Maulbronn Monastery Edition > George Fr. Handel - Oratorio JOSHUA

George Frideric Handel: Oratorio JOSHUA - Unedited version in English from 1748, performed according to the traditions of the time Miriam Allan - Soprano David Allsopp - Countertenor Mark LeBrocq - Tenor James Rutherford - Bass Hanoverian Court Orchestra (Hannoversche Hofkapelle) Maulbronn Chamber Choir (Maulbronner Kammerchor) Conductor: Juergen Budday A concert hosted by Klosterkonzerte Maulbronn at the UNESCO World Heritage Site Maulbronn Monastery, 19th & 20th May 2007. A release, recorded and created by Andreas Otto Grimminger & Josef-Stefan Kindler in co-operation with Juergen Budday. 2-CD-Box, DDD, ca. 140 minutes, EUR 33,- KuK 07, ISBN 978-3-930643-07-3, EAN 42 6000591 053 7 Copyright by K&K Verlagsanstalt anno 2007 This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime (a = 415 Hz). Of Handel's late oratorios, Joshua was one of the most successful. Of the operas composed after Samson, only Judas Maccabaeus was performed more frequently during the composer's lifetime, and the latter's popularity was mainly due to the fact that, after the first series of performances, "See the conqu'ring hero comes", originally written for Joshua, was included in it. Handel started to work on Joshua on 19 July 1747, only two weeks after he had finished writing the Alexander Balus oratorio. Eleven days later, the first act was already on paper. The second act was completed in an even shorter time - by 8 August - and the entire opus was finished by 19 August. The world première took place in Covent Garden on 9 March 1748. Joshua was one of four oratorios written in quick succession between 1746 and 1748 that all have strong military traits. In 1847, Judas Maccabaeus followed, a work that was extremely popular inasmuch as it was performed at least 33 times during the composer's lifetime. It appears clear that, after Judas Maccabaeus, Handel and his librettist, Thomas Morell, were at pains to repeat the successful recipe of a Jewish hero and triumphant choruses, but this time adding the romantic subplot that Judas lacked. Morell had hardly recovered from the exertions of Alexander Balus before he was already tackling the new libretto, based on a bloodthirsty account in the Book of Joshua in the Old Testament. He turned the campaigns against Jericho, Ai and the five kings into one dramatic block and extended the roles of Othniel and Achsa to create the background needed to provide romantic relief and to contrast the otherwise almost completely warlike plot. -The unusual tempo of Handel's composition must have challenged Morell to the extreme and the result was more a sequence of events than a fully developed plot. But the characters are strong - Joshua an imperious/domineering (if also a sometimes unbearably conceited) hero, Kaleb the suitably patriarchal leader type, shortly before retirement and on the verge of leaving the battlefield forever, his daughter, Achsa, worried, occasionally disapproving and engaged to Othniel, who finds it difficult to strike the right balance between the role of the young warrior that has been thrust upon him and that of the devoted lover. Over and above all this, there is a small but important role for an angel. A later score gives this part to a tenor, but it is generally assumed that, as is to be expected, the angel was played by a female or boy soprano in earlier performances. As is the case with many of Handel's oratorios, the later performances underwent numerous rearrangements of the original score and for reasons that sometimes had little to do with music. The present version keeps to the score used in the 1748 performances, with the one concession that Handel's undated change to the second half of "Hark! 