Jephtas Gelüdbe - Cambridge Scholars Publishing

Jephtas Gelüdbe
Jephtas Gelüdbe
Oper in drei Aufzügen mit Ballett
Gedichtet von Professor Alois Screiber
In Musik Gesetst von Jakob Meyerbeer
Introduced and Edited by
Robert Ignatius Letellier
Cambridge Scholars Publishing
Jephtas Gelüdbe Oper in drei Aufzügen mit Ballett Gedichtet von Professor Alois Screiber
In Musik Gesetst von Jakob Meyerbeer, Introduced and Edited by Robert Ignatius Letellier
This book first published 2008 by
Cambridge Scholars Publishing
15 Angerton Gardens, Newcastle, NE5 2JA, UK
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Copyright © 2008 by Robert Ignatius Letellier
All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form
or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright
owner.
ISBN (10): 1-84718-463-4, ISBN (13): 9781847184634
TABLE OF CONTENTS
The Manuscript .......................................................................................................... viii
Introduction...................................................................................................................ix
Libretto....................................................................................................................... xiii
Table of Musical Numbers
Act 1...............................................................................................................................1
Overture .............................................................................................3
1. Introduction ................................................................................51
Dialogue (Sc. 1 and 2) .....................................................................91
2. Duett (Sulima and Asmaweth) ....................................................93
3. Aria (Asmaweth) .......................................................................105
Dialogue (Sc. 3).............................................................................127
4. Aria (Abdon)..............................................................................128
5. Mehrstimmiges Gesangstück.....................................................155
Dialogue.........................................................................................191
6. Finale .........................................................................................193
Act 2...........................................................................................................................293
Dilogue (Sc. 1)...............................................................................294
7. Rezitativ und Arie mit Chor (Sulima) ......................................297
Dialogue (Sc. 3).............................................................................330
8. Terzett (Sulima, Abdon, Tirza)..................................................332
Dialogue (Sc. 4).............................................................................347
9a Cavatina (Asmaweth) ...............................................................349
Dialogue (Sc. 5).............................................................................363
9b Duet (Sulima and Asmaweth)...................................................365
Dialogue (Sc. 5).............................................................................404
10. Finale .......................................................................................406
Act 3...........................................................................................................................454
11. Entract, Rezitatif und Arie (Jephta).........................................505
Dialogue (Sc. 2).............................................................................562
12. Aria (Sulima) ...........................................................................566
Dialogue.........................................................................................587
13. Terzett (Asmaweth, Sulima, Jephta)........................................588
Dialogue (Sc. 4 and 5) ...................................................................619
14. Finale .......................................................................................621
THE MANUSCRIPT
The folio manuscript is by a copyist, in a clear legible hand. The score is divided as
follows:
Act 1
Overture
1. Introduction
Dialogue
2. Duett (Asmaweth and Sulima)
3. Aria (Asmaweth)
Dialogue (Sc. 3)
4. Aria (Abdon)
5. Mehrstimmiges Gesangstück
Dialogue
6. Finale
1-26
26-45a
46-47a
47-52
53-63
64-65a
65-79a
79-97a
97-98a
98
Act 2
148
Dialogue (Sc. 1)
7. Rezitativ und Arie mit Chor
(Sulima)
Dialogue (Sc. 3)
8. Terzett (Sulima, Abdon, Tirza)
Dialogue (Sc. 4)
9a Cavatina (Asmaweth)
Dialogue (Sc. 5)
9b Duet (Sulima and Asmaweth)
Dialgue (Sc. 5)
10. Finale
149
Act 3
254
11. Entract, Rezitatif und Arie
(Jephta)
Dialogue (Sc. 2)
12. Aria (Sulima)
Dialogue
13. [14] Terzett (Asmaweth,
Sulima, Jephta)
Dialogue (Sc. 4)
14. [13] Finale
150-165a
165+177a
177-184
166-167a
167-174a
174+185a
185-205a
205-206a
206-254a
255-283
285-286a
286-297a
297
298a-313a
313-314a
314-347
INTRODUCTION
There is no record of the composition of Jephtas Gelübde. The first specific
mention occurs in Meyerbeer’s diary which he began in April 1812. The year contains
some passing reference to the score, the attempts to secure it a place at the Munich
Court Opera, and an account of its eventual performance.
“April 1812. Already at the beginning of January it was decided that Vogler and I
should go to Munich. I therefore postponed beginning the diary from day to day because
I really wanted to begin it with the journey. The only problem was that this journey was
also postponed for a thousand reasons until 8 March (Sunday) when we at last left
Darmstadt and arrived in Würzburg on the evening of the 9th. I had unfortunately to stay
there for 5 weeks because Vogler wanted to give 3 organ concerts which I very much
wanted to attend. Only after the passing of 5 weeks was the first concert given and since
I had of necessity soon to be in Munich because there I want to try to stage a new opera,
Jephtas Gelübde (which I completed on 6 April in Würzburg), and so decided to leave
before Vogler.[...]
Sunday 27 June. Now that I have finished the outline of my opera that I want to
present to the Queen, I travelled at 11 o'clock with Vogler to Nymphenburg. Even though
the Queen had just risen, she received us at once. I presented the outline of my opera to
her, but she immediately asked me if I had the score with me. In my embarrassment, I
told her that the copy was not yet ready, and that the outline was only provisional. Then I
spoke quite frankly, and told her of my wish to see my opera performed on the Royal
stage. [...]
Saturday 8 August. I played Gänsbacher Act 2 of my opera Jephta. He made
several enlightening observations, ergo: 1) that the words “Zum Tode geweiht” (Finale
II), which are important for the action, lie too low (and therefore risk not being heard); 2)
there should be a more powerful cadence on the words “Ich schwör's” (Finale II); 3) he
feels that the fusion of the 3 themes in the Trio No. 12 is too turgid.[...]
Mondav 10 August. ...On my return home, I was given the very pleasant news by
Fränzl [director of the Court Theatre] that the Queen has sent him the score of my opera
for his inspection. [...]
...At last on the 23 December (a Wednesday) my opera Jephtas Gelubde was
produced for the first time. The rehearsals had began on 18 November, but were
interrupted several times. The opera was performed 3 times. Deliberate and accidental
hindrances of every sort intruded, and even on 20 December I was not certain whether
the opera would be performed on the 23rd. Anxiety, annoyance and vexation of every
sort bothered me in these 6 weeks. I was nevertheless rewarded by an almost perfect
performance. Apart from Jephtha (played very poorly by Lanius), I had reason to be
satisfied with everyone. All the pieces apart from No.1, No.8 and No.11 were applauded.
Harlas surpassed herself. I wrote 2 new scenes (completely tailored to her individuality)
which she sang to perfection. At the end she was called out tumultuously. I also wrote a
new scene and cavatina for Weichselbaum; he sang the latter with particular charm. His
acting was more natural than usual. The ballet master Crux, in the space of 10 days,
purposefully and effectively arranged the many ballets which are integral to the action.
The orchestra was simply dynamic in all the ensembles and decisive moments. In
individual passages, however, their performance was not polished. Jephta was repeated
on 29 December then put away for the while because Harlas has left for Vienna.
On 31 December I played in a concert which the orchestra held for the benefit of
wounded Bavarian soldiers. For this occasion I reworked the Variations in E-flat major
and added a big fantasia. For 12 days and 12 nights I practised like a madman, but the
results rewarded my efforts. Tumultuous and repeated applause, mixed with wild cries of
"bravo" (I could even say shouting), accompanied me when I returned to the Hall after
the orchestra had finished playing. The Queen (most unusually) herself applauded. On
x
Introduction
the same evening there was a big supper at Strassburger's to which I was also invited.
When I entered the room the whole gathering burst into applause, everyone came up to
me, embracing and kissing me. It was, in short, a wonderful evening for me. Two days
later I went to the Queen to take my leave of her. She overwhelmed me with
compliments about Jephta and my playing of the evening before and gave me a letter for
the Viceroy in Milan. On the following day (Sunday 3 January 1813) at midday I left
Munich. Two hours before I was summoned by Countess Taxis (the Queen's chief ladyin-waiting), who, on behalf of the Queen, presented me with a ring (a jacinth encircled
with diamonds)—a sign, as she put it, of the pleasure which the Queen has derived from
my opera and my playing. An hour later I left Munich with the Professor.
I am flooded by memories of every kind when I think of my 9 months stay in
Munich, the pleasant ones far outweighing anything unhappy. Munich will always
remain remarkable for me (beyond even the delightful social contacts I made), because it
was there that my first opera was staged, there that my musical apprenticeship ended
(when I left Vogler), and finally because it is the first place where I won serious artistic
regard. I pray that 1813 will fare as well as 1812 has ended.".”
