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W hen the Lamb broke open the fifth seal, I saw underneath the altar, the souls of those who had been slain because of the witness they bore to the word of God.”

Apocalispe 6,9

the witness they bore to the word of God.” Apocalispe 6,9 16 C O N S

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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

USQUEQUO PECCATORES Music for All Saints & All Souls Gethsemane Church - 905 4th Avenue
USQUEQUO
PECCATORES
Music for All Saints & All Souls
Gethsemane Church - 905 4th Avenue South, Minneapolis, MN
Thursday, November 1st - 2007 7:00pm

St. Mary’s Chapel at St. Paul Seminary - 2260 Summit Ave, St. Paul, MN Sunday, November 4th - 2007 4:00pm

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 object 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 consisted 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 built the foundation for introducing Consortium Carissimi to North America.

Today you will hear the newly formed stateside ensemble of Consortium Carissimi. Much of the Carissimi repertory requires more mixed voices and additional instruments, as is in the case of this evening’s concert. It is in fact my hope to pursue the performance of the larger works of this era with this phenomenal stateside ensemble, as well as to continue musical collaboration with my Italian friends. This first performance of Consortium Carissimi USA is dedicated to all of them.

Garrick Comeaux

www.consortiumcarissimi.it

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One of the first phrases I learned in Italy, many years ago, was the colloquial expression, ma ti rendi conto, which can be said as a question or as an exclamation. It means in either case, can you believe it? or perhaps go figure!

I landed in Italy with a one way ticket, to continue my studies at the Conservatorio di Santa Cecilia in Rome.

In order to make ends meet financially and not get into trouble with Italian work permit office, I took a job as an au pair in a private home in Velletri. I soon came to the realization that this was the home of the Italian cinema actor, Ugo Tognazzi and his large extended family, ma ti rendi conto!

I helped in the kitchen, served at table and I drove the children to school; Maria Sole to Castel Gandolfo and Gian-Marco to Marino. This is where it all started. I soon fell in love with Marino and all the Castelli Romani, land of wine and bread and Popes, and the birth-place and home of two of our composers in this evening’s concert, Graziani and Carissimi, ma ti rendi conto!

It is interesting to notice that this small hillside town of Marino produced musicians the likes of Carissimi and Graziani. There is yet one more but even lesser-known musician that Marino can claim. Giovanni Battista Mocchi will make for interesting future investigation and concert programming.

I am very pleased that this music has stirred up interest on the part of such fine singers and players and

has brought about this state side ensemble to come together. We are truly honoured to bring this music to

the fine Twin Cities audience.

Garrick Comeaux

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

www.consortiumcarissimi.it

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

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

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

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

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

Jephte / Jonas / Dai più riposti abissi Naxos Early Music 8.557390

12 Motets of Giacomo Carissimi Disques Pierre Verany Paris PV 705011

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Even though Mottettum de martyribus is written on the front cover of Usquequo peccatores, this sort of composition exposes the difficulty in determining what actually differentiates an oratorio from a Motet. This Motet (or Oratory) is made up of different familiar Biblical passages which recount the course of all the Saints and Souls throughout history.

A facsimile of page three of the figured bass part has been placed on the back cover of this concert program. It gives specific indication of the theatrical nature of this music, whether we call it an oratory or a motet. You will notice an inscription to the left of the third line down which states sotto l’altare for choir II. This choir (soprano, alto and tenor) sang from underneath the altar where often the relics of a patron saint are placed for veneration. Many basilicas and churches in Rome have this structure (somewhat similar to St. Peter’s) thereby creating acoustical dynamics for a very dramatic interpretation.

The works in this concert program are undoubtedly some of greatest masterpieces of the Early Italian Baroque. It is most appropriate to end our first concert with the words of the psalmist: Raise a song and sound the timbrel, the merry harp, and the lyre.

A special thanks

Garrick Comeaux

to Fr. Tom Margevicius, our host at the St. Paul Seminary and helper with latin text translations,

to Rev. Aron Kramer and the community of Gethsemane Episcopal Church,

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

to Julie Seykora, Beth Nunnally, for helping set to up our state-side administration,

to Tom Walker and Mark Kausch for thier collective energies,

to Douglas Shambo for help with more latin text translations and to

Elisabeth Comeaux

for truly believing that this incredible endeavor should come to pass.

