he has been slain by the youth.
68. Handel, Messiah, 141.
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The final perfect cadence into Bb major once again emphasizes that God favoured David in the
battle, and that the audience should not sympathize with Goliath’s demise.
Fig. 16: Similarities in vocal rhythm from "Surely, He Hath borne our Griefs" from Messiah.69
The final chorus of victory, “Hallelujah, Let All the Nations Rejoice,” is instantly
recognizable as influenced from the Hallelujah chorus from Messiah,70 but takes several different
routes than Handel’s chorus. Following the opening ritornello, the opening a cappella shouts of
“Hallelujah” emphasize the text, and the echo between the chorus and orchestra establishes an
antiphonal texture. Several vocal stylizations are implemented as the piece progresses, such as
duets, polyphony in all voices, change of tempi and dynamic contrast. Elements of text painting
are also present, such as the trumpets providing a fanfare at the chorus’ call, “sound the
trumpets,” wherefore giving life to the text. Several modulations in harmony are presented, such
as at measure 23 to the dominant, measure 41 to the relative minor, and in chromatic sequences
from measures 55 to 61. These chromatically progressing cadences serve as emotional contrast to
the preceding lyrical and expressive passages, and also provide transitional support from the
subdominant chord to the tonic in measures 59 to 65. At measure 66, the movement changes into
triple meter, as the chorus articulates the final refrain “Hallelujah, Amen” in homophony, once
69. Handel, Messiah, 90. 70. Ibid, 153.
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again to emphasize the meaning of the text. Changing of meter was not atypical in choruses in
Georgian Britain, as one can find an example in “No More to Ammon’s God and King” from
Jephtha (see Fig. 17), and “He Saw the Lovely Youth” from Theodora (see Fig. 18). Some
deceptive cadences are used in the movement, in particular at measure 96, right before the chorus
prepares to sing the final stanza. These cadences are used to keep the listener engaged and not
knowing what will come next, influenced from Georgian Britain’s stylistic trait of
unpredictability. These textural elements described in this section in relation to the vocal score
demonstrate their relationship to eighteenth-century form and style, and therefore rationalize
their use in the composition.
Fig. 17: Example of Handel using meter changes in Jephtha.71
71. Handel, Jephtha, 14.
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Fig. 18: Switch to triple meter in the chorus "He Saw the Lovely Youth" from Theodora for dramatic effect.72
The orchestration for David and Goliath is similar to an eighteenth-century chamber
ensemble, featuring strings (two violins, viola and basso continuo), oboe, bassoon, trumpet,
timpani, and harpsichord. A keyboard realization of the orchestration has been added for
rehearsal use, but could also be used in performance as an organ. Listed in the performance notes
of the piece are several baroque stylizations, including notes on trills, rhythm, articulation, tempi
and dynamics, as well as a brief explanation of the musical themes presented in the vocal and
instrumental parts. These characteristics aid the musicians in historical performance styles, along
with giving the conductor a sense of the thematic material of the piece. The overture incorporates
several features from English oratorio overtures, including a slow, dotted introduction
concluding with a Phrygian cadence, and a contrasting second section, a fughetta, at a faster
tempo. The majority of Handel’s oratorios use this French overture model, such as the overture
of Messiah (see Fig. 19), which begins with a dotted rhythm and a grave tempo, followed by a
fugue section marked allegro moderato. In the fugue, the original subject is repeated in all
voices, whether retrograde, inverted, half the note values, or at a different tone, while new
72. Handel, Theodora, 152.
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subjects are further introduced as the fugue progresses. Similarly, the overture of Belshazzar (see
Fig. 20), similarly marked by several ornamental stylizations, renders the same theme: a slow,
dotted introduction, marked maestoso, followed by a fugue with numerous subjects based upon
sixteenth notes. The David and Goliath contrasting section is a fughetta, whereby having fewer
repetitions of the original subject, and being somewhat shorter than a typical baroque fugue.
Fig. 19: French overture introductory style found in Messiah, demonstrating the slow, dotted rhythm.73
Fig. 20: Example of the contrasting fugal section of French overture style, found in Belshazzar.74
The relationships between instruments, whether being independent, creating harmonic or
rhythmic counterpoint, or ‘doubling’ (i.e. playing the same part), will be presented to
demonstrate the correlations between similar scores in Georgian Britain oratorio. The oboe part
73. Handel, Messiah, 1. 74. Handel, Belshazzar, 2.
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in David and Goliath is generally doubling the first violin, but also has some instances of
independence. Similarly, the trumpet is mostly doubling either the oboe or first violin, but also
has solo sections in the aforementioned responses to the choir shouting “sound the trumpets” in
the final chorus. The bassoon is predominantly doubling the basso continuo line, whereas the
timpani, at three pitches, are proving percussive accompaniment for dramatic effect. Both violin
parts often are in harmony, especially intervals of thirds and sixths with the same rhythm,
whereas the viola often has independent rhythms and harmony to create contrasting counterpoint
and texture. These relationships between instruments are similar to the ones used in eighteenth-
century oratorio, as Roland Jackson explains, for “violin parts were each doubled by an oboe,
and the cello and bass were reinforced by bassoons.75 Similarly, Jennifer Beakes explains,
“trumpets and oboes perform together frequently [and] the inclusion of oboes in the texture of
trumpets and horns … is in keeping with practices by other Baroque composers.”76 Furthermore,
Jackson asserts that “Handel’s timpani were mainly rhythmical (rather than pitch) instruments,”
whose players often simply improvised their parts, and that they were predominantly used to
articulate dramatic scenery.77
Other significant aspects of the orchestra in the score include the instrumental interludes,
or ritornelli that introduce several of the pieces. The orchestra employs several ritornelli at the
beginning of movements, such as “Be Not Afraid,” where the melody is introduced and the
scene’s mood is set. These short introductions often include a woodwind or other solo instrument
doubling the melody, such as the oboe in this score, and then playing tacet once the vocal line
75. Roland Jackson, Performance Practice: A Dictionary Guide for Musicians (New York: Routledge, 2005), 272. 76. Jennifer Beakes, The Horn Parts in Handel's Operas and Oratorios and the Horn Players who Performed in These Works (Ann Arbor, Michigan: ProQuest, 2007), 59. 77. Jackson, 174.
