Stravinsky Petrushka

Fri, June 28, 2024 6:30 pm
Sat, June 29, 2024 7:30 pm


Grant Park Orchestra

Grant Park Chorus

Ludovic Morlot, conductor

Martin Bakari, tenor


Petrushka (1947)
The Shrove-Tide Fair
Petrushka’s Cell
The Moor’s Cell
The Shrove-Tide Fair (Towards Evening) 



Song of Destiny


Psalmus hungaricus
Mikoron Dávid nagy búsultában (When as King David sore was afflicted)
Keserüségem annyi nem volna (I could have borne so sore an affliction)
Te azért lelkem, gondolatodat (So in Jehovah I will put my trust) 

Martin Bakari, tenor


Harris Theater


Approx. 110 minutes including 20 minute intermission


This program is generously supported as part of the Dehmlow Choral Music Series.


Ludovic Morlot


Ludovic Morlot took over as Music Director of the Barcelona Symphony Orchestra in September 2022.

Morlot’s élan, elegance and intensity on stage have endeared him to audiences and orchestras worldwide, from the Berlin Philharmonic to the Boston Symphony. During his 8 years as Music Director of the Seattle Symphony he pushed the boundaries of traditional concert programming, winning several Grammys.  He is now Conductor Emeritus in Seattle, and in 2019 he was appointed Associate Artist of the BBC Philharmonic Orchestra with whom he has had a close relationship over many years; he returns to both orchestras every season. He was Artistic Director and a founding member of the National Youth Orchestra of China 2017-2021, conducting their inaugural concerts at Carnegie Hall and in China in 2017, and touring with them to Europe in 2019. From 2012-2014 he was Chief Conductor of La Monnaie, conducting new productions in Brussels and at the Aix Easter Festival – including La Clemenza di Tito, Jenufa and Pelléas et Mélisande.

Morlot has conducted the Berliner Philharmonic, Royal Concertgebouw, Czech Philharmonic, Dresden Staaksapelle, London Philharmonic and Budapest Festival orchestras, and many of the leading North American orchestras, notably the New York Philharmonic, Los Angeles Philharmonic, Chicago and Boston Symphony Orchestras.  Morlot has a particularly strong connection with Boston, having been the Seiji Ozawa Fellowship Conductor at Tanglewood and subsequently appointed assistant conductor for the Boston Symphony. Since then he has conducted the orchestra in subscription concerts in Boston, at Tanglewood and on a tour to the west coast of America.  He has also appeared extensively in Asia and Australasia, notably with the Seoul Philharmonic, Yomiuri Nippon Symphony and Melbourne Symphony Orchestras. Festival appearances have included the BBC Proms, Wien Modern, Edinburgh, and Aspen festivals.

One of the things I appreciate about the Seattle Symphony’s self-produced discography is how heavily it inclines toward rare and underserved repertoire… the latest release is led with vigor and suavity by Music Director Ludovic Morlot.

His tenure in Seattle formed a hugely significant period in the musical journey of the orchestra. His innovative programming encompassed not only his choice of repertoire, but theatrical productions and performances outside the traditional concert hall space. There were numerous collaborations with musicians from different genres, commissions and world premieres. Some of these projects, including John Luther Adams’ Become Ocean, Aaron Jay Kernis’ Violin Concerto performed by James Ehnes and an exploration of Dutilleux’s music, have earned the orchestra five Grammy Awards, as well as the distinction of being named Gramophone’s 2018 Orchestra of the Year. Morlot has released 19 recordings with the Seattle Symphony Media label which was launched in 2014.

Morlot opened last season with a concertante performance of Die Walküre at Seattle Opera, invited back for Samson et Dalila in January 2023 and for a fully-staged Rheingold in August 2023. In recent months he has conducted the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco, Seattle, Utah and Sao Paulo symphonies. Guesting in Europe included the Netherlands Philharmonic, Copenhagen Philharmonic, BBC Philharmonic, Orchestre National de Lille, Bergen Philharmonic, City of Birmingham Symphony, Orquesta Castilla y Leon and of course Barcelona Symphony. He has a strong commitment to supporting emerging talent and regularly conducts students at the Colburn Conservatory. In 2021 he sat on the jury of the Leeds International Piano Competition and conducted students at the Royal Academy (London), New England Conservatory (Boston) and made his annual visit to the Aspen Festival.

