G.F. Händel - Theodora (Vocal Score)

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NOVELLO'S
EDITION
C. 22.
Z’ 4 &e==
NOVELLO’S ORIGINAL OCTAVO EDITION.
T H E O D O RA:
AN OR A TO RIO,
IN VOCAL SCORE,
WITH A SEPARATE ACCOMPANIMENT FOR THE ORGAN OR PIANOFORTE.
COMPOSED IN THE YEAR 1749 BY
G. F. H. A N D E L.
–4.
Ent. Sta. Hall. - Price in paper cover, 3s.

- - - ,, scarlet cloth, 5s.
L ON DO N S A C R.E D M U S I C WAREHOUSE
NOVELLO, EWER AND CO.,

1, BERNE R S S T R E E T (W.), AND 35, POULTRY (E.C.).
NEW YORK: J. L. PETERS, 599, BROADWAY.
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I, BERNERS STREET, LONDON.
THE “THEODORA" OF HANDEL.
BY G. A. MACFARREN. -
(From THE MUSICAL TIMEs, June, 1873.)
The riddle of public success never appeared more insoluble instances with him, the amazingly brief period of labour
than in the case of Handel's Oratorio of “Theodora.” The
followed a long period of inactivity, and it was succeeded by
merit of the work is great, even when referred to that one yet longer. It is curious to note that Handel's habit
highest standard—the other works of the composer; and was to rest from composition for a period of from eight to
in comparison with the productions of other artists, it stands ten months, during which no traces are to be found of his
very high indeed, if not pre-eminent. Yet it was un having written anything, not the smallest trifles, and then
acknowledged when it was first brought out; it was rarely to set himself to work, and within the average term of a
given during the author's life, and, from being unperformed month or two, to write as many oratorios, which, from the
for more than a century, it has passed into almost entire evidence of the manuscripts, may be believed to have been
forgetfulness, its very name being only preserved in lists of truly extemporized upon the paper, or in other words, called
Handel's compositions, and itself being only represented in into existence without any pre-consideration. The dates of
general knowledge by the airs “Angels, ever bright and fair,” the works just named exemplify this habit, which gives
and “Lord, to Thee each night and day,” and the choruses as great cause for admiration of the master's prodigious
“He saw the lovely youth,” and “Venus, laughing from the rapidity, as for wonder at his long reticence.
skies.” The first of these is in the repertory of every
soprano singer, public and private; the next is less, but not “Theodora” was first performed at Covent Garden
much less known; the two last were not unfrequently heard Theatre, on Friday, March 16, 1750. It was repeated on
at the Ancient Concerts, and “He saw the lovely youth,” the 21st, and again on the 23rd, but not
afterwards until
was given with good effect at the Handel Festival, in 1868, March 5th, 1755. Subsequently to its republication, at the
at the Crystal Palace; but still the popularity of these close of 1860, for the German Handel Society, it was per
excerpts has not as yet induced inquiry into the character formed at Cologne, under the direction of Dr. Ferdinand
and quality of the work whence they are drawn. One would Hiller, with a German version of the text, when it excited
think—for the thought would be dear to all who honoured much interest. It was privately given, in the original lan
genius, and felt that lasting esteem was its just tribute—that guage, at the residence of an amateur lady, Miss Frith, in
the authorship of any one work of art which held universal Wimpole Street, London, May 2, 1865, when it was con
reverence, should secure an interest as universal in whatever ducted by Sir Sterndale Bennett. Other than on these
might issue from the same source, and that to have written occasions, the oratorio seems never to have been performed
the “Messiah.” ought to certify the immediate success and between Handel's time and the present.
enduring popularity of every thing to which the same hand
The work, as often happens with non-successes, was a
gave form, the same spirit gave life. One would think this,
but that the delightful image is shattered by the inexorable great favourite of its composer. It is related that, having
facts cast at it by history, and one is compelled to own that
been asked “If he did not consider the grand chorus in the
the greatest artistic worth, and even the dull world's ad ‘Messiah' (probably the Hallelujah') his best production,”
mission of this, give no indemnity from the disregard ofhe replied that “He thought the Chorus ‘He saw the
He was nettled at its non
kindred excellence wrought by the same power. The moral lovely youth,’ far beyond it.”invitation of a friend to its
attraction, and enforced his
is a sad one, but it has too many illustrations to admit of
well,
dispute, and the long oblivion in which “Theodora.” has performance, by saying that “the music would sound
lain, is one of the most striking. for the theatre was sure to be empty.” In like manner, on
being told that a city gentleman intended to buy up all the
This oratorio was the last work but one that Handel boxes for the third representation, Handel exclaimed, “He
produced, it having been followed, after nearly two years, by is a fool then, for the Jews will not come to it as they did to
“Jephtha,” and preceded in the year before its composition “Judas Maccabaeus,' because it is a Christian story, and the
by “Solomon,” and “Susannah.” According to his custom, ladies will not, because it is a virtuous one.” Much as the
the author dated the beginning and the end of the MS., failure seems to have sharpened his wits, these pleasantries
and these records show that he entered upon his task on the betoken spleen more than good humour, and there is too
28th of June, and completed it on the 31st of July, 1749; much ground to regret the artist's mortification at the mis
this being the middle of his sixty-fifth year. As in other carriage of some of his brightest conceptions.
2
The “Biographia Dramatica,” but no other authority, much as dramatic power is happily brought to bear upon
ascribes the libretto of “Theodora” to Thomas Morell, D.D., the work under consideration, wherein each of the five
Secretary of the Society of Antiquaries, the author of “Judas personages and the two choruses of Heathens and Christians
Maccabaeus,” and of “Jephtha.” In style it resembles those has each a characteristic speciality that separates the music
inflated works, having occasional strong expressions which from that belonging to all the others.
stand out well in the many repetitions that occur in Handel's
settings, having no distinctive personifications, and abounding The title-role of the drama is in several respects the
in the metrical peculiarities which seem to have been the most important, one of which is that more music is as
special aim of its time, but which in previous ages seem signed to it than to either of the others, the character of
always to have separated poets, or writers who would be Theodora having six Airs, besides two Duets with Didimus,
thought so, from ballad writers, and thus to have established and one with her friend and confidant, Irene. She is repre
a different order of literature for book verses from song verses. sented as fervently devout, with implicit faith in the tenets
The preface of the first edition of the book of words (of of the Christians, and in the God of their adoration, and
which Dr. Rimbault possesses one of the extremely rare with perfect resignation to the sufferings drawn upon her
copies) declares it to be founded on a tale entitled “The by her fidelity. Her earthly passion is not evinced in the
Martyrdom of Theodora and Didimus,” by Robert Boyle, course of the action, for even her voluntary immolation in
the philosopher, which was written in his youth, but not order to rescue Didimus, is rather in the spirit of a martyr
printed until 1687, four years before his death; it refers the than of a lover, showing indeed that she cannot hold her
derivation of the libretto also to a French tragedy, the name life at the cost of his, but that she rejoices in death for the
of which, and of its author, however, are not given. truth's sake. Except the widely favourite Air, “Angels, ever
bright and fair,” whose simple beauty as much as its popularity
The argument of the oratorio runs thus:–Valens, the ought to have saved the entire oratorio from its long ob
President of Antioch, proclaims a feast in honour of the scurity, all the music of this part is in minor keys. In
birthday of Diocletian, fixing the period of the action at spite of the current fiction that minority of 3rds and 6ths
somewhere about the year 303, when the Emperor had his bespeaks sadness, melancholy is by no means the chiefly
triumph in Rome. Theodora, a lady descended from King prevalent tone of the music, or of the person. She is
Antiochus, is a pious Christian, and by the President's pensive, she is earnest, she is firm, but she is totally un
mandate is required with her companions in faith to join in tinged by the black sickness that would give a morbid air to
the sacrifice to Venus, refusing which act of profanation, her self devotion, and a sentimentality to her religious feel
she is cast into prison. Didimus, a Roman officer, has been ing. The form, immeasurably tedious in our age, of the
converted by Theodora to the true belief, and is her ardent repetition, Da Capo, of a long Air after its second part,
lover. By connivance of his friend and superior officer, seems to have almost worn itself out when this oratorio was
Septimius, he obtains access to her in her cell, and prevails written; for, not only in the Airs of Theodora but in
on her to change dresses with him, and thus disguised to those too of the other characters, it is, save in a few instances,
escape. Didimus is then condemned to death for this act of abandoned throughout the work, and the music gains vitality,
dereliction, and Theodora in turn offers herself as a victim, and its intensity of expression is far increased by the
in hopes to save him; but the two are steadfast in their effective adoption of the conciser design. Theodora's
creed as faithful to each other, refuse to participate in the first Air, “Fond, flatt'ring world, adieu!” wherein she
rites of the false gods of the Heathens, and are borne away dedicates herselt to the seclusion of conventual life, is a
therefore to execution together. In Butler's “Lives of the particular example of the advantageous departure from the
Saints,” 1756 (seven years after the composition of the old formalism: its powerful declamation would become
oratorio), the narrative is circumstantially related, agreeing cold and lifeless, were the song to be recommenced after
in all points with the above, save that Alexandria, instead of its impressive climax and rehearsed for a second time, and
Antioch, is assigned as the scene of the events, that 304 is its effect of natural impulse would degenerate into artificial
given as their date, and that Eustratius Proculus (not Valens) routine. It is curious to observe in this piece the anticipa
is stated to have been the name of the Prefect; moreover, tion of a principal phrase in one of the Choruses in “Jephtha,”
Didimus is shown to have been a stranger to Theodora, who set to the words, “Whatever is, is right;" but it would be
vanity to assume that either passage bore any reflective
was actuated by respect for her heroic virtue, not by personal
love. The learned writer quotes St. Ambrose as authority allusion, purposed or accidental, to the other. “Angels, ever
for the incidents, but admits that this contemporary refers bright and fair” is too well known to need a comment;
their occurrence to Antioch. Theodora sings it when the decree is announced to her that
she must worship the false sensual goddess, and she pours
This story is of a more domestic or at least personal nature forth in it her deprecation to the purest of beings for protec
than those of other oratorios by Handel, and it gives scope tion from the revolting doom. “O that I on wings could
for the display of different artistic qualities, than could be rise,” is linked by the intervening Recitative, and the in
exercised in those productions. The power of delineating strumental Interlude to the preceding Air, “With darkness
and distinguishing individual characters, which is one of the
deep,” so as to constitute one continuous scene out of the
most important branches of the dramatic art, was possessed
four separate pieces. The first Air pictures horror indeed at
in a very high degree by our composer—witness the living fate and at the shame it involves, but this
personification of Polyphemus as relieved against the shep the impending
horror is softened by pious resignation; the second Air ex
herds and sheperdesses, the strongly opposed expression in not of deliverance from her doom, certainly
the demands of the two mothers who claim the child from presses hope if
of fortitude to bear it; and the strain, which, in her
Solomon, and the marked distinction and gradual develop trance, the victim of erroneous zeal for the expiring re
ment of all the characters in “Jephtha.” The poetical as
ligion supposes to be music of heavenly choirs revealed
3
for her encouragement, is what a waking and sensi of our composer's prospective insight of the pliability of
tive hearer might well believe to be divine. This last design, and hence we trace in him an example which
is a nearer approach, than is often to be found in the music musicians were slow to follow, but by which latest times
of its period, to Mozart's beautiful principle of orchestration have infinitely profited. A coincidence, less fortunate in its
which materially distinguishes the modern from the ancient prototype than those with “Solomon" and in its archetype,
in the tonal art; the absence of all the heavy bass instru than that with “Jephtha" which have been cited, is very
ments from the score, and the employment of the delicate, evident between the charming Air “Sweet rose and lily,”
pure, innocent tone of the then rarely used flute upon notes and one by Giovanni Battista Bononcini (brother of that
of sweetest expression, give to it a sound that realises our Marco Antonio who is famous for having slighted Handel in
conception of what may be seraphic. Theodora's prayer for Berlin and opposed him in London, and for having owned
death, “The pilgrim's home,” is an unelaborated melody a Madrigal which proved to be the composition of Lotti),
of two repeated strains; it is lovely and tender to a “Per la gloria d'adorarvi,” in the opera of “Griselda,” the
marvel even for Handel, whose capability of tenderness is performance of which, at Drury Lane Theatre, the author came
proved again and again. The Duet of Theodora and to London to direct, prior to Handel's first visit to this country.
Didimus, “To thee, thou glorious son of worth,” is ex Such coincidences are worth remark, if only for the con
quisitely persuasive; the musical artist felt the situation more solation of lesser artists than Handel, who may have the
keenly and truthfully than did the literary, and he shows accident to alight upon other men's ideas and suppose them
the wishes rather than the words of the lover to be so irre to be their own, mistaking thus memory for creation.
sistible, that the doomed virgin is compelled to break her Septimius has the most florid music in the oratorio. It is
prison by their passionate behest. The Air, “When sunk the most indifferent too; indifferent, comparatively speak
in anguish,” when she has rejoined her companions, though ing, in merit, but still more so in expression. The Roman
far from meritless, is the least interesting portion of officer is one of those steady-going old believers, who per
Theodora's music. Her Duet with Irene, “Whither, severe in the creed of their fathers, because they will not be
princess, do you fly 2" when she has resolved to surrender at the pains of collating its corruption with the purity of a
herself rather than let her lover pay with life for her new faith. He has no cruelty toward the Christian sect, but
freedom, represents gentle but invincible firmness. Lastly, likes the ease of following established order, and gaily
the Duet “Thither let our hearts,” which is a consequence, obeys commands, even to the execution of believing victims,
if not a continuation, of the sweetly beautiful Air of rather than suffer the inconvenience of disputing them. He
Didimus, “Streams of pleasure ever flowing,” paints the is willing to serve his friend, as shown in his accommodating
happy and loving tranquillity with which martyrs await the him with entrance to Theodora's dungeon; but he takes no
doom that is to translate them out of worldly cares into the steps to save his life or that of the heroine for whom this
joys of heaven. friend is self-sacrificed. It cannot be too much to advance
that the character here set forth is portrayed in the music
The part of Irene, written for a mezzo-soprano, ranging which is fluent, vocal, and effective as a medium for vocal
upwards to F sharp and to B below, is quite unlike in display, but less interesting than that of the other per
character to that of the heroine, being generally cheerful sonages.
and more animated while less intense, and resembling it only
in its quality of beauty. In the Air reviling prosperity, By the laws of nature may not be said, but of nature as
“Bane of virtue,” there is plainly a reminiscence of the conventionally represented in art, basses are either tyrannic
always prominent accompanying phrase in “What though I or venerable, or malevolent, or comic. Valens belongs to
trace,” in the oratorio of the preceding year, “Solomon;” the first of these types; he is a thorough tyrant without a re
and an equal likeness to the same is to be found in the Air of deeming quality, and according to custom if not to pre
Didimus, “Streams of pleasure.” How strangely is a scription, his music is for a bass voice. The librettist did
musician sometimes haunted by a recollection that will— nothing for him that would not repulse more than inspire
there is, indeed, as one must think, a will in such things— the musician, who, with such words as “Racks, gibbets,
inweave itself in his passing thoughts! Lucky he, if the swords, and fire,” for the beginning of an Air, may indeed be
recollection be of his own idea. “As with rosy steps the wondered at and justly be admired, for having escaped the
morn,” is one of the prettiest, simplest, and most win ludicrous, and given a spirit of dignity to the fierce declama
ning songs of its composer. The Air “Lord, to Thee tions of the President of Antioch. The pieces of this part
each night and day” is well known to be lovely; and the are all brief; they are all emphatic, and they have the value
remarkable change of character in the second part, “Though in the general effect of the work of contrasting the music of
the others.
convulsive rocks the ground,” admirably relieves and thus
enhances the devotional spirit of what precedes and follows. The Heathen Choruses are quite individual. They have
not the riotous jollity of those of the Babylonians in “Bel
The music of Didimus has also a character entirely its own. shazzar,” nor the rugged fierceness of those of the Philistines
It is impassioned always, once heroic, and tenderly affectionate in “Samson,” but they have a character of their own which
in every other instance. It is for a female voice ranging is as distinct and as appropriate as that which distinguishes
about a tone lower than that required for Irene. It is in the music of either of their pagan cognates. The citizens of
teresting to observe in the Air sung over the sleeping the Roman empire are presented as pleasure-loving, but as
Theodora in prison, “Sweet rose and lily,” a compromise finding pleasure in grace and gaiety, certainly not in ebriety
between the then antiquated and now obsolete Da Capo or savage violence. The choral continuation of the air of
form and the modern progressive plan which includes an Valens “Go, my faithful soldier,” is a joyous acceptance of
allusion to the opening theme of a song; like signs appear the proclamation of the festival. When the mortal penalty
in other places, such as “Rejoice greatly" in the “Messiah,” is announced of refusal to share in the rites of Venus, the
4
people's exclamation “For ever thus stands fixed the doom,” by the nature of its phraseology, and it is likely to stamp the
in simply melodious and rhythmical phrases, betokens no hearer with an unhappy impression of the oratorio, and even
vengeful lust for the blood of those who refuse compliance of their sufferings who glory to die for the sake of truth. It
with usages that have made them and their fathers happy, cannot but be regretted that Dr. Morell (if it were he that
but a pleasant content with things as they are, and an entire wrote the words) made not this an opportunity for exultation,
unwillingness for anything that may disturb their enjoyment. showing the triumph of heavenly constancy over the passing
“Venus, laughing from the skies,” and the preceding address pangs that earthly tyrants can inflict, and it is still more to
to the same deity, “Queen of Summer,” are what no one be wished that Handel had taken the rule into his own
but Handel ever could have written, and in their clear and hands, and insisted on terminating his great work with a
charming tunefulness, exempt from every kind of elaboration, piece of such brightness as he, more than other musicians,
they prove as much the self-reliance as the poetical concep could have produced, irradiating the crown of martyrdom.
tion and the happy invention of the great master. Anticipating a plan that has become general, if not unex
The Choruses of the Christians are of a totally different ceptional, the Overture to “Theodora” is in the same key,
type. They are grave in expression and comparatively G minor, as the closing Chorus. It would be futile and
complicate in structure; but though the fugal element pedantic to lament, that the effect of tonal consistency and
abounds in them, there is scarcely a set fugue among their consequent internal completeness, thus given to a large work
number, and indeed there are fewer pieces in this form in all composed of many several portions, prevails not in many ot
the oratorio than in any other, except “Athaliah,” by the com the master's finest productions. Any of them may well rest
poser. “Go, pious youth,” addressed to Didimus, when he upon its own merits, but this has the satisfactory excellence
departs in the hope to rescue Theodora, is a particularly of ending where it begins, of returning after wide divergence
favourable specimen, and the termination of this with the to its starting key, and a consequent effect of entirety that is
often repeated words “Glory, peace, and rest”—the reward admirable, in addition to its other beauties. Such is the case
that will be merited by his generous act—has a charm that in operas and masses by Mozart, and reference might easily
may not be described; the voices, at their softest, end upon be made to masterpieces of other musicians, as proving that
the harmony of the dominant, the piece being completed by these men thought the plan desirable. The Overture to this
the fading sound of the instruments, and the effect is as of a oratorio is one of the very finest by its author. The
farewell blessing upon the mission, as much of valour as of Maestoso wherwith it opens is most majestic. An incident in
religious zeal, and of personal love. The most important it of distinguishing beauty, is where an E flat in the bass,
choral piece, as much because it is the longest as because it is bearing an inversion of the suspended ninth of C and its
the most elaborated and the most beautiful, is that which resolution, is followed, not by the chord of D major which
ends the Second Part, “He saw the lovely youth.” The the context tempts one to expect, but by an inversion of that
Christians, uncertain of the fate of Theodora, whose holiness of B flat which has the full beauty of effect that always
they revere, and whose gentleness they love, pass the night accompanies surprise; and it is not unlike in character to a
in praying for her deliverance, addressing their prayers to movement of similar expression and in the same key in the
Him who raised the dead and can protect the living. The Overture to “Ariodante,” and to another in the harpsichord
story of the Widow of Nain illustrates their faith, and Suite, also in G minor, both by Handel, but it surpasses
gives strength to their reliance; and this is recounted them both in merit. The Allegro is a far better wrought
in the Chorus under consideration. The first movement is fugue than the kind of piece the author mostly placed in a
beautifully pathetic, having somewhat the manner of a corresponding position; the subject is answered in the second
funeral march—so much so at least as to suggest to the bar, and is continued through the answer, so as to comprise
mind's eye the procession to the sepulchre, the grief of the as it were a counter-subject within itself. A movement in
mourners, their vain efforts to console the bereft mother, and E flat ensues, of sweetly melodious charm, bearing the
the Saviour's benign contemplation of the sorrow He alone inexplicable definition of “Trio”—inexplicable, because the
could heal. A change of tempo gives most joyous and music is written for the entire band, and it stands not
majestic colour to the words “Rise, youth, he said;” and to between a foregoing portion and the repetition of the same—
the narrated result of the divine behest. The final move and this is described as Larghetto e piano, as if to imply that
ment, “Lowly the matron bowed,” tells of the widow's no modification of tone was to be made during its per
gratitude; it is the completest fugue in the work, the form formance, an implication that Handel can scarcely have
in which Handel loved to invest his loftiest aspirations and meant by the general definition, though he not rarely
grandest expressions of praise, and it closes the eminently employed it. Lastly, there is a Courante, which is as good
dramatic episode with dignity worthy of the theme and of of its kind as the other portions, and this concludes in the
the technical excellence of the foregoing portion of the opening key the excellent Overture.
Chorus. This noble piece will always be a foremost feature Much more might have been written of this fine work,
in the oratorio, and its occasional selection for separate per which should be as attractive as it is unknown; but that to
ormance is quite accountable on the ground of its self talk of music apart from the music itself, cannot convey the
sufficiency, the incident it describes being entirely com faintest notion of the sound or its beauty; and to attempt a
prehended within its limits. The chorus sequent upon description could but be tedious, and could raise no image of
the leading away of the martyrs to execution, “How strange the matter it described. The coming performance of “Theo
their end,” is beautifully plaintive; but that which closes the dora”will enable those who are interested in its beauties to hear
work, “O love divine,” is scarcely appropriate to its position. and to judge them, and the aim will be fulfilled of these
As music, it is by no means equal to many a piece that has scanty comments, if they direct the attention of real m usi
gone before it; its effect is gloomy, which is not a little lovers to the oratorio itself, and urge them to look in it for
induced by the nature of its key of G minor, and not a little a grand specimen of Handel's genius,
THE0D0 R. A.
CHARACTERS.
THEODoRA - - Soprano. SeptiMIUs . - - - Tenor.