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begins. Senza ripieno markings in Handel scores indicate that the ripieno, or reinforcing,
instruments (i.e., timpani, trumpet, horn) are not to play, whereas the instruments who act as
soloists communicate the music, such as the introduction to “Comfort Ye My People” from
Messiah (see Fig. 21). Furthermore, Selfridge-Field’s analysis of the baroque orchestra reveals
that there was a “conscious emphasis on strings,”78 which explains the dominance of the violins
over all other instruments, as they typically assume the melody and rarely have measures of rest.
The continuo instruments accompany the recitatives to ensure the text is highlighted, while the
accompaniment for the arias and choruses is typically polyphonic, such as in “Behold, They
Hide,” where the first violin reinforces the melody, and the other instruments articulate the
rhythm. Several instances of suspension among the strings are used to create tension and release
in harmonies, such as the opening ritornello in “Be Not Afraid.” The hemiola texture found in
the viola contrasts with the first violin, while the second violin also plays a contrasting rhythm.
These contrapuntal techniques create a serene atmosphere, since the second violin and viola’s
return to homophony in measure 5 emphasizes the first violin and oboe’s melody.
Fig. 21: Handel's use of senza ripieno and con ripieno to create depth in orchestral accompaniment.79
78. Selfridge-Field, 508. 79. Handel, Messiah, 5.
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Further uses of orchestral technique are in the openings of the choruses “David and
Goliath, May Evil Fates Relent” and “David, O Terror,” as both employ a hastening rhythmic
vitality to create a suspenseful mood and an element of unrest for the audience. The uses of quick
contrast in rhythm and dynamic, such as measures 9-10 of “David, O Terror,” keep the listener
engaged, and stimulate the dramatic element of the scene. Instances of syncopation in several of
the movements, particularly the hemiola in the first violin beginning at measure 42 in “David and
Goliath, May Evil Fates Relent” expands the turbulence, as does the frequent use of diminished
seventh chords. The aforementioned sixteenth-note diminished seventh arpeggio motif beginning
at measure 14 in “Horror, Terror” highlights the fear that the Israelites have toward Goliath, and
its incessant continuation and growth furthers this ambiance. A final use of dramatic effect in the
orchestra is the continual triplets in the timpani in “Hallelujah, Let All The Nations Rejoice”
from measure 66 onward. Since the triplet is on the third beat in triple meter, it acts as a pickup
to the first beat, whereby establishing a march feel to complement the ceremonial victory chant.
These orchestral elements described in this section, such as instrumentation, use of timbre,
performance style, and dramatic technique demonstrate their correlation with similar stylistic
paradigms of Georgian Britain.
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Conclusions
The score of David and Goliath is indeed multifaceted, using cultural appropriation from
eighteenth-century Britain in terms of the vocal and instrumental texture, as well as the libretto’s
language and thematic material. The exposition of Baroque oratorio, such as its tonalities and
forms has presented several conclusions of style, such as the development of innovative
compositional technique in the vocal scores, as the role of the chorus became increasingly
expanded. The exclusion of the vast number of da capo arias of opera was a stark contrast, as
eighteenth-century oratorio promoted the development of action rather than reflective, emotional
movements. The chorus’ role became much more predominant than other dramatic works such as
masques, passions and opera, as they provided the central role, often acting as a mediator
between characters, and usually expressing moral ideals and principles. The orchestra played a
subordinate role to the chorus and soloists as the text was incessantly emphasized, and therefore
the most important part of oratorio. However, the orchestra still maintained a major function of
the drama, as the overtures, interludes, sinfonias, and other accompaniments enhanced the
atmospheric quality of the music. The music of David and Goliath takes these, and other,
elements into account in its composition, and articulates the subtleties of music found in
Georgian Britain.
Regarding textual considerations, the sacred quality of oratorio led to several
controversies, especially in the adaptation of biblical text. It has been demonstrated that the
treatment of characters was a challenge, as the issue of divine influence and intervention rather
than human accomplishment created disagreements in both religious and secular circles. David
and Goliath attempts to present characters similar to those depicted by Handel and others, as the
examination of heroic protagonists and ruthless antagonists of English oratorios has provided
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guidance to representation. The libretto reflects the syntax, poetic schemes and versification of
eighteenth-century language and biblical treatment, and considers themes stemming from the
oral tradition and other religious interpretations. The notion that the librettists of Handel, Greene,
Pepusch, Arne and Stanley were writing to accommodate a certain point of view is a curious
topic, as the patrons of these composers were typically wealthy and therefore possibly influential
on their works. The research suggests that patronage played a role of depicting Biblical
characters, but further evidence is necessary to prove that these individuals were obligated to
depict a particular treatment of storyline and characterization.
In sum, David and Goliath posits a framework for future compositions, whether dramatic
or otherwise, based upon cultural appropriation or pastiche structures. An understanding of the
respective culture or historical era is imperative, as the music likely reflects deeper issues,
including social and economic influences, when considering stylistic traits. In this case, the study
of both the cultural landscape of Georgian Britain, as well as the characteristics of oratorio and
Baroque music were essential in incorporating stylistic formulae from these sources.
