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C ONSORTIUM C ARISSIMI

A special thanks to ―…squisita musica strumentale ed eccellente musica vocale.‖ Pompilio Totti Ritratto di Roma 1638

Fr. Tom Margevicius, our host at the St. Paul Seminary,
Bill Mathis and Hennepin United Methodist Church for the use of their portative organ,
Elisabeth Comeaux, for her organizational skills, time and effort,
Robert Foy for indispensable help with some very difficult Latin texts and their translations,
Lenten Oratorio Concert
Generous donors without whom this programming would not be possible.
2010

Look for future concert programming under our Future Concerts section at our website:
www.consortiumcarissimi.org

Consortium Carissimi
——— Board Members ——–
Robert Hickcox, President
Beth Nunnally, Treasurer
Bob Hays, Secretary
Exquisite Music for the Season
Don Livingston

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Soprani
Heather Cogswell
Alison Lund Daniel – Soprano
Emily Rakes Scripturam hanc legem, o rex et eius interpretationem tibi enarrabo. Deus altissimus, quia non humiliasti cor tuum ante illum,
hodie humiliabit, in conspectu gentium; haec autem est verborum interpretatio:
Mane: numeravit Deus regnum tuum et complevit illud.
Alto Thecel: appensus es instanter, et inventus es minus habens.
Lisa Drew Phares: divisum est regnum tuum et datum est Medis et Persis.
Lauren Vick
I will read this writing, O King, and I will tell you its interpretation. The Most High God, because you have
not humbled your heart before him, today will humble it in the sight of the nations;
Tenor moreover, this is the interpretation of the words:
Andrew Kane Mane: God has numbered your Kingdom and has ended it.
Tim Nelson Thecel: You have been seriously weighed and found wanting.
Phares: Your kingdom has been divided and given to the Medes and the Persians.
Bass
Historicus – Tenor and Alto
Garrick Comeaux Tunc, iubente rege, indutus est Daniel purpura et torque aurea ornatus.
Ben Henry-Moreland Eadem autem nocte interfectus est rex, et regnum eius datum est Persis et Medis ut Daniel praedixerat.

Then, at the king’s command, Daniel was clothed in purple and adorned with a gold chain.
That same night the king was slain, and his kingdom was given to the Persians and the Medes,
Violins as Daniel had prophesied.
Marc Levine À cinque
Hinc, ediscite, o gentes!
Ginna Watson Quanta rerum mortalium nos verset inconstantia, quae capita regnantia statim ad ima detrahit!
Hinc, o gentes, ediscite
Basso Continuo
Therefore, remember, o nations!
Viola da gamba How greatly the instability of mortal things turns us about
and all at once brings down to the depths the heads of those who reign.
Mary Virginia Burke Therefore, o nations, remember!
À due
Theorbo Fortunae mendacis tenor instabilis, et muni fallacis favor mutabilis, et vitae fugacis spes variabilis,
Paul Berget nunc funestas, nunc felices, alternat vices, et gyro ancipiti, cursu praecipiti cum in sublime rapitur, subito labitur.

The wavering course of deceitful fortune, and the mutable favor of false show, and the variable hope of
Harpsichord fleeting life change now into mournful, now into happy times, and in their alternating cycles are taken quickly
Bruce Jacobs up on high but suddenly, suddenly come tumbling down.
Bass
Organ Felix ille qui labiles mundi descipit glorias, superbientis aulae non elatus favoribus,
Donald Livingston non inflatus honoribus, sed soli Dei gratiae, soli caeli praesidio securo corde nititur.

Happy is he who has renounced the slippery glories of the world, who has not been lifted up by the favors of a
Direction haughty palace, not been puffed up with honors, but who with a firm heart strives for the grace of God alone
and for the certain aid of Heaven.
Garrick Comeaux

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St. Mary’s Chapel at the St. Paul Seminary - 2260 Summit Ave, St. Paul, MN
À due Friday, March 26 - 8:00pm
Regi nostro complaudamus, grates debitas agamus, qui convivio tam laeto, lautis epulis repleto, hodie nos recreat. Saturday, March 27 - 8:00pm