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Sopranos

The Singers

Altos

Tenors

Basses

Linh Kaufman

Karla Cole

Steven Knight

Dan Cross

Kathryn Higgins

Timothy Faatz

Tim Nelson

Tim Higgins

Bridget Higgins

Jerry J. Hinks

Steve Staruch

Christopher Michela

Diane Koschak

Beth Nunnally

Ben Henry-Moreland

Julie Seykora

Douglas Shambo II

Carrie Henneman-

Shaw

Lani Willis

Violin

Kathryn McWilliams

Cornetto

Scott Hagarty

Recorders

Eden Kaiser

Alan Kolderie

The Players

Basso Continuo

Thomas E. Walker, Jr. theorbo

Phil Rukavina, theorbo

Annett Richter, lute

Mary Virginia Burke, viola da gamba

Mark Kausch, violone

Direction

Garrick Comeaux

Jeff Stone

Organ

David Bartlett

English translations of the Latin Texts with Biblical and the Liturgical references have been reproduced in bold letters and left in their original contexts. Poetical innovations in these counter-reformation texts are translated directly in [brackets].

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THE PROGRAM

Timete Dominum

Giacomo Carissimi (1605-1674)

Motet for five mixed voices, and Basso continuo

Ben Henry-Moreland, Bass

Timete Dominum omnes sancti eius quoniam nihil deest timentibus eum. Inquirentes autem Dominum, non deficient omni bono. Alleluia. Venite, venite ad me, omnes qui laboratis et oneratiestis, et ego reficiam vos. Alleluia.

O fear the LORD, ye his saints: for there is no want to them that fear him.

but

they that seek the LORD shall not want

any good thing. Ps. 34(33) 10,11

Come unto me, all you that labor and are heavy laden, and I will give you rest. Mt. 11,28

Beati mundo corde

Bonifazio Graziani (1604-1664)

Motet for three mixed voices and Basso continuo

Diane Koshak, Kathryn Higgins, Sopranos - Steve Staruch, Tenor

Beati, beati mundo corde, beati, beati innocentes quae Deus nobis bona preparavit non oculi viderunt non aures audiverunt, non cor mens humana non cogitavit. Gaudete ergo, gaudete, gaudete mundo corde, gaudete innocentes gaudete, gaudete mentem sanctam Domini, ad mentam sanctam Domini. Vestra vos iubilantes innocentia ducet. Gaude, gaude beate, beate gaude, collaudare carmen aeterno regi modulati. Innocentiam servasti generosam animosam tuam fidelium te probasti iam coronam, coronam capite Longa merces, brevis vitae voluptatis faustitatis immortalis infinita reportabis flumine. Certamen consumasti. Iam in valle lachrymarum. Gemendo plorando et suspirando et suspirando tuum semen seminasti. Iam gloriam petis et regna caelorum, iam gloriam petis et regna caelorum, iam gaudia metis flores, et flores, et flores honorum.

Blessed are the pure in heart:

for they shall see God. Mt 5,8 But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him. I Cor 2,9

Blessed is the man that endures temptation: for when he is tried, he shall receive the crown of life, which the Lord hath promised to them that love him. Js 1, 12

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Manuscripts or Early Printed Editions, and as a consequence, much if not all of this music has not been performed and heard since. Any endeavour to accurately account for this music would be difficult without the enormous work done by Prof. Andrew V. Jones in his Doctoral Dissertation Motets of Carissimi Oxford University 1980, British studies in musicology no.5; a revision of the author’s thesis, produced and distributed by UMI Research Press, Ann Arbor, Michigan (USA).

More than 200 Motets have been attributed to Carissimi over the years but Prof. Jones’ exhaustive work has helped in clearing much of the confusion concerning the correct authorship of numerous Motets (Cazzati, Foggia, Sances and Graziani). When close scrutiny is applied in the quest for authenticity, many Motets still remain of uncertain attribution. All of this evening’s music is definitely of the hand of Carissimi, Graziani and Cavalli.

We open with the Motets Timete Dominum, and Beati mundo corde. Timete is in fact an interesting aspect of the liturgical innovation going on within the counter-reformation city of Rome. The motet begins with the text from the Gradual Psalm, moves directly to the Alleluia Verse and Tract, repeating the Alleluia.

