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SMITH COLLEGE CLASSICAL STUDIES
Number V June, 1924
The Lyric Portions
of
Two Dramas of Euripides
Iphigenia at Aulis
Iphigenia among the Taurians
Set to Music
by
JANE PEERS NEWHALL,A.M.
EDITORS
Johti Everett Brady Julia Harwood Caverno
NORTHAMPTON,MASSACHUSETTS
1924
C.W.THOMPSON &C0.
BOSTON
f
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The Smith Collfig"e Classical Studies are published from time to time by the
Departments of Greek and Latin of Smith CoUeg-e and have for their main object
the encouragrement of research in classical literature, archaeology, and antiquities
by providing- an opportunity for the publication of studies in these fields by schol-
ars connected with Smith Colleg"e,as teachers, graduate students, or alumnae.Con-
tributions of studies in these fields of research will be welcomed by the editors,
John Everett Brady and Julia Harwood Caverno,and may be addressed to either
one of them. All business communications as to purchase of copies, requests for
exchang-es, etc., should be addressedto Miss Mary Dunham. Librarian of Smith
Colleg-e, Northampton, Mass. The price for numbers 1-4 is seventy- five cents;
for number 5 it is a dollar and a half.
SMITH COLLEGE CLASSICAL STUDIES
Number I ^'Hellenistic Influence on the Aeneid,'* by Eleanor ShipleyDuck-
ett, June, 1920.
Number 2. "A Study in the Commerce of Latium from the Early Iron Age
throug-hthe Sixth Century, H.(\," by Louise E.W. Adams, April, 1921.
Numb?r3."The Case Construction after the Comparative in Pliny's Letters,"
by Gifford Foster Clark. J;me, 1922.
Numbf!r4. "Nicolaus of Damascus' Life of Aug-ustus, A Historical Comment-
ary Embodying- a Translation," by Clayton Morris Hall, May, 1923.
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Introduction
When, in 1911, the Greek Department of Smith Colleg"e decided to attempt
a performance of the Iphig^enia at Aulis,it was fortunate to be able to secure the
cooperation of Miss Jane Peers, one of its own students and at that time an in-
structor in the Department of Music. A talented young" musician who had already-
shown distinction in aom.position, she readily consented to write the music for
the lyric passag-es, falling- in heartily with the scheme of subordinating- it en-
tirely to the words and preserving" strictly the quantity and rhythm of the verse.
In 1915, thoug-h she was no long-er a member of the Faculty and had become Mrs.
Newhall, she wrote the music for the Iphig-enia among- the Tairians, which waspresented the following- spring".
The experiment of translating" the meter of Greek choral odes into a
musical form of precisely the same character, has not, as far as we kno v. been
made throug-hout a whole drama, possibly because of the reluctance of musi-
cians to curb their imag-inative powers to this extent. That Mirs.Newhall has done
this consistently throug-hout two plays, we regrard as an indication of no sligrht
restraint, and also of devotion to the highest ideals of her art, and we are pub-
lishing- her music in the hope that it will seem not merely an interesting- illustra-
tion of a method, but also a contribution to classical scholarship. From the edu-
cational standpoint, there is an enormous advantagfe in music composed on this
principle, since the ability to sing" the odes carries with it ability to read the
verse with accuracy and precision.
As will be seen, the music is very simple and is given without accompa-
niment since the air, played an octave hig'her, suffices for the flute. The form in
which the choruses are printed, with the metrical phrases placed beneath one an-
other instead of in the conventional fashion, has as precedont an eu:rang"ement of
the songs of American Indians by Natalie Curtis*. The form is particularly well
adapted to Greek choruses, as it reveals at a g-lance the metrical pattern of the
odes, and has the added advantag-e of indicating" to the singrers where to take
breath, a point which the irreg-ular leng"th of the phrases tends to obscure.
The metrical schemes were prepared on the traditional lines, and will be
found to ag-ree in g-eneral with those in Schmidts Kunstformen derg-riechischen
Poesie, though there was no attempt to follow them exactly. Some differences
may be explained by different reading's, and others are due to individual prefer-
ence. The composer was allowed some latitude in rendering" the musical equiv-
alent of certain feet or combinations of syllables. For example, while a cyclic
dactyl is usually rendered by J^ ^«^, it sometimes appears as ^ ^^, and in two
cases where a variation between strophe and antistrophe was diffictilt to render
intelligibly, the difference was disregarded in the music. It may be remarked in
defence of irregularities that the work on the choruses was done in preparation
for an acting version and not to uphold any theory of metric.
*The Indian's Book, Harper and Brothers.
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For the Iphig-enia among" the Taurians the music is complete for the three
stasima, and for the chorus parts of the Parodos, consisting* of lyric anapaests.Oth-
er anapaestic portions were not set to music, with the exception of the concluding
verses of the play. The lyric interludes were cut for the performance of the play,
and the music is therefore incomplete, but it is included as an interesting* and ef-
fective rendering: of the combination of-4-
and -|- time, which is rare in mod-ern music.
The text of the Iphigenia at Aulis is in many places corrupt and some-
times unmetrical. In the lyric pass ag'es everything was omitted that is of doubt-
ful authenticity; onlya small portion of the lyric dialog^ue between Clytemnes-
tra and Iphigenia, verses 1276 ff, is included, and the kommos, verses 1475 ff,
is omitted with the exception of the choral ode at the end,which may be regard-
ed as a fourth stasimon. Instead of the concluding" verses of the play,which are
hopelessly unmetrical, three anapaestic verses were written and set to music,These
are included merely for their possible practical use.
The preparation of the choruses for the press was hampered somewhat
by the fact that it was impossible to confer with Mrs. Newhall. Under these con-
ditions we are especially grateful to Professor R. E. S.Olmsted of the Depart-
ment of Music, who has given us help on many points, and whose knowledg-e of
and interest in Greek made him a particularly sympathetic adviser. It is to him
that we owe the suggestion of the form in which the music is printed.
Amy L. Barbour
Professor of Greek
Smith College
June, 1924..
