RALPH VAUGHAN WILLIAMS
The Vaughan Williams Collection™ brings together a series of newly-edited editions of his incidental music published by Promethean Editions. Recognised as one of the major musical figures of his time, Ralph Vaughan Williams began his career as a folk song collector, music editor of The English Hymnal and founding conductor of the Leith Hill Festival, and went on to generate a vast musical output that includes song settings, symphonies, chamber music, opera and choral music. Ralph Vaughan Williams’ incidental music for Gilbert Murray’s English translation of Euripides’ Iphigenia in Tauris is edited and arranged for orchestra by Alan Tongue. Vaughan Williams was brought into the production of three Greek plays by the dancer Isadora Duncan, with the public performance taking place at London’s Royal Court Theatre on Friday 31 May 1912. A preview of the production, appearing in The Globe, remarked of Vaughan Williams’ musical settings: “they are an attempt at something new, and something which is neither German nor French. This music is no experiment in style. It would seem, rather, as though the composer had disclaimed all styles and all schools, and found direct inspiration in the material of the poet’s inspiration, and the result is something of undeniable beauty.”
Ralph Vaughan Williams Iphigenia in Tauris
THE VAUGHAN WILLIAMS COLLECTION™
The publisher gratefully acknowledges the support of The Vaughan Williams Charitable Trust in the publication of this edition. ISMN 979-0-67452-291-5
Promethean Editions Limited PO Box 10-143 Wellington 6143 www.prometheaneditions.com
Printed in New Zealand • PEV01 • PNY PREPEV01
PEV01
New Zealand
Incidental music to Electra
RALPH VAUGHAN WILLIAMS Incidental music to Electra
Study Score
P R O ME T HEAN EDIT IO NS WELLINGTON
Vaughan Williams Collection Volume 3 (PEV03) Incidental music to Electra (1911/2019) Š Vaughan Williams Charitable Trust Published exclusively by Promethean Editions Limited First edition Š 2019 Promethean Editions Limited Music Editor: Alan Tongue Publisher: Ross Hendy Founding Series Editor: Robert Hoskins Series Editor: Allan Badley Music Typesetter: Ben Woods Cover Image: Dr Ralph Vaughan Williams by Evelyn Page, 1950. Oil on canvas 500 mm x 41 mm. Courtesy of the Page Estate. ISBN 978-1-77660-703-7 (print) ISBN 978-1-77660-713-6 (ebook) ISMN 979-0-67452-293-9 Promethean Editions Limited PO Box 10-143 Wellington NEW ZEALAND http://www.prometheaneditions.com No part of this publication may be reproduced in any form or by any means without permission in writing from the Publisher. Promethean Editions would like to thank The Vaughan Williams Charitable Trust for a grant made toward the publication of this volume.
RALPH VAUGHAN WILLIAMS Incidental music to Electra
FOREWORD Introduction to the series........................................... iv Vaughan Williams biography ..................................... v Editor’s introduction .................................................... vi Editorial notes ............................................................... vii Performance note ......................................................... ix Text ...................................................................................... x MUSIC Incidental music to Electra ........................................ 1 1. Onward O Labouring Tread....................................1 2. O for the Ships of Troy...........................................27
PEV03 – iii
FOREWORD Introduction to the series Discussions between the Vaughan Williams estate and Promethean Editions began in 2004 about the possibility of the New Zealand company issuing hitherto unpublished works by Ralph Vaughan Williams in a series based at Massey University, Wellington, and under the general editorship of Robert Hoskins. The first fruit of this co-operation was Nathaniel Lew’s edition of music written by Vaughan Williams for a drama based on John Bunyan’s The Pilgrim’s Progress, which was performed at Reigate in 1906. Since then, incidental music has become the keynote of the series, which went on to make available the composer’s scores for radio productions of The Mayor of Casterbridge, Richard II (in the event never broadcast) and, most recently, three Greek plays: Electra, The Bacchae and Iphigenia in Tauris. All these works are not only mature in themselves but also signposts to aspects of the composer’s future development. Pilgrim’s Progress became a sort of leitmotif throughout his life, for his Reigate music led to the Fantasia on a Theme by Thomas Tallis, The Shepherds of the Delectable Mountains, the Fifth Symphony, music for a radio production in 1942, and finally his great opera The Pilgrim’s Progress of 1951. His adeptness at writing incidental music for plays led eventually, in the later part of his long life, to his exploring music for cinema, a new and enriching creative experience exemplified in his film-score for Scott of the Antarctic and its elaboration as the Sinfonia Antartica. The Vaughan Williams Charitable Trust is immensely grateful to Promethean Editions for establishing this important series, and to the editors who have been involved, Nathaniel Lew and Alan Tongue. We will watch the further growth of the series with close interest. Hugh Cobbe, Director, March 2019
Publisher’s note The Publisher gratefully acknowledges the assistance from the Vaughan Williams Charitable Trust, Dr Robert Hoskins and Dr Allan Badley in the publication of this edition. We are also very grateful to the executors of the Evelyn Page Estate who have granted us permission to use Page’s wonderful 1950 portrait of RVW. Promethean Editions, Wellington, 2019
PEV03 – iv
Vaughan Williams Biography Ralph Vaughan Williams, a descendant of the Darwins and Wedgwoods, was born in Down Ampney, Gloucestershire, on 12 October 1872. He was educated at Charterhouse, the Royal College of Music and Trinity College, Cambridge. His composition teachers included Hubert Parry, Charles Wood and Charles Villiers Stanford. He also studied with Max Bruch and Maurice Ravel, and enjoyed inspirational musical friendships with Gustav Holst and George Butterworth. He married Adeline Fisher in 1897 and, after her death, married Ursula Wood in 1953. Vaughan Williams began his career as a folk song collector, music editor of The English Hymnal (1906) and founding conductor of the Leith Hill Festival—a post he maintained for over fifty years. His reputation as a composer was established in 1910 with performances of A Sea Symphony (1909) and the Fantasia on a Theme by Thomas Tallis (1910). After the premiere of A London Symphony (1913), Vaughan Williams enlisted with the Royal Army Medical Corps, serving in France as a wagon orderly. In 1919 he was appointed to the staff of the Royal College of Music and in 1921 became conductor of the Bach Choir. He was awarded the Order of Merit in 1935 and was recognized, even revered, as the major musical figure of his time. He died on 26 August 1958. His ashes were interred in Westminster Abbey. Vaughan Williams’ vast musical output includes song settings of Housman, Stevenson and Whitman; The Lark Ascending (1920), an iridescent orchestral miniature where the solo violin evokes a trilling lark rising above flat fields of ripening corn; Sancta Civitas (1923-25), an oratorio remarkable for the visionary precision of its expression; the opera, The Pilgrim’s Progress (1951), the last of several Bunyan-based settings (the first of which is published as PME14); and Riders to the Sea (1925-32), an operatic rendition of J.M. Synge’s play set against the unforgiving landscape of the Aran Islands. At the heart of his creativity lies a sequence of nine symphonies that move from the meditative pastoralism of the Third (1921) and Fifth (1938-43) to the louring existential dramas of the Fourth (1931-34), Sixth (1944-47) and Seventh (1949-52); the Ninth (1956-57) is played against the tragic backdrop of Hardy’s Tess of the d’Urbervilles. At the centre of all Vaughan Williams’ work is a robust delight in expressing his country, past and present, as a means of perpetually renewing himself and of discovering his own potential humanity. In a valedictory broadcast (27 August 1958) following the news of Vaughan Williams’ death, the New Zealand composer Douglas Lilburn (a former student of RVW) spoke of his music as sown in soil and reaped in wisdom: It speaks honestly and directly, and is not afraid sometimes to speak with affirmation. It draws into itself the whole rediscovered heritage of English sixteenth-century music, folk song and hymn tune, love of countryside and traditional ways. It always seems right for its purpose, for the particular truth that it wants to convey, and it seems to me one of the things we best learn from him—that greatness in art springs finally from conviction. Robert Hoskins, Founding Series Editor
PEV03 – v
Introduction Ralph Vaughan Williams’ first musical foray into Greek plays was his incidental music to Aristophanes’ The Wasps, presented by Cambridge University in 1909. The production used the original Greek text, as is still the tradition there, though English translations of the plays were becoming popular at the time, amongst them those by Gilbert Murray, the Oxford University Professor of Greek. In 1911 the dancer Isadora Duncan asked Murray for permission to mount three of his versions of Greek plays, with her brother Augustin directing. Murray had been advised by his friend Herbert Fisher that “my brother-in-law Ralph Vaughan Williams (who is a musical composer and therefore prejudiced) would like to see a big orchestra and some frankly modern music”. 1 Vaughan Williams in his late thirties had actually previously written to Murray: “May I say how much it has distressed me to hear those wonderful lines in Elektra [sic] and your other plays mauled about by (as it seems to me) quite the wrong kind of musical setting.” 2 The musicologist Henry Hadow had also recommended Vaughan Williams: “a very good musician—also keen on poetry and full of understanding.” 3 When Isadora Duncan finally met Vaughan Williams and danced for him, he immediately found “the melting beauty of her phrasing” 4 exactly the sort of movement for which he could write. As he began work on the plays, Vaughan Williams wrote to Murray, stating: There is nothing I should like better than to be associated in such a production as you foreshadow—however problematical it may be. I have had several shots at some Electra music and have found the task much harder than I thought—I cannot make up my mind what sort of music would be best and naturally until I can do that the music itself refuses to come. However your letter has excited me so that I believe my imagination is beginning to work.5 In a later letter he becomes more specific: ...the problem gets more insoluble the more I work at it. I tried setting them in the way I suggested to you—a sort of chant without any accompaniment—but it did not seem to work altogether—I have tried other parts in a more operatic method—the result is rather a mixture—the only way I think will be a sort of trial performance of some of the music when it is ready. I can’t hope to satisfy you and Miss Duncan and Augustin (who wants the choruses spoken!). I want to ask you a lot about the Bacchae choruses—whether all the big choruses should be sung throughout—or whether parts spoken—and what bits should be murmured and what parts declaimed.6 The trial performance of the three scores finally happened, with a subsequent public performance of the music taking place at London’s Royal Court Theatre on Friday 31 May, 1 Herbert Fisher to Gilbert Murray, 5 November 1907. 2 Vaughan Williams to Gilbert Murray, October 1911. 3 Henry Hadow to Gilbert Murray, 2 October 1909 cited in Duncan Wilson, Gilbert Murray, OM, 1866-1957, (Oxford: OUP, 1987). 4 Ursula Vaughan Williams, R.V.W. A Biography of Ralph Vaughan Williams (Oxford: OUP, 1964). 5 Vaughan Williams to Gilbert Murray, 12 October 1911. 6 Vaughan Williams to Gilbert Murray, 6 November 1911. PEV03 – vi
1912. In its 25 May Musical Gossip column, English newspaper The Globe included a preview of the performance, with the prescient remarks: In connection with Mr Vaughan Williams’ musical setting of choruses from Euripides, to be given at the Court Theatre next Friday, we are informed that “they are an attempt at something new, and something which is neither German nor French. This music is no experiment in style. It would seem, rather, as though the composer had disclaimed all styles and all schools, and found direct inspiration in the material of the poet’s inspiration, and the result is something of undeniable beauty.” A chorus from ‘The Electra’ and from ‘The Bacchae’ and four from ‘Iphigenia in Tauris’ should make up a programme of interest.7 Electra is the central figure of this tragedy. The daughter of King Agamemnon and Queen Clytemnestra, she is shattered in childhood by the shock of an experience too hard to bear, growing to become a poisoned and haunted woman eating her heart in ceaseless broodings of hate and love, alike unsatisfied. How does the history set out above tally with the manuscripts found in the British Library? Let us begin with two choruses from the second section. The first of these, O for the ships, is set in ‘a sort of chant’ accompanied by a dominant pedal on the strings and with occasional interjections from woodwinds, horn, cymbals and harp. The second, There came a man, has thrumming string and harp chords with the voices doubled in mostly single woodwind instruments. This chorus has a touch of Vaughan Williams’ superb archetypal melody against the words “How, orb on orb, to strike with cold the Trojan”. The first section, for Electra herself, Onward O labouring tread, is set as recitative, with the addition of pure speech occasionally. The singing and much of the speaking is against chords, often dissonant to reflect the subject matter, and with the small orchestra setting the mood of each section. Vaughan Williams’ treatment of dissonance is a premonition of his use of it in the symphonies to come, although the music is less elaborate than his music for The Wasps. Here, he mostly concerns himself with the vocal line and how it carries the text in such a natural flow. The chorus is made up of women’s voices. As Vaughan Williams specified, ‘the solos may be divided among the members of the chorus’, after Electra has disappeared from the stage. Alan Tongue, Editor
Editorial notes The manuscripts are held in the British Library Archives within two folios. The editor arranged them into four sources in the preparation of this edition. Sources:
A MS 71480 Instrumental parts, complete
B MS 71480 Chorus parts, mulitple copies, complete
C MS 71479 Vocal short scores and sketches, incomplete D MS 71479 Full scores, incomplete 7 The Globe, 25 May 1912. PEV03 – vii
The present edition is based on a reading of the complete and legible orchestral parts (A) with the addition of the incomplete full score (D). Chorus parts (B) and vocal short scores (C) were used where the full score was incomplete or unclear. The chorus parts (B) only begin from their entry at m.60 but are otherwise complete. Some of these chorus part copies are possibly not in the composer’s hand and have been disregarded by the editor in any decision making. There is no bassoon part extant in A. Where D is written out in full, a staff for bassoon is shown occasionally. However, it is mostly blank only having notes written in ink on a few pages. At m.178 and m.217 in pencil it reads Fag col Bassi and the following bars include ditto marks and a few pencilled notes. It was judged by the editor that there is insufficient evidence that a unique bassoon part did exist and the bassoon has been excluded from this edition. Notation of rhythms has been silently altered to conform with modern convention. Fermatas have been added to all parts when appearing in only one staff. The editor has added a tempo markings, time signatures and rehearsal marks as required. Occasional expression and articulation inconsistencies have been discreetly amended by the editor and only notable changes or conflicts are listed below. 92
There is a word conflict between the RVW manuscripts and the text source for the line beginning “Or bend”. In B, C and D this line reads “Or bend thy haters low?”. Source texts for this translation read “Or bend thine haters low”. This section is sourced from D and correlates with B. Interestingly, C has different pitches suggesting that revisions were made after the compilation of the short score. The editor has chosen to retain RVW’s inked text and use “thy”.
