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Home , John Beard (tenor), Lynne Dawson, Samson, Samson (Handel), Saul (Handel), The Sixteen

CORO Edition CORO The Sixteen Edition Other Sixteen Edition Blest Cecilia recordings available on Coro Britten Volume 1 COR16006 Iste Confessor "A disc of exceptional quality, The Sacred Music of reinforcing the Domenico Scarlatti Sixteen's reputation COR16003 as one of the finest The Sixteen “Outstanding... astonishing choirs of our day." The Symphony of Harmony and Invention stylistic and expressive range” GRAMOPHONE

BBC MUSIC MAGAZINE

The Call of The Beloved The Fairy Queen T HOMAS R ANDLE Victoria Purcell COR16007 2CD set M ARK P ADMORE "If one can ever achieve COR16005 complete emotional "A performance like L YNDA R USSELL expression through the this shows dimensions of power of music, then Purcell's genius that are all L YNNE D AWSON here it is." too rarely heard on disc" HARRY CHRISTOPHERS GRAMOPHONE C ATHERINE W YN -R OGERS Gramophone magazine said of The Sixteen’s recordings “This is what recording should be about...excellent performances and recorded sound...beautiful and moving.” M ICHAEL G EORGE

Made in Great Britain J ONATHAN B EST For details of discs contact The Sixteen Productions Ltd. 00 44 1869 331544 or see www.thesixteen.com; e-mail [email protected] N The Sixteen For many years Handel’s G.F. HANDEL (1685-1759) Samson was every British SAMSON choral society’s antidote to SAMSON . However, over the n 1739 at least two Miltonic projects were urged upon Handel by a circle of wealthy supporters An in 3 Acts by past two or three decades it including Jennens, the philosopher James Harris and the 4th Earl of Shaftesbury. One was a GEORGE FRIDERIC HANDEL setting of lines chosen from the two contrasted poems L’Allegro and Il Penseroso, an idea first (1685 - 1759) has been neglected, probably I for no other reason than proposed by Harris and further worked on by Jennens, who added a concluding section of his own The Sixteen sheer cost. I hope that our (Il Moderato)at Handel’s request. The other was Samson, the seed of which seems to have been The Symphony of Harmony performances and this sown at a gathering in Lord Shaftesbury’s home on 23 November 1739. On the following day and Invention Shaftesbury reported to Harris (in a letter recently discovered in the Earl of Malmesbury’s archive): Harry Christophers recording rectify that neglect. From its first “I never spent an evening more to my satisfaction than I did the last. Jemmy Noel read through SOLOISTS performance in 1742, Samson the whole poem of Sampson Agonistes and whenever he rested to take breath Mr Handel (who was Samson highly pleas’d with the Piece) played I really think better than ever, & his Harmony was perfectly Thomas Randle () was an immediate success; indeed the ever-cynical Horace Walpole said, “Handel adapted to the Sublimity of the Poem.” Israelite man, Philistine man Clearly Milton’s made a profound impression on Handel, but he may Mark Padmore (tenor) has set up an oratorio against the and succeeds.” however have been wary of taking on another tragic subject so soon after . Dalila For me, it is simply one of the most complete works by Lynda Russell (soprano) this great man, for he responds to an exquisite libretto Nevertheless Handel in the season of 1740-41 returned once more to Italian , but with Israelite woman, Philistine woman, with a score full of elaborate instrumental colouring and disastrous results: the new operas ( and ) achieved only five performances all Virgin sumptuous vocal writing. One of the most outstanding together. He composed Messiah between 22 August and 14 September 1741, and immediately went (soprano) aspects of the work is that Handel composed it within a on to compose most of Samson, finishing on 29 October. The score (for his normal orchestral month of completing Messiah. Two masterpieces in forces) was not then complete, however, indicating that he did not expect to perform it until he Catherine Wyn-Rogers (alto) quick succession is some feat. returned to London from . This was indeed the case: he took up the score again in the Messenger Samson opens with a festival and closes with an autumn of 1742, revising and completing it by 12 October. The oratorio was first performed at Matthew Vine (tenor) elegy. Its finale is rightly established as one of the most Covent Garden Theatre on 18 February 1743, with as Samson, Susannah Cibber (fresh Manoa from success in Handel’s Dublin concerts) as Micah and the comedy actress Kitty Clive as Dalila. Michael George () famous arias of all time: “Let the bright Seraphim in It had remarkable success with seven further performances being given. Harapha burning row/Their loud, uplifted angel-trumpets blow.” Milton’s poem was suited to treatment in oratorio form as much by its form as its subject. It is Jonathan Best (bass) written as a tragic drama, though Milton never intended it for the stage, and covers the last day in the life of the great Hebrew warrior, tricked by the Philistine woman Dalila (Samson’s wife, in Milton’s version) into giving away the secret of his strength, and now the blinded prisoner of the , held in chains in a public square in Gaza. The action consists of various confrontations