Copyright, 1924, by Smith College
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Composer's Note
Concerning" the music used by the ancient Greeks for their choruses, compar-
atively little is definitely known, as tradition is not altog"ether consistent on manypoints. The Greek dramatists themselves often composed the music for their cho-
ruses, which followed very closely the rhythm or accent of the words, but was de-
cidedly melodic rather thaji merely declamatory in style.
The choruses were sung" in unison and often unaccompanied, though sometimes
a flute {avXof;) was used to reenforce the melody an octave above the voices, and
occasionally a lyre was used to play a few chords in the nature of an interlude
or refrain.
Greek music was written in various modes or scales; the six used in the fol-
lowing" choruses are the Lydian,the Phryg^ian, the Dorian, the Hypolydian,the
Hypophryg-ian, and the Hypodorian. These modes are composed of two similar
adjacent four-note gfroups (tetrachords) made up of tones and half-tones, and dif-
fer from one another in that, as the starting"-point for each mode chang'es,the half-
ton,es occur in different parts of the scale. For example.
The Lydian scale The Phryg'ian scale The Dorian scale
"OAi^" " n'^
Thus we find that the Lydian mode corresponds exactly to our own major
scale, the Phryg-ian varies only in having" its sixth tone raised, and the Dorian only
in having" its second tone lowered, from our natural minor scale. The Hypolydian
varies only in having" its fourth tone raised, and the Hypophryg-ian only in having-
its seventh tone lowered, from our major scale, and the Hypodorian correspondsexactly to our natural minor scale.
To each of these modes the Greeks assig'ned a definite emotional or ethical
character; for instance, their favorite one, the Dorian, was considered stately and
dig"nified; the Lydian, sweet and pleasing"; the Phryg-ian, adapted to deep feel-
ing" or violent emotion.
In the music which follows the attempt has been to conform to the few sim-
ple fundamental rules or principles, very briefly described above, upon which it
is g-enerally conceded the Greeks based the music for their drama, and although
it may be very different from the music which Euripides used, it is hoped that at
least it will seem appropriate to its subject and not at variance with that elusive
quality which we call "Greek"
Jane Peers Newhall
San Francisco, California.
May 1924
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IPHIGENIA AT AULIS
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Parodos
Strophe, 164-184
Antistrophe, 185-205
Moderato
J '^sS\j ;>
! J aH p r p
« -yuo - Xoy ttyu - 01 Tra - /oa - ktl - au
7T0-\v - 6v - Tov Se 5<* aX - cro^ 'Ayo
>^uh ;)i);> i J i^^i/ta-fxa -Oov Ai) - Xt - So^ i - va-Xi - as'
Ti-fxi - 5os 7 - \v-6op o - po-jjii - va,
i¥ ^i
^El* - pi - TTOV Si - a x^^ - M*^ ~ '''"^
(fiOL-Vid - GOV - era na - pijS € - /xay
35
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va vt - o
TTOpO
60L
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xcr,
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J' J) JMr ^
aX-Vi - Sa no -\lv c - ixav npo-Xi - novcr,
a-cr77t-oos f - pv - p.a Kai KKi-ai - as
J) jli^' li-^ ]^I>
^y - X^ " *'' " ^'"^ u- 5a - Twy T/oo - fjiou
o - 7t\o-<^o - pov% Aa-ya - coi' (^e - Xoua'
p I r p P ^ras kXci - ya<; 'A - yO€ - ^oi» - tras,
ITT -noiv T*o -\\ou I - Be - cOai
I y I
p-I
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tuy (jrpa-Ti
8ov Se Su*
ai/
Al
^^ iCU^ CO" - I
au - Tf aw
St »
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€ - Spca TOV
yav-
^^^ ^ei
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10
Tov !Sq-Xa - /x?
OUS C - TTl 1/00 1
yos (TTi-<fta - vol',
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mn E?j - pu) - ra So - z^a - ko - t/oo - <^ou
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h J^TI ^' i^^'
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i/oa ITaX - Xa-St
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Ti-piV i - pU>
a - pa Si Ni -
1^^
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11
Parodos
Epode, 206-230
Moderate
r^' ! ;));> IJ^-^5^
TOP I - era - v€ . fjLOv Tf no - ooiv
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2: ^
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12
lUT=^ J J-'
I J.1
1) >^^w KoX - Xi - (TTOv^ I ~ So - fxav
\pv - (TO - Bai - Sa\- Tovf; aTo-fjii - m^
\iJ,
sp g F^=^
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Tous 8 ( - £(0 an- po-<fio - povs.
m^p
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j-
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ftA
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SA
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Tit.
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First Stasimon
Strophe, 543-557
Antistrophe, 558-572
Allegro
ov
Sl - a- <^o - poL 8k ifiv - G€i% /Spo - T^V,
^^^^^^^m
13
fl€-
Ta T€
5t - a - <l>o
ao) - <f>po-cv
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va<; fx^T - €
op
^
^^ r\
a\ov Xc - KT/oo)// 'K-<f)po - Sl - ras,
^ s sfeiya - Xa - z/€t' - o \py}-(ra-pi€ - vol
Tpo - <fiai e'al 77-at - 5cu - o' - ue ^at
Mffi - i^o - \Ziv ol-arpcov, o - ffi S^
/X6- ya (j>i - pova' iU tolv a - pi - rav
^^^Bl - Svpi' E - /oojs 3 X/'^ - cro-Ko - /xas
to' re yoyo at - St? - uOai (to-<(>[ . a,
^^m
m
Vi - TQL XCL-pi - rOiVj
fav r'tf ^ aX-Xdcr - (rov-aav e - x«t
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14
i
< < > 5 » ' '
TO IJ.(l^€77- (y - at - O) - Z^l 77-0 - T/Xf^O,
\a - piu V - TTO yi/co - fjia<j ecr-o - pav
rit
p [! M r p-t-rI*
TO ^ e - 771
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First Stasimon
Epode, 573-589
15
i
Moderato
^ff
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P^
^7=
€ - ftO-\€S , CO lia-pL%, rj - T€ (TV yf.