'tis the linnet" (1752?) is included. This is the only change made later that did not affect the original sequence of the movements. Handel had surprisingly few boy voices at his disposal to sing the upper parts of his choruses. However, as voices generally broke very much later in those days, we can assume that there were some excellent singers among them. Handel's soloists usually joined in the 'Tutti' parts (which most certainly must have put a huge strain on them during performances). Our 21st century choir has no need of such support. At three points in the score, Handel notes that the brasses ought to be brought in and there is a short rhythmic entry at each of these points, on the basis of which the musicians of the time (led by the first trumpet) then had to improvise the necessary music. Handel's lavish casting of the oratorio points to the fact that his performances were financially secured. The large orchestra comprises - apart from the usual strings, oboes and bassoons - two flutes, trumpets, horns and timpani, respectively. Moreover, certain 18th century reports on performances gave us the idea of including cembalo, organ and archlute as continuo instruments. The most stunning passages of Handel's Joshua make full use of brass and timbali, and the resulting music is very impressive. Dramatic events like the collapse of the walls of Jericho, the destruction of the city by fire, Joshua's ability to stop the sun and moon in their tracks and to rouse an army of demoralized soldiers to action, not to mention the return of the hero in triumph from the battle offer heroic material that would have inspired any composer. It might therefore come as no surprise that the fall of Jericho in Act II led Handel to use one of his wonderful 'thunder choruses' that incidentally also greatly impressed Hadyn when he heard it during a lavish performance at Westminster Abbey in 1791. Supposedly, he was familiar with the music, but was only half aware of its effect until he actually got to hear it. In any case, Hadyn was convinced that only a genius like Handel could ever have written such an outstanding composition or could indeed write one like it at any point in the future. The solemn march around the Ark of the Covenant, which hastens the destruction along, is also one of Handel's most beautiful compositions, and its amazing solemnity is impressive, while Kaleb's aria that follows it, "See the raging flames arise" turns out to be wonderfully dramatic. Othniel's "Place danger around me" is an equally outstanding Handel aria. Joshua was also the original source for the chorus "See the conqu'ring hero comes" that was only put into Judas Maccabaeus when its potential as a crowd-puller was recognized after the first performances of Joshua. At the same time, the quieter, more contemplative moments also deserve a mention: Kaleb's resigned aria "Shall I in Mamre's fertile plain", the heavenly chorus that follows it and the chorus of the vanquished Israelites, "How soon our tow'ring hopes are crossed as well as Othniel's "Nations who in future story" are all examples of Handel's best lyrical style. And between the triumphs and catastrophes of the battle, the scenes with Achsa offer additional contrast, with arias ranging from the pensive "Oh, who can tell" to the bird calls in "Hark! 'tis the linnet" and the joyful, ever-popular "Oh had I Jubal's lyre". Miriam Allan - Soprano (Achsah, Angel) -Miriam Allan, master class graduate of Emma Kirkby and Julianne Baird, last year won the London Handel Competition. The young Australian studied at Newcastle University (Australia) and graduated from there with several distinctions. She has performed the most important works of Bach, Handel and Purcell with leading choirs and orchestras such as the Australian Chamber Orchestra and the Sydney Philharmonic. She has also appeared as a guest with the Song Company and Sounds Baroque, including at their concertante performances. In addition to this - and rather unusual for such a young singer - she also gives recitals. These have so far focussed mainly on works from the 17th and 18th centuries, but now increasingly include Romantic and Modernist pieces. In the summer of 2003, she sang not only the title role in the Handel opera "Semele" for the Pinchgut Opera, she also appeared in the world premiere of "Dreaming Transportation" at the Sidney Festival and sang in the first Australian performance of Bach's St Mark Passion by the Sidney Philharmonic under Arno Volmer as well as performing in Pergolesi's "Stabat Mater". At the beginning of this year, Miriam Allan made her debut at the Leipzig Gewandhaus with the Bach Mass in B Minor. David Allsopp - Alto (Othaniel) -David Allsopp attended the King's School in Rochester and was at the same time a chorister and Choral Scholar at the city's cathedral. Later he studied computer science at Cambridge University and graduated from there with distinction in 2004. He continued his career as a singer in Cambridge