Iphigenia in Tauris (Preview)

RALPH VAUGHAN WILLIAMS
Incidental music to Iphigenia in Tauris
Study Score
PROMETHEAN EDITIONS
WELLINGTON

Vaughan Williams Collection
Volume 1 (PEV01)
Incidental music to Iphigenia in Tauris (1912/2019)
© Vaughan Williams Charitable Trust
Published exclusively by Promethean Editions Limited
First edition © 2019 Promethean Editions Limited
Music Editor and Arranger: 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 978-1-77660-701-3 (print)
ISBN 978-1-77660-711-2 (ebook)
ISMN 979-0-67452-291-5
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 Iphigenia in Tauris
FOREWORD
Introduction to the series........................................... iv
Vaughan Williams biography ..................................... v
Editor’s introduction ................................................... vii
Performance note ....................................................... viii
Text ...................................................................................... x
MUSIC
Incidental music to Iphigenia in Tauris .................... 1
1. Prelude ..........................................................................1
2. Dark of the Sea............................................................7
3. Bird of the Sea Rocks............................................. 30
4. Oh, Fair the Fruits of Leto Blow......................... 54
5. Go Forth in Bliss...................................................... 77
PEV01 – 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about the possibility of the New Zealand company issuing hitherto unpublished works by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 in 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 Chartiable
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 Evelyn Page’s wonderful 1950 portrait of RVW.
Promethean Editions, Wellington, 2019
PEV01 – 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
PEV01 – 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.
PEV01 – 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
Iphigenia is more of a romantic or escape play than a tragedy. It begins with a tragic
atmosphere, but arrives at a happy ending. Iphigenia is exiled, with an intense longing for
home and a bitter rage over her circumstances. The mezzo-soprano soloist takes Iphigenia’s
part, with the chorus taking the part of the Greek chorus commenting on the action. Some
lines are set as solos for members of the chorus.
The bare bones of the work were completed by 4 January 1912, when the composer wrote to
Murray: “I have now sketched out the music for your “Iphigenia” for the Liverpool people – there
has not been time to do anything very distinguished—but I have made it very simple & tried to get
the declamation right.” 8 However, having already worked on two of the plays, The Bacchae
(PEV02) and Electra (PEV03), and experimented musically with regard to the declamation,
Vaughan Williams was by now very confident in his setting. No full score has ever been
found, but the score was definitely intended for a staged performance of the entire play, as
textual cues are given before the four musical numbers that follow the prelude, which itself
contains the direction ‘Curtain rises’. However, the projected Liverpool performance never
took place.
There exists a short score—merely a piano accompaniment with the vocal parts—though it
does list the instruments in the orchestra. Occasionally the composer gives indications for
desired orchestration (as detailed below) but the only parts that have survived are vocal
parts. Tempo directions, metronome marks and rehearsal marks are all the composer’s. On
this short score various conducting indications in the composer’s hand are written in blue
pencil, e.g. “slightly slower”, which I have included in the printed score.
Alan Tongue, Editor
Editorial notes
The source for this edition is the short score manuscript (ms) held in the British Library
under the call number 71483. It is complete, in so far as short scores can be, and is continuous
from start to finish with only the occasional bar or page crossed out and rewritten for visual
clarity. No significant revision appears to have occured. Aside from the vocal parts, which
only offer little additional information, there are no known other sources for this work.
7 The Globe, 25 May 1912.
8 Vaughan Williams to Gilbert Murray, 4 January 1912.
PEV01 – vii

The arrangement has been as faithful to the source material as possible with only the
occasional creative liberty taken. 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.
Notation of rhythms has been silently updated to conform with modern convention, except
within senza misura sections where the beaming of the ms has been retained where possible.
Time signatures and a tempo markings and have been added after senza misura sections as
necessary. Fermatas have been added to all parts when appearing in only one staff in the ms.
Rehearsal mark locations have been retained from the ms, except for the removal of the
final mark originally at m520. Rehearsal marks have been resequenced to be continuous
throughout.
Occasional expression and articulation inconsistencies have been discreetly amended by
the editor and only notable changes are listed below. Several tempi markings are written in
blue pencil by RVW which have been included in this edition. The editor has added a tempo
markings and time signatures as required following senza misura sections.
8 Harp RH, beat 3. ms has C but this has been corrected by the editor to B-flat.
161 ms has a G minor chord in the LH which has been omitted by the editor.
203 Harp LH, ms has chord change to C major on beat 3 which has been deemed
incorrect and has been omitted by the editor. The previous chord has been
carried through instead.
219 Harp LH, ms has G minor chord on beat 2, however the editor has changed this to
A minor.
227 Harp LH, ms has D major chord however this does not match the other notation
and has been corrected down to C major
322 Chorus. This rhythm was originally notated as a minim duplet. This is now
notated as two dotted crotchets throughout this work.
330 ms beat 2 has no natural symbol on the A in the RH but it is clearly implied and
has been added.
353 ms has rests for the first half of m.353. The chord from the previous bar has been
carried over by the editor.
358 Originally written as a separate anacrusis, we have incorporated this upbeat into
m.358 for simplicity.
462 Allegro at the start of this tempo mark is not found in the ms, but was added to
one of the voice parts in RVW’s hand.
Performance note
If the spoken texts are omitted, for example in a performance of the music as a suite, then
the fermatas at these points are to be ignored.
PEV01 – viii

The following note appeared on the first page of the score: These choruses must be sung
throughout with due regard to the true declamation of the words, and the nature of the poetry.
The note values of the voice parts are, for the most part, approximate. The solos may be divided
among the members of the chorus according to the compass and nature of the voices.
PEV01 – ix

TEXT
1. PRELUDE
Iphigenia - Spoken
Child of the man of torment and of pride
Tantalid Pelops bore a royal bride
On flying steeds from Pisa. Thence did spring
Atreus: from Atreus, linked king with king,
Menelaus, Agamemnon.
2. DARK OF THE SEA
Iphigenia
Dark of the sea, dark of the sea,
Gates of the warring water,
One, in the old time, conquered you,
A winged passion that burst the blue,
When the West was shut and the Dawn lay free
To the pain of Inachus’ daughter.
Chorus
But who be these, from where the rushes blow
On pale Eurotas, from pure Dirce’s flow,
That turn not neither falter,
Seeking Her land, where no man breaketh bread,
Her without pity, round whose virgin head
Blood on the pillars rusts from long ago,
Blood on the ancient altar.
Iphigenia
A flash of the foam, a flash of the foam,
A wave on the oarblade welling,
And out they passed to the heart of the blue:
A chariot shell that the wild winds drew.
Is it for passion of gold they come,
Or pride to make great their dwelling?
Chorus
For sweet is Hope, yea, to much mortal woe
So sweet that none may turn from it nor go,
Whom once the far voice calleth,
To wander through fierce peoples and the gleam
Of desolate seas, in every heart a dream:
PEV01 – x

And these she maketh empty die, and, lo,
To that man’s hand she falleth.
Iphigenia
Through the Clashing Rocks they burst:
They passed by the Cape unsleeping
Of Phineus’ sons accurst:
They ran by the star-lit bay
Upon magic surges sweeping,
Where folk on the waves astray
Have seen, through the gleaming grey,
Ring behind ring, men say,
The dance of the old Sea’s daughters.
Chorus
The guiding oar abaft
It rippled and it dinned,
And now the west wind laughed
And now the south-west wind;
And the sail was full in flight,
And they passed by the Island White:
Birds, birds, everywhere,
White as the foam, light as the air;
And ghostly Achilles raceth there,
Far in the Friendless Waters.
Spoken
Ah, would that Leda’s child ...
(So prayeth the priestess maiden)
From Troy, that she beguiled,
Hither were borne, to know
What sin on her soul is laden!
Hair twisted, throat held low,
Head back for the blood to flow,
To die by the sword. ... Ah no!
One hope my soul yet hideth.
Chorus
O for a sail from Greece
Fearless to cross the sea,
With ransom and with peace
To my sick captivity.
O home, to see thee still,
And the old walls on the hill!
PEV01 – xi

Iphigenia:
Dreams, dreams, gather to me!
Bear me on wings over the sea;
O joy of the night, to slave and free,
One good thing that abideth!
3. BIRD OF THE SEA ROCKS
Iphigenia
Bird of the sea rocks, of the bursting spray,
O halcyon bird,
That wheelest crying, crying, on thy way;
Who knoweth grief can read the tale of thee:
One love long lost, one song for ever heard
And wings that sweep the sea.
Chorus
Sister, I too beside the sea complain,
A bird that hath no wing.
Oh, for a kind Greek market-place again,
For Artemis that healeth woman’s pain;
Here I stand hungering.
Iphigenia
Give me the little hill above the sea,
The palm of Delos fringed delicately,
The young sweet laurel and the olive-tree
Grey-leaved and glimmering;
Chorus
O Isle of Leto, Isle of pain and love;
The Orbed Water and the spell thereof;
Where still the Swan, minstrel of things to be,
Doth serve the Muse and sing!
Spoken
Ah, the old tears, the old and blinding tears
I gave God then,
When my town fell, and noise was in mine ears
Of crashing towers, and forth they guided me
Through spears and lifted oars and angry men
Out to an unknown sea.
PEV01 – xii

They bought my flesh with gold, and sore afraid
I came to this dark East
To serve, in thrall to Agamemnon’s maid,
This Huntress Artemis, to whom is paid
The blood of no slain beast;
Yet all is bloody where I dwell, Ah me!
Envying, envying that misery
That through all life hath endured changelessly.
For hard things borne from birth
Make iron of man’s heart, and hurt the less.
‘Tis change that paineth; and the bitterness
Of life’s decay when joy hath ceased to be
That makes dark all the earth.
Chorus
Behold, two score and ten there be
Rowers that row for thee,
And a wild hill air, as if Pan were there,
Shall sound on the Argive sea,
Piping to set thee free.
Or is it the stricken string
Of Apollo’s lyre doth sing
Joyously, as he guideth thee
To Athens, the land of spring;
While I wait wearying?
Oh, the wind and the oar,
When the great sail swells before,
With sheets astrain, like a horse on the rein;
And on, through the race and roar,
She feels for the farther shore.
Iphigenia
Ah me,
To rise upon wings and hold
Straight upon the steeps of gold
Where the joyous Sun in fire doth run,
Till the wings should faint and fold
O’er the house that was mine of old:
Or watch where the glade below
With a marriage dance doth glow,
And a child will glide from her mother’s side
Out, out, where the dancers flow:
As I did, long ago.
PEV01 – xiii

Chorus
Oh, battles of gold and rare
Raiment and starred hair,
And bright veils crossed amid tresses tossed
In a dusk of dancing air!
Iphigenia
O Youth and the days that were!
4. OH, FAIR THE FRUITS OF LETO BLOW
Iphigenia
Oh, fair the fruits of Leto blow:
A Virgin, one, with joyous bow,
And one a lord of flashing locks,
Wise in the harp, Apollo:
She bore them amid the Delian rocks,
Hid in a fruited hollow.
Chorus
But forth she fared from that low reef,
Sea-cradle of her joy and grief.
A crag she knew more near the skies
And lit with wilder water,
That leaps with joy of Dionyse:
There brought she son and daughter.
And there, behold, an ancient Snake,
Wine-eyed, bronze-gleaming in the brake
Of deep-leaved laurel, ruled the dell,
Sent by old Earth from under
Strange caves to guard her oracle-
A thing of fear and wonder.
Iphigenia
Thou, Phoebus, still a new-born thing,
Meet in thy mother’s arms to lie,
Didst kill the Snake and crown thee king,
In Pytho’s land of prophecy:
Thine was the tripod and the chair
Of golden truth; and throned there,
Hard by the streams of Castaly,
PEV01 – xiv

Beneath the untrodden portal
Of Earth’s mid stone there flows from thee
Wisdom for all things mortal.
Chorus
He slew the Snake; he cast, men say,
Themis, the child of Earth, away
From Pytho and her hallowed stream;
Then Earth, in dark derision,
Brought forth the Peoples of the Dream
And all the tribes of Vision.
And men besought them; and from deep
Confused underworlds of sleep
They showed blind things that erst had been
And are and yet shall follow
So did avenge that old Earth Queen
Her child’s wrong on Apollo.
Then swiftly flew that conquering one
To Zeus on high, and round the throne
Twining a small indignant hand,
Prayed him to send redeeming
To Pytho from that troublous band
Sprung from the darks of dreaming.
Iphigenia
Zeus laughed to see the babe, I trow,
So swift to claim his golden rite;
He laughed and bowed his head, in vow
To still those voices of the night.
And so from out the eyes of men
That dark dream-truth was lost again;
Chorus
And Phoebus, throned where the throng
Prays at the golden portal,
Again doth shed in sunlit song
Hope unto all things mortal.
5. GO FORTH IN BLISS
‘Some women’ – Chorus
Go forth in bliss, O ye whose lot
God shieldeth, that ye perish not!
PEV01 – xv

‘Others’ – Chorus
O great in our dull world of clay,
And great in heaven’s undying gleam,
Pallas, thy bidding we obey:
And bless thee, for mine ears have heard
The joy and wonder of a word
Beyond my dream, beyond my dream.
PEV01 – xvi

PEV01 – xvii

Instrumentation
Flute
Oboe
Clarinet in BÏ
Bassoon
Horn in F
Cymbals
Harp
Mezzo-soprano
Chorus (SSA)
Strings
Transposed Score
PEV01 – xviii

Incidental music to Iphigenia in Tauris
Ralph Vaughan Williams
Flute
Oboe
Clarinet in Bb
Bassoon
Horn in F
Cymbals
Harp
Solo
Chorus (SSA)
Violin I
Violin II
Viola
Violoncello
Double Bass
∑
œ œ
1. Prelude
& b b Andante sostenuto h = 60
b 2
3 Ó ∑
∑
?
b b b 2
3
œ œ ˙ ˙ œ œ ˙ ˙ w.
& b b b 2
3 Ó ∑
∑ ∑
& b 2
3 œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
?
b b b 2
3
œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
&
ã
2
3 Ó
2
3 Ó
∑
∑
∑
∑
∑
∑
& b b b 3
2 Ó
?
b b 3
b 2 Ó
& b b b 3
2 Ó
& b b b 3
2 Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Andante sostenuto h = 60
& b b b 3
2 œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
& b b b 2
3
œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
B b b b 2
3
œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
?
b b b 2
3
œ œ ˙ ˙ œ œ ˙ ˙ œ œ w.
f solenne
q = q
4
4
4
4
4
4
4
4
4
4
q = q
4
4
4
4
4
f
∑
∑
∑
∑
∑
∑
˙
œ œ œ œ œ œ œ œ ˙
∑
∑
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∑
œ œ ˙
œ œ œ œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
f solenne
Incidental music to Iphigenia in Tauris © The Vaughan Williams Charitable Trust
This edition © 2019 Promethean Editions Limited PEV01 – 1
ISMN: 979-0-67452-291-5

Fl.
7
& b b b
∑
∑
∑
2
3
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
2
3
∑
∑
∑
∑
Cl.
Bn
& b
?
b b b
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∑
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2
3
2
3
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f
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&
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2
3
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Cym.
ã
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2
3
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Hp
& b b b
?
b b b
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Solo
& b b b
∑
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3
2
∑
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∑
∑
Chor.
& b b b
∑
∑
∑
3
2
∑
∑
∑
∑
Vn I
Vn II
Va
7
& b b b
& b b b
B b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
2
3
2
3
∑
∑
∑
∑
∑
∑
œ œ
f
œ œ
f
œ œ
f
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
Vc.
D.B.
?
b b b
?
b b b
∑
∑
∑
∑
∑
∑
2
3
2
3
∑
∑
∑
∑
œ œ
f
œ œ
f
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
PEV01 – 2

Fl.
14
& b b b
∑
A
4
∑
∑
∑
∑
2
3
∑
∑
Ob.
& b b b
∑
4
∑
∑
∑
∑
2
3
∑
∑
Cl.
Bn
& b
?
b b b
œ œ ˙
œ œ ˙
Ó
Ó
4
4
∑
∑
∑
∑
∑
∑
∑
∑
2
3
2
3
∑
∑
Ó
Ó
Ó
Ó
œ œ
f
œ œ
f
Hn
&
∑
4
∑
∑
∑
∑
2
3
∑
∑
Cym.
ã
∑
4
∑
∑
∑
∑
2
3
∑
∑
Hp
& b b b
?
b b b
∑
∑
4
Œ
œ œ œ œ ˙
f
4
œ œ œ œ Œ ˙
Œ
œ œ œ œ ˙
œ œ œ œ Œ ˙
˙
˙
˙
˙
˙
œ œ
œ
œ œ œ
œ
œ
3
2
3
2
w.
w.
˙ Ó Ó
˙
Ó
Ó
Solo
& b b b
∑
4
∑
∑
∑
∑
3
2
∑
∑
Chor.
& b b b
∑
4
∑
∑
∑
∑
3
2
∑
∑
Vn I
14
& b b b
œ œ ˙
Ó
A
4
∑
∑
∑
∑
2
3
∑
Ó Ó œ œ
f
Vn II
& b b b
œ œ ˙
Ó
4
∑
∑
∑
∑
2
3
∑
Ó Ó œ œ
f
Va
B b b b
œ œ ˙
Ó
4
∑
∑
∑
∑
2
3
∑
Ó Ó œ œ
f
Vc.
?
b b b
œ œ ˙
Ó
4
∑
∑
∑
∑
2
3
∑
Ó
Ó
œ œ
f
D.B.
?
b b b
œ œ ˙
Ó
4
∑
∑
∑
∑
2
3
∑
Ó
Ó
œ œ
f
PEV01 – 3

