An Exploration of the Vocal

Home , Adolphe Nourrit, Domenico Donzelli, Gilbert Duprez, Guido et Ginevra, Guillaume Tell (Grétry), Passaggio

THE VOICE OF SAMSON: AN EXPLORATION OF THE

VOCAL WRITING IN GILBERT DUPREZ’S

OPERA SAMSON

GARRETT ERWIN TORBERT

PAUL H. HOUGHTALING, COMMITTEE CHAIR JOANNA COBB BIERMANN DAVID TAYLOE AMIR ZAHERI LUVADA A. HARRISON DIANE BOYD SCHULTZ

A DOCUMENT

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama

TUSCALOOSA, ALABAMA

The purpose of this document is to discuss the vocal writing and performance practice of

Samson, a Grand Opera by Gilbert Duprez. This document contains a performing edition of selected recitatives and arias from the incomplete score from 1837. The edition includes the orchestral accompaniment, French text, an original English translation, and an annotated score of

Duprez and his brother, Édouard original manuscript from the Harvard Theatre Collection located in the Houghton Library at Harvard University.

In the nineteenth century, Gilbert Duprez was an internationally-renowned tenor from Paris who demonstrated exceptional gifts as a singer, influencing a generation of tenors following his career. His success in the nineteenth century impacted the tenor technique as he gained much popularity studying in Italy and achieving success from his vocal development there. He reached a major feat in 1837 after returning from his studies in Italy by singing the first, full chested high

[C5] on stage at the Paris Opera in Rossini’s Guillaume Tell. From this he created a shift in the tenor technique and impacted the output of tenor repertoire for years to come. His newly discovered vocal abilities assisted in the creation of new, dramatic repertoire from his contemporaries, several selections of which he was able to premiere during his lifetime. His

Italian training brought him success not only in the bel canto repertoire, but he was afforded roles and had immense success singing roles in the French Grand Opera repertoire.

The era in which Duprez’s career skyrocketed was significant in operatic history. The nature of his vocal maturity inspired composers to adhere to the dramatic qualities of the changing tenor

ii voice and thus produce larger, dramatic works for the stage. Duprez was better known as a singer, but he also was a composer. His works are rare. The purpose of this document intends to showcase a small part of his compositional output. Among his operas, Samson has remained a mystery to the repertoire due to the fact it is an incomplete score and it is unpublished. I will focus on uncovering the details of Samson in this document and discuss the tenor role of

Samson. While Duprez did not premiere this role, he did know the heights to which he could take the tenor voice. This opera provides a clear view of how he achieved a heroic tenor sound through the drama and music. The representation of the character, Samson in Gilbert Duprez’s

Grand opera by the same name, both heroic and lyrical, illustrates the power and might of one of opera’s greatest heroes.

iii ACKNOWLEDGEMENTS

First and foremost, I would like to thank each of my committee members for their mentorship and encouragement throughout this process. I would especially like to thank my teacher, Paul

Houghtaling for his support on both this scholarly journey and in my singing career. Your dedication to my success has been nothing but inspirational and words cannot completely describe the impact you have made on my life here at the University of Alabama. I would like to thank Christopher Withrow for your outpour of friendship and enthusiasm, which has kept me strong and focused throughout this process. I would like to thank Lydia Beasley Kneer and

Brittney Patterson who have been the best of friends on this academic journey. You have both provided me with a true understanding of friendship and support. When times were hard, you both kept me going considering you both just went through the same process last year. To my family, words can never describe how thankful I am to have you in my life. From day one, Mom and Dad, you saw me as a strong, fearless, human being who persisted and never gave up. You listened to me and guided me through all of this and have done so since birth. I am eternally grateful that you have supported me and loved me through all of this. I love you all and thank you for making me who I am today

iv CONTENTS ABSTRACT………………………………………………………………………………………ii

ACKNOWLEDGEMENTS………………………………………………………………………iv

LIST OF FIGURES………………………………………………………………………………vi

CHAPTER 1: BIOGRAPHICAL SKETCH………………………………………………………1

CHAPTER 2: THE SINGING CAREER OF GILBERT DUPREZ………………………………7

CHAPTER 3: FRENCH GRAND OPERA AND A HISTORICAL BACKGROUND OF SAMSON………………………………………………………………………………………....17

CHAPTER 4: ANALYSIS OF THE TENOR ROLE SAMSON……………………………...... 29

CONCLUSION…………………………………………………………………………………..45

REFERENCES…………………………………………………………………………………..46

APPENDIX A: CHARACTERS AND CORRESPONDING VOICE TYPES………………....49

APPENDIX B: TRANSCRIPTIONS……………………………………………………………50

v LIST OF FIGURES

Figure 2.1. Gilbert Duprez’s Partial Repertoire List, 1826–182…………………………………11

Figure 2.2. Gilbert Duprez’s Repertoire List of Donizetti Operas Performed…………………..12

Figure 2.3. List of Roles Debuted by Duprez at the Paris Opéra………………………………...14

Figure 2.4. Stage Works by Gilbert Duprez……………………………………………………..15

Figure 3.1 Gilbert Duprez, Samson, manuscript opening page, Act I…………………………...20

Figure 4.1. Gilbert Duprez, Samson, Act I, Scene III, mm. 27-30………………………………31

Figure 4.2. Gilbert Duprez, Samson, Act I, Scene III, mm. 31-33………………………………32

Figure 4.3. Gilbert Duprez, Samson, Act I, Scene III, mm. 53-57………………………………34

Figure 4.4. Gilbert Duprez, Samson, Act I, Scene III, mm. 7-12………………………………..35

Figure 4.5. Gilbert Duprez, Samson, Act I, Scene III, mm. 27-35………………………………37

Figure 4.6. Gilbert Duprez, Samson, Act I, Scene III, mm. 109-117……………………………38

Figure 4.7. Gilbert Duprez, Samson, Act II, Scene II, mm. 34-39………………………………40

Figure 4.8. Gilbert Duprez, Samson, Act II, Scene II, mm. 38-42………………………………42

Figure 4.9. Gilbert Duprez, Samson, Act II, Scene II, mm. 64-67………………………………43

Figure 4.10. Gilbert Duprez, Samson, Act II, Scene II, mm. 68-71……………………………..44

vi CHAPTER 1: BIOGRAPHICAL SKETCH

This opera of Samson was, I must say, my favorite work, the one in which I put the most, of my heart, of my mind, of my time, of myself finally. I realized furthermore an idea which belonged

to me and which I believe to be worthy; I offer it to my readers.1

–– Gilbert Duprez

Thus, in his memoir, Souvenir d’un chanteur (1880), Duprez ardently proclaimed his opera

Samson (1837) to be his most prized composition. A singer, teacher, and composer, Gilbert

Duprez (1806–1896) was revolutionary in the development of the tenor voice during his lengthy career as an opera singer. By means of a thorough assessment of his own unique vocal abilities,

Duprez was able to influence the techniques and vocal development of generations of tenors, in his time and beyond, while also impacting the stage works of opera composers during the nineteenth century. Duprez had only minor success as a composer. He wrote eight operas and one oratorio, among other small compositions. His compositional works, only some in printed editions, are few and rare. His opera Samson, along with his other unpublished works, is reflective of the French Grand Opera style, the premiere style of opera in Paris during the first half of the nineteenth century.

1 All translations are those of the author unless otherwise noted. Gilbert Duprez, “Souvenirs d'enfance,” in Souvenirs d'un Chanteur [Memories of a Singer], trans. Garrett Torbert (Paris: Calmann-Lévy, 1880), 216. Cet opéra de Samson a été, je dois le dire, mon œuvre chérie, celle où j'ai mis le plus, de mon cœur, de mon esprit, de mon temps, de moi-même enfin. J'y réalisai de plus une idée qui m'appartiènt et que je crois bonne; je la livre à mes lecteurs.

Duprez’s exceptional vocal gifts afforded him years of successful singing in Europe’s greatest opera houses. His nearly twenty-five years of success as an opera singer has led scholars to direct their attention exclusively to Duprez’s vocal caliber. In addition to having executed the first full-chested high C [C5] on the opera stage, Duprez spent a great deal of his life composing, while still maintaining his active performing career.

Gilbert-Louis Duprez, born in Paris on December 6, 1806, was the twelfth child in a family of eighteen children. Duprez’s sizable family and his parents’ low-income employment meant that money was scarce. Money that was made in the household went to provide the family with the essentials for living.2 In 1815, Duprez began studying violin and music theory with Monsieur

Le Carpentier, a violinist in an opera orchestra in Paris and father to the renowned French music educator, Adolphe Claire Le Carpentier (1809–1869). Duprez grew close to the Carpentier

3 family as his musical artistry began to develop.

At the age of ten, Duprez took the entrance exam for admission to the Académie des Beaux-

Arts, but he was denied entrance into the program.4 Months later, Duprez spoke with his cousin

Achilles, who had become acquainted with Alexandre-Étienne Choron (1771–1834), at the

Académie des Beaux-Arts in Paris.5 At the time, Choron was an established musicologist and theory teacher in Paris and, for a brief juncture, served as the director of the Paris Opéra.

Duprez’s cousin insisted that he meet the director to express his interest in pursuing music studies.6 Duprez was admitted without delay and became a student of the director himself. At the academy, he studied voice and theory and flourished under Choron’s tutelage. The director

2 J. L. Heugel, “Causeries Musicales – Gilbert Duprez,” Le Ménestrel: Journal de Musique, June 21, 1846. 3 Ibid., 4. 4 Ibid. 5 Ibid. 6 Ibid.

taught Duprez in the French tradition of singing, much like he himself was taught. 7 Henceforth,

Choron continued to express to family, friends and colleagues the success and growth of the young pupil.8 Thus, even in Duprez’s early career, it became apparent to others that the young musician had an auspicious future ahead of him. At age thirteen, Duprez became a chapel master at the St. Sulpice in Paris where he composed masses that were performed regularly.9 Duprez wrote his first opera La Cabane du pechêur when he was seventeen years old. It was given its first public performance at the Versailles Theatre in 1826.10 His brother, Edouard Duprez (1804–

1879), wrote the libretto for this opera and assisted as librettist for his seven other operatic compositions. Duprez’s compositional output continued to grow from a range of sacred works, songs, and operas as he began his career as a singer in Paris.

Gilbert Duprez made his operatic debut at the Odéon-Théâtre de l'Europe in 1825, singing

Count Almaviva in Rossini’s Il barbiere di Siviglia. He was nineteen years old with an annual salary of 4,000 francs a year.11 His early debut was not well received and critics took issue with his lack of acting ability and underdeveloped voice.12 Despite his misfortune at the Odéon, he continued to sing there and further developed as a singer until he was contracted in 1828 by the

Opéra-Comique as a principal tenor for the company. His tenorial contemporaries at the time included the already established Adolphe Nourrit (1802-1839), who had been the premier tenor for nearly every theater in Paris in the early nineteenth century. Despite being contracted at the

Opéra-Comique, Duprez could not compete with the success of Nourrit in Paris and instead

7 Ibid., 5. 8 Ibid., 8. 9 Ibid., 2 10Ibid., 10. 11 Ibid., 15 12 Mark Everist, Music Drama at the Paris Odéon, 1824-1828 (Berkeley: University of California Press, 2002), 3.

traveled to Italy with the intention of furthering his career with Italian audiences.

Before leaving for Italy in 1828, Duprez married Alexandrine Duperron, another singer and a pupil of Choron’s. Prior to her marriage, Alexandrine had an established career in France as a soprano; following her marriage she would become known for performing in many operas alongside her husband. Their arrival in Italy coincided with the development of new singing traditions both in Italy and throughout Europe. The Italianate sound in the Italian tenors Rubini,

Nozzari, and Donzelli, inspired Duprez to master his vocal technique.13 His vocal studies in Italy furthered his vocal production and thus he began to develop a darker color, fuller, with a more robust tone.14 Composers at the time took notice of the careers of both Duprez and his wife, and

Duprez premiered a number of roles in operas by Donizetti, Meyerbeer, Verdi, Bellini, and

Berlioz. He developed a close working relationship with Donizetti, which led to Duprez premiering leading tenor roles such as Ugo in Parisina (1833) and Fernand in La favorite (1840), but most importantly, Edgardo in Lucia di Lammermoor (1835). Duprez became increasingly popular in Italian opera houses, giving him tremendous opportunities as a singer.

In 1831, Duprez was called upon at a short notice to sing the role of Arnold in the Italian premiere of Rossini’s Guillaume Tell in Lucca, Italy. The tenor who was originally offered the role had fallen ill and was unable to sing the performance. His debut performance as Arnold enabled him to present his newfound Italianate vocal technique to audiences in Lucca. His

13 Michael Lee Smith, Jr. “Adolphe Nourrit, Gilbert Duprez, and the High C: The Influences of Operatic Plots, Culture, Language, Theater Design, and Growth of Orchestral Forces on the Development of the Operatic Tenor Vocal Production” (DMA dissertation, University of Nevada, Las Vegas, 2011), 24. The three tenors mentioned above, Andrea Nozzari (1775–1832), Giovanni Battista Rubini (1794–1854), and Domenico Donzelli (1790–1873) were all successful tenors singing in Italy in the Bel canto tradition at this time. They were all a part of the Bergamo tenor school, founded by Giacomo David and Gaetano Crivelli, which trained tenors in the bel canto style of singing. 14 Ibid., 24.

success in Rossini’s opera in Italy gave him the opportunity to venture back to Paris for his debut at the Opéra in 1837. His newly refined sound established a pivotal movement in the operatic world and tenor repertoire, and he became known as “the first true Romantic tenor” of the nineteenth century.

Shortly after his successful return to Paris in 1837, Duprez began to work extensively on a new, large-scale opera entitled Samson. The work, Samson, was originally conceived as an oratorio, but later reimagined as a Grand Opera for the stage. His brother Édouard assisted in writing the libretto along with the famous novelist and playwright Alexandre Dumas. The text was adapted from the earlier version of the opera Samson by the Baroque composer Jean-

Philippe Rameau (1683–1764). Duprez’s Samson premiered in 1855 at the Hôtel Turgot in Paris, yet it only received a partial performance due to that fact that Duprez had not completed it in its entirety. The incomplete performance included only the first three acts. However, in 1857, the fourth act was added to the grand work.15 At this time, the opera was given a concert performance, featuring Duprez’s wife, Alexandrine Duperron, and mezzo-soprano Pauline

Viardot in the leading roles. However, the opera has never been given a complete performance, largely because it remains musically incomplete as it does not include in the original manuscript all four original acts. The score consists of only acts I and II and with regards to subject material, the story is left unfinished.

15 Gilbert Duprez, “J,” J & J Lubrano Music Antiquarians, accessed August 31, 2018, This is a handwritten letter to Son Excellence Monsieur le Comte de Morny, président de la Commission Supérieur de l'Opéra Impérial, inviting Duprez to the final performance of Samson. The Lubrano website gives the exact dates and performances of the opera, and includes which acts were performed as part of a private viewing at Duprez’s home.

After a career that nearly spanned twenty-five years, Duprez continued to sing with immense success until his voice declined and he was forced to retire from the stage in 1849. He made his last public appearance as Edgardo in Lucia di Lammermoor alongside his daughter Caroline singing the title role of Lucia. In his retirement, he continued to compose and maintain his position as a singing teacher at the Paris Conservatoire, which began as early as 1842. Duprez became noted for teaching the next generation of opera singers, including Emma Alabani and Pol

Plançon, among others. He also wrote books on vocal production and memoirs of his life as a singer. Some of his publications include L’art du chant (1845), Souvenirs d’un chanteur (1880), and Récréations de mon grand áge (2 volumes) (1888). Duprez’s legacy as a singer has influenced generations of tenors and also the tenor repertoire.

This document seeks to showcase the innate sensibility Duprez expressed in the vocal writing for the character of Samson in his opera. Through this exploration, I will analyze the vocal writing based on the range, tessitura, orchestration, and overall compositional style. I will also discuss how Samson could be easily integrated into the repertoire for which Duprez was best known during his lifetime.

CHAPTER 2: THE SINGING CAREER OF GILBERT DUPREZ

Bel canto, or “beautiful singing,” was the premiere style of singing in Europe in the earlier part of the 19th century. It originated from Italy where it became the national style in operatic culture. The principles of bel canto singing highlighted skillful expressivity, and the components that defined the style in this era include a distinct vocal timbre, a virtuosic showcase of vocal agility, a keen ability to improvise, and lyrical ease.16 A host of Italian composers from the 19th century, among them Rossini, Donizetti, and Bellini, produced works that required these vocal traits, which set the standard for Italian opera during this time.

National Schools of Singing and Their Influence in Opera

From the Italian bel canto style of singing came inspiration for further development of singing styles throughout Europe. In the eighteenth century, different national styles of vocal production developed, each with its own particular type of expression and traits. The three main schools of singing that evolved during this time were the Italian, French, and German. Each of these schools demonstrated a unique style of singing that highlighted a variety of vocal characteristics stemming from institutions and generations of singing from a linguistic aspect, musical expression, and a vocal technique.

The plethora of tenorial enterprise that we now take for granted has not always existed: in the beginning there were just singers. The modern tenor voice is the product of many centuries of

16 Rodolfo Celletti, A History of Bel Canto. Oxford: Clarendon Press, 1997. 17.

evolution: a process that began slowly in the early medieval period with voices that might have sung in a tenor range and accelerated rapidly from the eighteenth century onwards to become the complex voice of today’s opera houses and concert halls.17

The dawn of a new singing style for the tenor voice came in April of 1837, when Duprez sang the first full-chested high C [C5] on stage. This moment occurred at the Paris Opéra, and brought not only thunderous applause from an enthusiastic Parisian audience, but also exhibited the substantial feats of Duprez, a tenor trained in both French and Italian schools. Duprez’s display of his vocal caliber sparked interest in the potential future of nineteenth-century singing.

Duprez had begun his career training in the French school, but it is possible his experience and training in Italy influenced his singing and gave him his vocal success.18 Pedagogue, teacher, and singer Richard Miller explains that, “the quality and character of the singing tone in the French school is more directly determined by the sounds encountered in the spoken language than in any of the other major schools of singing.”19 This aspect of vocal production in the French language stands in complete opposition to the Italian tradition. The Italian language allows for freedom and consistency with an approach to sound production through the use of taller vowels and a more open throat. To support these differences, one might consider the obvious differences and phonetic variations in these two languages. Among other distinctive traits between the French and Italian schools of singing are the exploration of the upper register of the tenor voice.

17 John Potter, Tenor: History of a Voice (London: Yale University Press, 2009), 1. 18 Michael Lee Smith, Jr. “Adolphe Nourrit, Gilbert Duprez, and the High C: The Influences of Operatic Plots, Culture, Language, Theater Design, and Growth of Orchestral Forces on the Development of the Operatic Tenor Vocal Production” (ProQuest diss., University of Nevada, Las Vegas, 2011), ProQuest Theses and Dissertations, Order No. 3494748. 19 Richard Miller, National Schools of Singing: English, French, German, and Italian Techniques of Singing Revisited (Lanham, MD: Scarecrow Press, 1997), .

The Italian School places emphasis on a covered tone when ascending in the upper range of the voice. It remains popular in today’s teaching of the tenor technique chiefly so the transition through the male passaggio is treated with care. Once the male voice has entered into a certain range of their voice, they begin a transition point where they must begin to adjust the vocal mechanism in order to maintain optimal freedom in singing. The Italian School is most known for providing a refined sense of teaching for this specific transition in the voice. For male voices, and for Duprez, covering the sound allows for the use of head voice to become implemented so that weight is not carried into the extremes of their range. This in turn creates a fuller, more resonant sound so the singer can be heard in a large theatre. Duprez’s formal training in Paris with Choron gave him the foundation for singing, but he still lacked the vocal maturity needed to sing over a large orchestra. In the French school of singing, the use of falsetto was often implemented to ascend into the extremes of the male register. Accordingly, the voice could not create a full resonant sound that could compete with a large orchestra in the theatre.

The success of Duprez’s singing, therefore, came from the Italian vocal technique, which combined the use of a lower laryngeal position and a balanced breath and open mouth space needed to create a free, resonant sound when approaching the upper register of the voice. The combination of these elements might also have contributed to the success of Duprez’s signature high C [C5]. The term do di petto comes from the Italian language meaning “from-the-chest” which is the production of sound combining a more chest resonant sound. Pedagogically, the larynx remains lowered while the voice combines both the head and chest registers to access the upper range of the voice freely.20 This combination of registers creates a tone for singing which we now associate with the operatic tenor voice. While studying in Italy, Duprez spent time listening to Italian tenors and was highly influenced by the vocal timbre and caliber of tenors in

20 Smith, 129.

Italy. Domenico Donzelli, one of the premier tenors in Italy at this time, had also negotiated the

21 transition into chest voice with great success in Paris at the Théâtre des Italiens.

Duprez’s Early Career in France and Opera Roles

When Duprez departed to Italy from France in 1828, he was singing lighter Rossini tenor roles, from operas originally composed in French and those translated from their original languages into French, following the policy that only French could be sung in theaters in France. Table 2.1 below provides a list of performances given in Paris before his sojourn to Italy. His brief career at the Odéon in Paris, from 1826 to 1827, he performed several roles, but they bore little significance in his repertoire, as only a few were part of the standard repertoire of nineteenth- century French opera.

21 Ibid., 24.

Figure 2.1. Gilbert Duprez Partial Repertoire List, 1826–1827

Title Role Original Title; Composer/Librettist Le Barbiere de Almaviva Il Barbiere di Siviglia, Rossini/Sterbini Séville

Ivanhoé Ivanhoé Ivanhoé Rossini/Antonio Francenso Gaetano Saverio Pacini

Der Freischütz; Robin des Bois Tony (Max) Carl Maria von Weber/Friederich Kind Le Neveu de Monseigneur Paoli Le Neveu de Monseigneur Rossini/Pacini Les Bohémians Crémont/ Sauvage

La Testament Malvitz –– Adolphe et Clara Adolphe –

22 Source: From Michael Lee Smith, Jr.,

Duprez’s arrival in Italy gave him many opportunities. He was managed by the Impresario

Alessandro Lanari (1787–1852), who furnished him with numerous engagements, which lead to his opportunity to sing Arnold in the Italian version of Guillaume Tell in 1831. While in the earlier part of his career Duprez sang light, lyric tenor repertoire, or leggiero roles, upon his success in Lucca, Italy, with the role of Arnold in Rossini’s Guillaume Tell, a role that had been sung by Nourrit at its 1829 premier, his repertoire expanded into heavier, more dramatic roles.

His career remained successful in both the French and Italian repertoire, but the connection formed with Donizetti provided Duprez with a number of featured roles in the famous Italian composer’s operas, as shown in the table below.

22 Ibid., 20. Twenty performances at the Odeòn Theater in Paris between 1826-1827

Figure 2.2. Gilbert Duprez’s Repertoire List of Roles Performed in Donizetti’s Operas

Role Opera Year of Performance Percy* Anna Bolena 1831 Ugo* Parasina 1833 Henry II* Rosmonda d’Inghilterra 1834 Edgar*+ Lucia di Lammermoor 1835 Polyeucte+ Les Martyrs 1840 Fernand*+ La Favorite 1840 *Italian; +French

The nature of these roles, which were dramatically heavier and more vocally demanding, suited

Duprez’s voice exceptionally well, and rather than having an increasingly high tessitura to sing, they showcased a lower tessitura, with occasional ascension into the higher range of the voice for

23 dramatic effect.

Duprez returned to Paris in 1837 after establishing himself as a successful singer in Italy.

The return was monumental. The bulk of scholarship written on Duprez has emphasized the monumental high [C5] he sang in Lucca in 1831, and then at the Paris Opéra in 1837, which would be his home until his retirement at age 49. During his tenure at the Paris Opéra, Duprez was the only principal tenor, but received accolades and praise for his singing. He shared his tenorial throne with another French tenor, Adolphe Nourrit. The two never shared the same vocal characteristics or repertoire, their voices featured significantly different timbres and ranges, and as a result allowed them to portray strikingly opposite narratives onstage.

Nourrit’s early career at the Paris Opéra focused on performance and repertoire composed

23 Mary Ann Smart, “Roles, Reputations, Shadows: Singers at the Opera, 1828-1849,” in The Cambridge Companion to Grand Opera, ed. David Charlton (Cambridge: Cambridge University Press, 2003), 117-19.

before the turn of the nineteenth century that told stories portraying characters from myth, legend, and poetry that incorporated the “light amorous tenor” of early opera. Consequently,

Nourrit’s style of singing and vocal production remained far more connected to the haute-contre style of singing that paralleled the vocal production of the castrato and which Rossini preferred.

By 1830, Duprez had been singing in Italy for a couple of years and by this time began to sing roles originally written for or performed by Nourrit in Paris with one significant difference: he sang them in Italian rather than French. Duprez came to the attention of Gaetano Donizetti and formed a lasting friendship.

Donizetti was writing operas with libretti that drew inspiration from English literature and subjects that portrayed natural characters with violent emotions, which in turn challenged and

24 then took advantage of the darkening voice of Duprez. The emotional response from the

Parisian audience after hearing Duprez’s newly trained sound provided the public with a new ear for this singing style. The spotlight moved away from Nourrit, who had been the principal tenor at the theatre for many years. Outraged, Nourrit fled Paris to Italy, seeking to learn the vocal traditions of Italian opera. A year later, after no real success in gaining an Italianate sound, certainly not comparable to what Duprez produced, Nourrit was driven mad, threw himself off a

25 hotel balcony, and died.

With Nourrit’s death, Duprez became the leading tenor in Paris. His overwhelming success in 1837 resulted in his singing a large repertoire at the Opéra. These roles highlighted his innate vocal abilities and the rich, metallic tone he brought with him from his work in Italy. His repertoire continued to expand, not only with the works of Donizetti and other celebrated Italian

24 David Kimball, Italian Opera: National Traditions of Opera, ed. John Warrack (Cambridge: Cambridge University Press, 1991), 1. Michael Smith’s research refers to Kimball’s information for supporting evidence. 25 Potter, 46-49.

composers, but French composers as well. He set a standard for a new, distinct sound that provided profundity and dramatic expression through singing. His voice inspired works by

Berlioz, Halévy, and Auber, all eminent composers of the French grand opera tradition.

