George Frideric Handel (1685-1759)
Gideon (compiled from the works of Handel by John
Christopher Smith (1712-1795))
After the death of Handel in 1759, the London public was
still eager for more music from a composer who had been so dear to them. John
Christopher Smith responded to this demand and to his own purposes in
collaborating with Handel’s former librettist, Thomas Morell, and searching
through the Old Testament for a suitable subject. Morell based a libretto on
the story of Gideon, and John Christopher Smith supplied the text with arias,
ensembles and choruses from Handel’s operas and oratorios, as well as from
earlier or new compositions of his own.
Handel himself had first visited London as a composer of
Italian opera, returning to settle there and continue his close involvement
with the theatre. In the 1730s, however, he saw the advantage of developing a
new form, English oratorio, that would combine English religious texts with
music of similar appeal to that of his Italian operas. The venture proved
immensely popular and after Handel’s death his oratorios continued to hold a
place in English choral repertoire, to the disadvantage of native composers,
unable to rival his example.
During his many years in England Handel benefited from the
help of the two Smiths, father and son, his compatriots. The older Johann
Christoph Schmidt was born in Kitzingen in 1683, the son of a respected
tradesman and town councillor, and may, perhaps, have met Handel at the
University in Halle, during the latter’s brief period as a student there. At
all events, with the death of his father in 1704 Schmidt moved the following
year to Nuremberg and shortly afterwards to Ansbach, where he married, and
after the death of his wife in childbirth in 1708 took a second wife, the
mother of his four children. In 1716 he accepted an invitation from Handel, who
was visiting Ansbach, to work with him in London, later to be joined there by
his wife and three surviving children. His first son and second child, given
the same name as his father, to the confusion of later writers, also followed
his father in changing his name to the English John Christopher Smith.
John Christopher Smith the elder served Handel as a
principal copyist and assistant until the composer’s death in 1759, and thereupon
received as a bequest Handel’s manuscripts, a collection that passed to his son
after his own death in 1763. The Handel autographs were bequeathed in 1795 to
King George III and are now, with the rest of the Royal Music Library, held by
the British Library, while the conducting scores were left to the younger
Smith’s stepdaughter, eventually to be auctioned in 1851.
The younger John Christopher Smith, born in Ansbach in 1712,
had his schooling in London. At the age of thirteen he had keyboard lessons
from Handel and studied composition with Thomas Roseingrave and Johann
Christoph Pepusch, winning an early reputation as a music teacher and, to a
lesser extent, as a composer. In the 1750s he helped Handel in the performance
of oratorios, particularly after the latter’s blindness, and served as unpaid
organist and choirmaster at the Foundling Hospital, where he conducted regular
annual performances of Messiah for a number of years after Handel’s death. He
also collaborated with David Garrick in three operas. From 1762 he was Master
of Music to the Princess of Wales, serving in this capacity until the latter’s
death in 1772. Two years later he retired to Bath, where he died in 1795.
Smith enjoyed a significant reputation in the musical life
of London, but preferred the society of leading figures in other professions.
His first wife was the sister of the future Lord Longford, and after her death
and those of his own children by her, he married the widow of the Royal
Physician, Dr Coxe, assuming responsibility for her children. His connection
with Handel was an important one and his possession of Handel’s conducting
scores and autographs put him in an unrivalled position when it came to
continuing the regular annual series of oratorios that had been initiated in
Handel’s lifetime. From 1760 until his retirement he collaborated with the
blind organist and composer John Stanley in the provision of oratorios
performed in London on Fridays in Lent. He had had his first attempt at the
genre with his David’s Lamentations over Saul and Jonathan in 1740, followed
twenty years later by Paradise Lost, based on Milton, but Handel remained the
overwhelmingly popular composer in the form.
The pasticcio, a form of composite work bringing together
excerpts from other works, often by different composers, had, by the early
eighteenth century, a sound commercial purpose. Employed particularly in opera,
it came to offer an equally useful vehicle for new-minted oratorios. Smith had
a stock of Handelian material on which to draw, and had offered his first
oratorio derived from Handel with his Rebecca on 16th March 1764. The same
occasion brought the Handelian pastiche Nabal, with a libretto by Thomas
Morell, who had provided Handel with libretti for Judas Maccabaeus, Alexander Balus,
Theodora and Jephtha, and probably also for Joshua. For Handel’s English
version of an earlier work under the new title of The Triumph of Time and Truth
he had written a text that fitted the existing music, and for Nabal he
performed the same task, as he was later to do for Smith’s Handelian Gideon,
fitting the words to the music. Gideon was first performed at Covent Garden on
10th February 1769. Much of the music was by Handel, but Smith took an overture
and six vocal items from his own oratorio of 1762, The Feast of Darius, itself
derived to some extent from his opera Dario of 1746, a work based on a libretto
by Metastasio.