Fl.
21
& b b b
∑
∑
∑
∑
4
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
4
∑
∑
∑
Cl.
& b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
˙
Ó
∑
∑
Bn
?
b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
w
w
w
Hn
&
∑
∑
∑
∑
4
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
4
∑
∑
∑
Hp
& b b b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
4
4
Ó
Ó
˙
f
˙
˙
˙
˙
˙
˙
˙
œ
œ
œ œ
Solo
& b b b
∑
∑
∑
∑
4
∑
∑
∑
Chor.
& b b b
∑
∑
∑
∑
4
∑
∑
∑
Vn I
21
& b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
˙
Ó
∑
∑
Vn II
& b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
˙
Ó
∑
∑
Va
B b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ . ˙
œ
œ ˙ ˙ œ
4
˙
Ó
∑
∑
Vc.
?
b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
w
w
w
D.B.
?
b b b
œ œ ˙.
œ
œ œ œ œ ˙
œ œ ˙.
œ
œ ˙ ˙ œ
4
w
w
w
PEV01 – 4

B
Fl.
Ob.
Cl.
Bn
Hn
Cym.
Hp
Solo
Chor.
Vn I
Vn II
Va
Vc.
D.B.
28
& b b b
& b b b
& b
?
b b b
&
ã
& b b b
?
b b b
& b b b
& b b b
28
& b b b
& b b b
B b b b
?
b b b
?
b b b
w
˙
˙
w
w
∑
∑
∑
∑
∑
˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
w
w
Curtain rises
∑
∑
∑
w
∑
∑
˙ ˙
˙ ˙
∑
∑
B
∑
∑
∑
w
w
˙
˙
˙
Ó
Ó
Ó
˙
˙
∑
∑
∑
œ œ
∑
∑
˙
˙
∑
∑
œ œ
œ œ
œ œ
œ œ
œ œ 2
3
2
3
2
3
2
3 ˙
f
2
3
w.
f
2
3
3
2 ˙
3
2 ˙
3
2
3
2
2
3
˙
f
2
3
˙
f
2
3 ˙
f
2
3 ˙
f
2
˙
∑
∑
∑
˙
∑
Ó
Ó
∑
∑
˙
˙
˙
˙
˙
œ œ
dim.
dim.
Ó
Ó
œ œ
dim.
œ œ
dim.
œ œ
dim.
œ œ
dim.
œ œ
f
dim.
∑
∑
∑
œ œ œ œ ˙
w.
∑
∑
∑
∑
∑
œ œ œ œ ˙
œ œ œ œ ˙
œ œ œ œ ˙
œ œ w
œ œ w
˙
w.
˙
˙
˙
w.
w.
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ
PEV01 – 5

Fl.
35
& b b b
∑
∑
molto rall.
∑
∑
∑
∑
U
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
U
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
U
∑
Bn
?
b b b
œ œ ˙
p
˙
œ œ ˙
˙
˙ ˙ ˙
˙ ˙ ˙
˙
w
w.
U
w.
Hn
&
w.
p
w.
œ
Œ Ó
Ó
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
U
∑
& b b b
∑
∑
∑
∑
∑
∑
U
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
u
Solo
& b b b
∑
∑
IPHIGENIA (spoken)
U
Chor.
& b b b
∑
∑
Child of the man of torment and of pride
Tantalid Pelops bore a royal bride
On flying steeds from Pisa. Thence did spring
Atreus: from Atreus, linked king with king,
Menelaus, Agamemnon.
∑
∑
∑
∑
U
∑
Vn I
Vn II
Va
Vc.
D.B.
35
& b b b
& b b b
B b b b
?
b b b
?
b b b
œ œ ˙
p
w.
p
œ œ ˙
p
œ œ ˙
p
œ œ ˙
p
˙
˙
˙
˙
œ œ ˙
w.
œ œ ˙
œ œ ˙
œ œ ˙
˙
˙
˙
˙
molto rall.
˙ ˙ ˙
pp
˙ ˙ ˙
pp
˙ ˙ ˙
pp
˙ ˙ ˙
pp
˙ ˙ ˙
pp
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙
˙
˙
˙
˙
˙
w
w
w
w
w
w.
w.
w.
w.
w.
U
w.
ppp
U
w.
ppp
U
w.
ppp
U
w.
ppp
U
w.
ppp
PEV01 – 6

Flute
42
& b
2. Dark of the Sea
Con moto q = 80
Cue: evil dwelleth not in heaven
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Oboe
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Clarinet in Bb
Bassoon
#
&
?
b
∑
∑
Œ
freely
3
œ œ œ
pp
∑
3
œ j œ œ
∑
œ œ œ œ œ œ
∑
œ
j
œ ‰
∑
3
œ œ œ œ.
œ
∑
œ.
∑
j
œ
œ œ œ
∑
œ œ œ œ œ œ
∑
U
˙
U
∑
Horn in F
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Cymbals
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Harp
?
b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
u
Solo
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Chorus (SSA)
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Violin I
Violin II
Viola
& b
& b
B b
4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2
42 ˙
Con moto q = 80
˙
pp
˙ ˙
pp
∑ ∑
˙
˙
∑
˙
˙
∑
œ
œ
∑
œ
œ
˙
˙
∑
˙
˙
∑
˙
˙
∑
˙
˙
∑
U˙
U
˙
U
∑
Violoncello
?
b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
Double Bass
?
b
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
PEV01 – 7

Fl.
C
& b
52
∑
∑
∑
∑
∑
∑
∑
Ob.
& b
∑
∑
∑
∑
∑
∑
∑
Cl.
#
&
j
œ
‰ Œ
∑
∑
∑
∑
∑
∑
Bn
?
b
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
& b
∑
∑
∑
∑
∑
∑
∑
Hp
?
b
∑
∑
∑
∑
∑
∑
∑
Solo
& b
p
œ
freely declaimed (not too slow)
3
3
œ œ œ
Dark of the sea,
œ œ œ œ
dark of the sea,
3
œ œ œ œ œ
nœ
,
œ œ œ œ
œ œ œ œ
j
œ ⇥ r
œ
œ œ
œ œ œ œ.
gates of the war- ring wat - er, one in the old time con- quered you, a wing-ed
pas-sion that burst the
œ
Chor.
& b
∑
∑
∑
∑
∑
∑
∑
Vn I
52
& b
C
œ
J
‰ Œ
∑
∑
∑
∑
∑
∑
Vn II
& b
j
œ ‰ Œ
∑
∑
∑
∑
∑
∑
Va
B b
∑
∑
∑
∑
∑
∑
∑
Vc.
?
b
∑
∑
∑
∑
∑
∑
∑
D.B.
?
b
∑
∑
∑
∑
∑
∑
∑
PEV01 – 8

Fl.
59
& b
∑
∑
∑
U
∑
q = q
n
Slightly slower
4
∑
∑
Ob.
& b
∑
∑
∑
U
∑
n
4
∑
∑
Cl.
#
&
∑
∑
∑
U
∑
n# #
4
∑
∑
Bn
?
b
∑
∑
∑
U
∑
n
4
∑
∑
Hn
&
∑
∑
∑
U
∑
4
∑
∑
Cym.
ã
∑
∑
∑
U
∑
4
∑
∑
& b
∑
∑
∑
U
∑
n
4
∑
∑
Hp
?
b
∑
∑
∑
∑
u
n
4
∑
∑
Solo
& b
œ œ œ œ œ
œ œ œ œ œ
,
3 U
œ œ œ nœ
œ œ œ œ nœ
œ œ
n
4
∑
∑
blue, when the West
was
shut and the dawn lay
free to the pain of
In - a - chus' daugh-ter.
Chor.
& b
∑
∑
∑
U
∑
n
4
∑
∑
Vn I
Vn II
Va
Vc.
D.B.
59
& b
& b
B b
?
b
?
b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
U
∑
q = q
n
n
n
n
n
Slightly slower
4
4
4
4
˙.
p
˙
p
˙
p
[arco]
œ
œ œ
˙
4
œ œ œ œ
p
pizz.
œ œ œ œ
p
˙.
˙
˙
œ
œ œ
˙
œ œ œ œ
œ œ œ œ
PEV01 – 9

Fl.
Ob.
Cl.
Bn
Hn
Cym.
Hp
Solo
Chor.
Vn I
Vn II
Va
Vc.
D.B.
65
&
&
#
& #
?
&
ã
&
?
&
&
65
&
&
B
?
?
D
Œ œ
D
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chorus without solo
mf solenne
œ œ œ
But who be these
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
from where the rush- es blow on pale Eu - rot -as,
from pure Dir-ce's flow, that turn not nei - ther
œ œ œ œ
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ.
w
w
j
œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙ œ - œ -
w
w
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ
œ
œ
∑
œ œ œ œ
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ j
‰ œ œ œ œ.
w
w
w
w
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
j
œ
PEV01 – 10

Fl.
71
&
∑
∑
∑
∑
∑
largamente
∑
Ob.
&
∑
∑
∑
∑
∑
∑
Cl.
#
& #
∑
∑
∑
∑
∑
∑
Bn
?
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
Hp
?
∑
∑
∑
∑
∑
∑
Solo
&
∑
∑
∑
∑
∑
∑
Chor.
&
œ œ Œ œ œ œ
˙.
œ
œ
œ
œ
J
. œ . œ
fal - ter, seek -ing her land, where no man brea-keth
bread, her with- out pi - ty, round whose vir -
œ
œ.
‰ œ. œ
œ
œ
œ
œ
œ
œ œ œ Œ œ
œ
œ
œ
œ.
œ.
j
œ
œ
˙
˙
gin head
Vn I
71
&
˙.
œ
˙.
œ
˙
˙
˙.
œ
˙.
œ
largamente
œ.
œ
J ˙
Vn II
Va
&
B
. ˙
œ
œ œ œ œ œ
˙
œ
œ œ
œ œ œ
˙
˙
˙
˙
˙
˙
˙
œ
œ
. ˙
œ
œ œ œ œ
œ.
œ œ
j
œ
˙
œ œ
Vc.
?
œ œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
œ œ
D.B.
?
œ œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
œ œ
PEV01 – 11

Fl.
Ob.
Cl.
b
E
77
largamente
& ∑ ∑ ∑ ∑ ∑
#
& # ∑ ∑ ∑ ∑ ∑ n #
& ∑ ∑ ∑ ∑ ∑ b
Tempo 1
∑
∑
Π3
œ œ œ
pp
freely
∑
∑
3
œ j œ œ
∑
∑
œ œ œ œ œ œ
Bn
?
∑
∑
∑
∑
∑
b
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
b
∑
∑
∑
Hp
?
∑
∑
∑
∑
∑
b
∑
∑
∑
Solo
&
∑
∑
∑
∑
∑
b
∑
∑
∑
Chor.
&
unis.
œ
œ œ
j
œ œ.
œ œ . œ
j
œ
˙
Ó
œ
œ œ œ œ
˙
˙
b
˙
j
œ ‰ Œ
∑
blood on the pil-lars
rusts from long a - go,
blood on the an-cient
alt -
ar
Vn I
77
&
œ œ ˙
˙
˙
E
œ - œ- œ- œ - œ- œ-
largamente
œ
fpp
œ œ œ œ
˙
˙
b
4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2
Tempo 1
˙
pp
˙
˙
Vn II
Va
Vc.
D.B.
&
B
?
?
œ œ ˙
˙ œ œ
œ œ
œ œ
œ œ
œ œ
˙
˙
˙
˙
˙
˙
˙
˙
œ - œ - œ - œ - œ - œ -
œ - œ - œ - œ - œ - œ-
œ - œ - œ - œ- œ- œ-
œ - œ - œ - œ- œ- œ-
œ
fpp
œ
fpp
œ
fpp
˙
fpp
œ œ œ œ
œ œ œ œ
œ œ œ œ
Ó
˙
˙
˙
˙
˙
˙
∑
b
b
b
b
˙
pp
˙
pp
˙
pp
arco
˙
pp
˙
˙
˙
˙
˙
˙
˙
˙
PEV01 – 12

Fl.
85
& b
U
∑
F
∑
∑
∑
∑
∑
∑
Ob.
& b
U
∑
∑
∑
∑
∑
∑
∑
Cl.
#
&
U
˙
j
œ
‰ Œ
∑
∑
∑
∑
∑
Bn
?
b
U
∑
∑
∑
∑
∑
∑
∑
Hn
&
U
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
U
∑
∑
∑
∑
∑
∑
∑
& b
U
∑
∑
∑
∑
∑
∑
∑
Hp
?
b
∑
u
∑
∑
∑
∑
∑
∑
Solo
& b
mf freely declaimed
U
Œ ‰ j œ œ œ œ œ.
œ
A flash of the foam, a
œ œ œ œ.
œ
flash of the foam, a
œ
3
œ œ nœ
wave on the oar-blade
well-ing, and
œ
j
nœ
œ
j
œ
3
œ œ œ œ œ
out they passed to the
œ
3
œ œ
j
œ
heart of the blue:
,
⇥ r
œ
a
Chor.
& b
U
∑
∑
∑
∑
∑
∑
∑
Vn I
85 ˙
& b
U
F
˙
˙
˙
˙
˙
˙
Vn II
& b
U
˙
˙
˙
˙
˙
˙
˙
Va
B b
U
˙
˙
˙
˙
˙
˙
˙
Vc.
?
b
U
˙
˙
˙
˙
˙
˙
˙
D.B.
?
b
U
˙
˙
˙
˙
˙
˙
˙
PEV01 – 13

Fl.
92
& b
∑
∑
∑
∑
∑
∑
U
∑
n
4
Ob.
& b
∑
∑
∑
∑
∑
∑
U
∑
n
4
Cl.
#
&
∑
∑
∑
∑
∑
∑
U
∑
# #
4
Bn
?
b
∑
∑
∑
∑
∑
∑
U
∑
n
4
Hn
&
∑
∑
∑
∑
∑
∑
U
∑
4
Cym.
ã
∑
∑
∑
∑
∑
∑
U
∑
4
& b
∑
∑
∑
∑
∑
∑
U
∑
n
4
Hp
?
b
∑
∑
∑
∑
∑
∑
∑
u
n
4
Solo
& b
3 3
œ œ œ nœ
œ œ œ
œ
nœ
œ
3 3
œ œ œ œ œ œ
œ.
œ œ
‰
j
œ œ
3
œ œ œ œ œ
U
nœ
œ œ ‰
n
4
char-i- ot shell that the wild winds drew. Is it for pass-ion of gold they come, or pride to make great their dwell -ing?
Chor.
& b
∑
∑
∑
∑
∑
∑
U
∑
n
4
Vn I
92 ˙
& b
˙
œ
J
‰ Œ
∑
∑
∑
U
∑
n
4
Vn II
& b
˙
˙
j
œ ‰
Œ
∑
∑
∑
U
∑
n
4
Va
B b
˙
˙
œ
J
‰ Œ
∑
∑
∑
U
∑
n
4
Vc.
?
b
˙
˙
œ
J
‰ Œ
∑
∑
∑
U
∑
n
4
D.B.
?
b
˙
˙
œ
J
‰ Œ
∑
∑
∑
U
∑
n
4
PEV01 – 14

Fl.
99
&
Slightly slower
∑
∑
∑
G
∑
∑
∑
Ob.
&
∑
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
∑
Bn
?
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
Hp
?
∑
∑
∑
∑
∑
∑
Solo
&
∑
∑
∑
∑
∑
∑
Chor.
&
p
Œ œ œ.
j
œ
j
œ ‰ œ œ œ œ
œ œ .
œ ‰
p
Œ œ œ.
j
œ
œ œ œ.
œ œ œ
. ˙
œ
For sweet
is
hope, yea, to much
mor-tal
woe
so sweet
that
none may turn from it nor
go,
whom
Vn I
99
&
# #
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Slightly slower
˙ œ.
pp
j
œ
˙.
œ
˙
˙
G
˙.
œ
˙.
œ
˙.
œ
Vn II
Va
Vc.
&
B
?
˙ œ œ
pp
˙
pp
[arco]
˙
œ œ œ œ
pp
˙ œ œ
˙
˙
œ œ œ œ
œ œ œ œ
œ œ ˙
œ œ ˙
˙.
œ
œ œ œ œ
œ œ œ œ
˙.
œ
œ œ œ œ
œ œ œ œ
˙.
œ
œ œ œ œ
œ œ œ œ
D.B.
?
pizz.
œ œ œ œ
pp
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
PEV01 – 15