119
Clarinet. The part, A, is missing a bar near the beginning of the second scene. Counting backwards from the following key change confirms there is a bar missing. C and D both show there is a missing rest bar at the end of the sixth measure of this scene. Pencilled in the part there is a ‘1’ and an extra barline added at the end of the first stave, likely added by a player to correct the error.
150
Flute and Voice. A, D, and two chorus parts from B show that this bar has five beats. Three different chorus parts show the note duration for “star” as a dotted quaver, but with no semiquaver to pair with it leaves the bar with 4 1/4 beats which is unlikely in the context. One of the pages in C shows quavers for both “star” and “of” giving the bar 4 beats, but the pitches used in this differ from the other sources suggesting it is just a sketch.
183 Viola. A and D show the last pitch as AÏ, however this is likely an error by RVW and the editor has corrected it to match Violin II, Oboe, and Cello playing Aˆ. 189 Clarinet. A and D show written pitches GÍ/FÍ, however this is likely an error by RVW with Violin II sounding Fˆ/EÏ. The editor has corrected the Clarinet to written Gˆ/Fˆ. 201 Horn. A and D show written FÍ on beat 3, however this is likely an error by RVW with Viola sounding a BÏ. The editor has corrected the Horn to written Fˆ.
PEV03 – viii
Additional research during the preparation of this edition has led to a few differences between this score and the recording (ALBCD033) but this edition should be considered the definitive version. Oddly included within the orchestral parts, on the back of the Violin II part, is a setting of IÂ Vow to Thee, My Country for voice and piano. Initial research into this suggests that this was penned much later than the rest of the material in this folio.
Performance note The solo passages may be divided among the members of the chorus according to the compass and nature of the voices.
PEV03 – ix
TEXT 1. ONWARD, O LABOURING TREAD Electra Onward, O labouring tread, As on move the years; Onward amid thy tears, O happier dead! Electra – Spoken Let me remember. I am she, Agamemnon’s child, and the mother of me Clytemnestra, the evil Queen, Helen’s sister. And folk, I ween, That pass in the streets call yet my name Electra…. God protect my shame! For toil, toil is a weary thing, And life is heavy about my head; And thou far off, O Father and King, In the lost lands of the dead. A bloody twain made these things be; One was thy bitterest enemy, And one the wife that lay by thee. Electra Brother, brother, on some far shore Hast thou a city, is there a door That knows thy footfall, Wandering One? Who left me, left me, when all our pain Was bitter about us, a father slain, And a girl that wept in her room alone. Thou couldst break me this bondage sore, Only thou, who art far away, Loose our father, and wake once more…. Zeus, Zeus, dost hear me pray?… The sleeping blood and the shame and the doom! O feet that rest not, over the foam Of distant seas, come home, come home! Electra – Spoken What boots this cruse that I carry? O, set free my brow! For the gathered tears that tarry Through the day and the dark till now,
PEV03 – x
Now in the dawn are free, Father, and flow beneath The floor of the world, to be As a song in the house of Death: From the rising up of the day They guide my heart alway, The silent tears unshed, And my body mourns for the dead; My cheeks bleed silently, And these bruised temples keep Their pain, remembering thee And thy bloody sleep. Be rent, O hair of mine head! Electra As a swan crying alone Where the river windeth cold, For a loved, for a silent one, Whom the toils of the fowler hold, I cry, Father, to thee, O slain in misery! The water, the wan water, Lapped him, and his head Drooped in the bed of slaughter Low, as one wearièd; Woe for the edgèd axe, And woe for the heart of hate, Houndlike about thy tracks, O conqueror desolate, From Troy over land and sea, Till a wife stood waiting thee; Electra – Spoken Not with crowns did she stand, Nor flowers of peace in her hand; With Aegisthus’ dagger drawn For her hire she strove, Through shame and through blood alone; And won her a traitor’s love. Chorus Child of the mighty dead, Electra,
PEV03 – xi
Choir soprano solo Lo, my way To thee in the dawn hath sped, And the cot on the mountain grey, For the Watcher hath cried this day: Chorus He of the ancient folk, The walker of waste and hill, Who drinketh the milk of the flock; And he told of Hera’s will; For the morrow’s morrow now They cry her festival, And before her throne shall bow Our damsels all. Electra – Spoken Not unto joy, nor sweet Music, nor shining of gold, The wings of my spirit beat. Let the brides of Argos hold Their dance in the night, as of old; I lead no dance; I mark No beat as the dancers sway; With tears I dwell in the dark, And my thought is of tears alway, To the going down of the day. Look on my wasted hair And raiment…. This that I bear, Is it meet for the King my sire, And her whom the King begot? For Troy, that was burned with fire And forgetteth not? Chorus Hera is great!—Ah, come, Be kind; and my hand shall bring Fair raiment, work of the loom, And many a golden thing, For joyous robe-wearing. Choir soprano solo Deemest thou that this thy woe
PEV03 – xii
Shall rise unto God as prayer, Or bend thine haters low? Doth God for thy pain have care? Chorus Not tears for the dead nor sighs, But worship and joy divine Shall win thee peace in thy skies, O daughter mine! Electra - Spoken No care cometh to God For the voice of the helpless; none For the crying of ancient blood. Alas for him that is gone, And for thee, O wandering one: That now, methinks, in a land Of the stranger must toil for hire, And stand where the poor men stand, A-cold by another’s fire, O son of the mighty sire: While I in a beggar’s cot On the wrecked hills, changing not, Starve in my soul for food; But our mother lieth wed In another’s arms, and blood Is about her bed. Choir alto solo On all of Greece she wrought great jeopardy, Thy mother’s sister, Helen,—and on thee. 2. O FOR THE SHIPS OF TROY Chorus O for the ships of Troy, the beat Of oars that shimmered Innumerable, and dancing feet Of Nereids glimmered; And dolphins, drunken with the lyre, Across the dark blue prows, like fire, Did bound and quiver, To cleave the way for Thetis’ son,
PEV03 – xiii
Fleet-in-the-wind Achilles, on To war, to war, till Troy be won Beside the reedy river. Choir alto solo Up from Euboea’s caverns came The Nereids, bearing Gold armour from the Lords of Flame, Wrought for his wearing: Choir soprano solo Long sought those daughters of the deep, Up Pelion’s glen, up Ossa’s steep Forest enchanted, Choir alto solo Where Peleus reared alone, afar, His lost sea-maiden’s child, the star Of Hellas, and swift help of war When weary armies panted. Chorus There came a man from Troy, and told Here in the haven, How, orb on orb, to strike with cold The Trojan, o’er that targe of gold, Dread shapes were graven. All round the level rim thereof Perseus, on wingèd feet, above The long seas hied him; Choir duet The Gorgon’s wild and bleeding hair He lifted; and a herald fair, He of the wilds, whom Maia bare, Chorus God’s Hermes, flew beside him. But midmost, where the boss rose higher, A sun stood blazing, And wingèd steeds, and stars in choir, Hyad and Pleiad, fire on fire, For Hector’s dazing:
PEV03 – xiv
Across the golden helm, each way, Two taloned Sphinxes held their prey, Song-drawn to slaughter: And round the breastplate ramping came A mingled breed of lion and flame, Hot-eyed to tear that steed of fame That found Pirênê’s water. The red, red sword with steeds four-yoked Black-maned, was graven, That laboured, and the hot dust smoked Cloudwise to heaven. Thou Tyndarid woman! Fair and tall Those warriors were, and o’er them all One king great-hearted, Whom thou and thy false love did slay: Therefore the tribes of Heaven one day For these thy dead shall send on thee An iron death: Choir soprano solo Yea, men shall see The white throat drawn, and blood’s red spray, And lips in terror parted.
PEV03 – xv
Instrumentation Flute Oboe Clarinet in BÏ Horn in F Cymbal Harp Alto Chorus (SSA) Strings Transposed Score
PEV03 – xvi
Incidental music to Electra
Ralph Vaughan Williams
Flute
&
# #
1. Onward O Labouring Tread Lento
4 4 w pp
˙
-̇
-̇
-̇
Oboe
&
Clarinet in B b
## 4 & # 4 w pp
˙
-̇
-̇
-̇
Horn in F
&
4 4 #w pp
˙
-̇
# ˙-
-̇
Cymbal
ã
&
4 4
#
Soli
&
#
4 4
Chorus (SSA)
&
#
4 4 Lento
Violin I
&
#
Violin II
&
#
4 4
Double Bass
n ˙-
w
-̇
n ˙-
w
-̇
-̇
-̇
# ˙-
-̇
j œ‰ Œ Ó # ˙-
-̇
4 4
?#
Violoncello
-̇
-̇
4 4
Harp
Viola
j‰ Œ Ó œ
4 4
4 4
B#
4 4
?#
4 4
?#
4 4
w ppp
-̇
pp
pizz.
n ˙-
-̇
n ˙-
-̇
˙ bœ bœ bœ ˙ bœ nœ œ ˙ bœ nœ œ ˙ bœ bœ bœ nœ œ n˙ p pesante pizz.
˙ bœ bœ bœ ˙ bœ nœ œ ˙ bœ nœ œ ˙ bœ bœ bœ nœ œ n˙ p pesante
-̇
-̇
-̇
w ppp
ww ppp
arco
b œ n œ œ ˙ b œ nn ww ppp bœ nœ œ ˙ bœ
arco
nw ppp
Incidental music to Electra © The Vaughan Williams Charitable Trust This edition © 2019 Promethean Editions Limited
PEV03 – 1
ISMN: 979-0-67452-293-9
U
#
U
U
## & #
U
U
&
Ob.
&
Cl.
poco più mosso
U
Fl.
#
9
-̇
-̇
-̇
-̇
# ˙-
# ˙-
# ˙-
# ˙-
3 j j‰ j j œ œ œ. œ œ œ œ ‰ œ œ. œ ˙
Ó
-̇
-̇
Hn
&
U
U
Cym.
ã
U
U
U
U
u
u
& Hp
Soli
#
?#
&
#
ELECTRA parlante, quite free
j j œ œ œ œ. œ œ œ. œ œ œ. œ ˙. 3
On - ward O la - bour - ing tread, As on move the
Chor.
&
poco più mosso
U
Vn I
&
Vn II
&
#
U
B#
U
?#
U
?#
U
Va
Vc.
D.B.
œ ˙ œ
w
œ ˙ œ
ww w
dead!
U
w
ww
pp
On - ward a - mid thy tears, O hap - pier
U
#
#
9
years;
pp
œœ ˙˙ œœ œœ n ˙˙ œœ œ n˙ œ
U
˙.
j‰ œ
˙.
j‰ œ
˙˙ ..
j œœ ‰ # ˙ pp
U U U
˙˙ ..
U
˙.
PEV03 – 2
j œœ ‰ j‰ œ
-̇
pizz.
œœ˙ œ p
œœ˙ œ
pizz.
œœ˙ œ
œœ˙ œ p
&
A #
&
#
&
###
14 Fl.
Ob.
Cl.
Hn
Cym.
& ã &
Hp
Soli
#
?#
&
#
U
U
lunga
U
U
U
lunga
U
U
U
lunga
U
U
U
lunga
U
U
U
lunga
U
U
U
u
u
u
&
U
#
lunga
A lunga # U & w ppp
14 Vn I
Vn II
Va
Vc.
D.B.
And life is heavy about my head; And thou far off, O Father and King, In the lost lands of the dead. A bloody twain made these things be; One was thy bitterest enemy, And one the wife that lay by thee.
U
U
U
U
U
U
#
lunga
B#
lunga
?#
lunga
?#
lunga
&
U
ELECTRA (spoken)
Let me remember. I am she, Agamemnon’s child, and the mother of me Clytemnestra, the evil Queen, Helen’s sister. And folk, I ween, That pass in the streets call yet my name Electra… God protect my shame! For toil, toil is a weary thing,
Chor.
senza misura
lunga
bw ppp bw ppp
arco
U
b ww ppp
arco
bU w ppp
U U
PEV03 – 3
U
senza misura
U U
Solo - - ‰ œ œ œJ œ œ œ ˙ 3 pp
U U
U œ œ œ œ œ ˙ J J
Fl.
&
#
U
Ob.
&
#
U
## & #
U
17
Cl.
Hn
&
U
Cym.
ã
U
& Hp
Soli
U
#
?#
&
#
u
Œ
ELECTRA
œ œ
Œ
Bro - ther,
Chor.
&
‰
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ. œ 3
#
U
&
#
U
Vn II
&
#
U
Va
Vc.
D.B.
B#
œ.
Ó
bro - ther, on some far shore Hast thou a ci - ty, is there a door That knows thy foot - fall, Wan - der - ing One?
Vn I
17
3 j œ œ œ œ. œ œ œ ˙
U
‰Ó
Œ Œ Œ
?#
U
?#
U
PEV03 – 4
œœœœœ p ˙. p
Tutti
˙. pp
Œ ˙. p
Fl.
&
#
U
Ob.
&
#
U
## & #
U
19
Cl.
Hn
&
U
Cym.
ã
U
& Hp
Soli
U
#
?#
&
#
u
‰ j j œ œ œ œ. œ œ œ œ. œ 3
3
Who left me, left me, when all our pain
Chor.
&
&
#
Vn II
&
#
Va
Vc.
D.B.
Was bit - ter a - bout us,
U
#
Vn I
19
3 j œ œ œ œ œ ‰ œ œ œ œ
B# ?#
œ. œ. œ. œ.
U
‰ Ó
U
‰ Ó
U
‰ Ó
U
‰ Ó
U
?# PEV03 – 5
a
j œ œ œ œ œ œ œ œ œ. œ 3
fa - ther slain, And a girl that wept in her room
a -
Fl.
&
#
Ob.
&
#
20
Cl.
&
Cym.
ã
&
Soli
Ó
U
Ó
U
Ó
&
Vn II
Va
Vc.
D.B.
j œ
œ.
j œ
œ.
œ J
pp [colla voce]
U
#
#
u
Ó
˙
Œ
œ
œ
œ œ œ œ 3
Thou couldst break me
#
&
#
B# ?# ?#
œ
œ
this bon - dage sore,
,
œ
œ
On - ly
œ
thou,
œ
who
œ
art
far
U
#
&
20 Vn I
œ.
U
- lone.
Chor.
œ J
pp [colla voce]
?#
&
œ.
pp [colla voce]
U
## & #
Hn
Hp
U
Œ
Œ
œ œ œ œ œ p
˙. pp
Œ ˙. n˙ . p
U
˙
U
˙
U
˙ ˙
Ó
ppp
U
Ó
ppp
Ó
ppp
U
PEV03 – 6
a
-
Fl.