Together let us laud our King, let us gratefully thank the one who today restores us
with such a happy banquet, replete with fine dishes.
À cinque
Regi nostro complaudamus. Praecinamus collaetemur gratulemur et convivale carmen modulemur. THE PROGRAM
Together let us laud our King. Let us sing out, let us rejoice together,
let us give thanks, and let us sing forth a festive song.
Giacomo Carissimi Mottetto Emendemus in melius
—— Pars Secunda —— (1605 - 1674) for three voices and Basso continuo
Historicus – Tenor
Et ecce, inter laetantium convivarum cantica et plausus, subito apparuerunt digiti,
quasi manus hominis scribentes contra candelabrum in superficie parietis aulae regiae.
Quod ut vidit rex, statim commutata est facies eius et totus praetimore contremiscens exclamavit dicens:
Bonifazio Graziani L’Oratorio Adae
And lo! in the midst of the songs and the applause of the rejoicing banqueters, (1604 - 1664) for four voices and Basso continuo
suddenly there appeared fingers like those of a man’s hand, Pars Prima
writing opposite the candlesticks on the surface of the royal palace’s wall. Pars Secunda
As soon as the King saw this, his face changed all at once,
and totally filled with fear, he spoke out, saying:
Baltazar – Bass
Heu, heu, quae dira cerno prodigia, heu quae portenta!
Ite, ite, agite, aulae meae proceres, et introducite ad me magos et Chaldeos, Luigi Rossi Oratorio per la Settimana Santa
et quicumque ex eis legerit et interpretatus fuerit scripturam hanc, purpura vestietur, et torquem auream habebit. (1589? - 1653) for five voices, two violins and Basso continuo
Parte Prima
Alas, alas, what awful omens do I see, alas, what portents! Go, go, go, lords of my palace,
fetch me magicians and chaldeans, and whoever among them can read and interpret this writing will be 10 Minute Pause
dressed in purple garments and will have a gold chain about his neck.
Historicus – Soprano Parte Seconda
Statim ergo ingressi omnes sapientes et haruspices Regis, non potuerunt nec scripturam legere, nec eam interpretari.
Suadente autem regina, introductus est Daniel, et quem rex ait:

Immediately, then, all the wise men and diviners of the King came in but were not able
to read the writing or to interpret it. But at the suggestion of the queen, Giacomo Carissimi L’Oratorio Baltazar Assyriorum Rex
Daniel was introduced and the King spoke this to him: for five voices, two violins and Basso continuo
Baltazar – Bass Pars Prima
Audivi de te, Daniel, quod spiritum deorum habeas et multa polleas sapientia et doctrina. Age, age ergo, Pars Secunda
scripturam hanc prelege, et si mihi veram eius interpretationem indicaversis, magna a me praemia promereberis.

I have heard about you, Daniel, that you possess the spirit of the gods and that you are endowed
with much wisdom and doctrine. Therefore, go, go, read this writing,
and if you give me a true interpretation of it, you will obtain from me many rewards.

18 3
Balthazar

C ONSORTIUM C ARISSIMI —— Pars Prima ——
―…squisita musica strumentale ed eccellente musica vocale.‖ Pompilio Totti Ritratto di Roma 1638 Historicus – Tenor
Baltazar, Assyriorum rex opulentissimus, optimatibus suis mille splendidum apparavit convivium,
superbo luxu et lautissimis epulis magnifice instructum;
Presentation dulcisonis interim cytharaedorum vocibus plaudentibus et tale carmen modulantibus:
Consortium Carissimi was founded in Rome in 1996 with the intent of uncovering and bringing to modern Belshazzar, most opulent king of the Assyrians, prepared for a thousand of his lords a magnificent feast,
day ears the long forgotten Italian-Roman sacred and secular music of the 16th and especially the 17th century. splendidly laid on with superb elegance and the most sumptuous dishes, with the sweet sounding voices of
Among the various types of music that flourished in Rome during the 17th century, the Oratories of Giacomo the harpers, from time to time, applauding and performing a song such as this:
Carissimi are perhaps examples of the most outstanding form of composition of that time. Consortium Carissimi Soprano
proudly takes on his name as a means for performance practice in both concerts and recordings, moving ahead in the Inter epulas canori exultantes sonent chori regis nostri, regis nostri gaudia.
area of the manuscript transcription and the performances of his little known Motets and Cantatas. Agant plausus convivales, mensae nitent dum regales oneratae dapibus.
Leves saltus, molles luctus blanda suscitet voluptas ad sonantem cytharam.
Alongside the works of Carissimi, the ensemble also proposes music of his contemporaries, which was often
Between courses, let melodious choruses exultantly sound the joys of our King, our King.
mistaken as music of Carissimi either for the similar style or for its simple, fresh new approach to text, melody and
Let the guests clap their hands, let the royal tables glow, loaded with dainties.
accompaniment. Dedicating much of the research and concert activity to composers like Graziani, Rossi, Pasquini and Let charming delight of the sounding harp stir up light–footed leaps and tender meanings.
Sances, Consortium Carissimi assures not only extremely interesting Concert Programming, but provides a clearer À cinque
picture of the musical fermentation of the Early Roman Baroque. Regi nostro complaudamus. Praecinamus, collaetemur, gratulemur, et convivale carmen modulemur.