Fl.
105
&
∑
∑
∑
∑
∑
∑
Ob.
&
∑
∑
∑
∑
∑
∑
Cl.
#
& #
∑
∑
∑
∑
∑
∑
Bn
?
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
Hp
?
∑
∑
∑
∑
∑
∑
Solo
&
∑
∑
∑
∑
∑
∑
Chor.
&
œ.
œ
J œ
œ
œ ˙
‰ j œ
œ œ œ œ œ œ
Œ œ œ œ.
j
œ
3
œ œ œ œ
j
œ ‰ œ
œ œ œ.
j
œ
once the far voice
call - eth, to wan -der through fierce peop -les
and the gleam of des-o-late seas, in ev - ery heart
a
Vn I
105
&
œ.
œ
J œ
œ
w
w
w
w
œ œ œ.
j
œ
Vn II
&
˙ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ
œ œ œ
œ œ œ œ œ œ
œ œ
œ œ
Va
B
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ
œ œ œ
œ œ œ œ œ œ
œ œ
œ œ
Vc.
?
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ
œ œ œ
œ œ œ œ œ œ
œ œ
œ œ
D.B.
?
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ
œ œ œ
œ œ œ œ œ œ
œ œ
œ œ
PEV01 – 16

Fl.
111
&
∑
∑
∑
∑
H
∑
largamente
∑
∑
Ob.
&
∑
∑
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
∑
∑
Bn
?
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
Hp
?
∑
∑
∑
∑
∑
∑
∑
Solo
&
∑
∑
∑
∑
∑
∑
∑
Chor.
&
˙
Œ
œ
œ.
œ œ œ œ œ
œ ‰
j
œ ˙
Œ œ œ
œ
œ
œ
˙
˙
∑
dream:
and
these she mak - eth emp - ty die, and, lo,
to that man's hand she fall - eth.
Vn I
111
&
˙.
œ
˙.
œ
œ -
œ - œ -
œ -
œ - œ -
˙ œ œ
H
œ
œ
largamente
˙
˙
œ œ ˙
Vn II
Va
Vc.
D.B.
&
B
?
?
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
# #
4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ -
œ - œ -
œ - œ - œ -
œ -
œ - œ -
œ- œ - œ-
œ -
œ - œ - œ - œ- œ-
œ -
œ - œ - œ - œ- œ-
˙ œ œ
pp
˙ œ œ
pp
˙ œ œ
pp
˙ Ó
pp
œ
œ
œ
∑
œ
œ
œ
˙
˙
˙
Ó
˙
œ œ œ
œ œ œ
œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
PEV01 – 17

Fl.
Ob.
Cl.
118
& ∑
#
#
& ∑
#
& # # #
#
∑
senza misura
U
∑
U
∑
U
∑
Bn
?
∑
#
U
∑
Hn
&
∑
U
∑
Cym.
ã
∑
U
∑
&
∑
#
U
∑
Hp
?
∑
#
∑
u
Solo
&
∑
#
freely declaimed
‰ œ œ œ œ œ œ œ ‰
œ œ œ œ œ œ œ œ
j
œ œ œ œ.
Through the clash - ing rocks they burst: they passed by the cape un - sleep - ing of Phin - eus' sons ac -
œ
Chor.
&
∑
#
U
∑
Vn I
118
&
œ ˙
œ
#
senza misura
U
w
U
∑
Ó
Vn II
&
œ ˙
œ
#
U
w
U
∑
Ó
Va
B
œ ˙
œ
#
U
w
U
∑
Ó
Vc.
?
œ œ œ œ
#
U
U
w w ˙
D.B.
?
œ œ œ œ
#
arco
U
U
w w ˙
PEV01 – 18

Fl.
#
&
120
∑
J
∑
∑
Ob.
Cl.
#
&
#
& #
#
∑
∑
Ó
œ œ œ œ œ
p
∑
œ œ œ ˙.
∑
Bn
? #
∑
∑
∑
Hn
&
∑
∑
∑
Cym.
ã
∑
∑
∑
Hp
#
&
? #
∑ ?
∑
œ œ œ œ œ œ
ppp
3 3
3
3
œ œ œ œ œœ
œ œ œ
&
˙
3 3
œ
œ œ œ œ œ œ œœ
3
œ œ œ œ 3
œœ
œ œ œ œ
∑ ?
3 3
œ œ œ
œœ
œ œœ
Solo
#
&
œ ‰ j œ
3
œ œ œ œ œ œ J ⇥ œ œ œ œ œ œ
œ œ Ó
Œ ‰
pp misterioso
3
œ œ œ œ œ.
J
-curst: they ran by the star - lit bay up-on mag- ic sur - ges sweep - ing,
where folk on the waves a -
œ
Chor.
#
&
∑
∑
∑
Vn I
120
#
&
∑
J
∑
∑
Vn II
#
&
∑
∑
∑
Va
B #
∑
∑
∑
Vc.
? #
w ˙ œ
∑
∑
D.B.
? #
w ˙ œ
∑
∑
PEV01 – 19

Fl.
#
&
123
∑
∑
∑
Ob.
Cl.
Bn
#
&
#
& #
#
? #
∑
3 3
œ œ œ œ œ œ œ
p
œ œ œ œ
∑
Œ œ œ œ œ œ œ œ œ œ
p
w
∑
w
∑
∑
Hn
&
∑
∑
∑
Cym.
ã
∑
∑
∑
? #
w
w
w
Hp
? #
3
œ œ œ œ
3
œœ
œ œ œ œ
3 3
œ œ
œ
œœ
œ œœ
w w
œ œ
3
3
œ œ œœ
œ
œ œ
œ œ œ
3 3
œ
œœ
œ œœ
w w
œ œ
3
œ œ œœ
3
œ
œœ
œ œœ
œ
3 3
œœ
œ œœ
Solo
#
&
œ ‰
J œ œ œ œ œ œ
3
œ œ.
œ œ œ œ œ
- stray have seen, through the gleam - ing grey, ring be-hind ring, men say,
the dance of the old sea's daught-ers.
‰
j
3
œ œ œ œ œ œ œ œ
Chor.
#
&
∑
∑
∑
Vn I
123
#
&
∑
∑
∑
Vn II
#
&
∑
∑
∑
Va
B #
∑
∑
∑
Vc.
? #
∑
∑
∑
D.B.
? #
∑
∑
∑
PEV01 – 20

Fl.
Ob.
#
&
126
#
&
œ œ œ œ œ
p
∑
3
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
6
K
Animando
œ ˙.
∑
∑
∑
∑
Cl.
#
& #
#
∑
∑
∑
∑
Bn
? #
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
Cym.
ã
∑
∑
soft sticks
w æ
ppp
w æ
? #
w
w
∑
∑
Hp
? #
3
3
3 3
œ œ œ œ œœ
œ œ œ œ œœ
œ œ œ œ œœ
3
3 3
œ œ œ œ 3
œœ
œ œ œ œ œœ
œ œ œ œ
œ œ
∑
∑
Solo
#
&
∑
∑
∑
∑
Chor.
#
&
∑
∑
Sopranos only
poco f freely declaimed
‰ ⇥ œ œ œ œ.
œ œ
R
‰ J
œ œ .
3
œ œ œ œ œ
Vn I
Vn II
Va
126
#
&
#
&
B #
∑
∑
∑
∑
∑
∑
K
The guid -ing oar a-baft
it ripp -led
Animando
˙ ˙ ˙ ˙
fp
˙ ˙ ˙ ˙
fp
˙ ˙ ˙ ˙
fp
and it dinned,
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
Vc.
D.B.
? #
? #
∑
∑
∑
∑
˙
fp
˙
fp
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
PEV01 – 21

Fl.
#
&
130
∑
∑
∑
∑
n b b b
Ob.
#
&
∑
∑
∑
∑
n b b b
Cl.
#
& #
#
∑
∑
∑
∑
n n
n b
Bn
? #
∑
∑
∑
∑
n b b b
Hn
&
∑
∑
∑
∑
Cym.
ã
w æ
w æ
w æ
? #
∑
∑
∑
w æ ∑ &
n b b b
Hp
? #
∑
∑
∑
∑
n b b b
Solo
#
&
∑
∑
∑
∑
n b b b
Chor.
#
&
‰ J
œ œ œ œ œ œ
‰ J
œ œ œ œ œ
3
œ ‰ œ œ œ.
œ œ œ
3 3
# œ ‰ œ œ # œ œ œ
n b b b
and now the west wind laughed
and now the south - west
wind:
and the sail was full in
flight,
and they passed by the
Vn I
130
#
&
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
# ˙ ˙ ˙ ˙
n b b b
Vn II
#
&
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
# ˙ ˙ ˙ ˙
n b b b
Va
B #
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
# ˙ # ˙ ˙ ˙
n b b b
Vc.
? #
˙
˙
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ # ˙ ˙
˙
n b b b
D.B.
? #
˙
˙
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
#˙
#˙
˙
˙
n b b b
PEV01 – 22

Fl.
134
& b b b
L
poco più mosso q = 108
∑
œ bœ
œ bœ
˙
f
œ œ œ œ
˙
œ bœ
œ bœ
œ œ œ œ
œ Œ Ó
Ob.
& b b b
∑
∑
∑
∑
Cl.
& b
Ó Œ b > œ >
œ.
˙ b > œ >
œ.
œ œ b > œ >
œ.
f
˙
∑
Bn
?
b b b
w
p
w
w
∑
Hn
&
∑
w
fp
w
fp
w
fp
Cym.
ã
w æ
fp
w æ
w æ
w æ
& b b b
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
Chor.
& b b b
œ œ.
J
˙
∑
∑
Full chorus
f
œ
b œ œ.
œ œ
Vn I
Vn II
Va
Vc.
D.B.
134
& b b b
& b b b
B b b b
?
b b b
?
b b b
Is-land
White:
Birds, birds, ev - ery-where,
L
poco più mosso q = 108
˙
fp
b˙
˙ ˙
n˙
˙ ˙ ˙
fp
˙ ˙ ˙ ˙
fp
˙ ˙
˙ ˙
fp
w
fp
˙
b˙
˙ ˙
n˙
˙ ˙ ˙
n˙
˙ ˙ ˙
˙
w
˙
˙
˙
˙
b˙
˙ ˙
n˙
˙ ˙ ˙
n˙
˙ ˙ ˙
˙
w
˙
˙
˙
˙
b˙
˙ ˙
b˙
˙ ˙ ˙
b˙
˙ ˙ ˙
˙
˙
˙
∑
˙
PEV01 – 23

Fl.
138
& b b b
∑
M
œ
f
œ bœ
œ bœ
˙
w
∑
poco rit.
w
f
Ob.
& b b b
∑
∑
∑
∑
∑
Cl.
Bn
& b
?
b b b
∑
∑
b > œ >
œ.
f
œ
∑
œ
J
‰ Œ
∑
∑
∑
∑
w
f
∑
Hn
&
∑
∑
∑
# ˙ nœ
f
# œ
nw
Cym.
ã
w æ
w æ
w æ
w æ
w æ
& b b b
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
Chor.
& b b b
œ
3 3
œ bœ
˙ œ œ œ
white as the foam,
light as the
œ Œ Œ
air;
p misterioso
œ
and
œ
œ œ
j
œ œ.
bœ
œ ˙.
bœ
œ œ œ œ
>
ghost - ly Ach -ill - es rac - eth there,
far in the Friend - less
Vn I
138
& b b b
˙
b˙
˙ ˙
M
˙
b˙
˙ ˙
∑
∑
poco rit.
∑
Vn II
& b b b
b˙
˙ ˙ ˙
b˙
˙ ˙ ˙
∑
∑
∑
Va
B b b b
b˙
˙ ˙ ˙
b˙
˙ ˙ ˙
˙ ˙ ˙ ˙
pp
˙
˙ ˙ ˙
˙ ˙ ˙ ˙
Vc.
D.B.
?
b b b
?
b b b
˙
˙
∑
˙
˙
˙
˙
∑
˙
˙
˙
pp
˙
pp
˙
˙
˙
˙
˙
˙
˙
˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙
˙ ˙
˙
˙
˙
˙
PEV01 – 24

Fl.
143
& b b œ œ bœ
œ œ œ œ œ œ
b
3
w
œ
J U ‰ Œ Ó
rall.
∑
N
n n b
Lento q = 72
∑
∑
Ob.
& b b b
∑
∑
U
∑
∑
n n b
∑
∑
Cl.
& b
∑
∑
U
∑
∑
n #
∑
∑
Bn
?
b b b
œ
œ bœ
œ œ œ œ œ œ
3
w
œ U
J ‰ Œ Ó
∑
n n b
∑
∑
Hn
&
∑
∑
U
∑
∑
∑
∑
Cym.
ã
w æ
w æ
Uw
∑
∑
∑
Hp
& b b b
?
b b b
∑
∑
3
3
∑
3 3
œ œ œ œ œœ
œ œ œ œ œœ
œ œ œ œ œœ
U
∑
U
∑
˙
f
˙
œ n œ
n
œ œ œ
n n b
n n b
˙
˙
Ó
Ó
˙
˙
˙
p
˙
Solo
& b b b
∑
∑
Ó
(spoken)
∑
n n b
∑
∑
Ah, would that Leda's child ...
(So prayeth the priestess maiden)
From Troy, that she beguiled,
Hither were borne, to know
What sin on her soul is laden!
Hair twisted, throat held low,
Head back for the blood to flow,
To die by the sword. ... Ah no!
One hope my soul yet hideth.
Chor.
Vn I
& b b b
143
& b b b
bœ
˙
Wat - ers.
∑
Œ
∑
∑
U
∑
U
∑
rall.
∑
∑
n n b
N
n n b
Œ ˙
f freely declaimed
Oh
œ œ
for a
Lento q = 72
∑
œ.
sail
j œ
˙
from Greece,
∑
Vn II
& b b b
∑
∑
U
∑
∑
n n b
∑
∑
Va
B b b b
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
U
w
∑
n n b
∑
∑
Vc.
?
b b b
˙
˙
˙
˙
˙
˙
˙
˙
U
w
∑
n n b
∑
∑
D.B.
?
b b b
˙
˙
˙
˙
˙
˙
˙
˙
U
w
∑
n n b
∑
∑
PEV01 – 25

Fl.
149
& b
∑
∑
∑
∑
∑
∑
Ob.
& b
∑
∑
∑
∑
∑
∑
Cl.
#
&
∑
∑
∑
∑
∑
∑
Bn
?
b
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
Hp
& b
?
b
Ó
Ó
˙
˙˙
Ó
Ó
˙
˙˙˙
˙
˙
˙
˙
w
w
w
f
w
∑
∑
Solo
& b
∑
∑
∑
∑
∑
∑
Chor.
& b
œ œ œ . œ
j
œ
œ ‰
p
j
œ œ œ œ œ
œ.
3
j
œ œ œ œ
œ.
j
œ ˙
Œ
f
œ
œ
œ.
œ
J
p
œ œ ˙ œ œ
fear - less to cross the sea, with ran - som and with peace to my sick cap - tiv - i - ty.
O home,
to
see thee still,
and the
Vn I
Vn II
149
& b
& b
∑
∑
∑
∑
∑
∑
w
p
w
p
˙ . œ
f
˙ œ.
f
œ
J
j
œ
œ œ ˙ œ œ
p
œ œ ˙ œ œ
p
Va
B b
∑
∑
∑
w
p
w
f
œ ˙.
p
Vc.
D.B.
?
b
?
b
∑
∑
∑
∑
∑
∑
w
p
w
p
w
f
w
f
œ ˙.
p
œ ˙.
p
PEV01 – 26

Fl.
Ob.
155
& b
& b
Ó
∑
œ
p
œ
œ œ œ œ œ œ œ
U
œ œ U
œ
U
∑
O
meno mosso
3
œ œ œ œ œ œ
∑
3
œ œ œ œ œ œ œ œ
3
∑
Cl.
#
&
∑
U
∑
∑
∑
Bn
?
b
∑
U
∑
∑
∑
Hn
&
∑
U
∑
∑
∑
Cym.
ã
∑
U
∑
∑
∑
Hp
& b
?
b
∑
∑
Œ
Œ
U
˙
˙˙
Œ
Œ
Ó
Ó
˙
pp
g ˙
∑
∑
Solo
& b
∑
g u
U
∑
3
œ œ œ œ œ œ
3 3
œ œ œ œ œ œ œ œ
Chor.
& b
œ œ œ 3
œ œ ˙
old walls on the hill
j U
œ œ ‰ Œ Ó
Dreams, dreams,
ppp
ga - ther to me! Bear me on wings o - ver the sea;
œ
œ œ œ œ
œ œ œ œ
Ah
Ah
Vn I
Vn II
Va
Vc.
D.B.
155
& b
& b
B b
?
b
?
b
3
œ œ œ œ œ ˙
œ œ œ 3
œ œ ˙
˙
˙
˙
˙
pp
˙
pp
˙
pp
U
∑
U
∑
U
∑
U
∑
U
∑
O
meno mosso
œ
pp
œ ˙
œ
pp
œ œ œ
œ
pp
œ œ œ
∑
∑
˙ ˙
œ œ œ œ
œ œ œ œ
∑
∑
PEV01 – 27