Furthermore, the treatment of text is also dependent on cross-cultural considerations, as several
examples must be scrutinized to determine an accurate portrayal of both the syntax and linguistic
qualities, and the greater cultural ideals. The intricacy of the David and Goliath story proved to
be an advantageous model, as a more definitive and clear-cut text would have provided fewer
challenges in adaptation. This thesis has proposed numerous formulae in creating compositional
material based on interpreting stylistic qualities from a certain context, and the dramatic work
presented applies these methods to demonstrate a credible paradigm of eighteenth-century
oratorio composition.
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Bibliography/Discography
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Bach, Johann Sebastian. Christmas Oratorio. New York: E.F. Kalmus, 2000.
——— St. John Passion. London: Ernst Eulenburg, 1961.
Bach, Carl Philipp Emanuel. Die Israeliten in der Wüste. Budapest: Editio Musica, 1971.
Barthélemy, Dominique, et al. The Story of David and Goliath: Textual and Literary Criticism. Fribourg, Switzerland: Fribourg University Press, 1986. Batten, L.W. “David and Goliath.” The American Journal of Semitic Languages and Literatures 35, no. 2 (1918): 61-64. Beakes, Jennifer. The Horn Parts in Handel's Operas and Oratorios and the Horn Players who Performed in These Works. Ann Arbor, Michigan: ProQuest, 2007. Boyd, Malcolm. “Baroque Oratorio: A Terminological Inexactitude?” The Musical Times 119, no. 1624 (1978): 507-508. Brown, John. A Dissertation on the Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music. London: Davis and Reymers, 1763. Carissimi, Giacomo. Dialogo Del Gigante Golia Oratorios. Orchestra and Chorus of Musica Fiata, La Capella Ducale. Roland Wilson, Conductor. CPO: Deutschlandfunk, 2005, compact disc. Chrissochoidis, Ilias. “Handel at a Crossroads: His 1737-1738 and 1738-1739 Seasons Re-Examined.” Music and Letters 90, no. 4 (2009): 599-635. Dean, Winton. “The Dramatic Element in Handel’s Oratorios.” Proceedings of the Royal Musical Association 79 (1952-3): 33-49. Gladwell, Malcolm. David and Goliath: Underdogs, Misfits, and the Art of Battling Giants. New York: Little, Brown and Company, 2013. Greene, Maurice. Anthem: Hearken Unto Me, Ye Holy Children. London: Stainer and Bell, 1991. ——— Ode on St Cecilia’s Day. London: Stainer and Bell, 1991. ——— Phoebe: A Pastoral Opera. London: Stainer and Bell, 2004.
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——— The Song of Deborah and Barak. London: Schott and Co., 1956.
Grieg, Edvard. Holberg Suite, Op. 40. Leipzig: Edition Peters, 1931.
Handel, George Frideric. Acis and Galatea. Kassel, Germany: Bärenreiter, 2001.
——— Belshazzar: An Oratorio. London: Novello, 1927.
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——— Messiah. New York: Dover, 1989.
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——— Samson: Oratorio in Three Acts. Hans Dieter Clausen, ed. New York: Bärenreiter, 2011.
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——— Susanna. Leipzig: Deutsche Händelgesellschaft, 1858.
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Haydn, Franz Josef. The Creation. Mineola, NY: Dover, 2001.
Herrema, Robert D. “Messiah: Orchestral Considerations.” The Choral Journal 20, no. 3 (1979), 5-6, 8-9. Heskes, Irene. Passport to Jewish Music: Its History, Traditions, and Culture. Westport, Connecticut: Greenwood, 1994. Hitchin, Neil W. “The Politics of English Bible Translation in Georgian Britain: The Alexander Prize.” Transactions of the Royal Historical Society 9 (1999): 67-92.
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The Holy Bible: Containing the Old and New Testaments (New King James Version). Nashville: T. Nelson, 2006. Hogwood, Christopher and Luckett, Richard, eds. Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth. Cambridge: Cambridge University Press, 1983. Honegger, Arthur. Le Roi David: Symphonic Psalm in Three Parts, After a Drama by Rene Morax. Lausanne, Switzerland: Foetisch Freres, 1952. Hunter, David. “Patronizing Handel, Inventing Audiences: The Intersections of Class, Money, Music and History.” Early Music 28, no. 1 (2000): 32-36, 38-49. Hurley, David Ross. Patterns of Creation in his Oratorios and Musical Dramas, 1743-1751. New York: Oxford Univeristy Press, 2001. Jackson, Roland. Performance Practice: A Dictionary Guide for Musicians. New York: Routledge, 2005. Jason, Heda. “The Story of David and Goliath: A Folk Epic?” Biblica 60, no. 1 (1979): 36-70.
Johnson, Benjamin J.M. “Reconsidering 4QSama and the Textual Support for the Long and Short Versions of the David and Goliath Story.” Vetus Testamentum 62, no. 4 (2012): 534-549. Kuhnau, Johann. Piano Sonata: Der Streit Zwischen David und Goliath. Leipzig: Breitkopf und Härtel, 1901. Melamed, Daniel R, ed. J.S. Bach and the Oratorio Tradition. Chicago: University of Illinois Press, 2011. Mendelssohn, Felix. Elijah: An Oratorio. Boston: O. Ditson, 2003.
Mozart, Wolfgang Amadeus. Davide Penitente. Kassel, Germany: Bärenreiter, 1990.
——— Symphony No. 29, K. 201. Alexandria, Virginia: Alexander Street, 2008.
Parker, Mary Ann. G.F. Handel: A Guide to Research. New York: Routledge, 2005.
Pepusch, John Christopher. The Music of John Gay's “The Beggar's Opera.” Oxford: Oxford University Press, 1990. Prout, Ebenezer, ed. Songs and Airs by George Frideric Handel, Volume II: For Low Voice. Boston: Oliver Ditson Company, 1905. The Qur'ān: Translated by E.H. Palmer. Delhi: Motilal Banarsidass, 1965.