This repertory, wrongly forgotten and heard very little today, even within musicological-performance circles, Together let us laud our King. Let us sing out, let us rejoice together, let us give thanks,
offers examples of the high level of musical creativity of the time and certainly no less excellent than the European and let us sing forth a festive song.
output of the 18th 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 Curae tristes procul este; loci risus, huc adeste,laeta laetaque tripudia.
founder Garrick Comeaux, allows Consortium Carissimi to program World Premier Concerts and Recordings. The Rixae truces, hic silete lites improbae; valete; corda pax exhilaret.
musical style, the affects of the texts, the ornamentation and the choice of the figured bass instruments are objects of
Sad concerns, go hence; come hither, happy laughter and happy dancing.
continuous research. It is however right within these parameters that Consortium Carissimi finds its reason for Rowdy brawls, here be silent; evil thoughts, farewell; let peace gladden hearts.
existence and finds the vital energy necessary for the continuing research and performance practice. Soprano
Hic dum floret nobis aetas, ne ponamus gulae metas, satiemur epulis.
The Italian Consortium Carissimi ensemble consists primarily of a small nucleus: three male vocal Rosis caput coronemus, calicesque propinemus dulci plenos nectare.
specialists, Fabio Furnari, tenor; Marco Scavazza, baritone; yours truly as bass singer, and Vittorio Zanon, organ Molle corpus ut pinguescat, hic post dapes conquiescat, blando fruens otio.
and musical direction; Pietro Prosser, theorbo; and Crisitiano Contadin, viola da gamba. The Italian ensemble truly
helped build the solid foundation for introducing Consortium Carissimi to North America. Now while youth is in flower for us, let us put no stop to our appetite.
Let us be filled with fine dishes. Let us crown the head with roses, let us fill our cups with sweet nectar. That
Today you will hear a different formation of the stateside ensemble of Consortium Carissimi. Eight fine the soft body may grow plump, may it rest here after the feast, enjoying sweet leisure.
Alto
singers, one to a voice part and exceptional instrumentalists, each adding particular colors of their own. Much of the
Procul maestus eat questus, procul flentes eant gentes; sola regnent gaudia.
Carissimi repertory requires more mixed voices and additional instruments, as is in the case of this evening’s Lenten
Oratorio concert. It is our hope to pursue the performance of these larger works of this era with this phenomenal Away, mournful complaining; away, weeping people; may joy only reign.
stateside ensemble, as well as to continue musical collaboration with our Italian friends.

Garrick Comeaux

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Latin Text Translations
Vergine
Votisi pur de’ mali Now let this urn of evils be emptied Emendemus in melius
l’urna su le vitali Upon the mortal remains of this victim. Emendemus in melius
ombra di questa spoglia. Behold your handmaid, ready to do your bidding; quae ignoranter peccavimus;
Ecco l’ancilla tua pronta a tua voglia: If my tears please you, then weep my eyes: ne subito praeoccupati die mortis,
s’a te piace il mio pianto, occhi piangete; If my pain is agreeable to you, quaeramus spatium poenitentiae,
se t’aggrada il mio duolo, One breast alone is not enough. et invenire non possimus.
è poco un petto solo. Woes, torments, increase!
Let us amend for the better those things
in which we have sinned through ignorance;
Dolori, tormenti, crescete! Weep, you eyes, weep!
lest suddenly overtaken by the day of death,
Piangete occhi, piangete! Let this soul dissolve,
we seek space for repentance,
In lagrime quest’anima In tears, melt and flow!
and be not able to find it.
Disciolgasi, dissolvasi, si stempre! Eyes, weep, yes, weep forevermore!
Occhi piangete, si piangete sempre!
Attende, Domine, et miserere;
quia peccavimus tibi.
Madrigale ultimo

Piangete occhi, piangete! Weep, you eyes, weep! Hearken, O Lord, and have mercy:
Dolori, tormenti, crescete, Woes, torments, increase! for we have sinned against thee.
che per un Dio che langue, Since for an expiring God,
Adae Oratorio
per un figlio che more, For a dying son,
che versa per amore un mar di sangue, Who, for love, shed a sea of blood,
è poco ogni tormento, ogni dolore. All torment is too little, all pain. —— Pars Prima ——
O d’eccelsa pietà nobile insegna, O noble token of sublime mercy, Textus
ch’ai suoi seguaci il vero calle addita That shows his disciples the right way Heva, Mater viventium sedebat secus arborem, de cuius fructu Dominus praeceperat ne tangeret.
di vincer morte e d’eternarsi in vita To conquer death and obtain eternal life, Tunc ergo serpens callidus ascendens super arborem sic ait, sic ait ad mulierem.
e lacera n’insegna And teaches in pain
che per salir di vera gloria al trono That to attain the throne of glory, Eve, the Mother of all living things, was sitting near the tree whose fruit the Lord had commanded her
e le pene e i martir le penne sono. Suffering and torment are the wings. not to touch. So then the cunning serpent, climbing up the tree, said, thus said, to the woman.
Serpens
Quare, quare, Heva, praecepit nobis Dominus ut non comederetis de omni ligno Paradisi?