P
Fl.
159
& b
œ œ œ œ œ œ
3
œ.
œ ˙
J
˙
Ó
∑
poco più mosso
∑
Ob.
& b
∑
∑
∑
∑
∑
Cl.
#
&
∑
∑
∑
∑
∑
Bn
?
b
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
Hp
& b
?
b
˙
pp
g
˙
g
˙
˙
∑
∑
∑
∑
∑
∑
Ó
Ó
˙
pp
g ˙
Solo
& b
œ
3
œ œ œ j œ ‰ œ
œ.
œ ˙
J
p
,
˙ œ œ œ œ
˙
pp
˙
j
œ ‰ Œ
O joy of the night, to
slave
and free,
one good thing that a
- bi -
deth!
Chor.
Vn I
& b
159
& b
œ œ œ ˙
Ah
˙
˙
˙
˙
˙
Ah
˙
j
‰ Œ
œ
J
˙
Ó
Ó
∑
∑
P
Ó ∑
poco più mosso
Solo
œ
pp
œ œ œ œ œ œ œ œ œ
6
Vn II
& b
œ œ œ ˙
˙
˙
˙
Ó
∑
∑
Va
B b
œ œ ˙
˙
˙
˙
Ó
∑
∑
Vc.
?
b
∑
∑
∑
∑
∑
D.B.
?
b
∑
∑
∑
∑
∑
PEV01 – 28

Fl.
164
& b
∑
∑
∑
∑
∑
U
∑
Ob.
& b
∑
∑
∑
∑
∑
U
∑
Cl.
#
&
∑
∑
∑
∑
∑
U
∑
Bn
?
b
∑
∑
∑
∑
∑
U
∑
Hn
&
∑
∑
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
∑
U
∑
Hp
& b
?
b
∑
∑
˙
g ˙
g
˙
˙
∑
∑
∑
∑
∑
∑
U
∑
ppp
g uw
Solo
& b
∑
∑
∑
∑
∑
U
∑
Chor.
& b
∑
∑
∑
∑
∑
U
∑
Vn I
164
œ
& b œ œ œ ˙ œ
œ
J ‰ Œ
∑
∑
∑
U
∑
Vn II
& b
∑
Ó
∑
∑
∑
∑
U
∑
Va
Vc.
B b
?
b
∑
∑
Solo
œ
pp
œ œ œ œ œ œ œ œ œ
∑
6
œ œ œ œ œ œ œ
∑
3
œ œ œ œ
3
∑
œ
˙
˙
ppp
∑
U
w
U
∑
D.B.
?
b
∑
∑
∑
∑
∑
U
∑
PEV01 – 29

Flute
Oboe
170
& b b
& b b
3. Bird of the Sea Rocks
Lento moderato
senza misura
Cue: a clean and joyous land doth call for thee
œ œ œ œ.
pp
U
j
œ œ œ.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
J
U
∑
œ
œ œ
J œ œ œ œ œ œ œ œ ˙
Clarinet in Bb
&
U
∑
Bassoon
?
b b
U
∑
Horn in F
&
U
∑
Cymbals
ã
U
∑
& b b
U
∑
Harp
?
b b
U
∑
Solo
& b b
U
∑
Chorus (SSA)
& b b
U
∑
Violin I
170
& b b
Lento moderato
senza misura
U
∑
Violin II
& b b
U
∑
Viola
B b b
U
∑
Violoncello
?
b b
U
∑
Double Bass
?
b b
U
∑
PEV01 – 30

Fl.
171
& b b
U
w
U
w
j
œ ‰ œ œ œ œ œ œ œ œ œ
w
w
Ob.
& b b
U
∑
U
∑
U
∑
Cl.
&
U
∑
U
∑
U
∑
Bn
?
b b
U
∑
U
∑
U
∑
Hn
&
U
∑
U
∑
U
∑
Cym.
ã
U
∑
U
∑
U
∑
& b b
U
∑
U
∑
U
∑
Hp
?
b b
U
∑
U
∑
U
∑
Solo
& b b
p freely declaimed
˙ œ œ œ œ ‰ œ œ œ.
j œ
*
œ ‰ œ œ.
J
œ ˙
J Œ
Bird of the sea rocks, of the burst - ing spray, O hal - cyon bird,
that wheel - est cry - ing, cry - ing, on thy
‰
j
œ œ œ œ
J
œ ‰ œ j œ ‰ œ œ
Chor.
& b b
U
∑
U
∑
U
∑
Vn I
171
& b b
U
∑
U
∑
U
∑
Vn II
& b b
U
∑
U
∑
U
∑
Va
B b b
U
∑
U
∑
U
∑
Vc.
?
b b
U
∑
U
∑
U
∑
D.B.
?
b b
U
∑
U
∑
U
∑
* may be sung one octave lower if preferred
PEV01 – 31

a tempo
Fl.
174
& b b
œ
J ‰ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
˙
Ó
Ob.
& b b
U
∑
∑
∑
Cl.
&
U
∑
∑
∑
Bn
?
b b
U
∑
∑
∑
Hn
&
U
∑
∑
∑
Cym.
ã
U
∑
∑
∑
& b b
U
∑
∑
∑
Hp
?
b b
U
∑
∑
∑
Solo
& b b
˙
way;
U
Ó
œ œ œ
who know - eth
œ.
j
œ œ œ œ.
grief can read the tale of
œ
Chor.
& b b
U
∑
∑
∑
Vn I
174
& b b
U
∑
a tempo
∑
∑
Vn II
& b b
U
∑
∑
∑
Va
B b b
U
∑
∑
∑
Vc.
?
b b
U
∑
∑
∑
D.B.
4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 ?
b b U
∑
4 2 ∑ 4 ∑
PEV01 – 32

Fl.
177
& b b
senza misura
‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ.
j œ œ œ œ œ
˙
U
Ó
Ob.
& b b
U
∑
U
∑
Cl.
&
U
∑
U
∑
Bn
?
b b
U
∑
U
∑
Hn
&
U
∑
U
∑
Cym.
ã
U
∑
U
∑
& b b
U
∑
U
∑
Hp
?
b b
U
∑
U
∑
Solo
& b b
˙
thee:
U
Ó
œ œ œ œ Œ œ œ.
œ
J
œ œ œ.
j
œ œ.
œ ˙ œ
One love long lost, one song for ev - er heard and wings that sweep the
Chor.
& b b
U
∑
∑
Vn I
177
& b b
senza misura
U
∑
U
∑
Vn II
& b b
U
∑
U
∑
Va
B b b
U
∑
U
∑
Vc.
?
b b
U
∑
U
∑
D.B.
?
b b
U
∑
U
∑
PEV01 – 33

Fl.
Ob.
179
& b b
& b b
Œ
œ œ œ œ œ
pp
j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
U
∑
j
œ œ œ œ œ œ œ œ œ
J œ œ œ œ œ œ
a tempo
˙.
∑
j
œ ‰
Cl.
&
U
∑
∑
Bn
?
b b
U
∑
∑
Hn
&
U
∑
∑
Cym.
ã
U
∑
∑
& b b
U
∑
∑
Hp
?
b b
U
∑
∑
Solo
& b b
˙
U
Ó
∑
sea.
Chor.
& b b
U
∑
∑
Vn I
179
& b b
U
∑
a tempo
∑
Vn II
& b b
U
∑
∑
Va
B b b
U
∑
∑
Vc.
?
b b
U
∑
∑
D.B.
4 4 4 4 4 4 4 4 4 4 4 4 4 4 ?
b b U
∑
4 ∑
PEV01 – 34

Fl.
Q
& b b
181
q = 76
∑
∑
∑
∑
Ob.
& b b
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
Bn
?
b b
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
Hp
& b b
?
b b
˙
mf
˙
˙
˙
Ó
Ó
˙
p
˙˙˙
∑
∑
Ó
Ó
˙
˙˙˙
Solo
& b b
∑
∑
∑
∑
Chor.
& b b
mf freely declaimed
Œ œ œ Œ œ
œ.
J œ œ œ œ œ
Sis - ter, I too be - side the sea com -
œ.
largamente
j
œ œ œ œ.
plain, a bird that hath no
œ
œ
j
œ ‰ œ.
œ œ
wing. Oh, for a
Vn I
Q
181
& b b
q = 76
∑
∑
∑
∑
Vn II
& b b
∑
∑
∑
∑
Va
B b b
∑
∑
∑
∑
Vc.
?
b b
∑
∑
∑
∑
D.B.
?
b b
∑
∑
∑
∑
PEV01 – 35

Fl.
Ob.
185
& b b
& b b
∑
∑
∑
∑
∑
∑
Ó
˙
pp
∑
5 U
œ œ œ œ œ ˙
U
∑
Cl.
&
∑
∑
∑
∑
U
∑
Bn
?
b b
∑
∑
∑
∑
U
∑
Hn
&
∑
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
U
∑
Hp
& b b
?
b b
˙
˙
˙
˙
˙
˙
Ó
Ó
∑
∑
˙
p
˙
˙
pp
˙
U
∑
∑
u
Solo
& b b
∑
∑
∑
∑
U
∑
Chor.
& b b
œ œ œ œ œ.
œ
œ ‰ j œ . œ œ œ
‰
j
œ œ œ œ . œ
kind Greek mar - ket place a - gain, for Ar - tem-is
that heal - eth wo-man's
pain; here I stand hun - ger-ing.
œ
3
œ œ œ œ.
3
j œ œ
U
∑
Vn I
185
& b b
∑
∑
∑
∑
U
∑
Vn II
& b b
∑
∑
∑
∑
U
∑
Va
B b b
∑
∑
∑
∑
U
∑
Vc.
?
b b
∑
∑
∑
∑
U
∑
D.B.
?
b b
∑
∑
∑
∑
U
∑
PEV01 – 36

Fl.
190
& b b
R
poco più tranquillo q = 69
∑
∑
∑
∑
∑
Ob.
& b b
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
Bn
?
b b
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
& b b
∑
∑
∑
∑
∑
Hp
?
b b
∑
∑
∑
∑
∑
Solo
& b b pp
œ
Give me
œ œ œ œ œ
œ œ œ.
œ œ ‰ j œ
œ
œ œ œ œ œ œ
œ œ œ œ ‰
j œ œ œ
j
œ œ.
œ œ œ œ
the litt - le hill a - bove the sea, the palm of De - los fring - ed de - li-cate-ly, the young sweet laur - el and the o - live
Chor.
& b b
∑
∑
∑
∑
∑
Vn I
190
R
& b b w
pp
poco più tranquillo q = 69
w
w
˙
˙
˙
˙
Vn II
& b b
w
pp
w
w
˙
˙
˙
˙
Va
Vc.
D.B.
B b b w
pp
?
b b w
pp
?
b b w
pp
w
bw
bw
w
w
w
b˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
b˙
b˙
PEV01 – 37

Fl.
195
& b b
∑
∑
S
∑
Appassionato
∑
∑
∑
Ob.
& b b
∑
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
∑
Bn
?
b b
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
Hp
& b b
?
b b
∑
∑
∑
∑
Ó
Ó
˙
f
˙˙˙
˙
˙
˙
˙
.
˙.
˙.
œ
œ
˙
˙
Ó
Ó
Solo
& b b
3
˙ œ œ œ
tree
. œ
j Ó œ œ
grey-leaved and glimm-er-ing;
3
∑
∑
∑
∑
Chor.
& b b
∑
∑
Ó
f appass.
˙
œ.
O Isle
J œ œ œ
J .
œ œ œ.
j
œ œ
œ ‰ J
œ œ œ
of Let-to,
isle of pain and love; the Or - bed
Vn I
195
& b b
˙
˙
3
˙ œ - œ - œ -
S
3
œ œ - œ- ˙
-
Appassionato
˙
˙
∑
∑
Vn II
& b b
˙
˙
3
˙ œ - œ - œ -
3
œ œ - œ- ˙ -
˙
˙
∑
∑
Va
Vc.
B b b
?
b b
˙
˙
b˙
˙
˙
˙
3
œ - œ - œ -
œ
3
- œ - œ -
3
œ - œ - œ - ˙
œ- œ- œ-
3
˙
˙
˙
˙
˙
∑
∑
∑
∑
D.B.
?
b b
˙
˙
˙
Ó
Ó
˙
˙
˙
∑
∑
PEV01 – 38

Fl.
201
& b b
∑
∑
largamente
3
˙ œ œ œ œ .
p
œ
˙
Ó
∑
Ob.
& b b
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
Bn
?
b b
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
Hp
& b b
?
b b
˙
˙
˙
˙
∑
∑
w
w
˙
˙
Ó
Ó
˙
˙
Ó
Ó
Solo
& b b
∑
∑
∑
∑
∑
Chor.
& b b
,
œ œ œ œ œ.
œ œ
p
Œ œ œ.
wa - ter and the spell there- of; where still the Swan, min-strel of things to
j
œ
largamente
3
˙ œ œ œ œ .
œ
˙
be,
largamente
‰ j œ œ œ
doth serve the
œ.
Muse
j
œ ˙
and sing!
Vn I
201
& b b
∑
∑
∑
∑
∑
Vn II
& b b
∑
∑
∑
∑
∑
Va
B b b
∑
∑
∑
∑
∑
Vc.
?
b b
∑
∑
∑
∑
∑
D.B.
?
b b
∑
∑
∑
∑
∑
PEV01 – 39

Fl.
Ob.
T
206
& b b senza misura
,
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
œ j œ œ œ œ œ
U
œ œ œ œ
& b b pp
U
∑
n n
n n
˙
U
Ó
U
∑
Cl.
&
U
∑
# #
U
∑
Bn
?
b b
U
∑
n n
U
∑
Hn
&
U
∑
U
∑
Cym.
ã
U
∑
U
∑
& b b
U
∑
n n
U
∑
Hp
?
b b
U
∑
n n
U
∑
Solo
& b b
U
∑
(spoken)
n n
Ah, the old tears, the old and blinding tears
I gave God then,
When my town fell, and noise was in mine ears
Of crashing towers, and forth they guided me
Through spears and lifted oars and angry men
Out to an unknown sea.
They bought my flesh with gold, and sore afraid
I came to this dark East
To serve, in thrall to Agamemnon's maid,
This Huntress Artemis, to whom is paid
The blood of no slain beast;
Yet all is bloody where I dwell, Ah me!
Envying, envying that misery
That through all life hath endured changelessly.
Chor.
& b b
˙
j
U
œ ‰ Œ ∑
n n
U
∑
Vn I
T
206
& b b
senza misura
U
∑
n n
U
∑
Vn II
& b b
U
∑
n n
U
∑
Va
B b b
U
∑
n n
U
∑
Vc.
?
b b
U
∑
n n
U
∑
D.B.
?
b b
U
∑
n n
U
∑
PEV01 – 40

Fl.
Ob.
Cl.
208
U
& .
& .
#
& # .
senza misura
U
∑
U
∑
U
∑
.
.
.
U
∑
U
∑
U
∑
# #
# #
# #
# #
Bn
?
.
U
∑
.
U
∑
# #
Hn
&
.
U
∑
.
U
∑
Cym.
ã
. U
∑
.
U
∑
&
.
U
∑
.
U
∑
# #
Hp
?
.
U
∑
.
U
∑
# #
Solo
&
. .
U
∑
# #
Chor.
&
For hard things borne from birth
Make iron of man's heart, and hurt the less.
'Tis change that paineth; and the bitterness
Of life's decay when joy hath ceased to be
That makes dark all the earth.
U
. ∑
.
U
∑
# #
Vn I
208
&
U
.
senza misura
U
∑
.
U
∑
# #
Vn II
&
.
U
∑
.
U
∑
# #
Va
Vc.
B
?
.
.
Play as often as required (probably twice)
Solo
3
œ œ œ œ œ œ œ œ U
œ ˙
p
œ ˙
U
∑
.
.
3
œ œ œ œ œ œ œ œ œ
U
∑
# #
# #
D.B.
?
.
U
∑
.
U
∑
# #
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
PEV01 – 41

