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16 C O N S O R T I U M C A R I

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C

O N S O R T I U M

C A R I S S I M I

“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti Ritratto di Roma 1638

SILENTIUM TENEBANT Music for Christmas & Epiphany
SILENTIUM
TENEBANT
Music for Christmas & Epiphany

Trinity Church - 322 2nd Street, Excelsior, MN Friday, January 4th - 2007 7:00 pm

St. Mary’s Chapel at the St. Paul Seminary - 2260 Summit Ave, St. Paul, MN Saturday, January 5th - 2007 7:00 pm

Soprano

Carrie Henneman Shaw

Soprano

Diane Koschak

Alto

Jerry J. Hinks

Tenor

Steve Staruch

Baritone

Douglas Shambo II

Bass

Garrick Comeaux

Violins

Karen Fox Fischer Kathryn McWilliams Cheryl Zylla

Basso Continuo

Phil Rukavina, theorbo Thomas E. Walker, Jr. theorbo Mary Virginia Burke, viola da gamba Mark Kausch, violone

Organ

Peter Hendrickson

Direction

Garrick Comeaux

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violone Organ Peter Hendrickson Direction Garrick Comeaux 2 La Chiesa del Gesù ossia Il Gesù La

La Chiesa del Gesù ossia Il Gesù

Peter Hendrickson Direction Garrick Comeaux 2 La Chiesa del Gesù ossia Il Gesù La Basilica di

La Basilica di Sant’Apollinare

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Consortium Carissimi

——— Board Members ——–

Robert Pontious, President

Beth Nunnally, Treasurer

David Seykora, Secretary

Consortium Carissimi is a a 501(c)(3) non-profit organization

P.O. Box 40533

Saint Paul, Minnesota 55104

Tel. 612.822.1376

——————— Consortium Carissimi CD Recordings ———————

Mass for Three Voices with Six Motets of Giacomo Carissimi (1605-1764) Naxos Records 8.555075

Ten Motets of Giacomo Carissimi (1605-1764) Naxos Records 8.555076

Santa Agnese Oratorio Music of Bernardo Pasquini (1637 - 1710) Disques Pierre Verany - Paris PV703051

Dialogue Motets of Cristóbal de Morales Sanctuary Records - London CD GAU 343

Jephte / Jonas / Dai più riposti abissi Two Oratories and a Serenade of Giacomo Carissimi Naxos Early Music 8.557390

12 Motets of Giacomo Carissimi of G. Tricarico, S. Durante, N. Monferrato, F. Foggia, G. M. Pagliardi, M. Cazzati, B. Graziani, and G. Carissimi? Disques Pierre Verany - Paris PV 705011

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Be silent.

Lowly herds and flocks hush their bleating. Whether you dwell on earth or in Heaven, be silent, silent, silent.

THE PROGRAM

from the motet Silentium tenebant

Silentium tenebant for two sopranos, tenor, two violins and Basso continuo

Litania della Madonna Op.11, 1665 for 4 voices and Basso continuo

Alma redemptoris mater for two sopranos, bass and Basso continuo

Giacomo Carissimi (1605-1674)

Bonifazio Graziani (1604-1664)

Giacomo Carissimi

Ach mein herzliebes Jesulein for two sopranos, bass, two violins and Basso continuo

Quasi aquila for tenor solo, two violins and Basso continuo

Das newgebohrne Kindelein BuxWV 13 for four voices, three violins and Basso continuo

Hodie Salvator mundi for six voices, two violins and Basso continuo

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Christoph Bernhard (1628-1692)

Giacomo Carissimi

Dietrich Buxtehude (1636-1707)

Giacomo Carissimi

C O N S O R T I U M

C A R I S S I M I

“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti Ritratto di Roma 1638

Presentation

Consortium Carissimi was founded in Rome in 1996 with the intent of uncovering and bringing to modern day ears the long forgotten Italian-Roman sacred and secular music of the 16 th and especially the 17 th century. Among the various types of music that flourished in Rome during the 17 th century, the Oratories of Giacomo Carissimi are perhaps examples of the most outstanding form of composition of that time. Consortium Carissimi proudly takes on his name as a means for performance practice in both concerts and recordings, moving ahead in the area of the manuscript transcription and the performances of his little known Motets and Cantatas.

