Claudio Monteverdi 1567–1643 Vespro della Beata Vergine
(1610)
Compact Disc 1 1 2 3 4 5 6 7 8 9 10 11 12
Introductio: Deus in adiutorium (MB) Antiphona I: Dum esset rex. PSALMUS 109: Dixit Dominus (MP, AS, MB, SN, LD, AG) Concerto: Nigra sum (MB) Antiphona II: Laeva ejus PSALMUS 112: Laudate pueri Concerto: Pulchra es (MP, AS) Antiphona III: Nigra sum PSALMUS 121: Laetatus sum Concerto: Duo Seraphim (SN, LD, MB) Antiphona IV: Jam hiems transiit PSALMUS 126: Nisi Dominus Concerto: Audi coelum (MB, GM, RB, FS) Antiphona V: Speciosa facta es PSALMUS 147: Lauda Jerusalem Sonata sopra Sancta Maria Capitulum: Ecce virgo Hymnus: Ave maris stella (MP, AS, MB)
Compact Disc 2
72’13 2’22 8’12 4’07 6’39 3’38 7’11 5’48 5’04 8’24 4’48 6’33 9’22
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Versiculum: Dignare me Antiphona ad Magnificat: Sancta Maria succurre miseris Magnificat anima mea Et exultavit (SN, LD) Quia respexit (FZ) Quia fecit (AG, DC) Et misericordia Fecit potentiam Deposuit Esurientes Suscepit Israel (MP, AS) Sicut locutus Gloria Patri (SN, MB) Sicut erat Oratio: Concede nos
25’17 2’24 0’53 1’26 1’58 1’09 2’14 1’03 2’30 1’45 1’20 1’05 2’36 2’39 2’10
Marinella Pennicchi (MP), Anna Simboli (AS) soprano Roberto Balconi (RB), Fabian Schofrin (FS) alto Marco Beasley (MB), Luca Dordolo (LD), Sandro Naglia (SN), Giuseppe Maletto (GM) tenor Daniele Carnovich (DC), Alfredo Grandini (AG), Furio Zanasi (FZ) bass Coro della Radio Svizzera, Lugano Schola Gregoriana · Ensemble More Antiquo Concerto Palatino · I Barocchisti Diego Fasolis
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Claudio Monteverdi: Vespro della Beata Vergine (1610) The early years of the seventeenth century were a significant period in the history of music. While central Europe lay in conflict following the Reformation and Counter-Reformation, leading to the outbreak of the Thirty Years’ War in 1618 and vast cultural damage to Germany and its neighbouring countries, Italy experienced a relatively peaceful era, in which the arts and music flourished. The wealth of the Italian courts and trading towns, and the efforts of the ruling class to emphasise their wealth and status by commissioning outstanding sculptors, painters and musicians, led to a fruitful cultural climate and a series of significant musical developments. The system of modes used to compose music in the Middle Ages, for example, was gradually being replaced by the Major-Minor system, and in addition to the strict counterpoint movement a new style in vocal music was developing, more heavily focsed on musical rhetoric and emotional content. Efforts to revive the ancient tragedy and its chorale gave rise to an accidental but vastly important development: instead of a revival of an older form, a new musical genre, opera, was born. Within it, this new, expressive and dramatic form of singing was to be brought to perfection. This period of fundamental change was also significantly influenced by Claudio Monteverdi (Cremona 1567 – Venice 1643), one of European music’s outstanding individuals. He received his first musical training from Marc’ Antonio Ingegneri, choirmaster at the cathedral of his hometown of Cremona, under whose influence he wrote and published his first motets and madrigal collections at an early age (1582–1583). In search of work, the young musician travelled to Milan in 1589, where he was able to make the necessary contacts that finally brought him into the service of the Gonzagas in Mantua. At first he was employed as ‘suonatore di viola’, a viola player, but he also composed music to be used at the court. His madrigals in particular earned him great respect and popularity within the world of music: his third book of madrigals was purchased by so many people that it had to be reprinted very soon after its initial publication. When the Mantua choirmaster Giaches de Wert died in 1596, it was not Monteverdi, but Benedetto Pallavicino who became his successor. Only after Pallavicino’s death in 1601, by which time Monteverdi’s fame was so widespread that his works had become the focus of theoretical discussion, did he succeed in taking over the position of choirmaster. Six years later, in February 1607, his opera L’Orfeo was successfully performed for the first time. In September of the same year, his wife Claudia died in Cremona. Monteverdi, who had hastened to her deathbed, at first refused to return to Mantua, already feeling frustrated by his duties. Even after his return, the state