2 3 between Samson, his Israelite supporters (including his father Manoa) and his enemies, including setting of ‘Let the bright seraphim’ has been included in Act 3, CD3 (22). This appears among the the seductive Dalila and the arrogant champion Harapha. Following the precedent of ancient Greek fragments of Handel’s autographs preserved in the Fitzwilliam Museum, Cambridge, and though drama, the climax - Samson’s destruction of temple of the Philistine - takes place off-stage and is only four bars long is not a sketch, but a fully-scored passage ending on a half-close. No indication related by a messenger. The task of adapting the lengthy poem for musical setting was given to of its context is given, but it can only have been intended as a link between the second section of the Newburgh Hamilton, who had helped Handel with Alexander’s Feast. aria ‘Let the bright seraphim’ and the following chorus, substituting for the expected da capo repeat, The static nature of the action was no inhibition to Handel, for whom the depiction of and takes that position here. character and the expression of feeling were the most important considerations. A particular asset Anthony Hicks was the presence of the peoples of the two nations, giving him excellent opportunity to portray them in contrasting styles of choral music. The Philistines appear consistently as a hedonistic race: their THE SIXTEEN Theorbo music has been an exuberant quality, often exploiting dance rhythms and coloured by horns and Soprano Robin Jeffrey trumpets. A more exalted style, often contrapuntal and looking back to older ecclesiastical forms, Ruth Dean, Carys Lane, Helen Groves Harpichord is reserved for the , though they too get their trumpets in the optimistic final chorus, , Outram, Katie Pringle CD3 (22). Both groups are pitted against each other to great effect at the end of Act 2, CD2 (28). Alto Organ There are similar, though more personalised, contrasts between the individual characters. Christopher Royall, Michael Lees, Paul Nicholson Samson, whether in resigned or angry mood, always maintains an heroic dignity. His aria ‘Total Philip Newton, Andrew Giles Flute eclipse’, CD1 (14), reflecting on his blindness, had special poignancy for Handel and his audiences Tenor Beckett, Uta Ikeda in revivals of the oratorio after 1753, when the composer himself had become blind. The feelings of Simon Berridge, Matthew Vine, Roy Manoa are also well caught, especially in his deceptively simple yet most touching final aria, ‘How , Philip Cave, Simon Davies Anthony Robson, Cherry Forbes, willing my paternal love’, CD3 (12). Dalila is a delicious and memorable portrait of the well-practised Bass Gail Hennessey seducer; Harapha’s famous aria ‘Honour and arms’ neatly encapsulates the cowardly braggart, CD2 Simon Birchall, Robert Evans Bassoon (18). The role of Micah, male in name but written for female voice, is mostly created from the Timothy Jones, Michael McCarthy Christopher Robson, Frances Eustace anonymous ‘Chorus’ in Milton’s poem, and is thus less well-defined as a character. Nevertheless, Violin Horn he has one of Handel’s most noble solos in ‘Return, oh God of hosts’, CD2 (4), powerfully extended David Woodcock (leader), Walter Reiter, Roger Montgomery, Martin Lawrence by the entry of the chorus at the point where a conventional da capo repeat might be expected. Claire Sansom, Stephen Jones, Theresa Caudle, Trumpet William Thorp, Fiona Huggett, Stefanie Heichelheim, The fine integration of solo, choral and orchestral music in the lament for Samson’s death Crispian Steele-Perkins, David Blackadder, Pauline Smith, Miranda Fulleylove, Peter Lissauer (incorporating a version of the Dead March in Saul, Handel having abandoned his first idea of a Robert Farley Viola Timpani march with ) is also impressive and movingly sustains the elegiac mood, CD3 (16). David Brooker, Nicola Akeroyd Samson was one of Handel’s most popular and he often made changes to it in its Benedict Hoffnung Cello many revivals. Even during its first run it was thought too long, with the result that cuts were made Jane Coe, Helen Verney, Susan Sheppard THE SYMPHONY OF HARMONY AND INVENTION both before and shortly after the first performance, particularly in the . For the present Bass recording the original 1743 text has mostly been restored, and a previously unrecorded choral Peter Buckoke, Cecelia Bruggemeyer HARRY CHRISTOPHERS 4 5 CD1 ACT ONE 7 7 AIR: PHILISTINE WOMAN Who tore the , as the lion tears the kid! Micah Then free from sorrow, free from thrall, Ran weaponless on armies clad in iron, Which shall we first bewail, thy bondage, All blithe and gay, with sports and play, Useless the temper’d steel, or frock of mail! or lost sight? SCENE 1 We’ll celebrate his festival. Samson bn 11 AIR: MICAH Before the prison in Gaza Oh loss of sight! Of thee I most complain! 