&
#
Ob.
&
#
22
Cl.
&
Cym.
ã
&
Soli
w
U
## U & # nw
Hn
Hp
U
U
w
U U
#
?#
&
#
˙
- way,
Chor.
&
,
u
œ
Loose
œ
our
œ
3
œ
fa - ther,
œ
and
œ
wake
œ
once
#
U
Vn I
&
#
U
Vn II
&
#
U
B#
U
?#
U
?#
U
22
Va
Vc.
D.B.
PEV03 – 7
œ
more…
œ Zeus,
œ.
Zeus,
œ
dost
œ
hear
nœ
me
23 Fl.
&
Ob.
&
Cl.
Ó
ã &
#
&
Vn II
Va
Vc.
D.B.
3 2
U
3 2
U
3 2 3 2
u
œ.
‰ # œj œ
œ
œ œ œ #œ 3
3
œ
The sleep - ing blood and the shame and
3 ‰ œj œ œ œ œ œ œ œ œ.
œ œ
the
doom!
U
# #
&
#
Ó
B#
Ó
?#
Ó
?#
32
U
&
23
3 2
Ó
?# &
3 2
U
#
pray?…
Vn I
Ó
˙
Cym.
Chor.
U
U
&
Soli
#
˙
## & # n˙
Hn
Hp
#
Ó
O
feet that rest not,
o - ver the foam
j œ œ œ
Of
dis - tant
3 2
3 2
U
3 2
U
3 2
U
32
U
3 2
˙ pp # ˙˙ pp ˙ pp ˙ ˙ pp
32 PEV03 – 8
3 2
4 4
lunga
U
U
lunga
U
U
## 3 & # 2
4 4
lunga
U
U
lunga
U
U
24 Fl.
Ob.
Cl.
Hn
Cym.
& &
Soli
#
ã #
?# &
a tempo
3 2
4 4
32
&
& Hp
#
#
44
3 2 3 2 3 2
Vn I
Vn II
Va
Vc.
D.B.
U
U
4 4
lunga
U
U
u
u
3 2 œ.
j œ ˙
˙
come
4 4
4 4
a tempo
&
#
4 4
&
#
3 2
3 2 ˙ n˙
B#
32 w
?#
3 2 ˙
?#
32
˙
lunga
3 2
24
˙
4 4
#
&
˙
4 4
seas, come home,
Chor.
˙ pp
˙ œ
˙ Œ Ó n˙
˙
˙
4 4
ELECTRA (spoken)
w
home!
What boots this cruse that I carry? O, set free my brow! For the gathered tears that tarry Through the day and the dark till now, Now in the dawn are free, Father, and flow beneath The floor of the world, to be As a song in the house of Death: From the rising up of the day They guide my heart alway, The silent tears unshed, And my body mourns for the dead; My cheeks bleed silently, And these bruised temples keep Their pain, remembering thee And thy bloody sleep.
U
lunga
˙
˙
˙
U
U
U
U
U
w ppp
lunga
˙
44 Œ
˙ œ œ nœ pp
˙ Œ
˙
w ppp
lunga
œ œ nœ
U
U
lunga
˙
Be rent, O hair of mine head!
w ppp
U 4 œœ œœ 4 œ œ œ nœ œ nœ #w pp ppp lunga
U
44 œ œ œ œ n œ œ œ œ œ n œ U #w pp ppp
U
lunga
PEV03 – 9
U
Fl.
&
#
Ob.
&
#
U
## & #
U
29
Cl.
senza misura
Hn
&
U
Cym.
ã
U
& Hp
Soli
Chor.
?#
&
&
&
Vn II
&
#
D.B.
Œ
ELECTRA
œ œ nœ
As
a swan
B# ?# ?#
3
œ œ œ œ
œ #œ
cry - ing a - lone Where the
œ œ œ œ œ
riv - er wind - eth cold,
‰ œ œ. œ œ œ œ œ œ 3
For a
loved,
for a si - lent one
U
#
Vn I
Vc.
u
#
#
29
Va
U
#
senza misura
U U
œ œ n˙ pp Solo
œ œ œ œ U˙ .
œ œ œ ˙. 3
U U
PEV03 – 10
˙.
œ œ
U
U
Fl.
&
#
Ob.
&
#
U
U
## & #
U
U
33
Cl.
Hn
&
U
U
Cym.
ã
U
U
U
U
u
u
& Hp
Soli
#
?#
&
#
œ œ
&
˙ pp Ó
˙ pp Ó
3 j #œ œ œ œ . #œ #œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ œ œ . nœ ˙ cry, Fa - ther, to thee, O slain in mis
U
#
a tempo
3
Whom the toils of the fow - ler hold, I
Chor.
B
-
e - ry!
j‰ Œ œ
˙ pp
j‰ Œ œ
˙
j‰ Œ œ
j‰ Œ œ ˙ ˙
j‰ Œ œ
bœ . pp
‰ Ó
bœ .
Ó
Ó
Œ
‰
œ
The
U
B Vn I
&
#
Vn II
&
#
33
Va
Vc.
D.B.
B#
U
U
U
U
U
U
˙.
w
a tempo
œ. œ
?#
U
U
?#
U
U
PEV03 – 11
˙ pp
˙
˙
˙
˙ pp
˙
˙
˙
Tutti
œ nœ œ ˙ pp
œ nœ œ ˙
bœ œ nœ œ bœ pp
bœ œ nœ œ bœ
bœ œ nœ œ bœ pp
bœ œ nœ œ bœ
Fl.
&
#
Ob.
&
#
37
Cl.
## & #
Hn
&
Cym.
ã
&
˙
j‰ Œ œ
˙
j‰ Œ œ
˙
j‰ Œ œ ˙
˙
j‰ Œ œ
Ó
?#
Soli
&
#
j j œ œ œ ˙
wa - ter,
&
&
#
Vn II
&
#
Va
Vc.
D.B.
j‰ Œ œ
˙
j‰ Œ œ
˙
j‰ Œ œ
˙
j‰ Œ œ
˙
j ‰ Œ Ó œ
˙
j‰ Œ œ
˙
j‰ Œ œ
bœ .
‰ Ó
bœ .
‰ Ó
bœ .
œ
Œ
œ œ ˙
œ
œ œ œ.
Ó
˙
b˙
‰
the wan
j œ œ.
wa - ter,
œ
Lapped him,
and his head
j œ œj œ .
Drooped in the bed
of
slaugh - ter
˙
Low,
#
Vn I
37
‰ Ó
j‰ Œ œ
˙
#
Hp
Chor.
bœ .
˙
j‰ Œ œ
B# ?# ?#
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
j ‰ Œ œ
œ nœ œ
˙
œ nœ œ ˙
œ nœ œ
˙
œ nœ œ
˙
˙
œ nœ œ
bœ bœ
œ nœ œ
bœ bœ
œ nœ œ
bœ bœ
œ nœ œ bœ œ nœ œ bœ
bœ bœ
œ nœ œ PEV03 – 12
bœ bœ
œ nœ œ œ nœ œ
bœ bœ
bœ bœ
˙ #˙ ˙ 3
bœ nœ œ nœ œ bœ 3
bœ nœ œ nœ œ bœ
Fl.
&
#
Ob.
&
#
42
Cl.
Hn
Cym.
## & #
Soli
U
U
j‰ Œ Ó œ U
&
ã
& Hp
U
j‰ Œ Ó #œ
#
?#
&
#
&
&
#
Vn II
&
#
42
Va
Vc.
D.B.
B# ?# ?#
3 4 ˙. f 3 4
4 4 ˙
U
3 4
U
3 4
u
U
3 4
U
#w ppp
U
j‰ Œ Ó œ ppp
U
j‰ Œ Ó #œ ppp U
#w ppp
U j #œ ‰ Œ Ó ppp
4 4
˙. f
j‰ Œ œ
˙ pp
pp
Woe
Ó
U
con sord.
œ. p U
u
axe,
And woe
œ bœ œ œ .
for the heart
j nœ ˙ of
hate,
freely
œ
œ nœ œ f dim. œ nœ œ f dim.
œ
œ. œ œ œ
U
4 b˙ 4 4 4
3
Hound - like a - bout thy
4 4
nœ
‰
U
œ œ n œ œ 4 b œ . œj b ˙ 4
for the edg - èd
U U
j‰ Œ œ
˙
˙
4 4
3 4 ˙ f dim. 3 4 œ nœ œ f dim.
3 4
˙
4 4
3 ˙ 4 f dim.
3 4
˙
˙ pp
U
4 4
U 3 n œf
4
˙
4 4
3 4
‰ j #œ œ œ . #œ œ
#
Vn I
4 4
3 4
as one wear - i - èd;
Chor.
3 4
b˙
b˙ b˙
˙ œ
Œ
bœ
4 bœ œ 4
bœ
4 4 bœ œ
œ œ nœ œ
bœ
4 4 bœ œ
œ œ nœ œ
PEV03 – 13
œ œ nœ œ
œ. p œ. p
j nœ ˙ pp
U
˙
U
j j‰ Œ Ó œ nœ pp
bœ bœ œ œ bœ bœ œ œ
U
œ nœ œ b˙ pp
U
œ nœ œ b˙ pp
U bœ bœ œ œ œ nœ œ b˙ pp
Fl.
&
#
Ob.
&
#
47
Cl.
˙
j‰ Œ Ó œ
˙
## & #
Hn
&
Cym.
ã
&
Ó
‰
œ.
#
Hp
?#
Soli
&
#
&
œ
œ œ . œ nœ
&
#
Vn II
&
#
47
Va
Vc.
D.B.
Œ
œ. œ ˙
des - o - late,
#
Vn I
B# ?# ?#
4 4
3 2
4 4
3 2
4 4
3 2
4 4
3 2
4 4
3 2
4 4
3 2
tracks, O con - quer - or
Chor.
3 2
3 Π2
4 4 œ
j 4 œ œ œ nœ . œ 4 œ
From Troy
32
˙
˙
˙
Ó œ nœ œ bœ
bœ
œ nœ œ bœ
bœ
œ nœ œ bœ pizz.
bœ
˙
˙ bœ bœ pp ˙
32 ˙ 3 Ó 2 3 2 ˙
o - ver land
and
sea,
œ œ œ œ
Till a wife stood
j œ ˙
œ.
wait - ing thee;
44
w bw w
3 bœ 2 nœ œ bw b œ œ n œ œ œ bœ 3 nœ œ bw œ nœ œ bœ 2 œ PEV03 – 14
44 ˙ 4 Ó 4 4 4 ˙ 4 4
œ nœ œ
44 œ n œ œ
˙
w ppp
b˙
w ppp
˙ b˙ b˙
bw ppp bw
ppp bœ ppp
Œ
Ó
C &
lunga
&
#
&
###
52 Fl.
Ob.
Cl.
U
#
lunga
j j j j j ˙ nœ bœ œ œ . nœ œ bœ œ ˙ n˙ ppp più lento
U U
˙ œ œ œ œ . œ œ œ #œ ˙ ˙ J J J J J ppp
lunga
U
j j j j ˙ œ œ œ œ. œ œ œ œ ˙ ˙ J ppp senza sord.
lunga
Hn
&
˙ n˙
˙ ˙ ˙ ˙
n Œ œ œ- n œ- # ˙ œ œ n œ ˙ œ . ‰ b b f pesante
poco più mosso
n Œ œ œ- n œ- # ˙ œ œ n œ ˙ œ . ‰ b b f pesante nn Œ ‰ n œ- œ- # œ- # ˙ œ œ n œ ˙ œ . f pesante Œ
U
lunga
Cym.
ã
& Hp
Soli
U
#
&
nb b
lunga
?# #
‰ œ- œ- # œ- # ˙ œ œ œ ˙ œ . f pesante
nb b
u
nb b
ELECTRA (spoken)
Not with crowns did she stand, Nor flowers of peace in her hand; With Aegisthus’ dagger drawn For her hire she strove, Through shame and through blood alone; And won her a traitor’s love.
Chor.
&
U
#
nb b
lunga
C Vn I
Vn II
Va
Vc.
D.B.
U
lunga
&
#
lunga
&
#
B#
lunga
?#
lunga
52
?#
˙.
j‰ œ
˙.
j‰ œ
U U
più lento
poco più mosso
j‰ œ
˙.
U
j œ‰
˙.
U
lunga
Œ œ œ- n œ- # ˙ œ œ n œ ˙ ˙ f pesante
nb b
Œ œ œ n œ- # ˙ œ œ ˙ ˙ nœ - f pesante
nb b
Œ œ œ- n œ- # ˙ œ œ n œ ˙ ˙ f pesante
nb b
Œ
nb b
ΠPEV03 Р15
œ- œ- n œ- # ˙ œ œ n œ ˙ ˙ f pesante arco
œ- œ- n œ- # ˙ œ œ n œ ˙ ˙ f pesante
nbb
60
bb
Moderato
U
senza misura
Fl.
&
Ob.
&b
Cl.
&
U
Hn
&
U
Cym.
ã
U
Hp
Soli
Chor.
U
b
b
U
? b b
u
&b
[ pp ]
Soprano Solo (from Chorus)
œ œ œ . nœ œ œ œ œ . œ œ œ J J
b &b
&
bb
[ p]
Lo,
Chorus
œ
Child
œ œ œ œ
of the migh - ty
Moderato
Vn I
b j &b œ ‰ Œ
Ó
Vn II
b j &b œ ‰ Œ
Ó
Va
B b b œj ‰ Œ
Ó
Vc.
? b j‰ Œ b œ
Ó
D.B.
? bb j ‰ Œ œ
Ó
60
my way
U
j œ ‰ œ œ œ
dead,
To thee in the dawn
E - lec - tra,
senza misura
U U U U U
PEV03 – 16
œ J
œ
3 œ œ œ œ œ œ
œ
hath sped, And the cot on the moun - tain
63 Fl.
&
bb b
œ œ . nœ œ œ bœ œ œ nœ œ w œ œ œ nœ J p
a tempo
&b
Cl.
&
U
Hn
&
U
Cym.
ã
U
Hp
Soli
b
U
? b b
u
b &b ˙
grey
Chor.
&
bb
œ.
‰ Ó
n ˙˙˙ ˙ p n ˙˙ ˙ ˙
œ œ b œœ œ b œœ œ
œ
˙
this
day:
Ó
5
U
Ob.
&b
œ œ œ nœ œ
U
‰ œj œ œ œ . œj ˙ .