The Queen of Bavaria who took such interest in the young composer was Karoline of
Baden, wife of King Maximilian I (reg. 1805-25). The ring she presented to
Meyerbeer contained brilliants and a jacinth, a translucent blue gem, a variety of
zircon. Relations between Meyerbeer and Vogler appear to have become clouded in
the last months of 1812. This probably accounts for the rupture of their teacher-pupil
relationship, and an absence of any mention in the diary of Vogler's concert in the
Church of St Michael's in Munich (1 November 1812) to inaugurate the new organ.
A close inspection of the score was carried out by Edgar Istel in 1926. ‘The
great success of his oratorio Gott und die Natur brought Meyerbeer numerous offers
of opera-librettos. In 1811-12 he was occupied with the composition of two operas,
one of which he hoped to have accepted at Munich. In March, 1812, he travelled with
Vogler via Bamberg (where he met the great romanticist E. T. A. Hoffmann) to
Munich. Here, on Dec. 23, 1812, was performed for the first time after rehearsals
under Meyerbeer in person, Jephtas Gelübde, “an opera seria in three acts, with
ballet, the poem by Aloys Schreiber, set to music by J. Meyerbeer.” This biblical
subject (from Judges, Chap. XI) had often been treated musically before Meyerbeer,
but only Handel's oratorio Jephta (1751) and the opera lphigénie by Gluck utilizing a
kindred material would appear to have exercised any influence on him. From Handel
he had learned the musical portrayal of Old Testament incidents; Gluck's example
taught him psychological profundity. But, following the tendency of the period, it was
Meyerbeer himself in which the foreboding of future horror is musically depicted long
before the actual catastrophe. Here the paw of the later lion is clearly in evidence.
Unfortunately, the bombastic text, another product of Schreiber's, was frequently less
a help than a hindrance to the composer. The orchestral apparatus is similar to that in
the oratorio, excepting that the percussion is augmented by cymbals, triangle, side
drum and tambourine. The overture resembles in form and content Gluck's overture to
Iphigénie en Aulide.
In this last-named opera, too, the movement of the drama results from the
contrast of two hostile elements. In his program to Gluck's overture, Wagner
elucidated this aspect as follows: “To the great necessity for existence of an entire
nation, compared with which a single life signifies but little, is opposed the
preservation of the life of a pure virgin.” This conflict between paternal love and love
of country was also chosen by Meyerbeer as the basic theme of his overture. The
thematic material consists chiefly of motives from Jephtha's great scene in Act III and
the triumphal march in Act II, which becomes, so to speak, the symbol of the national
“necessity for existence.” The talent of the youthful Meyerbeer, with its urge toward
Jephtas Gelüdbe
xi
pictorial distinctness, even now consciously outvies the model of Gluck. The latter,
whom Meyerbeer still follows at the outset, though he later seeks to disrupt the
traditional form, set forth only an abstraction (so to say) of the dramatic idea, whereas
Meyerbeer wrought a picture of the tragedy itself. His procedure, a symphonic
anticipation of the essential features of the action, finds a counterpart in Beethoven's
Leonore Overture No.3, with which he was assuredly not acquainted. To Meyerbeer
applies what Wagner said of Beethoven: “That, for the development of his enormous
dramatic instinct, he threw himself with all the might of his genius upon this form (the
overture) which allowed it free course, in order to create in pure tone-speech, after a
fashion his very own, the drama he bore in mind.”[...]
The opera, whose final rehearsals were conducted by the composer in person,
was admirably produced by the Munich Court Opera on Dec. 23, 1812, but on
account of its novelty met with opposition on the part of the public, so that it was
withdrawn:
“A delicate sensibility, united to a profound and mature insight into the workings of the
impassioned human heart, is manifested throughout in a grand and elevated style that
gives promise of something great in the future.”
He who wrote this was a prophet and, at the same time, a man of refined
feeling. Posterity judged differently, not even taking the trouble to examine this
highly significant youthful work, assuming from its failure to please the public that it
was of slight value, and uncritically declaring the opera to be “bombastic,”
“scholastic,” and a mere by-product of Vogler's subversive influence. That this score
enfolded seeds for loftiest growth has been perceived by no one since that Munich
review. None the less, Meyerbeer's progress to mastership is impossible of conception
without the Jephta score.
Some days after the premiere Meyerbeer took leave of Vogler in order to bring
out his second opera, Alimelik, in Stuttgart a fortnight later. According to Vogler's
assertion, Meyerbeer had learned everything that it was possible to teach and to learn,
and was now in the way to win the admiration of the world. So the young eagle had
learned to fly.’ (“Meyerbeer's Way to Mastership: Employment of The Modern
Leading-Motive Before Wagner's Birth,” The Musical Quarterly 12 [January 1926]:
83,102.)
The first edition of the published libretto, Jephtas Gelübde; Oper in drei Aufzügen mit
Ballet (Munich, 1812), with text by Alois Schreiber, contains the text of all musical
numbers but lacks the spoken dialogue. Neither a full orchestral score nor a pianovocal score of the opera has ever been published. The dialogue was reconstructed by
Robert Letellier and Richard Arsenty form the autograph score (London and Munich).
Notes of the Biblical Story of Jephthah
The story of Jephthah is recounted at length in Judges 10:6 - 12:7. Jephthah is
noted in the Bible for three deeds: defeating the Ammonite army, sacrificing his
daughter in fulfillment of a vow, and slaughtering a group of Ephraimites in an intertribal war.
He is described as being prosperous but having a blemished birth (he was the
child of a prostitute and was born illegitimately). When he was a young man his halfbrothers drove him out of their home; he went to the nearby mountains and became
the leader of a band of mercenaries. Years later, the Ammonites laid claim to a
xii
Introduction
portion of Gilead and began invading the land. The elders of Gilead, aware of
Jephthah's military acumen, summoned him to command their troops. Jephthah
invoked the Lord for success, vowing to sacrifice as a burnt offering anything coming
out of his house to greet him upon his return from battle. Jephthah soundly defeated
the Ammonite army. When he arrived home, his daughter came out of his house to
meet him. She was sacrificed in fulfillment of his vow. Jephthah lived six more years
as a judge of his people.
The story of the vow is apocryphal for at least two reasons. First, the law of
Moses explicitly forbade human sacrifice, and Jephthah, called a "God-fearing,
upright leader" in the Bible would never have broken such a strict commandment.
Second, there is no other mention in the Bible (nor is there any archaeological
evidence) that the Lord ever condoned or accepted human sacrifice. In addition, the
story stretches credulity. Did Jephthah not foresee that the first person he would meet
coming out of his house might be his own daughter? Why did he not he consider that
making such a vow might anger the Lord against him instead of swaying Him to his
side? None of this, however, answers the question of why the Lord would allow the
slaughter of an innocent person in His name. (Richard Arsenty)
The story is probably an ancient tradition, a type of etiology, reflecting the
struggle to replace the ancient hybrid religious practices of the native Canaanites
(condoning human sacrifice) with the pure monotheism of the invading Hebrew
people (and its abhorrence of such practices).
JEPHTAS GELÜBDE
JEPHTHAH’S VOW
Oper in drei Aufzügen mit
Ballet
Opera in Three Acts with
Ballet
Gedichtet von
Libretto by
Professor Alois Schreiber
Professor Alois Schreiber
In Musik gesetzt von
Set to Music by
Jakob Meyerbeer
Jacob Meyerbeer
The Libretto
xiv
Personen:
Jephta
Sulima, seine Tochter
Tirza, ihre Vertraute
Asmaweth, ein Krieger
Abdon, Vorsteher eines Stammes
Drei Boten
Drei Vorsteher der Stämme
Der Hohepriester
Dramatis personae:
Jephthah
Sulima, his daughter
Tirzah, her confidante
Asmaveth, a warrior
Abdon, leader of a tribe
Three messengers
Three tribal leaders
The High Priest
Volk, Priester, Leviten, Krieger,
Amonitische Gefangene, Jungfrauen,
Kinder
People, Priests, Levites,
Ammonite Prisoners, Young Women,
Children
WORLD PREMIÈRE
23 December 1812
Munich, Hofoper
Jeptha .................................................................................................... Christian Lanius
Sulima ...................................................................................................... Hélène Harlas
Asmaweth. ....................................................................................... Georg Weixelbaum
Abdon.................................................................................................Georg Mittermaier
Tirza. .......................................................................................................Josephine Flerx
Der Hohepriester.................................................................................. (Herr) Schwadke
Conductor : Fredinand Fränzl
ERSTER AKT
ACT ONE
[Jephtas Weingarten. Im Hintergrunde Jephtas
Haus.]