8 5 CHORUS OF PHILISTINES O mirror of our fickle state! Oh worse than beggary, old age, or chains! 1 1 OVERTURE Awake the trumpet’s lofty sound! In birth, in strength, in deeds how great! My very soul in real darkness dwells! Andante - Adagio - Allegro - Menuetto The joyful sacred festival comes round, From highest glory fall’n so low, Samson, blind and in chains. Chorus of the Priests When king of all the earth is crown’d. Sunk in the deep abyss of woe! bp 13A AIR: SAMSON of Dagon, celebrating his festival. Total eclipse! No , no moon, 9 8 : SAMSON bo 12 RECITATIVE All dark amidst the blaze of noon! 2 2 Why by an angel was my birth foretold, Samson (apart) RECITATIVE: SAMSON Oh glorious light! No cheering ray, As in a fiery column ascending Whom have I to complain of but myself, This day, a solemn feast to Dagon held, To glad my eyes with welcome day! From off the altar, in my parent’s sight? Who Heaven’s great trust could not in silence keep, Relieves me from my task of servile toil; Why thus depriv’d Thy prime decree? Why was my nurture order’d and prescrib’d, But weakly to a woman must reveal it! Unwillingly their superstition yields Sun, moon, and stars are dark to me! This rest, to breathe heaven’s air, fresh As of a person, separate to God, Oh glorious strength! Oh impotence of mind! blowing, pure and sweet. If I must die, betray’d and captiv’d thus, But without wisdom, what does strength avail? bq 13B RECITATIVE: MICAH The scorn and gaze of foes? Oh cruel thought! Proudly secure, yet liable to fall? Since light so necessary is to life, 3 3 CHORUS OF PHILISTINES My griefs find no redress! They inward prey, God (when he gave it) hung it in my hair, That in the soul ‘tis almost life itself, Awake the trumpet’s lofty sound! Like gangren’d wounds, immedicable grown. To show how slight the gift. Why to the tender eye is sight confin’d, The joyful sacred festival comes round, But, peace, my soul! So obvious and so easy to be quenched? bl 9 AIR: SAMSON When Dagon king of all the earth is crown’d Strength was my bane, the source of all my woes, Why not, as feeling, through all parts diffus’d, Torments alas! are not confin’d 4 Each told apart, would ask a life to wail. That we might look at will through ev’ry pore? 4 AIR: PHILISTINE WOMAN To heart or head or breast! Micah (to Samson) Ye men of Gaza, hither bring But will a secret passage find br 14 CHORUS OF ISRAELITES Matchless in might! Once Israel’s glory, The merry pipe and pleasing string, Into the very inmost mind, Oh first created beam! And thou great word: now her grief! The solemn hymn, and cheerful song: With pains intense opprest, ‘Let there be light!’- and light was over all; We come, (thy friends well known) to visit thee! Be Dagon prais’d by ev’ry tongue! That rob the soul itself of rest. One heav’nly blaze shone round this earthly ball; 5 5 Samson To thy dark servant, life, by light afford! CHORUS OF PHILISTINES 2 Welcome, my friends! Experience teaches now, Awake the trumpet’s lofty sound! SCENE How counterfeit the coin of friendship is, bs 15 RECITATIVE Enter Micah and Israelites, observing Samson. The joyful sacred festival comes round, That’s only in the superscription shown. Samson When Dagon king of all the earth is crown’d. bm 10 RECITATIVE: MICAH (APART) In the warm sunshine of our prosp’rous days, Ye see, my friends, how woes enclose me round: 6 6 AIR: PHILISTINE MAN O change beyond report, thought, or belief! Friends swarm; but in the winter of adversity, But had I sight, how could I heave my head Loud as the thunder’s awful voice, See, how he lies with languish’d head, unpropt, Draw in their heads: though sought, not to be For shame? Thus, for a word, or tear, divulge In notes of triumph, notes of praise, Abandon’d, past all hope! Can this be he? found. To a false woman God’s most secret gift, So high great Dagon’s name we’ll raise Heroic Samson? Whom no strength of man, And then be sung, or proverb’d for a fool! That heav’n and earth may hear how we rejoice! Nor fury of the fiercest beast, could quell! 