Figure 2.3. List of Roles Debuted by Duprez at the Paris Opéra

Role Opera Composer Date

Guido Guido et Ginevra Halévy 1838

Cellini Benvenuto Cellini Berlioz 1838

Albert Le Lac des Fées Auber 1839

Polyeucte Les Martyrs Donizetti 1840

Fernand La Favorite Donizetti 1840

Gerard Le Reine de Chypre Halévy 1841

Dauphin Charles VI Halévy 1843

Sebastien Dom Sébastien, Roi du Donizetti 1843 Portugal

Gaston Jerusalem Verdi 1847

The operas that Duprez performed at the Opéra were significant influences on his own compositions, particularly in their musical structure and size. Duprez’s operas are largely dramatic and religious, focusing on historical, mythical, and serious plots. While they remain unknown to modern day audiences, their substance is equal to the operas he had made famous as a performer. He wrote eight operas, one oratorio, among other small compositions that include song literature.

26 Figure 2.4. Stage Works by Gilbert Duprez

Opera and Oratorio Year Composed Performance Theatre La Cabane du pêcheur 1826 Versailles

L’Abîme de la Maladetta 1851 Bruxelles

Joanita ou la Fille des 1852 Théâtre-Lyrique Boucaniers La Lettre au bon Dieu 1853 Opéra-Comique

Jélyotte ou Un passe- temps 1854 Salle Duprez de Duchesse

Samson 1857 Hôtel Turgot in Paris and Berlin

Jeanne D’arc 1865 Grand-Théâtre- Parisien

Le Jugement Dernier, 1868 Cirque de l’Impératrice oratorio en 3 parties La Pazza Della Regina 1877 Unknown

26 Source: List of stage works compiled from Gilbert Duprez’s memoirs, Souvenirs d’un chanteur,1880.

Duprez’s voice helped to inspire new repertoire and a new singing style in nineteenth-century operatic works; which also expanding his musical abilities through composition. In chapter 3 I will show how Duprez drew inspiration from the French Grand Opera tradition and worked to create his opera Samson in this contemporary style.

CHAPTER 3: FRENCH GRAND OPERA AND THE HISTORICAL BACKGROUND OF SAMSON

Upon the defeat of Napoleon in 1815, during the French Revolutionary wars, citizens returned to normal life in Paris, a life that would once again include music. Leon Plantinga remarks that “a new government and societal order exerted an abrupt and profound effect on the arts and culture of Paris.”27 This resurgence in musical culture led Paris to become the capital of opera in Europe during the nineteenth century. The arts had been a luxury for the rich and the royal, but with the expansion of the middle class, the arts became more accessible, affordable and a primary source of entertainment for more of the population.

Theaters formed throughout Paris, providing entertainment in opera, plays, concerts, and vaudeville. These theaters were organized with a perplexing system of rules and regulations. Due in part to the cost of productions and their success, the government and monarchy subsidized these theaters. Rules governing these theatres established the compositional output for operas and their performing houses. Three main theaters were institutionalized in Paris for operatic performance: the Opéra-Comique, which included spoken dialogue in between musical numbers; the Théâtre des Italiens, which played only Italian opera; and, finally, the Paris Opéra, the premier theater and home to Grand Opera during the nineteenth century, and the theater in which all text was sung.

27 Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W. W. Norton & Company, 1985), 168.

Grand Opera provided a visual spectacle for its audiences and focused on works with serious plots. Operas written in this style were epic in size, consisting of four or five acts. A few of

Grand Opera’s main components included an emphasis on historical and political drama, an expansion of both the chorus and orchestra, and the use of larger theaters to accommodate larger productions.

Historical Background of Samson

The story of Samson is found in the book of Judges, chapters 13 through 16. Prior to

Duprez’s version of Samson, there were other adaptations of the story of the biblical hero. One of the first settings was composed in 1677 by Giovanni Paola Colonna and entitled Il Sansone.

Following this came Sansone accecato da Filistri (1700) by Francesco Antonio Uri, Samson by

Jean Philippe-Rameau, Simson (1770) by Georg von Pasterwitz, and Il Sansone (1824) by

Francesco Basili.28 Rameau’s opera Samson consisted of a prologue and five acts, and was a particular inspiration to Duprez. Rameau’s libretto was adapted from François- Marie Arouet, better known under his nom de plume, Voltaire (1694– 1788). However, Voltaire faced serious criticisms due to his strong opinions on the church, but his libretto was eventually published.

Moreover, Rameau’s opera was never performed due to French censorship. Duprez also employed the same primary source libretto by Voltaire to eventually construct the libretto for his

Samson. Later, following Duprez’s setting, Camille Saint-Säens composed his version of

Samson, Samson et Dalilá (1877), which remains a staple in the operatic repertoire today.

However, biblical stories conceived for the operatic stage were met with tremendous opposition because theatrical performances based on religious subjects were prohibited and

28 Henry Edward Krehbiel, A Second Book of Operas: Their Histories, Their Plots, and Their Music [1917] (New York: Cornell University Library, 2009), 24.

greatly criticized in France and England, by both the Church and the government. To abide by government regulations, religious stories were musically set as oratorios or were censored for the public by changing the names of characters and eliminating scenes that could be considered immoral propaganda.29 Librettists’ integration of pagan folklore into sacred biblical accounts, especially with the story of Samson, offended censors, causing public performances of such works to be banned or barred. Oratorio was the primary genre that allowed biblical texts or stories to be set to music and even then oratorios were performed only in the church; thus, because of French censorship, Rameau’s Samson was never performed.30 The music was reused

31 in other works and Voltaire eventually published his libretto for the opera.

Genesis: The Development of Duprez’s Libretto

Duprez’s and Rameau’s librettos for the story of Samson are based on the same source material but are certainly not verbatim copies of each other. As Duprez began writing his version in 1837, he worked to adapt the libretto from this previous source material with the assistance of his brother, Édouard, and his friend Alexandre Dumas père. Their collaboration gave birth to a two-part oratorio to which Duprez later, on the advice of Dumas, added two more parts, creating a Grand Opera.32 Duprez’s works naturally showed many of the features of this genre, simply because of his choice of subject. Duprez’s Samson centered on a serious recalls the biblical tale of Samson described in the Bible of his heroism amidst religious turmoil with the Philistines.

Duprez employed the help of Dumas to assist his brother on the libretto. Dumas had achieved great renown as a novelist, playwright, and librettist in Paris and is most famous for his novels

29 Ibid,.1. 30 Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, rev. ed. (New York: Dover Publications, 1990), 194. 31 Ibid., 194. 32 Duprez, Souvenirs, 215.

The Count of Monte Cristo and The Three Musketeers.

Duprez’s finished work encompasses four acts, but the manuscript obtained from the

Houghton Library at Harvard University is incomplete, with only two surviving acts. In March of

1855, the first three acts of the four were presented at the Hôtel Turgot in Paris.33 The fourth act was added and the whole was then premiered in March, 1856.34 The texts of the two surviving acts are similar in structure to Voltaire’s libretto.

Figure 3.1 Gilbert Duprez, Samson, manuscript opening page, Act I. [Houghton Library,. M1500.D935 S3]

The opening page of the original manuscript is authenticated with Édouard Duprez’s signature and the date, 1837. It is possible that Duprez began composing Samson in 1837, although there is no evidence indicating any performance prior to 1855, when a private

33 Jouvin Benoît, “Chronique Musicale,” Le Figaro, March 25, 1855. 34 Duprez, Souvenirs, 216.

performance for members of the senate, ministers, and others of the Paris distinguished elite is documented.35 The featured performers for this concert were mezzo- soprano Pauline Viardot;

Duprez’s daughter, Caroline Duprez; and Monsieur Jules Puget in the role of Samson.

As mentioned, Duprez used Voltaire’s original source material as the subject for his opera but does not follow the libretto text verbatim, as he adapted the story with the help of Dumas and his brother. However, there is a printed edition of Duprez’s libretto, which has been translated into German and Italian.36 This German version represents a variant of the libretto text of the extant musical fragment of Duprez’s original work from 1837; perhaps these differences stem from the demands of French censorship; or possibly this was an early draft of the work that

Duprez continued to revise.

The German version was performed 1857 in concert in Berlin under the same title, Samson.

The alterations made in the German translation take liberties with the content, adding new characters and omitting ones from Voltaire’s original source. In the biblical telling of the Samson story (Judges, chapters 13–16), Samson’s mother is not named and plays a minor role. In the

German translation she is named Mehala and is the third principal character, alongside Samson and Dalila.37 The mother of Samson was sung by Viardot for the initial performance and the

Berlin performance.38 There are no named characters that represent pagan deities, but there is

35 Duprez, Souvenirs, 222. 36 Ibid., 226. The German translation exists and I obtained a copy from the Library of Congress’ Theatre Archives. The libretto includes what seems to be the later version that premiered in Germany in 1857 including Samson’s mother, Mehala. It does not follow the original material from the 1837 score. The Italian translation of Samson has not been located. I reached out the Library of Congress for further inquiries, but was not able to obtain an existing copy of the Italian translation. 37 Ibid., 222. 38 Ibid., 222.

39 often mention of gods worshipped by the Philistines, such as Venus and Mars.

The adaptations of the biblical story Duprez makes in his libretto are comparable to those of

Voltaire, but more significant to this study are the slight changes seen in Duprez’s version with regards to slight changes in text. In comparison to Voltaire’s libretto, here Roman gods replace

Dagon for the Philistines’ worship. These gods are only referenced in the libretto text and are never seen as a named character in the opera. A striking difference between Voltaire’s libretto and Duprez’s text is the introduction of another, non-biblical character, Alida. (This figure is borrowed from a Puerto Rican folktale. “The Legend of the Hummingbird” features a young

Indian girl, who is in love with another Indian boy, Taroo.)40 Upon first seeing the resting

Samson in the garden, Dalila calls out to Alida, the daughter of a great Indian chief. From biblical scripture, it is understood that Dalila betrays Samson by seducing him into forfeiting the secret of his strength. Voltaire centers his libretto on the love story of Samson and Dalila.

Unfortunately, we do not know Duprez’s complete version of the story. The source of the reference to Alida in Duprez’s opera could have been a literary contribution of Dumas, as a means of enhancing the plot of the ill-fated lovers.

39 Voltaire, Œuvres complètes de Voltaire, vol. 3: Avec Préfaces, Notes et Commentaires Nouveaux; La Henriade, Theatre (Paris: Garnier Frères, 1877). 40 John Warner, “Mythology: A Study of Puerto Rican Myths, Legends and Folktales,” http://teachers.yale.edu/curriculum/viewer/new_haven_82.05.09_u. While this leaves room for speculation, the reference to the Indian chief’s daughter is interesting since Dumas is of Haitian descent. He was born in the French colony Saint-Domingue, modern day Haiti. This could be a story he was told as a child or during his life, demonstrating the similar love stories by Voltaire and the PuertoRican folktale.

Samson, the opera

Cast of Characters Samson

Dalila

Le Roi des Philistines Le Grand-Prêtre

Les choeur des Hebreux et Les Israëlites Coryphée

Plot

Act 1, Scene 1, Number 1

Chorus of Israelites

Voltaire’s libretto opens with a Prologue, but Duprez has altered his version by eliminating parts with the pagan deities who sing of virtues and pleasure. Duprez’s first scene depicts the

Hebrews lying on the banks of the Adonis River, lamenting their captivity and longing for freedom, “Tribus Captives.”

Number 2

As the scene continues, an Israelite bemoans the forty winters they have endured and endless suffering that consumes their daily lives. While watching the Philistines worship their false idols,

Samson sing of the horror his Hebrew people have been submitted to during their enslavement.

The next character introduced is the Coryphée. She is also featured in Voltaire’s libretto as a minor character. In Ancient Greek drama the Coryphée was the leader of the chorus and in this scene the character appears as though watching over the laboring Hebrew souls.

Scene 2, Number 3

Scene 2 depicts the Philistines along with their High Priest praying to the false idols, around an altar. Amid this pagan worship service, the Hebrews exclaim that they must flee. The High

Priest mocks them, “Esclaves, demeurez, Demeurez: votre Roi par ma voix vous l'ordonne,”

(Slaves, abide, Abide: Your King by my voice commands thee) and claims they can never be released from their irons, and it is time they knew the gods of their masters.

Number 4

The chorus reacts with swift words, “Périsse, périsse. Ce temple et cet autel,” (Perish, perish.

This temple and this altar) saying they would rather be engulfed by hell than submit to worshipping false gods, and that the temple and the altar will be destroyed. The High Priest continues to ridicule the Hebrews, declaring that such boldness would cause war among the nations. The Israelites continue to challenge the priest and show fearlessness toward the tyrant.

Scene 3, Number 5

Entering, wearing a lion-skin coat, Samson is hailed by the Israelites as their hero, whom they have longed to see. He sings of the horror the Israelites have been forced to live in, and calls on them to avenge themselves, “Quel spectacle d'horreur ! . . . Venge ta cause, venge-toi” (What a horror show! . . . Avenge your cause, avenge yourself) Samson overturns the idols angering the

Philistines. The High Priest becomes increasingly angry and demands that Samson, like the rest of his people, be captured and punished.

This provokes Samson to exhibit his great strength, causing lighting to strike and burn the

Philistine fields. He then reassures his people that God has not forgotten them, and that he has been sent to protect and save his people, “Peuple, éveille-toi, romps tes fers . . .Liberté ! Liberté

!” (People, wake up, break your shackles... Freedom! Freedom) This marks the end of Act 1 in

Duprez’s manuscript.

Act 2

In Act 2, Duprez ceases labeling each scene, but rather indicates the form of the piece by titling the sections “Duet,” “Trio,” “Cantabile,” and so on. For the more extended musical numbers, ordinarily considered scenes, he simply marks on the score “Récit et air.” Particularly in Act 2, Duprez writes for Samson a true scena. This type of structure was often a component in a Rossini opera, but unusual in a French work of that era. Later it became a chief element in

41 operatic composition in the nineteenth century throughout Europe.

Récit et choeur

Act 2 begins with the introduction of the Philistine king. He is residing in his palace among his people, who are disturbed that such a man as Samson dare defy the King’s power, “Ainsi ce peuple esclave, oubliant son devoir?” (Thus this slave people, forgetting their duty?) The king’s soldiers tremble in fear as they are ordered to go and capture the man dressed in the skin of a lion.

41 Jack Westrup, s.v. “Scena” Grove Music Online (January 2001).

Trio

Dalila appears for the first time in the trio. She is with the King and the High Priest, who are wandering around a grove, praying to the Gods of Syria, and to Mars and Venus, to protect them from Samson. Dalila prays to be given the power of seduction to lure Samson into revealing what gives him his great courage. An Oracle of Syria appears and explains to her that there is only hope in love. Dalila, along with two Coryphées, decides to wait for Samson in a nearby garden.

Duetto et choeur

Watching over Samson as he sleeps, the Priestesses of Venus sing for the pleasures to soften the soul of the Gods and allow love to illuminate the souls of Samson and Dalila.

Finale

The Finale of Act 2 concludes with Samson returning to free his people from distress. The

Philistines and the Priestesses of Venus plead with Samson not to leave behind his newfound love, and to stay and feast with them. Samson comforts Dalila, saying she must trust in him and that she is his only hope. This ends Act 2 in Duprez’s manuscript.

Conclusion to Voltaire’s Plot

Duprez’s opera ends after Act 2, but for further understanding of the plot and the conclusion,

I have included the rest of Voltaire’s plot to complete the comparison. The end of Act 2 leaves us with uncertainty about what is to become of the pair of lovers and the hero’s fate. In Voltaire’s libretto, the story continues with Dalila singing to the gods of her love for Samson, and of her being asked by the High Priest to uncover the secret of his strength. Upon Samson’s return to

Gaza, the couple weds in the Temple of Venus and, much to Samson’s dismay, Dalila seeks further reassurance of his love and allegiance to her by questioning the source of his strength, which comes from his long hair. He first contemplates telling her, and then shares his secret, but is immediately filled with regret and senses that God has left his side.

Voltaire’s libretto continues with the High Priest having witnessed a disturbance in the sky.

He finds Samson fallen and defeated. The Philistines capture Samson and imprison him. Dalila, stunned by this turn of events, feels betrayed by her people and Venus for taking away her husband; she curses the Philistines and demands the same punishment as Samson. The final act in Voltaire’s libretto focuses on Samson as he grieves the loss of his strength, eyesight, and freedom. The Hebrews accompany him in his grieving and inform him that Dalila has ended her life.42 Subsequent to receiving the upsetting news, Samson is additionally tormented when the

Philistine force him to sit among them as they feast and celebrate their victory over him. When the king taunts him one final time, Samson gathers the courage to avenge his people. He makes a final request that the ruler send away the Hebrews from the sanctuary and, when refused, grabs hold of the pillars that support the temple, using his strength to pull down the temple, ending the

42 Voltaire, Œuvres Complètes.

lives of everyone inside. The opera ends with Samson’s final victorious proclamation as the hero of the Israelites.

CHAPTER 4: AN ANALYSIS OF THE TENOR ROLE SAMSON

43 “Samson has details of declamation, invention and cantilina.”

- Giacomo Meyerbeer

The Tenor Arias of Samson

The success of Gilbert Duprez’s career as a singer, through his distinct vocal abilities, informed his compositional style. With the birth of Grand Opera and its achievement in the

French repertoire, the influence of his voice and other emerging forces in opera impacted the growth of the genre for the tenor voice. His opera Samson encompasses a vast set of elements that exploit the abilities Duprez exhibited so well in opera. Represented is a heroic picture of triumph and defeat with tableaus created to portray the ancient story, the soaring vocal lines with a full orchestra illuminate this Grand Opera style. This work deserves a place in the operatic repertoire of today. This following chapter is the crux of this document as we analyze the vocal writing in two scenas from Samson. These specific scenes feature the main character Samson, who is given three robust and dramatic arias in this opera. We will look not only at the vocal writing and the demands that are required of the lead tenor, but also look at the use of the orchestra and how it supports the role of Samson musically.

43 translated, edited, and annotated by Robert Ignatius Letellier, The Diaries of Giacomo Meyerbeer (Madison,: Fairleigh Dickinson Univ Pr, 1999), 61.

General Vocal Characteristics

Compared to the vocal writing in other French Grand Opera, the writing style in Samson is in a simpler form that emphasizes the language and dramatic expression of the work. This broke away from the Italian tradition of bel canto singing with its extended and embellished vocal lines. The range is expansive but does not lie in an extremely high tessitura for a considerable amount of time. The character of Samson’s arias is expressive with lyrical melodic lines, repeated text, and an assortment of lush harmonic textures.

Quel spectacle d’horreur! (Recitative and Aria)

Scene III is comprised of a long period of solo singing for Samson, as is expected in opera.

While we do not know for certain that Duprez wrote the role for himself, considering that it was premiered by another tenor, the singer for whom the role was written needed strong vocal stamina and the ability to carry over a large orchestra. Samson represents strength, endurance, and faith throughout the opera and this supports the demand needed for a fuller tenor sound.

Samson first appears in Scene III of Act I. He enters with the skin of a lion draped over his body.

The orchestra presented in the score calls for two flutes, two oboes, two clarinets, two trumpets, two horns, two bassoons, four trombones, timpani, violins, violas, celli and bass. Duprez’s large orchestra provides a thick texture producing dark, rich timbres, an element that his contemporaries used in that followed suit to the French tradition of Grand Opera.

The opening recitative declaims Samson’s horror, “Quel spectacle d’horreur!,” as he observes the Philistines worshiping their false idols. The short few bars of the recitative are melodic with declamatory text, consisting of leaps of thirds and fifths. In recitative, the impression is that the quality of sound is speech-like, thus, Duprez molds both a declamatory style, while also making the quality of the recitative melodic and lyrical.

The vocal line begins to emerge from the depths with the start of the aria in measure 30. Duprez prepares this aria by creating the drama from within the orchestra with syncopation and rhythmic alteration in the strings in mm. 15–18. This increases the musical tension, and the assistance of the brass and bassoon provide rich tonal colors through unresolved diminished chords in the lower range of their instruments.

Figure 4.1. Act I, Scene III, mm. 27-30

Samson calls on his people to avenge their cause and avenge themselves, “Dieu des combats…” (God of fights). The turbulent start of the scene drives forward, painting a grim, but hopeful picture of Samson’s plea to his people. There are intimations of potential thematic material at the beginning of the aria that continue throughout the scene. This initial leap of a sixth is varied both rhythmically and harmonically throughout and depicts Samson musically.

(See figure 4.1.) In the following measures, the vocal line repeats this suggestive motivic material. This ascending passage in m. 30 utilizes both instrumental and vocal power to support

the text well.

Dieu des combats, regarde en ta fureur Les God of fights, look in your fury The unworthy indigne rivaux que nos tyrans implorent. rivals whom our tyrants implore. Sustain my Soutiens mon zèle, inspire-moi; Venge ta cause, zeal, inspire me; Avenge your cause, avenge venge-toi. yourself.

Duprez is specific about his choices with regard to textual emphasis and legato phrasing in m. 32. He specifically marks accents over “regarde en ta feur” as though he is calling out for God to listen to him. The recurring theme returns, this time modified slightly with dotted sixteenth notes. The text is repeated, but with the alteration made to the vocal line, it adds more dramatic depth as Samson continues to call for his people’s strength and courage.

Figure 4.2. Act I, Scene III, mm. 31-33

In m. 46, there is a martial rhythm introduced that helps maintain the intensity. Samson joins the orchestra before ascending to the climax of the aria singing a [B4]. At this highest point of the aria, Samson sings “venge-toi” (avenge yourself) as he leaps up to the upper part of the tenor range. Duprez uses “toi” here which is an open [a] vowel that allows for optimal space and sound

in the mouth. Technically, the need for actually singing an aspirated “t” consonant is optional. It is a choice for the singer since the note lies so high in the range; I would choose to replace it with a “d.” This would become “doi,” which would not be perceived by the audience. With the many other levels of sound and intensity, I would not imagine that any ear could tell the difference if the original consonant had been replaced to allow for vocal accuracy in the top part of that range.

Another factor supporting Samson’s sound is the assistance of the orchestra. Figure

4.3 shows driving chromatic half-notes, the tremolo from the strings, and the long, sustained notes keep the energy moving forward for the singer.

Figure 4.3. Act I, Scene III, mm. 53-57

This continues with repetition until an interjection from the High Priest. In m. 72, he and

Samson quarrel over the captured Israelites through accompanied recitative. The sounds of turmoil are heard through unstable resolutions and chromatic alterations through mm. 82-

102. Samson has one more proclamation to make with a recitative before entering into the finale of Act I. The final cadence resolves into the first chord of the finale.

Peuple, éveille-toi (Aria)

The finale of Act I is robust, lush, and exciting. In C major, the rhythm and style are martial and prove to be a fine example of a finale to an act, as it includes all of the orchestral forces

(winds, brass and strings). The cascading, chromatic triplets from the viola compete with the solo vocal line’s dotted march rhythm. (See figure 4.4 below.)

Figure 4.4. Act I, Scene III, mm. 7-12

This aria, up a half step from the previous number, is full of intensity and vigor. The form is modified strophic with a choral interlude. The introduction includes a trumpet fanfare with the strings featured predominantly before Samson’s entrance in bar 7. He enters with a soaring melody as the strings create an almost hammer-like effect with strong, quarter note emphasis on beats two and four. This alludes to the call Samson makes for his people to “break their irons and chains” as they have been working and enslaved to the Philistines. This finale to Act I is

reminiscent of the sound and style of the famous “Anvil Chorus” from Verdi’s Il Trovatore which was premiered in 1853.

Peuple, éveille-toi, romps tes fers, People, wake up, break your chains, go Remonte à ta grandeur première, back to your greatness, Comme un jour Dieu du haut des airs as one day God from the heavens will Rappellera les morts à la lumière remind the dead in the light Du sein de la poussière, of the bosom in the dust, Et ranimera l'univers. and revive the universe. Peuple, éveille-toi, romps tes fers, People, wake up, break your chains, La liberté t'appelle; Freedom calls you; Tu naquis pour elle; You were born for her; Reprends tes concerts. Resume your concerts. Peuple, éveille-toi, romps tes fers! People, wake up, break your irons!

The tessitura for Samson sits higher in this aria as the voice lies around [E4], which is the secondo passaggio for the tenor voice. This range of the voice begins to use a mixture of both chest and head voice to keep the voice in a free sounding state and to provide ease into the upper range. Duprez utilizes all the forces of the orchestra to support Samson.

Sustained notes sung by Samson are often supported with driving rhythms and tremolos from various instruments. As mentioned before, this is beneficial for a singer, especially in a highly dramatic or exciting scene such as this one.

Duprez showcases the tenor’s sensational high C [C5] in this aria. It is first featured alone with no accompaniment as shown in figure 4.5 on the next page.

Figure 4.5. Act I, Scene III, mm. 27-35

It is interesting that Duprez chose to write this particular measure the way he did, as if he were highlighting the voice to draw even further attention to the high C [C5] that had impacted his career so positively. After a brief chorus interjection in bars 36-58, Samson enters again with the original melodic material from the beginning of the aria. Once he reintroduces the melody, the chorus joins him, and by this point, both the chorus and the entire orchestra are now a part of this Act I finale. Samson and the chorus sing different material. As the end of the finale is nearing, shown in figure 4.6, his final attempt at the high C [C5] brings Act I to a close.

Figure 4.6. Act I, Scene III, mm. 109-117

The choice of text in measure 116 is the same as heard before in the aria “fers,” with a closed [e] on the high note, approaching it by leap of a seventh. Both words “tes” and “fers” contain a closed [e] position, which means minimal alterations, other than

slightly more space for the singer on the higher pitch, which helps the singer to achieve success on the final note sung in the aria.

