The lament that ends Jacomo Carissimi’s Jephte is frequently anthologized and taught in undergraduate surveys, and is justly famous for its emotional impact. Although it is generally thought to have been composed for performance at the Oratorio del Santissimo Crocifisso in Rome, Jephte could later have been used in other settings. Carissimi’s strong ties to the Collegio Germanico-Ungarico and its associated church encourage a reconsideration of the lament through a lens of Jesuit spirituality. Ignatius of Loyola’s Spiritual Exercises (1522–24) inspired the use of visual art and drama to facilitate its participatory processes, and the daughter’s lament and the chorus that end Jephte can serve a similar function.

Vincent P. Benitez
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Last modified on Wednesday, 15/04/2020

Alice V. Clark

Alice V. Clark is Professor of Music History at Loyola University New Orleans, where she teaches a wide range of courses in music history and medieval studies. Her research focuses on aspects of the late-medieval motet, but the current project comes from reflections on Jesuit spirituality in connection with Loyola’s Ignatian mission. http://cmfa.loyno.edu/music/bio/alice-clark

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