The story of Gideon is taken from the Book of Judges. After
the conquest of Canaan by Joshua the Israelites settled principally in the
mountainous regions of Galilee and in the south and central regions of Canaan
and began, in the course of the years, to take on the farming pattern of life
of the people they had conquered. In the areas where they had settled there
were still Canaanites and related peoples, the Moabites, Ammonites and
Midianites, the cause of continued conflict. Since their arrival in the
Promised Land, the people of Israel were for many years involved in war, with
varying fortunes.
With this external danger came an internal threat. The
earlier inhabitants of Canaan worshipped Baal and other gods. The Israelites
were at times tempted to apostasy, which would have destroyed their very
identity as a people. For the writer of the Book of Judges, the Book of Samuel
and the Books of Kings it was all too obvious that apostasy must bring
immediate punishment. For this reason God delivered the Israelites into the
hands of the Midianites for seven years (Judges vi.1) and the writer was never
tired of recounting tales of apostasy, punishment and return. The story of
Gideon follows the story of Deborah, Jaël and Barak (Judges vi-viii).
Synopsis
CD 1
Part I
The children of Israel have fallen away from the Lord and
aroused his anger. They are attacked from all sides, particularly by the
Midianites, who have allied themselves with Israel’s deadliest enemy, the
Amalekites. The Israelites are warned by a prophet, who urges repentance, and
they seek the blessing of Jehovah. An Israelite tells of Gideon, who sees the
camp of the Midianites, and is angry at their domination. An angel appears to
him, telling him that he will defeat the enemy. Gideon seeks a sign, and brings
out food. The angel stretches out his hand, and fire rises up over the
offering, as the angel vanishes, to general amazement.
A Midian prince, Oreb, prays to his god, Baal, planning to
attack the Israelites. He is seen by Gideon’s father, Joash, who rouses the
people, but it is Gideon alone who faces and defeats the enemy. Oreb willingly
submits and Gideon shows mercy, to general acclamation.
Part II
The people return to the town with the good news. Old
Eliakim praises Gideon and the people rejoice. Gideon, however, is inspired to
follow the angel’s words, and in the night overturns the image of Baal in the
sacred grove and offers sacrifice. Thunder shows that his sacrifice is
acceptable.
CD 2
The priest of Baal, the next morning, sees the destruction
of the image and the sacred grove and urges vengeance. Joash declares that no
son of his would deny his actions. There is general dispute, but Eliakim
quietens the people, urging their return to God. The priest of Baal threatens
punishment, and Joash, meeting Gideon returning, warns his son of his probable
fate. Gideon turns to the crowd and tells them that Baal, if he had power,
should defend himself; they must turn again to God. The priest of Baal is
afraid and drops his spear, while Gideon is chosen as a hero.
Part III
The priest of Baal challenges Gideon and his God. Gideon
calls on God for rain, which falls, and then calls on God to send rain only to
a fleece. The miracle takes place, to general wonder. A trumpet calls the
Israelites to arms, and Joash looks forward to his son’s triumph. Many are
willing to help, but Gideon follows divine behest by choosing only three
hundred. With these men Gideon is victorious and a messenger brings news of his
triumph. There is general rejoicing, and Eliakim welcomes the return of the
people to God in peace.
Keith Anderson
Sources
CD 1
[1] Ouverture:
Grave,
Allegro, Menuet
J.
Chr. Smith the Younger
The
Feast of Darius (Overture)
Part I
[3] Recitative: Forth from
the swarming East
J.
Chr. Smith the Younger
[4] Soli
and Chorus: Comfort
us, O Lord
G.
F. Handel: Dixit Dominus, Ps. 109, HWV 232, No. 6: Chorus
Dominus
a dextris
[5] Recitative: A man, a
prophet
J.
Chr. Smith the Younger
[6] Accompagnato: No
wonder, that ye fly
J.
Chr. Smith the Younger
[7] Air: Trembling
with horror
G.
F. Handel: La Resurrezione, HWV 47, No.
6, Aria:
O
voi dell’Erebo (Lucifero)
[8] Chorus: Lord,
we seek thy blessing
G.
F. Handel: Dixit Dominus, Ps. 109, HWV
232, No. 7: Chorus
De
torrente in via bibet
[9] Recitative: Westward
from reverend Jordan’s silver stream
J.
Chr. Smith the Younger
[10] Accompagnato: By
doubt and shame
J.
Chr. Smith the Younger
[11] Air: Rise
with furious Emulation
G.
F. Handel: La Resurrezione, HWV 47, No. 28. Aria
Se
impossibile immortale (Maddalena)
[12] Recitative: As thus he
sung
J.
Chr. Smith the Younger
[13] Air: Thou
light of Israel
G.
F. Handel: Rodrigo, HWV 5, No. 7, Aria:
In mano al mio sposo (Esilena)
[14] Accompagnato: Let
the command suffice
J.