Why, why, Eve, has the Lord commanded that we may not eat from all the trees in the Garden?
Heva
De fructo lignorum quae sunt in Paradiso vescimur, de fructo vero ligni quod est in
Medio Paradisi, praecepit nobis Deus ne comederemus et non tangeremus illud.

We may feed upon the fruit of every tree in the Garden save the fruit of the tree that is in the
middle of the Garden; God commanded us not to eat of that and not to touch it.
Serpens
Quare, quare, Heva, de fructo ligni quod est in medio Paradisinon comedetis et non tangetis illud.

Why, why, Eve, may you not eat of the fruit of the tree
that is in the middle of the Garden, neither touch it?

16 5
Heva
Fructum ligni non comederemus, ne forte, ne forte moriamur.
E tu, croce ingemmata And you, cross, adorned
We may not eat of the fruit of that tree lest by chance, lest by chance we should die. dai rubini del cielo, With heaven’s rubies,
Serpens già vile e nudo stelo You lowly and naked pillar,
Nequaquam, nequaquam moriemini, sed sicut Deus eritis scientes bonum et malum. ch’ogni gioia, ogni bene a me rapisti, That of every joy, every treasure, have robbed me,
Quampulcher est, quam dulcis est hic fructus arboris, quam bonus est. e compagna a due padri, You, companion of two thieves,
Heva, tolle, carpe pomum, gustefructum arboris. Visu pulcher, tactu blandus, gusta dulcis fructus est. ai furti avvezza, And inured to the left,
me d’ogni mia richezza impoveristi Who have deprived me of all my wealth,
By no means, by no means will you die, but you will be as God, knowing good and evil. io t’abbraccio e t’onoro, I embrace you and honor you:
How lovely it is, how sweet is the fruit of the tree here, how good it is! rendimi il mio tesoro! Give me back my heart!
Eve, pick, seize the apple, taste the fruit of the tree.
Lovely to see, pleasant to touch, sweet to taste is the fruit! Coro di Demoni O, madness of blind faith!
Heva O follia di cieca fé! From scornful iron,
Ergo erimus sicut Deus scientes bonum et malum? Dal ferro ingiurioso From bloodstained wood,
d’un legno sanguinoso There she hopes for pity, begs for mercy!
Will we then be as God, knowing good and evil? costei spera pietà, chiede mercè!
Serpens
Bonum et malum sicut Deus sic scienteseritis. Vergine And you, my son why?
Dulcis scientia, filia, divinitas quae nos caelicolum aequabit Domino. E tu figlio perché? If, as to me, Heaven,
Se per me, Consenting to the iron and the cross,
Yes, you will be as God, knowing good and evil. e col ferro e col legno Is deaf to my prayers,
Sweet knowledge is the divinity that will make as equal to the Lord of those who dwell in the Heaven. il ciel d’accordo con oltraggiose note Cried out with outrageous clamor,
à due a le preghier mie chiamato e sordo How can it be that your infinite mercy
Vere pulcher, vere dulcis, vere fructus bonus est, vere fructus bonus est. com’esser può che tu pietà infinita Tolerates that you be derided, and I be mocked?
te comporti deriso me schernita? Ah, how can it be
Truly lovely, truly sweet, truly good is the fruit, truly good is the fruit! Deh, come essere mai puote That you consent
Heva che tu figlio, acconsenti, That I, under the cruel lashes of bitter torments,
Age pulchrum, Adam, pomum, dulce pomum comede, Heva pomum quod comedit. Heva pomum porigit. che sotto rio flagel d’aspri tormenti, If such boldness be permitted me,
se tanto ardir mi lice, My son, that I should be your mother
Come, Adam, eat the lovely apple, the sweet apple, the apple that Eve ate. figlio, ch’io sia tua madre e sia infelice? and be unhappy?
Eve is offering you the apple. Errai, ah, figlio errai! I erred, ah, my son, I erred!
Adam Se pur mai But if ever
Moriemur, moriemur hoc si fructu vescimur,moriemur Adam, morti commeratus est Deus. cader mai può nella tua madre errore, Your mother could fall into error,
errò d’amor bendato il mio dolore. My agony erred, blinded by love.
We will die, we will die if we feed upon this fruit, we will die!
Heva Coro di Demoni
Ada, quid dubitas, quid dubitas? Ubi mors est si fructus arboris tam dulcis est? Così d’empio dolor forza omicida, Thus the murderous power of relentless pain,
ove a battaglia sfida, Wherever it calls to battle,
Adam, why to you hesitate, why hesitate? Where is death if the fruit of the tree is so sweet? ove ad un cor fa guerra, Wherever it wars on a heart, destroys
Adam ogni vigor di sofferenza atterra, All the force of suffering,
ch’al fin petto di selce , alma di smalto So that finally a breast of flint, a soul of enamel,
Dulcis hic igitur fructus est arboris? Non hic mors est si fructus arboris tam dulcis est. d’ostinato martir cede all’assalto. Gives way under the assaults of unrelenting torment.
So the fruit of the tree here is sweet? Death is not here if the fruit of the tree is so sweet.
à due
Comedamus ergo, comedamus ergo pomum, dulce pomum arboris.
Non hic mors est si fructus arboris tam dulcis est.