as a Choral Scholar und Lay Clerk with the famous King's College Choir. An important highlight from those days was the performance of the Chichester Psalms with Leonard Bernstein in Manchester, which received tremendous reviews from the critics. At the moment, David Allsopp holds the position of Countertenor Lay Clerk at Westminster Cathedral, but also continues to appear as a soloist with the King's College Choir under Stephen Cleobury, including an appearance in 2007 in a performance of Handel's Solomon in King's College Chapel. As a soloist, he has participated in performances of the Bach Mass in B Minor and the St John Passion in England and in other European countries. The Messiah and some of Handel's bigger oratorios are also part of his repertoire. Later this year, David Allsopp will make his debut at St. John's, Smith Square, London, with a performance of Israel in Egypt. Mark LeBrocq - Tenor (Joshuah) -Mark LeBrocq studied English at St Catherine's College, Cambridge, where he was also a Choral Scholar. He received a scholarship from the Royal Academy of Music, where he studied under David Brown, and other scholarships from the Draper's Company and the Wolfson Trust. He has won many awards and distinctions at the Royal Academy of Music, including the Blyth Buesset Opera Prize, den Royal Academy of Music Club Prize and the Worshipful Company of Musician's Medal. He subsequently continued his education at the National Opera Studio. He was employed as a soloist with the English National Opera in London. Over the years, the tenor has worked with many important directors, including David Alden, David Poutney, Jonathan Miller, Niklaus Lehnhoff, Graham Vick and David Freeman. Mark LeBrocq has appeared as a concert singer in the USA, France, Germany, Spain and the Middle East as well as on all the big-name London stages. He regularly appears at concerts with the Gabrieli Consort under the direction of Paul McCreesh, with whom he has also performed Handel's Saul and Solomon. He has appeared with Monserat Caballé and Dennis O'Neill at Verdi Opera Galas in Bath, has sung the Mozart and Verdi Requiems at the Barbican Centre as well as the Mozart Requiem with The English Concert under Trevor Pinnock in Salzburg.. He sang Handel's Messiah with the Ulster Orchestra conducted by Gideon Kraemer and the Schubert Mass in E-Flat Major with the BBC Symphony Orchestra under Jiri Belohlavek. James Rutherford - Bass (Caleb) -James Rutherford studied at the Royal College of Music and the National Opera Studio in London. In 2000, he was elected "New Generation Artist", a programme run by the BBC to support and provide awards for young artists. He has a very wide repertoire. He is equally comfortable with the Baroque operas of Handel (Rinaldo) and Bach oratorios as he is with Mozart (Le nozze di Figaro), Wagner (The Meistersinger), Verdi (Falstaff), Stravinsky und Benjamin Britten. His engagements have led him to the Paris Opera, the Welsh National Opera and, in London, to the Royal Opera House. He has sung with the Glyndebourne Touring Opera and appeared as a guest at the music festivals in Montpellier and Innsbruck. In Germany, he has sung "Rinaldo" with René Jacobs at the German State Opera in Berlin. Besides performing with famous English symphony orchestras, he has also appeared with the Berlin Philharmonic and the SWR Rundfunk Orchestra. In August 2006, James Rutherford won the first International Wagner Competition at the Seattle Opera. Hanoverian Court Orchestra (Hannoversche Hofkapelle) The Hanoverian Court Orchestra under concertmistress Anne Röhrig remains totally faithful to the tradition of historic court orchestras and performs both chamber music and symphonies. The sound of this ensemble is hallmarked by the fact that the musicians also have experience of playing with different music ensembles on the European Baroque scene and view historical performance practices as a means of keeping current. The repertoire of the Orchestra is not restricted to the many forms of Baroque music alone, but also includes classical works, with Mozart operas and the Romantic era being particularly favoured. Their constant involvement with 17th and 18th-century music has made the Court Orchestra musicians masters of their respective instruments. The result is the expressive and elegant style of playing that assures the orchestra its