Incidental music to Electra (Preview)

RALPH VAUGHAN WILLIAMS
Incidental music to Electra

RALPH VAUGHAN WILLIAMS
Incidental music to Electra
Study Score
PROMETHEAN EDITIONS
WELLINGTON

Vaughan Williams Collection
Volume 3 (PEV03)
Incidental music to Electra (1911/2019)
© Vaughan Williams Charitable Trust
Published exclusively by Promethean Editions Limited
First edition © 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about the possibility of the New Zealand company issuing hitherto unpublished works by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
7 The Globe, 25 May 1912.
B MS 71480 Chorus parts, mulitple copies, complete
C MS 71479 Vocal short scores and sketches, incomplete
D MS 71479 Full scores, incomplete
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
I 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
Oboe
#
&
#
&
1. Onward O Labouring Tread
Lento
4
4
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Soli
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Chorus (SSA)
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Violin I
Violin II
Viola
Violoncello
Double Bass
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Incidental music to Electra © The Vaughan Williams Charitable Trust
This edition © 2019 Promethean Editions Limited PEV03 – 1
ISMN: 979-0-67452-293-9

Fl.
#
&
9
poco più mosso
U
U
Ob.
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Cl.
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Soli
Chor.
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Vn II
Va
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D.B.
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ELECTRA
parlante, quite free
3
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j
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j
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On-ward O la - bour -ing tread, As on move the years; On-ward a - mid thy tears, O hap - pier
poco più mosso
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PEV03 – 2

Fl.
A
#
&
14
lunga
U
U
senza misura
U
Ob.
#
&
lunga
U
U
U
Cl.
#
& #
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lunga
U
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Hn
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lunga
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Cym.
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lunga
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lunga
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Hp
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Soli
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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.
Chor.
#
&
lunga
U
U
U
Vn I
Vn II
Va
Vc.
D.B.
A
14
#
&
#
&
B #
? #
? #
lunga
U
w
ppp
lunga
U
bw
ppp
lunga
U
bw
ppp
arco
lunga
U
bw
ppp
arco
lunga
U
bw
ppp
U
U
U
U
U
senza misura
Solo
U
U
‰ œ - œ - J œ- œ œ œ ˙
pp
3
U
U
œ œ
J
U
œ œ œ ˙
J
PEV03 – 3

Fl.
#
&
17
U
Ob.
#
&
U
Cl.
# #
& #
U
Hn
&
U
Cym.
ã
U
#
&
U
Hp
? #
u
Soli
#
&
Œ
ELECTRA
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 œ
3 3
Bro - ther, bro - ther, on some far shore Hast thou a ci - ty, is there a door That knows thy foot - fall, Wan-der -ing
˙
One?
Ó
Chor.
#
&
U
Vn I
17
#
&
U
Œ
œ œ œ œ œ
p
Vn II
Va
#
&
B #
. œ
U
‰ Ó
U
Œ
Œ
˙.
p
Tutti
˙.
pp
Vc.
? #
U
Œ ˙.
p
D.B.
? #
U
PEV03 – 4

Fl.
Ob.
Cl.
#
&
19
#
&
# #
& #
U
U
U
Hn
&
U
Cym.
ã
U
Hp
#
&
? #
U
u
Soli
Chor.
#
&
#
&
3 3
‰ j j œ œ œ œ.
œ œ
œ œ œ.
3 3
j œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Who left me, left me, when all our pain Was bit - ter a - bout us, a fa - ther slain, And a girl that wept in her room a -
U
j
œ
Vn I
19
#
&
œ.
U
‰ Ó
Vn II
#
&
œ.
U
‰ Ó
Va
B #
œ.
U
‰ Ó
Vc.
? #
. œ
U
‰ Ó
D.B.
? #
U
PEV03 – 5

Fl.
Ob.
#
&
20
#
&
U
Ó œ.
U
œ
J
pp [colla voce]
Cl.
# #
& #
U
Ó œ.
j
œ
pp [colla voce]
Hn
&
U
Ó œ.
j
œ
pp [colla voce]
Cym.
ã
U
Hp
Soli
Chor.
#
&
? #
#
&
#
&
˙
Ó
,
3
Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
-lone.
Thou couldst break me this bon - dage sore, On - ly thou, who art far a -
U
u
U
œ
J
Vn I
Vn II
20
#
&
#
&
Œ
œ œ œ œ œ
p
U
˙
ppp
U
Ó
Va
Vc.
D.B.
B #
? #
? #
Œ
˙.
pp
Œ ˙
n˙
. p
U
˙
U
˙
ppp
ppp
U
Ó
Ó
PEV03 – 6

Fl.
#
&
22
U
w
Ob.
#
&
U
Cl.
# #
& #
U
nw
Hn
&
U
w
Cym.
ã
U
Hp
Soli
Chor.
#
&
? #
#
&
#
&
U
u
,
3
˙ œ œ œ œ œ œ œ œ œ œ.
œ œ nœ
- way, Loose our fa - ther, and wake once more… Zeus, Zeus, dost hear me
U
Vn I
22
#
&
U
Vn II
#
&
U
Va
B #
U
Vc.
? #
U
D.B.
? #
U
PEV03 – 7

Fl.
#
&
23
˙
U
Ó
3
2
Ob.
Cl.
#
&
# #
& #
n˙
U
Ó
U
3
2
3
2
Hn
&
˙
U
Ó
2
3
Cym.
ã
U
3
2
Hp
#
&
? #
U
u
3
2
3
2
Soli
#
&
3 3
œ . ‰ j # œ œ œ œ œ œ # œ œ œ œ ‰ j
3
œ œ œ œ œ œ œ œ œ.
j
œ œ œ
3
2
pray?… The sleep - ing blood and the shame and the doom! O feet that rest not, o - ver the foam Of dis - tant
Chor.
#
&
U
3
2
Vn I
23
#
&
Ó
U
˙
pp
3
2
Vn II
#
&
Ó
U
# ˙
pp
3
2
Va
B #
Ó
U
˙
pp
2
3
Vc.
? #
Ó
U
˙˙
pp
3
2
D.B.
? #
2
3
PEV03 – 8

Fl.
#
&
24
a tempo
3
2
4
lunga
U
U
Ob.
Cl.
Hn
#
&
# #
& #
&
3
2
3
2
2
3
4
4
4
˙
pp
˙
˙
˙
lunga
U
lunga
U
lunga
U
U
U
U
Cym.
ã
3
2
4
lunga
U
U
Hp
#
&
? #
3
2
3
2
4
4
lunga
U
u
U
u
Soli
#
&
3
2
j
œ. œ ˙ ˙
seas, come home, come
4
w
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,
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!
Chor.
#
&
3
2
4
lunga
U
U
Vn I
Vn II
Va
Vc.
D.B.
24
#
&
#
&
B #
? #
? #
a tempo
3
2
3
2
2
3
3
2
2
3
n˙
˙ ˙ ˙
w
œ
Œ Ó
n˙
˙ ˙ ˙
4
4
4
4
4
˙
˙
Œ
˙
˙
œ œ nœ
pp
œ œ œ œ nœ
pp
œ œ œ œ nœ
pp
˙
˙
Œ
˙
˙
œ œ nœ
œ œ œ œ nœ
œ œ œ œ nœ
lunga
U
w
ppp
lunga
U
w
ppp
lunga
U
w
ppp
lunga
U
#w
ppp
lunga
U
#w
ppp
U
U
U
U
U
PEV03 – 9

Fl.
#
&
29
senza misura
U
Ob.
#
&
U
Cl.
# #
& #
U
Hn
&
U
Cym.
ã
U
#
&
U
Hp
? #
u
Soli
#
&
Œ
ELECTRA
œ œ
3
nœ
œ œ œ œ œ # œ
œ œ œ œ œ œ œ
As a swan cry - ing a - lone Where the riv - er wind-eth cold, For a loved, for a si - lent one
3
œ ‰ œ œ œ.
œ œ
Chor.
#
&
U
Vn I
29
#
&
senza misura
U
Vn II
#
&
U
Va
B #
Solo
œ œ n˙
pp
œ œ
U
œ œ ˙.
3
œ œ œ ˙.
. ˙
œ œ
Vc.
? #
U
D.B.
? #
U
PEV03 – 10

Fl.
Ob.
Cl.
#
&
33
#
&
# #
& #
U
U
U
U
U
U
B
a tempo
˙
pp
Ó
˙
pp
j
œ ‰ Œ
˙
pp
j‰ Œ
œ
˙
j
œ ‰ Œ ˙
˙
j
œ ‰ Œ
j‰ Œ
œ
Hn
&
U
U
Ó
bœ.
pp
‰
Ó . bœ
‰
Cym.
ã
U
U
#
&
U
U
Hp
? #
u
u
Soli
#
&
3
œ œ œ œ œ œ œ œ œ ‰ j œ
3
œ # œ œ œ œ.
# œ # œ œ œ œ œ œ œ.
nœ
Whom the toils of the fow - ler hold, I cry, Fa-ther, to thee, O slain in mis - e - ry!
˙
Ó
Ó
Œ
œ
The
Chor.
#
&
U
U
B
Vn I
33
#
&
U
U
a tempo
˙ ˙
pp
˙
˙
Vn II
Va
Vc.
D.B.
#
&
B #
? #
? #
U
w
U
U
U
U
U
˙ .
œ.
œ
U
U
˙ ˙
pp
Tutti
œ nœ
œ ˙
pp
œ nœ
œ bœ
pp
œ nœ
œ bœ
pp
bœ
bœ
˙
˙
œ nœ
œ ˙
œ nœ
œ bœ
œ nœ
œ bœ
bœ
bœ
PEV03 – 11