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Vergine Then let me eat, then let us eat the apple, the tree’s sweet apple.
Tormenti non più! Torments, no more! Death is not here if the fruit of the tree is so sweet.
Misera, e quale io sento, But, poor wretch, do I hear, Textus (à quattro)
trionfator contento, In happy triumph, O amara dulcitudo, o voluptas paricida! Dulce pomum quod venanat, quod mortales funerat.
con urli e con sibili, With howls and hisses, Heva gustat, gustat Adam, et cum Heva et cum Adam, heu nos omnes funerat!
con gridi orribile, With hideous shrieks,
con voci di scherno, With jeering voices, O bitter sweetness, o traitorous pleasure! Sweet apple that poisons, that kills mortal beings.
rider gl’abissi e festeggiar l’inferno The abyss laughing and hell rejoicing, Eve tastes, and Adam, and along with Eve, along with Adam – alas! – it kills us all.
e degli orrendi chiostri And the monsters of the horrendous cloisters
dell’estinta beltà pregiarsi i mostri? Delighting in the extinguished beauty? —— Pars Secunda ——
Che d’insano livore alto trofeo! What a lofty triumph of insane hatred! Deus
Ogni beltà cadeo All beauty falls Adam, Adam, ubi es, ubi es Adam?
Con l’adorato mio figlio Gesù. With my beloved son. Jesus.
Tormenti non più! Torments, no more! Adam, Adam, where are you, where are you, Adam?
Adam
Cieli, stelle, pietà Heavens, stars, have mercy! Vocem tuam, Domine, audivi in Paradiso et timui eo quod nudus essem et abscondi me.
d’una madre dogliosa, lagrimosa, On a pain-racked, mourning mother,
ch’a soffrire tanto martire Who in suffering so many torments, Your voice, O Lord, I heard in the garden, and I feared it because I am naked, and I hid myself.
già perduto il suo cor, più cor no ha. Has already lost her heart and no longer has a heart. Deus
Cieli, stelle, pietà! Heavens, stars, have mercy! Nudus es, et te abscondes? Cur mandatum violasti? Cur de fructo comedisti quod praeceperam ne tangere?
Maria si more: Mary dies;
s’a me fu tolto il core, If my heart has been torn from me, You are naked and are hiding yourself? Why have you broken my commandment?
se del fronte di vita io resto priva, If I am deprived of the font of life, Why have you eaten of the fruit that I forbade you to touch?
com’esser può ch’io viva? How can it be that I shall live?
Fate ch’io mora almeno Let me at least die Adam
non senza core in seno, Without a heart in my breast, Mulier quam dedisti mihi sociam dedit mihi de ligno et comedi.
e sia poi di quest’alma, alma il dolore. And let the pain be the soul of this soul.
Rendetemi il mio core! Give me back my heart! The woman whom you gave me for a companion gave it to me from the tree and I did eat.
Deus
Coro di Demoni Quare, Heva, quare pomum comedisti? Et quare Adam tradidisti?
Turbe amiche, udite, udite You multitudes, friends, listen,
Come al ciel chiede pietà how this wretched woman calls on Heaven Why, Eve, why did you eat the fruit? And why did you give it to Adam?
questa misera e non sa for mercy and does not know Heva
che sotto orrido velo that beneath a hideous veil Serpens callidus, serpens callidus, decepit me; pulcrum visu, tactu blandum, dulce gustu, pomum tradidit.
già chiuso è il cielo Heaven is already closed, Ille dictis, ille dictis me decepit serpens callidus.
sua fatal disavventura And neither see, nor hears,
o non vede, o non ode o non la cura. Nor cares about her fatal misfortune. The cunning serpent, the cunning serpent deceived me; an apple lovely to see, pleasant to touch,
Vergine sweet to taste he gave me. With words, with words, the cunning serpent deceived me.
Asprissimi chiodi, Most terrible nails, Deus
dure chiave spietate Hard pitiless keys, Maledictus eris serpens et super te descendet maledictio; super pectus gradieris et pulverem comedis.
ch’ove aprite, rompete e lacerate, That where you open you break and rend, Inimicus eris feminae et insidiaberis calcaneo eius, ipsa vera conteret caput tuum.
voi che ligato e stretto You who with tight and iron fetters,
con saldi e ferrei nodi Binding, gripping, You will be cursed, serpent, and upon you a curse will come:
a una croce sposate il mio diletto Press my beloved against a cross, you shall go upon your belly and dust shall you eat. You will be the woman’s enemy,
e me crudi vedovate And, cruel ones, robbed and you will ambush her heel, and she will bruise your head.
e di sposo e di figlio e del mio amore, Of my spouse, my son, and my beloved,
rendetemi il mio core! Give me back my heart!