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of his health became so bad that a year later he asked the Gonzogas to relieve him from his duties. However, this request was refused. Only when his employer Duke Herzog Vincenzo Gonzaga died in 1612 did his wish finally come true. A short time later, and after several previous attempts to enter into the service of the church, he finally succeeded in becoming choirmaster at San Marco in Venice, where he remained until his death. As stylistic developments often take place over time, periods of change like the early seventeenth century are often characterised by the old and the new co-existing for a while; in Monteverdi’s era this led to vigorous discussion of the advantages and disadvantages of old and new by their respective supporters and opponents. For sacred music this created a split between styles, with the ‘old’ style of Palestrina on one side and, on the other, a new worldly and non-religious style of music, adapted to the prevailing taste. In the previous century, the Council of Trent (1545–1563) had endeavoured to reform sacred music and bring it under the control of the church, banning worldly influences and insisting upon a better understanding of the text. Thus, by 1600 the ‘old’ style would only be performed rigidly at the court of the Pope or, to be more specific, in the Sistine chapel. However, beyond the church state the limits were not quite as strict and from 1610 onwards the ‘new’ style began to penetrate further into sacred music. ‘Monteverdi’s sacred compositions are most lively in the arts where he not only uses the madrigal, but the opera as a means of expression’, remarked Monteverdi scholar Silke Leopold. Although he was a church musician throughout most of his life, Monteverdi could not hide the fact that he was a dramatist at heart. His sacred works as a whole, setting aside some smaller compositions, are handed down in three large publications: a print dated 1610 containing the Missa ‘In illo tempore’ and the Vespro della Beata Vergine, the Selva morale e spirituale dated 1641, and a collection that appeared after his death containing a Mass and psalms. While the second and third items contained a selection of works that had been performed and were composed for widespread use, the print dated 1610 was intended for image building purposes. The work featured in this recording, dedicated to the Holy Virgin Mary (known today as the Vespers of 1610), carries the following title: sanctissimae Virgini Missa senis vocibus ad ecclesiarum choros ac vespere pluribus decantanda cum nonullis sacris concentibus ac sacella sive Principum cubicula accomodata (‘The Mass dedicated to the Holy Virgin Mary for six voices, church choir and vespers for several voices with some spiritual chants, suitable for chapels and royal chambers’). The composer presumably wanted to show that he was comfortable with both the ‘old’ and the ‘new’ style and would thus be suitable for a position as choirmaster at one of the many Roman churches. The work was composed at the end of
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Monteverdi’s career at Mantua, around the time that he was seeking new employment, and the print version was dedicated to Pope Paul V, the distinguished Pope of the Counter-Reformation. The Vespers of 1610, which Monteverdi presented as an example of the possibilities of sacred music, together with the opera Orfeo, which was published a year earlier, represent the musical legacy of a master. To this day, the question of whether it should be considered as a complete work or a collection of individual compositions is still being discussed. One particular problem lies in liturgical classification. Instead of using antiphons to frame the vesper psalms, Monteverdi uses sections for one, two or three voices, with texts based on sixteenth century motets. While this initially seems unorthodox, if further Vespers of the period are considered it soon becomes apparent that this practice was by no means unusual. The note in the title, recommending it as suitable for performance in royal chambers, is also an indication that an exclusive liturgical use of this work was not intended. Thus the majority of research has concluded that the Vespers of 1610 should be seen as a complete work, especially as there is a unified concept behind it that brings the individual parts into relation with each other. It is of far greater importance, however, that the Vespers of 1610 is a work of unusual expressiveness, which can be attributed to the influence of secular elements on the music. For example, Monteverdi uses an instrumental movement from his opera Orfeo (the toccata to Domine Deum adiuvandum) and borrows musical styles and techniques from opera and madrigals to express the words effectively, the virtuosity of which, to this day, has reached the limits of the possible. 훿 Daniel Brandenburg, 2011