Fl.
#
&
37
˙
j
œ ‰ Œ
˙
j
œ ‰ Œ
˙
j
œ ‰ Œ
˙
j
œ ‰ Œ
˙
˙
Ob.
#
&
j
œ ‰ Œ
˙
j
œ ‰ Œ
˙
j
œ ‰ Œ
˙
j
œ ‰ Œ ˙
j
œ
‰ Œ Ó
Cl.
# #
& #
˙
j
œ
‰ Œ
˙
j
œ
‰ Œ
˙
j
œ
‰ Œ
˙
j
œ
‰ Œ
Ó
b˙
Hn
&
Ó . bœ
‰
Ó . bœ
‰
Ó . bœ
‰
Ó . bœ
‰
Cym.
ã
#
&
Hp
? #
Soli
#
&
j
œ œ
j
œ ˙
j
œ . œ œ œ
Œ
œ œ
wa - ter, the wan wa -ter,
Lapped him, and his head Drooped in the bed of slaugh-ter
˙
œ œ œ œ.
j
œ
j
œ œ.
˙
Low,
Chor.
#
&
Vn I
37
#
&
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
Vn II
#
&
˙
˙
˙
˙
˙
˙
˙
˙
j
œ
‰ Œ
#˙
Va
B #
œ nœ
œ ˙
œ nœ
œ ˙
œ nœ
œ ˙
œ nœ
œ ˙
˙
˙
Vc.
? #
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ
nœ
œ bœ
3
bœ
nœ
D.B.
? #
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ nœ
œ bœ
bœ
œ
nœ
œ bœ
3
bœ
nœ
PEV03 – 12

Fl.
Ob.
Cl.
#
&
42
#
&
# #
& #
j
#œ
U
‰ Œ Ó
j
œ ‰ Œ
U
U
Ó
˙.
f
˙
˙
˙
pp
j
œ ‰ Œ
˙
pp
U
˙
U
U
Hn
&
U
˙.
f
˙
˙
˙
pp
j
œ
‰ Œ
Ó
con sord.
U
œ.
p
‰
Cym.
ã
U
U
#
&
U
U
Hp
? #
u
u
#
&
#
&
42
#
&
#
&
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 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
Soli
U
‰ j # œ œ œ.
# œ œ
f
nœ
œ œ nœ
œ
bœ.
j
œ b˙
œ bœ
œ œ.
as one wear - i-èd;
Woe for the edg - èd axe, And woe for the heart of hate, Hound-like a -bout thy
j
nœ
freely
3
˙ œ œ.
œ œ
œ
Chor.
U
U
Vn I
Vn II
Va
Vc.
D.B.
U
#w
ppp
U
j ‰ Œ Ó
œ
ppp
U
j ‰ Œ Ó
#œ
ppp
U
#w
ppp
j U
# œ ‰ Œ Ó
ppp
˙
f dim.
˙
f dim.
nœ
œ
œ nœ
œ bœ
f dim.
œ nœ
œ bœ
f dim.
œ nœ
œ bœ
f dim.
b˙
b˙
bœ
œ
b˙
b˙
œ œ
bœ
œ œ œ
bœ
œ œ œ
˙ œ.
p
œ
Œ
œ.
p
nœ
œ bœ
bœ
nœ
œ bœ
bœ
nœ
œ bœ
bœ
j
nœ
j
œ
œ œ
œ œ
œ œ
˙
pp
U
˙
U
j ‰ Œ Ó
nœ
pp
U
œ nœ
œ b˙
pp
U
œ nœ
œ b˙
pp
U
œ nœ
œ b˙
pp
PEV03 – 13

Fl.
#
&
47
˙
˙
j
œ ‰ Œ Ó
3
2
4
Ob.
#
&
3
2
4
Cl.
# #
& #
3
2
4
Hn
&
Ó
œ.
‰
3
2
4
Cym.
ã
3
2
4
#
&
3
2
4
Hp
? #
3
2
4
Soli
#
&
œ œ œ.
œ nœ
. œ
œ ˙
Œ
3
2
Œ
œ œ œ œ nœ.
tracks, O con - quer-or
des - o-late,
From Troy o - ver land and sea, Till a wife stood wait -
j
œ
4
œ œ œ œ œ
œ.
j
œ ˙
ing thee;
Chor.
#
&
2
3
4
Vn I
Vn II
Va
Vc.
D.B.
47
#
&
#
&
B #
? #
? #
˙
œ nœ
œ nœ
pizz.
œ nœ
˙
œ bœ
œ bœ
œ bœ
bœ
bœ
bœ
˙
Ó
˙
œ nœ
œ nœ
˙
bœ
bœ
pp
˙
œ bœ
œ bœ
bœ
bœ
2
3
3
2
3
2
3
2
2
3
˙
Ó
˙
w
bw
w
œ nœ
œ bw
œ nœ
œ bw
4
4
4
4
4
˙
Ó
˙
˙
b˙
˙
œ nœ
œ b˙
œ nœ
œ b˙
w
ppp
w
ppp
bw
ppp
bw
ppp
bœ
Œ
ppp
Ó
PEV03 – 14

C
Fl.
Ob.
Cl.
Hn
#
&
52
#
&
# #
& #
&
lunga
U
lunga
U
lunga
U
lunga
U
più lento
j
˙ nœ
bœ
ppp
˙
ppp
j
œ
œ
J
œ œ J
senza sord.
˙
ppp
j
œ œ
j
œ
œ.
œ.
œ.
j
nœ
j
œ bœ
j
œ
œ œ œ # œ
J J J
j
œ
˙
˙
j
œ œ J œ ˙
n˙
˙
˙
˙
˙
˙
n˙
˙
˙
poco più mosso
Œ œ - œ - nœ
-
Œ œ œ - -
nœ
-
Œ
Œ
f pesante
f pesante
œ - œ - # œ -
f pesante
œ - œ - # œ -
f pesante
# ˙ œ œ nœ
# ˙ œ œ nœ
# ˙ œ œ nœ
# ˙ œ œ œ
˙ œ . ‰
˙ œ . ‰
˙ . œ
˙ œ.
‰
‰
n b b
n b b
n n
n
Cym.
ã
lunga
U
#
&
lunga
U
n b b
Hp
? #
u
n b b
Soli
#
&
ELECTRA (spoken)
n b b
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.
#
&
lunga
U
n b b
C
Vn I
Vn II
52
#
&
#
&
lunga
U
˙.
lunga
U
˙.
j
œ ‰
j‰
œ
più lento
poco più mosso
Œ œ - œ - nœ
-
f pesante
Œ œ - œ - nœ
-
f pesante
# ˙ œ œ nœ
# ˙ œ œ nœ
˙
˙
˙
˙
n b b
n b b
Va
Vc.
D.B.
B #
? #
? #
lunga
U
˙.
lunga
U
˙.
lunga
U
j
œ ‰
j
œ ‰
Œ œ - œ - nœ
-
Œ
Œ
f pesante
œ - œ - nœ
-
f pesante
arco
œ - œ - nœ
-
f pesante
# ˙ œ œ nœ
# ˙ œ œ nœ
# ˙ œ œ nœ
˙
˙
˙
˙
˙
˙
n b b
n b b
n b b
PEV03 – 15

Fl.
60
& b b
Moderato
senza misura
U
Ob.
& b b
U
Cl.
&
U
Hn
&
U
Cym.
ã
U
& b b
U
Hp
?
b b
u
Soli
Chor.
& b b
Chorus
& b b [ p ]
œ œ œ œ œ œ ‰ j œ œ œ
Child of the migh - ty dead, E - lec - tra,
Soprano Solo (from Chorus)
[ pp ]
œ œ œ œ œ œ.
J
nœ
œ œ œ
J œ.
3
œ œ œ œ œ œ œ œ œ
J
Lo, my way To thee in the dawn hath sped, And the cot on the moun - tain
U
Vn I
60
& b b
Moderato
j
œ ‰ Œ
Ó
senza misura
U
Vn II
& b b
j
œ ‰ Œ
Ó
U
Va
B b b
j
œ ‰ Œ
Ó
U
Vc.
?
b b
j
œ ‰ Œ
Ó
U
D.B.
?
b b
j
œ ‰ Œ
Ó
U
PEV03 – 16

Fl.
63
& b b
œ œ œ nœ
œ œ .
p
nœ
œ
J œ bœ
œ œ nœ
œ
a tempo
w
œ œ œ nœ
5
œ
. œ
‰ Ó
Ob.
& b b
U
Cl.
&
U
Hn
&
U
Cym.
ã
U
Hp
& b b
?
b b
U
u
n
˙
p
n
˙
œœ b
bœ b
œ
œ œ
b
b˙
˙
b˙
b˙
n ˙
n
˙
Soli
& b b
˙
U
Ó
‰ j œ œ œ œ.
j
œ
. ˙
œ
˙
Ó
Chor.
& b b
grey
U
For the Watch - er
hath
cried
this
day:
pp
œ
œ œ œ œ œ
He
œ
œ
œ
œ
œ
œ.
j
œ
œ
œ
œ
3
œ
œ œ œ
of the an - cient folk, The wal - ker of
Vn I
Vn II
Va
Vc.
D.B.
63
& b b
& b b
B b b
?
b b
?
b b
U
U
U
U
U
a tempo
˙ œ œ
pp
n˙
pp
˙.
pp
˙
pp
pizz.
˙
pp
b˙
œ
œ
œ
œ
œ
˙
˙
b˙
œ nœ
˙
b˙
b˙
nœ
˙
˙
œ
PEV03 – 17

