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SMITH COLLEGE CLASSICAL STUDIES

Number V June, 1924

The Lyric Portions

of

Two Dramas of Euripides

Iphigenia at Aulis

Iphigenia among the Taurians

Set to Music

by

JANE PEERS NEWHALL,A.M.

EDITORS

Johti Everett Brady Julia Harwood Caverno

NORTHAMPTON,MASSACHUSETTS

1924

C.W.THOMPSON &C0.

BOSTON

f



The Smith Collfig"e Classical Studies are published from time to time by the

Departments of Greek and Latin of Smith CoUeg-e and have for their main object

the encouragrement of research in classical literature, archaeology, and antiquities

by providing- an opportunity for the publication of studies in these fields by schol-

ars connected with Smith Colleg"e,as teachers, graduate students, or alumnae.Con-

tributions of studies in these fields of research will be welcomed by the editors,

John Everett Brady and Julia Harwood Caverno,and may be addressed to either

one of them. All business communications as to purchase of copies, requests for

exchang-es, etc., should be addressedto Miss Mary Dunham. Librarian of Smith

Colleg-e, Northampton, Mass. The price for numbers 1-4 is seventy- five cents;

for number 5 it is a dollar and a half.

SMITH COLLEGE CLASSICAL STUDIES

Number I ^'Hellenistic Influence on the Aeneid,'* by Eleanor ShipleyDuck-

ett, June, 1920.

Number 2. "A Study in the Commerce of Latium from the Early Iron Age

throug-hthe Sixth Century, H.(\," by Louise E.W. Adams, April, 1921.

Numb?r3."The Case Construction after the Comparative in Pliny's Letters,"

by Gifford Foster Clark. J;me, 1922.

Numbf!r4. "Nicolaus of Damascus' Life of Aug-ustus, A Historical Comment-

ary Embodying- a Translation," by Clayton Morris Hall, May, 1923.



Introduction

When, in 1911, the Greek Department of Smith Colleg"e decided to attempt

a performance of the Iphig^enia at Aulis,it was fortunate to be able to secure the

cooperation of Miss Jane Peers, one of its own students and at that time an in-

structor in the Department of Music. A talented young" musician who had already-

shown distinction in aom.position, she readily consented to write the music for

the lyric passag-es, falling- in heartily with the scheme of subordinating- it en-

tirely to the words and preserving" strictly the quantity and rhythm of the verse.

In 1915, thoug-h she was no long-er a member of the Faculty and had become Mrs.

Newhall, she wrote the music for the Iphig-enia among- the Tairians, which waspresented the following- spring".

The experiment of translating" the meter of Greek choral odes into a

musical form of precisely the same character, has not, as far as we kno v. been

made throug-hout a whole drama, possibly because of the reluctance of musi-

cians to curb their imag-inative powers to this extent. That Mirs.Newhall has done

this consistently throug-hout two plays, we regrard as an indication of no sligrht

restraint, and also of devotion to the highest ideals of her art, and we are pub-

lishing- her music in the hope that it will seem not merely an interesting- illustra-

tion of a method, but also a contribution to classical scholarship. From the edu-

cational standpoint, there is an enormous advantagfe in music composed on this

principle, since the ability to sing" the odes carries with it ability to read the

verse with accuracy and precision.

As will be seen, the music is very simple and is given without accompa-

niment since the air, played an octave hig'her, suffices for the flute. The form in

which the choruses are printed, with the metrical phrases placed beneath one an-

other instead of in the conventional fashion, has as precedont an eu:rang"ement of

the songs of American Indians by Natalie Curtis*. The form is particularly well

adapted to Greek choruses, as it reveals at a g-lance the metrical pattern of the

odes, and has the added advantag-e of indicating" to the singrers where to take

breath, a point which the irreg-ular leng"th of the phrases tends to obscure.