6 7 Micah cl 18 RECITATIVE: ISRAELITE MAN Manoa ct 26 CHORUS The wisest men have err’d, and been deceiv’d Oh ever failing trust in mortal strength! Worse yet remains: Then shall they know, that he whose name By female arts. Deject not then thyself, And oh, what not deceivable and vain in man! This day they celebrate with pomps and sports, Jehovah is, alone O’er all the earth but One Who hast of griefs a load: Yet men will ask, cm 19 And sacrifice to Dagon, idol God! Why did not Samson rather wed at home? AIR: ISRAELITE MAN Who gave thee bound and blind into Was ever the most high, and still the same. God of our fathers, what is man? In his own tribe are fairer or as fair. their hands: cu 27 So proud, so vain, so great in story! Thus is he magnified; the living God RECITATIVE Samson His fame a blast, his life a span, Manoa Oh that I had! Alas, fond wish, too late! Blasphem’d and scorn’d by that A bubble at the height of glory! idolatrous rout. For thee, my dearest son, must thou meanwhile That specious monster, Dalila, my snare! Oft he that is exalted high, Lie, thus neglected, in this loathsome plight? Myself the cause, who, vanquished by her tears, Unseemly falls in human eye. Samson Gave up my fort of silence to a woman. This have I done, this pomp, this honour brought Samson It should be so. cn 20 RECITATIVE: MANOA To idol Dagon; but to Israel shame, and Micah To expiate my crime, if possible. The good we wish for, often proves our bane. our true God disgrace. Here comes thy rev’rend sire, old Manoa, Shameful garrulity! Had I revealed the I pray’d for children, and I gain’d a son, With careful steps, and locks as white as down. cq 23 secret of a friend: And such a son, as all men hail’d me happy; RECITATIVE: SAMSON Samson Most heinous that! But impiously to blab But who’d be now a father in my stead? My griefs for this Alas! Another grief that name awakes. God’s counsel, is a sin without a name! The blessing drew a scorpion’s tail behind; Forbid mine eye to close, or thoughts of rest. But now the strife shall end: me overthrown, 3 This plant (select and sacred for a while Manoa SCENE The miracle of all) was in one hour Dagon presumes to enter lists with God, Be for thy fault contrite, oh my son, Enter Manoa Ensnar’d, assaulted, overcome, led bound, Who, thus provok’d, will not connive, but rouse To high disposal leave the forfeit due. His fury soon, and his great name assert; bt 16 His foes’ derision, captive, poor and blind! God may relent and quit thee, all his debt: RECITATIVE Dagon shall stoop, ere long be quite despoil’d Reject not then the offer’d means of life. Manoa co 21 AIR: MANOA Of all those boasted trophies won on me. Already have I treated with some lords Brethren and men of , say, where is my son, Thy glorious deeds inspir’d my tongue To ransom thee. Revenge is sated now cr 24 AIR: SAMSON Samson, fond Israel’s boast? inform my age! Whilst airs of joy from thence did flow To see thee thus who cannot harm them more. Micah Why does the God of Israel sleep? To sorrow now I tune my song, Samson As signal now in low dejected state, And set my harp to notes of woe. Arise with dreadful sound; As in the height of pow’r - see where he lies! And clouds encompass’d round! Why should I live? cp 22 RECITATIVE: SAMSON Then shall the heathen hear thy thunder deep. Soon shall these orbs to double darkness yield. bu 17 RECITATIVE: MANOA Justly these evils have befall’n thy son; The tempest of thy wrath now raise, 28 Oh miserable change! Is this the man, RECITATIVE: SAMSON Sole author I, sole cause, who have profan’d In whirlwinds them pursue, My genial spirits droop, my hopes are flat; Renown’d afar, the dread of Israel’s foes? The mysteries of God; by me betray’d Full fraught with vengeance due, Who with an angel’s strength their armies duell’d, Nature in me seems weary of herself To faithless parlies, feminine assaults! Till shame and trouble all thy foes shall seize! My race of glory run, and race of shame; Himself an army! - Now unequal match To the false fair I yielded all my heart; To guard his breast against the coward’s spear! cs 25 RECITATIVE: MICAH Death, invocated oft, shall end my pains, So far effeminacy held me yok’d And lay me gently down with them that rest. Her slave. Oh foul indignity! Oh blot There lies our hope! True may’st thou be, To honour and to arms! That God may vindicate his glorious name; Nor let us doubt whether God is Lord, or Dagon. 8 9 dl 29 AIR: MICAH Manoa SCENE 2 Greedy of secrets, but to publish them. Then long eternity shall greet your bliss Trust yet in God! Thy father’s timely care Samson, Micah. Enter Dalila, Why would you trust a woman’s frailty then, No more of earthly joys, so false and vain! Shall prosecute the means to free thee hence, attended by her virgins. And to her importunity your strength! Joys that are pure, sincerely good Meantime, all healing words from these, A mutual weakness mutual pardon claims. 36 Shall then o’ertake you as a flood thy friends, admit. 5 RECITATIVE Samson Where truth and peace do ever shine Micah How cunningly the sorceress displays 2 32 AIR: MANOA With love that’s perfectly divine. But who is this, that so bedeck’d and gay Her own transgressions, to upbraid me mine! Just are the ways of God to man, Comes this way sailing like a stately ship? I to myself was false, ere thou to me: dm 30 CHORUS OF ISRAELITES Let none his secret actions scan; With all her streamers waving in the winds, Bitter reproach, but true. The pardon, then Then round about the starry throne Far all is best though oft we doubt, An odorous perfume her harbinger, I to my folly give, take thou to thine! Of Him who ever rules alone, Of what his wisdom brings about. A damsel train behind? ‘Tis Dalila, thy wife. Your heav’nly-guided soul shall climb: Still his unsearchable dispose Samsom 6 37 AIR: DALILA Of all this earthly grossness quit, Blesses the righteous in the close. My wife? My traitress! Let her not come near me! With plaintive notes and am’rous moan, With glory crown’d for ever sit, Thus coos the turtle left alone. 