[Jephta’s vineyard. In the background
Jephta’s house.]
Introduktion
Introduction
Nr. 1 – Chor
No. 1 – Chorus
WINZERINNEN
Fröhliches Leben
Schwellet die Brust,
Herrliche Reben
Tragen mit Lust.
FEMALE VINE-TENDERS
A happy life
Swells our breast,
Splendid vines
Produce in abundance.
WINZER
Munter, junge Winzerinnen,
Jede füll ihr Körbchen an,
Ist die Arbeit nun getan,
Werden Spiel und Tanz beginnen.
A VINE-TENDER
Cheerful, young vine-tenders,
Fill your baskets to the brim;
When your day's labor is done,
There will be games and dancing.
CHOR
Fröhliche Schar
Pflücke die Traube,
Kränze das Haar
Mit frischem Laube.
Doch koste behutsam die goldene Frucht
Oft hat sie schon tückisch zur Liebe versucht.
CHORUS
O happy troupe,
Pick the grapes,
Wreath your hair
With green leaves.
But sip the golden juice with care,
It often leads deceptively to love.
TIRZA
Wandrer, komm, der Tag ist schwühl,
Hier ist Schatten, hier ists kühl.
Setze dich in unsre Laube,
Labe dich am Saft der Traube!
Die Traube erfreuet des Menschen Herz,
Doch wecket sie auch der Liebe Schmerz.
TIRZAH
Come, traveller, the day is sultry,
It's cool and shady here.
Seat yourself under our vines,
Refresh yourself with our grapes' juice!
Grapes gladden the human heart,
But they can also waken the pain of love.
CHOR
Die Traube erfreuet, u.s.w.
CHORUS
Grapes gladden, etc.
TIRZA
Wanderer, kehrest du zurück
In der Heimat stillem Glück,
Pflanz um diene Hütte Reben
Die dem Müden Schatten geben.
TIRZAH
Traveller, when you return
To the peaceful joy of home,
Plant vines around your cottage,
So they'll provide shade for the weary.
CHOR
Die Traube erfreuet, u.s.w.
CHORUS
Grapes gladden, etc.
Szene 1
Scene 1
Sulima, Tirza.
Sulima, Tirzah.
SULIMA
O wie scheidet das Jahr so reich an Segen!
SULIMA
Oh, how abundant with blessings the year is
ending!
Doesn't the autumn seem to call out to us?
Just see how generous the Lord is.
Scheint der Herbst nicht uns zuzurufen.
Sehet wie freundlich der Herr ist.
xvi
The Libretto
TIRZA
Und siehe, wie reizend in unsern Körbchen das
Erwählteste gemengt, was uns die Gärten und der
Weinstock schenkten.
TIRZAH
And see how temptingly the choicest fruits from the
gardens and vines mingle together in our
baskets.
SULIMA
Dank eurer Liebe, die alles so fleißig geordnet,
eurer Liebe zu mir und meinem Vater. Heut'
kommt er zurück.
O wie wird das unsern Freude erhöhen!
Und wir überraschen ihn mit unsern Körbchen
voll Früchten, denn er glaubt die Ernte noch
nicht vollendet.
SULIMA
Thanks to your devotion which so diligently
organized everything, your devotion to
me and my father.
He’s coming back today. Oh, how that will
increase our joy! And we’ll surprise him with
Our baskets of fruit, for he thinks the harvest has
not yet ended.
TIRZA
Frommes Mädchen, füllt denn der Gedanke an
deinem Vater allein deine ganze Seele? Bewahrtest
du nichts von den Früchten für den, der so innig sein
Herz dir zugewendet, für...
TIRZAH
Innocent maiden, does only the thought of your
father occupy your entire mind? Aren’t you
setting aside any of the fruit for the young man
who has so ardently given his heart to you, since...
SULIMA
SULIMA
Schweige, gute Tirza. Es ziemt mir nicht eines
Hush, dear Tirza. It’s not proper for me to
Jünglings Bemerkung zu begünstigen ehe mein Vater... encourage a young man’s attentions before my
father...
(zu den Gespielinnen, die mit ihren Körbchen voll
Früchten sich um sie versammelt)
(to her childhood friends, who gather round her
with their baskets of fruit)
Geht, meine Lieben! Laßt uns die Körbchen nach
Go, my dear friends! Let’s carry these baskets to
Hause tragen. Mein Vater soll durch ein kleines Fest the house. My father should be surprised by a
überrascht werden; ich folge euch sogleich.
little party, I’ll follow you at once.
(Tirza mit den übrigen Mädchen gehen in das Haus,
Sulima geht nach dem Hintergrunde, wo sie einen
Korb mit Früchten unter einen Weinstock
hervorholt.)
(Tirzah and the rest of the young women go into
the house; Sulima heads to the back where she
produces a basket of fruit from under a
grapevine.)
Szene 2
Scene 2
Sulima, Asmaweth.
Sulima, Asmaveth.
ASMAWETH (erscheint, indem Sulima ihren
Gespielinnen folgen will)
Sulima! Theure!
ASMAVETH (appears just as Sulima is about to
follow her friends)
Sulima! Darling!
SULIMA (mit jungfräulichem Erschreken)
Asmaweth!
SULIMA (with girlish fright)
Asmaveth!
ASMAWETH
Zürnest du, Sulima?
ASMAVETH
Are you angry, Sulima?
SULIMA
Zürnen? Weshalb?
SULIMA
Angry? Why?
ASMAWETH
Als ich den Pfad durch die Weinberge herabging, da
hörte ich die Gesänge deiner Gespielinnen, es zog
mich hieher!
ASMAVETH
As I came down the path through the vineyard, I
heard the singing of your girl friends, it drew me
here!
Jephtas Gelüdbe
xvii
SULIMA
SULIMA
Und du vergessest meine Bitte, mich nicht
And you’ve forgotten my plea not to come to see
aufzusuchen, bis mein Vater wieder zurückgekehrt ist. me until my father has returned.
ASMAWETH
Vergieb! aber ich vermag meinen Herzen nicht zu
widerstehen das mich immer zu dir zieht. Ach,
Sulima!
ASMAVETH
Forgive me, but I’m not able to resist this heart of
mine that always draws me to you. Ah, Sulima!
(zu ihren Füßen)
(kneeling before her)
Ich liebe dich unaussprechlich.
I can’t tell you how much I love you!
SULIMA
Steh auf, Asmaweth! Soll ich vor meinen
Gespielinnen erröthen wenn ich die Sitte verletzte,
Die den Jungfrauen ein Heiligtum ist?
SULIMA
Stand up, Asmaveth! Do you want me to blush
in front of my childhood friends by violating
custom a thing held sacred by maidens?
ASMAWETH (aufstehend)
Du verwirfst meine Liebe?
ASMAVETH (standing up)
Are you rejecting my love?
SULIMA
Nur unter meines Vaters Augen spreche ich von
meiner Neigung.
SULIMA
Only in my father’s presence will I speak of my
affections.
ASMAWETH
Darf ich vor ihm von meiner Liebe sprechen?
ASMAVETH
May I speak to him of my love for you?
SULIMA
Mache dich seinem Herzen werth, und du wirst
dann meinige werth seyn.
SULIMA
Make yourself worthy of his heart, and then
you’ll be worthy of mine.
ASMAWETH
O zeige mir den Weg zu seinem Herzen!
ASMAVETH
Oh, show me the way to his heart!
SULIMA
Gott und das Vaterland sind ihm das Höchsten.
SULIMA
God and country are the most precious things to
him.
ASMAWETH
Das Vaterland, das ihn verstieß?
ASMAVETH
The country that disowned him?
SULIMA
O sage das nicht. Es kennt seinen Edelmuth, seine
Tapferkeit. Neid und Mißgunst nur ärgten den
Flecken seiner Geburt, die er einer Liebe verdenkt,
welche nicht durch das Gesetz geheiligt war. Sie
zwangen seinen Vater ihn zu verstoßen, und zu
enterben. Das Vaterland denkt groß von ihm, wie
er es verdient. Ach, daß der Herr es in die Hände
der Feinde gegeben. O Asmaweth, kannst du es
entragen, daß Amons rohe Schaaren dem
auserwählten Volk Verderben drohen. Wär' ich
wie du, ein Jüngling, waffenfähig, ich griff voll
Vertrauen auf Jakobs Gott zum Schwerte
zerstreute wie einst Gideon die Feinde, und wäre
Jephtas Liebe dann gewiß.