The metrical schemes were prepared on the traditional lines, and will be

found to ag-ree in g-eneral with those in Schmidts Kunstformen derg-riechischen

Poesie, though there was no attempt to follow them exactly. Some differences

may be explained by different reading's, and others are due to individual prefer-

ence. The composer was allowed some latitude in rendering" the musical equiv-

alent of certain feet or combinations of syllables. For example, while a cyclic

dactyl is usually rendered by J^ ^«^, it sometimes appears as ^ ^^, and in two

cases where a variation between strophe and antistrophe was diffictilt to render

intelligibly, the difference was disregarded in the music. It may be remarked in

defence of irregularities that the work on the choruses was done in preparation

for an acting version and not to uphold any theory of metric.

*The Indian's Book, Harper and Brothers.



For the Iphig-enia among" the Taurians the music is complete for the three

stasima, and for the chorus parts of the Parodos, consisting* of lyric anapaests.Oth-

er anapaestic portions were not set to music, with the exception of the concluding

verses of the play. The lyric interludes were cut for the performance of the play,

and the music is therefore incomplete, but it is included as an interesting* and ef-

fective rendering: of the combination of-4-

and -|- time, which is rare in mod-ern music.

The text of the Iphigenia at Aulis is in many places corrupt and some-

times unmetrical. In the lyric pass ag'es everything was omitted that is of doubt-

ful authenticity; onlya small portion of the lyric dialog^ue between Clytemnes-

tra and Iphigenia, verses 1276 ff, is included, and the kommos, verses 1475 ff,

is omitted with the exception of the choral ode at the end,which may be regard-

ed as a fourth stasimon. Instead of the concluding" verses of the play,which are

hopelessly unmetrical, three anapaestic verses were written and set to music,These

are included merely for their possible practical use.

The preparation of the choruses for the press was hampered somewhat

by the fact that it was impossible to confer with Mrs. Newhall. Under these con-

ditions we are especially grateful to Professor R. E. S.Olmsted of the Depart-

ment of Music, who has given us help on many points, and whose knowledg-e of

and interest in Greek made him a particularly sympathetic adviser. It is to him

that we owe the suggestion of the form in which the music is printed.

Amy L. Barbour

Professor of Greek

Smith College

June, 1924..

Copyright, 1924, by Smith College



Composer's Note

Concerning" the music used by the ancient Greeks for their choruses, compar-

atively little is definitely known, as tradition is not altog"ether consistent on manypoints. The Greek dramatists themselves often composed the music for their cho-

ruses, which followed very closely the rhythm or accent of the words, but was de-

cidedly melodic rather thaji merely declamatory in style.

The choruses were sung" in unison and often unaccompanied, though sometimes

a flute {avXof;) was used to reenforce the melody an octave above the voices, and

occasionally a lyre was used to play a few chords in the nature of an interlude

or refrain.

Greek music was written in various modes or scales; the six used in the fol-

lowing" choruses are the Lydian,the Phryg^ian, the Dorian, the Hypolydian,the

Hypophryg-ian, and the Hypodorian. These modes are composed of two similar

adjacent four-note gfroups (tetrachords) made up of tones and half-tones, and dif-

fer from one another in that, as the starting"-point for each mode chang'es,the half-

ton,es occur in different parts of the scale. For example.

The Lydian scale The Phryg'ian scale The Dorian scale

"OAi^" " n'^

Thus we find that the Lydian mode corresponds exactly to our own major

scale, the Phryg-ian varies only in having" its sixth tone raised, and the Dorian only

in having" its second tone lowered, from our natural minor scale. The Hypolydian

varies only in having" its fourth tone raised, and the Hypophryg-ian only in having-

its seventh tone lowered, from our major scale, and the Hypodorian correspondsexactly to our natural minor scale.

To each of these modes the Greeks assig'ned a definite emotional or ethical

character; for instance, their favorite one, the Dorian, was considered stately and

dig"nified; the Lydian, sweet and pleasing"; the Phryg-ian, adapted to deep feel-

ing" or violent emotion.

In the music which follows the attempt has been to conform to the few sim-

ple fundamental rules or principles, very briefly described above, upon which it

is g-enerally conceded the Greeks based the music for their drama, and although

it may be very different from the music which Euripides used, it is hoped that at

least it will seem appropriate to its subject and not at variance with that elusive

quality which we call "Greek"

Jane Peers Newhall

San Francisco, California.