IRENE - - - . Alto. MEssexgen Tenor.
DIDIMUs - - - Alto. WALENs - - - - Bass.
33 art +. AIR.— Valens.

Racks, gibbets, sword, and fire,
OWERTURE. Shall speak my vengeful ire
Against the stubborn knee;
RECIT.— Valens.
Nor gushing tears, nor ardent prayers,
Shall shake the firm decree.
'Tis Dioclesian's natal day:
Proclaim throughout the bounds of Antioch, CHORUS.—Heathens.
A feast, and solemn sacrifice to Jove;
Whoso disdains to join the sacred rites, For ever thus stands fixed the doom,
Shall feel our wrath in chastisement or death, Of rebels to the gods and Rome;
And this, Septimius, take you in charge. While sweeter than the trumpet's sound.
Their groans and cries are heard around.
AIR.
RECIT.—Didimus.
Go, my faithful soldier, go: Most cruel decree; sure thy noble soul,
Let the fragrant incense rise Septimius, abhors the dreadful task
To Jove, great ruler of the skies. Of persecution. Ought we not to leave
The free-born mind of man still ever free ?
CHORUS. Since vain is the attempt to force belief
With the severest instrument of death.
And draw a blessing down,
On his imperial crown, AIR.
Who rules the world below.
The raptured soul defies the sword,
Secure of virtue's claim ;
RECIT.—Didimus.
And trusting Heaven's unerring word,
Vouchsafe, dread lord, a gracious ear Enjoys the circling flame.
To my request. Let not thy sentence doom, No engines can a tyrant find
To racks and flames all whose doubtful minds To storm the truth-supported mind.
Will not permit them, to bend the knee,
To gods they know not, or, in wanton mood, RECIT.—Septimius.
To celebrate the day with Roman rites. I know thy virtues, and ask not thy faith;
Enjoy it as you will, my Didimus.
Talens. Though not a Christian, yet I own
Something within declares for acts of mercy.
Art thou a Roman, and yet dar'st defend But Antioch's President must be obeyed;
A sect rebellious to the gods and Rome? Such is the Roman discipline, while we
Can only pity those we dare not spare.
Didimus.
Many there are in Antioch who disdain AIR.

An idol offering, yet are friends to Caesar. Descend, kind pity, heavenly guest,
Descend and fill each human breast
Valens. With sympathising woe,
Then liberty and peace of mind
It cannot be; they are not Caesar's friends May sweetly harmonise mankind,
Who own not Caesar's gods : I’ll hear no more. And bless the world below.
ii. THEODORA,
RECIT.—Theodora. CHORUS.–Christians.
Though hard, my friends, yet wholesome are the All pow'r in Heaven above, or earth beneath
truths Belongs to thee alone, Thou everlasting One,
Taught in affliction's school, whence the pure Mighty to save in peril, storm, and death.
soul
Rises refined and soars above the world. RECIT.—Septimius.
AIR. Oh foolish people, why thus blind to fate,
Doye in private oratories dare
Fond, flattering world, adieu! Rebel against the President's decree, and scorn
Thy gaily smiling power, With native rites to celebrate the day
Empty treasures, fleeting pleasures, Sacred to Caesar and protecting Jove 2
Ne'er shall tempt or charm me more.
Faith inviting, hope delighting, AIR.
Nobler joys we now pursue.
Dread the fruits of Christian folly,
RECIT.—Irene. And this stubborn melancholy,
Fond of life and liberty,
Oh bright example of all goodness, Chains and dungeons ye are wooing,
How easy seems affliction's heavy load, And the storm of death pursuing,
While thus instructed and companioned thus, Rebels to the known decree.
As 'twere with Heaven conversing, we look
down RECIT.—Theodora.
On the vain pomp of proud prosperity.
Deluded mortal, call it not rebellion
AIR. To worship God: it is His dread command,
His whom we cannot, dare not, disobey,
Bane of virtue, nurse of passions,
Soother of vile inclinations, Though death be our reward.
Such is, prosperity, thy name.
True happiness is only found Septimius.
Where grace, and truth, and love abound, Death is not yet thy doom,
And pure religion feeds the flame. But worse than death to such a virtuous mind;
Lady, these guards are ordered to convey you to
CHORUS—Christians. Venus' temple,
To worship her and fulfil her rites.
Come, mighty Father, mighty Lord,
With love our souls inspire; RECIT.—Theodora.
While grace and truth flow from Thy Word,
And feed the holy fire. Oh worse than death indeed!
Lead me, ye guards, lead me or to the rack, or
RECIT.—Messenger. to the flames;
Fly, fly, my brethren, heathen rage pursues us I'll thank your gracious mercy.
swift,
Armed with the terrors of insulting death. AIR.
Irene.
Angels, ever bright and fair,
Take, oh take me to your care
Ah! whither should we fly, or fly from whom 2 Speed to your own courts my flight
The Lord is still the same, to-day, for ever; Clad in robes of virgin white :
And His protection here, and everywhere.
Though gathering round our destin’d heads, RECIT.—Didimus.
The storm now thickens, and looks big with fate:
Still shall Thy servants wait on Thee, oh Lord, Unhappy, wretched crew!—Why stand you thus,
And in Thy saving mercy put their trust. Wild with amazement? Say, where is my love,
My life, my Theodora 2
AIR.
Irene.
As with rosy steps the morn,
Advancing drives the shades of night; Alas! she's gone;
So from virtuous toil well-borne, Too late thou cam'st to save
Raise Thou our hopes of endless light. The fairest, noblest, best of women.
Triumphant Saviour, Lord of day, A Roman soldier led her trembling hence ,
Thou art the life, the light, the way. To the place where Venus keeps her court.
THEODORA, iii.
AIR.—Didimus. SYMPHONY.
Rind Heaven, if virtue be Thy care; RECIT.—Theodora."

With courage fire me, -
Or heart inspire me, Oh thou bright Sun how sweet thy rays
To free the captive fair! To health and liberty but here, alas !
On the wings of the wind will I fly, They swell the agonising thought of shame,
With this princess to live, or this Christian to And pierce my soul with sorrows yet unknown.
die.
AIR.
RECIT.—Irene.
Oh Love, how great thy power! but greater still With darkness deep, as is my woe
When virtue prompts the steady mind, to prove Hide me, ye shades of night!
Its native strength in deeds of highest honour. Your thickest veil around me throw,
Concealed from human sight !
CHORUS. Or come, thou death, thy victim save,
Go, gen’rous, pious youth ! Kindly embosomed in the grave.
May all the powers above
Reward thy virtuous love, SYMPHONY.
Thy constancy and truth
With Theodora's charms, RECIT.—Theodora.
Free from these dire alarms;
But why art thou disquieted, my soul?
Or crown you with the blest Hark! heaven invites thee in sweet rapturous
In glory, peace and rest! strains,
To join the ever-singing, ever-loving choir
3}art H. Of saints and angels in the courts above.
RECIT.— Valens. AIR.
Ye men of Antioch, with solemn pomp Oh that I on wings could rise,
Renew the grateful sacrifice to Jove! Swiftly sailing, through the skies,
And while your songs ascend the vaulted skies, As skims the silver dove .
Pour on the smoking altar floods of wine, That I might rest
In honour of the smiling deities, For ever blest,
Fair Flora, and the Cyprian Queen. With harmony and love.
CHORUS.
RECIT.—Didimus.
Queen of Summer, Queen of Love,
And thou cloud-compelling Jove: Long have I known thy friendly social soul,
Grant a long and happy reign Septimius, oft experienced in the camp
To great Caesar, king of men! And perilous scenes of war when side by side
We fought, and braved the dangers of the field,
AIR.— Valens. Dependent on each other's arm. With freedom
then
Wide spread his name,
And make his glory I will disclose my mind;—I am a Christian
Of endless fame, And she, who by Heaven's influential grace,
The lasting story! With pure religious sentiments inspired
My soul, with virtuous love inflamed my heart;
RECIT.— Valens. Even she, who, shame to all humanity
Is now condemned to worse than death.
Return, Septimius, to the stubborn maid,
And learn her final resolution.
If, ere the sun with prone career has reached Septimius.
The western isles, she makes an offering No more
To the great gods, she shall be free; if not, The shame reflects too much upon thy friend,
The meanest of my guards The mean though duteous instrument of power,
Shall lead her bound to Venus' temple. Knowing her virtues only not thy love.
CHORUS.
AIR.
Venus, laughing from the skies,
Will applaud her votaries, Though the honours that Flora and Venus receive
While now without measure, From the Romans, this Christian refuses to give,
We revel in pleasure, Yet nor Venus nor Flora delight in the woe,
Revenge sweet love supplies! That disfigures their fairest resemblance below.
iv. THEODORA.
RECIT.— Didimus. Theodora.
O save her, then, or give me power to save Excellent youth !