Ó
For the Watch - er
U
hath cried
b œœœ œ œœ œ œ
pp œ œ œ œ œ œ œ œ œ œ
He of the an - cient
63
bb
U
Vn I
&
Vn II
&b
b
U
Va
B bb
U
Vc.
? b b
U
D.B.
? bb
U
a tempo
b ˙˙˙ b˙
n ˙˙˙ ˙ n ˙˙ ˙ ˙
j œ 3œ œ œ. œ œ. œ œ œ œ
folk, The wal - ker of
˙ pp
œ œ
˙
˙
n˙ pp
b˙
b˙
œ nœ
˙ pp
œ
˙ pp
œ
˙. pp
pizz.
PEV03 – 17
b ˙˙˙ b˙
nœ
œ
˙
œ
b˙
˙
œ
b˙
˙
œ
68
bb
3 4
D 4 4
b
3 4
4 4
Fl.
&
Ob.
&b
Cl.
&
3 4
4 4
Hn
&
3 4
4 4
Cym.
ã
3 4
4 4
Hp
b œ & b b œœ bœ ? b œœ b bœ œ
Soli
&b
Chor.
b œ &b œ
œœ b ˙˙ œ ˙ œ b˙
b œœœ n œœœ œ œ œ n œœ b œœ œœ
˙ bb ˙˙˙
œœ b ˙˙ œ ˙ œ b˙
b˙ b ˙˙
b
Œ Œ
3 4 œ œ
waste and
Vn I
b &b œ
Vn II
&b
Va
B bb œ
œ
Vc.
? b b
D.B.
? bb
68
b
3 4 n ˙˙ n˙ 3 4 nn ˙˙
œ
œ. œ.
hill,
j œ œ
Who
œ œ
œ œ œ œ œ œ
3
drink - eth the milk
˙
˙
œ
œ
b˙
˙
bœ
œ
˙
b˙
œ
œœ
œ
œ b˙
b˙
bœ bœ
œ
œ b˙
b˙
bœ
b˙
bœ
flock;
3 4 3 4
Ó Ó
nœ J
œ nœ . œ œ œ #œ f
j #œ
n œœœ œ f n œœ œ œ
4 4
œ œ 43 œ . œ œ œ.
of the
4 nœ Œ 4 œ n œœ 4 œœ Œ 4 œ
œ œ. œ œ œ nœ f
mf ‰ œ œ 44 œ œ œ œ And he
D 4 4
˙.
4 4
˙.
3 4 n ˙ .. ˙
PEV03 – 18
œ. œ.
4 . 4 œ œ.
3 4 n ˙˙ .. 43 n œ Œ
told of
4 œ. 4 nœ . Œ
44 Œ œ
He - ra’s
‰ Ó ‰ Ó ‰ Ó ‰ Ó Ó
œœ œœ œœ œ œ
˙ b ˙˙˙ b ˙˙˙ b˙
[f ]
˙
Œ œ .. œ
will;
For
the
&b
b œ
&b
b
73 Fl.
Ob.
œ
œ bœ
œ nœ
œ
œ
œ
œ
nœ
œ
3
3
#œ
3 4 œ
œ œ nœ œ 4 œ œ œ nœ 4
œ nœ
3 4 œ f
œ œ nœ œ 4 b˙ œ œ nœ 4
3 4
œ
3
3 4 n œ 4 nœ # œ œ œ œ œ #œ
Cl.
&
Hn
&
3 4
4 œ 4 f
Cym.
ã
3 4
4 4
Hp
&b
b
3 4
œ
n œœœ œ 3 n œœ 4 œœ
? b b b
œœ œœ œœ œ œ
œ b œœœ
&b
Chor.
b œ nœ & b œ nœ
œ œ
œ œ
mor - row’s mor - row
œ œ
œ œ
now They
œ œ
cry
œ œ
her
˙
œ
˙.
œ
˙
œ bœ
˙
œ
˙
œ
œ
˙
œœ b œœ œœ b œœ
˙˙ ˙˙ ˙˙ ˙ ˙
œ œ œ bœ
œ .. œ
œ bœ
˙
œœ n ˙˙ œœ ˙ n˙
b œœœ bœ
4 œ 4 œ
œ nœ œ nœ
4 œœ 4 œ œ
œœ n ˙˙ œ ˙˙ œ
œœ b œœ œ bœ œ bœ
˙
4 4
3 œ. œ œ 4 œ. œ œ
fes - ti - val,
œ œ œ œ
And
be
-
fore
Vn I
&b
b
3 4
4 4
Vn II
&b
b
3 4
4 4
Va
B bb
3 4
4 4
Vc.
? b b
3 4
4 4
D.B.
? bb
43
44
73
œ
œœ œœ
4 4
3 4
Soli
œ
3
œ œ
PEV03 – 19
œ f
her throne
œ
˙
œ œ œ œ shall
j œœ
bow Our dam - sels
&
bb
&
bb
77 Fl.
Ob.
Cl.
&
œ f œ f œ f
œ œ . nœ 5 œ œ bœ œ œ œ œ nœ J 4
&
Cym.
ã
Hp
b œ & b n œœœ ? b n œœœ b œ
nœ œ œ œ œ nœ œ œ œ œ
j 5 nœ . #œ 4 œ œ œ # œ nœ œ œ #œ œ œ œ œ œ nœ
j‰ Œ œ p
Hn
Soli
œ œ . nœ 5 œ œ bœ œ œ œ œ nœ J 4
œœ œœ œœ œ œ
Ó
˙ b ˙˙˙ b ˙˙˙ b˙
b &b
4 ˙. 4 4 ˙. 4 4 4 ˙.
j œ ‰
lunga
4 4
5 4
4 4
5 4
4 Œ œ œ œ 4 œœ œœ œœ œ œ œ f pesante 4 Œ œ œ œ 4 œœ œœ œœ œ œ œ
5 4
4 4
U
lunga
œ ‰ J
5 4
5 4
U
œ ‰ J
lunga
U U
lunga
U
lunga
U
lunga
u ELECTRA (spoken)
Not unto joy, nor sweet Music, nor shining of gold, The wings of my spirit beat. Let the brides of Argos hold Their dance in the night, as of old; I lead no dance; I mark No beat as the dancers sway; With tears I dwell in the dark, And my thought is of tears alway, To the going down of the day. Look on my wasted hair And raiment… This that I bear, Is it meet for the King my sire, And her whom the King begot?
bb
U
lunga
5 4
4 4
5 4
4 4
lunga
&
bb
&
5 4
4 4
lunga
Vn II
bb
45
44
lunga
Va
B bb
5 4
4 4
lunga
Vc.
? b j‰ Œ b œ
Chor.
&
77 Vn I
D.B.
? b b
˙˙
all
Ó
Ó
5 4
4 4 PEV03 – 20
U
w pppp
U
#w pppp U
#w pppp #U w pppp
U
lunga
&b
b
U
Ob.
&b
b
U
Cl.
&
U
Hn
&
U
Cym.
ã
U
82 Fl.
&b Hp
Soli
b
? b b &b
E
a tempo
œœ œ œ œ nœ J ‰ Œ f œ˙ œ œ œ nœ f j œ ‰Œ œ œ œ œ #œ f ˙
Ó
f
œ œ œ nœ f
œ ‰Œ Ó J p
œ œ nœ 3 œ œ bœ œ œ nœ œ 4 4 4 3
3 4
4 4
3 3 4 œ #œ 4 œ œ œ œ #œ œ 4 œ # œ n œ œ œœ f
j œ ‰Œ Ó p
U
n œœœ œ mf n œœ œ œ
u
œœ œœ œœ œ œ
b
œ b œœ œ b œœœ bœ
3 4
4 4
3 4
4 4
n œœ 3 b ˙˙ œ 4 ˙˙ œ b˙ n œœ 43 ˙˙ œœ ˙
n œœ œ œ n œœ œœ
3 4
4 4 4 4 4 4
For Troy, that was burned with fire And forgetteth not?
Chor.
&b
b
U
Ó
f œ œœ ˙ œ œœ ˙
He - ra is great!—
Vn I
&b
b
U
Vn II
&b
b
Va
E
œœ œ œœ œœ œ œœ 5
Ah,
a tempo
, j j nœ œ œ nœ œ œ œ
come, Be
kind; and
3 ˙ œ œ œ 4
my hand shall
bring
œ Fair
4 4
3 4
4 4
U
3 4
4 4
B bb
U
43
44
Vc.
? b b
U
3 4
4 4
D.B.
? b b
3 4
4 4
82
U PEV03 – 21
b 4 œ œ. & b 4 œ œ œ nœ
œ ‰ œ œ œ nœ œ nœ œ
œ œ nœ œ œ œ œ ˙
b 4 œ œ. & b 4 œ œ œ nœ f
œ ‰ œ œ œ nœ œ nœ œ
˙
87 Fl.
Ob.
Cl.
&
4 4
Hn
&
4 4
Cym.
ã
4 4
Hp
b 4 œ & b 4 n œœœ
Soli
Chor.
œ œ œ #œ
? b b 44 n œœœ œ
œœ œœ œœ œ œ
3
3
‰
œ œ.
˙ b ˙˙˙
œ œ œ #œ
n œœœ œ
b ˙˙˙ b˙
n œœ œ œ
œœ œœ œœ œ œ
˙
3
œ ˙.
œ. p
œ œ #œ œ nœ œ ˙
œ bœ ˙
œ œ ˙ f
œ œ ˙
œœ œœ n ˙ œœ œœ ˙˙ n˙
œœ b œœ œœ b œœ
˙ b ˙˙˙ b ˙˙˙ b˙
œœ œ œ
œœ n ˙˙ œ ˙˙ œ
œœ b œœ œb œ œ bœ
˙˙ ˙˙
b ˙˙˙ ˙
b 4 &b 4 b 4 &b 4 œ œ
rai - ment,
Vn I
b 4 &b 4
Vn II
b 4 &b 4
Va
B b b 44
Vc.
? b 4 b 4
D.B.
? b 4 b 4
3
œ œ nœ œ œ nœ
work of the
œ. œ.
loom,
j 3 œ œ nœ œ œ œ nœ œ
And ma - ny a
œ œ nœ œ œ œ œ n œ œ œ œ b œœ ˙˙ œ ˙
gol - den thing, For
œ. p
#œ . œ. p
œ ˙
PEV03 – 22
‰
Ó
‰
Ó
‰
Ó
Œ
Ó
œœ œ
Œ
Ó
Œ
‰ œ œ œ œ œ œ
Soprano Solo (from Chorus)
Deem - est thou that this thy
œ œ ˙ n œœ œœ ˙˙
joy - ous robe - wear - ing.
œ bœ ˙
Ó
œ n œœ
87
œ f
‰
w pp
arco
w pp
j œœ ‰ œ
92
bb
U
b
U
Fl.
&
Ob.
&b
Cl.
&
U
Hn
&
U
Cym.
ã
U
b
U
? bb
u
&b Hp
Soli
b & b œ.
woe
Chor.
&b
b
j œ œ œ œ œ œ œ.
Shall rise un - to God as prayer,
F
j œ œ œ œ œ œ.
Or bend thy hat - ers low?
j œ. œ œ nœ œ
Doth
God
for thy pain
n ˙˙˙ ˙ pp n ˙˙ ˙ ˙
Ó
j œ œ.
‰ Ó
have
care?
U
Œ
Ó
pp œ œ
Not
b &b
U
92 Vn I
Vn II
&b
b
U
Va
B bb
U
Vc.
? b U b w
D.B.
œ œ œ œ œ œ
tears for the
F con sord.
w pp
con sord.
nw pp
con sord.
? b U b w PEV03 – 23
˙.
j‰ œ
˙.
j œ ‰
w pp
con sord.
w pp
pizz.
˙ pp
Ó
95 Fl.
&b
b b
Ob.
&b
Cl.
&
Hn
&
Cym.
ã
Hp
b œ & b b œœ bœ ? b b b œœœ œ
Soli
&b
Chor.
b œ &b œ
œ œ
œ. œ.
Vn I
b &b œ
œ
˙
Vn II
&b
Va
B bb œ
œ
Vc.
? bb
œ
œ b˙
˙
œ
D.B.
? b b œ
œ b˙
˙
œœ b ˙˙ œ ˙ œ b˙
b œœœ bœ œ b œœ œ
n ˙˙˙ ˙ n ˙˙ ˙ ˙
œœ b ˙˙ œœ ˙ b˙
œœ œ œ œœ œœ
b ˙˙˙ ˙ b ˙˙˙ b˙
b œœœ œ b œœ bœ
˙ b b ˙˙˙ b b ˙˙ b˙
œ ˙ bb œœœ b bb ˙˙˙ bb œœ b b ˙˙ bœ b˙
Œ œ n œœ pp Œ œœ œ-
œœ œœœ œ-
œœ œœœ œ-
b
dead nor sighs,
95
b
b˙
b˙ ˙
3 j œ œ œ œ œ œ œ œ œ œ œ œ
But
wor - ship and joy
di - vine
œ œ
˙ œ
nœ
nœ
˙
j œ. œ œ œ. œ œ
œ œ
Shall win thee
œ œ œ b˙ œ œ œ b˙
j œ bœ œ . œ ˙ œ bœ œ . œ ˙
mine!
j œ‰ Œ œ
˙
˙
˙
j‰ Œ œ
n˙
j‰ Œ œ
peace in thy skies,
O daugh - ter
˙
˙
œ œ
b˙
˙
bœ œ
˙
˙
˙
œ
˙
b˙
œ bœ
b˙
˙
b n ˙˙
˙
j‰ Œ œ
œ
b˙
b˙
bœ bœ
b˙ b˙
˙ ˙
˙
˙
j‰ Œ œ
œ œ
b˙
b˙
bœ bœ
b˙
˙
˙
˙
b˙
PEV03 – 24
b˙
Ó
101 Fl.
Ob.
Cl.
& &
U
bb
nn#
lunga
U
bb
lunga
#
nn
#
###
U
lunga
&
nn
U
lunga
Hn
&
Cym.
ã
U
lunga
& Hp
Soli
U
bb
lunga
? bb &b
b
nn#
u
p solenne nn # UΠj
Alto Solo (from Chorus)
ELECTRA (spoken)
œ œ.
On all
No care cometh to God For the voice of the helpless; none For the crying of ancient blood. Alas for him that is gone, And for thee, O wandering one: That now, methinks, in a land Of the stranger must toil for hire, And stand where the poor men stand, A-cold by another’s fire, O son of the mighty sire: While I in a beggar’s cot On the wrecked hills, changing not, Starve in my soul for food; But our mother lieth wed In another’s arms, and blood Is about her bed.