prominent position. The Hanoverian Court Orchestra has been the orchestra in residence at the Herrenhausen Festival Weeks since 2006. - Maulbronn Chamber Choir (Maulbronner Kammerchor) The Maulbronn Chamber Choir was founded in 1983 and is directed by Juergen Budday. Today it counts as one of the top choirs in the Federal Republic of Germany. First place at the Baden-Württemberg Choir Competition in 1989 and 1997, second place at the 3rd German Choir Competition in Stuttgart in 1990 and First Prize at the 5th German Choir Competition in Regensburg in 1998 - these awards show the extraordinary musical calibre of this young ensemble. The Chamber Choir has managed to make quite a name for itself on the international scene, too. It was received enthusiastically by audiences and reviewers alike during its debut tour through the USA in 1983, with concerts in New York, Indianapolis and elsewhere. Its concert tours in many European countries, in Israel and Argentina (1993, 1997, 2003) as well as in South Africa and Namibia have also met with a similar response. Juergen Budday -Juergen Budday is artistic director and founder of the Maulbronn Chamber Choir. He studied church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974 and, since 1979, has taught at the Evangelical Theology Seminar in Maulbronn. This also involved his taking over as artistic director of the Maulbronn Monastery Concerts and the cantor choir. In 1992, he was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was awarded the 'Bundesverdienstkreuz" (German Cross of Merit) as well as the Bruno-Frey Prize from the State Academy in Ochsenhausen for his work in music education. Since 2002, Juergen Budday has also held the chair of the Choral Committee with the German Music Council. Together with the Maulbronn Chamber Choir, he has started a cycle of Handel oratorios that is planned to span several years, which involves working with the best-known singers in the genre (e.g. Emma Kirkby and Michael Chance, to name but a few) and has won him international recognition. At the Prague International Choir Festival, he received an award as best director. He has made several CD recordings that have received the highest praise from reviewers and include G.F. Handel's Messiah, Solomon, Belshazzar, Saul, Samson and Judas Maccabaeus. Maulbronn Chamber Choir Soprano ~ Teresa Frick, Susanne Fuierer, Ute Gerteis, Hannah Glocker, Elisabeth Hofmann- Ehret, Ilka Hüftle, Katja Körtge, Susanne Laenger, Heidi Lenk, Veronika Miehlich, Anne Nonnenmann, Silke Vogelmann, Irene Vorreiter Alto ~ Erika Budday, Mirjam Budday, Barbara Hirsch, Marianne Kodweiß, Roswitha Fydrich-Steiner, Kathrin Gölz, Margret Sanwald, Angelika Stössel, Bettina van der Ham, Evelyn Witte Tenor ~ Johannes Budday, Sebastian Fuierer, Andreas Gerteis, Ulrich Kiefner, Hartmut Meier, Mathias Michel, Konrad Mohl, Sebastian Thimm Bass ~ Ingo Andruschkewitsch, Karl Bihlmaier, Jo Dohse, Bernhard Fräulin, Matthias Leeflang, Rainer Hirsch-Luipold, Eberhard Maier, Werner Pfeiffer, Conrad Schmitz Hanoverian Court Orchestra Concert Master ~ Anne Röhrig Violins ~ Christoph Heidemann, Susanne Busch, Birgit Fischer, Stephanie Bücker, Barbara Kralle, Susanne Dietz, Eva Politt, Corinna Hildebrand Violas ~ Judith Mac Carty, Hella Hartmann, Klaus Bona Cellos ~ Dorothee Palm, Daniela Wartenberg Bass viols ~ Cordula Cordes, Ulla Hoffmann Cembalo, Organ ~ Bernward Lohr Theorbe ~ Ulrich Wedemeier Flutes ~ Brian Berryman, Martin Heidecker Oboes ~ Annette Berryman, Julia Belitz Bassoons ~ Marita Schaar, Tobias Meier Horns ~ Thomas Crome, Malte Mory Trumpets ~ Friedemann Immer, Ute Rothkirch Timpani ~ Friethjof Koch Oratorios by G. F. Handel in the Maulbronn Monastery CD-Edition Concert recordings of historically informed performances in English with the Maulbronn Chamber Choir, conducted by Jürgen Budday George Frideric Handel · Jephtha Soloists: Emma Kirkby, Melinda Paulsen, Charles Humphries, Julian Podger, Stephen Varcoe & Monastery Baroque Orchestra George Frideric Handel · Samson Soloists: Sinéad Pratschke, Michael Chance, Marc LeBrocq, Raimund Nolte, David Thomas & Monastery Baroque Orchestra George Frideric Handel · Judas Maccabaeus Soloists: Sinéad Pratschke, Catherine King, Charles Humphries, Marc LeBrocq, Christopher Purves & Musica Florea Prag George Frideric Handel · Saul Soloists: Nancy Argenta, Laurie Reviol, Michael