Having trained as a violinist, he studied conducting at the Pierre Monteux School (USA) with Charles Bruck and Michael Jinbo. He continued his education in London at the Royal Academy and then at the Royal College as recipient of the Norman del Mar Conducting Fellowship. Ludovic is Affiliate Professor at the University of Washington School of Music in Seattle and a Visiting Artist at the Colburn School in Los Angeles. He was elected a Fellow of the Royal Academy of Music in 2014 in recognition of his significant contribution to music.

Martin Bakari


Praised by Opera News as a “vocally charismatic” performer with a “golden tenor”, Martin Bakari continues to distinguish himself as a dynamic artist in a wide array of musical and theatrical genres. A 2018 George London Competition award winner, Mr. Bakari’s 2022-23 season included Charlie Parker in Charlie Parker’s Yardbird at New Orleans Opera and Dayton Opera, Frederic in The Pirates of Penzance at Virginia Opera, the tenor soloist in the premiere of Paul Moravec’s A Nation of Others at Carnegie Hall with Oratorio Society of New York, Messiah with the Indianapolis Symphony Orchestra, Pong in Turandot at Opera Colorado, Jalil/Wakil/Guard in A Thousand Splendid Suns at Seattle Opera, Carmina Burana with Symphony San Jose, a concert of arias and songs with the Harlem Chamber Players, and recitals of Paul Laurence Dunbar songs with Seattle Opera and German Lieder with Byron Schenkman at Seattle’s Benaroya Hall. In the 2023-24 season, Mr. Bakari sings Mime in Das Rheingold at Seattle Opera, Messiah at Carnegie Hall with Oratorio Society of New York, Frederic in The Pirates of Penzance at Kentucky Opera, Charlie Parker in Yardbird at Indianapolis Opera, Goro in Madama Butterfly at Opera Philadelphia, the tenor soloist in Kodály’s Psalmus Hungaricus with Grant Park Music Festival, and Dr. Caius in Falstaff and Wilson (cover) in the premiere of Jake Heggie’s Intelligence at Houston Grand Opera.

Other recent engagements include Charlie Parker in Yardbird at Pittsburgh Opera, Atlanta Opera, and Arizona Opera, Carmina Burana at Carnegie Hall with the Cecilia Chorus of New York, Prince Claus in Mark Adamo’s Becoming Santa Claus with Chicago Opera Theater, Count Almaviva in The Barber of Seville with Intermountain Opera Bozeman, Goro in Madama Butterfly at Dallas Opera, a United Kingdom recital tour with Mirror Visions Ensemble, Don Basilio in Le nozze di Figaro at Seattle Opera and Japan’s Seiji Ozawa Matsumoto Festival, The Cartography Project with the Kennedy Center and Washington National Opera, Ferrando in Cosí fan tutte at Syracuse Opera, Triquet in Eugene Onegin at Seattle Opera, Mingo in Porgy & Bess at Atlanta Opera, Peter the Honeyman in Porgy & Bess at Seattle Opera and Fort Worth Opera, Tamino in The Magic Flute at Opéra Louisiane, Beppe in Pagliacci with Raylynmor Opera, Philip Glass’ In the Penal Colony and a double bill of David Lang’s The Difficulty of Crossing a Field and The Little Match Girl Passion at Portland Opera, La traviata and Le nozze di Figaro at Cincinnati Opera, The Summer King at Pittsburgh Opera and Michigan Opera Theatre, Murasaki’s Moon and Morning Star with On Site Opera, The Long Walk at Utah Opera and Pittsburgh Opera, The Source with LA Opera and Beth Morrison Projects, and Ellen Reid’s dreams of the new world with PROTOTYPE Festival and Trinity Wall Street. Mr. Bakari also premiered and recorded Grigory Smirnov’s song cycle Dowson Songs (Naxos) which was featured by Opera News as a “Critic’s Choice” recording.

Since 2016, Mr. Bakari has joined NY Harlem Productions for tours of Porgy & Bess as both Sportin’ Life and Mingo, which have marked his German debuts at Semperoper Dresden, Staatsoper Hamburg, Deutsches Theater München, Alte Oper Frankfurt, and the Kölner Philharmonie, his Israeli debuts in Haifa and Tel Aviv, and his Italian debut at Bari’s Teatro Petruzzelli.

As an Emerging Artist at Virginia Opera from 2014 to 2016, Mr. Bakari sang in productions of HMS Pinafore, Salome, Orpheus in the Underworld, La bohème, Roméo et Juliette, and Der fliegende Holländer. Other 2016 performances included Roméo et Juliette at Opera Carolina, Carmina Burana with the New Hampshire Philharmonic, and Le nozze di Figaro, Daniel Catán’s Il postino, and Philip Glass’ The Witches of Venice at Opera Saratoga.