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^r Mi>\
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rit. I /O
^ ^Ml
g tempo
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p Ip- }\I)\ I^ J^J^
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16
a tempo
'f\ r^''
^ I r ^^^^ 1^> t ^ >
t - pa) -TO St - Sa)-Ka9, € - /ow-Ti 8 au-TOs « - ttto - a -
^£1/ € - J019€-/oiz/ 'EX-Xa-Sa auz/ So.p\ pav-ai r'a - yu
rit.
J I
'
M' pn ri ^^€S TTCIp-ya - p.a Tpoi - 09.
First Stasimon
Anapaestic conclusion, 590-598
Allegro
w 1 - o) •fA€ - r
^ p pir r^
w • u€ - ya - Xat uc -yaj(,€ -ya - Xojy
I^5 • # EE^
iv - oai - /JLo - VI - CLL' r\]V too ^a - at - Xcw*;
^=^=H-t-r^mL - 5€r' 'I - «?Si - yc - yet - ai* a - J'acr - (rav
g^JM^^-rftV Tvv-Sa-pt - ov T€ K\v - rat - p-v-q-cTTpav,
^(i^ <K /ui€-ya - Xojj/ € - ^\a-tTT-q - Kaa*
J) ;> I
J J ^^« . 771' T' (J - M7 - K^^^ V - '^°^ - ^^ '^ X^^"
^=^1-^-^ ^^^tOl TOL Kp€La - (TOV^ ol T*o\- ^O - <l>0 - pOl
m•* s
^_g}-_U
fbis Off ^ t)- Sol - uo -at Gva - twv.
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Second Stasimon
Strophe, 751 -761
Antistrophe, 762-772
Moderate
V -i^'- ^h ^i'/JLo - iv - ra Kai
ara-Gov - tol S^(-7r\ mp-ya ~ /ulwz/
^"ll J -b ill
^ap-yv-po - €1 - octs
^i*EX-Xa - viav aTpa-TL - as
^=^ ^kql avv o- va T€ vav-CFLU kql gvv o - ttXol^
nov - Ti - 0% €v -7rp(f - poL - (Tl iT\a-Tai<;
/7\
i ^"I - \l-OU €IS
€L - pe - al - a
TO Tpoi - as
f ^Sitji
U
^OL -^yf - L - OV
'Xl - fJiOVV - TL - OtS
8a-7T€ - Sop,
O -X« - TOlS,
^ ^ w ^^ray Ka - eraf - opav tv a
Tai* TCOl' €** at
i^
KOV - (it
Slct - acou
r p ps
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Wt
17
5
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# ii^^^ y^^ *E^ " Xa-Sa So -yOt -
g
i'Ots
n=xiafxap - TO - cru ^ voi nvn? - (Tma a
a - crni-CL kat Xoy-x^'S 'A
j»ay- /cat.
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Second Stasimon
Epode, 784-800
Moderate r\
^^^ f
^^ ^Mij' €'- /XO'^ M7^* * -
^O*^-*^' ^^' "'''"'' T^ - KVOl^
^^^^^(\ - ttU « - ^^ '^°^* ^^
m^^^^^ot,
/?S
t:
ol . au a! TTO-Xu - XP^ " ^°^
fe^i^E^ 5^Au - Sai Koi ^pv - yCiV a - \o - \oi
^arv
-
crov-ainap'' ' \ - cttol^
U, t,|-^t^|^^^
/xu cu - crcti raS* cs "^ - X7 - Xas*
^^ig^ETM~£^TIS a - pa ^(.v-v\o-Ka - fxov ko - fia^
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pv - fia Sa-Kpv-o - €1^ ra-vi; - o-as
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19
j'i
f Ni ^Nr^n^TCTna - rpi-So^ o\ - Xv-fxe - z^a^ a - tto - Xw - ti-(7;
4 'J' J' i-
1
- I J'I J. ' J i J' I ' njn
01 - a (j(, ray ku - kvov Oo-Xt -x*''^^ "X* " ^°^ y° " ^'o^?
^ >^M J-^>^^^€i Siy ^a - TtS € - TU - /XO9,
^^ - pprrrr^ j^iJ
^ji
rp^WS «-T€ - K€Z^ AtJ - 5a (T* op - VI - 6L TTTa-fjif -Via
Hr.r, lJ J' pi^^
Ai - 0% or a\ - \a - \&yj Se fias,
Pr
J'I n
t,I j^^ig
ScX - TOL% III - € - /Ol - 0"ll/
i* J.I J! J J'I
J-
p i f I
/JiV - ^01 TCtS' €S ai/ - Op (jt) - TTOV^
=M ^
T^-r^
rit
viy - Kav na-pa Kai - pov aX-Xcos-
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20
Third Stasimon
Strophe, 1036-1057
Antistrophe, 1058-1079
AllegTo
a - va 6 (-\a - tcli
o% Si - a Xo)
(TL (TTi-^a - V(J)
^^^^^^^TO?) Al-^V - o^
SiL T€ vXo - O
fXi - TO. T€ ^l - \0 - \0 - poV KL - 6/a - /OO?
Sl - a - (70S € - yuo -\(u ITT - no- J3a - 709
i) | J Jl^^^=^
^(TV - ply
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^ j-Jm joJl^^r\ 21
TOP t'AI
crvv Mvp -fj.
a - Ki - 8av
L -So - VUiV
^
m5 fc
Key- jav - pcov av* a - po<; kXc - ov - (Tcll
a - (TTTi - CTTors Il/oi-a - jjiOL - o KXct-i/ay
4tt^ g117 - \l - a
ya? - av
Sa
7TV - /OO)
iJiiil li i)rl J
^
Xay
(TO) J/,
-4
o Se Aap-ha - vi - Sa%, At
TTi - PL (TO) - pa- TL XP^ " ^^
OS
a)V
E gJl j^/^
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O - 7T\ii}V H\ov,
p pj^^'
p p
^^7 - pa 4*1-
0ai -CTO-TTO - VOJV
i\pv-<jd - OL - CTLV d - tfiV(T-(T€ Xo
Ki - KO - pv6-pi -V0% €1* - 8vt\ (.K
i s 6 ^m
irit.