By free admission to the imprisoned maid. I know thy courage, virtue, and thy love:
This becomes not Theodora,
Septimius. But the blind enemies of truth—Oh no,
It must not be! yet Didimus can give
My guards not less ashamed of their sad office, A boon will make me happy :
Will second your intent and pleasure me.
Didimus.
Didimus.
I will reward them with a bounteous heart, How? or what? my soul with transport
And you, my friend, with all that heaven can Listens to the request.
give
To the sincerity of prayer. AIR.—Theodora.
The pilgrim's home, the sick man's health,

AIR.
The captive's ransom, poor man's wealth,
From thee I would receive
Deeds of kindness to display,
Pity suing, mercy wooing, These, and a thousand treasures more,
Who the call can disobey? That gentle death has now in store,
But the opportune redress Thy hand and sword can give.
Of virtuous beauty in distress,
Earth will praise and heaven repay. RECIT.— Didimus.
Forbid it, Heaven!

RECIT.—Irene.
Shall I destroy the life I came to save?
Shall I in Theodora's blood embrue
The clouds begin to veil the hemisphere
And heavily bring on the night; the last My guilty hand, and give her death, who taught
Perhaps to us. Öh that it were the last Me first to live.
To Theodora, ere she falls a prey
To unexampled shame and cruelty. RECIT.—Theodora.
AIR. Ah! what is liberty or life to me,

That Didimus must purchase with his own
Defend her, Heaven, let angels spread
Their viewless tents around her bed ' Didimus.
Keep her from rude assaults secure,
Still ever calm and ever pure. Fear not for me. The power that led me hither,
Will guard me hence; if not, His will be done.
RECIT.— Didimus.
Theodora.
Or lulled with grief or rapt her soul to heaven,
In innocence of thought, entranced she lies. Yes, kind deliverer, I will trust that power,
Farewell, thou generous youth.
AIR.
Didimus.
Sweet rose and lily, flow'ry form,
Take me your faithful guard, Farewell, thou mirror of the virgin state.
To shield you from bleak wind and storm—
A smile be my reward. DUET.-Theodora.
RECIT.—Theodora. To thee, thou glorious son of worth,

Be life and safety given.
O save me, Heaven, in this my perilous hour.
Didimus.
Didimus.
To thee whose virtues suit thy birth
Start not, much injured princess. I come not Be every blessing given.
As one this place might give you cause to dread,
But your deliverer, Both.
And that dear ornament to Theodora,
Her angel purity. If you vouchsafe I hope again to meet on earth,
Your habit but to change with Didimus. But sure shall meet in heaven.
THEODORA. W.
RECIT.—Irene. And high in rage the President protests,

Should he regain the fugitive, no more
'Tis night; but night's sweet blessing is denied To try her with the fear of infamy,
To grief like ours. But with the terrors of a cruel death.
Be ". our refuge, prayer to Him who raised
And still can raise the dead to life and joy.
Irene.
CHORUS of Christians. Ah, Theodora!, whence this sudden change

He saw the lovely youth, death's early prey, From grief's pale looks to looks of reddening joy.
Alas! too early snatched away;
He heard his mother's funeral cries:
Theodora.
Rise, youth, he said; the youth begins to rise.
Lowly the matron bowed, and bore away the Oh my Irene, Heaven is kind,
prize. And Valens, too, is kind to give me power
To execute in turn my gratitude
While safe my honour. Stay me not, dear friend,
3}art HHHH. Only assist me with a proper dress,
That I may ransom the too generous youth.
AIR.—Irene.
Lord, to Thee, each night and day, DUET--Irene.
Strong in hope we sing and pray,
Though convulsive rocks the ground, Whither, Princess, do you fly?
And Thy thunders roll around, Sure to suffer, sure to die.
Still to Thee we sing and pray.
Theodora.
RECIT.–Irene.
No, no, Irene, no,
But see, the good, the virtuous Didimus, To life and joy I go.
He comes to join with us in prayer for Theodora.
Irene.
Theodora.
Wain attempt, O stay, O stay !
No, Heaven has heard your prayers for Theodora.
Behold her safe—Oh that as free and safe
Were Didimus my kind deliverer, Theodora.
But let this habit speak the rest. Duty calls, I must obey.
AIR.
BECIT.—Irene.
When sunk in anguish and despair,
To Heaven I cried, Heaven heard my prayer, She's gone, disdaining liberty and life,
And bade a tender Father's care And every honour this frail life can give.
The generous youth employ. Devotion bids aspire to nobler things,
The generous youth obeyed and came, To boundless love and joys ineffable:
All rapt in love's divinest flame, And such her expectation from kind heaven.
To save a wretched virgin's fame,
And turn her grief to joy. AIR.
CHORUS. New scenes of joy come crowding on,

While sorrow fleets away,
Blest be the hand, and blest the power, Like mists before the rising sun,
That in this dark and dangerous hour That gives a glorious day.
Saved thee from cruel strife.
Lord, favour still the kind intent, RECIT.—Valens.
And bless Thy gracious instrument
With liberty and life. It is a Christian virtue then,
To rescue from Justice one condemned 2
RECIT.–Messenger.
Didimus.
Undaunted in the court stands Didimus,
Virtuously proud of rescued innocence. Had your sentence doomed her but to death
But vain to save the generous hero's life I then might have deplored your cruelty,
Are all entreaties, even from Romans vain; And should not have opposed it. .
vi. THEODORA.
Valens. Valens.
Take him hence, Are ye then judges for yourselves?

And lead him to repentance or to death. Not so our laws are to be trifled with
If both plead guilty, 'tis but equity
Theodora. That both should suffer.
Ye ministers of justice, lead me hence,
Be that my doom. You may inflict it here I cannot, will not bear such insolence.
With legal justice: there 'tis cruelty.
RECIT.— Didimus.
Septimius.
And must such beauty suffer 2
Dwells there such virtuous courage in the sex *
Preserve them, O ye gods, preserve them both.
Theodora.
AIR.—Septimius.
Such useful valour be destroyed?
From virtue springs each generous deed,
That claims our grateful prayer
Let justice for the hero plead, Septimius.
And pity save the fair.
Destroyed
AIR.— Valens. Alas! by an unhappy constancy!
Cease, ye slaves, your fruitless prayer, Didimus.

The powers below,
No pity know, Yet deem us not unhappy, gentle friend,
For the brave, or for the fair. Nor rash; for life we neither hate nor scorn:
But think it a cheap purchase for the prize
RECIT.—Didimus. Reserv’d in heaven for purity acd faith.
'Tis kind, my friends, but kinder still
If for this daughter of Antiochus, DUET-Theodora and Didimus.
In mind as noble as her birth, your prayers
Prevail that Didimus alone shall die. Streams of pleasure ever flowing,
Had I as many lives as virtues thou, Fruits ambrosial ever growing:
Freely for thee I would resign them all. Golden thrones,
Starry crowns,
Theodora. Are the triumphs of the blest :
When from life's dull labour free,
Oppose not, Didimus, my just desires; Clad with immortality,
For know that 'twas dishonour I declined, They enjoy a lasting rest.
Not death; most welcome now, if Didimus Thither let our hearts aspire'
Were safe, whose only crime was my escape. Objects pure of pure desire:
Still increasing,
CHORUS. Ever pleasing, -
Wake the song and tune the lyre

How strange their ends Of the blissful holy choir'
And yet how glorious,
Where each contends,
To fall victorious. RECIT.—Irene.
Where virtue its own innocence denies, Ere this their doom is past, and they are gone,
And for the vanquish'd the glad victor dies. To prove, that love is stronger far than death.
RECIT.—Didimus.
CHORUS.
On me your frowns your utmost rage exert,
On me, your prisoner in chains. Oh love divine, thou source of fame,
Of glory and all joy!
Theodora. Let equal fire our souls inflame,
And equal zeal employ:
Those chains That we the glorious spring may know,
Are due to me, and death to me alone. Whose streams appear'd so bright below:
A C T I.
, No. 1. OW E R T U R. E.
Maestoso. tr tr
PIANo.
•=54.
Tº e
1st time. repeat Pia. |Ena time.
Allegro. • –92.
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition —(1.)

Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.
Handel's “Thecdora.”—Novello, Ewer and Co.'s Octavo Edition.
TRIo. Larghetto. • = 92.
-C*-
a.
~
| |
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

*

No. 2. RECIT. AND AIR.—“GO, MY FAITHFUL SOLDIER, GO.”
WALENs. (BAss.)
Worce.
'Tis Di- o-clesian's na-tal day: proclaim throughout the bounds of An-ti- och a
t
PIANo.
and solemn sa - cri-fice to Jovel Who-so dis-dains to join the sa-cred rites
N
N
^-
shall feel our wrath, in chastise-ment or death; and this, Sep-ti-mius, take you in charge.
N->'
2-,
^_^
Pomposo. s = 96.
!
.
--
J’
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g ITI
Go, my faith-ful sol-dier, go,
F
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Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.—(6.)
go, my faith-ful soldier, go,
*-
º * # -
to Jove, great ru - ler of the skies!
--~ ...

let the fra-grant in-cense rise to Jove, great ru - ler of . . . the skies, to
tr tr
--
Jove, . . great ru - - ler - the skies, to Jove, great ru - ler
of the skies; my faithful soldier, go, my faithful soldier, go,
let the
- grant in - cense rise to Jove, greatru - ler of the skies!

Adagio.

Mo. 3. CHORUS.— “AND DRAW A BLESSING DOWN.”
PIANo.
•= 96.
And draw a blessing down his im - pe - rial crown
his im - pe -rial crown rules the

TENOR (8ve lower). And draw a blessing down
BASS. And w a bl down im - per rial crown
draw a blessing down - pe -rial

-º- -º-
who rules the world be -low,
be - low, and draw a bles-sing
who rules the below, and draw a bles-sing
rules the world be -low,
-*—f-i-º- -
--
S -
--"
Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.—(9.) B

and draw a blessing down on his im - Te-rial
down on his im - pe-rial crown, and draw
on his im - pe-rial crown,
and draw "a blessing
down, and draw a blessing down on his im-pe-rialcrown, on hisim-pe
and draw a bles-sing down on his im- pe rial crown, and draw a
down, a bles sing down,
crown, on his im-pe rial crown,
and draw "a down on his im -
im-pe-rial crown, and draw a blessing down on his im - pe-rial

and draw Ta blessing down on his im - pº- - a bles-sing
and draw a bles-sing down on his im - pe-rial crown,
crown, and draw a bles-sing down on his im -pe-rial crown, and draw a blºgg
and draw a blessing

- -º-
. . on his im-pe-rial crown, . . on his im-pe-rial crown rules the
- sing down on his im-pe-rial crown whorules the world be -
on his im-pe-rial crown, on his im-pe-rial crown whorules the world be -
on his -pe-rial crown, on his im-pe-rial crown who rules the world be -
.22. -
2.
draw a b g down on his im - perſal crown whorulesthe world, . . .
and draw a blessing down on his im - pe-rial crown
and draw a blessing down on his im - pe—rial crown
and draw a down on his im - pe.

12
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be-low !
world low !
world be - low !
draw a blessing down on his im -pe -rial crown
draw a blessing down on his im - pe-rial crown
draw a down on his im - pe-rial crown who rules the world
draw a blessing down on his im -pe -rial crown

13
whorules the world
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whorules the world - - - - be - low, whorules, who
and draw a bles-sing down on his im -pe -rial
and drawa blessing down on his im - per rial
and drawa blessing down his im -pe - rial
the world and drawa down on his im - pe—rial

*T*. ~
and draw a blessing down on his im - Fe-rial crown who rules,
crown, and draw a bles-sing down on his im - pe -rial crown
crown, and draw a bles-sing down on his im - pe - crown
crown, and bles-sing down on his im - pe -rial crown who rules,
2.

rules the world who rules the world - low.
rules the world who rules the world be - low.
the who rules the world be - low.
rules the world who rules the world be - low.
.No. 4. RECITATIve.—“VOUCHSAFE, DREAD LORD."

DIDIMUs. (ALTo.)
Wol CE.
W dread a gracious ear to my re-quest. Let not thy sentence
PIANO.
to racks flames all, all, whose doubt-ful will not per -
mit them to bend the knee to gods they knownot, or, in wanton mood, to ce - lebrate the

15
WALENs.
day with Roman Art thou a Roman 2 and yet dar'st de-fend
re-bellious to the gods and Rome 2 Ma-ny there are in
-a-
WALENs.
of-fer-ing, yet friends to Cae-sar. It can-not be ;
are not Cae-sar's friends who own not Cae-sar's gods. I'll hear no more 1
\-º ^-"
No. 5. AIR.—“RACKS, GIBBETS, SWORD, AND FIRE.”

Allegro.
PIANo.
•=92.

16
S. WALENs.
Racks, gibbets, sword, and fire, shall speak ... my

X. S
venge-ful ire, speak ... my venge - ful ire
against the stubborn knee, against the stub - born, stub - born
knee, shall speak against the stubborn knee.
jº
Racks, gibbets, and fire, racks, gibbets, sword,

racks, sword, and fire, shall speak my ire, my venge - ful ire,
F- I- F
shall speak my ire, my venge - ful ire, a - gainst the

|- N- N- |-
stub - born knee, the stub - born knee,
shall speak against the stub-born knee, my venge - ful ire . . shall
L.H. L.H.
speak, . . shall speak a - gainst the stub-born knee, w against the stub-born knee,
L.H. L.H. 7 I 7 7 w arº

shall speak a - gainst the stub - born knee.
gush-ing tears, nor ardent pray'rs, shall shake . . . . . the firm de - cree, nor
L.H. L.H. L.H. L.H.
gush - ing tears, nor ar - - dent pray'rs, nor ar.- dent pray'rs, shall shake the firm de -
* - a
Tº"
dal Segno. 8.
. . shall shake, . . shall shake the firm de-cree. .

dal Segno. 8.
Handel's “Theodora.”-Novello. Ewer and Co.'s Octavo Edition.

Mo. 6. CHORUS.—“FOR EWER THUS STANDS FIXED !”
Allegro.
PIANo.
J. =60.
TREBLE.
verthus standsfix’d
TENort (8ve. lower.) -
re-bels to the gods and Rome,
re-bels to the gods . . and Rome,
*
---
Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.-(19.)

sweet-erthan the trumpet’s sound, their groans . . and cries . . are heard a
sweet-erthan the trumpet’s sound, their groans . . and cries . . are heard . . a -
--~
sweet-erthan the trumpet's sound, their groans . . and cries ... are heard . . a -
sweet-er than the trumpet's sound, their groans . . and cries . . are heard a
their groans and cries are sweeter, sweet-er,

->
groans and ... cries .. are sweeter,
their groans and cries are sweet-er, sweeter,

-
EN- - -
--- *
wn poco p --
while sweet - ér than
sweet - e the
sweet - er, sweet - er, while sweet - er than the
while sweet - er than the
#4
-º-
trum pet's sound, their groans
- `--"
their groans . .
trum pet's sound, their groans and
trum pet's sound, their groans
ver thus stands fix’d
of re-bêls to the gods and Rome,
of re - bels to the gods and Rome, while
of re-bels to the gods and Rome, while than the
of re-bels to the gods and Rome, while sweeter than the trum 'ssound,
—l-N-
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition

sweet-erthan the trumpet's sound, their groans . . and cries . . are heard a
sweet-erthan the trumpet's sound, their groans . . and cries . . are heard . .
--~
sweet-erthan the trumpet's sound, their groans . . and cries . . are heard . .
sweet-er than the trumpet’s sound, their groans . . and cries . . are heard a
their groans and cries are sweeter, sweet-er,

--~ -
and ... cries -* - - .. are sweeter,
their groans and cries are sweet-er, sweeter,
--- `--
unpoco p
while sweet - ér than
the trum - pet's sound,
sweet - er, sweet -er, while sweet -er than the

---
while sweet-er than the
-
-*-
-
º
Handel's “ Theodora.”—Novello, Ewer and Co.'s Octavo Edition.

pet's sound, their groans . . . and cries
- X- -
their groans . and cries heard
pet's sound, their groans and
pet's sound, their groans
|
---
of re-bêls to the gods and Rome,
of re - bels to the gods and Rome, while
of re-bels to the gods and Rome, while sweetérthan the

-º-
of re-bels to the gods and Rome, while sweeter than the 'ssound,

while sweet -er, sweet -er than the trum-pet's sound, .
---
sweet - er than the trum-pet’s sound, the trum-pet's
trum-pet's sound, while sweet - er than the trum-pet's sound,
their
than the trum-pet's sound,
sound, . - their groans . and cries, .
than the trum-pet's sound, .
groans . . and cries . are sweet -er than the trum-pet's sound, their
* . -
groans and cries - - a - round,
and cries are heardſ. . a -round, while sweet -er than
and heard - round,

2–
groans and cries are heard . . a - round,

sweet-er than trum - pet's sound, -pét's sound,
trum-pºs sound, than the trum-pet's sound, their groans
while sweet-er than the trum - pet's sound, than the
while sweet - er than the trum - pet's sound,
sweet-er, sweet-er,
are sweet -er, sweet -er,
sweet-er than the trumpet’s sound,
the trumpet's sound, their groansandcries
sweeter than the trumpet's sound, their groans and . cries
than thetrumpet’ssound, theirgroansandcries arehearda -
than the trumpet’ssound,
Jſ
*- *-
Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.