Bonifazio Graziani is perhaps one of the best kept secrets of the early Roman Baroque period. Discerning authorship of his music is not as problematic as it is with Carissimi’s, since most of his efforts were conveniently published, by his brother, Graziano. His motet Beati mundo corde is set to the first line or incipit of the text for the Offertory of All Saints, but as is often the case in this period, none of the text that follows is consistent with the prescribed liturgical text.

Militia est vita hominis and Suscitavit Dominus are “dialogue motets” that were probably not heard within any liturgical context, but rather in the para-liturgical atmosphere of the oratory, (San Filippo Neri at the Chiesa Nuova and of course the Santissimo Crocifisso near via del Corso). Fridays in Lent were especially popular for Roman Catholics (literally Roman) and these events of great music and fine preaching were considered to be spiritual exercises for the upcoming Holy Week and the Easter Feast.

Pier Francesco Cavalli came from Crema, Italy (same area as Monteverdi and Verdi) but found his way to Venice where he held the prestigious post of choirmaster at St. Mark’s for many years. At the death of Monteverdi in 1643, the position had in fact been offered to Carissimi, who declined for reasons we are not sure about, but we can certainly speculate that Rome was home and that he had it quite good. Towards the end of Cavalli’s career, he wrote this eight voice Requiem in 1675 and died in 1676, one year after Giacomo. The Sequentia Dies irae which belongs to this Requiem Mass is dramatic and expressive. Made up of 19 small sections, the eight voices perform as different organ registrations, alternating in threes and fours, and splendidly bringing to a close the first part of this All Saints Concert.

Sustinuimus pacem and Usquequo peccatores come from a Seminary Library in Kroměříž in Moravia of the Czech Republic. Sustinuimus pacem is composed of two responsorio texts that come from the Offices for the 1 st Sunday in November. The rest of the text is a free composition, either on the part of Graziani himself or a Jesuit colleague at Il Gesù, where he was employed, as Maestro d Cappella.

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Jubilate, jubilate, Martyres non cadet amplius super vos aestus et sol, jubilate

Jubilemus, jubilemus.

Facti estis coronati, nunc felices, nunc felices et beati in aeternum esultate. In aeternum exultate, in aeternum triumphate. Facti sumus facti sumus consolati nunc felices et beati in aeternum exultemus in aeternum triumphemus.

Gaudete Martyres, jubilate Martyres. Gaudete, gaudete, jubilate. Sumite psalmum, tangite citharas et cantate.

[ Rejoice O martyrs! ] They shall not hunger nor thirst; neither shall the heat nor sun smite them: for he that hath mercy on them shall lead them, even by the springs of water shall he guide them. Is.49,10

[ We rejoice! ]

When the LORD restored the fortunes of Zion, then were we like those who dream. Ps 126,1

[ Rejoice in eternity, triumph forever! ]

Sing with joy to God our strength and raise a loud shout to the God of Jacob. Raise a song and sound the timbrel, the merry harp, and the lyre. Ps 80,1

—————— This evening’s performance ——————

Today, unfortunately not one autograph manuscript of Giacomo Carissimi is to be found in Rome or anywhere for that matter. The first attempt to seriously search for them was done by Pietro Alfieri (1801-1863) who published his findings in the Gazzetta musicale di Milano in 1851 and again in 1855. Alfieri concluded that the suppression of the Society of Jesus (1773) caused an enormous upheaval at the College where Carissimi taught and where the manuscripts were most likely sold as waste paper to the cheese mongers at the Campo de’ fiori open market. The French occupation in Rome (1798-1799) also caused the pillaging of many archives which contained this sacred music. Already in 1851, Alfieri underscores the fact that those manuscripts which survive are due to the enthusiasm and diligence of those who were students of Carissimi, and to those scholars who came to Italy and collected music.

Since there are no existing autograph Motet manuscripts of Giacomo Carissimi, all manuscripts that have been transcribed by Consortium Carissimi are transcriptions themselves of Carissimi’s contemporaries. These transcriptions of both sacred and secular music come from Library

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Militia est vita hominis

Giacomo Carissimi

Motet for three mixed solo voices, two violins, bassoon and Basso continuo

Kathryn Higgins, Lani Willis, Sopranos - Douglas Shambo, Bass

Militia est vita hominis super terram, militia est. Non coronabitur nisi qui legitime certaverit, non coronabitur.