Fl.
68
& b b
D
œ
f
œ œ nœ
œ œ.
nœ
J
Ob.
& b b
Cl.
&
œ
f
œ œ # œ œ nœ.
j
#œ
Hn
&
Cym.
ã
Hp
& b b
?
b b
bœ
œ b
bœ
b
˙˙
b œ œ b
b
˙˙
b b ˙
b
b ˙
b
œ
bœ
n œ
n
œ
n n˙
n
n ˙
Œ
Œ
n Œ Ó
nœ
œ
Œ
Ó
n
œ œ
b˙
f
n œ
œ b
b
˙˙
Soli
& b b
Chor.
& b b
œ
œ
œ
œ
œ
œ.
j
œ
œ
waste and hill, Who
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ.
œ.
mf
‰ œ œ
œ œ
œ œ
drink-eth the milk of the flock; And he told of He - ra’s
[ f ]
˙ Œ œ
.
œ
will; For the
Vn I
68
& b b
œ œ ˙
˙ œ œ
˙.
D
œ.
‰ Ó
Vn II
& b b
b˙
b˙
˙
bœ
œ
˙.
œ.
‰ Ó
Va
B b b
œ œ ˙
b˙
œ œ
n
˙.
œ.
‰ Ó
Vc.
?
b b
œ
œ
b˙
b˙
bœ
bœ
. ˙. n˙
œ
nœ
.
‰ Ó
D.B.
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 ?
b b œ
bœ 4 3 4
œ b˙
b˙
bœ
Œ Œ
nœ
œ
Œ
Ó
PEV03 – 18

Fl.
73
& b b
œ œ bœ
œ œ nœ
3
œ
œ
œ œ nœ
œ œ nœ
3
œ
œ œ nœ
œ œ
œ œ ˙
Ob.
& b b
œ
f
œ œ nœ
œ œ nœ
3
œ
b˙
˙
œ . ˙
Cl.
&
3
œ œ nœ
œ œ # œ œ
œ
œ œ # œ œ nœ
3
# œ œ
nœ
œ ˙
œ
bœ
˙
Hn
&
œ œ ˙
f
œ œ ˙
Cym.
ã
Hp
& b b
?
b b
n
œ œ
b œ
n œ
œ bœ b œ
œ
œ
œ
n
n˙
n
˙
œ
œ
b b œ
b œ
bœ
b
˙
˙
Soli
& b b
Chor.
& b b
œ
œ
nœ
œ œ œ œ œ œ
nœ œ œ œ œ œ œ
œ.
œ.
œ
œ œ œ
mor - row’s mor - row now They cry her fes - ti -val, And be - fore her throne shall bow Our dam - sels
œ
œ
œ
œ
œ
œ
œ
œ
nœ
nœ
œ
œ
œ
œ
œ
œ
œ
bœ
. œ . œ
œ
j œ
Vn I
Vn II
73
& b b
& b b
Va
B b b
Vc.
D.B.
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 ?
b b
4 3 4 ?
b b 4 3 4 œ
f
œ
˙
œ
bœ
˙
PEV03 – 19

Fl.
Ob.
Cl.
Hn
Cym.
77
& b b
& b b
&
&
ã
œ
f
œ
f
œ
f
j
œ ‰ Œ
p
œ œ nœ
œ œ.
œ œ nœ
œ œ.
œ nœ
# œ œ nœ.
Ó
nœ
J
nœ
J
j
#œ
œ œ bœ
œ œ bœ
œ œ nœ
œ œ
œ œ
œ œ
nœ
nœ
œ œ œ œ
œ œ œ œ
# œ œ œ œ œ
˙.
˙.
˙.
œ
J ‰
œ
J ‰
j
œ ‰
lunga
U
lunga
U
lunga
U
lunga
U
lunga
U
& b b
n
œ
œ
b˙
Œ
œ œ
œ œ
œ œ
lunga
U
Hp
?
b b
n b
œ
œ
b
˙˙
Œ
f pesante
œ œ
œ œ
œ œ
u
Soli
& b b
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?
Chor.
& b b
˙˙
Ó
lunga
U
all
Vn I
Vn II
Va
Vc.
D.B.
77
& b b
& b b
B b b
?
b b
j
œ ‰ Œ
Ó
4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 4 5 4 ?
b b 4 5 4 lunga
U
w
pppp
lunga
U
#w
pppp
lunga
U
#w
pppp
lunga
#w U
pppp
lunga
U
PEV03 – 20

Fl.
Ob.
Cl.
Hn
82
& b b
& b b
&
&
U
U
U
U
E
a tempo
œ œ œ nœ
œ œ J ‰ Œ
f
œ œ œ nœ
œ ˙
f
œ œ œ # œ œ œ j ‰ Œ
f
Ó ˙
f
œ
J ‰ Œ Ó
p
j
œ ‰ Œ Ó
p
œ
f
œ
f
œ œ nœ
œ œ
nœ
œ œ # œ œ œ # œ
œ œ bœ
œ œ nœ
œ
3
3
œ œ nœ
œ œ # œ œ
Cym.
ã
U
Hp
& b b
?
b b
U
u
n
œ œ
œ
b
œ
mf
n œ
œ bœ b n
œ n
œ b
˙
b
˙
n
œ n
œ
Soli
& b b
For Troy, that was burned with fire
And forgetteth not?
Chor.
& b b
U
Ó
f
œ
œ
œ
œ œ œ
˙
˙
5
œ
œ œ œ œ œ œ
œ œ œ
,
j
nœ
nœ
j œ
œ
œ
œ œ œ œ œ
˙
œ
He
- ra is
great!— Ah, come, Be
kind; and
my hand shall
bring
Fair
Vn I
82
& b b
U
E
a tempo
Vn II
& b b
U
Va
B b b
U
Vc.
?
b b
U
D.B.
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 ?
b b U
4 3 4 PEV03 – 21

Fl.
87
& b b
œ
œ œ nœ
œ œ .
‰
œ œ œ nœ
œ œ nœ
3
œ
œ œ
nœ
œ œ
œ œ ˙
œ . ‰ Ó
p
Ob.
& b b
œ
f
œ œ nœ
œ œ .
‰
œ œ œ nœ
œ œ nœ
3
œ
˙
˙
œ . ˙
œ.
p
‰ Ó
Cl.
&
œ
œ œ # œ œ œ . ‰
3
œ œ œ # œ œ œ # œ œ
nœ
œ ˙
œ bœ
˙
#œ.
‰ Ó
Hn
&
œ œ
f
˙
œ œ ˙
œ.
p
‰ Ó
Cym.
ã
Hp
& b b
?
b b
n
œ
œ
b˙
n b
œ
œ
b
˙˙
n
œ
œ
b˙
n b
œ
œ
b
˙˙
œ
œ
œ
œ
n
n˙
n
˙
œ
œ
b b œ
b œ
bœ
b
˙
b
˙
nœ
œ
Œ
Œ
Ó
Ó
Soli
& b b
Soprano Solo (from Chorus)
Œ ‰ œ œ œ œ œ œ
Deem-est thou that this thy
Chor.
& b b
œ
œ
œ
œ
3
œ n
œ n
œ œ
œ.
œ.
j
œ
œ
œ n
œ n
œ œ
œ œ
rai - ment, work of the loom, And ma - ny a gol - den thing, For joy - ous robe
3
œ
œ
œ
œ
nœ
nœ
œ
œ
œ
œ
œ
œ
œ
bœ
˙
˙
-
nœ œ ˙
wear - ing.
j
œ
‰
Vn I
87
& b b
Vn II
& b b
Va
B b b
Vc.
D.B.
4 4 4 4 4 4 4 4 4 4 4 4 ?
b b 4 ?
b b 4 œ
f
œ
˙
œ bœ
˙
w
pp
arco
w
pp
PEV03 – 22

Fl.
92
& b b
U
F
Ob.
& b b
U
Cl.
&
U
Hn
&
U
Cym.
ã
U
Hp
& b b
?
b b
U
u
n ˙
pp
n
˙
Ó
Ó
Soli
Chor.
& b b
& b b
œ.
j
œ œ œ œ œ œ œ.
j
œ œ œ œ œ œ.
woe Shall rise un - to God as prayer, Or bend thy hat - ers low? Doth
U
j
œ
œ
nœ
œ œ.
j œ
God for thy pain have
‰ Ó
œ.
care?
pp
Œ œ
œ
œ
œ
œ œ
œ œ
Not
tears for the
Vn I
Vn II
Va
92
& b b
& b b
B b b
U
U
U
F
con sord.
w
pp
con sord.
nw
pp
con sord.
w
pp
Vc.
?
b b
U
w
˙.
j
œ ‰
con sord.
w
pp
D.B.
?
b b
U
w
˙.
j
œ ‰
pizz.
˙
pp
Ó
PEV03 – 23

Fl.
95
& b b
Ob.
& b b
Cl.
&
Hn
&
Cym.
ã
Hp
& b b
?
b b
bœ
œ b
bœ
b
˙˙
b œ œ b
b
˙˙
n
˙
n
˙
bœ b bœ œ œ
œ œ
b
˙
b˙
b˙
bb ˙
b ˙
b˙
b
b
œ
bœ
bœ
b b œ
bbœ b b bb ˙
bb
b
˙˙
Œ
n œ
pp -
Œ œ -
œ -
œ -
œ -
œ -
Soli
& b b
Chor.
& b b
œ
œ
œ
œ
œ
œ.
dead nor sighs,
j
œ
œ
But
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ.
j
œ
œ
œ
œ
œ
œ
wor-ship and joy di - vine Shall win thee peace in thy skies, O daugh - ter
œ
œ
œ
œ œ b
œ b
˙˙
œ
œ
b œ œ.
bœ œ.
j
œ
œ
˙
˙
mine!
j
œ ‰ Œ
œ
Vn I
95
& b b
œ œ ˙
˙ œ œ
˙
˙
œ œ b˙
˙
˙
˙
j‰ Œ
œ
Vn II
& b b
b˙
b˙
œ
nœ
b˙
b˙
˙
bœ
œ ˙
˙
˙
n˙
j
œ ‰ Œ
Va
B b b
œ œ ˙
nœ
˙ œ
˙
b˙
œ
bœ
b˙
˙
bn˙
˙
j
œ ‰ Œ
Vc.
?
b b
œ
œ
b˙
˙
œ
œ
b˙
b˙
bœ
bœ
b
˙˙
˙
˙
˙
j
œ ‰ Œ
D.B.
?
b b
œ
œ
b˙
˙
œ
œ
b˙
b˙
bœ
bœ
b˙
˙
˙
˙
Ó
PEV03 – 24

