Between Two Worlds - Mario Castelnuovo-Tedesco His Journey From

University of Iowa
Iowa Research Online

Theses and Dissertations
Fall 2015
Between two worlds : Mario Castelnuovo-Tedesco,

his journey from Italy to America, and his oratorio
"The book of Ruth"
Noah David DeLong
University of Iowa
Copyright 2015 Noah David DeLong
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/1963
Recommended Citation
DeLong, Noah David. "Between two worlds : Mario Castelnuovo-Tedesco, his journey from Italy to America, and his oratorio "The
book of Ruth"." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2015.
http://ir.uiowa.edu/etd/1963.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons

BETWEEN TWO WORLDS:
MARIO CASTELNUOVO-TEDESCO, HIS JOURNEY FROM ITALY TO
AMERICA, AND HIS ORATORIO THE BOOK OF RUTH
VOLUME I
by
Noah David DeLong
A thesis submitted in partial fulfillment

of the requirements for the Doctor of Musical Arts
degree in the
Graduate College of
The University of Iowa
December 2015
Thesis Supervisor: Associate Professor David Puderbaugh

Copyright by
Noah David DeLong
2015
All Rights Reserved

Graduate College
Iowa City, Iowa
CERTIFICATE OF APPROVAL
____________________________
D.M.A. THESIS
_________________
This is to certify that the D.M.A. thesis of
Noah David DeLong
has been approved by the Examining Committee for

the thesis requirement for the Doctor of Musical Arts degree
at the December 2015 graduation.
Thesis Committee: ____________________________________________

David Puderbaugh, Thesis Supervisor
____________________________________________
Deborah Contrada
____________________________________________
Michael Eckert
____________________________________________
Christine Getz
____________________________________________
Timothy Stalter
To Lily, Anna, and Laura
ii
ACKNOWLEDGEMENTS
I wish to thank the many people who have aided me during the course of this
project. The helpful guidance and careful editing done by the members of my thesis
committee, particularly my advisor Dr. David Puderbaugh, were indispensable in helping
me bring this project to its final form. Lisbeth Castelnuovo-Tedesco was kind enough to
grant permission to publish the score for The Book of Ruth in this edition. The staff of the
Music Division of the Library of Congress provided helpful assistance while accessing
materials in their collection of Mario Castelnuovo-Tedesco papers. Dillon Whittington,
Emily May, and Sarah Beth Hill were all helpful with a myriad of clerical and
proofreading tasks. Mignon Holben graciously assisted me with translating portions of
Mario Castelnuovo-Tedescos autobiography into English. Finally, I was spurred on by
the encouragement of many family members, friends, colleagues, and students, for which I
am very grateful. I am particularly indebted to my wife, Beth, for her enduring patience,
support, and love.
iii
PUBLIC ABSTRACT
The Florentine Jew Mario Castelnuovo-Tedesco (1895-1968), garnered
international acclaim as a composer and performer in the 1920s and 1930s. He studied
composition with Ildebrando Pizzetti and became associated with the International
Society for Contemporary Music. Castelnuovo-Tedesco received particular attention for
his operas, winning the Concorso Lirico Nazionale in 1925 for La Mandragola, and his
concertos, with prominent performances by Jascha Heifetz and Andrs Segovia.
During the 1930s, Castelnuovo-Tedesco and his family were negatively affected
by the Fascist governments racial laws restricting the rights of Italian Jews. In 1938,
after public performances of his music were canceled and his children were forbidden
from attending public school, Castelnuovo-Tedesco and his wife Clara decided to
immigrate to the United States. They sailed for the U.S. in 1939, settled in Beverly Hills,
and gained citizenship in 1946. In 1949, at the end of that turbulent decade, Castelnuovo-
Tedesco completed his first oratorio, The Book of Ruth.
This study features a new edition of The Book of Ruth, the first complete
publication of the work in full score. The edition is accompanied by a musical analysis
that examines melody, harmony, rhythm, text setting, vocal texture, orchestration, and
formal design in The Book of Ruth, comparing it with his other works. Furthermore,
selected passages from Castelnuovo-Tedescos autobiography, newly translated into
English, provide insight into the eventful decade preceding the works composition and
uncover several personal connections that exist between Castelnuovo-Tedesco and the
story of The Book of Ruth.
iv
TABLE OF CONTENTS
VOLUME I
LIST OF TABLES vii
LIST OF EXAMPLES viii
CHAPTER 1 INTRODUCTION 1
Historical Background 3
Overview of Compositional Activity 8
Choral Works 8
Other Vocal Works 14
Works in Other Genres 18
Motivation for Study 20
CHAPTER 2 YEARS OF TRANSITION, 1939-1949 22
The Jewish Situation in Italy 23

Fleeing Persecution 29
Settling in America 36
Continuing Connections with Italy 40
Genesis of The Book of Ruth 51
CHAPTER 3 COMPOSITIONAL PROCESS AND STYLE 56
Compositional Process 56
Working with Texts 58
Summary of Compositional Style 60
Melody 60
Harmony 61
Rhythm and Text Setting 62
Vocal and Choral Texture 63
Orchestration 63
Formal Design 64
Analysis of The Book of Ruth 65
Melody 66
Harmony 74
Rhythm and Text Setting 83
Vocal and Choral Texture 88
Orchestration 91
Formal Design 93
Scenic Components 99
Stylistic Periods 101
v
CHAPTER 4 CONCLUSION 103
Personal Connections 103

Further Research 105
Significance 106
BIBLIOGRAPHY 109
VOLUME II
EDITORIAL COMMENTARY 112
Source 112
Editorial Methods 112
Critical Notes 112
FULL SCORE OF THE BOOK OF RUTH 116
Part I Naomi and Ruth 117

Part II The Return of Naomi 167
Part III The Barley Harvest 186
Part IV The Mother-In-Law 232
Part V The Summernight 274
Part VI At the Gate of the City 310
Part VII Epilogue 371
vi
LIST OF TABLES
Table 1. Primary Motifs in The Book of Ruth 95
Table 2. Instances of primary motifs in The Book of Ruth 96
vii
LIST OF EXAMPLES
Example 1. Part I, mm. 85 88 67
Example 3. Part IV, mm. 652 655 69
Example 4. Part III, mm. 356 359 70
Example 7. Part V, mm. 737 738 72
Example 9. Part II, mm. 216 234 73
Example 14. Part VII, mm. 1098 1101 77
Example 18. Part VI, mm. 1050 1053 81
viii
ix
CHAPTER 1
INTRODUCTION
Many remarkable facets of the life and work of Italian-American composer Mario
Castelnuovo-Tedesco (18951968) contribute to his unique position in the history of
twentieth-century music. Though he first earned international acclaim working in his
hometown of Florence, a hub of European intellectual and artistic life, Castelnuovo-
Tedesco spent nearly the last three decades of his career half a world away in Beverly
Hills, California, a city more renowned for its film industry. His compositional career
can be viewed as successful in many respects; he earned several awards (the Concorso
Lirico Nazionale in 1925 for his opera La Mandragola, op. 20, and the Concorso
Internazionale Campari in 1958 for the opera The Merchant of Venice, op. 181) and
witnessed important premieres of his works by leading soloists (Jascha Heifetz, Gregor
Piatigorsky and Andrs Segovia).1 Nevertheless, his works in many genres, particularly
choral music, remain largely unknown. Perhaps most striking, Castelnuovo-Tedesco was
one of very few composers of Jewish faith and ancestry who were active in Italy during
the Fascist regime, a fact that had significant impact on both his personal life and his
career after the government instituted policies of official discrimination against Jews in
1938.2
In an attempt to understand these disparate circumstances of Castelnuovo-
Tedescos life and work more fully, this study will take as a point of departure the
1 Heifetz premiered the First Violin Concerto, op. 31, in 1931 and the Second Violin
Concerto, op. 66, in 1933; Piatigorsky played the Violoncello Concerto, op. 72, in 1933; and
Segovia premiered the First and Second Guitar Concertos, op. 99 and op. 160, in 1939 and 1953.
2 Castelnuovo-Tedesco, in a 1938 letter to Mussolini, mentioned only five Jewish
musicians in Italy: Alberto Franchetti, Leonetto Sinigaglia, Renzo Massarani, Vittorio Rieti, and
himself. Joames John Westby, Castelnuovo-Tedesco in America: The Film Music (Ph.D.
diss., University of California, Los Angeles, 1994), 15.
1
composition of the first two choral-orchestral works by the composer, the 1947 cantata
Naomi and Ruth, op. 137, which was expanded into the oratorio The Book of Ruth, op.
140, in 1949. The subject of both is taken from the biblical story of Ruth, in which the
Jewish protagonists are displaced from their homeland yet find welcome and prosperity
in a new country, providing some striking parallels to the real-life circumstances of
Castelnuovo-Tedesco and his family. In the decade between 1939 and 1949,
Castelnuovo-Tedesco faced several pivotal events in his life, beginning with his
immigration to the United States that was brought on by increasing political and social
pressures from the Italian government, and resulting in his eventual American
citizenship. These significant events invite a closer examination of The Book of Ruth, a
work composed at the end of this turbulent period.
The previously unpublished full score of The Book of Ruth is included in volume
two of this study in a newly prepared scholarly edition. This edition, prepared from the
holograph manuscript found in the collection of Mario Castelnuovo-Tedesco Papers
housed in the Library of Congress, widens the availability of his first oratorio to
interested conductors and scholars alike. In addition, Castelnuovo-Tedescos
autobiography, Una vita di musica, was only recently published in the original Italian
language, and no complete English translation exists.3 This study will draw on newly
translated material from this autobiography, supplemented by secondary sources, to
explore the motivations that led Castelnuovo-Tedesco to compose choral works based on
the biblical story of Ruth.
To begin, this chapter will summarize the current scholarship about Castelnuovo-
Tedesco and his choral music, thereby providing a background for this investigation. The
second chapter, which draws on newly translated material from the composers
3 Mario Castelnuovo-Tedesco, Una vita di musica, ed. James Westby (Florence: Cadmo,
2005).
2
autobiography, will examine the eventful decade from 1939 (when he left Italy) to 1949
(when he composed The Book of Ruth). Chapter two will also explore several factors that
motivated the composition of The Book of Ruth, confirming a connection to the
composers faith and heritage as well as showing a number of the composers personal
associations with the narrative.
A musical analysis of The Book of Ruth will follow in chapter three. Prominent
compositional devices in the work will be highlighted and compared to features identified
by other studies of Castelnuovo-Tedescos music. In addition, this analysis will place of
The Book of Ruth within the three periods of Castelnuovo-Tedescos compositional
career as described by Burton Scalin.4 In addition, this analysis will discuss the overall
structure and extra-musical aspects of the work, highlighting the particular elements that
contribute to the composers unique conception of what he calls a scenic oratorio. To
conclude, chapter four will suggest several thematic connections between events in the
life of Castelnuovo-Tedesco and events in the biblical story of Ruth, list possible
directions for further research, and reflect on the importance of this particular study.
Historical Background
Mario Castelnuovo-Tedesco was born in Florence on April 3, 1895, the third son
of Amadeo and Noemi Castelnuovo-Tedesco. His father, who was a leading banker in
the city, did not encourage Marios interest in music at first. Rather, it was his mother,
whose family was more interested in music and the arts, who gave Mario his first lessons
in piano at the age of seven or eight. Mario later noted, In my mothers family
everybody was very musical, and it is certainly from her side that I inherited my musical
4 Burton Howard Scalin, Operas by Mario Castelnuovo-Tedesco (Ph. D. diss.,

Northwestern University, 1980), 317.
3
inclination.5 Encouraged by Marios maternal grandfather, Noemi taught Mario in
secret for some time. Amadeo first heard his son play Chopin after he had taken a year of
lessons and subsequently agreed to allow him to study music further.6 In addition to
piano studies, Mario also showed an early interest in composition, publishing two pieces
for piano in Il Giornalino della Domenica at the age of nine and ten.7
Just as Marios parents differed in their relative interest in music, they also
differed with respect to their Jewish heritage. His mother traced her familys lineage to
Jews who lived around Rome, most likely since the height of the Roman Empire. His
father, on the other hand, traced his lineage to of the Sephardic Jews who were expelled
from Spain and settled in the region of Tuscany at the end of the fifteenth century.8
Together, Marios parents made sure that their family was actively involved in the Jewish
community in Florence.9 Marios son Lorenzo later commented that My fathers family
were [sic] Orthodox Jews and they were observingReligion was a very important part
of their life.10 Mario remembered vividly the religious experiences of his youth:
Yes, I was a member of the Jewish community in Florence; and,

since childhood, I went to the temple on the solemn Holy Days
not so much because of inner conviction, but rather to do
something nice for my parentsDespite a certain external
grandeur of lines, the temple in Florence is not really beautiful.
The interior has a chocolate color and is decorated with
arabesques, making it resemble a mosque. However, it seemed
beautiful to me when I was a child. And about midday, when the
5 Gdal Saleski, Famous Musicians of Jewish Origin (New York: Bloch Publishing,
1949), 32.
6 Saleski, 25.
7 Scalin, 23-24.
8 Saleski, 31.
9 Westby, 24.
10 Clara Castelnuovo-Tedesco, La sua fede, interviewed by Rebecca Andrade (Los

Angeles: UCLA Oral History Program, 1982), 46.
4
sun filtered through the red, yellow, and blue stained-glass
windows, and when the gilded doors of the Sanctum Sanctorum
were opened so that the ancient Biblewritten on scrolls of
parchment, covered with old and precious brocades, and crowned
by tinkling silver turretscould be taken out, my imagination flew
in a dream of oriental splendor and I could almost see the ancient
temple, destroyed long ago in Jerusalem. As for the religious
servicesthey seemed long and I didn't pay too much attention to
the rabbi's scholarly sermons. Anyhow, for me, the temple in
Florence remained tied to "traditions"to memories of my family,
to father and to mother.11
These formative connections to faith and family played a pivotal role in many of
Castelnuovo-Tedescos later compositions, particularly The Book of Ruth.
Castelnuovo-Tedesco continued his musical training at the Istituto Musicale
Cherubini in Florence, where he enrolled in 1909 and received a degree in piano five
years later. In 1915, he went on to begin composition studies with one of Italys leading
composers at the time, Ildebrando Pizzetti (18801968), whose influence on his pupil
was deep and lasting.12 Castelnuovo-Tedesco adopted several of Pizzettis

compositional practices, including 1) extensive choral writing, 2) elaborate counterpoint,
3) strict chromaticism with diatonic melodic lines, and 4) declamatory recitative.13 In
1918 Castelnuovo-Tedesco earned a diploma in composition from the Liceo Musicale di
Bologna.
In addition to his influence on Castelnuovo-Tedescos music, Pizzetti was also a
great champion of his students career. Pizzetti, along with Alfredo Casella (18831947),
G. Francesco Malipiero (18821973), Ottorino Respighi (18791936), Vittorio Gui
(18851975), Carlo Perinello (18771942) and Vincenzo Tommasini (18781950),
11 Mario Castelnuovo-Tedesco, Music for the Synagogue, trans. Burton Howard

Scalin, Journal of Synagogue Music 5 (Dec. 1974), quoted in Clara Castelnuovo-Tedesco, 91.
12 Westby, 27.
13 Harriette Rosen, The Influence of Judaic Liturgical Music in Selected Secular Works
of Mario Castelnuovo-Tedesco and Darius Milhaud, (Ph. D. diss., University of California, San
Diego, 1991), 36-37.
5
formed the Societ Nazionale di Musica (later the Societ Italiana di Musica Moderna)
in 1917. Castelnuovo-Tedesco soon came to be associated with this group, and through it
he found opportunities for the performance of his compositions across the country as well
as increased stature because of his connection to these leading figures of Italian music. In
addition, Casella, a concert pianist and composer who helped organize the Italian division
of the International Society for Contemporary Music (ISCM), was particularly interested
in advancing Castelnuovo-Tedescos music and frequently included it on concert
programs ,.14
Throughout the 1920s several international music festivals held by the ISCM
included concert performances of works by Castelnuovo-Tedesco, earning him notoriety
throughout Europe as one of Italys leading composers.15 In particular, Castelnuovo-

Tedesco began to make his mark on the world of opera in this decade, with the premieres
of the award-winning La Mandragola (19201923) at Il Teatro della Fenice in 1926 and
Bacco in Toscana (1926) at Il Teatro alla Scala in 1931. Furthermore, Castelnuovo-
Tedesco enjoyed success in other areasas a concert pianist, notably performing the
Italian premiere of Stravinskys Les Noces in 1927, and as a music critic for several
publications, including Il Pianoforte (later Rivista musicale italiana), La Critica
musicale, Musica doggi, and Pgaso.16 Outside of the professional accomplishments of
this era, Castelnuovo-Tedesco was married to Clara Forti on March 6, 1924. Clara, born
into a highly cultured family in the town of Prato (near Florence), shared Marios
14 Westby, 29.
15 These include Il Raggio verde at the First Festival of the ISCM in 1923, Coplas at the
1924 festival, and Le Danze del Re David at the 1927 festival.
16 Scalin, 31-32.
6
interests in art, music, and literature.17 The couple had two sons, Pietro (19251998) and
Lorenzo (19302000), and remained together until the composers death in 1968.
During the 1930s, Castelnuovo-Tedesco found continued success in Italy at the
same time that anti-Semitism was on the rise elsewhere in Europe. In 1931, Castelnuovo-
Tedesco was approached by the celebrated violinist Jascha Heifetz (19011987) to
compose a violin concerto, and he sought to express pride in his Jewish heritage with a
work subtitled I profeti, inspired by the Hebrew prophets Isaiah, Jeremiah, and Elijah.
Another significant commission came in 1935, when Benito Mussolini requested a work
for the Maggio Musicale Fiorentino festival, though in the coming years his Fascist
government would restrict opportunities for Jews in the arts and other public sectors.18
Evidence of the coming persecution of Italian Jews first came in January 1938,
when Castelnuovo-Tedesco received news that an upcoming performance of his Second
Violin Concerto (I profeti) scheduled by the Turin Radio Orchestra had been cancelled
by official orders from Rome.19 In September of that same year, in one of the first overt
anti-Semitic measures taken by Mussolinis government, Jewish children were forbidden
to attend public schools and Jews were not allowed to teach at any level.20 This
prohibition struck Castelnuovo-Tedescos family very deeply, particularly his son Pietro:
And it was a terrible blow; I could have endured anything, the end
of my professional career, the seizure of my property, but not this!
17 Ibid., 27.
18 The commissioned work was incidental music for the play Savonarola by Rino Alessi.
19 Harvey Sachs, Music in Fascist Italy (New York: W.W. Norton and Company, 1987),
184.
20 Other measures taken that autumn include limited property rights, prohibitions of
mixed marriages, exclusion from many types of employment, and the expulsion of foreign Jews
from the country. Mario Toscano, Prologue: The Jews in Italy and the Anti-Semitic Policy of
Fascism, in Uncertain Refuge: Italy and the Jews During the Holocaust, by Nicola Caracciolo,
trans. Florette Rechnitz Koffler and Richard Koffler (Urbana, IL: University of Illinois Press,
1995), xxxviii.
7
I can still see the desperate expression on Pietros face when he
read the sentence, and, if there is one thing for which I cannot
forgive the Fascist regime, it is exactly this silent, inward, and deep
pain that I read on the face of my son.21
Consequently, the composer and his family decided to leave the country, requesting exit
visas from the Italian governmenta process that took several monthsand seeking
assistance from several professional contacts in the United States, including Arturo
Toscanini, Albert Spalding, and Heifetz. Finally in 1939, after receiving all of the
necessary paperwork, the Castelnuovo-Tedesco family set sail for New York.
Many authors have written in some depth about Castelnuovo-Tedescos early
career and the tumultuous years leading up to his emigration in 1939. On the other hand,
accounts of his life and career in the years that followed his arrival in America have
focused primarily on his work for the film industry, both as a composer of film music and
a teacher of other film composers. However, a number of pivotal events in the
composers life occurred in the decade following his arrival in the United Statesthe
death of his beloved mother Noemi in 1940, the awarding of his American citizenship in
1946, and his first return to Italy in 1948. Chapter two of this study will detail the
circumstances surrounding these events and highlight Castelnuovo-Tedescos reflections
on them as revealed in his autobiography.
Overview of Compositional Activity
Choral Works
The two choral works discussed in chapter three, Naomi and Ruth and The Book
of Ruth, are but a small fraction of Castelnuovo-Tedescos total output for chorus, which
21 E fu un colpo terribile: qualunque cosa avrei potuto sopportare, la fine della mia
attivit professionale, lesproprio dei beni, ma non questo! Rivedo ancora lespressione disperata
sul volto di Pietro quando lesse la condanna, e, se c una cosa che non posso perdonare al
Fascismo, proprio questo dolore muto, chiuso, profondo che lessi sulla faccia del mio
bambino. Mario Castelnuovo-Tedesco, Una vita di musica, 301, translation by author.
8
numbers at over one hundred works. The late Nick Rossi, founder and former president
of the International Castelnuovo-Tedesco Society, categorized the composers choral
works into three main groups according to their musical formshorter works, longer
concert works, and oratorios.
The variety of texts used in his shorter choral works show Castelnuovo-Tedescos
diverse literary interests. Castelnuovo-Tedesco himself identified the King James Bible
as a significant literary influence.22 Many of his choral works, in fact, draw on biblical
texts, including Proverbs of Solomon, op. 168, for unaccompanied mens voices; Lament
of David, op. 169, from II Samuel for unaccompanied double SATB chorus; and Two
Motets from the Gospel of John, op. 174, for unaccompanied SATB chorus. In addition,
the composers fondness for the writings of Shakespeare is apparent in several choral
settings of Shakespeares sonnets.23 Other choral works draw on English texts from such
distinguished poets as John Keats, Henry Wadsworth Longfellow, Christina Rossetti, Sir
Walter Scott, Percy Bysshe Shelley, Alfred Lord Tennyson, and William Wordsworth. In
addition, Castelnuovo-Tedesco was well acquainted with a number of different
languages, and composed choral works on Italian, Latin, Hebrew, French, and Spanish
texts.
The longer choral works of Castelnuovo-Tedesco also reveal a variety of interests
and influences. The Sacred Service for Sabbath Eve, op. 122 (1943), written for cantor,
choir, and organ, is a liturgical work that shows the composers interest in his Jewish
faith and heritage. The cantata Naomi and Ruth, which later formed the first movement
of the oratorio The Book of Ruth, is one of three cantatas written on biblical texts. Like
22 Castelnuovo-Tedesco, Mario. The Composer Speaks, in The New Book of Modern

Composers, third edition, revised and enlarged (New York: Alfred A. Knopf, 1961), 111.
23 He also used Shakespearean texts in his notable set of Thirty-three Shakespeare Songs
for solo voice and piano, op. 33, as well as the operas The Merchant of Venice, op. 181, and Alls
Well That Ends Well, op. 182.
9
Naomi and Ruth, The Queen of Sheba, op. 161, was written for womens chorus and
soprano solo, and its text was taken from I Kings. A third cantata, The Fiery Furnace,
op. 183 (1958), was written for baritone solo, childrens chorus, piano and percussion on
a text from the Book of Daniel. In a different vein, the multi-movement Romancero
Gitano, op.152 (1951), for mixed chorus and guitar, is a product of Castelnuovo-
Tedescos long-term interest in composing for the guitar, initiated and sustained by his
relationship with the renowned guitarist Andrs Segovia. This set of seven pieces on
poems by Federico Garca Lorca displays a decidedly Spanish style in melody, rhythm,
and accompaniment.
Rossis third category of choral works, then, consists of the five oratorios written
by Castelnuovo-Tedesco on biblical texts. The first was The Book of Ruth (1949), which
calls for a soprano, mezzo-soprano, tenor, and two baritone soloists, mixed chorus, and a
moderately large orchestra.24 This was followed two years later by The Book of Jonah,
op. 151, a work whose scoring is less typicala tenor and baritone soloist, mens chorus,
several saxophones, brass, timpani, percussion, two pianos, cellos, and basses. Another
extended work is The Song of Songs, op. 172 (19541955), which the composer labeled
a rustic wedding idyll, written for soprano, tenor, and baritone soloists, mixed chorus,
and a somewhat modest orchestration.25 Castelnuovo-Tedescos unique conception of
this work defied easy categorization in a conventional genre:
The Song of Songs is certainly not opera, just as the text is not
drama. It is a mixture of songs and dances, as were most of the
primitive forms of theater. If not drama, certainly a lyric
expression; and, in this sense, it is useless to discuss, as I did at
the beginning, whether the text is an anthology of songs or a
form of representation. As far as the music is concerned, both
24 Including 3 flutes, piccolo, 2 oboes, English horn, 3 clarinets, bass clarinet, 2

bassoons, 4 horns, 3 trumpets, 3 trombones, percussion, harp, piano, celesta, and strings.
25 Including flute, 2 oboes, 2 clarinets, bassoon, 2 horns, trumpet, timpani, harp, and
strings.
10
hypotheses are valid and overlapping; the form is that of a
dialogue, but in spirit it is a love song.26
With his next oratorio, The Book of Esther, op. 200 (1962), Castelnuovo-Tedesco
continued to write on texts from the Old Testament, and uses a larger orchestra that is
similar in size to that of The Book of Ruth.27 Castelnuovo-Tedescos final work in this
genre, Tobias and the Angel, op. 204 (19641965), calls for a smaller orchestra but a
greater number of other performers. This oratorio, whose libretto is taken from the
apocryphal Book of Tobit,calls for a mixed chorus, seven soloists (soprano, 2 contraltos,
tenor, baritone, and two basses), a narrator, and even a mime and dancers.
Tracing the dates of composition of Castelnuovo-Tedescos many choral works, a
trend emerges. According to Rossis catalogue of works, only four choral works date
from the 1910s, when the composer was still a student in Italy, and another four were
written in the mid-to-late 1930s. The large majority of his music for chorus was written,
then, after his immigration to the United States. Castelnuovo-Tedesco notes in his
autobiography that the increased output of choral works was partly due to the relatively
greater number of choirs in the United States. He writes:
In addition to the liturgical choral music, I have also written quite a

few pieces of secular character, since I found that in America there
was a lot of demand, both on the part of publishers and of choral
societies. I was pleased (and a little surprised), because in Italy
(even though I had received from Pizzetti a particularly strong
preparation in this area, and I myself felt inclined to it), I had had
infrequent opportunities to cultivate itHere in America, on the
other hand, the professional choirs are truly extraordinary, those of
amateurs also excellent, and finally there is no school or university
that does not have one or more groups of varying proficiency.28
26 Mario Castelnuovo-Tedesco, The Song of Songs, Music Journal 21 (Nov. 1963):

23-24.
27 Including 3 flutes, piccolo, 2 oboes, English horn, 3 clarinets, 2 bassoons,
contrabassoon, 2 horns, 3 trumpets, 3 trombones, tuba, percussion, xylophone, and 2 harps.
28 Di musica corale, oltre quella liturgica, ne ho scritta parecchia anche di carattere

secolare, poich trovai che in America ve nera molta richiesta, sia da parte di editori che delle
societ corali. Ne fui lieto (e un po sorpreso) poich in Italia (per quanto avessi avuto da Pizzetti
una preparazione particolarmente solida in questo campo, e mi ci sentissi io stesso portato) avevo
11
In addition to this general trend of composing more choral works after moving to the
United States, chapter two will explore Castelnuovo-Tedescos specifc motivations for
composing The Book of Ruth, including his personal connections with the biblical
narrative.
Only one full-length study has been written on his choral works of Castelnuovo-
Tedesco.29 In it, Dorothy Landis Gray discusses a number of works, both for chorus and
for solo voice, that were written for womens voices. The solo songs included in this
study were chosen by Landis Gray because she identified a certain gender perspective in
the text, even though they were not specified for womens voices by Castelnuovo-
Tedesco himself. The choral works she studied include several sets of piecesFour
Christina Rosetti Settings, op. 153 (1951); Three Shelley Songs, op. 154 (1951); Songs of
the Oceanides, op. 171 (1954); and Three Shelley Songs, op. 173 (1955)as well as two
cantatas, Naomi and Ruth and The Queen of Sheba.
Landis Grays musical analyses reveal a number of noteworthy compositional
features. The selected works are characterized by the composers gift of writing lyrical
melodies, with comfortable tessituras and predominantly conjunct motion.30

Furthermore, they feature sensitive text setting with correct accentuation achieved
through flexible rhythms.31 Textures of these works alternate between homophony and
avuto rare occasioni di coltivarla...Qui in America, invece, i cori professionali sono veramente
formidabili, quelli di dilettanti pure ottimi; e infine non vi scuola od universit che non abbia
uno o pi gruppi di varia efficienza. Mario Castelnuovo-Tedesco, Una vita di musica, 442,
translation by author.
29 Dorothy Landis Gray, Mario Castelnuovo-Tedesco: Selected English Settings of
Music for Womens Voices from His American Period (1939-1968) (Ph.D. diss., The Catholic
University of America, 1996).
30 Landis Gray, 205.
31 Ibid., 208.
12
imitation, with careful use of brief unaccompanied sections and humming or singing on a
neutral syllable for effect.32
Landis Gray also points out that Castelnuovo-Tedesco uses a primary melodic
motif to unify some of his works, particularly the cantatas; this motif is generally
presented in the accompaniment before being taken up by the chorus.33 The composer
also uses sequences and modulations to illustrate important parts of the narrative;
modulations to remote keys depict particularly dramatic events or to identify new
characters.34 In addition, text paintingto depict weeping, for exampleis used
frequently in both the vocal lines and the accompaniment.35 The accompaniments in
these works are typically supportive of the vocal lines and often feature the use of
ostinato or pedal tone.36
Concluding her analysis of Castelnuovo-Tedescos choral and vocal works,
Landis Gray finds that his approach to composition begins with a concern for expressing
the meaning of the text: Above all, his first aesthetic principle seems to be a profound
awareness that it is necessary to be true to the text in every way. His melody lines and
accompaniments attest to this fact.37 This assertion is supported by the composer
himself, who described:
the profound urge within meto unite my music to poetic texts

that arouse my interest and emotion, to interpret them and at the
same time to set them forth in lyric expression, to stamp them with
the authentic and therefore undetachable seal of melody, to give
33 Ibid., 206.
34 Ibid., 205.
35 Ibid., 209.
36 Ibid., 206.
37 Ibid., 209.
13
utterance to the music that is latent within them, and, in doing so,
to discover their real source in the emotions that brought them into
being.38
Evidence of this text-driven approach, in which the composer uses various musical
devices to express the meaning of the text, will also be seen in the musical analysis of
The Book of Ruth given in chapter three.
Other Vocal Works
In addition to his works for chorus, Castelnuovo-Tedesco wrote a great deal of
other vocal music, including operas and works for solo voice and piano. Though the
composer was adept at writing instrumental music and is perhaps most well-known today
for his works for piano, guitar, or orchestra, he had a great fondness for composing for
the voice. He once wrote, One of my ambitions has always been to wed my music with
the purest and highest poetry in the form of the song for voice and piano. So great is my
passion for this form of art that I once wrote, and I repeat it here, that if there is any
composer I envy it is Franz Schubert for his Lieder.39

Castelnuovo-Tedesco pursued that ambition by writing more than 150
compositions for solo voice and piano. As with the choral works, his diverse literary
interests are evident in this genre as well. Castelnuovo-Tedesco composed songs on
Italian texts by Dante, DAnnunzio, Leopardi, Palazzeschi, and Petrarch, among others;
French poetry by Gide, Proust, Rabelais, Valry, and Verlaine; English poetry by
Browning, Byron, Kipling, Lawrence, Milton, Shelley, Stevenson, Whitman, and
Wordsworth; and German poetry by Heine. These songs were written throughout his
career, though he used more Italian and French texts in the early decades and more
English texts in later years.
38 Mario Castelnuovo-Tedesco, Music and Poetry: Problems of a Song-Writer, The

Musical Quarterly 30, no. 1 (Jan. 1944): 102.
39 Mario Castelnuovo-Tedesco, The Composer Speaks, 111.
14
Shakespeare was also an important inspiration for Castelnuovo-Tedesco. From
1921 to 1925, the composer completed a set of Thirty-three Shakespeare Songs, op. 24,
for solo voice and piano. The texts chosen for these pieces are song texts from several
Shakespeare plays, and Castelnuovo-Tedesco set them for different voice types in one
collection. Later, he turned to Shakespeares sonnets for Twenty-eight Shakespeare
Sonnets, op. 125 (1944-1947), and set four additional sonnets in 1963.
These Shakespeare works have been the subject of two dissertations, one by
David Lee Alt and another by Sylvanna Prechtl.40 Alts study analyzes five selected
songs from opus 24 and shows how the musical settings illustrate the characters and
dramatic intentions in Shakespeares plays. Musically, Alt notes impressionistic
elements in Castelnuovo-Tedescos harmonies, stating that Finely-crafted melody is the
most obvious and appealing feature of Castelnuovo-Tedescos compositions, whether it
be in a song, a piano composition, or an aria from one of his operas.41 The scope of
Prechtls research includes all of the sixty-two songs for solo voice and pianothirty-
three songs from the plays and twenty-nine sonnets. Her analysis considers stylistic
elements such as form, rhythm, melody, harmony, texture, and text setting, as well as
such aspects of vocal performance as phrase length, range, tessitura, diction, and
dynamics. She also classifies the pieces in terms of difficulty, with roughly half
intermediate and half advanced.42 Her stylistic conclusions closely match those of Alt,
finding predominantly conjunct, diatonic melodies with impressionistic harmonic
language, especially in the songs from the plays written between 1921 and 1925. She
40 David Lee Alt An Analysis of Five Shakespearean Settings by Mario Castelnuovo-

Tedesco (D.M.A. essay, The University of Iowa, 1980), and Sylvanna T. Prechtl A Stylistic
and Vocal Analysis of the Shakespeare Songs of Mario Castelnuovo-Tedesco (D.M. diss.,
Indiana University, 1981).
41 Lee Alt, 23.
42 Prechtl, 265.
15
notes that a more obvious influence of impressionism is evident in the earlier
worksThis is due to the greater use of such impressionistic devices as rhythmic
ostinatos, melodic modes, immediate repetition of melodic phrases, extended tertian
sonorities, symmetrical harmonies and planing.43
Castelnuovo-Tedesco was also very productive and successful in opera. As
previously noted, two of Castelnuovo-Tedescos dramatic works earned top honors in
competitionLa Mandragola, op. 20 (19201923), based on the play by Machiavelli,
and The Merchant of Venice, op. 181 (1956), adapted from Shakespeare. His other
operatic works include Bacco in Toscana, op. 39 (19351936), a one-act opera based on
a poem by Francesco Redi; Aucassin et Nicolette, op. 98 (1938), a puppet opera based on
a late twelfth-century French chante-fable; Alls Well That Ends Well, op. 182 (1955
1958), another Shakespeare-inspired work; Sal, op. 191 (19581960), his first
biblically-themed opera, based on a drama by Vittorio Alfieri; and finally The
Importance of Being Earnest, op. 198 (19611962), based on the Oscar Wilde play. Nick
Rossi discusses each of these works in an article in The Opera Quarterly, outlining the
reasons for composition, narrative, dramatic structure, and performance history of each
opera.44
Burton Scalins dissertation on Castelnuovo-Tedescos operas gives an overview
of the composers work in this genre and examines La Mandragola, Bacco in Toscana,
and The Importance of Being Earnest in detail. Scalin observes that Castelnuovo-
Tedesco read widely and had a discerning taste for great writing, evidenced by the fact
that the composer prepared the libretti for his operas himself based on acclaimed works
43 Prechtl, 469.
44 Nick Rossi, A Tale of Two Countries: The Operas of Mario Castelnuovo-Tedesco,

The Opera Quarterly 7, no. 3 (1990): 89-121.
16
of literature.45 Scalin also points out that Castelnuovo-Tedesco composed the English-
language operas with both English and Italian texts, as opposed to creating an Italian
translation after the fact. He writes:
Castelnuovo-Tedescos practice of setting prior sources in their

original language, even when such languages are not Italian, is a
feature which appears to be unique to him. The present writer has
been unable to find any other example of this practice among the
more well-known Italian composer-librettists who were
contemporaries of Castelnuovo-Tedesco.46
Furthermore, Rossi observes that Castelnuovo-Tedescos process of crafting
libretti from previous worksresults in a lack of traditional arias. He explains:
Without exception, Castelnuovo-Tedesco crafted the libretti

himself for each of his eight operas, through a systematic and
prudent paring down of some of the finest dramas in
existenceNot wishing to add text or words of his own,
Castelnuovo-Tedesco had to rely for each libretto on the original
creation, which, in most cases, provided precious few soliloquies
that could be turned into arias and very little text that would lend
itself to ensembles. (He did add, however, in both of his
Shakespeare operasThe Merchant of Venice and Alls Well That
Ends Wellsonnets, just as Verdi had done for Fenton in
Falstaff.)47
Scalins study also reaches several conclusions regarding Castelnuovo-Tedescos
musical style as seen in his operas. The formal design relies on a series of scenes
connected by musical continuity achieved either by use of cadences which bridge the
end of one segment and the beginning of the following one, or by use of the same chord
which carries through the point of juncture.48 The musical vocabulary is consistent
throughout the various works; characteristic elements include the use of diatonic
melodies (in major, minor, or one of the church modes), tertian harmonies with some
45 Scalin, 308.
46 Ibid., 311.
47 Rossi, A Tale of Two Countries, 94-95
48 Scalin, 313.
17
expanded sonorities (9th, 11th, 13th, and added 6th chords) at the ends of structural
divisions, the frequent appearance of chains of parallel chords, and evaded cadences to
maintain continuity between scenes.49 Scalin later observes that Castelnuovo-Tedescos
compositional career can be divided into three major periods, as has been done with
numerous other composers.50 Chapter three of this essay will describe these periods in
greater detail and illustrate how the musical features of The Book of Ruth fit within this
framework.
Works in Other Genres
In addition to the studies of vocal music already mentioned, Castelnuovo-
Tedescos instrumental music has also been the subject of academic research. As noted
above, the composers solo concertos received performances by some of the leading
soloists and orchestras of the day. Mark Holmberg has written on the subject of these
solo concertosthree for violin, two for piano, two for guitar, and one for cello
composed between 1924 and 1962.51 Holmbergs analysis reveals findings similar to
those of other studies about the diatonic nature of Castelnuovo-Tedescos melodies,
which he describes as broad and sweeping in nature in these instrumental works.52
Likewise, Holmberg finds that Castelnuovo-Tedescos harmonies are primarily tertian,
while avoiding the historically common relationship of tonic to dominant often found
49 Scalin, 314-315.
50 The first period, 1915 through the early 1920s, saw works that exhibited his creative
brilliance. The second, from the early 1920s to 1939, was when he embraced a trend directed
towards simplification of style. In the third, which spans from the 1940s through the 1960s, he
often attempted to combine a continuing simplification with accessibility. Ibid., 317.
51 Mark L. Holmberg Thematic Contours and Harmonic Idioms of Mario Castelnuovo-
Tedesco, as Exemplified in the Solo Concertos (Ph.D. diss., Northwestern University, 1974).
52 Ibid., 5.
18
between the primary and secondary themes of each movement.53 Holmberg also
includes analysis of the form and structure of the concertos and notes the composers
frequent use of counterpoint:
Castelnuovo-Tedesco may be described as a contrapuntist. He is

fond of combining two or more melodies, particularly in the
development section of a sonata-allegro form movement of a
concerto. Imitation abounds in the exposition of themes and many
canons are found in the development sections.54
Two other scholarly studies also deserve mention. The first, written by Harriette
Rosen, is an examination of the Castelnuovo-Tedescos use of Judaic themes in several
instrumental works, including Le Danze del Re David, op. 37 (1925), for solo piano, the
Second Violin Concerto (I profeti), op. 66 (1933), and Prayers My Grandfather Wrote
(1962) for organ solo.55 These works were chosen because their themes were either
borrowed from Jewish liturgical chants or newly composed in the style of Jewish
melodies. James Westby has studied Castelnuovo-Tedescos film music, a genre that
occupied much of the composers career in the United States.56 Westby identifies
around 200 movies in which Castelnuovo-Tedesco was involved to some degree; these
were made during the years 19401956, a period in which the composer also created over
seventy concert works in various genres.57 Westby provides a discussion of his
compositional style in which he ascribes various labels, including progressivism,
impressionism, neoromanticism, and neoclassicism. However, Westby notes that:
53 Holmberg, 217.
54 Ibid., 6.
55 Harriette Mildred Rosen The Influence of Judaic Liturgical Music in Selected

Secular Works of Mario Castelnuovo-Tedesco and Darius Milhaud (Ph.D. diss., University of
California, San Diego, 1991).
56 James John Westby Castelnuovo-Tedesco in America: The Film Music (Ph.D.
diss., University of California, Los Angeles, 1994).
57 Ibid., xii.
19
The one over-riding feature that encompasses all of the above-
mentioned labels is Castelnuovo-Tedescos devotion to text, be it
literary or visual. He believed, and his compositions demonstrate,
that music functioned to enhance either the word or the visual
image. Style, therefore, existed to serve that function.58
Additionally, Westby notes how Castelnuovo-Tedescos film music impacted his
music for the concert hall, observing that: Once Castelnuovo-Tedesco became
associated with Hollywood, many of his compositions had to fight an anti-film music
prejudice.59 Perhaps this anti-film bias has also had an impact on the reception and
lasting impact of Castelnuovo-Tedescos music for chorus.
Motivation for Study

Although Castelnuovo-Tedesco was a prolific composer of various genres
including choral music, a great deal of that music remains unfamiliar to choral conductors
in the United States today. Several circumstances contribute to (and are perhaps a result
of) this lack of familiarity. The first is that only a fraction of Castelnuovo-Tedescos
choral works are available in published editions. For example, a search of the Music-In-
Print online database reveals only eighteen scores available for purchase, these being
primarily smaller, unaccompanied works.60 Also, relatively few scholarly studies have
been written about his choral works, notwithstanding those published by Nick Rossi and
Dorothy Landis Gray mentioned above.
58 Westby, 41-42.
59 Ibid., 260-261.
60 These pieces include: Six Carols on Early English Poems (General Music
Publishing), Cherry Ripe (General Music Publishing), The Day is Done (Banks Music), The
Dove (Galaxy Music), Endymion (Edward B. Marks), Lo, the Messiah (Galaxy Music),
Memorial Service for the Departed (Banks Music), The Moon (MCA Joint Venture Editions), My
Heart is Like a Singing Bird (Galaxy Music), Nature (Banks Music), The Nightingale (Galaxy
Music), On the Grasshopper and the Cricket (Galaxy Music), The Owl (Banks Music),
Processional Song (Galaxy Music), The Queen of Sheba, (Banks Music), Romancero Gitano
(Boosey & Hawkes), Thanksgiving (Frangipani Press), and Upon Westminster Bridge (Galaxy
Music). Music-in-print, http://www.emusicinprint.com (accessed October 12, 2012).
20
Because Castelnuovo-Tedescos oratorios are almost entirely absent from the
available published scores and have not been the subject of scholarly essays, this study
offers a new edition of The Book of Ruth, Castelnuovo-Tedescos first oratorio. It further
includes an examination of events in the tumultuous decade from 1939 to 1949, which
brought significant changes to Castelnuovo-Tedescos personal and professional life,
providing a rich context for the study of The Book of Ruth. In approaching Castelnuovo-
Tedescos life and work in this manner, several guiding questions arise. For example,
what were the factors that led to his familys immigration to the United States and
applying for United States citizenship? Also, what can we learn from Castelnuovo-
Tedescos autobiography about his own thoughts and emotions during this period in his
life? Moreover, how did the composers experiences both early in his life and during this
period of transition affect his compositional activity, particularly his work on The Book of
Ruth? Finally, what insights can be gleaned from a musical analysis of The Book of Ruth,
and how does it compare to other works by Castelnuovo-Tedesco? Answers to these
questions will provide a greater understanding and appreciation of Mario Castelnuovo-
Tedescos biography, career, and works for chorus and orchestra.
21
CHAPTER 2
YEARS OF TRANSITION, 1939-1949
In the years leading up to the Second World War, the changing political landscape
across Europe affected many artists and intellectuals, and musicians were no exception.
Numerous German and Austrian composers came to America to flee the Nazi regime
notably Arnold Schoenberg, Kurt Weill, and Erich Korngoldand many of these have
been the subject of scholarly study.1 By contrast, Mario Castelnuovo-Tedesco is the rare
Italian composer who sought exile from Italys Fascist regime and settled permanently in
the United States. Several authors have written about the conditions in Italy leading up to
Castelnuovo-Tedescos emigration in 1939, as well as the composers first several years
in America. This chapter will outline the events of those turbulent years and incorporate
perspectives from selected chapters of the composers autobiography, Una vita di musica,
that have been newly translated into English. Moreover, several important events
occurred in the decade after Castelnuovo-Tedescos arrival which have not been
discussed elsewhere, including the death of his mother, his familys flight from the
German occupation of Italy, the granting of his United States citizenship, and his return
to Italy for the first time after the war. These later events will also be outlined in this
chapter, giving a more complete picture of Castelnuovo-Tedescos life in the decade
preceding the composition of The Book of Ruth in 1949.
1 For example, see Dorothy L. Crawford, A Windfall of Musicians: Hitlers Emigrs and
Exiles in Southern California (New Haven: Yale University Press, 2009); Laura Fermi,
Illustrious Immigrants: The Intellectual Migration from Europe, 1930-1941, 2nd ed. (Chicago:
University of Chicago Press, 1971); Jarell C. Jackman and Carla M. Bordon, eds., The Muses
Flee Hitler: Cultural Transfer and Adaptation, 1930-1945 (Washington, D.C.: Smithsonian
Institution Press, 1983); Alexander Gordon Kahn, Double Lives: Exile Composers in Los
Angeles (Ph.D. diss., University of California, Berkeley, 2009); and John Russell Taylor,
Strangers in Paradise: The Hollywood Emigrs, 1933-1950 (New York: Holt, Rinehart &
Winston, 1983).
22
The Jewish Situation in Italy
In the early decades of the twentieth century, the Jewish population in Italy was
quite small compared to that of other European countries. For example, a 1931 census
identified only 39,112 Jews among a population of 41,176,700 residents, or less than
0.1% of the total Italian population.2 Moreover, members of Jewish communities across
Italy had steadily integrated into the larger Italian society and cultural life from the time
of unification in 1861, a phenomenon that had also occurred in Castelnuovo-Tedescos
hometown of Florence.3 When Mussolini took power as a result of the March on Rome
in 1922,4 the reactions of Italian Jews were just as varied as those of the rest of the
country; some opposed the regime, others were indifferent, and some even supported the
Fascist partys takeover of power.5 The Fascist government held no official position of
anti-Semitism for more than a decade, and many Jews even held prominent government
posts.6 In fact, Mussolini actually vowed in a 1932 interview with the journalist Emil
2 Mario Toscano, Prologue: The Jews in Italy and the Anti-Semitic Polocy of Fascism,
in Uncertain Refuge: Italy and the Jews During the Holocaust, trans. and ed. by Florette Rechnitz
Koffler and Richard Koffler (Urbana, IL: University of Illinois Press, 1995), xxxvi.
3 Roberto G. Salvadori, The Jews of Florence: From the Origins of the Community up to
the Present, trans. Ann Curiel (Florence: Giuntina, 2001), 81.
4 At the time, Italy faced a divided parliament and the potential of increased influence
from the Socialist Party. When mobs of Fascists, called Blackshirts, planned to march on the city
of Rome to seize power on October 28, King Victor Emmanuel III refused to support the ruling
government with military assistance. Prime Minister Luigi Facta subsequently resigned, and
Mussolini was invited to form a new government. The ruling Fascist Party then celebrated with a
victory parade on October 31. Anne Carter Mulligan, "March on Rome," in Oxford Encyclopedia
of the Modern World, edited by Peter N. Stearns
http://www.oxfordreference.com.milligan.idm.oclc.org/view/10.1093/acref/9780195176322.001.
0001/acref-9780195176322-e-972 (accessed June 2, 2015).
5Salvadori, 86.
6 These include Aldo Finzi, undersecretary at the Ministry of the Interior and a member
of the first Fascist Grand Council; Dante Almansi, vice-chief of police; and Guido Jung, Minister
of Finance. Outside the government, Margherita Sarfatti was an influential editor as well as
Mussolinis mistress. Susan Zuccotti, The Italians and the Holocaust: Persecution, Rescue, and
Survival (New York: Basic Books, 1987), 25-26.
23
Ludwig that anti-Semitism did not exist in Italy, a pledge that stands in stark contrast to
the oppressive policies that his government enacted later in the decade.7
Nevertheless, when Mussolini forged an alliance with Hitler in 1936, the position
of the Fascist government toward Italys Jewish population began to shift dramatically. It
appears that Mussolinis newly initiated anti-Semitic campaign in Italy was introduced
for the purely political objective of gaining favor with his countrys new ally to the
north.8 A wave of anti-Semitic articles first appeared in the Italian press that decried
what they called excessive Jewishness, portending the official persecution that was to
come at the hands of the government. Mussolini himself described anti-Semitism as the
inevitable consequence for the country in an un-signed article that appeared in his
newspaper Il Popolo dItalia on December 31, 1936.9 This theme was picked up in
many other publications, from most national newspapers down to small organizations
seeking government support; a particularly outspoken newspaper was La Difesa della
razza, which was published from August 1938 through July 1943.10 The growing assault
7 Mussolini is quoted as saying: Anti-Semitism does not exist in ItalyItalians of

Jewish birth have shown themselves good citizens, and they fought bravely in the war. Many of
them occupy leading positions in the universities, in the army, in the banks. Quite a number of
them are generals; Modena, the commandant of Sardinia, is a general of the artillery. Also, in
contrast to those who have proclaimed the nobility of the Teutonic race, Mussolini stated that
No such doctrine will ever find wide acceptance here in ItalyNational pride has no need of the
delirium of race. Emil Ludwig, Talks with Mussolini, trans. Eden Paul and Cedar Paul (Boston:
Little, Brown, and Co., 1933), 70.
8 Though there is no evidence that Hitler or his top aides ever demanded an anti-Semitic
program as the price of German friendship, Mussolini realized that an Italian racial policy
would please the Fhrer by demonstrating that the Fascists had cut all ties with Britain and
France. Thus, Susan Zuccotti concludes that Mussolini introduced the racial laws, in part, as a
token of his bid for an alliance. Zuccotti, 33.
9 Michele Sarfatti, The Persecution of the Jews in Fascist Italy, in The Jews of Italy:
Memory and Identity, ed. Bernard D. Cooperman and Barbara Garvin (Bethesda, MD: University
Press of Maryland, 2000), 417.
10 Zuccotti, 34.
24
against Jews in the press was intended to build public support for the ensuing official acts
of persecution:
When the decision was made to persecute Jews as individuals (in

ways as yet undetermined), the next step was to communicate this
decision to the Italian people and, first and foremost, to obtain the
support and commitment of the regimes high-ranking party
leaders and prominent journalists. Such actions were deemed
necessary since, at that time, Italian anti-Semitism remained more
a feature of government policy than a popular attitude. This
explains why the enactment of actual persecutory measures took
place a couple of years after this turning point.11
Indeed, this press campaign did lay the groundwork for a slate of anti-Jewish policies,
often called the racial laws, that went into effect in the succeeding years.
Early in 1938, Castelnuovo-Tedesco felt the effects of these discriminatory
policies first hand when an upcoming performance of his Second Violin Concerto (I
profeti) was cancelled. The work, which was commissioned by Jascha Heifetz in 1931,
has three movements subtitled Isaiah, Jeremiah, and Elijah after the ancient
Hebrew prophets. The composer called the concerto the most importantand I believe
the most significant among my works of Jewish inspiration.12 Indeed, Castelnuovo-

Tedesco desired to express pride in his Jewish heritage through this work:
It was also the time when the anti-Semitic movement started and
became harder in Middle Europe; and by reaction I felt proud of
belonging to a race so unjustly persecuted; I wanted to express this
pride in some large work, glorifying the splendor of the past days
and the burning inspiration which inflamed the envoys of God,
the prophets. The violin seemed to me particularly adapted to
personify, as a protagonist, the free and vivid eloquence of the
prophets; while the orchestra in the multiform aspects of the
symphonic texture could evoke all the voices of the surrounding
world, voices of people, voices of nature, voices of God.13
11 Sarfatti, The Persecution of the Jews in Fascist Italy, 420.
12 Gdal Saleski, Famous Musicians of Jewish Origin (New York: Bloch Publishing,
1949), 33.
13 Ibid.
25
This performance of I profeti, which was to feature a young Florentine violinist
named Giulio Bignami along with the Turin Radio Orchestra, was scheduled to be
broadcast on Radio Italy. However, Bignami received official instructions from Rome
that another piece would be substituted in its place. Castelnuovo-Tedesco was disturbed
by the incident, but attributed the decision to the guest conductor, who happened to be a
German and a Nazi. In the coming weeks, however, he received news of another work
prohibited from performance on Italian radio, the Mendelssohn Violin Concerto, which
made him more suspicious. Upon further investigation through his professional contacts,
Castelnuovo-Tedesco learned that the orders came directly from the Minister of the
Interior and the Minister of Propaganda.14 Indeed, soon after the Fascist government
instituted policies that officially banned works by Jewish composers and writers from the
radio as well as opera houses, movie theaters, and record companies, and removed all
Jews employed in the entertainment sector from their positions.15
In September 1938, the government announced the first far-reaching racial
policies, which excluded Jews from teaching in schools at any level and banned Jewish
pupils from attending public schools.16 The effects of these actions were devastating for
14 However, Castelnuovo-Tedesco happily records one exception to the radio bans that
occurred in March 1938: And in the meantime things seemed to calm down (it was still the
beginning). In factthis tacit radio ban was removed on one single occasion: when Marinuzzi
conductedmy music for I Giganti della Montagna in a concert at the Politeama FiorentinoI
had my revenge! [E intanto le cose parvero acquetarsi (era ancora incominciata): anzi...questo
tacito bando radiofonico fu tolto, in una sola occasione: quando Marinuzzi diresse...le mie
musiche per I Giganti della Montagna in un concerto al Politeama Fiorentino...Avevo avuto la
mia rivincita!] Mario Castelnuovo-Tedesco, Una vita di musica, ed. James Westby (Florence:
Cadmo, 2005), 295, translation by author.
15 Michele Sarfatti, The Jews in Mussolinis Italy: from Equality to Persecution, trans.
by John and Anne C. Tedeschi (Madison: University of Wisconsin, 2006), 156.
16 Only those already enrolled at a university were allowed to continue their education.
Fabio Levi, Social Aspects of Italian Anti-Jewish Legislation, in The Jews of Italy: Memory
and Identity, ed. Bernard D. Cooperman and Barbara Garvin (Bethesda, MD: University Press of
Maryland, 2000), 402.
26
many families, since Jewish children lost many social connections with their schoolmates
and teachers, and thereby were deprived not only of an education but also of a natural
channel of integration into society.17 In response, the Jewish community in
Castelnuovo-Tedescos hometown of Florence, like other communities across Italy,
opened their own private schools that were staffed by the numerous Jewish teachers who
had recently been expelled from their teaching posts at public schools and universities.18
Even so, Mario and Clara Castelnuovo-Tedesco were particularly struck when
their two sons were expelled from the public schools of Florence and made pariahs and
outlaws by the government. 19 Lorenzo, their younger son, later reflected on the impact
of the racial laws on his family:
Italian Jews, after the Rome-Berlin Axis pact, were so

disenfranchised in the sense that their civil liberties were
removedMy brother and I couldnt go to public schools, for
example. It was fairly like being a noncitizen.20
This disenfranchisement affected a broad spectrum of Italian Jews, even high-ranking
officials. For example, General Ugo Modena, though decorated for his service in World
War I, was dismissed in 1938 along with numerous other Jewish generals. However,
Modena considered the removal of his children from public school and even greater
offense:
When his children were forced to leave school, however, he could

no longer bear it. He wrote a courteous letter to his king,
requesting that, if his medals and service had any meaning, his
children be reinstated. The king promised to try, but General
17 Levi, 403.
18 Salvadori, 87.
19 dei paria, dei fuorilegge, Mario Castelnuovo-Tedesco, Una vita di musica, 301,
20 Clara Castelnuovo-Tedesco, La sua fede, interviewed by Rebecca Andrade (Los
Angeles: UCLA Oral History Program, 1982), 52.
27
Modena obtained no results. Quietly and without publicity, he
returned his medals.21
More racial laws quickly followed, with the bulk of them officially taking effect
in November 1938. The numerous provisions included the expulsion of all foreign Jews
from Italy and its territories, the prohibition against marriage between Jews and non-
Jews, restrictions on owning property and employing non-Jewish workers, and the loss of
jobs in both the public sector and some areas of the private sector, such as banks and
insurance companies.22 Exemptions to some provisions could be granted to Jews in
special circumstances, such as distinguished veterans of World War I or members of the
Fascist party, in a policy ironically called discriminazione (discrimination).23

Furthermore, the government provided for a program of Aryanization in 1939 by which a
commission could declare (often on the basis of bribery) that a Jew was no longer a Jew,
and therefore not subject to these racial policies; this program promptly fulfilled the
purpose for which it had been designed, honoring the most corrupt and penalizing by
default the most worthy.24
In the face of these oppressive policies aimed at their fellow citizens, the reaction
of non-Jewish Italians varied widely. Many who opposed the measures were willing to
assist and defend their Jewish friends and neighbors from attempts to take over their
property. Fabio Levi notes that, despite the severing of many social connections at the
time, Jews typically found it more effective to rely on their personal relationships for
assistance rather than to appeal for protection from government agencies or
21 Zuccotti, 43.
22 Ibid., 36.
23 Iael Nidam-Orvieto, The Impact of Anti-Jewish Legislation on Everyday Life and the
Response of Italian, Jews, 1938-1943 in Jews in Italy under Fascist and Nazi Rule, 1922-1945,
ed. Joshua D. Zimmerman (New York: Cambridge University Press, 2005), 159-160.
24 Zuccotti, 39.
28
commissions.25 These real friends were willing to risk reprisal in order to help Jews
continue to hold property or work in secret.26 Examples of those who disapproved of
these racial laws can be found even among the highest-ranking officials King Victor
Emmanuel III expressed private dissent, while Pope Pius XI publicly denounced
Mussolinis policies, branding them counter to the noble traditions of the Roman
Empire.27 However, Iael Nidam-Orvieto reminds us that despite the kindness shown by
many fellow citizens, hundreds of non-Jews denounced Jews for professional,
ideological, or personal reasons, [while] others showed hostility, attacked Jews in public,
and denied them help and assistance.28

For their part, Italian Jews struggled to cope with the racial policies that the
Fascist government had instigated. The racial laws were so intrusive that even those with
status and wealth became weak and defensive, thus eroding the trust of those who had
previously been loyal to the state. Furthermore, as Jews were progressively excluded
from more and more arenas of society, their relationships with neighbors, friends, and
acquaintances grew ever more distant. Thus, Levi observed that the more families and
individuals were forced into isolation, the more they tended to isolate themselves.29
Fleeing Persecution
Because of their growing isolation from society, many Italian Jews concluded that
leaving the country was their best and only option. Michele Sarfatti argues, in fact, that
25 Levi, 405.
26 Nidam-Orvieto, 165.
27 Harvey Sachs, Music in Fascist Italy (New York: W.W. Norton, 1987), 182.
28 Nidam-Orvieto, 164.
29 Levi, 403-404.
29
the voluntary emigration of large numbers of Jews from Italy was precisely the goal of
the racial laws:
Fascism resolved to eliminate even Italian Jews from the

peninsula. This objective was not immediately announced and
openly pursued because of the thorough integration, including
through marriage, of the persecuted with other Italians. As we
have seen, the government initially worked at excluding Jews from
the life of the nation (through expulsion from public positions and
from educational and cultural spheres), and separating them from
non-Jews (by the prohibition of mixed marriages and similar
measures). Still other oppressive devices (the revocation or
limitation of employment and educational possibilities)
objectively drove the alienated victims to emigrate.30
To that end, the government took deliberate steps to facilitate and even hasten the
departure of Jews from the country, ordering that no obstacles should be placed in the
way of the expatriation of Italian Jews. The effort proved to be a successful one, as over
5,400 Jews had emigrated between 1938, when the racial laws were put into effect, and
the spring of 1940.31

Among those who decided to leave Italy at this time were Mario and Clara
Castelnuovo-Tedesco. As they discussed the consequences of the governments racial
laws, Clara concluded that the only option in the face of such injustice was to leave the
country:
Listen, if some accusations were made against us, against adults,

then maybe, in some instances, they could possibly be justified.
But one cannot and should not accuse and oppress the innocent
children! Once that begins then anything is possible! And there is
only one thing left to doleave!32
30 Sarfatti, The Jews in Mussolinis Italy, 144.
31 Ibid.
32 Senti: se qualche accusa fosse fatta contro di noi, contro degli adulti, forse, in
qualche caso, potrebbe anche essere giustificata; ma non si pu e non si deve accusare e far
soffrire dei fanciulli, deglinnocenti! Se si comincia cos qualunque cosa possibile! E non resta
da fare che una sola cosa: partire! Mario Castelnuovo-Tedesco, Una vita di musica, 301-302,
30
Consequently, both Mario and Clara were resolved to leave the country as soon as
they were able. Despite their sorrow, Marios parents were supportive of the decision.
Mario wrote that they were so concerned for our fate (and at the same time so confident
in my lucky star) that they did nothing to deter us; on the contrary, they encouraged the
chosen decision.33 Clara noted that one of her sisters, whose husband was a doctor, also
left Italy for America around the same time; however, other family members were not
able to leave the country because they could not secure work elsewhere.34 Therefore,
rather than leaving without an exit visa and potentially causing problems for those family
members who remained in Italy, Mario sought official permission from the government
to leave the country, a process that took a considerable length of time.
Although Mario briefly considered Palestine as the familys destination, he
instead chose the United States, a country that is strong, rich, free, full of resources,
where I had influential friends who (I hoped) would help me.35 Those aforementioned
friends included several prominent musiciansArturo Toscanini, conductor of the New
York Philharmonic, and the celebrated violinists Jascha Heifetz and Albert Spalding.
Castelnuovo-Tedesco traveled to Switzerland, where he was able to send correspondence
to each contact without interference from the Italian censors. It order to obtain entrance
visas from the American government, he needed proof of potential employment in the
U.S., which he asked his friends to provide. Toscanini replied quickly via telegram that
all three would seek some kind of work for him, and that Heifetz and Spalding (who were
33 I miei genitorierano cos ansiosi per la nostra sorte (e al tempo stresso cos
fiduciosi nella mia buona stella) che nulla fecero per distoglierci, anzi cincoraggiarono nella
decisione presa. Mario Castelnuovo-Tedesco, Una vita di musica, 302, translation by author.
34 Clara Castelnuovo-Tedesco, 53.
35 un paese forte, ricco, libero, pieno di risorse, dove avevo amici autorevoli che
(speravo) me avrebbero aiutato. Mario Castelnuovo-Tedesco, Una vita di musica, 302,
31
American citizens) would provide the appropriate affidavit. To Castelnuovo-Tedesco, it
was a rare and touching proof of friendship and solidarity.36
Once the affidavit from Heifetz had arrived promising work in the film industry,
Castelnuovo-Tedesco began the process of obtaining official papers, heading first to the
American consulate in Naples. Receiving the appropriate papers was a long and arduous
process, but Castelnuovo-Tedesco was persistent:
At Naples they looked at the document with much curiosity, and

passed it around (they were not accustomed to seeing the affidavits
of such famous people!); however, they threw cold water on my
enthusiasm, warning me that I probably would have some
difficulties obtaining the regular permission for emigration from
the Italian government, because at that time it was refusing all of
them (saying to the Jews that the spaces of quota were reserved
for the Aryans, and vice versa): they assured me, however, that
with such an exceptional affidavit, going to the American
consulate of Paris, London, or Zurich, I could quickly obtain
permission to enter the United States, even without the consent of
the Italian government. At this I rebelled! I said that I did not
intend to be a refugee, that I was an artist who had always been a
credit to his own country, and that the least that the Italian
government could do for me was to allow me to emigrate regularly
and with all honors! Nevertheless, the fears of the American
consul were not unfounded, and in fact in Rome my permission to
emigrate was refused; they told me in fact that they would grant
permission to me, but not to my family: I rebelled once again, and
answered that, if I intended to emigrate, it was not for me, but
really for my family! And thus began my via crucis; I cannot say
how many trips I made to Rome or how many doors I knocked on
always in vain! But I did not give up; and, finally, with the help of
a musician friend, who, for reasons of position had easy access to
the higher ranks, I obtained the long-awaited permission! It was
delivered to me on April 3, 1939, exactly the day of my birth! And
I said immediately that this was the last gift that I would receive
from my homeland!37
36 una prova di amicizia e di solidariet rara e commovente. Mario Castelnuovo-

Tedesco, Una vita di musica, 303, translation by author.
37 A Napoli guardaron con molta curiosit il documento, e se lo passaron di mano in
mano (non erano avvezzi a vedere degli affidavit di persone cos celebri!); per gettarono una
doccia fredda sui miei entusiasmi, avvertendomi che, probabilmente, avrei avuto delle difficolt
ad ottenere un regolare permesso di emigrazione dal governo italiano, che in quel momento lo
rifiutava a tutti (agli Ebrei dicendo che i posti dell quota erano riservati agli Ariani, e
viceversa): me assicurarono per che, con un affidavit cos eccezionale, andando al consolato
americano di Parigi, di Londra o di Zurigo, avrei potuto ottenere subito il permesso di ingresso
32
Because the emigration papers were valid for six months, Castelnuovo-Tedesco
considered the option of remaining in Italy through the summer and embarking in
September, thereby allowing his family to spend more time with relatives. However, he
and Clara decided that an earlier departure was advisable, since during the summer
dictators always lose their heads; better to leave as soon as possible!38 The decision
proved to be a wise one, since Germany invaded Poland in September of 1939, signaling
the beginning of World War II.
Castelnuovo-Tedesco considered the period of the next several months, spent in
hurried preparations to leave Italy, as months of physical efforts, of moral strain, and of
sentimental torment.39 Though their younger son Lorenzo seemed excited to go to

America, the elder Pietro was absolutely in despair at the idea of leaving his homeland,
his grandparents, his cousins, the studies that he loved.40 For his part, Mario paid a visit
to several places he called his holy sites before he departed, including their familys
country estate in Usigliano as well as his parents house in Florence.41 The farewell to
negli Stati Uniti, anche senza il consenso del governo italiano. A questo mi ribellai! Dissi che
non intendevo fare il fuoruscito, che ero un artista che aveva sempre fatto onore al proprio Paese,
e che il minimo che il governo italiano poteva fare per me, era di concedermi di emigrare
regolarmente e con tutti gli onori! Per i timori del console americano non erano infondate, e
difatti a Roma il permesso demigrazione mi fu rifiutato; mi dissero cio che lavrebbero
concesso a me personalmente, ma non alla mia famiglia: anche questa volta mi ribellai, e risposi
che, se intendevo emigrare, non era per me, ma proprio per la famiglia! E allora cominci la mia
via crucis: non so dire quante gite feci a Roma, a quante porte bussai sempre invano! Ma non mi
arresi: e finalmente, con laiuto di un amico musicista, che, per ragioni dufficio, aveva facile
accesso nelle alte gerarchie, ottenni il sospirato permesso! Mi fu recapitato il 3 daprile 1939,
proprio il giorno del mio compleanno! E dissi subito che questo era lultimo dono che ricevevo
dalla Patria mia! Mario Castelnuovo-Tedesco, Una vita di musica, 303-304, translation by
author.
38 Durante lestate i dittatori perdon sempre la testa: meglio partire al pi presto! Ibid.,
304, translation by author.
39 ...questi mesi di fatiche materiali, do logorio morale, di strazio sentimentale. Ibid.,
40 Pietro era assolutamente disperato allidea di lasciare la patria, i Nonni, i cugini, gli
studi che amava. Ibid., 304-305, translation by author.
33
his parents was filled with so many tears, despite the fact that Mario tried to assure his
parents of his return by purchasing a round-trip ticket.42
At last, the time came for Mario and Clara Castelnuovo-Tedesco and their family
to set sail for America. They chose to sail on a ship called the Saturnia, which left from
Trieste on July 13, 1939, because it took a longer route that called on various ports in the
Mediterranean, in order to offer a greater diversion for the boys.43 Mario later wrote
of the emotions that he experienced upon leaving Italy:
What I felt in that moment, I do not how to repeat, and one who
does not know the bitterness of expatriation cannot imagine it.
One cannot speak of sorrow, regret, moral suffering: it was almost
a physical torment, a tearing asunder, a mutilation! (it seemed
almost a dress rehearsal for death). And there at that moment
something permanently died in menot hope but illuision. And if
something kept me alive it was the love for my family and the love
of music. Although with time I grew sincerely fond of my adopted
country, I could no longer become attached to people and things; I
have lived as if suspended in mid-air, in a cloud, waiting: without
resentment (rather with a mind full of understanding and pity for
this poor, tortured humanity), but by now distant.44
The Saturnia first made several stops in Italy as it sailed around the peninsula,
and Castelnuovo-Tedesco saw friends or family in several ports, including Palermo and
Naples.45 Next, the ship sailed west with stops in Algiers, Gibraltar, Lisbon, and the
41 Mario Castelnuovo-Tedesco, Una vita di musica, 305.
42 Ibid., 305.
43 ...per offrire un maggiore svago ai ragazzi. Ibid., 306, translation by author.
44 Quel che provai in quel momento non lo saprei ridire; e chi non conosce lamarezza
dellespatrio non la pu immaginare. Non si pu parlare di dolore, di rimpianto, di sofferenza
morale: fu quasi uno strazio fisico, un strappo, una mutilazione! (mi parve quasi la prova generale
dell morte); e da allora qualche cosa definitivamente morta in me: non la speranza, ma
lillusione; e se qualche cosa mi ha tenuto in vita stato lamore per i miei cari e lamore per la
musica. Per quanto cogli anni mi sia sinceramente affezionato al mio paese dadozione, non ho
saputo pi attaccarmi agli uomini e alle cose; ho vissuto come sospeso a mezzaria, come in una
nuvoletta, in attesa: senza rancori (anzi collanimo pieno di comprensione e di piet per questa
povera umanit martoriata), ma ormai lontano. Ibid., 306-307, translation by author.
45Mario Castelnuovo-Tedesco, Una vita di musica, 311.
34
Azores, where Castelnuovo-Tedesco notes that his sons enjoyed sampling pineapples at
the pineapple plantations.46 Eventually, the Saturnia sailed over the open Atlantic.
Clara later described their trip as pretty good[though] we knew that we were observed
by the Italian authorities.47 Mario spent the journey thinking about the future and
continuing with his normal activities:
What was I doing in that time (other than chasing after the
thoughts that tormented me and to trying to guess the uncertain
future that awaited us)? I read, studied the piano, and (even)
composed.48
Through an arrangement with the pianist of the orchestra on board the ship, Mario was
fortunate enough to be able to practice on a small upright piano in a private cabin. He
noted that, with several upcoming concerts arranged for him in America, there was no
time to lose!49
Finally, the family arrived in New York City on July 27, 1939. Castelnuovo-
Tedesco had vivid memories of the scene as the ship sailed into New York Harbor:
It was a muggy July morning, and, because of the heavy fog, at

dawn the sirens howled, strange and sinister: the ship was still
outside of the port (in front of Ellis Island) for the usual
formalities, and the excitement on board was great (imagine ours,
waiting to land in the promised land). Then, suddenly, a voice
came on the radio, and, from the land, streams of music spilled out:
light music, really, popular songs; but they were so festive and
sprightly (optimistic, I would say) and proceeded with a pace so
rhythmic and secure; they seemed the voice of a jovial and
youthful people, honest and welcoming; at last, little by little, the
fog began to clear out, and the line of skyscrapers appeared, the
profile of New York (an impressive and unforgettable sight, very
46 Ibid.
48 Che cosa facevo in quell tempo (oltre che correre dietro ai pensieri che mi
assillavano e cercare di indovinare lincerto avvenire che ci attendeva)? Leggevo, studiavo il
pianoforte, e (perfino) componevo. Mario Castelnuovo-Tedesco, Una vita di musica, 311,
49 quindi non cera tempo da perdere! Ibid., 312, translation by author.
35
often described, but one that fills me with profound amazement
every time that I see it again): truly, a new world!50
Settling in America
Upon arriving in the New York City, Castelnuovo-Tedesco and his family took
lodging in a hotel and began making contacts with their friends in the city. However,
they found staying in the city unpleasant, particularly in the heat of the summer.
Consequently, Castelnuovo-Tedesco rented a small house in a nearby suburb of
Larchmont, New York:
It was, as I have said, a harshly scorching and stifling summer (as

it can be only in New York!), and not only did we adults suffer, but
above all the boys, who I was afraid to see wasting away: even
worse than our daily excursions was the return to the hotel in the
evening, where, we were unable to sleep. Therefore, I decided
after a week to seek refuge in the country, where the air was, if not
more fresh, at least more pure and free, where there was a little bit
of green (and not the dullness of relentless asphalt); there needed
to be, for me, a little bit of quiet in order to work.51
Lorenzo and Pietro soon enrolled in school, and Mario began to look for work in earnest.
The familys financial situation was particularly challenging, because they were not
allowed to take any money when they left Italy. Clara recollected that:
50 Era una mattina afosa di luglio, e, per la gran nebbia, allalba, ululavano, strane e
sinister, le sirene: la nave era ferma fuori del porto (di fronte ad Ellis Island) per le formalit
duso, e grande era leccitamento a bordo (figurarsi il nostro, in attesa di sbarcare sulla terra
promessa). Poi, dun tratto, si apr la voce della radio,e , da terra, si rovesciaron fiotti di musica:
musichette leggere, veramente, canzonette; ma eran cos festose e balzanti (ottimiste, direi) e
procedevan con passo cos ritmico e sicuro: parevan la voce di un popolo gioviale e fanciullone,
onesto ed accogliente; infine, a poco a poco, la nebbia cominci a diradarsi, ed apparve la linea
dei grattacieli,il profile di New York (spettacolo imponente ed indimenticabile, tante volte
descritto, ma che, ogni volta quando io lo rivedo, mi riempie di commosso stupore): un nuovo
mondo, veramente! Mario Castelnuovo-Tedesco, Una vita di musica, 312-313, translation by
author.
51 Era unestate, come ho detto, crudelmente torrida e soffocante (come pu esserlo
solo a New York!), e ne soffrivamo non solo noi adulti, ma soprattutto i ragazzi, che temevo di
veder deperire: peggio ancora che nelle nostre escursioni quotidiane, era il tornare la sera in
albergo, dove, la notte, non potevamo chiuder occhio. Decisi allora, dopo una settimana, di
cercare rifugio in campagna, dove laria fosse, se non pi fresca, almeno pi pura e libera, dove ci
fosse un po di verde (e non il grigiore dellasfalto implacabile); dove ci fosse, per me, un po di
quiete per lavorare. Ibid., 314, translation by author.
36
They let us go with the right papers from Italy, but no money. So
we arrived in New York really with nothing. So thats why Mario
had necessity to startBut he had already concerts organized in
New York, many concerts. He was playing, and his music was
performed.52
Indeed, Mario soon made his American debut on November 2, 1939, playing his own
Second Piano Concerto with the New York Philharmonic. The conductor, John
Barbirolli, had also placed his Overture to Twelfth Night on the program, and
Castelnuovo-Tedesco notes that the concert was a success with both audience and critics,
alike.53
Though other performances and commissions soon followed, Castelnuovo-
Tedesco found it difficult to make a secure living in New York as a composer and concert
pianist alone. In addition, he preferred a work situation that would allow him to remain
close to his family, which was difficult when traveling as a performer. Therefore, he
spent a great deal of effort searching for work in the film industry or for a teaching post,
but opportunities were slow to materialize.54