State ergo dilectissimi succinti lumbos vestros in veritate, induimini loricam justitiae, et pugnate cum dracone.

Induimini arma lucis. Induimini arma fidei in qua possitis ignem tela nequissimi hostis extinguere.

Sumite galdium spiritus, sumite scutum justitiae, sumite galeam salutis.

Sumite arma lucis, et pugnate cum dracone.

Non coronabitur nisi qui legitime certaverit, non coronabitur.

Suscitavit Dominus

Does not man have hard service on earth?

Job 7,1

Similarly, if anyone competes as an athlete, he

does not receive the victor's crown unless he competes according to the rules. II Tim. 2,5 Stand firm then, with the belt of truth buckled round your waist, with the breastplate of righteousness in place, Eph. 6,14 And there was war in heaven. Michael and his angels fought against the dragon, and the dragon and his angels fought back. Ap. 12,7 The night is nearly over; the day is almost here. So let us put aside the deeds of darkness and put on the armor of light. Rm. 13,12 In addition to all this, take up the shield of faith, with which you can extinguish all the flaming arrows of the evil one. Take the helmet of salvation and the sword of the Spirit, which is the word of God. Eph. 6,16-17

Giacomo Carissimi

Motet for three mixed voices, two violins and Basso continuo

Jerry J. Hinks, Alto - Ben Henry-Moreland, Bass - Steve Staruch, Tenor

Suscitavit Dominus super Babylonem et super habitatores eius quasi ventum pestilentem misit ventilatores et ventilabunt et demolientur eam.

Fugite populi, fugite gentes, de medio Babylonis, et salvet unusquisque animam suam.

See! I rouse against Babylon, and against those who live in Chaldea, a destroying wind. Against Babylon I will send winnowers to winnow her and lay waste her land; Jer. 51,1-2

Flee away from the confines of Babylon, flee for your lives. Jer. 51,6

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Super muros eius levate signum augete custodiam preparate insidias, acurite sagittas, implete faretras, quia ultio Domini est, mens eius est perdat eam, e t ponat urbem fortem in ruinam.

Against Babylon’s walls display the standard, keep strict watch, post sentinels. Jer 51,12 Whet arrow and fill quiver, the Lord has put a resolve into the heart of the Median King, he will have Babylon overthrown. Jer 51,11

a crumbling ruin,

all that is left of a walled city. Is. 25,2

thy

end is reached, thy thread is spun.

Infelix Babylon, quae habitas super aquas multas locu- ples in thesauris, venit finis eius, venit interitus eius, venit dies praecisionis tuae, cessarverunt fortes tui a praelio, habitaverunt in praesidiis, devoratum est robur eorum, incensa sunt tabernacula tua.

Dies irae

Jer 51,13

See how her warriors quit the field, to garrison their strongholds, how their valour dies away, how her roofs blaze, the bars of her gates shattered! Jer 51,30

Pier Francesco Cavalli (1602-1676)

The Sequentia from the Missa pro defunctis for two choirs

Dies irae, dies illa, solvet saeculum in favilla, teste David cum Sibylla.

Day of wrath, day that will dissolve the world into burning coals,

as David bore witness with the Sibyll.

Quantus tremor est futurus, quando iudex est venturus, cuncta stricte discussurus!

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.

Mors stupebit et natura, cum resurget creatura, iudicanti responsura.

Liber scriptus proferetur, in quo totum continetur, unde mundus iudicetur.

Iudex ergo cum sedebit, quidquid latet apparebit:

nil inultum remanebit.

How great a tremor is to be, when the judge is to come briskly shattering every (grave).

A trumpet sounding an astonishing sound

through the tombs of the region drives all (men) before the throne.

Death will be stunned and (so) will Nature, when arises (man) the creature responding to the One judging.

The written book will be brought forth,

in which the whole is contained

whence the world is to be judged.

Therefore when the Judge shall sit, whatever lay hidden will appear; nothing un-avenged will remain.

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Pereant peccatores a facie Dei, memoria eorum super illos veniat mors et descendant infernum, pereant, pereant peccatores a facie Dei, pereant, pereant, pereant.