Le Dieu des Combats (Recitative)

This accompanied recitative begins with a motive played by the clarinets that was heard previously in Samson’s introduction. This orchestral introduction is filled with turbulence and unsettled resolutions as this motivic material is passed among the wind instruments and later to the low strings This lengthy instrumental introduction spans the first 28 measures before

Samson’s entrance in m. 29. The opening recitative is written in a declamatory style. The text is syllabic and the range is expansive extending from [F3] to [Ab5].

Le Dieu des combats m'a conduit Au milieu du God of battles led me Into the midst of carnage; carnage; In front of him all tremble and everything flees. Devant lui tout tremble et tout fuit. Le The thunder, the dreadful storm, make tonnerre, l'affreux orage, everywhere less havoc Dans tous les champs font moins de ravage than his name alone has been made known. The Que son nom seul n'en a produit Philistine full of rage. Chez le Philistin plein de rage. Tous ceux qui Anyone who wanted to stop voulaient arrêter Ce fier torrent dans son This proud torrent in its passage passage N'ont fait que l'irriter: Only irritated him: They fell; death is their Ils sont tombés; la mort est leur partage. share.

Figure 4.7, Act II, Scene II, mm. 34-39

Here the text is predominately syllabic, as one would expect in recitative because of its speech- like character. As shown in figure 4.7, Samson proclaims he has been led into the depths of turmoil, or into the midst of carnage, as he outlines an A minor arpeggio in mm. 35-37. This passage here ascends to [A4] on “fuit,”a difficult passage in the recitative, but declamatory, evoking a heroic sound. The orchestra supports the voice and adds to the drama by emphasizing the offbeats as the tenor voice ascends upward to the [A4].

Ces sons Harmonieux (Cantabile)

I categorize this section as a recit et cantabile, a term associated with the Italian opera form including a recitative and slow-moving song.44 Indeed, this section not only provides a smooth, lyrical display of singing from Samson, but there is also a solo violin that carries equal weight to the vocal solo line. The aria begins with a lyrical, instrumental prelude featuring the violin in a virtuosic passage from the lower extremities of its range to the high. This prelude, heard by

Samson, functions as thematic material for the aria while bringing Samson to sing of the sweet harmonious sound, “Ces sons harmonieux.” It provides the imagery of the moving water (“ces murmurs des eaux”) as Samson rests.

This aria is one of the more embellished arias vocally and begins in m. 38 with the turn- like figures. This remains a repetitive device and is heard again a few bars later. In figure 4.8, the vowel for this word is a closed [u] that helps the singer keep the larynx stable, and low, and the throat open to master the octave leap.

44 David Fallows, “Cantabile,” Oxford Music Online, 2001.

Figure 4.8, Act II, Scene II, mm. 38-42

It is apparent that Duprez makes a choice to set closed vowels on the high notes in this aria.

This particular decision is beneficial for the tenor as this helps in keeping the larynx in a free position to sing with a full, resonant sound. This is apparent in m. 67 as the aria builds into its climax, taking Samson into the highest range thus far. In m. 66 he begins the musical buildup by increasing the orchestral forces to provide support to Samson’s upper range. The sustained [G5] in mm. 67–68 and its return a few bars later are supported by the growth of the orchestra underneath. As the melodic line continues, the driving energy in the rhythms from the orchestra provide the support needed for Samson to blossom into the high note heard in m.72. Reaching the climax, rather than keeping the tenor on [o] of “repos,” Duprez changes the text to an [a] vowel shown in figure 4.9.

Figure 4.9, Act II, Scene II, mm. 64-67

Because he was a tenor, it is possible that he changed the vowel here so that the voice would not draw back and swallow the sound, collapsing the space on the closed vowel of “repos.”

However, it could merely be just an expression of personal grief or a personal choice of dramatic expression. He repeats this gesture again as the tenor leaps up to the extremes of the range singing on an [a] vowel as shown in figure 4.10.

Figure 4.10, Act II, Scene II, mm. 68-71

This effect suggests, shown in figure 4.10, that Samson is crying out for peace and rest not only for him, but for his people. His final ascent to the high note is drawn out with chromatic half- steps and a turn figure to embellish the half-cadence before Fate draws near. The aria concludes with a time signature change to 4/4 and a tonal shift from E major to E minor. There are hints of a recurring theme that can possibly be interpreted as representation of Samson’s fate.

CONCLUSION

Gilbert Duprez’s opera Samson is a strong example of French Grand Opera. This opera, although incomplete, shows many traits of Grand Opera such as the biblical, historical plot along with the call for a large chorus and orchestra, and the use of visual spectacle. This work stimulates further interest in Duprez’s other operatic works. Gilbert Duprez used his knowledge from his own experience as a successful singer and his cognizance of the works of his contemporaries to further develop the French Grand Opera style. In Samson he was able to create a work that deserves performance and exploration by opera performance groups, as well as by researchers and scholars. Duprez’s contributions to the development of the vocal style and technique of the tenor voice continue to prove their worth and his works may provide a direction for continued growth in operatic repertoire.

REFERENCES

Abbate, Carolyn and Roger Parker. A History of Opera. New York: W. W. Norton and Company, 2012.

Armstrong, Alan. “Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer’s Le prophète.” Cambridge Opera Journal 8, no. 2: 147-165.

Berlioz, Hector, and Samuel N. Rosenberg. Opera: William Tell; Debut of Duprez. Collected Work: Berlioz on Music: Selected Criticism, 1824-1837. Published by: New York, NY, U.S.A.: Oxford University Press, 2015. Pages: 263-269.

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48 APPENDIX A CAST OF CHARACTERS

Character Voice Type

Samson Tenor

Dalila Mezzo-Soprano

Le Roi des Philistines Bass

Le Grand-Prêtre Bass-Baritone

Les choeur des Hebreux et Les Israelites SATB

Coryphée Soprano and Mezzo-Soprano

49 Act I, scene III "Quel spetacle d'horreur"

q = 110 œ œ #œ œnœ œ œ œ# œ œn Flute ° 4 ∑ ∑ ÓŒ‰ ŒÓÓŒ‰ & 4 3 3 f œ œ œ# œ œn Oboe 4 ∑ ∑ ÓŒ‰ ŒÓÓŒ‰ & 4 3 3 f Clarinet in A bbb 4 ∑ ∑ wn œn ŒÓ wn ¢& 4 ncresc.w nœ nw

Trumpet in E ° 4 & 4 ∑ ∑ ∑ ∑ ∑

French Horn in E 4 & 4 ∑ w œ ŒÓ w œ ŒÓ f mf f mf

Tenor Trombone 4 ? 4 ∑ ∑ ∑ ∑ w# p ˙ # œ n ˙ # œ Bassoon 4 ˙ œ# ˙n œ# ? 4 ∑ Ó ŒÓÓ ŒÓ ¢ f mf f mf

3 3 3 œÆ 3 œÆ Æ Violin ° 4 œ œ# œ# œ# œ œ# œ# & 4 w#æ w#æ œœ œ# ‰ œ œ# ‰ ‰ ŒÓ œ# œœ‰ œ œ# ‰ ‰ mf 3 3 3 cresc.3

Violin 2 4 & 4 w#æ w#æ w#æ w#æ w#æ mf

Viola 4 B4 ∑ Ó ˙ # œœ# ŒÓÓ n ˙˙n # œœ# ŒÓ ¢ f mf f mf

Samson ° 4 ∑ ∑ ∑ ∑ ∑ ¢& 4

q = 110

Cello ° 4 ? 4 ∑ ∑ ∑ ∑ ∑

Double Bass 4 ? 4 w# w# œ# Œ ˙ w# œ# Œ ˙ ¢ mfæ æ f æ

50 6 #œ œÆ nœÆ #w œ# Flute ° œ# œ œn w# & ŒÓÓŒ‰ ŒÓ ∑ 3 f œ# œÆ œnÆ w# œ# Oboe & ŒÓÓŒ‰ ŒÓ ∑ 3 f Æ œ œ#Æ œn œ #œ œ Clarinet in A bbb n œ ŒÓÓŒ‰ #nœ œ # œ œn ŒÓ ∑ & < > 3 ¢ œ f

E Tpt. ° & ∑ ∑ ˙ Ó œ ŒÓ ∑ f #œ E Hn. & w w œ œ œ œ œ ŒÓ ∑ p f #˙ #œ # #w œ ™ Tenor Trombone ? <#>w # w œ ˙# ™ œ# ŒÓ ∑ f n ˙n˙ # w#w # œ#œ œ œ##œ œ#œ Bassoon ? Ó ŒÓ ∑ ¢ p f

3 3 œ# œÆ Æ œ# >œ >œ >œ œ# Violin ° ŒÓ ‰ œ œ# ‰ œ œ# ‰ œ# ŒÓ ∑ & œ# œœ 3 æ æ æ 3 f

Violin 2 æ æ & w#æ w#æ w#æ w#æ w#æ f ff

Viola w w B Ó n˙˙n # ww# œ# œœ# œ ##œ w# w# ¢ f ffæ æ

˙ Samson ° ∑ ∑ ∑ œ œ œ™ œ# & ÓŒ J ¢ Quel spec- tac - le d'hor

Cello °? ∑ ∑ ∑ ∑ ∑

> > > > Double Bass ? w# w# œ# œ œ œ ˙# Ó ∑ æ æ æ æ æ æ ¢ æ æ æ fæ æ æ 51 11

Flute ° & ∑ ∑ ∑

Oboe & ∑ ∑ ∑

Clarinet in A bbb ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑

E Hn. & ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑

6 Bassoon ? œ™ œ œ# ‰ œ œ# œ# ∑ ∑ ¢ f œ#

œ œ œ Violin ° & ∑ ‰ œ œ ˙ ˙ ˙ fp

Violin 2 æ œ œ œ & wnæ ‰ œ œ œ œ# ˙ ˙ fp˙ œ œ œ Viola B w#w ‰ œ œ œ œ# œ ˙ ˙ ˙ ¢ fp

Samson ° œb œ# œn & œ ŒÓÓ œ œ œ œ œ# ™ J œ œ œ œ œ œ# ¢ reur ! Quoi !ces ﬁers en- fants de l'er- reur Ont por- té par mi vous

Cello °? ∑ ∑ ∑

6 œ œ Double Bass ? œ™ œ œ# œ œn ™ œn ˙ ˙ ˙ ‰ œ# œ# œ ¢ f œ# fp 52 14

Flute ° & ∑ ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑ ∑

Clarinet in A bbb ∑ ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑ w ff w Tenor Trombone ? ∑ ∑ ∑ ∑ w ff

Bassoon ? ∑ w# w ∑ w ¢ #pw w ff >œ #>œ œ œ œ Violin ° j j j j œ œ œ# œ œ œ# & ŒÓ‰ œ# œ œ œ œ œ œ# œ œ œ J J æ æ ŒÓ ff p J J J fæ æ j æ#>œ œ Violin 2 œ# ŒÓ‰ j j j j j j j j œ# œ œ ŒÓ & #œ œ# œ œ œ œ œ œ# œ œ œ œ# œn œ #œ œ ff p f> æ

Viola j j œ œ# œ B œn ŒÓ‰ œ œ œ œ# œ œ œ œ æ ŒÓ ¢ œ# œ œ J J J J J J J œæ œ# æ œ ff p f> >

Samson ° œ™ œ œ œ œb œn Œ ∑ ∑ ∑ & J ˙# œ ¢ ces mons- tres qu- 'ils a- do - rent ?

Cello °? ∑ ∑ ∑ ∑ ∑

Double Bass ? œ ŒÓ œ# œ œ œ# œ œ œ# Ó ∑ ¢ ff pœ# œ# cresc. œ# 53 19

Flute ° # ˙ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ˙

# ˙ Oboe & ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ˙

Clarinet in A bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ b ˙ ˙ ¢& ˙ ˙

E Tpt. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ w

E Hn. wb & w w w w ∑ ∑ ∑ p w #w w # w Tenor Trombone ? w w w #w # ˙ ˙ #w w w ∑ ∑ ∑ # ∑ > > > p

Bassoon ? w w w #w # ˙ ˙ #w w w ∑ ∑ ∑ # ˙ ˙ ¢ p > > ˙ ˙

Violin ° # ˙ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ˙

# Violin 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ˙ ˙ & ˙ ˙

Viola # B ∑ ∑ ∑ ∑ ∑ ∑ # ˙ ˙ ¢ pw# ˙

# Samson ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ∑ ¢&

Cello °? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ## ∑

Double Bass ? ∑ ∑ ∑ w# ∑ ∑ ∑ ## ˙ ˙ ¢ p 54 27

Flute ° # œ™ œ œ™ œ œ & # ™ œ œ™ œ œ ŒÓ ∑ ∑

Oboe # œ™ œ œ™ œ œ & # ™ œ œ™ œ œ ŒÓ ∑ ∑

Clarinet in A b œ ˙ Œ ŒÓ ∑ ∑ ¢& œ ˙ œ

E Tpt. ° & œ ŒÓ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ?## ∑ ∑ ∑ ∑

˙ œ Bassoon ?## œ Œ ˙ œ ŒÓ ∑ ∑ ¢ œ

œ Æ ˙ Violin ° # œ œ# œ œ œn œ# œ œ œn œ œ œ œ œÆ & # œ œ œn œ# œ œ ‰ œ Œ ∑ ˙ J #œ mf div. Violin 2 ## & œ ˙ œ j ‰ œ Œ ∑ ˙ ˙ œ ˙™ œ œ œ œ mf˙ div. Viola # œ œ B # œ ˙™ œ œ. œ œ ∑ ˙ ˙ ¢ œ œ mf˙

Samson ° # œ™ œ & # ∑ ∑ ∑ ˙ J ¢ Dieu des com mf

Cello °?## ∑ ∑ ∑ ∑

Double Bass ˙ . ?## œ ™ œ œ œ œ œ œ ∑ ˙ ˙ ¢ œ mf 55 31 œ Flute ° ## œ œ œ & ∑ ∑ Œ‰ J œ

œ Oboe # œ œ œ & # ∑ ∑ Œ‰ J œ

Clarinet in A ˙ &b w ŒÓÓ ˙# ¢ w œ mf

E Tpt. ° & ∑ ∑ ∑

E Hn. j œb œ & ∑ ∑ ‰ œ œb œ œ

Tenor Trombone ?## ∑ ∑ ∑ œ œ#œ œ œ œ ˙#˙ œ ˙#˙ Bassoon ?## Œ Œ Œ ¢ p

# œ œ œ œ Æ œÆ œÆ Violin ° # œ# œn œ#Æ œ œ œn œ œ œ œ œn œ# œ œ œÆ œ Œ ≈ œÆ œÆ œ Œ & ' œ œn œ ' œ œ œ ' ' œ p ' ' œ tutti ' ' # Violin 2 # œ j ‰‰ j & œ œ œ œ œæ œæ œæ œæ æ œ æ œæ æ pœ œ œ œ ˙# tutti j Viola # œ æ œ œ œ B # œ œ# œ œ J ‰‰ œæ œ œ# œ œ œ ˙# ¢ p æ æ æ æ æ æ æ

^ œ^ ^ Samson ° ## w œ^ œ œ œ^ ˙ & Œ J ‰ Ó ¢ bats, regarde en ta fu reur

Cello °?## ∑ ∑ ∑

Double Bass ?# ˙ œ j # œ ‰ œ œ œ ˙# œ ŒÓ ¢ p 56 34 œ œ œ œ # ™ œ œ™ œ œ œ œ ˙ œ œ œ# œ œ# Flute ° # œ ŒÓŒ œ œ œ œ™ œ œ™ œ ‰ œ œ œ ˙ Œ ‰ & J J

# œ œ œ# œ œ# Oboe # œ ŒÓŒ œ œ œ œ™ œ œ™ œ ‰ œ œ œ ˙ Œ ‰ & J J œ#œ œ#œ œ Clarinet in A b œ ŒÓÓ ˙ ˙ ˙ Œ‰ œ œ# œ œ# œ ¢& ˙ ˙ ˙ J

E Tpt. ° & ∑ ∑ ∑ Œ ˙™ f

E Hn. ˙ b˙ & œ ŒÓ ˙ ˙ ˙b˙ ˙ Œ ˙b ™ f #˙™ Tenor Trombone ?## ∑ ∑ ∑ Œ ˙™ f œ Bassoon ?# ˙ ˙™ # œ œ œ #˙ œ œ œ œ ˙ ˙ Œ ¢ ˙ f˙™

# œ Violin ° # ≈ œ œœ æ Ó & œ œæ œæ œæ æ æ æ æ ˙n æ œ# œ p œœ œ ˙ cresc.˙æ ˙æ # Violin 2 & # ‰ j æ Ó œæ œæ æ œæ œæ æ æ æ ˙æ œ œ œ œ# ˙æ cresc.˙æ ˙

Viola # æ œæ æ æ æ œæ æ B # œ œ œ ˙# œæœ œ æ æ ˙æ œ œ# Ó ¢ cresc.˙æ ˙

# œ œ œ . œ Samson ° # Œ œ œ œ ˙ œ™œœ œ™ œ œ™ œ œ™ œ œ™ œ Ó & J œ ¢ Les in- di-gne rivaux que nos tyrans im- plo- rent. Sou- tiensmon zè -

Cello °?## ∑ ∑ ∑ ∑

Double Bass ?# j ˙ œ # ‰ œ œ œ ˙# œ œ œ œ ˙ Ó ¢ cresc. ˙ œ 57 38 œ ˙™ œ œ Flute ° # ˙™ & # ŒÓ ∑ œ œ ŒÓ

# œ ˙™ œ œ Oboe & # ŒÓ ∑ ŒÓ œ œ ˙ œ Clarinet in A b ŒÓ ∑ ˙™ œ ŒÓ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. ˙b & œbœ Œ Ó Œ ˙ œ œbœ Œ Œ œ œb Œ >˙ œ œ Tenor Trombone ?## œ ŒÓ ∑ ∑ ∑

w œ œ œ ˙b ˙ Bassoon ?## ŒŒ œ Œ ¢ ˙ ˙ œ ˙ œ œ

# œ œ œœ œœ œœ Violin ° # ™ œ# œn œ# œœ œn œœ œœ œn œ# œ œ œ œ Œ & ˙ J Ó œ œœ œ œ ˙ f œn œ œ œ # j Violin 2 # ˙ œ œ œ ŒŒ ‰ j & œ™ œ ˙ œ œ œ æ œæ æ f˙ ™ œ œ œ œ œ ˙

Viola # j œ B # ˙ œn ™ œ œ ˙ œ œ ≈ œ œ Œ ˙b ˙ ¢ f˙ œ œ œ œ

# œ œ œ œœ ˙™ œ Samson ° # ˙ ™ J ™ ™ œœ œœ œ œ œ œ œ™ œ ™ œ & J ¢ Dieu des combats Dieu des com - bats regarde en ta fu -

Cello °?## ∑ ∑ ∑ ∑

Double Bass ?# ˙ œ œ œ # ˙ ˙ œ ŒŒ œ ‰ œ œ Ó ¢ f J 58 rit. 42 w ˙ œ™ nœ nœ #œ Flute ° # w ˙ œ™ œn œn œ# & # ∑ J Ó ∑ p œ Oboe # w ˙ ™ #œ #œ œ #œ œnœ & # ∑ ˙ ˙# ˙ œ™ œ œ œ# Œ œ™ œ œ œ œ œ p J mf™ œ™ j Clarinet in A œ œ ˙ ˙ ˙ œ™ œ œ &b Œ ‰ ≈ R J ˙ ˙ ˙ œ œ œ œ# Ó ∑ ¢ mf p ™ œ

E Tpt. ° & ∑ ∑ ∑ ∑ ∑

E Hn. ˙b & œ Œ œ ŒÓ ∑ Œ ˙™ w

˙ œ Tenor Trombone ?## ∑ ∑ Ó B ˙ Œ œ#œ Ó ∑ f œ ˙#˙ œnœ ˙ œ Bassoon ?# Œ ŒÓÓ Œ œ Œ Bœ™ œ #œ œ œ œ # œ œ™ œ œ ¢ f mf

Violin ° # œœœ˙™ ˙ œ™ œn œ# ˙# ™ w & # œ Œ ˙ œ æ æ J æ æ æ æ fpæ æ

# æ æ Violin 2 # ‰ j œœœœæœæ ˙# æ ˙ œ™ œ œ æ æ & œæ œæœæ œ J ˙æ™ wæ ˙ æ fp

Viola B## Œ ˙b ˙ ˙ ˙ œ™ œ œ œ Ó ∑ œ ˙ æ æ J ¢ æ æ æ f

Samson ° # œ™ œ œ œ™ œ œ™ œ œ™ œ œ™ œn œn œ# & # ˙ ÓŒ J Ó ∑ ¢ reur les in- di - gne ri vaux que nos tyrant im- plo- rent.

rit. Cello °?## ∑ ∑ ∑ ∑ ∑

œ™ œ œ œ# Double Bass ?## ‰ œ œ œ Ó ‰ œ œ œ ‰ œ œ œ ‰ j œ J Ó ∑ ¢ J J J œ œ 59 47 > œ# œ™ œ #œ >œ >œ œ œ Flute ° # œ™ œ œ & # ∑ ∑ ÓŒ Ó ∑ f #>œ #œ > #œ Oboe # 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 Ó ∑ p ™ ™ >

Clarinet in A b ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑ ∑ ∑

E Hn. & w ˙ œ Œ ∑ ∑ ∑ ∑

Tenor Trombone B## ∑ ∑ ∑ ∑ ∑ ∑ > #œ œ #œ œ > > Bassoon B # œ œ# œ œ #œ œ œ œ œ œ# œ œ #œ >œ œ œ œ #œ # Œ œ™ œ œ œ œ Œ œ™ œ œ œ œ œ Ó ∑ ¢ p

Violin ° ## w w w w ˙ œ & æ æ æ æ æ Œ ˙ œ Œ æ æ æ æ æ ff # Violin 2 # æ æ æ æ æ Œ Œ & wæ wæ wæ wæ ˙æ œ ˙ œ ff

Viola B## ∑ ∑ ∑ ∑ ∑ ˙n œ# Œ ¢ ff

. Samson ° # œ œ# ˙ œ œ# œ œ œ œ œ œ œn & # ∑ Œ œ œ# ŒŒ œ œ# œ# ˙n œ# ¢ Sou- tiens mon zè- le in- spi-re moi ven- ga ta cause ven- ga ta

Cello °?## ∑ ∑ ∑ ∑ ∑ ∑

Double Bass ?# # ∑ ∑ ∑ ∑ ∑ ˙# œ Œ ¢ ff 60 53 w w œ Flute ° # & # ∑ w w œ Œ Ó ∑ mf ff ˙ w œ Oboe # #œ œ œ & # ∑ Ó ˙ w œ Œ Œ œ™ œ œ œ œ œ mf ff ff ™

Clarinet in A b ∑ ∑ w œ ŒÓ ∑ ¢& w œ mf> ff

E Tpt. ° & ∑ ∑ ∑ ∑ ∑

E Hn. ˙ & Ó ˙ ˙ ˙˙# ˙ ˙ œ ŒŒ œ™ œ w p ff f

Tenor Trombone B## ∑ ∑ ∑ ∑ ∑

Bassoon B # œ #œ ˙ n˙ #˙ n˙ #œ œ œ #œ œ œ œ # Ó œ# n œ ˙# n ˙ # ˙ n ˙ # œ ŒŒ œ™ œ œ œ œ ¢ p ff f

# ˙ w œ œ w Violin ° # ˙ æ æ ŒŒ & ˙™ œ æ æ œ# æ f æ ff pæ # ˙n ˙# ˙# œ Violin 2 # œ œ œ œ œ ŒŒ œ æ & ˙ œ æ æ æ æ æ œ wæ f ™ œ# æ æ æ æ ff p

Viola B## ˙ œ# ˙ ˙n ˙# ˙n œ# ŒŒ œ ∑ ™ æ œ# ¢ f æ æ æ æ ff

w w Samson ° # ˙ œ™ œ œ œ œn œ# œ™ œ œ# ™ œ & # ‰ J œ# ŒÓ ¢ cause ven- ga toi ven- ga ta cause ven- ga toi

Cello °?## ∑ ∑ ∑ ∑ ∑

˙# ™ œn Double Bass ?## ˙# ˙n ˙ ˙n œ# ŒŒ œ ∑ ¢ ff 61 58 œ# œ™ œ #œ œ™ œ œ œ œ Flute ° # œ™ œ œ™ œ & # ∑ ∑ ÓŒ Ó f #œ #>œ #œ Oboe # 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 Ó ™ f ™ ™

Clarinet in A b ∑ ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑ ∑

Tenor Trombone B## ∑ ∑ ∑ ∑ ∑ > #œ œ #œ œ #œ œ Bassoon B # œ œ# œ œ #œ œ œ œ œ œ# œ œ #œ œ œ œ œ œ œ# # Œ œ™ œ œ œ œ Œ œ™ œ œ œ™ œ œ Ó ¢ f

Violin ° # w w w w ˙ œ & # æ æ æ æ Œ æ æ æ cresc.æ

Violin 2 ## & wæ wæ wæ wæ ˙ œ Œ cresc.