Chance, Marc LeBrocq, Michael Berner, Stephen Varcoe, Steffen Balbach & Hanoverian Court Orchestra George Frideric Handel · Solomon Soloists: Nancy Argenta, Laurie Reviol, Michael Chance, Julian Podger, Steffen Balbach & Hanoverian Court Orchestra George Frideric Handel · Belshazzar Soloists: Miriam Allan, Michael Chance, Patrick van Goethem, Mark LeBrocq, André Morsch & Hanoverian Court Orchestra George Frideric Handel · Messiah Soloists: Miriam Allan, Michael Chance, Mark LeBrocq, Christopher Purves & Hanoverian Court Orchestra The Maulbronn Monastery CD Series Publishing culture in its authentic form entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. The concerts in Maulbronn monastery, which we document with this edition, supply, the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site (monastery church, cloister gardens, lay refectory, etc.), providing exquisite performances of secular and sacred music. Under the patronage of the Evangelical Seminar, the Maulbronn Monastery Cloister Concerts were instigated in 1968 with an abundance of musical enthusiasm and voluntary leadership. Within the hallowed walls of the classical grammar and boarding school, existent for more than 450 years, some of society's great thinkers, poets and humanists, such as Kepler, Hölderlin, Herwegh and Hesse received their first impressions. The youthful elan, the constructive participation of the pupils, continuing the tradition of their great predecessors, constructs an enlightened climate in which artistic ambitions can especially thrive. Twenty-five concerts take place between May and September. Their success can be largely attributed to the many voluntary helpers from near and far. There is a break for winter. Flourishing culture in a living monument, created for the delight of the live audience and, last but not least, you the listener, are the ideals we document with this series. Jürgen Budday, Andreas Otto Grimminger & Josef-Stefan Kindler CD I ACT I 1. Introduction 2. Chorus Ye sons of Israel, ev'ry tribe attend, let grateful songs and hymns to heav'n ascend: In Gilgal, and on Jordan's banks proclaim One first, one great, one Lord Jehova's name. 3. Recitative Joshua Behold, my friends, what vast rewards are giv'n to all the just, who place their faith in heav'n! Oh! Had your sires obey'd divine command, they too, like you, had reach'd the promis'd land; but rebels to the laws th'Almighty gave, they, in the Desert, met an early grave. Caleb O Joshua, both to rule and bless ordain'd; when Moses the eternal mansions gain'd, what boundless gratitude to heav'n we owe, that did in thee a chief so wise bestow! Courage and conduct shine in thee complete, justice and mercy fill thy judgment seat. 4. Air Caleb O first in wisdom, first in pow'r, Jehova, ev'ry blessing show'r around thy sacred head! The neighb'ring realms with envy see the happiness and liberty o'er all thy people spread. 5. Recitative Achsah Matrons and virgins, with unwearied pray'r, solicit heav'n for thee, their fav'rite care. The first lawgiver broke th' Egyptian chain; and, by thy hallow'd aid, we Canaan gain. 6. Air Achsah Oh! Who can tell, oh! who can hear of Egypt, and not shed a tear? Or, who will not on Jordan smile, releas'd from bondage on the Nile? 7. Recitative Joshua Caleb, attend to all I now prescribe; one righteous man select from ev'ry tribe, to bear twelve stones from the divided flood, where the priests' feet and holy cov'nant stood; in Gilgal place them: hence twelve more provide, and fix them in the bosom of the tide: these when our sons shall view with curious eye, thus the historic columns shall reply: 8. Chorus & Joshua Joshua To long posterity we here record the wondrous passage, and the land restor'd: Chorus In wat'ry heaps affrighted Jordan stood, and backward to the fountain roll'd his flood. 9. Accompagnato Joshua So long the memory shall last, of all the tender mercies past. 10. Air Joshua While Kedron's brook to Jordan's stream its silver tribute pays; or while the glorious sun shall beam on Canaan golden rays; so long the memory shall last of all the tender mercies past. 11. Recitative Othniel But, who is he? - Tremendous to behold! A form divine in panoply of gold! With dignity of mien, and stately grace, he moves in solemn, slow, majestic pace; his auburn locks his comely shoulders spread, a sword his hand, a helmet fits his head; his warlike visage, and his sparkling eye bespeak a hero, or an angel nigh. 12. Air Othniel Awful, pleasing being, say, if from heav'n thou wing'st thy way? Deign to let thy servant know, if a friend, or pow'rful foe? 13. Recitative Angel Joshua, I come commission'd from on high, the captain of the host of God am I; loose from thy feet thy shoes, for all around the place wheron thou stand'st its holy ground. Recitative Joshua Low on the earth, oh! Prostrate let me bend, and thy behests with reverence attend. 