Ratner, Leonard G. Classical Music: Expression, Form, and Style. New York: Schirmer, 1980.
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Salomon, Karel. David and Goliath; A Miniature Opera in Three Scenes. Tel-Aviv: Israeli Music Publications, 1957. Schulenberg, David. Music of the Baroque. Oxford: Oxford University Press, 2008.
Selfridge-Field, Eleanor. “Italian Oratorio and the Baroque Orchestra.” Early Music 16, no. 4 (1988): 506-513. Smith, Ruth. Charles Jennens: The Man Behind Handel’s Messiah. London: Handle House Trust: 2012. ——— “Intellectual Contexts of Handel’s Oratorios.” Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, Hogwood, Christopher, and Richard Luckett, eds., Cambridge: Cambridge University Press, 1983. Smither, Howard E. The Oratorio in the Baroque Era: Protestant Germany and England. Chapel Hill, NC: The University of North Carolina Press, 1977. Southey, Roz. Music-Making in North-East England during the Eighteenth-Century. Aldershot, UK: Ashgate, 2006. Stanley, John. Zimri: An Oratorio. Huntingdon, England: King’s Music, 1988.
The Talmud Bavli: The Steinsaltz Edition. New York: Random House, 1989.
Tchaikovsky, Pyotr Ilyich. Serenade for Strings, Op. 48. London: Eulenberg, 1991.
Telemann, Georg Philipp. Der Tag des Gerichts: Ein Singgedicht in Vier Betrachtungen. Wiesbaden: Breitkopf and Härtel, 1958. Tilmouth, Michael. “The Beginnings of Provincial Concert Life in England.” Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, Hogwood, Christopher, and Richard Luckett, eds., Cambridge: Cambridge University Press, 1983. Webb, Ralph T. “Handel’s Oratorios as Drama.” College Music Symposium 23, no. 2 (1983): 122-144. Weber, William. The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology. Oxford: Clarendon Press, 1992. Young, Percy M. The Oratorios of Handel. London: Dennis Dobson, 1949.
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Appendix A: Libretto of David and Goliath: An Oratorio
PART ONE
1. Overture 2. Chorus Israelites: Prepare for war, O Israel! May God our fears and doubt dispel! Let all thy hearts and souls be brave, And pray that God, almighty, save. 3. Recitative Israelite: My brethren and friends, The Philistines have challenged our defense; The giant of Gath approaches to bring war Harken not to his menacing tongue For his will and words are poison. Goliath: Thine armies of Saul shall not prevail: See how ye tremble and shrink. I defy the soldiers of Israel this day: Give me a man that we may fight together. 4. Solo and Chorus Goliath: Behold, they hide; behold, they fear. Israel’s doom draws nigh. Swell, extend thy fright to my spear Doom awaits thy piteous cry. Israelites: Horror! Terror! The giant’s tongue is cruel: His armor brass and spear iron tool’d. Tempests form within the land Stemming from his ruthless hand! Save us, God and guide, Thy mercies provide.
5. Recitative Jesse: David, my son, take now for thy brethren this fare. Run to their camp, take their pledge, yet beware. David: Brethren, I salute thee, why do ye shrink in fear? The ogre is weak behind his mighty words. Let Israel triumph o’er his false veneer, For this man defies the armies of the living God. 6. Air David: Be not afraid, the Lord is with thee, Bid your solemn state depart. Strong in faith let us be. Be not afraid, the Lord is with thee Be still thy heart. (Da capo) 7. Recitative David: If the marauder’s blade shall fall, The Philistine armies surely shall be stall’d. Let no man’s heart fail because of him; Thy servant will risk both life and limb. 8. Chorus Israelites: David and Goliath, May evil fates relent. Let Jesse’s son be kept by heav’n, And Goliath’s day lament. Amen!
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PART TWO 9. Recitative Saul: Thou art not able to go against this Philistine For thou art but a youth, and he a man of war. David: Thy servant did his father’s flock keep, For a lion and bear did take our sheep. Thy servant slew the beasts who did maraud the land: Goliath will be as them, for the Lord will deliver me from his hand. Saul: Take then this armour: it shall see thee through. Go, David, and may the Lord be with you. 10. Air David: All ye who fear Lend me thine ears. I need but five smooth stones And my sling alone. Men and women, abandon dread His rue shall be made known. 11. Duet and Chorus Goliath: Come to me, come to me, I will take thy staff from thee. I will give thy flesh to fowl, And feed thy blood to beasts who prowl.
David: Come to me, come to me, Ye whose belt hath sword and spear, In the name of God on high, The One whom thy breath hast defied. Both: Come to me, come to me. Israelites: David! O terror! The villain’s span is vast. Let thy faith and will Remain steadfast. 12. Recitative David: Yea, the beast does approach: No longer shall he encroach. Be swift, ye stones, fulfill thy chore, The Philistine’s wrath shall be no more. Goliath: O, fate! My blood hath spill’d; The youth hath slain me. 13. Chorus Israelites: Hallelujah! Let all the nations rejoice and sing! The Lord hath won the victory. Sound the trumpets! Let voices ring! Amen! Hallelujah!
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Appendix B: Conductor’s Score of David and Goliath: An Oratorio
David and Goliath:
An Oratorio
Words and Music by John-Luke Addison
© 2015
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2
Performance Notes
This composition articulates historical Baroque style throughout eighteenth-century
Georgian Britain, emulating stylistic characteristics of composers such as G. F. Handel,
John Stanley, Maurice Greene, Thomas Arne and Johann Pepusch. These performance
notes shall give the musicians and conductor insight as to the appropriate treatment of
ornamentations, rhythm, notations and dynamics. The opening section of the overture
should be played double-dotted in rhythm, and all trills played via one note above the
given note. Vocal appoggiaturas should be sung on the beat, whereas small notated notes
in the instrumental parts shall be treated as grace notes, and therefore as a pickup to the
beat. The Organum part is a realization of the orchestration, and is notated for rehearsal
use, but may also be used in performance on organ. Tempi are suggested in some cases,
but are otherwise left to the conductor's discretion, along with dynamics, such as
crescendo and diminuendo. Several dynamic markings are also suggested, but the singers
may guide their dynamic interpretation solely by the verbal text. Finally, the da capo arias
are open to improvised ornamentation, and numerous suggested embellishments are
notated in the score.