May 1924



IPHIGENIA AT AULIS



Parodos

Strophe, 164-184

Antistrophe, 185-205

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Anapaestic conclusion, 590-598

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Strophe, 751 -761


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Epode, 784-800

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Strophe, 1036-1057


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Epode, 1080-1097

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m^rt^rP ^^^

u (7w - /oiy-yt Tpa- <f)i7 - aau, ovS

m i 6;rd-^ p I r ^^€*> P001- y8Sw-(T€-<Jl $OU-KO - Xwv,

4^ ^' MH-r p r I f FT^=^na - pa SV /ixo - Tt- pi vvfi-^o-Ko - p.ov



23

*I - va-î - haL% ya - fiov.

i

^

1=^ :^

-y^

TTOV TO TOS ai - Sou<

r^'

i

f pp^

?TO TOS

a-/06 - TttS <

^ m^^ I *

cê - i/€ti' Tt TTpo(T - 0) - wov;

» hJ'^' l i'J'J' l jg^t / > \ " "

O - TTO - T€ TO fliV a - 0"€ - TTTOi^ € - X^^

V I, .UM r JiM4-^Jtf

i

oy- va-dLV^ a o a - pe - to kot-o - ttî-

i^f J

TM p i^H-^^cr^cr/ &pa - Tots o - /Li€ - Xci - Tat,

5^ ? ^^ â - vo- ^L -a b€ vo - /jlcov Kpa - Tct.

^^

J<{>^'

i p tî-teâi /UT^ K oj. - vos o - ywp j8po - Tor^,

±^§ ^ *' ' •

/it; ^€c5i/ ^Ô-VO? €X - ^r)



24Lyric Monody

1312-1335

iIphig-enia

a i> }> i> ^ fe ^¥

-^ w

Tav Ta - \ai - vav,Si€ T€ - KCOV jU6

i 5 5^ m- • d

0) fxa - Tip o) fxa - Tip,

m f^ J M J Ji

/?V

g

01 - x€ - rai TTyo O - OOUC € /O^ - ftOV.

5: fe 5L=* -H^

8va - Ttt - Xatv'' i - yw. tti - Kpau

to3=^ ^¥H^j. - Kpav L - hov-aa Svcr- € - Xc - vat

,M^i>l

J }\

^<f>o - viv - o - yuai St - o\ - \v - fiai

^^t-^W>=ikH4-l44-t^ 6

c^a -yai-trii' ay-o-0"i - oi- aw au- o - <jl - ov na - Tpo<;.



25

i^ J J-J-' I J i'JÛJ^MJ Jv?

gI # za:

17 no -\v - }io-\dov ap* rjv '/6 - i/os, -7 no-\v - fxa -\0ov

^' JHJ jun j ^'^^â - fX€ - PL - (OV, TO \p€ - lav hi TL 8v(J-n OT-fJiOV

mau - opa-(TLV tv - ptLV

a N4-^^M»

X » ^

t - O) t - O).

^J) J) I i i> Nl> J) S> I j) Jv^M-^â»' m ad

fxt- ya - \a na- &€ - a, fj,(

-ya-\a 8 a-\€ - a

^J:' JM J J' 1^^

rit'

^Âa-va- t - Sais î - ^<i - <^« Tui/ - So - /019 ko -pa.



26Choral Song

Serving" as

Foui'thStasimon, 1510 -1531

Moderato

-^

-^

^5€ - oOi TCLU 'I - Xl - OV

Ka\ ^pv - ywU € - Xf - TTTO -\Llf

^^p^^^^^^\ I '

Ji

(JTci - xow-cai/, € - 7TI Ka - pa orrt - 0€a

--!>i; j> I ^-

1 fm^

^

i|I

' 11

I

m^la - fJLOV Si - a! - fxo - vo<; 6i - as

I ji-f'

p I r ^a - vl-div al - \xa - Top - pv - tol<;

4e=j.ijJ Mr r ixagj^

r>

3a - vov - aav io - <hv - ^ n Si - prju a<i>a - yc? - (rav.