Viola B## ∑ ∑ ∑ ∑ ∑ ¢

. Samson ° # œ œ# ˙ œ œ# œ œ œ œ & # ∑ Œ œ œ# ŒŒ œ œ# œ# ¢ Sou- tiens mon zè- le in- spi - re moi ven- ga ta

Cello °?## ∑ ∑ ∑ ∑ ∑

Double Bass ?## ∑ ∑ ∑ ∑ ∑ ¢ 62 63 w w œ œ™ œ Flute ° # œ™ œ & # ∑ ∑ w w œ Œ Ó Ó Œ p f ff œ™ œ # w œ œ™ œ Oboe & # ∑ ∑ ∑ w œ Œ Ó Ó Œ p f ff #˙ n˙ œ™ œ Clarinet in A b ∑ ∑ Ó ˙ ˙ œ ŒŒ œ œ œ ŒŒ œ# ™ œ ¢& #˙ ˙n œ #œ™ œ œ p f f ™ ff

E Tpt. ° & ∑ ∑ ∑ ∑ ∑ ∑

tutti w ˙ ˙ œ E Hn. & ∑ ∑ ˙ ˙ #˙ n˙ bœ Œ Œ œn ™ œ œ ŒŒ œ™ œ p f Œ f ff

Tenor Trombone B## ∑ ∑ ∑ ∑ ∑ ∑

Bassoon B # ˙˙ ˙ ˙ ˙ œ œ œ œ œ œ # ∑ ∑ ˙ ˙ ˙ œ ŒŒ œ™ œ œ ŒŒ œ™ œ ¢ p f f ff

w w œ Violin ° ## œ æ æ œ™ œ & ˙ œ Œ ˙# œ æ æ æ ŒŒ œ œ œ ŒŒ ff f pæ cresc. f f ™ ff

Violin 2 # œ & # Œ ˙ ˙ ˙ ˙ œ Œ Œ ŒŒ œ™ œ ˙# œ ˙™ æ æ æ æ æ œ œ œ ff f p æ cresc.æ æ æ f f ™ ff œ# ˙ œ# œ Viola B## ˙n œ# Œ ˙ æ æ ˙ ˙n ˙ œ ŒŒ ŒŒ ™ ™ æ æ æ æ æ œ# ™ œ œ ¢ ff f p cresc.æ æ æ f f ff

# œ œ# ˙# œ œ™ œ w w œ œ œ œ œ Samson ° # ˙n œ# œ œ œ# œ ‰ œ œ# œ & J ¢ cause ven- ga ta cause ven- ga toi ven- ga ta cause ven- ga ta cause

Cello °?## ∑ ∑ ∑ ∑ ∑ ∑

˙# œ ˙ ˙n Double Bass ?# Œ ™ ˙ ˙ œ ŒŒ œ™ œ œ ŒŒ œ™ œ # ˙# œ æ æ æ æ ¢ ff f p cresc. f f ff 63 69 ˙ œ œ œ Flute ° # ˙ œ & # ŒÓŒ œ Œ Ó ∑ ff œ Oboe # ˙ œ œ & # œ ŒÓŒ œ œ ŒÓ ∑ ff œ Clarinet in A ˙ œ œ &b œ ŒÓŒ ˙# œ œ ŒÓ ∑ ¢ ff

E Tpt. ° & ∑ ∑ w ˙ ˙ ffw ˙ >˙ > E Hn. b˙ œ w ˙ ˙˙ & œ ŒÓŒ ˙ œ w ˙ ˙ ff ff w ˙ >˙ Tenor Trombone B # ? ˙˙ # ∑ ∑ w ˙ ˙ ff w ˙ > Bassoon œ ? ˙ œ ˙ B## œ ŒÓŒ w ˙ ˙ ¢ ff˙ œ ff

œ™ œ œ™ œ œ™ œ œ™ œ œ Violin ° # œ œ œn œ# ˙ œ & # œ œn œ# œ œ# œ™ œ œ™ œ œ™ œ œ™ œ œ Œ Ó æ æ æ æ æ æ æ æ ff ff # œ œn œ# œ œ™ œ œ™ œ œ™ œ œ™ Violin 2 # œ œn œ# œ œ# œ ˙ œ œ™ œ œ œ œ œ œ œ & æ æ æ æ ™ ™ ™ æ æ æ æ ff ff œ œ™ œ œ™ œ œ™ œ œ ˙# œ œ™ Viola # œ œn œ# B # œ œn œ# œ œ# œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ ¢ æ æ æ æ æ æ æ æ ff ff

# œn œ# ˙ œ œ œ œ œ Samson ° # ‰ œ œn œ# œ œ# œ ˙ Ó? Œ ‰ J & J ¢ ven- ga ta cause ven- ga toi ven- ga toi Pro- fane, im

Cello °?## ∑ ∑ ∑ ∑

œ Double Bass ?# œn œ# ˙ œ ™ # œ œ œn œ# œ œ# œ œ œ™ œ œ™ œ œ™ œ œ ŒÓ ¢ ff ff 64 73 œ w Flute ° ## œ w & ∑ ∑ ∑ Ó Œ ‰ ≈ R

# bœ bw Oboe & # ∑ ∑ ∑ Ó Œ ‰ ≈ R

œ w Clarinet in A b ∑ ∑ ∑ Ó Œ ‰ ≈ R ¢&

E Tpt. ° & ˙ ˙ w œ ŒÓ ∑ ∑ >˙ >˙ w pppœ > > E Hn. ˙ b˙ & #˙ ˙ w œ Œ Ó Ó Œ ‰ ≈ œb wb ppp R > > Tenor Trombone #˙ n˙ w œ ?## # ˙ n ˙ #w œ ŒÓ ∑ ∑ ppp

Bassoon #>˙ n >˙ bœ bw ?## # ˙ n ˙ w#w œ Œ Ó Ó Œ ‰ ≈ R ¢ ppp

Violin ° # & # ∑ ∑ ∑ ∑ ∑

# Violin 2 & # ŒÓ ∑ ∑ œ™ œ œ™ œ œ™ œ œ™ œ w pppœ

Viola # B # œ™ œ œ™ œ œ™ œ œ™ œ w œ ŒÓ ∑ ∑ ¢ ppp

Samson ° ˙ œ œ w B ˙ œ ? ?## ‰ ≈ R œ ŒÓ Œ œ# œ œ œ œ# œ# œ œ œ œ œœ ¢ pie, arr- ê te Lâ- ches dé- robes votre tête a mon ju- ste cou

Cello °?## ∑ ∑ ∑ ∑ ∑

Double Bass ?## ∑ ∑ ∑ ∑ ∑ ¢ 65 78

Flute ° # & # ∑ ∑ ∑ ∑

Oboe # œ & # ∑ ∑ ∑ Œ‰ œ œ# œ œ# pJ

Clarinet in A &b ∑ ∑ ∑ Ó ##˙ ¢ p

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ‰‰ œ‰‰ ˙Ó ‰ Jœ œ p. . . Tenor Trombone ?## ∑ ∑ ∑ ∑ B

Bassoon ?## ∑ ∑ ∑ ∑ ¢

Violin ° ## ˙ œ œ# œ# œœœ œ œ œ# œœ & ˙# œ# œ œ# œ œ œ œ# œ œn ™ œ œ# œ ‰ j æ œæ æ æ f J æ ææ æ p œæ œ# œ œ# # Violin 2 # ˙ ‰ æ œ# æ æ æ & ˙# ˙ œ œ# œœ æ æ æ ˙# œ j œ‹ œ# #˙ œ# œ œ# œ œ œ œ# œ œ œ œ# œ œn œ# œ œ p œæ œ# f > j Viola # ˙ œ# ææ œæ æ æ æ B # ∑ ˙# # œ ‰ œæ œ# æ œ‹ œ œ# œ œ œ ˙# ¢ f> p

j j Samson °?# œ# ŒÓ ∑ Œ‰ œ# œ# ™ œ# œ ‰ œ# œ# ™ œ# # J J ¢ rage pleu- rez vosdieux crai- gn - ez

> œ Cello °?# ∑ ˙ #œ œ# œ ˙‹ œ# # ˙# # œ œ# œ œ ˙‹ f> p p

Double Bass ?## ∑ ∑ ∑ ∑ ¢ 66 82 œ œ# œ œ# œ Flute ° # œ# & # ∑ Œ‰ J ŒÓ ff # œ# œ œ# œ œ# œ Oboe & # œ Œ Ó Œ ‰ J ŒÓ ff

Clarinet in A œ &b œnœ Œ Ó Œ ‰ œn œ œ# œ œ# ŒÓ ¢ ffJ

E Tpt. ° w & ∑ ∑ ffw

E Hn. w w œ & w œ Œ Ó œ ŒÓ ff Œ Ó #w # w #œ Tenor Trombone B # w w œ # w#w #w œ ŒÓ p ff w #w œ Bassoon ?## w# w œ ŒÓ ¢ p ff

# œ œ™ œ œ™ œ œ™ œ #œ™ œ œ™ œ œ™ œ œ™ œ œ œ# œ œ Violin ° # œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ ‰ œ œ# & ™ ™ ™ ™ ™ ™ ™ æJ æ æ æ æ œ™ ff p #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ# Violin 2 # ™ ™ ™ ™ ™ ™ ™ æ æ æ & # œ# ™ œ œ™ œ œ™ œ œ™ œ # œ™ œ œ™ œ œ™ œ œ™ œ œ ff pœ œ œ ˙# # œ œ™ œ œ™ œ œ™ œ #œ™ œ œ™ œ œ™ œ œ™ œ œ Viola # œ# œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ# B # ‰™ R ‰ J œ# œ# œ ¢ ff æp æ æ æ æ

j Samson °?# œ œ œ œ œ œ œ# œ œ# œn œ# œ œ # ™ J ™ ™ ™ œ# Ó ¢ pour voustombez- dieux en- nemis Soy- ez ré- duits en pou- dre

Cello ° œ# œ œ œ œ œ œ ?## ™ ™ ™ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ ˙# œ# ™ ff p

Double Bass ?## ∑ ∑ ∑ ¢ 67 85 œ Flute ° # œ œn œ# œ œ# & # ∑ ∑ Œ‰ J ŒÓ

œ œ Oboe # œ œ# œ œ œ œn œ# œ œ# & # Œ‰ J œ# ŒÓŒ‰ J ŒÓ

œ œb œn œ œn œ Clarinet in A b ∑ ∑ Œ‰ J ŒÓ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. ˙ w bw œ & Ó ˙ w b w bœ Œ ˙ Ó p ff Œ pŒ œ

Tenor Trombone B # w w nœ # ∑ w w œ ŒÓ pw ff œ . . . . œ œ œ ˙# w w nœ œ. œ œ. ˙ Bassoon ?## ‰ J w w ˙# ¢ p ff p

œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ nœ Violin ° ## œ j æ æ æ æ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ & ‰ œæ œ# œ œ ‰ j œæ œn æ œæ æ œ# ff pœn æ œ # œ# œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ æ æ æ Violin 2 # ‰ j æ ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ nœ & œæ œ# æ æ œæ œ# œ œ# ff pœ œn œ ˙ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ nœ Viola # œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ æ æ œæ B # œ œ##˙ œ™ ‰ œn œæ œ# œ ¢ æ æ æ ff æpJ

œ# œ œ Samson °?# œ# œ œ# œ œ œ œ œ œ œ™ j œn œn œ # Œ‰ J œ œ# œ œn œ# œ ‰ J œ ¢ vous ne mé- ri-tez pas queledieu descom- bats ar>- me > le> ciel > ven > - geur, et lan- ce ici sa

Cello °?# # œ œ œ œ ˙# œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œn œ ff ˙#

Double Bass ?## ∑ ∑ ∑ ∑ ¢ 68 89 œn œn œ œ œ wn wb w Flute ° # & # Œ‰ J

Oboe # nw w & # ∑ ∑ w wn

Clarinet in A b Ó ˙n˙ bw wb w ¢& w w

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. œ Œ Ó & Œ Ó ∑ ∑ ∑

Tenor Trombone B## ∑ ∑ ∑ ∑

nœ w Bassoon ?## ŒÓ w w ¢ w w w

œn ™ œ œ™ œ œ™ œ œ™ œ Violin ° # œ œn œ œ œ œ œ œ œ œ œ & # ‰ œn œ œ™ œ œ™ œ œ™ œ œ™ œ ™ ™ ™ ™ œn æJ æ æ æ æ # Violin 2 & # œ œæ œn æ œæ ˙ œn ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ

Viola B## œ ‰ œn œæ æ œæ œæ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ ¢ æJ œ#

Chorus? j j Samson œ B œ œ œ œ ˙ œ œ °?## œ# œ œ œ œ œ Ó‰ œ ™ ™ ¢ J œ™ œ œ™ œ ˙ œ œ fou - dre_il suﬃt demon bras Tom- bez, dieux enn- e - mis! Soy -

œn Cello °?# 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

Double Bass ?## ∑ ∑ ∑ ∑ ¢ 69 93 wnw w w Flute ° # #w & # p fff # nw w w Oboe & # w p fff

Clarinet in A bw w w &b w w w w ¢ p fff

E Tpt. ° & ∑ w w w ffw w w

w w w E Hn. & ∑ wb w w fff nw w w Tenor Trombone B # w w w # ∑ bw w w fff

Bassoon ?## w wb w w ¢ w bw w w p fff œ œn œ # œn œ œ œ œn œn œ œn œ œ œn Violin ° # æ æ œn œ œn œæ æ æ & œ œ œ œ œ œ œ œ æ æ æ æ æ æ æ æ æ æ œ œ œn œ œ æ p ™ ™ ™ ™ fff æ æ æ æ æ æ æ æ œn # œ œn œ Violin 2 # œn œ œn æ æ æ æ & œ œ œ œ œ œ œ œ æ œ œ œn œ œn æ œ œæ æ æ œn æ æ æ œæ æ æ œæ æ p ™ ™ ™ ™ fffæ æ æ æ æ æ æ œn œ œ œn œ œ œ œ

Viola # nw w w B # n w w w ¢ pœ™ œ œ™ œ œ™ œ œ™ œ ff

œ œ œ j Samson °B # ™ œ ˙ œ Œ ∑ ∑ ¢ # œ œ œ™ œ ez ré- duits en pou- dre

Cello °?## œ™ œ œ™ œ œ™ œ œ™ œ wb w w p ff Double Bass ?## ∑ ∑ ∑ ∑ ¢ 70 97 w Flute ° # & # ∑ ∑ ∑ p # w Oboe & # ∑ ∑ ∑ p

Clarinet in A bw &b < >w ∑ ∑ ¢ p ppwwb

E Tpt. ° & w ∑ ∑ ∑ w p

w w w E Hn. & w w# w# ∑ p n w #w #w Tenor Trombone B # < >w w w # bw w w ∑ < > pw w

Bassoon ?## w w w wb ¢ w w w bppw p

# œ œ# œ Violin ° # æ æ Œ œ œ œæ æ æ æ æ æ ∑ & œ œn æ æ œ æ œ œ œ# œ œ œ œ œ œæ æ œn œ p p æ æ æ æ æ æ æ œ # œ œ# œ Violin 2 # æ æ æ æ Ó œ œ œ œ œæ œæ æ æ œæ æ ∑ & œn æ æ œ# œ œ œ œæ æ œ œn pœ p æ æ æ æ æ æ œ Viola B## n˙ œn æ œn æ æ æ w w œ œ# œ œæ œæ æ < > ˙ œ œ#w w œ œ œæ ¢ p æ æ æ æ

Samson °B # ∑ ∑ ∑ ∑ ¢ #

Cello °?## w pw w wb

Double Bass ?## ∑ ∑ ∑ ∑ ¢ 71 101

Flute ° # U & # ∑ ∑ ∑ ∑ ∑ ∑

# U Oboe & # ∑ ∑ ∑ ∑ ∑ ∑

U Clarinet in A b ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E Tpt. ° U & ∑ ∑ ∑ ∑ ∑ ∑

U E Hn. ∑ ∑ ∑ ∑ ∑ Ó ˙ & ˙ p> > U ˙ Tenor Trombone B## ∑ ∑ ∑ ∑ ∑ Ó p U Bassoon ?## w w w ∑ ∑ ∑ ¢ w w w

Violin ° # U & # ∑ ∑ ∑ ∑ ∑ ∑

# U Violin 2 & # ∑ ∑ ∑ ∑ ∑ ∑

U Viola # æ æ B # œ œ æ æœæ æ æ æ Œ æ j‰ŒŒ æ j ‰ŒŒ æ j‰Œ ¢ œ œ# œ œ œ nw w pœæ œ œæ œ œæ œ

Le G. Pretre œ œ œ œ œ œ™ œ œ œ œ œ œ Samson ° U ? B## ∑ ∑ Ó™ ‰ J Œ‰ J J ŒÓ ¢ le ciel nepuitpoint cesacri- -lé-geeﬀort?

U Cello °?# Œ œ œ ‰ŒŒ œ œ ‰ŒŒ œ œ ‰Œ # w w J J J w w w pæ æ æ U Double Bass ?## ∑ ∑ ∑ ∑ ∑ ∑ ¢ 72 107 w œ Flute ° # w œ & # ∑ ∑ ∑ ∑ ŒÓ ff # w œ Oboe & # ∑ ∑ ∑ ∑ w œ ŒÓ ff w œ Clarinet in A &b ∑ ∑ ∑ ∑ w œ ŒÓ ¢ ff

E Tpt. ° & ∑ ∑ ∑ ∑ w œ ŒÓ ff

E Hn. ? w œ & ˙ ˙ w w w & w œ ŒÓ >˙ >˙ w w w ff pp > > w œ œ Tenor Trombone ˙#˙ nn˙ ˙ ? w œ œ B## ˙# Ó ∑ ∑ œw œ œ Œ Ó pp ff b˙ Bassoon ?## ∑ Ó n ˙ ˙ ˙b˙ w#w œn ŒÓ ¢ œn œ œ œ pp ff w œ Violin ° # w œ & # ∑ ∑ ∑ ∑ æ ŒÓ fffæ # w œ Violin 2 & # ∑ ∑ ∑ ∑ w œ ŒÓ fffæ w œ Viola # w œ B # Œ æ j ‰ŒŒ æ j ‰ŒŒ æ j ‰Œ ∑ æ ŒÓ ¢ œæ œ œæ œ œæ œ fffæ

œ œ™ œ œ Samson °?# J œ # Œ ŒÓ ∑ ∑ ∑ & Œ œ œ œ œ ¢ le ciel se tait vos e- sprits é- ton

œ œ Cello °?# Œ œ œ ‰ŒŒ œ œ ‰ŒŒ œ œ ‰Œ œ œ œ Œ Ó # J J J æ æ æ w fff

Double Bass ?## ∑ ∑ ∑ ∑ ∑ ∑ ¢ 73 113

Flute ° # n & # ∑ ∑ ∑ n

# n Oboe & # ∑ ∑ ∑ n

Clarinet in A b ∑ ∑ ∑ bbb ¢&

E Tpt. ° & ∑ ∑ ∑

E Hn. & ∑ ∑ ∑

Tenor Trombone ?## ∑ ∑ ∑ nn

Bassoon ?## ∑ ∑ ∑ nn ¢

# n Violin ° # ∑ ‰ ≈ r Ó ∑ n & œ# œ f # n Violin 2 & # ∑ ‰ ≈ r Ó ∑ n fœ œ

Viola B## ∑ ‰ ≈ r Ó ∑ nn ¢ fœ œ

Samson ° ## œ œ œ œb œ œ œ n & œ# œ œ ‰ J œ œb œ œ œ œ œ œb n ¢ nés sont en- core in- cer - tains? Re- dou-tez vous ces dieux ren- ver -sés par mes

Cello °?## ∑ ‰ ≈ œ œ Ó ∑ nn fR

Double Bass ?## ∑ ∑ ∑ nn ¢ 74 116

Flute ° & ∑ ∑ ∑

Oboe & ∑ ∑ ∑

Clarinet in A b &b b ∑ ∑ w ¢ p

E Tpt. ° & ∑ ∑ ∑

E Hn. & ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑

wb Bassoon ? ∑ ∑ æ ¢ p

Violin ° >˙b œb & ˙ œ œ# œ œ œ œ œ œ œb œ œ œ œ œ# œ œb Œ Ó mf> fp

Violin 2 œb œ œ# œ œ œ œ œ & ˙b œ œb œ œ œ œ œ# œ œb œ œ œ œ œ œ ˙ > fpœb mf> Viola ˙b B ∑ ˙ œ œ œ œ œ œ œ œ ¢ mf fp

Samson ° & ˙ Ó ∑ ∑ & ¢ mains?

œb œ œ ˙ Cello °? ∑ ˙b œ æ mf˙ œ fp

Double Bass ? ∑ ∑ ∑ ¢ 75 119 ˙ œ ˙ œ Flute ° & ∑ ∑ Œ Œ mp p mp p œ œb ˙™ Oboe & ÓŒ ∑ ∑ p mf p

Clarinet in A b b˙ ˙ ˙ ˙ &b b w˙™ œ bwœ ˙™ b w w ¢ mf pp

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑

wn w w wb Bassoon ? ¢ æ

Violin ° ˙ œ ˙ œ ˙ œ ˙ œ & Œ Œ Œ Œ p

Violin 2 ˙ & wæ œb œ œ œ ˙æ ˙ ˙ ˙ æ æ æ æ ˙ ˙ Viola B w wb w ¢ æ æ æ æ æ

Chorus ° j œ ˙ & œ™ œ œ œ œ œb œ Œ œ œ ˙ œ™ J œ œ mais qui nous dé- fen - dra du cour- roux e- ﬀroy - ab - le D'un Samson Chorus j Œ j & ˙ œ œ ˙ œ œ b˙ œ œ ¢ œ™ œ œ œ œ ˙ œ ˙ œ™ œ

wn w w ˙b ˙ Cello °? æ æ æ æ æ

Double Bass ? ∑ ∑ ∑ ∑ ¢ 76 123 œb œ œ ˙b œ œ œ Flute ° œ# & ÓŒ Œ ŒÓ pp p

Oboe ˙b œ & ÓŒ œb œ œ# Œ œ œ œ Œ Ó pp p

Clarinet in A b bw w &b b b w w ∑ ¢ pw

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ w #w Bassoon ? w w# w# œ ŒÓ ¢ #w œ

œ# œ œ Violin ° Œ Ó & Œ œ# œ Œ œn œ æ æ œ ˙b ˙ œ f œ Ó

Violin 2 w# wn Œ œ Ó & wæ œ œ Ó æ æ f œ

Viola w# w œ B æ wæ œ œ Ó ¢ æ f

Samson œ œ ° ˙b œ™ œ ˙ œ œ ˙b œ œ œ ‰ œ œ œ œ œ & J ™ J & J roi le ty- rand le ty- rand des Hé- breux Le Dieu dont la main fa- vor Samson j ˙b œ œ wn ˙ ˙ ŒÓ ¢& ˙ œ™ œ # w n˙ ˙ œ#

w w# Cello °? w# œ Ó fœ

Double Bass ? ∑ ∑ ∑ ∑ ¢ 77 127

Flute ° & ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑

Clarinet in A bbb ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑

Bassoon ? ∑ ∑ ∑ ∑ ¢

œ œ œ Violin ° R œ œ & ∑ ‰ ≈ Ó ∑ Œ æ æ f æffæ

Violin 2 œ œ æœ œ & ∑ ‰ ≈ R Ó ∑ Œ œæ æ f ffæ æ œ œ œ œ Viola œ œ œ B ∑ ‰ ≈ R Ó ∑ Œ æ æ ¢ f æff

œ Samson ° œ œ ‰ œ œ œ œ œ œ œ Œ‰ œ œ œ œ œ œ œ œ œ œ œ œ Ó & J œ# ¢ a- ble a conduit ce bras bell- i quex Necraintpasdecesroislagran- deur pé- riss - a-ble

Cello °? œ# œ œ ∑ ‰ ≈ R Ó ∑ Œ œ œ f ff

Double Bass ? ∑ ∑ ∑ ∑ ¢ 78 131

Flute ° & ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑

Clarinet in A bbb ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑

Bassoon ? ∑ ∑ ∑ ∑ ¢

œ Violin ° ŒÓ ∑ Œ ˙™ Ó œ œ# & æ æ p æf æ œ Violin 2 ŒÓ ∑ Œ Ó œæ & ˙™ æ p fœæ œ > Viola B œ ŒÓŒ ˙ Œ Œ Ó œ ˙™ æ æ ¢ p ˙™ fœ æ

Samson ° œ œ œ ˙ œ œ œ œ & Ó ‰ œ œ œ Œ œ œ œ œ œ œ œ œ Ó ¢ Fai bles tribus de- man-dez son a- ppui Il vous ar- mer-a du ton- ne - rre

I. > Cello °? ˙ ˙# ™ œ œn œ ŒÓŒ ŒŒ Ó p f

Double Bass ? ∑ ∑ ∑ ∑ ¢ 79 135

Flute ° & ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑

Clarinet in A bbb ∑ ∑ ∑ ∑ ¢&

E Tpt. ° & ∑ ∑ ∑ ∑

E Hn. & ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑

Bassoon ? ∑ ∑ ∑ ∑ ¢

Violin ° w & ∑ ÓŒ Ó pp fœ ˙b

Violin 2 w ∑ ÓŒ Ó & ˙ pp fœ

Viola w B w ∑ ÓŒ ˙ Ó ¢ pp fœ

j > > > > ˙ Samson ° Œ œ œ œ# œ œ œ ŒŒ œ œ œ œ œ œ œ & œ œ œ œ œ™ œ ™ ¢ Vous se- rez re dou- tés du re- ste de la te- rre Si vous ne re- dou-tez que

Cello °? w ∑ ÓŒ œ ˙# Ó pp f

Double Bass ? ∑ ∑ ∑ ∑ ¢ 80 Act 1, scene III ﬁnale "Peuple, éveille-toi"

q = 110

Flute ° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑

Oboe 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in A 4 ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4

Trumpet ° 4 & 4 Œ œ™ œ ˙ œ œ™ œ ˙ œ œ™ œ ˙ w ∑ ∑ mf n ˙ French Horn 4 ∑ ∑ Ó ˙ ˙ ˙ œ œ & 4 ˙ œ ŒÓ œ ŒÓ p > > Coro en Ut 4 Horn in C & 4 ∑ ∑ ÓŒ œ™ œ œ œ™ œ ˙ ŒÓ ŒÓ mf œ œ œ œ > > Alto Trombone B 4 4 ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4

# œ œ # œ œ Bassoon ? 4 œ# œ# 4 ÓŒ ŒŒ ŒÓ ∑ ∑ ∑ mf

Violin 1 ° 4 ∑ ∑ ∑ ∑ Œ & 4 œ Œ œ Œ œ Œ œ p >œ œ >œ œ Violin 2 4 ∑ ∑ ∑ ∑ Œ & 4 œ Œ œ Œ œ Œ œ p >œ œ >œ œ 6 6 Viola œ œ# œ œ œ# œ œ œ# œ B 4 Œ Œ Œ ‰ œ œ œ œb œn œ ‰ œ œ œ œb œn œ 4 3 ˙ 3 ˙ 3 ˙ w œ# œ œ# œ œ œ# œn œ# œ œ ¢ ff > > > p 6 6