The Swiss Radio Choir of Lugano was founded by Edwin Loehrer in 1936 and over the years has earned a worldwide reputation, particularly through its radio and disc recordings of Italian repertoire from the 16th, 17th and 18th centuries. The Choir appears in formations that vary from madrigal ensembles to groups comprised of over sixty singers coming from various nations, and focuses particularly on Renaissance and Baroque music. Being a radio ensemble, the Choir has a vast repertoire that spans hundreds of compositions and over six centuries. In addition, over more than 60 years the Choir has amassed an enormous archive of productions and has also given several debut performances of new works. After over forty years under the leadership of Edwin Loehrer, ten years under Francis Travis and three under Andre Ducret, the Choir has been directed by Diego Fasolis since 1993, who has
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continued the Choir’s tradition of rich productions, concerts and recordings. Guest Directors of great renown have praised the musical and technical qualities of the Choir, which, thanks to its flexible structure, can adapt to a variety of works, from madrigals to operas. Laura Antonaz, Alena Dantcheva, Teresa Nesci, Marinella Pennicchi, Silvia Piccollo, Sylva Pozzer, Nadia Ragni, Anna Simboli soprano Roberto Balconi, Cristina Calzolari, Annemieke Cantor, Mya Fracassini, Brigitte Ravenel, Fabian Schofrin alto Marco Beasley, Vincenzo Di Donato, Luca Dordolo, Giuseppe Maletto, Renato Moro, Sandro Naglia, Gerhard Nennemann, Gerardo Pessetto tenor Daniele Carnovich, Alfredo Grandini, Marco Radaelli, Alessandro Tini, Marcello Trabucco, Furio Zanasi bass
I Barocchisti I Barocchisti harvests the heritage of the Società Cameristica di Lugano, which from the 1950s onwards, under the leadership of Edwin Loehrer, were active in the recovery of vocal and instrumental works of the Baroque, earning worldwide success through performances and recordings (several of which won Diapasons d’or). In recent years, under the direction of Diego Fasolis, with the Swiss Radio Choir and other the name ‘Ensemble Vanitas’, the ensemble has performed several concerts and released several records, always critically acclaimed. The character of the performances, marked by virtuosity and rhythm, balanced by an expressive melodiousness, has inspired praise from both audiences and critics. I Barocchisti is made up in variable formations of six to twenty-six musicians, all renowned Swiss and Italian virtuosi with a solid cultural and instrumental background and with their own international careers as soloists or in other groups. The ensemble’s first violin is the Swiss musician Duilio Galfetti (well-known for his Teldec recording). Since 2000, the group has been the resident ensemble for Baroque music at Lugano Festival. Duilio Galfetti violin & leader Fiorenza De Donatis violin · Marco Bianchi violin & viola · Stefano Barneschi viola Paolo Beschi, Marco Testori cello · Paolo Rizzi violone Leonardo Muzii, Marco Rosasalva flute · Paolo Cherici, Maurizio Piantelli archlute & theorbo Francesco Cera organ & harpsichord · Liuwe Tamminga organ
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CLAUDIO MONTEVERDI VESPRO DELLA BEATA VERGINE 1610
Concerto Palatino Bruce Dickey, Doron David Sherwin cornet Ole Andersen, Charles Toet, Wim Becu trombone More Antiquo & Schola Gregoriana Massimo Annoni, Tiziano Cogliati, Cristiano Fumagalli, Giuseppe Fusari, Manuel Scalmati, Giovanni Conti led by Giovanni Conti Diego Fasolis studied the organ in Zurich under Erich Wollenwyder (completing an organ diploma and concert performance diploma), the piano under Jürg von Vintschger (teaching diploma and soloist diploma), singing under Carol Smith, and choir direction under Klaus Knall. He has also undertaken numerous courses with teachers of international repute, including lessons in organ and improvisation in Paris with Gaston Litaize and courses in early music performance technique with Michael Radulescu in Cremona. He has been awarded several prizes and international honours (first prize in Stresa 1983, first prize at the ‘Migros-Göhner Foundation’ 1983 and 1985, ‘Hegar Preis’ 1984, finalist in the Geneva competition in 1985). As an organist he performed the complete organ works of J.S. Bach in 1985 and of Mendelssohn and Liszt in 1986. As a director of choirs and instrumental groups he has extensive international experience to his credit, having given numerous concerts in major European concert halls, as well as commendable radio, television and gramophone recordings, which have won important awards and the appreciation of critics and public alike. He has worked with Swiss Radio since 1986 as a musician and director and in 1993 was appointed resident director of the Swiss Radio Choir.