I il

tv - Spo-aoL na - yai rra - Tpa» - ai

»=Sg/u€ - VOV- ai Xip t/l - j3i% - T( (Ti

=^ :l

cTT/oa - To's t"A - x«i - '^^ 6'c - Xoji^

^=^=:^^=TTf^^^'^^^^^'I - Xl' - OV no - \iv fxo - Xflv.



rpi

rpi r

m27

aX - Xa TOi/ Ai - o% ko - pav

MJ ;)|J~i^ £

K\yf - aoj - fitv A/0 - Tc - fiLV, 6i - (av

M J i'l

rpi

r^'

1 ^ ^'

t » » »

a - vaa-aaVy cos îr ev - tu - \€i no -t/xod.

slo'wer

g ^ ^J'

I J J'l J J^^^^0) TTO- TVL - a, Û - yuflt - CTlV fSpO - Trj - (TL - 0L%

I DN i) fe5iT a^S

xa - /oti - aa, mix - xfsov €l% ^pu - yuf

i i j-'l J ^'IJ^f ^

yoL-av *EX - Xa - v(av arpOL-rov

/liiJM J pi ri

^^KOi ô-\o - iv - ra Tpoi - a^ € - Siy,

^> J.^ llI

J-I i^ i^^ <^

A - ya - /UL€ - fxvo-i/a t€ Xoy -x*^^^

II

EX - Xa-cTt kXci - vo-ra - tov an-tâ - vov

^^^m p^ s

oo^ ajji- (fiL Ka - pa & € - ov k\( - os

4.ipi" Pi r

<t - fivij-crTov afx-<^L - Ou. - vai.



28

Closing Chorus of Exodos

162? -1629

Slowly

T&-

i^ ^^ ^ ^^^Xat - /owi^, ^a-(TL - \tUr (TTU-\(. Tpo - i - ay,

^^-^-f-H^^^' ^

' r r

TTpa - £as Sc TTO - I'oj/ Tov a - vay- Kai - ov

-0/rs rtt.

p M r r

^''

' r PI

Xat /owi' (7T - av - e\ - Ot. npo% ^Ap - yo^.



29

IPHIGENIA AMONG THE TAUKIANS



31

Parodos

Chorus,123-142

Moderate ^^ t€U 0a - fi€ir , (0

^^I m m

ryoas Ew - f«i' - pou yai' - o;^ - Tf%.

TvrrtTi(i) nat ras Aa - tou<; ,

Is is

a/ - KTVVV'* OV - f)€t

7r/)b<; craj/ av - \av, iv - cft^ - \(jiv

i¥^ 1^pa - (JOV XPV - Grj - piL% Spiy-KOV^.

f^-;;|J JQ) M^^^^iM ;-' ;' J I U770 -5a irap-Ot . vl - ov o - (Tl - ov o - Gl - a%

rs

1—k\7 - Sof^-XOU 5ot5 - Xa 77€/X - 77CO,

r I P p r^ ^

'ex - Xa'-5o^ ftJ - LTT - ttou TTup-yo'x;



32

I ^'''^^ - XV \^P - "^^^ ''"'^^

- ^^v - Sp COP

m m—9

c£ - aX - Xa - £arr* Ev - pd nai',

^r>

zn.

* y ^ tv

na - rpo) - cov ol - kohv < - opa<;.

i=j^^'^-M-f=

nFFf^( - fXO - KOP' TL P€ - OV; Tl-va tf)pOV-TLO € -X^'^»

Tt pe 7Tpo<; va - ov% a - ya-yc^ a - ya-ye^,

iTTaZ Tov Ta% Tpoi - 09 rrvp-yovs

^ 3

^cX - 60P-TO'; k\(.l ' va aw ku) na

PTTTT ^ ^X' Xt - o - vof/ ra yui> - pi - o - t(u - \(i,

^(Tnepp* 'A - Tyoet - Sa;/ twz' kXcl- VOOVy



3*3

Parodos

Chorus, 179 - 2 02

Moderato

â r r

I

' r \

^ r

iap - 71 - xfiaK - /uous a» - Sas v - ^vov r

J)iH l J^^'A - CTt - t/ - TtZJ/ C701 /fioyO - â - pov U - XQl

i¥^^ m^S€ - (J7T0LV avT - (.^ - av - ha - aoo,

^ J J I J J it

Tai> kv 6p^ - pol-(Tlp p,ov-(Tau,

Si/c-Ku - (Ji iJ.€

- \o - fxi - vav Tav f.v fxoK-TraLs

I

rs

^1^ * «> ^

Ai - Sa<j u - /xi/ti î-X^' 77-ai - a

j= r ^

01 - iJiOL, tCjv 'A- TyOfi - Sav 01 - k(jdv

? ^€yO - /0(l ^CUS GKrj-TTTpOiV, OL-fXOi,

iir i r r I

r r* <i<

T'DV GUiV Tia - T/Oca - diV 01 - KUiV .