Alongside the works of Carissimi, the ensemble also proposes music of his contemporaries, which was often mistaken as music of Carissimi either for the similar style or for it’s simple, fresh new approach to text, melody and accompaniment. Dedicating much of the research and concert activity to composers like Graziani, Rossi, Pasquini and Sances, Consortium Carissimi assures not only extremely interesting Concert Programming, but provides a clearer picture of the musical fermentation of the Early Roman Baroque.

This repertory, wrongly forgotten and heard very little today, even within musicological-performance circles, offers examples of the high level of musical creativity of the time and certainly no less excellent than the European output of the 18 th century. Of great importance is the performance of sacred and secular music transcribed from manuscript or early print sources, which come from libraries located all over Europe. This work, which is done by its founder Garrick Comeaux, allows Consortium Carissimi to program World Premier Concerts and Recordings. The musical style, the affects of the texts, the ornamentation and the choice of the figured bass instruments are objects of continuous research. It is however right within these parameters that Consortium Carissimi finds its reason for existence and finds the vital energy necessary for the continuing research and performance practice.

The Italian Consortium Carissimi ensemble consists primarily of a small nucleus: three male vocal specialists, Fabio Furnari, tenor; Marco Scavazza, baritone; yours truly as bass singer, and Vittorio Zanon, organ and musical direction; Pietro Prosser, theorbo; and Crisitiano Contadin, viola da gamba. This Italian ensemble truly helped build the solid foundation for introducing Consortium Carissimi to North America.

Today you will hear a different formation of the stateside ensemble of Consortium Carissimi. Six fine singers, one to a voice part and exceptional instrumentalists, each adding particular colors of their own. Much of the Carissimi repertory in fact requires more mixed voices and additional instruments, as is in the case of this evening’s concert. It is our hope to pursue the performance of these larger works of this era with this phenomenal stateside ensemble, as well as to continue musical collaboration with our Italian friends.

These first performances of Consortium Carissimi USA are dedicated to all of them.

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of Consortium Carissimi USA are dedicated to all of them. 4 A special thanks to Fr.

A special thanks to

Fr. Tom Margevicius, our host at the St. Paul Seminary,

Rev. W. Andrew Waldo and the community of Trinity Episcopal Church, Excelsior,

Bill Mathis and Hennepin United Methodist Church for the use of their portative organ,

Peter Hendrickson and Tina Brauer for allowing us to rehearse at Augsburg College,

Julie Seykora, Beth Nunnally

and

Elisabeth Comeaux,

for their organizational skills, time and efforts,

Robert Foy for the indispensable help with some very difficult Latin texts and their translations,

and to Mr. Douglas Shambo II for reconstructing the elusive second violin part to Silentium.

the elusive second violin part to Silentium . Look for future concert programming under our Future

Look for future concert programming under our Future Concerts section at our website:

www.consortiumcarissimi.org

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sponsus procedens de thalamo suo exultavit ut gigans ad currendam viam suam; Wisdom 11,23 Quoniam tamquam momentum staterae sic ante te est orbis terrarum et tamquam gutta roris antelucani quae descendit in terram. and liturgical sections in the Responsorio 3 In Nativitate Domini, Quem vidistis, pastores? dicite, annuntiate nobis, in terris quis apparuit? The source is Arion Romanus sive Liber primus sacrarum cantionem I-V vocibus vel instrumentis concidenarum. (Kostanz: D. Hautt, jun., 1670) reproduced with the kind permission of the Zentralbibliotek, Zürich, Switzerland.

We neither know the date of Dietrich Buxtehude's birth or his nationality. Germany claims him, but the Dutch would declare Danish ownership, citing the obituary notice after his death in 1707 which read «he recognized Denmark as his native country, whence he came to our region». He certainly spent most of his life in Germany, where he worked as organist and composer at the main church in Lübeck for nearly 40 years. He left around 114 sacred vocal works, a vast number of compositions for keyboard and organ, and a number of cantatas including Das newgebohrne Kindelein which come to us in manuscript form, from our familiar source in Uppsala.

Buxtehude was undoubtedly one of the finest church composers working in Germany at that time. There is no doubt that Buxtehude must have exerted an influence on the entire Bach family, since his cantatas, like Das newgeborhne point the way to the shape of choral music to come. J.S Bach makes partial use of this Christmas text in his Cantata 122, which carries the same name.