Fl.
Ob.
Cl.
Hn
Cym.
Hp
Soli
Chor.
Vn I
Vn II
Va
Vc.
D.B.
lunga
n n #
101
& b b
U
lunga
?
b b arco
U
Œ œ n n #
- œ - œ -
pp
& b b
&
&
ã
& b b
?
b b
& b b
lunga
U
lunga
U
lunga
U
lunga
U
lunga
U
u
ELECTRA (spoken)
No care cometh to God
n n #
# # #
n n #
n n #
n n #
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.
& b b
lunga
U
n n #
101
& b b
lunga
U
nw
ppp
œ n œ- - œ -
n n #
& b b
lunga
U
#w
ppp
œ œ- - œ -
n n #
B b b
lunga
U
#
#
w
ppp
œ #
œ-
œ -
œ -
n n #
lunga
?
b b U
#
#
# w
œ œ
ppp
-
pp
œ -
œ -
n n #
U
Œ
U
˙
U
n˙
U
n˙
U
˙
U
˙
Alto Solo (from Chorus)
p solenne
œ œ.
j
œ
On all of
Ó
ppp
ppp
Ó
˙
ppp
j
œ ‰ Œ
ppp
œ ‰ Œ
J
ppp
œ.
j
œ œ œ
Greece she wrought great
˙ œ œ
œ œ ˙
jeo-par - dy,
Œ
Œ
Œ
ppp
# nœ
œ œ.
Ah
# œ œ.
pppp
œ œ.
pppp
œ œ œ œ.
pppp
Œ
j
#
#œ œ
J
j
#œ
j
œ
#œ
J
PEV03 – 25

Fl.
#
&
106
rall.
Œ
Solo
œ œ # œ
ppp
U
# ˙ œ œ œ ˙ ˙
Ob.
#
&
U
Cl.
# #
& #
U
Hn
&
U
Cym.
ã
U
#
&
U
Hp
? #
u
Soli
#
&
‰ j œ œ œ œ œ
j
œ œ.
‰ œ j œ
Thy mo-ther’s sis - ter, He - len,— and on
˙
thee.
j
œ ‰ Œ
U
Chor.
#
&
# ˙ n
œ nn
œ
Ah
j
# œ. # j
œ œ . # œ.
nœœ
J J
# w
Ah
w
j
œ
‰ Œ Ó
J
U
Vn I
106
#
&
# ˙ œ œ
rall.
j
œ # œ.
# œ.
j œ
#w
w
j
œ ‰ Œ Ó
U
Vn II
#
&
˙ œ œ
j
œ œ . œ.
j œ
w
w
j
œ ‰ Œ Ó
U
Va
B #
˙ œ œ
j
œ œ . # œ.
j œ
w
w
j
œ ‰ Œ Ó
U
Vc.
D.B.
? #
? #
Ó
Ó
pizz.
nœ
œ œ
p pesante
pizz.
nœ
œ œ
p pesante
Ó
Ó
nœ
œ œ
nœ
œ œ
U
U
PEV03 – 26

Flute
113
& b b b b
2. O for the Ships of Troy
Moderato
Oboe
& b b b b
œ œ œ
pp
œ œ œ
œ œ œ
Clarinet in Bb
& b b
⇥
œ œ œ œ œ œ œ œ bœ
pp
œ œ
Horn in F
&
œ œ œ
pp
œ œ œ
œ œ œ
Cymbal
ã
soft stick
˙
pp
Œ
˙
Œ
Œ
˙
Œ Œ œ
Harp
& b b b b
?
b b b b
ooOPoOOo
ppp
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Chorus (SS)
& b b b b
Chorus (A)
& b b b b
Violin I
113
& b b b b
Moderato
Violin II
& b b b b
Viola
Violoncello
Double Bass
4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3
B b b b b 4 3
?
b b b b 4 3 ˙.
ppp
?
b b b b 4 3
˙.
ppp
arco
arco
˙.
˙.
˙.
pp
˙.
˙.
˙.
˙.
˙.
˙.
˙.
˙.
PEV03 – 27

Fl.
118
& b b b b
⇥ œ œ œ œ œ œ œ œ bœ
œ œ
pp
˙
œ
J
‰
⇥ œ œ œ œ œ œ œ œ bœ
œ œ
pp
Ob.
& b b b b
œ œ œ
œ œ œ
œ œ œ
œ œ œ
Cl.
& b b
j
œ ‰ Œ Œ
⇥
œ œ œ œ œ œ œ œ bœ
œ œ
j
œ ‰ Œ Œ
Hn
&
œ œ œ
œ œ œ
œ œ œ
œ œ œ
Cym.
ã
˙
Œ
Œ
˙
Œ Œ œ
& b b b b
œ
Hp
?
b b b b
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
S
& b b b b
A
& b b b b
Vn I
118
& b b b b
œ
pp
j
œ œ œ œ œ
3 3 3
j
œ
3 3 3
j
œ œ œ œ œ œ œ œ
œ
j
œ œ œ œ œ
3 3 3
j
œ
3 3 3
j
œ œ œ œ œ œ œ œ
Vn II
& b b b b
œ
pp
j
œ œ œ œ œ
3 3 3
j
œ
3 3 3
j
œ œ œ œ œ œ œ œ
œ
j
œ œ œ œ œ
3 3 3
j
œ
3 3 3
j
œ œ œ œ œ œ œ œ
Va
B b b b b
˙.
˙.
˙.
˙.
Vc.
?
b b b b
œ
pp
œ œ œ
J œ œ œ J
3 3 3
œ œ œ œ œ œ œ
J œ
3 3 3
œ
œ œ œ
J œ œ
3 3 3
œ
J
œ œ œ œ œ œ œ
J œ
3 3 3
D.B.
?
b b b b
˙.
pp
˙.
˙.
˙.
PEV03 – 28

Fl.
122
& b b b b
œ
J
‰
œ œ œ bœ
œ œ œ œ œ œ œ œ
pp
6 6
œ œ œ bœ
œ œ œ œ œ œ œ œ œ œ œ bœ
œ œ
6 6
6
˙.
f
G
œ
J
‰ Œ Œ
Ob.
Cl.
& b b b b
& b b
œ
cresc.
j
œ œ œ œ œ
3 3 3
6
j
œ
6
œ œ œ bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6
3 3 3
j
œ œ œ œ œ œ œ œ
6
6
œ œ œ bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6
˙.
f
j
œ ‰ Œ
f
6
œ œ œ œ œ œ
f
j
œ ‰ Œ Œ
œ
J ‰ Œ Œ
ff
Hn
&
œ
pp
œ œ
J
œ bœ
œ
3 3 3
cresc.
œ
J
œ œ bœ
œ
œ œ
J
œ œ
3 3 3
˙.
f
œ ‰ Œ Œ
J
Cym.
ã
Œ
˙
mp
Œ
˙
mf
Hp
& b b b b
?
b b b b
œ
œ
œ
œ
œ
œ
Œ
Œ
œ
J ‰ Œ
œ
f
œ
œ
œ
œ
Œ
ff
œ
& Œ
?
S
& b b b b
Œ œ.
Tutti
f marcato
bœ
œ
A
& b b b b
O
Œ œ.
for the
Tutti
f marcato
bœ
œ
O
for the
Vn I
Vn II
Va
Vc.
122
& b b b b
& b b b b
B b b b b
?
b b b b
j
œ ‰
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
˙
œ œ- œ- œ- œ-
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙.
œ œ -
œ -
œ - œ-
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙.
œ œ- œ- œ- œ-
pp
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙.
œ œ - œ- œ- œ-
˙.
f
˙.
f
˙.
f
˙.
f
G
˙.
fp
˙.
fp
˙.
fp
˙.
fp
D.B.
?
b b b b
˙.
˙.
˙.
f
œ
J ‰ Œ Œ
PEV03 – 29

Fl.
126
& b b b b
Ob.
& b b b b
Œ
3 3
j
œ œ œ œ œ
pp
Cl.
& b b
Hn
&
Œ
œ
pp
j
œ œ œ bœ
3 3
Cym.
ã
Œ
˙
pp
Hp
& b b b b
?
b b b b
Œ
pp
œ
œ
S
& b b b b
bœ
œ œ.
ships of Troy,
j
œ
the
œ b œ œ.
beat Of oars
j
œ
that
3
nœ
œ œ œ œ œ œ ‰ œ
j
shim-mered In - nu - mer - a - ble and
œ.
œ œ œ œ œ
danc - ing feet Of Ner - eids
œ œ œ œ œ
glim - -
œ
mered;
A
& b b b b
bœ
œ œ.
ships of Troy,
j
œ
the
œ b œ œ.
beat Of oars
j
œ
that
3
nœ
œ œ œ œ œ œ ‰ œ
j
shim-mered In - nu - mer - a - ble, and
œ.
œ œ œ œ œ
danc - ing feet Of Ner - eids
œ œ œ œ œ
glim - -
œ
mered;
Vn I
126
.
& b b b b
˙
˙.
˙.
˙.
˙.
Vn II
& b b b b
˙.
˙.
˙.
˙.
˙.
Va
B b b b b
˙.
˙.
˙.
˙.
œ
Ÿ~~~~~~~~~~~~~
˙
Vc.
?
b b b b
˙.
˙.
˙.
˙.
œ
J
Ÿ~~~~~~~~~~~~~
‰ ˙
D.B.
?
b b b b
pizz.
Œ œ Œ
p
PEV03 – 30