In the midst of these challenges of his life in America, Castelnuovo-Tedesco
received word that his dearly beloved mother, Noemi, had passed away on July 26, 1940,
just shy of a year after he had arrived in the United States. Receiving the news was a
terrible and unexpected blow: exactly like a heavy blow to the head.55 Although
Castelnuovo-Tedescos mother had suffered for several years from various ailments,
including liver and respiratory problems as well as diabetes, her death still came as an
unexpected shock to him. Although Castelnuovo-Tedesco later learned that his mothers
54 Ibid., 321-322.
55 Fu un colpo terribile, inatteso: proprio come una mazzata sulla testa. Ibid., 318,
37
health had deteriorated severely by September of 1939, she intentionally kept the news
from him:
From then on mother had lived a life of an invalid; but I knew

nothing of it (neither had I been able to guess it); by a merciful
conspiracy, everyone, family and friends, had kept it hidden from
me; and it was mother herself who had wanted it that way, giving
me a supreme proof of her affection: she knew, given the new and
difficult experience of the American life, that I would need all of
my energy, all of my courage, and she had wanted nothing to
disturb me; she had also thought, knowing the seriousness of her
illness, that I would have wanted to return to Italy to see her, and
so would have compromised my safety and that of my little family.
Everyone had respected her wish; and she, for her part, continued
to write me frequent letters, bright and calm, in which she let
nothing serious filter through: I had indeed noticed that she led a
very secluded life and spoke only of a small circle of friends; but
then I had not been surprised given the new circumstances created
by the racial laws, and knowing that she, from that moment, had
abandoned all social activities, taking refuge in her domestic life
and in her thoughts.56
Yet even as he grieved at the passing of his mother, Castelnuovo-Tedesco also
received some welcome news. He wrote that in a very strange episode, on the same
day that a telegram arrived with the news of his mothers death, he also received a
telephone call from Jascha Heifetz, who was in California at the time, asking if he would
accept a contract with a movie studio. He quickly responded that he would accept,
precisely because I had the impression (superstition or instinct?) that mother wanted it
56 Da allora la Mamma aveva trascinato una vita da inferma; ma io nulla ne sapevo (n

avevo saputo indovinarlo); per una pietosa congiura, tutti, parenti ed amici, me lavevan tenuto
nascosto; ed era la Mamma stessa che aveva voluto cos, dandomi una suprema prova del suo
attaccamento: sapeva che, nella nuova, dura esperienza della vita americana, io avrei avuto
bisogno di tutta la mia energia, di tutto il mio coraggio, ed aveva voluto che nulla potesse
turbarmi; aveva pensato anche che, sapendola gravemente ammalata, io sarei voluto tornare in
Italia per rivederla, e avrei compromesso cos la mia sicurezza e quella della mia famigliuola.
Tutti avevano rispettato il suo desiderio; e, dal canto suo, ella continuava a scrivermi le sue
frequenti lettere, luminose e serene, che nulla di grave lasciavan trapelare: avevo notato, s, che
essa conduceva una vita molto ritirata e non parlava che di una ristretta cerchia damici; ma
daltra parte non me nero meravigliato date le nuove circostanze create dalle leggi razziali, e
sapendo che essa, da quel momento, aveva tralasciato ogni attivat mondana, rifugiandosi nella
vita domestica e nei suoi pensieri. Mario Castelnuovo-Tedesco, Una vita di musica, 330,
38
that way, and that this was the last gift, the last warning that she gave me from the gates
of the after-life.57 However, some months passed before he heard anything more about
the potential employment. Finally, in the middle of October, he was offered a contract to
work for Metro-Goldwin-Mayer, or MGM, composing film music. Not wanting to
uproot their sons from school in the middle of the year, Castelnuovo-Tedesco flew to
Hollywood alone to begin his job on November 1 of that year.58
Castelnuovo-Tedesco worked in the film industry from 1940 until 1956. During
this period, Castelnuovo-Tedesco contributed to approximately 200 movies for MGM as
well as Columbia, Universal, Warner Brothers, 20th-Century Fox, and CBS, among
others.59 According to John Westby, Castelnuovo-Tedesco possessed several skills that
made him well suited for a career in Hollywood:
Composition came easily for him; he composed quickly, in ink and

never at the piano; his reputation for fluency and ready technique
were well deserved. His speed of composition alone would prove
invaluable during his Hollywood years. Facility, craftsmanship, an
evocative narrative style and an ability to compose self-contained,
short musical segments were the qualities Hollywood demanded of
its composers. These Castelnuovo-Tedesco had in abundance.60
Despite his prolific output and obvious talent for the genre, however, Castelnuovo-
Tedesco placed little value on his work in the film industry, saying that in my artistic
life the film experience doesnt represent more than one red cent.61 However, he
57 ...proprio perch ebbi limpressione (superstizione od istinto?) che la Mamma volesse

cos, e che questo fosse lultimo dono, lultimo avvertimento che essa mi mandava dalle soglie
dellaldil, Mario Castelnuovo-Tedesco, Una vita di musica, 332.
58 Ibid., 333-334.
59 James John Westby, Castelnuovo-Tedesco in America: The Film Music, Ph.D.

dissertation, UCLA, 1994.Ibid., xii and 59-60.
60 Ibid., 60-61.
61 Westby, 1.
39
remained active in other musical outlets during those years, composing over seventy
concert works in various genres as well as taking on private composition students.62
With steady employment now secured in Hollywood, Castelnuovo-Tedesco
brought the rest of his family to Beverly Hills in the spring of 1941, and he remained
there for the rest of his life. The familys experience was similar to that of many other
European migrs who also settled in California; in fact, by 1945, the exile population in
the Los Angeles area was larger than in any other in the United States except for New
York City.63 As with Castelnuovo-Tedesco, a significant factor for many of these
migrs was the opportunity of employment in Hollywoods film industry, which was
still vibrant despite the countrys recent economic struggles. Furthermore, California
also offered many teaching opportunities, a comfortable climate, and a diverse population
of people from various cultures, with a particularly strong Jewish community.64 Indeed,
these very circumstances provided a pleasant home for Castelnuovo-Tedesco and his
family for many years.
Continuing Connections with Italy
During Castelnuovo-Tedescos first tenuous years in America, many of his family
and friends who remained in Italy faced even greater trials. Following Italys entrance
into the war in June 1940, the Italian government continued to strengthen its anti-Jewish
stance, tightening restrictions against employment and arresting many who were
62 He taught many well-known composers over the years, including Henry Mancini,
Jerry Goldsmith, Nelson Riddle, John Williams, and Andr Previn. Ibid., 305-306.
63 Diane Peacock Jezic, The Musical Migration and Ernst Toch, (Ames, IA: Iowa State
University Press, 1989), 13.
64 Alexander Gordon Kahn, Double Lives: Exile Composers in Los Angeles (Ph.D.
dissertation, University of CaliforniaBerkeley, 2009), 17-20.
40
perceived as enemies of the state.65 After 1942, the government required that employers
favor workers of the Aryan race when making decisions about hiring or firing
personnel.66 Worse yet, in May of that year, the government began sending Jews to
forced labor camps, eventually requiring that all able-bodied Italian Jews be sent away,
though the measure was enforced with varying rigor by the prefects.67
To escape such conditions, many Jews who did not have the means or the
documentation to leave legally chose instead to flee secretly to Switzerland. Clara
recalled the conditions faced by many:
But at that moment it was a hell because of Mussolini and Hitler

and what was going on. So it was only frightening to be there.
Everybody, all the Jews possible [sic], tried to leave, to go out. As
a matter of fact, many of my friends and Marios brothers and my
sisters and brothers left Italy. They couldnt come to America
because they didnt have any means to come to America, but they
left for Switzerland as soon as they could, by night, through the
lakes.68
She also recollected that other Jews, including Marios father and middle brother Guido,
were hidden in Catholic convents. She reported that there were many in Italy, many
convents of priests and nuns, and they helped very much.69 Sadly, those who were
unable to flee often disappeared without a trace:
It was so terrible that if some old people, Jews, who were sick or
too old to leave, if they didnt have enough help to leave Italy, they
were taken even [from] their beds, and they disappeared and
[were] never seen again and brought to the Jewish camps. They
65 Over 400 Italian Jews as well as thousands of foreign Jews residing in Italy were sent
away to internment camps or other locations. Nidam-Orvieto, 166.
67 Ibid.
69 Ibid., 55-56.
41
disappeared and were never heard [from] again. It was
frightening.70
Nevertheless, the Fascist governments persecution of the Jews began to subside
in the summer of 1943 as Italy faced increasing pressure from the Allied advance on
Sicily, which soon led to Mussolinis removal from power.71 Any reprieve for the Jews
was short-lived, however, as German forces occupied Italy and began a campaign of
more violent persecution against Italian Jews in the fall of that year. Tragically, fifteen
separate convoys transporting Jews to German extermination camps left Italy from
October 1943 through the end of 1944; the total number of Jews deported from Italy and
Italian territories was 8,369, with only 980 survivors.72

When the war in Europe ended in the spring of 1945 and difficult conditions still
lingered for the Jewish population of Italy, Castelnuovo-Tedesco received an invitation
from the provisional government to return to Italy as the director of one of the
conservatories of musicin either Naples or Rome.73 He writes that the offer naturally
pleased me as a sign of recognition and I would say a symbol of reconciliation, and
he considered it carefully.74 Aside from not wanting to relinquish his position in
America or pull his children out of school, Castelnuovo-Tedesco considered it a
significant challenge to find transportation back to Italy in the immediate aftermath of the
war.75 Furthermore, his experiences in Italy before the war had made him suspicious of
what the political situation would be there after the war:
72 Centro di Documentazione Ebraica Contemporanea, Milan, ed., Ebrei in Italia:

Deportazione, resistenza (Florence: La Giuntina, 1975), 61, cited by Toscano, xli.
74 Naturalmente lofferta mi fece piacere, come segno di riconoscimento e direi

come simbolo di riconciliazione. Ibid., translation by author.
75 Ibid., 468.
42
Anyway, one must not forget that we Jews had been estranged
from Italian life, had been declared, if not foreigners, second-class
citizens, and they had denied us those rights that, among every
civilized people, are elementary and fundamental: the right to
work and the right to a free education for ones children! It is true
that the responsibility did not belong to the people, but to a
despicable gang of governing criminals; on the other hand this
people (though so good) had not raised a single voice in protest of
the injustice that was perpetrated. I held no grudge against the
Italian people, but I could not forget; and, above all, I could not (at
that time) have confidence in an Italian government. And then,
what government? In those confused years of the immediate
postwar period no one could foresee what shape the political life of
Italy would take; would it be a free democratic government, a
communist dictatorship, or, worse yet, a Fascist dictatorship! One
did not even know (at that moment) if Italy would be a republic or
a monarchy!76
Therefore, despite the opportunity to return to Italy, Castelnuovo-Tedesco and his
family decided not only to remain in the United States, but also to take American
citizenship. He records that the decision was difficult, and he and Clara contemplated it
privately for a long time.77 In contrast to his uncertainty about the state of affairs in Italy
at the time, the employment and educational opportunities his family enjoyed in the
United States gave him a very positive view of his new country of residence:
On the other hand I owed to America a debt of gratitude! Since

here I had been welcomed in perfect equality of rights with the
other citizens, here I had been able to continue my work
undisturbed, here I had been permitted to freely and properly
educate my children! (and I knew that, if I had given the option to
76 Ad ogni modo non si dimentichi che noi Ebrei eravamo stati estraniati dalla vita
italiana, che eravamo stati dichiarati, se non stranieri, cittadini di seconda classe, e che ci erano
stati negate quei diritti che, presso ogni popolo civile, sono elementari e fondamentali: il diritto al
lavoro e il diritto alla libera educazione dei propri figliuoli! vero che la responsabilit non era
stata del popolo, ma di una abietta cricca di governanti criminali; daltra parte da questo popolo
(pur cos buono) non si era levata una voce di protesta contro lingiustizia perpetrata. Verso il
popolo italiano io non serbavo nessun rancore, ma non potevo dimenticare; e, soprattutto, non
potevo (allora) aver fiducia in un governo italiano. E poi, quale governo? In quegli anni confuse
dellimmediato dopoguerra nessuno poteva prevedere quale forma avrebbe potuto assumere la
vita politica italiana: se un libero governo democratico, se una dittatura comunista, o, peggio
ancora, una dittatura fascista! Non si sapeva neppure (a quell momento) se lItalia sarebbe stata
una repubblica o una monarchia! Mario Castelnuovo-Tedesco, Una vita di musica, 465,
77 Ibid., 464.
43
my children, as later in fact I did, they would have preferred to
carry out their lives and their activities in America, rather than
return to a country of which they could not keep a very grateful
memory. Neither Clara nor I would ever have agreed to separate
ourselves from our children, or, worse yet, to risk finding ourselves
in different camps).78
He also appreciated the cultural and ethnic diversity that he observed in the United States:
it is truly unique that in America groups of various ethnic

origins could preserve intact their attachment to their country of
origin (perhaps even more so than those who live in their
homeland!) while they feel, on the other hand, that only under the
aegis of American laws have they been granted that free and
peaceful coexistence which too often has been denied them in their
country of origin.79
With their decision made, Castelnuovo-Tedesco and his family submitted their
final applications and took the citizenship exam on April 30, 1945, but they heard nothing
for some months. Eventually, he learned that the American authorities, who had
censored his correspondence regarding a possible post in Italy, had grown suspicious of
the sincerity of his intentions to become an American citizen. In early 1946, a
government agent called on them with questions about their citizenship application.
Eventually, their case was referred to an appeals court, where the judge quickly decided
in their favor:
The scene in court was almost comical! Since that fine judge,
when he learned from the documents that were submitted to him
78 Daltra parte io avevo verso lAmerica un debito di riconoscenza! Poich qui ero
stato accolto in perfetta uguaglianza di diritti con gli altri cittadini, qui avevo potuto continuare
indisturbato il mio lavoro, qui mi era stato consentito di educare liberamente e dignitosamente I
miei flgliuoli! (e sapevo che, qualora avessi dato la scelta ai miei figliuoli, come poi
effettivamente feci, essi avrebbero preferito svolgere la loro vita e la loro attivit in America,
piuttosto che tornare in un paese di cui non potevano serbare un troppo grato ricordo: n Clara n
io avremmo mai acconsentito a separarci dai nostri figliuoli, o, peggio ancora, a rischiare di
trovarci in campi diversi). Mario Castelnuovo-Tedesco, Una vita di musica, 466, translation by
author.
79 veramente singolare come in America i gruppi di varia provenienza etnica
serbino intatto il loro attaccamento al paese dorigine (forse anche pi di coloro che vivono in
patria!); mentre sentono daltra parte che solo sotto legida delle leggi americane, loro concessa
quella libera e pacifica convivenza, che troppo spesso stata loro negate nel paese dorigine.
Ibid., translation by author.
44
that I had given up a high and honorary position in Italy and that I
preferred to keep a position of a modest worker in America, found
(as a good practical American) the case absolutely extraordinary,
and there was no longer any doubt of our intentions! (Clara, who
was interrogated after me, declared, with her typical adorable
simplicity, that wherever I would have gone, she would have
followed me: something, again, unusual among American wives!).
The judge ordered, therefore, that we should be declared citizens
immediately! So we became citizens, almost without realizing
it!80
Thus, the Castelnuovo-Tedescos became citizens of the United States on July 23, 1946,
nearly seven years after first arriving in the country.81
The family was eventually able to make a return trip to their homeland in 1948,
arriving in Italy at the end of May and departing in early November. They sailed directly
to Naples, where they were to remain for several days before traveling by train to Rome
and on to Florence. Castelnuovo-Tedesco wrote of the clash of emotions that he
experienced during his first few days back in Italy as he viewed the beauty of the land
and the destruction of the war:
Earlier (while the Vulcania tacked the length of the island of Ischia
and the Miseno coast) upon seeing again that land so fertile, so
pleasant, so splendid under the Mediterranean sun, I said to myself:
My God! How beautiful Italy is! Even more so than I
remembered! Then, when the ship entered the port, and I saw the
horrendous destruction caused by the war (and saw, on the pier,
dozens of maimed children and tattered beggars seeking a
handout), I said to myself: My God! But what has happened to
this poor, dilapidated city? Eventually (later on), when I entered
the city itself and I saw the state of the surviving neighborhoods
and the conditions of squalid misery in which the majority of the
inhabitants lived, I said to myself (and may God forgive me!):
80 La scena in corte fu quasi comcia! Poich quel bravo giudice, quando apprese dai
documenti che gli erano stati sottoposti, che io avevo rinunziato ad unalta ed onorifica posizione
in Italia e che preferivo di serbare una posizione di modesto lavoratore in America, trov (da
buon americano pratico) la cosa assolutamente straordinaria, e non ebbe pi alcun dubbio sulle
nostre intenzioni! (Clara, che era stata interrogata dopo di me, dichiar, colla sua consueta
adorabile semplicit, che, dovunque io fossi andato, essa mi avrebbe seguito: cosa, anche questa,
insolita fra le mogli americane!). Il giudice ordin, quindi, che fossimo dichiarati cittadini
seduta stante! Cos diventammo cittadini, quasi senza accorgercene! Mario Castelnuovo-
Tedesco, Una vita di musica, 468-469, translation by author.
81 Westby, 299.
45
Maybe it would have been better if everything had been
destroyed, so everything could be rebuilt from scratch.82
Meanwhile, the directorship of the Naples Conservatory remained vacant, and
several of Castelnuovo-Tedescos friends encouraged him to take the position. To that
end, in his first few days in the city several public events were planned to celebrate his
arrival, including a performance of his Overture for The Winters Tale at the Teatro
San Carlo and an entire concert of Castelnuovo-Tedescos chamber music (in which the
composer was slated to perform) at the conservatory.83
Nevertheless, two factors convinced him to reject the position once again. First of
all, his son Lorenzo was critically ill with meningitis for over ten days while in Naples,
which troubled Mario greatly:
I cursed the day that I had returned to Italy!...But it seemed, in any

event, a sign, a warning (superstition again?); and from that time
my decision was settled: we could not remain in Italyand above
all we could not remain in Naples!84
During his sons illness, Castelnuovo-Tedesco observed another reason to avoid Naples.
Even though many colleagues from that city visited him and were sympathetic and caring
during this time, everyone had some reason to resent and hold a grudge toward the
82 Prima (mentre il Vulcania bordeggiava lungo lisola dIschia e la costa misena) nel
rivedere quella terra cos fertile, cos ridente, cos splendida sotto il sole mediterraneo, mi dissi:
<<Dio mio! Com bella lItalia! Ancora pi bella di quanto non mi ricordassi!>> Poi, quando
la nave entr nel porto, e vidi le orrende distruzioni causate dalla guerra (e vidi, sulla banchina, a
diecine, bambini mutilati e laceri mendicanti a chieder lelemosina) mi dissi: <<Dio mio! Ma
che cosa hanno fatto a questa povera citt martoriata?>> Infine (pi tardi), quando entrai nella
citt stessa e vidi lo stato di rovina dei quartieri superstiti e le condizioni di squallida miseria in
cui viveva la maggior parte degli abitanti, mi dissi (e che Dio mi perdoni!): <<Forse sarebbe
stato meglio se tutto fosse stato distrutto, e tutto si potesse riedificare da capo>>. Mario
Castelnuovo-Tedesco, Una vita di musica, 482-283, translation by author.
83 Ibid., 482.
84 Maledissi il giorno che ero tornado in Italia!...Ma parve, ad ogni modo, un segno, un
avvertimento (ancora superstizione?); e da allora la mia decisione fu presa: non si doveva restare
in Italiae soprattutto non si doveva restare a Napoli! Ibid., 484, translation by author.
46
others, and each one warned me about someone else.85 After several days of this,
Castelnuovo-Tedesco grew tired of the infighting and declared:
Right now everyone wishes me well, since I have been away for
ten years, and you have fond memories of me; but if I return here,
after six months you would hate me like you hate one another here!
It is not your fault: it is that there are too many around this bone
that has been picked clean called Italian music, and every success,
every performance is a reason for jealousy! Believe me, the best
thing that I could possibly do for the sake of my homeland is to
return to America, to my modest and quiet life!86
With his mind firmly made up, Castelnuovo-Tedesco traveled by train directly to
Florence, forgoing a stop in Rome for official negotiations about the position in Naples.
Upon arriving in Florence, Castelnuovo-Tedesco enjoyed seeing the familiar
sights of his native city once more. He took frequent walks touring around the city on his
own, and said that he could not describe the ecstasy of rediscovering my city!...a city
made exactly for me, to my standards (but it was I, rather, who was made to its
standards).87 However, the peaceful city that he remembered had become crowded and
clamorous:
I could barely recognize the quiet streets of my Florence in that

hustle and bustle of the wanton crowd, that disorderly movement
of vehicles of every make and every speed: cars (few in number
but too large), rickety carriages, a myriad of bicycles and clouds of
motorcycles.88
85 Ognuno aveva verso gli altri qualche motivo dastio e di rancore, ognuno mi metteva
in guardia contro qualcun altro. Mario Castelnuovo-Tedesco, Una vita di musica, 485,
86 Adesso tutti mi volete bene, poich sono stato assente per dieci anni, e di me serbate
un buon ricordo; ma se tornassi qui, dopo sei mesi mi odiereste, come vi odiate tra voi! La colpa
non vostra: che siete in troppi intorno a questosso spolpato della musica italiana, e ogni
successo, ogni esecuzione motivo di gelosia! Credimi, per carit patria, la cosa migliore chio
possa fare di tornare in America, alla mia modesta e silenziosa via! Ibid., translation by
author.
87 ...lestasi di ritrovare la mia citt!... proprio una citt fatta per me, sulla mia misura
(ma piuttosto ero io che ero stato fatto sulla misura sua). Ibid., 486, translation by author.
88 a mala pena avrei riconosciuto le quiete vie della mia Firenze in quellandirivieni
di folla promiscua, in quel movimento sregolato di veicoli dogni genere e dogni velocit:
47
Furthermore, the deterioration and neglect from the years of war were evident around the
city:
the rain and wind seemed to have encrusted the old walls with
the dust and dirt not of a decade but of a century, and if Hitler had
still been alive, I would have sentenced him there as an atonement
(seeing that he began as a painter) to whitewash the walls of the
buildings of Florence!89
Castelnuovo-Tedesco was also very glad to renew many personal connections in
Florence. He wrote that it was a great joy to see all of my relatives and many faithful
friends again, and he specifically mentioned the comfort of visiting with his brothers
Ugo and Guido.90 It was more painful, however, to visit the Jewish Cemetery where his
parents were buried; they had both died after he left Italy, so he shed many tears of
regret.91 In addition to his family, many people in the city made a point to greet and
welcome him, including friends, acquaintances, and a number of people whom I did not
remember at all!92 Nevertheless, he regretted the petty and quarrelsome attitude that he
observed in post-war Italy:
What preoccupied me was, I repeat, the mentality of the people;

this sense of uncertainty, of confusion, of irresponsibility (at times
even of dubious cynicism) that I saw in everything and everyone. I
had heard of the miracles of solidarity, of generosity, of altruism of
which this people were capable in the struggle against the
Germans, in the difficult period of emergency (and I do not doubt
automobili (poche ma troppo grandi), sgangherate carrozzelle, miriadi di biciclette e nuvole di

motociclette. Mario Castelnuovo-Tedesco, Una vita di musica, 487, translation by author.
89 la pioggia, il vento parevano avera incrostato sulle vecchie mura la polvere e il
sudicio non di un decennio, ma di un secolo e, se Hitler fosse stato sempre vivo, lavrei
condannato, come espiazione (visto che in origine era un imbianchino) ad imbiancar le mura dei
palazzi di Firenze! Ibid. , 487, translation by author.
90 una grande gioia rivedere tutti i parenti e tanti amici fedeli, Ibid., 488, translation
by author.
91 versai molte lacrime di rimpianto, Ibid., translation by author.
92 amici, cognoscenti e una quantit di gente che non ricordavo affatto! Ibid., 487,
48
it at all, since I know what miracles the Italian people are capable
of in important moments); but now, in normality, I saw no trace
of any of that: I saw a mean, petty, and selfish spirit, each living
for himself, without any sense of consideration or charity for ones
neighbor; and all this made me profoundly sad. What also
bothered me (I confess) was the attitude of the Italians toward
America: on one hand they envied us being there (as if one were
swimming in gold!) and everyone seemed ready to emigrate; on
the other hand they spoke of America with airs of intellectual
superiority and almost with contempt (forgetting, much too easily,
that the generous help received had made possible, at least for the
moment, their survival). Their attitude toward us was also curious;
since, while everyone spoke of their suffering (and I know full well
that it had been hard), nobody wanted to admit that we also had
suffered! (admittedly in a different way). On the other hand, while
I knew that we had learned something from our suffering (to be
more reasonable and modest), I had the impression that the Italians
had learned nothing (or very little) from theirs, and that they were
ready to fall back into the same presumptions and errors. So I
found myself ill at ease; on the one hand my dear Italians (so
intelligent, so likeable, but so unruly and partisan, and so lacking
in political maturity), and on the other my dear Americans (so
good, so generous, but so lacking in imagination, and often so
short-sighted).93
Returning to the familys country estate in Usigliano, which had been
Castelnuovo-Tedescos dream for many years, was a welcome respite after the
93 Quello che mi preoccupava era, ripeto, la mentalit della gente; questo senso
dincertezza, di sbandamento, dirresponsabilit (a volte anche di equivoco cinismo) che vedevo
in tutto e in tutti. Avevo sentito parlare dei miracoli di solidariet, di generosit, daltruismo di
cui era stata capace questa popolazione nella lotta contro i Tedeschi, nel difficile periodo
dellemergenza (e non ne dubito affatto, poich so di quali miracoli sia capace il popolo italiano
nelle grandi occasioni); ma adesso, nella normalit, di tutto questo non vedevo traccia: vedevo
uno spirito meschino, gretto, egoista, un viver di espedienti, senza nessun senso di considerazione
e carit verso il prossimo; e tutto questo mi rattristava profondamente. Mi dava fastidio anche (lo
confesso) latteggiamento deglItaliani verso lAmerica: da un lato cinvidiavano per essere l
(come se si nuotasse nelloro!) e sembravano tutti pronti ad emigrare; dallaltro parlavano
dellAmerica con arie di intellettuale superiorit e quasi di disprezzo (dimenticando, troppo
facilmente, che ai generosi aiuti ricevuti dovevano, almeno allora, la loro sopravvivenza). Era
curioso anche il loro atteggiamento nei nostri riguardi: poich, mentre tutti parlavano delle loro
sofferenze (e so benissimo che erano state dure) nessuno voleva ammettere che avessimo anche
noi sofferto! (sia pure in modo diverso). Daltra parte, mentre io sapevo che, dalle nostre
sofferenze, noi avevamo imparato qualche cosa (ad esser pi ragionevoli e modesti), avevo
limpressione che glItaliani, dalle loro, non avessero imparato nulla (o ben poco), e che fossero
pronti a ricadere nelle stesse presunzioni e negli stessi errori. Cos mi trovavo a disagio: da un
lato questi miei cari Italiani (cos intelligenti, cos simpatici, ma cos riottosi e partigiani, e cos
privi di maturit politica) dallaltro questi miei cari Americani (cos buoni, cos generosi, ma cos
poveri di fantasia, e spesso cos poco lungimiranti). Mario Castelnuovo-Tedesco, Una vita di
musica, 489-490, translation by author.
49
uneasiness of their time in Naples and Florence.94 He found that it remained the most
beautiful place in the world; a place where the delightful beauty, the pure austerity of
the countryside enthralled me yet again.95 Castelnuovo-Tedesco happily resumed
working in his old studio on the ground floor of the villa, inspired to write by the beauty
of the countryside, and composed his Second Quartet in F in just one weeks time.
Nevertheless, he found that the state of the farm and the villa had declined over the war
years to such a degree that the property would have required a large investment of money
and time to return it to stability and prosperity. Furthermore, knowing that their children
would not want to leave America to live on the farm, the Castelnuovo-Tedescos decided
that they were unable to supervise the affairs of the estate from such a distance.
Therefore, along with the other co-owners Paolo and Lucetta Liuzzi, the Castelnuovo-
Tedescos decided to sell their beloved country estate, with deep sorrow and immense
regret.96 They briefly considered purchasing another smaller property elsewhere in the
country, but eventually agreed that the Usigliano estate would be the last land that they
owned in Italy.
When the family sailed again for America on November 3, Castelnuovo-Tedesco
reflected on his return to Italy with great sadness. He wrote:
With a heavy heart I embraced my brothers again; and I left there

bitter and upset: everything had been a disappointment and a
failure, above all to have realized by then that it would be
impossible for me to adapt to Italian life (and this while keeping
my attachment to my native country, and at the same time my
gratitude for my adopted country). But I would not be, from then
on, completely happy either here nor there, and I would not
ultimately belong to either of the two. I realized in that moment,
94 il mio sogno di tanti anni, Mario Castelnuovo-Tedesco, Una vita di musica, 490,
95 ...il luogo pi bello del mondola ridente bellezza, la pura austerit di quella
campagna mi avvinse una volta di pi. Ibid., 490, translation by author.
96 un profondo dolore e un immenso rimpianto! Ibid., 491, translation by author.
50
maybe for the first time, what was to be the real tragedy of my life
(what I had already sensed many times before, but only vaguely,
and not as a definitive conviction): the tragedy of expatriation!
From that time on I would remain for the Americans the Italian,
and for the Italians the American; from now on (or at least for
the years that I had left) suspended between two worlds!97
Just as he had done back at his estate in Usigliano, when Castelnuovo-Tedesco returned
to America he found an outlet for his emotions through composition.
Genesis of The Book of Ruth
Castelnuovo-Tedesco composed the oratorio The Book of Ruth in the months
following his return to America, completing the draft for voices and piano on April 17,
1949, and the full orchestration on July 22 of that year. Earlier, in 1947, he had
composed a precursor to the work, the cantata Naomi and Ruth, written for a composition
contest that called for works for female chorus. Castelnuovo-Tedesco chose to set the
first seventeen verses of the first chapter of Ruth, with the words of Naomi sung by a
soprano soloist and the words of Ruth sung by the chorus. Even though his cantata did
not win the contest, Castelnuovo-Tedesco was pleased that it was published and,
according to him, performed much more often than the cantata that did win.98
Eventually, he would incorporated the cantata virtually unchanged as the first movement
of the later oratorio.
97 Col cuore stretto riabbracciai i miei fratelli; e me ne partii amareggiato, angosciato:

tutto era stato una delusione e un fallimento, soprattutto per aver realizzato, ormai, la mia
impossibilit di adattamento alla vita italiana (e questo pur serbando il mio attaccamento al paese
natio, e al tempo stesso la mia riconoscenza al paese dadozione). Ma non sarei stato, dora in
poi, completamente felice n qui n l, e non sarei appartenuto, in definitiva, a nessuno dei due.
Realizzai forse allora per la prima volta quella che doveva essere la vera tragedia della mia vita
(che avevo gi prima pi volte intuito, ma solo vagamente, e non come una definitiva condanna):
la tragedia dellespatrio! Da allora in poi sarei rimasto per gli Americano lItaliano, per
glItaliani lAmericano: ormai per sempre (o almeno per gli anni che mi rimanevano) sospeso
fra due mondi! Mario Castelnuovo-Tedesco, Una vita di musica, 492, translation by author.
98 Ibid., 495.
51
However, Castelnuovo-Tedesco wrote that initially he did not have any further
plans for the cantata, but for a strange coincidence.99 The day before departing for
Italy in 1948, he was visited by his friend Ernst Toch.100 When Toch presented the score
of his own cello concerto as a gift, Castelnuovo-Tedesco wanted to repay the gift with a
score of his own; because of his travel preparations, the only score not packed away was
a copy of the cantata Naomi and Ruth. He reflected that: To Ernst, a musician so mature
and complex, this music will seem too simple, almost childish, and wrote that he
regretted the gift.101 On the contrary, Toch was pleased by the piece and encouraged
Castelnuovo-Tedesco to expand upon it:
It was with extreme surprise (but also with inner satisfaction), that
I received in Italy sometime later a letter from Toch, who spoke
with enthusiasm about the Cantata, saying: This is one of the
most pure and touching things that you have written, and
concluded the letter with this suggestion: Why dont you write
the entire story of Ruth? Therefore, I welcomed the advice, which
came to me from one of my most trustworthy and understanding
colleagues (and corresponded to one of my secret, long-standing
desires); upon returning from Italy, I set immediately to the
task.102
99 una strana combinazione, Mario Castelnuovo-Tedesco, Una vita di musica,

100 Toch (1887-1964) was a composer of Jewish descent who was born in Vienna,
studied in Frankfurt and Heidelberg, and lived in Berlin. He fled Germany in 1933 when the
Nazi Party came to power, and, like Castelnuovo-Tedesco, eventually settled in southern
California where he composed film scores and taught at the University of Southern California.
101 Ad Ernst, musicista cos maturo e complesso, questa musica sembrer troppo
semplice, quasi puerile. Mario Castelnuovo-Tedesco, Una vita di musica, 495, translation by
author.
102 Fu con estrema sorpresa (ma anche con intimo compiacimento), che ricevetti,
qualche tempo dopo, in Italia, una lettera di Toch, che mi parlava con entusiasmo della Cantata,
dicendomi: <<Questa una delle cose pi pure e commoventi che tu abbia scritto>>, e
concludeva la lettera con questo suggerimento: <<Perch non scrivi lintera storia di Ruth?>>.
Accolsi dunque il consiglio, che mi veniva da uno dei miei colleghi pi fidati e comprensivi (e
che corrispondeva ad un mio segreto desiderio di antica data); e, al ritorno dallItalia, mi posi
subito al lavoro. Ibid., translation by author.
52
It was, indeed, a long-held wish to compose the work, and Castelnuovo-Tedesco
noted that the first thoughts of it came in his childhood. He had long identified with the
story because of his mothers name:
what attracted me to it above all was the name of one of

theprincipal female characters (indeed, in a certain sense, the
protagonist), Naomi, which in Hebrew means sweetness (which
was also my mothers name); therefore, in a certain sense I
identified her with my mother (and at the same time identified
myself with her).103
In his youth, his initial intention was to compose an orchestral trilogy, but he never made
significant progress on the project due to his total technical inability at that time.104
Later in life, though, he found still other personal connections to the story through his
marriage to Clara:
the other principal female character, Ruth, gentle and faithful,

resembled Clara (and, vaguely, her union with Boaz and their
meeting in the sunny countryside at the time of the harvest
reminded me of my own wedding and made me think of
Usigliano).105
So, with Tochs encouragement coupled with his own long-held desire to
compose a work on the book of Ruth, Castelnuovo-Tedesco set to work expanding the
cantata Naomi and Ruth into an oratorio. In the midst of his work on the piece, he
experienced a serious and painful attack of gallstones that required an operation.
Wanting to finish a draft of the piece before the procedure, he worked intensely for
103 ...mi attirasse soprattutto il nome di uno dei principali caratteri femminili (anzi, in
un certo sense, la protagonista), Noemi, che in ebraico vuol dire dolcezza (e che era anche il
nome della mia Mamma); cos, in un certo senso lidentificava colla mia Mamma (e, al tempo
stesso, midentificavo con lei). Mario Castelnuovo-Tedesco, Una vita di musica, 494,
104 la mia totale incapacit tecnica di allor, Ibid., translation by author.
105 ...laltro principale carattere femminile, Ruth, mite e fedele, rassomigliava a Clara
(e, vagamente, la sua unione con Boz, il loro incontro nella campagna assolata, al tempo della
mietitura, mi rammentava il mio stesso matrimonio, e mi faceva pensare a Usigliano). Ibid.,
53
several weeks, though in the midst of unspeakable suffering.106 He did, indeed,
complete the draft on the day before entering the hospital, and echoes of the work
lingered in his mind during his recovery. He wrote:
Then, for some weeks, I experienced a great darkness. I remember

that, in my delirium, I saw some sunny countryside; but were they
those of Usigliano (that I knew so well) or those of Palestine (that
perhaps I would never see)? I remember that, in my hospital bed, I
hummed to myself: A baby was born to Naomi. But was I the
baby? (since I was always the baby of the house) or was it
Petruchio in the arms of Grandma? (since the last memory that I
held of my mother was precisely that of Grandma Naomi).107
During the three-month period of recovery from his surgery, Castlenuovo-Tedesco
persisted in orchestrating the oratorio, which was finished on July 22, 1949; as he himself
noted, for a convalescent that is not bad.108

The Book of Ruth was Castelnuovo-Tedescos first oratorio, and he was very
satisfied with it, calling it this work that lay so deep in my heart.109 Furthermore, he
wrote of the many points of connection with the work:
I truly believe (for what it is worth) that I have put all my heart
into it: the tenderness for my mother, my affection for Clara, the
country memory of Usigliano, and my biblical vein (all
together...).110
106 in mezzo a sofferenze indicibili, Mario Castelnuovo-Tedesco, Una vita di

musica, 493, translation by author.
107 Poi, per qualche settimana, fu un gran buio. Rammento che, nei miei
vaneggiamenti, vedevo delle campagne assolate: ma erano quelle di Usigliano (che conoscevo
tanto bene) o quelle della Palestina (che forse non avrei mai vedute)? E rammento che, nel lettino
dellospedale, mi canticchiavo: <<Un bambino nato a Noemi>>. Ma ero io il bambino?
(poich ero stato sempre Il bambino di casa) o era Petruchio in braccio alla Nonna? (poich
lultimo ricordo che serbavo della mia Mamma era proprio quello della Nonna Noemi). Ibid.,
498, translation by author. N.B., Petruchio was a term of endearment Castelnuovo-Tedesco used
for his son Pietro.
108per un convalescente non c male, Ibid., 499, translation by author.
109 questo lavoro che mi stava tanto a cuore, Ibid., 493, translation by author.
110 Credo veramente (qualunque sia il suo valore) di averci messo dentro tutto il mio
cuore, la tenerazza per la Mamma, il mio affetto per Clara, il ricordo campestre di Usigliano, e la
mia vana biblica (tutto insieme...). Ibid., 500, translation by author.
54
Considering the various ways that Castelnuovo-Tedesco personally identified with the
story of the book of Ruthespecially through his fondness for his mother, his wife, his
family estate, and the Bibleit is not surprising that he felt a strong connection to the
oratorio. The depth of his connection led him to this realization:
Thus, as you can see, the echo of the story of Ruth ran across all of
my life and became the symbol and the autobiography of my life
(in a certain sense was really my symbolic autobiography before
I decided to write these pages with an open heart); it was therefore
no surprise that (at a time when I saw my life in danger) I had so
much to express musically.111
Unfortunately, though the cantata Naomi and Ruth was performed several times
during his lifetime, Castelnuovo-Tedesco never had the opportunity to hear or see the
oratorio The Book of Ruth performed.112 In fact, to the authors knowledge, the full
oratorio has never been performed or published. Therefore, with a clearer understanding
of the context in which the work was composed and with the aid of a newly completed
transcription of the full score, the following chapter presents a multi-faceted musical
analysis of the work itself.
111 Cos, come si vede, leco della storia di Ruth correva attraverso tutta la mia vita, ne
diventava il simbolo e lautoviografia (anzi, in un certo senso, era proprio la mia autobiografia
simbolica, prima che mi decidessi a scrivere, a cuore aperto, queste pagina): non c dunque da
sorprendersi se (al momento in cui vedevo la mia vita in pericolo) tenessi tanto ad esprimerle
musicalmente. Mario Castelnuovo-Tedesco, Una vita di musica, 494, translation by author.
112 Ibid., 499.
55
CHAPTER 3
COMPOSITIONAL PROCESS AND STYLE
Although the choral works of Mario Castelnuovo-Tedesco have received
relatively few performances and scant scholarly attention in recent decades, the new
edition of The Book of Ruth in this study provides an opportunity for a musical analysis
of the piece. Many of the stylistic traits that scholars have identified in Castelnuovo-
Tedescos other works, including his gift for lyrical melodic writing and his fondness for
impressionistic harmonic techniques, are also evident in this composition. Moreover, the
composers notable emphasis on text expression is on display in The Book of Ruth,
particularly in the use of such varied musical devices as text painting, varying choral
textures, colorful orchestration, and recurring thematic motifs. Finally, an interesting
feature of this and other oratorios, namely Castelnuovo-Tedescos unique vision of a
scenic oratorio, reveals a conceptual connection between his large choral-orchestral
works and his work in the genres of opera, film music, and even solo song.
Compositional Process
Castelnuovo-Tedesco was well known for his ability to compose rapidly, as James
Westby noted:
Composition came easily for him; he composed quickly, in ink and

never at the piano; his reputation for fluency and ready technique
were well deserved. His speed of composition alone would prove
invaluable during his Hollywood years.1
In the case of The Book of Ruth, Castelnuovo-Tedescos speed is even more impressive,
considering that he hurriedly completed the piano-vocal score before undergoing
gallstone surgery and orchestrated the work while recovering from that surgery.
1 James John Westby, Castelnuovo-Tedesco in America: The Film Music, (Ph.D. diss.,
UCLA, 1994), 60.
56
The Book of Ruth is also one of several examples in which Castelnuovo-Tedesco
created a larger work by expanding on a smaller one. As mentioned previously,
Castelnuovo-Tedesco first composed the cantata Naomi and Ruth for a contest in 1947,
then later incorporated the cantata as the first movement of the larger oratorio on The
Book of Ruth, completed in 1949. Similarly, The Song of Songs, a large choral-orchestral
work composed from 1954 to 1955 that the composer labeled a rustic wedding idyll,
was first conceived in 1953 as a song cycle for voice and chamber ensemble called Songs
of the Shulamite.2 Similarly, according to Rossis Catalogue of Works, the Sacred
Service for the Sabbath Eve was first completed in 1943 and an additional four
movements were added in 1950.3

Although Castelnuovo-Tedesco frequently uses musical devices that might be
identified as Impressionist, he sought above all to compose music as a means of
expression. In fact, Westby identifies expression as the essence of Castelnuovo-
Tedescos aesthetic.4 Roland von Weber, noting Castelnuovo-Tedescos unity of
expression, goes so far as to label him the Italian Brahms.5 Castelnuovo-Tedesco
described his desire to use music as a means of expression as follows:
Writing music has always been a need for me ever since I was a
child, from the time I was nine years old and my mother began to
teach me to play the piano. It seemed to me that everything could
be expressed or translated into music: the landscapes I saw, the
books I read, the pictures and statues I admired. As I grew up, I
learned that the things that can be expressed musically are not
2 Dorothy Landis Gray, Mario Castelnuovo-Tedesco: Selected English Settings of Music

for Womens Voices from His American Period (1939-1968), (Ph. D. diss., The Catholic
University of America, 1996), 46.
3 Nick Rossi, comp. and ed., Castelnuovo-Tedesco: Cataogue of Works, (New York:
The International Castelnuovo-Tedesco Society, 1977), 75-76.
4 Westby, 43.
5 Quoted in David Ewen, ed., The New Book of Modern Compoers, third ed. (New York:
Alfred A. Knopf, 1961), 112-113.
57
quite so numerous, and I strived to be inspired by what was in me
rather than what was outside of me The simplest means are
generally the best. I believe that my personality was formed to a
decided degree quite early, but what I have sought to do, during
my artistic evolution, has been to express myself with means
always simpler and more direct, in a language always clearer and
more precise.6
Indeed, The Book of Ruth, a work inspired by many personal associations, provides vivid
examples of the composers musical expression through the colorful writing that evokes a
variety of different scenes and emotions.
Working with Texts

For Castelnuovo-Tedesco, his starting point in composing was the text. For
example, Castelnuovo-Tedescos described how he composed solo songs by expressing
the emotion inherent within the text:
My ambitioneven more than that, a profound urge within me

has always been to unite my music to poetic texts that arouse my
interest and emotion, to interpret them and at the same time to set
them forth in lyric expression, to stamp them with the authentic
and therefore undetachable seal of melody, to give utterance to the
music that is latent within them, and, in doing so, to discover their
real source in the emotions that brought them into being.7
In discussing the composers gift for expression of text, Westby relies on a broad
definition of texts that incorporates not only literary texts, but visual ones as well.8 This
broad view makes it possible to discuss Castelnuovo-Tedescos ability to translate
narrative or poetic texts into music as well as his capacity to portray images and scenes
through music. Naturally, an oratorio like The Book of Ruth provides an opportunity for
the composer to display both of these skills.
6 Ewen, 111-112.
7 Mario Castelnuovo-Tedesco, Problems of a Song-Writer, The Musical Quarterly 30/1

(Jan. 1944), 102.
8 Westby, 41-42.
58
The text for The Book of Ruth, as well as numerous other vocal works composed
by Castelnuovo-Tedesco, was taken exclusively from the biblical narrative. As has been
previously noted, Castelnuovo-Tedesco traced his abiding interests in both faith and
music to his maternal grandfather. Consequently, Jewish characters and stories served as
the basis for many of his compositions. In fact, all of his cantatas and oratorios, of which
Naomi and Ruth and The Book of Ruth were the first, were written on texts from the
Hebrew Bible or the Apocrypha.9
Additionally, two technical details about his work with texts deserve to be
mentioned. First, Castelnuovo-Tedescos libretto for The Book of Ruth was taken directly
from the King James Version of the Bible with very little alteration, though his approach
to preparing libretti for other works varied.10 For instance, the libretto for the opera
Importance of Being Earnest (196162) incorporated the source text with very little
change, as he did in The Book of Ruth.11 However, to create the libretti for the operas
Bacco in Toscana (193536) and La Mandragola (192023), he chose to make more
extensive changes to the source material through creative selection, reordering, and
adaptation.12
9 The Book of Esther (1962), The Book of Jonah (1951), The Book of Ruth (1949), The
Fiery Furnace (1958) from the book of Daniel, Naomi and Ruth (1947) from the book of Ruth,
The Queen of Sheba (1953) from I Kings, The Song of Songs (1954-55), and Tobias and the
Angel (1964-65) from the book of Tobit.
10 There are just three instances in which the text from the KJV is altered in the oratorio.
The phrase on a part of the field belonging unto Boaz from Ruth 2:3 is set as on a part of
the field belonging to Boaz in part III. Also, the phrase and hath continued even from the
morning until now found in Ruth 2:7 is set as and hath continued from the morning until
now in the same movement. Finally, Ruth 4:15 reads And he shall be unto thee a restorer of
thy life, while the text of the oratorio found in part VII is And he shall be a restorer of thy life.
11 Burton Howard Scalin, Operas by Mario Castelnuovo-Tedesco (Ph.D. diss.,
Northwestern University, 1980), 11.
12 Ibid.
59
Another interesting feature of The Book of Ruth and other works is Castelnuovo-
Tedescos simultaneous inclusion of two different texts in two different languages (in this
case English and Italian).13 Examples of this practice include the oratorio The Book of
Jonah (in English and Italian), the Sacred Service (in Hebrew and English), and three
operasAlls Well that Ends Well, The Merchant of Venice, and The Importance of
Being Ernest (all in English and Italian). Castelnuovo-Tedesco described his approach to
composing a work in two languages at the same time:
To explain myself better: on and on, as I composed the music to

the original English text, phrase by phrase, I asked myself, How
should I be able to render this same phraseIn Italian? And thus
the opera was born, practically, in two languages (not translated a
posteriori).14
Summary of Compositional Style

Since several scholars have analyzed other works by Castelnuovo-Tedesco, a
summary of their observations provides a helpful starting point for analyzing The Book of
Ruth. This summary considers melody, harmony, rhythm and text setting, vocal and
choral textures, orchestration, and formal design.
Melody
Many authors agree that the melodic writing found in Castelnuovo-Tedescos
music is one of its most outstanding features. Nick Rossi, an early champion of his
music, asserts that Castelnuovo-Tedesco is one of the finest lyrical creators of our
13 It should be noted that though the manuscript score for The Book of Ruth includes only
the English text, the composer also prepared a separate Italian libretto that has been preserved in
the collection of Castelnuovo-Tedesco papers housed at the Library of Congress. This libretto
also includes fairly extensive scenic descriptions that are not found in the manuscript score.
14 Mario Castelnuovo-Tedesco, Confessioni di un autore, p. 26, quoted in Scalin, 311.
60
time.15 Another scholar, David Lee Alt, identifies melody as a common feature among
the many genres in which the composer has written:
Finely-crafted melody is the most obvious and appealing feature of

Castelnuovo-Tedescos compositions, whether it be in a song, a
piano composition, or an aria from one of his operas.16
His melodies are typically diatonic, primarily conjunct, and easily sung. Even melodies
in his instrumental works, such as those that were the subject of Mark Holmbergs study
of concertos, are said to resemble those that might be found in a solo art song.17
Harmony
Although Castelnuovo-Tedescos melodic writing remains stylistically consistent
through much of his music, his harmonic approach shows more variation over time. His
early works frequently employ extended tertian sonorities and chromaticism, while his
later works tend to have fewer extended sonorities and more conservative harmonies. At
the outset of his career, Castelnuovo-Tedesco was associated with the progressive music
movement in Italy, led by Alfredo Casella. As such, his music from this time showed the
influence of the contrapuntal austerities of Pizzetti, Debussys impressionism, Ravels
neoclassicism, and a tendency to flirt with polytonal techniques and unconventional
harmonies.18 Sylvanna Prechtl emphasizes the particular influence of impressionism in

her study of his Shakespeare songs including extended tertian sonorities, symmetrical
harmonies, and planingand notes that these characteristics appear frequently in the
15 Nick Rossi, Castelnuovo-Tedesco: Neglected Master, Music Journal XXXIII/1

(January 1975): 12.
16 David Lee Alt, An Analysis of Five Shakespearean Settings by Mario Castelnuovo-
Tedesco (DMA Essay, The University of Iowa, 1980), 23.
17 Mark L. Holmberg, Thematic Contours and Harmonic Idioms of Mario Castelnuovo-
Tedesco as Exemplified in the Solo Concertos (Ph.D. diss., Northwestern University, 1974), 216.
18 Westby, 6.
61
earlier works.19 Burton Howard Scalins study of the operas, a genre that Castelnuovo-
Tedesco turned to a bit later in his career, finds a slightly more conservative approach,
the harmony in these works remains mostly tertian, with expanded sonorities typically
appearing at the ends of structural divisions.20
Rhythm and Text Setting
When Castelnuovo-Tedesco described his approach to composing vocal music, he
explained that he would begin by analyzing the text (noting aspects of form, phrases,
character, contrasts, etc.), and then the melody and accompaniment arise from that
analysis.21 Indeed, scholars agree that, Above all, his first aesthetic principle seems to
be a profound awareness that it is necessary to be true to the text in every way.22
Landis Gray, in her study of choral and solo vocal works, sees this played out in his
sensitive text setting, in which the accentuation of the words is closed matched by the
patterns and accentuation of the rhythms. Castelnuovo-Tedesco employs flexible
rhythms, with duplets and triplets, as well as occasional meter changes to accomplish this
effect.23 Castelnuovo-Tedescos sensitivity to correct text declamation may be traced to
the influence of his teacher, Pizzetti, who was also concerned with matching musical
rhythms with the rhythms of speech.24
19 Sylvanna T. Prechtl, A Stylistic and Vocal Analysis of the Shakespeare Song of Mario
Castelnuovo-Tedesco (D.M. diss., Indiana University, 1981), 469
20 Burton Howard Scalin, Operas by Mario Castelnuovo-Tedesco, 314-315
21 Castelnuovo-Tedesco, Problems of a Song-Writer, 109-110.
23 Ibid., 208.
24 Roland von Weber, Mario Castelnuovo-Tedesco, in The New Book of Modern

Compoers, third ed., David Ewen, ed. (New York: Alfred A. Knopf, 1961), 114
62
Vocal and Choral Texture
Castelnuovo-Tedescos choral writing remains fairly straightforward, and features
alternation between homophony and brief passages of imitation. Frequently, the
imitative passages employ a particularly unique three-voice texture; here, the two leading
voices move in parallel motion followed by the third voice in imitation.25 In addition,
there are occasional instances of unaccompanied choral passages as well as humming or
singing on a neutral syllable for certain effects.26 Solo writing in the cantatas and
oratorios alternates between short passages of recitative and longer passages in an arioso
style.27
Orchestration
The orchestral forces employed in Castelnuovo-Tedescos music are primarily
conventional, using strings, winds, brass, percussion, and harp or piano. Nevertheless, he
does explore variations in tone color, instrumental doubling, and the size of orchestra
from fairly small to quite large.28 Even in works that employ large forces, such as
several concertos with expanded winds and brass, Castelnuovo-Tedesco only
occasionally uses the tutti sound for a large effect, while at other times uses selected
forces for a variety of tone colors.29 Also, Castelnuovo-Tedesco experiments with
25 Burton Howard Scalin, Some Biblically-Inspired and Liturgical Compositions of

Mario Castelnuovo-Tedesco, unpublished paper found in the collection of Castelnuovo-Tedesco
Papers housed at the Library of Congress, 7. For an example of this approach, see examples 2
and 18 below.
27 Scalin, , Some Biblically-Inspired and Liturgical Compositions of Mario

Castelnuovo-Tedesco, 6-7. He also includes nearly the same observation about the solo writing
in the operas in Operas by Mario Castelnuovo-Tedesco, 316.
28 Holmberg, 32.
29 Ibid., 39.
63
unconventional instrumentation in certain works such as the oratorio The Book of Jonah,
which features two alto saxophones, two tenor saxophones, baritone saxophone, three
trumpets, three trombones, timpani, percussion, two pianos, and divided cellos and
basses, and the cantata The Fiery Furnace for piano and percussion. Several authors note
that unifying motives often are first introduced in the orchestra and typically echoed later
in the chorus.30
Formal Design
The formal design of Castelnuovo-Tedescos music relies on the aforementioned
practice of unifying motivic themes. Landis Gray illustrates the importance of the
recurring motive used in the cantata Naomi and Ruth; this motive appears in the
introduction, throughout the work to signal certain dramatic developments, and again at
the end to bring closure to the piece.31 Scalin finds a comparable use of unifying
motives in the operas; he also notes that the operas are constructed as a series of scenes
that flow continuously from one to the next, either with cadences or common chords to
connect the scenes.32 This continuity from scene to scene is evident in the cantatas as
well, where modulations to more remote keys seem to indicate particularly dramatic
events or the introduction of new characters.33 This flexible approach to overall form in
larger works, with a continuous flow from scene to scene, allows the musical form to
conform closely to the form of the text.34
30 Landis Gray, 206, and Scalin, Some Biblically-Inspired and Liturgical Compositions
of Mario Castelnuovo-Tedesco, 9. However, Scalin finds that the use of these themes is not
consistent enough to be able to identify them properly as leitmotivs.
32 Scalin, Operas by Mario Castelnuovo-Tedesco, 313.
34 Similarly, in the smaller forms of his Shakespeare songs, Prechtl finds that the musical
form also flows from the text of each work, 443.
64
Analysis of The Book of Ruth
Castelnuovo-Tedesco took the libretto for The Book of Ruth directly from the
biblical text, which he divided into the seven parts of the oratorio. The sectional
divisions adhere closely to the physical settings referred to in the narrative and are not
necessarily tied to the chapter divisions of the text.
The pre-existing cantata Naomi and Ruth forms the basis for Part I of the
oratorio.35 The text, taken from Ruth 1:118, comprises the initial scenario. The
Israelites Elimelech and Naomi, along with their sons Mahlon and Chilion, travel to
Moab because of a famine. Several events transpire thereElimelech dies, Mahlon and
Chilion marry two Moabite women (Orpah and Ruth), and then both sons also die.
Following their deaths, Naomi decides to return to her hometown of Bethlehem because
the famine had ended there, but urges her daughters-in-law to remain in Moab. Orpah is
eventually persuaded to stay in Moab, but Ruth vows to return with Naomi and stay with
her until death. The remainder of Ruth chapter 1, verses 1922, describes the scene upon
Naomis return to Bethlehem, portrayed in Part II of the oratorio, The Return of
Naomi. This passage describes the bitter sorrow that Naomi experiences upon her return
and the welcome that she receives from the people of the city.
Part III, The Barley Harvest, is set to Ruth 2:117, which introduces Boaz, a
wealthy relative of Elimelech living in Bethlehem. When Ruth decides to glean in the
fields of Boaz to support Naomi and herself, Boaz graciously offers food from his fields
and water from his wells and invites her to eat with his reapers. He also instructs his
workers to be kind to Ruth as she gleans. When she asks him the reason for his kindness,
he replies that he has heard about her devotion to her mother-in-law, Naomi.
35 The composer added just two additional measures not found in the cantatamm. 193-
194, where the alto section sings the text of verse 18, providing a narrative link to Part II.
65
The section that follows describes Naomis reaction to Boazs kindness, as found
in Ruth 2:1823. Part IV, The Mother-in-Law, begins as Ruth returns with the barley
that she had gleaned, explaining what had happened in the fields owned by Boaz. Verse
23 reveals that Ruth continued to glean in his fields for some time while staying with
Naomi. Then, Ruth 3:16 describes Naomis plan to seek even more security for Ruth by
approaching Boaz. She encourages her daughter-in-law to prepare herself to join Boaz
one night as he sleeps on his threshing floor.
Part V, The Summer Night, describes what happens as Ruth follows Naomis
plan, found in Ruth 3:718. Boaz is startled to discover Ruth sleeping at his feet, but
soon decides to assist her. He mentions an unnamed person who is a nearer kinsman to
Ruth and plans to ask him if he will care and provide for her. If he will not, then Boaz
promises to do the part of a kinsman himself by taking Ruth as his wife. In the
morning, Boaz sends her back to Naomi with more grain.
The fourth and last chapter of the book is the basis for two sections of the
oratorio. Part VI, At the Gate of the City, describes the scene in Ruth 4:112 in which
Boaz and the kinsman meet at the city gates. Sitting before the elders, Boaz asks the
kinsman if he will purchase, or redeem, Naomis land and take Ruth as his wife. When
the kinsman refuses to do so, Boaz makes a vow before the people to redeem Naomis
property and to marry Ruth. The Epilogue, Part VII, describes the events following their
marriage as found in Ruth 4:1322. Ruth bears Boaz a son named Obed, and the women
of the city rejoice with Naomi at her good fortune. The movement concludes by
outlining the lineage in which Ruths son Obed became the grandfather of Israels King
David.
Melody
Castelnuovo-Tedescos noted gift for writing lyrical melodies is evident
throughout this work. The melody that accompanies Naomis first entrance is a fine
66
illustration(see example 1). The passage is largely diatonic, with one chromatic
inflection that is tied to the harmonic movement. Also, the melodic motion is balanced
between stepwise motion and modest leaps, mostly at the intervals of a third or a fourth.
All of the melodic intervals, including the one instance of a diminished fifth, are
supported by the block chords found in the accompaniment, and are therefore easy to
sing.
Example 1. Part I, mm. 8588.
67
While Castelnuovo-Tedescos melodies can be described as mostly diatonic, he
often employs instances of chromatic writing. Sometimes, a chromatic melody is used
for a particular effect, as in example 2 where the undulating chromatic line expresses the
weeping referred to in the text.36
In addition, a motif that the composer identifies as like a Palestinian dance
(example 3) employs some chromaticism that gives the theme an exotic character. The
upper string figure suggests an unusual mode with a predominance of half steps (A, B-
36 The harmonic progressions in this passage involve alternations between the two
whole-tone hexachords.
68
flat, B, C, D, E-flat, E, F, G, A-flat, A), and the ascending bass line obeys a strict
chromatic sequence.
Example 3. Part IV, mm. 652655.
Other chromatic melodies occur in relation to compositional techniques such as
modulation or planing. Example 4 shows a leaping chromatic vocal melody that is
derived primarily from the accompaniment, a succession of planed first-inversion major
chords in the clarinets.
69
Example 4. Part III, mm. 356359.
The melodies in this work vary between lyrical and parlando style, often based on
the character of the particular line of text. For example, the bulk of the narration is given
to the chorus in a parlando style with limited melodic motion. By contrast, for passages
of dialogue, the vocal lines employ more lyrical melodies. Example 5 shows a phrase
with both of these characteristics. First, when Ruth says He said unto me also, the
repeated pitches are indicative of a recitative. In the passage of dialogue that follows, the
melody employs an ascending sequence on the phrase until they have ended with my
harvest.
70
Castelnuovo-Tedesco includes many examples of text painting, in which the
melody ascends or descends according to the meaning of the text. For instance, example
6 shows one of several instances of the word behold, on which Castelnuovo-Tedesco
writes as an upward leap (here a major sixth); this tonic accent highlights the declarative
character of the word. In example 7, the phrase Who art thou?, sung by Boaz, contains
an upward leap of a minor ninth, bringing heightened emotion to that question. By
contrast, example 8 features a chromatic descent as Naomi describes her plan for Ruth to
go at night to lie at the feet of Boaz.37
37 The tritone in this passage may hint at an intimate encounter between Ruth and Boaz.
It is also used in part V, measures 791-794, on the text before one could know another.
71
Example 7. Part V, mm. 737738.
Example 8. Part IV, mm. 628635
Some passages employ both ascending and descending melodic lines for
expressive purposes. In example 9, Naomis melody leaps upward as she invokes the
name of the Almighty, while the many descending figures illustrate the anguish that
72
she is experiencing.38 Likewise, the passage seen in example 10 contains an ascending
melodic sequence that accompanies Boazs vow to fulfill the role of kinsman to Ruth. In
the measures that follow (not shown), he sings a descending octave leap as he instructs
her to lie down until the morning.
Example 9. Part II, mm. 216234.
38 Also note the descending perfect fifth to convey the word empty.
73
Another notable melodic feature of this work is that many passages are derived
from a set of recurring motifs, which appear to have specific dramatic connotations. The
use of such unifying motifs will be examined more fully in the section on formal design
below, showing that many melodic gestures are connected with certain motifs.
Harmony
As in other works by Castelnuovo-Tedesco, The Book of Ruth has many harmonic
features that are commonly associated with Impressionism, including chromaticism,
extended sonorities, and planing. Other notable harmonic devices in the oratorio include
frequent use of sequences, ostinatos, and pedal points, as well as a few passages that have
a modal character.
74
There are frequent examples of chromaticism in this work, which often results
from the use of other devices like planing, sequences, or contrary motion. The latter is
seen in example 11, where the four voices of the homophonic choral texture have
chromatic lines that move rapidly in contrary motion. A similar instance is seen in
example 12, where the chromatically descending bass line evokes the text and she went
down into the floor. By contrast, the chromaticism in example 3 above occurs in
conjunction with planing in the upper strings, and an ascending sequential figure in the
cellos and basses.
75
Extended sonorities are typically found only at cadences and important formal
divisions. Part IV ends with a cadence to a sustained B-flat dominant 9th chord, and in
the beginning of part V (see example 13) that same sonority is extended for the first two
measures. The introduction of part VII, seen in example 14, culminates in a G dominant
13th chord in which successive chord tones are slowly added. Finally, the majestic final
cadence of the oratorio contains a series of extended chordsF major 9 and D minor 11
that cadence to a C major chord with brief inflections of C major 7seen in example 15.
76
Example 14. Part VII, mm. 10981101.
77
78
Example 15. Continued
79
Castelnuovo-Tedesco also utilized planing throughout this work. One occurrence
is shown in example 16, in which the upper voices of the chorus and the clarinets present
a series of planed dominant 7th chords. This device is also seen in example 17, where the
unaccompanied treble and bass voices move in contrary motion, with planed fifths and
octaves. In other instances, planing is used more pervasively throughout the texture, such
as examples 15 (major triads) and 18 (fifths and octaves), where the device is found
across the winds, chorus, and strings.
80
Example 18. Part VI, mm. 10501053.
Castelnuovo-Tedesco uses several other harmonic devices throughout this work,
including sequences, ostinatos, and pedal tones. The melodic sequence seen in example
10, above, accompanies a harmonic sequence in which the tonal center modulates from
B-flat major to D major. Ostinato patterns sometime appear in isolation, while several
ostinatos are layered together in example 19. Finally, a prominent pedal tone begins part
I of the oratorio (not shown); here, the pedal F in the lower strings lasts for most of the
first twenty-four measures.
81
Example 19. Part VII, mm. 11741177
Additionally, the harmonies in several passages suggest other modes beside major
or minor. For example, the planing in example 17 has a clear modal character (Aeolian
in the soprano and bass lines and Phrygian in the alto and tenor), and the cadence in mm.
290 of example 20 suggests the Mixolydian mode on E-flat. In addition, example 15
features a sustained C major sonority in the chorus along with planed major triads in the
82
upper winds and strings; this juxtaposition results in an unconventional sonority that also
suggests the Phrygian mode on C.39
Rhythm and Text Setting
Like many of the melodic and harmonic characteristics highlighted above, the
rhythmic devices used in The Book of Ruth often serve expressive purposes. For
instance, the word behold is set in imitation in example 21 with a declamatory
rhythma sixteenth note anacrusis followed by a longer note value.40 Also, example 9
contains a recurring rhythm, a dotted-eighth followed by a sixteenth, which evokes the
39 The pitches D-flat, E-flat, A-flat, and B-flat introduce the lowered 2nd, 3rd, 6th, and 7th
scale degrees, respectively.
40 Also see example 6 above.
83
weeping of Naomi described in the text. Finally, example 22 shows a repeated eighth-
note figure in the upper strings, which calls to mind the rocking of cradle, as the chorus
sings of Naomi cradling Ruths son in her arms.
Example 22 also illustrates the composers use of various meters for expressive
purposes. The compound meter in this example seems to match the tender and childlike
84
aspects of that passage. Compound meter is also used throughout parts II and III, in
which 12/8 and 15/8 meters are used to evoke the pastoral scene of the reapers and
gleaners in the fields of Boaz. In another passage in part II, a slow 2/4 meter and slow
harmonic rhythm conveys Naomis sadness (see example 23).
Castelnuovo-Tedescos use of rhythm in this work is not only expressive but also
flexible, achieving a natural, fluid declamation of the text. Much of the text setting in the
oratorio is syllabic, which allows the composer to set a fairly long libretto in an efficient
manner and may improve the intelligibility of the text in performance. In contrast to the
syllabic passages, the occasional melismatic passages highlight particular words of the
text. For instance, in example 9, the melisma on the word Almighty stands in
85
expressive contrast to the otherwise syllabically declaimed phrase. Also, the climactic
conclusion of the oratorio, seen in example 15, contains repeated statements of a
melismatic motive on the word David, highlighting the important place that Ruth and
her son Obed have in Davids lineage.
It is evident that the composer employs flexible rhythms and changing meters in
an attempt to match the musical rhythms with the flow of the text. The beginning of part
III, seen in example 20, is a good example of this varied use of rhythms (especially the
juxtaposition of duple and triple divisions of the beat). Also, example 24 shows a careful
alternation of duple and triple subdivisions of the half note.
Castelnuovo-Tedesco employs various meters throughout the oratorio, and
occasionally in quick succession. The frequent meter changes in example 25 serve to
match the textual stress of the choral lines with the downbeat of each measure. Another
passage with frequent meter changes is shown in example 26, a further illustration of
natural and expressive textual declamation achieved through shifting meters.41
41 In fact, the composer even employs simultaneous use of 4/4 and 12/8 meters in mm.
810-811 to contrast the rhythms of the choral and orchestral textures, respectively.
86
Though many more examples of careful text setting can be highlighted, there are a
few instances in which the stress of the text is rather awkwardly matched with the
musical rhythm. For instance, the rhythm in example 27 incorrectly places the stress on
the second syllable of the words Moab and Orpah. Similarly, Example 28 shows a
stress on the second syllable of the word comforted rather than the first. While the few
87
incidents of awkward declamation may be attributed to the composer working in English
as opposed to his native Italian, the vast majority of the work displays a very natural
pairing of text and rhythm.
Vocal and Choral Texture
Castelnuovo-Tedesco designates each of the five soloists as characters within the

narrative of The Book of Ruth. There are three major roles: Naomi is sung by a mezzo-
soprano, Ruth by a soprano, and Boaz by a baritone. The two unnamed roles of a servant
and the kinsman are written for a tenor and bass, respectively. Two exceptions to the
practice are found in part I, however. In mm. 101102, the female chorus sings the words
of Orpah and Ruth; mm. 160190, where Ruth famously pledges to stay with Naomi until
death, is given to the female chorus as well. 42
42 Probably because Part I was originally written as a stand-alone cantata with only one
soloist.
88
The solo vocal writing can be described as either arioso or recitativo. Example 9,
which is lyrical and expressive, shows an arioso passage sung by Naomi. On the other
hand, instances of recitativo can be seen in example 8 (Naomi), as well as example 29
(Boaz). While the composer freely alternates between arioso and recitativo styles, he
refrains from writing any extended arias for the soloists.
Whereas the function of the soloists is to portray individual characters in the
oratorio, the primary role of the chorus is to advance the story by giving the large amount
of narration interspersed throughout the text. Consequently, the choral textures are
mainly homophonic, and often with sparse or no accompaniment. For example, the
passage in example 13 uses homophonic declamation in the chorus accompanied by
sustained chords in the upper winds and strings. Note also in this example that the
narration that speaks of Boaz is sung by the tenors and basses, while the following
narration about Ruth (not shown) is sung by the upper voices of the chorus; this division
of narration by gender of the characters provides variety in the choral texture and is
89
common throughout the oratorio.43 Furthermore, the composer often uses an
unaccompanied, homophonic choral texture where the sopranos and altos move in
contrary motion with the tenors and basses, seen in example 17.44
Several previous examples illustrate the composers combination of both imitative
and homophonic choral textures, usually found in that order. Example 11 is typical, with
two voices in brief imitation followed by a homophonic texture. Example 12, by
contrast, begins with all four voices in successive imitation that builds to a homophonic
texture. A strict four-part imitation is seen below in Example 30, as the tenors echo the
sopranos at the octave, while the altos and basses give a real answer to the motive at a
fourth below. Furthermore, an illustration of an unusual imitative device that seems
peculiar to Castelnuovo-Tedesco is seen in example 2. Here, the two leading voices
move in parallel motion at the third, while a third voice follows these in imitation,
resulting in a characteristic two-versus-one texture that is prevalent in the choral writing
of The Book of Ruth.
43 In fact, Part I, which introduces the plight of Naomi and Ruth, calls for female chorus
only, while much of Part VI, which talks about the elders of the city, is written exclusively for
male chorus.
44 Also common in these passages is the use of divisi within each section of the chorus.
90
Besides narrating to advance the story, the chorus is occasionally given passages
of either a neutral vowel or a hum. This allows the chorus to serve an accompanying role
in the overall texture. For instance, example 31 shows the chorus humming expressively
under Naomis solo line. Also, the chorus sings in some of the orchestral interludes, as in
the sustained lines on the syllable ah at the end of Part IV or the eighth-note
interjections of oh at the end of the opening interlude of Part VI.
Orchestration
The orchestra in The Book of Ruth is moderately large, with full sections of winds
(three flutes, piccolo, two oboes, English horn, three clarinets, bass clarinet, and two
bassoons), brass (four horns, three trumpets, and three trombones), and percussion
(timpani, cymbals, triangle, snare drum, tambourine, glockenspiel, xylophone, castanets,
harp, piano, and celesta) in addition to the strings, which are at times divided into two or
even three parts. Even so, the composer reserves the full orchestral forces for just a few
occasionstypically at ends of movements (parts II, IV, VI, and VII) or in orchestral
interludes that evoke the mood and energy of a particular scene (at the end of part IV and
the beginning of part VI).
91
Aside from the orchestral interludes, most of the work is scored for orchestra
along with soloists or chorus. On those occasions, the role of the orchestra seems to be
evenly divided between doubling the vocal forces and providing an accompanying
texture. There are many instances of doubling between voices and instruments; example
2 shows the orchestra doubling the chorus, though the soloists are often doubled as well.
Moreover, some instances of doubling involve smaller instrumental forces, such as the
chorus doubled in the clarinets in example 16, while others involve the whole orchestra,
as in example 18.
Instances in which the orchestra provides an accompanying texture incorporate a
number of different devices, many of which are shown in examples above. For instance,
example 1 has block chords in the strings along with a countermelody played by the
oboe. Example 10 also has a counter melodyone that is shorter and passed among the
clarinets, oboes, and violinsalong with a pulsating rhythmic figure in the strings.
Ostinato patterns are used throughout the accompanying texture of example 19,
particularly in the winds and strings, while the chorus is doubled by the brass. Finally,
the rocking figuration in example 22 illustrates yet another instance of rhythmic
figuration in the orchestra.
While the orchestral writing may be described as mostly conventional, there are
some instances in which Castelnuovo-Tedesco calls for unique instrumental devices for
effect, such as particular string techniques or extreme ranges. One passage, example 8, is
a good illustration of several of these characteristic devices. In this passage, Naomi is
describing what Ruth should do when she goes to meet Boaz at night. Several effects can
be seen herean ostinato pattern in the flutes, harp, celesta and second violins (with
tremolo), sustained chords in the trombones (with mutes) and first violins (with
harmonics), glissandos in the violas (with harmonics), and pizzicatos in the lower strings.
Through the combination of these devices, Castelnuovo-Tedesco achieves a unique effect
that fits well with the conspiratorial mood of the scene.
92
Formal Design
As noted earlier, the large-scale formal design of The Book of Ruth is closely
aligned with the form of the text. The oratorio is divided so that each of the seven parts
depicts a successive setting or location in the narrative. These parts or movements flow
continuously from one to the next, except for fermatas at the end of parts I and III.
Likewise, the form within each part may be described as through-composed, as
Castelnuovo-Tedesco designed the musical structures to follow the structure of the text.
Consequently, both solo and choral passages are freely interspersed within each part
according to the text, as opposed to being placed in separate movements.
Within this continuous, through-composed form, Castelnuovo-Tedesco makes
frequent use of recurring themes or motifs that are identified with specific people or
ideas. The motifs are rather short, typically one to four measures in length, and often
incorporate characteristic melodic intervals. In addition, several of them have two sub-
phrases that are used together or independently. While the motifs are found in various
key centers throughout the oratorio, they are most often used in their original form
without altering intervals or rhythms. However, there are several instances of rhythmic
alteration, in which the motif appears in augmentation or in a different meter.
Table 1 lists nine motifs that are used most frequently in The Book of Ruth. Also,
the occurrences of each motif, whether in the solo lines, chorus, or orchestra, are listed in
table 2. The first motif, identified with the text and it came to pass, is used throughout
Part I and at the beginning of Part II, although it does not appear in any later movements.
The second is a pastoral motif, introduced at the end of Part II, which is primarily found
in compound meter and used as a depiction of the fields of grain. The motif found at the
first mention of Boaz at the beginning of Part III is used to signify him throughout the
work. Also introduced in Part III is a daughter motif, frequently found in the
orchestration when a character addresses Ruth. In addition, a mother-in-law motif is first
seen in Part IV and is used in later movements.
93
Of the recurring motifs, only one is found exclusively in the orchestra. This
dance-like theme, which the composer identifies by Tempo di Hore, is found at the end of
Part IV and the beginning of Part V; it is used to evoke the revelry of Boaz and his
workers after the harvest. Two other motifs appear in Part VIthe kinsman character is
identified with one, while another signifies the estate of Elimelech that is redeemed by
Boaz. Lastly, the two mentions of David at the end of Part VII occur with the same
musical material.
As table 2 illustrates, Castelnuovo-Tedescos use of dramatic motifs in this
oratorio is fairly pervasive. These themes are found throughout every movement and
form the basis of much of the musical organization in the work. Even though they occur
in various voices, keys, and rhythms, they are clearly intended to signify particular
characters or ideas. Scalin has asserted that Castelnuovo-Tedescos use of these motifs
does not match the typical function of leitmotivs, but given the frequency with which they
occur and the importance of their role within the musical structure, it does appear that the
motifs serve a dramatic function in The Book of Ruth by signifying particular people or
concepts.45
45 Scalin, Some Biblically-Inspired and Liturgical Compositions of Mario Castelnuovo-

Tedesco, 9
94
Table 1. Primary motifs in The Book of Ruth.
And it came to pass
Pastoral
Boaz
Daughter
Mother-in-law
Hora
Kinsman
Elimelechs Estate
David
95
Table 2. Instances of primary motifs in The Book of Ruth.
Part I Part II Part III Part IV
And it mm. 18 orch. mm. 201202 chorus

came to mm. 912 chorus mm. 207208 orch.
pass mm. 1415 orch. mm. 213215 orch.
mm. 2223 orch.
mm. 3233 orch.
mm. 7880 orch.
Pastoral mm. 266269 orch. mm. 302305 solo mm. 575576 orch.
mm. 270273 orch. mm. 311315 orch./chorus (alt.)
mm. 274277 orch. mm. 316319 orch./chorus mm. 577578 orch.
(alt.)
mm. 278282 orch. mm. 322323 orch.
mm. 581583 orch.
mm. 356363 orch./solo (alt.)
mm. 400403 solo
mm. 457461 orch.
mm. 462463 orch.
mm. 491494 orch/chorus
mm. 499501 orch. (alt.)
Boaz mm. 284290 chorus mm. 529533 orch.

mm. 546548
orch./solo
mm. 593595
orch./solo
Daughter mm. 369370 solo

mm. 371372 orch.
mm. 377378 orch.
mm. 379380 orch.
mm. 381382 orch.
mm. 383384 orch.
mm. 391392 orch.
mm. 394395 orch.
mm. 419420 orch.
mm. 421422 orch.
mm. 423424 orch.
mm. 425426 orch.
mm. 429430 orch.
mm. 432433 orch.
mm. 435436 orch.
mm. 437438 orch.
mm. 439440 orch.
mm. 443444 orch.
96
Table 2. Continued
Part IV Part V Part VI Part VII
Pastoral mm. 575576 orch. mm. 740741 orch.