- er than . . . the trumpet's sound, groans are heard
sweet - er than the trumpetssound,their gºansareheard
- round, while sweet - er the trumpet's sound, their groans are heard
while sweet - er than the trumpet'ssound, their groansareheard
- round, their groans
- round, theirgroans
- round.
- round.
- round.
-
- round.
- - - g- - ------

No. 7. RECITATIVE AND AIR.—“THE RAPTUR’D SOUL.
DIDIMUs.
Worce.
Most cru-el de-cree! Sure, thy no-ble soul, Sep-ti-mi-us, abhors the dreadful
--~ --~ --~
PIANo.
of per- se - cu-tion. we not to leave the freeborn mind of man still e-ver
2––. 2–,
free? since vain is the at-tempt to force be-lief with the se-ver-est instrument of death?
Andante. •N. 96.
mf
2.
T = r
--" DIDIMUs.
Handel's “Theodora."—Novemo, Ewer and Co.'s octavo Edition —(25.) C

rap - tur'd soul, the tur'd soul defies the sword, defies the
S.
pe . *
sword, de-fies the sword, the rap tur'd soul de-fies the sword,
de-fies the sword, se - cure . . of vir - tue's claim,

-
~-
PS-2 - -
. . of vir - tue's
secure of virtue's claim,

and trust - ing Heav'n'sun - erring en-joys the
. . the circling flame, .
the circling flame.
t-ſ
The rap

soul defies the sword, se - cure of vir-tue's claim,
soul de-fies the sword, and trusting Heav'n's un - err - ing word, en -
- joys the circling flame, the cir-cling flame, the circling flame, .

Adagio. tr
- joys the circling flame, enjoys, en-joys the cir - cling
* : * :
| 22nd time. ~
o engines can a -" rant find, to storm the truth-sup -
port - ed mind, no en-gines can a

to storm the ported mind, to storm,
sub-port. edmind, the truth-support-ed, sup-port-ed mind, no engines can
Adagio. S.
to storm the truth-support-ed mºna. The rap - tur'd soul, the
S.
Dal Segno. 8.
Handel's “Theodora."-Novello, Ewer and Co.'s Octavo Edition.
JNo. 8. RECITATIVE AND AIR.—“DESCEND, KIND PITY.”
SEPTIMIUs. (TENor.)
Worce.
I know thy virtues, and ask not thy faith; en - joy it as you will, my
2–—º
PIANo.
Di-di-mus. Though not a Christian, yet, Iown, some-thing within
-clares for acts of mer-cy. But An-ti-och's Pre - si - dent must be o-bey'd; Such
is the Roman dis-ci-pline, while we can on - ly pi-ty those we dare not spare.
Andante. -- 69.
; F -
mf d
\- N

32
SEPTIMIUS. S.
De-scend, kind pi-ty,
heav'n - ly guest, de - scend, and fill each hu - man breast, de-scend, and fill . . each
hu_-
_-
man breast with sym-pa - thi - zing
...

. . with sympa - thi-zing woeſ Descend, kind pi- ty,
|-
º
f
heav'n - ly guest, descend, kind pi-ty, heav'n-ly guest, and fill
... eachhuman breast with sympa - thi - - - . . with sympa -
ºtſ
- thi - zing woe, . - - - - - - - - de-scend, and fill each
Sg.
hu-man breast, . . . each human breast, de-scend, . . .

~->
2. S

- scend, de - scend, ... and fill each human breast
2
- thi - zing woe

Tempo 1m0.
* Then li- ber-ty and peace of mind may sweetly har-mo -

/~\
* }
- nize man-kind, and bless, and bless, .

bless the world be - low, and bless the world be-low, then li-ber-ty and peace of
mind may sweet - ly, sweet - - mo - nize . . mankind, and bless,
and bless, . and bless the world, and blessthe world be -
Adagio.
- low, and bless - - - - - - the world, and bless the
Dal Segno S.
world below. Tempo 1m0.

|- ~1.

Mo. 9. BecrtATIVE AND AIR.—“FOND, FLATTERING WORLD, ADIEUT”
THEoDoRA. (TREBLE.)
WolcE.
Though hard, my friends, yet wholesome are the truths taught in af - flic-tion's
PIANo.
school, whence the pure soul ri-ses re - fin'd, and soars a -bove the world.
argue o: Aa –
Larghetto. = 778.
J’
THEoDoRA.
Fond, flatt'ring world, a - dieu ! fond, flatt'ring world, a -dieu,

Thy gai - ly smil-ing pow'r, thy gai-ly smil-ing pow'r,
>, >,
trea-sures, fleeting pleasures, ne'ershall tempt or charm me more, ne'er shall tempt or charm me
fond, flatt'ring world, a - dieu !
Faithin -vit-ing, hope delighting, noblerjoys we now pur - sue, faithin - vit-ing, hope de
IIandel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.

38
lighting, noblerjoys we now pur-sue, . . ~ L = ** bler Joys . . . we now pur
faith in - viting, hope de-lighting, no-bler
rrn
p
r -
joys we now pur-sue, we now pur-sue, we now pur-Sue, S >
no-bler jo . . . now pur-sue, Fond,flatt’ring world, a - dieu, a - dieu !
Fond, flatt'ring world, a - dieu !
f.
p
–’ f :
JNo. 10. RECITATIVE AND AIR.—“BANE OF VIRTUE.”
IRENE (ALTo).
Worce.
Oh bright ex-am-ple of all goodness I how ea-sy seems af-flic-tion's hea-vy
PIANO.
while thus in - struct-ed, and com - pa-nion'd thus, as 'twere with Heav'n con -
- ver-sing, we look down on the vain pomp of proud Pros-pe - ri-ty!
>-
Larghetto. J. 66. As
Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition,-(39.)

40
Bane of vir-tue,
S.
pas-sions, sooth-er of vile . . . in - cli-ma-tions, such is, Pros-pe-ri-ty, thy

S.
such is, Pros-pe-ri-ty, sooth-er of vile in - cli
tions, such is, Pros - pe-ri - ty, thy
such is thy name, such is thy name, Pros - pe - ri - ty!

N

4l
Bane of vir - tue, nurse of pas-sions, sooth-er
- tions, such is, Pros-pe-ri-ty, . . thy name, such is thy
such is thy name, Pros - pe - ri - ty, such is, Pros - pe - ri - ty, thy
Tempo 1m0.
name !
Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition. D

hap - pi - ness is on - ly found, where grace, and truth, and love a - bound, and
T - 2.
pure re -li - - gion feeds flame, .
true hap - pi-ness is on - ly found, where grace, and truth, and

love a -bound, and pure re - li - gion feeds the flame, .
and pure re-li-gion feeds the flame.
Dal Segno. S.
vir-tue, nurse of
Dal Segno. 8.
No. 11. Chorus.-4: COME, MIGHTY FATHER.”
Andante. 2-,
-* 2-> 4.
PlaNo.
s = 60.
TREBLE.
Come, mighty Father,

ALTO.
TENOR (8ve lower).
- ty Lord,
^-
Come, migh ty Lord,
Come, migh - ty Fa-ther,
Come, mighty Fa - ther, migh-ty Lord, migh - ty

Lord, come, . . mighty Lord, with
mighty come, mighty Lord, 2
with love our souls inspire, come,
our souls in - spire, with love our souls
with love our souls
ty Lord, come, . . mighty Lord, with love,
mighty Lord,
- spire, with love our souls inspire come mighty a-ther, come, migh
-
- spire, with love our souls inspire
with love our souls inspire' Côme, mighty Fa – ther, --
Lord, with love our souls
Handel's “Theodora."—Novello Ewer and Co.'s Octavo Edition.

come, mighty
come, mighty Fa-ther,
come, migh ty Lord,
Come, mighty Lord, ºome, mighty

---
Lord, with love our souls in-spire, with love our souls in-spire
~~
migh-ty , come, . migh-ty Lord, with love our souls in-spire!
come, migh - ty. Lord, with love our souls in - spire!
Fa-ther, come, migh - ty. Lord, with love souls in - spire
and truth flow
While and
IIandel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.

y Word, while grace and truth flow
truth from . . . y Word,
While grace and
y Word,
While grace and truth
flow,
while grace and truth flow from . . Thy Word,
from . . Thy Word,

-º-

from Thy Word, while grace and
flow, - - - flow,
from Thy Word, while grace and truth
from Thy Word, flow,
Thy Word, and feed the
flow from Thy Word, and feed the
Thy Word,
flow from Word,

-
Jºs.
- ly fire, and feed the - ly fire,while grace and truth
fire, the ho-ly fire, and feed the ho - ly fire, whilegrace andtruth
ho - ly fire, and feed the ho - ly fire, while grace and
and feed the ho - fire, while grace and
-º-
—-i-i-

flow from Thy Word,
flow from Thy Word,
truth flow from Thy ord,
truth flow from Thy Word,
Thy
from Thy Word, from Thy
from Thy Word, from Thy Word,
from Thy Word,
feed - ly
feed the ho - ly fire.
feed the ho
feed the ho

No. 12. RECITATIVE.—“FLY, FLY, MY BRETHREN.”
MESSENGER. ).
VoICE.
Fly, fly, my brethren heathen rage pur-sues us swift, arm'd with the ter-rors
N-"
N
PIANo.
in - sult -ing death. ! whi-ther should we fly? or fly from
whom? the Lordis still the same, to-day, for e-ver; and His pro-tection here and ev'rywhere.
Though gath'ringroundourdestin'd heads, the storm now thickens, and looks big with fate: still shall Thy
ser-vants wait on Thee, oh Lord, and in Thy sav-ing mer - cy put their trust 1
*-*
Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.-(50.)

No. 13. AIR.—“ AS WITH ROSY STEPS.”
Larghetto. ,-
ro - sy steps the
morn ad - van-cing, drives the shades of night, so from - tuous toil well
-º-
P.
borne raise . . Thou our hopes of end - less light,
. Thoucurhopes of end - - less light.
mp
Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.—(51.)

As with rosy steps the morn ad-van-cing, the shades of
T : * *
night, so from -tuous toil well borne raise . . Thoucurhopesof light, raise . . Thou our hopes . .
so from vir - tuous toil well
borneraise Thou our hopes - - - - .. of end-less light, raise Thou . . our hopes of
raise Thou our hopes of end less light!

53
Fine.
a-N
Triumphant Saviour! Lord of

/TN
y 3—y. +r- * t
day! Thou art the life, the light, the way, Thou art the life, the light, the
f 1 25- T
-L-
TT
–T
I
I--I
I I i
F- t | |
i
#HHHHHHHHHHHHH. * -º- H | | º I ~~ ^-
~~
S25 |->I *T*.
*TL
I
sº-º-º: A- I
} eI I
I
I
I
l
|F- I
E.
FF-F P- I *EEE
- -g
->
NS-N I I
I NS
I I
- º
S}II G
i
iT
N-
_
I
i
I
JTºº F i -T
$º, Thou art the life, the light, . . the way!
| *** *
-
~"
TI
-------EH
-
II
*
T-I-
-
I
i
Dº
ZL.
I
2
ur
}
| -º-
Tº
TI
jº
*4
fe
ſº.
-
Dal Segno. 8.
T
3.
Dal Segno. 8.
No. 14. Chorus.—“ALL POW’R IN HEAVEN ABOVE."
empo ordinario.
TREBLE.
All pow'r in heav'n a - bove, or earth be-neath, . . . or earth . S

ALTo.
TENOR
(8ve. lower).
All pow'r in heav'n a-bove, or earth be-neath, or
BASS.
empo ordinario.
PIANo.
d=69.
- - -
-Tº-TC)
| | i
. Sº Fººth,
pow'r in heav'na-bove, or earth be-neath, be-longs to Thee a -
earth beneath, be - longs to Thee a -
All pow'r in heav'n a-bove, or earth beneath, | - longs to Thee, be-longs to Thee a -
~ ---
- longs to Thee a - lone, Thou e - ver-last - - ing. One! pow'r in
- lone, a -lone, to Thee a -lone, Thou e-ver-last-ing One!
- lone, to Thee a - e, to . Thee a-lone, Thou -ver-last-ing One!
- lone, be - longs to Thee a-lone, Thou e-ver-last-ing One!

heav'n a-bove, or earth beneath, in heav'n above, or earth beneath, be
i ---
pow'rin heav'n a -bove, or l, if heav'n above, or earth beneath, be
All pow'r in heav'n a-bove, in heav'n above, or earth beneath, be

:
pow'r in heav'n a -bove, or earth beneath, be
:
f
-longs to Thee a - lone, Thou e-ver-last-ing One, Thou e - ver - last -ing One !
- longs to Thee a -lone, Thou e - ver-last-ing One, Thou e - - ver -last-ing One
- longs to a -lone, Thou e-ver-last-ing One, Thou e -ver - last -ing One
- longs to Thee a -lone, Thou e-ver-last -ing One, Thou e - ver - last - ing. One!
2T2 ... . . . . ." 2. a 2 a.
*.
to save inpe-ril, storm,and migh -ty to
Migh - - ty to savein pe-ril, storm, and death, migh

migh - tyto save in pe-ril,storm, and death,in pe-ril,storm, and
2
- ty to save in pe-ril,storm, and death, - ... in pe-ril,storm, and
ty
death,
death,
to save in pe-ril, storm, and death,
Migh ty to save in pe-ril, storm, and
death,
to save in
save, migh - - ty save in pe-ril,storm, and death,in pe - and
save, migh ty to save in pe—ril,storm, and pe-ril, storm,

2–
-/*-ī E--- - --

to save in pe-ril, storm, and death, might - to save in
to save in pe-ril, storm, and
storm, and death, in pe -ril, storm, and - storm and
save,
to save in pe - ril, storm, in storm and in perril, storm,
ty
death, to save in
---
to save in pe-ril, storm, and death,
death, migh - - ty to save in pe-ril, storm, and
to save in peril, storm, and death, to save - - - ril, storm, and

storm, and death, in pe-ril, storm, and
to save in pe - ril, storm, in per ril, storm, and
death,
death,
. . in storm and death, migh - ty to save,
death, in and death, migh - ty to save,
migh - ty to save, to save
migh - tyto save, to save in
‘. .N .N
** – f.
pe - ril, storm, migh-ty to save, i il, storm, and
Flº
- ril, storm, -ty to save, i il, storm, and death.
pe - ril, storm, migh-ty to save, i il, storm, death.
-->=
pe-ril, storm, migh-ty to save, i il, storm, death.