Chor.
&
U
bb
œ œ.
of Greece
j œ œ
œ
she wrought great
# nn
lunga
œ œ ˙
jeo - par - dy,
Œ
ppp # œœ n œœœ ... œ Ah
b U & b nw ppp lunga
101 Vn I
Vn II
&b
œ n œ- œ- œ-
b U #w ppp lunga
œ # œ- œ- œ-
U
lunga
Va
B bb # w #w ppp ? bb U #w #w ppp
œœ ## œœ œœ œœ - - -
lunga
Vc.
D.B.
? b b
U
lunga
œ #œ œ œ œ # œ- œ- œpp arco
Œ # œ- œ- œpp
nn nn
# U ˙ # U n˙
# U nn n ˙ ˙ nn# nn
U
˙
# U˙
PEV03 – 25
ppp
Ó
Œ
Ó
Œ
ppp
˙ ppp
j‰ Œ œ ppp œ‰ Œ J ppp
˙
œ
œ
œ œ
Œ
j # œœ #œ J
j #œ œ . #œ pppp j œ œ. œ pppp œ œ . #œ J pppp
Fl.
&
#
Ob.
&
#
106
Cl.
rall.
Œ
Solo
œ œ #œ #˙ ppp
## & #
œ œœ ˙
U
˙
U U
Hn
&
U
Cym.
ã
U
& Hp
Soli
U
#
?#
&
#
u
‰ j œ œ œ œ œ
Thy mo - ther’s sis - ter,
Chor.
&
#
Vn I
&
#
Vn II
&
#
106
Va
Vc.
D.B.
B#
# ˙˙ ˙
#˙
œ n œœ nn œœœ Ah
œ œ
˙
œ œ
˙
œ œ
j ‰ œ j œ œ. œ ˙
He - len,—
and on
thee.
U
j‰ Œ œ
j œœ # ww nœ w J
ww w
j‰ Œ Ó œœœ J
U
rall.
j œ #œ . #œ .
j œ #w
w
j œ‰Œ Ó
U
j œ œ. œ.
j œ w
w
j‰ Œ Ó œ
U
j œœ # œœ .. ## œœœ .. œ œ. . J
j œ œ . #œ .
Ah
j œ w
?#
Ó
?#
Ó
w
j œ‰Œ Ó
U
pizz.
U
pizz.
U
Ó nœ œ œ nœ œ œ p pesante Ó nœ œ œ nœ œ œ p pesante PEV03 – 26
2. O for the Ships of Troy Flute
Oboe
Moderato
bb 3 &bb 4
113
bb 3 &bb 4 b 3 4
Clarinet in B b
&b
Horn in F
&
3 4
Cymbal
ã
43 ˙ pp
Harp
bb 3 &bb 4
soft stick
Chorus (SS)
Chorus (A)
? bb 3 bb 4 ooOPoOOo
œ
œ
œ
œ œ pp
œ
œ
œ
˙
Œ
Œ
˙
œ
œ
œ
œ
œ ⇥
œ
œ
œ
œ
œ
B b b b b 43 ? bb 3 b b 4 ˙. ppp
arco
? b b b 43 b ˙. ppp
arco
˙. ˙.
bœ œ œ œ œ œ œ œ œ œ œ pp œ
Œ
Œ
œ
œ
˙. pp
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
PEV03 – 27
œ
œ
Moderato
Viola
œ
œ
bb 3 &bb 4 bb 3 &bb 4
Double Bass
œ
œ
œ
bb 3 &bb 4
Violin II
Violoncello
œ
œ
bb 3 &bb 4
113 Violin I
ppp
Œ
œ œ pp
œ
œ
˙ ⇥ œ œ œ œ œ œ œ œ bœ œ œ pp
Fl.
bb &bb
Ob.
bb &bb œ
œ
œ
Cl.
&b
b
j œ ‰
Œ
Œ
Hn
&
œ
œ
œ
Cym.
ã
118
Hp
œ
œ
œ
˙
A
bb &bb
œ
œ
œ
œ
3 3 bb 3 j 3 j &bb œ œ œ œ œ œ œ œ œ œ œ pp
118
Va
Vc.
D.B.
œ
œ
œ
œ
Œ
Œ
œ
œ
œ
Œ
Œ
œ
œ
j œ ‰ œ œ b œ œ œ œ œ œ œ œ œ
œ
œ
œ
Œ
Œ
˙
œ
œ
? bb œ bb bb &bb
Vn II
⇥ œ œ œ œ œ œ œ œ bœ œ œ pp
‰
bb &bb
S
Vn I
œ
œ
⇥ œ
œ J
3 3 bb 3 j 3 j &bb œ œ œ œ œ œ œ œ œ œ œ pp
B bbbb
˙.
? bb œ œ œœœœ œ bb J J 3 3 3 pp ? bb b ˙ . b pp
œ
3
3
˙.
œ œ œ œ 3
˙.
œ
j 3 œ œ œ œ œ j 3 œ œ œ œ œ
œ
3
3
˙.
3
œ œ œ œ œ J 3
˙. PEV03 – 28
œ
3
3 j œ œ œ œ œ 3 j œ œ œ œ œ
œ œ œ œ œ J 3
œ
œ
3
3
3
3 j œ œ œ œ œ 3 j œ œ œ œ œ
œ J
3
3
˙.
œ œ œ œ 3
˙.
3
j 3 œ œ œ œ j 3 œ œ œ œ
œ œ œ œ J 3
bb œ &bb J
122 Fl.
Ob.
bb &bb œ
Cl.
&b
Hn
&
Cym.
Hp
S
A
b
ã
Vn II
Va
Vc.
D.B.
pp
6
œ œ ˙. œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œœœœœœ œ 6 f 6 6 6
3 j œ œ œ œ œ
3
cresc.
œ œ œ bœ
œœœœœ
œ
œ œ œ bœ œ J
6
pp cresc. 3
Œ
6
3 j œ œ œ œ œ
3
œœœœœœœ 6
3
˙ mp
3
œœ œœœ œ J
3 j œ œ œ œ
3
bœ œ œ œ œ œ œ 6
6
œ œ bœ œ 3
Œ
œœœœœ
6
œ œ œ J
3
œ
3
? bb œ bb
œ
œ
f
˙. f
œ œœœ J ‰ Œ Œ
6
œœœ f
ff
œ ‰Œ Œ J
˙ mf Œ œ
Œ
œ ‰ Œ J
œ
œ
œ f œ
bb &bb
Œ
‰
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bb b & b ˙. œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ b B b bb ˙ . pp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? b b ˙. œ bb ? bb b ˙ . b
œ-
œ-
œ-
œ-
œœ-
˙. PEV03 – 29
œœ-
œ-
œ-
˙.
œ-
œ-
˙.
œœ-
œœ-
Œ
f marcato œ . bœ œ
G
O
f œ . bœ œ
O
˙.
fp
f
fp
f ˙.
fp ˙.
˙. f
œ ‰Œ Œ J
f
˙. ˙.
fp
for the
Tutti marcato
f
˙.
?
Tutti
Œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ
œ
ff œ &œ Œ
bb &bb
bb j &bb œ
œ J ‰Œ Œ j œ ‰Œ Œ
˙. f
j‰ Œ œœœ œ
œ
bb &bb
122 Vn I
‰
œ œ œ bœ
G
for the
Fl.
bb &bb
Ob.
bb &bb
Cl.
&b
Hn
Cym.
126
Hp
S
Œ
j 3 œ œœ œ œ pp
&
Œ
ã
Œ
j 3 œ œ œ œ bœ pp
b
3
˙ pp
bb &bb ? bb bb
pp
Œ
bb œ œ. & b b bœ
ships of Troy,
A
3
bb œ œ. & b b bœ
ships of Troy,
j j œ œ bœ œ . œ nœ
the
beat Of oars
that
shim - mered In - nu - mer - a - ble
j j œ œ bœ œ . œ nœ
the
beat Of oars
that
œ œ œ œ œ œ ‰ œj œ . œ œ œ œ œ
3
and
danc - ing feet Of Ner - eids
œ œ œ œ œ œ ‰ œj œ . œ œ œ œ œ
3
shim - mered In - nu - mer - a - ble, and
danc - ing feet Of Ner - eids
œ
œœœœ œ
glim
-
œœœœ œ
glim
-
-
-
œ
œ
mered;
œ
mered;
˙.
˙.
˙.
˙.
˙.
b b ˙. &bb
˙.
˙.
˙.
˙.
Va
B bbbb ˙ .
˙.
˙.
˙.
œ
Ÿ~~~~~~~~~~~~~ ˙
Vc.
? bb b b
˙.
˙.
˙.
œ J ‰
Ÿ~~~~~~~~~~~~~ ˙
D.B.
? bb bb
Œ
œ p
bb &bb
126 Vn I
Vn II
˙.
PEV03 – 30
pizz.
Œ
bb œ œ 4 œJ ‰ Œ & b b ⇥ œ œ œ œ œ œ œ œ bœ 4 pp
Ó
3 4
4 4
Œ
Ó
3 4
4 4
4 j œœ 4 œ ‰ Œ b œ œ œœ œœœœœ pp
Œ
3 4
4 4
131 Fl.
Ob.
bb &bb œ
Cl.
&b
Hn
&
Cym.
ã
Hp
S
A
b
Vn II
Va
Vc.
D.B.
œ
3
j 3 œ œ œ œ œ > f
4 >œ 4
j 3 œ œ œ bœ œ
4 4
3 4
4 4
Œ
4 4
3 4
4 4
4 œ 4 œ 4 4
3 4
4 4
˙
bb œ &bb
Œ
Ó
Œ
Ó œ œ œ bœ
? bb Πbb
œ
bb &bb Œ
Œ
f marcato 4 œ œ 4
œ
f marcato 4 œ œ 4
œ
bb &bb Œ
bb &bb
˙.
b b ˙. &bb ~~~ B bbbb ˙ .
Œ
And
dol - phins, drunk - en with the
And
œ œ œ bœ
dol - phins, drunk - en with the
3 4
4 4
œ.
j œ œ œ œ œ
3 œ 4
nœ œ
œ.
j œ œ œ œ œ
3 œ 4
nœ œ
lyre,
lyre,
A - cross the dark blue
A - cross the dark blue
prows, like fire,
prows, like fire,
4 4
œ
4 4
Did
Did
w
4 w 4
w
3 ˙. 4
4 4
4 w 4
w
3 ˙. 4
4 4
43
44
4 4
4 4
Œ
˙
p
PEV03 – 31
w
3 4
3 4
˙.
œ
w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? bb b ˙ . 44 œ b ? bb bb
Œ
Œ
œ f œ
131 Vn I
⇥
3
˙.
4 4
4 4
Fl.
bb 4 &bb 4
3 4
Ob.
bb 4 &bb 4
3 4
Cl.
&b
b 4 4
3 4
Hn
&
4 4
3 4
Cym.
ã
4 4
3 4
bb 4 &bb 4
3 4
135
Hp
S
? bb 4 bb 4
3 4 j 3 œ œ œ œ œ ‰ œ 4 œ
bb 4 &bb 4 œ
j 3 œ œ œ œ œ ‰ œ 4 œ
w
˙.
˙.
˙.
˙.
bound and qui
A
3 œ œ. œ œ œ. œ œ œ œ œ œ bœ œ
bb 4 &bb 4 œ
bound and qui
-
-
ver,
ver,
To
3
j j œ œ œ. œ œ œ
cleave the way
To
3
for
The - tis’ son,
j j œ œ œ. œ œ œ
cleave the way
for
The - tis’ son,
Fleet - in - the - wind A - chil - les, on To
war, to war, till
3 œ œ. œ œ œ. œ œ œ œ œ œ bœ œ Fleet - in - the - wind A - chil - les, on To
war, to war, till
Vn I
bb 4 &bb 4
Vn II
bb 4 w &bb 4
3 ˙. 4
˙.
˙.
˙.
Va
B b b b b 44 w
3 ˙. 4
˙.
˙.
˙.
Vc.
? b b b 44 b
43
˙.
˙.
˙.
D.B.
? bb 4 bb 4
135
w
3 4
˙.
3 4
PEV03 – 32
Fl.
bb &bb
Ob.
bb &bb
Cl.
&b
Hn
&
Cym.
ã
H
140
Hp
S
b
? bb bb b b œ bœ œ &bb won
b b œ bœ œ &bb won
œ
Be
œ
Be
-
-
œ œ nœ œ œ œ œ œ
œ œ ˙
side the reed
b b ˙. &bb
Va
B bbbb ˙ .
Vc.
? bb b b
bb &bb
? bb bb
˙.
Œ
ri
side the reed
œ J ‰ Œ
D.B.
Œ
œ œ nœ œ œ œ œ œ
˙.
140
Vn II
Œ
Œ
Troy be
Vn I
Œ
œ pp œ pp
-
-
-
-
-
-
y
y
j œ ‰
˙
j‰ œ
ri
-
-
nnnn
#
U
## nn #
U
œ ppp
œ
œ
Œ
nnnn
#
nnnn
#
U
nnnn
#
U
nnnn#
U
nnnn
#
U
nnnn
#
U
nnnn
#
u
ver.
Œ
œ J ‰ Œ
Œ
Œ
Œ
œ ‰ Œ J
Œ
Œ
Œ
Œ
Œ
Œ
PEV03 – 33
U
ver.
Œ
Œ
#
U
œ œ ˙
H Œ
œ J ‰ Œ
˙
nnnn
U
bb &bb
Troy be
A
Œ
U
Œ
3 3 j œ œ œ œ œ ˙ p 3 j œ œ œ œ œ ˙ p 3
3 j œ œ œ œ œ ˙ p 3
œ œJ p 3 œ p
pizz.
œ œ œ ˙ 3
œ n˙ pp œ n˙ pp œ n˙ pp œ nU˙
pp
U
nnnn# nnnn
#
U
Fl.
&
#
Ob.
&
#
U
## & #
U
145
Cl.
senza misura
Hn
&
U
Cym.
ã
U
& Hp
S
A
U
#
?#
&
&
u U
# #
Alto Solo (from Chorus) freely
œ œ œ œ œ œ œ
j œ. œ œ
j œ œ œ œ œ œ œ 3
œ œ œ œ œ
j œ œ œ œ
œ
Up from Eu - boe - a’s cav - erns came The Ner - eids, bear - ing Gold ar - mour from the Lords of Flame, Wrought for his wear - ing:
U
Vn I
&
#
Vn II
&
#
U
B#
U
?#
U
?#
U
145
Va
Vc.