Heu, Stella, heu stella fatales, heu, procelle, heu, heu procelle fatales, nos abscondite colles, nos abscondite valles, heu perimus, perimus, montes et valles nos perimus sed non perimus.

Gaudete, gaudete Martyres, gaudete, Martyres, iustitia vestra convertetur, convertetur in gaudium, vertetur in gaudium gaudete, Martyres, gaudete.

Let them vanish like smoke when the wind drives it away; as the wax melts at the fire, so let the wicked perish at the presence of God.

Psalm 67,3

Let their sin be always before the LORD; but let him root out their names from the earth;

Psalm 109,15

Let death come upon them suddenly; let them go down alive to the grave; for wickedness is in their dwellings, in their very

midst. Psalm 55,15

When the third angel blew his trumpet, a large star burning like a torch fell from the sky. It fell on a third of the rivers and on the springs of water. Ap 8,10 See, the storm of the LORD! His wrath breaks forth in a whirling storm that bursts upon the heads of the wicked. Jer 30,23 They cried out to the mountains and the rocks, “Fall on us and hide us from the face of the one who sits on the throne and from the wrath of the Lamb…” Ap 6,16

I will leave your flesh on the mountains, and fill the valleys with your carcass. Ez 32,6 They came and woke him, saying, "Lord, save us! We are perishing!" Mt 8, 25 We are afflicted in every way, but not constrained; perplexed, but not driven to despair; persecuted, but not abandoned; struck down, but not destroyed;

II Cor 4,0

I tell you, unless your righteousness surpasses that of the scribes and Pharisees, you will not enter into the kingdom of heaven.

Mt 5,20

You have turned my wailing into dancing; you have put off my sack-cloth and clothed me with joy. Ps 29,12 Amen, amen, I say to you, you will weep and mourn, while the world rejoices; you will grieve, but your grief will become joy.

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Usquequo peccatores, usquequo gloriabuntur, usquequo gloriabuntur, Deus ultionum Dominus redde retributionem superbis.

Vox sanguinis fratris tuorum de terra clamat ad te, animas interfectorum propter verbum Dei clamat voce magna dicentes, vindica domine, s anguinem sanctorum quorum, qui effusus est.

Mihi, mihi vindictam et ego, et ego retribuam, consolabor super inimicos vestro et vindicabo.

Propter te mortificamur tota die solitudinibus errantes et montibus et speluncis in vigiliis in ieiuniis (aerumnis?) egentes angustiati adflicti tamquam oves ad occisionem ducti, vindica…

Inebriabo sagittas meas sanguine peccatorum et vindicabo. Exite, exite Angeli et vindicate, et vindicate, et vindicate, et vindicate.

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How long shall the wicked, O LORD, how long shall the wicked triumph? Ps 94 (93)1-3 What have you done! Listen: your brother's blood cries out to me from the soil! Gen 4,10 They cried out in a loud voice, "How long will it be, holy and true master, before you sit in judgment and avenge our blood on the inhabitants of the earth?" Ap 6,9-10 Let it be known among the heathen and in our sight that you avenge the shedding of your servants' blood. Ps 79,10

Beloved, do not look for revenge but leave room for the wrath; for it is written, “Vengeance is mine, I will repay,” says the Lord. Rm 12,19 Therefore says the Lord, the LORD of hosts, the mighty One of Israel, Ah, I will ease me of mine adversaries, and avenge me of mine enemies: Is 1,4

As it is written: “For your sake we are being slain all the day; we are looked upon as sheep to be slaughtered.” Rm 8,36 The world was not worthy of them. They wan- dered about in deserts and on mountains, in caves and in crevices in the earth. Hebrews 11,38

in

beatings, imprisonments,

riots, labors, vigils, fasts; II Corinthians 6,5 They were stoned, sawed in two, put to death at sword's point; they went about in skins of sheep or goats, needy, afflicted, tormented. Heb 11,37 As it is written: “For your sake we are being slain all the day; we are looked upon as sheep to be

slaughtered.Rm 8,36

I will make my arrows drunk with blood, [ of sinners, and I will punish ]. Dt 32,42

[ Arise, arise angels, and punish! ]

Dies irae cont.