SULIMA
Oh, don’t say that! It’s aware of his integrity, his
bravery. Jealousy and malice were engendered
by the stigma attached to his birth, which he
blames on a love that wasn’t sanctioned by the
law. These forced his father to reject him and
disinherit him. Our country thinks highly of him,
as he deserves. Alas, that the Lord should now
place it in the hands of the enemy! Oh,
Asmaveth, how can you bear it that Ammon’s
ruthless hordes threaten the Chosen People with
destruction. Were I like you, a young man, able
to bear arms, I’d seize my sword, filled with
confidence in Jacob’s God, and destroy our
enemy as Gideon once did, and thus be assured
of Jephthah’s admiration.
xviii
The Libretto
ASMAWETH
O welch ein Geist spricht, Sulima, aus dir.
Du merkest jede Kraft, die in mir schlecht ist, und
alles Gute dank' ich dir. Dein Wort ist gleich dem
Worte der Propheten, die edle Thaten großen Lohn
verheißen – Ringt nicht mein Volk in dem Stunden
der Gefahr? Ich stelle mich in seiner Krieger Reihen,
wie treuer Streiter für den Väter Gott, begeistert soll
mein Beyspiel manchen merken. Ich kehre siegreich
aus dem Streit zurück, und den Vaterliebe sey mein
Lohn.Doch darf ich darauf dein Liebe hoffen?
ASMAVETH
Oh, Sulima, what inspiration issues from your
lips! You note every strength that’s inferior in
me, and I thank you for your good counsel. Your
voice is like the voice of a prophet who promises
a great reward for heroic deeds – “Do not my
people battle in the hour of danger?” I’ll take my
place in the ranks of warriors as a loyal champion
for the God of our fathers; my example will
inspire many others. I’ll return triumphant from
the battle, and your father’s love will be my
reward. But dare I then hope for your love?
SULIMA (mit Verschämtheit)
O dann bist du des schönsten Preises werth.
SULIMA (with embarrassment)
Oh, you’ll then be worthy of the greatest reward!
Nr. 2 – Duett
No. 2 – Duet
ASMAWETH
Deine Liebe ist mein Leben,
Ohne sie such’ ich den Tod!
ASMAVETH
Your love is my life,
Without it I'd seek death!
SULIMA
Darf das Mädchen Liebe geben
Wenn der Blick des Vaters droht?
SULIMA
How can a maiden give her love
When a father's eye keeps watch?
ASMAWETH
Doch ein Wörtchen darfst du sprechen,
Das wie Ton der Heimat klingt.
ASMAVETH
But you can say a single word
That will be like a sound from home.
SULIMA
Willst du junge Rosen brechen,
Eh' der Frühling welche bringt?
SULIMA
Would you pick a tender rose
Before springtime makes it bloom?
ASMAWETH
Werd ich je den Frühling sehen?
ASMAVETH
Will I ever see the springtime?
SULIMA
Hoffnung läßt nicht untergehen.
SULIMA
You must not give up hope.
BEIDE
Die Hoffnung, sie streut
Rosen auf dürren Sand;
Die Hoffnung, sie beut
Gern der Liebe die Hand.
BOTH
Hope, it strews
Roses on the barren sand.
Hope, it joyfully
Holds out the hand of love.
ASMAWETH
Lebe wohl, im Schlachtgewühle
Brech' ich mir den Myrtenkranz.
ASMAVETH
Farewell, I'll win a crown of myrtle
For myself in the turmoil of battle.
SULIMA
Jüngling, lebe wohl, ich fühle
Deine heiße Liebe ganz.
SULIMA
Farewell, young man, I feel
Full well your ardent love for me.
ASMAWETH
Sulima, wenn ich dort falle,
Eine Träne weihst du mir?
ASMAVETH
Sulima, if I should die in battle,
Will you shed a tear for me?
SULIMA
Jüngling, meine Freuden alle
SULIMA
Young man, all my happiness
Jephtas Gelüdbe
xix
Steigen in das Grab mit dir.
Will descend into the grave with you.
ASMAWETH
Lebe wohl, und denke mein!
ASMAVETH
Farewell, and remember me!
SULIMA
Lebe wohl, ich denke dein!
SULIMA
Farewell, I'll remember you!
[Sulima geht in das Haus.]
[Sulima goes into the house.]
ASMAWETH [allein]
Es hat mich doch kein Traum getäuscht das
Erwachen wäre schrecklich. Nein, ich habe sie
Geschehn – habe den süßen Ton ihrer Rede
gehört – den Odem ihres Mundes getrunken.
ASMAVETH [alone]
I was deceived by no waking dream, for that
would have been frightening. No, I experienced
heard the sweet sound of her voice – it – I
drank in the breath from her lips.
Nr. 3 – Arie
No. 3 – Aria
ASMAWETH
Sie liebet mich! Ein himmlisches Entzücken
Durchströmet mein Gebein!
Ich möcht' an mich jedes Wesen drücken,
Denn Sulima ist mein.
ASMAVETH
She loves me! A heavenly rapture
Flows through my veins!
I could embrace each living creature,
For Sulima is mine.
Auf! auf zur Schlacht,
Wo die Schwerter klirren,
Wo die Pfeile schwirren,
Mir glänzt ein Stern in Todesnacht.
Come! On to the battle!
Where swords clash,
Where arrows whiz,
A star shines for me in the blackness of night.
Sie liebet mich! O Erd’, o Sonne!
Ihr umglänzet mich in hoher Pracht.
O Liebe! Lebens Zauberschein,
Ich bin berauscht in Wonne,
Denn Sulima ist mein.
She loves me! O earth, O sun!
You shine around me in splendor.
O love! Enchanting light of life,
I'm drunk with rapture,
For Sulima is mine.
[Asmaweth geht ab.]
[Asmaveth leaves.]
Szene 3
(Abdon, der Sulima und Asmaweth belauscht hatte,
tritt hinter einer Laube hervor.)
Scene 3
(Abdon, who has been eavesdropping on Sulima
and Asmaveth, steps forward from behind an
arbor.)
ABDON
Ha!was mußt ich sehen und hören! Meine schönsten
Hoffnungen zerreißet der milchbärtige Knabe. Und
sie gestand' ihm ihre Liebe, und gegen mich war sie
immer so züchtig und ehrbar, so kalt wie dieses
Schwert, ehe es Menschenblut getrunken!
ABDON
Ah! What did I see and hear! That milksop of a
boy is destroying my fondest hopes. And she
confessed her love to him, but to me she has
always been so demure and respectable, as cold
as this blade before it has tasted human blood!
(Er befühlt die Schärfe seines Schwertes.)
(He feels the sharpness of his sword.)
Ja! du bist scharf und hart, und die Brust des
Knaben ist weich.
Yes, you’re sharp and hard, and the chest of that
is soft!
Nr. 4 – Arie
No. 4 – Aria
ABDON
Dich soll die Hölle fassen!
Verderben auf dein Haupt!
Den muß ich ewig hassen,
ABDON
May you burn in Hell!
May calamity rain down upon you!
I shall forever hate that man
xx
The Libretto
Der mir das Liebste raubt.
Ha, so zu umfangen,
Im heißen Verlangen
Den blühenden Leib.
Aus den Augen zu trinken
Himmlishe Lust,
Und trunken zu sinken
An die klopfende Brust!
Weg, weg, es ist verloren,
Dies längst geträumte Glück,
Und aus des Himmel Toren
Kommt nie mein Stern zurück.
Aber nage, Schlange, nage
Blutiger am Herzen mir.
Aber zage, Frevler, zage,
Schwarze Rache bring' ich dir!
Who stole my beloved from me.
Ah, to clasp
Her blooming body
In an ardent embrace!
To drink heavenly bliss
From her eyes,
And to sink intoxicated
Upon her heaving breast!
Gone, lost forever is my
Long dreamed of happiness,
And my star's light will never
Shine from Heaven's gate.
So gnaw, serpent, gnaw
At my bloody heart.
And beware, blasphemer, beware,
For I bring you horrible vengeance!
[Abdon ab.]
[Abdon leaves.]
Verwandlung
Change of Scene
Szene 4
Scene 4
[Vor Jephtas Haus. Sulima, Asmaweth, Winzerinnen, Jephta tritt ein.]
[In front of Jephthah’s house. Sulima, Asmaveth,
vine-tenders; Jephthah enters.]
Nr. 5 – Mehrstimmiges Gesangstück
No. 5 – Concerted Vocal Piece
SULIMA
Ach Vater, du hier!