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Textus - à due —— Parte Seconda ——
O mendacem, o protervum anguem, Hevae deceptorem, repertorum scelerum.
Reptabis putore, tellurem comedis, tibi cum femina non erit pax.
Dum tu calcaneo insidiabris, cervicem tumidam calcabit pes. Demonio
O del tartareo speco O friends, you who
O lying, shameless snake, Eve’s deceiver, inventor of sins! dell’antro cieco In the dens of Tartarus,
You will crawl and smell, you will eat earth, there will be no peace for you with the women. del regno della morte In the dark caverns,
Though you will ambush her heel, her foot will trample your proud neck. dalla nemica sorte In the realm of death,
Textus – Basso dannati amici ad eternare i pianti, Are damned by hostile fate to eternal laments,
In aerumnis, Heva, vives, et conceptam sinu prolem in dolore paries. Viro servies et ipse in te dominabitur. come in sì lieta e sospirata aurora Why, at so happy and long-awaited a dawn
per noi si posa e non si riede ancora Do we not rest and not laugh
You will dwell in hardship, Eve, and in sorrow you will bring forth the offspring con deliri vaganti? In rapturous sport?
conceived in your womb. You will serve your husband, and he will be your master.
Textus – Soprano Coro di Demoni
Vives, semper in aerumnis et conceptam Hevae prolem, in dolore paries, Al riso, al suono, ai canti! Laughter, music, song return!
Ne viro pare, viro servi, servi semper nunquam impera. Demonio
Stige, Averno, che fai? Styx, Avernus, what are you doing?
You will always live in hardship and you will bear Eve’s offspring in sorrow. Quando mai di Lete e d’Acheronte, When, on the banks of Lethe and Acheron,
Never think yourself your husband’s equal, serve your husband, always serve him, never rule him. dell’acceso Flegetonte, Of flaming Phlegeton,
di Cocito su le sponde And of Cocytus
Deus sì giocose increspar l’onde Will we see the waves joyfully rippling,
Maledicta terra in opere tuo, Adam, maledicta terra sit, terrae fructus in labore, in sudore comedis. si vedranno, e quando mai? when o when?
Tibi tribulos et spinas terra semper germinet donec moriens in terra revertaris pulverem.
Quia sumptus es de terra, quia pulvis, Adam, es Coro di Demoni Styx, Avernus, what are you doing?
Stige, Averno, che fai?
Cursed by the ground when you work it, Adam, cursed by the ground;
in labor, in sweat will you eat the fruits of the earth. Demonio
For you the earth will bring forth thorns and thistles until, dying, you return to dust in the earth. Quando mai l’atra magione, When, o when will the black abode,
For you were taken from the earth and, Adam, you are dust. con più ragione Having most justly
Textus – Soprano sepolti i gemiti, Buried the wails,
Terrae fructus in labore, semper, Adam, comedis, con lieti fremiti With joyous roars
Terra tribulos et spinas tibi semper, semper germinet, donec moriens in terra revertaris pulverem. il ciel, la terra, il mare assordirà? Deafen Heaven, earth and sea?
Quia sumptus es de terra, quia pulvis, Adam, es. Vergine
Cieli, stelle, pietà! Heavens, stars, have mercy!
By labor always, Adam, you will eat the earth’s fruits.
Always, always the earth will bring forth thorns and thistles until, dying, you return to dust in the earth. Coro di Demoni
For you were taken from the earth and, Adam, you are dust. Chi si fè prole divina, He who elevated himself to the progeny of divinity,
che di noi gl’oltraggi ordì Who brought disgrace upon us,
Textus - à due già nel suol la fronte inchina, Already inclines his brow upon the earth,
O dolentis, o gementis, o mortalium parentis, paricidas miseros! Tristis Adam morietur, già per lui s’eclissa il dì. Already for him the day darkens.
morietur Heva gemens, et labores et dolores ad sepulcrum inferant. L’inimico Nazzareno, The Nazarene foe,
de viventi la beltà, The beauty of living,
O grieving, o sighing, parents of humankind, miserable traitors! Adam will die in sadness, sovra un legno venne meno, Upon a cross is failing,
Eve will die sighing, and labor and grief will take them to the grave. catenato a un tronco stà Bound to a tree is he
Textus - à quattro chi da regi adorato un tempo fu. Who was once worshipped by kings.
Pauca pomi dulcitudo, quanta, quanta amaritudo heu, heu, facta cunctis est!