Quid sum miser tunc dicturus? quem patronum rogaturus? cum vix iustus sit securus

Rex tremendae maiestatis, qui salvandos salvas gratis, salva me, fons pietatis.

Recordare Iesu pie, quod sum causa tuae viae:

ne me perdas illa die.

Quaerens me, sedisti lassus:

redemisti crucem passus:

tantus labor non sit cassus.

Iuste iudex ultionis, donum fac remissionis, ante diem rationis.

Ingemisco, tamquam reus:

culpa rubet vultus meus:

supplicanti parce Deus.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

Preces meae non sunt dignae:

sed tu bonus fac benigne, ne perenni cremer igne.

Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextera.

Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.

What am I the wretch then to say? What patron I to beseech? When scarcely the just be secure.

King of tremendous Majesty, who saves those-to-be-saved free, save me, Fount of piety.

Remember, faithful Jesus, because I am the cause of your journey:

do not lose me on that day.

Thou has sat down as one wearied seeking me, thou has redeemed having suffered the Cross:

so much labor let it not be lost.

Just judge of the avenging-punishment, work the gift of the remission (of sins) before the Day of the Reckoning.

I groan, as the accused:

my face grows red from (my) fault:

spare (this) supplicant, O God.

Thou who forgave Mary and favorably heard the (good) thief, hast also given me hope.

My prayers are not worthy, but do Thou, Good (God), deal kindly lest I burn in perennial fire.

Among the sheep offer (me) a place and from the goats sequester me, placing (me) at (Thy) right hand.

After the accursed have been silenced, given up to the bitter flames, call me with the blest.

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Dies irae cont.

Oro supplex et acclinis, cor contritum quasi cinis:

gere curam mei finis.

Lacrimosa dies illa, qua resurget ex favilla. iudicandus homo reus:

huic ergo parce Deus.

Pie Jesu Domine, dona eis requiem. Amen.

Kneeling and bowed down I pray, My heart contrite as ashes:

Do Thou [my End,] care for my end.

That sorrowful day, on which will arise from the burning coals Man accused to be judged:

therefore, O God, do Thou spare him.

Faithful Lord Jesus, grant them rest. Amen.

————— An interval of 15 minutes —————

————— An interval of 15 minutes ————— 8 Sustinuimus pacem Motet for six mixed voices and

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Sustinuimus pacem

Motet for six mixed voices and Basso continuo

Diane Koshak, Kathryn Higgins, Sopranos

Giacomo Carissimi

Sustinuimus pacem et non venit quaesimuns bona et ecce turbatio.

Cognovimus Domine peccata nostra peccavimus. Impii gessimus peccavimus iniquitatem fecimus in omni iustitiam tuam.

Aspice Domine de sede sancta tua, et miserere nostri.

Inclina Deus meus aurem tuam ad preces nostram, aperi oculos et vide tribulationem nostram et esto placabilis super nequitia populi tui.

Clamemus ad Dominum et misericordiam tuam fusis lachrimis postulemus humiliemus illi animas nostra et benedicat nos in aeternum.

We wait for peace, to no avail; for a time of healing, but terror comes instead. Jer 14,19 We recognize, O LORD, our wickedness, the guilt of our fathers; that we have sinned against you. Jer 14,20 O Lord, in keeping with all your just deeds, let your anger and your wrath be turned away from your city Jerusalem, your holy mountain.

Dan 9,16

Look thou upon me, and have mercy on me ac- cording to the judgment of them that love thy name. Ps 118,132

O my God, incline thine ear, and hear; open thine eyes, and behold our desolations, and the city which is called by thy name:

for we do not present our supplications before thee for our righteousness, but for thy great mercies. Dan 9,18

let

thy anger cease, and be appeased upon the wickedness of thy people. Ex 32,12

Usquequo peccatores

Giacomo Carissimi

Motet for ten mixed voices, two violins, lute and Basso continuo

CHOIR I

Linh Kauffman, Diane Koshak, Carrie Henneman-Shaw, Sopranos

CHOIR II

Kathryn Higgins, Soprano - Timothy Faatz, Alto - Tim Nelson, Tenor

CHOIR III

Lani Willis, Soprano solo- Steve Stauch Tenor solo - Douglas Shambo II, Bass solo

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