SULIMA
Ah, father, you're here!
JEPHTA
Willkommen, willkommen!
JEPHTHAH
Welcome, welcome!
SULIMA
Vater, du hast mir
Eine kleine Freude genommen.
SULIMA
Father, you've spoiled
My little surprise for you.
ASMAWETH
Jephta, du hast ihr
Ihre schöne Freude genommen.
ASMAVETH
Jephthah, you've spoiled
Her delightful surprise.
SULIMA
Mein Vater, nimm von deinem Kindes
Was es herzlich giebt,
Was dein Auge liebt,
Früchte des Baumes, Früchte der Reben,
Wie sie uns, sie uns das Jahr gegeben.
SULIMA
Father, accept what your child
Affectionately offers you,
What delights your eye,
Fruit of the tree and fruit of the vine
Which this year's harvest has given us.
CHOR
Herbstliche Gaben
Liebender Sinn,
Ist was wir haben,
Nimm es gerne hin.
All des Jahres Freuden
Sieh! sie scheiden;
Aber neue Freuden
Läßt die Liebe blühn.
CHORUS
Gift of autumn,
Delectable taste
Is what we offer,
Accept it with pleasure.
See, all the year's joys
Have departed;
But love has caused
New joys to bloom.
Jephtas Gelüdbe
xxi
JEPHTA
Ich will es hier empfangen,
Das Schöne ist überall schön.
JEPHTHAH
I'll accept it gratefully,
For beauty is resplendent everywhere.
TIRZA
Was ist schöner als Wiedersehn?
TIRZAH
What is more wonderful than meeting again?
ALLE
Rosen und Dornen weben
Sich in des Menschen Leben,
Aus kleine Freuden,
Aus kleinen Leiden,
Quillt sein schönstes Glück.
Mag das Schöne auch scheiden,
Es kehrt in neuer Gestalt zurück.
ALL
Roses and thorns intertwine
Themselves in the lives of men;
Out of little joys,
Out of little pains,
One's happiness is made.
Though beauty may vanish,
It comes back in another form.
[Winzerinnen ab.]
[The vine-tenders leave.]
SULIMA (Jephta umarmend)
Theurer Vater!
SULIMA (hugging Jephthah)
Dearest father!
JEPHTA (die Umarmung erwidernd)
Gute Sulima.
JEPHTHAH (returning the embrace)
Darling Sulima!
SULIMA
O wie wird mein Herz so froh, da ich dich wiederseh'n. Ich zählte Tage und Stunden bis zu diesem
Augenblick, und nun erscheint er früher als ich es
hoffen dürfte. Welch einem Zufall verdank' ich
dieses Glück?
SULIMA
Oh, how joyful my heart has become now that I
see you again. I counted the hours and days until
this moment, and now it has come sooner than I
had expected. To what chance event do I owe
This good fortune?
JEPHTA
Den Feinden Israels, den Ammonitern, die furchtbar
sich zu unser Grenze sammeln. Ich wußte dich ohne
Schutz, allein, da eilt ich dann, den Vater dir zu
bringen. Vor meinem Hause fand ich Bothen der
Aeltesten und Vorsteher der Stämme unsers Volks,
die mich hieher beschieden, wo man in dieser
Stunde, ob der gemeinen Noth Rath halten will.
JEPHTHAH
To Israel’s enemy, the Ammonites, who are
gathering in frightful numbers on our border. I
thought of you without protection, alone, so I
hurried to bring your father back to you. In front
of my house I found emissaries from the Elders
and leaders of our people’s tribes who summoned
me here, where because of our common peril,
deliberations will take place within the hour.
ASMAWETH
Auch dringt schon die Gefahr, denn flüchtig Volk
ist von der Grenze gekommen. Um deinen
Beystand, Jephta, wird man flehen, denn in der
Trübsal Stunde gilt der Held.
ASMAVETH
The danger is truly urgent, for people are already
fleeing from the border. They’re going to
implore you to help them, Jephthah, for a hero is
needed in the hour of woe.
JEPHTA
Die sollten Zuversicht zu meinen Beystand hegen,
die mich aus Vaterhaus und Land verstießen, die
mich gehaßt, mich höhnend an meiner Abkunft
Schmach gemahnt?
JEPHTHAH
They who once drove me from my childhood
home and this land, they who hated me, who
mockingly reminded me of the disgrace of my
birth, would now place their hopes on my help?
ASMAWETH
Droht die Gefahr, so schweigt der Neid. Die Hand
des Herrn liegt schwer auf unserm Land, und Jephtas
Edelmuth denkt nicht an Rache, wenn er sein Volk
erretten kann.
ASMAVETH
When danger threatens, ill-will is silent. The
hand of the Lord lies heavy on our land, and
Jephthah’s noble-mindedness will not think
about revenge if he can save his people.
xxii
The Libretto
JEPHTA (Asmaweths Hand mit Zufriedenheit erJEPHTHAH (grasping Asmaveth’s hand with
ergreifend)
satisfaction)
Wir werden hören was sie wollen. Doch schlägt
I’ll hear what they want. But doesn’t a heart for
in deiner Brust nicht auch ein Herz für die gemeine our mutual distress also beat in your breast?
Noth? Die Treue spricht, der Muth aus deinem Blick. Loyalty and courage gleam in your eyes. Bravely
Kühn waffne dich, der Glück steht dir zur Seite.
take up your arms, good fortune stands at your
Als mein wackerer Jüngling kenn' ich dich. Auf!
side. I know you to be a valiant young man.
zeige dich dem Volk durch deine Thaten!
Come! Show yourself to our people through
your deeds!
ASMAWETH
O wie erhebt mich, Jephta, dein Vertrauen. Dein
Wort füllt mich mit Muth zu Kampf und Sieg. Mit
Freuden folg' ich deinem Wink. – Doch ehe ich der
Gefahr entgegengeh'n, laßt mich mein Innerstes dir
anvertrauen. Sieh, Vater Jephta! sieh mich gütig an,
ich liebe deine Tochter.
ASMAVETH
Oh, Jephthah, how your confidence excites me!
Your words fill me with courage for battle and
victory. I’ll gladly follow your suggestion. – But
before I go to meet the danger, I want to confide
my deepest thoughts to you. Oh, father Jephthah,
look at me with kindness... I love your daughter.
JEPHTA (Asmaweth mit inniger Theilnahme
anseh end)
Ich sehe dich, und aus dem offnen Auge spricht
deines Vaters Bild mich liebend an. Er war mein
treuer Freund, und seines Sehnes Glück begründ'
ich gerne. Doch Sulima ist, Asmaweth, dir werth,
und widerspricht dein Herz nicht seiner Wünschen.
JEPHTHAH (looking at Asmaveth with
affectionate sympathy)
I look at you, and out of your sincere eyes the
image of your father lovingly speaks to me. He
was my faithful friend, and I can attest to his
prowess with the bow. – But Sulima is worthy of
you, Asmaveth, and your heart cannot deny its
desire.
(Sulima verbirgt ihr Gesicht an Jephtas Brust.)
(Sulima buries her face on Jephthah’s chest.)
JEPHTA (richtet sein Tochter auf, und küßt ihre
Stirne, denn ergreift er Asmaweths Hand)
Sey mir gesegnet, meines Freundes Sohn! Der
Mann soll seyn des Weibes Schutz und Hort, daß
sie vertrauungsvoll in jeder Noth auf seinem
Beystand bau’n. Geh! deinem Gott, und deines
Hauses Herd, und deines Landes Jungfrauen droht
ein verwegner Feind. Zieh' hin! bekämpfe ihn.
Wie du dem Vaterlande dienst, bereitest du dem
eigen Hause Wohl. Kehrst du als Sieger wieder,
sey Sulima der Preis den du wirst erringen.
JEPHTHAH (raises his daughter’s head, kisses
her forehead, then grasps Asmaveth’s hand)
My blessings upon you, son of my friend! A
man must be the shield and refuge of his wife, so
that she can trustingly rely on his help in any
adversity. Go now! A defiant enemy is
threatening your God, your hearth, and the young
women of your country. Go forth and fight him!
Even as you serve your homeland, you guarantee
the welfare of your own home. Return as a
champion, and Sulima will be the reward you
receive.
ASMAWETH (vor Sulima kniend)
Im Streit für die gerechte Sache geleitet mich des
Vaters Augen. Er hat ihn ausgesprochen über mich.
Sprich du, o Theure, ein Wort der Liebe, und
felsenfester Muth glüht mir im Busen.
ASMAVETH (kneeling in front of Sulima)
My father’s eyes will watch over me in the battle
for righteousness. He once declared this me.