D.B.
senza misura
PEV03 – 34
,
J U
colla voce
44
Fl.
&
#
Ob.
&
#
U
## & #
U
4 4
146
Cl.
4 4 w pp
Hn
&
U
4 4
Cym.
ã
U
4 4
U
44
& Hp
S
#
?#
&
#
Soprano Solo (from Chorus) freely
œ
œ
œ
j 3 œ œ œ œ #œ œ œ ‰ œ œ œ
Long sought those daugh - ters of the deep,
A
&
#
4 4
u
Up Pel - i - on’s glen,
œ œ #œ up
œ
Os - sa’s steep
3 œ # œ œ 44 œ # œ ˙
For - est en
-
U
œ ‰ J
chant - ed,
4 Ó 4
Alto Solo (from Chorus)
‰ œj œ œ
J U
colla voce
Vn I
&
#
Vn II
&
#
U
4 4
B#
U
44
?#
U
4 4
?#
U
4 4
146
Va
Vc.
D.B.
PEV03 – 35
4 4
Where Pel - eus
Fl.
&
#
Ob.
&
#
148
5 4 œ œ œ œ ˙
œ œ œ œ ˙.
w
œ œ œ 43 œJ œ
3 2
j œ œ
5 4
3 4
3 2
## & #
5 4
3 4
3 2
Hn
&
5 4
3 4
3 2
Cym.
ã
5 4
3 4
3 2
45
43
32
5 4
3 4
3 2
Cl.
&
#
Hp
?#
S
&
#
&
#
A
5 4
œ.
œ œ. J
reared a - lone,
œ œ J
a - far,
‰
j œ œ œ œ œ
His lost sea - maid - en’s
3 4
5 œ. 4
child,
œ œ. J
the star
j œ œ œ
Of Hel - las,
3 2
3 4 œ œ œ.
and swift help
j œ 32
of
Vn I
&
#
45
43
32
Vn II
&
#
5 4
3 4
3 2
B#
5 4
3 4
3 2
?#
5 4
3 4
3 2
?#
5 4
3 4
3 2
148
Va
Vc.
D.B.
PEV03 – 36
Fl.
&
#
Ob.
&
#
152
Cl.
3 2 œ ˙
˙
Moderato
n 3 b 4
j‰ 4 œ 4
3 2
4 4
## 3 & # 2
4 4
>œ n 3 b 4 Œ Œ ‰ Œ Œ œ J > f n# 3 œ . œ œ . #œ n 4 Œ Œ œ J ff marcato
Hn
&
3 2
4 4
Cym.
ã
3 2
4 4
32
44
n 3 b 4
n 3 b 4
&
#
3 4 Œ Œ œ > f
S
&
#
3 2
4 4
&
#
3 œ . œj œ # œ œ œ 2
4 œ œ 4 œ œ œ œ œ Ó
f n 3 b 4 Œ Œ œ
n 3 b 4 b ˙˙ ..
4 4
war When wear - y arm - ies
Vn I
Vn II
Va
Vc.
D.B.
n 3 b 4
5
pant
&
#
32
44
&
#
3 2
4 4
152
B#
3 2
4 4
?#
3 2
4 4
?#
3 2
4 4
j œ ‰ Œ Œ >
œ # œœœ f # œœ œ œ
?#
A
œ œ J
3 4
Hp
3 2
œ.
-
-
-
Œ Œ
ed.
˙. pp ˙. pp
Œ ˙. ˙. pp Œ ˙. ˙. pp Œ ˙. pp
arco
PEV03 – 37
Œ # œœ # œ Œ # # œœœ # œ
Alto Tutti risoluto
There
Moderato
n 3 b 4 b ˙˙ .. n 3 b 4 ˙. ˙. n 3 ˙. b 4 ˙. n 3 ˙. b 4
œ . œ œ . nœ J
came a man
j œ ‰ #œ œ f j œ ‰ #œ œ f j #œ ‰ œœ f j #œ ‰ œ œ f
from
# œœ Œ œ œ
œ.
œ n œœœ n œœœ nœ
œ œ J
Troy, and told
pizz.
œ #œ Œ œ
pizz.
œ # œ Œ n n œœœ nœ
Œ n œœ f Œ bœ œ f
œ nœ
pizz.
#œ n œœ Œ
pizz.
#œ Œ œ œ
œ œ nœ
œ Œ
nœ
Œ bn œœ œ f Œ
œ # œœœ Œ
nœ f
œ ‰ Œ nœ J f f
pizz.
nœ œ œ
Fl.
&b
4 4
Ob.
&b
44 œ œ œ œ . f marcato
j j œ 43 œ ‰ Ó
4 4 œ œ œ œ. f marcato
j 3 j œ 4 œ ‰ Œ Œ
158
Cl.
# & #œ œ œ œ œ 3
Hn
&
Cym.
ã
Hp
& b n œœœ nœ ?
3 4
4 œ 4
œ œ œ.
œ 43 œ J
4 4
4 Ó 4
n ˙˙˙ n ˙˙ ˙
nœ b n œœ
4 Ó 4
œ Œ œœ œ
& b nœ œ œ œ œ
158
œœ Œ œ
4 Ó 4
Œ œœ
Œ
4 Ó 4
B b nœ œ
œ œ Œ œ
Œ œœ œ
4 Ó 4
?
œ Œ
4 Ó 4
œ Œ
44 Ó
Va
Vc.
D.B.
& b n œœ œ & b n œœ œ
nœ b œœ
?b
œ
œ œ
j‰ Œ œ p
Œ
Œ Œ
œœ Œ œ œœ Œ œ œ
Œ Œ
Œ Œ
œœ œœ œœ œœ
Œ Œ Œ Œ
3 4
4 4 œ
Vn II
3 4 œœœ œ
4 4
A
Vn I
3 4 œœ œœ
Œ œœœ œ
&b
Here in the ha - ven,
j‰ œ œ. œ œœ œ œ œ ˙
3 4
S
3
œ œ.
j œ œ œ ‰ œ 43 œ
How, orb on orb,
to
Œ œœ œ œ Œ œ œ Œ
œ
œ œ.
strike with cold
3 4 œ œ
mf j‰ ‰ œ œ. œ œœ œ œ œ œ œ. The
Tro - jan, o’er that targe of gold,
Œ Œ
Œ
3 4 œœ
œ Œ œ
Œ Œ
Œ
Œ
3 œ 4 œ œ
Œ Œ
œ Œ œ œ
Œ
œ œ œ
Œ Œ
Œ Œ
œœ Œ œ
Œ
œ œ œ
Œ Œ
Œ Œ
œ Œ
Œ
œ
Œ Œ
3 4 œœ œ 43 œ
PEV03 – 38
œœ
œ œ œœ
Œ Œ Œ Œ
œ
œ
œ
œ
œ p
œ
œ
arco
œ
œ
Dread shapes were
arco
œ p
arco
˙. p
arco
arco
˙. p œ p
Fl.
&b
2 4
Ob.
&b
42 œf
Cl.
&
Hn
&
Cym.
ã
2 4
3 4
&b
2 4
3 4
b
2 4
3 #œ 4 œœ œ
S
&b
2 4
3 4 Ó
A
f risoluto 2 ‰ 4 œ œ œ 43 œ œ n œ . œ œ &b œ œ.
164
#
Hp
?
grav - en
164 Vn I
&b
Vn II
&b
Va
Bb
Vc.
D.B.
?
œ ˙ ˙. œ ˙
b ˙.
?b œ ˙
3 4
2 4
œ- œ- 43 œJ ‰ Œ
Œ
42
2 4 œf
œ- œ 43 œ œ # œ ‰ J
œ
3 œ 2 4 œ #œ œ œ
2 4 œ f
3 œj ‰ Œ œ 4 œ- -
Œ
2 4
All
round the
2 j 4 œ ‰ Œ 42 j ‰ Œ œ 2 4 œ > f
œ 42 J ‰ Œ
œ œ. J
œ œ
œœ œœ
Œ
œ
œ œ
2 4 œ # œœœ
n œœ œ n œœ œ œ
Œ Œ Œ
lev - el rim there - of
pizz.
3 œ 4 #œ œ f
pizz.
nœ œ œ
43 # œœ n œœ œ œ f pizz. n œ 3 œ œ 4 œJ ‰ œœ > >
2 4 œj ‰ Œ
œ.
pizz.
3 #œ 4 œ œ
nœ œœ
pizz.
43 œ
œ
2 4 œ # œœ p 2 œ 4 œ œ
Œ Œ
œ n œœœ Œ n œœœ Œ nœ
3 2 œ 4 œ #œ œ œ
Per - seus, on wing - èd
œ. feet,
2 œ 4 #œ œ
Œ
œ nœ Œ
Œ
42 # œœ œ
Œ
n œœœ Œ
2 #œ 4 œ œ
Œ
œ œ Œ nœ
Œ
nœ Œ
Œ Œ
œœ œœ
œœ œœ œ œ œ œ
Œ
2 4
Œ
Œ
œœ œœ
œœ œ
2 #œ 4 œ œ
42 œ
PEV03 – 39
Œ
nœ Œ œ œ
j œ œ.
a - bove
œ œ œ œ œ œ œ
œ œ
œ
The long seas
Œ Œ Œ
œ œ
hied him;
œ œ œ œ œœ œ œ œ œ œ œ œ œ
œ œ œ
Œ
œ œ œ œ œ œ
œ
Œ
œ œ
K
Fl.
&b
3 4
Ob.
&b
43
Cl.
&
#
3 4
Hn
&
3 4
Cym.
ã
3 4
&b
43
171
Hp
?
mf j &b ‰ œ œ œ
The Gor - gon’s
mf b ‰ & j œ œ œ
nœ œ œ œ
wild and bleed - ing
hair
nœ œ œ œ
3 Œ j 4 œ nœ . œ œ œ nœ
Solo
A
The Gor - gon’s
wild and bleed - ing
K arco
nœ œ œ œ
arco
nœ œ œ œ
arco
Bb ˙ pp
nœ œ œ œ
arco
b ˙ pp
nœ œ œ œ
arco
nœ œ œ œ
171 Vn I
Vn II
Va
&b ˙ pp &b ˙ pp
Vc.
?
D.B.
?
˙. # n ˙˙˙ ... f # ˙˙ .. n ˙ .. ˙
b ˙ pp
j n œ . œ 43 œ œ Œ n œ œ
hair
He
He
sostenuto
˙. p
3 4
b Solo
S
allargando rapidamente
lif - ted;
lif - ted;
and a
and a
œ œ ˙ her - ald fair,
nœ . œ #œ œ
He of the wilds,
whom
œ œ ˙
. œ #œ œ nœ
œ J
her - ald fair,
œ J
3
3
He of the wilds,
whom
allargando rapidamente
j n œ . œ 43 œj œ . n œ œ # ˙˙ .. nœ fp j n œ . œ 43 œj œ . n œ œ
n ˙ .. ˙ fp
#˙ . j n œ . œ 43 œj œ . n œ œ n ˙ . œ fp #˙ . j 3 n œ . œ 4 œj œ . n œ œ n ˙ .. ˙ fp j 3 n œ . œ 4 œj œ . n œ œ PEV03 – 40
˙. fp
œ nœ ˙
Mai - a bare,
œ nœ ˙ Mai - a bare,
sostenuto
˙ #˙ p n˙ ˙ p n˙ ˙ p n˙ p n˙ p
j œ ‰ œ j œ ‰ œ j œ ‰ œ j œ ‰ j œ ‰
Fl.
Ob.
a tempo
& b n œf
œ- œ- 42 œJ ‰ Œ
43 Œ œ b œ Œ n œ b œ f marcato
#
f
œf
2 œ œ- œ- 4 J ‰ Œ
œf
2 œ- œ- 4 œj ‰ Œ
Cl.
&
Hn
&
Cym.
ã
2 4
&b
42
Hp
?
œ&b &b
Tutti
œ-
flew
œ &b œ œ f
178 Vn I
pizz.
pizz.
Vn II
Va
Vc.
D.B.
œ œ 42 bn œœ œ œ œ œ œ
be
œ œ 42 œ nœ œ œ bœ œ œ
& b n œœ œ f pizz. œ nœ œ œ œ 2 œ œ B b œ œ œ 4 b œœ f pizz. œ ? n œœ œ œœ 2 b œ œ œ 4 bœ f ?
pizz.
b œ f
2 œ œ 4 bœ
Œ Œ Œ Œ
2 4
j œ . n œ œ œ œ œ 42
3 4 Œ #œ nœ Œ #œ nœ f marcato
Œ #œ nœ
#œ nœ
j œ œ 42 œ . œ #œ œ
3 4 ˙ œ ˙ f marcato
˙
œ
œ œ
œ
œ. œ J
œ œ œ œ 42 2 4
-
side
him.
-
Œ # œœœ # # œœœ œ# œ
But mid - most,
f risoluto Œ Œ ‰ œJ œ œ . œ
side
him.
˙ œ ˙ 3 ˙ ˙ 4 f marcato arco
j œœ ‰ # œœ # œœj ‰ œ œ
Œ # œœœ # œœ œ # œœ
f risoluto œ Œ Œ ‰ œ œ œ. J
a tempo
Œ
œ œ œ œ
nœ bœ
j3 œ 4 ˙
largamente
œ œ nœ . œ J
3 4
be
flew
‰
œ nœ
Œ nœ bœ
œ 3 ˙ J 4
2 4 œ. œ- œ-
God’s Her - mes,
f marcato
˙
œ
43 Œ # œœœœ # # œœœ Œ # œœœœ # # œœœ œ œ f 3 #œ #œ #œ #œ 4 Œ œœ # œœ Œ œœ # œœ œ #œ œ #œ
œ- œ- 42 œ .
God’s Her - mes,
A
3 4
2 4
b Tutti
S
œ ˙
œ- œ- 42 œJ ‰ Œ
&b
largamente
˙
œ-
178
But mid - most,
œ
˙
œ nœ
where the
œ nœ where the
‰
œ nœ
Œ Œ
Œ
Œ Œ
Œ
œ œ nœ . œ J
boss rose higher, a
œ œ nœ . œ J
n œœ n œœ œ n œœ œ
œœ 2 œœ 4 œœ 42 œ œ
œ œ œ œ 2 4
sun stood blaz - ing,
œ œ œ œ 2 4
boss rose higher, a
sun stood blaz - ing,
œ œ nœ . œ J
œ œ œ œ
2 4
œ nœ bœ œ #œ
# n œœ b œ
j œ œ 2 œ . nœ œ œ 4
#œ nœ 3 #œ nœ 4 Œ œ bœ Œ n œ bœ f marcato
Œ n# œœ bn œœ
#œ nœ n œ bœ
j bœ œœ . n œœ # œœ œ n œ œœ 42 .