Fl.
131
& b b b b
⇥ œ œ œ œ œ œ œ œ bœ
œ œ
pp
œ
J
‰ Œ Ó
Ob.
& b b b b
œ
j
œ œ œ œ >
œ
f
3 3
> œ Œ Ó
Cl.
& b b
⇥
œ œ œ œ œ œ œ œ bœ
œ œ
pp
j
œ ‰ Œ Œ Œ
Hn
&
œ
j
œ œ œ bœ
3 3
œ
Cym.
ã
˙
Œ
Hp
& b b b b
?
b b b b
œ
Œ œ
f
Œ œ œ
œ Œ Ó
œ
Œ Ó
S
& b b b b
Œ Œ œ
f marcato
œ œ œ œ œ bœ
œ.
j
œ œ œ œ œ
œ
nœ
œ œ
And
dol
- phins, drunk-en with the
lyre, A - cross the dark blue
prows, like fire, Did
A
& b b b b
Œ Œ œ
f marcato
œ œ œ œ œ bœ
œ.
j
œ œ œ œ œ
œ
nœ
œ œ
And
dol
- phins, drunk-en with the
lyre, A - cross the dark blue
prows, like fire, Did
Vn I
131
.
& b b b b
˙
w
w
˙.
Vn II
& b b b b
˙.
w
w
˙.
Va
B b b b b ~~~
˙.
w
w
˙.
Vc.
?
b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b b ˙.
œ
Œ
˙
p
w
˙.
D.B.
4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 4 4 3 4 ?
b b b b 4 4 3 4 PEV03 – 31

Fl.
135
& b b b b
Ob.
& b b b b
Cl.
& b b
Hn
&
Cym.
ã
& b b b b
Hp
?
b b b b
S
& b b b b
œ œ œ œ œ œ ‰ j œ
œ
3
j œ œ.
j œ
3
œ œ œ œ œ œ
bœ
œ œ œ.
œ œ
œ.
œ œ œ
bound and qui - ver, To
cleave the way
for
The - tis’ son, Fleet-in - the - wind A - chil-les, on To
war, to war, till
A
& b b b b
œ œ œ œ œ œ ‰ j œ
œ
3
j œ œ.
j œ
3
œ œ œ œ œ œ
bœ
œ œ œ.
œ œ
œ.
œ œ œ
bound and qui - ver, To
cleave the way
for
The - tis’ son, Fleet-in - the - wind A - chil-les, on To
war, to war, till
Vn I
135
& b b b b
w
˙.
˙.
˙.
˙.
Vn II
& b b b b
w
˙.
˙.
˙.
˙.
Va
B b b b b
w
˙.
˙.
˙.
˙.
Vc.
?
b b b b
w
˙.
˙.
˙.
˙.
D.B.
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
?
b b b b 4 4 3
PEV03 – 32

Fl.
Ob.
Cl.
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
n n n n #
& b b H
140
b b
U
?
b b b b pizz.
Œ Œ œ
U
p
n n n n#
& b b b b
U
n n n n #
& b b
ΠΠj
œ ˙ œ ‰ U
pp
n n # #
#
&
ã
& b b b b
Œ Œ
j
œ ˙ œ ‰ U
pp
U
U
n n n n #
?
b b b b
Œ Œ
œ
Œ
œ œ
u
ppp
n n n n#
& b b b b œ
U
bœ
œ œ œ œ nœ
œ œ œ œ œ œ œ ˙
n n n n#
Troy be won Be - side the reed - - - y ri - ver.
& b b b b œ
U
bœ
œ œ œ œ nœ
œ œ œ œ œ œ œ ˙
n n n n #
Troy be won Be - side the reed - - - y ri - ver.
˙
140
& b b .
œ
H
b b
3
3
J ‰ Œ Œ Œ Œ j
U
œ œ œ œ œ ˙ œ n˙
p
pp
& b b b b ˙.
œ
3
3
J ‰ Œ Œ Œ Œ j
U
œ œ œ œ œ ˙ œ n˙
p
pp
n n n n#
n n n n #
B b b b b
3
˙.
œ
n n n n #
J ‰ Œ Œ Œ Œ j 3
U
œ œ œ œ œ ˙ œ n˙
p
pp
?
b b ˙.
œ
b b
J ‰ Œ Œ Œ Œ œ œ œ
J
œ œ ˙ œ
U
n˙
n n n n #
3
3
p
pp
PEV03 – 33

Fl.
#
&
145
senza misura
U
Ob.
#
&
U
Cl.
# #
& #
U
Hn
&
U
Cym.
ã
U
#
&
U
Hp
? #
u
S
#
&
U
A
#
&
Alto Solo (from Chorus)
freely
œ œ œ œ œ œ œ œ.
3
j
œ œ œ œ œ œ œ
j
œ œ 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:
Vn I
145
#
&
senza misura
U
Vn II
#
&
U
Va
B #
U
Vc.
? #
U
D.B.
? #
U
PEV03 – 34

J
Fl.
#
&
146
U
colla voce
4
w
pp
Ob.
#
&
U
4
Cl.
# #
& #
U
4
Hn
&
U
4
Cym.
ã
U
4
#
&
U
4
Hp
? #
u
4
S
#
&
Soprano Solo (from Chorus)
freely
œ œ œ œ œ # œ œ œ ‰
j
œ œ œ 3 œ œ œ œ # œ œ œ # 3
œ œ
4
œ # œ ˙
œ ‰
J
Long sought those daugh-ters of the deep, Up Pel - i - on’s glen, up Os - sa’s steep For - est en - chant -
ed,
A
#
&
U
4
Alto Solo (from Chorus)
Ó ‰ j œ
œ œ
Where Pel - eus
J
Vn I
146
#
&
U
colla voce
4
Vn II
#
&
U
4
Va
B #
U
4
Vc.
? #
U
4
D.B.
? #
U
4
PEV03 – 35

Fl.
#
&
148
w
œ œ œ œ . ˙
œ œ œ œ ˙
œ œ œ
œ
J œ j œ œ
Ob.
#
&
Cl.
# #
& #
Hn
&
Cym.
ã
#
&
Hp
? #
S
#
&
A
#
&
œ.
œ œ.
J
œ
J
œ ‰ j œ œ œ œ œ
4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 4 5 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 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3
reared a- lone, a - far, His lost sea - maid-en’s
child, the star Of Hel-
las,
œ.
œ œ
J
.
j œ œ œ
œ œ œ.
and swift help
j
œ
of
Vn I
148
#
&
Vn II
#
&
Va
B #
Vc.
? #
D.B.
? #
PEV03 – 36

Fl.
#
&
152
3
2
œ ˙
˙
j
œ ‰
4
n b
Moderato
Ob.
Cl.
#
&
# #
& #
3
2
3
2
4
4
n b
n n #
Œ
Œ
Œ
Œ
œ
>
f
œ
ff marcato
> œ
J ‰ Œ Œ
œ.
œ œ.
#œ
J
œ.
œ
J
œ
Hn
&
3
2
4
Œ Œ œ
>
f
j
œ ‰ Œ Œ
>
Cym.
ã
3
2
4
Hp
#
&
? #
2
3
3
2
4
4
n b
n b
# Œ
œ # # œ
f
# Π##
œ
œ #
# Œ
œ n œ
# Œ
œ
n
nœ
œ
S
#
&
3
2
4
n b
A
#
&
3
2
œ.
j
œ
œ # œ œ œ
war When wear - y arm - ies pant - - -
4
5
œ œ œ œ œ
œ œ Ó
ed.
n b
Œ
Œ
Alto Tutti
f risoluto
œ
There
œ.
œ œ.
nœ
J
came a man from
œ.
Troy,
œ
J
œ
and told
Vn I
Vn II
Va
Vc.
152
#
&
#
&
B #
? #
2
3
3
2
3
2
3
2
4
4
4
4
Œ
˙.
pp
Œ
˙.
pp
Œ
˙.
pp
Π.
˙
pp
n b
n b
n b
n b
Moderato
b˙.
b˙.
˙.
. ˙. ˙
j
# ‰ Œ œ n
œ
f
f
j
# ‰ Œ bœ œ
f
f
# j
œ
‰ Œ n
b
œ œœ
f
f
# j
œ
‰ Œ nœ
f
f
pizz.
pizz.
pizz.
pizz.
# Œ œ n
œ
#
n œ
Œ
n n œ
#
n Œ nœ œ œœ
# œ
Œ
œ
nœ
D.B.
? #
3
2
4
arco
Œ ˙.
pp
n 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
˙.
œ ‰ Œ nœ
J
f
f
pizz.
œ Œ nœ
PEV03 – 37