Hodie Salvator mundi is an incipit to numerous liturgical sources for the Christmas season. The creativity involved in textual manipulation at the Collegio in those days, renders however this incredible motet to be appropriate for Easter. Again our friends in Uppsala Sweden keep the manuscript copy which is in tablature only. The text in certain sections of the motet remains to be somewhat of an enigma.

Our Latinist, Robert Foy, has done a magnificent job in discerning the misspelled words and incorrect grammar, but a couple of cases have proven to be real grattacapi (head-scratchers). In these few instances we have simply reproduced what was on the manuscript, leaving the uncertainty within brackets.

Consortium Carissimi was honored to be asked to sing for the 450 th Anniversary of the Jesuit Gregorian University in Rome in 2001. We had an attentive audience of biblical scholars, professors of dogmatic theology, philosophers, religious and students from all over the world. As we closed the concert with Hodie salvator mundi, we were asked to sing the O dies laeta again and again. What a wonderful thing to hear the audience singing this refrain as we all left the chapel that day. We have chosen to close this Christmas concert with this motet in the hopes you might take it with you on your way home.

Buon Natale!

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Garrick Comeaux Artistic Director

Program Notes and Latin text translations

Giacomo Carissimi (1605-1674) Silentium tenebant for two sopranos, tenor, two violins and Basso continuo

Silentium tenebant omnia, et atra nocte circumfusa tellus gelidum sentiebat algorem, dum noctis silentium, inter choros angelorum, virginea vox temperebat dicens, temperebat dicens, laborum dulce levamen, grate puelle veni, veni, lingue Palatium ad hanc aerumnam, qui es confugium.

All things kept silence, and by dark night surrounded, the Earth knew frigid cold, while, in the midst of choirs of angels, the voice of the Virgin broke the night’s silence, saying, “Some sweet relief from my labor, gracious little boy; come, come, leave your palace for this hardship, you who are my refuge.”

Divini infantuli oculos madidos et membra lapsula absterge refove, somne; veni, veni. Hic est, hic est. Qui prodiens, e patris aeterni sinu, plaude coeli somnos, ibi deposuit, ut suis vigiliis dulce nobis ostium compararet.

Sleep, wipe the eyes of the divine infant and refresh his exhausted limbs; come, come. He is here, he is here! Celebrate the one who proceeding from the lap of the Father Eternal, left the slumbers of Heaven behind, that by his wakefulness, he might prepare a sweet access for us.

Sed, blandae pupullae, matris deliciae, mi carae, dormi, dormi, dormi pupullae, dormi blandulae, dormi tenellulae. Dormi, dormi, dormi, tu caeli gaudium, tu matri corculum.

But, darling pupils of the eye, dear to the mother, dear to me, sleep now, sleep, sleep. Little Lad’s pupils, sleep, little darlings, sleep, tender ones. Sleep on, sleep on, sleep on, joy of Heaven, your mother’s dear heart.

Adiuro vos, adiuro, o aeterni gens, o caeliculae, ne suscipetis neque evigilare faciatis dilectum, quoad usque ipse velit.

I beg you, I beg, O Folk of Eternity, O Dwellers in Heaven, do not pick up the precious one or offer to wake him until he wills it himself.

Silete Pecudes et oves humiles balatus comprimunt. Quique terriginae quique caeliculae, silete, silete, silete.

Be silent. Lowly herds and flocks hush their bleatings. Whether you dwell on earth or in Heaven, be silent, silent, silent.

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Bonifazio Graziani (1604-1664) Litania della Madonna Op.11, 1665 for 4 voices and Basso continuo

Kyrie eleison. Christe eleison. Kyrie eleison. Christe audi nos. Christe exaudi nos. Fili redemptor mundi Deus, Pater de Caelis Deus , Spiritus Sancte Deus, miserere nobis. Sancta Trinitas unus Deus, miserere nobis.

Sancta Maria, ora pro nobis. Sancta Dei Genitrix, ora pro nobis. Sancta Virgo Virginum, ora pro nobis.

Mater Christi, Mater divinae gratiae, ora pro nobis. Mater purissima, Mater castissima, ora pro nobis. Mater inviolata, Mater intemerata, ora pro nobis. Mater amabilis, Mater admirabilis, ora pro nobis. Mater Creatoris, Mater Salvatoris,

Virgo prudentissima, Virgo veneranda, Virgo praedicanda, Virgo potens, Virgo clemens, Virgo fidelis, Sedes sapientiae, Causa nostrae letitiae, ora pro nobis. Vas Spirituale, Vas honorabile, Vas insigne devotionis, ora pro nobis. Rosa mystica, Turris Davidica, Turris eburnea, Domus aurea, Faederis arca, Ianua Caeli, Stella matutina, Salus infirmorum, Refugium peccatorum, Consolatrix afflictorum, Auxilium Christianorum, ora pro nobis.