14. Accompagnato Angel Leader of Israel, 'tis the lord's decree, that Jericho must fall, and fall by thee: The tyrant king, and all his heathen train, at their own idol-altars, shall be slain: Th'embattl'd walls, and tow'rs, that reach the sky, shall perish, and in dusty ruin lie; scatter'd in air, their ashes shall be tossed, the place, the name, and all remembrance lost. 15. Recitative Joshua To give command, prerogative is thine: and humbly to obey, the duty is mine. 16. Air Joshua Haste, Israel haste, your glitt'ring arms prepare, with valour abounding. The city surrounding, deal death and dreadful war. 17. Chorus The Lord commands, and Joshua leads, Jericho falls, the tyrant bleeds. 18. Accompagnato Othniel In these blest scenes, where constant pleasure reigns, and herds and bleating flocks adorn the plains: where the soft season all its blessings sheds, refreshing rivers, and enamell'd meads; here, in the covert of some friendly shade, direct me, Love, to Achsah, blooming maid. Achsah O Othniel, Othniel! Othniel 'Tis my name I hear! Othniel, in melting accents, strikes my ear. Achsah O Othniel, Othniel! Valiant youth, may heav'n reward thy love and truth! 19. Recitative Othniel 'Tis Achsah's voice, who, but that heav'nly fair, could breathe so tender and so sweet a pray'r? Achsah But see! he comes - he heard, and knows his pow'r. Accompagnato Othniel Hail! Lovely virgin of this blissful bow'r, how sweet the music of thy tuneful tongue! Achsah These praises to the feather'd choir belong. 20. Air Achsah Hark! 'tis the linnet and the thrush; in dulcet notes they pour their throats, and wake the morn on ev'ry bush: from morn to eve they chaunt their love, and fill with melody the grove. 21. Recitative Othniel O Achsah, form'd for ev'ry chaste delight, t'inspire the virtuous thought and charm the sight; thy presence gilds the variegated scene, to the green olive adds a brighter green; while to the lily, blushes to the rose, with deeper red the rich pomgranate glows; the fruits their flavour, flow'rs their odour prove, and here we taste true liberty and love. 22. Duet Achsah and Othniel Our limpid streams with freedom flow, and feel no icy chains; no moulded hail, no fleecy snow, pollute our fruitful plains: The years one vernal circle move, and still the same ~ like Othniel's love. ~ like Achsah's love. 23. Recitative Othniel trumpets flourish The trumpet calls; now Jericho shall know what 'tis to have a lover for a foe. The city conquer'd, I shall hope to find thy father Caleb, like his Achsah, kind. 24. Chorus May all the host of heav'n attend him round, and angels waft him back, with conquest crown'd! ACT II 25. Recitative Joshua 'Tis well; six times the Lord hath been obey'd; low in the dust the town shall soon be laid. Now the seventh sun the gilded domes adorns, sound the shrill trumpets, shout, and blow the horns. 26. A solemn March during the circumvection of the Ark of the Covenant. 27. Chorus & Joshua Glory to God! The strong cemented walls, the tott'ring tow'rs, the pond'rous ruin falls: The nations tremble at the dreadful sound, heav'n thunders, tempests roar, and groans the ground. 28. Recitative Caleb The walls are levell'd, pour the chosen bands, with hostile gore imbrue your thirsty hands; set palaces and temples in a blaze, sap the foundations, and the bulwarks raze. But, oh! Remember, in the bloody strife, to spare the hospitable Rahab's life. 29. Air Caleb See, the raging flames arise; hear, the dismal groans and cries! The fatal day of wrath is come, proud Jericho hath met her doom. 30. Air Achsah To Vanity and earthly Pride, how short a date is giv'n! The firmest rock, that shall abide, is confidence in heav'n. 31. Recitative Joshua Let all the seed of Abrah'm now prepare to celebrate this feast, with pious care. Ages unborn, by this example led, shall bleed the lamb, and bake th'unleaven'd bread. 