(alt.) (alt.)
mm. 577578 orch. mm. 808809 orch.
(alt.) mm. 810811 orch.
mm. 581583 orch. mm. 828831
(alt.) orch./solo
Boaz mm. 529533 orch. mm. 743745 mm. 846850 orch. mm. 11961197 orch.
mm. 546548 orch./solo mm. 851854 orch. mm. 1199 orch.
orch./solo mm. 765767 mm. 855856 orch. mm. 12001201 orch.
mm. 593595 orch./solo
mm.857858 orch.
orch./solo mm. 780785 orch.
mm. 859863 orch.
mm. 864865 orch.
mm. 866867 orch.
mm. 868869 orch.
mm. 870871 orch.
mm. 872876 orch.
mm. 980983 orch.
mm. 984986 orch.
mm. 10031007 orch.
mm. 10851089 orch.
Daughter mm. 739740 solo (alt.)

mm. 742743 orch.
mm. 747748 orch.
mm. 749750 orch.
mm. 751752 orch.
mm. 753756 orch.
mm. 758759 orch.
mm. 761762 orch.
mm. 763764 orch.
mm. 776777 orch.
mm. 778779 orch.
mm. 798799 orch.
mm. 800801 orch.
97
Table 2. Continued
Hora mm. 599602 orch. mm. 708711 orch.

mm. 603606 orch. mm. 712715 orch.
mm. 608611 orch. mm. 716719 orch.
mm. 612615 orch. mm. 729732 orch.
mm. 616619 orch. mm. 733736 orch.
mm. 620623 orch. mm. 786789 orch.
mm. 624627 orch. mm. 790793 orch.
mm. 636639 orch. mm. 820823 orch.
mm. 652655 orch. mm. 824827 orch.
mm. 656659 orch.
mm. 660663 orch.
mm. 664667 orch.
mm. 668671 orch.
mm. 676679 orch.
mm. 684687 orch.
mm. 688691 orch.
mm. 692695 orch.
mm. 696699 orch.
Kinsman mm. 901902 solo

mm. 903904 orch.
mm. 905906 orch.
mm. 907908 orch.
mm. 940941 orch.
mm. 942943 orch.
mm. 944945 orch.
mm. 946947 orch.
mm. 949950 orch.
mm. 951952 orch.
mm. 971972 orch.
mm. 973974 orch.
mm. 975976 orch.
mm. 9991002 orch.
mm. 10231024 orch.
mm. 10251027 orch.
98
Table 2. Continued
Elimelechs mm. 926929 solo

Estate mm. 933935 orch.
mm. 960963 orch/solo
mm. 964965 orch.
mm. 966970 orch.
mm. 10141019 orch.
mm. 11211122 orch./solo
mm. 10281029 orch.
mm. 10301033 orch.
mm. 10391040 orch.
mm. 10411044 orch.
David mm. 11641167 orch./chorus

mm. 11961203 orch./chorus
Scenic Components
Finally, one particularly interesting feature of The Book of Ruth (and, indeed,
Castelnuovo-Tedescos other oratorios) is the fact that the composer envisioned
performances that went beyond the typical unstaged presentation of most oratorios. In
fact, Rossi finds that more precise terminology is neededpossibly dramatic oratorios
or scenic oratoriosbecause of how the works lend themselves to staged, dramatic

productions, usually with scenario, setting and dramatic action suggested by the
composer.46 Indeed, this was the case with The Book of Ruth, as Castelnuovo-Tedesco
described his concept this way:
Later I also thought about a scenic version of the work that one
could execute very well in form like a sacred representation, with
the assigned places: to the left (for the first episode) the barren
mountains of Moab (with three mounds, to represent the tombs of
Elimelech and the sons); in the center the threshing floor of Boaz
46 Nick Rossi, The Choral Masterpieces of Mario Castelnuovo-Tedesco, Choral

Jounral 17 (Nov. 1976): 8.
99
(in the middle of fields of grain, and with a background of hills); to
the right the outline of Bethlehem, the gates of the city (and, under
the walls , a hut where the two refugees, Naomi and Ruth, live). It
might appear a bit like the background painting on a tablet of some
painters of the fifteenth century.47
Likewise, the composer included even more extensive descriptions of his scenic
conceptincluding the locations of the chorus and orchestra, entrances and locations of
the soloists, and even lighting cuesin the Italian libretto that he prepared for the work.
These elements of Castelnuovo-Tedescos unique scenic conceptincluding sets,
costumes, stage placement, and dramatic movementare features more commonly
associated with operatic and other theatrical performances.48 In fact, by the time he
composed The Book of Ruth, he had already produced several large-scale stage works in
various genres, from the operas La Mandragola (192023) and Bacco in Toscana (1935
36), to sets of incidental music for the plays Savonarola (1935) and I Giganti della
Montagna (1937), and even a chamber opera for marionettes called Aucassin et Nicolette
(1938). As such, Scalin acknowledges this evidence of the close relationship which
exists between the operas and the oratorios, noting that his first oratorios were written
during a time when he did not compose any operas.49 Interestingly, there is a similar
innovative and fundamentally dramatic treatment in yet another work that has a close
47 Pi tardi pensai anche ad una versione scenica del lavoro, che si potrebbe benissimo
eseguire in forma quasi di sacra rappresentazione, coi luoghi deputati: a sinistra (per il primo
episodio) le brulle montagne di Mob (con tre tumuli, a rappresentare le tombe di Elimlec e dei
figli); al centro laia di Boz (in mezzo ai campi di grano, e con uno sfondo di colline); a destra il
castelletto di Betlm, le porte della citt (e, sotto le mura, una capanna dove abitano le due
profughe, Noemi e Ruth): un po come lo sfondo dipinto su una tavoletta da qualche pittore del
Quattrocento. Mario Castelnuovo-Tedesco, Una vita di musica, 499, translation by author.
48 The continuous formal design and highly descriptive musical elements are also
features likely to be found in an opera.
49 Burton H. Scalin, Some Biblically-Inspired and Liturgical Compositions of Mario
Castelnuovo-Tedesco, 9.
100
connection to the stageCastelnuovo-Tedescos set of 33 Shakespeare Songs (1921) for
solo voice, which include specific stage directions to the singer.50
Stylistic Periods
As was noted in chapter one, Scalin has categorized Castelnuovo-Tedescos
compositional output into three major periods of composition, each with certain defining
characteristics. The first, beginning around 1915 and lasting for about a decade, was
when he was associated with several prominent composers of Italian contemporary music
of that time, including Casella, Pizzetti, and Malipiero. Castelnuovo-Tedescos music
was therefore labeled as progressive, and featured chromaticism, varied rhythms, uneven
phrase lengths, and blurred tonalities.51 The next period, from the mid-1920s through
1939, saw a movement toward a simplification of style, with more clearly defined
tonalities, regular phrase lengths, and less rhythmic variety; interestingly, Scalin notes
that this trend toward simplification was also evident in the compositions of other Italian
composers in those decades.52 Thirdly, the last identified compositional period began in
1940 and lasted until the composers death in 1968. Scalin is critical of some works from
this time while praising others; overall, he claims that catering to demands from
commissions and music publishers led to an uneven quality of Castelnuovo-Tedescos
works from this era. While the composers goal seems to have been to make his music
more accessible to audiences, Scalin finds some works to be stimulating while other
works, particular those that have been published, are described as simplistic.53
50 Westby, 49.
51 Scalin, Operas by Mario Castelnuovo-Tedesco, 318-319.
52 Ibid., 319-320.
53 Ibid., 320-321.
101
The oratorio The Book of Ruth, composed in 1949, falls solidly within Scalins
third compositional period, which contains works of supposedly uneven quality.
However, this analysis illustrates many common features that this piece shares with
earlier compositions. Consequently, The Book of Ruth should be counted among the
composers well-crafted, inventive, and expressive pieces of music from his later years.
102
CHAPTER 4
CONCLUSION
This multi-faceted study of an eventful decade in Mario Castelnuovo-Tedescos
life as well as his oratorio, The Book of Ruth, composed at the end of that period, reveals
a fuller picture of a composer with a rather unusual place in music history. Although the
sting of persecution at the hands of a dictatorial regime and the sorrows of emigration
were unfortunately shared by other composers from across Europe, Castelnuovo-
Tedescos experiences appear to be rare among Italian composers of the era.1 By
exploring Castelnuovo-Tedescos thoughts and emotions as recorded in his
autobiography as well as the motivations behind his oratorio The Book of Ruth, a highly
personal connection between his life, his faith, and his music is evident. In the end, like
the protagonists from The Book of Ruth, Castelnuovo-Tedesco and his family were able
to find refuge and prosperity in a distant land through perseverance, faith, and the
kindness of others.
Personal Connections
This examination of Castelnuovo-Tedescos unique biography reveals a number
of personal connections to his oratorio The Book of Ruth. The first is the strong influence
that his Jewish faith had on much of his music. Chapter 1 revealed that Castelnuovo-
Tedesco identified the discovery of the Hebrew prayers his grandfather had written as a
defining moment: I found there the source of my whole life, both in music and in faith;
1 Of the four other Italian composers of Jewish descent mentioned by Castelnuovo-

Tedesco (see footnote in chapter one), two remained in Italy throughout the war (Alberto
Franchetti and Leone Sinigaglia) and one immigrated to Brazil (Renzo Massarani). Only Vittorio
Rieti, like Castelnuovo-Tedesco, immigrated to the United States in 1940 and became a U.S.
citizen in 1944.
103
it was the revelation, the symbol perhaps, of my destiny2 The Book of Ruth, together
with his other oratorios and works as diverse as Le danze del Re David, I profeti, and the
Sacred Service for Sabbath Eve, reveal Castelnuovo-Tedescos deep pride in his Jewish
heritage that motivated much of his musical activity. Given that many Jews from across
Europe faced considerable trials during the 1930s and 1940s, the fact that Castelnuovo-
Tedesco's faith inspired such numerous and varied musical creations during the era is
significant. Though it may have been more advantageous to distance his compositional
activity from his Jewish heritage in a bid to maintain the successful trajectory of his
career in Italy before the war, he chose instead to express pride in his faith and ancestry
through music. It is no surprise, then, that in the years following the war he continued to
compose works that display Jewish influences.
Mention of his grandfathers strong influence is also evidence of Castelnuovo-
Tedescos close family ties, many of which illustrate a connection to the biblical story of
Ruth, as was described in chapter 2. The most direct connection to the narrative is that
his dearly loved mothers name happened to be Noemi (another form of Naomi), a fact
that drew his attention to composing a work on the book of Ruth early in his youth.
Moreover, Castelnuovo-Tedesco also identified the wedding of Ruth and Boaz set in the
fields around Bethlehem with his own wedding to his wife Clara in the countryside of
Usigliano. In addition to his family, Castelnuovo-Tedesco mentioned the pivotal role that
his respected friend and colleague Ernst Toch played in the creation of The Book of Ruth.
It was Toch who urged him to expand on the cantata Naomi and Ruth, which covered just
a portion of the first chapter of the Biblical book, and set the entire story of Ruth to
music.
2 Quoted in Gdal Saleski, Famous Musicians of Jewish Origin (New York: Bloch
Publishing, 1949), 32.
104
Finally, beyond the explicit connections that Castelnuovo-Tedesco himself
mentioned, several narrative themes in the biblical story of Ruth that mirror some aspects
of the composers own life circumstances can be identified. Like Castelnuovo-Tedesco
and his family, several of the biblical characters were displaced by difficult
circumstances; initially, Naomi and Elimelech were forced to flee Judah because of a
famine, while later in the narrative Naomi left Moab following the death of her husband.
Also, the strong family bond that is evident in the biblical story, as Ruth devotedly
followed her mother-in-law Naomi, can be seen in Castelnuovo-Tedescos commitment
to his immediate family during the entire emigration process.3 Furthermore, just as Ruth
found protection and provision in a foreign land by gleaning in the fields of her kinsman
Boaz (and eventually marrying him), Castelnuovo-Tedesco was able to rely on the
kindness and generosity of his musical friends including Heifetz, Spalding, Toscanini,
and otherswho helped him emigrate from Italy and establish his family and career in
the United States.
Further Research
The oratorio The Book of Ruth, now available for the first time in a published
edition, is a fitting starting point for further exploration into his entire body of choral
music. Throughout this oratorio, the composers refined musical style is shown to be
consistent with his work in other genresexhibiting lyrical melodies, impressionistic
harmonic devices, and a keen interest in text expression. Transcribing and editing
Castelnuovo-Tedescos other unpublished choral works will allow for a more
comprehensive analysis of his work in this genre by making his music more accessible to
conductors and scholars. Of particular interest would be a study of the innovations in
3 At first, only Castelnuovo-Tedesco himself received permission to emigrate. However,

because he would not leave without his wife and sons, he continued to petition the government
until they all received the same permission. See footnote pg. 32.
105
large-scale form and compositional technique that appear in his later oratorios. Some of
the more dramatic or progressive techniques that can be found in The Song of Songs, op.
172 (195455); The Book of Esther, op. 200 (1962); and The Book of Tobit, op. 204
(196465) include Sprechstimme, dancers, and miming. Also, a more in-depth study of
Castelnuovo-Tedescos harmonic practice in The Book of Ruth, other oratorios, or any of
his choral works would be a fruitful endeavor.
Several other potential directions for further research exist as well. Though the
original Italian text of Castelnuovo-Tedesco autobiography is available in a published
edition, a complete English translation of Una vita di musica would enable a more
comprehensive view of the composers life through his own words and provide insights
for scholars interested in all genres of his music, and not merely his choral works.
Furthermore, Castelnuovo-Tedesco had connections with many of the foremost musicians
of the twentieth century, either as a teacher, collaborator, or acquaintance, so there is
certainly a wide range of information in his autobiography about the broader musical
community in that era.
Finally, more historical and cultural research could be done on the experience of
Italian migrs who settled in the United States during the 1930s and 1940s. Though
much more scholarly attention has been paid to intellectuals who were exiled from
Germany during this time period, the thoughts and experiences of Castelnuovo-Tedesco
could surely be used as a springboard for a more careful investigation of the experiences
of other Italian artists and scholars who fled the Fascist regime.
Significance
Regretfully, Castelnuovo-Tedesco never heard The Book of Ruth performed, as
with all the works about which I care the most.4 Even to this day, no public
4 ...come per tutti i lavori a cui tengo di pi. Mario Castelnuovo-Tedesco, Una vita di
musica, 499, translation by author.
106
performances are known to have occurred. Nevertheless, the level of compositional skill
and expression seen in the accompanying edition of this piece will hopefully give rise to
performance opportunities in the years to come.
Admittedly, there are untold numbers of other accomplished composers whose
choral music has become obscure or forgotten over time. It is the task of conscientious
conductors and researchers to seek out and identify pieces that are worthy of a place
among the canon of works that remain in performance. There may be other compelling
examples of composers with a personal connection to their compositions, like
Castelnuovo-Tedesco and The Book of Ruth, that are yet to be discovered.
Yet, when considering the many events in Mario Castelnuovo-Tedescos life
leading up to the composition of The Book of Ruth, it is sobering to think about the many
ways in which different circumstances would not have resulted in its creation. For
example, although The Book of Ruth was written while Castelnuovo-Tedesco recovered
from gallbladder surgery, it is possible that the surgery might not have been successful in
curing the illness that had plagued him for months, leaving him unable to compose at all.
Furthermore, had Castelnuovo-Tedesco not taken work in Hollywood, he may not have
had developed such a level of friendship with Ernst Toch, the person who urged him to
write the full-length oratorio on the story of Ruth. Finally, and perhaps most
significantly, Castelnuovo-Tedescos future would have been much different had he and
his family not left Italy when they did. Opportunities for work would likely have
declined even further through the war years, and it is quite possible that Castelnuovo-
Tedesco would have been taken to a work camp or even killed after the German army
invaded Italy in 1943.
In this way, the lives of Castelnuovo-Tedesco and the biblical character of Ruth
display yet another similarity. Because both were delivered from trials by seeking refuge
in a foreign land, each was able to have a lasting influence on future generations in
unique ways. Ruth, through her son Obed, was a direct ancestor of David, one of the
107
most celebrated kings of Israel.5 For his part, Castelnuovo-Tedesco enjoyed several
fruitful decades of composing and teaching in the United States, from which came the
oratorio The Book of Ruth along with numerous other musical compositions. The impact
of his prolific work will continue as long as his writings and music are available for study
and performance. May the results of this study contribute to the preservation of
Castelnuovo-Tedescos music and a greater appreciation of his story of perseverance and
faith.
5 Also, as Castelnuovo-Tedesco himself noted, Ruth was also an ancestor of Jesus of

Nazareth through King David.
108
BIBLIOGRAPHY
Alt, David Lee. An Analysis of Five Shakespearean Settings by Mario Castelnuovo-

Tedesco. D.M.A. thesis, The University of Iowa, 1980.
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Florette Rechnitz Koffler and Richard Koffler. Urbana, IL: University of Illinois
Press, 1995.
Castelnuovo-Tedesco, Clara. La sua fede. Interviewed by Rebecca Andrade. Los

Angeles: UCLA Oral History Program, 1982.
Castelnuovo-Tedesco, Mario. The Composer Speaks, in The New Book of Modern

Composers. 3rd ed., revised and enlarged. New York: Alfred A. Knopf, 1961.
______. Music and Poetry: Problems of a Song-Writer. The Musical Quarterly 30

(January 1944): 102-11.
______. Music for the Synagogue. Trans. Burton Howard Scalin. Journal of
Synagogue Music 5 (December 1974): 9-15.
______. The Song of Songs. Music Journal 21 (November 1963): 21-24.
______. Una vita di musica. Florence: Cadmo, 2005.
Crawford, Dorothy L. A Windfall of Musicians: Hitlers Emigrs and Exiles in Southern

California. New Haven: Yale University Press, 2009.
Ewen, David. American Composers: A Biographical Dictionary. New York: G.P.

Putnams Sons, 1982.
Fermi, Laura. Illustrious Immigrants: The Intellectual Migration from Europe, 1930
1941, 2nd ed. Chicago: University of Chicago Press, 1971.
Gatti, Guido M. Four Composers of Present-Day Italy: Mario Castelnuovo-Tedesco.

The Musical Quarterly 12 (1926): 449-71.
______. Some Italian Composers of To-Day: I. Mario Castelnuovo-Tedesco. The

Musical Times 52 (February 1921): 93-97.
Gray, Dorothy Landis. Mario Castelnuovo-Tedesco: Selected English Settings of Music

for Womens Voices from His American Period (1939-1968). Ph.D. diss., The
Catholic University of America, 1996.
Hinsley, Matthew Gerritt. Text-Music Relationships in Mario Castelnuovo-Tedescos

Vogelweide. D.M.A. thesis, The University of Texas at Austin, 2003.
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Holde, Artur. Jews in Music: From the Age of Enlightenment to the Mid-Twentieth
Century. New York: Block Publishing, 1974.
Holmberg, Mark L. Thematic Contours and Harmonic Idioms of Mario Castelnuovo-

Tedesco, as Exemplified in the Solo Concertos. PhD diss., Northwestern
University, 1974.
Illiano, Roberto, ed. Italian Music During the Fascist Period. Turnhout: Brepols, 2004.
Jackman, Jarell C. and Carla M. Borden, eds. The Muses Flee Hitler: Cultural Transfer
and Adaptation, 19301945. Washington, D.C.: Smithsonian Institution Press,
1983.
Jezic, Diane Peacock. The Musical Migration and Ernst Toch. Ames, IA: Iowa State
University Press, 1989.
Kahn, Alexander Gordon. Double Lives: Exile Composers in Los Angeles. Ph.D. diss.,
University of California, Berkeley, 2009.
Levin, Neil W. Milken ArchivePeopleMario Castelnuovo-Tedesco. accessed

April 7, 2011.
http://www.milkenarchive.org/people/view/composers/487/Castelnuovo-Tedesco.
Library of Congress. Finding Aid: Mario Castelnuovo-Tedesco Papers accessed

September 29, 2010. http://hdl.loc.gov/loc.music/eadmus.mu010012.
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Brown, and Co., 1933.
Nicolodi, Fiamma. Musica e musicisti nel ventennio fascista. Fiesole: Disconto

Edizioni, 1984.
Prechtl, Sylvanna Theresia. A Stylistic and Vocal Analysis of the Shakespeare Songs of
Mario Castelnuovo-Tedesco. D.Mus. diss., Indiana University, 1981.
Robles, Eric. An Analysis of Mario Castelnuovo-Tedescos Vogelweide: Song Cycle

for Baritone and Guitar. D.M. thesis, The Florida State University, 2004.
Rosen, Harriette Mildred. The Influence of Judaic Liturgical Music in Selected Secular
Works of Mario Castelnuovo-Tedesco and Darius Milhaud. Ph.D. dissertation,
UC-San Diego, 1991.
Rossi, Nick, comp. and ed. Castelnuovo-Tedesco: Catalogue of Works. New York: The
International Castelnuovo-Tedesco Society, 1977.
______. The Choral Masterpieces of Mario Castelnuovo-Tedesco. The Choral

Journal 17 (Nov. 1976): 5-8.
110
______. Modern Master of Melody. American Music Teacher 25 (February-March
1976): 13-14, 16.
______. A Tale of Two Countries: The Operas of Mario Castelnuovo-Tedesco. The

Opera Quarterly 7/3 (1990): 89-121.
Sachs, Harvey. Music in Fascist Italy. London: Weidenfeld and Nicolson, 1987.
______. Una vita di musica: brani dalle memorie inedite di Mario Castelnuovo-
Tedesco. Nuova rivista musicale italiana 3 (1989): 379-409.
Saleski, Gdal. Famous Musicians of Jewish Origin. New York: Bloch Publishing, 1949.
Salvadori, Roberto G. The Jews of Florence: From the Origins of the Community up to
the Present. Trans. Ann Curiel. Florence: Giuntina, 2001.
Scalin, Burton Howard. Operas by Mario Castelnuovo-Tedesco. Ph.D. dissertation,

Northwestern University, 1980.
Smither, Howard E. A History of the Oratorio, Vol. 4The Oratorio in the Nineteenth
and Twentieth Century. Chapel Hill: The University of North Carolina Press,
2000.
Soltes, Avraham. Off the Willows: The Rebirth of Modern Jewish Music. New York:
Bloch, 1970.
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Mitchell, 2003.
Taylor, John Russell. Strangers in Paradise: The Hollywood Emigrs, 19331950. New
York: Holt, Rinehart & Winston, 1983.
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dissertation, UCLA, 1994.
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111
BETWEEN TWO WORLDS:
MARIO CASTELNUOVO-TEDESCO, HIS JOURNEY FROM ITALY TO AMERICA,
AND HIS ORATORIO THE BOOK OF RUTH
VOLUME II
by
Noah David DeLong
A thesis submitted in partial fulfillment

of the requirements for the Doctor of Musical Arts
degree in the
Graduate College of
December 2015
Thesis Supervisor: Associate Professor David Puderbaugh

EDITORIAL COMMENTARY
Source
The original holograph manuscript for The Book of Ruth, op. 140, is located in box 69 of the Mario Castelnuovo-
Tedesco Papers, Music Division, Library of Congress, Washington, D.C.. The manuscript, dated June 6 to July 22, 1949, was
written in the composers own hand and was donated to the Library of Congress by his wife, Clara Castelnuovo-Tedesco. It
was written with black ink on light-weight sheets of manuscript paper with 24 staves per page. The sheets, measuring 37.5 cm
by 28 cm, are in good condition, with a very small number of corners that are damaged or bent.
Editorial Methods
The aim of this edition is to present a direct transcription of the piece in a format that resolves any discrepancies and
updates some conventions to make the score more readable. The title page is presented as in the manuscript, although
quotation marks have been removed around the titles of individual movements. The page layout of the manuscript is
preserved, keeping the same number of measures on each page while correcting errors in measure numbering. Key signatures
and clefs are all retained as in the manuscript.
Notation concerning pitches and rhythms are preserved as in the manuscript, including original beaming of eighth and
sixteenth notes and courtesy accidentals shown without parentheses. Apparent pitch discrepancies are identified and corrected
to conform to the given vertical sonorities or sequential repetition; these corrections are indicated in the score by an asterisk.
Expression markingsincluding dynamics, articulation, and tempoare sometimes given in parentheses in the
manuscript, a practice which is retained in this edition. Some dynamic and articulation marks have been added to certain lines
where it is clear that the markings in a parallel line or lines are intended to be applied more broadly. These are listed in the
critical notes but are not indicated in the score itself. Although the composer used slurs throughout the vocal lines to indicate
phrase divisions in the manuscript, these were removed in this edition according to current practice. Instead, breath marks are
used to demarcate phrases when necessary.
The lyrics in the manuscript were written entirely in capital letters and with very minimal punctuation. This edition,
however, presents the text with the standard capitalization, punctuation, and spelling as found in the King James Version,
which the composer was known to have used as a source. Some phrases of text were altered by the composer from those found
in his source, the KJV Bible. In situations where this seems to have been done in error, the text has been corrected as indicated
in the critical notes. However, the alterations have been retained in the few instances where it appears necessary to fit the
syllabification of the vocal lines.
Critical Notes
Part I, Naomi and Ruth
Measure Staff Note Remarks
16 Mezzo 4 Added crescendo to mirror Sop
29 Sop 4 Corrected pitch from D-flat to D-sharp to preserve melodic line, corresponding to published piano-
vocal score
32 Bsn 3 Corrected pitch from G-natural to G-flat to avoid cross-relation with Vla, corresponding to
published piano-vocal score
32 Hp, VC 4 Corrected pitch from G-natural to G-flat to avoid cross-relation with Vla, corresponding to
33 Fl, Ob, Bsn, Hp, 1 Corrected pitch from G-natural to G-flat to avoid melodic tritone, corresponding to published
Vln I, VC piano-vocal score
112
33 Hp 1 Corrected pitch from C-natural to C-flat to avoid cross-relation with Vla, corresponding to
35 Hp, VC 1 Corrected pitch from G-natural to G-flat to avoid cross-relation with Bsn, corresponding to
36 VC Added pi p marking to mirror other string sections
37 VC, DBass Added pp marking to mirror other string sections
40 Hp 3 Corrected pitch from G-natural to G-flat to avoid cross-relation with Hn, Sop, Vln I
42 Cl II 3 Corrected pitch from F-sharp (unclear) to E to correspond to the Hp and Vln sections
44 Chorus Changed lyric wifes to wives and country to women to match KJV text
38-74 Mezzo Added dynamic markings to mirror parallel voices
70 Mezzo 1 Added tenuto to mirror parallel voices
71-72 Vln I/II, Vla, VC The sempre p and crescendo markings, though seemingly contradictory, are both given in the
manuscript
72 Mezzo 1, 5 Added tenuto marks to mirror parallel voices
72 Alto Added mp marking to mirror parallel voices
74 Vln II, Vla, VC, 2 Added tenuto to mirror parallel voices (Vln I and winds)
DBass
84 Hn 3 1 Changed two tied half notes on the same pitch to one whole note
84 DBass 1 Unclear marking notated as divisi
89 Vla 3 Changed pitch from A-flat to A-natural to correspond to harp and published piano-vocal score
89 VC 3 Added slur to mirror other string sections
112 Cl I 2 Changed pitch from D-sharp to D-natural to correspond to Sop voice
112 Mezzo Added lamentoso marking to mirror Sop
127 Vl II Added divisi marking to mirror Vln I
133-134 Naomi Retained exclamation marks, though not in the KJV text
134 Cl and Bsn Added mf marking to mirror Ob and Hn
135 Bsn 2 Added slur to next measure to mirror Cl and VC
141 Mezzo and Alto Added crescendo to mirror Sop and upper strings
141 Vln II Added mf to mirror Vln I and chorus
158 Mezzo 3 Changed pitch from G-flat to G-natural to correspond to Cl I
162-164 Mezzo Added dynamics to mirror parallel voices
166-167 Chorus Changed lyric whither to whether to match KJV text
168-169 Mezzo Added dynamics to mirror parallel voices
187 Cl I and Cl II 2 Changed pitch from D-sharp to D-natural to correspond to Alto and Vln II
189 All The marking (fluent) after a tempo is not idiomatic to English. In this case, it likely means
(flowing).
113
Part III, The Barley Harvest
289-293 Bass Added dynamics to mirror Ten
296-299 Alto Added dynamics to mirror Sop
312-313 Sop and Alto Changed lyric And she came, and went to And she went, and came to match KJV text
318-319 Sop and Alto Lyric belonging to Boaz differs from KJV text belonging unto Boaz
334 Ten and Bass Changed lyric bless ye to bless thee to match KJV text
361 Servant Lyric continued from the morning differs from KJV text continued even from the morning
367 Cl I/II and Cl III Corrected key signature from 2 sharps to 1 sharp
433 All Added double bar line at the rehearsal number for consistency
439 Ruth Changed lyric kindly to friendly to match KJV text
440 Cl I and Hn III Added diminuendo to mirror other Cl and Fl II
441-442 Vla Added slurs and tenuto markings to mirror Vln II
471-472 Bass Added crescendo to mirror Ten
494 Vl I 1 Omitted errant B-natural to correspond to sequential repetition of m. 493 and 495, since the B-natural is
covered in Vl II
495 Sop Changed lyric what to that to match KJV text
496-498 Alto Added dynamics to match Sop
Part IV, The Mother-In-Law
598 Naomi Changed lyric flower to barley to match KJV text
Part V, The Summernight
760 VC Added diminuendo to mirror Vln and Vla
766 Cl I Changed incomplete marking un to un poco marcato, mirroring the same motive in Ob
780 Hp 4 Changed pitch in lower staff from F-natural to F-sharp to correspond to upper staff of Hp and Strings
782 VC 2 Changed note value on beat 3 from an eighth note to a quarter note to make a full measure
820 Vl II and Vla Added staccato markings to mirror articulation in Vl I
828 Vl II and Vla Added tenuto markings to mirror articulation in Vl I
833 Hp Adjusted rest values to make a full measure
114
Part VI, At the Gate of the City
845-856 Winds and Brass Some articulation markings are unclear; standardized markings so that durations of an eighth note or shorter
are marked staccato and those longer than an eighth are marked tenuto
864 Vla Added missing C clef
866-867 Pno Added articulation markings in LH to mirror those in the RH and in other sequential repetitions
874 Pno Added 8va marking in RH to correspond to the remainder of the phrase
911 Cl I 7 Added courtesy accidental to C-natural for clarity
Part VII, Epilogue
1118 Chorus Lyric be a restorer differs from KJV text be unto thee a restorer
1121 Vla 2 Changed pitch from F-natural to F-sharp to correspond to Timp, VC, and DBass
1123 Hp 4, 6 Added arpeggio markings to mirror figuration in m. 1122 and 1124-1125
1166 Hp Added bass clef in the lower staff so that pitches correspond to those in the upper staff
1166 Bsn 7 Changed pitches from E-natural and B-natural to E-flat and B-flat to correspond to Bass voice part
1172-1173 Alto, Ten, Bass Added dynamics to mirror Sop
1186-1188 Bass Added dynamics to mirror Ten
1191 Ob II and Cl II 1 Changed pitch from F-natural (concert) to F-sharp (concert) to correspond to Winds, Chorus, and Strings
1196 All Corrected rehearsal number from 126 to 127 to avoid repetition
115
a Clara
nel ricordo della Mamma
e nel 25 anniversario delle nostre nozze
[to Clara
in memory of Mother
and on our 25th wedding anniversary]
Mario Castelnuovo-Tedesco
(1895-1968)
"The Book of Ruth"
A Biblical Oratorio
Soloists:
Naomi Mezzo Soprano

Ruth Soprano
Boaz Baritone
Servant Tenor
Kinsman Bass
Mixed Chorus
Orchestra:
3 Flutes (and Piccolo)

2 Oboes
3 Clarinets (and Bass Clarinet)
2 Bassoons
4 Horns
3 Trumpets
3 Trombones
Timpani
Cymbals
Triangle (and Glockenspiel)
Snare Drum (and Xylophone)
Tambourine (and Castanets)
Harp
Piano (and Celesta)
1st Violins
2nd Violins
Viola
Violincelli
Double Bass
116
Part I
Mario Castelnuovo-Tedesco (1895-1968)
Naomi and Ruth
(for Women's Voices)
b b 4
Quiet, simple and sad (but not too slow)
2 Flute &b b 4
b b 4
&b b 4 - - n - -
2 Oboe - .
p
bb 44
espr.
&
2nd
2 Clarinet in B b
- -
n - p
b - - . b n - b -
? b b b 44
2 Bassoon b
p espr.
44
Horn in F 1, 2 &
44
*See note below
& ?
- .
Horn in F 3
# - . &
p
? b b b 44
Timpani b

b
& b b b 44
Harp
p
? b b b 44
b
- - - - -
b
& b b b 44
Naomi
(mezzo-soprano)
b
Soprano & b b b 44
b 4
Mezzo-Soprano & b bb 4
b
Alto & b b b 44
b
Violin I & b b b 44
b
Violin II & b b b 44
Viola B b b b b 44
? bb b 4
b 4 - - w- w-
p - .
Violincelli
espr.
? bb b 4
b 4 - - w- w- - .
Double Bass
p espr.
Composer's note: The Horns transpose one 5th lower also in Bass Clef.
117
Part I
b
& b bb
5
2 Fl.
b n - . b - - - . - .
2 Ob. & b bb n
J

J

P espr.
b p- - - -
&b # - n - - b - - -
1
2 B b Cl.
2
n - b -
? b b - b - - -
n - b - n - b -
2 Bsn. b b
Hn. 1, 2 &
Hn. 3 &
? bb b
Timp. b
b
& b bb
Hp.
? b b
b b
- - - -
b
S & b bb
b b
Mezzo &b b
b
A & b bb
b
Vln. I & b bb
b
Vln. II & b bb
Vla. B bbbb
? bb b
b
- . - . - . - .
V. Celli
? bb b
b
- . - . - . - .
D. Bass
118
Part I
1
b
2 Fl. & b bb
b
2 Ob. & b bb J
p
b j
2 B b Cl. &b

? b b j
b b
2 Bsn.

Hn. 1, 2 &
Hn. 3 &
? b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp. b w w w w

b g
& b b b gggg
ggg
p gg
? b b gggg
Hp.
b b gg
gg
gg
p espr. ,
1
b b j j - - n - . ,
& bb j n
S . J J J J J
p espr. Now it came , , that there
j j j j
to pass in the days when the jud - ges ruled,
b b j j j j -
Mezzo &b b . - - .
p
Now it came to pass in the days when the jud - ges ruled, that there
b
& b bb
j
j
j
j
espr.
A
n espr.
Now it came to pass that there was a
1
b
Vln. I & b bb
b
Vln. II & b bb
Vla. B bbbb
? bb b
V. Celli b w w w w
? bb b
D. Bass b w w w w
119
Part I
b
& b bb
13
2 Fl.
b
2 Ob. & b bb
b
2 B b Cl. &b
? b b
2 Bsn. b b
+
Hn. 1, 2 & b ww+
pf
+
Hn. 3 & bw
pf
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b j
Timp. b w w w

b
& b bb
Hp.
F
? b b
b b
- - -
P j j j
b .
& b bb J j j j
. J
3
J J w
S
J J R
P j j j j
was a fa - mine in the land. And a cer - tain man of Beth - le - hem -
b b j j 3 r j
Mezzo & b b . j # j n j n j w

j
.
was a fa - mine in the land. And a cer - tain man of Beth - le - hem -
b
& b bb b n b bw

j j j

j

P
A
fa - mine in the land. And a cer - tain man
b
Vln. I & b bb
- . w
p
b
& b bb
- . w
Vln. II
p
B bbbb
Vla.
- . w
p
? bb b un poco marcato
V. Celli b w - - w w
P p
? bb b un poco marcato
D. Bass b w - - w w
P p
120
Part I
b
& b bb
17
2 Fl.
b
2 Ob. & b bb
b
2 B b Cl. &b
? b b
2 Bsn. b b
Hn. 1, 2 &
Hn. 3 &
? b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp. b w w w w
b
& b bb
Hp.
? b b
b b
F P-
b n -
& b b b -
S J J J J J J J J
F Phe,
j j j
ju - dah went to so - journ in the coun - try of Mo - ab, and his
& bbbb - j -
Mezzo
- J J J J
F ,P
ju - dah went to so - journ in the coun - try of Mo - ab, he, and his
b
& b bb j j r n j -
j
j j j j j j j

3
n . -
A
-
of Beth - le - hem - ju - dah went to so - journ in the coun - try of Mo - ab, he,
b -
Vln. I & b b b w- w- -
b -
& b bb nw w- -
-
Vln. II
- -
Vla. B b b b b n w- b w-
? bb b
V. Celli b w w w w
? bb b
D. Bass b w w w w
121
Part I
bbbb
21

(movendo un poco)
2 Fl. &
b
2 Ob. & b bb
b
2 B b Cl. &b
? b b
2 Bsn. b b
b - j
b
Hn. 1, 2 & b - b -
P espr.
- j
Hn. 3 & b b - b -
P espr.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b j
Timp. b w
b
& b bb
Hp.
? b b p
b b

-
p P j (movendo un poco)
b j
& b bb j
S b J J J J
p P j j j j j
wife, and his two sons. And the name of the man was E -
& bbbb j j j

j
Mezzo
n
Pj
wife, and his two sons. And the name of the man was E -
b
& b bb
j
j j

j j j j

A
and his wife, and his two sons. And the
b n w- -
& b bb J
(movendo un poco)
Vln. I w
p
b - -
& b bb w

Vln. II J
w
- p
w-
Vla. B bbbb J w
p
? bb b
V. Celli b w w w w
? bb b
D. Bass b w w w w
122
Part I
b
& b bb
25
2 Fl.
b
2 Ob. & b bb
b
2 B b Cl. &b
? b b
2 Bsn. b b
b w w
& b - w w
-
Hn. 1, 2
pf pf
Hn. 3 &
? bb b
Timp. b
b
& b b b b - gg # n -
g gn
P gggg F gggg
? b b gggg b - ggg n -
Hp.
b b g ggg #n
ggg n
b - . j f (b ) # - # - . F # # # J J
& b b b J R
S
J J J J J J J
r f n - F
li - me - lech, and the name of his wife Na - o - mi, and the name of his two
b b - j j - . n # # J J
Mezzo & b b J .
J

J

J J J J
li - me - lech, and the name of his wife
F j jj
Na - o - mi,
f and the name of his two
b j
A & b bb j j j j
b - .
r

# ) #
(
j j
# #
n - # - .
name of the man was E - li - me-lech, and the name of his wife Na - o - mi,
b
Vln. I & b bb w w #w w
P F
b
& b bb w w nw w
Vln. II
P F
b
Bb b wb w #w w
Vla.
P F
? bb b nw w
V. Celli b w w
P F
? bb b nw w
D. Bass b w w
P F
123
Part I

bbbb
29
&
p
2 Fl.
espr.
b
& b bb
p
2 Ob.
espr.
b
2 B b Cl. &b
p espr.
? b b b b
*
b b
p espr.
2 Bsn.
nw w- j
& nw w b
b
J
Hn. 1, 2

p
Hn. 3 &
? bb b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
Timp. b J

b
& b bb gg
gggb
g
g
ggg

gp F *
b b
Hp.
? b b
b b

P- p
b
& b bb # n # b . b r - j j . r
* 3
S
J J J J J J -
j j Pj p
sons Mah - lon and Chi - lion, E - phra - thites of Beth le hem ju - dah.
b b j j j
& b b n b b - . r
- j j . r n
3
Mezzo
-
, P
sons Mah - lon and Chi - lion, E - phra - thites of Beth le hem ju - dah.
b
& b bb j j j j j j
# # # b b b
j
j
j
- . r -
j
j j 3 r b j
.
A

and the name of his two sons Mah - lon and Chi - lion, E - phra - thites of Beth le hem ju - dah. div.
& bbbb #w bw w
Vln. I
J
P p p espr.

b
& b bb bw w
j
nw
Vln. II
P p p espr.
B bbbb j
Vla.
#w bw w b
P p p espr. *
div. b
? bb b nw b
b w w j
espr.
V. Celli
P p p
? bb b nw bw w
D. Bass b
P p
124
b -
Part I
- - ww- ww- ww-
N
* (Quiet)
2
b
2 Fl. & b bb

- - - w- w-
bbb b w-
*
2 Ob. & b

b
2 B b Cl. &b b - - - w w- w-
-
? b b b *- - - n ww- b ww- n ww-
2 Bsn. b b

Hn. 1, 2 &
Hn. 3 &
? bb b
Timp. b
b *
N p
b b b
&b b
P p
b *
? b b b b n *
b n
Hp.

b - - -

2
b b
(Quiet)
S &b b
b b
Mezzo &b b
p
b b j j j j j j j j j j j j
&b b

-
A
And they came in - to the coun - try of Mo - ab, and con - ti - nued
b *- - - w w w
(Quiet)
b b
2
w w w
& b bb
p
Vln. I
- p
n - - w w w
pi
b
& b bb
p
Vln. II
p
-
pi
B b b b b b - - w w w
p
Vla.
pi p
? b b b b *- - - n ww b ww* n ww
b
p
V. Celli
pi p
? bb b
b -
- - -
D. Bass
p un poco marcato
125
Part I
n #
b
& b bb J 23
37 movendo un poco

(Slow)
2 Fl.
b
& b bb
# 3
2 Ob. J 2
b
2 B b Cl. &b #
j 23
? b b # # 3
2 Bsn. b b J 2
b -
Hn. 1, 2 & 23 ww- b
p
3 - -
Hn. 3 & 2 bw
p
? bb b 23
Timp. b
b
b p
b b 3
&b b 2
b b
*
b P
? b b b b
Hp.
32
b
-
F S p
movendo un poco
n -
(Slow)
P r
b b
&b b j # # n - . n j n b 3
2 - b
S
# J J J
P r F S p
j j j
And E - li - me - lech Na - o - mi's hus - band died; and she was
& bbbb j # # n - . n n - 2
3

Mezzo
# J -
P F S p
and E - li - me - lech Na - o - mi's husband died; and she was
b b j j # j # j n -
&b b j # # # - . # r #
n 32
- n - b
A
there And E - li - me - lech Na - o - mi's hus - band died; and she was
#w w
movendo un poco (Slow)
b #w w
& b bb J 23 n w
unis.
b

Vln. I
p
bbb nw w
J
& b 23 w

Vln. II
p
j
B bbbb nw w 23 w b

Vla.
p
? b b b # # ww ww
23
b
unis.
V. Celli
J bw
p
? bb b j
b # w 23
unis.
bw
# - w
D. Bass
126
Part I
bbbb 44 nnnn
41 3 Un poco pi mosso (fluent)
2 Fl. &
b nnnn
& b bb 4
2 Ob. 4
bb 44 nn # #

1 1
&
*
2 B b Cl.
2

p dolce 2
? b b 4 nnnn
2 Bsn. b b 4
b - j
& ww b 44
Hn. 1, 2
- -
& b w- - 4 b -
4
Hn. 3
J
? bb b 44 n n n n J
Timp. b

b nn n n
& b b b 4
b - 4
- -
p dolce
nn n i
Hp.
? b b 44
b b i n i
I
- I -
p
3 Un poco pi mosso (fluent)
b nnnn jespr.j J J
& b bb 4
S
- 4 - J J J J
p j div. j j j j j j j
left, and her two sons. And they took them wives of the wo - men of Mo -
& bbbb 4
4 nnnn
unis.
Mezzo
- -
p
left, and her two sons. And they took them wives of the wo - men of Mo -
b nnnn j j
& b bb 44 j j
espr.
A
- b n -
left, and her two sons. And they took them wives of the
b n n n n
& b b b w-
44 j
3 Un poco pi mosso (fluent)
-
Vln. I
- div.

b nn n n
& b bb w
44 j
Vln. II
- - -
B b b b b n w- b - 44 n - n n n n ww ww
div.
Vla.
J p
? bb b 44 n n n n ww w
div.
b w- w
-
V. Celli
p
? bb b 44 nnnn w w
b w- -
D. Bass
p
127
Part I
45
2 Fl. &
2 Ob. &
##

n n
1
& b b b b b b b b
2 B b Cl.
2
n n
2 Bsn.
?
Hn. 1, 2 &
Hn. 3 &
Timp.
?
& b b
b
b b
b
b b
b
Hp.
? gg
ggg
g b b
P j F
j

j
J b - b b b
S & - J J J J J J
P j F
j j b j b j
ab; The name of the one was Or - pah and the name of the o - ther
j j - b b
Mezzo & - J J J

j j P j Fj j
ab; The name of the one was Or - pah and the name of the o - ther
& j j b j j j j b - b n
- b
A
wo - men of Mo - ab; The name of the one was Or - pah and the
b b
& b b b
b b b

Vln. I
Vln. II &
ww ww b ww ww
Vla. B
? w w bw w
V. Celli w w bw w
D. Bass
? w w bw w
128
Part I
49
2 Fl. &
2 Ob. &
## b b b
b b b n b b b n b b b n n n n
2 B b Cl. & b n b n b n n n
2 Bsn.
?

1 Solo
Hn. 1, 2 & w w ww
pf p dolce
Hn. 3 &
w
? p dolce
j
Timp. b
p
b b b b b b b b
b
b b
& b b b b b b b
b b b
b
b b
Hp.
? b b
b
P
# w-
(b w ) # # # # - # - n - b - j b j
S & J J J J J
Pand they dwelled
# w.
Ruth: there a - bout ten years, and they
&
(b w ) # #
J J J - - # - n -
j
b j j
Mezzo
J
j Pj j
Ruth: and they dwelled there a - bout ten years, and they
j j j
A & #
(b ) # # - # # n - b
name of the o - ther Ruth: and they dwelled there a - bout ten
# # # # # # b

Vln. I & # # # # # # b b
& b b ww
div.
Vln. II
p
B # ww ww ww
Vla. b ww
? # ww ww ww w
V. Celli bw
D. Bass
? #w w w bw
129
Part I
b
b b
(Quiet, sad)
b J
53
b
1 Solo
2 Fl. &
p dolce
2 Ob. &
## 1
n
n n n b
2 B b Cl. & n n n J
2
p dolce
? w
#w
2 Bsn.
+
& n w
Hn. 1, 2 b b # w+
p pf
+
& nw
b
Hn. 3
w p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pf
? j bw
Timp. b
J
b b b
b b b J
&
b b b b b
p dolce
b b
Hp.
? b b
~~~~
~~~~~
j j - p P
- j j j j
(Quiet, sad)
& b b
3
S
- b b n - -
p P
dwelled there a - bout ten years. And Mah - lon and Chi - lion died al - so both of
& j j j j j j
b -
3
Mezzo
- b - b n - -
, p P
dwelled there a - bout ten years. And Mah - lon and Chi - lion died al - so both of
& j j j j
3
A
b b - b - b b - -
b b
years, ten years. And Mah - lon and Chi - lion died al - so both of

b b
b b
(Quiet, sad)
J
b b b b
&

Vln. I

j
b
b b ww
&
unis.
Vln. II
w
pf
j
Vla. B b b b ww n n ww
pf
? b w
b bw n n ww
J
V. Celli
pf
? b bw #w
D. Bass
J
pf
130
Part I
b
b b b b b
1 Solo allargando
J
57
& b b
1 Solo
2 Fl.
pip
2 Ob. &
##
1 Solo
n n
1 Solo
2 B b Cl. & n J n J
pi p
j j
? b b
2 Bsn.
b ww b
pf
j + j
& b nw b
Hn. 1, 2
w+
pf
j j
Hn. 3 & w
+
pf
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~
? bw bw
Timp.
J
b
b b b b
b b J b
& b b
pi p

Hp.
?
b
b
b
b
~~~~~
~~~~~
p p P p
allargando
& j j j j j j j j j j
S
b b n b
p p P p
them; and the wo - man was left of her two sons and her hus - band.
Mezzo
b b n b
p p P p
A
b b b
b b

b b b b
allargando
J
b b

Vln. I &
b b

j
Vln. II & bw nw bw
pi p pf
j
Vla. B b ww ww b ww
pi p pf
? w w w
bw w bw
J
V. Celli
pi p pf
? bw w bw
D. Bass
J
pi p pf
131
Part I
b b
####
4

Andante (Un poco pi mosso)
J
61
2 Fl. & #
####
& #
- - - - - - - - - - - -
2 Ob.
p
## #### #
even
2 B b Cl. & # #
- - - - - - - - - - - -
p-
- - - - - - - - - - -
even
? ####
2 Bsn. #
p even
j
& #
Hn. 1, 2 # -
p
j
Hn. 3 & # -
~~~~~~~~~~
? ####
Timp.
J #
b gg
b J #### gg
ggg
& #
ggg
gggF
#### ggg
Hp.
? ggg
#
gg
4
#### P j j
Andante (Un poco pi mosso)
& # r r - J J J
j
J

J J
3 3
S
J J
Then she a - rose with her daugh - ters - in - law, that she might re - turn from the
#### P
j j j
j j j j j j j
# r r
& -
3 3
Mezzo
J
P
Then she a - rose with her daugh - ters - in - law, that she might re - turn from the
#### j j j j j j j j j
& # r r
3
-
A
b b
Then she a - rose with her daugh - ters - in - law, that she might re -
####
4 Andante (Un poco pi mosso)
J #
Vln. I &
j
j #####
unis.

pizz.
& b p
Vln. II
j # pizz. j
# # # #
unis.
B b
p
Vla.
? ####
unis.

pizz.
b #
J pJ
V. Celli
? b ####
D. Bass
J #
132
Part I
# # nnnn#
& # ##
65
2 Fl.
#### n nnnn#
& # - n - # n n - -
- n - - - - - - - - - - -
2 Ob.
# # # nnnn###
& # # # # # n n
2 B b Cl.
- n - - n - - - - - - - - - n n -
-
- -
- - - - - -
? #### n - n
n nn#
a2
2 Bsn. #
P
Hn. 1, 2 &

3 Solo
& # - # # - # # -
Hn. 3
# # - -
P espr. p
? #### n
n nn#
Timp. #
# # nnnn#
& # ##
n n
n

p
? #### n n
Hp.
# n nn#
# # # # F J J F espr. , f
J J j j . n J J n n n n #
S & # J J J J J J J J J J J J
j j j j j n
coun - try of Mo - ab: for she had heard in the coun - try of Mo - ab how the LORD had vi - si - ted his
# # F j j j j j n n n #
& # # #
n -

-
n .. n n ..
- # - -
Mezzo
# # F espr.j , n
j n nn#
coun - try of Mo - ab: for she had heard how the LORD had vi - si - ted his
j j j j j j j j j j j
& # ## j j
j j j
n .
A
turn from the coun - try of Mo - ab: for she had heard in the coun - try of Mo - ab how the LORD had
# # n - nnnn#
Vln. I & # ## n -
p
# # nnnn#
& # ## n -
arco
-
Vln. II
p
-
B ##### n - nnnn#
arco
Vla.
- p-
n -
? #### - J nnnn#
arco
V. Celli #
F espr. p
? #### nnnn#
D. Bass #
133
Part I
#
(movendo un poco)
24 44
69
2 Fl. &
#- - - - - - - - - - - - - -
&
24 44 b
- - - - - -
P- - - - p- - - -
2 Ob.
- - - - - - - - -
### 24 - - 44 - -
2 B b Cl. & # - n n
- - - -
P -- -- -- -- p- - - - - -
- - -
?# 24 44 -- - - n
- - -
a2

P- - - -
2 Bsn.
p

w- 2 4 -
& 4 - # 4 #
w
Hn. 1, 2
p
& 24 44
Hn. 3
w
p
?# 2 4
Timp. 4 4
# gg 2 4 gg
& ggg 4 4 gg
ggg
ggg p gggg
g
ggg 44 gggg
Hp.
?# 24
g
(movendo un poco)
# F - j Pj
24 J 4 b - j j -
3
S & J 4 J J J
3
F j P
peo - ple in giv - ing them bread. Where - fore she went forth out of the
# 24 j j 44 j j j - j j
& b - b J
3 3
Mezzo
-
# 24 F j P
peo - ple in giv - ing them bread. Where - fore she went forth out of the
j j j j 44 j j
& j j j
3
A
- b - -

vis - it - ed His peo - ple in giv - ing them bread. Where - fore she went forth
# w- 2 - 4 - -
(movendo un poco)

& 4 4 J - b -
P p
Vln. I
(sempre p)
# 24 44 j
& w b - b -
P- p- - -
Vln. II
(sempre p)
B # w- 24 - 44 - - b -
J -
P p
Vla.
- (sempre p)
div. w
- - unis. - -
?# w 24 44 n -
V. Celli
P J
p (sempre p)
- -
?# w 24 44 -
J
P p
D. Bass
134
Part I
#
73
2 Fl. &
&
#
b - - - - b - - - - -
2 Ob. - -
# #
2 B b Cl. & # n - - - - n - - - -

-

-

-

w- -
?# bw
2 Bsn. b
p
& w
w-
Hn. 1, 2
p -
Hn. 3 &
Timp.
?#
# gg b gg gg
& ggg b ggg ggg
ggg ggg ggg
Hp.
ggg ggg ggg
?# ggg b n ggg b ggg
g
# F n 3 b r - p
b 3 b 3 n J J J . j j
S & J J J J J J J b -
# F p
b b j n
place where she was and her two daugh - ters - in - law with her; and they
& b .. - # j j
3 3 3
Mezzo
J J J J J J J J J R -
place where she was and her two daugh - ters - in - law with her; and they
# , , F p
& j j j j j j j j n j j j j j r j j j
3 3 3 3
b b b .
b - -
A
out of the place - where she was and her two daugh - ters - in - law with her; and they
# w- -
Vln. I & J -
p p
# j
Vln. II & b w- # -
-
p p
B# b w- -
Vla.
J -
- p p
n ww - -
?#
V. Celli
J
p p
?# b w- b - -
D. Bass J
p p
135
Part I
(Quiet) 5
# 24 nbb 4
76 Dolce e Grave
2 Fl. & b 4
# 24 nbb 4
2 Ob. & b 4
# # 24 n nnn 4 j
2 B b Cl. & #
-
b 4

pf
?# 2 b n b 4 j
4 b b 4
b
2 Bsn.
pf-
j espr. dolce e grave
24 4 b
Soli
& 4
- b - - b - -
Hn. 1, 2
pf p
& 24 44 - -
Soli
Hn. 3
b b - -
p
~~~~~~~~~
?# 24 n b 4 j
espr. dolce e grave
Timp.
b b 4

# 2 n b 44
& 4 n b b

Hp. P p
?# 24 b n b
b b 44
b
(Quiet) 5
# b nbb 4
Dolce e Grave
b b b b 24 b 4
S & J J J J J J J J - n - -
# b b j j j n nbb 4
went on the way to re - turn in - to the land of Ju - dah.
j j 24
Mezzo & b n b J J J - - n - b 4
# nbb 4
j j
&
j j
b n j b j j j 24 b 4

- b -
A
-
# j nbb 4
(Quiet) 5 Dolce e Grave
b - 24 b 4
Vln. I & -
pf p
# j 24 nbb 4

& n - b 4 n
Vln. II
b -
pf p
B# - 24 n
-
nbb 4
b 4
Vla.
J
pf p
?# n - 24 b - nbb 4 - -
V. Celli J b 4
pf p p espr.
?# n - 24 b - nbb 4 - -

D. Bass J b 4
pf p p espr.
136
Part I
b
81
2 Fl. &b b
b
2 Ob. &b b
2 B b Cl. &b
? b
2 Bsn. b b
bw - b
3
& w w- - b -
b w- b -
Hn. 1, 2
b - -
3
Hn. 3 & w- w- - b w-
? bb
Timp. b
b
&b b
Hp.
? bb
b
b
S &b b
b
Mezzo &b b
b p
&b b j j j j j j j
(Soli)
A
.
And Na - o - mi said un - to her two daugh - ters - in - law,
b
Vln. I &b b
b
Vln. II &b b
Vla. B bbb
? b
b b - n - b - n - b - -
- -
V. Celli
p un poco marcato
? b
b b - n - b - - b - -
- -
D. Bass
p un poco marcato
137
Part I
6
Andante (Arioso)
b
2 Fl. &b b
b w-
1 Solo
2 Ob. &b b
J
p espr.
2 B b Cl. &b
? b
2 Bsn. b b
Hn. 1, 2 &
Hn. 3 &
? bb
Timp. b
b
& b b gggg # ggg ggg gg

ggg
P gggg p even P gggg ggg gg p
g ggg ggg ggg
? b b gggg n
Hp.
ggg ggg ggg
b gg g g
Andante (Arioso)
b F .
6
j j - j
J . J j j j j
espr.
b
& b J J J # . R

Naomi
J -
Go, re - turn each to her mo - ther's house: the LORD deal kind - ly with you, as ye have
b
S &b b
b
Mezzo &b b
b
A &b b
6
Andante (Arioso)
b - - - - -
Vln. I & b b - - - - # - - - - - - -
p even
b
&b b
div.
- - - - - - - - - - - - -
-
Vln. II
p even - -
Vla. B b b b - - - - n - - - - - - - - - - - -
p even
? b b - - - - - - - - - - - - - -
V. Celli b - -
p even
div. j
? bb
unis.
b J
pizz.
D. Bass
138
Part I
b
89
2 Fl. &b b
b .
1
&b b
2 Ob. J # .
P F espr.
2 B b Cl. &b
? b
2 Bsn. b b
Hn. 1, 2 &
Hn. 3 &
? bb
Timp. b
b gg
& b b
ggg b b ggg #
gg ggg
P gg F p
ggg ggg
? b b n n
Hp.
gg ggg b
b ggg ggg n
g
b j j j - . ,
&b b n J .
J J
J J
j j
# .
R

J

J
Naomi
J
dealt with the dead, and with me. The Lord grant you that ye may find rest, each of
b
S &b b
b
Mezzo &b b
b
A &b b
b - - - - - - - - - .
Vln. I &b b J # .
P espr.
b
& b b # - - - -
- - - - - - - - - - - -
Vln. II
P p
B b b b - - n -
*
- n b - - - - -
Vla.
- - - - - - -
P p
? b - - - - b -
b b - - n - - b - -
- - -
V. Celli
P p

(un poco marcato)
? b
D. Bass b b
P
139
Part I
movendo
b
7 Quasi recitativo
23 44
93
2 Fl. &b b
1
b
1
&b b 23 44
n # # n
2 Ob.
p P
2 B b Cl. &b 23 # n # n # # # n # #
# # # # # n
44
P espr.
? b 3 4
2 Bsn. b b 2 4
3 4
Hn. 1, 2 & 2 #w . 4
#w .
3 p 4
Hn. 3 & 2 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb 32 n w . 44
Timp. b
p
b 3 4
& b b
2 4

p dolce
? b b
Hp.
b
23 44
b j j j j
7 Quasi recitativo
23 44
movendo
Naomi &b b
you in the house of her hus - band.
b p P
23
j j j j n # # # 44
S &b b
# n # n #
p P
Then she kissed them; and they lift - ed up their
b j j 3 4
&b b 2 j j n n n # n # 4
n n #
Mezzo
P P
Then she kissed them; and they lift - ed up their
& bbb j j 23
j j 44
n # # n
A
Then she kissed them; and they lift - ed

7 Quasi recitativo
b - - w 23 @ @ @ @ n @ # @ #@ #@ 44
movendo
&b b # @ n @ # n #
-
Vln. I
p espr. P
b
23
44
&b b @ @ @ @ n @ # @ n @ # @

- w
- n @ @ n # n n
Vln. II
p- - - - -
P
B bbb - - w- 23 n @ @ #@ # n
@ @ @
44
- -
p- - - -
Vla.
P
? bb - - - # - n - 23 n w- . 44
V. Celli b - - - - - - -
p (un poco marcato)
? bb - - # - n - 23 n w- .
44
arco
D. Bass b
(un poco marcato)
140
Part I
8 (Pi mosso)
b
& b b 44 23
97 rit. (Un poco meno)
2 Fl.
b
& b b 44 b n n 23 j
1

1
2 Ob.
J -
p
- -
&b 44 b - .. -
- 23
j

2 B b Cl. J
F P p dolce
? b 4 3 j
b b 4 w 2

2 Bsn. 1 a2
p
& 4 j 3
4 #w n 2

Hn. 1, 2
#w n
44 b - 3 j
& - - - - b - 2 -
Solo
Hn. 3
P espr. p
? bb 4 nw~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 32 w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
Timp. b 4 w w

b
& b b 44 3
2

Po p
o o
Hp.
? bb 4 o 32
b 4 o n o b o
P
b 4F
(Un poco meno)
b -
rit. 8
# 3
(Pi mosso)
S b
& b 4 J 2
F P
voice and wept.
b
Mezzo & b b 44 n
J - 23
P p
voice and wept.
b -
A & b b 44 # # n 23 j j

j j

j

up their voice and wept. And they said un - to her,
-
8 (Pi mosso)
b b - . - - j
& b b 44 # 23 w-
rit. (Un poco meno)
Vln. I J
F P p espr. p
b -
& b b 44 n J - . - 23 w
j
- w
Vln. II
F -
P p espr. p-
n
B b b b 44 #@ #@ @ @ J
- - - -
23 w-
j
Vla. - n - b -
F Pespr. p
? b 4 nw
V. Celli b b 4 w w 23 w .
p p
? b 4 nw
D. Bass b b 4 w w 23 w .
p p
141
Part I
b b b b b 43
101 rit.
2 Fl. &b b
f F
b b b b - . . . . b . b b . . .
j
b b b b 43
& b b - b - -
2 Ob.
- . . . . b b
2 B b Cl. & b b b b b
j
bb 43
. . . . - -
f -
F
? b
2 Bsn. b b b b b b 43
b - . . . . b . b b j 43
1 Solo
& . . . - b - -
b .
Hn. 1, 2
F p -
& 3
Hn. 3 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b b b b 43
Timp. b w. w. w
J
b b b b b 43
&b b gg
gg

p gggg
Hp.
ggg
? bb ggg b b b b 43
b
b f b b b b b b 43
rit.
b
& b J R R J J J J b
S
J J
b f j j j
Sure - ly we will re - turn with thee un - to thy peo - ple.
& b b b J R R J J J b b b
b b b b 43
Mezzo
b
bb f j r r j j j j j j p
Sure - ly we will re - turn with thee un - to thy peo - ple.
& b b b b j j
.
j

j
b b b b 43

A

Sure - ly we will re - turn with thee un - to thy peo - ple. And Na - o - mi said,
j
b w. b b b b 43
rit.
& b b b b w
pizz. arco
Vln. I
p J
F
j
b j b b b b 43
& b b b b

pizz. arco
Vln. II
w. w
F p
B bbb b j
b b b b 43
pizz.
w. w
arco
Vla.
J
F p
? b j b b b b 43
V. Celli b b w. w. w

? b j b b b b 43
D. Bass b b w. w. w

142
Part I
9 Andante ma un poco agitato
#
2 Fl.
b
& b b b 43 nnnn## ##
- . - . # - -
b
& b b b 43 nnnn## ##
1 Solo
2 Ob. J
p espr.
#
2 B b Cl.
b
& b 43 nn## ####
? b b 3 # #
2 Bsn. b b 4 nnnn # ##
& 3
Hn. 1, 2 4
& 3
Hn. 3 4
? b b 3 # #
Timp. b b 4 nnnn # ##
#
b
& b b b 43 nnnn## ##
# #
Hp.
? b b 3 nnnn # ##
b b 4
b b F
9
#
Andante ma un poco agitato
b
& b 4 J3 espr.
. . b
J
j
n n n n # # # # j r r
J
Naomi
R
Turn a - gain, my daugh - terns; why will ye go with me?
#
S
b 3
& b bb 4 nnnn## ##
b 3 # #
Mezzo & b bb 4 nnnn # ##
#
A
b 3
& b bb 4 nnnn## ##
9 Andante ma un poco agitato
b n # #
& b b b 43 n nn # ##
div.
n n
unis.
Vln. I
p even
b 3 nnn#####
Vln. II & b bb 4

n

p even
#
B b b b b 43 b nnnn## ##
p even
Vla.
? b b b 43 #
V. Celli b
nnnn## ##
p even
- - . - .
? b b b 43 . # - n - -
D. Bass b nnnn## ##
p (un poco marcato)
143
Part I
# # nn ##
& # ##
108
2 Fl. n
#### - . - . nn # b j
1
2 Ob. & # n #
P F espr.
#### # nn n # # # #
2 B b Cl. & # #
? #### nn ##
2 Bsn. # n
Hn. 1, 2 &
Hn. 3 &
? #### nn #
Timp. # n #
# # nn ##
& # ## n
? #### nn #
Hp.
# n #
#### - . r nn ## j -
J j
& # J n n n r j
n b
J
Naomi
R R R J J J
are there yet a - ny more sons in my womb, that they may be your hus - bands?
####
nn ##

S & # n
# # nn ##
Mezzo & # ## n
# # nn ##
A & # ## n
# # n
nn##
& # ##
Vln. I b
# # nn ##
Vln. II & # ##

n
Vla. B ##### n nn ##
n
? #### nn ##
V. Celli # n
- . - . - b - -
? #### nn ## - .
D. Bass # n
144
Part I
# nnbb b
112
2 Fl. & # b b
## - . . n j n n b b b - . j
.
1
& J b b J
F molto espr.
2 Ob.
# # nnnn b n
2 B b Cl. & # # b n * b n n n # n n b b # # n n n # b n #
P p
2 Bsn.
? ## nn b b
b b b
Hn. 1, 2 &
Hn. 3 &
Timp.
? ## nn b b
b b b
# nn b b
& # b b b
Hp.
? ## nn b b
b b b
## n n b b F . . j
Naomi & b b b J R J n
Turn a - gain, my daugh - ters,
# # P lamentoso
n b nnbb b
S & # n b b
# #P , n b p ,
Hm
nb bbb n
lamentoso
Mezzo & b b n n # n # n n
## nnbb b p ,
Hm Hm
& b b n b n b
A

Hm
# n b b
Vln. I & # # n nb b b n n

(sempre p)
# nnbb b
& #

b b

Vln. II
(sempre p)
Vla. B ## n nnbb b
b b n
(sempre p)
? ## b nnbb b b
V. Celli b b
(sempre p)
- . - . - . - .
? ## nnbb b
D. Bass b b
145
Part I
(Un poco meno
b
& b bbb 24
116

ma sempre agitato)
2 Fl.
b 24
& b bbb
1
2 Ob.
F
b b 24
2 B b Cl. & b b
p
? b b
dolce
2 n
1 Solo
b b b 4
P p
2 Bsn.
dolce
2
Hn. 1, 2 & 4
2
Hn. 3 & 4
? b b 24
Timp. b b b
b
& b bbb 2
4
Hp.
? b b 24
b b b
(Un poco meno
- F P -
ma sempre agitato)
b j - -
& b bbb 24
J n J
Naomi J J R R J J J J J J J J
go your way; for I am too old to have an hus - band. If I should
b
S & b bbb 24
b
Mezzo & b bbb n 24
Hm
& bbbb b 24

A

Hm
(Un poco meno
b
& b bbb 24
n
ma sempre agitato)
Vln. I
F p
b
Vln. II & b b b b 24
F p
Vla. B bbbbb 24 n n
F p
? b b 24
V. Celli b b b
F p
- - -
? b b 24 -
j
D. Bass b b b
146
Part I
b
& b bbb 43
121
2 Fl.
bbbb 43 .
1
& b J
2 Ob.
J J
p espr.
b
43

2 B b Cl. &b b

n

b
P j
? b b n n n 3
b b b n 4 b
2 Bsn.
J
3
1 Solo
Hn. 1, 2 & 4
p
3
Hn. 3 & 4
? b b 43
Timp. b b b
b
& b bbb 3
4
Hp.
? b b 43
b b b
b j j j
& b bbb n j j 3
J J R R 4 R R R
Naomi
R J J R J
say, I have hope, if I should have an hus - band al - so to - night, and should al - so bear sons;
b
S & b bbb 43
b
Mezzo & b bbb 43
b
A & b bbb 43
b
& b bbb
Vln. I
43
b
& b bbb
3
div.
n

4 b
unis.