How little sweetness, how much, how much bitterness – alas, alas! – an apple brought to all!

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Oratorio per la Settimana Santa
Un Demonio
Il fatto è di te degno The deed is worthy of you, Turba
e ridir non sia greve And it will not be hard for you to say Baraba, a noi si dia,! Give us Barabbas!
quanto deve al tuo merto il nostro regno. How much our empire owes to your merits. Le turbe d’Israele Giesù non chiedono, The people of Israel call not for Jesus,
e a te preside nostro a dir sen riedono And to you, our Governor, we come to say
Un’altro Demonio che gratia o dono ci sia. That we desire a favor or a gift.
Attenti! Udite! Il preside Pilato, Baraba, a noi si dia,! Give us Barabbas!
ostinato, But wait! Listen! The governor Pilate
con sembianza è giusto e pia, Obstinately and Pilato
sostenea, With a just and pious look, insists Alo strepito insano Who has the courage
che dannar innocente ei non potea That he cannot condemn in innocence, di popolari strida To defy the senseless tumult
il figliolo di Maria. The son of Mary. chi resister confida? Of the howling masses?
Allor che all’interesse Now, when out of curiosity, Di sostenere invano In vain to uphold
le piante io sciolse I began a work giuste lance d’Astrea suda il mio stento, con popolo The righteous spear of Astrea I struggle and toil
e fei salirlo in scena, And sent it up onto the stage, inumano, With the inhuman crowd,
e al primo passo appena At the very first step in cui d’ogni ragione il lume ha spento In whom blind hatred and inborn savagery of all reason
ch’ei nella corte impresse, That he at court decided to take, cieco livore e ferita natia. Has extinguished the light.
tanto fé, tanto oprò It did so much, worked so much,
che giustizia e pietade al ciel volò. That justice and mercy flew up to heaven. Turba
Ragione all’odio cesse, Reason made way for hatred, Baraba, a noi si dia,! Give us Barabbas!
e ben tosto vedrassi, And very soon we shall see
con solleciti passi With hastening steps, Pilato
d’ore fugaci e corte, Within fleeting and brief hours Baraba il seduttore, Barabbas, the seducer,
chi vita esser dicea chinarsi a morte. Him, who said he was the life, submit to death. l’omicida rapace, The rapacious murderer,
Vedrassi come pria We shall see, as it always was, fatto da voi per tanta grazia audace, Whom you, by such great mercy, render bold
giá di poggiar al ciel chiusa la via How closed the way is that leads to Heaven, vedrassi ancor di nuovo falli autore? Shall we once more see him author of new crimes?
e dai labbri gelati And from the frozen lips, Chè purtroppo a le colpe ampie è la via, For broad is the road of transgression, and error and sin are
spirar la veritàgli ultimi fiati. See that last breath exhale the truth. e’l fallire el’ peccary mai non si oblia never forgotten.

.Coro di Demoni Turba
O menzogne fortunate, O happy lies, Baraba, a noi si dia,! Give us Barabbas!
trionfate, trionfate! triumph, triumph! Pilato
Fugate le grida, Flee, you screams, E di Giesù che fia? And what shall become of Jesus?
le strida, you shrieks, Quei che non mai fallì He who never transgressed, to whom shall he be delivered,
e con strano portento and like a strange wonder A chi derassi, a chi, turba feroce? to whom cruel multitude?
s’odano rimbombar là nel tormento, will be heard resounding there, in the torment,
ne’ più profondi orrori, in the deepest horror, Turba
vittoriose armonie, vanti canori. victorious harmonies, songs of praise. All croce, alla croce! To the cross, to the cross!
Suonino, tuonino, gioiose trombe, Sounding, blaring, joyful trumpets, Pilato
e sol gioia rimbombe And only joy Alla croce, il vostro re? To the cross, your King?
nell’Erebo fumante In smoking Erebus, Turba
con le tronche sue voci eco festante. With its broken voices, resound in festive echo. Che re? Whose King?
Del nostro inclito stuolo, The only phoenix and king
solo fenice e re, Cesare è solo. Of our illustrious people is Caesar alone.