Chr. Smith the Younger
[15] Recitative: He said,
and gently stretching out
J.
Chr. Smith the Younger
[16] Solo
and Chorus: Immortal
God, whose hand
G.
F. Handel: Laudate pueri Dominum, Ps.
112, HWV 237, No. 3, Chorus
A
solis ortu usque ad occasum
[17] Recitative:
A Midian
prince
J.
Chr. Smith the Younger
[18] Air:
Mighty
Belus, Midian’s Glory!
G.
F. Handel: Silete venti, HWV 242, No. 5, Aria: Date serta, date flores
[19] Recitative: This done,
he with a chosen party went
J.
Chr. Smith the Younger
[20] Air:
’Tis
time, my sons
J.
Chr. Smith the Younger: The Feast of Darius, No. 50, Song
Now
tune with joy (Darius)
[21] Recitative:
Forth from
the town
J.
Chr. Smith the Younger
[22] Duet:
Sweet is conquest disapproving
G.
F. Handel: La Resurrezione, HWV 47, No.
10, Duetto
Dolci
chiodi, amate spine (Maddalena, Cleofe)
[23] Trio:
Like a bright cherub
J.
Chr. Smith the Younger
The
Feast of Darius, No. 48, Trio:
Placed
on a cloud (First, Second and Third Youth)
[24] Recitative:
Then bowing
mild
J.
Chr. Smith the Younger
[25] Air:
May
kind angels still attend thee
J.
Chr. Smith the Younger: Issipile, No. ?, Aria: Care luci
[26] Recitative:
And thus
the choral band
J.
Chr. Smith the Younger
[27] Chorus:
Hail,
enlivener of our cause!
J.
Chr. Smith the Younger: The Feast of Darius, No. 26, Chorus
Hail,
Enliv’ner of the Heart!
Part
II
[28] Recitative:
Triumphant
to the town
J.
Chr. Smith the Younger
[29] Air:
How
sweet, the rose
J.
Chr. Smith the Younger: The Feast of Darius, No. 39, Song
How
happy is the hermit’s lot (First Youth)
[30] Solo
and Chorus: Great
Jehovah
G.
F. Handel: Dixit Dominus, Ps. 109, HWV
232, No. 4, Chorus
Juravit
Dominus
Tanti
strali, HWV 197, No. 12, Duetto: Dunque annoda, annoda pur, ben mio
[31] Recitative:
Th’
Assembly rose
J.
Chr. Smith the Younger
[32] Air: Israel’s
guardian, sole creator!
G.
F. Handel: Neun deutsche Arien, HWV 205, No. 4: Süße Stille
[33] Recitative:
Silent he
march’d
J.
Chr. Smith the Younger
[34] Air:
Hark,
how the winds around
G.
F. Handel: Aminta e Fillide: Arresta il passo, HWV 83, No. 1, Aria
Fermati,
non fuggir (Aminta)
[35] Chorus:
Destroy
these idols
J.
Chr. Smith the Younger: The Feast of Darius, No. 51, Chorus
From
Time and Envy
[36] Recitative:
Gideon,
preparing now
J.
Chr. Smith the Younger
[37] Accompagnato:
Not
these imperfect rites
J.
Chr. Smith the Younger
[38] Air:
O
glorious mortal
G.
F. Handel: Neun deutsche Arien, HWV 203, No. 2
Das
zitternde Glänzen
CD 2
[1] Recitative:
At morn
rose Baal’s Priest
J.
Chr. Smith the Younger
[2] Accompagnato:
No
more thus loud
J.
Chr. Smith the Younger
[3] Trio:
From the mountain’s
brow
G.
F. Handel: Aci, Galatea e Polifemo, HWV 72, No. 11, Terzetto
Proverà
lo sdegno (Aci, Galatea, Polifemo)
[4] Recitative:
Here had
contention drawn
J.
Chr. Smith the Younger
[5] Air:
Sons
of Israel, let not frenzy
G.
F. Handel: Neun deutsche Arien, HWV 206, No. 5
Singe,
Seele, Gott zum Preise
[6] Recitative:
The priest
still beats his breast
J.
Chr. Smith the Younger
[7] Air:
Return!
Tumultuous ruin shun!
J.
Chr. Smith the Younger: The Feast of Darius, No. 10, Song
Can
words the human breast control (Darius)
[8] Recitative
While
yet he spake
J.
Chr. Smith the Younger
[9] Accompagnato
Furious
revenge
J.
Chr. Smith the Younger
[10] Chorus:
All
Glory be to thee, O Lord!
G.
F. Handel: Laudate pueri Dominum, Ps. 112, HWV 237, No. 1, Chorus
Laudate
pueri
[11] Recitative:
Sudden the
Priest of Baal
J.
Chr. Smith the Younger
[12] Solo
and Chorus: Glorious
patron! Glorious hero!
G.