No. 15. RECIT. AND AIR.—“DREAD THE FRUITS OF CHRISTIAN FOLLY.”
WoLCE.
O fool-ish peo-ple ! why thus blind to fate do ye
PIANo.
pri-vate O-ra-tories dare re-bel a-gainst the Pre-sident's de-cree? and scorn with na-tive
~
rites to ce-le - brate the day, sa - cred to Cae-sar and pro-tect-ing Jove?
SEPTIMIUs.
Allegro. • – 84. Dread the fruits of Christian
ly, dread the fruits of Christian fol -

and this stubborn me-lan -
cho - ly, fond of life and li - ber - ty, dread the fruits of Chris-tian
- ly, dread the fruits of Christian
ly, fond of life and li - ber - ty,
dread the fruits of Christian fol - ly, and this stubborn me - lan -

- cho - ly, and this stubborn me - lan - cho - ly, fond of life, fond of
fond of life and li - ber - ty,
J’
dread the fruits of Chris-tian fol -
Adagio. Tempo 1m0.
- - ly, fond of life and li - ber - ty!
J’
Fine.
z-N
Chains and dun-geons ye are

arº
Fine. p
z

62
woo - ing, and the storm of death pur - su - ing, re-bels to the known de -
chains and dungeons ye are woo - ing, and the storm of death pur
ing, and the storm . . . . . of death pur.
- bels to the de - cree.
Da Capo.
No. 16. RECITATIVE.- “ DELUDED MORTAL.”
THEODoRA.
Voice.
De - lu - ded mor - tal! call it not re - bel - lion to wor-ship

--~
PIANo.
God; it is His dread com-mand, His, whom we can - not, dare not dis - o -
SEPTIMIUs.
- bey, though death be our re - ward. Death is not yet thy doom, but worse than
death to such a vir-tuous ind 1 La - dy, these guards
or-der'd to con-vey you to Ve-nus' tem-ple, to wor-ship her, and ful-fil her rites.
^-
~~" -* ~"
Handel's “Theodora.”-Novello, Ewer and Co.'s Octavo Edition.—(63.)
No. 17. RECIT. AND AIR-" ANGELS, EVER BRIGHT AND FAIR.”
THEodorA.
Worce.
Oh worse than death in - deed! Lead me,

ye
PIANo.
-e- 2.
guards, lead me, or to the rack, or to the flames, I'll thank your gracious mercy!
—eº
N-7
Larghetto. •N. 60. - -
An-gels, e - verbright
'8.
an - gels, e - verbright and fair, take, oh take me, take, oh take me to your
- r

take me, take, oh take me,
e-ver bright and fair, take, oh take me to your care, take, oh takeme to your
Fine.
/~~
Speed to your own courts my flight, clad in robes of vir - gin
Fine.
Dal Segno. 8.
white, clad in robes of vir - gin white, clad in robes of vir - gin white I Take me,
--~ '8.
Segno. 8.
No. 18. RECIT. AND AIR.—“KIND HEAVEN, IF VIRTUE BE THY CARE.”
DIDIMUs.
Worce.
Un-hap-py wretch-ed crew I why stand you thus, wild with a -
- mazement? Say, where is my love, my life, my The-o - do -ra 2 A-las! she's
N->
N-Z
gone; toolate thou cam'st to save the fairest, noblest, best of women. A Roman soldier
led her trembling hence, to the place where We - nus keeps her court.
^_^ N
Adagio. DIDIMUs.
Kind Heav'n, . . kind Heav'n, if vir-tue be Thy care:

J.50. 2–,

Andante. JN- 108.
with courage fire me, or art in-spireme, to free the cap-tive
ſº-f
to free the captive fair!
f : f
i
Adagio. s = 50.
Kind Heav'n, if vir-tue be Thy care:

t
Andante. ** 108.
with cou-rage fire art in - spireme, to free the:
d d.

6S
S-7
cap-tive fair, the cap-tive fair, - -
J. t 2
with cou-rage fire me,
- spire me, to free the cap tive fair, to free . . the cap - tive
2.
—sº
vir - tue
be Thy care, with cou-rage
Handel's “Theodora"—Novello, Ewer and Co.'s Octavo Edition.

- spire me, free the
the wings of the wind will I
#2.
this prin-cess to live, or this
on the wings of the wind will I fly,

with this prin - cess to live, or this Chris - tian
with this prin-cess to
Adagio.
with this prin-cess or this
JWo. 19. RECITATIVE-" OH LOWE, HOW GREAT THY POWER "

IRENE.
WolCE.
Oh love, how great thy pow'r I but great -er still when vir-tue
-
--~
PIANO.
prompts the steady mind, to prove its na-tive strength in deeds of high-est ho-nour!
2- ~->

JMo. 20. CHORUs.—“GO, GENEROUS, Plous YOUTH.”
Larghetto. Rºy TV
PIANO.
d=72.
Go, gen'- pi - ous youth,
TENortsve. lower). Go, gen’- pi - ous youth,
BAss Go, gen’-rous, pi - ous youth,
'-rous, pi - ous youth,
go, gen’ May all the pow'rs a -bove
go, gen’ May all the pow'rs a -
go, gen’-rous, pi-ous May all the pow'rs a -
go, gen’-rous, pi-ous
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition,-(71.)

- ward, may all the pow'rs a - bove,
vir-tuous love, may
vir-tuous love, may
May all pow'rs a -bove, may

2–
-e- * --- | 2
pow'rs a - bove - ward thy vir tuous love,
pow'rs a - bove. re - ward thy vir-tuous love,
pow'rs - bove re ward thy vir-tuous love,
pow'rs a bove re - tuous love,

~
con - stan-cy and truth
constan -cy and truth with The - o – ra's charms,

A
i 3
- ra's charms, with The-o do-ra's charms, free from these dire a
with The-o-'do-ra's charms, with - do - ra's charms, free from these dire a
with - do-ra's charms, with do - ra's charms, free from these dire a
with The-o-'do-ra's charms, with The-o - do - ra's charms, free from these dire a
free from these dire a - larms, with The-o- ra's
free from these dire a larms,
free from these larms,
free from these dire a - larms,
charms, .. these dire a - larms, free from
free from a-larms, free these - larms,
free a-larms, free from a -larms, free from these dire
free from a-larms, free from a-larms, free from dire
F---
—i-44–4–3—
====E=====E
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition. F
o - do - ra's charms, free . . from these
- ra's charms, free . . from these
- larms, with The -o- free from a -larms, free from these
---
- larms, free fromthese dire a -larms, free from these

--~
J2Es
---
- larms, free from these dire a-larms, -o-do-ra's charms,
larms, free from these dire a-larms, with The-o- ra'scharms,
free from these dire a-larms, with The -o - do-ra's charms,
free from these dire a-larms, with The -o-do-ra's charms,
free from these dire a -larms; or crown you with the blest,
free fromthese dire a - larms; orerown you with the blest,
from these dire a - larms; orcrown you with the blest,
free from these dire a -larms; orcrown you with the blest,

in glo-ry, peace and or crown you with
in glo-ry, peace and

•
you th the blest
- ry, in glo - ry, or crown you with the blest
glo-ry, in glo-ry, or crown you with the blest
or crown voll with the
*.
glo - - ry, peace and rest, in glo-ry, peace and
*- `- -
glo - peace . . and "rest, in glo-ry, peace and
rest, in glo - ry, peace and
peace and rest, in glo-ry, and

rest, or crown you with the blest, with the blest, or crown you with the
or crown you with the blest, with the
or crown you with the blest, with the
2.
blest, in glo-ry, peace and rest, and rest, peace and
blest, with the blest, in glo-ry, peace and rest, and rest,
blest, with the blest, in glo-ry, peace rest, and rest, peace and
orcrown you with the blest, in glo-ry, peace and rest, and rest, peace and
~-
2.

A CT II.
No. 21. RECITATIVE.—“YE MEN OF ANTIOCH.”
VALENs.
Voice.
Ye men of An-ti-och, with solemn pomp re - new the grateful sacrifice to
PIANo.
Jovel and while your songs ascend the vaulted skies, pour on the smoking al-tar floods of wine, in
hon - our of the Smi-ling de - i-ties, fair Flo-ra, and the Cyprian queen.
No. 22. Chorus. “QUEEN OF SUMMER, QUEEN OF LOVE.”

-"
1. Menuetto. . ~-----——N–e
TREBLE. l l
† =ETP-r L. LI
Queen of Summer, Queen of Love, ... and thou cloud-com-pelling Jove,

-Q
ALTo
t
-> I
--> --|-- LI
I
I |
I
||
I
I
_
ºn i
T
i
l
I
I
L
I
L
-
I
I-ii-I
i i
I
l
L
I
-
i
- - #||
-
Queen of Summer, Queen of Love, ... and thou cloud - com-pelling Jove,
r). -
TENOR
(8ve. lower). -I
- i
*-i-H- -
f- E-E
Queen of Summer, Queen of Lºve: ... and thou cloud -com - pell-ing Jove,
- l
- I I- º T. T
-
BAss
-
tº:-
-
H-62
-
EE-
2 |-I
I I I
I
-
1–1
I-I-I
– -
ºn-i
Queen of Summer, Queen of Love, and thou cloud - com-pelling Jove,
PIANo. 2 -
•= 100. |
I i I
grant a long and happy reign . . .

I T Ti-I I I
— I –––. –––. N TI HEE
-
–E–2–E–2–E---z-z-E--->–E
-
`-
grant a Ióg and hap - py reign . . .
====E=#EEEEEEE –I-
:IE t -
grant a long and hap - py rei

-- †-T-> I-º-º-º-T-
- #EAEEE
---- I-T
º-H
I I
EEI
- l
- I -
grant a long and hap - p reign
| 1st. |
2nd.

No. 23. AIR.—“ WIDE SPREAD HIS NAME.”
Non troppo Allegro, ma staccato.
t w º
7
PIANo.
= 104.
WALENs.
Wide spread his name,
wide spread his name, . . and make his glo-ry of end - less fame . . .
.N tr
the last - ing sto-ry!
wide spread his name, and make his

tr
1.N

of endless fame the lasting sto - ry, J. f,
.N."
4. jº
of endless fame the lasting sto - ry of endless fame .
the last - - ing sto-ry!
# ,
wide spread his name, . . . and make his glo - ry

tr

JN of endless fame the last-ing sto - ry, of endless
of end - less fame . - .. the last - ing sto - ry,
Adagio. Tempo 1m0.
make his glo - - ry of end-less fame the last - ing sto-ry!

tr

Mo. 24. RECITATIVE.—“RETURN, SEPTIMIUS.”
Worce.
Sep - ti-mi-us, to the stubborn maid, and learn her fi-mal re - so -
PIANO.
- lu - tion. ere the sun with prone ca-reer has reach'd the west-ern
isles, she makes an of-fer-ing to the great gods, she shall be free;
not, the meanest of my guards shall lead her bound to Ve-nus' tem-ple.
^_^ N
No. 25. CHORUs.—“VENUS, LAUGHING FROM THE SKIES.”
PLANo.
= 76.
##

83
1st TENor (8ve. lower).
We - mus, laugh - ingfrom the ill ap - plaud . . her vo-ta -

2nd TENor (Swe.
We - nus, laugh - "ing from the - ap - plaud . . her vo-ta -

Bass. --~
- ingfrom the - ap - plaud her vo-ta -
We -nus, laugh - ingfrom the
We - mus, laugh - ingfrom the

--~
- ingfrom the
whilenow with - out mea-sure we re - vel in pleasure, we

~
ta - ries, while now...without mea-sure we re - vel in pleasure, we

~ -
--~
while now ... without mea - sure we re - vel in pleasure, we
-
-º- -->
vel in plea-sure, re - venge.
„—~
. .. . . . re - venge, . . . sweet
-
re - vel in plea-sure, re - - re - venge, . . . re-venge, sweet

_-_ ,—-
vel in plea-sure, re - venge, . . . re- venge, re - venge, . . . sweet
.TE.
love, sweetlove sup - plies; while

-~
love, sweetlove sup - plies;
love, sweet love smp - plies;
Ped. * • _^>.
-+-
mow with - out mea - sure we vel in pleasure, we re - vel in pleasure, re
now with-out mea - sure we vel in pleasure, we re - vel in pleasure, re

-~
5-- -
mow with-out mea - sure we re - vel in pleasure, we re - vel in pleasure, re

-«-*-
-
- -
- -©- -©-
Handel's ** Theodora."—Novello, Ewer and Co.'s octavo edition.
... re - venge, . sweet love, . . sweet love sup-plies!
venge, . . re - venge, . . re-venge, sweet love, . . . sweet love sup-plies!

2–
venge, . . re-venge, re - venge, . . sweet love, . . sweet love sup-plies!

..T.E.
We -nus, laugh - ing from
- ing from
-->-
We -nus, laugh - ing from
mf

No. 26. SYMPHONY.
-e-
|
No. 27. RECITATIVE AND AIR.—“WITH DARKNESS DEEP.”

THEODORA.
Voice.
Oh thou bright sun 1 how sweet thy raysl
PIANo.
to health and li-ber-ty! But here, a -las ! they swell the a - go - ni-zing thought of
and pierce my soul - sor-rows yet
Largo e staccato. Jº. 72 -- - --
- :* *:
S7
- TE
With darknessdeep as is my
hide me, ye shades of hide me,
a - round me throw,
sight, your thickest veil

2
a-round methrow, con-ce - - - . . . con - ceal’dfrom

- --~
Handel's “Theodora,"—Novello, Ewer and Co.'s Octavo Edition,

con-ceal’d from hu-man sight! Or come, thou
Death, thy vic - tim save, or come, thou Death, thy vic -
kind -ly em-bo - som'd in the grave, em - bo
Adagio.
in the grave, kind-ly em-bo - som'd in ... the

No. 28. SYMPHONY.
ten.
PIANo.
-- 76.
-> J - ritard.
No. 29. RECITATIVE AND AIR.—“OH THAT I ON WINGS COULD RISE.”

THEODoRA.
WOICE.
But why art thou
PIANO.
Hark! Heav'n in-vites thee in sweet rapt’rous strains to join e - ver - sing-ing,
*N.
e -ver - lov -ing choir of saints and an - gels in the courts a -bove.
--~
Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.-(89.) G.

Andants. J-54.
Oh that I on wings could rise,
ing through the skies, as skims the sil-ver

a T- ºr 2.
the sil - verdove,

~ 2-, - 2 -

swift-ly sail-ing through the
~
~ ~
as skims the sil - ver dovel Oh that I on could

,- 2- ~ -
swift-ly, swift-ly, swift-ly sail-ing,
oh that I on could rise, swift-ly sail-ing throughtheskies, oh that I on wingscould

~
- d.
rise, swift-ly sailing through the skies, asskimsthesil-ver dove, swift-ly

~ 2- - - - - -
~ ~... "
>
- -

- ing thro' the skies, as
skims the sil - ver dove!
2- Fine. That I might rest, for

/-
e-ver blest with har-mo-ny and love, that I might rest, for e-ver blest with
~P.
har-mo-ny . . and love, that I might rest,
Handel's "Theodora."—Novello, Ewer and Co.'s Octavo Edition.

for e - ver, blest with har - mo-ny, har-mo-ny and love,
N
* -º- - -
Adagio. T 1m0. Dal 3.
with har ny and love, Oh that I on wings could rise,

3.
# Dal Segno. '8.
No. 30. RECITATIVE.--- LONG HAVE I KNOWN.”

DIDIMUs.
VoICE.
Long have I so - cial soul,
PIANo.
- ti-mi-us, oft ex-perienc'd in the camp and perilous scenes side by side we
~-
fought, and brav'd the dangers of the field, de-pendent on each other's arm. With free-dom
~-> _-
^- N

then I will disclose my mind:— I am a and she, who by Heav'n's in-flu-en-tial
grace with pure re - li - gious sen - ti - ments in - spir'd my soul, with vir-tuous .
love inflam'd my heart; ev'n she, who, shame to all hu - ma-ni-ty! is now con -
SEPTIMIUs.
- demn'd to worse than death. No more! the shame reflects too much up-on thy friend, the
mean, though duteous instrument of pow'r, knowing her virtues on-ly, not thy love.
~
^_^
N
2-,

No. 31. AIR.—“THOUGH THE HONOURS.”
Andante con moto.
dimin.
con Ped.