Fl.
158
& b
4
Ob.
& b
4
œ œ œ œ.
j œ
j
œ ‰ Ó
f marcato
Cl.
#
&
# œ œ œ œ œ
3
4
œ œ œ œ .
œ
J
œ œ œ.
œ œ
œ
j
œ ‰ œ
œ
œ.
œ ˙
j
œ ‰ Œ
p
Œ
Hn
&
4
œ œ œ œ .
f marcato
j œ
j
œ
‰ Œ Œ
Cym.
ã
4
Hp
& b
?
b
n
nœ
nœ
nœ
n˙
n˙˙
4
4
Ó Œ
œ
Ó
Œ
œ
œ
œ
Œ
Œ
Œ
Œ
œ
œ
Œ
Œ
Œ
Œ
œ
œ
Œ Œ
Œ Œ
S
& b
4
A
& b
3
nœ
œ œ œ œ
4
œ œ œ œ ‰
j
œ
Here in the ha - ven, How, orb on orb, to strike with cold The Tro - jan, o’er that
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.
œ œ
œ
j
œ ‰ œ
œ
œ.
œ œ.
targe of gold,
‰
mf
œ œ œ
Dread shapes were
Vn I
158
& b
n
œ
œ
Œ
4
Ó Œ œ œ
œ
œ
Œ
Œ
œ
Œ
Œ
œ
œ
Œ Œ
arco
œ œ œ
p
Vn II
Va
Vc.
& b
B b
?
b
n
œ
n
œ
n
œ
œ
œ
œ
Œ
Œ
Œ
4
4
4
Ó Œ
œ
Ó Œ œ œœ
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
arco
˙.
p
arco
œ œ œ
p
arco
˙.
p
D.B.
?
b
œ œ Œ
4
Ó
Œ
œ
œ Œ Œ
œ Œ
Œ
œ
Œ Œ
arco
œ œ œ
p
PEV03 – 38

Fl.
164
& b
Ob.
Cl.
& b
#
&
œ -
œ- œ-
f
œ - œ - œ -
f
œ
J ‰ Œ
Œ
œ œ # œ ‰ J œ
œ
3
# œ œ œ œ
œ.
œ
J
œ.
œ œ œ
œ
œ
Hn
&
œ -
f
œ -
œ -
j
œ ‰ Œ
Œ
Cym.
ã
Hp
& b
?
b
# œ
n œ
# n
œ
œ Œ
Œ
#œ
p
œ
Œ
Œ
nœ
nœ
nœ
Œ
Œ
œ
œ
Œ
Œ
œ
œ
œ
œ
S
& b
Ó
Œ
& b
& b
& b
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 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 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
A
œ œ.
‰
f risoluto
œ œ œ
œ œ nœ.
œ œ
grav - en All round the lev - el rim there- of Per-seus, on wing - èd feet, a -
œ
3
# œ œ œ œ
œ.
j œ
. œ œ œ œ
bove The long seas
œ
œ
hied him;
Vn I
Vn II
Va
Vc.
164
œ ˙
˙.
œ ˙
˙.
j
œ ‰ Œ
j ‰ Œ
œ
œ œ œ
> > >
f
j
œ ‰ Œ
pizz.
# nœ œ œœ
f
pizz.
# nœ œ œœ
f
n
œ ‰
J œ
pizz.
# n œ œœ
œ
pizz.
Œ
Œ
Œ
Œ
# œ
Œ
# œ
Œ
# œ
Œ
# œ
Œ
nœ
nœ
n
œ
œ
nœ
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
J ‰ Œ
pizz.
œ
œ
Œ
œ
Œ
nœ
Œ
œ
Œ
œ
œ
PEV03 – 39

Fl.
171
& b
K
allargando
rapidamente
sostenuto
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
Ob.
& b
Cl.
#
&
Hn
&
˙.
p
Cym.
ã
Hp
& b
?
b
#n˙.
f
#
n . ˙. ˙
S
& b
‰
mf
Solo
j
œ œ œ
The Gor-gon’s
nœ
œ œ œ
wild and bleed - ing
nœ.
hair
j
œ
He
œ œ Œ
lif - ted;
nœ
œ
and a
œ œ ˙
her - ald fair,
3
œ # œ œ nœ.
œ
J
He of the wilds, whom
œ nœ
˙
Mai - a bare,
A
& b
mf
Solo
‰ j œ œ œ
The Gor-gon’s
nœ
œ œ œ
wild and bleed - ing
nœ.
hair
j
œ
He
œ œ Œ
lif - ted;
nœ
œ
and a
œ œ ˙
her - ald fair,
3
œ # œ œ nœ.
œ
J
He of the wilds, whom
œ nœ
˙
Mai - a bare,
Vn I
171
& b
K
arco
˙
pp
nœ
œ œ œ
nœ.
j
œ
j
œ œ.
nœ
œ
allargando
# ˙.
n œ
fp
.
rapidamente
sostenuto
˙
#˙
p
j
œ ‰
Vn II
& b
arco
˙
pp
nœ
œ œ œ
nœ.
j
œ
j
œ œ.
nœ
œ
n ˙.
fp
n
˙
p
j
œ ‰
Va
B b
arco
˙
pp
nœ
œ œ œ
nœ.
j
œ
j
œ œ.
nœ
œ
#
n ˙ œ
.
fp
. ..
n
˙
p
j
œ ‰
Vc.
?
b
arco
˙
pp
nœ
œ œ œ
nœ.
j
œ
j
œ œ.
nœ
œ
#
n
˙
fp
n˙
p
j
œ ‰
D.B.
?
b
arco
˙
pp
nœ
œ œ œ
nœ.
j
œ
j
œ œ.
nœ
œ
˙.
fp
n˙
p
j
œ ‰
PEV03 – 40

Fl.
178
& b
largamente
œ - œ- œ -
f
œ
J ‰ Œ
a tempo
˙
œ
f marcato
˙
œ
˙
‰
œ
nœ
œ œ nœ.
œ
J
œ œ œ œ
Ob.
& b
nœ
- œ - œ -
f
œ
J ‰ Œ
Œ œ
bœ
Œ
f marcato
nœ
bœ
Œ
nœ
bœ
nœ
b œ œ.
j
nœ
œ œ œ œ
Cl.
#
&
œ - œ -
f
œ -
œ ‰ Œ
J
Œ # œ nœ
Œ
f marcato
# œ nœ
Œ
# œ nœ
# œ n œ œ.
j
œ
# œ œ œ œ
Hn
&
œ -
f
œ - œ -
j
œ ‰ Œ
˙
œ
f marcato
˙
œ
˙
œ
œ œ œ.
œ
J
œ œ œ œ
Cym.
ã
Hp
& b
?
b
Œ # œ # # œ
f
Π# ##
œ œ #
Œ
Œ
# œ # # œ
# ##
œ œ #
Œ
Œ
# œ # # œ
# ##
œ œ #
j
# œ
‰ Œ Œ
# j
œ
‰ Œ Œ
Œ
Œ
n
nœ
nœ œ
œ
S
& b
Tutti
œ - œ- œ -
œ.
œ
J
˙
œ
Œ Œ ‰ J
œ
f risoluto
œ œ.
œ nœ
œ œ nœ.
œ
J
œ œ œ œ
God’s Her - mes,
flew
be
-
side
him.
But
mid - most,
where the
boss rose higher,
a
sun stood blaz - ing,
A
& b
Tutti
œ - œ -
œ -
œ.
j
œ
˙
œ
Œ Œ ‰ J
œ
f risoluto
œ œ.
œ nœ
œ œ nœ.
œ
J
œ œ œ œ
God’s Her - mes,
flew
be
-
side
him.
But
mid - most,
where the
boss rose higher,
a
sun stood blaz - ing,
Vn I
Vn II
Va
Vc.
D.B.
178
& b
& b
B b
?
b
?
b
largamente
pizz.
œ
œ
f
pizz.
œ
œ
œ
n œ œ œœ œœ
œ
f
pizz.
n œ œ œœ
œ œœ
f
pizz.
n œ œ œœ œœ
œ
f
pizz.
œ œ œ
f
n
b
œ
n
b œ
bœ
bœ
bœ
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 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 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
a tempo
˙
˙
arco
œ
f marcato
arco
œ
œ # œ bœ
f marcato
Œ # œ n œ b
Œ
œ
Œ œ
arco
f marcato
arco
œ
f marcato
arco
œ
˙
˙
f marcato
œ
œ
œ # nœ bœ
Œ
Œ
# œ
n
œ
n
b œ
œ
Œ œ œ
˙
œ
œ
Œ
Œ
‰
# nœ bœ
# œ
n
œ
n
b œ
œ
Œ œ œ
œ
nœ
œ œ nœ.
# nœ b œ œ.
#
n œ
n
b œ
œ
. œ œ œ. œ
œ œ œ.
œ
J
j
nœ
j
œ
nœ
j
œ
œ
J
œ œ œ œ
œ œ œ œ
# œ
œ b
n
œ œ
œ
œ œ œ œ
œ œ œ œ
PEV03 – 41

Fl.
185
& b
‰ J œ œ œ
œ.
œ
J
nœ
œ
œ
J
‰
œ
œ
œ œ œ
œ
f
œ
œ
œ
Ob.
Cl.
& b
#
&
œ # œ œ bœ
> > > >
# œ œ œ nœ
> > > >
n˙
# œ nœ
nœ
œ
œ
œ
bœ
œ
œ
œ
œ
œ
œ œ œ
œ
f
œ
f
œ
nœ
œ
œ
œ
œ
Hn
&
œ œ œ œ
œ
œ
œ
# œ œ œ
nœ
œ
œ
ff
œ
œ
bœ
Cym.
ã
⇥
⇥
⇥
⇥
⇥
⇥
Hp
& b
?
b
⇥
⇥
⇥
⇥
Œ
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
ff
œ
Œ
Œ
⇥
⇥
S
& b
‰
j
œ œ œ
œ.
œ
J
nœ
œ
œ œ œ.
œ œ œ..
œ œ œ œœ
ff
œ
bœ
œ
nœ
And wing - èd
steeds, and stars in
choir, Hy - ad and Plei-ad,
fire on fire, For
Hec
-
tor’s
A
& b
‰
j
œ œ œ
œ.
œ
J
nœ
œ
œ
b œ œ.
œ œ œ..
œ œ œ œ
ff
œ
œ
œ
œ
And wing - èd
steeds, and stars in
choir, Hy - ad and Plei-ad,
fire on fire, For
Hec
-
tor’s
Vn I
Vn II
Va
Vc.
185
& b
& b
B b
?
b
‰ J œ œ œ
œ
# œ œ bœ
# œ œ œ nœ
œ œ œ œ
œ.
nœ
n œ
# œ nœ œ
J
nœ
nœ œ œ
œ œ œ
œ
œ
œ
œ
# bœ œ œœ
œ
œ œœ
# œ œ œœ œœ
œ
œ
œ
œ
œ
n
œ
n
œ
œ
œ
œ
œ œœ
œ
œ
æ
ff
œ
æ
ff
œ
æ
ff
œ
ff
œ
æ
bœ
æ
œ
æ
œ
œ
æ
œ
æ
œ
æ
œ
œ
æ
œ
æ
bœ
æ
bœ
D.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 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 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
œ œ œ œ
œ œ œ
œ
œ
œ
œ
œ
œ
ff
œ
œ
bœ
PEV03 – 42