Œ
œ œ œ
œ œ
œ. j œ œ œ œ 42 œ. œ
3 œ Œ œ œ 4 Œ œ f marcato
Œ
œ œ
œ œ
œ . œJ
arco
3 œ œ 4 œ # œœ b œ œ # n œœ b œ f marcato arco
arco 3 Œ œœ œ Œ œœ œ 4 f marcato arco
PEV03 – 41
œ œ œ œ 42
œ œ œ 2 &b 4 ‰ J
3 4
2 & b 4 œ #œ œ bœ > > > >
3 4 n˙
185 Fl.
Ob.
œ.
œ nœ œ J nœ
Cl.
# & 42 # œ œ œ n œ > > > >
43 # œ
nœ
Hn
2 & 4 œ œ œ œ
3 4 œ
œ
Cym.
ã
Hp
2 4
⇥
3 4
⇥
2 &b 4
⇥
3 4
⇥
⇥
3 4
⇥
? 2 b 4
j & b 42 ‰ œ œ œ
. 43 œ
j œ œ 2 &b 4 ‰ œ
3 œ. 4
185
œ œ œ 2 &b 4 ‰ J
3 4
Vn II
& b 42 œ # œ œ b œ
43 n œ
Va
B b 42 # œœ œ œ n œ
Vc.
D.B.
S
And wing - èd
A
And wing - èd
Vn I
2 œ 4
œ
4 4
œ 42
œ œ
œ œ
œ
œ œ f œ nœ
œ œ
44
œ
2 4 nœ
œ
œ œ ff
œ bœ
4 4
⇥
⇥
4 4
⇥
4 4
⇥
4 4
œœ n œœ
44
œ
œ œ
œ
#œ
Œ
and stars in
œœ œœ
2 4
œ
2 4
⇥
œ nœ œ J
œ.
œ œ
bœ
œ œ
and stars in
steeds,
œ œ
œ
œ
œ nœ œ J
steeds,
œ œ
œ œ J ‰
œœ œœ
2 4
œœ œœ
œ 2 œœ 4 œ
œœ œœ œœ œ œ
Œ œ
œ œ . œ œ œ .. 42 œ œ œœ œœ
choir,
œ choir,
œ nœ œ J
œ
n œœœ
nœ œ
3 #œ 4
nœ œ
œ #œ œ
œ œ
? 2 œ œ œ œ b 4
3 4 œ
œ
œ
? 2 œ œ œ œ b 4
3 4 œ
œ
œ
#œ œ œ œ œ
Hy - ad and Plei - ad,
fire
on fire, For
b œ œ . œ œ œ .. 42 œ œ œ œ Hy - ad and Plei - ad,
œ œ bœ œœ œ œ œ
fire
œ œ œ
42 n œœ œ œ 2 n œœ 4
œ œ œ
2 4 œ
œ
œ
2 4 œ
PEV03 – 42
Hec
ff œ œ
œ æ ff œ æ ff œ æ
œ œ œ
œ
ff œœ b œœ
Hec
2 œ 4 œœ
œ
œœ œœ Œ ffœ œœ œ Œ
on fire, For
œ œ œ œ œ œ
f
⇥
œœ œ œ
œœ œ
f
œ œ œ œ œ
ff
-
tor’s
4 4
œ œ
4 4
œ æ
œ œ æ æ
4 4
bœ æ
œ œ æ æ
44
-
œ æ
œ œ ff œ œ ff
tor’s
œ bœ æ æ
4 4
œ bœ
4 4
œ bœ
4 4
L œ
più mosso
Fl.
4 &b 4
Ob.
4 œ. œ. n œ. œ. 3 œ. œ. n œ. œ. &b 4 4 ff
4 œ 4
Œ
Ó
44 # œ
Œ
Ó
. . 3 . . 4 & 4 œ. œ œ. œ 4 œ. œ œ. œ f
4 w 4
191
Cl.
Hn
Cym.
Hp
S
ff
Œ Ó
3 4
# & 44 # œ. b œ. œ. œ. 43 # œ. b œ. œ. œ. ff
3 4 œ. œ. n œ.
-̇ œ. œ. 43
œ- 4 4
# œ. b œ. œ. œ. # œ. b œ. œ.
-̇ œ. n œ. 43
œ- 4 4
-̇ œ. œ 43 .
œ- 4 4
œ. œ. n œ. œ.
œ. œ. œ. œ.
œ. œ. œ.
3 4
4 4
3 4
4 4
4 &b 4
3 4
4 4
3 4
4 4
? 4 b 4
3 4
4 4
3 4
4 4
& b 44 ˙
œ Œ 43 Œ Œ
4 ˙ &b 4
œ Œ 3 Œ Œ 4
daz - ing:
ff ‰ œJ 44 œ . œ œ œ œ A
-
cross the gol - den helm, each
ff ‰ j 44 œ œ. œ œ œ œ A
-
œ
œ
cross the gol - den helm, each
w way,
w
way,
œ œ 43 œ . œJ
œ œ nœ
œ œ 43 œ . œ b œ 44 J
Two tal - oned Sphin - xes
Two tal - oned Sphin - xes
Va
Vc.
D.B.
held their prey,
held their prey,
4 œ. œ. n œ. œ. 3 œ. œ. n œ. œ. &b 4 4
4 œ. 4
œ œ J
œ
œ. œ. n œ. œ.
œ. œ. n œ.
-̇ œ. œ. 43
œ. 4 4
& b 44 œ. b œ. œ. œ. 43 n œ. b œ. œ. œ.
44 n œ . œ.
j œ œ
œ
œ. b œ. œ œ. n œ. b œ. œ . .
œ. n œ. 43 ˙ -̇
œ 44 œ.
œ. œ. 3 4 -̇
191
Vn II
œ 4 4
œ œ nœ
L Vn I
4 4
4 4
ã
daz - ing:
A
4 4
più mosso
. . . . . . B b 44 n# œœ n œ œ. œ 43 # œœ n œ œ. œ
4 #œ 4 œ
Œ
Ó
# œ. n œ. œ. œ. # œ. n œ. œ. œ œ
? 4 œ. œ. œ. œ. 3 œ. œ. œ. œ. b 4 4
4 w 4
. . . œ. œ œ œ
. . œ. œ œ
? 4 œ. œ. œ. œ. 3 œ. œ. œ. œ. b 4 4
4 w 4
. . . œ. œ œ œ
. . œ. œ œ
PEV03 – 43
œ. # œ. 3 ˙ œ 4 -̇
œ. œ. 3 4 -̇
b œ. œ 44 4 œ. 4 4 œ. 4
4 &b 4
197 Fl.
Ob.
Cl.
˙
œ œ animato -̇ -̇
f
3 4
4 4
3 4
4 4
43
44
43
44
œ
œ 43 ˙
œ 44 ˙
Ó
3 4 ˙ mf
4 œ 4 œ
44
# 4 nœ & 4 ˙
3 4
4 ˙ 4 mf
œ œ Œ Ó
Cym.
ã
4 4
4 b ˙˙ œœ & b 4 ˙˙ œœ ff ? 4 b 4 œ œ bœ œ bœ œ 4 b ˙˙ &b 4
n œœ œ n œœ Œ Ó œ œ œ œ Œ Ó œ
œœ n œœ ˙
Song - drawn to
A
œ- 4 4
43
4 œ œ œ œ & 4 œ Œ Ó
S
-̇
œ bœ œ œ œ Œ Ó & b 44
Hn
Hp
3 4
4 &b 4 ˙
3 4
4 4
3 4
4 4
3 4
4 4
And
slaugh - ter:
b œ œ- œ- -animato ˙ œ ˙ -̇ f b œ œ œ- n œœ n ˙- -̇ f
And
4 &b 4
Vn II
4 &b 4
Va
œ B b 44 œ
Vc.
œ. œ. œ. œ. 3 œ. œ. œ. œ. 4 œ. œ. ? 4 b œ. œ b 4 œ œ. . 4 4 . f
D.B.
-̇
œ-
-̇ f
-̇
3 4 -̇
4 œ- 4 -̇
3 4
4 œ- 4 -̇
-̇
3 4 -̇
-̇ -̇
œ- 44 -̇
. . . ? b 44 b œ. œ œ œ œ. œ. œ. 43 œ œ. œ. œ. 44 œ œ. œ. . . f
-̇
œ 44
3 4
4 4
3 4
4 4
3 4
4 4
4 4
3 4
4 4
œ 43 ˙
4 3 œ 4 œ. œ œ œ œ œ 4 ˙
œ 43 ˙
4 3 œ 4 œ. œ œ œ œ œ 4 ˙
ramp - ing
round the breast-plate
Vn I
197
3 4 ˙
Ó
4 4
round the breast-plate
f j 3 œ Œ 4 Œ Œ œ 44 œ . œ œ
Œ
œ 44
3 4
3 4
f j œ 3 4 Œ Œ Œ œ 4 œ 4 œ. œ
slaugh - ter:
œ œ ˙
Song - drawn to
3 4 œ 4 Œ Œ œ 4 Œ f
œ œ 3 ˙ 4
ramp - ing
came A min - gled breed of
came A min - gled breed of
3 4 -̇
4 œ- 4 -̇
3 4
4 œ- 4 -̇
-̇
3 4 -̇
œ- 44 -̇
-̇ -̇ -̇
lion
lion
4 œ 4
and
4 œ 4 and
3 -̇ 4
n œ- 44
3 4 -̇
4 œ- 4
3 -̇ 4
œ- 44
œ.
œ. 3 œ. œ. œ. œ. 4 œ. 4 4
œ.
. œ. œ. 3 œ œ. œ. œ. 4 4 4
œ.
œ. 3 œ. œ. œ. œ. 4 œ. 4 4
œ.
. œ. œ. 43 œ œ. œ. œ. 44
PEV03 – 44
4 &b 4
3 4
& b 44 ˙ n ˙ p cresc.
43 ˙
œ
# 4 & 4 œ Œ Ó
3 4 ˙
œ
4 & 4 w p cresc.
3 4 ˙.
4 4 ˙
4 4
3 4
4 4
4 &b 4
3 4
4 4
204 Fl.
Ob.
Cl.
Hn
Cym.
Hp
S
ã
? 4 b 4 4 &b 4 ˙
Ó
Va
D.B.
to
3 -̇ 4
œ-
-̇
3 4 -̇
b œ-
4 &b 4
-̇
cresc.
B b 44 -̇
3 4 œ œ.
Hot - eyed
-̇
3 -̇ 4
to
œ-
. . ? 4 œ œ. œ. œ. 3 œ œ. œ. œ. b 4 4 . . ? b 44 œ œ. œ. œ. 43 œ œ. œ. œ.
œ œ œ bœ
w
f
tear that steed of
œ 4 œ œ œœ n œœ J 4
n ˙-
cresc.
Vc.
Hot - eyed
4 & b 4 -̇
cresc.
Vn II
3 4 œ œ.
f
w
œ 4 œ œ œœ n œœ J 4
Ó
204 Vn I
˙
4 4 œ œ œ œ œ œ œ œ
4 &b 4 ˙
flame,
mf
œ œ œ œ
4 -̇ 4 mp
3 ˙. 4 p
44 œ œ œ n œ # œ œ œ œ œ œ 3 nœ œ 4 ˙ . f p œ œ œ œ #œ œ œ 4 œ œ ˙ œ 3 ˙. 4 4 f
3 4
flame,
A
4 Π4
œ œ œ
tear that steed of
4 œ- œ- œ- œ 4
w w
˙ .. ˙ fame
4 œ- œ- œ- œ4 44 œ- œ- œ- œ-
p œ
That
w w
p œ
fame
That
found Pi - rê - nê’s
œ œ œ œ æ æ æ æ ff
æ w w ff w ff
PEV03 – 45
3 j 4 4 œ ‰ Œ Œ 4 -̇ p
3 4
œ œœ b œœ œœ 3 œ 4
˙ .. ˙
wa
œ œœ b œœ œœ 3 œ 4
wa
œ œ œ œ æ æ æ æ 43 œ p
œ #œ œ œ œ 3 æ æ æ æ æ 4 œ p œ œ œ œ bœ æ æ æ æ æ 43 œ p æ w w w
-̇
4 4 -̇ mp
œ œ œ œ 3 ˙. œ œ œ œ 4 ˙.
found Pi - rê - nê’s
4 œ- œ- œ- œ- # œ œ œ 4 æ æ æ ff - n œ- œ œ b œ 4 œ- œ- œ æ æ æ 4 ff
44 -̇ mp
3 4
œ œ œ œ œ œ œ œ f
-̇
3 4 œ p 43 œ p
3 4
˙
3 4
4 4
3 4
4 4
3 4
-
3 4
œ œ œ 44 ˙ -
-
œ œ œ 44 ˙ -
43
-̇
4 4
-
3 4
-
-
-
œ Œ 3 4
ter.
œ Œ 3 4
ter.
3 œ œ œ 44 œ œ œ œ 4 4 3 œœœ 4 œ œ œ œ 4 œ œ œ 44 œ ‰ Œ Ó J
3 4
œ œ œ 44 œ œ œ œ 43 œ œ œ 44 œ œ œ œ 43
3 4
M 4 4
3 4
4 4
4 œ- 4
43
44
43
44
œ- 44
3 4
4 4
3 4
4 4 w pp
4 œ- 4 -̇
3 4 -̇
3 -̇ &b 4
œ- 44
& b 43 -̇
Cl.
# 3 & 4 -̇
Hn
3 & 4 -̇
Cym.
ã
211 Fl.
Ob.
Hp
S
A
-̇
3 4
4 4
3 4
4 4
3 4
4 4
3 &b 4
4 4
3 4
4 4
3 4
4 4
3 &b 4
4 4
p agitato 3 Œ Œ 4 4 œ 4 ˙
3 &b 4
4 4
3 4 Œ Œ
? 3 b 4
4 4
3 4 &b 4 œ 4 œ œ œ-̇ -̇ p marc.
211 Vn I
Vn II
Va
3 4 &b 4 œ œ œ 4 œ-̇ p marc.-̇ 4 B b 43 4 -̇ b ˙p marc.