F. Handel: Laudate pueri Dominum, Ps. 112, HWV 237, No. 8, Chorus
Gloria
Patri
Part
III
[13] Recitative: Much I
applaud, brave youth
J.
Chr. Smith the Younger
[14] Chorus:
Let
Jehovah by miracle confirm
G.
F. Handel: Dixit Dominus, Ps. 109, HWV
232, No. 6, Chorus
Judicabit
[15] Recitative:
Now, while
the multitude
J.
Chr. Smith the Younger
[16] Accompagnato:
Thou
sacred, high unutterable Name!
J.
Chr. Smith the Younger
[17] Recitative:
His pray’r
was heard
J.
Chr. Smith the Younger
[18] Accompagnato:
Once
more, my God
J.
Chr. Smith the Younger
[19] Recitative:
He spoke,
and it was so
J.
Chr. Smith the Younger
[20] Solo
and Chorus: Happy
Nation
G.
F. Handel: Tanti strali, HWV 197,
No.
12, Duetto Tanti strali, von J. Chr. Smith
[21] Recitative:
Now each
rous’d soldier
J.
Chr. Smith the Younger
[22] Air: Let
the trumpet’s sound inviting
G.
F. Handel: Aci, Galatea e Polifemo, HWV 72, No. 5, Aria
Sibilar
gli angui d’Aletto (Polifemo)
[23] Recitative:
Let Gideon,
our undaunted hero
J.
Chr. Smith the Younger
[24] Air:
Tho’
now fall’n, dismay’d
J.
Chr. Smith the Younger
[25] Recitative:
Thanks to
my countrymen
J.
Chr. Smith the Younger
[26] Air:
From
your idol gods returning
G.
F. Handel: Neun deutsche Arien, HWV 209, No. 8
In
den angenehmen Büschen
[27] Recitative:
Alarm’d by
frequent
J.
Chr. Smith the Younger
[28] Air
In
Notes of joy we hail the happy day
J.
Chr. Smith the Younger
[29] Recitative:
Ye sons of
Israel
J.
Chr. Smith the Younger
[30] Air
& Chorus: Sing
and rejoyce!
J.
Chr. Smith the Younger: The Feast of Darius, No. 15, Chorus
Hear
and rejoice
[31] Recitative:
To meet the
hero
J.
Chr. Smith the Younger
[32] Accompagnato:
Ye
see, that God
J.
Chr. Smith the Younger
[33] Duet:
Sweet Peace, from Heav’n descending
J.
Chr. Smith the Younger
[34] Recitative: Our hearts
their confidence
J.
Chr. Smith the Younger
[35] Chorus: Wondrous
are thy works, O Lord!
G.
F. Handel: Dixit Dominus, Ps. 109, HWV 232, No. 8, Chorus
Gloria
Patri
CD 1
Part I
[3] Recitative
(An
Israelite - soprano)
Forth
from the swarming East,
for
seven long years,
has
restless Midian pour’d her swarthy hosts;
and
Canaan, horrid with erected spears,
aw’d
wretched Israel to her Western coasts;
with
these had Amalek her Standard join’d,
the
Hebrew’s first and surest foe!
And
now o’er all the land they flow,
thick
as the locusts in some living wind;
when
Israel, with dread and famine faint,
to
angry Heav’n pour’d out their deep complaint.
[4] Soli
& Chorus
(soprano,
countertenor, tenor, bass, chorus)
Comfort
us, O Lord, to mercy prone,
and
save thy people,
who
trust in Thee alone.
[5] Recitative
(An
Israelite - countertenor)
A
man, a prophet, heard their mournfull cry,
and
thus exhorted them.
[6] Accompagnato
(Prophet)
No
wonder that ye fly,
and
seek in caves and rocks a dark abode,
deserted
and forsaken by your God.
Since,
stubborn, for an empty idol’s sake,
your
covenant with Heav’n ye dar’d to break.
[7] Air
(Prophet)
Trembling
with horror, while looking around,
hopeless
to live, yet fearing to die;
no
longer valiant than obedient found!
Turn
to your duty; and with sincerity,
make
your address before the throne;
for
this will call a blessing down.
[8] Solo
& Chorus
(soprano)
Lord,
we seek thy blessing in pray’r,
(chorus)
Jehovah,
with due praise confessing.
[9] Recitative
(An
Israelite - soprano)
Westward
from reverend Jordan’s silver stream,
where
Ophra’s Mount salutes the morning beam,
beneath
an oak sat Gideon, and from high,
o’er
Jezreel’s fertile valley cast his eye.
Happy
enough, had this been all his view,
had
he not seen the camp of Midian too.
[10] Accompagnato
(An
Israelite - soprano)
By
doubt and shame, and fear, and anger press’d,
(Gideon)
God
who ’til now, he cried,
had
fought on Israel’s side,
leaves
us abandon’d most when most distress’d.