3 33 RECITATIVE Micah And triumph over Death, and thee, oh time! Like me, averse to each delight, Samson She stands, and eyes thee fix’d with head decli’d She wears the tedious widow’d night. My evils hopeless are! One pray’r remains: (Like a fair flow’r surcharg’d with dew) she weeps But when her absent mate returns CD2 ACT TWO A speedy death, to close my miseries. Her words address’d to thee, seem tears dissolv’d Wetting the borders of her silken veil. With doubled raptures then she burns. The same scene. Samson, Manoa, Micah Micah and Israelites. Relieve thy champion, image of thy strength, Dalila 7 38 RECITATIVE And turn his labours to a peaceful end! With doubtful feet, and wav’ring resolution, Dalila 1 31 RECITATIVE I come, Oh Samson!, dreading thy displeasure Alas! Th’event was worse than I foresaw; 4 34 Manoa AIR: MICAH But conjugal affection led me on, Fearless at home of partners in my love, Despair not thus! You once were God’s delight, Return, oh God of hosts! Behold Prevailing over fear and tim’rous doubt; ‘Twas jealousy did prompt to keep you there His destin’d from the womb Thy servant in distress! Glad if in ought my help or love could serve, Both day and night, love’s prisoner, wholly mine. His mighty griefs redress By him led on to deeds above the nerve of mortal To expiate my rash, unthought misdeed. Samson Nor by the heathen be it told. arm; Samson Did love constrain thee? No! ‘Twas raging lust! Under his eye, abstemious you grew up, 35 CHORUS AND MICAH Out thou hyaena! ‘Twas malice brought thee here! Love seeks for love; thy treason sought my hate. Nor did the dancing ruby, outpour’d, To dust his glory they would tread, These are the arts of women false like thee, In vain you strive to cover shame with shame; allure you from the cool crystalline stream. And number him amongst the dead. To break all vows, repent, deceive, submit, Once joined to me, though judged your country’s foe, Samson Then with instructed skill again transgress. Parents and all, were in the husband lost. Where’er the liquid brook or The wisest men have met such bosom snakes, 39 flow’d, I drank, Beguil’d like me, to ages an example. 8 AIR: SAMSON Your charms to ruin led the way, Nor envy’d man the cheering grape; Dalila My sense deprav’d, my strength enslav’d; But what availed this temp’rance, not complete I would not lessen my offence, yet beg As I did love, you did betray. Against another object more enticing? To weigh it by itself. What is it then How great the curse! How hard my fate I laid my strength in lust’s lascivious lap. But curiosity? A small female fault - To pass life’s sea with such a mate! 10 11 9 40 RECITATIVE: DALILA bn 44 RECITATIVE SCENE 3 Harapha Samson Forgive what’s done, nor think of what’s past cure. 46 I come not, Samson, to condole thy chance; From forth this prison-house come home to me Ne’er think of that! I know thy warbling charms RECITATIVE I am of Gath, men call me Harapha: Where with redoubled love and nursing care, Thy trains, thy wiles, and fair enchanted cup: Micah Thou know’st me now. Of thy prodigious might (To me glad office!) my virgins and myself Their force is null’d; where once I have been caught, She’s gone ! A serpent manifest; her sting Much have I heard, incredible to me! Shall tend about thee to extremest age. I shun the snare; these chains, this prison-house, Discover’d in the end. Nor less displeas’d that never in the field I count the house of liberty to thine. Samson We met, to try each other’s deeds of strength: bl 41 DUET: DALILA AND VIRGIN Dalila So let her go! I’d see if thy appearance answers loud report. My faith and truth, oh Samson, prove, Let me approach, at least, and touch thy hand. God sent her here to aggravate my folly. Samson But hear me, hear the voice of love! 47 The way to know, were not to see, but taste With love no mortal can be cloy’d, Samson bp AIR: MICAH All happiness is love enjoy’d. Not for thy life, lest fierce remembrance wake It is not virtue, valour, wit, Harapha My sudden rage to tear thee limb from limb. Or comeliness of grace, Ha! Dost thou then already single me? 42 CHORUS OF VIRGINS At distance I forgive: depart with that. That woman’s love can truly hit, I thought that labour and thy chains had tam’d Her faith and truth, oh Samson, prove, Now triumph in thy falsehood, so farewell! Or in her heart claim place; thee. But hear her, hear the voice of love! Dalila Still wav’ring where their choice to fix, Had fortune brought me to that