^ ? ^s



34.

J' i'I J J I

I* #I

P pI

p

/?\

/uo - x^os S ff /ixo - x^w^ Q^ - o"^*

ii ^^ ^ ^Sl - vaj - ov - (Tats ^7T - TTot - CTiv a^ ou

? ?nra - vaTs a\ - \a - fas cf ^ - S/oas

i J' J-'I

J J' J:ff

r\

3 iI - € /ooy /xcT- € - paW o/jifji av - yas

?^JM) J

Ir

rI ^r I r p p

Xt -OS. aX - XoisS*aX - Xo npoa-f - )S

? rf+^n^

I

X/OM- (Teas o/o - i/os /u€ - Xa - Opoi^ o - So - va,

^ rit.

h JM -^^ ^ ;)^^f^jLj^ j)I xjvtti

9^ O-l/OS ( - TT"! <pO-VC0,

a tempo

a - \€ - a T a - \(- (Tip

? ^I a^ «=#

6// - ^(i^ ro)^ TTpQ-GOiV h\XCL-6f.V - TOJJ/

I fI P (;

J=^f=i^-^-hSTa// - Ta-Xi-Say ck - /Sat - vi.i not- pa y*

^ ^ ^(tS Ot-KOUS' (T7r(V-S(l S^ a - (T7T0V . Sa(TT*

rit.

^^^m



Allegro

First Stasimon

Strophe a, :i92 - 406.

Antistrophe a', 407 - 4 21

35

nip-p

pI J.ip--^,P liUii'

i

r â - vf - ai Kv - a -pf - at avv-o - hoi 6a - Xacr-cra^,

pa-OC - ois fi - \ci-tl - vaL^ Si-Kpo - toi-ctl kuj-ttqi^

P I

J-I P p P I

i''- jji''Ip-^

IV 01 - (Trpo^ O 7TO

e - arei - \ai/ i - ni

T'Ji - fXi-vo<i !A/o - yo - 6(^v

7j6v-7i-a Kv - fxa - ra

^mbf)i)

| J ^^ ?Sjjia Sl - f - 7T( - pa - a€ nop - tlv

oif o - \y] - fta \l - vo - no - poi - ai t' av - pai^.

i( - vov eV* 01

va -

^& 5 fe^-^^

i ^

'A - cTi - 7 - Ti-5a yai-a;/ Eu - /ow - Tra^ 5i-a - /uc' - âs.

^L-\6 - n\ov-Tov a - fiiX-Xav av - ôv - t€s /u€-Xa - Opoi-aiv;

^—JH-'^-^ P P I ^ J)"! J) J> ^>

IJ ^

n\a yap

a -pa TOP

€\-7ris a

r

€(.

u - Spop So -va KO

TTyj

XXo - a

CTLV

i fe

Xi nov - T«s

77X17 -(TT09

î

/)d> - rav

Opii -nOLS,

1^ j)|_p-pp 1^^^1 oiv - ua-Ta CT€ - LLva Ai/oy^ n o^ * -t

'

oX - nou pa-po'i a 0€ - yooi/

yj p€V -fta-Ttt cr€ - fxva Ai/o - kos

oX - ôv j3d-po% G* 0€ - pop- rat l__I__l_

n-I7^j. i Jii!J)iJ J' l

-i

.Mj j'M ''