Regina Angelorum, Regina Patriarcharum, Regina Prophetarum, ora pro nobis. Regina Apostolorum, ora pro nobis. Regina Martyrum, Regina Confessorum, Regina Virginum, ora pro nobis. Regina Sanctorum omnium, ora pro nobis.

Agnus Dei qui tollis peccata mundi, parce nobis, Domine. Agnus Dei qui tollis peccata mundi, exaudi nos Domine. Agnus Dei qui tollis peccata mundi, miserere nobis.

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Lord, have mercy, Christ, have mercy, Lord, have mercy. Christ, hear us. God the Son, redeemer of the world, God the Father. God the Holy Spirit, have mercy on us, Holy Trinity, One God, have mercy on us.

Holy Mary, pray for us. Holy Mother of God, pray for us. Holy Virgin of Virgins, pray for us.

Mother of Christ, Mother of divine grace, pray for us. Mother most pure, Mother most chaste, pray for us. Mother inviolate, Mother undefiled, pray for us. Mother adorable, Mother worshipful, pray for us. Mother of the Creator, Mother of the Savior,

Virgin most wise, Virgin worthy of veneration, Virgin commendable, Virgin powerful, Virgin merciful, Virgin faithful, Seat of wisdom, Cause of our happiness, pray for us. Vessel spiritual, Vessel honorable, Vessel remarkable for devotion, pray for us. Mystic Rose, Tower of David, Tower of ivory, Golden Household, Arc of the Covenant, gate of Heaven, morning star, Health of the sick, Refuge of sinners, Consoler of the afflicted, Aid of Christians, pray for us.

Queen of Angels, Queen of the Patriarchs, Queen of the Prophets, pray for us. Queen of the Apostles, pray for us. Queen of Martyrs, Queen of Confessors, Queen of Virgins, pray for us. Queen of All Saints, pray for us.

Lamb of God, who takes away the sins of the world, spare us, Lord. Lamb of God, who takes away the sins of the world, hear us, Lord. Lamb of God, who takes away the sins of the world, have mercy on us.

T hanks to the popularity of early Italian baroque music during its innovative period, northern Europeans that visited or studied in the eternal city would take with them copies of the music they so loved, and Carissimi’s music was no exception. Silentium tenebant is preserved in manuscript form in the Bibliothèque National, Paris. Whether or not this style of composition was common for Carissimi, it is certainly an exceptional, one of a kind piece of music that is available to us today. The word painting and rhythmic colors of the violins along with figured bass ostinato passages, resembling the drone of the zampogna (Italian bagpipes, which one can still hear at Christmas time in Italy) gently place listeners and musicians alike around a manger as a baby soundly sleeps.

musicians alike around a manger as a baby soundly sleeps. Carissimi’s friend and colleague, Bonifazio Graziani

Carissimi’s friend and colleague, Bonifazio Graziani was employed at Il Gesù, a very large church just down the street from Sant’ Apollinare where Carissimi lived and worked in Rome. Images of both institutions are reproduced on page 15 this program. The Litania della Madonna is undoubtedly a good example of the Graziani’s genius. Skillfully incorporating a text which is by nature a verse with a response, the litany proper begins after the prescribed penitential rite, with clearly stated petitions and extended final ora pro nobis from all four voices. As is customary, the work is concluded with a form of Agnus Dei. Graziani was fortunate to have a brother who was a printer, and consequently a great deal of his music was printed. Carissimi definitely had no such luck. This litany comes from the Opus 11, published in 1665, in which were included four other litanies; two for five voices, one for seven and one for eight. Our transcription is from a copy kept in the beautiful Biblioteca Casanatense in Rome.

Alma redemptoris mater comes from an anthology published in Rome in 1647. Carissimi was fortunate to have this motet and one other placed among these. Our transcription comes from a doctoral dissertation written by Andrew Jones, whose source is the Library of Westminster Abbey in London. An interesting variation on this text is found in the Universitetsbiblioteket in Uppsala Sweden. The original Alma text is one of four Marian Antiphons, traditionally said or sung after Compline all throughout Advent up to the Feast of the Presentation, but this same northern European source also provides the same work with a modified text, more proper to the Protestant world of the time; Alleluia. Jesum nostrum laudate.