96
SEPTIMIUS.
Though the honours that Flo-ra and Venus re-ceive from the Romans, this
2- 2- ~, 2- 2 - 2-, 2-T ... ." 2- 2
Chris-tian re - fu
We -nus nor Flo - ra de-light in . . the woe, that dis - fi-gures their fair - est re
- sem-blance be-low. Though the honours that
and We-nus re-ceive from the Chris-tian re-fu-ses to

->

yet nor We - nus nor Flo - ra de-light in the
that dis - fi-gures their fair-est resemblance be-low,
JTF
yet nor We - nus nor Flo - ra de - light in the woe, that dis -
- fi - gures their fair - est re - sem-blance be - low.
Though the honours that Flo-ra and We-nus re-ceive

QS
Romans, this Christian re - fu - ses to give:

--- --------- ---
yet InOl' We-nus nor Flo-ra de - light in the wee, that dis
figures their resemblance be - low, that dis - figures theirresemblance be

---
Venus nor Flo -ra de -light in the woe,that dis-fi-gures their fair

- sem - blance be-low, that dis - figures their fair - est re - sem-blance be-low, nor
We-nus nor Flo-ra de - light in the woe, that dis-figures their fair -
Adagio.
- sem - blance, that dis - fi - gures their fair - est re - sem - blance be -
J. Tempo Imo.

JVo. 32. FECIT. AND AIR.—“IDEEDS OF KINDNESS TO DISPLAY.”
DIDIMUs.
Worce.
Oh save her then, or give me pow'r to save by free ad -

--~
PIANO.
SEPTIMIUs.
- mis-sion to th’imprison'd ! My guards, not less a - sham'd of their sad of-fice,
Jº
^_^
DIDIMUs.
second yourin-tent, and plea-sure me. I will re-ward them with a bounteous
_- -->

101
friend,with all that Heav'n can give to the sin - ce-ri-ty of pray’r.
DIDIMUs.
Deeds of kind-ness to dis-play, pi-ty su-ing, S –,
mer-cy woo-ing: ~ ~ _who the call can - bey, who the callcandis- o -
2- 2- ~
Handel's “Theodora.”-Novello, Ewer and Co.'s Octavo Edition

102
- bey? pi-ty su - ing, mer - cy woo- : who the call can dis – o – bey, .
who the cºlſ can is "8. y?

-º-
Deeds of kindness to dis. play, pi-ty su-ing, mer-cy
S.
- -, *.*
wooing, pi-ty su-ing, rºſer-cy wooing: who the call can dis -o- bey?pi-ty suing, mer-cy
Adagio.
wooing: who the call can dis- o – bey, who call can dis -o- bey, who the
-
,--> - - -

103
Tempo 1m0.
call can dis - o - bey?
Fine. 2:S
But the op-portune redress of virtuous

ag. Y
r.
tress, virtuous beauty in dis-tress, earth will praise and Heav'n re-pay, earth will praise.
m re-pay, . . and Heav'n re - pay, earth will praise and
S. Dal Segno.
~ -
Heav'n re - pay. Deeds of kind-ness to dis - play,

No. 33. RECIT. AND AIR.—“DEFEND HER, HEAVEN.”
IRENE.
Voice.
The clouds be-gin to veil the hemisphere, and hea - vi-ly bring on the
PIANO.
; the last per-haps to us— oh! that it were the last to The -o -
- - do - ra, ere she fall a prey to unex-ampled shame and cru-el - ty.
|
'8. IRENE.
De - fend her, Heav'n ' let an-gels
P.
,‘S’
C.
Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.—(104.)

their view-less tents - . a-round her their view - less
- - - - - - de - fend her,
their view-less tents . a-round her bed!
Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition. H

106
ºne. Keep her from rude as - saults se -
º
pº
e-ver calm and e-ver pure, 2
P. f. r
keep her from rude as - saults se - cure, keep her from rude
~
~ ~ ~
H. J.
- saults se - cure,
Adagio.
still e - ver calm and e - ver pure! Tempo 1m0.
r ºf ºf **
Dal Segno. 8.
Haudel's “Theodora."—Novello, Ewer aud Co.'s Octavo Edition.
No. 34. RECIT. AND AIR.—“SWEET ROSE AND LILY.”
DIDIMUs.
Worce.
Or lull'd with grief, or rapt her soul to heaven, in innocence of thought,entranc'd shelies.
N
N-"
Andante.
NL
ndante. g. = 80. ~ -
Sweet rose and li - ly,
flow”-ry form! me, yourfaith-ful . . guard, - sweet rose and
Handel's “ Theodora."—Novello, Ewer and Co.'s Octavo Edition,-(107.)

108
flow”-ry form! take me, your faith-ful guard, to shield you from bleak
li - ly,
wind and storm—a smile, smile be my re -
Sweet rose li - ly, take me, your faithful guard,
- P
take me, your
faith-ful, faith - ful

109
smile be . . . my re - ward;
take me, your faith - ful, faith-ful guard, to shield you
from bleak wind and
be my re - ward; take me, your faith - ful

110
shield you from bleak
a smile be my re
---
No. 35. RECIT.—“OH SAVE ME, HEAVEN.”

THEODoRA (starting). DIDIMUs.
WOICE.
Ohsaveme, Heav'n,in this my pe-ril-ous hour! Startnot, much injur'd princess—Icome

~- 2
PLANo.
as one this placemight give you cause to dread, but your de-li-ve-rer and that dear
N-- Y

111
or-na-ment to The -o- do - ra, her an-gel - pu-ri - ty. If you vouchsafe your ha-bit
(discovering himself.) THEODoRA.
but to change with Di - di - mus. Ex-cel-lent youth ! I know thy courage,

--~ --> --~
vir-tue, and thy love This be-comes not The-o-'do-ra, but the blind e-ne-mies of
2- ~->
truth, Oh no, it must not be 1 Yet Di-di-mus can give a boon, will make me
DIDIMUs.
hap-pyl How I or what? my soul with transport lis-tens to the re - quest.

~

No. 36. AIR.—“THE PILGRIM'S HOME.”
Larghetto. THEoDoRA.
Voice.
The
PIANo.
Jº. 88.
's home, the sick man's health, the cap-tive's ran - som, poor man's wealth, from
I would re-ceive, from thee . . would re-ceive, from thee, .

-
| 2- ->
from thee I would re - ceive The - ceive 1 These,

-- | 1st. 2nd. |
dim. cres. dim. p
thou - sand trea-sures more, that gen - the death has now in store, thy
2.
Handel’s “Theodora "-Novello, Ewer and Co.'s Octavo Edition.—(112.)

hand and sword can give, thy hand and sword can give, that gentle death has now in store, thy
I 2
| 1st. | | 2nd. |
thy handandsword can give, These, give.
AVo. 37. - RECITATIVE_* FORBID IT, HEAVEN ..."

DIDIMUs.
Voice.
For - bid it, Heav'n'
PIANO.
I came to save 2 shall I in The -o- do-ra's blood em -

~
my guil -ty hand, and give her death, who taught me first to live 2
| --~
^_^ `-- ~~

No. 38. RECIT. AND DUET-4 TO THEE, THOU GLORIOUS SON OF WORTH."
THEodoBA.
Worce.
Ah! what is li - ber - ty or life to me, that Di - di - mus must

~-> 2
>
PIANo. ^_^
purchase with his own 1 Fear not for me! the Pow'r that led me hi-ther will guard me
THEODORA.
hence; if not, His will be done ! Yes, kind de-li-verer, I will trust that Pow'rl Fare -
DIDIMUs.
thou gen’rous youth ! Fare-well, thou mir-ror of the vir - gin state l
Andante larghetto. J = 66.
~!

115
THEoDoRA.
To thee, to thee,thouglorious son of worth,

DIDIMUs.
othee, tothee, whose virtues
---
r 2.
be life and safe - ty given,
suit thy birth, be ev’ -ry bles-sing given,
* * * *
life and safe - ty given! I hope
ev - ry bles - sing given!
meet on earth, but sureshallmeet
I hope a -gain to meet on earth, butsure

,-
* +:
:
116
but sure meet inheav'n.
heav'n - ... but sure shallmeet heav'n,

2
mf
- ºf
I hope a-gain to meet on earth,
I hope a - gain to
~
2.
butsureshallmeet in heav'n, .
meet on earth, butsureshallmeet in heav

--~
shall meet in heav'n,
... but sureshallmeet inheav'n, but sure meet in . .

117
sureshallmeet in heav'n'
in heav'n,but sureshallmeet in heav'n'

mf
". . .
thee, to thee,thouglorious son of worth, life and safe-ty giv'n,
To thee, to thee whose virtues suit thy birth,

--~
2.
be life and safe -ty giv'n I hope a-gain to meeton earth,
I hope a-gain to meet on earth,
I hope a-gain meet on earth,
to meet on earth, to meet on earth,

-

11S
but sure shall meet, - - - but sure shall meet in heav'n, but sureshall
... shall meetin heav'n, . . . but sureshallmeet in heav'n,

2–,
meet, . ... shallmeetin heav'n, but sure shallmeet in heav'n'
butsure shall m - - - but sure shallmeet in heav'n'
No. 39. RECITATIVE.-4: ‘TIS NIGHT.”

IRENE.
WoLCE.
'Tis night; but night's sweet blessingis denied to grieflike ours. Be pray’r our refuge,
PIANO.
-"
º
TZ
D ta *
ºw y
pray’r to Him, who rais'd, and still can raise, the dead to life and joy!
an
TZT - I i tº
i L- i l | |||
I L. I l
I I
-e-
" ; S-7
©E -
1.
i H f H
—1
IT in
–- FE
#2; -º-
i
o
Ea- PEEE
Yº-"

No. 40. Chorus of CHRISTIANs.-HE SAW. THE LOVELY YOUTH.
Largo.
TREBLE.
ALTo.
TENor.
(8ve. lower) He saw the lovely
BAss.
Accomp.
JN-72.
lovely youth, ear-ly
*-*
He saw the lovely youth,death's ear - ly He saw the lovely youth, death's
youth, death's ear-ly prey, saw the lovely youth,

---
He saw the lovely youth, death’s
A-las, ". - - a - las, . - - ear-ly snatch'd a-way!
--- `-- -
ear-ly prey, A -las, a-las, a-las, too ear-lysnatch'da-way, . . snatch'd away!
death's ear-ly prey, a -las, too ear-ly 'da-way, snatch'd away!
ear - ly prey, a -las, too ear - - ly snatch'd away!
r r" º
| Handel's Theodora, Novello, Ewer and Co.'s Octavo Edition.—(119.)

saw the lovely youth, death's - ly prey, Alas!
He saw the lovely youth,death's ear-ly prey, A -las! Alas!
He saw the lovely youth, 's ear-ly prey, Alas! A-las!
He saw the love-ly youth, death's ear - ly, ear-ly prey, A-las!
- 2
A - las! a-las! too ly snatch'd a -
ly snatch'd a -way, A -las! ! too ear-ly snatch'd
too ear-ly snatch'd a - way, A-las! alas! a - las! too ear-ly snatch'd a -
too ear-ly snatch'd a - way, a - way! a-las! too ear-ly snatch'd a - way
| 2–
--N
- way! He heard mo-ther's fu - n'ral cries.
- way! Heheard mo-ther's fu - n
- way! He heard mo-ther's fu - n'ral cries.
He heard mo-ther's fu - n'ral cries.
Jº.
Handel's Theodora.-Novello, Ewer and Co.'s Octavo Edition. *

121
A tempo ordinario. 2–66.
The youth be-gins to rise, to rise, to rise,
Rise, youth, he said, The youth be-gins to rise, the
Rise, youth, he said,
Rise, youth, he said, The youth s to rise,
A tempo ordinario.
-- -
8ves. . . 8ves.
youth, he said,
youth ns to rise, Rise, youth, he said, The youth be-gins to rise,
youth be-gins to rise, Rise, youth, he said,
to rise, Rise, youth, he said, the youth be-gins to rise, the
2.
-" -- 108.
rh L- - *
HE-HHG - H - H - H--- =
I
Fº - A. A.
LT
- —I a i - -- -
ZTº HHAE H H H ***-*—

* youth be-gins to rise. and bore away the
rºl L-
TIZ - | nº
I
I 1. I i i — - I
-
§ in-i- - º
#H#H#HE -e- -o- - ^- -
Low-ly the matron bow’d, and bore away the prize, and
- l
I-n- L-L-L I T
- I º * I - I
T º–E
ſ! -
Low-ly the ma-tron
- H
bow'd,
- H
I i I
I I
! - I - I
I
I - I I I I ITT
I - ITI I _l t
i *-i- l -
- I T-I l
: Tº F.I.F. (===rſ
I -I- º -I - L
- I TTL- - T
I - I I - in
i I I- dº
Handel's Theodora.-Novello, Ewer and Co.'s Octavo Edition. I

prize, and bore away the prize, .
~" `--"
bore . . a - way . . the prize. the ma - tron bow’d,
Low ma-tron bow’d,
ma-tron bow'd,
bore a-way the prize. Low
~ -
bore . . away the prize,
bow’d, away the
ma-tron bow’d,
the ma-tron bow'd, ma-tron bow'd,
a-way the away the prize,
ma-tron bow’d,
the ma-tron bow'd, and bore a-way the prize,
Handel's Theodora.-Novello, Ewer and Co.'s Octavo Edition.

123
ly the ma-tron bow’d,
the ma-tron bow'd,
the ma-tron bow'd,
e ma-tron bow"
... a - way e prize, and bore the prize,
-"
way the prize, and bore a-way the
the prize,
1
---
| -- |- I
Handel'ſ Theodora.—Novello, Ewer and Co.'s Octavo Edition.
8ves.
124
-—
a - — ---, +---
----- +-------- ---
ºr-
v - way, and bore, and
******
bore .
=========
- a-way
-
-
- the
º 1- -
- - i i _
– - e— H : ==EEEEEEE
– 2–2–EH-3EF===
prize, . . . Low - - - ly the ma-tron bow'd, and bore a --
~ ~->
Rºº-º-º:
V P T-I
E–EE
|
---
*E*****—EE —
| — EE EE E —a
-
l–
H F-
- FE
Fº
—
v. and bore a - - the prize . . . . and
- way the bore a-way the prize.
`--"
bore . . a - wav the prize.
bow'd, and bore . the

|
ma-tron prize.
ma-tron and bore prize.
ma-tron and bore the prize.
ma-tron prize.
d -º-
Handel's Theodora.-Novello, Ewer and Co.'s Octavo Edition.

A CT III.
É No. 41. AIR.—“LORD, TO THEE.”
i ~
PIANO.
= 72.
IRENE.
Lord, to Thee,each
:g#
3
night and day, strong in hope we sing and pray, strong in hope we
f3
3
sing. and pray, each night and day we sing and pray, to Thee we
:
ſf f f
pray, Lord, to Thee in hope we sing and pray, to Thee, each night and
^-
J’ ; r.