And
must it be! – And can no help be found! –
Said
I, no help! – Dishonest sound! –
There
can, – there must, – there shall;
–
this galling yoke
from
off our necks, at one determin’d stroke,
may
still be shook in fury, or by strength be broke.
[11] Air
(Gideon)
Rise
with furious Emulation,
and
trust to Heav’n to guide the blow.
Let
not Israel’s chosen nation
joy
resign for drooping woe.
[12] Recitative
(An
Israelite - soprano)
As
thus he sung, then, fix’d in silence, gaz’d,
th’unfolding
Heav’ns with streamy
brightness
blaz’d;
he
turn’d, and saw a youth divinely fair,
sitting
like some kind partner of his care.
Near
him he drew with awe and fear possess’d,
when
thus the heavenly visitor him address’d:
[13] Air
(Angel)
Thou
light of Israel,
thy
sword o’er Midian shall prevail.
Thrice
happy youth! Ordain’d her guide!
Let
faith be obedient,
and
Heav’n will war on Gideon’s side.
[14] Accompagnato
(Angel)
Let
the command suffice; nor reason’s eye,
with
dangerous keenness,
seek
the darken’d “Why”.
All
curious inquisition must be spar’d,
and
nothing sought beyond what stands declar’d.
Be
not too scrupulously wise;
Obedient
faith is man’s best sacrifice.
[15] Recitative
(An
Israelite - soprano)
He
said, and gently stretching out his hand,
touch’d
the design’d repast with his bright wand.
When
strait a flame from the dry surface broke,
and
cover’d, and consum’d th’untasted store.
Lovely
the fire rose whirling, mix’d with smoke,
folding
in glorious volumes o’er and o’er;
and
upward, on a curling cloud,
the
mounted angel bore.
Long
musing with suspense his servants stand,
when
thus at last their wonder broke its way.
[16] Solo
& Chorus
(soprano,
chorus)
Immortal
God, whose hand
Thy
glorious name can best display!
[17] Recitative
(An
Israelite - countertenor)
A
Midian prince, valiant and strong,
at
Baal’s shrine now made his evening song.
[18] Air
(Oreb)
Mighty
Belus, Midian’s glory!
That
proud Israel may adore thee,
bow
the haughty nation down.
[19] Recitative
(An
Israelite - countertenor)
This
done, he with a chosen party went,
to
climb the mountain, silent and unspied,
that
close conceal’d ’til dawn, with dire intent,
the
cohort in the craggy cliff might hide;
’til
at the opening portal rushing in,
surprize
might force what siege would slowly win.
But
Joash, Gideon’s father, saw their spears,
and
taught experience catch’d prophetic fears.
And
thus he rous’d th’unwary multitude.
[20] Air
(Joash)
’Tis
time, my sons, in every breast
to
wake the martial fire,
while
all around
against
your peace conspire.
[21] Recitative
(An
Israelite - soprano)
Forth
from the town a mingled tumult swarms,
when
Gideon gave a sign that he alone
would
make the general hazard all his own.
Hush’d
was the storm; and Oreb smiling saw
one
threat’ning Hebrew near him draw.
But
smil’d in vain, when, by superior pow’r,
vanquish’d
he fell. – Then thus the conqueror:
[22] Duet
(Gideon)
Sweet
is conquest
disapproving
tyrant pow’r and mercy loving;
this
a glorious triumph forms!
(Oreb)
Great
thy conquest
disapproving
tyrant pow’r and mercy loving;
this
a glorious triumph forms!
[23] Trio
(Gideon)
Like
a bright cherub, some mortal befriending,
mercy
now glides from th’empyreal throne;
hope,
her wing’d herald, glad omens portending,
with
joy and blessing this conquest to crown.
(Oreb)
Great
is the victor, all rancour resigning,
raising
the conquer’d with unlook’d for joy;
to
the sweet dictates of mercy inclining,
when
fate vouchsafes him the pow’r to destroy.
(An
Israelite - soprano)
Thus
when the night, all in darkness involving,
holds
for a while her disconsolate reign;
sol’s
radiant beams the thick vapours dissolving,
burst
through the gloom, and gives day-light again.
[24] Recitative
(An
Israelite - soprano)
Then
bowing mild, the generous Hebrew said:
Fortune
not always favours the most brave;
had
partial victory still sustain’d your side,
she
would have robb’d me of wish’d
power
to save;
and
you had wrong’d a Hebrew’s heart untried.
(Another
Israelite - soprano)
Such
noble sentiments with valour join’d,
receiv’d
applause from every gratefull mind,
when
thus an Israelite inspir’d the rest:
[25] Air
(An
Israelite - countertenor)
May
kind angels still attend thee,
from
the realms of bliss above,
and
with blessings still befriend thee,
sweet
reward of filial love.
Gen’rous
valour when victorious
scorns
the insolence of pow’r,
makes
the hero truly glorious,
and
each virtue shine the more.