Recorded: 24 June 1999, Lugano, Switzerland Cover image: Guido Reni – The Adoration of the Shepherds (detail) Photo: Pushkin Museum, Moscow / The Bridgeman Art Library 훿 2011 Brilliant Classics Licensed from ARTS Productions Ltd. www.artsproductions.eu
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Compact Disc 1 Introductio: Deus in adiutorium Deus in adiutorium (do concerto, composto sopra canti fermi sex vocibus et sex instrumentis) Deus in adiutorium meum intende Domine ad adiuvandum me festina Gloria Patri et Filio et Spiritui Sancto: Sicut erat in principio, et nunc et semper et in saecula saeculorum. Amen Alleluia.
O God, make speed to save me. O Lord make haste to help me Glory be to the Father and to the Son, And to the Holy Ghost. As it was in the beginning is now and ever shall be: world without end. Amen Alleluia.
Antiphona I Dum esset rex in accubito suo nadrus mea dedit odorem suavitalis.
As long as the king is at his table my spikenard gives forth sweet perfume.
PSALMUS 109: Dixit Dominus Dixit Dominus Domino meo. Sede a dextris meis donec pollam inimicos tuos, scabellum pedum tuorum. Virgam virtutis tuae emittet Dominus ex Sion: dominare in medio inimicorum tuorum. Tecum pricipium in die virtutis tuae in spledoribus sanctorum: ex utero ante anne luciferum genui te. Juravit Dominus, et non penitebit eum:
The Lord said unto my lord. Sit thou on my right hand, until I make thine enemies thy footstool The Lord shall send the rod of thy power out of Sion: “Be thou ruler, even in the midst among thine enemies. In the day of thy power shall the people offer thee free-will offerings with an holy workship: the dew of thy birth is of the womb of the morning.” The Lord sware and will not repent:
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Tu es sacerdos in aeternum secundum ordinem Melchisedech. Dominus ad dextris tuis confregit in die irae suae reges. Judicabit at nationibus, implebit ruinas: conquassabit capita in terra multorum. De corrente in via bibet: porpterea exaltabit caput.
“Thou art a Priest for ever after the order of Melchisedech.� The Lord upon thy right hand shall wound even kings in the day of his wrath. He shall judge among the heathen: he shall fill the places with the dead bodies: and smite in sunder the heads over the countries He shall drink of the brook in the way: therefore shall he lift up his head.
Concerto: Nigra sum Nigra sum, sed formosa, filiae Jerusalem Ideo dilexit me rex et introduxit me in cubiculum suum et dixit mihi: Surge, amica mea, et veni. Iam hiems trasiit, imber abiit et recessit, flores apparuerunt in terra nostra Tempus putationis advenit.
I am black but comely, O ye daughters of Jerusalem: Therefore the King hath loved me, and had broth me into his chambers, and he said to me: Arise up my love and come away, for lo, the winter is past, the rains are over and gone, and the flowers appear in our land, the time of pruning is at hand.
Antiphona II Laeve ejus sub capite mereo et dextera illius amplexabitur me. PSALMUS 112: Laudate pueri Laudate pueri Dominum: laudate nomen Domini. Sit nomen Domini benedictum ex hoc nunc, et usque in saeculorum. A solis ortu usque ad occasum, laudabile nomen Domini.
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Praise the Lord, ye servants: O praise the name of the Lord. Blessed be the name of the Lord: from this time forth for evermore. The Lord’s name is praised: from the rising up of the sun unto its going down.
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Excelsus super omnes gentes Dominus, et super caelos gloria eius. Quit sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in caelo et in terra? Suscitans a terra inopem, et de stercore erigens pauperem: Ut collocet eum cum principibus, cum principibus populi sui. Qui habitare facit sterilem in domo, matrem filiorum laetantem. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principis et nunc et semper et in saecula saeculorum. Amen.
the Lord is high above all heathen: and his glory above the heavens. Who is like unto to the Lord our God, that hath his dwelling so high: and yet humbled himself to behold the things that are in heaven and in earth? He taketh up the simple out of the dust: and lifteth the poor out of the mire: That he may set him with princes: even with the princes of his people. He maketh the barren woman to keep house: and to be a joyful mother of children. Glory be to the Father and to the Son: and to the Holy Ghost. As it was in the beginning, is now and ever shall be: world without end. Amen.