Carissimi was sought out as a composition teacher and many that were enrolled in the college were later to achieve eminence as composers. Composers already established sought his insight as well, such as Marc-Anoine Charpentier, Johann Kaspar Kerll, and Christoph Bernhard. Bernhard took the fine text of Ach, mein herzliebes Jesulein which was later to be set by many composers such as Johann Schelle (1648-1701) and of course J.S. Bach, who placed it as the final chorale of the first cantata of his Weihnachts - Oratorium. It follows the lullaby nature of Silentium tenebant and makes a fine contribution to this particular concert program.

The Christmas text in Quasi aquila is a good example of the creativity of counter-reformation authors. Whether the actual author is a Jesuit priest of the Collegio Germanico or is Carissimi himself, is at present impossible to say. The text is a poetical reconstruction of biblical passages taken from Deuteronomy 32,11 sicut aquila provocans ad volandum pullos suos et super eos volitans expandit alas suas et adsumpsit eum atque portavit in umeris suis.; Psalm 19(18) 6 in sole posuit tabernaculum suum et ipse tamquam

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O dies laeta, o lux amata, o dies fausta, o lux optata, o felix dies, o lux beata. Haec dies quam fecit Dominus, exultemus et laetemur in ea!

O day wonderful, a light beloved, a day fortunate, o light desired, o happy day, a night blest. This is the day the Lord has made, let us rejoice and be glad in it.

Hodie Salvator mundi destruxit vincula mortis et ab inferis victor ascendens, elevavit portas aeternales utacciperent fidelis omnes deplenitudine divinitatis. Gaude, tellus, et exulta in perfecta sortium, redemptorem habet culpa, caeli patet ostium. Cessa fides, cohors Christi, [cessa pectoris im glutta ad triumphanque vidisti serenate mastopultu.]

Today the world’s Savior has destroyed death’s chain and, ascending from Hell a victor, has opened the gates eternal, that all the faithful may receive the fullness of the Godhead. Rejoice, Earth, and exult in the fulfillment of the prophecies. Our sin has a savior who shows the way to Heaven. Your faith is completed, Company of Christ …

Triumphate nunc, fidelis gratiarum filii, triumphate, o fidelis sanctitatis socii. Animatum corpus illius, lachrymantes filiae, iam surrexit, vos post illum Galilaeam pergite. Vale horror inferorum, iam scudendum ad serena, vale [dolorum tomum, iam migrandum ad amanu, vale dolorum tomum,] iam migrandum ad serena. Nullae turbent jam furentis Acherontis minae, [trunces ivit stige] refulgentis gloriosus crucis stipes.

Triumph now, faithful sons of grace, triumph, o faithful comrades of holiness. His body has been revived, weeping daughters, already he has risen, go you after him to Galilee. Farewell, horror of Hell, the sunshine is now to be enjoyed, farewell … Now, no threats of raging Acheron confound …

Age Mater [deplorantis ors recurrit gaudii,] nunc mirare suscitati iuvat mirum filii. [Nunc velator manum fausta tolle plausi et bravi] atria pandis coeli claustra. Gaude laudis melodia, gaude laudis melodia.

Go, Mother … now … it is good to marvel at the marvel of your risen son. You have opened the locked halls of Heaven. Rejoice with songs of praise, rejoice with songs of praise.

Tristes diu [cimbimunes] Christo dicant gloriam, [nati sedes triumphales] concinant victoriam, [nati sedes triumphales] concinant victoriam. Ite luctus, ite fletus [erum nostri] mortis metus cadunt, jubilo. Sexus omnis plaudat coetis hoc paschali gaudio.

The sad ones, long since dead, give glory to Christ. Depart lamentation, go, depart, weeping … the fears of death are dead and I rejoice. Let every kind together applaud this Paschal joy.

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Giacomo Carissimi Alma redemptoris mater for two sopranos, bass and Basso continuo

Alma redemptoris mater, quae pervia caeli Porta manes, et stella maris, succurre cadenti, Surgere qui curat, populo: tu quae genuisti, Natura mirante, tuum sanctum Genitorem Virgo prius ac posterius, Gabrielis ab ore Sumens illud Ave, peccatorum miserere.