€lf
pa
Kpa - TTj
Tpo% Say
h P P p ^Oi; -/XOT' €
- Xots,
r>
m6 <t>pv -yi - 0% Ta - vv
@e - TL - Bo%y a viv ( TL KT€.
^ P P Pna-pa
pa -Ka
hk Xcu
PL - ov
^ PO-^a - V ^a-pa - Gov
TO- T€ Sai - /uo - Vi%
|_j.ij JJi i fi-^i^€1
ras
Xtcr - (To-pi - vaL kv-k\i - a
(V - na-TpL - 5os yot - pov
pi J JMh-4^TTiV - Tyf KOI/
-
TO KO-
/Oat N7- /)€W9
Scoi/ € - &€ - aap npu)- to?
jTT~if^
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Third Stasimon
Epode, 1080-1097
Moderate
^ U'JMJ JHJ J
^^crt 8' €-771 KOL - pa art - \jjov - <Ti Kok- \l - k6 - fxav
± ,M' iMr
-^M^ io:iiJ ^
nXo-Ka-jiov *A/o-y€t - oi y a-Xt Oi/,
^J:) • I J« I
-# ^(OCT- T€ »r€ - TyOai av
r\
P^' p pI r"
r/oct) y (X - 6ov - aav o p€i av
fJi Ji I I J''
/JLO-(T\0V a - Ktj - pa - TO V, 0po CI - OV
'. h\ I i)? Eat - ^acr - (Tov - t(s Xat - fxop'
m^rt^rP ^^^
u (7w - /oiy-yt Tpa- <f)i7 - aau, ovS
m i 6;rd-^ p I r ^^€*> P001- y8Sw-(T€-<Jl $OU-KO - Xwv,
4^ ^' MH-r p r I f FT^=^na - pa SV /ixo - Tt- pi vvfi-^o-Ko - p.ov
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23
*I - va-^i - haL% ya - fiov.
i
^
1=^ :^
-y^
TTOV TO TOS ai - Sou<
r^'
i
f pp^
?TO TOS
a-/06 - TttS <
^ m^^ I *
c^e - i/€ti' Tt TTpo(T - 0) - wov;
» hJ'^' l i'J'J' l jg^t / > \ " "
O - TTO - T€ TO fliV a - 0"€ - TTTOi^ € - X^^
V I, .UM r JiM4-^Jtf
i
oy- va-dLV^ a o a - pe - to kot-o - tt^i-
i^f J
TM p i^H-^^cr^cr/ &pa - Tots o - /Li€ - Xci - Tat,
5^ ? ^^ ^a - vo- ^L -a b€ vo - /jlcov Kpa - Tct.
^^
J<{>^'
i p t^i-te^ai /UT^ K oj. - vos o - ywp j8po - Tor^,
±^§ ^ *' ' •
/it; ^€c5i/ ^^O-VO? €X - ^r)
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24Lyric Monody
1312-1335
iIphig-enia
a i> }> i> ^ fe ^¥
-^ w
Tav Ta - \ai - vav,Si€ T€ - KCOV jU6
i 5 5^ m- • d
0) fxa - Tip o) fxa - Tip,
m f^ J M J Ji
/?V
g
01 - x€ - rai TTyo O - OOUC € /O^ - ftOV.
5: fe 5L=* -H^
8va - Ttt - Xatv'' i - yw. tti - Kpau
to3=^ ^¥H^j. - Kpav L - hov-aa Svcr- € - Xc - vat
,M^i>l
J }\
^<f>o - viv - o - yuai St - o\ - \v - fiai
^^t-^W>=ikH4-l44-t^ 6
c^a -yai-trii' ay-o-0"i - oi- aw au- o - <jl - ov na - Tpo<;.
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25
i^ J J-J-' I J i'J^UJ^MJ Jv?
gI # za:
17 no -\v - }io-\dov ap* rjv '/6 - i/os, -7 no-\v - fxa -\0ov
^' JHJ jun j ^'^^^a - fX€ - PL - (OV, TO \p€ - lav hi TL 8v(J-n OT-fJiOV
mau - opa-(TLV tv - ptLV
a N4-^^M»
X » ^
t - O) t - O).
^J) J) I i i> Nl> J) S> I j) Jv^M-^^a»' m ad
fxt- ya - \a na- &€ - a, fj,(
-ya-\a 8 a-\€ - a
^J:' JM J J' 1^^
rit'
^^Aa-va- t - Sais ^i - ^<i - <^« Tui/ - So - /019 ko -pa.
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26Choral Song
Serving" as
Foui'thStasimon, 1510 -1531
Moderato
-^
-^
^5€ - oOi TCLU 'I - Xl - OV
Ka\ ^pv - ywU € - Xf - TTTO -\Llf
^^p^^^^^^\ I '
Ji
(JTci - xow-cai/, € - 7TI Ka - pa orrt - 0€a
--!>i; j> I ^-
1 fm^
^
i|I
' 11
I
m^la - fJLOV Si - a! - fxo - vo<; 6i - as
I ji-f'
p I r ^a - vl-div al - \xa - Top - pv - tol<;
4e=j.ijJ Mr r ixagj^
r>
3a - vov - aav io - <hv - ^ n Si - prju a<i>a - yc? - (rav.
I il
tv - Spo-aoL na - yai rra - Tpa» - ai
»=Sg/u€ - VOV- ai Xip t/l - j3i% - T( (Ti
=^ :l
cTT/oa - To's t"A - x«i - '^^ 6'c - Xoji^
^=^=:^^=TTf^^^'^^^^^'I - Xl' - OV no - \iv fxo - Xflv.