Instrumentation
Oboe
Fagotto
Tromba in Bb
Timpani (3)
Violino I
Violino II
Viola
Basso Continuo
Organum
Approximate Length: 35 minutes
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3
List of Characters
David (Tenor)
Goliath (Bass/Baritone)
Israelite (Tenor)
Jesse (Tenor)
Chorus of Israelites
Index
Part One
Overture - 4
Chorus - "Prepare For War, O Israel"- 11
Recit. (Israelite, Goliath)- 21
Aria - "Behold, They Hide"- 22
Chorus - "Horror, Terror"- 30
Recit. (Jesse, David)- 40
Aria - "Be Not Afraid"- 41
Recit. (David)- 45
Chorus- "David and Goliath, May Evil Fates Relent"- 46
Part Two
Recit. (Saul, David)- 58
Aria - "All Ye Who Fear"- 59
Duet - "Come To Me"- 62
Chorus - "David, O Terror"- 66
Recit. (David, Goliath)- 77
Chorus - "Hallelujah, Let All The Nations Rejoice"- 78
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5
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6
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7
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Full Score
8
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55
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Ob.
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9
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56
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Ob.
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Full Score
10
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57
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11
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58
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Full Score
12
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59
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Ob.
Fag.
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A.
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Org.
p
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Full Score
13
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60
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°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
20
f
f
war, O Is ra- el!- Pre pare!- Pre pare!- Pre
f
war, O Is ra- el!- Pre pare!- Pre pare!- Pre
f
war, O Is ra- el!- Pre pare!- Pre pare!- Pre
f
war, O Is ra- el!- Pre pare!- Pre pare!- Pre
f
&
?
&
?
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Ϫ
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Full Score
14
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61
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p
28
p
p
f p
f p
f
p
f p
pare for war, O Is ra- el!- May
p
God, may God,
pare for war, O Is ra- el!- May
p
God, may God,
pare for war, O Is ra- el!- May
p
God, may God,
pare for war, O Is ra- el!- May
p
God, may God,
f
p
f
p
&
?
&
?
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Full Score
15
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62
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
36
f
f
f
f
f
f
f
may
f
God our fear and doubt dis pel!-
may
f
God our fear and doubt dis pel!-
may
f
God our fear and doubt dis pel!-
may
f
God our fear and doubt dis pel!-
f
f
&
∑
?
∑
&
∑
Ÿ
?
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Full Score
16
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63
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p
Poco più mosso q=8044
p
p
p
Let
p
all thy hearts and souls be brave, and pray the Lord, al migh- ty- save.
Let
p
all thy hearts and souls be brave, and pray the Lord, al migh- ty- save.
Poco più mosso q=80
p
c
c
c
c
c
c
c
c
c
c
c
c
c
c
&
U
∑ ∑
?
U
∑ ∑ ∑
&
U
∑ ∑ ∑
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U
∑ ∑ ∑ ∑
&
U
&
U
B
U
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?
∑ ∑ ∑ ∑ ∑
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U
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&
U
##
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Full Score
17
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64
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
49
f
f
f
Let
f
all thy hearts and souls be brave, and pray the Lord, al migh- ty- save.
Let
f
all thy hearts and souls be brave, and pray the Lord, al migh- ty- save.
Let
f
all thy hearts and souls be brave, and pray the Lord, al migh- ty-
Let
f
all thy hearts and souls be brave, and pray the Lord, al migh- ty- save.
f
f
&
?
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
?
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&
&
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Full Score
18
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65
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
rit.53
f
Let all thy hearts and souls be brave, and pray the Lord, al migh- ty-
Let all thy hearts and souls be brave, and pray the Lord, al migh- ty-
save. Let all Let thy hearts and souls be brave, and pray the Lord, al migh- ty-
Let all thy hearts and souls be brave, and pray the Lord, al migh- ty-
rit.
&
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Full Score
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66
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Full Score
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67
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war. Har ken- not to his me na- cing- tongue, For his will and his words are poi son.-
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sol diers- of Is ra- el- this day, give me a man, that we may fight to ge- ther.-
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Full Score
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68
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Full Score
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69
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Full Score
23
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70
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=
Full Score
24
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71
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Vln. I
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26
be hold- they hide, be hold- they fear. Is rael's- fate draws nigh, draws
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Full Score
25
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72
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39
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=
Full Score
26
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73
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Vln. I
Vln. II
Vla.
B.
Cont.
Org.
45
Doom a waits- thy pi teous- cry, Swell, ex tend- thy fright to my spear, Swell, ex tend-
Vln. I
Vln. II
Vla.
B.
Cont.
Org.
50
thy fright to my spear, Ex tend,- Ex tend,- Ex tend- thy fright to my spear, Swell, ex tend-
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=
Full Score
27
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74
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Vln. I
Vln. II
Vla.
B.
Cont.
Org.
54
thy fright to my spear, Swell, ex tend- thy fright to my spear, Ex tend,- Ex tend,-
Vln. I
Vln. II
Vla.
B.
Cont.
Org.
58
Ex tend- thy fright to my spear, Doom a waits- thy
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Full Score
28
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75
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¢
°
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{
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Vln. I
Vln. II
Vla.
B.
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Org.
Allargando molto rit.61
pit eous- cry, Doom a waits- thy pit eous- cry.