3 4
4 4
The
3 4 3 4 3 4
-̇ -̇ -̇
3 4
red,
p agitato 4 4 ˙ œ
The
œœ-
red,
M 4 4 4 4
-̇ -̇
4 b œ- 4 -̇
4 4
˙
red
3 4 ˙
with
˙
3 4 ˙
œ
red
-̇ -̇ b ˙-
sword
sword
3 4 3 4 3 4
-̇ -̇ -̇
œ 4 4
32 ˙ p
˙.
œ 44
3 2 ˙ pp
˙.
3 4 2 œ œ 4 œ œ œ œ
3 j 4 4 œ ‰Œ Œ 4
4 œ- 4 w
˙.
3 ˙ 2 pp
4 œ 4
3 2
4 4
3 2
4 4
3 2
4 4
4 œ 4 œ
œ
˙
3 2 ˙
˙.
4 4 œ
œ
˙
3 2 ˙
˙.
3 2 ˙
˙.
4 œ 4
3 2
˙.
4 œ 4
˙.
4 œ 4
with
œœ-
steeds four - yoked
steeds four - yoked
4 4 4 4
-̇
-̇
-̇
-̇
4 b œ- 4 -̇
b ˙-
Black - maned,
Black - maned,
˙
3 2 ˙
4 œ 4
was
4 œ 4
was
Vc.
? 3 œ œ œ 4 œ œ œ 3 œ œ œ 4 œ œ œ 3 œ œ œ 4 œ b 4 œ- 4 œ 4 œ- 4 œ 4 œ- 4
œ
3 4 œ œ 2 œ œ œ œ œ œ 4
D.B.
? b 43 œ œ œ œ 44 œ œ œ œ 43 œ œ œ œ 44 œ œ œ œ 43 œ œ œ œ 44 œ -
œ
œ œ 32 œ œ œ œ œ œ 44
PEV03 – 46
œ
œ
œ
œ
43
3 4 ˙
œ # œ 44 œ # œ
œ
œ
3 4
4 œ œ 4 w p dim.
3 4
4 4
3 4
4 4
3 4
Fl.
œ Œ 43
4 4
3 4
4 4
3 4
Ob.
& b 44 ˙
Œ 43 bœ
44
43
44
Cl.
# 4 & 4 œ Œ Ó
˙ 43 p
Hn
4 & 4 ˙
Cym.
ã
Hp
S
˙
3 4 ˙
œ 44 œ œ
˙
Π43
4 4
3 4
4 4
3 4 ˙
4 4
3 4
4 4
3 4
4 4
3 4
4 &b 4
3 4
4 4
3 4
4 4
3 4
œ
? 4 b 4
3 4
4 &b 4 ˙
˙
grav - en,
A
3 4 4 Œ Œ œ 4 ˙ p
p
4 &b 4 ˙
˙
grav - en,
4 4
3 4
3 4 4 Œ Œ œ 4 ˙ That
3 4 Œ Œ
˙
3 4 4 Œ œ œ 4 œ œ
-̇
3 4 -̇
4 œ- 4 œ- œ-
3 4
4 b œ- 4 œ- œ-
la - boured,
and the
4 4
˙ ˙
3 4 œ
j4 p œ . nœ 4 w
-̇
3 4 œ
hot dust smoked
hot dust smoked
Cloud - wise
Cloud - wise
43
3 œœ 4 œ
œ nœ
D.B.
? b 44 œ œ œ œ 43 œ œ œ œ 44 œ œ œ œ 43 œ œ œ œ 44 œ œ -
œ œ 43 œ
œ nœ
-̇
4 œ- 4 -̇
-̇
-̇
3 4 -̇
œ- 44 œ- œ -
PEV03 – 47
-̇
3 4 ˙
3 4
44 æ w f dim.
? 4 œ œ œ 3 œœ œ 4 œ œ œ 3 œ œ œ 4 œ œ b 4 œ 4 œ- 4 œ 4 œ- 4
3 4
-̇
3 4
3 4
Vc.
-̇
b ˙-
-̇
b ˙-
3 4 œ
heaven.
3
3 3 œœ 4 œ
œ œ 44 w æ f dim.
B b 44
-̇
4 œ- 4 -̇
heaven.
œœœœ
3 4
Va
-̇
3 4
to
œ œœ
3 4
œ . nœ w J 4 æ 4 f dim.
4 &b 4
-̇
to
3
3
œœ
p j4 w n œ œ. 4
Vn II
-̇
pp
3 4 œ
Vn I
-̇
4 œ- 4 -̇
and the
dim.
4 &b 4
218
3 4
That
˙
4 4
œ œ 4 œ 4
3 4
3 4 4 Œ œ œ 4 œ œ
la - boured,
4 4 ˙ œ
4 4
œ nœ
œ nœ
œ
˙
4 ˙ &b 4
218
j œ . n œ 44 w æ f dim.
3 4
4 wæ 4 w f dim.
3 4
œ
nœ œ œ
œ
œ œ œ
# 3 œ & 4
#œ œ œ
Fl.
3 &b 4
Ob.
& b 43
225
Cl.
Hn
3 & 4 ˙.
Cym.
ã
Hp
pp pp
4 4
3 4
4 4
bbbb
44
43
44
bbbb
4 4
nb b
4 œ 4 pp
œ
3 4 œ
œ
œ
œ œ œ
4 4 w
3 4 ˙.
4 4
3 4
4 4
3 4
4 4
3 &b 4
4 4
3 4
4 4
bbbb
? 3 b 4
œ œ œ œ œ 44 œ œ 3
3
œœ
3
œ
œ œœ 3
œ œœ œœ 3
3
œœ
3
œ
3 4
œ œœ œœ 3
œ
œœ 3
3
w ppp
j‰ œ
˙.
4 œ 4
bbbb
S
3 &b 4 ˙
Œ
4 4
3 4
4 4
bbbb
A
3 &b 4 ˙
Œ
4 4
3 4
4 4
bbbb
˙. 3 &b 4 æ
4 w 4 æ
3 & b 4 ˙. æ
4 æ 4 w
3 j 4 œ ‰ Œ p
225 Vn I
Vn II
Va
B b 43 ˙ æ
Vc.
? 3 ˙æ. b 4 ˙.
D.B.
? b 43 æ ˙.
œ ‰ 4 J 4
œ
p
4 wæ 4 w p 44 æ w p
nœ
œ
œ
3 4 ˙æ. p œ 3 4 3 ˙æ. 4 ˙. 43 ˙æ.
PEV03 – 48
Œ
nœ œ œ
4 4
œ nœ œ œ pp
4 4 œ nœ œ œ pp
bb j‰ b b œ nœ œ œ j‰ Œ Ó œ
bbbb
4 4 œ œ œ œ pp
œ
j bb œ œ œ ‰ bb
˙.
j b œ ‰ b bb
44 w pp
˙.
j b œ ‰ b bb
4 4 w pp
N bbbb
43
44
3 4
4 4
&
3 4
4 4
ã
3 4
4 4
bb &bb
3 4
4 4
&
Ob.
b & b bb
Cl.
&b
Hn
Cym.
S
colla voce
4 4
Fl.
Hp
Lento
3 4
230
b
3 4
? bb bb
f pp j 3 j bb Ó œ . bœ 3 œ œ bœ 4 . b & b œ œ . œ œ œJ œ . œ . b œ 4 œœ .. œœ œœ b œ 4 ˙˙ Thou Tyn - da - rid wo - man! Fair and
A
4 4
tall Those warr - iors
were, and o’er them
f pp 3 bb b Ó j 4 j 3 & b œ œ . œ œ œ œ . b œ . œ 4 n œ . œj n œ b œ 4 n ˙ Thou Tyn - da - rid wo - man! Fair and
œœ œœ œœ œ nœ
all
, ,
j œœ œœ œœ- n œœ œœ Œ ‰ œ - -
One king great - heart - ed,
Whom
Œ ‰ j œ
œ œ œ
œ œ- œ- n œ- œ œ all One king great - heart - ed,
œ b œ 44 ˙
˙
j œ ‰ œ œ œ
4 œ bœ 4 ˙
˙
j‰ j‰ Œ nœ œ nœ œ nœ œ œ
n œ b œ 44 n ˙
˙
tall Those warr - iors
were, and o’er them
N Lento
Vn I
bb &bb
Vn II
bb &bb
Va
B bbbb Ó ˙ f
230
Vc.
? bb bb
D.B.
? bb b b
>˙ f
colla voce
˙ > f >˙
œ . bœ 3 ˙ J 4 pp j œ . b œ 43 ˙ pp
bœ . œ 3 ˙ J 4 pp 3 4
4 4
43
44 PEV03 – 49
j œ ‰ œ œ nœ
j œ œ œ ‰Œ
j œ œ œ ‰Œ
Whom
Fl.
bb &bb
Ob.
b & b bb
Cl.
&b
Hn
Cym.
più lento
3 4
4 4
3 4
4 4
43
44
43
44
3 4
4 4
3 4
4 4
&
3 4
4 4
3 4
4 4
ã
3 4
4 4
3 4
4 4
bb &bb
3 4
4 4
3 4
4 4
236
Hp
b
3 4
? bb bb bb & b b œ œ œ œ œ ‰ œj ˙
Ó
3 3 bb ‰ j ˙ &bb œ œ œ œ œ œ
Ó
3
S
3
thou and thy false love
A
thou and thy false love
Vn I
bb &bb
Vn II
bb &bb
Va
B bbbb
Vc.
? bb bb
D.B.
? bb b b
236
did slay:
There - fore
più lento
œ œ nœ œ pp œ bœ œ œ pp œ œ œ œ pp œ œ œ œ pp œ œ œ œ pp
3 4
p marcato 3 j j 4 4 œ œ œ œ œ 4 ˙ the tribes of
Heaven
p marcato 3 j j 4 4 œ œ œ œ œ 4 ˙
did slay:
pizz.
4 4
There - fore
3 4 œ
the tribes of
Heaven
4 4
œ œ
3 4 œ œ œ.
œ œ
3 4 œ œ œ.
one
one
day
For these
day
For these
œ nœ
œ
4 4 œ œ nœ œ
3 4 œ
œ
bœ œ
œ
4 4
3 4
œ
œ œ
œ
4 4
3 4 œ
œ œ
œ
43 œ
œ œ
œ
3 4 3 4
PEV03 – 50
œ bœ œ œ
œ nœ œ
j 4 œ 4
thy
j 4 œ 4 thy
4 4 4 4
œ
bœ œ œ
œ
œ œ œ
4 4
4 4 œ œ œ œ
3 4 œ
œ œ œ
4 4
44 œ œ œ œ
43 œ
œ œ œ
44
œ œ œ œ
3 4
Fl.
bb 4 &bb 4
Ob.
b & b b b 44
Cl.
&b
Hn
&
4 4
Cym.
ã
4 4
241
Hp
S
b 4 4
bb 4 &bb 4 ? bb 4 bb 4 bb 4 &bb 4 ˙
‰ œj œ œ ˙ .
bb 4 &bb 4 ˙
dead
A
dead
shall send on thee
œ
An
œ œ œ œ
‰ œj œ œ ˙ .
œ
An
œ œ œ œ
shall send on thee
i
i
-
-
ron
ron
œ.
death:
œ.
death:
‰Ó ‰Ó
Vn I
bb 4 & b b 4 œ œ nœ
œ
œ œ œ œ
œ œ œ œ
Vn II
bb 4 &bb 4
œ
œ bœ œ œ
œ bœ œ œ
Va
B b b b b 44
œ bœ œ œ œ œ
œ œ
œ œ œ œ
œ œ œ bw œ œ œ œ bœ ppp
Vc.
? bb 4 bb 4 œ œ œ
œ œ œ œ
D.B.
? b b b 44 b œ œ œ
œ
œ
241
œ œ œ œ
Œ Ó PEV03 – 51
œ bœ œ œ ppp
w
w
j‰ Œ Ó œ
w
j œ‰ Œ Ó
Ó
œ bœ œ œ ppp
˙
œ bœ œ bœ
bœ ⇥œ nœ bœ ⇥œ b˙ ppp arco ⇥œ œ bœ nœ bœ ⇥œ b˙ pp ppp œ
j‰ Œ Ó œ œ‰ Œ Ó J
Fl.
bb &bb
U
Ob.
b & b bb
U
Cl.
&b
Hn
&
U
Cym.
ã
U
248
Hp
U
b
U
bb &bb ? bb bb
u
Soprano Solo (from Chorus) freely
S
[ pp ]
b b œ . ‰ bœ œ œ . œ œ &bb J Yea,
men shall see
œ
U
œ ‰ œœ œ
pp U œ. ‰ œ œ œ œ œ J œ œ nœ œ œ œ œ œ ˙ . Lento
The white throat drawn, and blood’s red spray,
bb &bb
U
Vn I
bb &bb
U
Vn II
bb &bb
U
Va
B bbbb
U
Vc.
? bb bb
U
D.B.
? bb b b
U
A
248
PEV03 – 52
And lips in ter - ror par
-
-
-
-
ted.
RALPH VAUGHAN WILLIAMS
The Vaughan Williams Collection™ brings together a series of newly-edited editions of his incidental music published by Promethean Editions. Recognised as one of the major musical figures of his time, Ralph Vaughan Williams began his career as a folk song collector, music editor of The English Hymnal and founding conductor of the Leith Hill Festival, and went on to generate a vast musical output that includes song settings, symphonies, chamber music, opera and choral music. Ralph Vaughan Williams’ incidental music for Gilbert Murray’s English translation of Euripides’ Iphigenia in Tauris is edited and arranged for orchestra by Alan Tongue. Vaughan Williams was brought into the production of three Greek plays by the dancer Isadora Duncan, with the public performance taking place at London’s Royal Court Theatre on Friday 31 May 1912. A preview of the production, appearing in The Globe, remarked of Vaughan Williams’ musical settings: “they are an attempt at something new, and something which is neither German nor French. This music is no experiment in style. It would seem, rather, as though the composer had disclaimed all styles and all schools, and found direct inspiration in the material of the poet’s inspiration, and the result is something of undeniable beauty.”
Ralph Vaughan Williams Incidental music to Electra
THE VAUGHAN WILLIAMS COLLECTION™
The publisher gratefully acknowledges the support of The Vaughan Williams Charitable Trust in the publication of this edition. ISMN 979-0-67452-293-9
Promethean Editions Limited PO Box 10-143 Wellington 6143 www.prometheaneditions.com
Printed in New Zealand • PEV03 • PNY PREPEV03
PEV03
New Zealand
Incidental music to Electra