Concerto: Pulchra es Pulchra es, amica mea, suavis et decora filia Jerusalem. Pulchra es, amica mea, suavis et decora filia Jerusalem; terribilis ut castrorum acies ordinata. Averte oculos tuos a me quia ipsi me avolare fecerunt.
Thou art fair, my love, beautiful And comely, O daughter of Jerusalem: thou art fair, my love, beautiful and comely as Jerusalem, terrible as an army set in array. Turn thine eyes from me, for they have made me flee away.
Antiphona III Nigra sum sed formosa filiae Jerusalem ideo dilexit me rex et introduxit me in cubiculum sum
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PSALMUS 121: Laetatus sum (a 6 voci) Laetatus sum in his, quae dicta sunt mihi In domum Domini ibimus. Stantes erant edes nostri, in atriis tuis, Jerusalem. Jerusalem, quae aedificatur ut civitas: cuius participatio eius in idipsum. Illuc enim ascenderunt tribus, tribus Domini: testimonium Israel ad confitendum nomini Domini. Quia illic sederunt sedes in iudicio, sedes super domum David. Rogate quae ad pacem sunt Jerusalem: et abundantia digentibus te. Fiat pax in virtute tua: et abundantia in terribus tuis. Propter fratres meos et proximos meos, loquebar pacem de te: Propter dumum Domini Dei nostri, quaesivi bona tibi. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio et nunc et semper, et in saecula saeculorum. Amen.
I was glad when they said unto me: We will go into the house of the Lord. Our feet shall stand in thy gates, O Jerusalem. Jerusalem is built as a city: that is at unity in itself. For thither the tribes go up, even the tribes of the Lord: to testify unto Israel, to give thanks unto the name of the Lord. For there is the set of judgement: even the seat of the house of David. O pray for the peace of Jerusalem: they shall prosper that love thee. Peace be within thy walls: and plenteousness within thy palaces. For my brethren and companions’ sakes: I will wish thee prosperity. Yes, because of the house of the Lord our God: I will seek to do thee good. Glory be to the Father and to the Son: and to the Holy Ghost. As it was in the beginning, is now and ever shall be: world without end. Amen.
Concerto: Duo Seraphim Duo Seraphim clamabant alter ad alterum: Sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria eius. Tres sunt, qui testimonium dant in caelo: Pater, verbum et Spiritus Sanctus. Et hi tres unum sunt. Sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria eius.
Two seraphims cried one to the other: “Holy is the Lord God of Sabaoth. The whole earth is full of His glory: there are three that bear record in Heavens: the Father, the World, and the Holy Spirit: and theese three are one: Holy is the Lord God of Sabaoth The whole earth is full of his glory.”
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Antiphona IV Jam hiems transiit Imber abiit et recessit Surge amica mea Et veni. PSALMUS 126: Nisi Dominus (a 10 voci) Nisi Dominus aedificaverit domum, in vanum laboraverunt qui aedificant eam. Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere: surgite posquam sederitis, qui manducatis panem doloris. um dederit dilectis suis somnum: ecce haereditas Domini filii: merces, fructus ventris. Sicut sagittae in manu potentis: ita filii excussorum. Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio et nunc et semper, et in saecula saeculorum. Amen.
Except the Lord build the house, Their labour is but lost that build it. Except the Lord keep the city: the watchman waketh but in vain. It is but lost labour that ye haste to rise up early and so take rest, and eat the bread of carefulness, for so he giveth his beloved sleep. Lo, children and the fruit of the womb, are an heritage and gift that comet of the Lord. Like as the arrow in the hands of the giant, even so are the young children. Happy is the man that hath his quiver full of them: they shall not be ashamed when they speak with their enemies in the gate. Glory be to the Father and to the Son: and to the Holy Ghost. As it was in the beginning, is now and ever shall be: world without end. Amen.
