Academy of St. Martin in the Fields, Sir Neville Marriner – Handel: Jephtha (1979/2024) [FLAC 24bit/48kHz]

Academy of St. Martin in the Fields, Sir Neville Marriner - Handel: Jephtha (1979/2024) [FLAC 24bit/48kHz] Download

Academy of St. Martin in the Fields, Sir Neville Marriner – Handel: Jephtha (1979/2024)
FLAC (tracks) 24 bit/48 kHz | Time – 02:51:53 minutes | 1,74 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Decca Records

Jephtha (HWV 70) is an oratorio (1751) by George Frideric Handel with an English language libretto by the Rev. Thomas Morell, based on the story of Jephtha in Judges (Chapter 11) and Jephthes, sive Votum (Jeptha, or the Vow) (1554) by George Buchanan. Whilst writing Jephtha, Handel was increasingly troubled by his gradual loss of sight, and this proved to be his last oratorio. In the autograph score, at the end of the chorus “How dark, O Lord, are thy decrees” he wrote “Reached here on 13 February 1751, unable to go on owing to weakening of the sight of my left eye.”

The story revolves around Jephtha’s rash promise to the Almighty that if he is victorious, he will sacrifice the first creature he meets on his return. He is met by his beloved daughter Iphis. However, an angel intervenes to stop the sacrifice, and Iphis only needs to dedicate her life to the Lord. This is an unusual interpretation of the Bible story, although one which has been current since the Middle Ages. The more common interpretation is that Jephthah chooses to sacrifice his daughter, but a short reprieve is arranged, after which Iphis dutifully returns and is killed.

Staged performance of material based on biblical subjects was forbidden in Great Britain at the time the work was premiered. Handel’s final masterpiece was presented at Covent Garden Theatre on 26 February 1752, with the composer conducting, and with a cast that included John Beard as Jephtha and two divas of the opera stage, Giulia Frasi, Handel’s prima donna since 1749, and Caterina Galli. It was presented without scenery or costumes and divided into three acts.


1-1. Academy of St. Martin in the Fields – Overture (03:48)
1-2. Academy of St. Martin in the Fields – Menuet (01:43)
1-3. Christopher Keyte – It Must Be So (01:26)
1-4. Christopher Keyte – Pour Forth No More Unheeded Pray’rs (03:15)
1-5. Southend Boys Choir – No More to Ammon’s God and King (02:57)
1-6. Christopher Keyte – But Jephta Comes (01:00)
1-7. Anthony rolfe Johnson – Virtue My Soul Shall Still Embrace (04:04)
1-8. Alfreda Hodgson – ‘Twill Be a Painful Separation, Jephta – In Gentle Murmurs Will I Mourn (05:17)
1-9. Paul Esswood – Happy This Embassy, My Charming Iphis – Dull Delay, in Piercing Anguish (04:47)
1-10. Margaret Marshall – Ill Suits the Voice of Love When Glory Calls – Take the Heart You Fondly Gave (05:00)
1-11. Margaret Marshall – I Go, My soul, Inspir’d – These Labours Past, How Happy We! (06:40)
1-12. Anthony rolfe Johnson – What Mean These Doubtful Fancies (01:29)
1-13. Southend Boys Choir – O God, Behold Our Sore Distress (04:42)
1-14. Alfreda Hodgson – Some Dire Event Hangs o’er Our Heads – Scenes of Horror, Scenes of Woe (05:13)
1-15. Margaret Marshall – Say, My Dear Mother (00:51)
1-16. Margaret Marshall – The Smiling Dawn of Happy Days (03:01)
1-17. Christopher Keyte – Such, Jephta – When His Loud Voice (05:06)
1-18. Paul Esswood – Glad Tidings of Great Joy to Thee, Dear Iphis (01:10)
1-19. Southend Boys Choir – Cherub and Seraphim, Unbodied Forms (03:12)
1-20. Paul Esswood – Up the DreadfulSteep Ascending (05:27)
1-21. Margaret Marshall – ‘Tis Well – Tune the Soft Melodious Lute (05:06)
1-22. Christopher Keyte – Again Heav’n Smiles – Freedom Now Once More Possessing (04:05)
1-23. Anthony rolfe Johnson – Zebul, Thy Deeds Were Valiant – His Mighty Arm (06:04)
1-24. Southend Boys Choir – In Glory High, in Might Serene (02:25)
1-25. Academy of St. Martin in the Fields – Symphony (01:18)
1-26. Margaret Marshall – Hail, Glorious Conqueror – Welcome as the Cheerful Ligh (04:02)
1-27. Anthony rolfe Johnson – Horror! Confusion! – Open Thy Marble Jaws, O Tomb (04:50)
1-28. Christopher Keyte – Why Is My Brother Thus Afflicted (01:14)
1-29. Alfreda Hodgson – First Perish Thou, and Perish All the World (02:13)
1-30. Paul Esswood – If Such Thy Cruel Purpose – On Me Let Blind Mistaken Zeal (01:51)
1-31. Alfreda Hodgson – O Spare Your Daughter (02:40)
1-32. Margaret Marshall – Such News Flies Swift – Happy They (04:12)
1-33. Anthony rolfe Johnson – Deeper, and Deeper Still (03:23)
1-34. Southend Boys Choir – How Dark, O Lord, Are Thy Decrees! (08:44)
1-35. Anthony rolfe Johnson – Hide Thou Thy Hated Beams, O Sun (02:55)
1-36. Anthony rolfe Johnson – Waft Her, Angels, Through the Skies (04:48)
1-37. Margaret Marshall – Ye Sacred Priests – Farewell, Ye Limpid Springs and Floods (06:02)
1-38. Southend Boys Choir – Doubtful Fear and Rev’rent Awe (05:00)
1-39. Academy of St. Martin in the Fields – Symphony (01:28)
1-40. Emma Kirkby – Rise, Jephta, and Ye Rev’rend Priests (01:11)
1-41. Emma Kirkby – Happy, Iphis Shalt Thou Live (04:43)
1-42. Anthony rolfe Johnson – For Ever Blessed Be Thy Holy Name (01:50)
1-43. Southend Boys Choir – Theme Sublime of Endless Praise (03:10)
1-44. Christopher Keyte – Let Me Congratulate This Happy Turn – Laud Her, All Ye Virgin Train (01:44)
1-45. Alfreda Hodgson – O Let Me Fold Thee in a Mother’s Arms – Sweet as Sight (02:32)
1-46. Paul Esswood – With Transport, Iphis – ‘Tis Heaven’s All-ruling Power (05:41)
1-47. Margaret Marshall – My Faithful Hamor, May That Providence – All That Is in Hamor Mine (04:21)
1-48. Southend Boys Choir – Ye House of Gilead, With One Voice (03:47)

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