Allargando molto rit.
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Full Score
29
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76
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Vln. I
Vln. II
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A.
T.
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Cont.
Org.
p
Allegretto1
f p
f p
f
p
Hor
f
ror!- Ter ror!- The gi ant's- tongue is cruel,
Hor
f
ror!- Ter ror!- The gi ant's- tongue is cruel,
Hor
f
ror!- Ter ror!- The gi ant's- tongue is cruel,
Hor
f
ror!- Ter ror!- The gi ant's- tongue is
f p
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fp
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Full Score
30
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77
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Ob.
Vln. I
Vln. II
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A.
T.
B.
Cont.
Org.
4
The gi ant's- tongue is cruel, The gi ants- tongue is
The gi ants- tongue, The gi ants-
The gi ants- tongue is cruel, The gi ants- tongue
cruel, The gi ants- tongue is
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Full Score
31
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78
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¢
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¢
°
¢
{
°
¢
Ob.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
7
f p
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cru el!-
p
His ar mour- brass and spear ir on- tool'd, His ar mour- brass
tongue is cru el!- His
p
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Full Score
32
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79
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¢
°
¢
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¢
{
°
¢
Ob.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
pf
Con furioso11
f
f
f
and spear ir on- tool'd, And spear ir on- tool'd. Tem
f
pests- form with -
and spear ir on- tool'd, His ar mour- brass and spear ir on- tool'd. Tem
f
pests- form with -
mour- brass and spear ir on- tool'd. Tem
f
pests- form with -
tool'd, His ar mour- brass and spear ir on- tool'd. Tem
f
pests- form with -
f
Con furioso
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Full Score
33
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80
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¢
°
¢
°
¢
{
°
¢
Ob.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
15
in the land, Stem ming- from his ruth less- hand,
in the land, Stem ming- from his ruth less- hand,
in the land, Stem ming- from his ruth less- hand,
in the land, Stem ming- from his ruth less- hand,
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Full Score
34
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81
°
¢
°
¢
°
¢
{
°
¢
Ob.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
18
Tem pests- form with in- the land, Stem ming- from his
Tem pests- form with in- the land,
Tem pests- form with in- the land,
Tem pests- form with in- the land, Stem ming-
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Full Score
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82
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Org.
21
ruth less- hand, From his ruth less- hand,
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Full Score
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83
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Ob.
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pf
25
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84
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31
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Full Score
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85
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rit.36
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39
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86
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Full Score
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87
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41
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88
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A tempo8
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p
not a fraid,- the Lord is with thee, The Lord is with thee. Be not a-
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fraid, the Lord is with thee, The Lord is with thee. Bid your sol emn- state de -
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42
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89
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f
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part, Strong
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in faith let us be. Bid
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faith let us be.
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43
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90
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p
48
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p
not a fraid,- the Lord is with thee, Be still
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poco rit.54
thy heart, Be still thy heart.
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44
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91
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1
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no man's heart fail be cause- of him, thy ser vant- will risk both life and limb.
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45
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92
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46
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93
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Ob.
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Full Score
47
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94
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
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S.
A.
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B.
Cont.
Org.
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Full Score
48
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95
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
f
A Tempo23
f
f
f
p
f
p
f
p
f
Da
p
vid- and Go li- ath,- Da vid- and Go li- ath,- Da
f
vid,- Da vid,- Da vid- and Go
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p
vid- and Go li- ath,- Da vid- and Go li- ath,- Da
f
vid,- Da vid,- Da vid- and Go
Da
p
vid- and Go li- ath,- Da vid- and Go li- ath,- Da
f
vid,- Da vid,- Da vid- and Go
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p
vid- and Go li- ath,- Da vid- and Go li- ath,- Da
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p
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Full Score
49
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96
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
mf
30
mf
mf
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p
mf
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mf
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mf
li ath!- Da vid- and Go li
mf
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p
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mf
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p
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mf
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p
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mf
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mf
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Full Score
50
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97
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¢
°
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°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
38
p
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p
cres.
p
cres.
pcres.
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p
vid,- Go li- ath,
cres.
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p
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cres.
vid- and Go li- -
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p
vid,- Da vid,
cres.
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p
vid,- Da
cres.
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p
cres.
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cres.
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Full Score
51
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98
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
mf
49
mf
mf
ath! May e vil- fates re lent,- may e vil- fates re lent,- may e vil- fates re lent,- re lent,- re -
ath! May e vil- fates re lent,- may e vil- fates re lent,- re lent,- re lent,- re -
ath! May e vil- fates re lent,- re lent,- re lent,- re -
ath! May e- vil- fates re lent,- may e vil- fates re lent,- re lent,- re -
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55
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102
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58
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105
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Vla.
T.
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Org.
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Largo1
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All
p
ye who fear, lend
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Org.
6
me thine ears. All ye who fear lend me thine ears All ye who fear lend me thine ears,
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Full Score
59
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106
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f
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All ye who fear lend me thine ears. I
f
need but five smooth stones and my sling a lone.-
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p
15
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I need but five smooth stones and my sling a lone.- All
p
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60
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107
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T.
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Org.
18
me thine ears. All ye who fear lend me thine ears
Ob.
Vln. I
Vln. II
Vla.
T.
Cont.
Org.
22
f
f
f
I
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need but fivesmooth stones
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61
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108
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T.
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Org.
26
rue shall be known Men and wom en,- a ban- don- dread, his rue shall be known
Ob.
Vln. I
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Org.
p
Andante
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62
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109
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T.
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Org.
8
Come
p
to me, come to me, I will take thy staff from thee, I will give thy flesh to fowl, and feed thy blood to
Vln. I
Vln. II
Vla.
T.
B.
Cont.
Org.
15
Come
p
to me, come to me, ye whose belt hath sword and spear, in the name of God on high, the
beasts who prowl.