Other notable new music credits include the leading tenor roles of Wissam in Tobin Stokes’ Fallujah at the Kennedy Center, Hazel Motes in the premiere of Anthony Gatto’s Wise Blood with Walker Art Center (New Focus Recordings), Marcellus in James Dashow’s Archimedes (Neuma Records), and Lorenzo in William Bolcom’s Lucrezia, Grivet in Tobias Picker’s Thérèse Raquin, Katz in Stephen Paulus’ The Postman Always Rings Twice, and a national tour of Wynton Marsalis’ Abyssinian Mass (Blue Engine Records/Sony).

Chosen by James Levine to sing in a Tanglewood production of Ariadne auf Naxos, Mr. Bakari spent two summers as a Tanglewood Fellow during which he also sang John Harbison’s Full Moon in March and Milhaud’s L’Enlèvement d’Europe and L’Abandon d’Ariane directed by Mark Morris. Of his performance in Full Moon in March, The New York Times wrote, “Bakari mastered completely the high-tension and occasionally melodic vocal writing”.

In addition to the George London Competition, Mr. Bakari has received major awards from the Palm Beach Opera Vocal Competition, Orpheus Vocal Competition, Tanglewood, the Juilliard School, and Boston University. He has since been engaged by Palm Beach Opera and has also appeared with Madison Opera, Opera North, Eugene Opera, Opera Ebony, Little Opera Theatre of NY, Pine Mountain Music Festival, and Brooklyn Art Song Society.

Mr. Bakari is an alumnus of the master’s degree program at Juilliard, the B.M. and Opera Institute programs at Boston University, and the study-abroad program at London’s Royal College of Music. In addition to the numerous opera and musical theatre roles he performed while in Boston, he was an active concert soloist with performances including Elijah at Symphony Hall and a solo concert of Italian arias with the Salem Philharmonic Orchestra. A Filipino-African American, Mr. Bakari is featured as the cover story of FilAm Magazine’s June 2022 issue.


Igor Stravinsky (1882-1971) 

Petrushka (1947 version) (1910) 

Scored for: three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, piano, and strings

Performance time: 34 minutes

First Grant Park Orchestra performance: August 10, 1955; Joseph Rosenstock, conductor

In 1909, the impresario of the Ballets Russes, Sergei Diaghilev, took a chance on a young, relatively unknown composer named Igor Stravinsky. He commissioned him to write a ballet for the Parisian company’s 1910 season, resulting in Stravinsky’s first mature work, The Firebird. Its success catapulted Stravinsky to fame and placed him firmly within Diaghilev’s orbit and elite Parisian circles. That summer, Diaghilev approached Stravinsky about collaborating on another ballet, and the two agreed on a scenario involving a pagan girl who dances herself to death as a sacrifice. When Diaghilev later visited the composer on vacation in Lausanne, Switzerland, he was surprised to find that Stravinsky was not working on the agreed-upon ballet but had started on a concert work for piano and orchestra as a creative palate cleanser. When Stravinsky played what he had written so far for Diaghilev, the impresario recognized its dramatic potential and encouraged him to turn it into a ballet. (Stravinsky would come back to the other ballet, The Rite of Spring, in due course.) 

In composing the initial concert piece, Stravinsky had imagined a Petrushka puppet, a mischievous ne’er-do-well character popular at Russian fairs, who had come to life and was taunting the orchestra with devilish runs up and down the piano. To turn this idea into a ballet scenario for Petrushka, Stravinsky worked with Alexandre Benois, who also designed the costumes and scenery for the premiere production in 1911. Stravinsky reworked the ballet score in 1947 to make it more appropriate for the concert stage, substantially changing the orchestration and tempo markings and extending the piano part. This is the version you will hear tonight. 

Petrushka is cast in four scenes or tableaus. The outer scenes take place in the “real” world, whereas the inner two scenes depict the “fantasy” world of the three puppets—Petrushka, the Ballerina, and the Moor. Stravinsky demarcates these worlds sonically by employing extant Russian folksongs in the outer scenes to ground them in reality. In contrast, the music of the inner scenes is more disjunct and built on unusual scales or multiple concurrent tonalities. In this work, we hear Stravinsky turning away from traditional thematic development and toward using contrasting blocks of orchestral colors, truncated melodies, and unbalanced rhythmic groupings—a technique likened to cubism in visual art that would become his hallmark style.