Hail, Queen of Heaven, Hail, Ruler of Angels: Greetings, Root of Jesse, Portal Through which lights has dawned upon the world:

Rejoice, glorious Virgin, Lovely beyond all the rest:

Greatly, o greatly fitting, And for us ever plead to Christ.

Christoph Bernhard (1628-1692) Ach mein herzliebes Jesulein for two sopranos, bass, two violins and Basso continuo

Ach, mein herzliebes Jesulein! Mach'dir ein rein sanft Bettelein, zu ruhn in meines Herzens Schrein, dass ich nimmer vergesse dein.

O my beloved baby Jesus! Make here your soft little bed, and rest in the shrine of my heart, so that I may never ever forget you. Amen.

Giacomo Carissimi Quasi aquila for tenor solo, two violins and Basso continuo

Quasi aquila provocans ad volandum et sicut gigas Salvator noster exultavit ad curendam viam; desummo egressus caelo descendit tanquam imber, et sicut stillae roris super terram. Non in purpura, non in folio foeno tectus, Rex pacificus regnat in praesepio. In humili caula Salvator est natus cui caelum est aula, qui nobis est datus.

Like an eagle compelled to take flight and just like an athlete, Our Savior rejoiced to run his race; So, having issued from Heaven like the rain or drops of dew, he came down to the earth. Clad in no purple, upon no throne, the King of Peace reigns in a manger. In a humble stable was born the Savior who was given for us, whose palace is Heaven.

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Si parvus in annis, si vilis in pannis, est magnus in caelis, pretiosus in stellis. Accurunt custodes gregis et admirantur diffusam gratiam in suis labris. O speciose forma, O venustissime puer. Pastores, dicite, puer quem vidistis, quam pulcher est dicite. Voces quas audistis quam dulces sunt dicite. Puer quem vidistis, quam pulcher est dicite, annuntiate et cantate, Noe, noe, noe!

If little in years, if miserable in rags, he is great in the heavens, precious among the stars. The shepherds hurry and wonder at the grace suffused on his lips. Oh what a splendid body, O what a good-looking boy! Shepherds, tell us: the boy you saw, tell us how lovely he is. The voices you heard, tell us how sweet they are. The boy you saw, how lovely he is, tell us: announce it and sing “Noel, Noel, Noel.”

he is, tell us: announce it and sing “Noel, Noel, Noel.” In a desert land he

In a desert land he found him, in a barren and howling waste. He shielded him and cared for him; he guarded him as the apple of his eye, like an eagle that stirs up its nest and hovers over its young, that spreads its wings to catch them and carries them on its pinions.

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Deuteronomy 32, 10-11

Dietrich Buxtehude (1636-1707) Das newgebohrne Kindelein BuxWV 13 for four voices, three violins and Basso continuo

Das neugeborne Kindelein, Das herzeliebe Jesulein Bringt abermal ein neues Jahr Der auserwählten Christenschar. The newly born, the tiny child, The darling, little Jesus-child, Doth once again the year renew For this the chosen Christian throng. Ist Gott versöhnt und unser Freund, Was kann uns tun der arge Feind? Trotz Teufel und der Höllen Pfort, Das Jesulein ist unser Hort.

If God, appeased, is now our friend, How can us harm the cruel foe? Spite devil and the gate of hell, The Jesus-child is now our shield. Es bringt das rechte Jubeljahr, Was trauern wir denn immerdar? Frisch auf! itzt ist es Singenszeit, Das Jesulein wendt alles Leid. It brings the year of Jubilee, Why do we mourn then anymore? Quick, rise! Now is the time for song, The Jesus-child fends off all woe.

Giacomo Carissimi Hodie Salvator mundi for six voices, two violins and Basso continuo

Hodie Salvator mundi, post crucis tormentum imposuit finem doloribus nostris. Tu ergo Jerusalem, carpe lauros, carpe flores, texe Christo lauretum triumphanti da honores, concine victoriam triumphanti, diem faustam tolle voce ad coelestem regiam.

Today the world’s Savior, after the torment of the cross, has put an end to our sorrows. Therefore, Jerusalem, gather laurel boughs, gather flowers, braid a laurel crown for Christ, heap honor on the victor, proclaim the victor’s triumph, the happy day, your voice lift up to the heavenly realm.

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