32. Joshua Almighty ruler of the skies, accept our vows, and sacrifice Chorus Thy mercy did with Israel dwell, when the firstborn of Egypt fell. But, oh! What wonders did the Lord at the Red Sea to us afford!He made our passage on dry ground, while Pharaoh and his host were drown'd. He thro' the dreary Desert led, he slaked our thirst, with manna fed: His glory did on Sinai shine, when we receiv'd the law divine. CD II 1. Recitative Caleb Joshua, the men dispatch'd by thee to learn the strength of Ai, and country to discern; Elate with pride, deluded by success, despised their pow'r and made the people less. Easy of faith, we trust what they relate, and now the hasty error find too late; our troops with shame repuls'd! - Oh, fatal day! Hark! Israel mourns, triumphs the King of Ai. 2. Chorus of the defeated Israelites How soon our tow'ring hopes are cross'd! The foe prevails, our glory's lost! Again shall Israel bondage know, oh! Sheathe the sword, unbend the bow. 3. Recitative Joshua Whence this dejection? Rouse your coward hearts, let courage edge your swords, and point your darts. Remember Jericho! And sure success shall crown your arms; the Lord our cause will bless. 4. Air Joshua & Chorus With redoubled rage return, ev'ry breast with fury burn: And the heathen soon shall feel the force of your avenging steel. Chorus We with redoubled rage return, all our breasts with fury burn: The heathen nation soon shall feel the force of our avenging steel. 5. Recitative Othniel Now give the army breath; let war awhile smooth his rough front, and wear a cheerful smile. The interval, if Achsah but approve, I'll consecrate to virtue and to love. 6. Air Othniel Heroes when with glory burning. All their toil with pleasure bear; and believe, to love returning, Laurel wreaths beneath their care; war to hardy deeds invites, love the danger well requites. 7. Recitative Achsah Indulgent heav'n hath heard my virgin pray'r, and made my Othniel its peculiar care; when he is absent, sighs my hours employ, when he returns, transporting is the joy. 8. Air Achsah As cheers the sun the tender flow'r, that sinks beneath a falling show'r, and rears its dropping head; thy presence doth my pow'rs control, darts Joy, like lightning, through my soul, and all my cares are fled. 9. Recitative Caleb Sure I'm deceiv'd, with sorrow I behold - let not this folly in the camp be told; now all the youth of Israel are in arms, that Othniel, lost in dalliance, shuns th'alarms. Recitative Othniel Oh! Why will Caleb my fix'd passion blame? This spotless object justifies my fame. Recitative Caleb No more. It wounds thy fame - Daughter, retire - Oh! Let thy bosom glow with warlike fire. Thou know'st what craft the men of Gibeon us'd to obtain their league, which else had been refus'd: Soon did that treaty through the heathen ring; Adoni-zedeck, of Jerusalem king. With the confed'rate pow'rs of most renown, have sworn to ruin the revolted town. Firm to our faith, it never shall be said, that our allies in vain implored our aid. Othniel Perish the thought! while honour hath a name, Israel's, or Gibeon's cause is still the same. 10. Air Othniel Nations, who in future story, would recorded be with glory; let them thro' the world proclaim, friendship is the road to fame. 11. Recitative Joshua Brethren and friends, what joy this scene imparts, to meet such brave, such firm united hearts! What tho' the tyrants, an unnumber'd host, their strength in horse, and iron chariots, boast? Now shines the sun, that fixeth Canaan's doom; trust in the Lord, and you shall overcome. flourish of warlike instruments 12. Recitative Caleb Thus far our cause is favour'd by the Lord. Advance, pursue; Jehova is the word! flourish of warlike instruments 13. Chorus & Joshua Oh! thou bright orb, great ruler of the day! Stop thy swift course, and over Gibeon stay. And, Oh! thou milder lamp of light, the moon, stand still, prolong thy beams in Ajalon. Chorus Behold! the list'ning sun the voice obeys, and in mid heav'n his rapid motion stays. Before our arms the scatter'd nations fly breathless they pant, they yield, they fall, they die. ACT III 14. Chorus Hail! mighty Joshua, hail! thy name shall rise into immortal fame. Our children's children shall rehearse thy deeds in never-dying verse; and grateful marbles raise to thee, great guardian of our liberty! 