The first scene of Petrushka opens on Admiralty Square in 1830s St. Petersburg during a pre-Lenten festival. Stravinsky’s exuberant score captures the hustle and bustle of the busy fair full of diverse sights and sounds, including street dancers, a music box, an organ grinder, and a drummer. An old magician plays the flute to summon the crowd to his puppet theater. Brought to life by the magician, the puppets stun the audience when they step outside the theater and dance among the crowd. In the second scene, we find Petrushka in his cage. Downcast, he laments his fate as a grotesque outsider who is beholden to his master and hopelessly in love with the Ballerina. He dances to try to win over the Ballerina, but frightened by his uncouth performance, she runs off to be with the Moor. In scene three, the jealous Petrushka storms into the Moor’s room, interrupting the couple’s tryst, and the Moor tosses him out. Scene four returns to the fairgrounds at night and presents a parade of eclectic characters, including a peasant with a trained bear, a drunk merchant, gypsy girls, and masqueraders. The revelers stop dancing when they hear a commotion coming from the puppet theater. Suddenly, Petrushka emerges with the Moor hot on his heels. The Moor catches him and strikes him dead with his saber, horrifying the human onlookers. As the magician takes Petrushka’s body away, the puppet’s ghost appears on the roof of the theater, thumbing his nose at the sorcerer.

Johannes Brahms (1833-1897) 

Schicksalslied (Song of Destiny), op.54 (1868) 

Scored for: two flutes, two oboes, two clarinets, two bassoons, two French horns, two trumpets, three trombones, timpani, strings, and chorus

Performance time: 18 minutes

First Grant Park Orchestra performance: August 5, 1995; Maximiano Valdes, conductor

Johannes Brahms was perhaps not the most fun travel companion. On a trip to the North German coast town of Wilhelmshaven in the summer of 1868, the usually cheerful German composer was sullen and sitting off to himself while his friends relaxed at the beach. He had picked up a book of poetry by Friedrich Hölderlin earlier that morning and discovered a poem that really affected him. The poem, “Schicksalslied” or “Song of Destiny,” contrasts the lives of immortals enjoying heavenly bliss above with those of humans restlessly toiling in uncertainty below. While on the beach, he began sketching what would become Schicksaslied, a one-movement work for mixed chorus and orchestra. Forgoing a planned excursion with his friends later that week, Brahms returned home early to continue working on the piece. 

Schicksalslied opens in E-flat major with a sumptuous melody in the muted violins over the soft, fateful beating of the timpani. When the altos of the choir finally enter, they usher in some of Brahms’ most luscious vocal writing. The first two stanzas are set in simple four-part choral harmony, lending a hymn-like feel to the heavenly music. Then, a pianissimo chord in the woodwinds heralds a dramatic shift in mood to an anguished C minor to evoke the humans’ cruel fate. Brahms would struggle with the ending of the piece, however. Hölderlin’s poem concludes with mortals suffering in the abyss of uncertainty. Brahms didn’t want to end with this dark image. Instead, he ultimately decided to return to the heavenly music of the opening, but this time cast in a pure C major, with the main theme played by the solo flute. At first, he was unsure of how audiences would react to such a long instrumental postlude, but after scrapping alternate endings that repeated the opening text, he reverted to his initial plan. Though Brahms’ interpretation of Schicksalslied differs from the original poem, it doesn’t necessarily contradict Hölderlin’s intent. Instead, it gives the audience space to contemplate the fate of humankind in a space of peace. 

Zoltán Kodály (1882-1967) 

Psalmus hungaricus, op.13 (1923) 

Scored for: three flutes, two oboes, two clarinets, two bassoons, four French horns, three trumpets, three trombones, timpani, percussion, harp, strings, chorus, and solo tenor

Performance time: 22 minutes

First Grant Park Orchestra performance: July 21, 1984; Paul Strauss, conductor and Jon Fredric West, tenor

Psalmus hungaricus, a one-movement piece for tenor soloist, choir, children’s chorus, and orchestra, was Hungarian composer Zoltán Kodály’s first significant large-scale work. Written in 1923 to celebrate the fiftieth anniversary of the unification of Buda, Óbuda, and Pest into the modern city of Budapest, Psalmus hungaricus takes a uniquely Hungarian translation of Psalm 55 as its text. Following the conventions of his time, sixteenth-century Protestant priest and poet Mihály Kecskeméti Veg intersperses into his translation lamentations about the troubles of his own country, then under Turkish occupation. As musicologist Aladár Tóth writes in the preface to the first edition of the score, “His version of the Psalm is therefore replete with personal and national associations. His free translation thus assumes the significance of a new and independent piece of poetry—a truly ‘Hungarian’ Psalm.”