Samson 4 & 4 w ∑ ∑ ∑ ∑ ∑ lui

Ahh Choir ° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑

Ahh Choir 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑

Ahh Choir 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ‹

Ahh Choir ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4

q = 110 6 œb œn œn Cello °? 4 œb œn œ œ# œn œ# œ 4 ∑ ∑ Ó‰ œ œb œ œ œ# œ œn Œ œ œ œ Œ œ fœ œ# 6 6 mf œ Double Bass 4 ? 4 ∑ ∑ ∑ ∑ œ Œ œ œ œ Œ œ ¢ mf

81 7

Flute ° & ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑

˙ œ# Oboe & ∑ ∑ ∑ ∑ ∑ Œ pp

Clarinet in A ∑ ∑ ∑ ∑ ŒŒ œœ ¢& w œ pw œ

Trumpet ° & ∑ ∑ ∑ ∑ ∑ ∑

French Horn & œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ ∑ ∑ >œ œ œ

French Horn 2 & œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ ∑ >œ œ œ œ œ

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

Bassoon #w œ ? ∑ ∑ ∑ ∑ w œ Œ œb Œ p

Violin ° & 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 Violin 2 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 6 6 6 6 Viola B ‰ œ œ œb œn œ ‰ œ œ œb œn œ ‰ œ œ œb œn œ ‰ œ œ œ œn œ Œ ˙ œ Œ œ Œ œ# œn œ# œ œ œ œ# œn œ# œ œ œ œ# œ# œ œ œ œ œ œ# œ œb œn œ œ œ ¢ 6 6 6 6

œ œ ˙ . ˙ Voice ˙ œ™ œ™ ˙ œ œ# ™ œ œ™ œ œ œ™ œ œ œ# ™ œ & œ œ ˙ Ó J œ™ œ œ™ œ# Peu -- ple, éveille toi Peu --ple romps tes fe - rs Re monte a tagran- deur premiere Com- me un fff

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

div. tutti Cello °? #w w ˙b œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ Œ œ œ œ Œ div. tutti Double Bass # w ? œ œ Œ œ œ œ Œ œ wœ œ œ œ œ œ œ Œ œ œ Œ ˙b ¢ Œ Œ œ 82 13

Flute ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Oboe <#>œ ˙ œ & ∑ ∑ ∑ ∑ ∑ ∑

˙ œ Clarinet in A Œ Œ Ó ∑ ∑ œb œ œ & œ Œ #œ ∑ Ó œ #œ œ Œ Ó ¢ pp pp

Trumpet ° & ∑ ∑ ∑ Œ œ™ œ œ œ ∑ Œ œ™ œ œ œ ∑ p

French Horn œ ˙ & ∑ ÓŒ œ Œ œ ŒÓ ∑ ∑ ∑

French Horn 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

˙ œ œb œ œ œ œ wbw ˙ œ œ Bassoon ? œn Œ œ# Œ Ó Œ #œ Œ ˙ œ ŒÓ ˙ Ó Ó Œ Œ œ mf pp pp

Violin ° Œ Œ ŒŒ Œ Œ Œ & œ œb œ™ œ œ œ œ™ œ œ œ œ™ œ œ œ œ™ œ œ œ œ œ œ œ œ™ ˙ œ œ™ œ œ œ œ™ œ œ œ œ™ œ œ œ

Violin 2 & Œ Œ ŒŒ Œ Œ Œ œ œ™ œ œ œ œ œ œ œ ˙ œ œ œb ™ œ œ œ œ™ œ œ œ œb ™ œ œ œ 6 6 Viola B Œ œ Œ œ ŒŒ œ# ˙ œn œ œ œ œ œ œ œ œ œ w ˙ Ó ¢ œ# #œ . œ#. . . œ. . . œ. . . œ. . w

Voice œ# œ™ œ œ œ œ œ™ œ œ >œ# >œ œn ™ œ œ™ œn œ™ j œ ˙ œb œ œ œ œ œ œ œb ˙ œ œb œ œ & œ J œ ™ œ œ# ˙™ œ. œ jour Dieu du chant - deasairs Rap- pe-lle-ra lesmorts à la lu- miè - re Du sein de lapou- ssiè - re, Et ra- ni-me - ra l'u-- ni

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

œ ...... Cello °? ˙n ˙# œ ŒŒ œ# œ œ œ ŒÓ w# œn œ# œ œ œ œ œ œ œ œ œ œ œ 6 6 wb f

Double Bass ? ˙# œ œ# œ œ œ ˙n ŒŒ œ œ œ ŒÓ ∑ ŒÓ wb ¢ f 83 pg. 76 20 ˙ œ œ ˙ ˙ ˙b Flute ° & Œ Œ ∑ ∑ ∑ ∑ cresc. mf cresc. ˙ œ œ ˙ Flute 2 & Œ Œ ∑ ∑ ∑ ∑ ∑ cresc.

Oboe œ œ & Œ œ œ #œ œ #œ œ Œ ∑ ∑ ∑ ∑ ∑

Clarinet in A œ œ œ#œ œ œ & ˙ Ó ∑ ∑ ∑ ∑ ∑ œ œ™ œ œ œ™ œ ¢ mf

Trumpet ° & Œ œ™ œ œ œ™ œ œ œ™ œœ Œ ∑ ∑ ∑ ∑ ∑ cresc. mf w w French Horn œ œ œ œ ŒÓ ∑ & w w œ ŒÓ œ ŒÓ œ ŒÓ œ

French Horn 2 & ∑ ÓŒ œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ ∑ œ œ œ œ œ ppœ

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ff œ œ œ œ œ œ ˙ œ œ# œ œ Œ œnœ œ œ œ œ œ œ œ ™ ™ Bassoon ? œ œ™ œ œ™ œ œ œb œn œ# œ Œ Œ Œ Œ Œ Œ Œ Œ J Ó œ mf ff

Violin ° æ æ & ˙æ™ ˙æ™ œ Œ Œ Œ Œ Œ Œ Œ œ Œ œ æ æ œ œ œ œ œ œ œ œ œ œ ˙æ ˙b æ ˙™ ˙™ p > p> > >

Violin 2 j & œ œ# œ œ œ# œ Œ Œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ æ œ™ œ œ œp œ p> > > œ œ mfw > 6 6 6 6 Viola B œ œ# œ œ œ ‰ œœ œb œn œ ‰ œœ œ# œœ ‰ œ œn œ# œ œ ‰ œ œn œ œn œ œ™ œ ™ œ# ™ œœ œ œ# œ œ# œn œ œ œ# œn œ# œœ œ œ# œ# œœœ œ œ œ# œ œb œn œ wæ ¢ œ p 6 6 6 6 mf

w ˙ œ œ ˙ Voice ™ œ ˙ œ œ ˙ œ œ# œ œ œ œ œ œb œ & ™ œ ™ œ ˙ Ó ™ Œ ™ J vers. --- Peu - ple, éve- ille toi Peu- ple romps tes fers la li- ber-te t'a-

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

div. tutti Cello #w w °? œ œ Œ Œ œ œ™ œ œ œ™ œ œ œ™ œ œn œ# ™ œ œ œ# ™ œ œ œ œ œn œ œ œ œ œ œ œ Œ œ œ œ Œ œ mf p mf div. tutti Double Bass #w w ? œ œ Œ Œ œ œ™ œ œ œ™ œ œ œ œn œ# œ œ# œ œ œ œn œ œ œ œ œ œ œ Œ œ œ œ Œ œ ¢ mf p mf 84 27 wn œ T˙ œ™ œ œ™ œ œ œ œ œ œ œ™ œ œ™ œ œ™ Flute ° œ ˙ & Ó ∑ ŒÓ ∑ ∑ ff œ# Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑ ŒÓ ∑ ∑ ff œ# œ œb œn œ œ# w b w n œ Oboe œ# w wb œn ˙ ˙ ˙™ & ‰ J ∑ ∑ ∑ ŒÓ ˙ ˙# ™ Œ p p cresc. ff cresc. ˙ Clarinet in A w ˙w œ Œ ˙b w w œ ˙ ˙#˙ ˙™ Œ & w# ™ œ# œ ˙ ˙ ˙˙ w bw nœ ŒÓ ¢ pp p cresc. ff cresc.

Trumpet ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

cresc. b w French Horn œ œ œ œ œ œ œ w wb & ‰ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ mpJ p cresc.

French Horn 2 w & ∑ ∑ ∑ w w œ ŒÓ w ˙™ Œ mpw pw wcresc. ffœ w cresc. ˙™ A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

œ œ œ ˙# ˙ Bassoon ? #œ œ œ ˙ ˙™ œ ˙ œ# œ ˙ œ œ œ œ œ œ ˙ ™ œ Œ wæ wæ ŒÓ Œ œ œ Œ æ p ff œ ˙ œ Violin ° œ œ œ# Œ Œ w bw œb ŒÓ ˙n ˙ Œ & œn œ# œ# œ œ# Œ Œ Œ œ Œ œ œ æ æ æ mf pœ œ œ œ æ cresc. æ ff pæ cresc.æ æ f

Violin 2 æ Œ Œ Œ Œ Œ Œ w w œ ŒÓ ˙ ˙# ˙ œ Œ & wæ æ æ æ #w œ œ# œn œb œ œ æ cresc. æ ff æp æcresc. æ f f p w bw nœ œ Viola B æ Œ Œ œ œ w w œ ŒÓ‰ œ œ œ# œ æ Œ wæ œ Œ œ Œ Œ œ œ Œ œ j œ ˙æ œ ¢ fw p œ æ cresc. æ ff pœ cresc. f > > ˙ œ w ˙# œ œ >œ œ œ ˙ ˙ ˙™ œ Voice ˙n œ œ œ ™ œ œ™ œ œ™ œ & Œ œ œ œ œ™ œ œ™ œ Œ pel- le tu naquis pour elle re- pronds-re - pronds tesconcerts peuple peuple eve- ille toi romps -- tes

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Cello °? œ œ œ# œ ˙ œ w Œ Œ œ Œ ˙# œ Œ Œ wæ wæ ŒÓ Œ ‰ j œ œ Œ f p œ cresc. ff p œ

Double Bass ? œ œ œ# œ ˙ œ w Œ ŒÓ œ# Œ œ Œ Œ wæ wæ ŒÓ Œ ‰ j œ œ Œ ¢ f p œ cresc. ff p œ 85 36 œ ˙ œ ˙ œ œ ˙™ œ ˙™ œ ˙ œ œ ™ ™ œ œ# œ œ Flute ° œ# & Œ ff œ œ œ# œ œ# œ Flute 2 œ œ ˙ œ ˙ œ & Œ ˙™ œ ˙™ œ ˙ œ Œ ™ ff ˙™ œ ˙™ œ ˙ Oboe Œ ˙ œ ˙ œ ˙ œ œ & ˙™ œ ˙™ œ ˙ œ #œ ™ ™ œ Œ ff ˙™ œ Œ˙™ Ó œ ˙ œ j j Clarinet in A j j j œ œn œ œ œ œ j œ œ œ œ ˙ œ & j œ œ œ œ j œ œ œ œ œ œ œ# œ œ œ# œ œ œ# œ# œ œn œ# ˙ nœ œœ# ¢ ffœ™ œ œ# œ œn œ# J

j j j æ æ æ Trumpet ° ‰ œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ™ ˙ œ™ ˙ œ™ ˙ & ‰ ‰ Œ‰ œ ˙ ‰ œ ˙ ‰ œ ˙ ffœ œ œ ˙ œ œ œ ˙ œ œ œ œ ™ ™ ™ j j æ æ æ French Horn ‰ œ œ œ ˙ œ œ œ ˙ œ œ œ™ ˙ œ™ ˙ œ™ ˙ & ‰ ‰ ™ Œ‰ œ ˙ ‰ œ ˙ ‰ œ ˙ ffœ œ œ ˙ œ œ œ ˙ œ™ œ ™ ™ ™

French Horn 2 œ œ œ & œ ŒÓ œ ŒÓ œ ŒÓ ŒÓ ŒÓ ŒÓ œ œ œ œ œ œ ˙ œ ˙ œ ˙ >œ A. Tbn. B w w ˙ Œ œ œ Œ Œ Œ ff ff w w ˙ œ œ œ œ œ >œ Tenor Trombone ? œ œ #˙ œ #˙ œ #œ™ œ##œ œn œ# w w ˙ Œ ˙ Œ ˙ Œ œ™ J ¢ ff ff

œ œ œ œ œ > œ œ > œ Bassoon ? œ œ# œ œ œ œn œ# œ œ œ œn œ# œ œ œ™ œ# œ œ# œ# œ œ# œ‹ œ œ# œ œn œ# œn œ# œ™ J J œ J J œ J J J J J J œ œ œ ˙™ w ˙™ œ œ w w ˙™ œ œ Violin ° œ œ œ œ ˙ w ˙ œ œ w w ˙™ œ œ & ™ ™ æ æ æ æ æ æ ff æ æ æ æ æ æ j Violin 2 œ æ æ œæ æ æ æ œæ æ æ æ œæ æ æ æ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œæ œæ œ# œ œ œ œ œ œ œæ œn æ œ# œ œ œ œ œ œ œæ œn æ œ# œ œ œ# æ™ œæ œ# œ# œ œ œæ œn æ œ# œ# œ œ œæ œn æ œ# ff > æ æ æ æ æ æ æ æ æ æ æ æ

Viola B w w ˙ œ œ w w w ™ æ æ æ ¢ ffæ æ æ æ æ æ æ æ

Voice & œ ŒÓ ∑ ∑ ∑ ∑ ∑ fers

Soprano ° ∑ Œ œ j j œ œ w w œ œ œ œ & œ œ œ# œ œ œ œ œn œ# œ œ# ™ J œ# L'a- ffreux-es cla- va - ge fle- trit le cou- ra --- ge fle - trit le cou -

Alto ∑ Œ œ j j œ j œ & œ œ# œ œ œ œn œ# œ œ w w œ™ œ œ# œ œ# œL'a- ffreux-es cla- va - geœ fle- trit le cou- ra --- ge fle - trit le cou -

j Tenor ÓŒ‰ œ ˙™ œ œ ˙ œ ŒŒ œ œ œ œ œ œ œ œ ˙ Œ & J œ# œ œ# J œ# œn œ# ‹ l'a ffreux -- es cla- va - ge l'a- freux-es es cla- va - ge fle- trit le cou- ra - ge œ ˙™ œ œ ˙ œ œ œ Bass ? J œ# œ œ# œ œ# œ# œ œ œ œ# ÓŒ‰ ŒŒ œ J œ J ˙ Œ ¢ l'a ffreux -- es cla- va - ge l'a- freux-es es cla- va - ge fle- trit le cou- ra - ge

œ œ œ Cello °? œ œ œ œ œ œ œ# œ œ# œ œ# > œ# œ‹ œ œ œ# > œn œ# œn œ# œ™ œ œ# œ œ œ œn œ# œ œ œ œn œ# œ œ™ J J œ J J œ J f J J > J J > J œ œ œ Double Bass ? œ œ œ œ œ œ œ# œ‹ œ# œ œ# > œ# œ‹ œ œ œ# > œn œ# œn œ# œ™ œ œ# œ œ œ œn œ# œ œ œ œn œ# œ œ™ J J œ J J œ J ¢ f J J > J J > J 86 > > 42 œn ™ ˙ œ œ™ ˙ w œ w w w œ œ œ œ Flute ° J J &

œ œ™ >˙n œ œ™ >˙ Flute 2 J w w# w & J w w#

œ >˙ œ œ >˙ œ Oboe ™ ™ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ ˙ œ œ ˙ œ™ œ œ™ œ œ™ œ œ™ œ œ# ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ w & J ™ J ™ j œ œ Clarinet in A j œ nœ#œ œ œn œ™ œ œ œ œ œ œ œ œ# & œ j œ œ œ œ œ ™ œ œ™ œ œ™ œ œ™ œ œ™ œœœœ™ œœœœ™ œœœœ™ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww# ¢ œ œ œœ# œ nœ œ J ™ ™ ™ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ

Trumpet ° w w w ˙ œ œ œ œ & ∑ ∑ w ∑ ff w ff˙ œ œ œ œ

French Horn w w w ˙ œ œ œ œ & ‰ œ œ ˙™ ‰ œ œ ˙™ w w# ∑ ff ff˙ œ œ œ œ œ French Horn 2 œ œ œ# œ œ ŒÓ ∑ ∑ ∑ ˙ œ œ œ œ & ™ J w ˙ œ œ œ œ w ff w w w w w w A. Tbn. w w# ˙ œ œ œ œ B w w# œ# œ œ ff ff

Tenor Trombone ? wn w w w w w ˙ œ œ œ œ ¢ ff ff

Bassoon ? œ œn œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > ff œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ ˙™ w œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œb œn œ œ# Violin ° œ# œ# œ & œ œ œ œ ˙™ w œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ æ æ æ æ æ æ æ æ æ æ ff ff œn œ Violin 2 œ œ œ# œ œ œ œ œn 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 œb ™ œ œ™ œ œ™ œ œ™ œ œ œ# & ™ J æJ J œ# æ œ# æ œæ œæ œb œn æ æ æ æ æ æ æ æ æ æ æ æ ffœ™ œ œ™ œ œ™ 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 ff æ æ æ æ œ œ 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 nœ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ™ œ Viola ™ J ™ #œ œ œ œ œ œ B æ æJ æ æ æ æ æ æ æJ æ æ æ æ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œn ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ ¢ ff ff

Voice & ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ Soprano ° œ œ# œ œ ˙™ œ ˙ œ œ ˙b œ œ wn & œ ˙ Œ œ™ J œ# œ œ œ -ra ge. Mais lali- ber te Re- le - ve sa grandeur et nourrit sa ﬁer te

œ Alto Œ œ œ œ œ ˙™ œ œ & œ ˙ œ™ J œ œ œ œ œ ˙ œ œ œ œ w# -ra ge. Mais lali- ber te Re- le - ve sa grandeur et nourrit sa ﬁer te

œ Tenor œ œ# œ œ œ œ œ œ œ œ ˙ œ œ w & œ™ J ŒÓÓŒ œ œ œ œ ‹ Mais la li - ber te Re- le - ve sa grandeur et nourrit sa ﬁer te œ œ œ œ œ œ œ œ Bass ? ™ J ŒÓÓŒ œ œ œ œ ˙ œ œ ˙ œ œ w ¢ Mais la li - ber te Re- le - ve sa grandeur et nourrit sa ﬁer te

Cello °? œ œn œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > ff œ™ œ œ™ œ œ™ œ œ™ œ ffœ

Double Bass ? œ œn œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ > > ff œ™ œ œ™ œ œ™ œ œ™ œ ffœ 87 49 œ ˙ œ™ œ œ™ w w w# œ œ œ œ œ œ™ œ œ™ œ œ™ w Flute ° œ & f cresc. w w w w# Flute 2 & ∑ ∑ ∑ f cresc. ˙n w w Oboe œ œ œ™ œ œ™ œ œ™ w w w œ™ œ œb ™ œ & œ œ #œ œ œ œ™ œ œ™ œ w œ™ œ œ™ œ fæ cresc.æ æ œ #w Clarinet in A œ œ œ œb Œ Œ ww w w b w & œ œ #œ œœn Œ œ œ œœ w# wn ¢ fæ cresc.æ æ

Trumpet ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

> > > > œ w w French Horn œ œ œ œ œ w w w #w & Œ Œ Œ œ Œ œb Œ œ Œ œn p f cresc. > > > French Horn 2 œ œ œ œ œ & Œ Œ Œ œ Œ œœb Œ Œ œ w wb w w w p > fw cresc. w w w# A. Tbn. B œ œ œ w Œ œ Œ œb Œ œ Œ bœ Œ œ Œ œœn w p f cresc. w wb w w wbw Tenor Trombone ? œ Œ œ Œ œ Œ œ# Œ œ Œ Œ w ¢ p œ f cresc.

œ™ œ œ™ œ œ™ œ œ™ œ œb œ œ œ œ œ œ œ Bassoon ? œ œ œ œ ™ ™ ™ ™ œ™ œ œ™ œ œ™ œ œ™ œ Œ Œ Œ ˙# œ Œ œb œ œ œ œ œ œ œ p œ f cresc. ™ ™ ™ ™ œ œ œ œn œ œ œ œ œb ™ œ œ œ œ œ œ œ œ œ œ œœœ œœœ 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 Violin ° œ™ œ œ™ œ œ™ œ ™ ™ ™ ™ ™ ™ ™ ™ & œ™ œ œ™ œ p f cresc.

Violin 2 œ œ œ œn œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ# ™ œ œ™ œ œ™ œ œ™ œ & œ œ œbœœœœœœ œ œ œ œœœ œœœ œ™ œ œ™ œ p f cresc. 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™ œbœ™ œ Viola œ œ œ œ œ œ œ œ œ œ œ œ™ œb ™ œ B œ œ œ œ œ œb œ œ œn œ ¢ p f cresc.

Voice & ∑ ∑ ∑ ∑ ∑ ∑ ∑

mp ˙ w Soprano ° œ œ œ™ œ œ™ œ œ™ œ ˙™ œ w ˙# ˙ & œ œ œ œ™ œ œ™ œ Mais la li- ber te re le ve sa gran deur et nourrit sa ﬁer -

mp Alto œb Œ w & œ œ œ œ# œn Œ œ œ œ œ w ˙™ œ w ˙# ˙ Mais la li- ber te re le ve sa gran deur et nourrit sa ﬁer -

mp œ Tenor œ œ œ œ œ œ œ œ & Œ Œ œ w ˙™ œ w ˙ ˙ ‹ Mais la li- ber te re le ve sa gran deur et nourrit sa ﬁer -

mp ˙b œ w Bass ? œ œ œ œ œ Œ Œ œ œ œ œ ™ ˙# ˙ œ# œ œ w ¢ Mais la li- ber te re le ve sa gran deur et nourrit sa ﬁer -

œ œ œ œ œ œ œ œ Cello œ ™ ™ ™ ™ œb ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œb ™ œ œ™ œ œ™ œ œ™ œ °? œ Œ œ Œ œ Œ ˙# œ Œ p œ f cresc. œ™ œ œ™ œ œ™ œ œ™ œ œb œ œ œ œ œ œ œ Double Bass ? œ œ œ œ ™ ™ ™ ™ œ™ œ œ™ œ œ™ œ œ™ œ Œ Œ Œ ˙# œ Œ œb œ œ œ œ œ œ œ ¢ p œ f cresc. ™ ™ ™ ™ 88 56 œ ˙ ˙ rit. œ œ œ œb œ œ Flute ° & ŒÓ ∑ ∑ ∑ ff œ ˙ œ œ ˙ œ œ Flute 2 & ŒÓ ∑ ∑ ∑ ff

Oboe ˙ œb œ ˙ œb œ & œ ˙ œ ˙ œ ŒÓ ∑ ∑ ∑ ff œ Clarinet in A œ bœ œ œ bœ œ & œ œœn œ##œ œn œ œ œ nœ##œ œn œ œ Œ Ó ∑ ∑ ∑ ¢ ff

Trumpet ° r r & ∑ ∑ ‰ ≈ œ œ™ œ ˙ ‰ ≈ œ œ™ œ ˙ œ™ œ œ™ œ ˙ w mf œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ French Horn ‰ ˙ ˙ ˙ & ‰ œ œ œ ˙ œ œ œ œ ˙ œ ŒŒ œ œ ŒŒ œ œ Œ ˙ ffJ ff p œ œ œ œ French Horn 2 ‰ j ? & ‰ œ œ œ ˙ œ œ œ œ ˙ œ ŒŒ œ œ ŒŒ œ œ ŒŒ œ œ œ œ™ œ œ™ œ ˙ ffœ œ œ ˙ œ œ œ œ ˙ œ ff ˙ ˙ A. Tbn. œ œ B Œ ŒŒ Œ œ ŒŒ œ# ŒŒ œ# ŒÓ ∑ ff ff œ# œ œ# œ Tenor Trombone ? Œ ˙ ŒŒ ˙ Œ ŒŒ ŒŒ ŒÓ ∑ ¢ ff œ ff

# œ#œ œ # œ#œ œ Bassoon ? œ œb œ œb œ ŒŒ ŒŒ ŒÓÓ‰‰ œ œ œ œ œ œ œ œ œ œ œ ff > > ff œ œ œ ˙™ w œ œ Violin ° œ œ œ ˙™ w œ & æ æ ŒŒ œ œ ŒŒ œ œ ŒÓ ∑ ff æ ff ff œ œ œ Violin 2 œ œb œ œ œb œ & œ œ œ œ œ œ# œ œ œ œ œn œ# ŒŒ ŒŒ ŒÓ ∑ ff æ æ æ æ æ æ æ æ æ æ æ æ œ# œ œ# œ ff ff œ œ œb œ œ œ œb œ œ Viola œ œ œ œ œ œ# œ œ œ œ œn œ# œ œ œ# œ B æ æ æ æ æ æ æ æ ŒŒ œ ŒŒ œ ŒÓ æ æ æ æ œ# œ# ™ 3 ˙ œ ¢ ff ff ff

Voice & ∑ ∑ ∑ ∑ ∑ ∑

Soprano ° œ œ œ œ œ & ŒŒ œ ŒŒ ˙ Ó ∑ ∑ ∑ te li- ber - te li- ber - te

Alto & œ ŒŒ œ œ œ ŒŒ œ œ ˙ Ó ∑ ∑ ∑ te li- ber - te li- ber - te

Tenor & œ Œ Œ œ œ œ ŒŒ œ œ ˙ Ó ∑ ∑ ∑ ‹

Bass ? œn ŒŒ œ œ œ ŒŒ œ œ ˙ Ó ∑ ∑ ∑ ¢

rit. 6 Cello œ œ œ œ œ œ œ œ œ œn œ# œn œ# œ °? œ œb œ œb ™ œ# œ# Œ‰ œ œ# œ œ# œ œ œ# œ œ œ œ œ œ 3 ˙ œ 3 ˙ œ œ œ# œ œ# œ 6 ff > > ™ 6