Fl.
V
#
& #
210
Moderato q = 88
∑
∑
∑
∑
∑
poco animando
∑
Ob.
#
& #
∑
∑
∑
∑
∑
∑
Cl.
#
& #
# #
∑
∑
∑
∑
∑
∑
Bn
? # #
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
Hp
#
& #
? # #
œ
œ
nœ
nœ.
f risoluto
œ Œ
j œ
œ
œ
n
nœ.
œ Œ
j œ
˙
˙
n
nœ
œ
Œ
œ
n b œ
Œ œ nbœ œœ b n
n˙
n
n ˙
œ
n
œ
˙
#
˙
n
œ
n
œ
Solo
#
& #
∑
∑
∑
∑
∑
∑
Chor.
#
& #
∑
f
j
‰ œ
˙
œ œ œ nœ.
Be-hold,
two score and ten there be row-ers that
œ
˙
3
œ œ œ
nœ.
>
œ œ . ‰
row for thee,
‰
f
3
œ œ œ œ nœ.
œ œ
and a wild hill air,
as if
Vn I
V
210
#
& #
Moderato q = 88
∑
∑
∑
∑
∑
poco animando
‰
Solo
œ œ œ œ nœ.
f marcato
3
œ œ
Vn II
#
& #
∑
∑
∑
∑
∑
∑
Va
Vc.
D.B.
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
B # # 4 3
? # # 4 3
? # # 4 3
œ nœ.
f
∑
∑
œ
J
œ nœ.
∑
∑
œ
J
˙
∑
∑
Œ
∑
∑
∑
∑
∑
∑
∑
Solo
‰ œ œ œ œ n œ.
œ œ
3
f marcato
∑
PEV01 – 42

Fl.
Ob.
#
& #
216
#
& #
∑
∑
∑
∑
ritenuto
6
3
œ œ nœ
œ œ œ œ œ œ œ
p
∑
œ
3
3
œ œ œ nœ
œ œ œ
∑
U U
3 U
œ œ œ nœ
œ œ œ œ
U
∑
Cl.
#
& #
# #
∑
∑
∑
∑
U
∑
Bn
? # #
∑
∑
∑
∑
U
∑
Hn
&
∑
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
U
∑
Hp
#
& #
? # #
˙
˙
Œ
Œ
nœ
n
œ
n
˙
n
˙
œ
œ
p
b
w
∑
#
œ
n
˙
∑
œ
nU
n
˙
n
n
˙
U
∑
Solo
#
& #
∑
∑
∑
∑
U
∑
Chor.
#
& #
. œ
nœ
œ ‰ J
œ
nœ
3œ œ nœ
œ ˙
p
3
œ œ œ œ œ nœ
˙
Œ
U
∑
Pan were there, shall
sound on the Ar -give sea, pip - - -
ing to set thee
free.
Vn I
Vn II
Va
Vc.
D.B.
216
#
& #
#
& #
B # #
? # #
. œ
œ.
nœ
nœ
∑
∑
œ ‰ J
œ
œ ‰ J œ
nœ
nœ
œ œ œ n œ ˙
3
∑
∑
œ œ œ n œ ˙
3
ritenuto
Tutti
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
4 4 3
? # # ∑ 4 ∑
∑ 4 3
w
p
w
p
bw
p
Tutti
w
p
∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
U
∑
PEV01 – 43

Fl.
W
#
& #
221
a tempo
œ Œ Œ
∑
∑
∑
∑
rit.
U
∑
Ob.
#
& #
∑
∑
∑
∑
∑
U
∑
Cl.
#
& #
# #
∑
∑
∑
∑
∑
U
∑
Bn
? # #
∑
∑
∑
∑
∑
U
∑
Hn
&
∑
∑
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
∑
U
∑
Hp
#
& #
? # #
˙
n
nœ
# ˙
œ Œ
œ
n
œ
Œ œ œœ
œ œœ n
n
nn˙
n
n ˙
œ
œ
# Œ Œ
œ
# œ
Œ Œ
∑
∑
˙
˙
U
n
nœ
nœ
œ
u
Solo
#
& #
∑
∑
∑
∑
∑
U
∑
Chor.
#
& #
f
3
œ œ œ œ nœ
Or
œ
œ
3
‰ œ œ œ œ
nœ
œ ˙
3
œ œ œ œ œ œ
nœ
œ œ.
is it the strick - en string of Ap - o - llo's lyre doth sing joy - ous-ly, as he guid- eth thee to Ath - ens, the land of
j
œ
œ œ ‰
U
j
œ
nœ.
J
œ
Vn I
Vn II
W
221
#
& #
#
& #
a tempo
∑
∑
∑
∑
∑
∑
Solo
3
œ œ œ œ œ œ
f
∑
nœ
œ ˙
∑
rit.
Tutti
˙
˙
U
nœ
U
œ
Va
B # #
∑
∑
∑
∑
∑
˙
U
œ
Vc.
D.B.
? # #
? # #
∑
∑
∑
∑
∑
∑
Solo
œ œ œ œ œ œ
f
3
∑
nœ
œ ˙
∑
Tutti
˙
U
∑
U
n
œ PEV01 – 44

Fl.
Ob.
Cl.
Bn
#
& #
227
#
& #
#
& #
# #
? # #
meno mosso
∑
∑
∑ ∑
∑ ∑
∑ ∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
X
più mosso q = 104
˙.
>
f
˙.
>
˙. ˙.
> >
f
> >
˙. ˙.
f
∑ ∑
˙
˙
˙
∑
œ
œ
œ
œ
œ
œ
˙
˙
˙
∑
Hn
&
∑
∑
∑
U
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
U
∑
˙æ.
f
˙æ.
˙æ.
˙æ.
Hp
#
& #
? # #
n˙
p
˙
n˙
œ
œ
n
œ
œ
nœ
˙
˙
n˙.
˙
.
U
∑
∑
u
˙.
f
∑
˙.
∑
˙
∑
œ
œ
˙
∑
Solo
#
& #
∑
∑
∑
U
∑
∑
∑
∑
∑
Chor.
Vn I
Vn II
Va
Vc.
D.B.
#
& #
227
#
& #
#
& #
B # #
? # #
? # #
n
˙
œ
spring; while
meno mosso
n˙
p
˙
p
˙
p
n˙
˙
p
∑
œ
œ
œ
œ
n
œ ˙
I
wait
œ ˙
œ ˙
œ ˙
œ ˙
∑
nœ.
j
œœ J
œ
wear - y - ing?
œ.
pp
nœ.
pp
œ.
pp
˙
.
pp
j
œ œ
j
œ œ
j
œ œ
∑
ΠU
œ
Œ
U
˙.
U
˙.
U
˙.
U
˙
.
U
∑
X
∑
più mosso q = 104
œ œ œ .
œ œ œ nœ
f risoluto
œ œ œ . œ œ œ nœ
f risoluto
œ œ œ . œ œ œ nœ
f risoluto
œ œ œ . œ œ œ nœ
f risoluto
∑
f
˙
Oh,
j
œ
j
œ
the
œ œ œ .
œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
∑
œ
wind
œ œ œ
and the oar
œ œ œ .
œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
∑
j
œ ‰ œ.
when
j
œ
the
œ œ œ .
œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
∑
PEV01 – 45

Fl.
#
& #
235
œ Œ Œ
˙.
>
˙.
>
˙.
>
Y
> ˙.
Ob.
#
& #
œ Œ Œ
˙.
>
˙.
>
˙.
>
> ˙.
Cl.
#
& #
# #
œ Œ Œ
>
˙.
>
˙.
>
˙.
> ˙.
Bn
? # #
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
˙æ.
˙æ.
˙æ.
˙æ.
˙æ.
#
& #
œ Œ Œ
∑
∑
∑
∑
Hp
? # #
∑
∑
∑
∑
∑
Solo
#
& #
∑
∑
∑
∑
∑
Chor.
#
& #
œ
n œ œ.
œ
˙ ‰
j
œ
3
œ.
œ œ œ œ œ
3
nœ
œ œ œ.
j
œ
cresc.
˙ œ œ
great sail swells be-fore,
with sheets as-train like a
horse on the rein;
and
on,
through the
Vn I
Vn II
Va
235
#
& #
#
& #
B # #
œ œ œ .
œ œ œ nœ
œ œ œ . œ œ œ nœ
œ œ œ . œ œ œ nœ
3
œnœ
œ œ œ œ œ
3
œ nœ
œ œ œ œ œ
3
œ nœ
œ œ œ œ œ
3
œ nœ
œ œ œ œ œ
œ nœ
3
œ œ œ œ œ
œ nœ
3
œ œ œ œ œ
œ
œ
œ
3
nœ
œ œ œ œ œ
3
nœ
œ œ œ œ œ
3
nœ
œ œ œ œ œ
Y
œ nœ
œ œ œ œ œ
3
cresc.
3
3
œ nœ
œ œ œ œ œ
3
cresc.
3 3
œ nœ
œ œ œ œ œ
cresc.
Vc.
? # #
œ œ œ . œ œ œ nœ
3
œnœ
œ œ œ œ œ
3
œ nœ
œ œ œ œ œ
œ
3
nœ
œ œ œ œ œ
œ œ œ œ œ nœ
cresc.
D.B.
? # #
∑
∑
∑
∑
∑
PEV01 – 46

Fl.
Ob.
Cl.
Bn
Hn
Cym.
Hp
Solo
Chor.
Vn I
Vn II
Va
Vc.
D.B.
n n b b b b b
240
#
& #
>
˙.
˙.
n> ˙ > œ > ˙.
>
œ
J ‰ Œ Œ
? # # ∑
∑
∑
∑
∑ n n b b b b b
#
& #
>
˙.
˙.
n> ˙ > œ > ˙.
>
J œ ‰ Œ Œ
n n b b b b b
#
& #
# # >
>
˙.
˙.
n> ˙ > œ > ˙.
J œ ‰ Œ Œ
n n
n n b b b
? # #
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
n n b b b b b
ã ˙æ.
˙æ.
˙æ.
˙æ.
˙æ.
#
& #
? # #
#
& #
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
n n b b b b b
n n b b b b b
n n b b b b b
#
& # nœ
n
œ œ. œ ˙ œ œ n
œ n
J
˙
b b .
j
œ n˙.
‰ Œ Œ b b b
J œ
race and roar, she feels
for the far - ther shore.
240
3
3
#
& #
n
œ nœ
œ œ œ œ œ œnœ
œ œ œ œ œ œ 3
œ œ œ œ œ œ 3
3
œ œ œ œ œ nœ
œ œ œ œ œ nœ
n b b b b b
3
3
3
3
3
3
3
3
3
#
& # œ nœ
œ œ œ œ œ œnœ
œ œ œ œ œ œ nœ
œ œ œ œ œ œ nœ
œ œ œ œ œ nœ
œ œ œ œ œ nœ
n n b b b b b
3
3
3
3
3 3
3 3
3 3
3 3
3
B # # œ nœ
œ œ œ œ œ œnœ
œ œ œ œ œ œ nœ
œ œ œ œ œ œ nœ
œ œ œ œ œ nœ
œ œ œ œ œ nœ
? # # œ œ œ œ œ nœ
œ œ œ œ œ nœ
œ nœ
œ œ œ œ œ nœ
œ œ œ œ œ œ œ œ- n- œ œ- n- œ
n n b b b b b
n n b b b b b
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
PEV01 – 47

Fl.
245
& b b b b b
Lento q = 66
4
∑
Z
U
∑
Not too slow
senza misura
U
∑
Ob.
& b b b b b
4
∑
U
∑
U
∑
Cl.
& b b b
4
∑
U
∑
U
∑
Bn
?
b b b b b
4
∑
U
∑
U
∑
Hn
&
4
∑
U
∑
U
∑
Cym.
ã
4
. ˙
Œ
U
∑
U
∑
Hp
& b b b b b
?
b b b b b
4
4
Œ
Œ
œ
ff
g œ
œ
g œ
œ
gœ
Œ
œ
gœ Œ
U
Ó
Ó
u
U
∑
∑
u
Solo
& b b b b b
4
∑
Solo, freely declaimed
ff
U˙
U
œ ‰ j œ
3 3
œ.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ah me, to
rise up - on wings and hold straight up - on the sheets of gold where the joy - ous
Chor.
& b b b b b
4
∑
U
∑
U
∑
Vn I
245
& b b b b b
Lento q = 66
4 w
Z
œ
Œ
U
Ó
Not too slow
senza misura
U
∑
Vn II
& b b b b b
4
w
œ
Œ
U
Ó
U
∑
Va
B b b b b b
4
w
œ Œ
U
Ó
U
∑
Vc.
?
b b b b b
4
w
œ
Œ
U
Ó
U
∑
D.B.
?
b b b b b
4
∑
U
∑
U
∑
PEV01 – 48

Fl.
248
& b b b b b
U
∑
ritenuto
∑
A1
n n n n n #
Tranquillo
U
∑
Ob.
& b b b b b
U
∑
∑
n n n n n #
U
∑
Cl.
& b b b
U
∑
∑
n n n # # #
U
∑
Bn
?
b b b b b
U
∑
∑
n n n n n #
U
∑
Hn
&
U
∑
∑
U
∑
Cym.
ã
U
∑
∑
U
∑
& b b b b b
U
∑
∑
n n n n n #
U
∑
Hp
?
b b b b b
∑
u
∑
n n n n n #
∑
u
Solo
& b b b b b
œ.
J œ œ œ œ œ œ œ œ œ œ.
j œ œ œ œ œ
3 3
p
œ œ œ nœ.
j
œ
n n n n n #
U p
œ ‰ j œ œ œ œ
sun in fire doth run, till the wings should faint and fold o'er the
house that was mine
of
old:
or watch where the
Chor.
& b b b b b
U
∑
∑
n n n n n #
U
∑
Vn I
Vn II
Va
Vc.
D.B.
248
& b b b b b
& b b b b b
B b b b b b
?
b b b b b
?
b b b b b
U
∑
U
∑
U
∑
U
∑
U
∑
ritenuto
˙
p
˙
p
˙
p
div.
˙
p
˙
p
n˙
pp
n˙
pp
n˙
pp
n n˙˙
pp
n˙
pp
A1
n n n n n #
n n n n n #
n n n n n #
n n n n n #
n n n n n #
Tranquillo
U
˙
U
˙
U
˙
U
˙
U˙
˙
˙
˙
˙
n˙
PEV01 – 49

Fl.
#
&
251
∑
∑
∑
∑
∑
Ob.
#
&
∑
∑
∑
∑
∑
Cl.
#
& #
#
∑
∑
∑
∑
∑
Bn
? #
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
#
&
∑
∑
∑
∑
∑
Hp
? #
∑
∑
∑
∑
∑
Solo
#
&
œ.
œ œ
J
œ œ
œ œ ˙ œ
3 3
œ œ œ œ œ œ œ œ œ
,
œ œ œ œ œ
3
œ œ œ œ œ œ ‰ œ
j
glade be-low with a marr-iage dance doth glow, and a child will glide from her mo-ther's side, Out, out, where the dan-cers flow: as
Chor.
#
&
∑
∑
∑
∑
∑
Vn I
251
#
&
w
. ˙
Œ
˙
˙
˙
œ œ
Œ . ˙
Vn II
#
&
w
˙.
Œ
˙
˙
˙
œ œ
Œ . ˙
Va
B #
w
˙.
Œ
˙
˙
˙
œ œ
Œ ˙.
Vc.
? #
w
. ˙. ˙
Œ
˙
˙˙
˙
œ œ œ
Π.
˙
D.B.
? #
w
˙.
Œ
˙
˙
˙
œ œ
Œ ˙.
PEV01 – 50

B1
Fl.
Ob.
Cl.
#
&
256
#
&
#
& #
#
∑
∑
∑
4 3 6
6 3
Œ
n b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
œ
pp
4 3 n
∑
∑ b b
4 3 n n
n
∑
∑
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
˙
f
˙
f
˙
f
œ
œ
œ
˙.
˙.
˙.
˙.
p
˙.
p
˙.
p
Bn
? #
∑
∑
∑
n b b
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
Hp
#
&
? #
∑
∑
Œ
pp
b
˙
∑
b
˙
∑
Œ
n b b
n b b
˙
f dim.
˙
œ
œ
˙.
˙.
˙
˙
Œ
Œ
Solo
#
&
œ œ œ œ œ œ
˙.
∑
n b b
∑
∑
∑
I did, long a
-
go.
Chor.
#
&
∑
∑
∑
n b b
Œ œ
f freely declaimed
3
œ œ œ
œ.
œ
J
Oh, batt-les of gold and rare rai-ment
and star - red
œ
œ
J
œ
j
œ
œ œ
Vn I
256
#
&
˙.
Œ
∑
∑
B1
n b b
∑
∑
∑
Vn II
#
&
˙.
Œ
∑
∑
n b b
∑
∑
∑
Va
B #
˙.
Œ
∑
∑
n b b
∑
∑
∑
Vc.
? #
. ˙. ˙
Œ
∑
∑
n b b
∑
∑
∑
D.B.
? #
˙.
Œ
∑
∑
n b b
∑
∑
∑
PEV01 – 51