Concerto: Audi coelum (a 6 voci; Prima ad una voce sola) Audi coelum, verba mea, plena desiderio et perfusa gaudio. Dic, quaeso mihi:
Heaven hear my words, full of desire and suffused with joy. Tell me: who is she who rises
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Quae est ista, quae consurgens ut aurora rutilat ut benedicam? Dic nam ista pulchra ut luna electa ut sol replet laetitia terras, caelos, Maria. Maria virgo illa dulcis, praedicata de propheta Ezechiel porta orientalis. Illa sacra et felix porta, per quam mors fuit expulsa, lntroduxit autem vitam. Quae semper tutum est medium inter hommes et deum, pro culpis remedium. Omnes hanc ergo sequamur qua cum gratia mereamur vitam aeternam. Consequamur. Praestet nobis deus, pater hoc et filius et mater praestet nobis. Pater hoc et filius et mater cuius nomen invocamus dulce miseris solamen. Benedicta es, virgo Maria, in saecula saeculorum. Antiphona V 10 Speciosa facta es
et suavis in deliciis tuis sancta Dei Genitrix
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brigth as the down, and I shall bless her? Say if this one, beautiful as the moon and chosen as the son fills the heaven and earth with joy: The sweet Virgin Mary foretold by Ezekiel, the prophet from the East, this holy and happy portal through which death was driven out and which established that life, which is ever the perfect and sure link between God and man for overcoming sin. Let us all therefore strive, with what grace we can, to attain to this eternal life. Let us all therefore strive, and may God, the Father, Son and Mother, give comfort to the afflicted. And may the father, Son and Mother whose sweet name we invoke, give comfort to the afflicted. Blessed art thou, O Virgin Mary, world without end.
PSALMUS 147: Lauda Jerusalem (a 7 voci) Lauda Jerusalem Dominum, lauda Deum tuum Sion. Quoniam confortavit seras portatorum tuarum: benedixit filiis tuis in te. Qui posuit fines tuos pacem: et adipe frumenti satiat te. Qui emittit eloquium suum terrae: velociter currit sermo eius. Qui dat nivem sicut cinerem spargit. Mittit crystallum suam sicut buccellas: ante faciem frigoris eius quis sustinebit? lmittet verbum suum, et liquefaciet ea: flabit spiritus, et fluent aquae. Qui annunciat verbum suum Jacob: justitias et iudica sua Israel. Non fecit taliter omni nationi: et iudicia sua non manifestavit eis. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio et nunc et semper, et in saecula saeculorum. Amen.
Praise the Lord, O Jerusalem, praise thy God, O Sion. For he had made fast the bars of thy gates: and hath blessed thy children within thee. He maketh peace in thy borders: and filled thee with the flour of wheat. He sendeth forth his commandment upon earth: and his word runneth very swiftly. He giveth snow like wool: and scattereth the hoar-frost like ashes. He casteth forth his ice like morsels: who is able to abide his frost? He sendeth out his word, and melteth them: He bloweth with his wind, and the waters flow. He showeth his word unto Jacob: His statutes and ordinances unto Israel. He hath not dealt so with any nation: neither have the heathen knowledge of his laws. Glory be to the father and to the Son: and to the Holy Ghost. As it was in the beginning, is now and ever shall be: world without end. Amen.
Sonata sopra Sancta Maria (a 8) 11 Sancta Maria, succurre miseris
Juva pusillanimes, Refove flebiles ora pro populo interveni pro clero, intercede pro devoto femineo sexu, sentiant omnes tuum juvamen quicumque celebrant tuam sanctam festivitatem.
Holy Mary, come to the aid of us poor ones strenghten the faint-hearted, console those who weep, pray for your people, be a help to the priests, intercede for pious women, may all feel your aid who celebrate your holy festival. 15
Capitulum (a 8 voci) 12 Ecce virgo concipiet et pariet filum
Et vocabitur nomen ejus Emmanuel. Butyrum et mel comedet ut sciat reprobare malum et eligere bonum Hymnus: Ave maris stella Ave Maris stella, Dei Mater alma atque sempre virgo felix coeli porta.
Hail, O star that pointest towards the port of heaven thou to who as maiden God for Son was given.
Sumens illud Ave Gabrielis ore. Funda nos in pace, mutans Hevae nomen.
When the salutation Gabriel had spoken, Peace was shed upon us, Eva's bonds were broken.