« - â-aav c

jrXa - 1^17 -7€9 CTT

I

j3a-(Tav a - jjh-ktov ai - av

ol - Sfxa no -XiL^ n âp-/â

iv - 6a

pov% n(

Kov- pa

p(JiV-T€%

Kit

â

pa 86

y€t

hi J>. iiJMJ J/Sw-ixoif; Kac m-piyvo) - fxa 8'ots/xc2/'a

Ki - o - pas

KOt - /oos oX-

J:

l 'N!J)^ l jJl.i/a-ou<; ai - â $po - t€l



36 First Stasimon

Strophe fi\ 422 - 438

Afitistrophe )8', 439 - 455

Mode ratovioaeiitio 1

as 7"as (jvif -Bpo-fia - 8a^,

lie" «W - X"*^- ^'^ ^^ ' GTJO-<TV -VOLS

7TMS "^^ - ^P

# ^^^^mV - TTVOVs

TTUi'; ^L -ve - V - 8as a

A^-Sas 'E-X€ - va </>l - \a tto^s

•^. X : ' .« - rrnv irao' U-Xl-ov ai-yi-a -Kov

cX - Oou-aar^ - X°t xi^ Tpco - a - Sa Xc -Trou-cra

a - \oif

no - Xty,

P^^^ ^^^^Stj^"

po-6l spa - fLoy'A/x-î - rpi - ras A)o-C/i - w

a/u - ?il Xai. - ra Spoaov a! - fxa - "^7 -yoaz/

¥ ^^€l

770V 77€I/ - 77 - KOi; - TO KO -

paV

A - SOJJ^ TTO - g\ XO - pOiN77 - pri^

Si - anoi - va<; x^ P t (â - vol

^^^^/u(X - wou - (Tiv ly - kv-k\i - ois,

77-01 - vas SoGa' av-Ti-ni - \ov<;.

I ^7rX7 - crt - (TTi - ot - 0-t T^ô - ai^'

; - 8to-T' av iy-yt-Xi' - ai.



37

¥ ^ *rnr^^^mr(TV - pi - ôv - Ttav Ka-ra npv - fxvav

8t - âi - p.i.0* , *E\ - Xa-So^ ex ya%

I ^fe€i» - vai OiP TTTj - 5o-Xi - UiV

wXo) - tt; - /ocDi/ €t Tis € - pa,

ir^^^^^say - pai - ciy vo-tl - at?

Sou - X(l - 09 € - /X€ - ^€Z'

Iy pI^ J'

I p

p pI

r7 7rz/€y - fta

Set - Xat - a^ nav-xTi- no

pou.

t i^ i^-^'l

J-1 J^

fTau TTO-Xu - O/O

^ N » *

KUL yap O-

ViL

Z/l - &0V €TT ai

poL- (Tl <Jvv - et

ay Xcu - Kay a - ktqu, A - \l

-^(^

ay Xcu - KCiu a - KTap,\-\i - X7-

ijp So - /uots TTO - Xct T€ na - t/oui-

^ J ^M J ;^ iTt^fOS S/oo - fious KoX - Xi - (rra-St - ous

,

a T(p - nvtiiv V - fxv(au a - no - Kav -

I Til'

r PI

f/ -^ J>I

J.

a - cct - vov Ka-ra woj*

dj', KOI vcLv â-piv

nov rov

PU)'



38

ModeratoChorus

Lyric Scene

Chorus, Orestes, and Pylades

643-656

M^w i-'M'^j ;; IJ ;>ir

r

^'

:aT - o -\o -tftv - po - /ixai <T( top \€p - vi - /3(dj/

^fcb N^ÂJU^J'ij i^-^^^^Jd^

/5a - VL-CTL /u€->o-/x€ - vov pa - vi - aiv ai - fxa - ktois-

Orestes speaks: oIkto^ yap oo ravr*, aWa \a.ip(T*, w ^(vai.

Chorus

fc* Sf T?5-xa9 fta - Ka-/309, t - w j/c - a - z/t - a,

i-^> \ t^ n ^ glr= -N^^^^^ e€ - ô-fii9* ,1% na - Tpau o - ti ttoS' t/j. - /3a - arj

Pylades speaks: a^rjXa tol ^fnXoLai^ffpTjaKovTcav <^L\aii^.

Chorus

to 0"X€-t\i - 01 TTOfx-nai.

<frt''i. ff I

D p S

i

^€u <îv, an-oX-Xv - crai.