Speak but a word of love, my darling, and
unwavering courage will burn in my heart.
SULIMA (Asmaweth aufhebend, mit Innigkeit)
SULIMA (raising Asmaveth, with tenderness)
Liebt dich mein Vater, ehrt dich unser Volk, so folg' Love my father, honor our people, and I’ll
ich stolz der Stimme meines Herzens.
proudly follow the voice of my heart.
ASMAWETH (schließt Sulima in sein Arme; zu ihr ASMAVETH (pressing Sulima in his arms; to
und Jephta)
her and Jephthah)
Lebt wohl, nicht Worte, Thaten sollen für mich
Farewell! Deeds, not words, will speak for me!
sprechen.
JEPHTA
Entfernet euch, Kinder, die Aeltesten der Stämme
nahen sich. Ich folge, Asmaweth, dich nach.
JEPHTHAH
Leave now, my children, the tribal Elders are
approaching. I’ll follow you soon, Asmaveth.
Jephtas Gelüdbe
(Sulima und Asmaweth ab.)
(Sulima and Asmaveth leave.)
Nr. 6 – Erster Finale
No. 6 – Finale of First Act
MÄNNER
Weh, die Söhne Ammons ziehen
Gegen uns wie Sand am Meer.
MEN
Woe, the sons of Ammon are marching
Against us, numerous as grains of sand.
WEIBER
Weh, von Ammons Ufer fliehen
Weib und Kinder zagend her.
WOMEN
Woe, terrified women and children
Are fleeing here from Ammon's border.
JEPHTA
Ha! soll ich euch etwa retten
Von der Ammoniten Ketten?
JEPHTHAH
What! You expect me to save you
From the Ammonite chains?
ALLE
Du allein kannst uns nur retten
Von der Ammoniten Ketten.
ALL
Only you can save us
From the Ammonite chains.
JEPHTA
Väter Gileads, verstoßen
Habt ihr mich als Jüngling schon.
JEPHTHAH
O elders of Gilead, you cast me out
When I was still a young man.
DIE VORSTEHER
Denke nur der Rettungslosen,
Deine Großmut straft den Hohn.
THE TRIBAL LEADERS
Think only of saving our people,
Let your generosity overlook the injustice.
JEPHTA
Ich hatt' ein Vaterland,
Ihr habt es mir genommen.
JEPHTHAH
I once had a fatherland,
You stole it from me.
VORSTEHER
O sieh dein Vaterland
Jetzt flehend zu dir kommen.
THE TRIBAL LEADERS
But see, your fatherland
Comes pleading to you now.
JEPHTA
Ha, welch Getümmel nahet sich?
JEPHTHAH
Ah, what noisy tumult approaches?
VORSTEHER
O sieh, unsre Krieger suchen dich.
THE TRIBAL LEADERS
Behold, our warriors are seeking you.
CHOR
Heil unserm Jephta Heil!
Den Söhnen Ammons Krieg!
Er führe uns zum Sieg,
Heil unserm Jephta Heil!
CHORUS
All hail Jephthah, hail!
War against the sons of Ammon!
Let him lead us on to victory,
All hail Jephthah, hail!
ABDON
Es senden unsre tapfern Krieger
Des Feldherrn Schwert in deine Hand,
Auf dich vertraut das Vaterland.
Es ehrt des schwachen Volkes Glaube,
Den es als Bastard einst verbannt!
Mir seh' ich eine Würde rauben,
Auf dich vertraut das Vaterland!
ABDON
Our courageous warriors have sent
A general's sword for your hand,
The fatherland is counting on you.
The helpless people’s faith honors
The one it once drove out as a bastard!
My esteemed rank means nothing,
It’s you the fatherland is counting on!
CHOR
Heil Jephta, u.s.w.
CHORUS
All hail Jephthah, etc.
xxiii
xxiv
The Libretto
JEPHTA
Nein, trauet nicht auf Menschenmacht,
Der einst Verstoßne soll euch retten?
Nur Gott zerbricht der Völker Ketten.
JEPHTHAH
No, place not your trust in human might,
How can this former outcast save you?
Only God can smash the people's chains.
VORSTEHER
Durch Jephta wird sein Werk vollbracht.
THE TRIBAL LEADERS
Let His work be fulfilled through Jephthah.
ABDON
Auch Kraft wohnt noch in diesem Arme,
Treibt Jephta nicht der Geist des Herrn,
Daß er für unsre Not erwarme,
So ist Jehovas Schutz ihm fern.
ABDON
There’s still strength in my arm
If the Lord's spirit does not move Jephthah;
If our plight does not interest him,
Then he does not have Jehovah's blessing.
VORSTEHER
Hofft auf den Herrn!
THE TRIBAL LEADERS
Trust in the Lord!
CHOR
Wir wollen hoffen auf den Herrn,
Denn in der Not ist er nicht fern;
Er winket, da hat sich der Sturm verzogen,
Und am Himmel leuchtet der Friedensbogen.
CHORUS
We will trust in the Lord,
For He is never far from us in trouble;
He blinks, and the storm blows away,
And a rainbow of peace shines in the sky.
EIN BOTE
Weh, o weh! Wie eine Wetterwolke
Droht fürchterlich der Ammoniter Schar.
Weh! dreimal wehe unserm Volke,
Weh jedem, den ein Weib gebar.
A MESSENGER
Woe, O woe! The dreadful Ammonite horde
Is threatening like a raging storm.
Woe! Triple woe upon our people,
Woe to anyone born of a woman.
ABDON
O zaget nicht, noch lebt der Herr,
Er winkt, und Ammon ist nicht mehr.
ABDON
O be not afraid, the Lord still lives,
He blinks, and Ammon is no more.
ZWEITER BOTE
Auf, auf zur Rettung auf!
Rührt euch denn nicht der Mutter Angstruf?
Die Schmach der Jungfrauen?
Das schwere Röcheln der Sterbenden?
Der Rosse Huf stampft eure Saaten nieder,
Die Flamme wirbelt und der Rauch
Von euern Dächern hoch empor!
In die Verzweiflung tönen wild die Lieder
Der Feinde, wie ein Höllengeisterchor.
SECOND MESSENGER
Come, come, save our people!
Does not the mother's anguished cry move you?
The humiliation of our young women?
The horrible throes of the dying?
Horses' hooves are trampling your crops,
Flames are swirling and smoke
Is rising skyward from your houses!
Amidst the despair the enemy's savage singing
Resounds like a chorus of hellish spirits.
ABDON
Ha! Mißgeschick!
In Jephtas Blick
Erscheint ein Wanken,
Den Zwist der Gedanken
Entscheidet die Not,
Ich sehe den Tod
Und meine Schmach;
Jephta giebt nach.
ABDON
Ah! Calamity!
Indecision gleams
In Jephthah's eye,
The danger is causing
His thoughts to clash,
I see death
And my own disgrace;
Jephthah is wavering.
DRITTER BOTE
Das Unglück kommt mit mir! Verloren
Ist Israel! Ach wär ich nie geboren!
Wie Meeresfluten im Orkan,
So dringen die Wütenden stürmend heran,
THIRD MESSENGER
I bring misfortune with me! Israel
Is doomed! Ah, had I never been born!
The raging enemy is surging this way
Like a hurricane's tidal wave;
Jephtas Gelüdbe
xxv
Wir stehen vor des Todes Toren,
Es rette sich, wer sich noch retten kann.
We're standing on the threshold of death,
Let any who can save himself do it now!
EINIGE
Fort!
SOME
Flee!
ANDERE
Wohin?
OTHERS
Where?
DRITTE
Kein Erbarmen!
A THIRD GROUP
There's no safe place!
EINIGE
Das Unglück so nahe!
SOME
Disaster is upon us!
ANDERE
Was beginnen?
OTHERS
What shall we do?
VIELE
O Schicksal! O dunkle Nacht!
SEVERAL
O fate! O dark night!
ABDON
Ohne Führer!...
ABDON
We have no leader!...
DIE WEIBER
Verloren sind wir, ach verloren,
Ach wären wir doch nie geboren!
THE WOMEN
We're doomed, ah, doomed,
Oh, had we never been born!
EINIGE
So laßt uns gehn,
Und den stolzen Feind um Mitleid flehn!
SOME
Then let us go and implore
The arrogant enemy for mercy!
JEPHTA
O höre mich, du, den die Stürme tragen!
Du rufst den Blitz, es bebt der Bösewicht!
Du winkest, und des Erdballs Achse bricht!
O sieh, auf deines Volkes Zagen!