Double Bass œ œ œ œ œ œ œ œ œ ? œ œb œ œb ™ œ# œ# ŒÓ ∑ œ œ œ œ œ œ 3 ˙ œ 3 ˙ œ ¢ ff > > ™ 89 62 q = 110

Flute ° & ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in A ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Trumpet ° & ∑ ∑ ∑ ∑ ∑ ∑

French Horn œ œ œ œ œ œ ŒÓ & œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ

French Horn 2 ? œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ ŒÓ œ œ œ œ œ œ

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

div. œ Bassoon # w ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ > > > > > Œ Œ

Violin ° & Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ p> > > œ œ

Violin 2 & Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ p> > > 6 6 6 6 6 6 Viola B ‰ œœ œ# œœ ‰ œ œn œ# œœ ‰ œ œn œ# œ œ ‰ œ œn œ# œœ ‰ œ œn œ# œœ ‰ œ œn œ œn œ œ# œ œ# œœ œ œ# œn œ# œœ œ œ# œn œ# œœ œ œ# œn œ# œœ œ œ# œ# œœœ œ œ œ# œ œb œn œ ¢ p 6 6 6 6 6 6

œ œ ˙ Voice ˙ œ œ ˙ œ œ# œ œ œ & ∑ ∑ ™ œ ™ œ ˙ Ó ‰ ≈ R Peu - ple, éveille toi Peu- ple romps tes fe - rs Re fff

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

q = 110 div. œn Cello # w °? œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ > > > > > Œ Œ div. œ Double Bass # w ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ ¢ > > > > > Œ Œ 90 68

Flute ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙ Oboe œ# œ ˙ œ & ∑ Œ ∑ ∑ ∑ ∑ pp

Clarinet in A Œ Œ & œœ Œ œ Œ #œ ∑ Ó œ #œ œ ŒÓ ∑ ¢ w œ Œ Œ p pw œ

Trumpet ° & ∑ ∑ ∑ ∑ ∑ Œ œ™ œ œ œ ∑ p

French Horn œ ˙ & ∑ ∑ ∑ ÓŒ œ Œ œ Œ Ó ∑ p

French Horn 2 ? œ ŒÓ & ∑ ∑ ∑ ∑ ∑ ∑ œ

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

tutti œ œ œ w Bassoon #w œ #œ œ Œ œ œ wb ? w œ Œ œ# Œ œ Œ œ# Œ Ó Œ ˙ ŒÓ Ó Œ Œ p œ fp

Violin ° Œ Œ Œ Œ Œ ŒŒ Œ & ˙# œ œ œ# œ œb œ™ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ..œ œ œ™ œ œ œ

Violin 2 & Œ Œ Œ Œ Œ ŒŒ Œ ˙ œ œ œ™ œ œ œ œ œ œ œ œ œ ˙ œ œ œ# ™ œ œ œ 6 6 Viola ˙ œ B Œ ˙ œ Œ œ Œ œ Œ œ Œ œ ŒŒ œ# ˙ œ œ œ œ œ œ œ œ œ œ w ¢ œ# #œ œ# œ œ œ fp

T ˙ œ Voice œ™ œ œ œ# œ œ# œ œ# œ™ œ œ œ œ œ™ œ œ >œ# >œ ™ œn œ™ œ œ™ œn œ™ j œ ˙ œb œ œ & J œ™ œ ™ œ J œ# ˙™ ‰ J monte a tagran- deur premiereCom- me un jourDieuduchant desairsRappelle- ra les morts à la lu miè- re Du sein de lapou

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

tutti Cello °? ˙# œ œ# œ œ w# œ Œ œ œ œ Œ ˙# ˙ ŒŒ œ œ œ ŒÓ fp tutti Double Bass œ# œ œ ? œ Œ œ œ ŒÓ ∑ ÓŒ œ œ ŒÓ ∑ ¢ œ œ 91 75 ˙ œ œ ˙ œ œ ˙ œ™ œ œ™ œ ˙ œ œ# ™ œ Flute ° ˙ & ∑ ∑ Œ Œ Ó p ˙ œ œ ˙ Flute 2 & ∑ ∑ Œ Œ ∑ ∑ ∑

Oboe œ œ & ∑ ∑ Œ œ œ #œ œ ##œ œ Œ ∑ ∑ ∑

œ Clarinet in A ˙ œ œb œ ˙ œ™ œ™ ˙ œ œ œ# ™ œ & ∑ œ ˙ Ó ∑ œ œ ˙™ Œ ¢ p p

Trumpet ° & Œ œ™ œ œ œ ∑ Œ œ™ œ œ œ œ œ™ œ œ Œ ∑ ∑ ∑

w w French Horn ∑ ∑ œ œ œ & w w œ ŒÓ œ ŒÓ œ ŒÓ

French Horn 2 & ∑ ∑ ∑ ÓŒ œ ŒÓ œ ŒÓ œ ŒÓ œ œ œ œ pœ

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

˙ œ œ ˙ œb œ œ ˙ œ œ# œ œ Bassoon ? ˙ Œ #w Ó œ œ# œ œ# œ œ œ œ œn œ Œ œ œ œ œ œ œ œ œ pp p Ó œ Œ

Violin ° Œ Œ æ æ Œ Œ Œ Œ Œ Œ & œ™ œ œ œ œ™ œ œ œ œ ˙™ cresc. ˙™ œ œ œ œ œ œ œ œ™ œ œ œ œ™ œ œ œ œ p> >œ œ >œ œ >œ œ

Violin 2 j & Œ Œ œn œ œ œ Œ Œ Œ Œ Œ Œ œ# œ# œ œ œ œ œ œ œn ™ œ œ œ œ# ™ œ œ œ œn ™ cresc.œ œ œ pœ > > 6 6 6 > Viola B ˙ Ó œ œ# œ œ œ ‰ œœ œb œn œ ‰ œœ œb œn œ ‰ œ œ œ# œœ œ™ œ ™ œb ™ œ œn œ œ# œ œ# œœ œ œ# œn œ# œœ œ œ# œ‹ œœœ œ ¢ pp w œ cresc. p 6 6 6

w ˙ œ œ Voice œ œ œ œb ˙ œ œb œ ™ œ ˙ œ œ ˙ œ œ# œ & œ œ œ ™ œ ™ œ ˙ Ó ssiè- re, Et ra- ni-me - ra l'u- ni vers.

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

div. Cello °? œn œ# œœœœ œœœœ œœ #w wb œn œ# œ œ œ# ™ œ œ œ œ œ œn œ Œ œ œ œ Œ œ œ œ œ 6 6 œ œ™ œ ™ >œ Œ div. Double Bass œ #w ? ŒÓ œ œ Œ Œ wb œ œ œn œ# œ œ# œ œ œ œn œ œ œ œ œ œ œ Œ œ ¢ cresc. > 92 82 ˙ œ ˙™ œ ˙ œ™ œ œ™ ˙ ˙# œ œ œ œ œ œ™ œ œ™ œ œ™ Flute ° œ ˙ & Œ Œ Ó ∑ mf

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ# œ œ œ# b w Oboe œ# œ# w wb & ∑ ∑ ‰ J ∑ ∑ ∑ p cresc. ˙ œ Clarinet in A Œ œ œ™ œ#œ™ œ ˙™ Œ ˙™ œ œ Œ ˙b w w & œ œ™ œ œ™ œ ˙# ™ ˙™ œ# œn ˙ ˙ ˙˙ w bw ¢ mf J p p

Trumpet ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b w French Horn œ œ œ ˙ w wb œ ŒÓ ∑ ‰ œ œ œ ˙ ∑ ∑ ∑ & cresc. fJ cresc.æ p

French Horn 2 w & œ ŒÓ ∑ ∑ ∑ ∑ w w œ w w w p cresc.

A. Tbn. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

œ œ œ œ œ ™ ™ œ œ œ ˙# ˙ Bassoon ? w œ œ™ œ œ™ œ #œ œ œ ˙ ˙ nœ œ ˙ æ æ œ œ œ J œ œ œ œ ˙ œ œ Œ w w Œ mf pp

Violin ° Œ Œ æ œæ œ# œ œ œ# Œ Œ Œ Œ Œ Œ w bw & œ œ ˙æ ˙# æ œæ œ# æ œ# œ œ œ œ œ æ >œ œ f cresc. ff æ æ æ æ p œ œ œ p cresc. æ Violin 2 Œ Œ æ Œ Œ Œ Œ Œ Œ w w & æ wæ œ œ wæ #w œ œ# œn œb œ œ pæ cresc. æ 6 mf cresc. ff p w bw Viola B ‰ œ œn œ œn œ æ Œ Œ œ œ w w œ œ# œ œb œn œ wæ wæ œ Œ œ Œ Œ œ œ Œ œ ¢ 6 mf cresc. ffw p œ pæ cresc. æ

˙ ˙ œ w ˙# œ Voice œ œ œ œ œb ™ œ ˙n œ œ œ ™ œ œ™ œ œ™ œ & Œ J Œ œ œ œ œ™ œ œ™ œ Œ la li- ber -te ta' pel- le tu naquispour elle re- pronds-re - pronds tes con certs peuple

Soprano ° ∑ ˙ œb ™ œ wn Œ & J œ œ œ# œn œ œ œ œ œ œ œ œ ŒŒ œ œ ˙# ™ œ œ la li- ber - te re- le - ve la grandeur et nourrit sa ﬁer- te li- ber - te li- ber

j Alto ∑ ˙ œ œ Œ ŒŒ & ™ w# œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙# ™ œ œ la li- ber - te re- le - ve la grandeur et nourrit sa ﬁer- te li- ber - te li- ber

Tenor ˙ œb œ wn ˙b œ œ & ∑ ™ J Œ œ œ œ œ œ œb œ œ œ œn œ œ ŒŒ œ œ ™ ‹ la li- ber - te re- le - ve la grandeur et nourrit sa ﬁer- te li- ber - te li- ber

Bass ? ∑ ˙ œ™ œ w ˙ œ œ œ œ œ œ ŒŒ J œ# œ œ œ œ œ œ ˙™ œ œ ¢ la li- ber - te re- le - ve la grandeur et nourrit sa ﬁer- te li- ber - te li- ber

tutti w Cello °? œ œ œ œ œ™ œ œ œ™ œ w œ Œ œ Œ œ Œ ˙# ˙ wæ wæ Œ mf p ˙ p cresc. tutti w Double Bass ? œ œ œ œ œ™ œ œ œ™ œ w œ Œ œ Œ œ Œ ˙# ˙ wæ wæ ¢ Œ mf p ˙ p cresc. 93 90 œ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ w w œ œ œ ˙ ˙ ˙ œ Flute ° & ŒÓ ŒÓ ff pp ff œ# ˙ ˙ ˙ ˙ ˙ œ ˙ œ Flute 2 ˙ ˙ ˙ w w œ œ œ ˙ ˙ & ŒÓ ˙ ŒÓ ff pp ff n œ Oboe œn ˙#˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# w ˙ œ & ŒÓÓ ˙ ˙ ˙ ˙ ˙ ˙b ˙ ˙ w ˙ ˙ œ ŒÓ ff pp ff ˙ Clarinet in A œ #n˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙ & bœ ŒÓÓ ˙ #˙ ˙ ˙ ˙ #˙ ˙ ˙ w ˙ ˙˙ œ ŒÓ ¢ ff pp ff

Trumpet ° w w & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ffw w ˙ ˙ w ˙ French Horn bœ ˙ ˙ ˙ w w ˙ ˙ w ˙ > & œ ŒÓ ∑ Ó ˙ œ ˙™ ffw w pp ff w > French Horn 2 & œ ŒÓ Ó ∑ ∑ ∑ œ ˙™ œ w w w ˙ w ˙ ˙ œ w w w ˙ ff˙ ˙

A. Tbn. œ œ œ œ ˙ ˙ ˙ ˙ ˙ w B ∑ Ó œ# Œ Œ œ Œ œ Œ œ Œ œ Œ œ# Œ ˙ ˙# ˙ ˙b ˙ Ó w ˙˙ ˙˙ ∑ mf ff pp ff œ Tenor Trombone ? œ œ œ œ œ œ ˙ w ˙ ∑ Ó Œ Œ Œ Œ Œ Œ Œ ˙ ˙b ˙n ˙# ˙ ∑ ¢ mf ff pp ff ˙

œ œ ˙ #˙ ˙ œ™ œ#œ œ Bassoon ? œ# w w w ˙ ˙# ˙ #˙ ˙ w w œ œ œ ŒÓ ˙ #˙ ˙ ˙# ˙ œ™ œ œ# w w w ˙ #˙ pp ˙ w ffw J œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ Violin ° bœ ŒÓ ˙ w w œ œ ˙ ˙ ˙ ˙ œ œ œ ˙ & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ J J f fp fp fp fp fpfp fpfpæ ffæ æ pp æ æ æ æ æ æ æ œ ˙ œ œ# œ œ Violin 2 œ ŒÓ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙b æ æ æ ˙ ˙ ˙æ œœœœœ & æ æ æ æ æ æ ˙æ ˙æ ˙æ ˙ f æfpæ fp fpæ fpæ fpfpæ æ fpfp æ æff æ æ æ pp æ æ ˙ Œ div. æ nœ ˙ ˙# ˙ ˙ ˙ ˙ w ˙ ˙æ™ œ Viola B œ ŒÓ æ æ æ æ ˙ w w ˙ ˙# ˙ œ œ œ œ# œ œn æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ J J ¢ f fp fp fp fp fpfp fpfpæ ffæ ppæ æ æ æ > œ >œ >œ œ ˙ ˙ ˙ ˙ ˙ œ ˙™ œ Voice ˙ ˙ ˙ w w œ œ œ ˙ & ˙ œ ŒÓ peuple eve- ille toi e - veil - le toi peuple e- ve-ille toi romps tes fers

˙ Soprano ° ŒÓÓ œ™ œ œ™ œ ˙ œ™ œ ˙ œ™ œ w w ∑ ∑ ∑ Œ œ œ œ & œ J J J J te li- ber - te li- ber - te li- ber - te li- ber - te la li-- ber

j Alto ŒÓÓ œ# ™ œ ˙ œ™ œ ˙ ˙ œ™ œ w w ∑ ∑ ∑ Œ œ œ œ & œ J J œ™ œ J te li- ber - te li- ber - te li- ber - te li- ber - te la li-- ber

œ œ œ Tenor œb nœ œ ˙ ˙ ŒÓÓ # œ™ œ ˙ œ™ œ ˙ œ™ œ ˙ œ™ œ w w ∑ ∑ ∑ Œ & J J ™ J J ‹ te li- ber - te li- ber - te li- ber - te li- ber - te la li-- ber œ œ w w œ œ œ Bass ? œ# ŒÓ w ˙ ˙ w ˙ ™ J ∑ ∑ ∑ Œ ¢ te li- ber - te li- ber - te li- ber - te li- ber - te la li-- ber

œ œ ˙# ˙n ˙# ˙ œ™ œ œ# œ Cello °? œ# w w w ˙ ˙# ˙ ˙ ˙ ˙ J ŒÓ æ æ æ f æ æ æ æ æ æ pp ˙ ˙ ˙# ˙n ˙# ˙ Double Bass ? œ# w w w ˙ ˙# ˙ ˙ ˙ ˙ ŒÓ æ æ æ ∑ ¢ f æ æ æ æ æ æ pp ˙ ˙ 94 101 w ˙™ w ˙™ œ ˙™ Flute ° & ∑ Œ ∑ ∑ Œ cresc. ff

˙ ˙# ˙™ ˙ ˙# ˙™ œ ˙™ Flute 2 & ∑ Œ ∑ ∑ Œ cresc. cresc. ˙ Oboe ˙ ˙ ˙™ ˙ ˙ ˙™ œ œ & ∑ ˙ ˙# ™ Œ ∑ ∑ ˙ ˙# ™ Œ œ œ cresc. cresc. w ˙ ˙ ˙ Clarinet in A ™ ˙ ™ œ œ & ∑ w ˙™ ŒŒ ˙™ œ ˙™ ˙ ˙ ˙™ ŒÓ‰ œ#œ œ ¢ cresc. J

Trumpet ° œ œ & ∑ ∑ Ó œ Œ ∑ ∑ ∑ Ó œ Œ œ ŒÓ ff ff œ

French Horn > œ > > œ œ œ œ œ & œ ˙™ ∑ Ó œ Œ Œ ˙™ œ ˙™ ∑ Ó œ Œ œ Œ‰ œ œ œ ff ff ffJ

French Horn 2 > œ > > œ œ & œ ˙™ ∑ Ó œ ŒŒ ˙™ œ ˙™ ∑ Ó œ Œ œ ŒÓ ff ff ˙ ˙ ˙ ˙ #˙ ˙ A. Tbn. B ∑ ˙ ˙# ˙ œ Œ ∑ ∑ ˙ ˙ ˙ œ Œ ∑ p cresc. ff cresc. f

Tenor Trombone w ˙ ˙ ? ∑ Œ ∑ ∑ w Œ œ ŒÓ œ cresc. œ ¢ p cresc. ff ff œ œ œ œ#œ œ œ œ œ œ œ œ œ#œ œ œ nœ œ œ™ œ#œ œ œ nœ œ œ# œ œ Bassoon ? œ œn œ œ œ# œ Œ ˙ ‰ j œ œ Œ œ œ# œ œ œ œn œ œ œ# œ Œ ˙ œ œ Œ Œ‰ J œ J œ œ œ™ J J œ J œ œ œ œ J œ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙ ˙ œ œ ™ Violin ° ˙ ˙ ˙ œ ˙ ˙ ˙ œ & œ œ œ ˙ æ Œ œ œ œ ˙ œ œ œ ˙ æ Œ æ J J æ æ æ æ J J æ J J æ æ æ æ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ #˙ ˙ Violin 2 œ œn œ# œb œn ˙ œ œœœœ œ œ# œœœœ œn œ# œb ˙ œ œ & æJ æJ æ œœœœ ˙# Œ œ æ æ æ æ æ ˙ ˙# Œ œ œ œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Œ div. æ œ ˙æ œ æ æ ˙æ œ ˙æ œ æ æ ˙ œ Viola ™ œ œ œ æ æ æ æœæ ™ œ œ ™ œ œ œ æ æ æ æœæ œ B œ œ œn œ# œ œb nœ nœ œ#œ œ ˙æ œ Œ œ œ œ œ# œ œ œ œn œ# œ œb nœ nœ œ#œ œ ˙ ŒÓ œ œ# œ ¢ J J nœ œ æ æ æ æ J J J J nœ œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ˙ ˙ ˙™ œ ˙ ˙ ˙™ œ ˙ Voice œ & Œ œ œ œ ˙ ÓŒ œ œ œ œ œ œ e- ve - ille toi romps tes fers e- ve - ille toi romps tes fers e veille- toi

Soprano ° ˙ & w ∑ ∑ Œ œ œ œ w ∑ ∑ Ó te la li- ber - te re -

Alto & w ∑ ∑ Œ œ œ œ w ∑ ∑ Ó ˙ te lala lili-- berber -- tete rere --

w œ œ œ w Tenor & ∑ ∑ Œ ∑ ∑ Ó ˙ ‹ te lala lili-- berber -- tete rere -- w œ œ œ w Bass ? ∑ ∑ Œ ∑ ∑ Ó ˙ ¢ te lala lili-- berber -- tete rere --

œ œ œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œn œ™ œ œ# œ œn œ# œ œ Cello °? J J Œ ˙ ‰ j œ œ Œ J J J Œ ˙ œ œ Œ Œ‰ æ œ œ æ œ œ œ œ æJ æ

Double Bass œ ˙ œ œ ˙ œ ? ∑ Œ ‰ j œ Œ ∑ ∑ Œ œ Œ œ ŒÓ ¢ œ œ æ œ œ œ 95 109 œ ˙™ w w ˙ ˙ ˙# ˙b œn œ œ œ œb Flute ° œ œ & Œ ŒÓ Œ Œ ŒÓ

˙ w w ˙# ˙n œ œ œ œb Flute 2 ™ ˙# ˙b œn œ œ & Œ ŒÓ Œ Œ œ ŒÓ

œ ˙ w #w ˙ ˙ ˙ ˙ w œ œ œ Oboe œ w w ˙ ˙ ˙# ˙ w œ œ œ & œ œ Œ Œ ŒÓ ∑

Clarinet in A œ œ w w œ Œ‰ ##œ œ œ wn w w w w œ Œ œ Œ œ ŒÓ ∑ ¢& J w #œ œ œ

œ œ œ ˙ œ œ Trumpet ° œ w w œ œ œ œ œ œ w & ŒÓ‰ œ œ œ ˙ w ∑ œ ŒÓÓ œ ŒŒ ™ ™ ™ J æ w œ™ œ œ™ œ œ™ œ w œ œ œ œ œ œ ˙ #w œ œ French Horn ™ ™ œ œ œ ˙ œ & œ™ ‰‰ œ™ œ w ∑ w œ ŒÓ Œ œ Œ Œ œ™ œ œ™ œ œ™ œ w æ œ™ œ œ™ œ œ™ œ w œ œ œ ˙ #w œ French Horn 2 œ œ œ œ ˙ w bw nœ œ & œ ŒÓ‰ J ∑ w œ ŒÓ Œ œ Œ Œ œ™ œ œ™ œ œ™ œ w æ œ™ œ œ™ œ œ™ œ w œ œ œ ˙ #w w w œ œ œ A. Tbn. B œ œ œ œ ˙ w w w œ œ œ œ wbw ŒÓ‰ J æ ŒÓ Œ Œ œ ŒÓ œ œ œ œ w Tenor Trombone œ œ œ œ œ ? œ ŒÓ‰ J w ˙# ˙ ˙ ˙# ŒÓ œ# Œ Œ œ ŒÓ ¢

œ œ œ œ œ œ œ Bassoon œ# œ œ œ œ œ œ ? Œ‰ J w ˙# ˙ ˙ ˙# ŒÓ œ# Œ Œ œ œ œ œ w w œ #w ˙ ˙ ˙b ˙ œn œ œ œ ˙ #w œ œ œ œb Violin ° œ œ œ œ œ œ œ œ œ œ & æ æ æ æ æ æ æ ŒÓ œ Œ œ Œ ™ ™ ™ ™ æ æ æ ff œ™ œ œ™ œ œ™ œ œ™ œ æ æ w ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ w œ œ Violin 2 œ œ œ œ œ œ œ œ ˙ w ˙ ˙b ˙ wn œ Œ œ Œ œ œ œ œ œ œ œ œ æ œb & æ æ æ æ æ æ æ ™ ™ ™ ™ œæ æ œæ æ æ æ æ ff æ æ æ æ æ æ œ™ œ œ™ œ œ™ œ œ™ œ æ œ ˙ ˙ w w œ œ œ™ œ œ™ œ œ™ œ œ™ œ bw Viola œ œ œ œ œ œ œ œ œ œ œ œ #w w œ# œ w B Œ œ# œn œ œ œ œ œ œ œ w ˙ ˙ w w Œ œ Œ œ™ œ œ™ œ œ™ œ œ™ œ æ ¢ æ æ æ ff æ æ æ æ æ w ˙ ˙ œ ˙# œ w w œ œ œ# œ ˙ œ œ œn Voice ‰ œ œ œ Œ Œ œ ∑ & J e- ve-ille toi peuple peuple peu --- ple_e-ve - ille toi romps tes fers

Soprano ° œ œ œ™ œ w w ˙ ˙ ˙b ˙ œn œ & J ŒÓ Œ œ Œ ˙ Ó ∑ le- ve sa grandeur et nourrit sa ﬁer- te sa ﬁer - te

Alto j Œ ŒÓ Œ Œ Ó ∑ & œ œ œ™ œ w w# ˙ ˙ ˙ œ œ œ œ ˙ le- ve sa grandeur et nourrit sa ﬁer- te sa ﬁer - te

Tenor œ œ œ™ œ w w ˙ ˙ ˙ ˙ œ ŒÓ Œ œ Œ ˙ Ó ∑ & J œ ‹ le- ve sa grandeur et nourrit sa fier- te sa fier - te œ œ Bass œ œ œ œ ? ™ J w w ˙# ˙ ˙ ˙# ŒÓ œ# Œ Œ ˙ Ó ∑ ¢ le- ve sa grandeur et nourrit sa fier- te sa fier - te

œ œ œ œ œ œ œ œ œ œ œ Cello °? œ# ˙ ˙# œ œ# œ Œ‰ æJ æ æ wæ ˙# ˙ ŒÓ Œ Œ œ œ Œ œ wæ æ æ æ æ œ œ œ œ Double Bass œ œ œ œ œ ? œ ŒÓ œ wæ ˙# ˙ ˙ ˙# ŒÓ œ# Œ Œ œ œ Œ œ wæ ¢ æ æ æ æ 96 118 œ œ œ œ™ œ œ œ œ œ œ œ œ ˙ œn ™ œ œ™ œœ™ œœ™ œœ™ œ œ Flute ° œ J & œ Œ‰ Œ‰ w w œ ŒÓ ∑ ˙ œ™ œ œ œ œ œ œ w w œ œ œn ™ œ œ™ œœ™ œœ™ œœ™ œ ™ œ œ œ œ Flute 2 & œ Œ‰ Œ‰ ŒÓ ∑

œ œ œ œ œ œ œ œ w w œ Oboe œ œ œ œ w w œ Œ Ó & ∑ ∑ ∑ ∑ Œ Ó ∑

Clarinet in A ∑ ∑ Ó‰ œ™ œ Œ‰ œ™ œ œ œ œ œ œ œ œ w w œ ŒÓ ∑ ¢& œ™ œ™ œ œ œ œ

Trumpet ° œ™ ˙ œ™ ˙ œ œ œ œ œ œ œ œ & ∑ ∑ ‰ œ ˙ ‰ œ ˙ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ w w œ ŒÓ ∑ ™ ™ J J J J J J J J w w œ w œ ˙ œ ˙ French Horn ˙ b˙ ™ ™ œ œ œ œ œ œ œ œ & ˙ w ‰ œ™ ˙ ‰ œ™ ˙ œ œ œ œ œ œ œ œ w w œ ŒÓ ∑