Vln. II
Vla. B bbbbb n n 43

? b b
V. Celli b b b n 43
? b b b - - .
43

D. Bass b b b
p
147
Part I
b
& b bbb
127 animando a poco
2 Fl.
bbbb
- . # # n n j # - .
espr.
2 Ob. & b n # #
F F
b #
2 B b Cl. &b b ..
- # #
# #
# # # - ..
P F
? b b j n - .
2 Bsn. b b b - . # n #
P F
j
& # # # # .
# - .
b - ..
Hn. 1, 2
p P
Hn. 3 &
? b b
Timp. b b b
b
& b b b b ggg n ggg b
g ggg b
P gggg F ggg
Hp.
? b b gggg ggg b
b b b gg ggg b
F # .
b .
& b bbb J # j # j j n
animando a poco
b n J # .
pi mf
Naomi
RJ J R J
Would ye tar - ry for them till they were grown? would ye stay for
b
S & b bbb
b
Mezzo & b bbb
b
A & b bbb
# #

bbbb # # # n #
animando a poco
b
div.
&
div. unis.
Vln. I
P F
b b b b div.
# n n # n n #
div.
& b n
unis.
Vln. II
# #
P F
B bbbbb #
Vla. n n # #
P F
n #
? b b n # #
V. Celli b b b
P F
? b b
- . # - n - -
# . n - .
D. Bass b b b
148
Part I
a poco allargando
b
& b bbb 44
131
2 Fl.
b # n n b j n n
& b bbb . b 44
1
2 Ob. n # n J J
f F
b j
&b b n # n n n n # n 44
2 B b Cl.
n # J
f F
? b b n j j j 4
2 Bsn. b b b b n n n 4
f F
j j j 4
&

4
Hn. 1, 2

F F
4
Hn. 3 & 4
~~~~~~~~~ j ~~~~~~~~
? b b j 44
b b b n n
P
Timp.
p
b gg# n n ggg n
& b bbb gg n 4
ggg ggg b 4
gg f ggg F
Hp.
ggg n gg
? b b gg n n ggg 44
b b b g g n
f n - . F - .
allargando
b n #
a poco
& b bbb n . # n n J J 4
Naomi
J J J R J R J n 4
them from hav - ing hus - bands? Nay, my daugh - ters! Nay, my daugh - ters!
b
S & b bbb 44
b
& b bbb
Mezzo 44
b
& b bbb
A 44
allargando
div. n
a poco
# n
n n #
b
& b bbb
44
unis.
Vln. I # n
f F
b n n
& b b b b n n n # n n n 44
unis. div.
Vln. II b
f F
Vla. B bbbbb n n # n n 44
# f F
? b b n n n n 44
V. Celli b b b
f F
- b - n - . n - n -
? b b n 44
D. Bass b b b
149
Part I
10
b
Pi Sostenuto
& b b b b 44
rit.
2 Fl.
b -
& b b b b 44
1
2 Ob.
- -
P
b j
&b b 44 b b # .
2 B b Cl.
- b - b n - . # - b -
p dolce e grave -
- b - b - . - -
? b b 44
b b .
b b b J b -
2 Bsn.
p dolce e grave j j
44 b b b .
& b - b - b - . - - -
Hn. 1, 2
p
4
Hn. 3 & 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b 44 j j j j
Timp. b b b w w
p
b 4
& b bbb 4
Hp.
? b b b 44
b b
j
10 Pi Sostenuto
b 4
rit.
& b bbb 4 b b j j j j
Naomi
J J J J J J J J b
for it grie - veth me much for your sakes that the hand of the LORD is gone out a - gainst
b 4
S & b bbb 4
b 4 ,
Mezzo & b bbb 4 n b n # j
n b n # n n
,
Hm Hm Hm
b 4
& b bbb 4 b b n
j b b n b b
A
Hm Hm Hm
10 Pi Sostenuto
b 4 - -
& b bbb 4
rit.
b b .
Vln. I
J - -
p dolce e grave
b b 4
& b b b 4 w- .
div.
w- n - b -
-
Vln. II
p
B b b b b b 44 - b b
J
. - -
Vla.
-
p -dolce e grave
? b b 44 div. b b . - - -
b b b b b . b
V. Celli
J
p dolce e grave
? b b 44 w- w- - . - - -
D. Bass b b b
p
150
Part I
11 (Un poco agitato)

b
2 Fl. & b bbb 23 44
b
& b bbb 23 44
1
n # n # n
2 Ob.
P
b
2 B b Cl. &b b
b n b n #

b n b n # 23 n # n # n # # # n # #
# # # n n n #
44
P
? b b 3 w n 4
2 Bsn. b b b 2 w n 4
P
j j 3 j 4
Hn. 1, 2 & 2 4

p
3 4
Hn. 3 & 2 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b w j
Timp. b b b w 23 44

b
& b bbb 3 4
2 4
? b b p i
Hp.
b b b i 23 i 44
-I - I -I
11
b b 3 4
&b b b j
(Un poco agitato)
2 4

Naomi
P
me.
b
& b bbb 23
j j n # # # 44
S
# n n # n #
p P
And they lift - ed up their
b
& b bbb 23
j j 44
n n # n #
b n n b n n n b n
Mezzo
p P
Hm Hm And they lift - ed up their
b
& b bbb 23 j j 44
b b n b b n n # n # n
A
Hm Hm And they lift - ed

11 (Un poco agitato)
b
& b bbb 3 @ @ @ @ n @ # @ #@ # 44
@ @ @ @ @ @ @ @ 2 # @ n @ n # n #
ponticello
@ b @ n n @
b@ n n @
Vln. I
p P
b
& b bbb 23 @ @ @ @ n @ # @ n @ # @ 44
n @ @ b n n n
ponticello
Vln. II
unis.
@ b @ @ @ b @ n @ @ b @ @ @ b @ n @
p P
j j
B bbbbb 23 n @ @ # n@ #@ n@ 44
pizz. ponticello
arco
Vla.
@
p P
? b b w 23 w- 44
b b b - w- n -
unis.
V. Celli
p P
? bb b w w- 23 w- 44
D. Bass b b - n -
p P
151
Part I
- .. . - - .. . -
rit. Calmo
b
& b b b b 44
142
2 Fl.
p p
-
pi
b j . . - . -
& b b b b 44 # n # n n - . b
1
2 Ob.
J J - - - - - -
P p p p
b b 4 b b - -
dolce
.. . - - . - - - - - b
pi
& b 4 ..
2 B b Cl. J J J -
F P p p p
j a2 - - - - b -
dolce
-
- n
pi
? b b 4 b w w
b b b 4 b w w n
- -
2 Bsn.
p p dolce
4 - b - j
1 Solo
& 4 - b - b -
Hn. 1, 2
-
P p
Hn. 3 & 44
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b 44 w w
Timp. b b b w

b 4 o Ii o iI
& b bbb 4
o
o
po
o Ii oo Ii oo Ii
Hp.
? b b 44 o o o
b b b
P p-
b b 4F - p
rit. Calmo
b
& b b 4 - . . - - . . - b
pi
S J J R J J R J J J J J J J
p
b b 4Fb P p
voice, and wept a - gain and wept a - gain: and Or - pah kissed her mo - ther in
b
& b b 4 b - j r
- . . -
j
-
j r
- . . -
j j j j j j j
pi
Mezzo
J
F P p
voice, and wept a - gain and wept a - gain: and Or - pah kissed her mo - ther in
b bbb 4
A & b 4 # n #
n - - n - b b b
up their voice and wept a - gain: and Or - pah kissed her mo - ther in
ord. -
rit. Calmo
b 4
Vln. I & b bbb 4 J
J

F
b 4 n - j
& b b b b 4 b
ord.
Vln. II
J
F
n -
B b b b b 4 @ #@ n@ #@
b 4 J

n b n
j

Vla.

P
? b b 44
b b b b - w w w
-
V. Celli
p
? b b 44
b b b b - w w w
-
D. Bass
152
Part I
b
& b bbb 23
146 animando
2 Fl.
b j
2 Ob. & b b b b - - - b -
-

-

-

-
23
F
b - - b - - - . n - -
2 B b Cl. &b b - - . n 23
- J
- - - b - - F
? b b 3
2 Bsn. b b b 2
j - j 3
b - . .
a2
Hn. 1, 2 & . b - - - 2
F marcato
3
Hn. 3 & 2
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~3
? b b
Timp. b b b w w w 2
p
b
& b bbb 3
2
o
? b b o iI
Hp.
b b b 23
F f-
- .
animando
b - n - F
& b bbb - - J R J 3
2
S
J J J J
F j F
law; but Ruth clave un - to her. And she
b j j r f j
& b bbb
j j
Mezzo
-

-

-
..
-

- -
23
F F
law; but Ruth clave un - to her. And she
b
& b bbb
j

j j -

-
j
- .
r
n - -

j

j 23
-
A
law; but Ruth clave - un - to her. And she
- - . -
b - - n -
-
animando
Vln. I & b bbb

J
J 23
F p
j
espr.
b
& b bbb 23
div.
-
unis.
Vln. II
P p
j - - . -
Vla. B bbbbb - - n -
J n - 23
F espr.
p
? bb b w 23
V. Celli b b w w
? bb b
D. Bass b b w w w 23
153
Part I
b
12 (Un poco animato)
2 Fl. & b b b b 23 44
b - . . . . - - - - b -
& b b b b 23 44
a2
- - - b
2 Ob.
- -
F marcato F
- . . . .
bb 3 b - b - - - 44 .
2 B b Cl. & b 2
- b b
. b
-
F marcato F - - - - p
? b b 23 4
2 Bsn. b b b 4
23 4
1 Solo
& 4 - . . . b b
. . . . -
Hn. 1, 2
P marcato
3 4
Hn. 3 & 2 4
? b b 23 j 44
Timp. b b b
b 3
& b bbb 2 4
4
Hp.
p
? b b 23 44
b b b
- - - - - - - - - - - - - - - -
b 3 - i b , j j
4 -
12
& b bbb 2
(Un poco animato)
b J J R R J J 4 b
Naomi
J
F "Be - hold, J J - b - J J
thy sis - ter - in - law has gone back un - to her peo - ple, and un - to her
b 3
& b bbb 2 b
S 44
said,
b 3
& b bbb 2
Mezzo 44
said,
b 3
& b bbb 2
A 44
said,
b 3 - 44 - .
Vln. I & b bbb 2 b

J -
p
b 3 j
& b b b b 2 - 44
- . b -
Vln. II
p
-
Vla. B b b b b b 23
J 44 .
- -
p
? b b 23 div. 44
V. Celli b b b - - - - - - - - - - - - - - - -
p (un poco marcato)
? b b 23 44
b b b - - - - - - - - - - - - - -
div.
D. Bass
- -
p (un poco marcato)
154
Part I
b
& b bbb 22
152

movendo appassionato rit.
2 Fl.
b
2 Ob. & b bbb 22
b
&b b . b n 22
2 B b Cl.
- . b
P
b
? b b b b 2
2 Bsn. b b b 2
P
j j
& b b . b . n b 2
2
Hn. 1, 2
b b . b . n b
P- F
2
Solo
& - . . . . b . b b 2
. . . -
Hn. 3
P marcato
? b b 22
Timp. b b b
b
& b bbb 2
2
Hp.
? b b 22
b b b n
- - - n - -
b j j j
movendo appassionato
& b bbb j j J 22
rit.
Naomi
J . n J
gods: re - turn thou af - ter thy sis - ter - in - law."
b
& b bbb
S 22
b
Mezzo & b bbb 22
b
& b bbb
A 22
-
rit.
-
b - j -
& b bbb .
j - 22
div.

movendo appassionato
Vln. I
- - . - . n
F P
- n -
bbbb
espr.
22
& b b n
unis.
- .
div.

P
Vln. II
P- - n -
-
B bbbbb . - . j
- . n
j - 22
Vla.
- P
F -
? b b
espr.
b b - 22
b
unis.
b b b
div.
- n -
unis.
V. Celli
- - P
P
? b b 22
b b b - n - b
unis.
D. Bass
- -
P
155
Part I
b - - w- - w-
-
13 (Quiet)
nw #
b
& b b b b 22
nw nnnnn##
p dolce
2 Fl.
p
1 - - - - #
pi
b b - w- nnnnn##
& b b b b 22
p dolce
2 Ob.
p
- #
nnn## ##
pi
2 B b Cl. & bbb 22 b b - ww n n ww

- - - -
p dolce p
? b b 2 # #
pi
2 Bsn. b b b 2 nnnnn #
& 2
Hn. 1, 2 2
Hn. 3 & 22
? b b 22 # #
Timp. b b b nnnnn #
#
b 2
& b bbb 2 nnnnn##
#
Hp.
? b b 22 nnnnn##
b b b
p dolce p-
b -
13 (Quiet)
- - #
b 2
& b bbb 2 - - nnnnn##
pi
S J J
p dolce p #
nnnnn##
And Ruth said, and Ruth said,
b 2 - j
& b bbb 2 j

pi
-
*
Mezzo n - - n >- n -
p dolce p #
nnnnn##
b 2
& b bbb 2 j

j
pi
b - - - - -
-
A

13 (Quiet)
#
Vln. I
b
& b b b b 22 nnnnn##
#
Vln. II
b 2
& b bbb 2 nnnnn##
#
Vla. B b b b b b 22 nnnnn##
? b b 22 #
V. Celli b b b nnnnn##
? b b 22 #
D. Bass b b b nnnnn##
156
Part I
Calmo, dolcissimo
w-
Andante (not too slow, and fluent)
###
14
w
2 Fl. & J

# # w-
& #
1
2 Ob.
J

# #
& # ## w
j
2 B b Cl.
w
-
2 Bsn.
? ###
Hn. 1, 2 &
Hn. 3 &
? ### j j j j j j j j j j j
Timp.

# #
& #
Solo

P
? ### n - n - - n - n - - n - - - n - n - -
Hp.
n
- - - -
### p
14 Calmo, dolcissimo

- - -

espr.
S & n J J J
### p
"En - treat me not to leave thee, or to re -
j j j
espr.
& n - - -
Mezzo
### p
"En - treat me not to leave thee, or to re -
&
espr.
A

Calmo, dolcissimo
"En - treat me not to
###
14
w w w w
con sord.
Vln. I &

# #
& #
con sord.
Vln. II
w w w w

B ### w w w w
con sord.
Vla.

? # # # -
con sord.
n - n - - - n - n - - n - n - - - - n - n - -
p espr.
V. Celli
? ### w w w w
con sord.

D. Bass
*Sempre in rilievo l'arpa (always outstanding the harp)

[Better translated as "the harp always to the fore"-editor]
157
Part I
# #
164
2 Fl. & #
# #
2 Ob. & #
# # ..
& # ## n n
2 B b Cl.
p espr.
2 Bsn.
? ###
Hn. 1, 2 &
Hn. 3 &
? ### j j j
Timp.
# #
& #

#

? ### n - n - - gg # ggg gg
Hp.
ggg gg gggn
- ggg # gg ggg
# # - - j
- j
j j - j
j
S & # J R R J

J J J

J
### j r r j j j j
turn from fol - low - ing af - ter thee: for whi - ther thou go - est, I will go; and where thou
j j j j -
& n - # # J J
J
- -
Mezzo
###
turn from fol - low - ing af - ter thee: for whi - ther thou go - est, I will go; and where thou
& n

-
j j j
- - j r r j j j j j j n - n j j
- - - -
A
leave thee, or to re - turn from fol - low - ing af - ter thee: for whi - ther thou go - est, I will
# # - - w- - - w-
Vln. I & #
p espr.
###
& # w- w- w-
- -
Vln. II
B ### - w- - - w-
Vla. -
p espr.
? ### - n - n - - # ww w n
div.
V. Celli w
- - -
D. Bass
? ### w n - - -
p (un poco marcato)
158
Part I
# #
168
2 Fl. & #
### 1 j - n -
- j n1
2 Ob. & - - - n n -
P F n -
# # n n n # n n j
espr.
2 B b Cl. & # # # J n
n n
n
n

f -
P espr.
n n
? ### n b n n b n

F
2 Bsn.
- - -
- -
1
& -
f espr.
Hn. 1, 2
Hn. 3 &
? ### j
Timp.
p
# # n n n n n
& # b n n
b n n
n
b n
Hp.
? # # # gg b g n n
ggg g
g g
gg g
g b n b n
ggn n ggg n
g gg gg g f
### n n f n - n - n
S & J J J J n - J
J
f
lodg - est, I will lodge: thy peo - ple shall be my peo - ple, and thy
# # b b n - n -
j j j j j
Mezzo & # #
J
n b n
-

f
lodg - est, I will lodge: thy peo - ple shall be my peo - ple, and thy
# # j j n j
& #
j j j
n n n b
n -
n - n
n -
A
go; and where thou lodg - est, I will lodge: thy peo - ple shall be my peo - ple,
### - n - n - n n j
Vln. I & n - n
P Fespr.
# # - b - - n -
-
& # n n -
div. unis.
Vln. II - n -
P F
# - n - - n -
Vla. B ## n n - n n
j -

P Fespr.
b n n
? ### b b n n n
unis.
V. Celli n
P f -
- Fespr. b - n -
? ### n - n -
D. Bass - -
P F
159
Part I
# #
172
2 Fl. & #
### . a2- - n - j
1
& J n n -
p
2 Ob.
F
# # j - j
2 B b Cl. & # # # ..

b n n - n
n -

p n -
b b n
? ### . b n n n w
n n w
2nd
n
p
2 Bsn.
j - b -
- - b -
a2
& # # # # #
p- - -
Hn. 1, 2
F
& j

Hn. 3
p - - -
? ### j
Timp.
J J
p
# #
n
n b
& #
b
n n
P F
b n
? ### n b
Hp.
n b n n
n n
### - .
-
- F n - n - - j p
S & J J J n - -
### j F j p
God my God: Where thou diest will I die, and
& .. b n - n - b
- - - J J - n n - -
Mezzo
### P F
God my God: Where thou diest will I die, and
& j j j j
A
- - - b - - b -
n
and thy God my God: Where thou diest will I die,
# # - . - - - n
& # - J n n -
j
-
P
Vln. I
F p
### j
- . b n n
div.
& - - b n ww
P
Vln. II
P
- -
B ### # - . - - n n n -
j
-
Vla.
J
P F p
? ### w n - n - b - b - n -
w n - - b -
div. unis.
P espr.
V. Celli
F espr.
w -
? ### - - n - n w-
D. Bass n w-
F
(un poco marcato)
160
Part I
# #
176
2 Fl. & #
### n - - b - b n b -
a2
j
n
&
2 Ob.
b n -
- n b - J
p f
#### j j j # - -
b n - j
2 B b Cl. & # n . b . n n b b n n
n . b . n - n -
P f
? ### b - - n b b b b b n b b
b b n . b b
2 Bsn.
n
p F F espr.
& j b
b - n b - b b
bw
w
Hn. 1, 2
p - b p
F
b - - - - b -
j
dolce e grave
& -
b -
Hn. 3
- f marcato
p dolce e grave
? ### b j
n
Timp.
J J
p
### b n b b
& b nb n b b
b n n b b
b
? ### b b b b
n n
b b b n b b
Hp.
b b b
b b b
b b
f n - - b - P
### b - .
j b n
pi
& b - . n - - J J b
S
J J
f j j jP
###
there will I be bur - ied: Where thou diest will I die, and
j j n b b
pi
& b b
b
Mezzo
b b - .. ..
-
n b -
-
n - - b -
### p f
there will I be bur - ied: Where thou diest will I die, and
& j j j j b -
pi
b - . n - . b - - b - - n - n - b -
b -
A
b -
and there will I be bur - ied: Where thou diest will I die,
### - -
b - . b - .
j j n b n
b -
& J n - - J
pi f
Vln. I
P
# # - - b b -
& # j n b - b b ww
Vln. II
b b -
- n b - n
pi f
- - b -
B ###
j j j n b n j
b - . b - . n - - b
pi f
Vla.
P
~~~~~~~~~~~~~~~~~~~~~~~~~ b - b - -
? ### bw n - b - b
div.
b - b - n - b - b
V. Celli b
P F Fespr.
n - b - b - n -
D. Bass
? ### b - b - n - b w-
P p F
161
Part I
# - -
(Con slancio)
180
###
a2

& J
P dolce, poco sentito
2 Fl.
# # j # - # -
& # n n
J
- - - P dolce, poco sentito
2 Ob.
p
# # j j j # - -
.
& # ## .
. #
2 B b Cl.
. # - - P dolce, poco sentito J
P
? ## # ww -
2 Bsn.
#
p P p
j
Hn. 1, 2 & #
-
# # # ww # #
p dolce e grave - # - p
j
Hn. 3 &
? # - &
- # -
p jdolce e grave j
? ### j
Timp.

p
# # n n
n #

& #

#

#

? ### n # o
Hp.
& # ?
o
F
(Con slancio)
# #
espr.
# j
S & # . .
J

J #
# n
### F j
there will I be bur - ied: the LORD do so to me, the
j j #
Mezzo & n .. .. n #
### P F espr.
there will I be bur - ied: the LORD do so to me, the
& j j
A
. # . #
# - - - # - - . -
And there will I be bur - ied: (Con slancio) the LORD do so to
### - . - . j div. #
Vln. I & J J # - - # .
F espr.
# # #w #
& # n n
- - - - w -
Vln. II
p
B ### - . - . j j - - # - -
Vla.
J # - -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ F espr.
? ### wY # - -
- - ww
div.

p
V. Celli
? ### - w- w
div.
-
- w
p
D. Bass
162
Part I
# - -
# #
sostenendo molto rit.
184
& # J
F
2 Fl.
# # # - -
& # "
1
- # - - n -
-
2 Ob.
F P p
#### # - n # "n *
# #
1 1
2 B b Cl. & - n # - - - n -
F 2 -
P p
? ### - - # - n - "
w #
w
2 Bsn.
P p
#w # "
& #w #

Hn. 1, 2
P p
& #w "
#
Hn. 3
P p
Timp.
? ###
### j "
& # # n J
# n # -
o -
? ### # # n "
Hp.
& # o ?
f Pj " pj n
### n - F # j
# #
& J J J n
S
J J
f
### j Fj j P " pj j j
LORD do so to me, and more al - so, and more al - so, if ought but
& j j n
Mezzo
-
P
### f F " pj j j
LORD do so to me, and more al - so, and more al - so, if ought but
& j - n #
j j
n
A
The Lord do so to me, and more al - so, if ought but
- - - # - - # -
n # - - -
### # n #
n "

Vln. I & J # n
f espr. F P
### # ww- n - # "n j p
unis. pizz.
Vln. II & #
F P p
B ###
n # "n pizz.
- .
Vla.
J
f espr. P p
j
? ### w- -
# # n "
unis. pizz.
V. Celli w
F P p
D. Bass
? ### w- - #
F F
163
Part I
###
15
188

a tempo (fluent)
2 Fl. &
# # j
& # n - #

- -
2 Ob.

# # j
2 B b Cl. & # ##

- - -

? # # # n - - j

-
2 Bsn.
- -
j
& # #
# -
Hn. 1, 2

& j
Hn. 3
- # - #

? ### j j
j j

Timp.
p
# #
& #

b n n

p
? ###
Hp.
n n n

P un poco marcato
15
###
a tempo (fluent)
& n w
S
J
###
death part thee and me."
j
Mezzo & n # w
###
j

&
A
w
15
### n
a tempo (fluent)
& n w
unis.
w nw
Vln. I

# # j j
& #
arco
b n ww
div.
Vln. II
w w

B ###
j
j w
arco
Vla. w w

? ### n n n n

arco
V. Celli
J J
Fespr. P
D. Bass
? ### w w w

164
Part I
###
192 Calmo
2 Fl. &
# #
2 Ob. & #
# #
2 B b Cl. & # ##
n
? ###
2 Bsn.
J
p pf+
j
&
Hn. 1, 2
+
pf
+
& b
Hn. 3
J
pf
? ### ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
w
Timp.

# #
& # n n
b

? ###
Hp.

n n
###
Calmo
S &
# #
Mezzo & #
### p
j j j j j 3j j j 3j j j j
& n
Soli
A
n
When she saw that she was sted - fast - ly mind - ed to go with
### w
Calmo
&
Vln. I
J
# #
& # j

unis.
Vln. II
ww

Vla. B ### w
j

? ### j
V. Celli n n
p
? ### w
D. Bass
J
165
Part I
Uw
195
### w
2 Fl. &

###
Uw
2 Ob. &

####
Uw
2 B b Cl. & # w

Uw
2 Bsn.
? ### w

Hn. 1, 2 &
Hn. 3 &
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? ### j
w
Timp.

# #
& #

pi p

? ###
Hp.
### U
S & w
### U
Hm
Mezzo & ww
###
Hm
& j j j j j j j
A
- -
her, then she left speak - ing un - to her.
# # U
Vln. I & # w w

# # U
Vln. II & # w w

U
Vla. B ### w w

? ### U
w w
div.
w w
V. Celli

? ### w Uw
D. Bass

segue
Mario
Beverly Hills, Calif.
June 14, 1949
166
Part II
The Return of Naomi
16
Molto Moderato
(for Mixed Chorus)
b b 4
Flute 1, 2 &b b 4
b
Flute 3 & b b b 44
b
2 Oboe & b b b 44
b 4
Clarinet in B b 1, 2 &b 4
b 44
Clarinet in B b 3 &b
? b b b 44
2 Bassoon b
4 Mtd b - -
& 4 b b -
Horn in F 1, 2
- - - --
-
p
4Mtd - b -
dolce e grave
& 4 b - - - -
- -
Horn in F 3, 4
p
bb 44
dolce e grave
3 Trumpet in B b &
? b b 4
3 Trombone b b 4
? b b b 44 j j j j
Timpani b

b
& b b b 44
Harp
? b b 4 n n n n
b b 4 - - - -
n - n - n - n -

b b b 4
& b 4
? b b b 44
Celesta
b
16 Molto Moderato
b b 4
Naomi &b b 4
(mezzo-soprano)
b
Soprano & b b b 44
b b 4
Alto &b b 4
p
b
V b b b 44 - -j - - n n
dolce e grave
J J J J J J
Tenor
J
p
So they two went un - til they came to Beth - le - hem.
- - - n
? b b 4 - J
J
dolce e grave
Bass b b 4 J J J J J J
So they two went un - til they came to Beth - le - hem.
b b 4
16 Molto Moderato
Violin I &b b 4
b

B b b b b 44 n n
div. in 3-sul ponticello
n
Viola
pf
? b b 4
b b 4 - - - -
n n - n - n -
Violincelli
p un poco marcato -
? b b b 44 j
Double Bass b - n - - n - - n - - n -
p
un poco marcato
167
Part II
bbbb
animando

201
Fl. 1, 2 &
b
Fl. 3 & b bb
b b
2 Ob. &b b
b
B b Cl. 1, 2 &b
b
B b Cl. 3 &b
? bb b
2 Bsn. b
ww ww
&
Hn. 1, 2
J

w w
Hn. 3, 4 & J

b
3 B b Tpt. &b
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b j
Timp. b b w

b b
&b b
Hp.
? bb b
b
- -

b bbb
&
Cel.
? b b
b b
F
b b b p dolce n
animando
j j j j j j j
& b
J J J
#
S
J J
p dolce F
,
And it came to pass, when they were come to Beth - le - hem, that all the
b b
&b b j j
A
n
F
And it came to pass, when they were come to Beth - le - hem, that all the
b
T V b bb J n b
J J
Fthat all the
B
? bb b
b J b
J J
that all the
b
& b bb
animando
Vln. I
b b
Vln. II &b b

Vla. B b b b b J
? bb b j
b
nw b w- w-
V. Celli

? bb b j
b nw b w- w-
D. Bass
168
Part II 17 Molto Mosso
bbbb
205
Fl. 1, 2 &
b
Fl. 3 & b bb
b b >
2 Ob. &b b ww ww
S
B b Cl. 1, 2 &b
b ww> ww
S
b
B b Cl. 3 &b #w w
S> -
- - - - - - b -
? bb b
a2
2 Bsn. b
marcato
-
- - b
a2 Open
& b - - - b - b -
f
Hn. 1, 2
marcato
-
- - b
a2 Open
Hn. 3, 4 & b - - - b - b -
fmarcato
b
3 B b Tpt. &b
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b w w
Timp. b b
f
b b
&b b
Hp.
? bb b
b

b
& b bb
Cel.
? b b
b b
f f -
17
j -
Molto Mosso
bbbb j j n # - - - n w- b -
S & # J J
f f
ci - ty was moved a - bout them, and they said, "Is this Na -
b b j j j
& b b j n j
b b # n -
b b w
n w-
b -
- -
A
f
ci
j
- ty was
j
moved a
j
- bout them, and
j -
they said, "Is
b
V b bb n n - - b w-
T
J
f-
- b b - n ww-
ci - ty was moved a - bout them, and they said,
? bb b b b n
b J J J J n #
J
B
ci - ty was moved a - bout them, and they said,

17
b b
Molto Mosso
Vln. I &b b w w
S
b b w w
Vln. II &b b
S
Vla. B bbbb
unis.
nw w
S -
- - b - - - - b -
? bb b
V. Celli b
f marcato
? b b w w
div.
b b
w w
D. Bass
169
Part II
bbbb
rit.
24 44
209
Fl. 1, 2 &
b
Fl. 3 & b bb 24 44
b b 2 4
2 Ob. & b b ww ww 4 J 4
bb ww ww 2 4
a2
B b Cl. 1, 2 & 4 J 4 b
P
bb 24 j 44
espr.
B b Cl. 3 & w w
? b b b - b - - - - 24 44 j
b - b - - b - -
2 Bsn.
- - 2 4
+ j
& 4 4
1
b b
Hn. 1, 2
- +
- - - S p
2
- - + j
&
3
24 44 b
b b +
Hn. 3, 4
- S p
- - -
4
b 24 44
3 B b Tpt. &b
? b b 2 4
3 Tbn. b b 4 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ~~~~~~~~~~~~~~~~~~~~~~
? bb b w w 24 44 w
Timp. b
p
24 44
F j
Cym.

bbbb 24 44
Solo

~~ ~~
& J
~~~ ~~~
~~~ ~~~
b
~~~ ~~~
Hp. G
? b b 2 4
~~~ ~~~
b b 4 4
~~~ ~~~

b
& b bb 24 44
Cel.
? bb b 24 44
b
- -
b - - . 44 b
rit.
& b b b J J 24 J J
S
J J
j j -
o - mi? Is this Na - o - mi?"
b j 24 44 -
& b b b b
-
j
- .. b
J
n
J

- -o - mi?
A
f - -
this Na - Is this Na - o - mi?"
V b bbb - - - .
J 24
J 44 - -
T
J J J J
f - - b
b - - 44 b - -
"Is this Na - o - mi? Is this Na - o - mi?"
? bb b b - .. 24
b J J J J
J
B
"Is this Na - o - mi? Is this Na - o - mi?"
b
rit.
& b bb w w 24 44
Vln. I
J
b b 2 4
Vln. II &b b w w 4 J 4
b
B bbbb w w 24 44
ponticello
Vla. J
P
? b b b - - - - - 24 44 j w-
b - b - - - -
V. Celli
P
? bb b w w 24 w 44 j
unis.
w-
b
w w w
D. Bass
P
170
Part II
18 Very Slow
b b 2
(=h of the previous)
&b b
214
Fl. 1, 2 4
b b 2
Fl. 3 &b b 4
b b
& b bb b 24
1 Solo
2 Ob.
J
P espr. p
b 24 j
B b Cl. 1, 2 &b
# n b l
b p
2
B b Cl. 3 &b 4
? b b 2
2 Bsn. b b 4
p - -
24 b - n -
Mtd
Hn. 1, 2 &
pf pf
& 24
Mtd
b b
- -
Hn. 3, 4
pf pf
b 2
3 B b Tpt. &b 4
? b b 2
3 Tbn. b b 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b bw w 24 j j

Timp. b
p
b 24
& b bb
Hp. p
? b b 2
b b 4

b b 2
&b b 4
Cel.
? bb b 24
b
18 Very Slow
b
& b bb 24 j r j r - n j -
Naomi - . - .
Call me not Na - o - mi, call me Ma - ra:
b 24
S & b bb
b 24
A & b bb
b b 2
T Vb b 4
p
? bb b 24
Soli
B b J J J J
And she said un - to them.
18 Very Slow
b b 2
j j
&b b 4
div.
Vln. I

pizz.
P
b b b
ponticello
b 2
&b b 4 J j j
div.
b nn
n
Vln. II
p P
pizz.
B b b b b b n b
24 j
Vla.

? bb b bw w 24 j
pizz.
j

V. Celli b -
p p
? b b bw 2 j j
w
pizz.
D. Bass b b - 4
p p
171
Part II
b
& b bb
220
Fl. 1, 2
b b
Fl. 3 &b b
b
2 Ob. & b bb
b
B b Cl. 1, 2 &b
bb
Solo
&
B b Cl. 3
- . - . b - .
P espr.
? b b
2 Bsn. b b
- - - -
- -
- - b b
Hn. 1, 2 & b b
pf pf pf pf
b - - - -
Hn. 3, 4 & b b
pf pf pf pf
3 B b Tpt. & bb
? b b
3 Tbn. b b
? b b b j j
j
j

Timp. b
b
& b bb
-
j j j
- b -
Hp.
? bb b
b
- - - -
b b
&b b
Cel.
? bb b
b
f - . b - .
b b - - - j - - . - b - . -
Naomi & b b J J J b - J R J . R J R
for the Al - might - - - - y hath dealt ve - ry bit - ter - ly with me.
b
S & b bb
b
A & b bb
b b
T Vb b
? b b
B b b
b j j
Vln. I & b bb b
J

J

b j j j
Vln. II & b bb j
n
Vla. B bbbb . . b .
F
? b b j j j j
espr.
V. Celli b b
? b b b j j
j
j

D. Bass b
172
Part II
b
& b bb
228
Fl. 1, 2
b
Fl. 3 & b bb
- -
b b -
espr.
2 Ob. &b b b b n # -
F
b
B b Cl. 1, 2 &b b b # n - b -
F espr.
b
B b Cl. 3 &b
? bb b
1 Solo
n b
J - -
2 Bsn. b
p P

(un poco marcato)
Hn. 1, 2 &
& b - b - b -
- b -
Hn. 3, 4
Mtd p P
b
&b
(un poco marcato)
3 B b Tpt.
? bb b
3 Tbn. b
? b b j j j j
Timp. b b n
p
b b
&b b
- - - - -

? bb b n b
Hp.
b - b
- -
P
b
& b bb
Cel.
? b b
b b
b j r - - j j
Naomi & b bb .
J J J #
J
n
J
n # n - b -
b -

I went out full and the LORD hath brought me home a - gain emp - ty:
b b
S &b b
b
A & b bb
b
T V b bb
? bb b
B b
b b
Vln. I &b b
b
Vln. II & b bb
~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~
Vla. B bbbb b
p
? bb b j j j j
n .
arco
V. Celli b - n - -
p
? b b j j j j
b b n .
arco
D. Bass
- n - -
p
173
Movendo (ma largamente)
Part II
b
& b bb
236
Fl. 1, 2
b
Fl. 3 & b bb
b b
2 Ob. &b b
b
B b Cl. 1, 2 &b
b
B b Cl. 3 &b
? bb b
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
b
3 B b Tpt. &b
? bb b
3 Tbn. b
? b b
Timp. b b
b b
&b b
Hp.
? bb b
b
b
& b bb
Cel.
? b b
b b
F espr. b - f -
- b J-
b b # n n - # b b J b J j
n J J J
b b J
Naomi & b b n
J

J J J J - .
J
J
why then call ye me Na - o - mi, see - ing the LORD hath tes - ti - fied a - gainst me, and the Al -
b b
S &b b
b
A & b bb
b
T V b bb
? bb b
B b
b b
& b b # n - # n - b -
arco div.
Vln. I # - # -
P F
b
& b bb n
arco
Vln. II
- n - # - n - # - b - n - n -
P F espr. F
- # - n -
Vla. B bbbb n # - n - n - b - n - b n - # - n -
F espr. F espr. F
V. Celli
? b b
b b n - n - - # - n -
P F
? bb b n
b n - - # - n -
D. Bass
-
P F
174
Part II
bbbb
rit.

244
Fl. 1, 2 &
b
Fl. 3 & b bb
b b
2 Ob. &b b
b
B b Cl. 1, 2 &b
b
B b Cl. 3 &b
? bb b
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
b
3 B b Tpt. &b
? bb b
3 Tbn. b
? b b
Timp. b b
b b
&b b
Hp.
? bb b
b
b
& b bb
Cel.
? b b
b b
- .
rit.
b b b b - . F -
b
& b bb
b - . b b b - - -
Naomi b J J
might - - - - - - - - - y hath af - flict - ed
b b
S &b b
b
A & b bb
b
T V b bb
? bb b
B b
b b n - b - -
rit.
Vln. I & b b -
f F
b
& b bb n # - b n -
-
Vln. II
f F
Vla. B b b b b b - n - b -
f F
? b b b - b - -
V. Celli b
f
? b b - b - -
D. Bass b b
f
175
19 Piu mosso Part II
b
& b bb 44
poco rit
Fl. 1, 2
b 44
Fl. 3 & b bb
b b 4
2 Ob. &b b 4
b 4
B b Cl. 1, 2 &b 4
b 44
B b Cl. 3 &b
b n b b
? bb b b b b n b 44
2 Bsn. b
p P F
4
Hn. 1, 2 & 4
4
Hn. 3, 4 & 4
b 44
3 B b Tpt. &b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b 44
3 Tbn. b

? b b 4
Timp. b b 4
b b 4
&b b 4
Hp.
? bb b 44
b
b 44
& b bb
Cel.
? b b 4
b b 4
19 Piu mosso
bbbb 44
poco rit
Naomi & -
me?
b b 4
S &b b 4
b 44
A & b bb
b 44
T V b bb
? bb b 44
B b
19 Piu mosso
b b 4
poco rit
Vln. I &b b 4
b 44
Vln. II & b bb
b n b b
ponticello
B bbbb b b 44
div.
b n b
Vla.

p P F
? bb b 44
V. Celli b
p
? b b 4
D. Bass b b 4
p
176
n -
Part II
-
20 Quiet
b -
& b b b 44 b b n
-
Fl. 1, 2
b b - b - n -
& b b b 44 b
-
Fl. 3
b b 4
2 Ob. &b b 4
b 4
B b Cl. 1, 2 &b 4
- - -

b 44
B b Cl. 3 &b
-

-

-

? b b b 44
2 Bsn. b
4
Hn. 1, 2 & 4
4
Hn. 3, 4 & 4
b 44
3 B b Tpt. &b
? b b b 44
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b 4
Timp. b b 4 w w w w

b b 4
&b b 4
Hp.
? b b b 44
b
b
& b b b 44 n
n

b b b
p
b
Cel.
b
dolce
? b b 4
b b 4
p dolce
Quiet
,
20
b b 4 j j j , j
& b b 4 .
J
J
.
J J
J J

J

J

- -
S
p So Na - o - mi re - turned,
, j
and Ruth the Mo - ab - i - tess,
, her daugh - ter - in - law, with her,
b 4 j j j j j j
b
& b b 4 . b b j . b J b j j b
dolce
J b b - -
A
So Na - o - mi re - turned, and Ruth the Mo - ab - i - tess, her daugh - ter - in - law, with her,
b
T V b b b 44
? b b b 44
B b
- y ~~~~ j n - y ~
Quiet
j - j b b y ~ n y ~~ ~~~
y
20
b y ~
& b b b 44 y ~~~~~~~~~~~ n
div. in 3
b b b y y ~~~~~~~
Vln. I
J ~ J ~n J

b b 4 j ~b j b~b j n n
&b b 4 y ~
y ~b~~ J
y y ~~
y ~~ ~~ J
y y
y J
y
~~~~~~

Vln. II
~
div. in 3

B b b b b 44
Vla.
J
? b b b 44
V. Celli b w w w w
? b b b 44
D. Bass b w w w w
177
-
Part II
b
& b bb
260
Fl. 1, 2
-
b
Fl. 3 & b bb
b b
2 Ob. &b b
b
B b Cl. 1, 2 &b
-
b
B b Cl. 3 &b -

? bb b
2 Bsn. b
+ j
& w+w b
Hn. 1, 2
J
pf
Hn. 3, 4 &
b
3 B b Tpt. &b
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b
Timp. b b w w w
b b >
&b b nn
Hp. >
? bb b
b
b
& b bb
-

Cel.
? b b
b b
p P-
b j j j n w
& b bb j j j #
dolce
S
- - - n - # # # J J
p P-
which re - turned out of the coun - try of Mo - ab:
b b j j j j
&b b j j j n b
dolce
A
- - - n - . n J
p dolcej j
which re - turned out of the coun - try of Mo - ab:
b j j j
T V b bb - - - w- b -
J

J J
which re - turned out of the coun - try of Mo -
? bb b
B b
b j
& b b b~~~~

~~
Vln. I
b b j ~ ~~~~~~~
Vln. II & b b y ~ ~~
y ~~~~ ~ J
y
B bbbb n n
div. ponticello
Vla.
J
pf
? bb b
V. Celli b w w w
? bb b
D. Bass b w w w
178
Part II
b
& b bb 23 12
263
Fl. 1, 2 8
b
Fl. 3 & b bb 23 12
8
b b 3 12
2 Ob. &b b 2 8
b 3 12
B b Cl. 1, 2 &b 2 8
b
B b Cl. 3 &b 23 12
8
? bb b 23 12
8
2 Bsn. b
3 12
Hn. 1, 2 & 2 8
3 12
Hn. 3, 4 & 2 8
b
3 B b Tpt. &b 23 12
8
? bb b 23 12
8
3 Tbn. b
? b b j 3 12
Timp. b b 2 8
b b 3 12
&b b 2 8
Hp.
? bb b 23 12
8
b
b
& b bb 23 12
8
Cel.
? b b 3 12
b b 2 8
p p
semplice e grazioso
b
& b bb

J

J 32 - .
J - - 44
S J J J J J
p p
and they came to Beth - le - hem in the be - gin - ning of the bar - ley
b b 3 - j j j 4
A &b b J J
2 .
J
J

J
-

- 4
bP- , p ,j pj
- -
and they
j
came to Beth - le - hem in the be - gin - ning of the bar - ley
T V bb
b 23 - .
J

J

J

J

J
44
p -. p
ab: and they came to Beth - le - hem in the be - gin - ning of the bar - ley
? bb b J J - -
B b J J 23 J J J J 44
and they came to Beth - le - hem in the be - gin - ning of the bar - ley
b
Vln. I & b bb 23 12
8
b b 3 12
Vln. II &b b 2 8
Vla. B bbbb 23 12
8
? bb b j 23 12
8
V. Celli b
? bb b j 23 12
8
D. Bass b
179
- .
Part II
n n b b b
Allegretto Pastorale (Interlude)
-
21

b
J
.
1 Solo a2
Fl. 1, 2 & b b b 12
8 J

J J J
p P
b b 12
dolce ed espres
Fl. 3 &b b 8
b b 12
2 Ob. &b b 8
b 12
B b Cl. 1, 2 &b 8
b 12
B b Cl. 3 &b 8
? b b b 12
2 Bsn. b 8
12
Hn. 1, 2 & 8
12
Hn. 3, 4 & 8
b 12
3 B b Tpt. &b 8
? b b b 12
3 Tbn. b 8
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b 12
Timp. b b 8 w. w. w.

12
. .
Trgl. 8

b
& b b b 12
8
Hp.
? b b b 12
b 8
b b 12 - - -
&b b 8 n n b b b
Cel.
? b b 12
b b 8
21 Allegretto Pastorale (Interlude)
b b 4
S & b b 4 J .
har - vest.
b j
A & b b b 44 ..
har - vest.
b
T V b b b 44 J ..
.
har - vest.
? b b b 44 J
B b
...
har - vest.
n n ... b b b ...
6 Violins
b
21
& b b b 12 . . . .
Allegretto Pastorale (Interlude)

div. in 3
Vln. I 8

b b 12
Vln. II &b b 8
Vla. B b b b b 12
8
? b b b 12
V. Celli b 8 w. w. w.

? b b b 12
D. Bass b 8 w. w. w.

180
- .
Part II
b
n
n # n b n b n -
& b bb . .
269
Fl. 1, 2
b
Fl. 3 & b bb
n n -
1 Solo
b b n n j j n .
&b b
a2
2 Ob. n J # n n n J J
P espr.
b
B b Cl. 1, 2 &b
b
B b Cl. 3 &b
n n n n n n -
n .
? bb b J # n # n
1 Solo
2 Bsn. b . J J J
P espr.
Hn. 1, 2 &
Hn. 3, 4 &
b
3 B b Tpt. &b
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b
Timp. b b w. #w . w.

Trgl. . . . .
b
& b bb
Hp.
? bb b
b
b b
& b b . n # n
n -
n b
b -
# n n . .
- -
Cel.
? b b
b b
b b
S &b b
b
A & b bb
b
T V b bb
? bb b
B b
n ...
6 Violins
b b # n n ... n b b ... # n n .
div. in 3
Vln. I & b b . J .
b
Vln. II & b bb
Vla. B bbbb
? bb b
V. Celli b w. #w . w.
? b b
D. Bass b b w. #w . w.
181
Part II
b
& b bb
272
Fl. 1, 2
b
Fl. 3 & b bb
b b n - . # n b n b n # . # n n n b n #
2 Ob. &b b n . .
bb
a2
& j j
B b Cl. 1, 2 J
F
b
B b Cl. 3 &b
J
j

j
F
n . # .
? bb b B n n n
n
a2
J . ? J .
2 Bsn. b
F 1 Solo P
. . . . - . w. b . .
& J
Mtd
Hn. 1, 2
P p 3 Solo
. # . . . - . n . .
Mtd
Hn. 3, 4 & J
P
b
.
b .. - - - ...
&b
Mtd
3 B b Tpt.
p
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b b j . .
Timp. b b w. w. n

Trgl. . . . . . .

Tamb. . .
p
b
& b bb . . gggg
g
F gggg
Hp.
ggg
? b b . . gg
b b
b b j .
& b b . # n n n b
b -
n
-
.
# n #
n
n b
n
# n

n b b
.
- - - - -
p
to Piano
Cel.
? bb b
b
b
S & b bb
b
A & b bb
b
T V b bb
? b b
B b b
j
tutti
b
& b bb j j
unis.

Vln. I
F
# n n ... n b b ... n ... # n # ... n b n ...
6 soli
b
& b bb . . # n n ... n b b . .
div. in 3 espr.
Vln. II
J
p

B bbbb J
Vla.
J J
F
? b b
espr.
V. Celli b b #w . w. n - . - . - . - .
F
? bb b - .
D. Bass b #w . w. n - . - . - .
F
182
Part II
b
& b bb
275
Fl. 1, 2
b
Fl. 3 & b bb
b b - - b - .
2 Ob. & b b . . .
n . n

b -
b . n

f
b j- - . # n - .. b - .. n -
&b . . b n .. n

B b Cl. 1, 2
J
f
b j- - . - .
B b Cl. 3 &b . J # b - . n - . n
f - . n - . - .
- .
2 Bsn.
? bb b
b n b b n
f
. b . . .
Mtd
& b - b b b -
- -
Hn. 1, 2
F
& . . . .
Mtd 3
- # -
- -
Hn. 3, 4
F
... . . - ... - -
# n
- -
3 B b Tpt. &b
b . . b . n .
P F
? bb b
3 Tbn. b
? b b
Timp. b b
Tamb. . . . . . .
p
b
& b bb . . ggg
gg
g
F gggg
ggg
Hp.
? bb b . .
b
b b
&b b
Pno. F
? b b .
b b . # . . . n . . n .
- . - . n - . - . n - . - .
- . # - .
b
S & b bb
b
A & b bb
b b
T Vb b
? b b
B b b
~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~
bbbb j j . n . b . .
Vln. I & - . J J J J
S S S S
~~~~~~~~ ~~~~~~~~~ j ~~~~~~~~~~~j ~~~~~~~~~~
b j
& b bb . .. y y
div.
. n .. b ..
b ..

J
Vln. II
S S S S
-
. ~~~~~ ~~~~~ ~~~~~ ~~~~~
B bbbb J J
J n n b b b n
Vla.
J J J
S S
- .
? b b .
b b - - . - .
- . n - . - . n - . - .
V. Celli
- . # - . - .
f
? b b . - . - . - . - .
D. Bass b b - - . # - . - . - . n - . - . n - .
f
183
~~~~~~~~~~~
Part II
n . Y
a2
b
& b bb J .
278
Fl. 1, 2
b
Fl. 3 & b bb
~~~~~~~~~~~~~ ~~~~~~~~~~~
b b n .Y . n # .. Y
Y .
2 Ob. &b b J J
b ~~~~~~~~~~~~ ~~~~~~~~~~~~
B b Cl. 1, 2 &b # # ..Y
Y . # . Y .
J
J
~~~~~~~~~~~~ ~~~~~~~~~~~j
b j
B b Cl. 3 &b # .Y . # Y .
# .. Y
? bb b j j
b # . . n . .
# - . n - .
2 Bsn.
.
. .
# - b J # - # j# . . . b . # j j # . b . # - # jn - .
Open
& # - J - # . # . . . # - # . .
. .
Hn. 1, 2
f marcato
. b . # . . - j-
. # - b J # - # j# . . . j j # . b # # . n .
Open 3
& # - J - # . # . . . # - # .
. .
Hn. 3, 4
f marcato .. .
. . . - .j - . . - - . -
f marcato
- j -
# # . j - .j . .j n # # j .
j
a3
b . # # # # #
(the 1st)
# # ..
# # # # ..
#
Open
& b
# .
3 B b Tpt.
J . J . .
F
-
? b b # #n ...
. # n n
. .
3 Tbn. b b J J
F
? bb b
Timp. b
. . . . . .
suspended cymbal
Cym.
F
b b gg n # n ... ggg n # n ...
& b b gggg n # n ... . . gg # n ...
ggg n n .
. .
ggg n . g
Hp. f
? b b
b b
b
& b bb
Pno.
? bb b # . . . n . . .
b
# - . n - .
b b
S &b b
b b
A &b b
b
T V b bb
? bb b
B b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& bbbb
nw .Y nw . Y n . .
Vln. I
J
S p P f
b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j
Vln. II & b b n # ww .. Y
Y n # ww .. Y
Y n # .. ..
S p P f
B bbbb # n # # n
Vla.
# # n # # n # # # n # # # # n
F
V. Celli
? bb b #w .
b - n w- . w.
D. Bass
? b b
b b # w- . n w- . w.
184
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
Part II
n > . .
n . Y .
Lively
b
& b bb J J J 24
281
Fl. 1, 2

b
Fl. 3 & b bb 24
~~~~~~~~~~~~~~~~
b b n # .. YY .. ~~~~~~~~~~~~~~~
n .. n # .. .. .. b
2
2 Ob. &b b J J J 4

~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ ..
b b # .. Y
.. .. .. .. 24
B b Cl. 1, 2 & J J J
~~~~~~~~~~~~~~~
b ~~~~~~~~~~~~~~~~~ j
&b j j . n . . . 24
B b Cl. 3 # . Y .

? bb b n . j j j 24
. . .
b n - . - . - . .
2 Bsn.
# # > ..
> . b > . U .
2
& b . b . . 4 J
a2
Hn. 1, 2
f Sf
# > . > . > U .
& b # . . b b .. . 24
a2
J
Hn. 3, 4
f > Sf
U.
b # # # > ... a3
#
> ..
. b w.
w ..
.
2
3 B b Tpt. &b J J 4 J
S S Sf
- - .. ww- .
? b b # n n ...
.

w .. 2
3 Tbn. b b J J 4 J
~~~~~~~~~~~~~~~~~~~~~~~
? bb b n . . . . 24
Timp. b J J J
~~~~~~~
Cym. . . . 24
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~
. . 2
J J J . . 4
j
Trgl.

b b 2
&b b J .
~ ~
4
~~~~~~~~
b
~~~~~~~~
Hp. C

? bb b . . 24
~~~~~~~~
b
.
> > > j
b .. ..
b b . n # n ....
n
.
..
... . b .. . .. . 2
&b b n # n ... .. ... ... 4
Pno.
J
? b b n . . b . 2
b b b - . 4
n - . - .
Lively
b 24
S & b bb
b 24
A & b bb
b b 2
T Vb b 4
f
? bb b 24
B b R R

n # b . . bU .
Lively
n # # # # # # n
And Na
b bbb n # n n n 24 J
& n n # # #
# # n #
Vln. I

f
b n # # # n # n n # # # n b
. . bU .
b n # n 2 J
&b b n n # # # 4
unis. # # n #
Vln. II

f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
B bbbb n . Y b w- . 24
Vla.
n . Y J

? b b b n - . - . b w- . 24
V. Celli b J

? b b n - . - . bw . 2
D. Bass b b 4 J

185
Part III
The Barley Harvest
22
b b 2
Lively
Flute 1, 2 &b b 4
b
Flute 3 & b b b 24
b
2 Oboe & b b b 24
b
English Horn & b b 24
b 24
Clarinet in B b 1, 2 &b
b 24
? b b 2
2 Bassoon b b 4
2
Horn in F 1, 2 & 4
Horn in F 3, 4 & 24
b 24
3 Trumpet in B b &b
? b b b 24
3 Trombone b
? b b b 24
Timpani b
b b 2
&b b 4
Harp
? b b 2
b b 4
b
& b b b 24
Celesta
? b b b 24
b
22
b
(Lively)
Ruth & b b b 24
(soprano)
b b 2
Naomi &b b 4
(mezzo-soprano)
b
The Servant V b b b 24
(tenor)
? b b b 24
Boaz
(baritone)
b
b
Soprano & b b b 24
b
Alto & b b b 24
F
b - j j j j j -
Tenor V b b b 24
R R J
J
J

J
j
j
.
- - J
-
- - .
And Na - o - mi had a kins - man of her hus - band's, a might - y
? b b 2 J J J J . - J
Bass b b 4 J J J J J J J J R J J J
o - mi had a kins - man of her hus - band's, a might - y man of wealth a might - y
22
b
(Lively)
Violin I & b b b 24
b
Viola B b b b b 24
? b b 2
Violincelli b b 4
? b b 2
Double Bass b b 4
186
Part III

290
Cym.
. .
S.Dr.
J J J
pdolce
& bbbb j
3
S
p dolce
And
b
& b bb j
3
f 3 - 3 - - - -
b b - . r
# n n ..
And
V b b J . # n n # n # n n # n # n n -
3 3 3
T
J J J J J J J J J J J J J
f 3 j 3 j 3 j
man of wealth of the fa - mi - ly of E - li - me - lech; and his name was Bo - az.
-
? b b b .. n # # n # # n # # n b
b J n J # J n n J # J n - n - ..
3 3
B
R J J J J J J -
man of wealth of the fa - mi - ly of E - li - me - lech; and his name was Bo - az.
,
23 Un poco meno
b j j - , U
n n n n 12
rit.
& b bb J
J n 8
3 3
S
J J J
Ruth the Mo - ab - i - tess
, said un - to Na - o - mi,
, U(Hm)
b b j j j j j n n n n 12
&b b n n n n 8
3 3
A J J n
p , , U
Ruth the Mo - ab - i - tess said un - to Na - o - - - mi, (Hm)
b j j
V b bb n j n n n n n 12
dolce
J J n 8
3 3 3
T
J J J
p dolce , n U
n
And Ruth the Mo - ab - i - tess said un - to Na - o - mi, (Hm)
? bb b J #
J J n n n n 12
3
J J
3
b J J J 8
3
B
And Ruth the Mo - ab - i - tess said un - to Na - o - mi,
24 Allegretto Pastorale
& 12 24
(ad libitum)
. . . .
(very freely)
8 ... # # ...
- - b n - ... # ...
-
? 12 24
Cel.
8
Allegretto Pastorale
F
24
p espr.
(very freely)
, jU , . -. n . n b - .
12
& 8 j j j j . J J J J # #
J J 24
Ruth
J J J J J J
Let me now go to the field, and glean ears of corn af - ter him in whose sight I shall find grace.
P espr.
25 Quiet
2
&4 b - .
r

j
b b 12
8
Naomi
J
Go, my daugh - ter.
V 24 # n n #
T
J J J J J
(1half)
And she said un - to her,
? 24
B J J J J J
And she said un - to her,
ggg ..
26
b ggg n n ..
& b 12
8
ggg .
.
ggg # .
. 68
p gggg ggg
ggg . ggg
Hp.
? b b 12
8 ggg . . ggg n n .. . 68
g
p espr.
- .
-
26
b 12 . . J n . # 6
S &b 8
J
J J 8
p espr.
And she went, and came, and
b j j .
A & b 12
8 n # # . 68
..
26 And she went, and came,
b j - n n ..
& b 12 . 68
div.
8 j j
Vln. I
J J J J
P espr. p
b 12 6
Vln. II & b 8 . . . - . - . - . - . - .
j
# - .
j 8
p p
B b b 12
8 . - . - . - . - . - . - . - . - . - . - . 68
- .
p-
Vla.
? b b 12 .. 68
8 w. w. n n ..
div.
V. Celli
p
? b 12 . .

. .

. . 6
pizz.
D. Bass b 8 8
p
187
Part III
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. ~~~~~~~~~~~~~~~~~~~~
.
1 solo
b 6 12
&b 8 J J
314
Fl. 1, 2 8
P p
b
& b 68 12
dolce
Fl. 3 8
b
2 Ob. & b 68 12
8
6 12
B b Cl. 1, 2 & 8 8
B b Cl. 3 & 68 12
8
2 Bsn.
? b b 68 12
8
6 12
Hn. 1, 2 & 8 8
Hn. 3, 4 & 68 12
8
3 B b Tpt. & 68 12
8
? b 6 12
3 Tbn. b 8 8
Timp.
? b b 68 12
8
Trgl. 68 12
8
. .

b b .
& b 68 ggggb n .. . 8 gggg
12
o

o
ggg
ggg n

o

o

gg gg n o o
ggg ggg ggg
g gg o o gg o o
? b b 68 gggg b . o o
Hp.
. 12 g ggg
gb . 8 ggg g
b
& b 68 12
8
Cel.
? b b 68 12
8
b 6 . b j 12 - . j . . . n J
&b 8 J 8 n n
2
S
J J J J J J
j j j
gleaned in the field af - ter the reap - ers: and her
b j
& b 68
. 12
8 j j
n n .
j
2
A
and gleaned in the field af - ter the reap - ers:
b
T V b 68 12
8
? b 6 12
B b 8 8
b b . -. - . - . - . - . - .
& b 68 b . 8
12
unis.
- . - .
J
Vln. I
p dolce
b - n - .
Vln. II & b 68 n .
j 12
8 n . n - . - . - . - . - . - .
p dolce
B b b 68 - . b - . 12 n - . b - . - . - . - . - . - . - .
Vla. 8
p dolce
? b b 68 . 12 w.
8 ww ..
unis.
V. Celli b .
p
D. Bass
? b b 68 b . 12
8
. .
188
Part III
b -
n # .
-
n # .
a2
6
&b J J
317
Fl. 1, 2 J J 8
P P
b 68
espr.
Fl. 3 & b
b 68
2 Ob. &b
# # j # #
. # # # n . # # # # j #
# 6
1 solo
J #
a2
B b Cl. 1, 2 & # 8
Pespr. P p
B b Cl. 3 & 68
- - - - - -
- . n .
? bb . n . # . # . # . n ww . 68
1 solo
. . n . .
p espr.
2 Bsn.
P p
6
Hn. 1, 2 & 8
& . . ww .. 68
.
Hn. 3, 4
P - p
3 B b Tpt. & 68
? b 6
3 Tbn. b 8
Timp.
? bb 68
b g . ggg n ..
&b ggg .. . gg n n .. . ggg .. . gg n n .. .
ggg .
. 68
ggg ggg n . ggg . ggg n .
ggg gg
ggg ggg gg
ggg gggg
? b b gggg n .. ggg # .. ggg n . ggg # .. ggg n .
Hp.
. . gg .. . . gg .. . 68
gg . ggg n n . g ggg n n .
g
b 68
&b
Cel.
? bb 68
b - . J n J - . J . n J J n - j F j j n 6
S &b J
J J n J J J
J J 8
hap was to light on a part of the field be - long - ing to Bo - az, who was of the
b j j - n j # j # . n j j n - . j j n j j # j j 68
& b n . -
# # - .
A
- . - .
and her hap was to light on a part of the field be - long - ing to Bo - az,
T V bb 68
B
? bb 68
b - . n - .
- .
n - . 6
Vln. I &b # - . nw . 8
p dolce p
b - n - . 68
Vln. II & b n . # - . # - . n - . w.
p dolce p
Bb b - . n - . . w. 68
. n - . # - . - . n .
p - espr.
Vla.
p
? b div. . . .. . n ww . 6
V. Celli b . n n . n n . . 8
p p
? bb n n 68
. . . . . .
pizz.
D. Bass
p
189
Part III
a2 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Un poco largamente) (a tempo)
n . y nw #
b 6 4 12 J . . b b b 24
&b
320
Fl. 1, 2 8 4 8
F
b 68 44 12 b b b 24
Fl. 3 &b 8

b
& b 68 44 8
12 n
n n J .
b b b 24
a2
J
a2
2 Ob. - # - J J
F f
# - - - -
6 J . 4 # # # # - .. 12 # .. 2
B b Cl. 1, 2 & 8 4 8 # .. # .. # .. # .. # ..
b 4
F P
B b Cl. 3 & 68 44 12
8 b 24
? b b 68 n . 44 12
8 ww .. w .. b b b 24
. w - w-
w
2 Bsn.
F
68 44 # .. 12 j 24
Hn. 1, 2 & - - #
- - - 8 # . .
F
6 4 12 - . 2
a2
& 8 4 # - 8 # - . - . - . # - . - . 4
3 - - . - .
Hn. 3, 4
P
3 B b Tpt. & 68 44 12
8 b 24
3 Tbn.
? b b 68 44 12
8 b b b 24
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b 6 4 12 2
Timp. b 8 4 J
J

J
8 w. w. bbb 4
P p
68 44 12 ~~~~~~ 24
Tamb. 8 . . . . . . . .
P
~
b ~
& b 68 44 12 ~ J .
~8~~ . bbb 24
~ ~
BnEnF#
~ ~~~~
~
~~~
Hp.
? b 6 4 12 2
b 8 4 8 bbb 4
b b b b 24
& b 68 44 12
8
Cel.
? b b 68 44 12
8 b b b 24
(Un poco largamente) (a tempo)
- # -
b 6 n n - -
n 4 n - .. 12 b b b 24
&b 8 J
2
4 J 8
2
S J J J R
b F 44 j j j j j b b b 24
kin - dred of E - li - me-lech.
& b 68 j j j n j - # - n - - - .
r

12
8

A
f
who was of the kin - dred of E - li - me-lech
b . b b b 24
V b 68 44 12
8 . . J R
2
T
And, be -
? b 6 4 12 2
B b 8 4 8 bbb 4
- - -
n J .
(a tempo)
44 n # n - n - .. - n
(Un poco largamente)
b j n
& b 68 n j 8
12 n b b b 24
div.
J J
unis.
Vln. I
J J
F espr. F
b n b b b 24
Vln. II & b 68 44
- # -
12
8 n . . . # . . n . # . . n . . . n .
F espr. P
-
B b b 68 n 4 n # - n - n - - .. 12 n . . b b b 24
unis.
4 8
pizz. J
Vla.
F
- . - . n - . - . - .
? b b 68 n . 44unis.w 12 - n - . # - . b b b 24
espr.
V. Celli . 8 .
F F
? b b 68 44 w 12 w- . w- .
8 b b b 24
arco
D. Bass
F
190
Part III
27 Lively
b 2 3 2
Fl. 1, 2 &b b 4 4 4
b
Fl. 3 & b b 24 43 24
b
2 Ob. & b b 24 43 24
2 j 3 2
B b Cl. 1, 2 &b 4 n 4 4

B b Cl. 3 &b 24 43 24
? b b 24 j
2 Bsn. b 43 24
f
2 3 2
Hn. 1, 2 & 4 4 4
24 b j
Hn. 3, 4 & -

43 24
f
3 B b Tpt. &b 24 43 24
? b 2 3 2
3 Tbn. b b 4 4 4
? b b 24 j 43 24
Timp. b
24 43 24
S.Dr.
J
p 3
24 43 24
Tamb.
J
b
& b b 24 43 24
Hp.
? b b 24 43 24
b
b
& b b 24 43 24
Cel.
? b 2 3 2
b b 4 4 4
27 Lively
b
S & b b 24 43 24
b
A & b b 24 43 24
F P
b 2 j b . 3 j j j j 2
T Vb b 4 J J
J J J R 4
J 4
f r j P
hold, Bo - az came from Beth - le - hem, and said un - to the
F - . j
? b b 24 J J b J 34 J n 24
B b . R J J J R J J J J
be - hold, Bo - az came from Beth - le - hem, and said un - to the
b 2
27
3 2
Lively be - hold,
Vln. I &b b 4 4 4
b
& b b 24 j 43 24

Vln. II
Vla. B b b b 24 43 24
>
div.
? b 2 3 2
V. Celli b b 4 J 4 4
f
div. >
? b b 24 43 24
D. Bass b J
f
191
Part III
b 2 3 2
&b b 4
329
Fl. 1, 2 4 4
b
Fl. 3 & b b 24 43 24
b
2 Ob. & b b 24 43 24
2 3 2
B b Cl. 1, 2 &b 4 4 4
B b Cl. 3 &b 24 43 24
? b b 24 43 24
2 Bsn. b
2 3 2
1
& 4 4 4 .
>
Hn. 1, 2
S
24 43 24
3
&
>.
Hn. 3, 4
S
3 B b Tpt. &b 24 43 24
? b 2 3 2
3 Tbn. b b 4 4 4
? b b 24 43 24
Timp. b
b
& b b 24 43 24
Hp.
? b b 24 43 24
b
b
& b b 24 43 24
Cel.
? b b 24 43 24
b
f - - -
? b 2 - J J 3 J 2
Boaz b b 4 J 4 4
The LORD be with you.
b
S & b b 24 43 24
b
A & b b 24 43 24
p p j f -
b
V b b 24 - j r r
n 43 n
j
24 - - .
T
J J
rea - pers, And they an - swered him, The LORD bless thee.
p p f - - - .
? b b 24 n # 43 n # b 24

B b - J R R J J J J
rea - pers, And they an - swered him, The LORD bless thee.
b
Vln. I & b b 24 43 24
b 2 3 2
Vln. II &b b 4 4 4
Vla. B b b b 24 43 24
F
? b b 24 43 24
V. Celli b
? b b 24 43 24
D. Bass b
192
Part III
28 Un poco mosso (Allegretto)
b 3
Fl. 1, 2 &b b 4
b
Fl. 3 &b b 43
b
2 Ob. &b b 43
3
&b j
1 solo
B b Cl. 1, 2 j j j 4
- . . n . - n - n - n
p with humour
B b Cl. 3 &b 43
pwith humour
2 j j j
? bb # n
# n # n # n 43
1 solo
b
2 Bsn.
- - - -
p
j 3
Hn. 1, 2 & 4
j 43
Hn. 3, 4 &
3 B b Tpt. &b 43
? b 3
3 Tbn. b b 4
? bb 43
Timp. b J J J J

b
&b b 43
Hp.
? bb 43
b
b
&b b 43
Cel.
? bb 43
b
28 Un poco mosso (Allegretto)
S & bbb 3
4
b
A &b b 43
b
T Vb b 43
p - - -
b - n b - R b J b
b -
(Baritones)
? bb J R R J # J R R R R J 43
B b J J R
28 Un poco mosso (Allegretto) Then said Bo - az un - to his ser - vant that was set o - ver the reap - ers,
b 3
Vln. I &b b 4
b
Vln. II &b b 43
B bbb n b n n - n - n - n - n - n - n 43
Vla.
- - - - - -
p
? b # # # # 3
pizz.
V. Celli b b J J J J 4
p
? bb n n n n
# # # # 43
pizz.
D. Bass b
p
193
Part III
b 3
(a piacere) (a tempo)
2
&b b 4
341
Fl. 1, 2 4
b
Fl. 3 & b b 43 24
b
2 Ob. & b b 43 24
3 2
&b j j j
1 solo
4 4 j j
n n n n n
B b Cl. 1, 2
p
B b Cl. 3 &b 43 24
p
- j j j j
# n n # n n # n n # n n # n
1
? b b 43 24
2 Bsn. b - - - - -
2
p
3 2
Hn. 1, 2 & 4 4
& 43 24 3
b
Hn. 3, 4
p
3 B b Tpt. &b 43 24
? b 3 2
3 Tbn. b b 4 4
? b b 43 24
Timp. b n J n J n J n J n J

b
& b b 43 24
Hp.
? b b 43 24
b
b
& b b 43 24
Cel.
? b b 43 24
b
Fb - b - - - (a tempo)
(a piacere)
? b 3 J J J J 2
Boaz b b 4 4
Whose dam - sel is this?
b
S & b b 43 24
b
A & b b 43 24
b
T V b b 43 24
p n - P
? b 3 2 n # n # # n n R R R J J J J n
B b b 4 4 J J J J R R R J
And the ser - vant that was set o - ver the reap - ers an - swered and
b
(a piacere) (a tempo)
Vln. I & b b 43 24
b
Vln. II & b b 43 24
Vla. B b b b 43 2
4 n n n n n n n n n n
p
? b b 43 24 b # b # b # b # b #
n J n J
pizz.
V. Celli b n J n J n J
p
? b b 43 24 n n n n n
# # # # #
pizz.
D. Bass b
p
194
Part III
n b j j
b b b b b b
1 solo
b
&b b
347
Fl. 1, 2
p 2
b
Fl. 3 &b b
b
b b b
2
2 Ob. &b b b
p dolce p espr.
B b Cl. 1, 2 &b
B b Cl. 3 &b
p1 solo
? bb n b
b
b b b
b b
2 Bsn. b b b
Hn. 1, 2 &
& j
Hn. 3, 4
-
p
3 B b Tpt. &b
? b
3 Tbn. b b
? b b j
Timp. b
b n b b b b b
&b b J
p
n b b b b b
Hp.
? bb J
b
b
&b b
Cel.
? bb
b
p j
b b b b j J b J
espr.
Vb b
3
R R R R J
gossiping
J J J J
3 3 3
Servant
J J J J J J J
bbb
It is the Mo - ab - i - tish dam - sel that came back with Na - o - mi out of the coun - try of Mo -
S &
b
A &b b
b
T Vb b
? b
J
B b b
said,
n b b b b b
b
1st half sur le touche
Vln. I &b b J

bbb b J
pizz.
b b
div.
& J J J J b
Vln. II
J J
p
Vla. B bbb
n b b b b b
1st half sur le touche
? bb @J @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @
arco
V. Celli b

b b b
? b b J

J J b
J J b
J J
D. Bass b
p
195
Part III
b b
1
b b
29 Meno Mosso
3 2
&b b J
353
J 4 4

Fl. 1, 2
2
b
Fl. 3 &b b 43 24
b
2 Ob. & b b b n
J
43 24
- # - # -
3 n - b - 2
B b Cl. 1, 2 &b n # n # 4 n # n 4
pdolce
B b Cl. 3 &b - # - # -
43 n n - b - 24
p
j
? bb b b b 43 24
dolce
b b
2 Bsn.

J
3 2
Hn. 1, 2 & 4 4
Hn. 3, 4 & 43 24
3 B b Tpt. &b 43 24
? b 3 2
3 Tbn. b b 4 4
? bb 43 24
Timp. b
b b b b
&b b J 43 24
? bb b b b
Hp.
43 24
b J
b
&b b 43 24
Cel.
? bb 43 24
b
29 Meno Mosso
P querulous--imitating Ruth
b J j J n 3 j n 3 b 3 j j 3 j 2
Vb b n J n J n # J 4 J J # J J n 4
3 3 3 3 3 3
Servant
J
b
43 24
ab: And she said, I pray you, let me glean and ga - ther af - ter the reap - ers a - mong the
S &b b
b
A &b b 43 24
b
T Vb b 43 24
? b 3 2
B b b 4 4
b b b b
29 Meno Mosso

Vln. I &b b @ @ @ @ @ @ @ @ @ @ J 43 24
b
Vln. II & b b J n
J
43 24
Vla. B bbb 3
4 2
4
? b b b@ b b
V. Celli b @ @ @ @ @ @ @ @ @ J 43 24
? b b b J 43 24
D. Bass b J
196
Part III
(Ancora meno)
b 2 3 2
&b b 4
359
Fl. 1, 2 4 4
b
Fl. 3 & b b 24 43 24
b j
& b b 24 43 24
1
2 Ob.
j
2 # 3 2
B b Cl. 1, 2 &b 4 # - 4 4
24 j
B b Cl. 3 &b - 43 24
? b b 24 43 24
2 Bsn. b
2 3 2
Hn. 1, 2 & 4 4 4
Hn. 3, 4 & 24 43 24
3 B b Tpt. &b 24 43 24
? b 2 3 2
3 Tbn. b b 4 4 4
? b b 24 43 24
Timp. b
b
& b b 24 43 24
Hp.
? b b 24 43 24
b
b
& b b 24 43 24
Cel.
? b b 24 43 24
b
(Ancora meno)
b 2 j j j j
V b b 4 n - 43 n j b n 24 b j j j j j
r r j r r r r r r
3 3 3 3 3
# n
3 3
Servant
n b b n n
sheaves: so she came, and hath con - ti - nued from the morn - ing un - til now, that she tar - ried a lit - tle in the
b
S & b b 24 43 24
b
A & b b 24 43 24
b
T V b b 24 43 24
? b 2 3 2
B b b 4 4 4
(Ancora meno)
b - b n - n # - 24 b n -
& b b 24 43 n # n # # - # n - n b - # n -
div.
Vln. I
-
p
b
Vln. II & b b 24 34 div.
n - b b - n n -
24 b
b - n - # n - n - b b - n n -
p
Vla. B b b b 24 4
3 2
4
? b b 24 n n b b n n n
43 24 n # n n # n
3
n b n
3
J # J
3
V. Celli b J # - - -
F espr.
3 3
3 3
? b b 24 43 24 b n
arco
D. Bass b
197
U
Part III

molto

rit.
n b
30 Largo (Quiet and solemn) 1 solo
bbb nnb 4
1 solo
3
365
& 4 4
p
Fl. 1, 2
dolce p
bbb nnb 4
dolce
Fl. 3 & 4 43
b nb 4 - - - . 3
1 solo
2 Ob. &b b n 4 4
p dolce ed espr.
&b n # 44 3
4
B b Cl. 1, 2
ww ww

#
B b Cl. 3 &b n 44 43
w w
1 solo
n b
? bb n n b 44 w ww 43
2 Bsn. b w
p dolce
4 3
Hn. 1, 2 & 4 4
Hn. 3, 4 & 44 43
&b n # 44 - - . -
-
43
3 B b Tpt.

p -dolce ed espr.-
? b n n b 44 - - - - . - - 3
1 solo
3 Tbn. b b J 4
p dolce ed espr.
? bb n b 44 j j j j j j 43
Timp. b n

b nb 4
&b b o n o o o b o o n 4

43
p p dolce

Hp.
? bb o o o o n n b 44 43
b n o b o
b nnb 4
&b b 4 43
Cel.
? bb n 44 43
b u nb
rit.
Un 30 Largo (Quiet and solemn)
bbb
molto
V n b 44 3
4
#
Servant
p
house.
bbb nnb 4
& 4 J 43
3
p
j
Then said Bo - az
& bbb nnb 4

4 j j j
43
dolce

3 3
A

n b 4
Then said Bo - az un - to Ruth
V b bb n 4 43
J
T
p
Hm
? bb n b 44 3 J
J 43
dolce
b n J J
3
u
B
Then said Bo - az un - to Ruth,
b
rit. molto
Un 30 Largo (Quiet and solemn)

Vln. I & b b b n b 44 3
4

b nnb 4
&b b b 4
43
b
Vln. II

B bbb n n b 44
J 43
Vla.