Wenn deine Hand mir Sieg verleiht,
So sei, was ich zuerst von meinem Hause seh'
Wenn ich zurück vom Felde des Kampfes geh'
Es sei zum Opfer dir geweiht.
JEPHTHAH
O hear me, You who bring the storms!
You summon lightning, and the wicked tremble!
You blink, and the world's axis breaks!
Look down upon Your people's terror!
If You will grant me victory,
I will offer as a sacrifice to You
The first thing I meet from my house
When I return from the field of battle.
[Ein Donnerschlag.]
[A peal of thunder.]
Der Herr hat meinen Schwur vernommen,
Wohlan die Feinde mögen kommen.
The Lord has heard my oath,
So let the enemy come!
ALLE
Der Herr hat seinen Schwur vernommen,
Nun mag das Heer der Feinde kommen.
ALL
The Lord has heard his oath,
So let the enemy's army come!
JEPHTA
Jetzt Gefährten auf zum Streit,
Keiner zage,
Keiner klage,
Wenn der Tod die Hand ihm beut!
Denn gerecht ist unsre Sache,
Und wir bringen Gottes Rache.
JEPHTHAH
Now, comrades, on to battle,
Let no one quail,
Let no one grieve,
If Death extends its hand to him!
For our cause is just,
And we bring God's vengeance.
xxvi
The Libretto
ALLE
Wohl gerecht ist unsre Sache,
Und mit uns ist Gottes Rache.
ALL
Indeed, our cause is just,
And God's vengeance goes with us.
JEPHTA
Der Schlachtruf töne durch das Land!
Von Berg zu Berg gebt Feuerzeichen,
Mut Israel! Zum Siege, folget mir!
JEPHTHAH
Let the battle-cry resound throughout the land!
Let signal-fires shine from hill to hill,
Courage, Israel! On to victory, follow me!
CHOR
Heran, heran,
Mit Roß und Mann,
Dich stolzen Feind erreichen,
Wird plötzlich unser Stahl,
Und dein Gebein soll bleichen
Bald in dem Todestal!
CHORUS
Come on, let's go,
With horse and man,
Our swords will quickly
Slay the proud enemy,
And their bones will soon whiten
In the Valley of Death!
ZWEITER AKT
ACT TWO
Im Hintergrunde Maspha. Im Vordergrunde
zur einen Seite Jephtas Haus, zur andern Seite das
Grabmahl von Sulimas Mutter. Zwei
übereinanderliegende Brücken, die von einen
Fels zum andern führen.
In the background Mizpah. In the foreground,
on one side, Jephthah’s house, on the other the
tomb of Sulima’s mother. Two superimposed
bridges lead from one rock to another.
Szene 1
Scene 1
TIRZA (zur ihr treten Sulimas Gespielinnen)
Wohl mir, daß ihr endlich kommt. Uns're arme
Sulima ist in Trostlosigkeit versunken, und ich allein
vermag nicht sie zu erheitern. Zu den schmerzlichen
Erinnerungen, die Todestag ihrer Mutter heut' in ihr
erregt, gesellen sich auch trübe Ahnungen über den
Ausgang der Schlacht, in der sie Vater und
Verliebten von tausand Gefahren umgeben weiß. –
Sie zog mich mit sich hierher.
TIRZAH (to Sulima’s girl friends approaching her)
I’m so happy that you’ve come at last. Our poor
Sulima has lapsed into despair, and I’m not able
to cheer her up by myself. To the painful
memory that the anniversary of her mother’s
death awakens in her today are joined dark
forebodings about the outcome of the battle in
which she imagines her father and her
sweetheart surrounded by a thousand dangers. –
She dragged me here with her.
EINE GESPIELIN
Wo ist die Arme jetzt?
A CHILDHOOD FRIEND
Where’s the poor girl now?
TIRZA
Sie gebot mir hier zu weilen, und ist jetzt
wahrschein lich beschäftiget, das Grabmahl
ihrer Mutter zur Feier des Todestages zu schmücken.
Ha, sie kommt. Welch eine Wehmuth spricht aus
ihren Zügen
TIRZAH
She ordered me to wait here, and is now
undoubtedly occupied with decorating her
mother’s tomb in memory of the day of her
death. Ah, she’s coming! What sorrow her
movements bespeak!
Szene 2
Scene 2
(Sulima tritt gedankenvoll auf, und geht nach dem
Grabmahl; an dessen Türe sie hinkniet und betet.)
(Sulima enters deep in thought and approaches
her mother’s tomb; she kneels and prays at its
door.)
Nr. 7 – Rezitativ und Arie mit Chor
No. 7 – Recitative and Aria with Chorus
SULIMA
Eine stille Trauer
Webt um meiner Mutter Grab,
Und mit heiligem Schauer
SULIMA
A quiet mournfulness
Surrounds my mother's grave,
And I approach it
Jephtas Gelüdbe
xxvii
Steige ich zu ihr hinab.
Ach, der Stein so hart und kalt
Deckt die blühende Gestalt,
Deckt das warme Leben,
Und es kann sich nicht erheben
Aus des Todes eiserner Gewalt.
With a reverent awe.
Ah, this stone so hard and cold
Covers her radiant form,
Covers her once warm being,
And she cannot escape
From Death's iron grip.
Arie
Aria
Ich lag in deinen Armen,
Ich lag an deiner Brust,
Mein Herz es konnt erwarmen
In erster Lebenslust,
Ich hing an deinen Wangen,
Ich hing an deinem Mund,
Dir wurde mein Verlangen
Auch ohne Worte kund.
I lay in your arms,
I lay on your bosom,
You comforted
My first pangs of love,
I clung to your cheeks,
I clung to your mouth,
You understood my longing
Without a word being spoken.
Gehüllt in Dunkel, ist mir jetzt das Leben,
Im Grabe ruht mein höchstes Glück,
Nie kehrt es an das Licht zurück.
Ich bin verwaist, ich bin allein,
Der Klageton verhallt am kalten Grabesstein.
Mein alles dort, nichts reizt mich hier,
Die Erde nahm die Mutter mir,
Was kann die Erde mir denn geben?
Life is now shrouded in darkness for me,
My greatest happiness lies in the grave,
Never to see the light of day again.
I'm orphaned, I'm alone,
The cold gravestone cannot hear my grief.
My all is there, nothing here delights me,
The earth took my mother from me,
What can the earth give me back in return?
CHOR
Einst wirst du sie wieder sehn,
Wenn des Grabes Riegel springt,
Einst ja wirst du zu ihr gehn,
Wenn des Richters Waage klingt;
Jetzt laß sie ruhen in stillen Grab,
Die Stimme des Menschen dringt nicht hinab.
CHORUS
You'll see her again some day,
When Death's lock is broken,
You'll embrace her again some day,
When the scales of justice tip;
Now let her rest in the quiet grave,
Human voices cannot reach her.
SULIMA
Werd ich einst sie wiedersehn?
SULIMA
Will I see her again some day?
CHOR
Wenn des Grabes Riegel springt!
CHORUS
When Death's lock is broken!
SULIMA
Zu der teuren Mutter gehn?
SULIMA
I'll embrace my dear mother again?
CHOR
Wenn des Richters Waage klingt!
CHORUS
When the scales of justice tip!
SULIMA
Heil'ger Glaube, sel'ges Hoffen,
Dich hat ein Gott in den Busen gesenkt,
Das Grab ist offen,
Die Riegel gesprengt,
Und freudig winkt, die ich verlor,
Die liebende Mutter mich zu sich empor.
SULIMA
Blessed expectation, blissful hope,
God has taken you to His bosom,
The grave is open,
The lock broken,
And she whom I lost, my loving mother,
Beckons me joyfully to herself on high.
(Sulima geht mit dem Chor in das Grabmahl.)
(Sulima and the chorus go into the sepulchre.)
xxviii
The Libretto
Szene 3
Scene 3
Vorige, Abdon (tritt aus dem Vordergrunde auf).
The preceding, Abdon (appearing in the
foreground).
ABDON (für sich)
O der Unruhe die mich foltert! Ich habe keine
bleibende Stätte! Wie ein Fluch liegt das Gefühl
meiner Liebe auf mir. Es treibt mich die Tochter
dessen aufzusuchen, der meine stolzesten
Hoffnungen vernichtete; ohne ihn, wär' ich
der Führer des Volks – und sie verwirft die Opfer
meines Liebe, und wendet ihr Herz einem weichlich
sanften Knaben zu, der... O Kain! Kain! es regt sich
etwas von deinem Geist in mir. – Ich soll nicht
glücklich seyn, so will ich dem Glückseligkeit
zerstören wo ich kann, und an den Zügen der
Verzweiflung mich ergötzen.