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63
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110
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22
One, whom thy breath hast de fied.- Come to me, come to me, come to me, come to me, come to
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B.
Cont.
Org.
p
29
me, come to me, come to,come to me. Come,
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come to me, come to me,
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64
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111
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B.
Cont.
Org.
35
come to me come to me come to me, come to me. come
p
to me,
come to me, come come to me, come to me. Come
p
to me,
Vln. I
Vln. II
Vla.
T.
B.
Cont.
Org.
42
Ye whose belt has sword and spear, in the name of
I will take thy staff from thee, I will give thy
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65
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112
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Cont.
Org.
molto rit.45
God on high, the One, whom thy breath hast de fied.-
flesh to fowl, and feed thy blood to beasts who prowl.
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
Cont.
Org.
f
Allegro1
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66
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113
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Fag.
Tpt. Bb
Timp.
Vln. I
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S.
A.
T.
B.
Cont.
Org.
5
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f
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Full Score
67
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114
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
cres.p
9
p
p cres.
p cres.
p cres.
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p
vil lain's- span is vast, The
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vil
cres.
lain's- span
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vil lain's- span is vast,
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lain's- span
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Full Score
68
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115
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
14
f
p
f
p
f
p
vil lain's- - span
f
is vast. The
p
vil lain's- span
f
is vast.
mf
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f
is vast. Let thy
f
is vast. The
p
vil lain's- span is
f
p
f p
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Full Score
69
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116
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¢
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¢
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¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
19
f
f
f
f
f
f
is vast, The vil lain's- span is vast. Da
f
vid-
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p
vil lain's- span is vast. Da
f
vid-
faith and will re main- stead fast.- - Da
f
vid-
vast, The vil lain's- span is vast. Da
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Full Score
70
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117
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p
24
p
p
p
p
p
p
Da vid- O, ter ror,- O,
p
ter ror,-
Da vid- O, ter ror,- O,
p
ter ror,-
Da vid- O, ter ror,-
Da vid- O, ter ror,-
p
p
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Full Score
71
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118
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
28
f
f
f
f
p
f
p
f
p
Da
f
vid- Da vid-
Da
f
vid- Da vid-
O,
p
ter ror,- Da
f
vid- Da vid- Let
p
thy faith and will re -
O,
p
ter ror,- Da
f
vid- Da vid-
f
p
f
p
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Full Score
72
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119
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p cres. f
33
p cres. f
p cres.
f
cres. f
cres.
f
cres.
f
Let
p
thy faith
cres.
and will re main- stead fast,- let
f
thy faith
Let
p
thy faith
cres.
and will re main- stead fast.- Let
f
thy faith
main stead fast.- and
cres.
will re main- stead fast,- let
f
thy faith
Let
p
thy faith and will
cres.
re main- stead fast.- Let
f
thy faith
cres. f
cres.
f
&
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Full Score
73
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120
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p cres.
39
p cres.
p cres.
cres.p
p cres.
p cres.
p cres.
and will re main- stead fast,- Let thy faith and will stead fast,
p
- let thy faith,
cres.
and will re main- stead fast,- let
p
thy faith, Da
cres.
vid,- O ter ror,-
and will re main- Let thy faith and will re main- stead fast,
p
- let thy faith, Da
cres.
vid,- O ter ror,-
and will re main- stead fast.- let
p
thy faith,
cres.
p cres.
p
cres.
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Full Score
74
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121
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
45
f
f
f
f
f
f
Da
f
vid- Da vid- Da vid-
Da vid,- O ter ror,- Da vid,- O ter ror,- Da vid,- O ter ror,- Da
f
vid- Da vid- Da vid-
Da vid,- O ter ror,- Da vid,- O ter ror,- Da vid,- O ter ror,- Da
f
vid- Da vid- Da vid-
Da
f
vid- Da vid- Da vid-
f
f
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Ϫ
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Ϫ
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w
w
w
w
w
w
Ϫ
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Ó
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Ϫ
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Ó
Full Score
75
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122
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
Allargando molto rit.51
dim. p
dim.
p
dim. p
Da vid- Let faith
dim.
and will re main- stead
p
fast.-
Da vid- Let
dim.
faith and will re main- stead fast.
p
-
Da vid- Let
dim.
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Full Score
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123
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T.
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Org.
Yea, the beast does ap proach,- no lon ger- shall his hid eous- breath en croach,- be swift, ye stones, ful fill- thy ho ly- chore,
1
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6
6
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B
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T.
Cont.
Org.
the Phi li- stine's- wrath shall be no more. O, Fate! My blood hath spill'd, the youth hath slain me.
6
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Full Score
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124
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Ob.
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Tpt. Bb
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A.
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Cont.
Org.
f
Allegro q=1001
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Full Score
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125
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
7
Hal
f
le- lu- jah!- Hal le- lu- jah!- Hal le- lu- jah!-
Hal
f
le- lu- jah!- Hal le- lu- jah!- Hal le- lu- jah!-
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f
le- lu- jah!- Hal le- lu- jah!- Hal le- lu- jah,- Hal le- lu- jah!-
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f
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&
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Full Score
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126
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
f p
f
mp
13
f
p f
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f
le- lu- jah!- Hal
p
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f
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f
le- lu- jah!- Hal
p
le- lu- jah!- Hal
f
le- lu- jah!- Let
mp
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f
le- lu- jah!- Hal
p
le- lu- jah!- Hal
f
le- lu- jah,- Hal le- lu- jah!- Let
mp
Hal le- lu- jah!- Hal
f
le- lu- jah!- Hal
p
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f
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Full Score
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127
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¢
°
¢
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¢
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¢
{
°
¢
°
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
19
f
f
f
f
f
Re
f
joice,- re joice,- re joice,- re joice,- let
all the na tions- re joice- and sing! Re
f
joice,-
all the na tions- re joice- and sing! Re
f
joice,-
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f
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f
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Full Score
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128
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¢
°
¢
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¢
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¢
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¢
°
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
23
all re joice- and sing, the na tions,- the na tions,- the na tions,- the
re joice- and sing, re joice,-
re joice,- re joice,- and sing, the na tions,- let all the na tions,- let all the na tions,- let all the
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Full Score
82
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129
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
26
f
na tions,- the na tions,- the na tions,- let all re joice- and sing! Re joice, re joice,- re -
the na tions,- let all re joice- and sing! Re joice,-
na tions,- let all the na tions,- let all the na tions,- let all re joice- and sing! Re joice,-
na tions,- re joice,- all the na tions,- let all re joice- and sing! Re joice, let all the
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Full Score
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130
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
p cres.