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Pilato
Turba
And for a villain Se gelata paura il cor t’ingombra; When icy fear burdens your heart;
E risplender per un empio When terrors cloud your mind
si vedrà nel vostro petto Shall we see in our breast se pavento, se t’adombra
The noble feeling of pity shine forth? dove possa quel sangue a cader vada, With thinking on whom this blood will fall,
di pietà nobile affetto? Yes, yes, let it be upon us.
E con tragico scempio And with tragic torment sì, sì, sopra noi cada.
Against a soul that is innocent of sin, De’ temuti tuoi perigli The vengeance and the misfortunes
Contro d’un alma ch’è di colpe ignuda Of the perils that you fear,
Vedrassi ognor più cruda imperversar Shall we see the increasing cruelty le vendette e le sciagure
Of your wrath and your clamor raging? cadan pure a noi sopra e i nostri figli. Let them be upon us and on our sons.
di voi l’ira e la voce? Meanwhile, nailed
Cadan intanto trafitto
sovra d’un legno il Nazzareno invitto, Upon the cross,
Turba The unconquered Nazarene shall die,
Mora, si, mora in croce! To die, yes , to die on the cross! e sia d’un re mentito al folle orgoglio
come scettro una canna, un tronco il soglio. And let the false king, for his insane pride,
Pilato have a reed as scepter; a tree-trunk as throne.
Di sì rigida sentenza At so harsh a sentence
l’innocenza Innocence Demonio
le querele a le stelle erger saprà, A complaint will raise now to the stars, Respirate, respirate, atre caverne,
And for the grave injustice là nel baratro profondo; Breathe again, you horrible caverns,
e di grave torto There in the deep abyss,
ch’io comporto That I commit, who will ever be able to advance a non più, no, lagrime eterne
righteous cause? faccian mare al basso mondo! Nevermore, no, will eternal tears
chi mai giusta cagione addur’ potrà? Make the underworld a sea!
Gioite omai, gioite,
voi che la giù nella tartarea stanza Rejoice, henceforth, rejoice,
già per antica usanza You, who down there in the Tartarean halls,
Turba Were wont, by ancient custom,
Così va, That’s how it goes, non altro mai che lagrimar sentite.
Man’s fortune is as changeable Gioite omai, gioite! Never to hear anything but weeping,
così varia è la fortuna Rejoice, henceforth, rejoice!
come è varia altrui la luna As his cradle is varied;
così varia è la sorte, il fatto è vario; His destiny is as different as his lot:
altri al trono riserba, altri al Calvario. Some are destined for the throne, others for Calvary. Coro di Demoni
Contro fatal decreto Against the fatal decree
Come puote l’inferno esser mai lieto? How could hell ever be happy?
Pilato
Troppo i lumi vi benda invido velo. Too tight your eyes are bound by envy’s shroud.
Demonio
Di stupor, di meraviglia, In astonishment, in wonder,
Turba lift up your eyes,
E troppo in te s’appanna And too much in you is dimmed innarcate le ciglia,
The light of your love. o sempre al mal compagni e spiriti rei, O everlasting companions of evil and cruel spirits,
la luce del tuo bene. That skill and art can do no more,
Giudice che non danna A judge who does not condemn ch’oprar più non potea l’ingegno e l’arte,
A felon who has himself proclaimed a king, sì che fra neri inchiostri e bianche carte and that in black ink on white paper,
reo che re si fa dire, my deeds will live eternally.
anzi alle pene di ritrarlo procura And even tries to shield him from punishment, vivran vita immortale i gesti miei.
Does not heed the friendship of Caesar. Colui ch’al mondo uscì He who came down to earth
l’amicizia di Cesare non cura. To vanquish Hell,
per debellar l’inferno,
ond’ ho rossore eterno, Which made me blush forever,
Pilato And rendered Pluto’s brow pale,
O di colpo mortale aspra puntura! O cruel thrust of a mortal blow! sin di Pluto la fronte impallidì:
Down, give in, O my zeal! pria che tramonte il dì, Before the day has ended,
Cedi, cedi mio zelo! The light of his glory will go up in smoke.
Punirà l’ira del cielo The wrath of heaven will punish de suoi fasti la luce in fumo andrà.
Such an error, so grave a sin. Morirà, morirà! He will die! He will die!
error, si grave fallo.
Ben del sangue d’un giusto e ‘l cielo sallo, Truly, I am innocent and heaven knows it,
innocente io mi sono: Of the blood of a just man: Coro di Demoni
I wash my hands, and Barabbas I release to you. Morirà, morirà! He will die! He will die!
le mani io lavo e Baraba a voi dono.

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