Fl.
262
& b b
∑
∑
∑
∑
∑
∑
molto rit
∑
Ob.
& b b
∑
∑
∑
∑
∑
∑
∑
Cl.
&
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
Hp
& b b
?
b b
Œ Œ
Œ Œ
œ
œ œœ
œ
œ
˙
˙
˙
˙
Œ
Œ
∑
∑
Œ
œ œ
Œ œ
œ œ œ
˙
f
˙
˙
p
˙
j
œ ‰ Œ œ j
œ ‰
pp
j
œ ‰ Œ œ œ ‰ J
Solo
& b b
∑
∑
∑
∑
∑
Œ
œ
f
˙
J œ ‰ œ œ œ.
j œ
O
youth
and the days
that
Chor.
& b b œ ‰ œ œ
J
hair, and bright
œ
3
œ ‰ œ œ
œ œ œ œ œ
œ œ œ œ
veils crossed a-mid
tress-es tossed in a dusk of danc-ing
˙.
air!
f
˙
O
p
˙
youth!
j
‰ Œ
œ
J
Ó
Vn I
262
& b b
∑
∑
∑
∑
Œ œ œ
p
˙
f
˙
p
molto rit
j
œ ‰ Œ
Ó
Vn II
Va
Vc.
D.B.
4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 4 2 4 3 4 & b b ∑ ∑ ∑ 4 2 ∑ 4 3 Œ
œ œ 4 p
B b b ∑ ∑ ∑ 4 2 ∑ 4 3 Œ œ œ 4 p
?
b b ∑ ∑ ∑ 4 2 ∑ 4 3 Œ œ 4 œ p
?
b b ∑ ∑ ∑ 4 2 ∑ 4 3 Œ œ œ 4 p
˙
f
˙
f
˙
f
˙
f
˙
p
˙
p
˙
p
˙
p
j
œ ‰ Œ
j
œ ‰ Œ
j
œ ‰ Œ
j
œ ‰ Œ
Ó
Ó
Ó
Ó
PEV01 – 52

Fl.
Ob.
269
& b b
& b b
a tempo
Œ
6
œ œ œ œ œ œ ˙
pp
∑
3
3
œ œ œ œ œ œ ˙
∑
3 3
œ œ œ œ œ œ
∑
œ œ œ œ
∑
U
œ ˙.
U
∑
Cl.
&
∑
∑
∑
∑
U
∑
Bn
?
b b
∑
∑
∑
∑
U
∑
Hn
&
∑
∑
∑
∑
U
∑
Cym.
ã
∑
∑
∑
∑
U
∑
Hp
& b b
?
b b
Ó Œ
œ
pp
Ó Œ œ œœ
˙.
˙.
œ
œ
œ
œ
œ
œ
Œ
Œ
Ó
Ó
∑
∑
U
∑
∑
u
Solo
& b b pp
˙.
Œ
∑
∑
∑
U
∑
were!
Chor.
& b b
∑
∑
∑
∑
U
∑
Vn I
Vn II
Va
Vc.
D.B.
269
& b b
& b b
B b b
?
b b
?
b b
a tempo
Ó
Ó
Ó
Œ
œ
pp
Œ
œ
pp
Œ
œ
pp
Ó Œ œ
pp
Ó Œ œ
pp
. ˙
˙.
˙.
˙.
˙.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Œ
Œ
Œ
Œ
Œ
Ó
Ó
Ó
Ó
Ó
∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
U
∑
PEV01 – 53

Flute
274
& b b b
4. Oh, Fair the Fruits of Leto Blow
Moderato q = 84
Cue: mistress thou canst read my prayer
U
∑
4
U
∑
Oboe
& b b b
U
∑
4
U
∑
Clarinet in Bb
& b
U
∑
4
U
∑
Bassoon
?
b b b
U
∑
4
U
∑
Horn in F
&
U
∑
4
U
∑
Cymbals
ã
U
∑
4
u∑
Harp
& b b b
?
b b b
œ œ œ œ œ U
œ ˙
œ œ œ œ
f
œ œ
œ œœœ u˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
U
œ œ œœ ˙
& ? &
u˙
?
4
4
Ó
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
&
U
œ
u
œ
œ
œ
Solo
& b b b
U
∑
4
U
f
Ó Œ œ
Oh,
Chorus (SSA)
& b b b
U
∑
4
U
∑
Violin I
274
& b b b
Moderato q = 84
U
∑
4
U
∑
Violin II
& b b b
U
∑
4
U
∑
Viola
B b b b
U
∑
4
U
∑
Violoncello
?
b b b
U
∑
4
U
∑
Double Bass
?
b b b
U
∑
4
U
∑
PEV01 – 54

Fl.
276
& b b b
∑
∑
senza misura
bw
p
w
a tempo
4
˙ œ - œ -
˙.
Ob.
& b b b
∑
∑
w
p
w
4
˙ œ - œ -
˙.
Cl.
Bn
& b
?
b b b
∑
∑
∑
∑
w
p
w
p
w
w
4
4
# ˙ œ - œ -
˙ œ - œ-
˙.
˙.
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Hn
&
∑
∑
∑
4
∑
∑
Cym.
ã
∑
∑
∑
4
∑
∑
Hp
& b b b
& b b b
∑
∑ ?
˙
f
˙
˙
˙
w
p
w
w
w
4
4
n˙
œ
œ
n œ œ œœ œœ
˙ b
b˙.
b
˙
.
Solo
& b b b
œ.
freely declaimed
œ
J œ œ
fair the fruits of
œ œ.
J
˙
mf
‰ j œ œ œ œ.
j
œ œ œ ˙
Le-to
blow: a vir - gin, one, with joy - ous bow,
and one a lord of flash-ing locks,
4
‰ j œ œ œ œ - œ -
œ œ œ . ‰
Chor.
& b b b
∑
∑
∑
4
∑
∑
Vn I
276
& b b b
∑
∑
senza misura
∑
a tempo
4
˙ œ - œ -
p
˙.
Vn II
Va
& b b b
B b b b
∑
∑
∑
∑
∑
∑
4
4
n˙
p
œ -
œ -
˙ œ - œ -
p
˙.
˙.
Vc.
D.B.
?
b b b
?
b b b
∑
∑
∑
∑
∑
∑
4
4
˙ œ p
- œ -
˙
œ - œ-
p
˙
.
˙.
PEV01 – 55

Fl.
Ob.
Cl.
Bn
281
& b b b
& b b b
& b
?
b b b
˙.
˙.
˙.
˙.
˙
ff
˙
ff
˙
ff
˙
ff
j
œ ‰
j
œ ‰
j
œ ‰
œ
J
‰
C1
senza misura
U
∑
U
∑
U
∑
U
∑
a tempo
4
4
4
4
∑
∑
∑
∑
∑
∑
∑
∑
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Hn
&
∑
∑
U
∑
4
∑
∑
Cym.
ã
∑
∑
U
∑
4
∑
∑
Hp
& b b b
?
b b b
˙.
˙
.
˙
˙
j
œ ‰
j
œ ‰
U
n w
pp
n
uw
4
4
.
˙.
. ˙. ˙
nœ
œ œ
.
˙.
. ˙. ˙
Œ
Œ
Solo
& b b b
3
œ œ œ œ.
J œ
ff
œ œ.
J
œ
J ‰
pp
3
‰ j œ œ œ œ œ.
œ œ œ œ
4
œ œ œ œ
œ
j
œ œ.
Ó
Chor.
wise in the harp,
& b b b Ó ‰
A - po -llo
ff
j
œ
J
j
œ œ
J
.
A - po -llo
j
œ ‰
J
she bore them a - mid the De - lian rocks, hid in a fruit - ed hol-
low
U
∑
4
∑
∑
Vn I
Vn II
Va
Vc.
D.B.
281
& b b b
& b b b
B b b b
?
b b b
?
b b b
˙.
˙.
˙.
˙
.
˙.
˙
ff
˙
ff
˙
ff
˙
ff
˙
ff
œ
J ‰
œ ‰
J
œ
J ‰
j
œ ‰
œ
J
‰
C1
senza misura
U
∑
U
∑
U
∑
U
∑
U
∑
a tempo
4
4
4
4
4
∑
∑
∑
∑
∑
Ó Œ œ
f
Ó Œ œ
f
Ó Œ œ
f
Ó Œ
œ
f
Ó Œ œ
f
PEV01 – 56

D1
Fl.
286
& b b b
Allegro molto pesante q = 168
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
∑
∑
∑
Œ Œ œ
* Half the chorus: sopranos and altos
f molto marcato
˙
œ
˙
œ œ ˙
˙.
œ œ œ
˙
œ
D1
But
forth
she
fared
from
that low
reef,
sea crad - le
of
her
Vn I
286
& b b b
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
Allegro molto pesante q = 168
˙
œ
marcato
˙
œ œ œ œ ˙.
˙.
p
˙
œ
œ
˙
˙.
œ œ œ
˙
œ
Vn II
& b b b
˙ œ
marcato
˙
œ
œ œ œ
˙.
˙.
p
˙
œ
œ
˙
˙.
œ œ œ
˙
œ
Va
B b b b
˙ œ
marcato
˙
œ
œ œ œ
˙.
˙.
p
˙
œ
œ
˙
˙.
œ œ œ
˙
œ
Vc.
D.B.
?
b b b
?
b b b
˙ œ
marcato
˙
œ
marcato
˙
˙
œ
œ
œ œ œ
œ œ œ
˙.
˙.
˙.
p
˙.
p
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
* To be sung very rhythmically but with great attention to the true declamation of the words indicated by the phrasing.
PEV01 – 57

Fl.
296
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
˙
joy
œ
and
˙
grief.
œ
A
˙
crag
œ
she
˙
knew
œ
more
˙
near
œ
the
˙
skies
œ
and
˙
lit
œ
with
˙
wil
œ ˙.
- der wat -
˙
er,
œ
that
Vn I
296
& b b b
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙
œ
Vn II
& b b b
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙
œ
Va
B b b b
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙
œ
Vc.
?
b b b
˙.
˙.
˙.
˙.
˙.
˙
œ
˙
œ
˙
œ
˙.
˙
œ
D.B.
?
b b b
˙.
˙.
˙.
˙.
˙.
˙
œ
˙
œ
˙
œ
˙.
˙
œ
PEV01 – 58

Fl.
306
& b b b
∑
∑
∑
∑
E1
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
Œ Œ œ
mf
˙
œ
˙
œ
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
˙
leaps
œ
with
˙
joy
œ
of
œ œ œ ˙. œ œ œ ˙ œ ˙. ˙
Other half of chorus
f marcato
œ ˙ œ ˙
Di - on - yse: there brought she son and daugh - ter. And there, be - hold,
œ
an
Vn I
306
& b b b
˙
œ
˙
œ
œ œ œ
˙.
E1
œ œ œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
Vn II
& b b b
˙
œ
˙
œ
˙.
˙.
œ œ œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
Va
B b b b
˙
œ
˙
œ
˙.
˙.
œ œ œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
Vc.
?
b b b
˙
œ
˙
œ
˙.
˙.
œ œ œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
D.B.
?
b b b
˙
œ
˙
œ
˙.
˙.
œ œ œ
˙
œ
˙.
˙
Œ
∑
∑
PEV01 – 59

Fl.
316
& b b b
∑
∑
∑
∑
∑
∑
F1
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
˙
œ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
˙
an
œ
˙.
,
œ œ œ
˙
- cient snake, wine - eyed, bronze gleam - ing in the brake of deep-leaved
laur - el,
œ
˙
œ
˙
nœ
œ . œ.
nœ
˙
œ œ œ
ruled
the
˙.
dell,
Vn I
316
& b b b
˙
œ
˙.
colla voce ,
œ œ œ
˙
œ
˙
œ
˙
nœ
F1
˙.
nœ
˙
œ œ œ
˙.
Vn II
& b b b
˙
œ
˙.
˙.
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
˙.
Va
B b b b
n˙
œ
˙.
˙.
˙.
˙
œ
˙
œ
˙.
˙.
˙.
˙.
Vc.
?
b b b
˙
œ
˙.
˙.
˙.
˙
œ
˙
œ
. ˙. ˙
n
˙
.
˙.
˙.
D.B.
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
PEV01 – 60

Fl.
326
& b b b
∑
∑
2
3
˙ ˙ n˙
p
˙
Œ
∑
∑
∑
G1
∑
Ob.
& b b b
∑
∑
2
3
˙ ˙ ˙
p
˙
Œ
∑
∑
∑
∑
Cl.
Bn
& b
?
b b b
∑
∑
∑
∑
2
3
2
3
˙
p
˙
˙
˙ ˙ ˙
p
˙
˙
Œ
Œ
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
2
3
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
2
3
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
3
2
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
3
2
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
3
2
∑
∑
∑
∑
∑
∑
Chor.
& b b p
b
œ œ œ
sent by old
œ
earth
nœ
œ
from
3
2
˙ ˙ n˙
˙
œ
œ œ œ
un - der strange caves to guard her o - ra - cle,
nœ.
j
œ œ
pp
œ Œ œ
a
˙
thing
œ
of
Vn I
Vn II
Va
Vc.
D.B.
326
& b b b
& b b b
B b b b
?
b b b
?
b b b
œ œ œ
p
œ œ œ
p
œ œ œ
p
œ œ œ
p
œ œ œ
p
œ
œ
œ
œ
œ
nœ
nœ
nœ
nœ
nœ
œ
œ
œ
œ
œ
2
3
2
3
2
3
2
3
2
3
˙ ˙ n˙
˙ ˙ ˙
˙
˙
˙
˙ ˙ ˙
˙ ˙ ˙
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
˙
˙
˙
˙
˙
œ
nœ
œ
œ
œ
œ œ œ
œ
nœ
œ
œ œ œ
œ œ œ
œ œ œ
nœ.
œ.
œ.
œ.
œ.
j
œ œ
j
œ œ
j œ œ
œ
J œ
œ
J œ
˙
˙
˙
˙
˙
pp
G1
œ ˙
pp
œ ˙
pp
nœ
˙
pp
nœ
˙
pp
Œ
∑
œ
œ
nœ
œ
PEV01 – 61

Fl.
Ob.
Cl.
Bn
334
& b b b
& b b b
& b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
H1
˙.
f
˙.
f
˙.
f
˙.
f
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
Tempo 1
4
4
4
4
U˙
U˙
U˙
U
˙
Ó
Ó
Ó
Ó
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
U
∑
˙.
mf
˙.
˙.
4
U
b˙
Ó
∑
∑
Cym.
ã
∑
∑
U
∑
∑
∑
∑
4
U
∑
∑
∑
Hp
& b b b
?
b b b
∑
∑
∑
∑
U
∑
∑
u
.
˙.
f
.
g
˙. ˙
˙.
g ˙.
.
˙.
g ˙.
4
4
U
˙
u˙
Ó
Ó
˙
p
g ˙
Ó
Ó
˙
˙
˙
˙
Solo
& b b b
∑
∑
U
∑
∑
∑
∑
4
Œ
f freely declaimed
Uœ
J œ œ .
mp
œ.
J œ œ
œ
˙ œ œ œ
Thou, Phoe-bus,
still a new-born
thing, meet in thy
Chor.
& b b b
˙
nœ
˙.
U
˙.
∑
∑
∑
4
U
∑
∑
∑
fear
and
won
-
der.
Vn I
Vn II
Va
Vc.
D.B.
334
& b b b
& b b b
B b b b
?
b b b
?
b b b
˙
˙
˙
˙
∑
nœ
œ
œ
œ
˙.
˙.
˙.
˙.
∑
U
˙.
U
˙.
U
˙.
U
˙.
U
∑
H1
˙.
f
˙.
f
˙.
f
˙.
f
∑
˙.
˙.
˙.
˙.
∑
˙.
˙.
˙.
˙.
∑
Tempo 1
4
4
4
4
4
U˙
U˙
U˙
U
˙
Ó
Ó
Ó
Ó
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
PEV01 – 62

Fl.
343
& b b b
∑
∑
∑
∑
J1
∑
Ob.
& b b b
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
Œ
˙
. Π.
˙
n w
pp
w
œ
œ
b œ
b
bœ
œ
˙
f
˙˙
w
w
w
ff
w
Solo
& b b b œ œ œ œ œ œ
‰ j œ œ œ œ.
j
œ
œ - œ - f
˙
‰ œ œ œ œ.
J
mo-ther's arms to lie, didst kill the snake and crown thee king
in Py - tho's land of pro - phe-cy:
œ
J
ff
œ.
J œ ˙
,
Chor.
& b b b
∑
∑
∑
∑
∑
Vn I
343
& b b b
∑
∑
∑
∑
J1
∑
Vn II
& b b b
∑
∑
∑
∑
∑
Va
B b b b
∑
∑
∑
∑
∑
Vc.
?
b b b
∑
∑
∑
∑
∑
D.B.
?
b b b
∑
∑
∑
∑
∑
PEV01 – 63

