4 edition of Jephtha. A sacred drama found in the catalog.
Jephtha. A sacred drama
Written in English
|Series||Eighteenth century -- reel 3702, no. 08.|
|The Physical Object|
Act Three: No. 33 Accompagnato: Ye sacred priests, whose hands ne'er yet were stain'd with human bl () Act One: No. 3 Chorus: No more to Ammon's god and king () Act Two: No. 15 Air: Up to the dreadful steep ascending () Act Three: No. 35 Chorus: Doubtful fear Price: $ The Rabbis severely criticize Jephthah’s vow and conduct that resulted in the senseless death of his daughter. Jephthah is portrayed as a haughty individual, who flaunts his position as commander of all the military chieftains, when in actuality he was an ignoramus, unlettered in the Torah she-bi-khetav: Lit. "the written Torah."The Bible; the Pentateuch; Tanakh (the Pentateuch, Prophets and.
Did Jephthah sacrifice his daughter? A Bloodless Sacrifice. There is a second interpretation that asserts that Jephthah never committed human sacrifice, but rather he dedicated his daughter over to the Lord as mentioned in Leviticus ff. This is a minority opinion among scholars and is not viewed highly by most. Jephthah (whom God sets free), A judge about B.C. His history is contained in (Judges ; Judges ) He was a Gileadite, the son of Gilead and a by the legitimate sons from his fathers inheritance, he went to Tob and became the head of a company of freebooters in a debatable land probably belonging to Ammon.
Handel's Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular. Dating from the period , they combine the musical conventions of Italian opera with dramatic plots in English that are adaptations of Old Testament narratives. They constitute a form of biblical interpretation, but to date, there has been. This ritual of grieving may be performed on 11 Heshvan, the date of mourning for the death of Rachel and an occasion for mourning the exile of the Shekhinah and the loss of the feminine. Alternatively, this ritual may be performed on the winter solstice, which according to medieval Jewish tradition is the date on which Jephthah's daughter died.
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Jephthah (pronounced / ˈ dʒ ɛ f θ ə /; Hebrew: יפתח Yiftāḥ), appears in the Book of Judges as a judge who presided over Israel for a period of six years (Judges ).According to Judges, he lived in father's name is also given as Gilead, and, as his mother is described as a prostitute, this may indicate that his father might have been any of the men of that essor: Jair.
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Jephtha (HWV 70) is an oratorio () by George Frideric Handel with an English language libretto by the Rev. Thomas Morell, based on the story of Jephtha in Judges (Chapter 11) and Jephthes sive votum (Jeptha or the Vow) () by George writing Jephtha, Handel was increasingly troubled by his gradual loss of sight, and this proved to be his last oratorio.
Get this from a library. Jephtha: an oratorio, or, Sacred drama.: As it is to be perform'd in the broad-isle of the cathedral, in the city of Chester. Set to music by Mr. Handel. [Thomas Morell]. Get this from a library.
Jephtha: an oratorio, or sacred drama. As performed at Oxford. Set to music by Mr. Handel. [Thomas Morell; George Frideric Handel]. The subtitle ‘sacred drama’ acknowledges that these are dramatic oratorios. Frequently, Rooke’s analysis seems not to have taken this into account.
She belabours the question whether Saul is an atheist (pp. 89–90), when the patent answer to the passages cited is that he is Author: Ruth Smith. Toward the end of Februaryhe had completed Act II, but was unable to continue work on the oratorio until the month of June.
He continued to perform on the organ, but the sight in his right eye was also leaving him, and by the end of his work on Jephtha he was totally blind. The story of the daughter of Jephtha comes from the Book of Judges.
Check out Handel: Jephtha by Nigel Robson & Lynne Dawson & Anne Sofie von Otter & Michael Chance & Stephen Varcoe & Ruth Holton & The Monteverdi Choir & English Baroque Soloists & John Eliot Gardiner on Amazon Music.
Stream ad-free or purchase CD's and MP3s now on (6). The story of this unnamed woman appears near the end of her father’s story (see Judg –). Its position, as well as the events that it narrates, suggests that it functions primarily, though not necessarily solely, as a further explication of the character of her father.
It is, further, one of the most enigmatic stories in the Hebrew Bible. First, if Jephthah offered his daughter as a burnt sacrifice, he did so without God’s approval, for the law of Moses condemned human sacrifice (Deuteronomy ).
The writer of the book of Hebrews would not have endorsed that particular atrocity any more than he would have sanctioned Abraham’s lying (Genesis ff), or Rahab’s. Among the most difficult stories to understand in the Bible is the story of Jephthah.
Though an obscure figure in the Bible, Jephthah attained honor to be mentioned in the heroes of faith. However, if we read Jephthah story summary and the seemingly harsh sacrifice of her daughter, we might immediately question the wisdom of Paul for having him. Handel's Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis 1st Edition.
Saul, Samson, Joseph and his Brethren, Judas Macchabaeus, Solomon, Susanna and Jephtha - and evaluates the relationship between each libretto and the biblical story on which it is based.
Rooke comments on each biblical text from a modern scholarly Author: Deborah W. Rooke. Question: "Who was Jephthah?" Answer: Jephthah served as a judge over Israel for six years following the leadership of Jair. His account is recorded in Judges — First, Jephthah was a Gileadite but was born of a prostitute.
Handel's Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis Rooke, Deborah W. Oxford, U.K.: Oxford University Press, pp. xxii + $ Description: Handel's Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular.
Dating from the period. Handel's Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular. Dating from the period –52, they combine the musical conventions of Italian opera with dramatic plots in English that are adaptations of Old Testament narratives.
They are thus a form of biblical interpretation, but to date, there has been no Author: Deborah W. Rooke.
Handel's israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled.
The list of ‘Israelite’ oratorios at the end of the book omits Alexander Balus, Belshazzar, Israel in Egypt, Joshua, and the Occasional Oratorio. The subtitle ‘sacred drama. Italian operas went out of fashion, and Handel, from the s onwards, started to concentrate on a new form, the oratorio – a sacred drama, not.
began their Sacred Music Drama Program, and Tabor College. InDr. Gerbrandt held a Visiting Scholar position at Cambridge University, England, where he completed his book, Sacred Music Drama: the Produc-er’s Guide.
The second edition has recently been pub-lished by AuthorHouse. He has also edited The Songs. Jephthah’s vow concerning his only daughter seems to be another example of the barbarity described in this book (Judg.
). But is it? What exactly did Jephthah vow, and what did he do to his daughter? There are two proposed interpretations: Jephthah offered up his daughter as a whole burnt offering.
The 'Volume of the Sacred Law', as Freemasons refer to the Bible, is a vital part of the lodge and the name itself may be derived from the Book of Psalms, which refers to the 'volume of the book' a phase later quoted by St Paul (see sections on Psalms and St Paul).Brand: The History Press.In the course of an interview with Jonathan Arnold, Rowan Williams discusses his reactions to a performance of Claudio Monteverdi’s Vespers in the Sheldonian Theatre, Oxford.
Both in Britain and on the Continent, from about onwards, liturgical music becomes something very different. It attracts a kind of theatrical surround to it, and Monteverdi’s Vespers is one of the great examples.