126
to Thee we sing . and pray, Lord, to Thee, each

~
Yº
and day, strong in hope sing . . and pray, we sing and
- >-
strong in hope . . we sing . and prayſ
Thoughcon-vulsive rocks the ground,
And Thy thunders roll a- round, and Thy thun-ders roll a -

127
Though convulsive rocks the ground, and Thy thunders roll a
Adagio. Tempo 1m0. Dai Segno. 8.
we sing . . and pray ! Lord, to Thee, each
2. -
-*-*
)

Mo. 42. RECITATIVE. —“BUT SEE, THE GOOD, THE VIRTUOUS DIDIMUS”
IRENE.
VoICE.
But see, the good, the vir-tuous Di - di-mus! he comes to join with us in
pray'r for The-o-'do-ra. No, Heav'n has heard your pray'rs for The-o-'do-ra— be-hold her safe!—Oh,
| 2-,
N
2
that as free and safe were Di-di-mus, my kind de - li-ve-rer | But let this hab-it speak the rest.
No. 43. AIR.—“WHEN SUNK IN ANGUISH AND DESPAIR.”
Larghetto. ~
PIANo. mf
J-30. + ºr
Jº 22
THEODoRA.
When sunk in an-guish and des -pair, to Heav'n I cried: Heav'nheard my

pray’r, and bade a ten-der fa-ther's care the gen’rous youth em-ploy,
f mf
f
gen'rous youth em-ploy.
J-.
When sunk in anguish and despair, to Heav'n I cried: Heav'n heard my pray’r, and bade a
ten-der father's care the geºrous youth em-ploy,
the gen’rous, gen'rous youthem-ploy, the gen'rous youth em
p
cres. mf

130
The gen’rous youth o - bey'd and came, all wraptin love's di - vin - est
.-
flame, 39– save a wretch - ed vir-gin's fame, and turn her grief to joy,
the gen’rous youth o-bey'dandcame. When sunk in an-guishand des
---
!
to Heav'n I cried: Heav'nheard my pray’r, and bade a tender fa-ther's

131
the gen'rous youth employ. Thegen'rous youth obey'dandcame, all wraptin love's di-vinest
^-1.
flame, to save a wretch - ed - :- ? and turn her grief to
—ll-T
and turn her grief. . to
r F.I.
Adagio.
and turn her grief to joy. Tempo 1m0.
2- a
vºw
No. 44. CHORUs.—“BLEST BE THE HAND.”
Tempo ordinario.
TEEBLE.
ALTo.
Blest be the hand, and blest the pow'r,
- s:: - -
Blest be the hand, and blest the pow'r, - - -

BAss.
Tempo ordinario.
Jſ
Blest be the hand, and blestthe pow'r,
be the hand, and blest the pow'r,
be the hand, and bles:the pow'r,
Blest be the hand, and blest the pow'r,

_-_ _-_ | 1 || N.
. . and blest the pow'r, this dark
- and blest the pow'r, in this dark . . and dangºrous
and bles: the pow'r,
and blest the pow'r,
Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.—(15?-)

133
. . and dang'rous hour sav'd thee from cru - el strife,
: sav’dT. - .. thee from a cru - el strife, blest be the
be the hand, blest be the

rº • *
E==zFZEE r -L
i
blest be the
#:
: i:
and blest the pow'r, and blest
hand, and blest the pow'r, and blest the pow'r, . - ... and blest the
: hand, and blest the and blest the
hand, and blest the pow'r and the
that in this dark and dang'rous hour sav'd . . . . . thee from,
that in this dark and dang'rous hour sav'd thee from
iº : * + ºr 's
! Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

-"
ºl * - - -
&#E E=E===E====E====E===#
**E====E=====FE*===
º - - - - l - E
-> that in this dark and dang'rous hour sav'd . . thee from cru- él strife; best be the
–2– * I _ I I -T
-" -
_in_dº - lTI _- -
TººlI
II i
L-
i -
I - - * I T
--
º D I T ==
-
- --- * + ---
º
that in this dark and dang'rous hour sav'd theefrom cru - elstrife; blestbethe
–2–7– --> i - i I - H º -
fºº-º-º-º:
- -
H I
HE
I
- H-H
i -- -
-7 eru - el strife; blest be the

~ -6- . .
- I I L in
Cºl. L I
cru-el strife; blest be the
hand, and blest the pow'r, that in this dark and dang'
hand, and blest the pow'r, that in this dark and dang'rous hour sav'd thee from
hand, and blest the pow'r, that -

- in this dark and dang'rous hour sav'd
-->- -- ---.
hand, and blest the pow'r, that in this dark and dang'rous hour sav'd
--- 2.
_* THEodora.
thee from cru - el strife! Lord, - vour still the kind in-tent, and
el strife!
thee from cru-el strife!
thee from cru-el strife!
- -º-

135
bless Thy gra-cious in - strument with li - ber - ty. , and
Chorus.
Lord, the kind in tent, and bless Thy
Lord, fa - vour still the kind in tent, and bless Thy gra-cious instrument with
Lord, fa - vour still the kind in tent,
Lord, fa - vour kind in tent,
#: 2. |-
mf
gra - - cious t with life, . . Lord, fa-vour still the kind in -
- ber-ty and life, . Lord, fa-vour the kind in - tent, and
and
Handel's “Theodora.”-Novello, Ewer and Co.'s Octavo Edition.

136
- tent, and bless Thy in - strument with li - ber-ty and life,
bless Thy gra-cious in - strument with li - ber-ty and life,
bless Thy gra-cious in - strument with li-ber - ty and life,
bless Thy gra-cious in - strument li-ber - and life,
still the kind in - tent,
still the kind in - tent,
still the kind in - tent, and bless Thy gra-cious instrument with li-ber-ty and life, . . .
still the kind in - tent, and bless Thy gra - ciousinstrumentwith
* * *:
and bless Thy graciousinstrument
Lord, fa-vour still the kind in - tent, Thy instrument with
fa-vour the kindin - tent, and bless gracious with
li-ber-ty and life, and bless Thy gracious instrument with
# Handel's “Theodora."—Novello, Ewer and Co.'s octavo Edition.

137
li-ber-ty and life, and bless Thy gra-cious in - strument with li-ber - ty and life!
and life, and bless Thy gra-cious in - t with li-ber -ty and life!
li-ber-ty and life, and bless Thy gra-cious in-strument with li-ber - ty and life
_-
i
li-ber-ty and life, and bless Thy gra-cious in - strument li-ber-ty and life
vour stillthe kindin-tent, and bless thy gra - cious
Lord, fa - vour still, Lord, fa-vour
Lord, fa - vour Lord, favour still
Lord, fa - vour still,
f f
- strument
still the kind in - tent, and bless Thy gracious instrument with li-ber-ty and
the kind in-tent, and bless Thy with -ber-ty and
bless Thy gracious instrument with li-ber-ty
---
s"Theodora,"—Novello, Ewer and Co.'s Octavo Edition.

138
and
. . with li-ber-ty and life! Blest be the hand, and blest the
ber- life! Blest be the hand, be the hand, and
. . with li-ber-ty and - Blest be and

-
that in this dark and dang'
the pow'r, that in this dark and
pow'r, that in this dark and

N
-º-
- stru - ment
thee from cru-el strife, from cru-el strife, sav'd thee from cru
thee from cru - el-strife, from cru-el strife, sav'd thee from cru -
thee from cru-el strife, cru-el strife, sav'd thee cru - el, cru-el

139
s
Lord, fa-vour still.
Lord, fa-vour still . . the kind in - tent, . . the kind in -
strife Lord, fa-vour still . . the kind in-tent, and bless Thy gracious
** *-
:
ty . . and
3
... and bless Thy gra - cious instrument with li-ber
:
- tent, and bless, and bless Thy gracious twith li - ber - ty and
3
li-ber-ty and life, and bless Thy gracious li-ber-ty, with li-ber-ty and
- ber -
and bless Thy gra-cious in - stru-ment with li - ber
life, and bless Thy gra-cious - stru-ment with - ber
3º
and bless Thy gra-cious a in -stru-ment with li. - ber
l
% -
-
- -e-
Tex
No. 45. RECITATIVE.-4: UNDAUNTED IN THE COURT.”
MEssexGER.
Worce.
Undaunted in the court stands Didimus, virtuously proud of rescued innocence.But
PIANO.
vain to save the gen'rous hero's life are all en-treaties, ev'n from Romans, vain; and high en -
- rag'd, the Pre-si-dent protests, should he re-gain the fu - gi-tive, no more to try her
2->
with the fear of in - fa-my, but with the ter-rors of a cru-el death.
2- _-
^_^ ^-
IRENE.
Ah, The-o-'do-ra ! whence this sudden change from grief's pale looks to looksofredd'ningjoy!
--~ ~

141
THEoDORA.
Oh, my I - re-ne, Heav'n is kind, and Valens, too, is kind, to givene pow'r to execute in
= pa
turn my gra - ti-tude, while safe my honour. Stay me not, dear friend!on-ly as: -
3.
sist me with a pro-per dress, that I may ransom the too gen’-rous youth.
: No. 46. DUET.

grº
“WHITHER, PRINCESS, DO YOU FLY 2"
Allegro, ma non ~
troppo.
pp
,-
~ 2
t PIANO.
J = 66.
IRENE.
Whi - ther, princess, do youfly?

THEODoRA
No, no, I - re - he, no,
sure to suf - fer, sure to die,
no, no, I - re -ne, no,
sure to suf-fer, sure toº die,
and joy I go, to life and joy
at-tempt— oh stay, oh stay!

,- ~ ,-- ,-

143
mo, no, I - re-me, no,
sure to suf-fer, sure to die,
to life and joy I go,
oh stay !
2 2- 2
~
- =T
d. -
life and joy I go!
at-tempt, oh stay, oh stay!

,-
calls, I must o – bey, du -ty calls, I must o - bey!
Randel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.

144
No. 47. TECITATIVE AND AIR.—“SHE'S GONE!”
Worce.
She's gone ! dis - dain-ing li - ber - ty

--~
PIANO.
hon - our this frail life can give. De -vo-tion bids as - pire to no-bler things,
to bound-less love and joysin - ef-fa - ble: and such her ex-pec-ta-tion from kind Heav'n.
-a-
\->
,-

145
Andante larghetto. J =48. IRENE.
-
--- -
New scenes of joy come crowding on,
sor-row, while sorrow fleetsa - way, while sorrow, while sor-row fleets a -
T. S.
. - way, while sorrowfleets a-way; new scenes of joy come crowding
: -
while sorrow fleets . -

--- - -
. . a - way; new scenes of joy come crowding
- N
.
- N
while sorrow fleets away:

146
Likemistsbe - fore the ri-sing sun, that givesa
- rious day,
like mists be-fore the ri-sing sun, that gives a glo - riousday, that
rious day, that gives
Newscenes of joy come crowding on, while sor-row fleets a - way:

147
like mists be - fore the ris - ing sun, that gives a
glo TFT - rious day, that gives
like mists be - fore the ris - ing sun, that gives a

--
.N
Adagio.
- rious day, a glo - - rious day, that gives a . . glorious
º3: :
~.
º Handel’s “Theodora."–Novello, Ewer and Co.'s Octavo Edition.

No. 48. RECIT.—“IT IS A CHRISTIAN VIRTUE.”
Worce.
I
It is a Chris-tian vir-tue then to res-cue from jus-tice one condemn'd?

fºL l
zº-ſº H } a E
{}-\-–= H H za I
PIANo.
el/ #3.- N-" -ę- —a
o
l
(GHT
Nº-ºn
HI E.
L-E-
HEE
Fº-l
I
º — I º I V- L
I I I I I
_-
=-ºl
I I.
"Tº
I v=-
I
Le-
I
--
I F
VIZ º Tº TI Tº Le: 25 T
el/ X- TOT S. …, TCT -a-
I
2N - i I I T d I T
U-TET. I I I - Tº Iºl t
N-> - ºl ,- - I wº- T I
ºtº- I TT I TI TI I
T *- I
WALENs.
Take him hence, and lead him to re-pentance or to death!
doom! you may in-flict it here with le-gal jus-tice; there 'tis cru-el-ty.
there such virtuous courage in the sex? preserve them, oh ye gods, preserve them both !

Mo. 49. AIR.—“ FROM WIRTUE SPRINGS EACH GENEROUS DEED.”
~ 2:S
/*
Andante. tr
PIANo. mf
•= 84. #.
º, º
'8. SEPTIMIUs.
From vir-tue
-
springs each gen - 'rous deed, that
,-->
Xp
grate-ful pray'r,
springs each gen' - rous deed that claims
. . our grate-ful, grate 2–– ful pray'r,that ... our grateful

150
from vir-tue each gen’
that claims our
pray'r, that claims our grate - ful, grateful . . pray'r, from vir-tue springs each ..
~
~ --~
gen'-rous . . deed that claims

151
ful, grate-fulpray'r,
-
that claims - . our grateful pray'r.
Let justice for the he -ro
un poco f . -
Adagio. Dal Segno. S.
the fair, and pi - ty save . the fair.

Tempo 1mo. 8.
Dal Segno. 8.
Handel's “Theodora."–Novello, Ever and Co.'s Octavo Edition.
No. 50. AIR.—“CEASE, YE SLAVES, YOUR FRUITLESS PRAYER.”
Furioso.
PIANo.
•= 56.
WALENs.
Cease, yeslaves, your fruitless
cease, yeslaves, your fruit-less pray'rſ The pow'rs be -
- low no pi - ty know, the pow'rs . be-low no pi - tyknow
for the brave,
—g-
y

153
for the brave, for the brave, or for the fair.
:
:
i
Cease, ye slaves,your fruit-less
:3fài:= The pow'rs be - low no pi - ty know for the brave, . . ... or for the
fair. Cease, ye slaves, your fruit-less pray'rſ
%
% Handel's “Theodora."–Novello, Ewer and Co's Octavo Edition.
s:
Mo. 51. Recrtative—"TIS KIND, MY FRIENDS."
DIDIMUs.
Voice.
'Tiskind, myfriends; but kinder still, if for this daughterofAn -ti-ochus, inmindas
PLANo.
(to Theodora.)
no-ble asher birth, your pray'rs prevail, that Didimus a-loneshall die. Had I asma-my
THEODoRA.
lives as virtuesthou, free-ly for thee I would resign them all. Oppose not, Didimus,
my just de-sires; for know, that 'twas dis - hon - our I de- clin'd, not death: most
welcomenow, if Di - dimus were safe, whose on-ly crime was my es - cape!

No. 52. CHORUS.—“ HOW STRANGE THEIR ENDS.”
Larghetto.
TREBLE.
ALTO.
TENOR
(8ve. lower).
=
BASs.
Larghetto,
|
Piaso.
s = 80.
:
:
:
strange their ends, and yet how
How strange their ends, and yet how

156
how strange theirends, glo-rious!
How strange their
glorious ! where each con-tends, where each con - - to-rious!
where each contends, where each con
-S-S
-E-º-º- e e He -
where each contends, where each con-tends to fall Ž

ends, o-rious!
How strange their
- tends to fall vic - to vic - to- rious, where each contends, where each
How strange their ends, and yet . . . how
where each con-tends, where each tººls to fall vic - to-rious !
yet T. how glo-rious! where each contends, each contends to fall
to fall vic - to-rious !
-k
Ilandel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.
157
: glorious! how strange their ends, and yet how
=
How strange their ends, and yet how glorious!
- torious! How strange their ends, and yet how
How
:ă
how strange
:
How strange their ends, and yet how glo-rious!
glo - ri - ous, and yet how glo-rious!
f: strange their ends, and yet how glo-rious, and yet how glo-rious, where each con -
.
and yet . . how glo-rious! where each contends,
T
:º where each contends, where each contends to fall vic - to - rious, where each contends,
where each where each con -
- tends, where each contends to fall vic - rious,

,- N
.N -
!
• *
%
158
where each con-tends, w each con-tends to fall vic - to-rious!
where each con-tends to fall vic - to-rious!
-tends to rious!
where each cón-teñds, where each con-tends - vic - to-rious!
where vir-tue its own
where vir-tue no-cence de-mies,
where vir-tue its own - no-cence de-nies,
where its own i no-cence de-nies,
_-_
for the 'd the gladvic-tor dies, where vir-tue its - e-mies,
for the vanquish'd the gladvic-tor dies, vir-tue its own in-nocence de-nies,
the vanquish'd the gladvic-tor dies, where tue its own in-nocence de-nies, andfor
for the vanquish'dthegladvic-tor dies, where vir-tue its own in-nocence de-mies,

159
and for the vanquish'd the gladvictor
and for the glad vic -tor

:
vanquish'd the glad
:
and for the vanquish'd the glad
and for vanquish'd glad vic - tor dies:
vanquish'd the glad vic - tor dies:
and for vanquish'd the glad vic - tor dies!
and for vanquish'd the glad vic - tor dies.