L
Fl.
Ob.
Cl.
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
191 œ
& b 4
& b
#
&
&
ã
& b
?
b
& b
& b
191
& b
B b
?
b
?
b
4
4
4
4
4
4
4
4
L
& b 4
più mosso
4
4
4
4
ff
Œ Ó
œ . œ. n œ . œ.
ff
# œ b œ . . œ .
œ .
ff
œ œ. .
f
˙
daz
˙
daz
œ .
œ.
œ Œ
ing:
œ Œ
ing:
più mosso
-
-
œ . œ. n œ . œ.
œ . b œ . œ œ . .
#
n œ
. n œ . œ. œ .
œ . œ . œ . œ .
œ . œ . œ . œ .
œ . œ. n œ . œ.
# œ b œ . . œ .
œ .
œ .
œ.
œ. œ.
ff
Œ Œ ‰ œ J
A
ff
Œ Œ ‰ j œ
A
œ . œ. n œ . œ.
n œ . b œ . œ œ . .
# œ
. n œ . œ. œ .
œ . œ . œ . œ .
œ . œ . œ . œ .
œ Œ Ó
# œ Œ Ó
w
œ.
œ œ œ œ œ
- cross the gol-den helm, each
œ.
œ œ œ œ œ
- cross the gol-den helm, each
œ.
n
œ
.
œ œ œ
J
j œ œ œ
# œ Œ Ó
w
w
œ . œ. n œ œ. œ . œ. n œ œ. œ . ˙- œ-
œ . œ . œ . œ . œ . œ . œ . œ . œ .
# œ b œ . . œ .
œ . # œ b œ . . œ .
œ . n œ .
˙- œ-
œ œ. . œ œ. . œ .
œ.
œ. œ.
œ .
˙- œ -
w œ œ nœ
œ œ œ. œ
J
œ
way,
Two tal-oned Sphin-xes
w
œ œ nœ
œ œ œ. œ
J
bœ
way,
Two tal-oned Sphin-xes
œ . œ. n œ œ. œ . œ. n œ œ. œ . ˙- œ .
œ . b œ . œ œ . . n œ . b œ . œ œ . . n œ ˙ . œ
œ .
# œ
n œ œ. œ . # œ
n œ œ. œ . # œ b ˙
œ
œ . œ . œ . œ . œ . œ . œ . œ . œ . ˙- œ .
held their prey,
held their prey,
˙- 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 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 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 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
PEV03 – 43

Fl.
197
& b
4
˙ œ œ
f
animato
˙- ˙-
˙- œ-
Ob.
& b
4
œ œ b œ œ
œ Œ Ó
Cl.
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
#
&
&
ã
& b
?
b
& b
& b
197
& b 4 œ bœ
œ- œ-
& b
B b
?
b
?
b
4
4
4
4
4
4
4
4
4
4
4
nœ
˙ œ
œ œ œ
b
˙
ff
œ
œ
n
œ
bœ
œ œ œ
bœ œ œ œ
b˙
œ nœ
Song - drawn to
˙ œ œ
Song -drawn to
b œ œ- n- œ
œ
˙-
œ
b œ.
b œ.
œ-
œ .
œ .
œ .
œ .
œ .
œ .
œ Œ Ó
œ Œ Ó
Œ Ó
nœ
œ
œ Œ Ó
˙
œ Œ
slaugh - ter:
˙
œ Œ
slaugh - ter:
animato
˙-
˙
f
˙-
n ˙- f ˙-
˙- ˙- f
œ . œ . œ . œ .
f
œ . œ . œ . œ .
f
Œ Œ
œ
f
f
Œ Œ
œ
f
Œ Œ
œ
˙- œ -
˙- œ -
˙- œ -
œ . œ . œ . œ .
œ . œ . œ . œ .
And
And
˙ œ œ
mf
œ Œ
œ.
Ó
j
œ œ œ
round the breast-plate
œ.
j
œ œ œ
round the breast-plate
˙- ˙-
˙- ˙-
˙- ˙-
œ . œ . œ . œ .
œ . œ . œ . œ .
˙
˙
mf
˙
ramp
˙
ramp
-
-
œ
œ
œ
ing
œ
ing
˙- œ -
˙- œ -
˙- œ -
œ . œ . œ . œ .
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 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 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 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 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 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 Ó ˙ œ
œ.
œ œ œ œ œ ˙ œ
-
lion
œ.
œ œ œ œ œ ˙ œ
-
lion
˙- ˙-
˙- nœ
-
˙- ˙- ˙- œ -
˙- ˙- ˙-
œ-
œ . œ . œ . œ . œ . œ . œ . œ .
came A min gled breed of
came A min gled breed of
and
and
PEV03 – 44

Fl.
Ob.
Cl.
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
204
& b
& b
#
&
&
ã
& b
?
b
& b
& b
204
& b
& b
B b
?
b
?
b
4
4
4
4
4
4
4
4
4
4
4
4
4
4
˙
n˙
p cresc.
œ Œ Ó
w
p cresc.
˙
flame,
˙
flame,
Ó
Ó
˙- n˙
-
cresc.
˙-
cresc.
˙-
˙- ˙-
cresc.
œ . œ . œ . œ .
œ . œ . œ . œ .
Œ
mf
˙ œ œ œ œ nœ
˙ œ œ œ ˙
˙. ˙ ˙
œ œ œ œ
œ œ œ œ
œ œ.
œ
J
œ œ œ œ n
- to tear that steed of
œ œ.
œ
J
œ œ œ œ n
- to tear that steed of
˙- œ - œ- œ - œ- œ-
˙- bœ
-
œ- œ - œ - œ-
˙- œ- œ- œ- œ- n- œ
œ . œ . œ . œ . œ- œ- œ - œ-
Hot eyed
Hot eyed
œ œ œ
œ- œ- œ - œ-
œ œ œ œ
f
# œ œ œ œ
f
œ œ œ œ
f
w
f
œ
œ
f
w
w
. ˙. ˙
fame
. ˙. ˙
fame
œ
œ
œ œ
æ æ
ff
œ
œ œ œ
œ
æ
p
œ
That
p
œ
That
œ
æ
# œ œ œ œ
æ æ æ æ
ff
œ œ bœ
œ
æ æ æ æ
ff
w
æ
w
ff
w
ff
œ
œ
œ œ bœ
œ nœ
œ
# œ œ œ œ
w
œ
œ
w
w
œ
œ
œ
œ b
œ œ
œ œ œ
œ
found Pi - rê - nê’s
œ
œ b
œ œ
found Pi - rê - nê’s
œ
æ
œ
æ
œ
æ
œ
æ
# œ œ œ œ æ æ æ æ
œ
æ
w
æ
w
w
œ
æ
œ
æ
bœ
æ
˙.
p
˙.
p
˙.
j
œ ‰ Œ Œ
p
˙.
˙.
œ
wa
œ
wa
œ
p
œ
p
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
˙-
˙-
mp
˙-
mp ˙-
˙- ˙-
mp
˙- ˙
˙
- - - -
˙
- - - -
œ
œ
œ Œ
ter.
œ Œ
ter.
œ œ œ
œ œ œ
œ ‰ Œ Ó
J
œ
œ
œ œ 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 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 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 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 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
PEV03 – 45

Fl.
211
& b
˙-
œ-
M
˙ ˙.
pp
œ
Ob.
Cl.
& b
#
&
˙- œ -
˙- œ -
w
pp
˙ ˙.
p
œ
œ œ œ œ œ œ
Hn
&
˙- œ -
˙- ˙-
˙- œ -
w
j
œ ‰ Œ
Œ
˙ ˙.
pp
œ
Cym.
ã
& b
Hp
?
b
S
& b
Œ Œ
p agitato
œ
The
˙
red,
˙
red
˙
sword
œ
with
œ œ ˙
steeds four-yoked
˙ ˙.
Black-maned,
œ
was
A
& b
Œ Œ
p agitato
œ
˙
˙
˙
œ
œ œ ˙
˙ ˙.
œ
The
red,
red
sword
with
steeds four-yoked
Black-maned,
was
Vn I
211
& b
œ œ œ œ -
˙- ˙-
p marc.
˙- œ -
M
˙- ˙-
˙- œ -
˙- ˙-
˙ ˙.
œ
Vn II
& b
œ œ œ œ -
˙- ˙-
p marc.
˙- 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 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 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 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 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 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 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 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
Va
B b
˙- b ˙-
p marc.
˙- b œ-
˙- b ˙-
˙- b œ-
˙- b ˙-
˙ ˙.
œ
Vc.
?
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
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
PEV03 – 46