field of death, Too oft they choose the wrong: Where thou wrought’st wonders with an ass’s jaw, bm 43 AIR: DALILA Thou art more deaf to pray’rs than winds or seas; So much self-love does rule the sex, I’d left thy carcass where the ass lay thrown. To fleeting pleasures make your court, Thy anger rages an eternal tempest. They nothing else love long. No moment lose, for life is short! Why should I humbly sue for peace, thus scorn’d, Samson With infamy upon my name denounc’d? Boast not of what thou would’st have done, but do. The present now’s our only time, bq 48 RECITATIVE: SAMSON When in this land I ever shall be held The missing that our only crime. Favour’d of Heaven is he, who finds one true, Harapha The first of womankind, living or dead; How rarely found! - his way to peace is smooth. The honour certain to have won from thee 42 CHORUS OF VIRGINS My praises shall be sung at solemn feasts, I lose, prevented by thy eyes put out; Her faith and truth, oh Samson, prove, Who sav’d my country from a fierce destroyer. br 49 CHORUS To combat with a blind man, I disdain. But hear her, hear the voice of love! To man God’s universal law bo 45 DUET 51 Gave power to keep the wife in awe, bt AIR: HARAPHA 43 AIR: DALILA Dalila Thus shall his life be ne’er dismay’d, Honour and arms scorn such a foe How charming is domestic ease! Traitor to love! I’ll sue no more By female usurpation sway’d. Though I could end thee at a blow; A thousand ways I’ll strive to please. For pardon scorn’d, your threats give o’er! Poor victory, to conquer thee, Life is not lost, though lost your sight; Samson 4 Or glory in thy overthrow! Let other senses taste delight. Traitress to love! I’ll hear no more SCENE Vanquish a slave that is half slain? The charmer’s voice, your arts give o’er! 50 So mean a triumph I disdain. 42 CHORUS OF VIRGINS bs RECITATIVE Micah Her faith and truth, oh Samson, prove, bu 52 RECITATIVE: SAMSON No words of peace, no voice enchanting fear, But hear her, hear the voice of love! Put on your arms, A rougher tongue expect; here’s Harapha, Then take for spear your weighty I know him by his stride and haughty look. weaver’s beam, Enter Harapha and Philistines And come within my reach! 12 13 cl 53 AIR: SAMSON Those magic spells that gave our hero strength CD3 ACT THREE 2 62 AIR: HARAPHA My strength is from the living God Then know whose God is God; Dagon, Presuming slave, to move their wrath By Heav’n free-gifted at my birth, of mortal make, Samson, Micah, Harapha and the For mercy sue, To quell the mighty of the earth Or that Great One whom Abram’s sons adore. Chorus of Israelites. Or vengeance due And prove the brutal tyrant’s rod; Dooms in one fatal word thy death. cp 57 CHORUS OF ISRAELITES 1 61 RECITATIVE But to the righteous peace and rest, Consider, ere it be too late, Hear, ’s God, Jehovah, hear! Micah With liberty to all opprest. To ward th’unerring shaft of fate. Oh save us, prostrate at thy throne! More trouble is behind; for Harapha cm 54 RECITATIVE Israel depends on thee alone, Comes on again, speed in his steps and look. 3 63 RECITATIVE Harapha Save us, and show that thou art near! Samson Micah With thee! A man condemn’d, a slave enroll’d, I fear him not, nor all his brood. Reflect then, Samson, matters now are strain’d cq 58 RECITATIVE: HARAPHA No worthy match to stain the warrior’s sword! Enter Harapha Up to the height, whether to hold, or break. Dagon, arise! Attend thy sacred feast! He’s gone, whose malice may inflame the Lords. Samson Thy honour calls, this day admits no rest. Harapha Cam’st thou for this, vain boaster? Yet take heed! Samson, to thee our Lords thus bid me say: Samson My heels are fetter’d but my hands are free. cr 59A AIR: PHILISTINE MAN This day to Dagon we do sacrifice Shall I abuse this consecrated gift Thou bulk, of spirit void! I once again, To song and dance we give the day, With triumph, pomp, and games: we Of strength, again returning with my hair, Blind and in chains, provoke thee to the fight! Which shows thy universal sway. know, thy strength By vaunting it in honour to their God, Harapha Protect us by thy mighty hand, Surpasses human race: come then, and show And prostituting holy things to idols? Oh Dagon! Can I hear this insolence, And sweep this race from out the land! Some public proof to grace this solemn feast. Micah How thou wilt here come off surmounts my reach; To me unus’d, not rend’ring instant death? cs 59B CHORUS OF PHILISTINES Samson I am Hebrew, and our law forbids ‘Tis Heaven alone can save both us and thee. cn 55 To song and dance we give the day, DUET My presence at their vain religious rites. Samson Which shows thy universal sway. 4 64 CHORUS OF ISRAELITES Go, baffled coward, go, Protect us by thy mighty hand, Harapha With thunder arm’d great God, arise! Lest vengeance lay thee low, And sweep this race from out the land! This answer will offend; regard thyself. Help Lord, or Israel’s champion dies! Samson To thy protection