? b b n n b 44 3
b b J 4

V. Celli

? bb n n b 44 w w 43
b b
u
D. Bass
198
31 Andante (Arioso) Part III

3 J 4
Fl. 1, 2 &b 4 4
Fl. 3 & b 43 44

& b 43 J 44
2nd oboe to Engl. Horn
2 Ob.
# 3 4
B b Cl. 1, 2 & 4 j # .. 4

p
#
B b Cl. 3 & 43 j 44

? b 43 j 44
.
# # .
2 Bsn.
p
3 j
1 solo
. j j - . 4
& 4 # - 4
Hn. 1, 2
#
P
43 44
espr.
Hn. 3, 4 &
# 3 44
3 B b Tpt. & 4 J
? 3 4
3 Tbn. b 4 4
? b 43 44
Timp.
J
gg
gg
& b 43 gggg J 44
ggg
ggg j
? b 43 gggg
Hp.
44
ggg
& b 43 44
Cel.
? b 43 44
- . .
31

Andante (Arioso)
? 3 J # J n 4
Boaz b 4 R R J 4
Hear - est thou not my daugh - ter?
S & b 43 44
A & b 43 44
T V b 43 44
? 3 4
B b 4 4
31
Andante (Arioso)
3
&b 4 J j j 44
sul G
. .
P # - n
Vln. I
3 4
espr.
&b 4 J . j j 4
sul G
.
# - n
Vln. II
P
j j
B b 43 j j j j j j 44
espr.
n
div.
#
- - - - - - - - - - - - - - - -
Vla.
P espr.
? b 43 j
div.
j j j j j j j 44
n
- - - - - - - - - - - - # # -
V. Celli
- - -
? b 43pizz. . # . 44
D. Bass
J
p arco
199
Part III
4 3
&b 4
373
Fl. 1, 2 4
Fl. 3 & b 44 43
2 Ob. & b 44 43
# 4 j 3
B b Cl. 1, 2 & 4 4
# # n n # # n n #

#
B b Cl. 3 & 44 43
- -
? b 44 n j 43
1
#
2 Bsn.
n J
4 - - - - - - - - - - - - - - - - 3
1 solo
Hn. 1, 2 & 4 4
p espr.
Hn. 3, 4 & 44 43
# 4
3 B b Tpt. & 4 43
? 4 3
3 Tbn. b 4 4
Timp.
? b 44 43
& b 44 n 43
j j
j j n
Hp.
? b 44 43
J J #
n
J J
& b 44 43
Cel.
? b 44 43
P espr.
? 4
- n b J
J - , n b .
J -
,
J3 J
.
J 3
Boaz b 4 J J J R R J J J J J J J 4
Go not to glean in a - no - ther field, nei - ther go from hence, but a - bide here fast by my maid - ens:
S & b 44 43
A & b 44 43
T V b 44 43
? 4 3
B b 4 4
Vln. I & b 44 j 43
p dolce
Vln. II & 44 -
b
- - - - - - - - - - - - - - - 43
B b 44 # n # n
# 3
div.
Vla.
4

? b 44unis. j j j j j j j j j
J j J - j - j - j n J 43
- #
V. Celli
p- p
? b 44 j j - b - n -
D. Bass - - # -
J 43
p
200
Part III
(Animando un poco)
3
&b 4
377
Fl. 1, 2
Fl. 3 & b 43
. .
2 Ob. & b 43 #
J n
J J
P
3 .
espr.
& 4 # J
E. Hn.
J
p
# 3
espr.
B b Cl. 1, 2 & 4 ..
p
# 3
B b Cl. 3 & 4 # .
p
? 3 .
2 Bsn. b 4 .
p
Hn. 1, 2 & 43
Hn. 3, 4 & 43
# 3
3 B b Tpt. & 4
3 Tbn.
? b 43
Timp.
? b 43
& b 43 n
n
P

Hp.
? b 43

& b 43
Cel.
? b 43
- . - .
(Animando un poco)
n 3 - ,
? b 43 J R J J J J J
J J J J
3
Boaz
J J J
Let thine eyes be on the field that they do reap, and go thou af - ter them:
S & b 43
A & b 43
3
T Vb 4
B
? b 43
.
(Animando un poco)
.
Vln. I & b 43 #
J n
J J
F
3 j j j div.j j j j
&b 4 . . n - - - -
Vln. II
# - - - -
p espr.
- - - - - - - - - - - - - - - -
B b 43
J J J J J J n
J J
Vla.

div. j
? b 43
j

j

j

j

j n - - - -
- - - - - - - - -
V. Celli
- - - J J

? 3 J - - - - - - - -
D. Bass b 4 J J J J
201
Part III
4
&b
381
Fl. 1, 2 4
Fl. 3 &b 44

b . - - . 44
2 Ob. &b n J J J
b . F
#
J b - j -
- . 4
espr.
E. Hn. & J J 4
P espr.
# j
B b Cl. 1, 2 & b .. 44
p
# j 44
B b Cl. 3 & .
p
? b . 44
.
J
2 Bsn.
p
Hn. 1, 2 & 44
4
Hn. 3, 4 & 4
# 44
3 B b Tpt. &
3 Tbn.
?b 44
? 4
Timp. b 4
&b ggg b 44
ggg
F gggg
ggg
Hp.
?b 44
gg
&b 44
Cel.
?b 44
? b J- . j , b

R b b - J J J J J . 44
3
Boaz
J J
have I not charged the young men that they shall not touch thee?
S &b 44
&b 44
A
T Vb 44
B
?b 44
b . . 4
Vln. I &b n J J J 4
F
div. j j
&b
b . j - . - - - - 44
unis.
Vln. II # J b - J - - - - J J
P p
- - - - - - - - b - - - -
B b b J b b -
div.
- - - 44
Vla. J J J J J J J
p
? - - - - b - - - - b - - - - - - - - 4
b J J J 4
J J J J J
V. Celli
p
? b j - - - - - - - - 44
D. Bass J J J J
p
202
Part III
4
&b 4
385
Fl. 1, 2
Fl. 3 & b 44
2 Ob. & b 44
# 4
B b Cl. 1, 2 & 4 J
# 4 j
B b Cl. 3 & 4 n
? b 44 b n
2 Bsn.
J n #
p
4
espr.
Hn. 1, 2 & 4
& 44 j j j j j j j j j
Hn. 3, 4
- - - - - - - - - - - -
#
3 B b Tpt. & 44
? 4
3 Tbn. b 4
Timp.
? b 44 j
j

j
j

j

j
j

j

j

j j
& b 44

p j j
j j
Hp.
? b 44 j
dolce
j
b b n
& b 44 b # b n bb

n - b # b n bb

n n -

b
- - - - - - b - -
Cel. p dolce - -
? b 44
n b , b -
? 4 J J - .
espr.
Boaz b 4 J J J J J J J J
and when thou art a - thirst, go un - to the ves - sels, and
S & b 44
A & b 44
T V b 44
? 4
B b 4
- n - b - - - n - b - - - n - b - -
4
div.
&b 4 n b n b n b
p espr.
Vln. I
b
- # - n - b - -
b # - - b - - b -
b
& 4 4 b n b n n -
p
Vln. II
unis. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

espr.
y Vla.
4
Bb 4 w y w y w
j j j
? b 44 j j j j j j j j j

unis.
b b n
V. Celli
p
D. Bass
? b 44 b w bw n - - # -
p p
espr.
203
Part III
- -
(Un poco largamente - a piacere)
3
&b
388
Fl. 1, 2 4
p
Fl. 3 &b 43
.
1 solo

2 Ob. &b J - - 43
F p
#
espr.
3
B b Cl. 1, 2 & 4
p p
#
B b Cl. 3 & 43
?b w w - -
2 Bsn.
w w 43
P p
3
& 4
- -
Hn. 1, 2

& bw w 43
bw w - -
Hn. 3, 4
P
# p
3 B b Tpt. & 43
? 3
3 Tbn. b 4
?b j j j j
Timp. 43
j j
&b
n
43
3 3 3
b J
P

Hp.
?b b j 43

3
b
3
&b b
j 43
Cel.
?b 43
f b .
?
J b b n w- -
3
Boaz b J J J J 4
drink of that which the young men have
S &b 43
A &b 43
T Vb 43
? 3
B b 4
w- w- - -
Vln. I &b w w 43
P p
b ww- ww- - -
Vln. II &b 43
P p
Bb w 3
Vla. w - - 4
P p
?b bw w n 43
div.
V. Celli
w w - -
P p
?b w w w
D. Bass 43
P
204
Part III
-
# n
32 Tempo Primo (Andante)
3 4 3
Fl. 1, 2 &b 4 J 4 J 4
-
Fl. 3 & b 43 44 J 43
j
2 Ob. & b 43 44 43
# 3 - - - - 4 # # - 3
B b Cl. 1, 2 & 4 J J 4 J 4

# 3 j 44 j
B b Cl. 3 & 4 - - -
j
- 43
-

j
? b 43 . 44 w 43
. w
2 Bsn.
3 j j 4 j 3
& 4
-

-

- 4 #

4
- -
Hn. 1, 2

j j
& 43 44
#
j 43
- - - - -
Hn. 3, 4
j
#
& 43 44 # # # 43
Mtd.
3 B b Tpt.
-

-
? 3 4 # n 3
Mtd.
b 4 4 4
3 Tbn.
J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b 43 44 w 43
Timp.
J J J

Cym. 43 44 43

43 44 43

Trgl.

gg ~~~ ~~
b 3 44 ~~~ ~~~ J 43
~~~
~~~
& 4 ggg ~~~ ~

~~~
~~~
~~~
ggg ~~ ~
n ~
~~~
~~~
ggg ~~~ ~~ ~
~
~~~
~~~
~~~
? b 43 gggg ~
B
~~~
Hp.
44 ~ 43
~~~
~~~
ggg
~~~
~~~
-
# n
& b 43 44 # n 43
-
Cel. p
? 3 4 3
b 4 4 4
Boaz
? b 43 w- 44 43

drawn.

S & b 43 44 n
R R J R R 43
r r
Then she fell on her
j
face,
A
3
&b 4 4
4 # r r j n 3
4

Then she fell on her face,

T V b 43 44 n
R R J R R J 43
n
Then she fell on her

face,
? b 43 44 # R R J 43
B
R R J
Then she fell on her face,
. - .
n -
#
unis.
Vln. I & b 43 J 44 J J 43
. 44 n - - .
unis.
Vln. II & b 43 #
J J J 43
div. j j
B b 43 44 n w j
Vla.
-

-

-

- #w 43
pf
j j j
? b 43 44 n ww 43
V. Celli - - - -
pf
? b 43 - - - - 44 w 43
D. Bass
J J J
pf
205
Part III
n -
3 4 2
&b 4
394
Fl. 1, 2 4 4
p
-
Fl. 3 & b 43 44 24
p
2 Ob. & b 43 44 24
# 3 j
j 4 #w ww 2
B b Cl. 1, 2 & 4 4 w 4
- - - -

#
B b Cl. 3 & 43 j j 44 24
- - - - #w w

? b 43 . 44 w w 24
2 Bsn.
. w w
3 j j 4 - 2
& 4
-

- 4 4
- - J
Hn. 1, 2

j j j
& 43 44

24
- - - - -
Hn. 3, 4

#
& 43 44 # www 24
Mtd.
3 B b Tpt.
-

? 3 4 n - www 2

Mtd.
3 Tbn. b 4 4 4

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b 43 44 24
Timp.
J J w w

Cym. 43 44 24

g ~~~
& b 43 gggg 44 ~~ 24
~~~
~ ~~
~ ~~
~~~
~~
~~
~~~
~~~
g ~
~~~
~~~
p gggg ~~ ~~~~
~~~
~~~ ~
~~~
n
~~~
~~~
~~ ~
g ~ ~~~ ~~~~
~~~
? 3 gggg ~
~~ ~
~~ ~
~~~ ~~~~
Hp. B
4 2
~~~

~~~
~ ~~
~ ~~
b 4 gg 4 4
~~~
~~~
gg
~~
~~

& b 43 44 n 24
n
Cel. p
? b 43 44 24
p
3
& b 43 44 n 24
3
J J
3
S
J J J
p And bowed her - self to the
j j
& b 43 44 24
3

3 3
A
p
And bowed her - self to the ground,
3
V b 43 44 n n 24
3
J J
3
T
J J J J
p And bowed her - self to the ground,
? b 43 J 44 24
3
3 3
B
J J J J J
And bowed her - self to the ground,

.
n - - . w
3 # J 4 J 2
Vln. I &b 4 4 4
F espr.
. 44 n - - . w
Vln. II & b 43 #
J J
24
F espr.
j j
B b 43 44 n ww w
w 24
Vla.
- - - -
p pf
j j
? 3 4 ww ww 2
V. Celli b 4 - - - - 4 4
p pf
? b 43 - - - - 44 w w 24
div.
D. Bass
J J w w
p pf
206
Part III
n
2
33 Andantino supplichevole
3 2
&b 4 J
397
Fl. 1, 2 4 4

Fl. 3 & b 24 J 43 24
b - n - b - n - b - - -
2 Ob. & b 24 43 b b 24
p dolce
# 2 j - -
B b Cl. 1, 2 & 4 # # # - # # - 3 -
4 n n # - n b -
2
4
p
#
& 24 43 24
dolce
B b Cl. 3 j
#
? b 24

43 24
J
2 Bsn.
2 3 2
Hn. 1, 2 & 4 4 4
Hn. 3, 4 & 24 43 24
# 2 # j
3 B b Tpt. & 4 43 24
? 2 3 2
3 Tbn. b 4 J 4 4
? b 24 j 43 24
Timp.

2 ~~~ J
&b 4 43 24
Hp.
? b 24 43 24
& b 24 43 24
Cel.
? b 24 43 24
P espr.
33 Andantino supplichevole
2 n 3 j 3 b b 3 j j 3 j j 2
&b 4 J J J # J 4 # 4
3
J
3 3 3
Ruth
J J J
p
& b 24 n J 43 24
Why have I found grace in thine eyes, that thou should - est take know - ledge of
n
S
J J
p and said
j j
ground, un - to him,
j
A & b 24 n
J
# 43 24
p j
and said un - to him,
T V b 24 n
J J
n
J
43 24
p
and said un - to him,
? 2
b 4 n j
J 3
4 2
4
B
J J
and said un - to him, 33 Andantino supplichevole
Vln. I & b 24 J 43 24

Vln. II & b 24 J 43 24
B b 24 n 3
4 2
4
J
Vla.
? b 24
V. Celli
J
43 24
j
? b 24
D. Bass

43 24
207
Part III
2 4
&b 4
403
Fl. 1, 2 4
Fl. 3 & b 24 44
-
& b 24 # - # - 44
J
2 Ob.
pf
# 2 b j 4
B b Cl. 1, 2 & 4 - -

-
4
pf
# 2 44
B b Cl. 3 & 4

? b 24 # 44
p
2 Bsn.
dolce
2 4
Hn. 1, 2 & 4 4
Hn. 3, 4 & 24 44
# 2 44
3 B b Tpt. & 4
? 2 4
3 Tbn. b 4 4
Timp.
? b 24 44
& b 24 44
Hp.
? b 24 44
& b 24 44
Cel.
? b 24 44
2 j - . 4
& b 4 - J J 4
3
Ruth
J J J J
me, see - ing I am a stran - ger?
S & b 24 44
A & b 24 44
T V b 24 44
p simple
-
? 2 # J 4
b 4 J J 4
div.
B
J J J J J
And Bo - az an - swered and said un - to her,
Vln. I & b 24 44
Vln. II & b 24 44
Vla. B b 24 4
4
V. Celli
? b 24 44
D. Bass
? b 24 44
208
Part III
Calmo (quasi recitativo)
4
&b 4
410
Fl. 1, 2
Fl. 3 & b 44
2 Ob. & b 44
p
# 4 dolce
B b Cl. 1, 2 & 4 n
n n b
# 4
B b Cl. 3 & 4
2 Bsn.
? b 44
- -
4 w
1 solo
w b b
1
Hn. 1, 2 & 4 bw w
pf pf 2
p
& 44
b ww ww
Hn. 3, 4
p
# 4
3 B b Tpt. & 4
? 4
3 Tbn. b 4
Timp.
? b 44
& b 44
Hp.
? b 44
& b 44
Cel.
? b 44
p 3 3
b J3 J b
? 4 J J J J J
b 4 J J J J J J J J J b b
J

J J
J
3
Boaz
J J J
It hath ful - ly been shewed me, all that thou hast done un - to thy mo - ther - in - law since the death of thine hus - band:
S & b 44
A & b 44
T V b 44
? 4
B b 4
Vln. I & b 44
Vln. II & b 44
Vla. B b 44
V. Celli
? b 44
D. Bass
? b 44
209
Part III
&b
414
Fl. 1, 2
Fl. 3 &b
2 Ob. &b
#
B b Cl. 1, 2 &
#
B b Cl. 3 &
b b b b b b b b b b b b
?b b
p
2 Bsn.
dolce
w- w- w-
1 solo
Hn. 1, 2 &
pf pf pf
Hn. 3, 4 &
#
3 B b Tpt. &
?
3 Tbn. b
Timp.
?b
&b
Hp.
?b
&b
Cel.
?b
. b
? J J J J J R R R R J J R R 3
Boaz b R R R R J J J J J
And how thou hast left thy fa - ther and thy mo - ther, and the land of thy na - ti - vi - ty, and art
S &b
A &b
T Vb
?
B b
Vln. I &b
Vln. II &b
Vla. Bb
V. Celli
?b
D. Bass
?b
210
Part III
34 Andante (Tempo dell'Arioso)
&b n 43
417
Fl. 1, 2
Fl. 3 &b n 43
2 Ob. &b n 43
# 3 . .
& 4 # J # J
E. Hn.
J
p espr.
# ## 3
B b Cl. 1, 2 & 4 # ..
p
# ## 3
B b Cl. 3 & 4
? 3 # .
b w w
a2
2 Bsn. n 4 .
p
Hn. 1, 2 & b ww 43
p
Hn. 3, 4 & b b ww 43
p
# ## 3
3 B b Tpt. & 4
3 Tbn.
?b n 43
Timp.
? b j
j
j
j
j
j n 43
&b n 43
# #
-
Hp.
?b n 43 #
-
&b n 43
Cel.
?b n 43
b #
? b J b 3
J b J
J J J J J J J J J n 43 J
3
Boaz J
come un - to a peo - ple which thou know - est not here - to - fore. The
S &b n 43
A &b n 43
T Vb n 43
B
?b n 43
Vln. I &b n 43
n 43 . j j
Vln. II &b
#
# .
p espr.
div. -
Bb n 43 J - - - # - - - -
Vla.
J J J
j j
div. j j
?b n 43 - #
V. Celli
- - - - - - -

? 3 .
D. Bass b n 4
p
211
Part III

421
Fl. 1, 2 &
Fl. 3 &
. .
2 Ob. & # J J J
# . .
#
to 2nd oboe
E. Hn. & J J J
# j
B b Cl. 1, 2 & # j .. ..
-
- p
p
#
B b Cl. 3 & #
? j n .
j - .
- .
2 Bsn.
.
p p
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
3 Tbn.
?
Timp.
?
&
- -
p p

Hp.
?
-
&
Cel.
?
- - ,
? J
J
J - .
-
Boaz J J J J J J J J J J
LORD re - com - pense thy work, and a full re - ward be gi - ven thee of the
S &
A &
T V
B
?
Vln. I &
.
j j - .
j
. - - .
Vln. II & # - # J J J
- - - - - - - - - - - - - -

-
-
B J J
Vla.
J J J J J J
?
j

j

j

j

j

j - - - -
- - - - - - - -
V. Celli
- - - - J J
?
J . - - - - - - - -
D. Bass
J J J J
212
Part III

425
Fl. 1, 2 &
Fl. 3 &
- - -
- - -
1 solo
& b
2 Ob.
J J
p P
# . .
& # # .
#
espr.
.
# J J J J
B b Cl. 1, 2
J J J
F p
## j j j j
B b Cl. 3 &
p
? b n
# J J
J J J
2 Bsn.
p
P espr.
j j j j 1 solo
& #
- - - -
p - - - -
Hn. 1, 2
J
j j j j j
&
p - - - - - - - - #
Hn. 3, 4
#
3 B b Tpt. & #
3 Tbn.
?
? j j j j
Timp.

3
b
3
&
3
J

3 3
b
Hp.
? #
3 3 3 3 J
3 3
&
Cel.
?
- . b 3 - - n -
Boaz
? J J J R J J J J J
LORD God of Is - ra - el, un - der whose wings thou art come to
S &
A &
T V
B
?
. . - - - - -
& n J
J J J - - - n - -
Vln. I
J J
j j j j j j j j
& b - - - - - - - - # - -
div.
Vln. II
- - - - - - - -
j j - - - j j
B - - - - - - - -
unis.
Vla.
J J - - - - J J - - -
- - - - b - - - - j j
? # - - - - - b - - - n - -
unis.
V. Celli
J J J J J J
. . #
? #
div.
. .
J
D. Bass
213
Part III
. # - - . .
35
# J J J # J
Fl. 1, 2 &
P espr. P
- - -
& J # - # # .. # #
J
Fl. 3
J J
P P
j
2 Ob. &
# - - - - # - . - - - -
B b Cl. 1, 2 & # J J
.
J
J J
p
## j j j j j
B b Cl. 3 & - - - - # - . - - - -
p
j
? . # . .
2 Bsn. . - . .

j j j j
& # # - ..
Hn. 1, 2
- - - - J - - - -
p
- j
j j j j
3
&
3
- - - - # .. - - - -
J
Hn. 3, 4
p
#
3 B b Tpt. & #
3 Tbn.
?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? j j j
Timp. .

3
gg #
3
# ggg
3
#
3
& ggg # # ggg

p gggg dolce P # ggg
g # ggg
? gggg #
Hp.
# # ggg
3
gg
- 3
3
&
Cel.
?
-
35
Boaz
?
p
trust.
&
S
R R
p
Then she said,
& r r j
A # #
p
Then she said,
V
T
R R J
p
Then she said,
? # #
B
R R J
Then she said,
. # - - . .
35
# . # .
div.
& # # . #
Vln. I
J J J J
p espr. p espr.
. - .
# . # - # # .. # .
div.
& # J
Vln. II
J J # J
p espr. p espr.
div. - -
B - - # .. - - - -
Vla.
J J J J J

j
? j
j # . #
j

j
div.
.
- - - - - - - -
V. Celli

?
div.

div.
.
.
pizz. J J J
D. Bass
arco
pizz.
214
Part III
# - - . . - - .
36
J # J J
433
Fl. 1, 2 & J J
p
- - .. j
espr.
Fl. 3 & J J -
p
2 Ob. &
# -
E. Hn. & J
p
# # - - ..
B b Cl. 1, 2 & # J J
# j j
B b Cl. 3 & # # - - .
? #
j
-
J
-
2 Bsn.
p
j
&
# -
Hn. 1, 2
j
&

Hn. 3, 4
-
#
3 B b Tpt. & #
3 Tbn.
?
? ~~~~~~~~~~~~~~~~~~~~~~~~~~ j

Timp.
J

#
3
# J
3
&
3

p p
3

Hp.
?
3

3
3
&
Cel.
?
p 36
,
j 3 . - . r
molto espr.
& J J J J
Ruth J J J J J J
Let me find fa - vour in they sight, my lord, for that thou hast com - fort - ed
S &
A &
T V
B
?
# - - . - - - - - -
36
-
& # .
J

J J - J

J J J
Vln. I

- - ..
j

j
#
j

j

j
& J J - - - -
- - - -
Vln. II

- - .. - - - - - j
div.
B
unis.
Vla.
J J - J J

j j - j j j
? # . -
div.

unis.
V. Celli - - . - - - -

? - - . .
J
D. Bass
J J
215
Part III
. . . .
# J # J J
J J
437
& J
P
Fl. 1, 2
espr.
j -
Fl. 3 & - J
p
2 Ob. &
# -
E. Hn. & J
p
## j
&
B b Cl. 1, 2
-
p
#
B b Cl. 3 & #

j
-
p
? -
2 Bsn. J
p
Hn. 1, 2 &
j
3
&
-
Hn. 3, 4
p
#
3 B b Tpt. & #
3 Tbn.
?
? j
Timp.

3
ggg
ggg
3 3
&
3
ggg ggg
ggg ggg
Hp.
ggg ggg 3
?
3
ggg ggg
3

3
3
gg
3
&
Cel.
?
, , ,
- . j
J J . - j 3j - j j j j
& J J J . J
3
Ruth J J -
me, and for that thou hast spo - ken friend - ly un - to they hand - maid, though I be not
S &
A &
T V
B
?
. .
- - #
unis.
& - J J
Vln. I
J J J P espr.
j j j j j in 3 - - - -
div.
&
Vln. II
- - - - - - - J J
p
- - - - - - - - - - - -
div.
B
in 3
Vla.
J J J J J J J
p unis.
j j j j - - - - - - -
? J J J
V. Celli
- - - -
p
? . .
D. Bass J J
p
216
Part III
. .
allargando
# #
J J 4
441
Fl. 1, 2 & 4
P
- -
Fl. 3 & 44
p
2 Ob. & 44
# 44
B b Cl. 1, 2 & #
# 44
B b Cl. 3 & #
2 Bsn.
? 44
44
Mtd.
& # -
-
Hn. 1, 2

4
Mtd.
& # 4
-
Hn. 3, 4
-

# 44
3 B b Tpt. & #
3 Tbn.
? 44
? 4
4
j j
Timp.
j j j j
3 3

&
# #
44
#
#
3

p # J J J J p
3

3 3
Hp.
? 44

4
3 3
& 4
Cel.
? 44
allargando
j j j j
Ruth & . # j
j .
44
like un - to one of they hand - maid - ens.
4
S & 4
& 44
A
T V 44
? 4
B 4
- - - . .
-
allargando
# #
J J 4
& 4
p p
Vln. I
- - -
espr.
- -
espr.
- - - # # - - - - - .. - - - .. 44
div.

& J
in 2
Vln. II J J J J J

- - - in 2- - - - - # - - - - - .. - - - .
div.
B J J J . 44
Vla.
J J J

? # - - b - n - div. - - - . - - - .. 4
. 4
V. Celli
J J
p espr.
? - . - . 44
D. Bass
217
Part III

37 38 Andante (un poco mosso)
Fl. 1, 2 &
4 J
4 bbb

Fl. 3 & 44 J bbb
2 Ob. & 44 bbb
# 4 nnb
B b Cl. 1, 2 & # 4
# nn
B b Cl. 3 & # 44 b
2 Bsn.
? 44 bbb
4 j
Hn. 1, 2 & 4
44 j j

open
&

Hn. 3, 4
p
# nnb
3 B b Tpt. & # 44
? 4
3 Tbn. 4 bbb
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j
Timp.
? 44 w bbb

g
& 44 gggg b b
b
j
j
ggg
gg
ggg
44 gggg
Hp.
? bbb J
gg
gg J
& 44 bbb
Cel.
? 44 bbb
37 38

Andante (un poco mosso)
? 4
Boaz 4 bbb
p dolce
At
44 bbb
& J J J R R
J
S
p dolce j
j r
And Bo - az said un - to her,
44 j r bbb
A & J
p dolce
44 bbb
T V J J J J R R
p dolce
And

Bo - az said un - to her,
? 4
B 4 J J J J R R bbb
ww
Andante (un poco mosso)
37

div. 38
Vln. I & 44 J b
b b J

Vln. II & 44 w
J bbb

J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
B 44 b b b yw
unis.
Vla.
J

? 4 ww J
bbb J J
unis.
4 J J
V. Celli
p
div.w
? 44 w j
D. Bass bbb w

218
Part III
b
&b b
448
Fl. 1, 2
b
Fl. 3 &b b
b
2 Ob. &b b
B b Cl. 1, 2 &b
B b Cl. 3 &b
? bb
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
- -
&b
1 solo Mtd.
3 B b Tpt.
p
? b
3 Tbn. b b
? bb
Timp. b
b j
&b b j j j j j

Hp.
? bb J
b J J
b
&b b
Cel.
? bb
b
- - .
P
- p
n
? b J J J J J # J
Boaz b b J J
3
meal - time come thou hi - ther, and eat of the bread, and dip thy
S & bbb
b
A &b b
b
T Vb b
? b
B b b
- n - b - - - n - b - - - - # - n -
b
Vln. I &b b n b n b # n
b
- # - n - b - - # - - -
n -
-
b - -
& b b b n b n n # n #
p espr.
Vln. II
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j
Vla. B bbb w w J - -
p
? b b j J
J

J
j
J J
J w
V. Celli b
? b b ww w
w

b
J
D. Bass
219
Part III
b
&b b
451
Fl. 1, 2
b
Fl. 3 &b b
b
2 Ob. &b b

dolce e legato
B b Cl. 1, 2 &b n
#
b
n

p

dolce e legato
B b Cl. 3 &b b
p
? bb
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 & w w
w- w-
p
&b - # - - - n
3 B b Tpt.
J
p espr.
? b
3 Tbn. b b
? bb j j j j j j
Timp. b

b b . n . b . j j
& b b . b . n . b .

J
j j
.
P p dolce

Hp.
? bb J J
b J J
b
&b b
Cel.
? bb
b
? b n b 3
Boaz b b J J J J J J J
mor - sel in the vin - e - gar.
b j j j j
S &b b b n b b
And she sat be - side the reap - ers: and he
b j j
&b b # n
j j
he
A
And she sat be - side the reap - ers: and
T V b bb
? b
B b b
b w
Vln. I & b b bw
J

b j
Vln. II & b b ww

b n b
B bb
div. ponticello
b b n b
J
Vla.
? bb j
V. Celli b w
? bb
D. Bass b
220
Part III
b n n n 15
&b b
454
Fl. 1, 2 8
b n n n 15
Fl. 3 &b b 8
b n n n 15
2 Ob. &b b 8
j n -
&b

# -

# -

#

# - n # # 15
8
B b Cl. 1, 2

-- - b - - #
n # 15
B b Cl. 3 &b b b J 8
? bb n n n 15
8
2 Bsn. b
15
Hn. 1, 2 & 8
& 15
8
Hn. 3, 4 w w w
w- w- w-
3 B b Tpt. &b n # # 15
8
? b 15
3 Tbn. b b nnn 8
? bb j j j j j j j j j
Timp. b n n n 15
8
b j j j
&b b j j j n n n 15
8

Hp.
? bb J J J n n n 15
b J
J

J
8
b n n n 15
&b b 8
Cel.
? bb n n n 15
8
b
b j j j j j -
& b b b - b - b
J - n n n 15
8
S
J J
j -
reached her parched corn, and she did eat, and was suf - ficed, and
bbb j j j j
A & b - b -
J

J
b
J - n n n 15
8
reached her parched corn, and she did eat, and was suf - ficed, and
T V bbb n n n 15
8
? bb n n n 15
8
B b
b n n n 15
Vln. I &b b 8
b n n n 15
Vln. II &b b 8
Vla. B bbb n n n 15
8
? b 15
V. Celli b b nnn 8
? bb n n n 15
8
D. Bass b
221
Allegretto Pastorale Part III
-
39
- .
(a piacere-quasi cadenza)
15 . J . J 12
1 solo
Fl. 1, 2 & 8 J J J J 8 J
P
Fl. 3 & 15
8 12
8
2 Ob. & 15
8 12
8
-
# # 15 . . 12
B b Cl. 1, 2 & 8 8
# -
B b Cl. 3 & # 15
8 . . 12
8
2 Bsn.
? 15
8 12
8
15 12
Hn. 1, 2 & 8 8
Hn. 3, 4 & 15
8 j . . 12
8

# # 15 12
3 B b Tpt. & 8 8
? 15 12
3 Tbn. 8 8
Timp.
? 15
8 j . . 12
8
Tamb. 15
8 . . . . . . . . 12
8
p
& 15
8 12
8 J
J o o o J o o o o o o n b

Hp.
? 15
8 12
8
7 b
o
& 15
8 .. . . ... . . 12
8
. .
Cel. p
? 15
8 12
8
-
S & 15
8 . . . 12
8
left.
15 - . . . 12
A & 8 8
left.
T V 15
8 12
8
? 15 12
B 8 8
15 . 12 . n - .
(a piacere-following the Flute Solo)
w. - . w.
unis.
Vln. I & 8 - 8
p
15 12
& 8 - . w. - .. ww .. 8 .. b - ..
div.
Vln. II
p
B 15
8 . w. . w. 12
8 .
Vla. - .
p
? 15 - .. ww .. - . w. 12 .. - .
8 . w. 8 n .
div.
V. Celli
p
? 15 - . w. - . w. 12 b - .
D. Bass 8 8 .
p
222
Part III
- . # #
(movendo)
n n
(a tempo - mosso)
# b n b b
# n b
40
. . b b b b 24
460
Fl. 1, 2 &
F p
Fl. 3 & b b b b 24
j j j
. b b b b 24
1 solo

2 Ob. & J
F
# nnbb 2
B b Cl. 1, 2 & # 4
##
3
. . nnbb 2
B b Cl. 3 & - . - . 4
p
? ww . ww .
2 Bsn. . . b b b b 24
p
- . - . - . - . - . 24
open
Hn. 1, 2 & - . - . # - .
Pun poco marcato
2
Hn. 3, 4 & 4
# nn b 2
3 B b Tpt. & # b 4
3 Tbn.
? b b b b 24
~~~~~~~~~~~~~~ j j j j j j
? j . . . b b b b 24
Timp.
.
p
. 24
Trgl. . .

J
& . - . - . b b b b 24
- . - .
F p
- . - . - . - .
Hp.
? 2
. bbbb 4

& . - # # # n n n # n b b # n b ... . . b b b b 24
- - - - - b - -
Cel. F
? b b b b 24
(movendo) (a tempo - mosso)
b b b b 24
40
S &
A & b b b b 24
T V b b b b 24
? 2
B bbbb 4
w- .
(movendo) (a tempo - mosso)
. . j j
- . b b b b 24
40
j
Vln. I & J J
P F
j b b b b 24
& w-w .. .. ..
unis.
Vln. II
w. w.
P p
B j
. . . . . . b b b b 24
w- . . . . .

Vla.
P p
j
? w. . . ww .. ww .
. b b b b 24
V. Celli
w- . . .
P p
? w- . . . . . . . b b b b 24
pizz.
D. Bass
J
P
223
Part III
41 Allegretto (Un poco mosso)
b b 2
Fl. 1, 2 &b b 4
b
Fl. 3 & b b b 24
b
2 Ob. & b b b 24 J
b
2
&b 4 n j# n n j# n n j# j j j
1
B b Cl. 1, 2
n n # n n # n n #
2
p chattering J J J J J
b
B b Cl. 3 & b 24
. . . j . . . . j . . . . j . . . .j . . .j . . .j
. . .
? b b b 24 n b n b n b n b n b n
2 Bsn. b # # # # # #
p staccato . . . . . . . . . . . .
2 b -
Hn. 1, 2 & 4
& 24
Hn. 3, 4
# # - # # - # # - # # - # # - # # -
p
b 24
3 B b Tpt. &b
? b b 2
3 Tbn. b b 4
? b b b 24
Timp. b
Tamb. 24
p
b j
& b b b 24

j
Hp.
? b b b 24
b
b
& b b b 24
Cel.
? b b b 24
b
41 Allegretto (Un poco mosso)
b
S & b b b 24
b
A & b b b 24
P
b j j j j j
T V b b b 24
J

R R J
P
And when she was ri - sen up to glean,
? b b 2 b
B b b 4 J J J J R R J J J
41 Allegretto (Un poco mosso) And when she was ri - sen up to glean,
b
Vln. I & b b b 24 J
b
Vln. II & b b b 24 n n b n n b n n b n n b n n b n n
p chattering
b 2
B b b b 4
Vla. # n # n # n # n # n # n

pizz. .
? b b b 24 . n . . b . n . b . n . b . n . . b . n . . b . n .
b # . . # . . # # . # . # .
.
V. Celli
p
? b b b 24
pizz.
D. Bass b
224
Part III p dolce
# n
b b
&b b nnnn#
470
Fl. 1, 2
b #
Fl. 3 & b bb nnnn
2 Ob.
b
& b bb nnnn#
- #
&b
b j j j j nn##
B b Cl. 1, 2
n # n n # n n # n
J J J J
b # #
B b Cl. 3 &b nn #
. . . . . . .j p dolce
.j . .j . . # n
? bb b b
2 Bsn. b b n
#
b n
#
b b n
J
nnnn#
. . . . . . 2nd
Hn. 1, 2 &
j
& # # b n -
- - # -
Hn. 3, 4
#
3 B b Tpt. &b
b nn##
? b b #
3 Tbn. b b nnnn
? bb b nnnn#
Timp. b
~~~~~~~~~

Tamb.
J
b
& b bb nnnn#
Hp.
? bb b nnnn#
b
b #
& b bb nnnn
Cel.
? bb b nnnn#
b
P -espr. -
? bb b # n -
Boaz b nnnn# J J
#
Let her glean
S & bbbb nnnn
A
b
& b bb nnnn#
F
- -
b b b b b b
j
n nnnn#
T V J J J J J J b
F - - , #
Bo - az com - mand - ed his young men, say - ing,
? bb b b
B b J J J J J

J
J
n nnnn#
Bo - az com - mand - ed his young men, say - ing,
n # n
Vln. I
b
& b bb nnnn#

b b
& b b b n n b n n b j nnnn#
Vln. II
n # n #

j
B b b b b # n # n b # nnnn# # n
unis.
Vla.

? bb b n b n b b nnnn#
arco
b # # n
n
V. Celli

? b b #
D. Bass b b nnnn
225
-
Part III
-
476
#
- -
Fl. 1, 2 &
p
#
Fl. 3 &
2 Ob. &
# -
p
###
&
-
B b Cl. 1, 2
p
# #
B b Cl. 3 & #
- - -
?#
-
2 Bsn.
Hn. 1, 2 &
Hn. 3, 4 &
# #
3 B b Tpt. & #
3 Tbn.
?#
Timp.
?#

Trgl.
p

&
#

Hp.
?#
# -
&
p
Cel.
-
?#
,

?# J R R J J
J
J
J

R R J R R J R R
Boaz
R R J R R
ev - en a - mong the sheaves, and re - proach her not: And let fall al - so some of the hand - fuls of
#
S &
#
A &
#
T V
B
?#
# # n b -
div.

&
p
Vln. I
# -

div.
Vln. II &

B# # n b

div.
Vla.

?#
- -
div.

V. Celli
p
D. Bass
?#
226
Part III
# -
b #
a2 a2
481
#
Fl. 1, 2 &
p p p
#
dolce dolce
Fl. 3 &
# - b - -
2 Ob. &
# #
B b Cl. 1, 2 & # # n #
p - p
###
dolce dolce
B b Cl. 3 &
?# - b - n -
2 Bsn.
Hn. 1, 2 &
Hn. 3, 4 &
# #
3 B b Tpt. & #
3 Tbn.
?#
Timp.
?#

Trgl.
# b b
b b
& b b b b b b
b b b b
Hp.
?# J J
# - -
&

Cel.
- -
?#
- - - b - . b - b - - - n - .
Boaz
?# J R R J J J J J J
#
pur - pose for her, and leave them, that she may glean them,
S &
#
A &
#
T V
B
?#
# n - #
b
unis. div. unis.
#
&
p
Vln. I
p p
# - -
Vln. II & b b n b b n
unis.

B# # b b b b n #
div. unis.
Vla.
p p
-
b - -
n
V. Celli
?#
D. Bass
?#
227
Part III

a poco a poco

rallentando
# n b b 12

486
Fl. 1, 2 & b 8
# n b 12
Fl. 3 & b b 8
# n b b b 12
1 solo
#
1
2 Ob. & 8
p p un poco marcato
### n n n b 12
B b Cl. 1, 2 & n 8

# # n n n 12
B b Cl. 3 & # n # # b 8
p espr.

?# n b b 12
2 Bsn. b 8

- 12
& # - n - - 8
-
Hn. 1, 2
p espr.
Hn. 3, 4 & 12
8
# # n n n b 12
3 B b Tpt. & # 8
?# n b 12
3 Tbn. b b 8
?# j j j j n b b 12
Timp.
b 8

Trgl.
12
8

&
# o # o o o o n b b 12
b 8
o
Hp.
?# # o o n b b 12
o o b 8
# n b 12
& b b 8
Cel.
?# n b b 12
b 8

rallentando a poco a poco
?# J n b b 12
Boaz R R J b 8
# n b 12
and re - buke her not.
S & b b 8
# n b b 12
A & b 8
# n b b 12
T V b 8
?# n b b 12
B b 8
n # n
rallentando a poco a poco
# n b b 12
Vln. I & J b 8
#
unis.
n b b 12
Vln. II & J b 8
B# r n b b 12
Vla. # b 8
j
?# n b b 12
b 8
J
V. Celli
?# n b 12
2 soli arco
D. Bass J b b 8
228
42 Allegretto Pastorale Part III
(Calmo)
Fl. 1, 2
b 12
&b b 8 nnn#
b #
Fl. 3 & b b 12
8 nnn
2 Ob.
b
& b b 12
8 . . nnn#
j j - . # 1 -
n # # 2 .. - ..
1 solo
12 J
B b Cl. 1, 2 &b 8 J
P espr. p dolce
12 ### - .
B b Cl. 3 &b 8 . . n - . - . - .
p p
? b b 12 w. ww .
n n n # ..
espr.
2 Bsn. b 8 w. . ..

12
1 solo
b - . - . - . b - . - .
Hn. 1, 2 & 8 - . - . - .
p dolce
12
3rd solo
& 8 # - .
- . - . # - .
Hn. 3, 4
# p
3 B b Tpt. &b 12
8 n##
? b 12 #
3 Tbn. b b 8 nnn
? b b 12 n n n # j . .
Timp. b 8

b nn #
& b b 12
8 n
o o o o
Hp.
? b b 12 nnn#
b 8
b
& b b 12
8 nnn#
Cel.
? b b 12 nnn#
b 8
(Calmo)
? b 12 #
Boaz b b 8 nnn
p dolce
j - j
b
& b b 12
8 . . n n n n n # .. .
J # - .
S
J J J
# j j
So she gleaned in the fields un - til
b nnn
A & b b 12
8 . j j
# # .
So she gleaned in the fields
T
b
V b b 12
8 nnn#
? b 12 #
B b b 8 nnn

- . # - .
42 (Calmo)
b j j nnn - .
Vln. I & b b 12 8 J
J
P p molto dolce
Vln. II
b
& b b 12 8 w. w. n n n # - . # - .
p-
- .
molto dolce
- . - . - . - . . - . - . - .
Vla. B b b b 12
8 - . - . - . nnn#
p espr. p molto dolce
? b b 12 ww . ww . - - . - . # - .
b 8 . . nnn# .
div. unis.
V. Celli
p p-
? b b 12
div. .
. - .
D. Bass b 8 nnn# .
p
229
Part III
494
# 4
Fl. 1, 2 & 4
# 44
Fl. 3 &
# 44
2 Ob. &
# # - . - .. - .. - .. 4
B b Cl. 1, 2 & # . ..
- .. 4
-
# # -
& # . - . - . - . - . - . - . - . - .
44
B b Cl. 3
- . - . - .
- - - -
?# .. .. . . . . w. 44
b . . w.
2 Bsn.
p espr.
4
Hn. 1, 2 & 4
& 44
Hn. 3, 4
- . - . # - . # - .
# # 44
3 B b Tpt. & #
?# 4
3 Tbn. 4
?# j . . j . . j . . 44
Timp.

# 44
&
o o o o o o o o o
Hp.
?# o 44
o o
# 44
&
Cel.
?# 44
# -
. .
j

-

-

-
- .. . . 4
& 4
2 2 2
S
J J J J J J - J J
e - ven, and beat out that she had gleaned: and it
# j j j j2
& . . j j j j j - . j 44
2
- - - - .
2
A J
#
un - til e - ven, and beat out that she had gleaned: and it
T V 44
?# 4
B 4
# -* . - . - . - . 44
Vln. I & - . - .
# - . - . 44
& # - . n - . - . - .
Vln. II
- . n - . - . - . - . n - . - . - .
Vla. B# - . - . - . - . 44
?# - . - . - . # - . - . - . n - . w. 4
V. Celli - . 4
- . - . - - .
D. Bass
?# . . b .. . ww .
. 44
230
Part III
Molto Calmo
497
# 4 2 4 3 2
Fl. 1, 2 & 4 4 4 4 4
# 44 24 44
Fl. 3 & 43 24
# 44 24 44
2 Ob. & 43 24
# # 4 2 4 3 2
& # 4 j 4 4 j 4 4

B b Cl. 1, 2
- n n
J
pf
# # 4 2 4 3 2
B b Cl. 3 & # 4 j 4 4 4 4
-
?# 44 j 24 44
43 24

2 Bsn.
-
& 44 24 44 j 43 24
Hn. 1, 2
+ #
pf
4 2 4 3 2
Hn. 3, 4 & 4 4 4 4 4
# # 44 j
& # 44 24 b n 43 24
Mtd.
n -
#
3 B b Tpt.
pf
3 Tbn.
?# 44 24 44 43 24
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# 4 2 4 3 2 j
Timp. 4 4 4 w 4 . 4
Cym. 44 24 44 43 24
Trgl. 44 24 44 43 24

b b
# 4 2 b 4 J 3 2
& 4 4 b b b 4 4 4
F p clear and transparent
2
6
b b 3
Hp.
?# 44 24 b 4
4 & 4 4
o 6

&
# 44 24 44 43 24

p clear andtransparent
Cel.

?# 44 24 44 43 &
2
4
-
# 44 J .. J 24 b b 44 n 43 24
Molto Calmo
&
3 3
S
R J J J -
was a - bout an e - phah of bar - - - - - ley.
# 44 j r j j j j 24 b b 44 n
& 43 24
3 3
.. -
- a - bout
A
#
was an e - phah of bar - - - - - ley.
T V 44 24 44 43 24
B
?# 44 24 44 43 24

Molto Calmo
U
# 4 2 4 @ @ @ @ @ @ @ @ 43 2
& 4 j 4 4 4
-
Vln. I

4
div. U
#
&
4
4 j 2
4 4 @ @ @ @ @ @ 43 24

@ @
Vln. II
-
div. U
B# 44 j
24 44 34 2
& 4

Vla.
-
U
- - -

?# 44 24 44 - - - - 34 24
V. Celli
J
p espr.
w .
?# 44 .. 24 44 w 34 . 24 J
J
D. Bass

231
Part IV
The Mother-In-Law
44
U j
b
Un poco meno

b
& b 24
4 J 2 4
Flute 1, 2 4 4 4
pf
b
Flute 3 & b 24 44 24 44
b
& b 24 4 2 4
Piccolo 4 4 4
U
b j
2 Oboe & b 24 b 44
J 24 44
pf
& 24
Clarinet in B b 1, 2 44 24 44
24 44 24 44
to Bass Clar.
Clarinet in B b 3 &
U
j
b
? b 2 44 J 24 44
2 Bassoon b 4
pf
2 4 2 4
Horn in F 1, 2 & 4 4 4 4
Horn in F 3, 4 & 24 44 24 44
3 Trumpet in B b & 24 44 24 44
? b 2 44 24 44
3 Trombone b 4
~~~~~~~~~~~
? b 2 44 j j j j j j 24 j j 44

Timpani b 4
even
b n
b 24 44 24 44
&b
F p
Harp
b n
? b 24 44 24 44
b
b b 2 b 44 n 24 44
& 4 b

P p
n
to Piano
Celesta
? b 2 44 24 44
b 4
p
44
j j
(Un poco meno)
b U j j
& b 24 44 24 44

3 3 3
3 3 3
Soprano
J J
p
And she took it up, and went un - to the ci - ty:
b U j
& b 24 44 j j 2 j j 4
4 4
3

3 3 3 3
Alto

U
And she took it up, and went un - to the
b
V b 24
Tenor 44 24 44
? b 2 U 4 w w 2 4
Bass b 4 4 4 4
Hm
Uw
44
w w
(Un poco meno)
unis.
b 2 4 2 4
harm.
&b 4 4 4 4
P
Violin I
Uw
b 2 44 w w 24 44
unis.
&b 4
harm.
P
Violin II

unis. U
B b b 24 w 4 w w 2 4
harm.
4 4 4
P
Viola

Uw
? b 2 44 w w 24 44
unis. harm.
b 4
P
Violincelli
? b 2 44 24 44
Double Bass b 4
232
Part IV
b
& b 44
506
Fl. 1, 2
b
Fl. 3 & b 44
b
2 Ob. & b 44
& 4
B b Cl. 1, 2 4
B. Cl.
? 44
? b 4
2 Bsn. b 4
4
Hn. 1, 2 & 4
Hn. 3, 4 & 44
3 B b Tpt. & 44
? b 4
3 Tbn. b 4
? b 4 j j j j j j j j
Timp. b 4
b 4
&b 4
Hp.
? b 4
b 4
b
& b 44
Pno.
? b 4
b 4
Pj F- F
b
& b 44
J
J

J J J J
b
J

J J
J
S
P F-
and her mo - ther - in - law saw that she had gleaned: and she
b 4 j j j j j j
&b 4 j j
3
A
J
ci - ty: and her mo - ther - in - law saw that she had
b
T V b 44
? b 4 w w .
B b 4
Hm Hm
w w w
b
Vln. I & b 44
b 4 w w w
Vln. II &b 4
w w w
Vla. B b b 44
? b 44 w w w
V. Celli b
? b 44
D. Bass b
233
Part IV
b
&b
509
Fl. 1, 2
b
Fl. 3 &b
b
2 Ob. &b
B b Cl. 1, 2 &
B. Cl.
?
? b
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
3 B b Tpt. &
? b
3 Tbn. b
? b j j j j j j j j j
Timp. b
b
&b
Hp.
? b
b
b
&b
Pno.
? b
b
- Pj p, j
b - j j j j j j j
& b
J
b # b
J -
S
, F P ,p
brought forth, and gave to her that she had re - served af - ter she was suf -
j j
b
&
b
- j

j

j j j j j j j

-
A
gleaned: and she brought forth, and gave to her that she had re - served af - ter
b
T Vb
? b w w w
B b
Hm
w w w
b
Vln. I &b
b w w w
Vln. II &b
w w w
Vla. B bb
? b w w w
V. Celli b
? b
D. Bass b
234
Part IV
w w
Mosso 45
#
bb n n 24 4
a2

512
Fl. 1, 2 & 4
f
3 3
S p
b #
Fl. 3 &b n n 24 4
4
b #
2 Ob. &b n n 24 41 w
4
w
S p
w w
# # # 2 4 w w
B b Cl. 1, 2 & 4 4
3
f
3
S p
? ### 2 44
B. Cl. 4 w w
S p
? b n n # 24 44 ww w
2 Bsn. b w
S p
Hn. 1, 2 & 24 44
Hn. 3, 4 & 24 44
### 2 44
3 B b Tpt. & 4
? b n n # 24 44
3 Tbn. b
? b j j j n n # 24 44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

b
w w
Timp.
24 44
sus. cymbal
Cym.

&b
b n n # 24 44
f
44
Hp.
? b n n # 24
b
. ww ww
bb nn # 2 . . . . 44 w w
& 4
S p
f
3
3
Pno.
? b n n # 24 44 ww w
b w ww
j
n n # 24
45
b 44
Mosso
S & b n n -
f
j 3 -
ficed.
& bb b -
j j
n n # 24 j 44 j
J J J
A

she was suf - ficed. And her mo - ther - in - law
T V bb n n # 24 44
F f -
3 - -
? b w 2 J J -
B b nn# 4 J 44
J
J J J J
w
And her mo - ther - in - law said un - to
w w
Mosso 45
&b
b n n # 24 J 44
p
Vln. I
S
w w w
Vln. II &b
b n n # 24 J 44
S p
w
Vla. B bb n n # 24 J &
44 w w
S p
? b w 2 44 ww w
b nn# 4 J w
div.
V. Celli
S p
? b # 2 4 w
D. Bass b nn 4 4 w
S p
235

Mosso (in 2) Part IV
# J 2
(quasi recitativo)

516
Fl. 1, 2 & 2
# 2
Fl. 3 & 2
# 2
2 Ob. & J 2

### 2
B b Cl. 1, 2 & J 2
B. Cl.
? ### 22
?# 22

J
2 Bsn.
2
Hn. 1, 2 & 2
Hn. 3, 4 & 22
# # 22
3 B b Tpt. & #
3 Tbn.
?# 22
?# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
22
w w w w
Timp.

# 2
& 2
Hp.
?# 22
ww ww ww ww
# w 22 w w w
&
Pno.
p
?# w 22 ww w w
w
w w ww w
w
Mosso (in 2)
f
(quasi recitativo)
# 22 . j j j j j

& J
ben declamato
Naomi
J J J
Where hast thou gleaned to - day? and where wrought - est thou?
# 22
S &
# - j j -
- - 22
A & J
said un - to her,
# 22
T V
?# 22
B J
her, Mosso (in 2)
w w w w
(quasi recitativo)
# 22
Vln. I &
p
# w w w w
Vln. II & 22
p
# w 22 w w w
Vla. &
p
?# w 22 ww w w
V. Celli w w w
p
D. Bass
?# w 22 w w w
p
236
- -
Part IV
. .
#
a2
. . b . . . . b . .
2
520
Fl. 1, 2 & 4
F F
3 3 3 3
# 2
Fl. 3 & 4
# . . b . . -
. . b . . -

.
a2
. 2
2 Ob. & 4
F3 F3
3 3
# # b 2
B b Cl. 1, 2 & # n n b # 4
p dolce e legato
B. Cl.
? ### 24
?# b b b b n 24
2 Bsn.
p
- # - # -
dolce e legato
# 24
Mtd
Hn. 1, 2 & # # - #
P
Hn. 3, 4 & 24
# # 24
3 B b Tpt. & #
3 Tbn.
?# 24
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# j 24
w
Timp.
# 24
&
Hp.
?# 24
b
#

b
24
&
3 3
3 3
Pno.
?# w w 24
w w
w w
# F - . -
j j
&
J
# - - 24
Naomi
J J J J
blessed be he that did take know - ledge of thee.
p
# . j j 24
J J b
& b
S
J
pAnd she shewed her mo - ther - in - law
# j j j j j 24
A & b . n n
# b b . 24
T V J J J J J
?# b b . n 2
J J J J 4
B
J
-
- -
And she shewed her mo - ther - in - law
- -
# 24
&
p espr.
Vln. I
b - - b - -
# - - 24
div.
Vln. II &
p
#
espr.
24
Vla. &
?# - - - - 2
V. Celli 4
p
-
?# - - - 2
D. Bass 4
p
237
-
Part IV
#
a2
w.
2 4 3 2
524
Fl. 1, 2 & 4 4 2 2
f
# 2 4 3 2
Fl. 3 & 4 4 2 2
# 24 4 - 3 w. 2
2 Ob. & 4 2 w. 2
f
# # j 4 3 2
B b Cl. 1, 2 & # 24 4 2 2
? ### 2 44 3 22
B. Cl. 4 2
?# 24 44 - w.
23 w . 22
J
2 Bsn.
f
2 4 3 2
Hn. 1, 2 & 4 4 2 2
24 44 23 w . 22
open
Hn. 3, 4 & #
# w.
f
# # 44
23
22
3 B b Tpt. & # 24
?# 44
23
3 Tbn.
24 22
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# 44
23 w .
Timp.
24 22
P p
#
2 4 3 2
& 4 4 2 2
f

Hp.
?# 44
23
24 22
# 44
& 24 23 22
Pno.
?# 44
23
24 22
# f -ben declamato - - . j j
44
23
24 22
Ruth & J J J
F
The man's name with whom I wrought to -
# 2 j j j 4 - 3 2
& 4 4 - - 2 2
S
- J
F
with whom she had wrought, and said,
# 44 j
23
24 j j 22
&

j - - -
-
A
F
with whom she had wrough, and said,
# j j 44 -
23
24 22
T V J - - - J
F
- -
?# j 44
24
J

J
- - 23 22
J
B
- w.
# 44
23
24 22
Vln. I &
S p
# - w.
44
23
24 22
Vln. II &
S p
# 44 -
23 w .
24 22
Vla. &
S p
?# 44
23 w .
24 22
V. Celli
-
S p
?# 24 44 23 w . 22
D. Bass
-
S p
238
>
46 Part IV

Mosso (Gay)
# 22 J #### 4 J
528
Fl. 1, 2 & 4
f
# 2 #### 4
Fl. 3 & 2 4
>
# 2
#### 4 J
2 Ob. & 2 J 4
f>

# # #### # 4
B b Cl. 1, 2 & # 22 # 4 J
f
? ### 2 # # # # # 44 w w w
B. Cl. 2 #
?# 22 #### 44 w w w
J w w w
2 Bsn.
f
2 4 # >
& 2 4
open
#
J
Hn. 1, 2
S
22 j 44 # >
Hn. 3, 4 & J

S
# # #### # 4 - -
& # 22 # 4 . . - - - - -
1 solo
3 B b Tpt.
-
- f
#### - - - - - - - - - . - -
?# 22 44 -
marcato

1 solo
J
f
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# 22 w #### 44
marcato
w w w
Timp.
F
2 4
2 4
a2
Cym.
22 44
S.Dr.
F
# 22 #### 44
&
Hp. f
?# 22 #### 44

# 22 #### 44
&
Pno.
?# 2 #### 4
2 4
# # # # 4 J
Mosso (Gay)
,
46
# 22 - . -
Ruth & 4 J J
####
day is Bo - az.
# 22 44
S &
# 22 #### 44
A &
# 22 #### 44
T V
?# 2 #### 4
B 2 4
w w w
46 Mosso (Gay)
# w ####
22 44
Vln. I &
F
# 22 w # # # 4 ww
# div. ww ww
Vln. II & 4
F
# 2 w #### 4 w
div.
ww ww
Vla. & 2 4 w
F
?# 2 ## # 4 w
# w w
div.
V. Celli 2 w 4 w w w
F
?# 22 w #### 4 w w w
div.
4
w w w
D. Bass
F 239
Part IV
####
47 (Un poco meno)

532
Fl. 1, 2 &
# #
Fl. 3 & # #
# #
2 Ob. & # #
# # #
B b Cl. 1, 2 & # ##
? # # # # # J
B. Cl. #
? #### j
w w
w w
2 Bsn.
j j j j
& # # .
Hn. 1, 2
# . - . - . # - .
F
j j j j
& . - . - . # .
3
Hn. 3, 4
-
F
# # # soloj n - .. j
& # # # - ..

a3
.
1
3 B b Tpt. - . - - - .
p
a2 -. div. - - - -
. . -
3 Tbn.
? #### . - n . . J

p
? #### ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
w w
Timp.
~~~~~~~

S.Dr.
J
# #
& # #
Hp.
? ####
# #
& # #
Pno.
? ####
p espr.
#### p
47 (Un poco meno)
& n - n
3
S
J J
#### p
And Na - o - mi said un - to her
j j
A & n -
#### p
And Na - o - mi said
V n w-
T
J J
p
? #### w-
B
J J
w w
47
# #
(Un poco meno)
J
Vln. I & # #
#### ww ww
Vln. II & J
# ## j
Vla. & # ww ww
V. Celli
? #### ww ww
j

j
? #### w w
w w
D. Bass
240
Part3. IV
n . . . w
48 Subito Mosso
#### .
n nn#
a2 3
n 2 J
536
Fl. 1, 2 & 2
f S
# # nn#
& # # n 2
Fl. 3 2
# # n
n n#
& # # 2 w
2 Ob. 2 J
. .
# # # . n . . n n n # # # 22 w
w

3
n
& # ##
3
B b Cl. 1, 2 n J
f S
? #### # w
B. Cl. # n n n # # # 22 J
S
n n n # 22 w
? #### j

w
2 Bsn.
S
2
Hn. 1, 2 & 2
22
Hn. 3, 4 &
# # # nnn### 2
3 B b Tpt. & # ## 2
3 Tbn.
? #### nnn# 22
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? #### nnn# 22
w w
Timp.
P
# ## nnn# 2
& # 2
22
Hp.
? #### nnn#
ww ww
#### n n nnn#
3
n 22 w w
3
&
Pno. f S p
? #### nnn# 22 ww w
w
w w
48
#### n f
- -
Subito Mosso
n n# 22 -
3
Naomi & - - J J J
#### nnn#
Blessed be he of the LORD, who hath
n j 2
3
S & n n 2
#### nnn#
daugh - ter - in - law,
22
A &
p
#### n
espr.
n n 3 j nnn# 22
V n
3
T
un - to her daugh - ter - in - law,
? #### n
B J nnn# 22
she said,
w w
48 Subito Mosso
#### nnn# 2
Vln. I & 2
S p
#### w w
Vln. II & nnn# 22
S p
# ## nnn# 22 w w
Vla. & #
S p
V. Celli
? #### nnn# 2 ww
2
w
w
S p
D. Bass
? #### n
n n# 22 w w
S p
241
- -
3
Part IV3
b b
# 4
3

540 3
Fl. 1, 2 & 4
F
# 4
Fl. 3 & 4
- -
# b 3 b
4
3
& 4
3 3
2 Ob.
F
# # 4
B b Cl. 1, 2 & # 4
B. Cl.
? ### 44
2 Bsn.
?# 44
- # - # -
4 #
Mtd.
& 4 # #
Hn. 1, 2
# -
P
Hn. 3, 4 & 44
# # 44
3 B b Tpt. & #
3 Tbn.
?# 44
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# 44 j
w w w
Timp.
# 4
& 4
Hp.
?# 44
ww ww 3 - 3 -
# b b
w w 44
3 3
&
Pno. F
?# w w 44
w
w w
w
# - F
& - - - - - 44 - # - - -
Naomi
J J J J J
not left off his kind - ness to the liv - ing and to the dead.
# 44
S &
# 4
A & 4
# 44
T V
B
?# 44
- -
w w - - - -
# 44
Vln. I &
- b - - b - -
# w w
44 -
div.
Vln. II &
# w w 44
Vla. &
V. Celli
?# w
w
w
w 44 - -
n
- -
D. Bass
?# w w 44 w w
242
- - Part IV
.
3
b b 3 b b 3 . . .
a2 .
. . . . . .
#
3
J J . .

544
&
F
Fl. 1, 2
#
Fl. 3 &
b - b - . . . . .
a2 . . . . . .
# . .
b b J J
3 3
&
3 3
F
2 Ob.
# # a2 . . . . . . . . . .
B b Cl. 1, 2 & # J
. . .
F
? ###
B. Cl.
n - # - n -
P
?# w w
2 Bsn. w w
P
- # - # # -
& # # - #
J
Hn. 1, 2
Hn. 3, 4 &
# #
3 B b Tpt. & #
3 Tbn.
?#
Timp.
?#
#
&
Hp.
?#
- - .
b b 3 b b 3 .

. . . . . . . - . . -
# b b J ..
3 3
&
Pno. F
?# b b b n n
b n b n b n n

# - . r j j j -
Naomi & J J J J J J - J J -
The man is near of kin to us, one of our next kins - men.
#
#
3
S & J J J J
And Na - o - mi said un - to her, And
# j j j
&
3
A
J
And Na - o - mi said un - to her, And
# j
#
3
T V J J
And Na - o - mi said un - to her,
?# b #
3
B
J J J
And Na - o - mi said un - to her,
w w
- b - - b -
#
&
p
Vln. I
- - ww ww
# - b b - b b
&
p
Vln. II
#
Vla. &
?# - - - - w w
V. Celli b n w w
p
D. Bass
?# b - - b - n - - b - n - n -
P un poco marcato
243
- .
Part IV
. . . . -
49 Quiet (quasi recitativo)
j
rit.
# # ww # ww n
548 div.
Fl. 1, 2 &
p
#
Fl. 3 &
# . . # . - . . -
# # j
1 solo
& # # # #
2 Ob.
P
# # . . . .
& # . . - j
1 solo
B b Cl. 1, 2 w w
p
? ### j

1 solo
B. Cl.
nw #w w
p
w w
?# w #w # # ww n n
2 Bsn.
J
p
Hn. 1, 2 &
Hn. 3, 4 &
# #
3 B b Tpt. & #
3 Tbn.
?#
?# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j j
Timp.
#w w
p ma ritmico
#
&
p o dolce
# o # o # o o
Hp.
?# o # o # o o
. . . - .. . -
# . # #
& #
J
p

Pno.
?# n #
n
J

Quiet (quasi recitativo)
#
49

rit.
&
quiet and dreamy
Ruth
J J J J J
He said un - to me
# # j
& J #
S
J J J
Ruth the Mo - ab - i - tess said,
# j j
& J j n
j
A
#
Ruth the Mo - ab - i - tess said,
# #
V J J J J # #
T
J J

And Ruth the Mo - ab - i - tess said,
?# #
B J J J J J J

And Ruth the Mo - ab - i - tess,
Quiet (quasi recitativo)

49
# # ww
rit.
# ww n ww
div.
&
p dolce
Vln. I

#
unis.
& nw
div.
Vln. II
p dolce w n ww

# # - - # - - - # - # - -
j

Vla. & # - B
P espr. p
w w
# # ww n ww
?# w #w n
V. Celli
p
D. Bass
?# nw #w w #w
p
244
Part IV
#
animando

552
Fl. 1, 2 &
#
Fl. 3 &
#
2 Ob. &
# #
B b Cl. 1, 2 & #
B. Cl.
? ###
2 Bsn.
?#
Hn. 1, 2 &
#
Mtd.
& # # # -
b n # -
Hn. 3, 4
p dolce e legato
# #
3 B b Tpt. & #
3 Tbn.
?#
?# j j j j j j j j
Timp.

#
&
Hp.
?#
#
&
Pno.
?#
p , -
animando
# # n n j # n
espr.
& J J J J
Ruth
J J J J J J J J J
al - so, "Thou shalt keep fast to my young men, un - til they have end - ed with my har - vest."
#
S &
#
A &
#
T V
B
?#
- # - n - - - # - n - -
animando
j #
# # n # n
Vln. I & #
p espr.
- - - - - - -
# # # n n # # # # n n # - # # #
& j
Vln. II

p espr.
Vla. B#
- # - # - - n - -
?# b n n # #

V. Celli
J
p espr.
?# # #w w
J
2 Soli
J
p
D. Bass
245
Part IV
# n
rit. 50 (Quiet)
b
556
Fl. 1, 2 &
# n
b
Fl. 3 &
-
# # n n
1 solo
b J
2 Ob. &
F espr.
###
n
n# w
B b Cl. 1, 2 & w ww
p dolce e legato
B. Cl.
? ### n
n#
?# nb w w w
1 solo
2 Bsn.
p
Hn. 1, 2 &
j
&
Hn. 3, 4
- -
p
# # nn#
3 B b Tpt. & #
3 Tbn.
?# nb
Timp.
?# nb
# n
& b
Hp.
?# nb
o o o
# nb
&
Pno.
?# nb
# nb
rit. 50 (Quiet)
Ruth & J
p ,
# n j j
b
espr. 3
&
3
S
p
And Na - o - mi said un - to Ruth her daugh - ter - in -
# nb j j ,

espr.
&
3

3 3
A

And Na - o - mi said un - to Ruth her daugh - ter - in -
# nb
T V
p ,
?# nb 3
J J
espr.
n -
rit. 50 And Na - o - mi said un - to her
b n
(Quiet)
# n b n nb
& J
F p
Vln. I
n -
# b b n
n
b J
&
F p
Vln. II
Vla. B# nb j
- - - - -
j j
- - - -
j j
- - - -
j
p even
n - -
b

?# n
V. Celli b J
D. Bass
?# nb
246
Part IV 51 Quiet but fluent
# 2 (in 2)
&b n
560
Fl. 1, 2 2
# 2
Fl. 3 &b n 2
# 2
2 Ob. &b n 2
# w
w
w
w ### 2

B b Cl. 1, 2 & 2 J
p
?# ### 2
B. Cl. 2
? w #
2 Bsn. b n # 22
J

p
2
Hn. 1, 2 & 2
j
ww ww 22
Mtd.
Hn. 3, 4 & #

# ### 2
3 B b Tpt. & 2
? n # 22
3 Tbn. b
? n # 22
Timp. b
2

Trgl. 2

&b n # 22
Solo

p p

Hp.
? n # 22
but distant
b o
n # 22
j
&b

Cel. p clear
? n # 22
b
Quiet but fluent
- .
51
# 2 (in 2)
&b n 2
Naomi
J J J
It is good, my
S &b n # 22
law,
&b n # 22

A
law,
T Vb n # 22
? 3
B b n # 22
daugh - ter - in - law,
w
51 Quiet but fluent
n # 22
(in 2)
Vln. I &b

w
&b n# 22 w
div.

Vln. II

B b j - - -
j
w w & n# 22 w
w
Vla.
- -

- -
? # - # 2
1 solo
V. Celli b n 2 J
F espr. p
? # 2
D. Bass b n 2
247
Part IV
564
# 3
Fl. 1, 2 & 2
# 3
Fl. 3 & 2
# 3
2 Ob. & 2
# # 3
B b Cl. 1, 2 & # 2
? ### 3
B. Cl. 2
2 Bsn.
?# 23
1 solo
w- 3
open
Hn. 1, 2 & # w- n w- 2 # w- n -
p espr.
Hn. 3, 4 & 23
# #
3 B b Tpt. & # 23
?#
3 Tbn. 23
?#
Timp. 23

# 3
& 2

Hp.
?# 23
#
23
j j j j
&

- - - -
Cel.
?# 23
#
23 . J J J J # J
3
&
3

3
Naomi

daugh - ter, that thou go out with his mai - dens, that they meet thee not in a - ny o - ther
# 3
S & 2
#
A & 23
#
T V 23
B
?# 23
w w w w.
#
Vln. I & 23
# ww ww ww ww .
.
Vln. II & 23
#
Vla. & ww ww ww 23 ww ..
w- # w- n w- w- b -
?#
23
1 solo
p
V. Celli
espr.
D. Bass
?# 23
248
Part IV
568
#
n
b 22
Fl. 1, 2 &
# n
b 22
Fl. 3 &
# n
b 22
2 Ob. &
# # n
n # 22
B b Cl. 1, 2 & #
ww ww ww

B. Cl.
? ### n
n # 22
?# nb 2 w w ww
1 solo
2
p dolce
2 Bsn.

2 j

Hn. 1, 2 & w- . 2
Hn. 3, 4 & 22
# # n n # 22
3 B b Tpt. & #
?# nb 2 ww
Mtd.
3 Tbn. 2 w

?# nb 2 j j j
Timp. 2

2
Trgl. 2
j

# nb 2

& 2 J

Hp.
?# nb 2
2
j j
sempre p

# nb 2
& 2
Cel.
?# nb 2
2
# n
& w- b 22
Naomi
J
field.
p espr.
# nb 2 3
& 2
3
S
p espr.
So she kept fast with the mai - dens of Bo - az
# nb 2

3 3
A & 2
P
So she kept fast with the mai - dens of Bo - az
# nb 2
espr.