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rpi
rpi r
m27
aX - Xa TOi/ Ai - o% ko - pav
MJ ;)|J~i^ £
K\yf - aoj - fitv A/0 - Tc - fiLV, 6i - (av
M J i'l
rpi
r^'
1 ^ ^'
t » » »
a - vaa-aaVy cos ^ir ev - tu - \€i no -t/xod.
slo'wer
g ^ ^J'
I J J'l J J^^^^0) TTO- TVL - a, ^U - yuflt - CTlV fSpO - Trj - (TL - 0L%
I DN i) fe5iT a^S
xa - /oti - aa, mix - xfsov €l% ^pu - yuf
i i j-'l J ^'IJ^f ^
yoL-av *EX - Xa - v(av arpOL-rov
/liiJM J pi ri
^^KOi ^o-\o - iv - ra Tpoi - a^ € - Siy,
^> J.^ llI
J-I i^ i^^ <^
A - ya - /UL€ - fxvo-i/a t€ Xoy -x*^^^
II
EX - Xa-cTt kXci - vo-ra - tov an-t^a - vov
^^^m p^ s
oo^ ajji- (fiL Ka - pa & € - ov k\( - os
4.ipi" Pi r
<t - fivij-crTov afx-<^L - Ou. - vai.
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28
Closing Chorus of Exodos
162? -1629
Slowly
T&-
i^ ^^ ^ ^^^Xat - /owi^, ^a-(TL - \tUr (TTU-\(. Tpo - i - ay,
^^-^-f-H^^^' ^
' r r
TTpa - £as Sc TTO - I'oj/ Tov a - vay- Kai - ov
-0/rs rtt.
p M r r
^''
' r PI
Xat /owi' (7T - av - e\ - Ot. npo% ^Ap - yo^.
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29
IPHIGENIA AMONG THE TAUKIANS
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31
Parodos
Chorus,123-142
Moderate ^^ t€U 0a - fi€ir , (0
^^I m m
ryoas Ew - f«i' - pou yai' - o;^ - Tf%.
TvrrtTi(i) nat ras Aa - tou<; ,
Is is
a/ - KTVVV'* OV - f)€t
7r/)b<; craj/ av - \av, iv - cft^ - \(jiv
i¥^ 1^pa - (JOV XPV - Grj - piL% Spiy-KOV^.
f^-;;|J JQ) M^^^^iM ;-' ;' J I U770 -5a irap-Ot . vl - ov o - (Tl - ov o - Gl - a%
rs
1—k\7 - Sof^-XOU 5ot5 - Xa 77€/X - 77CO,
r I P p r^ ^
'ex - Xa'-5o^ ftJ - LTT - ttou TTup-yo'x;
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32
I ^'''^^ - XV \^P - "^^^ ''"'^^
- ^^v - Sp COP
m m—9
c£ - aX - Xa - £arr* Ev - pd nai',
^r>
zn.
* y ^ tv
na - rpo) - cov ol - kohv < - opa<;.
i=j^^'^-M-f=
nFFf^( - fXO - KOP' TL P€ - OV; Tl-va tf)pOV-TLO € -X^'^»
Tt pe 7Tpo<; va - ov% a - ya-yc^ a - ya-ye^,
iTTaZ Tov Ta% Tpoi - 09 rrvp-yovs
^ 3
^cX - 60P-TO'; k\(.l ' va aw ku) na
PTTTT ^ ^X' Xt - o - vof/ ra yui> - pi - o - t(u - \(i,
^(Tnepp* 'A - Tyoet - Sa;/ twz' kXcl- VOOVy
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3*3
Parodos
Chorus, 179 - 2 02
Moderato
^a r r
I
' r \
^ r
iap - 71 - xfiaK - /uous a» - Sas v - ^vov r
J)iH l J^^'A - CTt - t/ - TtZJ/ C701 /fioyO - ^a - pov U - XQl
i¥^^ m^S€ - (J7T0LV avT - (.^ - av - ha - aoo,
^ J J I J J it
Tai> kv 6p^ - pol-(Tlp p,ov-(Tau,
Si/c-Ku - (Ji iJ.€
- \o - fxi - vav Tav f.v fxoK-TraLs
I
rs
^1^ * «> ^
Ai - Sa<j u - /xi/ti ^i-X^' 77-ai - a
j= r ^
01 - iJiOL, tCjv 'A- TyOfi - Sav 01 - k(jdv
? ^€yO - /0(l ^CUS GKrj-TTTpOiV, OL-fXOi,
iir i r r I
r r* <i<
T'DV GUiV Tia - T/Oca - diV 01 - KUiV .
^ ? ^s
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34.
J' i'I J J I
I* #I
P pI
p
/?\
/uo - x^os S ff /ixo - x^w^ Q^ - o"^*
ii ^^ ^ ^Sl - vaj - ov - (Tats ^7T - TTot - CTiv a^ ou
? ?nra - vaTs a\ - \a - fas cf ^ - S/oas
i J' J-'I
J J' J:ff
r\
3 iI - € /ooy /xcT- € - paW o/jifji av - yas
?^JM) J
Ir
rI ^r I r p p
Xt -OS. aX - XoisS*aX - Xo npoa-f - )S
? rf+^n^
I
X/OM- (Teas o/o - i/os /u€ - Xa - Opoi^ o - So - va,
^ rit.
h JM -^^ ^ ;)^^f^jLj^ j)I xjvtti
9^ O-l/OS ( - TT"! <pO-VC0,
a tempo
a - \€ - a T a - \(- (Tip
? ^I a^ «=#
6// - ^(i^ ro)^ TTpQ-GOiV h\XCL-6f.V - TOJJ/
I fI P (;
J=^f=i^-^-hSTa// - Ta-Xi-Say ck - /Sat - vi.i not- pa y*
^ ^ ^(tS Ot-KOUS' (T7r(V-S(l S^ a - (T7T0V . Sa(TT*
rit.
^^^m
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Allegro
First Stasimon
Strophe a, :i92 - 406.