Understandably, this poem resonated with Kodály, who had recently experienced political persecution himself. When the Hungarian Soviet Republic fell in 1919 after just 133 days, Kodály, then deputy director of the Academy of Music, faced disciplinary action and was barred from teaching for two years. This defamation by the new regime greatly curtailed the composer’s burgeoning international career. Psalmus hungaricus reflects Kodály’s personal hardships as well as the political turbulence his country faced during and after World War I. Psalm 55 is an appropriate choice of text for voicing these feelings. In it, King David rails against a friend who has wronged him. Though beginning with anger and despair, the psalm ends more optimistically with an affirmation of faith in God’s divine retribution. This change in tone is reflected in the structure of Psalmus hungaricus. Although arguably in rondo form, given the chorus’ recurring unison chant, the overall two-part structure is the more important formal aspect of the piece. Kodaly marks the poem’s shift in tone with an ethereal orchestral interlude played by the strings, harps, and woodwinds. As Tóth writes, “His musical setting exhausts both the national and subjective elements of the poem and molds them into the one perfect and homogenous unit of great visionary beauty and of tremendous lyric and dramatic strength.”

Program Notes by Katherine Buzard


Johannes Brahms
Schicksalslied (Song of Destiny)
Friedrich Hölderlin (1770-1843)

Ihr wandelt droben im Licht,
Auf weichem Boden, selige Genien!
Glänzende Götterlüfte
Rühren euch leicht,
Wie die Finger der Künstlerin
Heilige Saiten.

Ye move up yonder in light,
On airy ground, o blessed spirits!
Radiant winds ethereal
O’er you play light,
As the fingers inspired that wake
Heavenly lyre-chords.

Schicksallos, wie der schlafende
Säugling, atmen die Himmlischen;
Keusch bewahrt
In bescheidener Knospe
Blühet ewig
Ihnen der Geist,
Und die seligen Augen
Blicken in stiller,
Ewiger Klarheit.

Free from Fate, like the slumbering
Suckling, breathe the immortals.
Pure, unsullied,
In bud that enfolds
It blooms for aye,
The flower of their spirit.
And the eyes of the blessed
Gaze in tranquil
Brightness eternal.

Doch uns ist gegeben
Auf keiner Stätte zu ruhn;
Es schwinden, es fallen
Die leidenden Menschen
Blindlings von einer
Stunde zur andern,
Wie Wasser von Klippe
zu Klippe geworfen,
Jahrlang ins Ungewisse hinab.

But to us is it given
In no abiding place to dwell;
We vanish, we stumble,
We suffering, sorrowing mortals
Blindly from one
Brief hour to another,
Like water from boulder
To boulder flung downward,
Year by year to the dark Unknown below.

Zoltán Kodály
Psalmus Hungaricus
Mihály Vég Kecskeméti (? – after 1567) 

Movement I

Mikoron Dávid nagy búsultában
Baráti miatt volna bánatban
Panaszolkodván nagy haragjában
Ilyen könyörgést kezde ő magában.

When as King David sore was afflicted,
By those he trusted basely deserted,
In his great anger bitterly grieving,
Thus to Jehovah prayed he within his heart.

Istenem Uram! kérlek tégedet
Fordítsad reám szent szemeidet
Nagy szükségemben ne hagyj engemet
Mert megemészti nagy bánat szívemet.

God of my fathers! Bow Thine ear to me,
Turn not away the light of Thy countenance,
Leave me not lonely in my misery,
Sore is my heart and sorrow o’erwhelmeth me. 

Csak sívok, rívok nagy nyavalyámban
Elfogyatkoztam gondolatimban
Megkeseredtem nagy búsultomban
Ellenségemre való haragomban.

O hear the voice of my complaining!
Terrors of death are fallen upon me,
Hide not Thyself from my supplication,
Hatred and wrath of wicked men oppress me.

Hogyha énnékem szárnyam lett volna
Mint az galamb, elröpültem volna
Hogyha az Isten engedte volna
Innét én régen elfutottam volna.