N
:
º Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.
No. 53. RECITATIVE.—“ON ME YOUR FROWNS.”
DIDIMUs (to Valens).
WoLCE.
. On me your frowns, your ut-most rage ex-ert, on me, your pri-so-ner in
PIANO.
THEoDoRA.
chains ! Those chains are due to me, and death to me a - lonel

~
WALENs.
Are ye then judg-es for yourselves? not so our laws are to be tri-fled with:— if
both plead guil - ty, 'tis but e - qui-ty that both should suf - fer.
Ye min-is-ters of jus-tice, lead them hence, I can-not, will not bear such in - solence 1
_-> …-->
* Instead of these last four bars, the following Aria may be sung, at discretion.

No. 54. AIR.—“YE MINISTERS OF JUSTICE.”
PIANo.
J–st.
WALENs.
Ye min-is-ters of
ye ministers of jus-tice, lead them hence, I cannot, will not bear,
I cannot, will not bear such in - so-lence;

,-
and as our gods they honour or des - pise, fall they their
2–,

162
sup - plicants, fall they their sup-plicants Ol" sa - cri-fice
-AP
fallthey theirsuppli - cants or sa - cri - fice !

-
and as our godsthey
,-,
ho-nour or des - pise, fall they their sup - plicants, fall they their
sup - plicants or sa - cri-fice, fallthey their sup-plicants
Adagio.
S8 - - cri - fice.
Adagio. Tempo lmo.
Handel's * Theodora."-Novello, Ewer and Co.'s Octavo Edition.

No. 55. RECIT.—“AND MUST SUCH BEAUTY SUFFER 2'
DIDIMUS. SEPTIMIUs.
Voics.
Andraust such beau-ty suf-fer? Such use-ful va-lour be destroy'd? Des
PIANO.
DIDIMUS.
- troy'd, a -las! by an un-hap-py constan-cy! Yet deem us not un-hap-py, gen-tle
friend, nor rash; for life we neither hate scorn: but think it a cheap
pur-chase for the prize re-serv'd in heav'n for pu- ri - ty and faith.

Mo. 56. AIR AND DUET-4 STREAMS OF PLEASURE, EVER FLOWING."
~
~~
Largo.
PIANo.
Jº 80.
DIDIMUs.
Streams of plea-sure e-ver flowing, fruits am-bro-sial e-ver growing,
—º-
- bro-sial e-vergrowing, golden thrones, starry crowns, are the triumphs of the blest,
`--
tri- umphs of the blest, — are the tri - umphs of the blest;
streams of pleasure e - verflowing, fruitsam- bro - sial e-ver growing, golden thrones, starry
- -
S- 1 :-

165
s crowns, are the tri-umphs of the blest, are the tri-umphs of the blest,
i -"
In
V # l
H=
Adagio.
SENES
=
m
E
Tºſ
f blest, are the tri-umphs of the blest:
Tempo 1m0.5
_->
;:
when from life's dull la-bour free, clad with immor-ta - li - ty, they en-joy a last-ing
:
rest, they en -joy . . . a last-ing rest, when from life's dull la - bour
free, clad with immor-ta -li - ty, they en-joy, they en - joy a last - ing
º
166
THEoDoRA.
Thither let our hearts as - pire : Thither let our hearts as -
Thither let our hearts as -
- pire! objects pure of pure de - sire,
- pire l objects pure of pure de - sire, still increas—ing,
pleas-ing, wake the song and tune, wake the song and tune the
,-,
the song . - - - and tune the
lyre of the bliss- ful, ho-ly of the bliss - ful, ho - ly
lyre of the bliss- ful, ho- ly choir, of the bliss - ful, ho - ly
Handel's “Theodora.”-Novello, Ewer and Co.'s Octavo Edition.

167
Thi-ther let our hearts as -
Thi-ther let our hearts as -
ob -jects pure, pure de - sire, thi - ther let our hearts as -
ob - jects pure, pure de - sire, thi - ther let our
::
: ob -jects pure, pure de - sire, e-ver pleasing,
ob-jectspure, pure de - sire, e-ver pleasing,
pleasing, wake the song . . tune, . . and tune the lyre of the blissful, ho-ly
the song and tune the lyre of the bliss-ful, ho-ly

::
:
:
T
- - I
*======="---S-E —E
choir, . . of the bliss-ful, ho - ly choirſ
- ==ES HE à-s=N===
choir, . . of the bliss - ful, ho - ly choirſ thi - ther let our hearts as -
º I
*AL -> - R====E=====H t T - - ---
—ll sº
- ther let our hearts as - pire,
Adagio.
tune, wake . . the song and tune . . the lyre of the - ful, ho
song, wake the song and tune the "lyre of the bliss-ful,
Adagio.
ho - ly choirſ
- ly choir!

No. 57. RECIT.—“ERE THIS THEIR DOOM IS PAST.”
IRENE.
: WoLCE.
Ere this their doom is past, and they are gone to prove that love is stronger farthan death.
PIANO.
;:
: No. 58. CHORUs.—“OH LOVE DIVINE.”
Larghetto.
TREBLE.
ALTo.
TENOR
(8ve. lower).
BASS.
Larghetto.
Faso.
s = 72.
-
|-- _ -
º: :
#== #EEEEEEEEE===
Zs-E*==== =E -
Oh
f*-** = -
love di - - vine, . . . thousource of fame, .

T
- - -
r
... of
R - I
-/
EE-Eº T T
SE
-
º 9-h - I
Oh love di
-
- vine, .
I-A-
, thousource of fame,
====#e===
. -
TTF-1
thou source of
-
HI E-º-º-º-º:TEH
L -- - I I HZ-2–
I F i
--
Oh love di - - thou source of fame, of
- L- - | - H *#=-º-º-º: *—T I Lº I E
I I "I L- *- I - Iz - "Lºl I - d
I T-T- I I F l I º
Oh love di - - vine, thou source of fame, . . of
ºº
% Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.—(169.)
170
glo-ry and all oh love di - vine, . . thousource of fame, .
glo - ry and all oh love di - vine, . , thousource of fame, .
glo - all oh love di - vi thou
oh love di - vine,
glo-ry and all joy!
thousource of glo - ry and all joy!
source of fame, of glo - ry joy!
source of - - glo ry and all joy!
our soulsin-flame, . - - and e-qual zeal,
e - qual fire . - . . our souls - flame,
our soulsin-flame,
fire . - ... our souls in-flame,
*-
-
^-
`-
^-
: -

and e qualizeal em-ploy,
qual zeal em ploy,
e - qual zeal em-ploy,
qual
~-
zeal employ,
souls in -"flame, let e-qual fire our souls isºme

T-I
- _
===N=====E=-
let e-qual fire of souls in-flame,
our souls flame, and e-qual zeal,
our soulsin - flame, .. qual zeal,
ed. ×
-*
*== - - -
-
T --- - -
5-Hº- ===E T E H H z- E *E*H

- qual, zeal em - ploy: that we the glo - ri-ous spring may
====E========
—”—*—E--—E-– I
==H
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|- H -
- - qual zeal em - ploy: that we the glo - rious spring may

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-—t—- - - + * . * * L
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-
whose streams ap - pear'd so bright. . - low,
whose streams ap - pear'd so bright - low, whose streams ap -
streams ap - pear'd . . so be - low,
whose streams ap - peard . . so bright be - low, whose streams ap -
-"
-
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5–-
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A- pear'd . - - - - - so brightº - low, that we the

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whose streams ap - pear'd so bright be - low, that we the
- M. *- - - - - *
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E-EEEE-E-EE. EEE
- peard so bright- - - - - so bright be - low, that we the
:-- - l I T EE- - H EE
º --L--Rſ L- i −a. + | == Fº H P--
-2'- .########## * I
spring whose streams ap - pear'd so
- rious spring may whose streams - pear'd
glo -- rious spring may whose streams ap - pear'd
glo - rious spring may - whose streams ap - pear'd . .

N - -

173
bright be - low, . - - - - . . whose streams
so bright be - low, . . - - . . whose streams
so bright be - low, whose streams
so bright be - low, whose streams .
-" --~~
2
~ *-
so bright be - low !
THE END.
~~

INDEX,
PART THE FIRST.

. Oventuhe
: RECIT.
AIR
. CHORUs –
RECIT.
Valens
Valens
Didimus & Valens

'Tis Dioclesian's natal day -
Go, my faithful soldier, go
And draw a blessing down
Wouchsafe, dread Lord -
º
14
15
Palens Racks, gibbets, sword, and fire
: AIR
. CHORUs
. RECIT.
AIR
. RECIT.
(Heathens)
Didimus -
Didimus -
Septimius
-
-
For ever thus stands fixed the doom
Most cruel decree
I know thy virtues -

- -
- The raptured soul defies the sword

-
19
25
25
31
- Descend, kind pity, heavenly guest 31

AIR Septimius
. RECIT. Theodora Though hard, my friends - 36
AIR Theodora -
Fond, flatt'ring world, adieu ! 36
10. RECIT. Irene Oh bright example of all goodness! 39
AIR Irene -
Bane of virtue - - - 39
11. CHORUs (Christians) - .* Come, mighty Father - -

44
50
12. RECIT. Messenger - * 7+
- º
Fly, fly, my brethren -
RECIT. Irene Ah! whither should we fly? 50

* *
-
*
---> -->
º-
51
13. AIR Irene As with rosy steps the morn
-
14. CHORUs All power in heaven above - 54

(Christians) - -
59
. RECIT. Septimius O foolish people ! - -
AIR Dread the fruits of Christian folly 59

Septimius
63
16. RECIT. Theodora 3 Septimius Deluded mortal! - -
17. RECIT. Theodora Oh worse than death indeed 64
AIR Theodora Angels, ever bright and fair 64

18. RECIT. Unhappy, wretched crew - 66
Didimus & Irene
AIR Didimus - Kind heaven, if virtue be Thy care 66
19. RECIT. Irene Oh love, how great thy power 70

71
20. CHORUs Go, generous, pious youth -
No. PART T HE SECOND. Page.
21. RECIT. - Valens - - - Ye men of Antioch - 77
22. CHORUs – Queen of summer, Queen of love 77
23. AIR - - Valens - - -
Wide spread his name 79
24. RECIT. - Valens - - -
Return, Septimius - 82
25. CHORUs - -
Venus, laughing from the skies 82
26. SYMPHoNY - 86
27. RECIT. - -
Theodora - -
Oh thou bright sun - 86
AIR - - Theodora - -
With darkness deep - 86
28. SYMPHONY - 89
29. RECIT. - - Theodora But why art thou disquieted, my soul ? 89
AIR - - Theodora " - -
Oh that I on wings could rise 89
30. RECIT. - -
Didimus & Septimius Long have I known - 93
31. AIR - -
Septimius - - Though the honours - 95
32. RECIT. - -
Didimus 3 Septimius Oh save her then - 100
AIR - - Didimus - - -
Deeds of kindness to display - -

100
33. RECIT. - - Irene • - -
The clouds begin to veil the hemisphere 104
AIR - - Irene - - -
Defend her, Heaven – 104
34. RECIT. - - Didimus - - -
Or lulled with grief - 107
AIR * * Didimus - - -
Sweet rose and lily - 107
35. RECIT, . -
Theodora & Didimus Oh save me, Heaven 110
36. AIR * - Theodora - -
The pilgrim's home - 112
37. RECIT. - - Didimus - - -
Forbid it, Heaven -
113
38. RECIT. - -
Theodora & Didimus Ah! what is liberty - 114
DUET - -
Theodora & Didimus To thee, thou glorious son of worth - 114
39. RECIT. - - Irene - - -
'Tis night – - -
118
40. CHORUs - -
(Christians) - - He saw the lovely youth - * 119
PART THE THIRD.

41. AIR - - Irene - -
Lord, to Thee, each night and day - 125
42. RECIT. - -
Irene j. Theodora - But see - - - 128
43. AIR • -
Theodora - -
When sunk in anguish and despair - 128
. CHORUs - * Blest be the hand - 132
45. RECIT. - -
Messenger, Irene &
Theodora Undaunted in the court 140
46. DUET - - Irene & Theodora - Whither, Princess, do you fly? 141
47. RECIT. - - Irene - - -
She's gone ! - -
144
AIR - • Irene - - -
New scenes ofjoy - 144
48. RECIT, . -
Valens, Didimus, Theo
dora 3 Septimius - Is it a Christian virtue then 148
49. AIR • -
Septimius - * From virtue springs - 149
50. AIR - - Palens - - -
Cease, ye slaves -
152
51. RECIT. - - Didimus & Theodora 'Tis kind, my friends - 154
52. CHORUs How strange their ends 155
53. RECIT. - - Didimus, Theodora &
Walens - -
On me your frowns - 160
54. AIR - - Palens - - -
Ye ministers of justice 161
55. RECIT. - -
Didimus, Theodora &
Septimius - -
And must such beauty suffer? 163
56. AIR AND DUET Didimus & Theodora Streams of pleasure ever flowing 164
57. RECIT. - - Irene - • -
Ere this their doom is past 169
58. CHORUs - - Oh love divine - - 169
N

G.F. Händel - Theodora (Vocal Score)

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G.F. Händel - Theodora (Vocal Score)

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This is a reproduction of a library book that was digitized

by Google as part of an ongoing effort to preserve the

NOVELLO’S ORIGINAL OCTAVO EDITION.

WITH A SEPARATE ACCOMPANIMENT FOR THE ORGAN OR PIANOFORTE.

COMPOSED IN THE YEAR 1749 BY

Ent. Sta. Hall. - Price in paper cover, 3s.

NOVELLO, EWER AND CO.,

(From THE MUSICAL TIMEs, June, 1873.)

THEODoRA - - Soprano. SeptiMIUs . - - - Tenor.

33 art +. AIR.— Valens.

Many there are in Antioch who disdain AIR.

Rind Heaven, if virtue be Thy care; RECIT.—Theodora."

RECIT.— Didimus. Theodora.

O save her, then, or give me power to save Excellent youth !

The pilgrim's home, the sick man's health,

Forbid it, Heaven!

AIR. Ah! what is liberty or life to me,

RECIT.—Theodora. To thee, thou glorious son of worth,

RECIT.—Irene. And high in rage the President protests,

CHORUS of Christians. Ah, Theodora!, whence this sudden change

CHORUS. New scenes of joy come crowding on,

Take him hence, Are ye then judges for yourselves?

Cease, ye slaves, your fruitless prayer, Didimus.

Wake the song and tune the lyre

1st time. repeat Pia. |Ena time.

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition —(1.)

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

to Jove, great ru - ler of the skies!

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

Jove, . . great ru - - ler - the skies, to Jove, great ru - ler

of the skies; my faithful soldier, go, my faithful soldier, go,

- grant in - cense rise to Jove, greatru - ler of the skies!

Handel's “Theodora.”—Novello, Ewer and Co.'s Octavo Edition.

And draw a blessing down his im - pe - rial crown

his im - pe -rial crown rules the

BASS. And w a bl down im - per rial crown

draw a blessing down - pe -rial

who rules the world be -low,

be - low, and draw a bles-sing

who rules the be- low, and draw a bles-sing

rules the world be -low,

Handel's “Theodora.”–Novello, Ewer and Co.'s Octavo Edition.—(9.) B

down on his im - pe-rial crown, and draw

on his im - pe-rial crown,

and draw "a blessing

down, and draw a blessing down on his im-pe-rialcrown, on hisim-pe

down, a bles sing down,

crown, on his im-pe rial crown,

and draw "a down on his im -

im-pe-rial crown, and draw a blessing down on his im - pe-rial

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

and draw a bles-sing down on his im - pe-rial crown,

and draw a blessing

. . on his im-pe-rial crown, . . on his im-pe-rial crown rules the

- sing down on his im-pe-rial crown whorules the world be -

on his im-pe-rial crown, on his im-pe-rial crown whorules the world be -

draw a b g down on his im - perſal crown whorulesthe world, . . .

and draw a blessing down on his im - pe-rial crown

and draw a blessing down on his im - pe—rial crown

and draw a down on his im - pe.

Handel's “Theodora."—Novello, Ewer and Co.'s Octavo Edition.

V. . - - - who rules the

- orld, who rules the