T V 2

So she kept
?# n 2 w
B b 2
w.
Hm
# nb 2
Vln. I & 2
ww .
# . nb 2
Vln. II & 2
# ww .. nb 2 ww ww ww
Vla. & B 2

tutti -
?# w. n 2 w w- w
b 2 w
div.
p espr.
V. Celli

?# nb 2
D. Bass 2
249
Part IV

1 solo
&b
572
Fl. 1, 2
P clear3 3
Fl. 3 &b
2 Ob. &b
# j
B b Cl. 1, 2 &
B. Cl.
?#
?
b
J
2 Bsn.
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. &
? ww ww ww ww
3 Tbn. b w w w w

? j j j j j j j j j
Timp. b

&b

Hp.
p
?
3
b
3
j
&b

Cel. p
?
b
- ,
&b -
3
S
to glean un - to the end of bar - ley har - vest
,

&b
3
A - -
to glean un - to the end of bar - ley har - vest
3
Vb
3

3
T
fast with the mai - dens of Bo - az un - to the end of bar - ley
?
B b w w w w
Hm Hm
Vln. I &b
Vln. II &b
B b ww
J
Vla.
? w
V. Celli b w J
?
D. Bass b
250
J
Part IV
J 4
&b
576
Fl. 1, 2 4
3 3 3 3
4
Fl. 3 &b 4
4
2 Ob. &b 4
# 4
B b Cl. 1, 2 & 4
B. Cl.
?# 44
? 44
2 Bsn. b
4
Hn. 1, 2 & 4
Hn. 3, 4 & 44
# 44
3 B b Tpt. &
? ww ww 44
b w w w
J
3 Tbn.
? 44
Timp. b

J J
& b ggg 4
4
gg
p gggg
3 3
ggg
Hp.
? 44
3
b ggg
3
&b 44
Cel.
? 44
b
P - p
44
espr.
&b -

3 3 3
S

P p
and of wheat har - vest; and dwelt with her mo - ther - in -
44
&b
espr.
-
-
3 3 3
A
b n
P p
and of wheat har - vest; and dwelt with her mo - ther - in -
- - 3 # n n 3 b 44

espr.
Vb
3
T
har - vest and of wheat har - vest;

P
and dwelt
p with her mo - ther - in -
? - -

3 b 44
b w w w
3
B
Hm and dwelt with her mo - ther - in -
Vln. I &b 44
44
Vln. II &b
Vla. Bb 44
? 44
V. Celli b
? 4
D. Bass b 4
251
52
Lento Part IV 53 Quiet but fluent
2
& b 44 n 68
(q=h of the previous)
Fl. 1, 2 4
2
Fl. 3 & b 44 4 n 68
2
2 Ob. & b 44 4 n 68
44 2 # 6 - .
E. Hn. & 4 8
p
# 4 24 ## 6
B b Cl. 1, 2 & 4 8 .
- .
p
?# 4 24 ## 6
B. Cl. 4 8
? 4 24 6 - .
2 Bsn. b 4 n 8 .
p
p open
& 44 w w 24 68 j
Hn. 1, 2
w w b
pf
p
44 wopen 24 b 68 j
Hn. 3, 4 & w ww #
pf
# 4 24 ## 6
3 B b Tpt. & 4 8
? 4 24 n 68
3 Tbn. b 4
? 4 j j 2 j 6
Timp. b 4 4 n 8 j
J
p
24
44 68 .
sus. cymbal
Cym.
p
24
& b 44 n 68 . .
p F
Hp.
j n .
? 4 24
b 4

n 68 . .
J

24
& b 44 n 68
Cel.
? 4 2 6
b 4 4 n 8
p
Lento 53
52 Quiet but fluent
24
& b 44 n 68
S J
law. Then Na -
24
A & b 44 n 68
law.
24
T V b 44 n 68
law.
? 4 24 n 68
B b 4
law.
52 Lento 53 Quiet but fluent
24
& b 44 n 68
Vln. I
24
Vln. II & b 44 n 68
B b 44 2 n 68 .
div.
Vla. 4 .
pf p
? 4 24
b 4 n 68 J
pizz.
J
p
V. Celli
p P
? 4 24
b 4 n 68 J
pizz.
D. Bass J
p P p
252
Part IV
4
585
Fl. 1, 2 & 4
4
Fl. 3 & 4
4
2 Ob. & 4
# 4
E. Hn. & J 4
# 44
B b Cl. 1, 2 & # . . . . .
. . . . .
B. Cl.
? ## 44
? 44
J
2 Bsn.
Hn. 1, 2 & 44
44
Hn. 3, 4 &
# 44
3 B b Tpt. & #
3 Tbn.
? 44
? . . . 4
Timp.
J J J J J J J 4
44
&
Hp.
? 44
44
&
Cel.
? 44
# n . j j j 4
S & J J J J J J . 4
p
o - mi her mo - ther - in - law said un - to her,
j j j j j
& # j j n . j j j 44
.
A
p
Then Na - o - mi her mo - ther - in - law said un - to her,
# J n J J j j j 44
V J J J . .
T
J
p
Then Na - o - mi her mo - ther - in - law said un - to her,
? # n . j j j 44
J
B J J J J J J
Then Na - o - mi her mo - ther - in - law said un - to
44
Vln. I &
44
Vln. II &
B . . . . . 44
Vla.
. . . . .
V. Celli
? 44
D. Bass
? 44
253
Lento e grave 54 Molto Moderato Part IV
(q=h. of the previous)
44
quasi recitativo

590
Fl. 1, 2 &
& 4
Fl. 3 4
& 4
2 Ob. 4
# j - j
& # 44 j
a2 3
-
Soli

3 3
J
-
B b Cl. 1, 2

p espr.
? ## 4
B. Cl. 4
? 44 j
-
a2
2 Bsn. b . .
- b
p dolce e grave -
4 j
& 4
Hn. 1, 2
- # - -
p dolce e grave
443 j
& - - -
p dolce
Hn. 3, 4
e grave
#
3 B b Tpt. & # 44
3 Tbn.
? 44
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? 44
Timp.
J w w w

4
& 4
Hp. p
? 44 b

- b - - - -
& 44
Cel.
? 44
Lento e grave 54 Molto Moderato
j j 3 j j
j - J J j
(q=h. of the previous) quasi recitativo
44 j j
& . J J J J
3
Naomi
J
My daugh - ter, shall I not seek rest for thee, that it may be well for thee? And
S & 44
A & 44
4
T V 4
B
? 44
her,
Lento e grave Molto Moderato
54
44
(q=h. of the previous) quasi recitativo
& w- w-
- - w-
Vln. I
p dolce e grave
& 44
- - w- w- w-
Vln. II
p dolce e grave
B 44 w-
Vla.
- # - w- w-
p dolce e grave
- -
? 44div. j pizz.j
b
unis.
w w

V. Celli
arco
p
- -
? 44div. b
unis.
D. Bass
w w w
arco
p
-
254
Part IV
(movendo un poco)

594
Fl. 1, 2 &
Fl. 3 &
2 Ob. &
#
B b Cl. 1, 2 & #
B. Cl.
? ##
? . . . .
. . . . . . . . . # .
p. staccato .
2 Bsn.
P un poco marcato
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
# # www
?
Mtd.
3 Tbn.

? j j j j j j j j j
Timp.

&
Hp.
?

- - -
&
Cel.
?
- j j j
(movendo un poco)
& J j j j j
Naomi
J J J J J
now is not Bo - az of our kin - dred, with whose mai - dens thou wast? Be -
S &
A &
T V
B
?
(movendo un poco)
&
- w- - -
Vln. I
(sempre )p-
Vln. II &
# - - # w- - -
p
(sempre )
B
p w
Vla.
(sempre )
? . . . .
. . . . . . . . . . . # .
P
V. Celli
?
D. Bass w w w
p
255
Part IV
Allegretto - Tempo di Hore
- - - -
b b
55
# . . . . . # . . . . . .
(Un poco mosso) (like a Palestinian dance, from a distance)

3 3 3 3
#
# 2 #

597
& J J 4 J J
p
Fl. 1, 2
p
2
light clear
Fl. 3 & 4
.3 .
. . . - -
1 solo
# . . . . . 2
3
& J 4
3 3
2 Ob.
p light J
## j j 2
3 3
#
3 3
B b Cl. 1, 2 & . . . . . - . . . . . - 4 n n
p light

B. Cl.
? ## 24
? 24
1
2 Bsn.

24 j
1 solo
Hn. 1, 2 & w- w-
pf pf
24
Hn. 3, 4 &
# 24
3 B b Tpt. & #
3 Tbn.
? 24
? 2
Timp. 4
Trgl.

24

24
Tamb.

ggg # # ggg # #
ggg ggg # # 24
& g n
p
- - 24 b b
Hp.
?
2
& 4
Cel.
? 24
,
55
# # j # j j j
(Un poco mosso)
24
(like a Palestinian dance, from a distance)
#
3 3 3
&
3
Naomi
J J J J J J J J
hold, he win - now - eth bar - ley to - night in the thresh - ing floor.
24
S &
2
A & 4
24
T V
B
? 24
-
55 (like a Palestinian dance, from a distance)
2 Soli
b b -
(Un poco mosso)
# # #

# # #
# # # 2
& J J 4
p
Vln. I

pizz. j j
# # 24
Vln. II & #
p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ div. alla tastiera
B 24 b b
w y w y
@ @ @ @ @ @ @ @
Vla.
p
~~~~~~~~~~~~ ~~~~~~~~~~~~
? j 2
1st half
J 4
arco
V. Celli
D. Bass
? 24
256
. - - Part IV
b b . - b . . . .
601
n b . . . - - # - .
Fl. 1, 2 & J J
Fl. 3 &
2 Ob. &
#
B b Cl. 1, 2 & # n
n
n n
n
n

B. Cl.
? ##
?
2 Bsn.
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
3 Tbn.
?
Timp.
?

Trgl.
Tamb.
&
b b b b b b
Hp.
?

&

Cel.
?
J
- - b -
j
n
& J J J J J J J J
Naomi
J
Wash thy - self there - fore, and a - noint thee, and put thy
S &
A &
T V
B
?
b - b b -
- # n b -
&
Vln. I
J
~~~ ~~~
~~~~~~~~~~~~~~~~~~~~~ J ~~~~~~~~~~~~~~~~~~~~~ J
harm. harm.

2 Soli arco harm.
Vln. II &
B b b b b b b

@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @
Vla.
?
~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~

V. Celli
D. Bass
?
257
Part IV

607 a2
Fl. 1, 2 & J
p dolce
Fl. 3 &
- -
b b . - - -
b b . - - -
&
2 Ob. #
P espr.
## b b j
& n # b # n n n # # b # n n
n #
B b Cl. 1, 2

p
B. Cl.
? ##
? # n #
1 solo
2 Bsn. J
p dolce
Hn. 1, 2 &
j

3
Hn. 3, 4 &
#
3 B b Tpt. & #
3 Tbn.
?
Timp.
?
Tamb.

j

&

b
Hp.
? J

&

Cel.
?
J
j j j p
J j j j j
Naomi & J J J J J J

rai - ment up - on thee, and get thee down to the floor: but make not thy - self
S &
A &
T V
B
?

(2)
&
Vln. I
J
2 Soli
- b b - - b b - -

Vln. II & - #
p
b n # b b # b n b n # b b # b b @ @ @ @
espr.
b
B
@ @ @ @ @ @ @ @ @ @ @ @
@ @ @ @ @ @ @ @ @ @ @ @ J
Vla.
~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~
pizz. #
? #
V. Celli J J J J
D. Bass
?
258
Part IV
j
614
Fl. 1, 2 & n
Fl. 3 &

2 Ob. & #
J

J

espr. p p
##
B b Cl. 1, 2 & - # # - n n - # # - n n
P espr. - -
B. Cl.
? ##
n j j
1 solo
?
1
2 Bsn.
2

Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
3 Tbn.
?
?
Timp.
J
J
J
J

&

p j

Hp.
?
J
&
Cel.
?
p
& - j j j j j j j j j j
- j j -
j j
Naomi
J
known un - to the man, un - til he shall have done eat - ing and drink - ing.
S &
A &
T V
B
?
~~~ ~~
~~~~~~~~~~~~~~~~~~~~~~~ J ~~~~~~~~~~~~~~~~~~ J
harm. harm.
2 Soli
Vln. I &
p p
-
espr.

Vln. II & # J

J

p

# # n n # # n n
2 Soli
B
Vla.
J
p

espr.
? n J J
V. Celli J J
p
pizz.
? -
J J
2 Soli
D. Bass
259
# . # . . # . . # . . # . # . .
Part IV
# . . # . . # . . # . . # . . # . .
1 solo
620
Fl. 1, 2 & J J
p staccato
Fl. 3 &
2 Ob. &
#
B b Cl. 1, 2 & #
B. Cl.
? ##
2 Bsn.
?
# # - n n - # #
Mtd
&
Hn. 1, 2
. # -
F
# # - n n - # #
Mtd
& # n n . # # .
. . # # -
Hn. 3, 4
F . . -
p
#
3 B b Tpt. & #
3 Tbn.
?
? j j j j j j j j j
Timp.

Trgl.

# # # # # #
& # J # # # # J #
Hp.
p even
?
& # # # # # #
# J # J # J # # J #
Cel.

?
p e dolce)
j # # j
# j # j
(sempre
& # J J # J .
Naomi
J J J J J
And it shall be, when he li - eth down, that thou shalt mark the
S &
A &
T V
B
?

# #
tutti harm.
# #
div.
Vln. I &

# # # # # #
& # J # # # # J #
1st half
Vln. II
@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @

#
leggerissimo
~~~#~~~~ J
harm.
B
2 Soli
& # ~~~
~~
# ~~
Vla.
p
# # n n # # n n # # # n n # #
2 Soli
?
# #
arco
F J F
V. Celli
espr. p
?
2 Soli

D. Bass
p p
260
# . . # . . n . . . . . .
Part IV
# . . # . . n . . . . . . . .
626
Fl. 1, 2 & J J
Fl. 3 &
2 Ob. &
#
B b Cl. 1, 2 & #
? ##
B. Cl. #
p
2 Bsn.
?
& # #
. . . # # -
Hn. 1, 2
. p -
Hn. 3, 4 &
#
3 B b Tpt. & #
?
Mtd
3 Tbn. b
p
? j j j j
Timp.
# # n
& # # n
J J
Hp.
?
& # # n
J # J # n J J
Cel.
?
j j j j 3j j
& # # n j j j j j j j j
3 3
Naomi
J J J - - -
place where he shall lie; and thou shalt go in, and un - co - ver his feet, and lay thee
S &
A &
T V
B
?

n
harm.
Vln. I & n
# # n
& # # n
Vln. II @ @ @ @ @ @ @ @ @J @ @ @ @ @ @ @J @ @ @ @ @ @
pp)
# ~~n
(sempre
~~~~#~~~~ J nn ~~~~~~~~~~~n~ J ~~
harm. harm. harm.

~~~~~~~~~~~~ J
(2 Soli)
& # ~~~
~
# ~~
Vla.
j j
? #
# # n
tutti

(2 Soli)

V. Celli
J
p p
pizz.
? b
J
(2 Soli)
J J
tutti
D. Bass J
p
pizz.
261
. . . . . .
Part IV
(Un poco agitato)
. . . . . . J
632
Fl. 1, 2 & J
Fl. 3 &
2 Ob. &
##
1 solo
B b Cl. 1, 2 & n # n b # n
# b n
p
? ##
B. Cl.
# n

? b b -
2 Bsn.
- . # -
P undark
poco marcato
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
- j
#
?
n # #
-
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?

Timp.

J J
&
Hp.
?
& j
J J
Cel.
?
(Un poco agitato)
& j j j - j j j
Naomi
# # # # - - - -
down; and he will tell thee what thou shalt do.
S &
A &
T V
B
?

(Un poco agitato)
&
Vln. I
J

@ J
Vln. II & @J @ @ @ @ @ @ @ @ @
~~~ n #
harm.

(2 Soli)
Vla. & n # ~~~~~~ J

j j
div.
? # # b b
ponticello
J
arco
V. Celli
# #
p
? # n
arco
D. Bass J J
p
262
Part IV
56 rit.
4 3 2
Moderato

638
Fl. 1, 2 & 4 2 2
4 3 2
Fl. 3 & 4 2 2
4 3 2
2 Ob. & 4 2 2
##
4 3 2
1
& j
B b Cl. 1, 2
n # n b # n 4 j 2 2
2
# b n
? ## 44 3 22
B. Cl.
w w 2 j
P
j
? b b - 44 w w 32 22
2 Bsn.
- . # w w
P
4 3 2
Hn. 1, 2 & 4 2 2
Hn. 3, 4 & 44 23 22
# 44
23
22
3 B b Tpt. & #
n # www
? 44
23 J
22
open
3 Tbn.
pf
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? 44
23 j 22
w w
Timp.
4 3 2
& 4 2 2
Hp.
? 44
23
22
& 44 23 22
Cel.
? 44
23
22
f -
3 J - - -
56 a piacere quasi recitativo
44 22
Moderato rit.
Ruth & J J 2 J J J
All that thou say - est un - to me I will
4 3 2
S & 4 2 2
44
23
22
A &
44
23
22
T V
p j j j j
j # n #
? 44 b # 23 22
div.
B
J J J J J
And shesaid un - to her,
56 rit.
44
23
22
Moderato
Vln. I &
44
23
22
Vln. II &
tutti
44 j
23
22
#
pizz.
Vla. & B
f j
? 44 w
23
b b w 22
V. Celli
# w w
p
j
? 44div.w w 32 22
w w
D. Bass
263
Part IV
57 Un poco mosso (in 2)
& 2
Fl. 1, 2 2
& 2
Fl. 3 2
& 2
2 Ob. 2
#
B b Cl. 1, 2 & # 22
? ## 2 w
B. Cl. 2 w w w
f
? 22 a2
2 Bsn. w w w w
f
2
Hn. 1, 2 & 2
Hn. 3, 4 & 22
#
3 B b Tpt. & # 22
? 22
3rd solo
3 Tbn.
w w w w
p
? 22 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp. w w w w
F
& 22
Hp.
? 22
2
& 2
Cel.
? 22
Ruth & 22
do.
S & 22
F
& 22

- - - - - b - -
A
F- ,
And she went down un - to the
22 - - - b
T V # -
- n -
F - - - -
And she went down un - to the floor, to the
? - b n - - # - , #
B
22 # b b
And she went down un - to the floor, to the floor, to the
Vln. I & 22
Vln. II & 22
B 2
Vla. 2
? 22
unis.
V. Celli w w w w
f S
? 22
unis.
D. Bass w w w w
f S
264
Part IV
2
647
Fl. 1, 2 & 4
2
Fl. 3 & 4
2
2 Ob. & 4
# 2
B b Cl. 1, 2 & # 4
B. Cl.
? # # j 24
? j 24
2 Bsn.
2
Hn. 1, 2 & 4
Hn. 3, 4 & 24
# 24
3 B b Tpt. & #
3 Tbn.
? j 24

? j 24
Timp.
2
& 4
f
~~~~~ 24
Hp.
?
~ ~~ ~ ~
& 24
Cel. to Piano
? 24
f - f
- - b - n j j j j j j j j 3j j -
- 24
& - - - #
-
S
f j 3 j f
And she went down in - to the floor, and did ac - cord - ing to all that her mo - ther - in - law bade
& - # - - b - n - - - j j j j j

j j
j - - 24
A
-
f
floor, And she went down in - to the floor, and did ac - cord - ing to all that her mo - ther - in - law bade
f - - - b - - - j j j # 3 - n -
V - - #
J J J J J
24
J J
T
j j j f
floor, And she went down in - to the floor, and did ac - cord - ing to all that her mo - ther - in - law bade
? # b n

n -
3
# - 24
B b b J J J J J J J
floor, and she went in - to the floor, and did ac - cord - ing to all that her mo - ther - in - law bade
24
Vln. I &
Vln. II & 24
Vla. B 24
? j 24
V. Celli
? j 2
D. Bass 4
265
58 (Interlude) Part IV
2
Tempo di Hore (Rhythmic and wild - like a Palestinian Dance)
Fl. 1, 2 & 4
& 2
Fl. 3 4
- - - -
2 b b . . . . . j # . . .
& 4 b b
2 Ob.
J J . . > . J J
f f
- - - -
n b . . . # . .
pi
## 2 n . . . .
j
.
B b Cl. 1, 2 & 4 J J . J J
f > pi f
# 24 - b - .j j - - j j
B b Cl. 3 & # . . n .
. n . j .
. .
. .
f > f
. . . . . . . . .
. . . . . . . . . . .
pi
? 24 . . . .
b n # # b # n #
n # # J l n # #
2 Bsn.
f l b b J
J J J J J J J J J J
j
marcato
24
&
open
Hn. 1, 2
- .
f
24 j

open
&
- .
Hn. 3, 4
f
#
3 B b Tpt. & # 24
3 Tbn.
? 24
? 2 j j j
Timp. 4 J
j F

~
24 ~ J
&
~~
~~ J
~~~
f
~~~
~~~

Hp.
? 24
~~~
- - . j j - -
# . . . j j
24 b bb . . b bb b j

&
.
. . . b .
. . .
Pno. f > > pi f
? 24 b . n . # . . b . n . # . .
. .

. b . n # . . . # # . .
. b . n # . . . # # . .
(Interlude)
58
24
S &
her.
A & 24
her.
T V 24
her.
? 24
B
her.
- -
(Interlude)
- b - . . . . b . . b . . . . . .
58
j
& 24 J J . J J
> >
Vln. I
S S
24 - b - - # - . . . .
. . . . b . j .
& J J . . . J J
> >
Vln. II
S S
- b - - - . . . .
B 24 . . . . b . . b .
j
.
Vla. J J . > > J J
S S
? 24 . . .
V. Celli
. . . .
b # . n . . # . # . . . . . b . # . n . . . # . # . .
f marcato
j j j j j j
? 2 j
4 - b - n - - # - - j j
- b -
j
n - - # - -
D. Bass
J J
f marcato
266
- -Part IV .
b b - -
b b .
# #

658
&
S S
Fl. 1, 2
Fl. 3 &
- -
b b . - -
b b .
. . b j # #
& b b .

2 Ob.
. > . S- S-
S - -
n n . n n .
# # n n . . n . .
j

# #
B b Cl. 1, 2 & .
> S S
S
## - n - . - n - .
B b Cl. 3 & n . . n . j
. . S S
. . . . S>. . . . . . . . . . . . . . . . . . . .
? b n # # n n # # # # n n # # b
b b n n # J n # # J n #
J b
J
2 Bsn.
J J J J J J J J
j
# > # .
& # #
.
> J J
Hn. 1, 2
S Sj S
j j
& # #
. # # .
> >
Hn. 3, 4
S S S
#
3 B b Tpt. & #
3 Tbn.
?
? j j
Timp.
J
F

S.Dr.
j J j J
F
~
~~~~
~~
& ~~
~~~ ~~~
~ ~~
~ F# ~
~~ ~
~~ ~~
~~~ ~~~
~ ~~

Hp.
?
~~ ~

> - - -
j b bb . . . # - b bb . . . # -
& b bb b
. . b . .
. >. S S
Pno.
S . . b .
? b . n n . . # # . . # # . . # n . # # . .
b b . n .

. # .
. # . . # # . . n n . # . b
S &
A &
T V
B
?
- b - . . . - - b - . - . -
b . . b . . j

Vln. I & - .
S S
- b - . . . # - - b - . - . # -
& b . . . j
Vln. II . - .
S S
B b . . b . j - b - . . . - - b - . - . -
Vla. . - . &
S S
. . . . . .
V. Celli
? b . b . n . n . . . # . # . . .
n . n # . # . # . # n . n # . # . . b
- # - n - - - # - n - - - b -
? b - n - # J J J J # J J J
D. Bass
J J J J J
267
- -
# # .
Part IV
. .
n . . . - -
59
#

664
& J J
f
Fl. 1, 2
- # - . .
& b . .
J J . . - -
-
Fl. 3
- f
# # . . . .
# n . . - - # # # #
& J J
- f
2 Ob.
- . . F
# # #
. .
n n . .
# J J - - # #
B b Cl. 1, 2 & #
f
- F
## # - . .
& n . . . .
B b Cl. 3
J J - -
. . . . . f. . . . . . . . .
. .
b # # #
? b #
n # #
#
J J J
J J J J J
2 Bsn.
# - # -
a2
Hn. 1, 2 &
F un poco marcato
Hn. 3, 4 & # -
P
- -
## # ## # ## # . . . #
& # #
Mtd
3 B b Tpt.
# -
Fun poco marcato
3 Tbn.
?
Timp.
?

j
Trgl.
pj
j j j
# # # ## # #
~~
& # # #
J J #
Hp. F J J
?
- - . .
# # . . . .
# # n bb . . .
& -
J J >

. . . . . # . . . # . . .
. b . b # . . # .
Pno.
? #
n # #
59
S &
A &
T V
B
?
- # - . . . . . b . . . .
- - #
59
J J # # #
& J
Vln. I

- f p
# - . . . # . . n . . . .
& J J - - # # #
Vln. II
J
f p
- # - . . . . # #
. b . . j #
-
& B #
Vla.
J J . . -
f p
. . . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
. .
. . b
.
# . n . . .
# . # . # . # . y
V. Celli
p
# #
? b J n
J J J J J
D. Bass J J

268
Part IV

670
Fl. 1, 2 &
Fl. 3 &
# #
# #
# #
# #
# #
# #

2 Ob. &
# # # # # # #
B b Cl. 1, 2 & #
# # .
# . # # . .
? J # # # # #
# # #
2 Bsn.
# # . # .
> >
# . . . # # - # - # - . . # - # - . . # - # - . . # - # - . . # -
Hn. 1, 2 & -
j
Hn. 3, 4 & # #
- - - - - -
# # # # # # # . . . # # # # # # # # # # # # # # # # #
& # # # # # # # # # # # #
3 B b Tpt.
# - J J J J
3 Tbn.
?
? j j
Timp.
F

Trgl.

Tamb.
J J J J
# # # #
j
# # # #
# # # #
# # # #
# # # #
#
& # # # # ## # # # # # # # #
J J J J J J J J J J J J
Hp.
?
j
& # # #
.
fmarcato . # . #
. . . . . . . .
. # . . > >
J # . # . # # # # #
Pno.
? # . . # # # # #
# # # # #

. . . . . . . .
S &
A &
T V
B
?
# # # # # # # # # # #
& # J J J J
Vln. I

# # # # # # # # # #
Vln. II & # J J J J
# # # # # # # # # # #
B # J J J J
Vla.

.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # # # . # . .
? y J # #
V. Celli J # . # . - -
marcato
. .
# # .
?
# # # .
D. Bass J # # . # . - -
marcato
. - -
269
b . .
.
Part IV
. b .
J
676
Fl. 1, 2 &

to Piccolo
Fl. 3 &
b . .
- - . - - - . n . .
b b J
a2
2 Ob. & J
f-
# # - . - - - . a2 n
J . .
& n n . n .
B b Cl. 1, 2
J
f
## -
B b Cl. 3 & - . - - - . j
f
?

2 Bsn.
Hn. 1, 2 & # # n b b n n b b n b b # # n b b n n b b # # n b b
n b b n b b n n b
F f F f F
Hn. 3, 4 & # # n b b n n b b n b b # # n b b n n b b n b b # # n b b n b b n n b
F f F f F
##
3 B b Tpt. &
3 Tbn.
?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? j j j j j j
Timp.
p p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym.
p F p F
&
Hp.
?
. . .
b . . . . . b .
& J b

b . . . .
. .
Pno.
? & J . . b .
S &
A &
T V
B
?
b . . .
- - . b .
- . . . - - . . . . J
Vln. I & J
f .
b . .
- - .
- b . . . - - b . . j
. J .
Vln. II & .
f
- - . . . - - - . . . . b J. . .
B & . b .
Vla.
J
f
?
V. Celli - - -
f
?
D. Bass - - -
f
270
- -
60
b b
Part IV .
b b .
b b . - -
. . b J J
J
682
Fl. 1, 2 &

3 3
- b -
3 3
b j
Picc. & J J b . . - -
-
b b b - . b j
2 Ob. &
. b . b b
J J b . . - -

3 3
. n b . . b . . # . n .
3 3
## b n . # # . n n . . n b b
b n
3
. . # n . . n . b n n b
3
B b Cl. 1, 2 &
. . . . n . . b . # n
3 3
. .
#
B b Cl. 3 & # n
. . . . . . . . . . . . . .
? j . . b n
b n b b n n
l # b n b b n n
2 Bsn.
b n J J J J
J J J J

Hn. 1, 2 & n b n # n # #
f f
Hn. 3, 4 & n b n # n # #
f . b . . # . n . # . n . F
## j 2 n
#
1
. # . n . # . n b
& # # n # n # n # n # n b b . . n n n b b # n

3 B b Tpt.
. . . .. . . . . . # . n #
>
f
open
? >

J
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~ f
open
? j j
Timp.
J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Cym.
J
j
j
j
j
j j
j
j
J J J J J J J J
S.Dr.

Tamb.
j
~ ~ ~
&
~ ~ ~~~~~ J
~
Bb
~ ~~~~~~~ ~~~
~
~ ~~ ~~~~~~~
Hp.
? ~~~~~~~ ~~
~~
> - . . b b . . b . . > .
. . . . j b bb . . . b
& b # J b
> . J
Pno.
& . . j ?
n - - b b - n n - # - n -
. . > . -
b -
# -
n # -
b - n - b b - n -
- -
b b
60
b b
S &
Ah! Ah!
A &
b b
T V b b
?
Ah! Ah!

b . .
60
b >
b b b
. . J J J
Vln. I &
3 3

. .
3
b
3
b b b
>
Vln. II & . . bb J J
J
3
3 3

. .
3
b
b b b b
j

3
& J J
3
. . >
Vla.
3 3
? j
. . b . # . n . . . b . b . n . n . b . b . n . n .
.
V. Celli
> >
? j
j j j
j
b n b > >
n J
marcato
b n J
D. Bass
> > > > J J
marcato
271
b b b b b b b b b
-
- . b b .
Part IV

# . . b . > -
b b
b
b b b
J b b b b
J
688
Fl. 1, 2 & J
- f
-
3 3 3 3
.
3
.
3 3
.
3
b j
& b . .
>
Picc.
- - . . . b b . .
j

&
>
2 Ob.
n n
. . . .
# # n b b b . # . n n . .b b . . . n n b n b n n b n n b n

b n n b n n b n
B b Cl. 1, 2 & # n n b b n n b n
. . . . . . . n . b n
. . . . 3

3 3
# # J f
3
3 3 3
n
3
& b
B b Cl. 3
J
. . . . . . . . . a2
? . . . . . . .
b b n b b n n
l b n # b b n n b n
2 Bsn.
J J J J J J J
J
b
& b
Hn. 1, 2
J
f
j
& n

Hn. 3, 4
1 . .
# # #2 n b .b b . .# # . n n . .b b . . # . n n b n b - . . .
& # n # n b b n n b b n nn b
3 B b Tpt.
. . . . . . . n . b # # n n -
. . . . # f espr.
.
? b ... b b b .. b
J J
J
3 Tbn.
f espr.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? j
Timp.

crash cymbals
Cym.
J
j
j
j
j
j j
j
j
J J J J J J J J

j
S.Dr.
j
~~

& ~~ J
~ ~ ~~
J
~~~~~~

~~~~~~
Hp.
?
~~~~~~

~~~~~~

> - . b b . . b . .
# . . . j b
>

>

>
b bb
& J b
.
Pno.
j
? . b b . n n . b . n n .
. b . n b b .
n # . .
b . n . n .
. b . .
j
S &

& b b b b
j
b
A
f
Ah! Ah!
j b ..
V b .. b b
T
J J
f
Ah!
j j
? b b . b .
J
div.
. b . .
Ah! Ah!
- .
- . . . b . > . b
J J b
Vln. I & J
ff espr.
- . b . . .
pi
# - . . . J . > . b
& J b b
Vln. II
J
ff espr.
- - . . .
pi
. b . . j b b
& J J b . . .
>
Vla.
pi ff espr.
? >
V. Celli
. . . b . # . n . . . b . b . n . n . b . b . n . n .
f
j >
?

j b j j
n b n b n
D. Bass
J J J J
f
272
b b b
b b b b b
Part IV
b b b b b b b
b b b b
b b b
b b
694
Fl. 1, 2 & J
~~~~ ~~~~~ ~~~~~ ~~~
3 3 3 3
> > > >

3 3 3 3
.
.
.
.
Picc. & J J J J

b b
b b

2 Ob. &
n n
n n
# # b n n b n b n b n b n
n b n b j
B b Cl. 1, 2 & n n
3 3

b n b n b n n
3
b
3
##
3 3 3 3
B b Cl. 3 &

? b
2 Bsn.

b
- # - j
b b j
& # b #
Hn. 1, 2
- .b . . b b #
. - - -
- # - j
b b j
molto marcato
& # b #
Hn. 3, 4
- .b . . b b #
. - - -
-
j b > > >
molto marcato
- j b j b j b
# # n bb -
n nn . .
b b b

3 B b Tpt. & b b
.
- . . .

- -.
? b ... b b b .. b b
3 Tbn. J J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b
Timp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

crash cymbals sus. cymbal

~~~~ ~~~~~ ~~~~ ~~~
Cym.
Trgl. J J J J
f ~
~~ ~
~ ~~ ~ ~ ~ ~~ ~~~~~~~
~ ~
& ~~ ~~ ~~ ~~~~~~~ ~~~~~~~~~~
~~ ~~
~
~~~ ~~~
~
~ ~~ ~~ ~ ~ ~~~
AbBbEb ~~~~~~~
~~~ ~~~
~~~ ~~ ~ ~~ ~
~~~ ~~~
~~~~~~ ~~~~~~~
Hp.
?
~~~ ~~~
b ~~~~b ~ ~~
~~~ ~~~
b ~b ~~
>
b b j b > j b > j b > j b >
b b b b b

& J . . . .
Pno.
j j b > j b > j b > j b >
? & b b b b

. . . .
>
j b j b j b j b
& b b b b b b b b
J J J J
S
Ah! Ah! Ah! Ah!
j j j j b
A & b b b
b ..
Ah! Ah! Ah! Ah!
V b .. b b b
T
J J
Ah! Ah!
j b .
j
? .
b

B

Ah! Ah!
b
b . - J
&

Vln. I

b
Vln. II &
b b . b
- b j

b
b . - J
&

Vla.

- - b -
? . b . b . - b b
V. Celli
- - -
f
-
marcato
D. Bass
?
b -
f
273
Part V
The Summernight
- -
(Meno Mosso)
b ww b ww n ww
61 Sempre Animato
& 4
Flute 1, 2 4
S S S p

& 4 J
Piccolo 4
- b ww-
& 44 ww n ww
S- p
2 Oboe
S S
#
w b w- nw
& # 4 w w w
Clarinet in B b 1, 2 4
S- S S p
## bw n w- #w
Clarinet in B b 3 & 44
S S S p
? 4 bw j
2 Bassoon 4
bw
44 j j j j
& b b n
Horn in F 1, 2
b > b > n >
S S S
44 j j j j
&
> # >
Horn in F 3, 4
S S> S
# b
& # 4 J
3 Trumpet in B b 4
w
? 44 b ww
3 Trombone J
F p
Timpani
? 44 b j
Cymbals 44
44
J
44 .
Triangle

Snare Drum
J J J
F
& 44
? 44 b j
Harp

b
& 44
? 4
Celesta
4
61 (Meno Mosso)
(Sempre Animato)
Soprano & 44
Alto & 44
f F
44 b 3 3 b - - b - b n - n j
V J J #
3 unis.
J J J J J J J J J J J J J
Tenor
f- F
b - -
And when Bo - az had eat - en and drunk, and his heart was mer - ry, he went to lie
? 4 b -
J J J
#
J J J
4 b b
3
J J
3 3 unis.
J J J J J J J J
Bass
And when Bo - az had eat - en and drunk, and his heart was mer - ry, he went to lie
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

61 (Meno Mosso)
w w w
(Sempre Animato)
Violin I & 44
S S S
44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Violin II & w w w
S S S
& 44 B
Viola
J
? 44 j
Violincelli

Double Bass
? 44 b j
274
- - -
Part V
703 ww (Quiet)
b
Fl. 1, 2 &

- # - -
2 Ob. &
ww b n
-
# # ww - b -
B b Cl. 1, 2 &

# w
B b Cl. 3 & #
2 Bsn.
?
Hn. 1, 2 &
Hn. 3, 4 &
## - - -
Mtd.
& # n b b
3 B b Tpt.
- - - - -

3 Tbn.
?
Timp.
?

Trgl.

3 3 3 3 3 3
r r r r r r

3 3 3 3 3 3
& R R R R R R
Hp. p
?
&
j

j

j

- - -
Cel. p
?
p-
n b j j j j j
(Quiet)
- -
# -
3 3
& -
J J J
S
p And she came soft - ly, and un - cov - ered his
& j j j j j j j j
n - - -
3 3
A
- - b
# j j J j J J
And she came soft - ly, and un - cov - ered his
.
3
V
3
T
- J J

down at the end of the heap of corn:
? # J J J J J .
J J
3
-
3
B
J
down at the end of the heap of corn:
~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~

(Quiet)
w w
Vln. I &
~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. II & w w
~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~

Vla. B

V. Celli
?
D. Bass
?
275
Part V
-
n ww #
rit. 62 Quiet - poetic (but not too slow)
2
706
Fl. 1, 2 & 4
# - 2 #
2 Ob. & 4
-
# # n 2 ### j j j
1 Solo
& 4 . . #
B b Cl. 1, 2
. #
p
## ###
espr.
2
Solo
B b Cl. 3 & 4
p
? 2 #
espr.
2 Bsn. 4
j
# b 24
Mtd.
& n
Hn. 1, 2
J
p dolce
j 2 j
& 4
Mtd.
Hn. 3, 4
# b n # #
p dolce
# 2 ###
3 B b Tpt. & # 4
? 24 # Mtd.

3 Tbn.
J
~~~~~~~~~~~~~~~~~~~~
? 24 #
Timp.
J

2

Trgl. 4
j
3
r
24 # ~ ~ ~J
~
3
& R ~~ ~
F# ~~~~
~~
~~~ #
Hp.
? 24
24 #
&
j

-
Cel.
? 2 #
4
p rit.j #
62 Quiet - poetic (but not too slow)
2 j
S & # 4
feet.
p and laid her down.
#
& # j 24 j
A
b
feet,
j #
T V # j #
24
? b n 24 # #
B
J J
and laid her down.
~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ -
-
Quiet - poetic (but not too slow)
-
rit. 62
24 J # 1 Solo
Vln. I & J J - -
P molto espr.
~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ #
24
Vln. II & J
~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ # ~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~ ~~~~~~~~~~~
Vla. B 24

? 2 #
4
pizz.
V. Celli
J
p
? 2 #
D. Bass 4
276
Part V
#
(Un poco agitato)
712
Fl. 1, 2 &
#
2 Ob. &
### j
1 Solo
& n b # n b
b n # #
B b Cl. 1, 2

# #
B b Cl. 3 & #
j

? # 1 Solo # # n
2 Bsn.
J
b b
p undarkpoco marcato
Hn. 1, 2 &
?
4th Solo
Hn. 3, 4 &
open

# #
3 B b Tpt. & #
3 Tbn.
?#
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?#
Timp.
J J J J J J

# . . . . . . . . . . . .
& . . . .

. . . . . . . . . . . . j
. . .
Hp.
?# .
#
&
Cel.
?#
#
(Un poco agitato)
S &
#
A &
#
T V
B
?#
# j
1 Solo
(Un poco agitato)
Vln. I &
# ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~

Vln. II & y j

B#
Vla.
J
1 Solo -
arco b - b - b b n
- -
tutti
?# # #
b b
ponticello
J J
div.

V. Celli
F espr. p
D. Bass
?#
p
277
Part V
#
63 Moderato - misterioso
4
718
Fl. 1, 2 & 4
# 4
2 Ob. & 4
# # # 2nd Solo 4
& j b n n b n 4 j
b n n #
B b Cl. 1, 2
b
# # 44
B b Cl. 3 & #
?#
2 Bsn. # b b n

4
4
4
Hn. 1, 2 & 4
? 4
Hn. 3, 4 4 &
# # 4
3 B b Tpt. & # 4
?# 4 1b ww ww
Mtd.
3 Tbn. 4
p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2
?# 44
Timp.
J
# 44
&
Hp.
?# 4
4
# 4
& 4
Cel.
?# 44
#
44
S &
# 44
A &
# 44
T V
p b - b - .
?# 44 b .
div.
B
J J J J J J J R R J R R
And it came to pass at mid - night, that the man was a -
# 44
Vln. I &
# 44
Vln. II &
Vla. B# 44 &
?#
# b b 44 # n
ord. pos.
n
div.
- - - - - - - -
V. Celli
p dark
?# 44 div. # n
n
- - - - - - - -
D. Bass
p dark
278
# - - # - -
Part V
# n # 2
722
& 4

Fl. 1, 2
# - - - # -
2
& 4

Picc.
# 2
2 Ob. & 4
### - - - # -
# # 2
B b Cl. 1, 2 & 4

# #
B b Cl. 3 & # - n - - # -
2
4

?# # # # # # # 2 # #
2 Bsn. 4
pdark

#
Mtd.
- 24 #
& # - # # -
-
Hn. 1, 2
# - - # - 2 #
Mtd.
& 4 -

Hn. 3, 4
# # 2
3 B b Tpt. & # 4
?# w
Mtd.
w w 2
3 Tbn. # ww ww ww 4

? # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2
Timp. w w w 4

2
Gong 4
p
24 .
S.Dr.
~~ ~ ~~ F
# ~~ ~ ~ ~~ ~ ~ ~~ 2
&
~~~~~ ~~ ~
~ ~~ ~~~~~ ~~ ~
4
C#D#(F#Gn) ~~
~~~~~
~~~
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~ ~~
~ ~ ~~ ~~
Hp.
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~~ ~~
- - - -
# - - - -
& #
-

- # -

24
n # - # #

Cel.
?# n # 24
# 24
S &
# 24
A &
# 24 j r
T V - .
# -
and, be -
?# # # 24 # .
B J J J J J R
fraid, and turned him - self: and, be -

- - - -j - - - -j
# - - -
div.
2 -
J
Mtd.
& J 4

Vln. I

div. - - - -j
# ## - - - -j
# J # # - - 24
Mtd.
& - -
J # #
Vln. II

div. - - -
-j
# n # - - -
-j B - - - 2 -
Mtd.
& 4
J n
# n
#

Vla.
J
?# 24
unis.
V. Celli w w w
?# 24
unis.
D. Bass w w w
279
Part V
#
726 64 Dolce, ma un poco agitato
Fl. 1, 2 &
#
2 Ob. &
###
Soli
& j j j j
a2
B b Cl. 1, 2
n # . n . # .
.
### p espr.
B b Cl. 3 &
?#

J
2 Bsn.
pf
&

J
Hn. 1, 2
pf
& b
Hn. 3, 4
J
pf
# #
3 B b Tpt. & #
?# b

J
3 Tbn.
pf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?#
Timp.
J

S.Dr.
J
#
&
Hp.
?#
#
&
Cel.
?#
#
64 Dolce, ma un poco agitato
S &
#
A &
# pf
V
T
J
pfhold,
? # b # b # b # b
(quasi parlato)
B
J J J J J J
hold, a wo - man lay at his feet.

64 Dolce, ma un poco agitato
Mtd. # b b b n
# j J J - -
&
J p misterioso
Vln. I
pf

# # n b b
Mtd.
& j J J - -
p misterioso
Vln. II
J
pf b b b n b b
B# - -
Mtd.
j & J J B
Vla.
b p
J
pf
misterioso
?# j
Mtd.
V. Celli
pf p
?# j
Mtd.
D. Bass
pf p
280
Part V
#
65 (a piacere - quasi recitativo)
4
733
Fl. 1, 2 & 4
# 4
2 Ob. & 4
### j 4 j
a2
& j j 4
B b Cl. 1, 2
n . # . # . #
P
# # 4
B b Cl. 3 & # 4
?# 4
2 Bsn. 4 J
P
+
& 4
4 b b ww
+
Hn. 1, 2
S+ p
& 44 bw
w
+
Hn. 3, 4
S p
### 4
3 B b Tpt. & 4
?# 4
3 Tbn. 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# 4 w
Timp. 4 J
4
Cym. 4
p
# 4
& 4
Hp.
?# 44
# 44
&
Cel.
?# 44
f b - -
?# 44 J
Boaz
J
# p
Who art thou?
44
S & J J
# pAndj shej
44 b
A &
#
And she
44
T V
p
?# 44
B
J J
And he said,
- # - b b b n - -
# J J 44
& J
p
Vln. I
- # -
pi
# n b b 44 j
& J J - -
p
Vln. II
n - -
pi
b b b n b b
B# J J - - 44
Vla.
pi p J
?# 44
V. Celli
J
pi p
?# 44
D. Bass
J
pi p
281
Part V
#
66 (Calmo - dolcissimo)
739
Fl. 1, 2 &
#
2 Ob. &
###
B b Cl. 1, 2 &
###
?
B. Cl. &
p dolce
2 Bsn.
?#
Hn. 1, 2 & b b #

& b #
Hn. 3, 4

# #
3 B b Tpt. & #
?# w
Mtd.
w
3 Tbn. w
w
w
w

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?#
Timp.
w w

Trgl.

# ggg
& gg J
ggg
ggg p
ggg

Hp.
?# ggg
clear and transparent
?
&
J
#

&
p
Cel. clear and transparent
?#
&

# p espr. 3 66 (Calmo - dolcissimo)
j j
& j .
3
Ruth
# J .
#
I am Ruth thine hand - maid: spread there -
S &
#
an - swered,
A & b
#
an - swered,
T V
B
?#


#

Mtd.
&

Vln. I
Mtd.

#
&

Vln. II
B# - - -
Mtd.
- - - -

p- espr.
Vla.
?# ww ww
Mtd.
V. Celli
div.
p
?#
Mtd.

D. Bass
pizz.
282
Part V
#
Soli
# .
#
742
J
a2
Fl. 1, 2 & J
p espr.
#
1 Solo
.
& # J # J
2 Ob.
J
p espr.
# # # #
Soli
& #
a2
B b Cl. 1, 2 J
p P espr.
? ### J
to 3rd Clar.
B. Cl.

?#
2 Bsn.
p
Hn. 1, 2 &
Hn. 3, 4 &
# #
3 B b Tpt. & #
?#

3 Tbn.

J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?# j
Timp.
w

#
&
p

Hp.
?#

#
&
#
Cel.
&
# F - . # #
P
#
& J J J J . J J J
Ruth
J J J J J
#
fore thy skirt o - ver thine hand - maid; for thou art a near kins - man.
S &
#
A &
#
T V
B
?#

# #
& J n
Vln. I

p
# j
# - - - - - - #
& J
unis.
Vln. II
- - - - J J J J
p even p
div.-
B# - - - - # - - - - - #
Vla. J J J J J J J
p even
- - - -
?#
unis. div.
- - - - - - w
J J J J J
unis.

J p even
V. Celli
p
?# w
J
pizz. arco
D. Bass
p
283
Part V
#
745
Fl. 1, 2 &
#
2 Ob. &
# #
B b Cl. 1, 2 & # j

p
# #
B b Cl. 3 & #
2 Bsn.
?#

open
& # ww # ww
- -
Hn. 1, 2
pf pf
Hn. 3, 4 &
# #
3 B b Tpt. & #
3 Tbn.
?#
? # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j
Timp.
w
#
&
Hp.
?#
#
&
#
Cel.
&
- .
?# # J
Boaz J J J R R
#
Blessed be thou of the LORD, my
S &
#
A &
#
T V
p
?#
B J J
And he said,
#
& # j

Vln. I

#
& j
#
Vln. II

B#
unis.
Vla. #
F espr.
- - - - - - - -
?# w n #
div.
V. Celli

p - -
- - - - - -
?# w n # n #
div.
D. Bass

p
284
Part V
# n b
748 67 Calm, but fluent
Fl. 1, 2 & b
# n b
2 Ob. & b
# # nnn
B b Cl. 1, 2 & #
# # nnn
B b Cl. 3 & #

?# n b
b
p
2 Bsn.
dolce e legato
& # w- w-
1 Solo
# - -
Hn. 1, 2
p p (un poco marcato)

&
open
Hn. 3, 4
# - -
p
# # nnn
3 B b Tpt. & #
3 Tbn.
?# n b
b
?# n b
Timp. b
# n b
& b
Hp.
?# nbb
# nbb
&
# nbb
Cel.
&
# - - . p
67 Calm, but fluent
Boaz
?# J nbb J J J J J J J J J
# nbb
daugh - ter: for thou hast shewed more kind - ness in the lat - ter
S &
# nbb
A &
# nbb
T V
B
?# nbb
67 Calm, but fluent
# nbb
Vln. I &
# nbb
Vln. II &
B# . - - . n b b div.
Vla. J # J
J

- - - -
?# n # n b b j .
unis.
J J

V. Celli
Pespr.
- - - -
?# n # n b b j #
. w
unis.
J J

D. Bass
p espr.
285
Part V
b
751
Fl. 1, 2 &b
b
2 Ob. &b
&
B b Cl. 1, 2
b
p dolce e legato
B b Cl. 3 &
?
B. Cl.
w
p
? b

2nd
2 Bsn. b
w
b - . j j j
Hn. 1, 2 & - - - - .
P espr.
w
3 Solo
&
p (un poco marcato)
Hn. 3, 4
3 B b Tpt. &
3 Tbn.
? bb
Timp.
? bb
b
&b
pj
.
Hp.
? bb

b
&b
b
Cel.
&b
? bb 3 .
Boaz J J J J J J J J J
bb
end than at the be - gin - ning, in - as - much thou
S &
b
A &b
b
T Vb
B
? bb
b
Vln. I &b
b
&b j
pizz.
w p
Vln. II
p pizz.j
B bb . j -
Vla. #

J - . b

F espr. p
? bb w w
unis.
b . j

div.
V. Celli
w n
? bb w w
D. Bass w
286
Part V
b 3
754
Fl. 1, 2 &b 4
b 3
2 Ob. &b 4
3
& b 4
b b
B b Cl. 1, 2
b b b b b b b b
B b Cl. 3 & 43
? bb
2nd 1
bw 3
w bw 4
w
2 Bsn.
2

3
Hn. 1, 2 & 4
w- - b - . b - j - 3
Hn. 3, 4 & J - . 4
Pespr.
3 B b Tpt. & 43
? bb 3
3 Tbn. 4
? bb 3
Timp. 4
b 3
&b j . 4
b - -
P
b
Hp.
? b 3
b b 4
b
&b 43
b
Cel.
&b 43
? bb b j j
J 43
3 3
Boaz
J J J J J J J
b
43
fol - low - est not young men, whe - ther poor or rich. And
S &b
b
A &b 43
b
T Vb 43
B
? bb 43
b
&b 43
w
Vln. I
b
&b b - . j j 43
arco
n - - .
Vln. II
F espr.
-. -
B bb . j j n b - .
43
arco
-
Vla.
b b J J
P espr. F espr.
- . b
? bb j b J w- bdiv.
w
43
V. Celli
b bw
P espr.
? b b b w- w- bw
D. Bass 43
287
Part V
68 (Andante)
b 3 nb 4
Fl. 1, 2 &b 4 4
b 3 nb 4
2 Ob. &b 4 4
# -
3
& b 4 . n . n 44 .
Solo
E. Hn. J J J
P
3 # 4 j
molto espr.
B b Cl. 1, 2 & 4 j 4
b p-
3 # 4
B b Cl. 3 & 4 4
? b 3 b -
b 4 b n b 44
2 Bsn.
J J
p
3 4
Hn. 1, 2 & 4 4
3 4
Hn. 3, 4 & 4 4
# 4
3 B b Tpt. & 43 4
3 Tbn.
? b b 43 n b 44
? b b 43 n b 44
Timp.
J
-
b b 3 - nb 4
& 4 ggg n # 4 gg
ggg b ggg
gg ggg gg
? b b 43 gggg b ggg n n b 44 gggg
Hp.
gb ggg n ggg
b 3 nb 4
&b 4 4
b 3 nb 4
Cel.
&b 4 4
- - p espr.
? b b 43 b J .
(Andante)

68
n b 44 J J J
R J J J J J
Boaz
J J
b 3 nb 4
now, my daugh - ter, fear not; I will do to thee all that thou re -
S &b 4 4
b 3 nb 4
A &b 4 4
b 3 nb 4
T Vb 4 4
B
? b b 43 n b 44
68 (Andante)
b 3 nb 4 j j j j j
&b 4 j 4 - - - - - -
-
Vln. I

b nb 4 j
& b 43 j 4 -
j
-
j
- -
j

j
- - -
Vln. II
n b 44 j
div. j j j j
B b b 43 b j j j j
n # - -
unis.
- - - - - -
p- - - - - -
Vla.
j unis.
? b b 3 b - - - - n - - - - n b 44 - - - - - -
div.
4 b n J J J J
pJ J J J
V. Celli
J
? b b 3 J n b 44
4
pizz.
D. Bass
288
Part V
761
Fl. 1, 2 &b
.
&b .
1 Solo
2 Ob. # J J J
P molto espr.
.
#
#
J .

1 Solo
B b Cl. 1, 2 & J
F molto espr.
#
B b Cl. 3 &
2 Bsn.
?b
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. &
3 Tbn.
?b
?b
Timp.
J

& b gg gg
gg gg
g
p ggg F gggg
? b gggg ggg
Hp.
ggg

&b
Cel.
&b
, F-
? b J J J J J
J J

J

J J J J J .

J
J J J
Boaz
J
quir - est: for all the ci - ty of my peo - ple doth know that thou art a vir - tuous wo - man. And
S &b
A &b
T Vb
?
B b
& b -j - j j j j j - - - - - - - - - - -
div.
Vln. I - - - - - - - - - J J J J J J
p P
& b j j j j j j j j j j j j
- - - - - - - - - - - - - - - - - - - -
- -
Vln. II
p P
j j j j div.j j j j j j
B b j - - -
j
- - - - - - -
- - - - - - - - - - -
p P-
Vla.

- - - - - - - - - - -
? - - - - - - - - b - - -
div.
b J
V. Celli
J J J J J J J J J J J
p P
D. Bass
?b
pizz.

289
Part V
3
765
&b
(movendo un poco)
Fl. 1, 2 4
. . . . . b
. 3
1 Solo
2 Ob. &b J J - 4
P F p P
# j j 3
. .
(un poco marcato) 1 Solo
B b Cl. 1, 2 & . . 4
P . -
# 3

(un poco marcato)
B b Cl. 3 & 4
?b 3
2 Bsn. 4
3
Hn. 1, 2 & 4
3
Hn. 3, 4 & 4
# 3
3 B b Tpt. & 4
3 Tbn.
?b 43
Timp.
?b 43
3
&b 4
Hp.
?b 43
&b 43
Cel.
&b 43
- - . - - -
(movendo un poco)
?b j J J
Boaz J J J J
J

J J

J J J J J J 43
now it is true that I am thy near kins - man: how - beit there is a kins - man near - er than I.
S &b 43
A &b 43
3
T Vb 4
? 3
B b 4
j j
- J- - -
j pizz. j j j
- J- - - - - - b J- - -
(movendo un poco)
& b - - n - - 43
arco
J J J J
p pJ p J
Vln. I
j j j j j pizz. j j j j j j - - -
j j
- 43
& b - - b - - - b b - -
arco
- - - - - - - J J
p p p
Vln. II
- - - - - - - - - - - - - - - - -
b -
B b 3
pizz.

arco
J J J J 4
Vla.
p p p
-
? b # - - - - -
#

# j j - J- - -
- J- - - - - 43
pizz.
# - -
unis. arco
V. Celli
p p p
?b
D. Bass 43
290
Part V
69
b b 44
(Calmo - dolcissimo)
3
Fl. 1, 2 &b 4
2 Ob.
3
&b 4 b b 44
# 3 n 4
B b Cl. 1, 2 & 4 4
# 3 n 4
B b Cl. 3 & 4 4
? b 43 4
2 Bsn. bb 4
- j
3 . . 4
Mtd.
Hn. 1, 2 & 4 . . 4

3 4
Hn. 3, 4 & 4 4
# 3 n 4
3 B b Tpt. & 4 4
3 Tbn.
? b 43 4
bb 4
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b 43 j j j 4
bb 4
Timp.
. .

3 4
Trgl. 4 J J 4
ggg
3
&b 4 ggg b b 44
ggg
P ggg

6 6
ggg
Hp.
? b 43 j ggg j 4
bb 4
6 6
6
6

. n . b b . n . b b . n . b b . b n .
b 3 n . b b . n . b b . n . n . b b n b b n j b b 44
& 4 . . . . b b . b n . n n
p clear and transparent .
. n . b . . b . .
3 . . b . b . .
Cel.
4
& b 4 n b . bb 4
?
. b . b . . . b . . b .
. J
- J J R
? b 43 J J

J J J b b 44
espr.
J R J .
Boaz R R
b b 44
Tar - ry thisnight, and it will be in the mor - ning, that if he
3
S &b 4
A
3
&b 4 b b 44
T
3
Vb 4 b b 44
B
? b 43 4
bb 4
. - - .
Vln. I
3
&b 4
div.
J b b 44

. - - .
&b 43 . . b b 44
J
div.
Vln. II

div. . - - .. b 4
Vla. Bb 43 .
J
b 4

?b div.
. - - . b 4
43 . . b 4
J
V. Celli

?b 43
arco
. - - . b b 44
D. Bass J

291
Part V
70 (Andante)
b 4
Fl. 1, 2 &b 4
b 4
2 Ob. &b 4
4
B b Cl. 1, 2 & 4
4
B b Cl. 3 & 4
2 Bsn.
? b b 44
4
Hn. 1, 2 & 4
4
Hn. 3, 4 & 4
4
3 B b Tpt. & 4
3 Tbn.
? b b 44
Timp.
? b b 44
b 4
&b 4
Hp.
? b b 44
b 4
&b 4
Cel.
? b b 44
-
J - p P
? b b 44 J
R R

70 (Andante)
J J J J
J J R R J J J J
Boaz
R R J J J J
b 4
will per - form un - to thee the part of a kins - man, well; let him do the kins - man's part: but if he
S &b 4
b 4
A &b 4
b 4
T Vb 4
? b 4
B b 4
70 (Andante)
b 4 - - - - - - - - - - - - - - - - - -
& b 4 J
unis.
Vln. I
p
b 4 j j j j j j j j j j j j
& b 4 - - - -
unis.
- - - - - - - - - - - - - -
p
Vln. II
B b b 44 - - - n - - - - - - - - - - - - - - -
unis.
Vla.
p
? b 4 - - - - - - - - - # - - - n - - - n - - -
unis.
V. Celli b 4 J J J J J J J J J J J J
p
? bb 4
D. Bass 4
292
Part V
bb
776 animando a poco a poco
Fl. 1, 2 &
b .
&b . # J
a2
2 Ob.
Fespr.
.
# . . - # -
B b Cl. 1, 2 & J J J
P espr.
j
B b Cl. 3 & ww
P
? bb
a2
2 Bsn.
- - w-
F -
open
- -
(un poco marcato)
j -
& w
Hn. 1, 2
-
P F
& j w
3 3
Hn. 3, 4
- w
F
4
open
3 B b Tpt. &
3 Tbn.
? bb
Timp.
? bb
b
&b
Hp.
? bb
b
&b
Cel.
? bb
a poco a poco
F
animando
# n
Boaz
? b b J
J

J

J J R R J R R J

J J J J J R R J J J
bb
will not do the part of a kins - man to thee, then will I do the part of a kins - man to
S &
b
A &b
b
T Vb
B
? bb
b . . .
animando a poco a poco
b . #
Vln. I & b . J J J
P espr. F
b j j j j j j j j j j - - -
Vln. II & b b -
-

-

-

-

-

- -

- - -

-

-

-

- J J
P F
j j - n - -
B b b -j - -
j
- - - - - - - - - - - -
Vla.
J J J J J J J J
P F
? b b - - - - - - - - - - - - - - - - - -
V. Celli
P F
- -
? bb w-
D. Bass
F marcato
293
Part V
(Un poco largamente) 71 (Un poco animato)
bb 3 4
779
Fl. 1, 2 & 2 4
b # . n . 3 n
&b J J 2 4
1
2 Ob. # 4
f-
n -
2
# n 3 - - 4
B b Cl. 1, 2 & 2 4
f
ww 3 - - - 4
B b Cl. 3 & 2 # - 4
f
? bb 3 4
2 w 4 w
w- w -
2 Bsn.
w
f> -
# n 3 b 4
& 2 4 -
a2
Hn. 1, 2
w - - - J
f F
3 4
& w 2 - b
- 4
w # - n - -
Hn. 3, 4
f
- - - - -
- - - -
23 44
open
J
1 Solo
3 B b Tpt. &
f ma dolce
? bb 3 4
3 Tbn. 2 4
? b 3 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp. b 2 J 4 w
F
3 ~~~~~~~~~~~~~~~~ 44
Cym. 2
> p> F
> 4~4~~~J gg
& bb 23
# > ggg ggg ggg
~~~~~ ggg ggg ggg
f ~~ f ggg
* ~~ g ggg
# n ~~ 44 j gg g
Hp.
? bb 32 g

>
b
23
44
&b
Cel.
? bb
23
44
f # - f - - -
-
-
(Un poco largamente) 71 (Un poco animato)
? bb
23
Boaz 44 J
bb
thee, as the LORD li - - - veth: lie
23
44
S &
b
23
44
A &b
b
23
44
T Vb
? b 3 4
B b 2 4
- . - . -
b # - n - -
(Un poco largamente)
- - 44
b J J 23
unis.
&
F
Vln. I
f S
b - - - - - - - -
23
b 44
# -
unis.
& -
J J J J
Vln. II
f S F
B b b #
- - - n - - - - - -
unis.

23 44
Vla.
J J J J -
f S F
div. -
? b b - - - - - - - # - n -
23
44
w>
unis.
V. Celli
J J J J
f S
? b w 3 w> > 4
div.
b 2 w 4 w
>
D. Bass
f
294
Part V
bb 2
782 rit. (Lento)
Fl. 1, 2 & 4
b 2
2 Ob. &b 4
j 2
B b Cl. 1, 2 & 4
b
F p
2
B b Cl. 3 & 4
- - - - - - -
? bb J - - . . .
j

2
a2
4
.
2 Bsn.
F P . .
- - - - j
& b - - - 2
4
Hn. 1, 2 - - -
2
Hn. 3, 4 & 4
- - - . . - 2
Mtd.
b ..
1 Solo
3 B b Tpt. & J 4
J
- - - - . - - .. ..
? bb b

open
b .. . . 24
3 Tbn. J
Pgrave
~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb . 24
Timp. w w w

b 2
& b gg 4
ggg - - -
gg
? b b gggg
Hp.
24
b 24
&b
Cel.
? bb 24
P p j
? bb
rit. (Lento)
Boaz j
r r r r j
24
bb
down, lie down lie down un - til the morn - ing.
24
S &
b 24
A &b
b 2
T Vb 4
? b 2
B b 4
b j 24
rit. (Lento)
&b

Vln. I
b 24
& b j

Vln. II
j j
B bb 2
unis.

b b b
div.
4
pizz.
Vla.
&
p
? b - - - - - - - - - j 2
J -
b - . w 4
*
V. Celli
F
? bb 24
D. Bass w w J . w
295
Part V
Calmo e dolce (but fluent)

b 2
72
Fl. 1, 2 &b 4
b 2
2 Ob. &b 4
2
B b Cl. 1, 2 & 4
2
B b Cl. 3 & 4
2 Bsn.
? b b 24
2 1 Mtd.
j j j j j j j j
& 4 . - . - . . - .
2 Mtd.
. . - . . - . . - .
p J even J J J
Hn. 1, 2
p even
2 3 jMtd.
j j j j j j j
& 4 . - . . - . . - . . - . . - . . - .
4 Mtd.
p J even J J J
Hn. 3, 4
p even
2
3 B b Tpt. & 4
3 Tbn.
? b b 24
? b b 24 j
Timp.
24

Trgl.

b 2
&b 4
p even
? b b 24 J
Hp.
b - -
2
& b 4 b b
p
b -
Cel.
? b b 24
p
72
b 2
S &b 4
J

J

J

J

J

J

J

J

J

J

J

J

J
b 2 p
And she lay at his feet un - til the mor - ning: and she rose up be - fore
&b 4 j j j j j j j j j j j

A
b 2
And she lay at his feet un - til the mor - ning: and she rose up
T Vb 4
B
? b b 24
- n b b b - - -
n - b b n - b b
72
bb 24 J
Vln. I & J J J

- dolce n - n b b b - - -
bb 24 b J n - b b
Vln. II & J J J
dolce
- - b -
b 24 b b b b b b - b b b
Vla. &b J J b - - B
J J
dolce
? bb 24
V. Celli

? bb 2
D. Bass 4

296
Part V
b 4
792
Fl. 1, 2 &b 4
b 4
2 Ob. &b 4
4
B b Cl. 1, 2 & 4
4
B b Cl. 3 & 4
? bb 4
2 Bsn. 4
.j - .j -j .j - .j -j 4
& 4
J J. J. J
.J J- J - J- J - .J
Hn. 1, 2
- -
.j - .j -j .j - .j -j
4
& 4
J J. J. J
.J J- J - J- J - .J
Hn. 3, 4
- -
4
3 B b Tpt. & 4
? bb 4
3 Tbn. 4
? bb 4
Timp. 4
44
Tamb.

& bb 44
? b b J
Hp.
J J J J J J J 44
b 4
&b 4
b -
Cel.
? b 4
b 4
b n - . - 44
S &b
J
J
J

J

J

pi p
bb
one could know an - oth - er.
& j 44
j j n - . j - j j j

A
bb
be - fore one could know an - oth - er.
44
T V
p j j
? bb 44
B
And he said
b n b b b - 4
Vln. I &b n - b -
- 4

b 44
& b n b b b
- n - b -
-
Vln. II

B bb n b b b -
44
Vla.
- - -

? bb j 44
V. Celli
? bb j 44
D. Bass
297
Part V
# #
73 (Calmo - misterioso)
b 4 n n # # 43
Fl. 1, 2 &b 4
b 4 # #
2 Ob. &b 4 n n # # 43
4 #### # 3
j # 4
Soli a2
B b Cl. 1, 2 & 4 b . j j . b . j
b -
- marcato b
. .
P #### # 3
4 dark # 4
B b Cl. 3 & 4
? b b 44 # # 3
2 Bsn. nn # # 4
+
4 bw 3
& 4 4
b w+
Hn. 1, 2
+
4 3
& 4 bw . 4
J
Hn. 3, 4
-J -
4 #### # 3
3 B b Tpt. & 4 # 4
? b b 44 # # 3
3 Tbn. nn # # 4
? b b 44 # # 3
Timp. nn # # 4
b 4 # #
&b 4 n n # # 43
# 3
Hp.
? b b 44 nn## # 4
#
b 4
&b 4 n n # # # 43
#
n n # # # 43
Cel.
? b b 44 &
p b -
73 (Calmo - misterioso)
? b b 44 # 3
Boaz
J

J

J

J
n
J

J J
J

R R R R
nn## # 4
#
b 4 n n # # # 43
Let it not be known that a wo - man came in - to the floor.
S &b 4
b 4 # #
A &b 4 n n # # 43
b 4 # #
T Vb 4 n n # # 43
? b 4 # # 3
b 4 nn # # 4
3
B
J J J
Al - so he said,
#
73
n n # # # 43
(Calmo - misterioso)
b 4
&b 4 w w- w-
p-
Vln. I
b 4 # #
&b 4 n n # # 43
bw b w- b w-
p-
Vln. II
B b b 44 # #
n n # # 43
w w- w-
p --
Vla.
- - - - - - - - - - -
? b 4 # # 3
b 4 n b n n b n b n nn # # 4

V. Celli
p-
- - - - - - - - - - -
? bb 4 # 3
4 n b b b nn## # 4

D. Bass
298
Part V
74
####
(Movendo un poco)
& 3 2
Fl. 1, 2 4 4
# ## 3 2
2 Ob. & # 4 4
# ## #
& # # 43 j 2
B b Cl. 1, 2 4

#### # 3 2
B b Cl. 3 & # 4 4
? #### 3 j j 2
4 .. .. 4

2 Bsn.
p
3 2
Hn. 1, 2 & 4 4
3 2
Hn. 3, 4 & 4 4
# ## # -
& # # 43 j
2
4
1 Solo Mtd.
3 B b Tpt.
J -p
p
. ..
pi
? #### 3 ..
Mtd.
4 . 24
3 Tbn.
J J
p
? #### 3 j j 24
4

Timp.

43

2
Trgl. 4
#### 34 j j 24

3
&
F P 3
? ####

Hp.
43 24

- - - # -
#### - - - -
3 # - # 2
& 4 - - - - 4
- - - # - -
p clear - -
# ## 34 - - # - - - - - #
- - # - - -
Cel.
24
& # - - - - -
? - - - -
- -
. # - - -
74
? ####
(Movendo un poco)
34 J R 24
Boaz J J J R R J J
####
Bring the vail that thou hast up - on thee, and hold it.
43 24
S &
# ##
43
24
A & #
# ##
43
T V # 24
? #### 3 2
B 4 4

(Movendo un poco)
# #
74
####
43
# 24
&

Vln. I
# # #
& # # 34div. #

#
24

#
Vln. II

unis. ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~
#
B ## # 43 &
.. . B
y . 24
div.
Vla.
.
? #### 3

24
4

V. Celli

? #### 3 div. . j
4 . . 24
unis.
D. Bass
J

299
Part V
75 Allegretto
####
2 12 J
805

a2 Soli
Fl. 1, 2 & 4 8 J J
p
#### 2 12
dolce e chiaro
2 Ob. & 4 8
# ## # j
& # # 24 n
12 . .
B b Cl. 1, 2 8
p

#
# # #
& # # 24
12 j . .
B b Cl. 3 8
#
p
? #### 2 12 j
4 8 . .
2 Bsn.

p
2 12 # . .
& 4 8 # . # . # - .
# . - . # - .
Hn. 1, 2
open -
p dolce
2 ? 12 4th
Hn. 3, 4 & 4 8 #w .
open p
# ## # 2 12
3 B b Tpt. & # # 4 8
? #### 2 12
3 Tbn. 4 8
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? #### 24 12
Timp. 8 w.

24 12 . . . .
Tamb. 8

# ## 24 12
& # 8
p dolce
. . . .
? #### . - .
Hp.
24 12 .
8 - .
- .
-
# ## 24 12
& # 8
? ####
Cel.
24 12
8
Allegretto
#### p - # p grazioso j j
75
24 12 #
& # J
8
J J J J J J
J J J
S
p grazioso
#### 24 p j j
And when she held it, he meas - ured six meas - ures of bar - ley,
j j 12 j j
j j
A & n
-
8 j j j
j
####
And when she held it, he meas - ured six meas - ures of bar - ley,
T V 24 12
8
? #### 2 12
B 4 8
####
75 Allegretto
24 12 j . .
Vln. I & n - 8
p
# ## 24 12 j
& # 8 . .
# -
Vln. II
#
B ## # 24 ~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~
12
8
. .
Vla. J
? #### 24 12 j
. .
div.
V. Celli
8
? #### 24 12
pizz.
D. Bass 8
300
Part V
~~~~~~~
n
(Un poco pi calmo)
#### . nnnn
b b b 44
#
J . 6
809
Fl. 1, 2 & J . 8
#### nnnn j j
. j . 6 . b b b 44
J
a2
2 Ob. & 8 J
P
# ## # nn n## 6 nn 4
B b Cl. 1, 2 & # # n 8 b 4
# ## # nn n## 6 nn 4
& # #
to Bass Clar.
B b Cl. 3 n 8 b 4
- .
? #### nnnn . J 6
J 8 J b b b 44
a2
2 Bsn.
J J
F
# . # . # - . # - . n
. . 6 4
Hn. 1, 2 & # - . # - . # . # . J 8 4
? j 6 4
Hn. 3, 4 w. . . 8 & 4

# ## # nn n## 6 nn 4
3 B b Tpt. & # # n 8 b 4
3 Tbn.
? #### nnnn 68 4
bbb 4
~~~~~~~~~~~~~~~~~~~~~
? #### j nnnn j . . 68 4
bbb 4
Timp.
. .
. . . 6 4
Tamb. 8 4
#### nnnn ggg ..

& . . # . . .. . . 68 . ggg . b b b 44
# - . - . - . - . - . g
p gggg
? #### nnnn . 68 . gggg ..
Hp.
4
. . . gg . bbb 4
.
# ## nnnn
& # 68 b b b 44
? #### nnnn
Cel.
68 4
bbb 4
P
(Un poco pi calmo)
#### j - n n n n j
# .. 44 24 b b b 44
S & J J J J J J J J J J .
#### nnnn P
j j j j
and laid it on her: and she went in - to the ci - ty.
& j j j j . j

4
4 2
4 b b b 44
A
- J J J .
####
and laid it on her:
nnnn
and she went in - to the ci - ty.
p j
44 b b b 44
T V J J J J J 24 .
J
p
? #### nnnn 44 J J J J J 24 J . 4
B J bbb 4
w. w. . - .
(Un poco pi calmo)
#### nnnn
& 68 b b b 44

Vln. I
#### nnnn div. w . ww . 68 .. - .

Vln. II & w. . . b b b 44

Vla. B #### nnnn 68 b b b 44
? #### nnnn ww . ww . 68 .. - .
. . . b b b 44
div.
V. Celli

? #### nnnn w. w. 68 . - . b b b 44
arco
D. Bass

301
Part V
76 Moderato
b 4 2
Fl. 1, 2 &b b 4 2
b 4 2
2 Ob. &b b 4 2
44 2
B b Cl. 1, 2 &b 2
4 2
B b Cl. 3 &b 4 2
? b b 44 2
2 Bsn. b 2
j j j
4 2
& 4 2
- - -
Hn. 1, 2
p
4 j j j 2
Hn. 3, 4 & 4 - - - 2
p
44 2
3 B b Tpt. &b 2
? b b 44 22
3 Tbn. b
? b b 44 j j j j j j 22
Timp. b

b 4 2
&b b 4 2
Hp.
? b b 44 22
b
b
& b b 44 22
Cel.
? bb 4 22
b 4
76
b
Moderato
& b b 44
S 22
b
& b b 44
A 22
b F - p
V b b 44 J r 22
3
T
J J J J J J J
F p
- r
And when she came to her mo - ther - in - law, she said,
? bb 4 J 22
b 4 J J J J J J
3
B
J
And when she came to her mo - ther - in - law, she said,
76 Moderato
b
& b b 44 w
22
w w
p
Vln. I
b unis.
& b b 44 22
w w w
Vln. II
p
B b b b 44 w w w
22
p
Vla.
- - - - - - - - - - - -
? bb 4 b n b n b b 22
div.
b 4
b

b

V. Celli
p- -
- - - - - - - - - -
? bb 4 b b 22
div.
D. Bass b 4 b

p
302
Part V
#
77
b 2 n n n 24
Un poco agitato
Fl. 1, 2 &b b 2
b 2 #
2 Ob. &b b 2 n n n 24
2 j j # #
B b Cl. 1, 2 &b 2 n # 24
- -
pf pf
#
B b Cl. 3 &b
22 n # # 24
- b - - - b - -
- -
? b 22 J J # #
n # 42
Solo
B. Cl.
P F F
3 3
? b 2 # 2
2 Bsn. b b 2 nnn 4
+ +
2 b ww b ww 2
& 2 4
+ +
Hn. 1, 2
2 b - b - 2
Hn. 3, 4 & 2 - - - - 4
F p F p
#
3 B b Tpt. &b
2
2 n # # 24
? b b 22 #
n n n 24
3 Tbn. b
? bb 2 j j n n n 24
#
Timp. b 2 n n
b
& b b 22 ~~ J ~~J n n n # 24
~ ~ ~ b o o ~ ~ ~ b o o
~~ nn ~~
p ~~~~~ ~~~
~~
AD
Hp.
? bb 2 ~ ~ n n n # 24
b 2 n ~~~ n ~ ~~
b
& b b 22 n n n # 24
Cel.
? bb 2
b 2 n n n # 24
77 Un poco agitato
f espr. e doloroso -
b
& b b 22 .
j b - . j n n n # 24
Naomi
b n n n # 24
Who art thou my daugh - ter?
S & b b 22
A
b
& b b 22 n n n # 24
T
b
V b b 22 n n n # 24
? bb 2 n n n # 24
B b 2
n n n # 24
77
b j
Un poco agitato
Vln. I & b b 22
b
& b b 22 j n n n # 24

Vln. II

n n n # 24
ponticello
B b b b 22 j
div. ponticello
J J
p p
Vla.
S S
1 Solo -
b -
1 Solo -
arco n b -
? bb 2 j J j n n n # 24
b 2 n n
gli altri
J pizz. P
V. Celli
F espr. F espr.
div. n
? bb 2 j
b 2 n n n n n # 24
J pizz. J
D. Bass
303
Part V
####
78
#
Allegretto
2
Fl. 1, 2 & 4
# 2 ####
2 Ob. & 4
# # 2 #### #
B b Cl. 1, 2 & # 4 #
# # 2 #### #
B b Cl. 3 & # 4 #
2 Bsn.
?# 2
4 ####
2 # - - - # - - -
Mtd.
& 4 # #
J J J J
Hn. 1, 2
even
2
Hn. 3, 4 & 4
# # # 2 1 j
j j

j j

j j

j
# # # # # # j
Mtd.
& 4
3 B b Tpt.
- - - - - - - - - -
2 - -

? # 24 ####
even
3 Tbn.
Timp.
?# 2
4 ####
2
Tamb. 4

&
# 24 ####

####
Hp.
?# 24
# 24 ####
&
####
Cel.
?# 24
p ####
78
# j r r j
Allegretto
&
24 b
J J b
J b j b j n j j
S
J
# p Andj shej ####
j j
told her all that the man had done to her.
2 j r r j j
& 4 b n b b j j j

A
# 24 ####
And she told her all that the man had done to her.
T V
B
?# 24 ####
- b - b . . - b -
Allegretto
b b n #
- #### n
78
# 2 J J
& 4 J J J
p p
Vln. I
- b -
dolce
- n -
2 n .
pi
# . b b j #### n #
& 4 J J - J J
p dolce p
Vln. II
- b - b . b . - b -
pi
B# 24 b n b b - #### n n
J J J J
Vla.
p dolce J p
tutti -
- - - - - - - - - - -
pi
?#
arco
24 J J J J J J J J #### - - - - - -
V. Celli J J J J
p even pi p
D. Bass
?# 24 ####
304
Part V
#### nnnn
79 Calmo - dolce

poco rit.
12
826
. .
1 Solo
Fl. 1, 2 & 8
p
# ## 12 nnnn
2 Ob. & # 8
# ## # 12 j j - . n n#
& # # J J nn #
1 Solo
B b Cl. 1, 2 8 J
p
# ## # 12 nn n##
& # #
dolce
B b Cl. 3 8 n
? #### 12 nnnn
2 Bsn. 8
# - - - # - - - 12 # .
& # # 8 # .
J J J J J
Hn. 1, 2
12
Hn. 3, 4 & 8
# ## # 12 nn n##
3 B b Tpt. & # # 8 n
3 Tbn.
? #### 12
8 nnnn
Timp.
? #### 12
8 nnnn
12 J . .
Trgl. 8

#### nnnn
12 . . ..
& 8 .. .
-.
.. .
-. - . .
-
p dolce
? #### . . . . . nnnn
Hp.
12
8 . . . .
. .
# ## 12 nnnn
& # 8
? #### nnnn
Cel.
12
8
#### p dolce nn
79 Calmo - dolce
j j
poco rit.
12
Ruth & 8 . j J J .
J
. J n n
J
#### p nnnn
These six meas - ures of bar - ley gave he me, for he
& 12
8
S
R R
# ## p nnnn
And she said:
12
& # r r 8

A
#### nnnn
And she said:
12
T V 8
? #### 12 nnnn
B 8
#### nnnn
79
n n n n
Calmo - dolce
- - - - . - . - . .
poco rit.
12
Vln. I & 8 . .