O that I had but the wings like a dove
I would fly away far into the wilderness;
If to my prayer, Lord, Thou hadst attended,
Long, long ago far hence I would have wonder’d; 

Akarok inkább pusztában laknom
Vadon erdőben széjjelbujdosnom;
Hogynem mint azok között lakoznom
Kik igazságot nem hagynak szólanom.

Better it were to dwell in the desert,
Better to hide me deep in the forest,
Than live with wicked liars and traitors
Who will not suffer that I should speak the truth. 

Éjjel és nappal azon forgódnak
Engem mi módon megfoghassanak
Beszédem miatt vádolhassanak
Hogy fogságomon ők vígadhassanak!

Nightly and daily go they about me,
Seeking how they may take me in the snare,
And by false witness seek to destroy me,
Make me a prisoner; then would they shout with joy!  

Egész ez város rakva haraggal
Egymásra való nagy bosszúsággal
Elhíresedett az gazdasággal
Hozzá fogható nincsen álnoksággal!

Violence and strife rage fierce in the city,
Mischief and malice, envy and sorrow,
Boasting of riches, pride of possession;
Ne’er in all the world saw I such deceivers!

Gyakorta köztük gyűlések vannak
Özvegyek, árvák nagy bosszút vallnak
Isten szavával ők nem gondolnak
Mert jószágukban felfuvalkodtanak.

They take their evil counsel in secret,
Fatherless children slay they and murder,
God’s high commandment they have despised,
Swollen with substance, drunken with lust and pride.

Movement II

Keserűségem annyi nem volna
Ha ellenségtül nyavalyám volna
Bizony könnyebben szenvedtem volna
Magamat attól megóhattam volna

I could have borne so sore an affliction,
Were it an enemy that had reproach’d me,
Yes, in truth I could then have endur’d it,
For then I could have hidden myself from him.

De barátomnak azkit vélek volt
Nagy nyájasságom kivel együtt volt
Jó hírem-nevem, tisztességem volt
Fő ellenségem, most látom, hogy az volt!

But it was thou, my friend whom I trusted,
(Did we not take sweet counsel together?)
Thou whom I reckon’d true friend and faithful,
Thou art the man whose hand would have struck me down!

Keserű halál szálljon fejére
Ellenségemnek ítéletére
Álnokságának büntetésére
Hitetlenségnek kijelentésére!

Smite them with destruction, O Lord, and slay them,
And let Thy judgment fall heavy on them,
Cut down this people, Lord, in Thine anger,
Send out Thy truth, let unbelievers perish!

Én pedig, Uram, hozzád kiáltok
Reggel és délben, este könyörgök
Megszabadulást tetőled várok
Az ellenségtől mert én igen tartok.

I give Thee honor, Lord, and worship Thee,
Evening and morning and at the noonday,
Thou that abidest, Thou art my helper
When those that hate Thee sorely do oppress me.

Movement III

Te azért lelkem, gondolatodat
Istenben vessed bizodalmadat
Rólad elvészi minden terhedet
És meghallgatja te könyörgésedet.

So in Jehovah I will put my trust,
God is my stronghold and my comforter;
I cast my burden always on the Lord,
His hand in mercy will raise me from despair.

Igaz vagy Uram, ítéletedben
A vérszopókat ő idejökben
Te meg nem áldod szerencséjökben
Hosszú életök nem lészen a földön.

Thou art our One God, righteous in judgment,
Vengeance is Thine for those that do evil,
Thou shalt not bless them, trusting in vain things,
Thou shalt take them away as with a whirlwind.  

Az igazakat te mind megtartod
A kegyeseket megoltalmazod
A szegényeket felmagasztalod
A kevélyeket aláhajigálod.

As for the righteous, Thou dost preserve them,
They that show mercy shelter find in Thee.
Those that are humble Thou dost raise on high.
Those that are mighty scatter’st and destroyest. 

Ha egy kevéssé megkeseríted
Az égő tűzben elbétaszítod
Nagy hamarsággal onnét kivonszod
Nagy tisztességre ismét felemeled!

Whom for a space Thy wrath has chastised,
And has like silver tried in the furnace,
Forth from the fire Thou suddenly tak’st him,
Once more in honor Thou wilt raise him on high! 

Szent Dávid írta az zsoltárkönyvben
Ötvenötödik dícséretében
Melyből az hívek keserűségben
Vígasztalásért szörzék így versekben.

These words King David wrote in his Psalter,
Fifty and fifth of prayers and of praises,
And for the faithful bitterly grieving;
As consolation, I from it made this song.