^^ '^P^

at - ai at - at

fcdz

^^^^^^TTO - T€-pos o yufX XOJZ';

^^^^Î^TâiJ^:±^J^±±^z

« - Tt yo/o a/j.-(î - Xo-ya St - Sv - fxa fx€- fj.o - v( <f)pyiv,

^^^ ^^^(Tc jra-pof; 7 o" a - va - <rre - va - fw yo - oi?.



39

#

AllegroIphig-enia

Lyric Scene

Iphigrenia and Orestes

827- 899

fei p I r p

H^^

^^

u) ^'X-Tar', ov - Siv aX-Xo, îX-ra - tos ya/o ci,

^JrlJ i>-h|^^^f^f.M

-x'**

^'/^ P* " <''^''' ^7 - Xu-y€ - TOi/

Jm p p p p ^m ^

Xl^'o - fos a - no wa-T/ot - 60s

^^ I'A/0 - yo - êz^, w 0i - Xos

Orestes speaks: Kayco at Trjv Oavovaav, cus Soâ^trat.

Kara oe oaKpv aoaKpva, Kara yoos a/uo X^/^?

TO aoi/ voTiîi /SXeÔyOOi', cucraurcus 6 ifiov.

Iphigenia

^^^^^^ f) i^ J i^^ ^

70V I - TL ^pl-ifiO'i I - \L-nov € - \l-itov ay-Ka - Xai-

^ P I J) J^ J J)ici v€ - a - pov rpo - </>ou v€ - a - pov (.u 80 - p-ois-

^m sp p

' J ^>w^^(O 6\) - fxV KpClCr- <T0V rj XO - yOl - Cli' €W - TW - xwi',



40

£ ^^ P

Ti ûj; <9au - /Lta - toou it( - pa kql \o - you

hI

J j^ > ;>

npo - cu) rao in - € - pa.

Orestes speaks: to Xoinou ivTv\o7fj.tu aWrjXwu /xcra

IphigTenia

^S i g iv^n^-â - TO - 1T0V TJ

- So vav € Xa -ôi>, a> 6l . \af

^^^m

rs^^^

?S( - Sol - Ka S' Ik Xf. - poiv fjic p.r) Trpo<; ai - 6^ - pa

slightly faster

5iEi ^

a\x - iTTa - fX€ - vof; <f)v - yrj'

t

Mw - Kn - va (fiL - Xa,

xa - /Oil/ I -X'-^ ^° °^'5' X^ " f^'^ * X'^ '^P^ - ^^9,

JMP [1 r^

1

jJ-'#^5fe^/TN

Toy - Se So-/xoi-crfy i^ - ( - Opi.xfsui <l>a - 09.

Orestes speaks

yfî'f.1 p\v (vTv\ovfj.(i^,(<; Se <jvp.<ôpas,

d) auyyov'', rjf-cop SvaTV\rj<; €0i> /jio'?.



^ Iphigenia

4 r p I

rJM J ^'

I

J â O €7T au . TOtS TLS T€ - \€U - TO;

Tl - ya (701 TTO-pOV €l» - /OO - /UL€ - //

i fc

77a - Kiv a - TTo no - \€ - to?,

^ ^ 2a - TTO 0O - VOO TTfyU - ^CU

i r> \

^^

S'p I

^^p r p

3

77-a - T/ot6 i% A/0 - yft - av

P I P" p pTO - Xoi - ya. TO - Xat - va

iH\ P' P

P

M^- J^-^M^-'

Ht'? ayo* ouj', ra-Xaj/, ly ^€-09 17 $po-To<; 7

s^ îTl TcDy a - 80 - K^ - TUiV

^8v OLV TOLV flO - VOIV

^ I r p (OJ'A - Tfid - Saiv â - vi

Tit

P^ E/Sl

Ka - kQv €ac - Xu - (Jiv;



42

Alleg:ro

Second Stasimon

Strophe a', 1089- 1105

Antistrophe a', 1106 - 1122

S8:

HiJiN ^'b

'^

op - vi.%, a na-pa

at 7To\ - Xai Ba-Kpu

^T77T€

(iiV

Tpi

^^^ m i

nov - 70V S€i-/oa-Sa9, aX

at (49

CO I'.