ABDON (to himself)
Oh, the turmoil that torments me! I have no
fixed abode! The feeling of my love weighs
down on melike a curse. It forces me to seek out
the daughter of the man who has dashed my
fondest hopes; with him out of the way I’d be the
leader of the people – and she rejects the love I
offer her and, instead, turns her heart to a weak,
insipid boy who... Oh, Cain! Cain! A touch of
your spirit is stirring within me. – If I can’t be
happy, then I’ll destroy happiness wherever I
can, and take delight in the progress of despair.
TIRZA (Abdon erblickend)
Ach! Abdon, bringst du uns Nachricht von der
Schlacht?
TIRZAH (noticing Abdon)
Ah! Abdon, have you brought us news of the
Battle?
ABDON
Der Sieg krönt unser Volk. Jephta und Asmaweth
haben Wunder der Tapferkeit gethan. Kein Amoniter
wird die Heymath wieder sehen.
ABDON
Victory crowns our people! Jephthah and
Asmaveth have worked miracles of bravery. No
Ammonite will see his homeland again.
SULIMA
Dank... dank dir, Herr und Retter!
SULIMA
Thank You... thank You, Lord and Savior!
ABDON
Doch Asmaweth bezahlte unser Sieg.
ABDON
But Asmaveth paid for our victory.
SULIMA
Asmaweth?
SULIMA
Asmaveth?
ABDON
Zu weit führt ihn sein ungestümer Muth. Im dichtesten Gewühl der Schlacht sah man ihn streiten. Er
sank durchbohrt von Speeren und Pfeilen.
ABDON
His impetuous courage led him too far ahead. He
was seen fighting in the thickest part of the battle.
He fell, pierced by spears and arrows.
SULIMA
Er sank, sagst du? Er ist todt?
SULIMA
He fell, you say? He’s dead?
ABDON
So meldete ein Bothen, den Jephta an den Hohenpriester gesendet.
ABDON
So said a messenger that Jephthah sent to the
High Priest.
SULIMA
Den Bothen laß mich sprechen.
SULIMA
Let me speak to the messenger.
ABDON
Zurück ist er zum Heere schon gekehrt.
ABDON
He has already returned to our army.
SULIMA
Aus deinem Munde geht die Wahrheit nicht. Du
wolltest dich an meinem Schmerze weiden. Du
hassest Asmaweth.
SULIMA
Your mouth is not speaking the truth. You want
to feast on my suffering. You hate Asmaveth.
Jephtas Gelüdbe
ABDON
Die Todten hass' ich nicht.
ABDON
I don’t hate the dead.
Nr. 8 – Terzett
No. 8 – Trio
ABDON
Nimmer wird er wiederkehren,
Nimmer sieht er mehr das Licht.
ABDON
He'll never return to you,
He'll never see the light of day again.
SULIMA
Sein Gedächtnis werd' ich ehren,
Bis mein Herz im Tode bricht.
SULIMA
I shall honor his memory
Until my heart breaks in death.
TIRZA
Laß dich nicht so leicht betören,
Traue seinen Worten nicht.
TIRZAH
Do not be so easily deceived,
Do not believe his words.
ABDON
Verloren ist verloren,
Gieb deine Liebe mir.
ABDON
What's gone is gone,
Give me your love.
SULIMA
Dem Treue ich geschworen,
Halt ich sie dort wie hier.
SULIMA
I swore to be faithful to him,
I'll keep my word now as then.
ALLE DREI
Die Treue ist hoch zu ehren,
Im Tode, da muß sie sich bewähren.
ALL THREE
It's noble to honor faithfulness,
But it must prove its worth unto death.
ABDON
Deine schöne Jugendblüte,
Die im Gram vergehen muß.
ABDON
But your lovely flush of youth
Is bound to fade away in grief.
SULIMA
O dem liebenden Gemüte
Wird der Kummer zum Genuß.
SULIMA
Oh, a loving disposition
Can turn sorrow into happiness.
ABDON
Laß mich deine Knie umfassen,
Wirst du mich denn ewig hassen?
Sieh, mein Leben weih' ich dir.
ABDON
Let me clasp your knees,
Will you spurn me forever?
See, I'm offering you my life.
SULIMA
Weg von mir!
SULIMA
Away from me!
TIRZA
Weg von hier!
TIRZAH
Away from here!
ABDON
Sieh' mein verzehrend Sehnen,
Sieh' meine heiße Tränen,
Hast du keinen Trost dafür?
ABDON
Behold my all-consuming passion,
See my burning tears,
Have you no comfort for me?
SULIMA
Weg von mir!
SULIMA
Away from me!
TIRZA
Weg von ihr!
TIRZAH
Away from her!
xxix
xxx
The Libretto
ALLE DREI
O der Qual!
So zu schweben
Zwischen Tod und Leben,
Wie die Schatten im Leichental.
ALL THREE
Oh, the torment!
To waver thus
Between life and death,
Like the souls in the Valley of Death.
[Sulima und Tirza gehen in das Grabmahl zurück.]
[Sulima and Tirzah return to the sepulchre.]
ABDON [allein]
Alle meine List ist umsonst – aber ich will diese
unselige Neigung mit all ihren Wurzeln aus meiner
Seele reißen, und an ihre Stelle giftigen Haß
pflanzen,und von seinem Hauch soll die eitle
Schönheit der Thörin verwelken; und wenn
Asmaweth ja wieder kehrt aus dem Schlachtfelde,
so soll der Garten seiner Liebe nur Nesseln und
Unkraut tragen, und bald sein Gebein bedecken.
ABDON [alone]
All my scheming has been for nothing – but I
shall tear this accursed feeling out of my soul by
the roots, and plant poisonous hatred in its place,
and its breath will cause the frivolous beauty of
that foolish girl to wither; and when Asmaveth
returns from the battlefield, the garden of his love
will produce only nettles and weeds, that will
soon cover his remains.
(Indem er rasch abgehen will, kommen einige
Vorsteher des Volkes.)
(Just as he turns to leave hurriedly, several tribal
leaders enter.)
EIN VORSTEHER
Wir suchen dich, Abdon.
A TRIBAL LEADER
We’ve been looking for you, Abdon.
ABDON
Was soll ich euch?
ABDON
What can I do for you?
DER VORSTEHER
Weißt du schon daß Jephta gesiegt hat? Durch ihn
und Asmaweth, dessen Tapferkeit seine Mitstreiter
als ein Wunder preisen, ist die Bluthe der Feinde
gefallen und ihr Lager unsre Beute geworden.
Asmaweth und Jephta, Jephta und Asmaweth
tönt der Jubelgesang des Heeres.
THE TRIBAL LEADER
Do you know yet that Jephthah has been
victorious? Because of him and Asmaveth,
whose bravery has been praised as a miracle by
his comrades, the enemy’s blood has been shed
and their camp has become our booty.
Asmaveth and Jephthah, Jephthah and Asmaveth
resounds our army’s song of jubilation.
ABDON (verwirrt)
Ich... ich weiß es.
ABDON (confused)
I... I know it.
DER VORSTEHER
So folge uns vor das Thor, wo die übrigen Vorsteher
unser schon harren. Es ziemt uns jetzt, die Helden
mit Würde zu empfangen.
THE TRIBAL LEADER
Then come with us outside the gate where the
rest of our leaders are already waiting. It’s only
fitting for us to welcome the heroes with dignity.
(Sie gehen ab.)
(They go off.)
Szene 4
Scene 4
ASMAWETH
Besiegt ist die Gefahr! So nah' der Theuren, der
Geliebten bin ich jetzt, und noch vor wenig Stunden
drohten tausend bewaffnete Arme zwischen ihr und
meinem Leben. Gelobt sey Gott! Du schütztest mich,
erhieltest mich, und führtest mich zurück zu ihr, aus
deren frommen Herzen für mich die Quelle ew'gen
Glückes rinnt... Hier wo sie so oft gewandelt, wo
ihre Seele sich in Wünschen für das Leben ihres
Vaters, und, ach! wohl für das meine auch zum
Himmel schwang, hier sey der Altar meines stillen
Opfers.
ASMAVETH
The danger has been overcome! I’m now very
near my darling, my beloved, and yet just a few
hours ago a thousand armed men separated her
and my love. God be praised! You protected me,
You saved me, and brought me back to her, out
of whose pious heart the spring of everlasting
happiness flows for me... Here where she so
often wandered, where her soul soared to
heaven in prayer for her father’s life
and, oh! for mine too... let the altar of my
peaceful offering be here.