[26] Recitative
(An
Israelite - soprano)
And
thus the choral band their gratitude express’d:
[27] Chorus
Hail,
enlivener of our cause!
That
calls for wonder and applause.
So
shall praise our songs employ,
and
crown this victory with gratefull joy.
Part II
[28] Recitative
(An
Israelite - soprano)
Triumphant
to the town the noisy press
return’d
with shouts, the voice of good success.
The
reverend elders, o’er the city gate,
sate
wisely busied in serene debates,
on
questions which concern’d the good
of
Ophra’s little state.
These
finish’d; thus Eliakim, the senate’s tongue,
in
every listening ear, to Gideon sung.
[29] Air
(Eliakim)
How
sweet the rose in Sharon’s dale!
And
sweet the lillies of the vale!
More
sweet the incense of due praise,
that
gratefull minds to virtue raise.
(Ne’er
may thy blooming glory fade,
nor
feel a blast from envy’s shade:
Tall
as the cedar may it rise,
and
still encreasing reach the skies.)
[30] Soli
& Chorus
(soprano,
countertenor, tenor, bass, chorus)
(Fear
not, be bold, and prosper;
and
Heaven shall raise thy name
from
this bright dawn of fame and glory.)
Great
Jehovah shall reward thee,
and
immortalize thy claim to glory.
[31] Recitative
(An
Israelite - soprano)
Th’assembly
rose, and the remains of day
were
in diffusive pastime nois’d away,
’til
night at length the rage of joy suppress‘d,
and
weary tumult hush’d herself to rest.
But
Gideon’s active mind was form’d to wake;
his
new gain’d honour, and the angel’s Hail,
now
suffer’d him no rest to take,
but
led him o’er the grounds
through
night’s dark veil,
when
thus he Heav’n address’d:
[32] Air
(Gideon)
Israel’s
guardian, sole creator!
Let
not idol faith prevail,
nor,
O mighty Lord of Nature,
this
my glorious purpose fail.
[33] Recitative
(An
Israelite - soprano)
Silent
he march’d to the devoted grove;
his
chosen few with emulation strove,
’til
low was laid the monarch of the wood,
an
aged oak, that in the centre stood.
He
next with zealous transport drew his sword,
and
cleav’d the idol image long ador’d.
On
either side the parted godhead fell,
when,
startled, cried a son of Israel:
[34] Air
(An
Israelite - soprano)
Hark!
Hark! – How the winds around,
with
echoing sound,
spreading
the notes of woe,
rising
from caves below,
pierce
my soul with pleasing dread.
While
from the groves the daemons press,
sighing
forth their sore distress.
[35] Chorus
Destroy
these idols, and henceforth new altars raise
to
a diviner pow’r, and more exalted praise.
[36] Recitative
(An
Israelite - soprano)
Gideon,
preparing now the sacrifice,
made
apt libation in the hissing flame,
and
prostrate bow’d to pray:
[37] Accompagnato
& Recitative
(Gideon)
Not
these imperfect rites,
Lord
of the Heart, despise;
call
them ablution, and let Israel’s shame
be,
from this time, for ever wash’d away.
(An
Israelite - soprano)
He
said, when strait through Heav’n loud
thunder
roar’d,
confirming
thus the grace the hero had implor’d.
The
servants humbly to their patron kneel;
and
thus their joy in transport they reveal:
[38] Air
(An
Israelite - soprano)
O
glorious mortal, thus approv’d,
thus
by the court of Heav’n belov’d!
Ordain’d
lost Israel to restore!
For
Gideon’s God is God alone.
No
idols could e’er appear in flame,
or
with such signs their might proclaim.
In
hallow’d groves there is no pow’r,
nor
strength in sculptur’d stone.
CD 2
[1] Recitative
(An
Israelite - countertenor)
At
morn rose Baal’s Priest, and scarce believ’d
th’alarming
witness which his senses bore;
fearing,
yet longing to be undeceiv’d,
he
sought the grove; but now a grove no more.
And
having gaz’d o’er the deserted ground,
(and
view’d th’accomplish’d desolation round,)
where
not a remnant of his god was to be found,
he,
where the senate now was met, rush’d in,
and
urg’d due vengeance on the horrid sin.
It
must be Gideon’s daring hand alone,
he
cried, who this atrocious deed hath done.
When
Joash, slowly rising from his seat,
soft
to th’impatient priest this answer made:
[2] Accompagnato
(Joash)
No
more thus loud thy boistrous pray’r repeat,
heard
were thy words, and shall be duly weigh’d.
No
son of mine, I think, has yet been known
actor
of any deed he dar’d not own.
[3] Trio
(Priest
of Baal)
From
the mountain’s brow, ye daemons,
headlong
hurl the monster down,
who
your shrines hath thus polluted,
and
your sacred groves o’erthrow’n.