French Horn 2 ˙ b˙ w œ™ ˙ œ™ ˙ œ œ œ œ œ œ œ œ & ˙ w ‰ œ ˙ ‰ œ ˙ œ œ œ œ œ œ œ œ w w œ ŒÓ ∑ ™ ™ w w œ ˙ b˙ nœ œ ˙ œ œ œ œ œ œ A. Tbn. B ˙ ˙ œ œ# ˙ œn Œ ˙ œ Œ ˙ œ œ œ œ œ œ œ œ w w œ ŒÓ ∑

˙ Tenor Trombone ˙ ˙ ˙ œ œ œ œ ? ˙# œ Œ œ Œ œ œ œ œ w w œ ŒÓ ∑ ¢ ˙

Bassoon ? ˙# ˙ Œ‰ œ œ œ Œ‰ œ œ œ œ œ œ œ ŒÓ ∑ ˙ ˙ œ J œ J œ œ œ œ w w œ

˙ œn œ œ œ œ œ œœœ œ œœœ œ œœœœ ˙ œ ˙ œ œ œ œ œ œ œ œ Violin ° œ æ œœ œ œ œ œ œ œ œ œ œ œ & æ æ œ æ œ æ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ŒÓ ∑ æ æ æ æ æ æ æ Jœ J Jœ J Jœ J Jœ w w œ œ œ œ œ œ œ œ œ Violin 2 ˙ œn œ œ æ æ æ æ æ æ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ∑ & œæ œ œ œ œœœ œ œœœ œ œœœœ æ æœæ˙æ œæ æ æœæ˙æ œ œ œ œ ŒÓ æ œœ œ œ œ œ œ Jœ J Jœ J Jœ J Jœ w w œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ Viola B ˙ ˙b nœ œ#œ ˙ œ œn œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ w w œ Œ Ó ∑ æ æ œ æ œ æ œ œ œ œ œ œ œ œ ¢ æ æ æ æ æ æ æ æ æ æ æ æ J J J J J J J w w œ

Voice & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Soprano ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Cello ˙ œ œ œ œ œ œ œ œ œ œ °? ˙æ ˙# æ œ Œ‰ œ Œ‰ œ œ œ œ w w œ ŒÓ ∑ æ æ ˙ J J

Double Bass ˙ œ œ œ œ œ œ œ œ œ œ ? ˙æ ˙# æ œ Œ‰ œ Œ‰ œ œ œ œ w w œ ŒÓ ∑ ¢ æ æ ˙ J J 97 Act II, Recit et air "Le Dieu des Combats"

q = 110 œ Flute 1 ° 4 & 4 ∑ ∑ ∑ ŒÓ ∑ ∑ ∑ ∑ f

Flute 2 4 œ & 4 ∑ ∑ ∑ ŒÓ ∑ ∑ ∑ ∑ f > ˙ Oboe 4 >˙ & 4 ∑ ∑ ∑ œ ŒÓ ∑ ∑ ∑ f f > ˙ œœ œœ > Clarinet in A b 4 ˙ #œ nœnœœœ œb œœœœ œ# œ œ ˙ &b b 4 ∑ ˙ œœ#œœœnœ œœ ŒÓ ∑ ∑ ∑ ˙ ¢ ˙ nœ bœœœœœ#œœ œ f> f>

Trumpet ° # 4 & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

>˙ Horn in F # 4 >˙ œ & 4 ∑ ˙ ∑ œ ŒÓ ∑ ∑ ∑ Ó ˙ f> f f

Horn in E 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ Ó f >˙ 4 w w B 4 w w w œ Œ Ó ∑ ∑ p p Tenor Trombone ? 4 w w 4 w w w œ ŒÓ ∑ ∑ p p

Bassoon ? 4 œ 4 ∑ ∑ Œ œ œ œ ŒÓ ∑ ∑ ∑ ∑ ¢ ff f

Violin 1 ° 4 j & 4 ∑ ∑ ∑ œ Œ‰ j œ# Ó‰ œ œ œ ∑ ∑ ∑ fœ pœ œ > >

Violin 2 4 4 ∑ ∑ ∑ œ Œ‰ j Ó‰ j ∑ ∑ ∑ & œ œ œ œ œ œ# fœ pœ > > Viola B4 ∑ ∑ Œ Œ‰ j Ó‰ j ∑ ∑ ∑ ¢ 4 œ œ œ œ œ œ œ œ >œ ff fœ p >

Samson 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

q = 110 Double Bass °? 4 æ æ æ j j > w w 4 wæ wæ wæ œ Œ‰ œ# œ œ Ó‰ œ œ œ# ∑ p f p > pæ æ

Double Bass 2 ? 4 w w 4 wæ wæ wæ œ ŒÓ ∑ ∑ ¢ p f pæ æ

98 9 œ Flute 1 ° & ∑ ŒÓ ∑ ∑ ∑ ∑ ∑ f œ Flute 2 & ∑ ŒÓ ∑ ∑ ∑ ∑ ∑ f œ œ œ# œ œ œn œ œ Oboe œ# œn œ# œœ œ œn œ# œ & ŒÓ ∑ ∑ ∑ ∑ ∑

Clarinet in A b œ œ œ œ &b b œ# œn œn œ œ œb œn œœ œb œ œ œ Œ Ó ∑ ∑ ∑ ÓŒ œ™ œ œ œ™ œœ œ ¢ pœ™ œ œ™ œ

Trumpet ° # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑

# Horn in F & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Horn in E j ∑ œ ŒÓ ∑ ∑ œ œ œ œ w w & œ ™ f pœ™ œ œ œ w w B w ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? w ∑ ∑ ∑ ∑ ∑ ∑

œ œ Bassoon ? œ œ Œ œ œ œ ŒÓ ∑ ∑ ∑ ∑ ∑ ¢ ff f

œ Violin 1 ° ∑ œ Œ ‰ Ó‰ j ∑ ∑ ∑ ∑ & j œ# œ œ œ# f pœ œ > > œ Violin 2 ∑ œ Œ‰ j Ó‰ j ∑ ∑ ∑ ∑ & œ œ œ# f pœ œ >œ œ > Viola B Œ œ Œ‰ j Ó‰ j ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ ¢ ff f p > >

Samson & ∑ ∑ ∑ ∑ ∑ ∑ ∑

> Double Bass °? w œ œ œ# j æ æ æ Œ‰ œ# Ó‰ œ œ œ# ∑ wæ wæ wæ æ f pJ > p

Double Bass 2 ? w œ ŒÓ ∑ ∑ wæ wæ wæ ¢ æ f p 99 16

Flute 1 ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

> > Clarinet in A b œ œ bœ œbœ œ &b b œ œ Œ œ™ œ œ œ™ œœ œ ÓŒ œ™ œ œ œ™ œœ œ œ Œ œ™ œ bœ œ™ œ˙ ÓŒ œ™ œ œ œ™ œ˙ ¢ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ mfœ™ œ œ™ œ

Trumpet ° # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Horn in F # j & ∑ ∑ œ™ œ œ œ w w ˙ Ó ∑ ∑ pœ™ œ œ œ w w ˙

Horn in E & w w ∑ ∑ ∑ ∑ ∑ ∑ w w

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

bœ w ˙™ nœ Bassoon ? ∑ ∑ ∑ ∑ ∑ ÓŒ œb w ˙™ œn ¢ f p

Violin 1 ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Violin 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Viola B ∑ ∑ ¢ æ æ æ æ æ æ æ æ mfwæ wæ pwæ ˙æ™ fœb pwb ˙b ™ œn

Samson & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Double Bass °? æ æ æ æ > wæ wæ wæ wæ wæ ˙æ œb wb ˙b ™ œn ™ æ æ æ æ mf p fæ pæ æ æ

Double Bass 2 ? æ æ æ æ > wæ wæ wæ wæ wæ ˙æ œb wb ˙b ™ œn ¢ ™ æ æ æ æ mf p fæ pæ æ æ 100 24 w# Flute 1 ° & ∑ ∑ ∑ ff

Flute 2 & ∑ ∑ ∑ w# ff j j j j Oboe œ #œ œ nœ œ œ œ œ & Œ œ™ œ œœb bœ™ œ # œœn nœ™ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ mfœ™ œ ™ ™ J J J J ff

Clarinet in A b bœ œ™ œ nœ œ™ œ œ nœ œ #œ œ œ œ œ #œ œ œ œ œ œ &b b Œ œ™ œ œ œb ™ œ œ œn ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ ™ J J J J ffJ J J J

Trumpet ° # & # ∑ ∑ ∑ w ffw # Horn in F ∑ ∑ w w & w w f ff œ œ Horn in E & ∑ Œ œ™ œ ∑ w mf ffw B ∑ ∑ ∑ #w ff Tenor Trombone ? ∑ ∑ w w w w f ff > > > ˙™ bœ œ n˙ œ œ œ œ œ œ œ œ œ œ œ œ œ Bassoon ? œb œ ˙n œ œ œ œ œ œ œ œ œ œ œ œ œ ˙™ J J J J J J J J ¢ p mf ff

> œ œ œ œb >œ œ œn œb >œ œ œn œb >œ œ œn œb >œ œ œn œb >œ œ œn œb >œ œ œn œb >œ Violin 1 ° œ# & ∑ ∑ ‰ f ff

Violin 2 > > > > > > > & ∑ ∑ ‰ œ# œ œ œ œb œ œ œn œb œ œ œn œb œ œ œn œb œ œ œn œb œ œ œn œb œ œ œn œb œ f> ff j j j j Viola B æ æ æ æ ‰ bœ œ œ œ œ œ# œ œœ œœ œœ œœ œœ ¢ æ œb æ œb æ ˙n æ œæ œ œ œ œ œ œ œ œ œ œ œ ˙™ > > > f J J J ff

Samson & ∑ ∑ ∑ ∑

> > > Double Bass °? ˙™ œb œb ˙n œ œ œ œ œ œ œ œ œ œ œ œ œ æ æ æ æ J J J J J J J J æ æ æ æ æ f ff > > > Double Bass 2 ? ˙™ œb œb ˙n œ œ œ œ œ œ œ œ œ œ œ œ œ æ æ æ æ J J J J J J J J ¢ æ æ æ æ æ f ff 101 28 œ Flute 1 ° & ŒÓ ∑ ∑ ∑ ∑ ∑

Flute 2 œ & ŒÓ ∑ ∑ ∑ ∑ ∑

Oboe & #œ ŒÓ ∑ ∑ ∑ ∑ ∑ > ˙ Clarinet in A b œ b b œ Œ Ó ∑ ∑ ∑ ∑ ˙ ˙ ¢& ˙ f>

# Trumpet ° # œ Œ ˙ œ ŒÓ ∑ ∑ ∑ ∑ & œ ˙ œ

Horn in F # >˙ & ∑ ÓÓ ∑ ∑ ∑ ˙ f>

Horn in E œ Œ ˙ œ ŒÓ ∑ ∑ ∑ ∑ & œ ˙ œ

B œ ˙ œ œ# Œ ˙ œ ŒÓ ∑ ∑ w w p Tenor Trombone ? œ Œ ˙ œ ŒÓ ∑ ∑ w w œ ˙ œ p œ Bassoon ? œ Œ ˙ œ ŒÓ ∑ ∑ ∑ ∑ ¢ ˙ œ œ Violin 1 ° œ# œ# œn & Œ œ œ œ# œ# œ œn ŒÓŒ œ œ Œ ∑ ∑ ∑ ff f>

Violin 2 œ œn œ# œ# œn Œ Œ ∑ ∑ ∑ & Œ œ œ œ# œ# œ ŒÓ Œ Œ ff œ œ f>

Viola œ œn B #œ Œ œœ œ œ# œ# ŒÓŒ œ œœœœ œ# Œ ∑ ∑ ∑ œ œ œ# f ¢ ff

˙ j Samson ∑ Œ‰ œ œ œ™ œ Œ œ œ œ œ œ œ œ œ œ œ ‰ ∑ ∑ & J Le Dieu des combats m'a conduit Au milieu du car- na- ge ;

œ œ# œ# œn Double Bass °? œ# œ# œ œ Œ œ œ ŒÓŒ œ œœœœ Œ ∑ wæ wæ ff f œ# p œ œ# œ# œn Double Bass 2 ? œ# œ# œ œ Œ œ œ ŒÓŒ œ œœœœ Œ ∑ wæ wæ ¢ ff f œ# p 102 34

Flute 1 ° & ∑ ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ ∑

Oboe & ∑ ∑ ∑ ∑ ∑ ∑

œ Clarinet in A b œ#œœœnœœœœœ œœ œ b b œ œ œ œ# œ ŒÓ ∑ ∑ ∑ ∑ ¢& œ#œœœnœœœœœœœœœ#œœ œ

Trumpet ° # & # ∑ ∑ ∑ ∑ ∑ ∑

# Horn in F & ∑ ∑ ∑ ∑ ∑ ∑

Horn in E & ∑ ∑ ∑ ∑ ∑ ∑

w B w œ Œ Ó ∑ ∑ ∑ p Tenor Trombone ? w w œ ŒÓ ∑ ∑ ∑ p

Bassoon ? œ Œ œ œ œ ŒÓ ∑ ∑ ∑ ∑ ¢ ff f

j Æ œ œ Violin 1 ° ∑ ∑ œÆÆœ œ ∑ ∑ & ‰ œ J ‰‰ J J ‰ ‰ ≈ œ œ Ó mf' ffR j j Æ r Violin 2 ∑ ∑ ‰ j ‰‰ œ ‰ ‰ ≈ œ# œ Ó ∑ ∑ & œ œ œ J #œ œ mf' '' ff ÆÆ œÆ Viola B Œ ŒÓ‰ j œ ‰‰ œ J ‰ ‰ ≈ r Ó ∑ ∑ ¢ œ œ œ œ J J œ œ ff fœ mf' ff

˙ Samson ∑ œ œ œ™ œ œ ∑ ∑ & ÓŒ œ œ ™ J Ó De- vant lui touttrem - ble_et tout fuit

Æ œ œÆÆœ Æ Double Bass °? æ ŒÓ‰ J œ œ œ w wæ œ J ‰‰ J J ‰ ‰ ≈ R ÓŒ œ™ œ œ# œœ œ mf ff pp ™ ™ æ Æ œ œÆÆœ Æ Double Bass 2 ? æ ŒÓ‰ J œ œ œ w wæ œ J ‰‰ J J ‰ ‰ ≈ R ÓŒ œ™ œ œ# œœ œ ¢ ff pp ™ ™ æ 103 40

Flute 1 ° & ∑ ∑ ∑ ∑ ∑

Flute 2 & ∑ ∑ ∑ ∑ ∑ > ˙ œ œ œ# œ œ œn œ œ Oboe >˙ œ# œn œ# œœ œ œn œ# œ & ŒÓ ∑ ∑ f > Clarinet in A b ˙ œ &b b ˙ œ œ# œ œ œn œn œ œ œb œn œœ œb œ œ œ Œ Ó ∑ ∑ ¢ f>

Trumpet ° # & # ∑ ∑ ∑ ∑ ∑

# >˙ Horn in F & Ó ˙ ∑ ∑ ∑ ∑ f

Horn in E ˙ Ó ∑ ∑ ∑ ∑ & ˙ f> B w w œ ŒÓ ∑ ∑

Tenor Trombone ? w w œ ŒÓ ∑ ∑

œ œ Bassoon ? œ œ ∑ Œ œ œ œ ŒÓ ∑ ∑ ¢ fff f

Violin 1 ° & ∑ ∑ ∑ ‰ j Œ‰ j Œ œ œ œ# œ œn œ œ œ œ œ œ œ# ff> > Violin 2 & ∑ ∑ ∑ ‰ j Œ‰ j Œ œ œ œ# œ œn œ œ œ œ œ œ ff> œ# div. >

Viola B ∑ Œ œ œ œ wæ wæ wæ ¢ ff wff w w

> > > Samson ∑ ∑ Ó œ œ ‰ ˙ œ œ >œ œ ˙ œ œ™ œ & J Le ton- neur - re l'a- ﬀreux o- ra - ge Dans les

> j Double Bass °? w w œ œ œ œ# œ œn Œ‰ Œ ŒÓ‰ J œ œ œ œ œ œ œ# æ æ ff > > j Double Bass 2 ? w w œ œ œ œ# œ œn Œ‰ Œ ŒÓ‰ J œ œ œ œ œ œ œ# ¢ æ æ ff > 104 45 ˙ œ Flute 1 ° & ∑ ∑ ∑ ∑ ∑ J ‰Œ ff ˙ œ Flute 2 & ∑ ∑ ∑ ∑ ∑ J‰Œ ff

Oboe ˙# œ & ∑ ∑ ∑ ∑ ∑ J ‰Œ ff > Clarinet in A b œ œ ˙ œ &b b ∑ ÓŒ œ™ œ œ œ™ œœ œ œ œ Œ œ™ œ œ œ™ œœ œ ˙ œ ‰Œ ¢ mfœ™ œ œ™ œ œ™ œ œ™ œ ff J

Trumpet ° # & # ∑ ∑ ∑ ∑ ∑ ∑

# Horn in F & ∑ ∑ ∑ ∑ ∑ ∑

Horn in E j ˙b˙ bœ & ∑ œ™ œ œ œ w w w œ ‰Œ f J pœ™ œ œ œ w w w B ∑ ∑ ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑ ∑ ∑

#˙ œ Bassoon ? ∑ ∑ ∑ ∑ ∑ ˙ œ ‰Œ ¢ ff J

œ# œ Violin 1 ° > œ# œ œ & ∑ ∑ ∑ ∑ ∑ ˙ œ œ# œ ff œ# œ œ Violin 2 œ# œ# œ & ∑ ∑ ∑ ∑ ∑ ˙ œ œ ff> tutti > Viola ˙# œ B æ ŒÓ ∑ ∑ ∑ J ‰Œ ¢ pww# # œœn ff

Samson œ™ œ œ œ œ œ œ Œ œ™ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ™ œ ˙# œ Œ & J J champs font moins de- ra va- ge Que sonnom seul n'en a produit chez la Phi- li - stin plein de rage

Double Bass ° j ? ˙ ˙ w wæ wæ wæ ˙ œ ‰Œ p mf p legato ff>

j Double Bass 2 ? ˙ ˙ w wæ wæ wæ ˙ œ ‰Œ ¢ p mf p legato ff> 105 rit. 51 ˙b œ Flute 1 ° & J ‰Œ ∑ ∑ ∑

Flute 2 ˙b œn & J ‰Œ ∑ ∑ ∑

j Oboe & ˙ œ ‰Œ ∑ ∑ ∑

Clarinet in A b b b ˙ œ ‰Œ ∑ ∑ ∑ ¢& J

Trumpet ° # & # ∑ ∑ ∑ ∑

# Horn in F & ∑ ∑ ∑ ∑

Horn in E j & ˙ œ ‰Œ w ∑ ∑ ˙ œ w p w B ˙ œ ‰Œ ∑ ∑ J p Tenor Trombone f j ? ˙˙# œ ‰Œ w ∑ ∑ f w p ˙ œ Bassoon ? ˙ œ J ‰Œ œ™ œ œ™ œ œ™ œ œ™ œ ∑ ∑ ¢ p

> Violin 1 ° ˙ & œ œ# œ œ# œ ŒÓ æ ∑ œ# œ œ œ pwæ

Violin 2 > & ˙n˙ œ œ# œ œ# œ ŒÓ ∑ œ# œ œ œ æ pw div. > œ# œ œ j bw Viola B ˙#˙ œ œ# œ œ œ œ j ‰ ¢ w p˙™ œ pp

Samson j & ∑ ∑ Œ‰ œ œ œ œ œ œ# œ ˙ œ œ™ œ tous ceux qui vou- laie nt_ arre- ter ce ﬁer tor

rit. œ œb œn œ œb œ Double Bass °? œ# œ# œ œ œ# œ œ# œ ˙ œ œ# œ œ œ™ œ œ™ œ œ™ œ œ™ œ w ‰ œ > p mp 6 6 j Double Bass 2 ? ˙ œ ‰Œ w w w ¢ > p 106 55 ˙™ Flute 1 ° & ∑ ∑ ∑ Œ f ˙b ™ Flute 2 & ∑ ∑ ∑ Œ f

b˙™ Oboe & ∑ ∑ ∑ Œ f 3 Clarinet in A b b b ∑ ∑ œœb œ œ™ œ Œ ¢& b wwb œb ™ J pp f æ

Trumpet ° # & # ∑ ∑ ∑ ∑

# Horn in F & ∑ ∑ ∑ ‰ œbœ œ œ œ œ œ Œ 6

Horn in E & ∑ ∑ ∑ ∑

B ∑ ∑ ∑ ∑

Tenor Trombone ? ∑ ∑ ∑ ∑

Bassoon ? ∑ ∑ ∑ ∑ ¢ œ œ œ# œ# Violin 1 ° ∑ ∑ æ æ œ# æ æ Œ & œ œ# 6æ æ ppw ff 6 œb œ œ# Violin 2 ∑ ∑ æ æ œ# Œ & œ# æ œ œ# æ æ æ ppw ff bw w œ œ œ œ œ Viola B w w œb œ œ œ œ Œ ¢ ff 3

œ ˙ œ ˙ œ œ œ™ œ# ˙ Samson & ˙ œ œ™ œ™ J Ó rent dans son passage- n'o- nt fait que l'ir- ri ter

œ# œ œ œb œ œn œ# œ œ œb œ œn œ# œ œ œb œ œ œ Double Bass °? ‰ œn œ œ œ# œn œ# ‰ œ œn œ# œn œ# œ œn œ# œ œn œ# œn œ# œb Œ 6 6 6 6 6 3 6 ff

Double Bass 2 ? w w w œb œ œ œ œ Œ ¢ ff 3 107 59 >œ Flute 1 ° # # 2 & ∑ ∑ ∑ ∑ ∑ ÓŒ # # 4 p

Flute 2 # # 2 & ∑ ∑ ∑ ∑ ∑ ∑ # # 4

Oboe >œ # # 2 & ∑ ∑ ∑ ∑ ∑ ÓŒ # # 4

b>œ # Clarinet in A bbb ∑ ∑ ∑ ŒÓŒ bœ œ œ 2 & w œ 4 ¢ f ff

Trumpet ° # # # # 2 & # ∑ ∑ ∑ ∑ ∑ ∑ # ## 4

# Horn in F # # # 2 & ∑ ∑ ∑ w œ ŒÓŒ ˙ œ # # 4 w ff> f œ

Horn in E 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4

w # 2 B ∑ ∑ ∑ w ∑ ∑ ### 4 f Tenor Trombone bw # 2 ? ∑ ∑ ∑ b w ∑ ∑ ## # 4 f

Bassoon # 2 ? ∑ ∑ ∑ wb œ ŒÓ ∑ ## # 4 ¢ bw f œ

# # Violin 1 ° ŒÓ # # 2 & ∑ ÓŒ ∑ w œ ŒÓ 4 pœ œ p # Violin 2 # # 2 & ∑ ∑ ŒÓ ∑ ŒÓ # 4 pw œ pœ # Viola œb ŒÓ ŒÓ # # 2 B ÓŒ œ Œ Œ œ ∑ w œ # 4 ¢ p p œ pw œ

œ ˙b œ œ œ # # Samson ∑ œ œ œ œ Œ Œ ‰ œ™ œ œ ∑ # # 2 & Ó‰ J J Ó 4 ils sont tom- bes la mort est leur por- ta - ge.