Antistrophe a', 407 - 4 21
35
nip-p
pI J.ip--^,P liUii'
i
r ^a - vf - ai Kv - a -pf - at avv-o - hoi 6a - Xacr-cra^,
pa-OC - ois fi - \ci-tl - vaL^ Si-Kpo - toi-ctl kuj-ttqi^
P I
J-I P p P I
i''- jji''Ip-^
IV 01 - (Trpo^ O 7TO
e - arei - \ai/ i - ni
T'Ji - fXi-vo<i !A/o - yo - 6(^v
7j6v-7i-a Kv - fxa - ra
^mbf)i)
| J ^^ ?Sjjia Sl - f - 7T( - pa - a€ nop - tlv
oif o - \y] - fta \l - vo - no - poi - ai t' av - pai^.
i( - vov eV* 01
va -
^& 5 fe^-^^
i ^
'A - cTi - 7 - Ti-5a yai-a;/ Eu - /ow - Tra^ 5i-a - /uc' - ^as.
^L-\6 - n\ov-Tov a - fiiX-Xav av - ^ov - t€s /u€-Xa - Opoi-aiv;
^—JH-'^-^ P P I ^ J)"! J) J> ^>
IJ ^
n\a yap
a -pa TOP
€\-7ris a
r
€(.
u - Spop So -va KO
TTyj
XXo - a
CTLV
i fe
Xi nov - T«s
77X17 -(TT09
^i
/)d> - rav
Opii -nOLS,
1^ j)|_p-pp 1^^^1 oiv - ua-Ta CT€ - LLva Ai/oy^ n o^ * -t
'
oX - nou pa-po'i a 0€ - yooi/
yj p€V -fta-Ttt cr€ - fxva Ai/o - kos
oX - ^ov j3d-po% G* 0€ - pop- rat l__I__l_
n-I7^j. i Jii!J)iJ J' l
-i
.Mj j'M ''
« - ^a-aav c
jrXa - 1^17 -7€9 CTT
I
j3a-(Tav a - jjh-ktov ai - av
ol - Sfxa no -XiL^ n ^ap-/^a
iv - 6a
pov% n(
Kov- pa
p(JiV-T€%
Kit
^a
pa 86
y€t
hi J>. iiJMJ J/Sw-ixoif; Kac m-piyvo) - fxa 8'ots/xc2/'a
Ki - o - pas
KOt - /oos oX-
J:
l 'N!J)^ l jJl.i/a-ou<; ai - ^a $po - t€l
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36 First Stasimon
Strophe fi\ 422 - 438
Afitistrophe )8', 439 - 455
Mode ratovioaeiitio 1
as 7"as (jvif -Bpo-fia - 8a^,
lie" «W - X"*^- ^'^ ^^ ' GTJO-<TV -VOLS
7TMS "^^ - ^P
# ^^^^mV - TTVOVs
TTUi'; ^L -ve - V - 8as a
A^-Sas 'E-X€ - va </>l - \a tto^s
•^. X : ' .« - rrnv irao' U-Xl-ov ai-yi-a -Kov
cX - Oou-aar^ - X°t xi^ Tpco - a - Sa Xc -Trou-cra
a - \oif
no - Xty,
P^^^ ^^^^Stj^"
po-6l spa - fLoy'A/x-^i - rpi - ras A)o-C/i - w
a/u - ?il Xai. - ra Spoaov a! - fxa - "^7 -yoaz/
¥ ^^€l
770V 77€I/ - 77 - KOi; - TO KO -
paV
A - SOJJ^ TTO - g\ XO - pOiN77 - pri^
Si - anoi - va<; x^ P t (^a - vol
^^^^/u(X - wou - (Tiv ly - kv-k\i - ois,
77-01 - vas SoGa' av-Ti-ni - \ov<;.
I ^7rX7 - crt - (TTi - ot - 0-t T^^o - ai^'
; - 8to-T' av iy-yt-Xi' - ai.
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37
¥ ^ *rnr^^^mr(TV - pi - ^ov - Ttav Ka-ra npv - fxvav
8t - ^ai - p.i.0* , *E\ - Xa-So^ ex ya%
I ^fe€i» - vai OiP TTTj - 5o-Xi - UiV
wXo) - tt; - /ocDi/ €t Tis € - pa,
ir^^^^^say - pai - ciy vo-tl - at?
Sou - X(l - 09 € - /X€ - ^€Z'
Iy pI^ J'
I p
p pI
r7 7rz/€y - fta
Set - Xat - a^ nav-xTi- no
pou.
t i^ i^-^'l
J-1 J^
fTau TTO-Xu - O/O
^ N » *
KUL yap O-
ViL
Z/l - &0V €TT ai
poL- (Tl <Jvv - et
ay Xcu - Kay a - ktqu, A - \l
-^(^
ay Xcu - KCiu a - KTap,\-\i - X7-
ijp So - /uots TTO - Xct T€ na - t/oui-
^ J ^M J ;^ iTt^fOS S/oo - fious KoX - Xi - (rra-St - ous
,
a T(p - nvtiiv V - fxv(au a - no - Kav -
I Til'
r PI
f/ -^ J>I
J.
a - cct - vov Ka-ra woj*
dj', KOI vcLv ^a-piv
nov rov
PU)'
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38
ModeratoChorus
Lyric Scene
Chorus, Orestes, and Pylades
643-656
M^w i-'M'^j ;; IJ ;>ir
r
^'
:aT - o -\o -tftv - po - /ixai <T( top \€p - vi - /3(dj/
^fcb N^^AJU^J'ij i^-^^^^Jd^
/5a - VL-CTL /u€->o-/x€ - vov pa - vi - aiv ai - fxa - ktois-
Orestes speaks: oIkto^ yap oo ravr*, aWa \a.ip(T*, w ^(vai.
Chorus
fc* Sf T?5-xa9 fta - Ka-/309, t - w j/c - a - z/t - a,
i-^> \ t^ n ^ glr= -N^^^^^ e€ - ^o-fii9* ,1% na - Tpau o - ti ttoS' t/j. - /3a - arj
Pylades speaks: a^rjXa tol ^fnXoLai^ffpTjaKovTcav <^L\aii^.
Chorus
to 0"X€-t\i - 01 TTOfx-nai.
<frt''i. ff I
D p S
i
^€u <^iv, an-oX-Xv - crai.