M«S

i^ ^' i'I r^^J^

€ - Xc -yov

( - TTf - (TOV,

oi-KTpov a

a - pi-KQ

€1

nvp yoov

H^i^^Mj; jlJ)|^^tV-^V-V€ - TOP ^V-Vi

oX- \v-fJii VUiV ( - 7TL

TOL-(TL /8o - ai/y

vav-aip € - J3ap

t^^^^^^^g^^TjTjTrfO - Tl 770 - 0"ll» K€ - Xa - Sc?? O - (7 /HOX - 770??,

no -\( - pi - uiv i - pi - Tpo7 - at koI Xoy-xat^.

^r I ji iu N -^

ycu

C«-

xpv

aoi na-pa

(TOU 5( Si

/SaX - Xo - pai

(p- no - Xas

p^=j)^^ I

J. gbpyj.vovf;, a - nre-pos op - vi^

v6 - (TTov j8ap - j3a-pop iJX - Oov,

Hr+J I J JlL^B€1/

93v(t' 'ex - Xa

a TO? 'EX

vo}V a - yo - povs,

Xa - vo-<i>o - vov



43

Oi - as a/x - î - TTo - Xo»' ko - pav

rr^^ I ^-^^^^^^ma ira-pa Kvv - l-ov o - \9ov oi

77-arS*'A-ya - /ac - jjlvo-vi - av \a - rpaj

f^1

r

^HJ^-^KcT ôi' - VL ~ Ka 0^ a - /3po-Ko - fxav

CO j3u) - /JLOV'; Ti fxrj -\o-6v - ra^,

^^^ m fs ?

Sa0 - yay t'cu - ip-vi - a

^rj - \ov - era Tov Bl - a

Kai yXav - ko?

TTOy - TOS SuO"

mmm i

Oa\-\oif I - pov € - Xat - a%,

Sai-fxov'*' fv yap a - j/ay - KOts

j>^J- i

i iI

ji

^Âa - Tov<i o) - Sl - pa <fn - Xai*,

ov Ka - fxz/fi avv-Tpo-iô^ cav

I i i»I

Ji J^>

I

Xi - fiyav ti - \l(t - aov-cap v - Scop

{Xi-ra - â\ - \€iif Sua- hai - fxo-VL - av'

KV-kXi- ov, €V -6a KV - KVO% fJif - Xo)

TO Sc ftcT* €w - Tw - xi' - ay /fa - kov

^

f^tyT^ûjSo? Moj/ - eras 0^ - pa - ttci/

affai Ova - 70?$ 0a-pv<; at

(I.



44

Second Stasimon

Strophe yQ', 1123-1136.

Antistrophe i8', 1138 - 1151

Moderate

^^^^ mg

Kai (Tf fJifu, Tio-TVL , A/0 -yet

Xa/^ - npov In - no-8po - fxov jâi

a

ijli' ^'M I \'UÎ 7 " /-

TTf^V- rrj - KOV - TO-pO% OL - KOVO. - ^€t •

lv9^ tv - a - \i - ou (p - X( - TttL nvp

t P ^teIQuiv SoTV - pi - C,(iiV O O KT) . pO-St - TQ^

ol - K(L - (t)lf S'u - TTtp â-

Xa- fJLCOV

iy p p pi f ^ ^KO - Xa-fXO^ Ol> - /D€( ou Ha - yo9

77T( -pv -yas €i/ i/a» - Tois a - /uois

/C\

Mr p

Koi



^

^m^fe

€1

na-pa nob n - Kicr

ik: /-

^^

45

-^

^€1 \l -na - pap

aov - aa 4^1 - Xas

»



Third Stasimon-

Strophe, 1234- 1258

Antistrophe,1259 - 128 3

Moderato

jo:

^ ^ f€v - Trais o Aa

1 a - I - (liv

#^^#rr^ EOZ/ 7IO- Ti A17 - \l - a - (TlU

77ais 1 ~ 7Ti - vaa-aa-To Aa

^r>

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smith college classical studies 5 (1924). the lyric portions of 2 dramas of euripides. iphigenia at...

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