Fl.
348
& b b b
senza misura
∑
a tempo
4
∑
∑
∑
∑
Ob.
& b b b
∑
4
∑
∑
∑
∑
Cl.
& b
∑
4
∑
∑
∑
∑
Bn
?
b b b
∑
4
∑
∑
∑
∑
Hn
&
∑
4
∑
∑
∑
∑
Cym.
ã
∑
4
∑
∑
∑
∑
Hp
& b b b
?
b b b
U
n w
pp
w
u
Œ
Œ
4
4
.
˙.
. ˙. ˙
nœ
œ œ
w
w
∑
∑
∑
∑
Solo
& b b b
p
Œ œ œ œ œ œ œ œ
4
œ.
j
œ œ
œ
˙ Œ œ
f
œ.
J œ
˙
œ œ œ œ œ
Thine was the tri - pod and the chair of gol - den truth; and thron - ed there,
hard by the streams of
Chor.
& b b b
∑
4
∑
∑
∑
∑
Vn I
Vn II
Va
Vc.
D.B.
348
& b b b
& b b b
B b b b
?
b b b
?
b b b
senza misura
U
w
p
U
nw
p
U
w
p
U
w
p
∑
œ
œ
œ
œ
a tempo
4
4
4
4
4
˙.
˙.
˙.
. ˙. ˙
∑
œ
œ
nœ
œ œ
w
w
w
w
∑
w
f
w
f
w
f
w
f
w
f
w
w
w
w
w
PEV01 – 64

Fl.
Ob.
Cl.
Bn
Hn
Cym.
Hp
Solo
Chor.
Vn I
Vn II
Va
Vc.
D.B.
353
& b b b
& b b b
& b
?
b b b
&
ã
& b b b
?
b b b
& b b b
& b b b
353
& b b b
& b b b
B b b b
?
b b b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
œ.
œ œ ‰ mf
œ j œ.
3
œ œ
Cast-a-ly,
be-neath the un - trod-den por - tal of earth's mid stone there flows from thee wis-dom for all things mor - tal.
˙.
p
˙.
p
˙.
p
˙.
p
˙.
p
∑
œ
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ œ
∑
œ ˙.
œ ˙.
œ ˙.
œ ˙.
œ ˙.
∑
∑
∑
∑
∑
∑
∑
∑
œ.
œ œ œ œ.
˙
˙
˙
˙
˙
∑
˙
n˙
˙
˙
˙
j
œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙
∑
œ œ ˙
œ œ ˙
œ œ ˙
œ œ ˙
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
ff pesante
œ œ œ œ œ
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ
œ
œ œ œ
œ œ œ
U
Ó Œ œ
f
U
Ó Œ œ
f
U
Ó Œ œ
f
U
Ó Œ œ
f
U
Ó Œ
œ
f
U
∑
U
∑
∑
u
˙
U
J œ ‰ Œ
∑
U
j
˙ œ ‰ œ
f
U
j
n˙ œ ‰ œ
f
U
˙
J œ ‰ œ
f
U
j
˙ œ ‰ œ
f
U
j
˙ œ ‰ œ f
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
PEV01 – 65

K1
Fl.
359
& b b b
Allegro moderato molto pesante
˙
œ
˙
œ ˙ œ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
˙
œ
˙
œ
˙
œ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
˙
œ
˙
œ
˙
œ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
˙
œ
˙
œ
˙
œ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
˙
œ
˙
œ
˙
bœ
˙.
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
∑
∑
∑
Œ Œ œ
First half of chorus
f molto marcato
˙
œ
˙
œ
He slew the snake; he
˙ œ
cast, men
˙.
say,
œ œ œ ˙ œ ˙ œ ˙
The-mis, the child of earth, a - way,
œ
from
K1
Vn I
359
& b b b
Allegro moderato molto pesante
˙
œ
˙
œ ˙ œ
˙.
˙.
˙.
˙
mf
œ
˙.
˙.
˙
œ
˙
œ
˙
œ
Vn II
Va
& b b b
B b b b
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
˙
mf
˙
mf
œ
œ
˙.
˙.
˙.
˙.
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
Vc.
?
b b b
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
˙
mf
œ
˙.
˙.
˙
œ
˙
œ
˙
œ
D.B.
?
b b b
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
˙
mf
œ
˙.
˙.
˙
œ
˙
œ
˙
œ
PEV01 – 66

Fl.
371
& b b b
∑
∑
∑
U
∑
L1
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
u
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
˙
œ
˙
œ
œ
˙
U
œ .
‰ œ
˙
œ
˙
œ
˙.
˙
mp
œ
˙
œ
˙
œ
œ œ œ
˙
œ
Py
- tho and her hall-owed
stream then earth, in dark de - ris - ion, brought forth the peop - les
of
the
dream and
Vn I
371
& b b b
˙
œ
˙
œ
œ
˙
U
œ .
L1
‰ œ ˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
˙
œ
œ œ œ
˙
œ
Vn II
Va
& b b b
B b b b
˙
˙
œ
œ
˙
˙
œ
œ
œ
œ
˙
˙
U
œ.
U
œ .
‰ œ
‰ œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙.
œ
˙
˙
œ
œ
Vc.
?
b b b
˙
œ
˙
œ
œ
˙
U
œ .
‰ œ
˙
œ
˙
œ
˙
œ
œ.
j
œ œ
˙
œ
˙
œ
˙.
˙
œ
D.B.
?
b b b
˙
œ
˙
œ
œ
˙
U
œ .
‰ œ
˙
œ
˙
œ
˙
œ
œ.
j
œ œ
˙
œ
˙
œ
˙.
˙
œ
PEV01 – 67

Fl.
383
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
˙
all
œ
the
˙
œ
tribes of
˙.
vis
Second half of chorus
mf
˙ œ ˙
œ ˙ œ Œ œ œ ˙ œ ˙ œ ˙ œ ˙
- ion. And men be - sought them; and from deep con - fus - ed un - der - worlds
œ
of
˙
nœ
sleep they
Vn I
383
& b b b
˙
œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙.
˙
œ
˙
œ
˙
œ
Vn II
& b b b
˙
œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
n˙
œ
˙.
˙.
˙.
˙
œ
˙
nœ
Va
B b b b
˙
œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
˙
œ
˙
œ
Vc.
?
b b b
˙
œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
œ.
j
œ nœ
˙
œ
D.B.
?
b b b
˙
œ
˙
œ
˙.
˙
œ
˙
œ
˙
œ
˙
œ
˙.
˙.
˙.
œ.
j
œ nœ
˙
œ
PEV01 – 68

Fl.
395
& b b b
M1
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
œ . œ.
showed blind
n˙
things
œ
that
œ œ œ
erst
had
˙
been
œ
and
˙
are
œ
and
œ nœ
yet
œ
shall
˙.
fol
, f
˙. nœ
œ œ
- low, so did a -
œ œ œ
venge
that
n œ. œ.
old earth
Vn I
Vn II
Va
Vc.
D.B.
395
& b b b
& b b b
B b b b
?
b b b
?
b b b
M1
˙.
˙.
˙.
˙.
˙.
˙.
n˙.
˙.
˙.
˙.
œ œ œ
˙.
˙.
˙.
˙.
˙
˙
˙
˙
˙
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ nœ
œ nœ
œ nœ
œ nœ
œ nœ
œ
œ
œ
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
,
,
,
,
,
œ œ œ
f
œ œ
f nœ
nœ
œ œ
f
œ œ œ
f
œ œ œ
f
œ nœ
˙
œ
œ
œ œ œ
œ œ œ
œ œ œ
œ . œ.
œ . œ.
n œ. œ.
œ . œ.
œ . œ.
PEV01 – 69

Fl.
Ob.
Cl.
Bn
406
& b b b
& b b b
& b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
U
∑
U
∑
U
∑
N1
œ œ œ
f
œ œ œ
f
œ œ œ
f
œ œ œ
f
˙
˙
˙
˙
œ
œ
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
U
∑
œ œ œ
f
˙
œ
˙.
˙.
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
U
∑
∑
u
∑
∑
∑
∑
∑
∑
∑
∑
˙.
f
˙.
.
˙.
˙.
˙
˙
˙
œ
œ
œ
Solo
& b b b
∑
∑
∑
∑
U
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b ˙ œ
queen her
œ . œ.
child's wrong
˙
on
nœ
A
˙.
U
˙
Œ
∑
∑
∑
f
Œ Œ œ
Full chorus
- pol - lo.
Then swift - ly flew that con - que-ring
˙
œ
˙
œ
œ.
j
œ
œ
Vn I
406
& b b b
˙
œ
œ . œ.
˙
œ
˙.
U
˙.
N1
∑
∑
∑
∑
∑
∑
∑
Vn II
Va
& b b b
B b b b
˙
˙
œ
œ
œ . œ.
œ . œ.
˙
˙
nœ
œ
n˙.
˙.
U
˙.
U
˙.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Vc.
D.B.
?
b b b
?
b b b
˙
˙
nœ
nœ
œ . œ.
œ . œ.
˙
˙
œ
œ
˙.
˙.
U
˙.
U
˙.
∑
∑
∑
∑
∑
∑
∑
∑
˙.
f
∑
˙.
∑
˙
∑
œ
PEV01 – 70

Fl.
418
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
O1
∑
∑
2
3
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
Hp
& b b b
?
b b b
˙
˙
œ
œ
.
˙.
. ˙. ˙
.
œ.
. œ . œ
‰
œ
‰ œ
˙
˙
œ
œ
.
˙.
˙.
œ
œ
œ œ
œ œ
˙
˙
œ
œ
˙
˙
œ
œ
.
˙.
˙.
œ
œ
œ œ
œ œ
˙
˙
œ
œ
3
2
3
2
Solo
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
3
2
Chor.
& b b b ˙
one
œ
to
˙
Zeus
œ
on
œ
high,
j
œ
, mf
‰ œ
and
˙
œ
round the
˙.
throne
œ œ œ ˙ œ ˙ œ ˙. œ œ œ ˙ œ
twin-ing
a small in - dig - nant hand, prayed him to send re -
3
2
Vn I
418
& b b b
Œ Œ œ
˙.
. œ
‰ œ
p
˙
œ
˙.
œ
œ œ
˙
œ
˙
œ
˙.
O1
œ
œ œ
˙
œ
2
3
Vn II
Va
Vc.
& b b b
B b b b
?
b b b
Œ Œ œ
Œ Œ
œ
˙ œ
˙.
˙.
˙.
. œ
œ .
œ.
‰
œ
p
‰ œ
p
‰ œ
p
˙
˙
˙
œ
œ
œ
˙.
˙.
˙.
œ
œ
œ
œ œ
œ œ
œ œ
˙
˙
˙
œ
œ
œ
˙
˙
˙
œ
œ
œ
˙.
˙.
˙.
œ
œ
œ
œ œ
œ œ
œ œ
˙
˙
˙
œ
œ
œ
2
3
2
3
2
3
D.B.
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2
3
PEV01 – 71

Fl.
429
& b b b
2
3
˙ ˙ ˙
p
˙ Ó Ó
P1
∑
∑
∑
∑
Q1
∑
∑
∑
∑
Ob.
& b b b
2
3
˙ ˙ ˙
p
˙ Ó Ó
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
2
3
˙
p
˙
˙
˙
Ó
Ó
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
2
3
˙ ˙ ˙
p
˙ Ó Ó
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
2
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙.
p
Cym.
ã
2
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
3
2
3
2
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
œ
œ
˙ œ
œ
œ
œ
œ œ œ
œ
œ œ œ œ œ
.
˙.
˙
˙.
œ œ œ
œ œ œ
˙
˙
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
˙.
f
˙.
Solo
& b b b
3
2
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Chor.
& b b b
3
2
˙ ˙ ˙
˙ ˙ œ œ
œ œ œ
- deem-ing
to Py - tho from that trou - blous band sprung from the darks of dream -
˙.
p
œ œ œ
˙
œ
˙.
˙.
ing.
˙.
j
œ ‰ Œ Œ
Vn I
429
& b b b
2
3
˙
˙
˙
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
P1
˙ ˙ œ œ
œ œ œ
˙.
œ œ œ
p
˙
Q1
œ ˙.
˙.
˙.
j
œ ‰ Œ Œ
Vn II
Va
Vc.
& b b b
B b b b
?
b b b
2
3
2
3
2
3
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ œ œ
˙ ˙ œ œ
˙ ˙ œ œ
˙ œ
˙ œ
œ œ œ
˙.
˙.
˙.
œ œ œ
p
œ œ œ
p
œ œ œ
p
˙
˙
˙
œ
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
j
œ ‰ Œ Œ
j
œ ‰ Œ Œ
j
œ ‰ Œ Œ
D.B.
?
b b b
2
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
PEV01 – 72

Fl.
439
& b b b
∑
∑
Tempo 1
4 ˙
mf
˙
˙.
œ
w
p
w
w
Ob.
& b b b
∑
∑
4
˙
mf
˙
˙.
œ
w
p
w
nw
Cl.
Bn
& b
?
b b b
∑
∑
∑
∑
4
4
˙
mf
˙
mf
˙
˙
˙.
. ˙
œ
œ
w
p
w
p
w
w
w
w
Hn
&
b˙.
˙.
4
˙
f
˙
. ˙
Œ
∑
∑
∑
Cym.
ã
∑
∑
4
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
˙.
˙
.
.
˙.
˙
.
4
4
˙
f
˙
˙
˙
˙.
˙
.
Œ
Œ
∑
∑
∑
∑
∑
∑
Solo
& b b b
∑
∑
4
f freely declaimed
Œ œ œ ‰ J
œ
œ.
œ œ
œ œ œ
mf
‰ j œ œ œ œ.
j
œ
. œ
j œ
˙
‰ j œ œ
j œ ‰ œ
Zeus laughed
to
see the babe,
I trow,
so swift to claim
his
gol - den rite;
he laughed
and
Chor.
& b b b
∑
∑
4
∑
∑
∑
∑
∑
Vn I
439
& b b b
∑
∑
Tempo 1
4 ˙
mf
˙
˙.
œ
w
p
w
w
Vn II
& b b b
∑
∑
4
˙
mf
˙
˙.
œ
w
p
w
nw
Va
Vc.
D.B.
B b b b
?
b b b
?
b b b
∑
∑
∑
∑
∑
∑
4
4
4
˙
mf
˙
mf
˙
mf
˙
˙
˙
. ˙
. ˙
. ˙
œ
œ
œ
w
p
w
p
w
p
w
w
w
w
w
w
PEV01 – 73

Fl.
446
& b b b
œ œ ˙
f
˙
˙
w
R1
w
p
˙
˙
Ob.
& b b b
œ œ ˙
f
˙
˙
w
nw
p
˙
˙
Cl.
Bn
& b
?
b b b
œ œ ˙
f
œ œ ˙
f
˙
˙
˙
˙
w
w
w
p
w
p
˙
˙
˙
˙
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
Solo
& b b b
f
œ œ œ.
J œ
œ ‰ œ œ.
J
œ
J
œ œ œ œ
˙
p
‰ j œ œ œ œ.
œ œ œ
j
œ ⇥ r
œ
œ
j
œ
œ
j
œ
bowed his head,
in
vow to still those
voi - ces of the night. And so from out the eyes of men that dark dream-truth was
Chor.
& b b b
∑
∑
∑
∑
∑
Vn I
446
& b b b
œ œ ˙
f
˙
˙
w
R1
w
p
˙
˙
Vn II
Va
Vc.
D.B.
& b b b
B b b b
?
b b b
?
b b b
œ œ ˙
f
œ œ ˙
f
œ œ ˙
f
œ œ ˙
f
˙
˙
˙
˙
˙
˙
˙
˙
w
w
w
w
nw
p
w
p
w
p
w
p
˙
˙
˙
˙
˙
˙
˙
˙
PEV01 – 74

Fl.
451
& b b b
œ.
j
œ œ
Œ
∑
S1
∑
∑
∑
Ob.
& b b b
œ.
j
œ œ
Œ
∑
∑
∑
∑
Cl.
& b
œ.
j
nœ
œ
Œ
∑
∑
∑
∑
Bn
?
b b b
œ.
j
œ œ
Œ
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
Ó Œ
œ
f
Ó Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w
w
˙
˙
œ
œ
œ
œ œ
œ
.
˙.
œ .
˙
Solo
& b b b
œ.
j
œ ˙
∑
∑
∑
∑
Chor.
& b b b
lost a - gain;
∑
Ó Œ œ
Full chorus
f freely declaimed
˙
œ . ‰
œ
œ
œ
œ
unis.
œ œ œ œ œ œ œ
3
And
Phoe
- bus, thron - ed where the throng prays at the gol - den
Vn I
451
& b b b
œ.
j
œ œ
Œ
∑
S1
w
mf
œ œ œ œ
œ ˙.
Vn II
& b b b
œ.
j
œ œ
Œ
∑
w
mf
œ œ œ œ
œ ˙.
Va
B b b b
œ.
j
nœ
œ Œ
∑
w
mf
œ œ œ œ
œ ˙.
Vc.
?
b b b
œ.
j
œ œ
Œ
∑
w
mf
˙ œ œ
œ
˙.
D.B.
?
b b b
œ.
j
œ œ
Œ
∑
w
mf
˙ œ œ
œ
˙.
PEV01 – 75