this thy servant take, In safety fly my wrath with speed! ct 60 CHORUS OF ISRAELITES Harapha Myself! My conscience and internal peace! And save, oh save us for thy servant’s sake! AND VIRGINS, Am I so broke with servitude, to yield Presume not on thy God, 65 Dalila, Samson, Harapha and Manoa To such absurd commands? To be their fool, 5 RECITATIVE Who under foot has trod Fix’d in his everlasting seat, Samson Thy strength and thee, at greatest need. And play before their God? I will not come. Jehovah/Great Dagon rules the world in state. Harapha Be of good courage; I begin to feel co 56 RECITATIVE: MICAH His thunder roars, heav’n shakes and earth is aghast; My message, given with speed, brooks no delay. Some inward motions, which do bid me go. Here lie the proof: if Dagon be thy God, The stars with deep amaze, Micah With high devotion invocate his aid; Remain in steadfast gaze In time thou hast resolv’d; again he comes. His glory is concern’d. Let him dissolve Jehovah/Great Dagon is of Gods the first and last. Enter Harapha

14 15 Harapha 7 67 RECITATIVE: MICAH 72 CHORUS OF PHILISTINES 76 SINFONIA Samson, this second summons send our Lords, With might endued above the sons of men, (at a distance) A symphony of horror and confusion Art thou our captive, slave and public drudge, Swift the lightning’s glance His errand execute, Great Dagon has subdued our foe 77 Yet dare dispute thy coming when we send? And spread His name amongst the And brought their boasted hero low, RECITATIVE: MANOA Haste thee at once; or we shall engines find heathen round! Sound out his pow’r in notes divine, Heav’n! What noise! To move thee, though thou wert a solid rock. Praise him with mirth, high cheer and wine! Horribly loud, unlike the former shout. 8 68 AIR: MICAH Samson 78 The Holy One of Israel be thy guide, bm 73 RECITATIVE CHORUS OF PHILISTINES Vain were their art if tried; I yield to go, The Angel of thy birth stand by thy side! Manoa (at a distance) Not through your streets be like a wild To fame immortal go, What noise of joy was that? It tore the sky. Hear us, our God! Oh hear our cry! beast trail’d. Death! Ruin! Fall’n! No help is nigh, Heav’n bids thee strike the blow. Micah Harapha Oh, mercy, Heav’n we sink, we die! The holy one of Israel is thy guide. They shout and sing, to see their dreaded foe You thus may win the Lords to set you free. 69 Now captive, blind, delighting with his strength. bp 79 RECITATIVE Samson CHORUS OF ISRAELITES Manoa Micah In nothing I’ll comply that’s scandalous To fame immortal go, Could my inheritance but ransom him, Noise call you this? An universal groan, Or sinful by our law. Brethren, farewell! Heav’n bids thee strike the blow. Without my patrimony having him As if the world’s inhabitation perish’d! Your kind attendance now, I pray, forbear, The holy one of Israel is thy guide. The richest of the tribe. Blood, death and ruin, at their utmost point! Lest it offend to see me girt with friends. Manoa Expect of me you’ll nothing hear impure, 2 Micah SCENE Sons care to nurse Ruin indeed! Oh! They have slain my son! Unworthy God, my nation, or myself. Micah, Manoa and Chorus of Israelites. Their parents in old age; but you - your son! Micah Micah 9 70 RECITATIVE Thy son is rather slaying them; that cry So may’st thou act as serves his glory best. bn 74 AIR: MANOA Micah From slaughter of one foe could not ascend. How willing my paternal love Samson Old Manoa, with youthful steps, makes haste But see, my friends, The weight to share Let but that spirit (which first rush’d on me To find his son, or bring us some glad news. One hither speeds, an Hebrew of our tribe. In the camp of Dan) inspire me at my need; Of filial care, Manoa Then shall I make Jehovah’s glory known And part of sorrow’s burden prove! I come, my brethren, not to seek my son, 3 Their idol gods shall from his presence fly, Though wand’ring in the shades of night, SCENE Who at the feast does play before the Lords; Scatter’d like sheep before the God of Hosts. Whilst I have eyes he wants no light. Enter a Messenger, an Israelite officer. But give you part with me, what hopes I have 80 6 66 AIR: SAMSON To work his liberty. bo 75 RECITATIVE bq RECITATIVE Thus when the sun from’s wat’ry bed, Micah Messenger bl 71 AIR: PHILISTINE MAN All curtain’d with a cloudy red, Your hopes of his deliv’ry seem not vain, Where shall I run, or which way fly the thoughts (at a distance) Pillows his chin upon an orient wave; In which all Israel’s friends participate. Of this most horrid sight? Oh countrymen! Great Dagon has subdued our foe The wand’ring shadows ghastly pale, Manoa You’re in this sad event too much concern’d. And brought their boasted hero low, All troop to their infernal jail, I know your friendly minds, and… Micah Sound out his pow’r in notes divine, Each fetter’d ghost slips to his sev’ral grave. The accident was loud, we long to know from whence. Praise him with mirth, high cheer and wine!