30
p cres.
p cres.
p cres.
p cres.
p cres.
joice, re joice,- let all re joice- and sing, the
p
na
cres.
tions,- the
re joice- and sing, re
p
joice,
cres.
-
re joice,- re joice,- and sing, the
p
na
cres.
tions,- let all the
na tions- re joice,- let the na tions- re joice- and sing, re
p
joice,
cres.
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p cres.
cres.p
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Full Score
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131
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Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
f
molto rit.33
f
f
f
f
f
f
na tions,- the na tions,- the na tions,- the na tions,- the na
f
tions,- let all re joice- and sing! The
mp
the na
f
tions,- let all re joice- and sing! The
mp
na tions,- let all the na tions,- let all the na tions,- let all the na tions,- let all the na
f
tions,- let all re joice- and sing!
na tions,- re joice,- all the na tions,- re joice,- all the na
f
tions,- let all re joice- and sing!
f
f
molto rit.
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Full Score
85
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132
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¢
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¢
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¢
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¢
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¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
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S.
A.
T.
B.
Cont.
Org.
p pf
Meno mosso q=95
37
p p f
f
p
f
p
f
p
f
Lord hath won the vic to- ry,- the Lord hath won the vic to- ry!- Sound
f
the trum pets!- Let voi ces- ring!
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f
the trum pets!- Let voi ces- ring!
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Lord hath won the vic to- ry!- Sound
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the trum pets!- Let voi ces- ring!
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Lord hath won the vic to- ry!- Sound
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Full Score
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133
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¢
°
¢
°
¢
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¢
{
°
¢
°
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
pf
mp
43
p
f
mp
p
f
p
f
mp
p
f
mp
p
f
mp
Sound the trum pets,- let voi ces- ring.
p
Sound the trum pets,- let voi
f
ces- ring. Hal
mp
- - -
Sound the trum pets,- let voi ces- ring.
p
Sound the trum pets,- let voi
f
ces- ring. Hal
mp
- - -
Sound the trum - pets, let voi ces- ring.
p
Sound the trum - pets, let voi
f
ces- ring. Hal
mp
le- lu- jah,-
Sound the trum pets,- let voi ces- ring.
p
Sound the trum pets,- let voi
f
ces- ring. Hal
mp
le- lu- jah,-
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p
f
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Full Score
87
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134
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¢
°
¢
°
¢
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¢
{
°
¢
°
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
mp
48
f
mp
f
mp
fmp
fmp
le- lu- jah,- Hal le- - - - lu- jah!
f
- Hal
mp
- - -
le- lu- jah,- Hal le- - - - lu- jah!
f
- Hal
mp
- - -
Hal le- lu- jah,- Hal le- lu- jah,- Hal le- lu- jah!
f
- Hal
mp
le- lu- jah,-
Hal le- lu- jah,- Hal le- lu- jah!
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- - Hal
mp
le- lu- jah,-
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Full Score
88
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135
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
mp
52
f mp
mp
f
f
mp
fmp
fmp
le- lu- jah,- Hal le- - - - - lu
f
- jah!- The
mp
Lord hath
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f
- jah!- TheThe
mp
Lord hath
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f
- jah!- The
mp
Lord
Hal le- lu- jah,- Hal le- lu- -
f
jah!- - - The
mp
Lord
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Full Score
89
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136
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f
mp
56
f
mp
f
mp
f
mp
f
mp
won the vic to- ry,- Sound
f
the trum pets,- let voi ces- ring. The
mp
Lord hath won the vic to-
won the vic to- ry,ry,- Sound
f
the trum pets,- let voi ces- ring. The
mp
Lord hath won the vic to-
hath won the vic to- ry, Sound
f
the trum pets,- let voi ces- ring. The
mp
Lord hath won the vic -
hath won the vic to- ry, Sound
f
the trum pets,- let voi ces- ring. The
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Lord hath won the vic -
f
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Full Score
90
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137
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¢
°
¢
°
¢
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¢
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°
¢
°
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Ob.
Fag.
Tpt. Bb
Timp.
Vln. I
Vln. II
Vla.
S.
A.
T.
B.
Cont.
Org.
f p
f
f
rit. Più mosso q=12061
fp
ff
f p f
f
f
fp
f
f
f
p
f
f
f
p
f
f
ry, Hal
f
le- lu- jah,- A men.
p
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f
men.- Hal
f
le- lu- jah,- hal le- -
ry, Hal
f
le- lu- jah,- A men.
p
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f
men.- Hal
f
le- lu- jah,- hal le- -
to- ry,- Hal
f
le- lu- jah,- A men.
p
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f
men.- Hal
f
le- lu- jah,- hal le- -
to- ry,- Hal
f
le- lu- jah,- A men.
p
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f
men.- Hal
f
le- lu- jah,- hal le- -
f p ff
rit. Più mosso q=120
f
p
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141
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Allargando molto rit.98
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le- lu- jah,- a men!-
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Allargando molto rit.
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End of Part Two
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95