15. Air Achsah Happy, Oh, trice happy we, who enjoy sweet liberty! To your sons this gem secure, as bright, as ample, and as pure. 16. Recitative Joshua Caleb, for holy Eleazer send, and bid the chiefs of Israel all attend, to execute th'Almigthy's great command, and lot among the tribes the conquer'd land. Recitative - Caleb With thee, great leader, when Jephunneh's son was sent to view the nations thou hast won; Hebron obtain'd, we all its produce sought, thick-cluster'd grapes, figs, and pomgranates bought; the men, their prowess carefully survey'd, and deem'd the conquest easy to be made. Here would I stop - but, oh! unhappy fate! The tim'rous spies a diff'rent tale relate, increas'd the danger, multiplied the foe, and fill'd some dastard souls with panic woe. Recitative - Joshua Firm as a rock, when billows lash'd its side, thou didst persist, and all their threats defied. The men appeas'd, said Moses, man of God, Caleb, the land whereon thy feet have trod, mark what I say! For tis the will of heav'n shall be to thee, and to thy children giv'n. Behold! The promise of the man divine I ratify, and Hebron now is thine. Recitative Caleb My cup is full; how blest is this decree! How can my thanks suffice the Lord, and thee? 17. Air Caleb Shall I in Mamre's fertile plain, the remnant of my days remain? And is it giv'n to me to have a place with Abrah'm in the grave? For all these mercies I will sing eternal praise to heav'n's high king. 18. Chorus of the Tribe of Judah For all these mercies we will sing eternal praise to heav'n's high king. 19. Recitative Othniel O Caleb, fear'd by foes, by friends ador'd, well have we paid this tribute to thy sword; but still, to make thine heritage complete, Debir remains, Debir the giant's seat. Caleb Worn out in war, I find my strength decline; counsel alone, the gift of age, is mine. Is there a warrior willing to pursue the conquest, and that stubborn town subdue? For him, for his, I amply will provide, and to crown all, Achsah shall be his bride. Othniel Glorious reward! The task be mine alone; transporting thought! Caleb, the town's thy own. 20. Air Othniel Place danger around me, the storm I'll despise; what arm shall confound me, when Achsah's the prize? 21. Chorus Father of Mercy, hear the pray'r we make, and save the hero for his country's sake? 22. Recitative Joshua In bloom of youth, this stripling hath achiev'd what scarce in future times, shall be believ'd. Mankind no sooner did pronounce his name, but he stood foremost in the rolls of fame; tyrants he humbled, with the world's applause, and sav'd his country's liberty and laws. 23. Chorus of Youths See the conqu'ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, songs of triumph to him sing. Semi-Chorus See the godlike youth advance! Breathe the flutes, and lead the dance; myrtle wreaths, and roses twine, to deck the hero's brow divine. Full Chorus See the conqu'ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, songs of triumph to him sing. 24. Recitative Caleb Welcome! My son, my Othniel, good and great! The ornament and champion of the state. Take thy reward, the noblest heav'n can raise, and lasting love adorn your happy days. Othniel What tongue can utter, or what heart conceive the joy with which this blessing I receive? Achsah Blest be the pow'r, that kept thee safe from harms. Blest be the pow'r that gave thee to my arms. 25. Air Achsah Oh! had I Jubal's lyre, or Miriam's tuneful voice! To sounds like his I would aspire, in songs like her's rejoice; my humble strains but faintly show, how much to heav'n and thee I owe. 26. Recitative Othniel While life shall last, each moment we'll improve in equal gratitude, and mutual love. 27. Duett Othniel O peerless maid, with beauty blest, of ev'ry pleasing charm possest; as first in virtue thou art deem'd, for truth thou art no less esteem'd. Achsah O gen'rous youth, whom virtue fires, and love and liberty inspires; as first in valour thou art deem'd, for truth thou art no less esteem'd. 28. Recitative Caleb While lawless tyrants, with ambition blind, mock solemn faith, waste worlds, and thin mankind; Israel can boast a leader, just and brave, a friend to freedom, and ordain'd to save. Thus bless'd to heav'n your voices raise in songs of thanks, and hymns of praise. 29. Chorus The great Jehovah is our awful theme, sublime in Majesty, in pow'r supreme. Hallelujah!