# ## 12 nnnn
& # n n n 8 . ..
div.
# - - - . - . . - .
- -
Vln. II
B #### b n
b n - -
12
8 - . - . - . . - .
nnnn
Vla.
- .
? #### - - - - - - 12 nnnn
V. Celli J J J J 8 w. . .

? #### 12 nnnn
D. Bass 8
305
Part V

. # . #
b b b b 44
830
Fl. 1, 2 & . .
2 Ob. & b b b b 44
&
#
4 . . .
n b
b b
E. Hn. 4 # J J
P espr.
## - nn b
4
b - b
Soli a2
& 4
3
B b Cl. 1, 2
n

## P espr. F nn b 4
B b Cl. 3 & b 4
? 4
.. bbbb 4
2nd 1
2 Bsn. . b . ..
p 2
4
Hn. 1, 2 & 4
44
.. ..
Mtd.
& .. .
- - - - .
Hn. 3, 4
p dolce
# nnbb 4
3 B b Tpt. & # 4
3 Tbn.
? b b b b 44
?
Timp. b b b b 44
. 44
Trgl. . .

& b . . . . b b b b 44
J J
p
b
Hp.
? b b b b 44

. - . b - . - . b b b b 44
b
. .
J

J J
- .
J
&
Cel. p clear
? b b b b 44
J . - - - -
Ruth & . J J J J
b .
J J J J J J b b b b 44
p
2 2
b b b b 44
said to me, Go not emp - ty un - to thy moth - er - in - law.
& . . . .
S
-. -. -.
p
b b b b 44
Then said she,
& .
- . - . - .
A
b b b b 44
Then said she,
T V
B
? b b b b 44
# . # . .div.- . b - . - .
. . # . . - .
Vln. I & . . b . . . b b b b 44
p ma espr.) p espr.
- .. - .. b - .. -
ww- .. - .. -
(sempre
. b .. b b b b 44
Vln. II & .
p
Vla. B & b b b b 44
- -
- . - . . . # . - .. - .. b - . - .
? . . w. . . b b b b 44
div.
V. Celli
p dolce p
- . b - . w- . - . b - . - . - .
pi
? . b b b b 44
arco div.
D. Bass
p dolce pi p
306
Part V
80 Moderato
b b 4
Fl. 1, 2 &b b 4
b b 4
2 Ob. &b b 4
b
a2
B b Cl. 1, 2 &b -
b 4
B b Cl. 3 &b 4
? b b b 44
2 Bsn. b

4
Hn. 1, 2 & 4
4
& 4 b

Hn. 3, 4

b 4
3 B b Tpt. &b 4
? b b b 44
3 Tbn. b
? b b b 44
Timp. b
4
4
muffled
S.Dr.
J J J J
3 3 3 3
b b 4
&b b 4
p j j
j j j j j j j j
j
Hp.
? b b b 44 j j
b j
j j

b b 4 J
&b b 4
Cel.
? b b 4
b b 4
80 Moderato
p
b b 4 j j j j - j j j
&b b 4 j j .
- - J J J
Naomi
b b 4
Sit still, my daugh - ter, un - til thou know how the mat - ter will fall: for the
S &b b 4
b b 4
A &b b 4
b b 4
T Vb b 4
? b b b 44
B b
w- w- w-
w-
80 Moderato
b b 44 w
&b b
unis.
Vln. I

unis.w- w- w-
Vln. II & bbbb 44 w-
-
b b
w w- w-
Vla. &b b
4
4 w-

? b b 4 j j j j j j j j j
b b 4 J J J J
unis. pizz.
V. Celli
J J J
p p
j j j
j
? bb b 44 j j
j j j
J J J
unis. pizz.
D. Bass b J J J J
p p
307
Part V

81 Un poco agitato
b b 2
838

a2
&b b
Soli
Fl. 1, 2 2
F 3
b b 2 -
2 Ob. &b b 2
p
b 2
&b
Soli a2
2 -
3
B b Cl. 1, 2

P pf
b 2
B b Cl. 3 &b 2
? bb b 2
2 Bsn. b 2
2
Hn. 1, 2 & 2
2
Hn. 3, 4 & 2
b 2
3 B b Tpt. &b 2
? bb b 22
3 Tbn. b
? bb b 22 ~~~~~~~~~~~~~~~~~~~~~~~~
Timp. b w

2
S.Dr. J J J 2
3 3 3
b b 22
&b b
j
? b b b j j j j
j
j j b j
Hp.
b
22
J b
J J

b b 22
&b b
Cel.
? bb b 22
b
F ,
b b b espr. - . j -
81 Un poco agitato
& b j j - b -
22
Naomi n J J J J J J -
bbbb
man will not be in rest, un - til he have fin - ished the thing this day.
S & 22
b b 2
A &b b 2
b b 2
T Vb b 2
? bb b 22
B b
w- w-
81 Un poco agitato
b b - - 22
Vln. I &b b J

b b w- w- 2 j
&b b b - 2
-
Vln. II
b b - 2
Vla. & b b w- w- B
- 2 J
? b b b j j
J J
J
b

J J

J J J b J 22 arco
V. Celli
J w
p
? b b b j j
J J

b
J J

J J
J J J b J 22 arco
D. Bass
w
p
308
Part V
n - b - n - b -
b b
842
J
&b b
pf
Fl. 1, 2
3
pf
b b -
& b b n n
-
J
2 Ob.
b j
B b Cl. 1, 2 &b b - -
b
B b Cl. 3 &b
- b - -

? bb b
Soli a2
2 Bsn. b
3
pf
+ +
& b b
+ J + J
Hn. 1, 2
pf pf
+ +
j j
& # #
+ +
Hn. 3, 4
pf pf
b
3 B b Tpt. &b
? bb b
3 Tbn. b
? bb b j ~~~~~~~~~~~~~~~~~~~~~~~~~~
b j
Timp.
w
Cym.
p
b b
&b b n J n J
F
n n

Hp.
? b b
b b
-
b b
&b b
Cel.
? bb b
b
b b
S &b b
b b
A &b b
b b
T Vb b
? bb b
B b
-
div. n b - n - b -
b
& b b n
b b n b
Vln. I
J
p lamentoso pi p
b b
Vln. II &b b
Vla. B bbbb
? bb b
b . - . -
j - . -
j
n w . n
V. Celli
- . j - . j
espr.
? bb b
(un poco marcato)
D. Bass b . n - w . n -
espr.
(un poco marcato)
segue
309
Part VI
At the Gate of the City
(Interlude)

82 Lively
44 J
Flute 1, 2 & b 43 44
4
& b 4 43 44
J
2 Oboe
# 4 3 4
Clarinet in B b 1, 2 & 4 4 4

2 Bassoons
? b 44 J 43 44
open - -
44 43 . . - b - . . - b - 44
a2
Horn in F 1, 2 &
F
Horn in F 3, 4 & 44 43 44
- -
# 4 . . 3 - - . . - - . .
44
Mtd. 1 Solo

open
3 Trumpets in B b & 4 4
J
p F
3 Trombone
? b 44 43 44
? b 44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
43 . 44
Timpani
w w .
~~~~~ ~~~~~~
44 43 44
suono naturale

p
Snare Drum
4 gg
& b 4 gggg 43 44
gg
ggg
g
? b 44 gggg
Harp
ggg 43 44
ggg
4 3 4
&b 4 4 4
Piano
? b 44 43 44
82 (Interlude)
4 3 4
&b 4
Lively
Soprano 4 4
4 43 44
Alto &b 4
4 3 4
Tenor Vb 4 4 4
Bass
? b 44 3
4 4
4
82 (Interlude)

Lively
Violin I
4
& b 4 J 43 44
j
mutes off
44 43 44
&b
pizz.

p
Violin II
pizz.
mutes off
Bb 44 43 44
Viola

pJ mutes off
?b 44 43 . 44
Violincelli
w w .
p
?b 4 3 4
mutes off (gradually)
Double Bass 4 w w 4 . . 4
p mutes off (gradually)
310
Part VI
4
&b 4 43 44
849
Fl. 1, 2
4
2 Ob. &b 4 43 44
# 4 3 4
B b Cl. 1, 2 & 4 4 4
?# 4
B. Cl. 4 43 . .
44
p
?b 4
2 Bsn. 4 43 44
-
4 . . - b - - - - 3 4
a2 open
& 4 - - - - - - - 4 4
-
Hn. 1, 2
F - -
4 3 . . - - . . - - 4
a2open
Hn. 3, 4 & 4 4 4
- f -
# 4 - - - - - - - j j . . 3 - n - . . - n - . . 4
1 Solo
& 4 -
- . 4 4
3 Tpts.
-
F f
-
open
- - - - -
?b 4 3 b b 4
3 Tbn. 4 4 4
p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b 44 43 . 44
Timp.
w w .
~~~~~~~ ~~~~~~~~
S.Dr. 44 34 44
P
& b 44 3
4 4
4
Hp.
? b 44 43 44
& b 44 43 44
Pno.
? b 44 43 44
S & b 44 43 44
A & b 44 43 44
T V b 44 43 44
?b 4
B 4 43 44
Vln. I & b 44 43 44
Vln. II & b 44 43 44
j j j j
3 j j
unis.
B b 44 4 4
pizz.
Vla.
b b 4
P
?b 4 3 4
V. Celli 4 w w 4 . . 4
p
? 4 3 4
D. Bass b 4 w w 4 . . 4
p
311
Part VI
83
& b 44
853
Fl. 1, 2
j
& b 44 # n # n n b . .
2 Ob.
. . . . . . . . . . . # . . . . . .
F P
# 4 . . . . . # . . . . . .
# # . . # # . . . . . . b
B b Cl. 1, 2 & 4 P #
F . J
# . . . . # . . # . # . # . .
?# 4 j . . # # #
B. Cl. 4 w . . .
F .
n . . . . # . . # . # . # . .
?b 4
4 . . # . n
2 Bsn.
. # .
F
& 4
Hn. 1, 2 4
-
4 . . - - - - b -
a2
& 4 - b - -
Hn. 3, 4
- - - -
-
- - - - - - - - -
# n - .
3 Tpts. & 44 J

J

f
- - - b - - - - b -
? 4 b B b ?
3 Tbn. b 4 J
p P
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?b 4 j j j j j j j j
Timp. 4 w w
(sempre p)
j
S.Dr. 44
44
Tamb.
J J J J J J J J
p
n n
& b 44 # #
Hp. p
?b 4
4
& b 44
Pno.
? b 44
83
S & b 44
A & b 44
T V b 44
?b 4
B 4
83
n n
& b 44 n
pizz.
Vln. I
J J
p
j
& b 44 # j b
pizz.
Vln. II
# #
p
j j j
j
B b 44 b
b J J
J J
Vla.
F n # # # #
pizz.
?b 4 # n #
V. Celli 4 w w
F
? b 44 w w
D. Bass
w w w w
312
- - - -
. . - -
Part VI
a2
. . . .
&b 41 43 44
857
Fl. 1, 2
f
- - - -
. . - -
. . . . . . . . . . . . . . . . . 1 > . . 3 . . 4
a2
2 Ob. b
& b b b b n 4 J 4 4
J f
F.
# . . . . . . . . . . . . . . . . 1 > a2. . 3 - - - . . - - -
. .
B b Cl. 1, 2 & n b
#
n b 4 J 4 44
J f
F . . . . . . . .
?# b . b . . . n . . . .
41
j
B. Cl.

j b 43 . .
44
f .
?b . . . . . . b . . b . . . b
41 j 43 - 44
marcato
j . . . b n - - - n - - -
2 Bsn.
. - - - - -
f f
j j - - - . . - - -
14 34 . . 44
b
& #
pf> pf>
Hn. 1, 2
f
- - - . . - - -
&
j

j
41 34 . . 44
b
Hn. 3, 4
pf> pf> f
#
3 Tpts. & 41 43 44
?b > >
41 43 n

n 44
J J
3 Tbn.
pf pf
?b j j j j j j j j 41 j 3 j j 4
Timp.
4 4
F
41 43 J 44

Trgl. J
j j j j
41 3
4 4
4
F~~~~~~~
S.Dr.
j j j j j j j j j ~~~~~ j ~~~~ j
Tamb. 41 3
4 4
4
f

~~ ~~~
b b 41 j j~~~~~ 43 J j J j 44
~~
~~~
&b b b
~~~~
~~~
Hp.
f
?b 41 43 44
&b 41 43 44
Pno.
?b 41 43 44
S &b 41 43 44
&b 1 3 4
A 4 4 4
Vb 1 3 4
T 4 4 4
?b 1 3 4
B 4 4 4
. . - - - -
. . - - . .

arco

Vln. I &b J 41 J 43 44
F f
. . - - - -
. . - - . .
j
& b b b n 41 43 44
arco
Vln. II
b b J
F f
j jarco . . - . . - - -
Bb 41 & 34 - -
. .
44
Vla.
b
f

?b b b b
41 j 43 - n - - - 44
arco
j
V. Celli
b
- - - - - n - - -
f f marcato
?b w w . .
41

w w 43 . 44
- - - .
D. Bass
313
Part VI
- - -
- - n - - - - - . b >
84
& b 44 J J 34 J
862
Fl. 1, 2
- f
- -
- n - - - - - - . b >
2 Ob. & b 44 J
J 43 J
f
- -
# 4 - - - # - - - - j >
B b Cl. 1, 2 & 4 J - . 43 b J
f
?# 4 43 j
4 w w
>
B. Cl.
- - - - b >
- - n - -
marcato
? 4 - - -
43
J b
b 4 - n - - . . - - b - - -
b b -
- - b - - - -
2 Bsn.
f F
-
4 . . - - # - - - - - - - #
Hn. 1, 2 & 4
- - - - 43 j
f >
-
4 . . - - # - - - - - - - #
Hn. 3, 4 & 4
- - - - 43 j
f >
#
3 Tpts. & 44 43
- - - b -
? 4 n >
-
b b b b b b
b 4 43
J
3 Tbn.
p
? 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j 3
Timp. b 4 w 4 j

f P
Trgl. 44 J 3
4
4 43 J
Tamb. 4 J J J J J
F f
4 34
Whip 4
J

J

J

J

J

J
(ad lib.)

j j j b
& b 44
J
43 b b b
~~~~~
b b
b J J
P
b b b
b b b
Hp.
? 4
b 4 43 J J b J J
J

& b 44 3 b
4 b
? b
Pno. F
? 4 3
b 4 4 b b b
84
& b 44 3
S 4
A & b 44 43
V b 44 43
(ad lib.)
T
p j
b b J b
j j j j
? 4 43

B b 4
J b
J
J
J
- - -
- - n - - -
Oh Oh Oh Oh Oh
- - . b >
84 pizz.
Vln. I & b 44 J J 34
b

f f J
- - -
- n - - - - b >
- - .
pizz.
& b 44 J 34
b
arco
J b b
b
Vln. II
f f J
p
- - -
- - n - - - j j 3 b >pizz.
& b 44 - - . 4 b div. b b b b
arco
B
f J b
Vla.
f p
-
- - - - - b > -
? 4 - - - - - n 34 J . . - b - - - b - -
- n - - -
marcato
b 4 - b -
- -
V. Celli
f F
-
j unis. marcato
? 4 w w 34 . . - b - - - b - -
D. Bass b 4 w w - - b -
F
314
Part VI
&b
866
Fl. 1, 2
2 Ob. &b
#
B b Cl. 1, 2 &
- - - -
?# - - - - # - # - # - - j . . - - #
- # - n
> f
B. Cl.
f
? j
b j - bb
b # # n j #
- - - - b b - - - - - - # - - # n # - n . . - - - # -
> F. .
2 Bsn.
- - - - > - - - - >
f f
# - - # - # -
Hn. 1, 2 & # - # - # J # - # -
P f P
j
& # - # - - - # -
Hn. 3, 4
- - -
P f P
#
3 Tpts. &
> - - b - -
- - b b b #
? J b b b J
3 Tbn. b
pf P pf
? j j j
Timp. b
P
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~
.
Suspended cymbal
Cym.
J
p

Tamb.
J J J

Whip
(ad lib.) J J J J J J J J J J J J J J J
j j j # # # n # #
& b n J b b

b b b b b # n n n # J J J J # n

J J J J J J J
F P F F f F
b #
? J b b b b b b j j j
Hp.
J & j # j j # j # j
b J J J J # # n
J n # # n
. . - - b - - - b - - -
- - - - - # -
?
b j
- b - j n . . n - - # - # n
- - - - # - j . .
n
> f >
F
. . - - b - - - b - - -
- - - -
j n . . n - - # j . . - - #
Pno.
?
b j - b -
- # n
- - - - # - n
> >
S &b
A &b
# # # # # #
(ad lib.)
j j j j j j j j j
Vb

T
J
J
J J
J
J J
J
J
F Oh
j j j j j j j j j
Oh Oh Oh Oh Oh Oh Oh Oh
? b j b J # # J # J
j j j j j
# J
# #
B b J b
J J b
J
J
J
J
J
J
J
J
Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh Oh
&b # n #
arco
Vln. I
# J #
P f P
j
& b j b b n
j
# #
b # #
Vln. II
F p F P f P
j
B b n b b # n # n
b
unis.
Vla.
J b J
p F P f P
F - - -
? b j . . - b - - - b - - - -
j . . - - # - # - n - j . - - #
. -
V. Celli
- b - - - # -
>F > f > f
- - -
? b j . . - b - - - b - - - -
j . . - - # - # n -
j . . - - #
D. Bass
- b - - - - - # -
>F > f > f
315

Part VI
- -
85
. . 34 - - . . - - . . 4
&b 41
871
Fl. 1, 2 4

. . - - . . - - . . 4
- -
Picc. &b 41 34 4
. .
- - - . . - - - . .
2 Ob. &b 41 43 44
. .
- - - . . - - - . .
#
B b Cl. 1, 2 & 41 43 44

?# - # - # - - - #
- 41
j 43 . .
44
> f> >
B. Cl.
? # n 41 j 43 .. . 44
b - # n # .
- - -
2 Bsn.
- - > f> >
- # - > - -
# - # 1 3 . . - - . . - 4
a2
& 4 4 4
Hn. 1, 2
J
f f f
> - -
- 41 43 . . - - . . - 44
a2
& - -
J
Hn. 3, 4
f f f
- . . -
# . . - - - -
41 43 44
a2
3 Tpts. &
f
- - - - - -
? 1 3 4
a2
4
B
3 Tbn. b 4 4
f ~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~
? 1 43 j j 4
Timp. b 4 4
~~~~~~~~~~~~~~~~~~~~~~~~~~
. 1 3 4
Cym. 4
J 4 4
41 43 J 44

Trgl. J
1 3 ~~~~~~~~~ ~~~~~~~~~~ 4
S.Dr. 4 4 4
f ~~~~~~~~~~ ~~~~~~~~~~
Tamb. 41
J
43
J

J
44
Whip
J

J

J 41
J 43
J

J

J

J

J

J
44

(ad lib.)
~
# # n ~ ~ ~ ~~ ~ j ~ ~~ j
&b # J J J 14 J 43 ~~~ ~~~~~ ~~~ ~ ~ ~ ~ ~ ~ ~ 44
~~~ ~~~
~~~ ~~~
j j ~~~ ~~~
j j ~ ~
41 43 44
Hp.
& b # # # n
?
J J
>
? # n 1 3 4
b # 4 n j 4 & 4
J

? j
41 n j 43 44
Pno.
b # n # &
>
f
85
41 43 44
j j j j j j
S &b
J
J
J
J
J
J
f j
Oh
j
Oh
j
Oh
j
Oh
j
Oh
j
Oh
1 3 4
A &b 4 4
j

j

j

j

j

j
4
f
Oh Oh Oh Oh Oh Oh
# J
j j j
(ad lib.)
41 n J 43 44
j j j j j j
Vb
#
T
J
J J J J J J J
f
n b
j j j
Oh Oh Oh Oh Oh Oh Oh Oh Oh
?
# J 41 J 43 44
# j j j j j j
b
J
J
B
J J J J J J
- -
Oh Oh Oh 85 Oh Oh Oh Oh Oh Oh
1 . . 3 - - . . - - . . 4
& b # n 4 4 4
J

Vln. I
. . - - - . . - - - . .
&b # # 41
J 43 44

Vln. II
. . - - . . - - . . 4
- -
B b #
41 J & 43 4

Vla.

4
3 3 3 3 3 3 3 3 3 3 3 3
? - # - n - 41 n j 43
b - - # 4
-
V. Celli
>
? - # n - 41 n j 34 div. . . 44
b - - - # .
- - .
D. Bass
>
316
- - -
Part VI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- - - - y
- - -
a2
b 44 J
U
875
Fl. 1, 2 &
-
- - - ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
y
b 44 - - - - - - J
Picc. &

- - - - - - -
4 - - -
2 Ob. &b 4 J
- -
- - - - - - - -
# 4

B b Cl. 1, 2 & 4 J

? # 44 j
B. Cl.
w

? b 44 w j
2 Bsn.
w

- -
4 - . . - # - - j
& 4 -
marcato
- # - - n .
>
Hn. 1, 2
f
- -
44 - . . - # - - -
j marcato
& - # - - n .
>
Hn. 3, 4
f
-
# 4 . . - - - - - j
a3
3 Tpts. & 4 - - - - - .
f >
# - - - b - -
B b 4 - - n # ?
3 Tbn. 4 -
f
? b 44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
Timp.
w
44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
Cym.
J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4
Trgl. 4 J J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
44
S.Dr.
J

J
44 f

Whip
J J J J J J J J
j
~~ ~ ~
&b 4
4
~ ~ ~ ~ ~ ~~~~~~~~~~~~ J
~~ ~~
~ ~ ~ ~ ~ ~~~~~~~~~~~~~~~~~
~ ~
~~~~~~~~~~~~~~~~~
Hp.
? 4 ~ ~ ~ ~ ~
~ ~~ ~~~ ~
b 4
~~~ ~
-
4 - - - - - - -

&b 4

J
-
-
Pno.
& b 44 - - - - - - - - -
j ?
-
& b 44
j j j j j j j j

S
J J J J J J J J
j j j j j j j j
A & b 44
j

j

j

j

j

j

j

j

V b 44
j j j j j j j j
T

J
J
J
J
J
J
J
J

?b 4
j

j

j

j

j

j

j

j

B 4 J J J J J J J J
-
- - - - - -

& b 44 - - - J
Vln. I

- - Sf
- - - - - - -
4 - J
Vln. II &b 4
- Sf
- - - - - - -
& b 44 - - B
Vla.
J
Sf
? b 44
3 3 3 3 3 3 3 3 3 3 3 3 3 3
j
V. Celli

j
? b 44 w
D. Bass
w
u
317 Segue
Part VI
86 Moderato, ma deciso
Fl. 1, 2 &b b b b b 24
2 Ob. &b b b b b 24
#
nbb 2
B b Cl. 1, 2 & 4
2 Bsn.
?b b b b b 24
- - -
- -
a2
& 2
4
-
Hn. 1, 2
- -
P- -
& 2
Hn. 3, 4 4
#
nbb 2
3 Tpts. & 4
- - j
- - -
?b

-
b b b b 24
- - - - J
3 Tbn.
Pj
? b j j j

j
j j

j
j j

j
j b b b b 24
Timp.

p
24
S.Dr.
J J J
p 3
- - -
- - - - -
&b
?
- - & b b b b 24
Hp. P F
?b 2
- -

- - - - bbbb 4
- - - -
&b b b b b 24
p

Pno.
?b 2
marcato

- -
- -
- -
- - bbbb 4
- - - - - - - -

f
b b b b 24
Vb - -
3
T1
J
f
3

b b b b 24
Then went Bo - az up to the
Vb - - J
3
T2
J
F
3

Male Chorus Only Then went Bo - az up to the gate,
?b - -
J
J 2
bbbb 4
3
Bar
F
3

Then went Bo - az up to the gate,
?b
- -
J
J 2
bbbb 4
3
B
3
Then went Bo - az up to the gate,
b b b b 24
Vln. I &b
Vln. II &b b b b b 24
j
Bb
b b b b 24

Vla.
P F
?b 2
- - - - - - - - bbbb 4
- - - - - - - -
V. Celli
P marcato
? 2
b - - - - - - - - bbbb 4
- - - - - - - -
D. Bass
P marcato
318
Part VI
87 (Un poco pi mosso)
b
Fl. 1, 2 & b b b 24
b
2 Ob. & b b b 24
b 24
B b Cl. 1, 2 &b
.j
j
a2
? b b b 24 . . - . . . -
2 Bsn. b - -
F heavy
j j j
& 24 b b b b
b . . b . - - b . . b .
-
Hn. 1, 2
F heavy
24 j b . j
& b . . . b - - . . b -
Hn. 3, 4
F heavy
b 2
3 Tpts. &b 4
? b b 24
3 Tbn. b b
? b b 24 j
Timp. b b
24
S.Dr.
J J J
P3 3
b 2
& b bb 4
Hp.
? b b 2
b b 4
b 2
& b bb 4
Pno.
? b b 2
b b 4
b 2 - f heavy f
T1 V b bb 4 J J J J
J
.
J

R
f heavy
gate, and sat him down there: and, be -
b 2 j
T2 V b bb 4 J J
J
f heavy
and sat him down there:
? b b 2
b b 4 J J J n
Bar
J
f
? b b 24 j
b b
heavy
B
J J J
j
b
& b b b 24 j -
6
- - - - - . - - - -

Vln. I
F heavy
b
& b b b 24 j
- -
j
- - -
F heavy- - -
Vln. II
- . -
j j
B b b b b 24 j - - - -
Vla.
- - - - n - . n -
F heavy
j
? b b 2 j
b b 4 -j - - - - - - -
V. Celli
- . -
F heavy
j
D. Bass
? b b 2 j
b b 4 -j - - - - . - - - - -
F heavy
319
Part VI
88 Mosso
b b
Fl. 1, 2 &b b
b b
2 Ob. &b b
. . . . .
bb
leggiero e staccato
&
p J
B b Cl. 1, 2
.
bb J .
leggiero e staccato
& . . .
p
B. Cl.
? b b b j
2 Bsn. b
j
&
Hn. 1, 2
b
j
Hn. 3, 4 & b
b
3 Tpts. &b
j
? b b b
3 Tbn. b
? bb b j
Timp. b
b b
&b b
Hp.
? bb b
b
b
& b bb
Pno.
? b b
b b
88
- F p-
j
Mosso
V bbbb J J
J
J
J
J -
j

T1
J
fr - F p
hold, the kins - man of whom Bo - az spake came by;
b j j j j j
V b bb .
T2 J J J J
- -
f - F p
Be - hold, the kins - man of whom Bo - az spake came by;
? b b . R - n -
Bar b b J J J J J J J J J
F p
Be - hold, the kins - man of whom Bo - az spake came by;
? b b j j
b b J J J - -
B
J J J
the kins - man of whom Bo - az spake came by;
88 Mosso
bbbb j J
pizz.
Vln. I &
p
bbbb J
pizz.
& j
Vln. II

p

B b b b b j
pizz.
Vla. J
p
pizz. j
? b b j
pizz.
b b
p
V. Celli
? b b j j
pizz.

pizz.
b b
p
D. Bass
320
Part VI
89 Vivo
b
& b bb 44
897
Fl. 1, 2
b
2 Ob. & b bb 44
S F
j . . . j
& bb . . 44 b
B b Cl. 1, 2 # J # -
j . j S F
B. Cl. & bb J . . . . - 44
? bb b 44
2 Bsn. b
Hn. 1, 2 & 44
4
Hn. 3, 4 & 4
>
&b
b 44 b
3 Tpts. J
S
? bb b 44
3 Tbn. b
? bb b 44
Timp. b
Cym. 44
P
b
& b bb 4
4
Hp.
? b b 4
b b 4
b
& b bb 4
4
Pno.
? b b 4
b b 4
- n -
f -
89 Vivo
? b b 44 R R - . R
Boaz b b J
p Ho, such a one! Turn a -
b b . 4
Vb b
J 4
3
T1
J J J R
p un - to whom he said,
b j j j r j
V b bb . 4
4
3
T2
? b b j j j r j 4
.
3
Bar b b 4
? b b j j j r j 4
.
3
B b b 4
un - to whom he said,
89 Vivo
j
b
& b b b J J 44
Vln. I
J
Sj
b j j
& b bb 44
Vln. II J
S
b j
Vla. B b b b b n J J n
J 4
4

S
? b b j j 4
V. Celli b b
4
j
S
? bb b j j 44
D. Bass b

j
S
321
Part VI
b b
&b b
902
Fl. 1, 2
b b
2 Ob. &b b
b b b b
B b Cl. 1, 2 &b
? bb b
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
- . # . . -
bb - j
1 Solo Mtd.
3 Tpts. & . . . . -
f marcato
? bb b
3 Tbn. b
? bb b
Timp. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. w w
p

b
& b bb
~~~

~~~
Cb(Gn)F
~~~
~~~
Hp.
? b b
~~~
b b
~
b b
&b b
Pno.
? bb b
b
- - - b -
? b b J J
Boaz b b
side, sit down here.
b
T1 V b bb
b b
T2 Vb b
? b b
Bar b b
? b b
B b b
b
Vln. I & b bb
b
Vln. II & b bb
Vla. B bbbb
? b b
V. Celli b b
? b b
D. Bass b b
322
Part VI
90 (Un poco meno, ma sempre mosso)
b b
Fl. 1, 2 &b b
F - .
1 Solo
b b j -
2 Ob. & b b J .
n
. - . -

. # . - .j -
2nd to Engl. Horn
bbb
Solo
E. Hn. & - .
P
j
espr.
b
B b Cl. 1, 2 &b #
? bb b
2 Bsn. b
Hn. 1, 2 &
Hn. 3, 4 &
b
&b
-
3 Tpts.
F
? bb b
3 Tbn. b
? b b b j j
j

j j

j

j
j
j

Timp. b

Cym.
J
p

Tamb.
J J
p
b
& b bb
? b b j
Hp.
~~~
b b
~~
b
& b bb
Pno.
? b b
b b
p
b J
T1 V b bb J J J J
p
And he turned a - side, and sat
b
V b bb
T2 J J J J J
pAnd he turned a - side, and sat
? b b J
Bar b b J J J J
p
? b b J
B b b J J J J
b
& b bb n . . . . . . . . . . . . . . . . . . . . . . . .
arco
. . n . . . . .
p.
Vln. I
b arco
& b bb . b . . . .
. . . . . . . . . . b . . . . . . . . . . . . . .
. .
p.
Vln. II
B b b b b . . . . . . . . . . . . . . . . . . . . . . . .
arco
Vla.
. . . . . . . .
p
? b b w -
w w
arco
V. Celli b b -
p

? b b J
pizz.
J J
D. Bass b b J
p
323
Part VI
91 (Sempre mosso)
bbbb
909
Fl. 1, 2 &
b b
2 Ob. &b b
b
&b
b . n
j
. . b .
B b Cl. 1, 2
. - N . . . . -
p .
? b b . . . . - . .
. . . .
staccato 1 Solo
2 Bsn. b b
p staccato
b b b j

Mtd.
& b
b b
Hn. 1, 2
p dolce e legato

b b j
Mtd.
&
b
Hn. 3, 4
p dolce e legato
b
3 Tpts. &b
? bb b
3 Tbn. b
? b b b ~~~~~~~~~~~~~~~~~~~~~~~~~~~ j
Timp. b w

b b
&b b
Hp.
? bb b
b
b b
&b b
Pno.
? bb b
b
p
91 (Sempre mosso)
b b - j n - -
T1 Vb b
J J J J
J J J J J J
down.
p
And he took ten men of the el - ders of the ci - ty,
b b j j j j j j j j j
T2 Vb b J - n J - -
p
-
down. And he took ten men of the el - ders of the ci - ty,
? bb b
Bar b J J J J J J J J J J
down. And he took ten men of the el - ders of the
? bb b
B b
down.
91 (Sempre mosso)
& bbbb j

Vln. I
b b
&b b j

Vln. II
j j j j
B b b b b b n
div. pizz.
j
Vla.
b
p
? b b
pizz.
V. Celli b b w . . . . . . . .
j J J J
p
? b b J

J
D. Bass b b
324
Part VI
92 Vivo
b
& b bb 43 24
913
Fl. 1, 2
b
2 Ob. & b bb 43 24
b
B b Cl. 1, 2 &b 43 24
. . . . - . . . n n . # - . . 24 j
1
? bb b # n n # # 43 n .
1
# # . # .
b J
J -
2 Bsn.
2
P S
n # . # 43
j 24 j
Hn. 1, 2 & # # .
.

.

. - # . # # . # # .
. . -
.. # # . -
P S
& 43 b 24 j
-
Hn. 3, 4
S
b 3 2
3 Tpts. &b 4 4
? b b 43 24
3 Tbn. b b
? b b 43 j 24
Timp. b b
F
b j
& b bb 43 n 24
nn# #
n# #
~~~
A B C D
Hp.
? b b 43 24
~ ~~
E F G
b b n
~~~
F
b
& b bb 3 2
4 4
Pno.
? b b 3 2
b b 4 4
f . b b b b
92 Vivo
b
rough
? b b 3 2 J R
Boaz b b 4 4
F -
- - -
Sit ye down
bbb # n # # # J
T1 V b J J J J n # J
J J J J J J 43 24
b F
And he took ten men of the el - ders ot the ci - ty, and said,
- j j - -
V b b b n J n
n # # n 3 n n - 2
T2
J J J J J J J J 4 J 4
F n -
# - 3 # - -
? b b # J # # # n J J 2
Bar b b J J J J J J J J J 4 J 4
F
# n -
ci - ty, And he took ten men of the el - ders ot the ci - ty, and said,
? b b j j j j j j j j j n j
B b b n # n - # # J 43 n - - J
24
92 Vivo
b 3 j n j 2
& b bb j j j j
pizz.
# n # # 4 # 4
n #
Vln. I
P S
b 3 2
& b bb j j j j j b j
pizz.
4 4
n n # # n n #
Vln. II
P S
b j j j 3 j j 2
B b bb 4 # j n n
unis. pizz.
Vla.
# # # # # n 4 &
P S
j
? b b # j j 34 n j n 24
b b n n b n n
pizz.
V. Celli J
P S
? b b 43 24
b b
pizz.
D. Bass J
S
325
Part VI
- . b
a2
- .
93 (Pi calmo)
b b
& b bb 44 j

917
Fl. 1, 2 -
f F
b
2 Ob. & b bb 44
- . b
a2
B b Cl. 1, 2 & bb - . b
44 j
f -
F
- . b
? b b - . b 44 j
2 Bsn. b b -
f F
4
Hn. 1, 2 & 4
& 44
Hn. 3, 4 ww ww
b 44
3 Tpts. &b
? b b 4
3 Tbn. b b 4
~~~~~~
? b b 44 j
Timp. b b
p
Cym. 44

b
& b bb 44
-
Hp.
? b b 4
b b 4
P
b
& b bb 4
4
Pno.
? b b 44
b b
93 (Pi calmo)
? b b 4
Boaz b b J 4
p -
here.
b J - -
V b bb
T1 44
p
And they sat down.
T2 V bbbb 44 -
J - -
p -
- -
And they sat down.
Bar
? b b
b b 44 J
p
And they sat down.
? b b 44 -
B b b J - -
- .
And they sat down.
b
- .
arco 93 (Pi calmo)
b b
& b bb
44 j
-
f-
Vln. I
arco . b F
b - . b
& b bb
44 j
-
f
Vln. II
F
arco -
b . b - .
& b bb
b 44 j
div.
B
- ww ww
f
Vla.
-.
arco
F p
b
? b b - . b 4 j
-
J - - j

b b 4 - . - -
f -
V. Celli
F P (un poco marcato)

- j
? b b 44 J - -
arco
D. Bass b b - . - -
P (un poco marcato)
326
Part VI
b n n n n 44
& b bb 24
922
Fl. 1, 2
b n n n n 44
2 Ob. & b bb 24
b #
B b Cl. 1, 2 &b 24 n n # 44
? bb b ww 24 n n n n 44
b w
w
2 Bsn.
p
& 24 4
Hn. 1, 2 4
& 24 44
ww w
bw
Hn. 3, 4
p
3 Tpts. &b
b 2
4 n n # # 44
? b b 24 n n n n 44
3 Tbn. b b
? b b 24 n n n n 44
Timp. b b
b n n n n 44
& b bb 24
Hp.
? b b 24 4
nnnn 4
b b
b n n n n 44
& b bb 24
Pno.
? b b 24 n n n n 44
b b
fn
? b b 24 J n n n n 44
Boaz b b
p Na -
b A A n n n n 44
V b bb . 24
T1
J J J J J J J
pAnd he said un - to the kins - man,
T2 V bbbb
J

J
A A
J J J

J
J
. 24 n n n n 44
p
And he said un - to the kins - man,
? b b b A 2 4
Bar b b J J J J J J 4 J nnnn 4
p
? b b b A 2 4
B b b J J J J J J 4 J nnnn 4
b n n n n 44
Vln. I & b bb 24
b n n n n 44
& b bb 2
Vln. II 4
-
B b b b b ww w 2 n n n n 44
Vla.
n b w n 4
p
? b b j ww 24 4
b b . - - - ww nnnn 4
div.
V. Celli
? b b j w 24 4
D. Bass b b . - - - w nnnn 4
327
Mosso e deciso
Part VI
94
Fl. 1, 2 & 44
2 Ob. & 44
2nd to Engl. Horn

#
& # 44
Solo
3
B b Cl. 1, 2

espr.
P
? ## 4

Solo 3
B. Cl. 4 J
P espr.
? 4
2 Bsn. 4
j
& 4
Hn. 1, 2 4 # -
pf
4 j
& 4
-
Hn. 3, 4
pf
#
3 Tpts. & # 44
3 Tbn.
? 44
? 4
Timp. 4
& 4
4
Hp.
? 4
4
& 4
4
Pno.
? 44
- - - - - ,F-
-
94 Mosso e deciso
? 44
Boaz J J J J J J J J J
o - - - mi, that is come a - gain out of the coun - try of Mo - ab,
T1 V 44
T2 V 44
? 4
Bar 4
? 4
B 4
94 Mosso e deciso
44 j
div. pizz.
Vln. I &
S
& 44
Vln. II
F p
B 44
Vla. #
F p
? 44 J
div. pizz.

unis.arco 3

V. Celli
S P espr. P espr.
3
D. Bass
? 44
328
Part VI

930
Fl. 1, 2 &
2 Ob. &

Solo
# J
to 2nd Ob.
E. Hn. &
P espr. 3
#
& # j
1 Solo
B b Cl. 1, 2

p
- - b - -
a2
?
2 Bsn.
J
F (un poco marcato)
P
Hn. 1, 2 &
Hn. 3, 4 &
#
3 Tpts. & #
w- w-
? w w
J
J
3 Tbn.
p p
Timp.
?
&
Hp.
?
&
Pno.
?
f- .
F-
- - - - - J
Boaz
? J J J J J J J
sell - eth a par - cel of land, which was our bro - ther E - li - me - lech's:
T1 V
T2 V
Bar
?
B
?
Vln. I &
j
Vln. II &
p
B ww
div.
Vla. # #
p
pizz.
? b - -
arco
J
J J F
V. Celli
p
(un poco marcato)
P
?
J
pizz.
D. Bass
p
329
Part VI
95 (Pi dolce, ma in tempo)

934
Fl. 1, 2 &
2 Ob. &
##
1 Solo
&
1
B b Cl. 1, 2 n

p dolce e legato
2
? - - - . . . w
. . . - w w
w
2 Bsn.
p p
Hn. 1, 2 &

3
Hn. 3, 4 & w w
p
#
3 Tpts. & #
3 Tbn.
?
Timp.
?
&
gg b ggg b
Hp.
? ggg ggg
gg ggg
p
&
Pno.
?
Pb b
.
? J J J J
Boaz J
And I thought to ad - ver - tise thee,
T1 V
T2 V
Bar
?
B
?
Vln. I &
&
b
Vln. II
p
B ww ww unis.
bw
Vla.
w
p
? - - . . .
div.
ww
V. Celli . . . ww
p p
? j

pizz.
D. Bass J
p
330
Part VI
96 (Un poco largamente, ma sempre mosso)

938
Fl. 1, 2 &
2 Ob. &
## j 2nd Solo
# #
B b Cl. 1, 2 & n
p
b n n #
B. Cl.
? ## J
P
. . .
? ww # . . . . . b
w
w
2 Bsn.
F
j
Hn. 1, 2 & ww
p
j
3
Hn. 3, 4 & w #w w #
p
-
## . . . j
open 1 Solo
& - - . .
J
3 Tpts.
F espr.
3 Tbn.
?
Timp.
?
&
gg b ggg#
Hp.
? ggg gg ggg
g ggg gg
&
Pno.
?
- .
(Un poco largamente, ma sempre mosso)
F
96
? b ,
J
espr.
Boaz J J J J R J J J J
say - ing, Buy it be - fore the in - ha - bi - tants, and be - fore the
T1 V
T2 V
Bar
?
B
?
96 (Un poco largamente, ma sempre mosso)
Vln. I &
j
& # #
b ww
Vln. II
p
j
Vla. B w #w b n b
P
?
# . . . . . . . b .
arco

unis. pizz. div.
ww ww
J
V. Celli
F
?
D. Bass J J J
331
Part VI

942
Fl. 1, 2 &
2 Ob. & . . . # . . . . # .
F
#
2 2
B b Cl. 1, 2 & # j
j
p
b n n #
B. Cl.
? ## J
p
. . . . . . . . . . . . . . . .
? # b
2 Bsn. J J
F F
j j
Hn. 1, 2 & ww ww
p p
& j
Hn. 3, 4
w # - # - w-
p P
-
. . -
(un poco marcato)
# #1 Solo
. j
3 Tpts. & - . .
F espr. 2 J
3 Tbn.
?
Timp.
?
-
&

Hp.
?
&
Pno.
?
- . F
? - - -
J J J J J J J
Boaz
J
eld - ers of my peo - ple. If thou wilt re - deem it, re - deem it: but if
T1 V
T2 V
Bar
?
B
?
. #
& j
.
Vln. I
J
F espr.
j j
& . . . # . . . . # .
Vln. II
ww
p P
B b
j
n . . . . . . . .
b n
div.

p
Vla.
P P
. .
? # . . . . . . b n - # - n w-
J
unis.
V. Celli
F P (un poco marcato)
D. Bass
?
332
Part VI

946
Fl. 1, 2 &
& # . . . # . . . . # . . . . # .
2 Ob.
J . . . .
F p
#
B b Cl. 1, 2 & # #

p
1 Solo .
#
B. Cl.
? ## .
F espr.
. . . . . . . . . . . . . . . .
2 Bsn.
? J J
F
j
Hn. 1, 2 & ww
p
& j
w- w- # # ww
Hn. 3, 4
3
p
4
#
3 Tpts. & #
3 Tbn.
?
Timp.
?
&
Hp.
?
&
Pno.
?
- - -
? J J J J J J J J J # -
J J J J J J
Boaz J J J
thou wilt not re - deem it, then tell me, that I may know: for there is none to re - deem it be - side
T1 V
T2 V
Bar
?
B
?
. #
& j
.
Vln. I
J
F espr.
& . . . # . . . . . . . . # . . . . # .
Vln. II
J #
P p
B . . . . . . . . . . . . . . . . #
unis.

Vla.
P p
? #w . #
w w
unis.
.
div.
V. Celli w
F espr.
? w
D. Bass
p
333
Part VI
. #
(Un poco sostenuto)
.
97 Pi mosso
a2
J
950
Fl. 1, 2 &
f
j - - .
&
2 Ob.
J
## j . j
#
a2
B b Cl. 1, 2 & # .
f
? ## # -
J w- w
B. Cl.
-
f
- w w
? #
w w- w
-
2 Bsn.
f
& # # . . . .
.

-

- # . . . n b . # n . . . n b . # . . . n b . # . . . n .
. . .
Hn. 1, 2
F f
. . . . . . . .
& # . n b # n n b # #
#
3
- # - . . . . . . . J.
Hn. 3, 4
F . . . . . . . . .j
4
b
Mtd.
## # b n n
# . . . # . n .
open

1,2
& .
. . J.
3 Tpts.
F
3
. . . . . . . .
3 Tbn.
?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? j j j j
Timp.
w
F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. w w
F

Trgl.
~~~
~~~
& ~~~ ~ ~~~~~~
~~~
~~
~~~ ~~~ ~~~
~~~
f EbFn ~~~ F ~~ ~~~

~~~
~~~ ~~~ ~~
~~ ~
~~~ ~~~~
Hp.
?
~~~
~
~ ~~
&
Pno.
?
- f - - . - -
(Un poco sostenuto)
-
97 Pi mosso
? J J
Boaz J
thee; and I am af - ter thee.
T1 V
T2 V
Bar
?
B
?
. #
(Un poco sostenuto)
. w-
97 Pi mosso
Vln. I & # # # J
F f
j . j
#
.
unis.
Vln. II & w
f
B # # #
# #
div.
Vla.
J
f f F
pizz.
? # # ww
div. arco
V. Celli J
f F
- - w- w
D. Bass
? J
f F
334
Part VI
Calmo
##
rit. 98

954
Fl. 1, 2 &
##
2 Ob. &
# ####
B b Cl. 1, 2 & #
? ## . . n . . . . . . ####
to 3rd Cl.

B. Cl.
J
p j
.
? . . b . . . . b ##
2 Bsn.
b b .
p
j
Hn. 1, 2 & # n ww
j
Hn. 3, 4 &
# ####
3 Tpts. & #
n -
Mtd.
? ##
3 Tbn.
J
p
? ## ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j j j
j
Timp.
w

##
&
Hp.
? j ##

~ ~~
~ ~~
##
&
Pno.
? ##
(Calmo)
j
rit. 98
Boaz
? ##

What
? J # # ##
Kinsman J J
p I will re - deem it.
##
T1 V
##
T2 V
p p #
? ## n #
Bar J J
p
And he said,
pThen said Bo - az,
? ## n # #
B J J
And he said, Then said Bo - az,
(Calmo)
##
rit. 98
Vln. I &
##
Vln. II &
B ##
Vla.
.
. . b b . . . . b . j
unis.
? # # J ## w w
pizz. arco
V. Celli
J
p p p
.
? . . b . . . . b . j
# # J ## w w
pizz. arco
D. Bass J
p p p
335
Part VI
99 (Pi mosso - deciso)
#
Fl. 1, 2 & #
##
Soli

a2
2 Ob. & - - - -
F espr.
####
B b Cl. 1, 2 & n
pf # -

? ## # # n n
J
2 Bsn.
p legato
Hn. 1, 2 &
j
& #
# -
Hn. 3, 4
# ## P
3 Tpts. & #
3 Tbn.
? ##
? ## j j j j j j
Timp.

## n J
&
n
Hp. P
? ##
#
& #
Pno.
? ##
J
? ## . # J
Boaz J J J J J J
day thou buy - est the land of the hand of Na - o - - - mi, thou must
##
T1 V
#
T2 V #
Bar
? ##
B
? ##

##

pizz.
Vln. I &
pf
#
& #
pizz.
Vln. II n
pf
B ## w
# #
div.
Vla.
n w
p
V. Celli
? ## w w w w
p
D. Bass
? ## w w w w
p
336
Part VI
#
& #
962
Fl. 1, 2
## - - b n - - n - .
a2
j
2 Ob. &
J J
F
# ## j j
& # j n n - - #
B b Cl. 1, 2
- - - - .
F F
# ##
B. Cl. & #
- - n - - # -

.
j
F
? ## #
2 Bsn. J
p
+ j
& #
# +
Hn. 1, 2
3 Solo
- - # - - - # j
Hn. 3, 4 & - # -
F
# ##
3 Tpts. & #
3 Tbn.
? ##
? ## j j j j j j
Timp.

# J
& #
b #
b #
Hp.
? ##
#
& #
Pno.
? ##
f- F f
# - - -
,
n -
Boaz
? ## J J J J J
buy it al - so of Ruth the Mo - ab - i - - - tess, the wife of the dead, to
##
T1 V
#
T2 V #
Bar
? ##
B
? ##
#
& #
arco
Vln. I
J
##
j
arco
Vln. II &
j
B ## w j
#
unis.
Vla. n w
V. Celli
? ## w w w w
D. Bass
? ## w w w w
337
Part VI
(Calmando)
##
(Un poco pi sostenuto - solemne)

966
Fl. 1, 2 &
# -
2 Ob. & #
- -
n
-

-

-

f F
# # # # - n - -
& - - - - -
ww
B b Cl. 1, 2
- - - - - -
f F P
####
& - - - n - - - -
- - - w-
B. Cl.
f F - - -
P . . . . . . . .
? ## j . .
1 Solo
w w
w
2 Bsn.
w
F J
p (ma un poco marcato)
j
& j
2
Hn. 1, 2 # - # -
F
j j
& #

Hn. 3, 4
- # -
F
# ##
3 Tpts. & #
3 Tbn.
? ##
? ## j j j j
Timp.
J
J
F P p
# gg ggg
& # gggg ggg ggg
gg

gg ggg ggg ggg
ggg F ggg
g gggP gg p
? # # gggg ggg gg ggg
Hp.
ggg gg gg gg
ggg ggg ggg
g
#
& #
Pno.
? ##
f - - - - - - ,F - .
(Un poco pi sostenuto - solemne)

(Calmando)
? ## J J J J J
Boaz J J J J R
p
raise up the name of the dead up - on his in - her - it - tance.
##
V
T1
J J
p
And the
##
V
T2
J J
p
And the
? ##
Bar J J
p
And the
? ## j j
B
And the
-
(Un poco pi sostenuto - solemne) (Calmando)
#
& # - - n - - - - - - - w
Vln. I
- -
f F P p
##
& - - - - - - -
Vln. II
- - - -
- w
f F P p
B ## - - - n - - - -
Vla. - - - -
- w
f F P p
? ## w- w-
V. Celli
J . . . . . . . . . .
f F P p ma un poco marcato
? ## w- ww- ww
w
D. Bass
J
f F P p
338
Part VI
100
#
& #
970
Fl. 1, 2
##
1 Solo
b . b j
2 Ob. & b . b
p espr.
# # j
1 Solo
& # # . #
. n
B b Cl. 1, 2
p espr.
####
& j

B. Cl.

2 Bsn.
? # # j
Hn. 1, 2 &
Hn. 3, 4 &
# ##
3 Tpts. & #
3 Tbn.
? ##
? ## j j j
Timp.

#
& #
Hp.
? ##
#
& #
Pno.
? ##
p b - .
100
? ## n J n # J R
Kinsman J J J J J J J J J J J J J J
I can - not re - deem it for my - self, lest I mar my own in - her - i - tance: re -
##
V
T1
J
kins - man said,
##
V
T2
J
kins - man said,
? ##
Bar J
kins - man said,
? ## j
B
kins - man said,
100
# j
Vln. I & #
#
& # j

Vln. II
B ##
div. ponticello
j b n b # # n n
b n # n b
B
Vla.
&

p p
j
pi
? ## - - - - n
- - - -
V. Celli

? ## j
n
J
D. Bass

339
Part VI
## nn
rit. molto

974
Fl. 1, 2 &
# nn
2 Ob. & #
# # nn#
B b Cl. 1, 2 & # #
j #
. # #
1 Solo
? ## n . # nn
2 Bsn.
J
p espr.
Hn. 1, 2 &
Hn. 3, 4 &
# ## nn##
3 Tpts. & #
? ##
Mtd.
j nn
# ww
1
3 Tbn.

2
Timp.
? ## nn
# nn
& #
Hp. p
? ## n n nn

n n
# nn
& #
Pno.
? ## nn
# - p n -
rit. molto
? ## nn
Kinsman J J J J J J J J J
deem thou my right to thy - self; for I can - not re - deem it.
# nn
T1 V #
# nn
T2 V #
Bar
? ## nn
B
? ## nn
## nn
rit. molto
Vln. I &
# nn
Vln. II & #
B ## n b j nn
# # # n n # n #
Vla.
? ## n n n n
nn
div.

- - - - -
V. Celli
- - -
? ## n n
nn
div.

- - - - -
D. Bass
- - -
340
. . .
Part VI
. . . . . . .
101 Alegretto Mosso a2
Fl. 1, 2 &
Pmarcato
- . . . . - . . . . - . . . . - . . . .
2 Ob. &
p- staccato,
## . . . . - . . . . - . . . . - . . . .
ritmico
B b Cl. 1, 2 &
p
?
staccato, ritmico
2 Bsn.
j
Mtd. a2
Hn. 1, 2 & ww ww . .
pf P
Hn. 3, 4 &
. --- - . --- - . - - - - . - - - -
# #
&
J
3 Tpts.
P p
3 Tbn.
?
Timp.
?

Trgl.
P
Glk. & J
p
S.Dr.
P p

even
Tamb.
P

&
P p

Hp.
?
&
Pno.
?
101 Alegretto Mosso
P-
n
T1 V J R R J R R J J
P-
- . - .
Now this was the man - ner in for - mer
r
T2 V J R R J R R J J J J
Now this was the man - ner in for - mer time in Is - ra - el
Bar
?
B
?
-falsato
. -. col. legno. - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . .
101 Alegretto Mosso
Vln. I &
F falsato - col legno p
- . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . .
ritmico
Vln. II &
F p
pizz.j
ritmico
Vla. B
? j

J
V. Celli
? j
D. Bass

J
341
Part VI
- - .
J J
982
Fl. 1, 2 &
& - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . .
2 Ob.
- - . . . . - . . . . - . . . . - . . . - - . . . . - . . . .
# # . . . . . . . . .
B b Cl. 1, 2 &
? ww- ww-
2 Bsn.
pf pf
. j
Hn. 1, 2 & . . . . #
. . . . - .
j
marcato
-
&
3
Hn. 3, 4
J
# . n . .
n . . n . - n . .
1 Solo
& # . . . . . . . . .
j
. - .
.
3 Tpts.
F F pf
?
marcato
3 Tbn.
? j j j j
Timp.
p
S.Dr.
& j
j
Xyl.
.
Tamb.
p

&
Hp.

?
&
Pno.
?
F -
- . - . n
V J J J J J J J n
J J J J J
3 3
T1
R
F
time in Is - ra - el con - cern - ing re - deem - ing and con - cern - ing chang - ing,
-
V b J b J
3 3
T2
J J J J J J J J
F- F -
con - cern - ing re - deem - ing and con - cern - ing chang - ing,
? - . - . r b
J J J J J J b J
J R R J R R J J J J J J J J J
3 3
Bar
F
Now this was the man - ner in for - mer time in Is - ra - el con - cern - ing re - deem - ing and con - cern - ing chang - ing,
F j r r j j j 3j j j j j j j j
r j j
r
? - b J b J-
3
Now this was the man - ner in for - mer con - cern - ing re - deem - ing and con - cern - ing chang - ing,
- . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . .
Vln. I &
- . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . . - . . . .
Vln. II &
B
falsato - col legno
Vla.
. . . .
- . . . . - - . . . . - . . . .
p
V. Celli
?
D. Bass
?
342
Part VI
102 (Slightly humorous)
24 44 24
986
Fl. 1, 2 &
- . . . . - . . . . - . . . . - . . . . 2 4 2
& 4 4 4
J
2 Ob.
- - - . . . . - . . . .
# # . . . . . . . . 24 44 24
B b Cl. 1, 2 &
J

# 24 j 44 24
B. Cl. & #
w
-
? 2 j 4 2
J ww 4 4 4

2 Bsn.
pf
24 44 b . 24
1
&
Hn. 1, 2
J
p
& 24 44 j j 24
Hn. 3, 4
b b - .
pf p
# - 24 44 24
3 Tpts. & #
J

pf
3 Tbn.
? 24 44 24
? j 24 44 24
Timp.
2 4 2
4 4 4

Trgl.
24 44 24
S.Dr.
J
Tamb. 24 44 24
P
24 44 24
Cast.
J J J
p
24 44 24
&
Hp. p
? 24 44 24

& 24 44 24
Pno.
? 24 44 24
to Celesta
Pr f-
b -
j r
V J J J b - -
J 2
4 . 44 b . J . b
J

J 2
4
T1
R
P F-
for to con - firm all things; a man plucked off his shoe, and
j r
V b J b -
J J b - j
2
4 . r 44 b . J . b
J

J 2
4
T2
- R
P f-
for to con - firm all things; a man plucked off his shoe,
b - - -
. r 24 J .
? . b
Bar J J J J R J R 44 J J 2
4
P f
4 b -
j b
j . r 24 .
? b - - .
R J R 4
b
J

J 24
B
J J - J
- . . . . - . . . . - . . . . - ~~~~~~~~~~~~~~~~ b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
2 4 2
& 4 4 4
J
Vln. I

~~~~~~~~~~~~~~~~ b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
- . . . . - . . . . - . . . . - 24 44 24
&
J
Vln. II

j
B
falsato - col legno
24 44 24

- . . . . - . . . .
Vla.
p
j
4 b b J
div. pizz.
?
falsato - col legno
2
4 4 2
4
V. Celli
. . . . .
- . - . . p
p
? w 2 j 4 2
4 4 4
2 Soli
D. Bass
p
343
Part VI

a2
24 43 24 43 24 . R
990
Fl. 1, 2 &
2 Ob. & 24 43 24 43 24
#
B b Cl. 1, 2 & # 24 43 24 43 24
r
1 Solo
2 Bsn.
? 2
4 43 24 43 24 .
-
j j
1
2 b
43 b 24 43 24 .
a2
& 4 #
Hn. 1, 2
b
p dolce e grave J

2
& 4 b 43 b j 24 43 j 24 j
b b b b .
Hn. 3, 4
J p
dolce e grave
.
# 2 3 2 3 2
3 Tpts. & # 4 4 4 4 4
3 Tbn.
? 2
4 43 24 43 24
? 24 43 24 43 24 j j
Timp.

p

& 24 43 24 43 24 . R
r
Hp.
? 24 43 24 43 24 .
2 3 2 3 2 .
& 4 4 4 4 4 R
Cel.
? 2 3 2 3 2
4 4 4 4 4
p
2 b 3 b j 2 b j 3 - r j j j 2 - .
4 J .
dolce e grave
V 4 J b 4 b 4 b J 4
T1
J J J J
gave it to his neigh - bour:
p and this was a test - i - mo - ny in Is - ra
2 b 3 b j 2 b j 3 - r j j j 2 -
4 J .
dolce e grave
V 4 J J b J 4 b 4 b J 4
T2
J J J
p
3 - . 2 - .
gave it to his neigh - bour: and this was a test - i - mo - ny in Is - ra
? 2 b J 3 b 2 b
dolce e grave
4 J J J 4 J 4 J J 4 J R J J J 4
Bar
J
gave it to his neigh - bour:
p and this was a test - i - mo - ny in Is - ra
? 24 - j
43
24
b b 43 J . 24
dolce e grave
J b J J J - .
B
J J J R J J J
~~~~~~~~~~~~~~~~~~~
gave it to his neigh - bour: and this was a test - i - mo - ny in Is - ra

b b~~~~~~~~~~~~~~~~~~~~~
. ~~~~~~~~~~~~~~~~~~

b ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~
2 3 2 3 . 2
Vln. I & 4 4 4 4 4
~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~
b
b . b

Vln. II & 24 43 24 34 . 24
Vla. B 24 43 24 43 24
V. Celli
? 24 43 24 43 24
? 2 3 2 3 2
D. Bass 4 4 4 4 4
344
Part VI
- . - - - - - -
. .
2
b b n
103 Allegretto 1
b
104 (Moderato)
J #
Fl. 1, 2 & 43 J 44
P
- - - b - - 3 - # 4
Fl. 3

J
Picc. & J 4 4
P
# . #
1 Solo

43 44 .
2nd to Engl. Horn
2 Ob. &
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p
1 Solo y
n n
espr.
## 3 J ### 4
B b Cl. 1, 2 & 4 4
p
? - . - - - - - -
2 Bsn. . . J 43
J
# 4
4
P
j
Hn. 1, 2 & 43 4
4

& j 43 j 4
4 #w
-
Hn. 3, 4
# w-
# p ### 4
3 Tpts. & # 43 4
? 43 # 4
3 Tbn. 4
? j 44 j j
Timp. 43 #
p
43 J 44

Trgl. J J J
p
gg b ggg b ggg ggg
g ggg b
&
J J J gg J gg gg
g ggg b gg
g 3
4 # 44
p
j
Hp.
? J J 43
# 44
J
- - - - - - - 3 #
& - J J b b 4 b

4
4
J J
Cel.
b
? J 3 # 44
4
p
103 Allegretto 104 (Moderato)
#
T1 V 43 44 .
R
p
el. There -
#
T2 V 43 44 .
R
p
el. There -
? 43 . r # 44 j . r j
.
r
#
Bar
J J
pr
el. There - fore the kins - man said un - to
? 4 j . r j r
B 43 . # 4 . #
J

J
el. There - fore the kins - man said un - to

103 Allegretto 104 (Moderato)
#
Vln. I & J 43 44
3 # 4
Vln. II & J 4 4
# 4 # n n
div.
3 J # n
pizz. ponticello
B 4 b b
arco
b & 4

Vla.
p
44
div.
? 3 #
pizz.
4
J
V. Celli
? 3 # 44
D. Bass 4
345
Part VI
# . . # #
a2
# #
1000
Fl. 1, 2 &
f
# # ####
2 Ob. &
## . # ####
1 Solo
E. Hn. & n . # #
p espr.
### #### #
B b Cl. 1, 2 & #
. # j ####
1 Solo
2 Bsn.
?# n .
p espr.
Hn. 1, 2 &
j
Hn. 3, 4 & w #w w
w #w w
# # #### #
3 Tpts. & # #
3 Tbn.
?# ####
j j j j ~~~~~~~~~~~~~~~~~~~~~~~~ j
Timp.
?# w ####

#
####
Glk. & J
# ####
&
~~~~~
~~~~ # #
Hp.
?# ~~ # #
p
# ####
&
####
Cel.
?#
p-
?# ####
Kinsman J J
J
- p
- - ####
Buy it for thee.
# # J
T1 V .
J
J .
R R J J J J J
- p - ####
fore the kins - man said un - to Bo - az:, So he drew off his
# # J
V . J . J J n J J -
T2
J R R J
p - -
-
fore the kins - man said un - to Bo - az:, So he drew off his
Bar
?#
J J J J ####
p
- -
Bo - az, So he drew off his
B
?#
J j j j - ####
Bo - az, So he drew off his
# ####
Vln. I &
# ####
Vln. II &
# # b n # n ####
# n j
& # n n # n
B
Vla.
#
V. Celli
?# ####
D. Bass
?# ####
346
. . . . . .
Part VI
. . - - .
105 Mosso (Gay)
####
106 Mosso (Dramatic)
J
Fl. 1, 2 & J
F
# #
2 Ob. & # #
# # # # # a2
& #
1
B b Cl. 1, 2
J
F S
2
# # p j
#
B. Cl. & # ## .
S
? #### w w w j
2 Bsn.
w w w
a2
p
& # -. # #
Hn. 1, 2
. . - - - - # - # - - # - -
F
marcato
Hn. 3, 4 &
# # # -. -
& # ## . . - - - - - j j
1 SoloMtd.
- - .
3 Tpts.
-
F marcato
#
? ## # ..
Mtd.
.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3 Tbn.
j pf p
? #### w w w

Timp.
# # - - - -
& # #
j
Glk. - - - - - - .
F
S.Dr.
p 3

#### J
~
&
~~~
~~~
? ####
Hp.
# ##
& #
? ####
Cel.
F
105 Mosso (Gay)
####
106 Mosso (Dramatic)

T1 V J - - -
#### F
shoe. And Bo - az
V - - -
T2
J
F-
shoe. And Bo - az
Bar
? #### J - -
F
shoe. And Bo - az
? #### - - -
B
J
shoe. And Bo - az
105
# ##
Mosso (Gay) 106 Mosso (Dramatic)
Vln. I & #
####
div.

& j
Vln. II
P
~~~~~~~~~~~~~~~~~~~~~
#
B ## # J y
div.

Vla.
y ..
p p
unis. ~~~~~~~~~~~~~~~~~~~~~~
? #### j
ww ww ww y .
div. arco
V. Celli
p
? #### j

pizz.
D. Bass
347
Part VI
# # nnn#
& # # 22
1008
Fl. 1, 2
# # nnn#
& # #
2 Ob. 22
# # # n n n # # # 22
B b Cl. 1, 2 & # ##
? #### - . . . - . . . - . . . - . . . - . . n . - . . .
.
- . . n . - . .
2 Bsn. nnn# 2
2
P F f
# . . # - . . . - . . # . # - . . . - . . n # . 2
Hn. 1, 2 & - . . - . . 2
F f
22
& # - . . . - . . . # - . . . - . . .
3
Hn. 3, 4
f
# ## # - . . n . . n .
- . nnn### 2
& # #
Mtd.
3 Tpts. n 2
f
- . . . - . . .
nn
Mtd.
? #### # n
n n# 2
2
J
3 Tbn.
j j j j j f j j j
Timp.
? #### nnn# 22
p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
22
w w
p
Cym.
22
S.Dr. J J J J
P 3
F 3 3 3
# ## nnn# 22
& #
Hp.
? #### n
n n# 22
# ## n
n n# 22
& #
? #### n
Cel.
n n# 22
#### j j j j f - n
T1 V - - n J J n J n n# 22
#### f - n
said un - to the eld - ers, and un - to all the peo - ple,
j n
j j j j j n n n# 22
V - -
T2
J
- f -
-
? #### J J J n
n n# 22
Bar
J J J J
f
? #### j j j j
B - - J J J - nnn# 22
# ## n nnn# 22
Vln. I & # #
f f
#### n
n n#
pi
n 22
Vln. II & n n n n n n # n #
F f pi f
# n
Vla. B ## # n n n n# 22
P F f pi f
V. Celli
? #### # n n n nnn# 22
P F f pi f
pizz.
D. Bass
? #### J J J J nnn# 22
P F f pi f
348
Part VI
107 Molto Concitato
# 22
Fl. 1, 2 &
# 22
2 Ob. &
# # - -
& # 22 n j
a2
B b Cl. 1, 2

- - -
S F J - -
F

? # 2
2 Bsn. 2 J
S F
2 # ww- j
& 2 J
Hn. 1, 2
J
S F
& 2 j j
Hn. 3, 4 2 # #w
4# w # w-
S F
# # # 2 j
3 Tpts. & 2
S
? # 2
2
J
3 Tbn.
? # 2 j S j
Timp. 2 J

F
Cym. 22
22
S.Dr.
J
# 2 g ggg ggg
& 2 gg gg ggg
gg ggg
f gggg gg
ggg
gg
22 gggg ggg
Hp.
?# ggg
g g gg
# 2
& 2
Cel.
?# 22
f- - - . - - - - - - -
107 Molto Concitato marcato
?# 22 - -
Boaz J J
Ye are wit - ness - es this day, that I have bought
# 2
T1 V 2
# 2
T2 V 2
?# 2
Bar 2
?# 2
B 2
107 Molto Concitato
# 22 w w
& J
S p subito
Vln. I
# 2 j w w
unis.
Vln. II & 2
S p subito
B# 2 j w w
unis.
Vla. 2
S p subito
- - - - - -
?# 22 j - -
V. Celli
f marcato
F
?# 22 J ww ww
div. arco
D. Bass
F
349
Part VI
#
1016
Fl. 1, 2 &
#
2 Ob. &
# #
B b Cl. 1, 2 & #
- .

- . . - . . -
F.
? ### - -
B. Cl. . . .
. - . . . . -
P P
?# j j
w
ww

w
2 Bsn.

a2
&
- # -
Hn. 1, 2
F
Hn. 3, 4 &
# #
3 Tpts. & #
3 Tbn.
?#
Timp.
?#
#
&
Hp.
?#
#
&
Cel.
?#
. . - .
, -
- . - -
Boaz
?# J J J R J J J J J
all that was E - li - me - lech's, and all that was Chi - li - on's and Mah - lon's
#
T1 V
#
T2 V
Bar
?#
B
?#
# w w w w
Vln. I &
#
& w w w w
Vln. II

Vla. B# w

w

w

w

?# - - - - - - - - - - - -
- - - - - - - - -
- - -
V. Celli
P F P F
?# ww ww ww ww
D. Bass
p
350
Part VI
- - - - - -
108
#
a2
J
1020
&
F
Fl. 1, 2
# - - - - - -
&
2 Ob.
J
F
- - - - - -
###
B b Cl. 1, 2 &
F J
? ### w

p
B. Cl.
w
?# j w
2 Bsn.
ww p
J
j

a2
& - # - - ww
Hn. 1, 2
- - #
F p
j
& w-
3
Hn. 3, 4 #
F p
###
3 Tpts. &
3 Tbn.
?#
Timp.
?#
# ggg
& gg
F gggg
Hp.
ggg
?# ggg
#
&
Cel.
?#
.
108
?# J J J J J
Boaz J J J J J
of the hand of Na - o - - - mi. More - o - ver Ruth the Mo - ab -
#
T1 V
#
T2 V
Bar
?#
B
?#
108
# w w w w
Vln. I &
(sempre ) p
# w w w w
Vln. II &
(sempre ) p
Vla. B# w

w

w

w

p
- - - w .
(sempre )
- ww
div.
?# w . J
unis.
V. Celli
F espr.
ww w
?#
unis. pizz. arco

P
D. Bass
F
351
Part VI
1024
#
Fl. 1, 2 &
- - .
#
a2
J .
2 Ob. &
f
# # - - n ww-
(un poco marcato)
B b Cl. 1, 2 & # - - n ww n ww
P
? ### w w nw nw
p
B. Cl.
w bw
?# w w
w w
2 Bsn.
nw nw
p
Hn. 1, 2 &
Hn. 3, 4 &
-j -
### .
Mtd.
&
3 Tpts.
J .
F
3 Tbn.
?#
Timp.
?#
# ggg b b
ggg ggb
&
ggg gg b
ggg ggg ~~ ~~~
ggg ggg ggg
ggg
nbb
~~ ~~ ~
? # gggg ~~
F B E
ggg
Hp.
gg g ggg
gg n

n ~~ ~~ ~
p
#
&
Cel.
?#
F f n - espr. b
- . b 3 , - -
?# J J # J J
3
Boaz
i - tess, the wife of Mah - lon, have I pur - chased to be my
#
T1 V
#
T2 V
Bar
?#
B
?#
# w bw bw w
Vln. I &
#
& w bw w w
Vln. II

Vla. B# w

bw

bw

w

b . - - .
?# - . . #

J - . -
V. Celli J J J
F
w
espr.
w
div.
?# w nw w
unis.
D. Bass
352
Part VI
- b n - b
Sostenendo 109 Pi Sostenuto
# - - - - - - - -
a2
J
1028
Fl. 1, 2 &
f f
a2 -
b b n - - - - b b - - - - -
# n
2 Ob. & J
f f
j - - - - n - - - - -
### n
&
B b Cl. 1, 2
J
f
? # # # n J w
B. Cl. w
f
bw
?# b bw
J w
w
2 Bsn.
f j
.
& - - .
F- -
Hn. 1, 2
j
Hn. 3, 4 & - - b - - .