> > ˙™ œ ˙™ œ Double Bass °? # # 2 Œ ŒÓ ∑ œ™ œ œ™ œ œ™ œ œ™ œ œ ŒÓ # # 4 f p p

Double Bass 2 ? # # 2 ∑ ÓŒ œb ŒÓ ∑ w œ ŒÓ # # 4 ¢ p œ p 108 Act II, Cantabile "Ces son harmonieux"

rit. Div. j ˙ œ # # ˙ ˙# œn 2 Flutes # # 2 J ‰Œ ∑ & 4 cresc. p

Div. j 2 Oboes # # ˙ ˙ & # # 42 ˙ ˙# œnœ ‰Œ ∑ p cresc. J Div. j U # œ 2 Clarinets in A 2 ˙ ˙#˙ œn œœb œ œb œb œ œ & 4 cresc. J p

Div. j U 2 Bassoons ? # ˙ ˙ œ ˙ ## # 42 ˙ ˙ œ ‰Œ ˙ J p Div. U j 2 Horns in E 2 ˙ œ & 4 ˙ ˙˙ œ ‰Œ œ œ œ p J

Samson # ## 2 & # 4 ∑ ∑ ∑ ∑

ad lib > Ÿ œ. œ œ œ . U # œ œ œ > >œ œ œ œn œ œ œ œ œ# œ œn œ Solo Violin ## # 2 œ œ J >> >>œ >œ œ œ & 4 j œ œ œ œ# 3 œ œ œ 3 œ œ œ œ# œ cresc. 3 dim. p f

Violin I # ## 2 & # 4 ∑ ∑ ∑ ∑

Violin II # ## 2 & # 4 ∑ ∑ ∑ ∑

Viola # # B # # 42 ∑ ∑ ∑ ∑

Double Bass # ? ## # 42 ∑ 109 ∑ ∑ ∑ Andante espressivo 1st 5 1 œ. œ Fl. # ## œ 2 & # ∑ ∑ ∑ ‰ ∑ ∑ ∑ ∑ p

1 Ob. # # œ. œ œ ˙ ˙ j 2 # # ∑ ∑ ∑ ‰ Œ‰ œ# ˙ & ˙ ˙ œ ˙ p π J

1 A Cl. # j j œ. œ 2 & ˙ œ. ‰ œ. œ#œ œ . ˙ ˙ œ œ# œœ# œ ˙ cresc. J J ˙ œ ˙ p > p j j 1 . œ œ œ. Bsn. # ˙ œ. ˙ œ œ. ˙# ˙ œ ˙ 2 ? ## # ‰ ˙ œ œ œ J Œ œ Œ Œ‰ J ˙ p > > > 5 > 1 j Hn. œ.. œ œ ˙ ˙ œ# ˙ 2 & ˙ œ. ‰ ∑ œ Œ‰ œ ˙ ˙ œ Œ œ Œ œ J . > p > >

5 Samson # ## & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

5 T T j # # > œ. œ œ œ Solo Vln. # # œ œ. œ j œ. œ œ œ. j ‰ œ œ œ œ. œœ œ. œ & œ. œ œ. J œ œ œ. J œ. œ# ˙ p

Vln. I # ## & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II # ## & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

# Vla. B ## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

D.B. ? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

110 13 1 > œ œn œ Fl. #### ˙ œ œ œ œ J œ 2 & ∑ ∑ Œ J 3 ≈ ‰ ≈ 3 ‰

1 . . œ. œ. Ob. # ## œ# . œ œ. œ œ œ 2 # ∑ ∑ ˙ œ Œ ‰ ≈ œ 3 3 J ‰Œ & ˙ œ 3

3 > 1 œ œ A Cl. # œ œ œ œ œ 2 ∑ ∑ ∑ ‰ 3 œ œ ‰Œ ‰ œ œ œ# & 3 3 π > a2 1 ˙ œ œ# œ. Bsn. ? # # ˙ œ œ 2 # # Œ ∑ ∑ 3 ∑

a2 13 3 1 > Hn. j‰ œ . . œ 2 ˙ œ œ œ ∑ ∑ ∑ œ œ œ œ# & œ œ 3 ‰ 3 œ

13 Samson # ## & # ∑ ∑ ∑ ∑ ∑ ∑

13 œ 3 œ œ . œ. œ œ œ. œ œ œ œ œ . œ. œ. œ œ œ œ œ Solo Vln. # ## j œ. œ œ œ œ œ œ œ J œ œ œ œ œ J # œ œ œ J 3 3 J 3 3 3 3 & œ œ œ œ J 3

Vln. I # ## & # ∑ ∑ ∑ ∑ ∑ ∑

Vln. II # ## & # ∑ ∑ ∑ ∑ ∑ ∑

# Vla. B ## # ∑ ∑ ∑ ∑ ∑ ∑

D.B. ? #### ∑ ∑ ∑ ∑ ∑ ∑

111 19 > œ ˙ U˙ 1 œ >œ Fl. # ## J J 2 & # Œ‰ ‰Œ Œ ∑

> U 1 j Ob. # ## œ# œ œ j ˙ œ ˙ 2 & # œ œ œ œœ œ ‰Œ Œ‰ œœ œ Œ œ ˙ J J J ‰Œ p > U 1 ‰ A Cl. # œ œ jœ œ j 2 & œ œ œ œ œ œ œ œ œ# œn œ#œ œ ‰ Œ ˙ ˙ Œ‰J J J p > π > j 1 j j œ œ œ U Bsn. ? # # œ. œ œ œ B œ œ ˙ ˙ ? 2 # # œ. ‰Œ Œ‰ J œ œ p J J 19 > 1 j > j j U Hn. œ œ j œ ? 2 & ˙ œ œ ‰Œ Œ‰ œ ˙ œ œ ˙ & p J J ˙ œ œ ˙

19 Samson # ## & # ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ 19 œ œ œ œn œ œ œ œ œ œ# œ œ œ œ œ# Solo Vln. # ## œ œ œ œ œ œ# œ œ œ‹ œ # ≈ ≈ ≈ œ 3 3 3 3 3 Œ ∑ & 3 3 3 3 J

Vln. I # ## & # ∑ ∑ ∑ ∑ ∑ ∑

Vln. II # ## & # ∑ ∑ ∑ ∑ ∑ ∑

# Vla. B ## # ∑ ∑ ∑ ∑ ∑ ∑

D.B. ? #### ∑ ∑ ∑ ∑ ∑ ∑

112 25 1 Fl. # ## 2 & # ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 Ob. # # 2 & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 A Cl. # 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

1 Bsn. # 2 ? ## # ∑ ∑ ∑ ∑ ∑ ∑ ∑

25 1 Hn. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑

25 Samson # ## œ œ œ œ œ œ œ œ œ # Œ‰ œ œ œ R ˙ Œ œ. œ 3 œ œ œ Œ ‰ œ œ œ œ & R R 3 CesJ sonsR har- mo - nieaux, cesJ murR --mu res desR eaux, SemJ ---R blentR R a molR

25 Solo Vln. # ## & # ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. I #### œ. œ j & ∑ ∑ œ œ Œ ˙ œ ‰ œ. œ# œ Œ π

# # Vln. II # # Œ j ‰Œ Œ & ∑ ∑ ˙ œ œ œ p œ œ œ Div. 1st Vla. # ## ˙ œ j œ B # ∑ ∑ ˙ œ Œ ˙ œ ‰ œ Œ p p

D.B. ? # # ∑ ∑ ˙ œ Œ ˙ œ ‰Œ # # J ∑ p

113 32 1 Fl. # ## 2 & # ∑ ∑ ∑ ∑ ∑ ∑

1 Ob. # # 2 & # # ∑ ∑ ∑ ∑ ∑ ∑

1 A Cl. # 2 & ∑ ∑ ∑ ∑ ∑ ∑

j 1 Bsn. # œ. œ# ˙ ˙ 2 ? ## # ∑ ∑ ∑ ˙ ˙ ˙ p

32 1 Hn. ˙ ˙ ˙ 2 & ∑ ∑ ∑ ˙ ˙ p

32 p T # # œ œ rK Samson # # œ J œ œ r œ œ Œ‰. œ œ. œ œ. œ œ. œ & J 3 œ . œ# œ J R ˙ œ. lir mon cou --raJ ge.J Ra --Jsi leR de la paix, lieux R charÔR -

32 Solo Vln. # ## & # ∑ ∑ ∑ ∑ ∑ ∑

Vln. I # ## œ j j j & # J ‰ j ‰Œ ∑ œ. œ œ. œ œ. œ œ œ p œ p F Div. Vln. II # ## j & # ‰ ‰Œ ∑ j j j œ œ j œ. œ œ. œ œ. œ p œ œ# . F p J J J a2 3 j 3 3 3 ‰ œ œ# œn œ Vla. # ## j j œ œ‹ œ# œ# œ œ j œ œ œ œ B # œ œ# œ J œ ≈œ œ œ# œ œ œ ‰ ≈œ œ œ# œ J ‰ ≈ œ# œ œn œ ‰ Œ œ J 3 3 J F p

D.B. ? # # œ œ. œ œ. œ œ. œ # # Œ ˙ ˙ J J J F p

114 38 1st œ 1 œ. œ œ œ œ Fl. # ## œ 2 & # ‰ ∑ ∑ ‰ ∑ p p

1st 1 j j Ob. # # œ. œ œ 2 # # ‰ œ ∑ œ ‰ Œ‰ œ œ ‰Œ & J J J p p 1st 1 j A Cl. # ‰ j 2 ∑ œ œ# œ œ ‰Œ & ˙ ˙ œ œ# œn œ J J J j j 1 œ œ j œ Bsn. ? # # œ. œ ˙ ˙ œ œ œ 2 # ˙ cresc. ˙ œ ‰‰ ‰Œ # ˙# J J œ p J

38 1 j j Hn. œ. œ œ œ ˙˙ ˙ œ œ œ. œ œ œ 2 & œ ˙ œ. œ œ œ œ œ œ cresc. J J . p

38 T Samson # ## œ. œ œ œ œ œ. rK & # œ Œ œ. R ÔR J œ. œ# œ. œ R œ# œ ‰. œ mants, doux om --bra ge, vous m'inR -- viÔR tez au re - pos. cesR

38 Solo Vln. # ## & # ∑ ∑ ∑ ∑ ∑

Vln. I # ## j j j j j j & # œ ‰‰ œ œ. œ œ. œ œ ‰‰ œ# œ Œ œ > p

Vln. II # ## & # j ‰‰ j j j j ‰‰ j Œ œ œ œ. œ œ. œ œ œ œ J œ J . J J J 3 J p 3 3 3 Div. Vla. # # œ œ œ œ j j B # # ≈ œ œ# œ œ ‰ ≈ œ œ œ# œ ‰ ≈ œ œ œ ‰ œ ‰‰ œ œ Œ œ J œ 3 J œ 3 J œ œ ‰ J p j D.B. ? # ## œ. œ j œ œ œ ‰ ‰ œ Œ # J œ# . œ . J J œ p

115 43 > œ> œ œ œ œ 1 œ œ œ œ Fl. #### J J J 2 & ∑ ∑ 3 3 ‰Œ

1 œ œ œ Ob. # # œ œ œ œ œ œ œ œ œ œ > œ œ . . 2 # # J J J œ œ œ œ œ œ œ 3 3 3 3 J œ ‰ Œ & J 3 J p 3 3 1 j r j r A Cl. # œn œ œ œ œb œ œ œ œ 2 & œ œ œ œ œ œ œ œ œ ≈ ≈ œ œ ≈ ≈ œ 3 J R 3 J R 3 œ. œ œ œ p f f F j a2 . œn . j 1 œn . . œ œ œ œ Bsn. ? # # œ œ œ œ œ œ œ œ œ œ 2 # # ∑ ∑ 3 3 3 3 J œ œ J 3 43 j 1 j Hn. œ# œ œ œ œ œ œ œ# œ 2 & œ œ. œ œ œ œ œ. œ œ œ œ œ œ ‰Œ J J R ≈3 ≈ J f

43 # # Samson # # œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ Œ & R 3R R J 3 R J R 3 sons J har-- mo nieux,R J cesR murÔ --mu resR cesR mur-- mu resR desR eaux,

43 Solo Vln. # ## & # ∑ ∑ ∑ ∑

pizz. Vln. I # ## & # ∑ ∑ ∑ ‰ œ. œ œ œ

pizz. a2 Vln. II # ## & # ∑ ∑ ∑ ‰ œ. œ œ œ

# Vla. B ## # ∑ ∑ ∑ ∑

D.B. # ? ## # ∑ ∑ ∑ ˙ p

116 47 > > œ œ œ œ œ œ œ œ œ œ œ 1 # # œ. œ Fl. # # J J R ≈ ≈ J R ≈ ≈ 2 & cresc. 3 3 3 3

1 # œ > > Ob. ## # . œ œ œ œ œ œ œ œ œ œ 2 œ 3 œ 3 ≈ ≈ J ≈3 ≈ & J J R 3 R

1 A Cl. # >œb œ > 2 ≈ ≈ œ œ ≈ ≈ & J R 3 J R 3 œ œ œ œ a2 . œn . 1 . œ œ œ Bsn. # œ œ. œ œ œ œ œ. œ œ œ œ œ œn œ œ. œ œ 2 ? # # œ # œ œ. œ œ œ œ œ. œ œ œ 3 3 3 3

3 3 47 j 1 j Hn. œ œ œ œ œ œ œ œ œ œ 2 œ# œ œ œ œ œ œ œ œ & œ J R ≈3 ≈ J R ≈3 ≈

47 œ Samson # ## œ œ œ œ œ œ œ œ œ œ œ œ # œ œ 3 œ œ œ. œ & R J 3 R J 3 sem - blentJ a-- molR Jlir monR couÔ --ra ge.R monR cou- ra -

47 Solo Vln. # ## & # ∑ ∑ ∑

arco # # œ œ œ œ œ œ œ > > Vln. I # # ≈ œn ≈ œ ≈ œ ≈ œ ≈ œ œ ≈ œ ≈ œ ≈ œ œ œ œ œ œ œ œ œ & 3 3 J 3 J 3 3 3 3 3 3 3 Div. π arco 3 3 >j > Vln. II #### j & ‰ ‰ œœn œ œ œ œ œ œ œ# œ. œ œ œ œ. œ œ œ J R ≈3 ≈ J R ≈3 ≈ a2 >> > 3 legato 3 3 Vla. # ## œ œ œ œn B # œ œ œ œn œ œ 3 œ# œ œ œ œ œ œ œ œ œ

1st œn œ œ œ œn D.B. ? # # œ œ œ œ œ œ œ # # ˙ ˙ 3 3 3 3

117 1st 50 j 1 ˙ ˙#˙ œ Fl. # ## ˙ 2 & # J ‰Œ ∑ cresc.

1 j Ob. # # ˙ 2 & # # ˙ ˙# œnœ ‰Œ ∑ cresc. J

1 j U A Cl. # ˙ ˙#˙ œnœ ˙ 2 & ˙ J ‰Œ ˙ cresc.

j U 1 Bsn. ? # # ˙ ˙ œ ˙ 2 # # ˙ ˙ œ ‰Œ ˙ cresc. J

50 U 1 j Hn. ˙ ˙ œ œ œ 2 & ˙ ˙ œ ‰Œ œ œ œ cresc. J

50 Samson # ## U & # ˙ ∑ ∑ Œ‰. œ ge. Ra -

50 . Ÿ œ. œ œ œ U # œ œ œ œ . . œ. œ œ œn œ œ œ œ œ# œ. œ œ Solo Vln. ## # œ J . œ. œ œ œ & j œ œ . . œ# 3 œ œ œ 3 II II œ œ œ œ œ# œ 3

# # > Vln. I # # œ œ œ ‰Œ ∑ & J J J œ. œ œ cresc.œ œ. œ œ œ F > Vln. II #### j j j & œ œœ# œœn ‰Œ ∑ J œ. œ œ œcresc. J œ. œ œ œ J Div. > 1st F > U j j œœn œ œ# ˙n Vla. # ## œ œ œ œ œn ˙ B # œ. œ œ œ J œ. œ œ œ œ J cresc. J Div.> j F π œ j U D.B. # œ j ? ## # ˙ œ. œ œ œ ˙ œ. œ œ œ œ ‰Œ ˙ cresc. J F

118 54 œ T 1 œ œ ˙ œ. œ. œ œ œ. œ Fl. #### œ œ 2 & cresc. ∑

1st 1 Ob. #### œ. œ œ ˙ 2 & ∑ ∑ ∑ ‰ cresc.

2nd 1 A Cl. # j œ. œ œ 2 & ∑ ∑ œ. œ œ œ. œ œ œ. œ J cresc. J j j j j j 1 œ. œ# œ. œ œ œ œ œ. œ œ œ j Bsn. ? # # œ. œ œ. œ œ. œ œ. œ œ. œ 2 # # cresc. œ# œ J J J J . J

54 1 j j j j j j Hn. œ. œ œ. œ œ œ. œ 2 œ. œ œ. œ œ. œ œ. œ œ œœœ œœ. œœ & J J J cresc. J J J

54 T Samson # ## œ. œ œ. œ & # œ. œ J ˙ œ. œ. œ œ. ‰ œ. R ÔR Jsi- leR de laR paix, lieux char - mants, doux om -

54 Ÿ T Solo Vln. # ## œ. j j œ. œ & # œ œ œ. œ œ œ œ. œ œ œ. œ œ ‰ œ.

Div. pizz. Vln. I #### j j j j j j j j j j & ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ J J J J J J J J pizz. Vln. II # ## j j & # ‰ ‰ ‰ j ‰ j ‰ j ‰ œ ‰ ‰ j ‰ j ‰ j j j œ œ œ œ œ œ œ œ œ œ# J œ œ J J a2 J J 3 3 3 3 3 3 3 Vla. # # j œ œ œ œ œ B # # ≈ œ œ# œ œ œ ‰ ≈ œ œ# œ ‰ ≈ œ# œ œn œ œ ‰ ≈ œ œ# œ œ ‰ ≈ œ œ œ# œ ‰ œ œ 3 J 3 J œ J œ 3 J 1st pizz 2nd arco j j D.B. # ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ œ ‰ œ ? ## # œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ# œ J J J J . J

119 T 59 > œ. 1 œ# œ. œ œ œ Fl. # ## œ. ˙ 2 & # Œ‰ ∑ ∑

1 Ob. # # œ. 2 & # # ‰ ∑ ˙ ∑ ∑ p

1 j j A Cl. # œ. œ œ 2 & œ œ œ. œ œ ‰Œ ∑ ∑ . J J J

a2 3 > 1 j j œ ˙ Bsn. ? # # œ. œ œ. œ‹ œ œ ˙ ˙ 2 # # œ. œ œ. œ œ œ 3 J J œ œ >

59 1 j j ‰ j ‰ > Hn. œ. œ œœ œ# œ œ œ œ 2 & œ. œ œ œ œ J ˙ œ œ œ J œ œ ‰ ‰ 3 J 3

59 Samson # ## œ œ œ œ. œ œ œ œ œ. & # J œ. œ# œ. œ R œ Œ œ œ œ. bra - ge, vous m'inR -- viÔR tez au reÔR - pos. doux om --braJ ge,

59 T j T Solo Vln. # # œ œ œ. œ œ œ œ # # . œ# œ. œ œ œ œ. œ œ œ & J œ ˙ œ. J 3

arco Vln. I # ## j j & # ‰ œ ‰ œ ‰ œ œ# j œ Œ ∑ ∑ œœ‹ œ J arco pizz. Vln. II # ## & # ‰ j ‰ j ‰ œ j ∑ ∑ œ œ œœn œn Œ J J J œ 3 Vla. # # œ œ B # # ≈ œ œ œ ‰ œ. j Œ ∑ ∑ œ 3 J ‹œ œ

j j D.B. # ‰ ‰ j ? ## # œ. œ œ œ. œ Œ ∑ ∑ J J œ

120 64 œ œ œ œ# œ ˙ 1 œ œ# œ œ Fl. #### ˙ œ œ œ‹ œ 2 & Œ 3 3 3 3 p p

1 Ob. # ## ˙ 2 & # ˙ ˙ ∑ ˙

3 3 3 1st 3 j 1 œ œ A Cl. # œ œ œ œ œ œ œ# œ 2 ∑ ‰ œ œ œ œ œ# œ œ œ œ œ & 3 œ œ# œ œ œ π p

1 œ œ œn Bsn. # œ œ œ œ# œ 2 ? ## # ∑ ∑ ˙ œ œ œ œ# p

64 legato 1 Hn. œ œ ˙ 2 & ∑ ∑ œ œ œ ˙ Œ‰ J p

64 Samson # ## j œ œ. œ ˙ & # ∑ ∑ œ œ. œ J R ÔR vous m'inR -- viÔR tez au re - pos.

64 œ œ œ. œ œ œ œ œ# œ œ Solo Vln. #### œ œ œ œ œ# œ J J & J 6 ∑ ∑

a2 3 Vln. I # ## œ ≈ œ œ ≈ œ œ œ œ œ œ œ œ œ œ # ∑ ∑ ≈ œ ≈ œ 3 3 3≈ 3 ≈ 3 ≈ 3 & œ œ 3 pa2 arco 3 3 3 3 3 3 3 3 Vln. II # ## & # ∑ ∑ œ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ p œ œ œ œ œ œ œ œ œ œ œ œ œn œ

3 3 3 Vla. # ## œ œ œ œ œ ≈ œ œ ≈ œ B # ∑ ∑ 3≈ ≈ 3 ≈ ≈ 3 œ ≈ œ ≈ 3 œ œ œ œ 3 œ œ p 3 3 3 3 3 3 3 3 Both arco œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œn œ D.B. ? # ## ∑ ∑ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ ≈ œ# ≈ œ # 3 3 3 3 3 œ œ 3 3 3 p

121 68 œ œ œ œ# œ ˙ 1 œ œ# œ œ Fl. # ## œ œ œ œ. œ œ œ‹ œ 2 # Œ‰ 3 œ ‰ 3 3 3 3 & cresc. p p

1 j j Ob. # # ˙ 2 # # ∑ Œ‰ œ œ ‰Œ & J J ˙ 3 3 3 3 j 1 >j œ œ œ ‰Œ A Cl. # œ œ ˙ œ œ œ œ œ œ# 2 & œ œ œ œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ J cresc. p > p

1 > œ œ œn Bsn. # œ œ œ j ˙ œ œ œ œ# œ 2 ? ## # œ œnœ ˙ œ œ œ œ# J ˙ p > 68 1 j Hn. œ œ œ ˙ 2 & œ ‰Œ œ œ# œ œ œ œ J ˙ ˙ Œ‰ œ p J

68 3 # œ œ œ œ œ œ K ˙ Samson ## # œ œ# œ. œ œ œ œ . œ œ . r r rK œ œ œ œ œ# œ & 3 3 3 R R œ œ œ œ . œ œ œ# œ 3 3 R ah vous m'in-- viÔ tez auR re - pos. vous m'in- viR - tez au re - pos.

68 Solo Vln. # ## & # ∑ ∑ ∑ ∑

3 Vln. I # ## j œ ≈ œ œ ≈ œ œ œ‹ œ œ œ œ œ œ œ # ‰‰ ≈ œ ≈ œ 3 3 3≈ 3 ≈ 3 ≈ 3 & œ j œ œ 3 cresc. œ ˙ p

3 3 3 3 3 3 3 3 Vln. II # ## & # j ‰‰ j œ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ œ œ œ œcresc.œ œ œ œ œ œ œ œ œn œ œ œ œ œ p

3 3 3 Vla. # # œ œ œ ≈ œ œ ≈ œ B # # œ j ≈ œ ≈ œ 3 ≈ 3 œ ≈ œ ≈ œ œ 3 3 œ œ ≈ œ œ œ# œ œ cresc. œ œ 3 œ œ p 3 3 3 3 3 3 3 3 j œ œ œ œ D.B. # œ œ j œ œ œ œ œ œ œ# œ œ œ œn œ ? ## # œ œnœ . œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ# ≈ œ œ. œ 3 3 3 3 3 3 3 Œ‰J 3 J cresc. p

122 3 j U 72 œ œ œ œ. œ j œ j 1 œ œ œ Fl. #### œ œ œ œ. œ J œ 4 2 & Œ‰ 3 œ Œ ‰Œ ∑ Œ‰ 4 cresc. J J p f p j 1 j œ U Ob. #### œ ˙ j 4 2 & Œ‰ œ# ˙ œ ‰Œ ∑ Œ‰ œ 4 J cresc. J J p f p 1 j j A Cl. # œ œ ˙ œ 4 2 & œ œ œ œœ# œ œ# œ ‰Œ ∑ ∑ 4 J cresc. J p f j U 1 œ j j Bsn. ? # # œ œ œ œn ˙ œ œ 4 2 # # œ# ˙ œ ‰Œ ∑ Œ‰ œ 4 J cresc. J J p p 72 2nd j U 1 j j j Hn. œ œ. j œ œ 4 2 & œ ‰‰ œ Œ œ# œ œ ‰Œ ∑ Œ‰ œ 4 J œ J J J p p f 72 U U œ œ œ œ œ# œn Ÿ œ. Samson # ## œœ œ# œ œœ œ œ œ. œ œ œn œ œ œ r œn œ# œ œ R œ 4 # 3 3 œ. 3 R œ œ 3J 3 R œ œn œ# & R J 3 J 3 œ# J 4 ah vous m'in-- viÔ tez ahJ R au reÔR -

72 > j > œ œ œ# >œn œ Ÿ œ# Solo Vln. # ## œ œœ œ œn œ œ œ U 4 # ∑ ∑ Œ ≈ œ 3 3 3 ‰ & 3 œ œ J 4

Vln. I # ## j U 4 & # ‰‰ j j‰Œ ∑ Œ ‰ j 4 œ ˙ œ œ œ# p p F Vln. II # ## U 4 & # j ‰‰ j j‰Œ ∑ Œ‰ j 4 œ œn ˙# œ œ p F p # U Vla. B ## # œ j j‰Œ ∑ Œ‰ j 4 œ œ œ œ œ# œ œ 4 p p F U D.B. # œ œ œ j j j ? ## # œ œ ˙ œ ‰Œ ∑ Œ‰ œ 4 J J J p F p

123 77 1 Fl. # ## 4 œ 2 & # 4 ŒÓ ∑ ∑

1 Ob. #### 4 2 & 4 œ ŒÓ ∑ ∑

1 > A Cl. # 4 2 & 4 Ó ˙ œ œ œ ∑ ˙ œ œ œ œœ p

1 Bsn. # Œ 2 ? ## # 4 w w œ ˙ 4 œ Œ Ó Ó ˙

77 1 ŒÓ Ó Œ Hn. 4 ? 2 & 4 œ œ œ Œ ˙ w w œ ˙

77 Samson # ## ˙ & # 4 Ó ∑ ∑ pos.

77 Solo Vln. # ## 4 & # 4 ˙n œ œ œ# œ œ œn œ œ œ œn œ œ œ ∑ ˙ > > œ > œ œ

Vln. I #### 4 & 4 œ ŒÓ ∑ ∑

Vln. II #### 4 & 4 œ ŒÓ ∑ ∑

# Vla. B ## # 4 ŒÓ ∑ ∑ 4 œ

D.B. # ? ## # 4 wœ w w ˙n ŒÓ ˙ >

124 80 1 Fl. # ## 2 & # ∑ ∑ ∑ ∑

1 Ob. # # 2 & # # ∑ ∑ ∑ ∑

1st 1 A Cl. # 2 & Ó Œ ŒÓ ∑ ∑ œ œ

1 Bsn. # 2 ? # # œ œ œ ŒÓ ∑ ∑ # œn œ œ œœ œ

80 1 Hn. 2 ? w œ ŒÓ ∑ ∑ w œ

80 Samson # ## & # ∑ ∑ ∑ ∑

80 Solo Vln. # ## & # ∑ ∑ ∑ ∑

Vln. I #### & ∑ w œ ŒÓ ∑ p

Vln. II # ## & # ∑ ŒÓ ∑ w œ p

Vla. # ## B # ∑ wn œ ŒÓ ∑ p pizz. D.B. ? # # # # œw œ œ# œ œ œn œ œ œ œ Œ œ Œ œ ŒÓ ∑ œ œn œ œ œ œ œ œ œ œ

125