Fl.
Ob.
Cl.
Bn
456
& b b b
& b b b
& b
?
b b b
∑
∑
∑
∑
Ó
œ œ
mf
Ó œ œ
mf
Ó
œ œ
mf
Ó
œ œ
mf
˙
˙
˙
˙
˙
ff
˙
ff
˙
ff
˙
ff
rall.
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
Uw
U
w
U
w
Uw
œ
J
‰ Œ Ó
œ
J
‰ Œ
j
œ ‰ Œ
œ
J ‰ Œ
Ó
Ó
Ó
Hn
&
∑
Ó œ bœ
mf
b˙
˙
ff
œ œ œ œ
U
nw
œ ‰ Œ
J
Ó
Cym.
ã
∑
∑
∑
∑
U
∑
∑
Hp
& b b b
˙
?
b b b
˙
n ˙
n
˙
˙
˙
œ
œ
bœ
œ
bœ
˙
˙
˙
ff
˙
œ
œ
œ
œ
œ
œ
œ
œ
U
n w
n
g u
w
j
œ ‰ Œ
j
œ ‰ Œ
Ó
Ó
Solo
& b b b
∑
∑
∑
∑
U
∑
∑
Chor.
& b b b
œ œ ‰ j œ œ œ
œ.
j
œ œ - œ -
˙
ff pesante
˙
œ
J ‰ œ œ œ
œ
U
˙
U
˙
œ ‰ Œ
J
Ó
por - tal, a - gain doth shed in sun - lit song hope
un - to all things mor -
tal.
Vn I
Vn II
Va
Vc.
D.B.
456
& b b b
& b b b
B b b b
?
b b b
?
b b b
˙
˙
˙
˙
˙
˙
n˙
˙
˙
˙
˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙
˙
˙
˙
˙
˙
ff
˙
ff
˙
ff
˙
ff
˙
ff
rall.
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
U
w
U
w
nw U
U
w
U
w
œ
J
‰ Œ
j
œ ‰ Œ
œ
J ‰ Œ
j
œ ‰ Œ
j
œ ‰ Œ
Ó
Ó
Ó
Ó
Ó
PEV01 – 76

Flute
Oboe
Clarinet in Bb
Bassoon
462
& b b b
4
˙
f
& b b b
& b
?
b b b
5. Go Forth in Bliss
Allegro moderato alla marcia q = 108
Cue: hallowed image home
4
4
4
˙
f
˙
f
˙
f
œ œ
œ œ
œ œ
œ œ
˙
˙
˙
˙
œ œ
œ œ
œ œ
œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙
˙
˙
˙
U
˙
U
˙
U
˙
U˙
T1
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Horn in F
&
4
∑
∑
∑
U
∑
∑
∑
∑
∑
Cymbals
ã
4
∑
∑
∑
U
∑
∑
∑
∑
∑
Harp
& b b b
?
b b b
4
4
˙
f
˙
œ
œ
œ
œ
œ
˙
˙
œ
œ
œ
œ
œ œ œ œ
œ œ œ œ œ œ œ
˙
˙
˙
U
˙
˙
u
∑
∑
∑
∑
∑
∑
∑
∑
Chorus (SS)
& b b b
4
∑
∑
∑
U
∑
∑
∑
∑
∑
Chorus (A)
& b b b
4
∑
∑
∑
U
∑
Altos only
f risoluto
˙ œ œ
œ.
j
œ œ
œ
˙
˙
œ œ œ œ
Go
forth in
bliss, o ye whose
lot
God
shield-eth, that ye
Violin I
Violin II
Viola
Violoncello
Double Bass
462
& b b b
4
˙
f
& b b b
B b b b
?
b b b
?
b b b
Allegro moderato alla marcia q = 108
4
4
4
4
˙
f
˙
f
˙
f
œ œ
œ œ
œ œ
œ œ
∑
˙
˙
˙
˙
œ œ
œ œ
œ œ
œ œ
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
∑
˙
˙
˙
˙
U
˙
U
˙
U˙
U˙
U
∑
T1
˙
f
˙
f
˙
f
˙
f
˙
f
œ œ
œ œ
œ œ
œ œ
œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙ œ œ
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
PEV01 – 77

Fl.
470
& b b b
∑
∑
∑
∑
∑
∑
U1
poco più animato
∑
∑
∑
Ob.
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cl.
& b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bn
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hn
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
S
& b b b
∑
∑
∑
∑
∑
∑
Ó
Sopranos only
mp
˙
˙.
œ
œ œ œ œ
O
great
in
our dull world of
A
& b b b
. œ
j œ ˙
per - ish not!
∑
∑
∑
∑
∑
∑
∑
∑
Vn I
470
& b b b
˙
˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
œ.
j
œ ˙
U1
poco più animato
w
p
w
œ œ œ œ
Vn II
Va
Vc.
D.B.
& b b b
B b b b
?
b b b
?
b b b
˙
˙
˙
˙
˙
˙
˙
˙
˙
più f
˙
più f
˙
più f
˙
più f
œ œ
œ œ
œ œ
œ œ
˙
˙
˙
˙
œ œ
œ œ
œ œ
œ œ
˙
˙
˙
˙
˙
˙
˙
˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ.
œ.
œ.
œ.
j
œ ˙
j
œ ˙
J œ ˙
J œ ˙
w
p
w
p
w
p
˙
p
Ó
w
w
w
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ
∑
PEV01 – 78

Fl.
Ob.
Cl.
Bn
479
& b b b
& b b b
& b
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
U
œ .
mf
U
œ œ .
mf
U
# œ œ .
mf
œ Uœ
.
mf
‰ Œ
‰ Œ
‰ Œ
‰ Œ
∑
∑
∑
∑
Ó
Ó
Ó
Ó
˙
mf
˙
mf
˙
mf
˙
mf
Hn
&
∑
∑
∑
∑
U
∑
∑
Ó
˙
mf
Cym.
ã
∑
∑
∑
∑
U
∑
∑
∑
Hp
& b b b
?
b b b
∑
∑
∑
∑
∑
∑
Œ
œ œ œ œ ˙˙
f
œ œ œ œ Œ
g
˙˙
U
n˙.
.
g
˙.
u˙
Œ
Œ
∑
∑
∑
∑
S
& b b b
˙.
œ
˙.
œ
œ œ œ œ
w
mf
œ
U
œ .
‰ œ
œ œ œ.
œ
J
œ .
‰ ˙
A
& b b b
clay,
∑
and
great
∑
in
heaven's un - dy - ing gleam,
Pal - las, thy
mf
U
∑
∑ œ œ . ‰ œ
bidd-ing we o - bey;
œ œ œ.
œ
J
œ .
and
‰ ˙
Pal - las, thy
bidd-ing we o - bey;
and
Vn I
Vn II
Va
Vc.
D.B.
479
& b b b
& b b b
B b b b
?
b b b
?
b b b
˙.
˙.
˙.
. ˙
∑
œ
œ
œ
œ
w
w
w
w
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
∑
w
w
w
w
∑
U
˙.
mf
U
˙.
mf
n
U
˙.
mf
U
˙.
mf
U
∑
œ
œ
œ
œ
œ œ œ.
œ œ œ.
œ œ œ.
œ œ œ.
∑
œ
J
j
œ
j
œ
j
œ
˙
˙
˙
˙
Ó
˙
˙
˙
˙
˙
PEV01 – 79

Fl.
486
w
& b b b
V1
˙ œ œ œ.
œ ˙
J
rit. in tempo primo
œ
J ‰ Œ Ó
∑
∑
∑
∑
∑
Ob.
& b b b
w
˙ œ œ
œ.
œ
J ˙
œ ‰ Œ Ó
J
∑
∑
∑
∑
∑
Cl.
& b
w
˙ œ œ
œ.
œ
J ˙
j
œ ‰ Œ Ó
∑
∑
∑
∑
∑
Bn
?
b b b
w
˙ œ œ
œ.
œ ˙
J
œ ‰ Œ Ó
J
∑
∑
∑
∑
∑
Hn
&
w
˙ œ œ
bw
œ ‰ Œ Ó
J
∑
∑
∑
∑
∑
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
S
& b b b
ff
˙
˙
˙ œ œ
ff
œ.
œ ˙
J
œ
œ œ œ
œ.
j
œ œ œ
. ˙
œ
˙.
œ
˙
Ó
Ó
Œ
œ
bless
thee,
for mine
ears have heard
the joy and
won -der of
a
word
be - yond
my
dream,
be -
A
& b b b
˙
˙
˙ œ œ
ff
œ.
œ ˙
J
œ
œ œ œ
œ.
j
œ œ œ
. ˙
œ
˙.
œ
˙
Ó
Ó
Œ
œ
bless
thee,
for mine
ears have heard
the joy and
won -
der of
a
word
be - yond
my
dream,
be -
Vn I
486
& b b b
w
V1
˙ œ œ œ.
œ ˙
J
rit. in tempo primo
œ
œ œ œ
˙ œ œ
˙
œ œ
˙.
œ
˙
3
œ œ œ
˙
œ œ
Vn II
Va
& b b b
B b b b
w
w
˙ œ œ
˙ œ œ
œ.
œ.
œ
J ˙
œ
J ˙
œ
œ
œ œ œ
œ œ œ
˙
˙
œ œ
œ œ
˙
˙
œ œ
œ œ
. ˙
. ˙
œ
œ
˙
˙
3
œ œ œ
3
œ œ œ
˙
˙
˙
œ œ
Vc.
D.B.
?
b b b
?
b b b
w
w
˙ œ œ
˙ œ œ
œ.
œ.
j
œ ˙
j
œ ˙
œ
œ
œ œ œ
œ œ œ
˙
˙
œ œ
œ œ
˙
˙
œ œ
œ œ
˙.
˙.
œ
œ
˙
˙
œ œ œ
3
œ œ œ
3
˙
˙
œ œ
œ œ
PEV01 – 80

Fl.
495
& b b b
rit.
∑
a tempo
˙
ff
œ œ
˙
œ œ
˙
W1
˙ œ œ œ œ
œ.
J œ ˙
˙ œ œ
più f
˙
œ œ
˙
˙
X1
œ œ œ œ
Ob.
& b b b
∑
˙
ff
œ œ
˙
œ œ
˙
˙
œ œ œ œ
. œ
j œ ˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
Cl.
& b
∑
˙
ff
œ œ
˙
œ œ
˙
˙
œ œ œ œ
˙
˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
Bn
?
b b b
∑
˙
ff
œ œ
˙
œ œ
˙
˙
œ œ œ œ
˙
˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
Hn
&
∑
b˙.
ff
œ
˙.
œ
˙
˙
b˙
˙
w
b˙.
œ
˙.
œ
˙
˙
˙
œ œ
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
& b b b
?
b b b
˙.
f
. ˙. ˙
œ
œ
.
˙.
. ˙. ˙
Œ
Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
S
& b b b
˙.
œ
˙.
j
œ ‰
∑
∑
∑
∑
∑
∑
∑
∑
-yond
my
dream.
A
& b b b
˙.
œ
˙.
j
œ ‰
∑
∑
∑
∑
∑
∑
∑
∑
-yond
my
dream.
Vn I
495
& b b b
rit.
˙.
œ
a tempo
˙ œ œ
ff
˙
œ œ
˙
˙
W1
œ œ œ œ
. œ
j œ ˙
˙
più f
œ œ
˙
œ œ
˙
˙
X1
œ œ œ œ
Vn II
Va
& b b b
B b b b
w
w
˙
ff
˙
ff
œ œ
œ œ
˙
˙
œ œ
œ œ
˙
˙
˙
˙
œ œ œ œ
œ œ œ œ
˙
˙
˙
˙
˙
più f
˙
più f
œ œ
œ œ
˙
˙
œ œ
œ œ
˙
˙
˙
˙
œ œ œ œ
œ œ œ œ
Vc.
?
b b b
. ˙
œ
˙
ff
œ œ
˙
œ œ
˙
˙
œ œ œ œ
˙
˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
D.B.
?
b b b
. ˙
œ
˙
ff
œ œ
˙
œ œ
˙
˙
œ œ œ œ
˙
˙
˙
più f
œ œ
˙
œ œ
˙
˙
œ œ œ œ
PEV01 – 81

Fl.
& b b œ
b
505
.
œ ˙
J
poco animato
˙.
mf
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
. ˙
œ
œ œ œ œ
˙
˙
Ob.
& b b b
œ.
j
œ ˙
˙.
mf
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
œ
œ œ œ œ
˙
˙
Cl.
& b
œ.
j
œ ˙
˙.
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
œ
œ œ œ œ
˙
˙
Bn
?
b b b
œ.
j
œ ˙
˙.
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
œ
œ œ œ œ
˙
˙
Hn
&
w
∑
∑
∑
∑
œ œ ˙
mf
n˙.
Œ
∑
Ó
˙
f
Cym.
ã
∑
∑
∑
∑
∑
∑
∑
∑
∑
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Hp
?
b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
S
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
A
& b b b
∑
∑
∑
∑
∑
∑
∑
∑
∑
Vn I
505
& b b b
œ.
j
œ ˙
poco animato
˙.
œ œ œ œ œ
mf
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
œ
œ œ œ œ
˙
˙
Vn II
Va
& b b b
B b b b
œ.
œ.
j
œ ˙
j
œ ˙
˙.
mf
˙.
mf
œ
œ
œ œ œ œ
œ œ œ œ
œ œ ˙
œ œ ˙
œ œ œ œ
œ œ œ œ
œ œ ˙
œ œ ˙
. ˙
n˙.
œ
œ
œ œ œ œ
œ œ œ œ
˙
˙
˙
˙
Vc.
?
b b b
œ.
j
œ ˙
˙.
mf
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
œ
œ œ œ œ
˙
˙
D.B.
?
b b b
œ.
j
œ ˙
˙.
mf
œ
œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ ˙
˙.
Œ
∑
Ó
˙
PEV01 – 82

Fl.
Ob.
Cl.
Bn
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
& b b ˙ ˙
514
b
& b b b
& b
?
b b b
&
ã
& b b b
?
b b b
& b b b
& b b b
514
& b b b
& b b b
B b b b
?
b b b
?
b b b
˙ ˙
˙ ˙
˙ ˙
w
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
Y1
˙
˙
˙
˙
˙
Y1
˙
˙
˙
˙
˙
œ œ
œ œ
œ œ
œ œ
˙
∑
∑
∑
∑
∑
œ œ
œ œ
œ œ
œ œ
œ œ
œ.
ff
œ.
ff
œ.
œ.
œ.
w
f
œ.
œ.
œ.
œ.
œ.
œ ˙
J
J œ ˙
J œ ˙
J œ ˙
j
œ ˙
clashed
ff
∑
∑
∑
∑
J œ ˙
J œ ˙
J œ ˙
J œ ˙
J œ ˙
rall. al fine
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ bœ
∑
∑
∑
∑
∑
œ
rall. al fine
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙
˙
˙
˙
˙
w
ff
w
˙
˙
˙
˙
˙
œ œ œ
3
3
œ œ œ
3
œ œ œ
œ œ œ
3
œ œ œ
∑
∑
∑
3
3
œ œ œ
3
œ œ œ
3
œ œ œ
œ œ œ
3
œ œ œ
3
. ˙ œ œ ˙
˙ œ œ
˙ œ œ ˙.
˙ œ œ ˙.
˙ œ œ ˙.
b˙
œ œ
∑
˙.
.
˙ œ œ ˙.
.
˙
˙. ˙
œ œ
∑
∑
˙ œ œ ˙.
˙ œ œ ˙.
˙ œ œ ˙.
˙ œ œ ˙.
molto rall.
. ˙
∑
∑
∑
œ
œ
œ
œ
œ
œ
œ
molto rall.
œ
œ
œ
œ
œ
Uw
fff
U
w
fff
U
w
fff
U
w
fff
Uw
fff
U
w
fff
U
∑
g w u
U
∑
U
w
fff
U
w
fff
U
w
fff
U
w
fff
U
w
fff
U
∑
œ
J ‰ Œ Ó
j
œ ‰ Œ Ó
j
œ ‰ Œ Ó
œ ‰ Œ Ó
J
œ
J ‰ Œ Ó
∑
œ
J
‰ Œ Ó
j
œ ‰ Œ Ó
∑
∑
j
œ ‰ Œ Ó
j
œ ‰ Œ Ó
j
œ ‰ Œ Ó
œ ‰ Œ Ó
J
œ ‰ Œ Ó
J
PEV01 – 83

THE
VAUGHAN
WILLIAMS
COLLECTION
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.”
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
New Zealand
www.prometheaneditions.com
Printed in New Zealand • PEV01 • PNY PREPEV01
Ralph Vaughan Williams Iphigenia in Tauris PEV01