F
j
# # n n
3 Tpts. & # - n n
F
Mtd.
nw
?#
3 Tbn. b n ww
p
?# j j j j j j
Timp.
F

muffled
S.Dr.
J J
F3 3

# ~ ~~ J gg
& ~ ~~ ggg
gg
f gggg
Hp.
ggg b
?# gggb
ggg
#
&
Cel.
?#
- . - ,
109

Sostenendo Pi Sostenuto
b J b J
Boaz
?# J J J J J J J J
wife, to raise up the name of the dead up - on his in -
#
T1 V
#
T2 V
Bar
?#
B
?#
-
109 Pi Sostenuto
b
Sostenendo
# - - - - -
w
& J
f
Vln. I
espr.
# j - b - - n - - -
Vln. II & w
f espr.
B# w - b - - - - B
Vla.
J & -
f espr.
pizz.
b
?#
V. Celli b n b

F
f
?# b w- w- w-
w-
F f
D. Bass
353
Part VI
110
#
molto rit. a tempo (e animando

1032
Fl. 1, 2 &
# b b
2 Ob. & -
-

- b b -
-

-
F P
###
B b Cl. 1, 2 & n n
- n - - n - -
F P- -
? ### - - . . . . . .

. . . .

B. Cl. w
P p ma marcato
?# bw #
# - w w
- w w
w P-
2 Bsn.

Hn. 1, 2 &
Hn. 3, 4 &
# #
3 Tpts. & #
3 Tbn.
?#
?# j j j j j
Timp.

P p

S.Dr.
J J J J
3
#gg
& ggg ggb b ggg
ggg b g
F gggg ggg p gggg
g gg
? # bgggg g
Hp.
gg ggg #
gg # ggg
g
#
&
Cel.
?#
- . P - F
110

a tempo (e animando

molto rit.
?# J
R J J J J J J
Boaz
J J
her - i - tance, that the name of the dead be not cut
#
T1 V
#
T2 V
Bar
?#
B
?#
110
#
a tempo (e animando
- b
molto rit.
Vln. I & - - b - - - w w
F grave p
#
& - b - - b - - w w
-
Vln. II
F grave p
B# - b - - b - - w w
Vla.
-
F p
-
grave
?# b # - - n . # . . . . . . . . . . . . .
arco unis.

div.
V. Celli

F
grave
p ma marcato
?# - - - w w
w w w
div.
D. Bass
F p
354
Part VI
#
a poco a poco) Molto Sostenuto

1036
Fl. 1, 2 &
2 Ob. &
# #

### #
B b Cl. 1, 2 &

? # # # . . . . . . . .

. . . .

B. Cl.
w
P F f
?# w w w
a2
2 Bsn.
w w #w w
P F f
Hn. 1, 2 &
Hn. 3, 4 &
### -
#
open
3 Tpts. & - -
f marcato
?# w
# ww
open
3 Tbn.
F
?# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Timp.
w
F
#
&
Hp.
?#
#
&
Cel. to Piano
?#
-
# - f # - - -
a poco)

a poco Molto Sostenuto
?# J J J J J
Boaz J J
off from a - mong his breth - ren, and from the gate of his place: ye are
#
T1 V
#
T2 V
Bar
?#
B
?#
#
Molto Sostenuto
j
a poco a poco)
Vln. I & w w w
P F
#
& j
Vln. II
w w w #
P F
Vla. B# w w w
j
P F
? # . . . . . . . .

. . . .

V. Celli
w-
P F f
? # ww w
w
w
#w w-
unis.
P
D. Bass
F f
355
Part VI
111 Molto Animato
1040
#
Fl. 1, 2 &
>
&
# #

2 Ob.
J
# # # >

B b Cl. 1, 2 & #
J
? ### n n -
B. Cl.
w - - - -

?#
w n n - - - -
n
2 Bsn.
-

& # # - n - n # - # # - n - n # -
Hn. 1, 2
- - - - - - - - - -
marcato
& # # # #
# - - - n - - - - - # - - - n - - - - -
Hn. 3, 4
marcato
# # # .. j
3 Tpts. & # # .

> >
?# ww
w
J
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~

?# j j
Timp.
w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. w w

Trgl.
f
j
# ~ ~ ~ ~ ~~~
& ~~ ~ ~
~ ~ ~ ~ ~~~~~~~~~~~~~~~ J
~ ~~ ~~
f
~ ~ ~ ~ ~~~~~~~~~~~~~~~
~ ~~ ~~~ ~~~ ~
Hp.
?#
~ ~~~

# # ## # ## n nn # ##
& #

Pno.
?# ?
& # n #
# n #
- . - - # -
111
-
Molto Animato

Boaz
?# J
wit - ness - es this day.
#
T1 V
#
T2 V
Bar
?#
B
?#

111 Molto Animato
# b # n b
# #
&

Vln. I
f
6 6
n
# J
6
# # n #
& #
Vln. II

f
6
6
# # b
B# b
6
# b B
Vla. &
f 6 6

?# - n n -
V. Celli
w - - - -
marcato
?#
D. Bass
w - n n - - - - -
marcato
356
Part VI
112 (Sempre Animato)
1043
# 44
Fl. 1, 2 &
# 44
2 Ob. &
# # 44
B b Cl. 1, 2 & #
? ### j 44
B. Cl.
?# j 44 # #
- -
-
2 Bsn.
j 44
& # # # # - n # .
. . . - . .
Hn. 1, 2
P
44 j
a2
& j # #
# - - - - - - - - # - - - - - # # - . . # . - . . n # .
Hn. 3, 4
F P
# # 44
3 Tpts. & #
3 Tbn.
?# 44
~~~~~~~~~~~~~~~~~~
?# j j 44
Timp.
P p
# 44
&
Hp.
?# 4
4
# # j
& # # n n 44
# n
F
Pno.
# # n
?# # n 4
4
J
# 4
S & 4
# 44
A &
# P
# j j j j j j j
For Mixed Chorus
44
T V # - # -
P -
And all the peo - ple that were in the gate,
?# 44 # # # -
B
J J J J J J J
And all the peo - ple that were in the gate,

# # n b 44 j
& #

Vln. I
F p
# # 44
& # n n j
# #
Vln. II
F
p

B# # n b
44 div.
# ww # #
Vla.
F p
?# - - 44 j
V. Celli
- - - -
F P p
?# - - 44 j
D. Bass
- - - -
F P p
357
Part VI
- # - # b -
# nbb 2
a2
# #
1047
Fl. 1, 2 & J J 2
S S
- # - # b -
a2
# # # nbb 2
2 Ob. & J J 2
S S
### n - nnn 2
a2
B b Cl. 1, 2 & 2
?# #w #w - # - # n b b 22
2 Bsn. # w # w # #
S S
& # # 2
2
Hn. 1, 2
J
j 2
Hn. 3, 4 &
# # ww n 2
# #
n # # n # - -
# # - # #
- nnn 2
& # # # . . - . . . # -

.

. . -

. . .
# . .
# . . 2
- . J J J J
3 Tpts.
F f - - . # # -
?# . # n . # # n n n .
# n b 2
Mtd.
3 Tbn. J J J b 2
f
Timp.
?# n b 2
b 2
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2
w w 2
P
Cym.

J
J 22

F
Trgl.
# nbb 2
& 2
Hp.
?# nbb 2
2
# nbb 2
& 2
Pno.
?# nbb 2
2
f j
#
# # J n - n j j
# # J n - n j b -
n b 2
b 2
S & J J
f j j
We are wit - ness - es. We are wit - ness - es. The
# n b 2
& j j j j j j b - b 2
A
# n - # n -
- f j
We are wit - ness - es. We are wit - ness - es. The
#
# j # J # - # w- n n # - # j j j n b 2
T V J J J n J # J- # b 2
- - - f # - # -
and the eld - ers said, We are wit - ness - es. We are wit - ness - es.
?# # # ww n n b 2
b 2
B
and the eld - ers said, We are wit - ness - es. We are wit - ness - es!
# # # # # # n b
Vln. I &
#
# # # J # # # J # # # b 22
f
# # J # J nbb 2
Vln. II & 2
f
# # n b 2
B# # w # w n # n # # #
unis.
b 2
div.
Vla.
# w w
P F
# # ww
#w
?# # w n n # # n n #
#

nbb 2
2
J
F
V. Celli
P
D. Bass
?# nbb 2
2
358
Un poco largamente
- . -
Part VI
- - -
113 ma sempre mosso (in 2)

b
Fl. 1, 2 & b 22 J
f espr.
- . - - - -

b
& b 22
2 Ob.
J
f espr.
- - -
22 . J - -
B b Cl. 1, 2 &
f espr.
? 22 w
B. Cl.
? b 2 ww
b 2 w ww
w
2 Bsn.
f
& 22 b - . - - -
1
Hn. 1, 2 - J
f espr.
& 22 - b - . - - -
3
Hn. 3, 4
J
f espr.
22
&
J
3 Tpts.
? b 2 b
3 Tbn. b 2 J
? b 2
Timp. b 2
2
Cym. 2
2
Trgl. 2

b
& b 22

f

? b 2 12
Hp.
b 2 12 12 12 12 12
b
& b 22
Pno.
? b 2
b 2
Un poco largamente
b . w
& b 22 J
S
J J J J J J J J
LORD make the wo - man that is come in - to thine house
b 2 j j j j j j j j
j
& b 2 ..

ww

A
LORD make the wo - man that is come in - to thine house
b - - .
V b 22 J
T
J J J J J J J J
- -
The LORD make the wo - man that is come in - to thine
? b 2
B b 2
Un poco largamente
- . - - -
-
The LORD make this wo - man, this


b
& b 22
Vln. I
J
f espr.
- . - -
b 2 J
- -
Vln. II &b 2
f- espr. -
. - - -
Vla. B b b 22 J
&
f
- . -
espr.
- - -
? b 22 J
arco

unis. pizz.
V. Celli b
f espr.
ww
? b 22 ww ww
D. Bass b
359
Part VI
- - n w- b - -
b
&b
1054
S
Fl. 1, 2
- - n w- b - -
2 Ob. & bb
S
- - # w- n - -
B b Cl. 1, 2 &
S
? w #w bw
B. Cl.
? bb w ww
w n n ww
2 Bsn.
Hn. 1, 2 & b
Hn. 3, 4 & b
3 Tpts. &
- - - --
n b ww
? bb n #
open
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb nw
Timp.
p J
n n b
bb n # b
b
& n # n b
n b
? bb b
Hp.
12 12 n # 12 12 12 12
n# n b
& bb #n
n
n b
n#
Pno.
? bb 12
b - - n w- b - -
S &b
like Ra - chel and like
b - -
A &b

-

- # n ww- b
b w- - b -
like Ra - chel and like
T Vb n -
- -
house like Ra - chel
? b . n # b ww
B b .
- - n w- - -
wo - man like Ra - chel
b
b
&b
S
Vln. I
- - n w- b - -
Vln. II & bb
S
b - - n w- b - -
Vla. &b
S
-
# b
3 3 3 3 3 3
? b
3 3
b
n n
V. Celli
F
? b ww n n ww
ww
D. Bass b
360
- . -
Part VI
nw b -
b J J
&b
1057
Fl. 1, 2
nw b - - . -
2 Ob. & bb J J
#w n - - .
J -
B b Cl. 1, 2 & J
? #w bw
B. Cl.
? b nw ww
b nw w
w
2 Bsn.
a2
Hn. 1, 2 & -
a2
Hn. 3, 4 & -
3 Tpts. &
- - - -
n b ww b www
? b n #
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb nw j
Timp. J
n
# n b b b b
bb n b b
& n # n b b
b
? b b n # n
b b b
Hp.
12 12 12 12 12
12
n b
#
& bb n # n n
n b b
n #
Pno.
? bb 12
b n w- b - - . - - -
S &b J
-
Le - - - - - - ah, which two did build the
b b .
& b # n ww-
- -. -

J -
A
- b -
Le - - - - - - ah, which two did build the
b n -
T Vb
- - b -
and like Le - - - ah, which
? bb n # b
B
b . - - . -
and like Le - - - ah, which
nw
b J
Vln. I &b
S
nw b . - - . -
Vln. II & bb J
S
b nw . - - . -
Vla. &b J
S
b
3 3 3 3
#
3 3
? bb
3 3

n n
V. Celli
F f
w
D. Bass
? b b n n ww w w
w
361
- .
Part VI ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w y

b J J
&b
1060
Fl. 1, 2
F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- . w y
b b b
J

J
2 Ob. &
F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- . w y
B b Cl. 1, 2 & J J
F
? bb w w w
w w w
2 Bsn.
Hn. 1, 2 & .
J b - b
Hn. 3, 4 & .
J b - b
- - - - -
b
3

open 3
3 Tpts. &
f
w b www www
marcato
3 Tbn.
? b b ww
? bb j
Timp.
b b b b b b
& bb bb
bb
b b
b b b
? b b b b
Hp.
b 12 12 12 12 12 12
b
&b
Pno.
? b
b
- . ,
b . 3
&b J J
3
S
J
,
house of Is - ra - el: and do thou worth - i - ly in
j
bb b . b b ..
3
& -.
3
J R
A
b . . ,
house of Is - ra - el: and do thou worth - i - ly in

T Vb J
J
? b b ... b .. b ..
two did build the house of Is - ra - el: and

B b . .
- w
two did build the house of

b
Vln. I &b
- w
b
Vln. II & bb
b - w

Vla. &b
. -
? b J
V. Celli b
? b ww w w
D. Bass b w w
362
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nw Y ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w y
Part VI
n~~~~~~~~~~~~~~~~~
n #
&b
b J nn## #
1063
Fl. 1, 2
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~
nw Y w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
y n #
2 Ob. &b
b J n nn## #
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~
#w Y w y # # #### #
B b Cl. 1, 2 & J #
? #w bw #w #### #
B. Cl. #
? b nw #
2 Bsn. b nw bw w
nnw nn## #
bw
& - - - # - - - - # -
3 3
# - n - . # -
3 3
Hn. 1, 2
J
& - - - # - - - - # -
3 3
# - n - . # -
3 3
Hn. 3, 4
J
- -j - - - - - - -j -
# # # ... b - # # # ...
#### #
3
# # #
3
&
J J
3 Tpts.
? b n # www b ww n # www #
3 Tbn. b w nn## #
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? b nw j #
Timp. b nw nn## #
n b n
bb n n # n
b b
n n # n
# #
nn # #
& n # b n#
b
n # n b n # n n# ##
Hp.
? b
b n #
12 12 12 12
12 12
# n b # n n # # # #
& bb n # n
n n # n
n n
n b n
n # n # # #
Pno.
? b nn # #
b 12 12
,
b n - . j - - - - - n - . j -
# #
nn # #
&b
3
# #
3
S
,
Eph - ra - tah, and be fa - mous in Beth - le - hem: and
b j # #
& b n # .. b - - - n # - ..
j nn # #
3

3
A
- - - -
n 3- - - # #
Eph - ra - tah, and be fa - mous in Beth - le - hem: and

V bb n . # 3
J R n - . J # - n - nn # #
3 3
T
b ..
do thou worth - i - ly in Eph - ra - tah, and be fa - mous in
? b n # .. n # .. #
B b J . J nn## #
w n .
Is - ra - el: the house of Is - ra - el: and
nw n - #
Vln. I & bb nn## #
nw w n .
b n - #
nn## #
Vln. II &b
b nw w n . n - # #
Vla. &b nn # #
# b
3 3 3 3
# #
3 3 3 3 3 3 3 3
? bb nn## #
V. Celli
n n
n n
D. Bass
? b b n n ww bw
bw n n ww #
nn## #
363
Part VI
. -
1066
#### J
Fl. 1, 2 &
#### . -
2 Ob. & J
# # # . -
& # ##
B b Cl. 1, 2 J
? #### # w
B. Cl. #
? #### ww
2 Bsn.
ww ww
Hn. 1, 2 & #
j - - . #
J # - # - # - - # -
f marcato
Hn. 3, 4 & #
j - - . #
J # - # - # - - # -
f marcato
# # #
3 Tpts. & # ##
? #### ww ww ww
3 Tbn. w w w
? #### j
j
Timp.

####
&
? ####
Hp.
12 12 12 12 12 12

####
&
? ####
Pno.
# # . -
& # #
S J
#### j
let thy house be like the house of Pha - - - rez,
& ..
-
A
#### - .
let thy house be like the house of Pha - - - rez,
- . j -
T V J
Beth - le - hem: and let thy house be like the house of
? #### .
.

.
.

.
.

B
.
. -
let thy house be like the

#### J
Vln. I &
#### . -
J
Vln. II &
# ## . -
Vla. & # J
- - .
? #### J
V. Celli

? #### ww ww w
unis.
D. Bass
364
- -
Part VI
- nw -
1069
####
Fl. 1, 2 &
S
#### - - nw - -
2 Ob. &
S
# # # - - nw - -
& # ##
B b Cl. 1, 2

S
? #### # w
B. Cl. #
? #### ww nw w
2 Bsn.
n w- w-
f
-
Hn. 1, 2 & #
-
Hn. 3, 4 & #
- - -
# # # - - n n www #
& # ##
3 Tpts.
-
ww b - n -
- n
? #### n
n ww
3 Tbn. w
F
? #### n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
Timp.
J
n bn #n
#### b n
# n
#
& n n n #
nb #
? #### n n #
Hp.

12 12
12 12 12
12
#### b n n b n
n
& n n
b
? #### n n n n #
Pno.
12

# # - - n w- - -
S & # # #
####
whom Ta - mar bare un - to
& n ww- # - -
A
- -
#### - b - n -
whom Ta - mar bare un - to
T V n - #
- - -
Pha - rez, whom Ta - mar
? #### n n ww
nn
- -
B
- - nw - -
house of Pha - rez, whom Ta - mar

####
Vln. I &
S
#### - - nw - -
Vln. II &
S
# ## - - nw - -
Vla. & #
S

3

? ####
3 3 3 3 3
b #
V. Celli
n n
D. Bass
? #### w nw nw
365
~~~~~~~~
n w-
Part VI
n # # #
# #
& # #
J
1072
S
Fl. 1, 2
n w- # ~~~~~~~~

#### # J
&
S
2 Ob.
~~~~~~~~
# # # n w- # # #
B b Cl. 1, 2 & # ## # J
S
? #### bw w w
bw w w
2 Bsn.
# # - # - - -
a2
Hn. 1, 2 & -
f marcato
# # - # - - -
a2
Hn. 3, 4 & -
f marcato
# # # # # n n www- - # - >
& # # # # ##
J
3 Tpts.
- -
n # - - # ww
? #### b w n n w
f
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j ~~~~~~~~~~~~~~~~
Timp.
? #### bw w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. w
~~~~~~~

Trgl. J
b n
#### n # #
n n b n
# n # #
J
& n #
b
? #### n n n#
# #
Hp.

12
12 12
12
b n > >
n
#### b n n
& nn
b > # >
n n n n # #
Pno.
? #### 12

#### n w- # ..
J
S & J J J
####
Jud - - - - - - dah, of the seed which the LORD shall
A & n ww #
Ju - - - - - - dah, un - to Ju - dah
#### n - # # #
T V - J J J J
bare un - to Ju - - - - - - dah, of the seed which the
B
? #### b w
#w

nw - # -
bare un - to Ju - - - - - - dah, un - to
# ## w
Vln. I & #
S
nw - - w
####
Vln. II &
S
#### nw - - w
Vla. &
S
? ####
3 3 3 3
n
3 3
n #
3
w
3
b
#
V. Celli
D. Bass
? #### bw #w w
366
Part VI
# #
& # #
1075
Fl. 1, 2
# #
2 Ob. & # #
# # #
B b Cl. 1, 2 & # ##
? #### w w w w
w w w w
2 Bsn.
F
# -
Hn. 1, 2 & J
# -
Hn. 3, 4 & J
# ## # - - -
& # # - - J
3 Tpts.
-
F
ww n www www www
3 Tbn.
? #### w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp.
? #### w w w w

Trgl.
P
j
j
####
&

F
? ####
Hp.
# #
& # #
Pno.
? ####
# ## # - - - -
S & # J J

-

-

#### j f- . - j j
give thee of this young wo - - man.
j j . -
&
A
J - -

# # # # # - .. - F
of the seed which the LORD shall give thee of this young
n
T V J J
LORD shall give thee of this young wo - man.
f - .. -
? #### ww J
B J J J

Ju - - - dah, of the seed which the LORD shall
#### w w w w
Vln. I &
w w w w
####
Vln. II &
# ## w w w w
Vla. & #
V. Celli
? #### w w w w
D. Bass
? #### w w w w
367
Part VI
- . - - -
114 Sempre Mosso e appassionato

#### b - nnnnbb b
(in 2)
J
1079
Fl. 1, 2 & b
f
j -
- .
espr.
#### nnnnbb b - - -
2 Ob. & b b . J
F f espr.
- ..
espr.
# # # j n - nnnn n b

- - -
B b Cl. 1, 2 & # ## n nb J
F espr. f espr.
? #### w w nnnnbb b w w
b w w
w w
2 Bsn.
F f
b b b - n - -
Hn. 1, 2 & -
F espr.
b b b - n - -
Hn. 3, 4 & -
F espr.
# # # nnnn n b
3 Tpts. & # ## nb
www www n b
? #### n n n n b b b J
3 Tbn. b b
P
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Timp.
? #### w w n n n
n b b b b w w

P
Trgl.
j j j j
3 3 3
j
#### j

n n n n b b ~b~~~~~ J
3 3 3 3
& n ~b J J J
# ~ ~ ~~~
~ ~
~~
? #### ~ ~~~ n n F
Hp.
~
gliss.
~~ n nbbbb
# # nnnn b b
& # # b b
Pno.
? #### nnnnbb b
b
114 Sempre Mosso e appassionato
# ## nnnn b b
(in 2)
S & # b b
# ## nnnnbb b
A & # b
#### nnnnbb b
wo - man.
T V b
- F -
? #### - - - nnnnbb b
B
J J b
give thee of this young wo - man.
- -
Sempre Mosso e appassionato
. -
114

(in 2)
#### w w nnnnbb b J
Vln. I & b
F f espr.
#### w w nnnnbb b . - - -
b J
Vln. II &
F f espr.
# ## w w nnnnbb b . - - -
Vla. & # b J
F f espr.
V. Celli b
F F
D. Bass b
F F
368
Part VI
- - - -
Molto Animato
.
115
- .
b . . .
(in 4)
bbbb J 44 .
1083
Fl. 1, 2 &
brilliant
b b . b . . .
4
Picc. &b b 4
brilliant
. - - - - - . b .

44 . . .
2 Ob. & bbbb . J
brilliant
.. - - - - - . b .
b
44 . . .
B b Cl. 1, 2 &b J
brilliant
b 44 . b .
B. Cl. &b . .
brilliant
? bb b w w w 4
2 Bsn. b w w w 4 w

b - -
# n . b - - 4 b . b . .
a2
Hn. 1, 2 & J 4 b .
f molto marcato
b - -
# n . b - -
a2
44 b . b . .
Hn. 3, 4 & J b .
f molto marcato
j
b ww ww 44
3 Tpts. &b w w
F- f
1 - - -
? bb b 2

44 .
b
J
3 Tbn.
F marcato f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b w w w 44
Timp. b w
f
44
Cym.
Trgl.
44
. b
b b 4
&b b 4
f
Glk.
44
S.Dr.
J J
4 F
4
3
Tamb.
F
~ ~
j j j j j ~~~
3 3 3 3 3 3
b b 4 ~~~
3 3 3 3 3
&b b J J J J J J j 4 ~~~
f Cb ~~~
~~~ ~~
~~ ~~~~~~~~~~~
Hp.
? bb b 44
b
b
& b bb 4
4
? b b 44
Pno.
b b
115 Molto Animato
b
& b bb 44
(in 4)
S
b
& b bb 4
A 4
b
T V b bb 44
? b b 44
B b b
Molto Animato
- . - - - - -
115
- - .
(in 4)
b . . . . .
Vln. I & bbbb J 4
4
brilliant
- . - - - - - . . . . . .
- -
Vln. II & bbbb J 44
brilliant
b - . - - - - - . b . . . . .
Vla. & b bb J - - 44
brilliant
? b b w w w 44
V. Celli b b w-
f
? b b w w w 44
D. Bass b b w-
f
369
Part VI
- . b . . - .. . b . . - .. b . .
b b b b .. - . - . - .
1087
Fl. 1, 2 &
b b - . . b . - . . - . . b . - . . - . b . - . .
Picc. &b b
- . b . . - .. . b . . - .. b . .
b b b b .. - . - . - .
2 Ob. &
b - .. .
b . - . . - .. .
b . - . . - ..
b . - . .
B b Cl. 1, 2 &b
b - . . - . . - .
B. Cl. &b b . - . . b . - . . b . - . .
? bb b >
b .
- -

2 Bsn.
> > > > > > >

>
molto marcato
& b j
> > b .
> > >
Hn. 1, 2
> j
& b b .
> > > > >
Hn. 3, 4
b
3 Tpts. &b
? bb b
3 Tbn. b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bb b j
Timp. b w
b b . b . b
J
Glk. &b b

S.Dr.
J J J J
~~~~~~~~

3
Tamb.
J
~ ~ ~~~~~~ ~~ ~ ~~~~~ ~
~~ ~~~~~
b b ~ ~~~~ ~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~~~~
&b b ~~~ ~~ ~~~ ~~~ ~~~ ~
~~~ ~~ ~~~ ~~~ ~~~ ~~~~~
~~~
~~~ ~~ ~ ~~ ~~~
~~~ ~~~~ ~~~~ ~~~~
~~~ ~ ~~~ ~~~~~~ ~~~ ~~~~~~
~ ~~ ~ ~~
Hp.
? bb b
b
b
& b bb
Pno.
? b b
to Celesta
b b
b
S & b bb
b
A & b bb
b b
T Vb b
? b b
B b b
-
b . . b . . . . . - . . b . . . . . - . b . . . . .
Vln. I & b bb
- . . . . . . . - . . . . . . . - . . . . . .
b
Vln. II & b bb
b - . . b . . . . . - . . b . . . . . - . b . . . . .
Vla. & b bb
> > > > >

? b b
b b . - -
> > >
V. Celli
molto marcato
> > > > >
? b b
b b . - -
> > >
D. Bass
molto marcato
370
Part VII
Epilogue

116 Subito Calmo e misterioso
b b 4 nnnn
Flute 1, 2 &b b 4 J
b
Piccolo & b b b 44 J nnnn
b
2 Oboe & b b b 44 J nnnn

b 4 J nn##
Clarinet in B b 1, 2 &b 4
b #
4
4 J nn #
? b b b 44 j nnnn
2 Bassoon b
Horn in F 1, 2 & 44
Horn in F 3, 4 & 44
3 Trumpet in B b &b
b 44 nn##
? b b b 44 nnnn
3 Trombone b
? b b 4 j
Timpani b b 4 nnnn
Gong 44
p
~~~
b b b b 4~ J nnnn
& 4
Harp
? b b b 44 nnnn
b
p - - -
b nnnn
& b b b 44 J n J b J b
b b j j j j j
n b j j j

J b
J b -
- n
n -
b
b -

-
b
b
b -

n b
j
b
j

j
- - - - -
n b n b
p clear - - - - -
n b
Celesta
? b b b 44 b
b nnnn
116 Subito Calmo e misterioso
b b 4 nnnn
Soprano &b b 4
b b 4 nnnn
Alto &b b 4
p dolce e grave - -
b
V b b b 44 ww- - - nnnn
Tenor
J J J J
p dolce e grave - -
So Bo - az took Ruth, and she was his wife: and
? b b b 44 ww- - - n nnnn
Bass b J J J J
So Bo - az took Ruth, and she was his wife: and
b
116
b b b 4 b n b
Subito Calmo e misterioso
b b n b # n nnnn
Violin I & 4
S subito
n b b
b n b b n b
&b b 4 b 4
n # n nnnn
Violin II

S subito
b b b
& b b b 44
n

b

b

n b # n B nnnn

Viola
S subito
? b b b 44 div. ww ww ww nnnn
b ww - -
-
Violincelli
- p
? b b 4 S p
w-
(ma marcato)
b b 4 w w- w- nnnn
-
Double Bass
S p p (ma marcato)
371
Part VII

1094
Fl. 1, 2 &
2 Ob. &
# j
B b Cl. 1, 2 & # w
w
w
w

# j
B b Cl. 3 & # w w

2 Bsn.
? ww

Mtd.
.
& - - .
Hn. 1, 2
p dolce
# - ..
Mtd.
Hn. 3, 4 & -
p dolce
#
3 B b Tpt. & #
? www # www
Mtd.

3 Tbn.
J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~
? w w
Timp.
w

&
Hp.
p
?
dolce

-
&
j
b
j j

Cel.

- b
? b - -
S &
A &
,
# b n # -
V b n .. # - n -
T
J J J J - - - -
j j , - - - - -
,
when he went in un - to her, the LORD gave her con - cep - tion,
? j j b n .
. # .
- - -
B
div. in 3
when he went in un - to her, the LORD gave her con - cep - tion, A
wife, his wife;
b # n w j
& w
Vln. I

& b # n # n b j
# n
Vln. II
B b # n j

w w

Vla.
? ww w w
V. Celli
w
? w w w
D. Bass
w
372
U
-
Part VII

J
1098
Fl. 1, 2 &

U
- j
&
2 Ob.
-
p
- U
-
pi
#
B b Cl. 1, 2 & # J
- -
p dolce
#
B b Cl. 3 & #
- -
U
? j p j
ww ww
dolce
2 Bsn.

j

open
&
a2
Hn. 1, 2

f
j open
&
a2
Hn. 3, 4
f
U j
# ww-
& #
Mtd.
3 B b Tpt. w -

U-
? ww Mtd.
ww
w w
J
3 Tbn.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
U
? j
Timp.
w w w

Trgl.
gg ggg
& ggg gg
ggg ggg
p ggg ggg
gg gg
Hp.
? ggg ggg
ggg g gg

&
Cel.
?
p U-

& J
S
J J
p , - Uson.
j
and she bare a
j j ..
A & -
p j - .. , - - .. - U-
and she bare a son, a son.

T V J J
U- j
and she bare a son, a son, a son.
p j j - ,- - -
? . .
. . .
B
. . . u J

and she bare a son, a son, a son.
son
w w w U
w w w
div.
J
harm.
&

Vln. I
U pf
~~~~~~~~~~~~~~~~~~ j
y
1st half
~~~~~~~~~~~~~~~~~~~~~~~~
2nd half
w y
div.
& J
u
Vln. II
p pf
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U
B wy wy
1st half
Vla. J

p pf
? U
j
V. Celli
w w w

U
? j
D. Bass
w w w

373
Part VII
117 Molto Animato
Fl. 1, 2 & 24
2 Ob. & 24
# 24
B b Cl. 1, 2 & #
# 24
B b Cl. 3 & #
2 Bsn.
? 24
> 24
& . j
w w
>.
Hn. 1, 2
> J
S S S p
> 2
& . j 4
Hn. 3, 4
. w w
> > J
S S S p
# 2
3 B b Tpt. & # 4
? 2
3 Tbn. 4
Timp.
? 24
Cym. 24
F
& 24
Hp.
? 24
& 24
Cel.
? 24
117 Molto Animato
2
S & 4
2
A & 4
2
T V 4
f -
? J 24
(Baritone soli)
B
J J J J J
And the wo - men said un - to Na - o - mi,
117 Molto Animato
Vln. I & 24
2
Vln. II & 4
B 2
Vla. 4
? 2
V. Celli 4
D. Bass
? 24
374
Part VII

Lively

118
24 b n
&
Fl. 1, 2

p P F

24
Picc. &
p P F
2 Ob. & 24
#
B b Cl. 1, 2 & # 24
#
B b Cl. 3 & # 24
2 Bsn.
? 24
& 24 1 - j 1-
Hn. 1, 2

p 2 - J
23- j 3-
& 4

Hn. 3, 4
p 4 - J
## 2
3 B b Tpt. & 4
? 2
3 Tbn. 4
Timp.
? 24
Trgl. 24

p
Tamb. 24
p
ggg ggg ggg ggg ggg ggg ggg
& 24 gggg gggb
gg
ggg
gg ggg ggg ggg
gg
ggg
gg gg ggg ggg
gg g gg g g gg g g
g g
F
24 - - -
Hp.
?
- - - -
- -

& 24 -

- -
b - - -
p

Cel.
? 24
- - Fr f- . j Fj
Lively
2 -
118
& 4 J - R J

R J

J - - . J
S J R J J J
j j F f- F
Blessed be the LORD, which hath not left thee this day with - out a kins - man, that his
r j j
&
2
4 b
- r r
j
j .
J

R J
j
- .
j j j

A
- - - J -
- - Fr f- .
Blessed be the L which hath not left thee this day with - out a kins - man, that his
-
ORD,
V
2
4 J - R J

R J

J - .
T J R J J J -
2 - - -
Blessed be the LORD, which hath not left thee this day with-out a kins - man,
?
B 4
- - - - - - -
Hm Hm Hm
- - - - -
Lively
24
118
&
p P F
Vln. I
- - - - -
- - -
Vln. II & 24 - b - - -
p P F
- - - -
- n -
- -
- - - -
B 2
Vla. 4 &
p P F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
V. Celli
? 24 y y y
p
D. Bass
? 24
375
Part VII

44

1112
& J
Fl. 1, 2
F P p
44
Picc. & J
F
2 Ob. & 44
## 44
1 Solo
& j
B b Cl. 1, 2
#
P p
## 44
B b Cl. 3 &
2 Bsn.
? 44
j - j 4
& 4
1

J
Hn. 1, 2
2 - J 2 -
3-
j j 4
& 4
J
Hn. 3, 4
4 - J 4 -
## - - -
# 4
Mtd.
3 B b Tpt. & 4
p dolce
3 Tbn.
? 44
Timp.
? 44
Trgl.

44
Tamb. 44

ggg ggg ggg ggg ggg ggg
& ggg ggg ggg ggg ggg ggg 44
gg
g gg gg gg gg gg#
g g g g g
F P p

Hp.
? 44
- - -
-
44
& -

Cel.
? 44
f- . F p -

j
J J
R
- . # # - - 4
S & J J J J R J J J 4
f- . F p
name may be fa - mous in Is - ra - el, in Is - ra - el. And he shall
j j # - . r -j j j 44
& J J R J - -
A
J J
- ,
Fj f J . F - .
name may be fa - mous in Is - ra - el, in Is - ra - el. And he shall
j 44
V J J J R J J #
J J J R
T
J
- - -
that his name may be fa - mous in Is - ra - el, May be fa - mous in Is - ra - el.
? 44
B
- -
Hm Hm Hm
- - - - - - - 4
& J 4
F-
Vln. I
P
- - - - - j 4
Vln. II & - - - 4
F P
- - - - -
& - B # - - - 44
Vla.
J
F P p
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? y 4
V. Celli J 4
D. Bass
? 44
376
Part VII
119 Pi dolce
Fl. 1, 2 & 44
2 Ob. & 44
#
B b Cl. 1, 2 & # 44
#
B b Cl. 3 & # 44
j
? 44
2 Bsn.
- - - # # - -
p pi p
Hn. 1, 2 & 44
4
Hn. 3, 4 & 4
# 4 # - - - - - - -
- n # # - - # # - - - # - - -
3 B b Tpt. & # 4 J # #
? 4
3 Tbn. 4
~~~~~~~~~~~~~~~~~~~~~~
? 44 j j j j
Timp. #
j

j

j

Trgl. 44

# J
44 #
# # # #
& # #
44 # # # #
Hp.
? # #
#

j j
& 44 j

j

j

n
n -
- - - -
Cel. p dolce
? 44
pi p
4 # - - - - - j -
119 Pi dolce
#
& 4 J J J

J J # - - # # - - - # -
S
J JJ J J J -
pi p
be a
j
re
j
- sto - rer
j j
of
j
thy
j
life, and a nour - ish - er of thine old
4 - - - # jj # j j j j
A & 4 - - -- - - - - - -
p - - - - - - - - p -
- # # - j j
be a re - sto - rer of thy life, and a nour - ish - er of thine old
4 # n
pi
# # # j
T V 4 J J J J J J J J J J J J - - -
And he shall be a re - sto - rer of thy life, and a nour - ish - er of
B
? 44 w #w
n -
Hm Hm
- n - - -
119 Pi dolce
44 n n
& J
p dolce
Vln. I
pi p
Vln. II & 44
B 4 # # .. . #
Vla. 4 . J # #

? 4 j
#
div.
4 - - - #
ppizz.dolce - -
V. Celli
pi p
? 44 J
J #
J
p
D. Bass
pi p
377
Part VII

crescendo caminando
#
a2

1121
Fl. 1, 2 &
P 3 3
2 Ob. &
##
a2

&
3 3
B b Cl. 1, 2
#
P
#
B b Cl. 3 & #
? j #w w
2 Bsn.
# #
# w- w-
P
Hn. 1, 2 &
Hn. 3, 4 &
P- . - - . -
- j j j
# # # # n n ..
.
..
.

3 B b Tpt. & # J J
J - . - - . -
3 Tbn.
?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? j
Timp.
#
# # # # J j j
& # # # gg gg gg gg
# # ggg
ggg
ggg J ggg
ggg
ggg J
ggg
P ggg
j ggg ggg j ggg ggg
#
Hp.
? # # # gg gJ gg gg J
# # J J
j
&

-
Cel.
?
P - .. - -
crescendo caminando
- j J
& # # n J J J #
3
S
J J R J
P
age: for thy daugh - ter - in - law, which lov - eth thee, which is
j j # j j r j
& # - J - . - - J
3
A
J
P - - -
age:
-
for thy daugh - ter - in - law, which lov - eth thee, which is
- - J j J .
V # # J J # R
3
T
J
thine old age: for thy daugh - ter - in - law, which lov - eth thee,
B
? w

crescendo caminando
#
unis.
Vln. I & J
P 3 3
j j

pizz.
Vln. II & J J
P
j
# # .. . #
unis.
Vla. B # . n n
* P
j
3 3
? #
unis.pizz.
V. Celli
# # n J J
P
? # #
D. Bass J J J
P
378
# # # # #
Part VII

a poco a poco
#
#
####
24 # # # # #
1124
Fl. 1, 2 &
F 3 3
6
6
24 ####
2 Ob. &

# 24 # # # # # # #### #
& #
6

# # # # # #
3 3
B b Cl. 1, 2
#
F 6
# 24 #### #
B b Cl. 3 & # #
? w- b w- .
24 ####
w bw
J
2 Bsn.
Hn. 1, 2 & 24
2
Hn. 3, 4 & 4
F- . - j - . - j
-
# # .. .. 2 # #### #
& # . . 4 #
3 B b Tpt.
- J - J
- . - . f
Mtd.#
? 2 ####
3 Tbn. 4
f
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? 2 ####
Timp. 4
F
2 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. 4
F
j j ####
& gg #gggg gg gg 2
4
ggg ggg ggg J ~
F gg ggg J gg gg ~~~~~~~~~
ggg ggg F#C#D# ~
- ggg
ggg
b -
ggg
ggg
n ~~~~~~~
#ggg ggg J ~ ####
Hp.
? 2 ~

J
J b J 4 n ~~~~~
J J J f
24 ####
&
####
Cel.
? 24
f-
j - - - 24 # ####
a poco a poco
& J J # - - J
3
S
J J J
f ####
bet - ter
j # j
to thee than
j
se - ven
j -
sons, hath born
j 24
& - - J -
3
A
J - -
. - f-
- 2 # ####
bet - ter to thee
j
than se - ven sons, hath born
V
J J J # J. J. J 4
3
T
J
w b . - f-
2 n
which is bet - ter to thee than se - ven sons, hath born
? ####
B 4
# # #
Hm Hm hath born
a poco

####
a poco
# 24 # #
Vln. I &
F #
# #
3 3 6 6
j j
24 # # # ####
arco
Vln. II & J J
F 6
6
B 24 # ####
pizz.
Vla.
# J
F
b 2 n J
3 3
? J J ####
V. Celli 4
F
? b 24 n J ####
D. Bass J J
F
379
Part VII

120 Animato
121 Quiet but fluent
# ## J 6
& #
(like a Lullaby)
Fl. 1, 2 8
f
# ## 6
2 Ob. & # 8
# # # # # J 68 .
# .
1 Solo
B b Cl. 1, 2 & . . .
.
f p dolce
# # #
B b Cl. 3 & # ## 68
? #### j
68 j .. .
.
.
.
a2
- -
-
2 Bsn.
f>
a2 -
# - # - 68
Hn. 1, 2 & J
f
# -
marcato
a2
- # - 68
Hn. 3, 4 & J
f marcato
# # #
3 B b Tpt. & # ##
J
68
- - -
? #### -
a2 open
68 .
3 Tbn.
J J
F marcato
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? #### 6 j .
Timp.
8
f

# # ~~
& # # ~~ J 68
? #### o . o . o .
Hp.
6 . o .
8 o .
p
# ## 6
& # 8
Cel.
? #### 68
,
120 Animato
#### 68 . p j j
(like a Lullaby)
& . .
S
J
# # p ,
him. And Na - o - mi took the child, and
j
A & # # 68 .
j

j . .
####
him. And Na - o - mi took the child, and
68
T V

him.
B
? #### 68
him.
n
div.
Animato
#### 68
120

(like a Lullaby)
& n
J

Vln. I
f p
div.
#### n n 68 J
&

Vln. II
f p
arco - -
B #### - 68 . - . - . - . - .
Vla. J - .
f p
-
dolce
? #### - - 68 .
.
.
.
.
.

arco div.
V. Celli J
f p
? # # # # div. - - 68 .
arco unis.

D. Bass
J
F
380
Part VII
# #
& # #
1133
Fl. 1, 2
# #
2 Ob. & # #
# # #
B b Cl. 1, 2 & # ## . . . .
# # #
B b Cl. 3 & # ##
? #### . . .
. . . .
p
2 Bsn.
Hn. 1, 2 &
Hn. 3, 4 &
# ## #
3 B b Tpt. & # #
3 Tbn.
? ####
Timp.
? ####
# ##
& #
? #### o . o . o .
Hp.
. . .
p
# # j j j
& # # J J . .
2 2 2
S
J J J J
#### j2
laid
j2
it in
j2 j
her bo - som and be - came
A & j j . . j j j

,
#### j j
laid it in her bo - som
j
and be - came
. j .. # j .
V ..
2 2 2
J J J J
T
, j j
And Na - o
j
- mi took the child, and laid

it in her bo - som
? #### j
. J . . J J .
2
J
2 2
B
J

And Na - o - mi took the child, and laid it in her bo - som
# #
####

Vln. I &
sempre p
####
Vln. II & #
sempre p
# - . - . - .
Vla. B ## # - . - . - . - . - . - . - . # - . - .
p p
- - - -
? #### .
.
.
. - . - . . .. ..
unis.-
.
. . .. .. . .
V. Celli
. - -
p p
? #### . J J
J J .
J J J
1st half
D. Bass
J
pizz.
p
381
Part VII

#### n
. n n n 24
1139
Fl. 1, 2 &

#### nnnn 24
2 Ob. &
# # # p nn n## 2
& # ## . . n 4
dolce
B b Cl. 1, 2
. . . .
.. . . .
.
# # # nn n# 2
B b Cl. 3 & # ## n # 4
? #### .. . nnnn 24
2 Bsn. .
Hn. 1, 2 & 24
2
Hn. 3, 4 & 4
# ## # nn n## 2
3 B b Tpt. & # # n 4
? #### nnnn 2
3 Tbn. 4
Timp.
? #### nnnn 24
Trgl. . 24

#### n nn
& . n 24
.
.. . . . . .
? ####
Hp.
. . .. . nnnn 24

#### - n
nn n

- -
J
& .
J

J

J

J

J

J
24
- - - -
p dolcissimo
? #### nnnn
Cel.
24
# ## j . nnnn 2
S & # . . 4
#### nnnn
nurse un - to it.
j . 2
A & . . 4
#### nnnn
nurse un - to it.
V . j j j
. j . . 2
4
T .
and be - came nurse un - to it.
? #### .
J J J . .. . nnnn 24
B
J

and be - came nurse un - to it.
#### . - . nnnn
24
div.
& . . . .
Vln. I
J J J
p
dolcissimo 2
- .
espr. 2
. .
#### #
J J J nnnn 24
div.
& dolcissimo
Vln. II
pi p p
#
B ## # - . - . - . - . - . nnnn 24
Vla.
- . - . - . - . - . - . - . - .
pi p p dolce
- . div. - - -
? #### .
. . . . . nnnn 2
.. ..
unis.
V. Celli
. .. . 4
pi p p
? #### .
J J nnnn 24
D. Bass J J
pi p
382
Part VII
122 Allegretto
24
3
Fl. 1, 2 &
24
1 Solo
2 Ob. &
p dolce
P
# j
B b Cl. 1, 2 & # 24
p dolce P
#
B b Cl. 3 & # 24
p

? 24
dolce
2 Bsn.
p P
Hn. 1, 2 & 24
2
Hn. 3, 4 & 4
# 2
3 B b Tpt. & # 4
? 2
3 Tbn. 4
? 24 j
j
j
j
j
j j

Timp.
Trgl. 24 J

ggg
24 gg J ggg ggg gg ggg
& ggg ggg gg ggg gg g g gg g
gg gg g g
ggg p g P
24 gggg
Hp.
?
gJ

24 J-
J
&
Cel.
? 24
122 Allegretto
2
S & 4
2
A & 4
P - -
2
T V 4 R R J R R J J J R R J
p - ,
- -
And the wom - en her neigh - bours gave it a name,
? 24

R R J R R J J J R R
B
~~~~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~~

y
Allegretto And the wo - men her neigh - bours gave it a name, gave it a name,
~~~~~~~~~~~
122
y y y
name,
y y
& 24 J
F
Vln. I
P
~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~~
y y y
tutti
2 J y yy y y
1st half
& 4 y y
y y y
div.
Vln. II
y
y y y
p P F
~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~
B 2 J y y y y y y
Vla. 4 y y J
p P
? 2
V. Celli 4
p
D. Bass
? 24 J

J

J
383
Part VII
- . - . - . - .
123 Simple and Gay
(like a Nursery Rhyme)
b b b b 68
1151
&
P
Fl. 1, 2
- .. .
. - .. .
. - .. .
. - .. .
.
& b b b b 68
P
Fl. 3
b - b b b b 68
-
.. .. -
.. .. -
.. .. -
.. ..
2 Ob. & J
pf P
# b - nnbb 6 - .. . - .. . - .. . - .. .
B b Cl. 1, 2 & # 8 . . . .
J P
pf
## n n b b 6 - . - . - . - .
B b Cl. 3 & 8
P
b -
? b b b b b 68 .
J
2 Bsn.
& b 68 b j .
b - b
Hn. 1, 2
pf
& b 68 j .
Hn. 3, 4
- b
pf
## n n b 6 Mtd.- . - . - . - .
1 Solo
3 B b Tpt. & b 8
pf pf pf pf
? 6
3 Tbn. bbbb 8
? 6
Timp. bbbb 8
- - - -
Glk. & b b b b 68 . . . .
6 . . . . . . . .
Tamb. 8
p
b b
b b b b b b b 68 J .
& b b
F f
b
Hp.
? b b b b b b 68
& b b b b 68
Cel.
? b b b b 68
Simple and Gay
Fj
123
j b b b b 68 . j j
j
S & b b
J J J J . . J
F
There is a son born to Na - o - mi; There is a
&
j

j
j b b b b 68 . j j j . . j j j

A
J
F-
- F
There is a son born to Na - o - mi; There is a
b b b b 68 j .
T V b J J .
J J .
F ..
? b - -
say - ing, and they called his name

O - bed:
F
B
J J b b b b 68 .
J J
J .
~~~~~~~~~~~~~~~~~~ b~~~~~~~~~~~~~~~~~~~~~~~~
say - ing, Simple and Gay and they called his name O - bed:

123
y
b y
Vln. I & b b b b 68 J .
f
~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~
b
y
Vln. II & b b b b 68 J .
f
~~~~~~~~~~~~~~~~~~
B b b b b b 68 J .
Vla.
J
? 6
b b b b 8 .
pizz.
b -
J
V. Celli
? b f
D. Bass J b b b b 68 J .
f
384
Part VII
- . - . - . n - . . n - . .
bbbb 98 68
1156
Fl. 1, 2 &
F f
- .. .
. - .. .
. - .. .
. - .. n n .. - .. n n ..
b
Fl. 3 & b bb 98 68
F f
b - . .. - .. .. - .. .. n - .. .
n . 98 n - .. .
n .
2 Ob. & b bb . 68
F f
b b - .. .
. - .. .
. - .. .
. # - ..
# ..
-
98 # ..
# .. 68
B b Cl. 1, 2 &
F f
b - . - . - . n . 98 . n . 68
B b Cl. 3 &b . . . - . -
F f
? bb b 98 68
2 Bsn. b
- .. 9 .. 6
Mtd.
Hn. 1, 2 & 8 8
pf pf
9 6
Hn. 3, 4 & 8 8
b . 9 6
3 B b Tpt. &b - . - . - .
j 8 8
pf pf pf
? bb b 98 68
3 Tbn. b
? bb b 98 68
Timp. b
b - - - - -
98 68
Glk. & b bb . . . . .
98 . ~~~~~~~~ 68
. . . . . . . . .
Tamb.
J
gg n ... gggn n ... ggn ...
ggg ggn n ...
ggg ggg ...
bbbb ggg gg 98 gg 68
& gg ggg gg gg ggg
ggg ggg ggg ggg ggg
ggg f ggg ggg gggg ggg
ggg n . ggg n .. ggn . ggg n .. ggg ..
Hp.
? bb b 98 ggg .. 68
& ggg ..
?
b ggn . gg . ggn . gg ..
g . g g gg
b 98 68
& b bb
Cel.
? bb b 98 68
b
b b - f
j 9 . 6
S & b b . J J J . 8 .
J 8
f
son born to Na - o - mi; he
b
& b b b - . j j j . 98 . . j 68
A
J n
f
son born to Na - o - mi; he
b j - . 98 . 68
T V b bb .
J

J

J

J
- . f
and they called his name O - bed: he
? bb b . 98 .. 68
b J J .
J J J
B
and they called his name O - bed: he
b b 1st half ~~~~~~~~ ~~~~~~~~~ F ~~~~~~~~~~ ~~~~~~~

.
9 . J 6
Vln. I &b b . . 8 8
p f
~~~~~~~~~ j
.
b b 9 . . 6
div.
&b b 8 J 8
F~~~~~~~~~~~~~~~~~~~ f
Vln. II
~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ j
. .
98 ..
div.
B bbbb . 68
J
~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~
Vla.
p f
? bb b 98 68
V. Celli b
? b b 9 6
D. Bass b b 8 8
385
Part VII

124 Triumphant
b n n n n 44 .. b .. b n b n
& b b b 68
1161
Fl. 1, 2

b . b . b
Picc. & b b b 68 n n n n 44

b 44 .. b .. b
2 Ob. & b b b 68 nnnn

. b n n
b 68 nn## 44 . b .. n
B b Cl. 1, 2 &b

B b Cl. 3 &b
b 68 nn## 44 . b . n

? b b b 68 n n n n 44 w
b
w
2 Bsn.

Hn. 1, 2 & 68 44
6 4
Hn. 3, 4 & 8 4
- - - - >
bb 6 nn # # 4
open
& 8 4
3 B b Tpt.
J
f
w>
open w
? b b 6
b b 8 nn n 44 w
3 Tbn. n
? b b b 68 n n n n 44 w
Timp. b
Cym. 68 44
f
68 . 44
S.Dr.
Jj
f
~~
3
~ ~ gb b gg b b gg
b
& b b b 68 n~n~n~n~~~~44~~~ J ggg b ggg b ggg
~ ggg gg
~~~~~~~~~~
~
gggg ggg ggg
gg
~
~~~~~~~~~~ g ggg ggg
~ &ggggb b
Hp.
? b b b 68 gg b b
b . ~
.~ ~~~~
~ n n n n 44 g
gg
g
.~
b n n n n 44
& b b b 68
Cel.
? b b b 68 n n n n 44
b
b .. b n n
Triumphant
- .
124
b b 6 - . n n n n 44 .
&b b 8 J J J J J J J J J
2
S
J J
j2 j j j
is the fa - ther of Jes - se, the fa - ther of Da - - - - - -
j j j
b b 6
& b b 8 j j j .. n n n n 44 .. b b .. b b

A
- - J
-
is the fa - ther of Jes - se, the fa - ther of Da - - - - - -
b
V b b b 68 - . n n n n 44
J J J J J J J J J

2
T
J J J
- - ..
is the fa - ther of Jes - se, the fa - ther of Da - vid.
? b b b 68
J J J J n n n n 44
2
B b J J J J J J J J
is the fa - ther of Jes - se, the fa - ther of Da - vid.
b b
124 Triumphant
b n n n n 44
& b b b 68 b

b

Vln. I

b b 6 n n n n 44 b b
Vln. II &b b 8

B b b b b 68 n n n n 44 b b
Vla. &

? b b 6 nn n 44 w
b b 8
arco
V. Celli n

? b b b 68 nnnn 4 w 4arco
D. Bass b

386
Part VII

n
1165
Fl. 1, 2 &

Picc. &
n
2 Ob. &
# #
B b Cl. 1, 2 &
#
B b Cl. 3 & #
. b b b
b ..
*
? .
2 Bsn.
ww J
f
. b .
open
Hn. 1, 2 & . b .
f
& .. b .. b n n
open
Hn. 3, 4
f
#
3 B b Tpt. & #

? ww-
1
3 Tbn.
p
2
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j
Timp.
? w w
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Cym. w

ggg gggb b ggg gggb bb ggg b
& ggg ggg b gg gg
ggg ggg gggb b gg ggn b
gg
ggg ggg ggg ggg b ggg ggg ggg ggg ggg ggg b ggg ggg b
gg ggg ggg ggg ggg f gg b ggg ggg ggg ggg ggg
ggg ggg ggg ggg ggg g gg gggb b g ggg b ggg
?gggb gg nggg
Hp.
ggg gggb b ggg ggg g ggn

& g gn ggg b b gg ggb
gg
&
Cel.
?

S &
vid.
A &
b n b n
vid.
T V
.. b ..
b b
Da - - - - - - vid.
? .
. b b ..
J
B

Da - vid, Da - - - - - vid.
b
n b b b
& n b b b
Vln. I
b
f
b
b b b b b
Vln. II & b
f
b b b n b b b
&
B
b b

Vla.
f
V. Celli
? w w w
D. Bass
? w w w
387
Part VII
125 Molto Sostenuto e solemne Finale: "Choir of the Generations"
Fl. 1, 2 &
2 Ob. &
#
B b Cl. 1, 2 & #
#
B b Cl. 3 & #
? >

J
2 Bsn.
Sj

&
>
Hn. 1, 2
S
j
&
>
Hn. 3, 4
S
#
3 B b Tpt. & #
?

J
3 Tbn.
S
? j
Timp.
f
Cym.
j
&

Hp. f >j
?
>
&
Cel.
?
125 Molto Sostenuto e solemne
S &
A &
T V
- - - - - - - - -
? J J J J - J

B J J
Now these are the ge - ne - ra - tions of Pha - - - - - rez:
j
125 Molto Sostenuto e solemne
&

Vln. I
& j
Vln. II

B j
Vla.
? j
V. Celli
? j
D. Bass
388
Part VII

1171
Fl. 1, 2 &
2 Ob. &
#
B b Cl. 1, 2 & #
#
B b Cl. 3 & #
2 Bsn.
?
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
3 Tbn.
?
Timp.
?
&
Hp.
?
&
Cel. to Piano
- - - - - - -
& J J J J - - -
S
J J
Now these are the ge - ne - ra - tions of Pha - - - - - - -
j j j j j j
&
- - - - - - - - - -
A
- - - - - - - - - -
T V J J J J J J
? - - - - - - - - - -
B
J J J J J J
Vln. I &
Vln. II &
Vla. B
V. Celli
?
D. Bass
?
389
Part VII
Molto Animato
126
(Wild and driving)
Fl. 1, 2 &
2 Ob. &
#
B b Cl. 1, 2 & #
#
B b Cl. 3 & #
. . .j . . .j . . .j . . .j . . .j . . .j

? J J J
2 Bsn.
. . .
F . . . . . . . . . . . .
p
Hn. 1, 2 &
Hn. 3, 4 &
#
3 B b Tpt. & #
- - - - -
1 Solo
3 Tbn.
?
P marcato
?
Timp.
F p

S.Dr.
J J
p 3
&
Hp.
?
? . . . . . . . . . . . . . . . . . .
. . . . . .
F. p.
. . . .
Pno.
? . . . . . . . . . . . .
staccato
. . . . . .

Molto Animato
j
126
(Wild and driving)
S &
rez:
& j
A

rez:

V
J
T
F
- -
rez:
? -
B J J J
rez: Pha - rez be - gat Hez
Molto Animato
126
(Wild and driving)
Vln. I &
Vln. II &
B
Vla.

?
V. Celli
? F

p

D. Bass
F p
390
Part VII

1177
Fl. 1, 2 &
2 Ob. &
##
1 Solo
j
a2
B b Cl. 1, 2 &

## p
P

B b Cl. 3 &
. . .j . . .j . . .j . . .j . . .j . . .j

? J J J
2 Bsn.
. . .
. . . . . . . . . . . .
P
Hn. 1, 2 &
Hn. 3, 4 &
# # 1 Solo
- - - -
- - - - -
& -
1
3 B b Tpt.
J -
P
- - - -
2
?
-
1
- -

1 Solo
3 Tbn. J 2 J
F
?
Timp.

S.Dr.
J J J J J
3
&
Hp.
?
? . . . . . . . . . . . . . . . . . .
. . . . . .
p. P.
. . . .
Pno.
? . . . . . . . . . . . . . . . . . .

F-
S &
J

J - -
F
Pha - rez be - gat Hez -
j j j j
A & - - - - - - -
Pha - rez be - gat Hez - ron, Pha - rez be - gat Hez -
V -
J - -
-
J
T
J J
- - - -
Pha - rez be - gat Hez - ron, And Hez -
? - J
B J J J
ron, Pha - rez be - gat Hez - ron, And Hez -
Vln. I &
Vln. II &
B
Vla.

?
V. Celli
? P

D. Bass
P
391
Part VII

1180
Fl. 1, 2 &
2 Ob. &
## 1 r
n j

n b n
1
B b Cl. 1, 2 & n
J
P P
2
##
B b Cl. 3 &
. . .j . . .j . . . . . . .j . . .j
b b .j .j b b
? b b b
b J
.

J. b b b J. b
J
.

J. J.
2 Bsn.
. . . . . . . . . . . .
F P F
Hn. 1, 2 &
Hn. 3, 4 &
# - n n - -
b
-
n j b n
3 B b Tpt. & # b J
n -
F P
b - -
b b
- - b b b - -
b -
b -
? b
3 Tbn.
J
P F
? b b b b b
Timp. J J
P

S.Dr.
J J J J J J J
3 3
&
Hp.
?
? b . . b . . . . b . . b . . b . b . . . .
b . . b . b . b . . . . .
F. P F.
b . b .
Pno.
? . b . b . . . . b . b b . . . . . b . b . . . .
. b . .

b - b - - -

S & J J -
ron, And Hez - ron be - gat Ram, and
j - b -
& b - b b b - b -
b b
A
J
b - - b - -
ron, And Hez - ron be - gat Ram, and
V - - b -
T
-
- -
ron be - gat Ram, and Ram be - gat Am -
? b - b - b - b b b - b - -
B
ron be - gat Ram, and Ram be - gat Am -
Vln. I &
Vln. II & b b b j
P
Vla. B b b j b
P
? b b b b b b b
V. Celli b b b
P
? Fb b
b
F
b
b b

D. Bass b J
F F
392
Part VII

1183
Fl. 1, 2 &

1 Solo
2 Ob. & J
P F
j
##
b n
B b Cl. 1, 2 & n
J F
#
B b Cl. 3 & #
. . . .j F. .
. . .j . . .j . .j . . . .j
j
? b b b b
J. b J. b .
J. J.
.
2 Bsn.
. . . . F . . f F . . . .
j
& - #
- - - - - - - - -
Hn. 1, 2
F f F-
j
& #
- -
F- - - - - - - -
Hn. 3, 4
f F-
# n - -
n
- - - - - - - -
& # b - n - # - -
1,2 1
3 B b Tpt.
- J
2
3
f
3
F
b b
3 Tbn.
? b J
~~~~~~~~~~~~~~~~~~~~
? b j
Timp.
J J J J
F

S.Dr.
J J J J
F

F
Tamb.
&
Hp.
?
. . . . . .
? b .
b . b . .
. . . . . . . . .
b . . . . .
F f.
Pno.
. . . . .
? b .
b . b . .
. . . . . . . . .
b . . . . .

b - - - j j - - - - - - - -
S & b - n n
J J J J J J
j j j j
Ram be - gat Am - min - a - dab, And Am
j
- min - a - dab be - gat Nah -
& - b - b - -
j

j -
j - -
A
- - - - -
- - - - -
Ram
j j
be - gat Am - min - a - dab, And Am - min - a - dab be - gat Nah -
V b b - -
J J J J J -
J
T
J J
- b - - - - - - -
min - a - dab, And Am - min - a - dab be - gat Nah - shon, and Nah -
? b
B
J J J J J J J J J J
min - a - dab, And Am - min - a - dab be - gat Nah - shon, and Nah -

Vln. I &
P F

Vln. II & b b J
F
j
Vla. B b
F

? b b
V. Celli b b
F f F
? b
D. Bass
J
F f F
393
Part VII
#

a2

1186
Fl. 1, 2 &
F f

&
1
2 Ob. J
F
#
# #
B b Cl. 1, 2 & # J
F f
#
B b Cl. 3 & # j
j
? j J
j
J
j

j
j
J
2 Bsn.
F f F f J
& - # - .. # -
j

Hn. 1, 2
- - - - - - -
f f
- # - ..
j
& # -
- - - - - - -
Hn. 3, 4
f f
# - - - # - -
3 B b Tpt. & # - n - -
J -
f
? ww-
3 Tbn.
F
~~~~~~~~~~~~~~~~~~~
? j
Timp.
J J

Trgl.

S.Dr.
J J J
Tamb.
&
Hp.
?
. .
? . . . . . . . . . . . .
. . . . . . . . . .
F f. F
.
.
Pno.
? . . . . . . . . . . .
. . . . . . . . . .

- - f -
- - - - - -
S & J J
f
shon, and Nah - shon be - gat Sal - mon, And
j j -
& - - -

- - - -
-
A
- f- - # - .. -
- - -
shon, and Nah - shon be - gat Sal - mon, And
V - # -
T
J
f- - - . - -
shon be - gat Sal - mon, And Sal - mon be - gat
- - - -
? - .
B
J
shon be - gat Sal - mon, And Sal - mon be - gat
#

Vln. I &
F F f
j #
Vln. II &
F f

B #
Vla.
J &
F f

?
V. Celli

F f F f
?

D. Bass
F f F f
394
Part VII ~~~~~~~~~~~~~~~~~~~~~~~~~~
# #w y
1189 # #
&

Fl. 1, 2
~~~~~~~~~~~~~~~~~~~~~~~~~
# # # # ww* y
y
& R

2 Ob.
~~~~~~~~~~~~~~~~~~~~~~~~~~
w* y
# # # # # w y

B b Cl. 1, 2 & # R

#
B b Cl. 3 & #
. . .j . . .j
? . # .
. # . . . . . J. # ww
2 Bsn.
J. . . . .
j -
#w
& # # -
-

- # -
- # w
J >
Hn. 1, 2
S
j #w
& # # # w
J - - - - -
Hn. 3, 4
- S>
# # # - .. -
# - - - # - - - - -
3 B b Tpt. & J
J
f F f
? # ww- ww- # ww-
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~j ~~~~~~~~~~~~~~~~~~~~~~~~~~~
? w

Timp.
f

Trgl.

S.Dr.
J J
f
&
Hp.
?
. # . . . . . # . . . .
? . . . . . . . . . . . .
. .
. # . . . . . # . . . .
Pno.
? . . . . . . . . . . . .
. .

- # - . - # - # - - - - -
S & J - - - J J
- - .
Sal - mon be - gat Bo - az, and Bo - az be - gat O -
& # - - - - - - - - -
A
J J J -
- - - -
Sal - mon be - gat Bo - az, and Bo - az be - gat O -
V - - - # - # # ww
T
J J
# - - - - - - -
- w
Bo - az, and Bo - az be - gat O - bed
? w
B
J J
~~~~~~~~~~~~~~~~~~~~~~~~~~
Bo - az, and Bo - az be - gat O - bed,
#w y
# # #
&

Vln. I
~~~~~~~~~~~~~~~~~~~~~~~~~~
# # # w y
Vln. II &

~~~~~~~~~~~~~~~~~~~~~~~~~~
# #w y
Vla. & # #

? # #
V. Celli
? # #
D. Bass

395
~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Part VII
# ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
J b b ww
y b b ww ..
y
23 44
1192
Fl. 1, 2 &

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Picc. & bw 23 bw . 44
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#
b b ww y

b b ww .. y
2 Ob. & J 23 44
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

##
# n b ww y n b ww .. y
B b Cl. 1, 2 & J 23 44

## ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
B b Cl. 3 & bw 23 bw . 44

? 23 44

j b b ww ww .
.
>
2 Bsn.
>
j
Hn. 1, 2 & 23 44
j 3 4
& 2 4

Hn. 3, 4
# # # - - - - - 3 > > .. >

& # b n b n 2 b .
4
4
3 B b Tpt.
J J
- - - b - -
? b b 3 b >

>

>
4
2 J 4
J
3 Tbn.

~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
? j
Timp. b 23

j 44
f
23 44

Trgl.
f
S.Dr.
J
23
J J
44
f
& 23 44
Hp.
? 23 44
. . # . . . . b . .
? . . . b . b . . . . 23 . b . . 44
. . . . . . . . .
. . b . .
. # . .
Pno.
? . . . . b . b . . . . 23 . b . . 44
. . . . . . . . .

# -
b J - b - - - 3 - - 4
S & J J J 2 4
bed, And O - bed be - gat Jes - se, and
&
# b - - b - - - 3
2 b - 4
4
A
J J J J -
b - - - - -
bed, And O - bed be - gat Jes - se, and
b J - -
T V J J J 23 44
- - - - -
b - -
And O - bed be - gat Jes - se, and
? J J 23 J
b 44
J
B
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
And O - bed be - gat Jes - se, and
#w y ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
bw bw .
& 23 44

Vln. I
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w y bw y
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
bw . y
Vln. II & 23 44

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#w y b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w bw .
Vla. & 23 44

? b b 3
# b 2
b 44
V. Celli

b
? #
b b 23
b

4
4
D. Bass

396
Part VII
~~~~~~~~~~~~~~~~~~~~~
127 Piu Sostenuto
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
molto rit.
44 b b n .. b .. b n b n n
y
J
1195
Fl. 1, 2 & J
~~~~~~~~~~~~~~~~~~~~~
44 b . b . b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Picc. & J J
~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
44 b b n .. b .. b n b n n
y
2 Ob. & J J
~~~~~~~~~~~~~~~~~~~~
n b .. b b .. n n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

# n
B b Cl. 1, 2 & # 44 J
J

# # 4 ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
& 4 . b . n
B b Cl. 3
J

- - -
? 44 j j -
2 Bsn. b - -

- -

. . - - - - j
- - -
marcato
4 -
& 4 .
> >
Hn. 1, 2

-
marcato
. . - - - j
&
4
4 - - - - .
> >
Hn. 3, 4

# # 4 b > >
marcato
& 4
3 B b Tpt.
J J
> >
? 44 b
>

. . - - - - - - - -
a3
J
3 Tbn.
J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j
marcato
? 44 j j
Timp.

f
4
4
a2
f
Cym.
44
f
S.Dr.
44
Tamb.
J J J J J
j
44 ~ ~ ggb bb ggg b bb ggg b ggg n ggg b b ggg b b ggg b
& ~ ggg gg b gg b ggg
~ ~ ~~~~~~~ J gggg gg
ggg ggg
gg
ggg ggg ggg ggg
BbEbAb
~
~
~~~~~~~~~ gggg ggg ggg gg ggg ggg ggg
~~ ggg b ggg b ggg b ggg n ggg b ggg b ggg b
~~~~~~~~~ &
Hp.
? 44 ggb gb gg gb gb g
~~
- -
b b b - b - b - b
? 44 n b b b b n b b b b
J &
- - -
- - - b - - b -
n b n - -
b b b b
Pno.
? 44 & b b b
J

> > - - b .. b n n
127 Piu Sostenuto
..
J
molto rit.
4
S & 4 J
j
Jes - se be - gat Da - - - - - vid
& 44 b > >

- - .. b b .. b b b
A
J
Jes - se be - gat Da - - - - - vid
> > - - b n b n
T V 44 J n
J n .. b ..
44 b > > - - b b
Jes - se be - gat Da - vid, Da -
b
- - - - -
? J . b .. b
.
J
B
Jes - se be - gat Da - vid, Da - - - - - -
~~~~~~~~~~~~~~~~~~~~~~~~
127 Piu Sostenuto
b b b
molto rit.
b b
Vln. I & 44 J

~~~~~~~~~~~~~~~~~~~~~~~~ div. b b
44 b y n b b b
Vln. II & J
~~~~~~~~~~~~~~~~~~~~~~~~
b b
4 b
J
b

b

Vla. & 4

j . . - - - n - -
? 4
4 n - - -
V. Celli
J >
-marcato-
? 44 j . . - n - - n - - -
J
>
D. Bass
marcato
397
Part VII
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~
1198
n .. b .. b n b n n
y 34 y
y
Fl. 1, 2 & J J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~
. b . b y
Picc. & J 43 J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~
n .. b .. b n b n n
y
2 Ob. & J 43 J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# # .. b b .. n n ~~~~~~~~~~
&
n 34
B b Cl. 1, 2 J J
## ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j ~~~~~~~~~~
& . b . n 34
B b Cl. 3
J
j - - -
?
- 43
j

. . - - - -
>
2 Bsn.
>
- - - - j -
. . -
& - - - - .
j 3
4 -
> >
Hn. 1, 2
f
- - -
- - j -
. . -
& - - - .
j 3
4 -
> >
Hn. 3, 4
f . . - - . .
- j
#
& # 3
3 B b Tpt. . . 4 . .

- j
. . - - - - - 3
? - -
a3
4
J
3 Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~
? j j j 3 j
Timp. 4
43
a2 a2
~~~~~~~~
Cym.
43

J
Trgl.
f
3 ~~~~~~~~~~~
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3

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Tamb.

g n ggg b b ggg b b gg b ggg n ggg b b ggg b b gg b 34

& gggg gg b gg b ggg
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~~~ ~~~
ggg ggg ggg ggg ggg ggg ggg J
ggg
~~~ ~~~
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gggg b ggg
~~~ ~~~
gg n ggg b ggg b ggg n ggg b ggg b

Hp.
ggg b b 43
~~~ ~~~
& gg gg b gg b g g gb g ?

n b bb
b
b b n b bb
b
b b b > j
& 43
>
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b b >
n b b b b n b b b b
& ?
43
J

.. b .. b n n 3
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j
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A & 4
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398

Part VII
~~~~~~~~~~~~~~~~ ~~~~~~ U

1201
Fl. 1, 2 & J J
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Picc. & J J
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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B
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. .
Vln. I & J
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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& J
j
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? > j
.
D. Bass
J >
Beverly Hills, CA June 6 - July 22, 1949
399

Between Two Worlds - Mario Castelnuovo-Tedesco His Journey From

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University of Iowa

Iowa Research Online

Between two worlds : Mario Castelnuovo-Tedesco,

Copyright 2015 Noah David DeLong

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/1963

Follow this and additional works at: http://ir.uiowa.edu/etd

Part of the Music Commons

Noah David DeLong

A thesis submitted in partial fulfillment

Thesis Supervisor: Associate Professor David Puderbaugh

Noah David DeLong

All Rights Reserved

This is to certify that the D.M.A. thesis of

Noah David DeLong

has been approved by the Examining Committee for

Thesis Committee: ____________________________________________

committee, particularly my advisor Dr. David Puderbaugh, were indispensable in helping

materials in their collection of Mario Castelnuovo-Tedesco papers. Dillon Whittington,

proofreading tasks. Mignon Holben graciously assisted me with translating portions of

Mario Castelnuovo-Tedescos autobiography into English. Finally, I was spurred on by

support, and love.

The Florentine Jew Mario Castelnuovo-Tedesco (1895-1968), garnered

Society for Contemporary Music. Castelnuovo-Tedesco received particular attention for

concertos, with prominent performances by Jascha Heifetz and Andrs Segovia.

Tedesco completed his first oratorio, The Book of Ruth.

selected passages from Castelnuovo-Tedescos autobiography, newly translated into

story of The Book of Ruth.

LIST OF TABLES vii

LIST OF EXAMPLES viii

CHAPTER 2 YEARS OF TRANSITION, 1939-1949 22

The Jewish Situation in Italy 23

CHAPTER 3 COMPOSITIONAL PROCESS AND STYLE 56

Personal Connections 103

EDITORIAL COMMENTARY 112

FULL SCORE OF THE BOOK OF RUTH 116

Part I Naomi and Ruth 117

Table 1. Primary Motifs in The Book of Ruth 95

Table 2. Instances of primary motifs in The Book of Ruth 96

Example 1. Part I, mm. 85 88 67

Example 2. Part I, mm. 96 98 68

Example 3. Part IV, mm. 652 655 69

Example 4. Part III, mm. 356 359 70

Example 5. Part IV, mm. 551 555 71

Example 6. Part IV, mm. 596 598 71

Example 7. Part V, mm. 737 738 72

Example 8. Part IV, mm. 628 635 72

Example 9. Part II, mm. 216 234 73

Example 10. Part V, mm. 775 779 74

Example 11. Part II, mm. 201 206 75

Example 12. Part IV, mm. 643 649 75

Example 13. Part V, mm. 700 701 76

Example 14. Part VII, mm. 1098 1101 77

Example 15. Part VII, mm. 1196 1203 78

Example 16. Part III, mm. 451 455 80

Example 17. Part VII, mm. 1171 1174 80

Example 18. Part VI, mm. 1050 1053 81

Example 19. Part VII, mm. 1174 1177 82

Example 20. Part III, mm. 284 295 83

Example 21. Part III, mm. 323 325 84

Example 22. Part VII, mm. 1130 1134 84

Example 23. Part II, mm. 216 220 85

Example 24. Part VI, mm. 1059 1063 86

Example 25. Part VI, mm. 988 994 87

Example 26. Part V, mm. 805 810 87