^^ '^P^
at - ai at - at
fcdz
^^^^^^TTO - T€-pos o yufX XOJZ';
^^^^^I^T^aiJ^:±^J^±±^z
« - Tt yo/o a/j.-(^i - Xo-ya St - Sv - fxa fx€- fj.o - v( <f)pyiv,
^^^ ^^^(Tc jra-pof; 7 o" a - va - <rre - va - fw yo - oi?.
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39
#
AllegroIphig-enia
Lyric Scene
Iphigrenia and Orestes
827- 899
fei p I r p
H^^
^^
u) ^'X-Tar', ov - Siv aX-Xo, ^iX-ra - tos ya/o ci,
^JrlJ i>-h|^^^f^f.M
-x'**
^'/^ P* " <''^''' ^7 - Xu-y€ - TOi/
Jm p p p p ^m ^
Xl^'o - fos a - no wa-T/ot - 60s
^^ I'A/0 - yo - ^ez^, w 0i - Xos
Orestes speaks: Kayco at Trjv Oavovaav, cus So^a^trat.
Kara oe oaKpv aoaKpva, Kara yoos a/uo X^/^?
TO aoi/ voTi^ii /SXe^OyOOi', cucraurcus 6 ifiov.
Iphigenia
^^^^^^ f) i^ J i^^ ^
70V I - TL ^pl-ifiO'i I - \L-nov € - \l-itov ay-Ka - Xai-
^ P I J) J^ J J)ici v€ - a - pov rpo - </>ou v€ - a - pov (.u 80 - p-ois-
^m sp p
' J ^>w^^(O 6\) - fxV KpClCr- <T0V rj XO - yOl - Cli' €W - TW - xwi',
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40
£ ^^ P
Ti ^uj; <9au - /Lta - toou it( - pa kql \o - you
hI
J j^ > ;>
npo - cu) rao in - € - pa.
Orestes speaks: to Xoinou ivTv\o7fj.tu aWrjXwu /xcra
IphigTenia
^S i g iv^n^-^a - TO - 1T0V TJ
- So vav € Xa -^oi>, a> 6l . \af
^^^m
rs^^^
?S( - Sol - Ka S' Ik Xf. - poiv fjic p.r) Trpo<; ai - 6^ - pa
slightly faster
5iEi ^
a\x - iTTa - fX€ - vof; <f)v - yrj'
t
Mw - Kn - va (fiL - Xa,
xa - /Oil/ I -X'-^ ^° °^'5' X^ " f^'^ * X'^ '^P^ - ^^9,
JMP [1 r^
1
jJ-'#^5fe^/TN
Toy - Se So-/xoi-crfy i^ - ( - Opi.xfsui <l>a - 09.
Orestes speaks
yf^i'f.1 p\v (vTv\ovfj.(i^,(<; Se <jvp.<^opas,
d) auyyov'', rjf-cop SvaTV\rj<; €0i> /jio'?.
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^ Iphigenia
4 r p I
rJM J ^'
I
J ^a O €7T au . TOtS TLS T€ - \€U - TO;
Tl - ya (701 TTO-pOV €l» - /OO - /UL€ - //
i fc
77a - Kiv a - TTo no - \€ - to?,
^ ^ 2a - TTO 0O - VOO TTfyU - ^CU
i r> \
^^
S'p I
^^p r p
3
77-a - T/ot6 i% A/0 - yft - av
P I P" p pTO - Xoi - ya. TO - Xat - va
iH\ P' P
P
M^- J^-^M^-'
Ht'? ayo* ouj', ra-Xaj/, ly ^€-09 17 $po-To<; 7
s^ ^iTl TcDy a - 80 - K^ - TUiV
^8v OLV TOLV flO - VOIV
^ I r p (OJ'A - Tfid - Saiv ^a - vi
Tit
P^ E/Sl
Ka - kQv €ac - Xu - (Jiv;
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42
Alleg:ro
Second Stasimon
Strophe a', 1089- 1105
Antistrophe a', 1106 - 1122
S8:
HiJiN ^'b
'^
op - vi.%, a na-pa
at 7To\ - Xai Ba-Kpu
^T77T€
(iiV
Tpi
^^^ m i
nov - 70V S€i-/oa-Sa9, aX
at (49
CO I'.
M«S
i^ ^' i'I r^^J^
€ - Xc -yov
( - TTf - (TOV,
oi-KTpov a
a - pi-KQ
€1
nvp yoov
H^i^^Mj; jlJ)|^^tV-^V-V€ - TOP ^V-Vi
oX- \v-fJii VUiV ( - 7TL
TOL-(TL /8o - ai/y
vav-aip € - J3ap
t^^^^^^^g^^TjTjTrfO - Tl 770 - 0"ll» K€ - Xa - Sc?? O - (7 /HOX - 770??,
no -\( - pi - uiv i - pi - Tpo7 - at koI Xoy-xat^.
^r I ji iu N -^
ycu
C«-
xpv
aoi na-pa
(TOU 5( Si
/SaX - Xo - pai
(p- no - Xas
p^=j)^^ I
J. gbpyj.vovf;, a - nre-pos op - vi^
v6 - (TTov j8ap - j3a-pop iJX - Oov,
Hr+J I J JlL^B€1/
93v(t' 'ex - Xa
a TO? 'EX
vo}V a - yo - povs,
Xa - vo-<i>o - vov
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43
Oi - as a/x - ^i - TTo - Xo»' ko - pav
rr^^ I ^-^^^^^^ma ira-pa Kvv - l-ov o - \9ov oi
77-arS*'A-ya - /ac - jjlvo-vi - av \a - rpaj
f^1
r
^HJ^-^KcT ^oi' - VL ~ Ka 0^ a - /3po-Ko - fxav
CO j3u) - /JLOV'; Ti fxrj -\o-6v - ra^,
^^^ m fs ?
Sa0 - yay t'cu - ip-vi - a
^rj - \ov - era Tov Bl - a
Kai yXav - ko?