16 17 Messenger Micah Manoa cm 87 RECITATIVE Let me recover breath; it will burst forth. In life and death, thou hast fulfill’d the There shall all Israel’s valiant youth resort Manoa Manoa work for which foretold: And from his memory inflame their breasts Come, come! No time for lamentation now Tell us the sum, the circumstance defer. And now thou liest victorious, though self-kill’d, To matchless valour, whilst they sing his praise. No cause for grief: Samson like Samson fell, Messenger Triumphant o’er a heap of slaughter’d foes, Enter Israelites with the body of Samson. Both life and death heroic. To his foes Gaza yet stands, but all her sons are fall’n. More than thy life has slain. Let Israel now Glorious hero, may thy grave Ruin is left; to him eternal fame. Manoa The voice of lamentation raise and sing Peace and honour ever have Micah Sad! Not to us: but now relate by whom. A parting to this honour’d soul. After all thy pains and woes, Why should we weep or wail, dispraise or blame Messenger br Rest eternal, sweet repose! Where all is well and fair to quiet us? By Samson done. 81 AIR: MICAH Praise we Jehovah then, who to the end Manoa Ye sons of Israel, now lament; cl 86 CHORUS OF ISRAELITES Not parted from him, but assisted still, The sorrow lessens still, Your spear is broke, your bow’s unbent, AND ISRAELITE Till desolation fill’d ’s land, And nigh converts to joy. Your glory’s fled! Man and Woman Honour and freedom giv’n to Jacob’s seed. Messenger Amongst the dead great Samson lies! Glorious Hero, may thy grave 88 Oh Manoa! Forever, ever, closed his eyes. Peace and honour ever have! cn AIR: ISRAELITE WOMAN Let the bright Seraphim in burning row In vain I would refrain: the evil tale An Israelite Woman 82 CHORUS OF ISRAELITES Their loud, uplifted angel-trumpets blow. Too soon will rudely pierce thy aged ear. The virgins too shall on their feastful days Weep Israel, weep a louder strain; Let the Cherubic host, in tuneful choirs Manoa Visit his tomb with flow’rs and there bewail Samson, your strength, your hero, is slain! Touch their inmortal harps with golden wires. Suspense in news is torture! speak them out. His lot unfortunate in nuptial choice. bs 83 RECITATIVE: MANOA Messenger Chorus of Virgins 89 CHORUS OF ISRAELITES Proceed we hence to find his body, soak’d Then take the worst in brief - Samson is dead. Bring the laurels, bring the bays, Let the bright Seraphim in burning row In vile Philistine blood; with the pure stream, Manoa Strew his hearse, and strew the ways! Their loud, uplifted angel-trumpets blow. The worst indeed! My hopes to free him hence And cleansing herbs, wash off the clodded gore, An Israelite Woman Let their celestial concerts all unite, Are blasted all, but death, who sets all free, Then solemnly attend him to my tomb, May ev’ry hero fall like thee Ever to sound his praise in endless blaze of light. Hath paid his ransom now. With silent obsequies and fun’ral train. Through sorrow to felicity. Micah bt 84 DEAD MARCH Yet, ere we give the reins to grief, say first: Chorus of Virgins Recording Producer: Mark Brown Bring the laurels, bring the bays, Recording Engineers: Mike Hatch and Mike Clements (Floating Earth) How died he? Death to life is crown, or shame. bu 85 RECITATIVE AND AIR Recorded at St Judes on the Hill, Hampstead Garden Suburb, London Strew his hearse, and strew the ways! Messenger Micah Design: Richard Boxall Design Associates. Unwounded of his enemies he fell, The body comes; we’ll meet it on the way Chorus of Israelites CD re-mastering: Julian Millard. At once he did destroy, and was destroyed. With laurels evergreen and branching palm; Glorious hero, may thy grave Cover image: Karnak Temple, Hisham F. Ibrahim The edifice, where all were met to see, Then lay it in his monument, hung round Peace and honour ever have; Originally released on Collins Classics. Upon their heads, and on his own he pulled. With all his trophies, and great acts enroll’d After all thy pains and woes, The Sixteen Productions 2002 © The Sixteen Productions 2002 Manoa In verse heroic, or sweet lyric song. Rest eternal, sweet repose! www.thesixteen.com O lastly over-strong against thyself! For translations of texts please contact A dreadful way thou took’st to thy revenge: [email protected] or telephone 0044 1869 331 544. Glorious, yet dearly bought! 18 19 N