Fl.
218
& b
4
˙
œ Œ
˙
p
œ nœ
œ
nœ
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 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 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 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 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 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 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
Ob.
& b
4
˙
bœ
Œ
˙
p
œ œ
œ œ œ œ
Cl.
Hn
Cym.
Hp
S
A
Vn I
Vn II
Va
Vc.
D.B.
#
&
&
ã
& b
?
b
& b
& b
218
& b
& b
B b
?
b
?
b
4
4
4
4
4
4
4
4
4
4
4
4
œ Œ Ó
˙
˙
œ Œ
˙
grav - en,
˙
˙
grav - en,
˙- ˙-
˙- ˙-
˙- ˙ b -
œ œ œ œ
œ œ œ œ
Œ Œ
Œ Œ
Œ Œ
˙-
˙-
˙-
œ
p
œ
That
œ
That
œ -
œ -
œ -
œ œ œ œ -
œ œ œ œ -
˙
˙
˙
˙
la - boured,
˙
˙
la - boured,
˙- ˙-
˙- ˙-
˙- ˙-
œ œ œ œ
œ œ œ œ
˙
Œ œ
œ
œ
and the
Œ œ
˙-
˙-
˙-
œ
and the
œ -
b œ-
œ -
œ œ œ œ -
œ œ œ œ -
œ œ ˙
œ œ ˙
hot dust smoked
œ œ ˙
hot dust smoked
œ - œ -
œ - œ -
˙-
b ˙-
œ - œ - ˙-
œ œ œ œ
œ œ œ œ
˙
˙
œ œ.
Cloud-wise
œ œ.
Cloud-wise
œ
œ.
œ œ.
˙
œ
œ
œnœ
œnœ
œ#
œ
œ œ
j
nœ
to
j
nœ
to
nœ
J
j
nœ
œ œ
œ
# œ œ œ
dim.
w
p dim.
pp 3
3
œ œ œ œ œœ œœ 3
œœ
œ
3 œ
p
w
heaven.
p
w
heaven.
w
æ
f dim.
w
æ
f dim.
w
æ
f dim.
æ
w
f dim.
w æ
f dim.
PEV03 – 47

Fl.
Ob.
Cl.
225
& b 4 3 œ nœ
œ œ
4 4 3 4 b b b b
pp
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 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 & b
#
&
œ
œ
œ œ œ
pp
# œ œ œ
œ œ œ œ
pp
œ
œ œ œ
b b b b
n b b
Hn
&
˙.
w
˙.
w
ppp
˙.
j
œ ‰
Cym.
ã
& b
b b b b
Hp
?
b
3
œ œ œ œ œ œ œ
3 œ œ
3
3
3
œ œ œ œ œ œ œ œ œ œ œ
3 œ
3
3
3
3
œ œ œ œ œ œ œ œ œ
b b b b
S
& b
˙
Œ
b b b b
A
& b
˙
Œ
b b b b
Vn I
Vn II
Va
Vc.
225 .
& b
& b
B b
?
b
˙
æ
˙.
æ
˙
æ J œ ‰
˙
˙æ
.
w
æ
w æ œ
p
w æ p
w æ
nœ
œ œ
j
œ ‰ Œ
p
˙æ.
p
œ
æ
˙.
nœ
Œ
œ œ
œ nœ
œ œ
pp
œ nœ
œ œ
pp
œ œ œ œ
pp
w
pp
œ
nœ
j
œ ‰ Œ
œ
Ó
œ œ œ
˙.
j
œ ‰
j
œ ‰
j
œ ‰
b b b b
b b b b
b b b b
b b b b
D.B.
?
b
˙æ.
p
˙æ.
w
pp
˙.
j
œ ‰
b b b b
PEV03 – 48

Fl.
230
N
& b b b b
Lento
colla voce
Ob.
& b b b b
Cl.
& b b
Hn
&
Cym.
ã
& b b b b
Hp
?
b b b b
S
& b b b b
f
Ó œ
3
œ.
œ œ
œ œ.
J
pp
. j
œ. b b œ
œ.
j
œ
œ
b b œ
˙ œ œ œ
,
nœ
œ -
œ -
œ -
nœ
œ Œ ‰ j œ
A
& b b b b
Thou Tyn-da-rid
f
Ó œ
3
œ.
œ œ
Thou Tyn-da-rid
wo-man! Fair and
pp
j
œ œ . bœ.
j
œ
wo-man! Fair and
tall Those warr-iors
nœ.
j
œ
nœ
bœ
tall Those warr-iors
were, and o’er them
n˙
œ œ œ
were,
and o’er them
all
œ œ -
all
,
One king great - heart - ed,
œ -
n œ-
œ
œ
One king great - heart-ed,
Whom
Œ ‰ j œ
Whom
Vn I
230
N
& b b b b
Lento
colla voce
>
˙ œ.
bœ
J
f pp
˙ œ bœ
˙
˙
j
œ ‰ œ œ œ
œ
œ
j
œ ‰ Œ
Vn II
Va
& b b b b
B b b b b
Ó
˙
f
˙ œ.
>
f pp
> ˙ bœ.
pp
j
bœ
œ
J
˙ œ bœ
˙
nœ
bœ
˙
n˙
˙
˙
j ‰
nœ œ nœ
œ
j
œ ‰ œ œ nœ
nœ
œ
œ
œ
j
œ ‰ Œ
j
œ ‰ Œ
Vc.
?
b b b b
D.B.
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 ?
b b b b 4 3 4 PEV03 – 49

Fl.
236
& b b b b
più lento
Ob.
& b b b b
Cl.
& b b
Hn
&
Cym.
ã
Hp
& b b b b
?
b b b b
S
& b b b b
3 3
œ œ œ œ œ
‰ j œ
˙
Ó
p marcato
j
œ
œ
j
œ œ œ
˙ œ œ
œ œ œ.
j
œ
thou and thy false love did
slay:
There-
fore the tribes of
Heaven one day
For these
thy
A
& b b b b
3 3
œ œ œ œ œ
‰ j œ
˙
Ó
p marcato
j
œ
œ
j
œ œ œ
˙ œ œ
œ œ œ.
j
œ
thou and thy false love did
slay:
There-
fore the tribes of
Heaven one day
For these
thy
Vn I
236
& b b b b
più lento
œ œ nœ
œ
pp
œ
œ nœ
œ
œ œ nœ
œ
œ
œ nœ
œ
Vn II
Va
Vc.
D.B.
& b b b b
B b b b b
?
b b b b
œ bœ
pp
œ œ
œ œ œ œ
pp
œ œ œ œ
pp
pizz.
œ
bœ
œ œ
œ œ œ œ
œ œ œ œ
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 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 ?
b b b b œ œ œ œ 4 3 œ œ œ œ 4 œ œ œ œ 4 3 œ œ œ œ 4 pp
œ
bœ
œ œ
œ œ œ œ
œ œ œ œ
œ
œ
œ
bœ
œ œ
œ œ œ
œ œ œ
PEV03 – 50

Fl.
241
& b b b b
Ob.
& b b b b
Cl.
& b b
Hn
&
Cym.
ã
& b b b b
Hp
?
b b b b
S
& b b b b
˙ ‰ j œ œ œ
dead
shall send on
˙.
thee
œ
An
œ œ œ œ
i - ron
œ.
death:
‰ Ó
A
& b b b b
˙ ‰ j œ œ œ
dead
shall send on
˙.
thee
œ
An
œ œ œ œ
i - ron
œ.
death:
‰ Ó
Vn I
Vn II
Va
Vc.
D.B.
241
4 4 4 4 4 4 4 4 4 & b b b b 4 & b b b b 4 B b b b b 4 ?
b b b b 4 ?
b b b b 4 œ œ nœ
œ
œ bœ
œ œ
œ œ œ
œ œ œ
œ œ œ
œ
œ
œ
œ œ œ œ
œ bœ
œ œ
œ œ œ œ
œ œ œ œ
œ Œ Ó
œ œ œ œ
œ bœ
œ œ
œ œ œ œ
œ œ œ œ
œ bœ
ppp
œ bœ
ppp
œ œ
œ œ
bœ
œ œ œ
ppp
œ bœ
œ bœ
w
˙
bw
œ bœ
arco
Ó
⇥œ
⇥œ
œ bœ
pp
nœ
nœ
w
w
bœ
bœ
⇥œ
⇥œ
b˙
ppp
b˙
ppp
j
œ ‰ Œ Ó
j
œ ‰ Œ Ó
j
œ ‰ Œ Ó
œ ‰ Œ Ó
J
PEV03 – 51

Fl.
Ob.
248
& b b b b
& b b b b
U
U
Cl.
& b b
U
Hn
&
U
Cym.
ã
U
Hp
& b b b b
?
b b b b
U
u
S
Soprano Solo (from Chorus)
freely
Lento
pp
& b b [
b b
pp ] U
œ . ‰ bœ
œ œ.
œ
J œ œ œ ‰ œ œ œ œ
.
U
œ ‰ œ J
œ œ œ œ nœ
œ œ œ œ œ œ ˙.
- - - - -
Yea, men shall see The white throat drawn, and blood’s red spray, And lips in ter ror par ted.
A
& b b b b
U
Vn I
248
& b b b b
U
Vn II
& b b b b
U
Va
B b b b b
U
Vc.
?
b b b b
U
D.B.
?
b b b b
U
PEV03 – 52

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 979-0-67452-293-9
Promethean Editions Limited
PO Box 10-143
Wellington 6143
New Zealand
www.prometheaneditions.com
Printed in New Zealand • PEV03 • PNY PREPEV03
Ralph Vaughan Williams Incidental music to Electra PEV03