(1st
Israelite - soprano)
Cease
your anger, cease your folly,
for
vain idols to contend! –
Impious,
barbarous, most cruel!
Would
you sacrifice a friend?
(2nd
Israelite - countertenor)
Why
so frantic; why so furious?
In
vain you strive t’insult that pow’r,
and
his almighty arm defy,
Weak
the daemons of the land.
No
pow’r can his withstand.
Tis
in vain with him to vye.
Vain
the idols you adore.
[4] Recitative
(An
Israelite - soprano)
Here
had contention drawn a crimson flood,
and
civil fury stain’d her face with blood.
But
mild Eliakim, who cooly dar’d,
whose
heart at once was cautious and prepar’d,
taught
them by speechless signs
how
madness err’d;
and
in soft accents charm’d the gaping herd.
[5] Air
(Eliakim)
Sons
of Israel, let not frenzy
thus
transport your honest minds.
Frantic
zeal is blind and vain:
Turn
to God;
all
his laws are sure and plain.
Who
a blessing seeks, a blessing finds.
[6] Recitative
(An
Israelite - countertenor)
The
priest still beats his breast, his vestment rends,
and
to the crew his idol-gods defends.
When
Gideon now, returning from the plain,
appear’d,
victorious.
To
meet him, trembling at the sight,
the
tender father flies;
tells
the near danger, and with wat’ry eyes
thus
the safe counsel of his love applies.
[7] Air
(Joash)
Return!
– Tumultuous ruin shun;
behold
thy father’s tears, my son,
nor
daring, add a heavier weight,
to
make him witness of thy dreadfull fate.
Blast
not the blessing unenjoy’d. –
Go,
seek the field, by Heav’n employ’d.
[8] Recitative
(An
Israelite - soprano)
While
yet he spake, the noise grew great and loud,
and
rising dust proclaim’d the threatning croud.
Gideon
observ’d it, and with pious care,
thus
generous interrupts his father’s pray’r:
[9] Accompagnato
(Gideon)
Furious
revenge toils hard for fruitless ends:
He
must not, cannot fall, whom God defends.
(An
Israelite - soprano)
Then
with high voice and awefull mien,
thus
to the crouwd reproachfull:
(Gideon)
Say
whence could all this waste of anger flow?
Did
it to Baal such great transport owe?
Why
does not Baal his own foes subdue?
Omniscience
sure, like his, th’ Offender knew.
Rash
fools! By blind and feeble zeal betray’d!
Are
men their God’s protector made?
Oh
what a different and almighty Lord,
your
fathers once ador’d!
No
help from earth our great Jehovah drew;
from
his own hand the balefull lightnings flew.
[10] Solo
& Chorus
(soprano,
chorus)
All
glory be to thee, O Lord!
[11] Recitative
(An
Israelite - soprano)
Sudden
the Priest of Baal, who stood near,
felt
his joynts loosen, with resistless fear,
and
dropt insensibly his useless spear.
The
sacred twelve to the young hero press’d,
laid
on his head their hands,
and
his great purpose bless’d,
and
thus their praise to him and Heav’n address’d:
[12] Solo
& Chorus
(soprano,
chorus)
Glorious
patron! Glorious hero!
The
delight of Heav’n confess’d!
Blessed
be, O Lord, thy holy name,
for
ever and ever!
Amen.
Part III
[13] Recitative
(Priest
of Baal)
Much
I applaud, brave youth, your generous aim:
And
yet beware, lest ardent thirst of fame
disguise
ambition with religion’s name.
Great
was this God; if what we hear from you,
be
not far more traditional than true.
If
some new wonder he would now unfold,
’t
would more convince than all th’uncertain old.
[14] Chorus
Let
Jehovah by miracle
confirm
his mighty pow’r;
and
trembling, we will doubt no more.
[15] Recitative
(An
Israelite - soprano)
Now,
while the multitude attentive gaz’d,
expectant
and amaz’d,
Gideon
invok’d that God,
who
his new hope had rais’d:
[16] Accompagnato
(Gideon)
Thou
sacred, high, unutterable Name!
If
by thy servant’s weak and worthless hand
thou
wilt save Israel, and her pow’r increase;
let
show’ry rains descend at thy command,
and
nothing dry remain, but this soft fleece.
[17] Recitative
(An
Israelite - soprano)
His
pray’r was heard, and with applausive voice,
the
People shout to Heav’n their raging joys.
[18] Accompagnato
(Gideon)
Once
more, my God, (cried Gideon),
yet
once more
indulge
the varied sign their doubts implore.
Call
off these rains, unfloat the delug’d ground,
and
when all else is dry,
wet
let this fleece be found.
[19] Recitative
(An
Israelite - soprano)
He
spoke, and it was so, – when, struck with awe,
the
raptur’d crowd these mighty wonders saw;
and
with joint voices thus their joy express’d.