Solve vincla reis, profer lumen caecis, mala nostra pelle, bona cuncta posce.
Bound by Satan’s fetters, health and vision needing, God will aid and light us at thy gentle pleading.
Monstra te esse matrem, sumat per te preces, qui pro nobis natus, tulit esse tuus.
Jesu’s tender Mother, make thy supplication unto him who chose thee at his Incarnation:
Virgo singularis, inter omnes mitis, nos culpis solutos, mites fac et castos.
That, O matchless Maiden, passing meek and lowly, thy dear Son may make us blameless, chaste, and holy.
Vitam praesta puram iter para tutum, ut vidente Jesum semper collaetemur.
So, as now we journey, aid our weak endeavour, till we gaze on Jesus, and rejoice for ever.
Sir laus deo Patri, summo Christo decus, Spiritui Sancto tribus honor unus. Amen.
Father, Son and Spirit, Three in one confessing, give we equal glory equal praise and blessing. Amen.
Compact Disc 2
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Make me worthy to praise you, Holy Virgin Give me strength against your enemies.
Antiphona ad Magnificat Sancta Maria succurre miseris juva pusillanimes refove flebiles Ora pro pupulo Interveni pro clero intercede pro devoto femineo sexu Sentiant omnes tuum juvamen Quicumque celebrant tuam sanctam festivitatem
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Versiculum Dignare me laudare te Virgo sacrata Da mihi virtutem contra hostes tuos
Magnificat anima mea Magnificat anima mea Dominum
My soul doth magnify the Lord.
Et exultavit (a 3 voci) Et exultavit spiritus meus In Deo salutari meo.
And my spirit hath rejoiced In God my saviour.
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Quia respexit Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes generationes.
Gloria Patri (a tre voci) For he hath regarded the lowliness of his hand maiden: For behold, from henceforth, all generations shall call me blessed.
12 Gloria Patri et Filio
Et Spiritui Sancto Sicut erat 13 Sicut erat in principio et nunc et sempre,
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Quia fecit (a 3 voci e due instrumenti) Quia fecit mihi magna qui potens est: et sanctum nomen eius.
For he that is mighty hath magnified me And holy is his name.
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Et misericordia (a 6 voci sole in dialogo) Et misericordia eius a progenie In progenies timentibus eum.
And his mercy is on them that fear him Throughout all generations.
Glory be to the Father and to the Son and to the Holy Ghost.
Et in saecula saeculorum. Amen.
As it was in the beginning, is now And ever shall be: World without end Amen.
Oratio: Concede nos
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Fecit potentiam (ad una voce e tre instrumenti) Fecit potentiam in bracchio suo, dispersit superbos mente cordis sui.
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Deposuit Deposuit potentes de sede, Et exaltavit humiles.
He hath put down the mighty from their seat And hath exalted the humble.
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Esurientes (a due voci e quattro instrumenti) Esurientes implevit bonis Et divites dimisit inanes.
He hath filled the hungry with good things And the rich he hath sent empty away.
He hath showed strength with his arm, He hath scattered the proud in the imagination of their hearts.
14 Oremus
Concede nos famulos tuos Quaesumus Domine Deus Perpetua mentis et corporis sanitate gaudere Et gloriosa Beatae Mariae Semper Virginis intercessione A praesenti liberari tristitia Et aeterni perfui laetitia Per Dominum nostrum Jesum Christum Filium tuum Qui tecum vivit et regnat In unitate Spiritus Sancti Deus Per omnia saecula saeculorum. AMEN
Let us pray. Grant us thy servants Lord and God we pray thee, Lasting health of mind and body At the intercession, of blessed Mary, the glorious and ever-virgin, may we be delivered from the sorrow of his life and enjoy the happiness of life everlasting through our Lord Jesus Christ, your Son, who lives with thee and reigns as one With God’s Holy Spirit, for ever and ever. AMEN
Suscepit Israel (a tre voci) 10 Suscepit Israel puerum suum,
recordatus misericordiae suae.
He remembering his mercy Hath holpen his servant Israel.
Sicut locutus (a una voce e 6 instrumenti) 11 Sicut locutus est ad patres nostros,
Abraham et semini eius in specula.
18
As he promised to our forefathers, Abraham and his seed, for ever.
19