TTOy - TOS SuO"
mmm i
Oa\-\oif I - pov € - Xat - a%,
Sai-fxov'*' fv yap a - j/ay - KOts
j>^J- i
i iI
ji
^^Aa - Tov<i o) - Sl - pa <fn - Xai*,
ov Ka - fxz/fi avv-Tpo-i^o^ cav
I i i»I
Ji J^>
I
Xi - fiyav ti - \l(t - aov-cap v - Scop
{Xi-ra - ^a\ - \€iif Sua- hai - fxo-VL - av'
KV-kXi- ov, €V -6a KV - KVO% fJif - Xo)
TO Sc ftcT* €w - Tw - xi' - ay /fa - kov
^
f^tyT^^ujSo? Moj/ - eras 0^ - pa - ttci/
affai Ova - 70?$ 0a-pv<; at
(I.
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44
Second Stasimon
Strophe yQ', 1123-1136.
Antistrophe i8', 1138 - 1151
Moderate
^^^^ mg
Kai (Tf fJifu, Tio-TVL , A/0 -yet
Xa/^ - npov In - no-8po - fxov j^ai
a
ijli' ^'M I \'U^I 7 " /-
TTf^V- rrj - KOV - TO-pO% OL - KOVO. - ^€t •
lv9^ tv - a - \i - ou (p - X( - TttL nvp
t P ^teIQuiv SoTV - pi - C,(iiV O O KT) . pO-St - TQ^
ol - K(L - (t)lf S'u - TTtp ^a-
Xa- fJLCOV
iy p p pi f ^ ^KO - Xa-fXO^ Ol> - /D€( ou Ha - yo9
77T( -pv -yas €i/ i/a» - Tois a - /uois
/C\
Mr p
Koi
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^
^m^fe
€1
na-pa nob n - Kicr
ik: /-
^^
45
-^
^€1 \l -na - pap
aov - aa 4^1 - Xas
»
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Third Stasimon-
Strophe, 1234- 1258
Antistrophe,1259 - 128 3
Moderato
jo:
^ ^ f€v - Trais o Aa
1 a - I - (liv
#^^#rr^ EOZ/ 7IO- Ti A17 - \l - a - (TlU
77ais 1 ~ 7Ti - vaa-aa-To Aa
^r>
^^p i P^-f^Kap-no-<f>o - /oois yi' - a - Xots
Tw - 09 o - no ^a - 6i - ojy
I^
PI I
PI P"
P
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47
f p Ip- ^'
pXo - x*^ " ** k\€i - i/a Xi nova
,
u - TTPOV Ka - TO Svo-^( - pa^ '
E ^ iaa • crra KTOiV fia
\ V
^/oa - ^oy a
TCOV,
t
g ^ ^ ^Tcz^ ySoAC - \ev - ou - (xav At - o
fiav - TIL - (aif 5 a - ^€t - X€ - to
^
ifz
^^
Ti - /xaz^
Ilap - va - ctl
$01 - ^ov <ftOo
^y Ko - pv - V^ai/,
ycD ^w -yo - T/OOS*
# ^^ I ^H- p
I^'
p^; n^
TOi - Ki • Xo - vo) - TO*; ol - voi - no% opa - Kiav
Ta-\v - TTous S'cs "O - \vpL-nov op - p.a - ^€(s a - va^
o - ffi
i ^^s ^Iqr^^'p ^'ir p
CTKt - < pa Ka - TO
nai- ovov €
- xa\- Kos;
Xl - f€i/ €K
^oX
At
Xo)
OS
5a^
<?yoo'
pa
I/O) I'
i ^p I
p-p -H^'-tf
yas TTC Xto - /Ol
So'
ov
<av
if
T( -/oas, a/A - 0€-7r«
/uojy X^o-vt - as a - ^€ Xetv
^1 PXaV - T€l - 01/ \Oo.VL - OP.
^1-^^^-f-M &trt* 0€ fJLlV €
ka - 9i 8\o
Tl $p€ - <^09,
Tl T€ - KO? ^ ^ ^€ - Tl ^l'
a - 0a/o €
Xas
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48
^p p I r p
I
^ p^- TTi /J.a - Ti-po% ay - KOL - Xai - crt Opon-GKuiv
no-\v - \pv - aa 6l - \o)u \a - rpeu - fxa - ra a\(7p'
W^^^^ fe i
\
TTl
to 4>oT- /8e, T€l -
5' •'
crct CTfZ/ KO
fi^P p I r P I ^€ - 776
(TiV VV-\l ovf; o
(Tiav,
I J'' J- J'I
Ji ii J'fT/Ot - 770
» \
a - no
8i T €p \pv-ae
\a - Oo-av
L
vav
I ^ ^J J. I I i) I
J
KTO) - 7I0V
dim.
a - ^iv - Sf? ^/oo - voi
i^ - u. - \eu /3po - tQi',
ip^ s ^KttL Tl
09
fxas
/3po - T07^
na - \lv
I fe ^Ao - ^i - a.(
4^' I
f p p I r-p pI rTF^
a - Sv - Twv V - no,
no -\v - a - vo-pi
Ka
5 iu
ara-Xi - 09
^c - p6 - <y
yO€- € OpOiV
Via
$ f i fe
y€t -
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49
Closing Chorus of Exodos
1490 -1496
i
Allegro
^ 4
M ^^ J d^d
^' ? _»IT €77 6U - TU - Xl
i JI J JH)
f
#^ <K
fJiOL - /oas €u - oat - juo-i/es oy - T69.
i h;)
I J j) J^-
!> J I J J
a\\', o) <J€ - jui^jy na-pa T a - 'a- ya - tois
^ b J'^ JI
iKttt na-pa Ovrj - to?9, IlaX-Xas ^K - 6a - va,
sPP^ ^^
Spa ao-fji€v ov TCtJS OJ^ au K(. - \€U - €1^.
^efta - \a ya/o T€yo - Trvi^y Kav - €\ - ttl - arov
fi' J)
IJ J) /^
I^>
I p E^
Vi^ = /bt»^y a - KO - a? - <Jt Sf - St - yfxai.
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