[20] Soli
& Chorus
(soprano,
countertenor, bass, tenor, chorus)
Happy
Nation, who this treasure
labour
gratefull to improve.
Ev’ry
comfort, ev’ry pleasure
springs
from harmony and love.
[21] Recitative
(An
Israelite - countertenor)
Now
each rous’d soldier, prompt to war’s alarms,
strong,
for the notic’d movement, girds his feet;
and
the shrill startling trumpet sounds to arms,
when
all, obedient to the signal,
at
their standard meet,
and
Joash thus his ardent hopes express’d:
[22] Air
(Joash)
Let
the trumpet’s sound inviting,
with
due courage all exciting,
set
the battle in array.
By
the angel’s voice exhorted,
by
th’Almighty’s arm supported,
Gideon
shall his pow’r display.
[23] Recitative
(An
Israelite - soprano)
Let
Gideon, our undaunted hero, lead,
and
Israel no hostile arms shall dread.
[24] Air
(An
Israelite - soprano)
Tho’
now fall’n, dismay’d, confounded,
and
with numerous foes surrounded,
dark
designing,
and
combining,
all
their threatnings we despise.
On
thy prowess still relying,
and
with Heav’n’s command complying,
thus
respected and protected,
Sion
shall more glorious rise.
[25] Recitative
(Gideon)
Thanks
to my countrymen, your ready will
demands
your leader’s just applause;
but
the Almighty, who approves our cause,
in
vision bade me his behests fulfill:
Three
hundred to select, and ask no more,
to
manifest his all sufficient pow’r.
[26] Air
(Gideon)
From
your idol gods returning,
now
be brave, his power discerning,
who
alone rules earth and sky, –
Universal
Lord of Nature.
Who
in numbers put their trust,
build
weak models in the dust.
He
their schemes at pleasure blasting,
he,
whose strength is everlasting.
They
in vain on man rely!
[27] Recitative
(An
Israelite - soprano)
Alarm’d
by frequent and encreasing shouts,
the
senate sate, ’til with this joyful tale,
a
messenger arriv’d, and clear’d their doubts:
(Messenger)
Hail,
reverend fathers; and great Joash, hail!
Thrice
happy in a matchless son;
expression
fails, to tell the wonders he hath done.
The
chosen few, appointed by the Lord,
return
victorious with unbloodied sword.
Soon
as their lamps disclos’d a horrid blaze,
the
Midianitish host, with wild amaze,
fled,
and in flying, one another slew.
Thus
fell the friendly Oreb with his train,
and
Zeb, who only warr’d in thirst of gain;
Zeba,
the insolent, and rashly brave;
nor
could extensive pow’r the proud
Zalmunna
save.
[28] Air
(An
Israelite - soprano)
In
notes of joy we hail the happy day,
that
shews us, if we will be blest we may.
Heav’n,
ever gracious, hath new proof display’d;
his
faithfull servants ne’er shall want his aid.
Let
not our love and earnest care be less;
’tis
ours to labour, as ’tis Heaven’s to bless.
[29] Recitative
(An
Israelite - soprano)
Ye
sons of Israel,
lend
action every gratefull pow’r ye can,
words
are too weak to thank the godlike man,
whose
ardent wish here terminates alone,
to
make the people’s happiness his own.
[30] Air
& Chorus (soprano,
chorus)
Sing
and rejoyce, the hero proclaiming,
whose
conquest with glory is crown’d;
no
longer the pow’r of Jehovah defaming,
with
ardour his altars surround.
[31] Recitative
(An
Israelite - soprano)
To
meet the hero mid wild triumph’s noise,
ungovernably
wanton in their joys,
the
Priest of Baal, as he past along,
leaping
and dancing led the shouting throng,
converted
to the other, best extreme,
the
praise of Israel’s God was now their theme.
[32] Accompagnato
(Eliakim)
Ye
see, that God his Israel secures.
Let
Baal perish! Gideon’s God be yours.
Above
all other deities,
he
only rules who made the skies.
’Tis
he, who maketh wars to cease,
and
blesseth nations with the sweets of peace.
[33] Duet
(soprano,
countertenor)
Sweet
Peace, from Heav’n descending,
our
gloomy sorrows ending,
here
spread thy silver wings.
So
shall harmonious pleasure
still
heighten every treasure,
that
plenteous comfort brings.
[34] Recitative
(An
Israelite - soprano)
Our
hearts their confidence repos’d
in
God our strength and shield;
in
him we trusted and return’d
triumphant
from the field.
To
him, who made our joys complete,
’tis
just that we should raise
the
chearfull tribute of our thanks,
and
thus again resound his praise.
[35] Soli
& Chorus
(soprano,
tenor, chorus)
Wond’rous,
great and wond’rous are
thy
works, O Lord.
We
trust in thy salvation.
Ophra,
first bless’d, shall bless thy Holy Land,
and
make happy thy faithfull chosen nation.
Amen.
FINIS
