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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

C onsortium 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 16th and especially the 17th

century. Among the various types of music that flourished in Rome during the 17th 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 its simple, fresh new approach to text, melody and accompaniment. Dedicating much of the research and concert activity to composers like Graziani, Rossi, Pasquini, Agazzari, Marazzoli 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 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 founder Garrick Comeaux, allows Consortium Carissimi to program World Premier Concerts and Recordings. The musical style, the affects of the texts, the ornamentation and the choice of the figured bass instruments are objects of continuous research. It is however right within these parameters that Consortium Carissimi finds its reason for existence and finds the vital energy necessary for the continuing research and performance practice.

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

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

Se vuoi vivere in eterno, a Gradoli l'estate a Canino l'inverno If you want to live in eternity, Gradoli in the summer and Canino in the winter

Pope Paul III (1468-1549)

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

LA VENDEMMIA

Music for the Grape Harvest

2

Soprani Kristi Bergland

Kathryn Higgins Beth Kainz Alison Lund

Naomi Staruch

Alti Timothy Faatz

Jerry Hinks

Tenori Andrew Kane Steve Staruch

Bassi

Garrick Comeaux Ben Henry-Moreland Douglas Shambo II

Recorder

Eden Kaiser Alan Kolderie

Violins

Ginna Watson Cheryl Zilla

Tiorba

Paul Berget

Violone Mark Kausch

Organo & Basso Continuo Realization

Don Livingston

Transcription, programming and musical preparation

Garrick Comeaux

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At Christmas 1655 Queen Christina of Sweden arrived in Rome, and in her honor the Barberini family presented Marazzoli's allegorical opera La Vita humana during Carnival 1656 (Le armi e gli amori and Dal male il bene were also performed during carnival). Marazzoli used the title of virtuoso da camera to the queen, and it may be that he attended her during her singing lessons with Loreto Vittori.

Marazzoli was well known also as a harp player. He possessed the famous gilded Barberini harp, now in the Museo degli Strumenti Musicali – Roma, which was represented in a painting by Giovanni Lanfranco.

From April 1655 Marazzoli worked also for the new pope Alexander VII Chigi, who commissioned festive cantatas for the Vatican, the Quirinal and Castel Gandolfo. You will hear his praises sung in the final work of this concert, La Vendemmia.

Antonio Barberini experienced a new surge of religious faith about this time, and may have influenced the composer, who began to celebrate mass personally. It is interesting that Marazzoli's will, drawn up about 1660, names Anna Giustiniani, his adoptive niece since 1650, several members of the Barberini family, Cardinal Giulio Rospigliosi and some other friends, but neither Queen Christina of Sweden nor the Chigi family. We know that the queen admired Carissimi and Abbatini (and, later, musicians of a new generation), perhaps more than Marazzoli, and this may have been true of the pope as well, after an initial period of admiration. During Mass in the Cappella Sistina on 25 January 1662 Marazzoli was wounded in a serious accident; he died the next day.

When you go to Rome next time, check out Gioia Mia near Piazza Barberini. Make sure you order the table wine, Pisciapiano, which comes from Trasimeno. Ask for Achille at 06/4882784, and tell him I send cordiali saluti.

Garrick

A special thanks from the Board to

Peter Hendrickson, faculty, studio artists, staff and campus Ministers here at Augsburg College,

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

to my friend and colleague Don Livingston for his fine elaboration of the ritornelli in the

Charpentier and Marazzoli works,

and extraordinary gratitude to donors who have provided financial support for this season.

Consortium Carissimi

——— Board Members ——–

Robert Hickcox, President

Beth Nunnally, Treasurer

Cynthia Prosek, Secretary

Bob Hays, At Large

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

P.O. Box 40553 Saint Paul, Minnesota 55104

14

—————— These Performances ——————

One of my favourite places to eat in Rome is called Gioa Mia, Pisiciapiano. Above the door of this establishment you‘ll see the little guy on the front of this concert program. At this place you can eat and drink and enjoy the company of friends, new and old. The history of this place is, however, colourful, as the rooms above the restaurant were used for that other oldest profession the world has known. That no longer is the case.

This concert program is undoubtedly the silliest one I have ever put together but it is very seriously divided into two parts. The first is made up of Catches of Purcell and Lawes. Catches are a type of an a cappella round or canon that can be sung in different ways. We have chosen to sing them through completely and then return with the division of voices and verses. You will also hear some part songs as well as motet-like pieces which can easily be sung by anyone, at any table where wine is being consumed.

This first part wisely moves from England and Germany into the second part where the warmer climate of France and Italy provide a better picture of the subject of our concert. Vino!

Marc-Antoinne Charpentier, a student of our beloved Giacomo Carissimi, may have composed the drinking song you will hear, but he definitely composed his own Funeral Oration. This peculiar piece, in Latin, sets the scene for a spooky Ghost to appear to two men by the names of Ignatius and Marcellus. The Ghost or Spirit is of Charpentier himself. The dialogue that ensues revolves around the brevity of life, and the need to consider eternity. After Charpentier introduces himself, the two men ask what kind of music is heard in the heavenly courts. He informs them that Carissimi is now called Capronus in heaven, a little play on words, since Capronus resembles the Italian word caprino or little goat. After Charpentier recites a short prayer for divine intervention, the two men are granted the opportunity to actually hear this heavenly music, sung by three angels. After this experience, they decide to prepare themselves for heaven, purging themselves by listening to this disgusting, discordant, goatish music, the asinine hack-work of Chaperon. So much for student/teacher dynamics.

Bacchus and friends land in Lazio, the region of Rome, and in particular in Castel Gandolfo in the beautiful southern hills of Rome. Marco Marazzoli sets the music to a text full of dialogues (fine rectitative material) between Bacchus and his colleagues for harvesting the grapes that grow on those hills.

Marazzoli was one of at least four children born to Dionisio and Flora de' Marazzoli of Parma. He took holy orders and was presumably ordained priest about 1625. At that time he received a benefice from Parma Cathedral, but he had to forgo this on 27 February 1637 because of new permanent duties at Rome. According to his autograph, Marazzoli moved to Rome in 1626.

Il cielo accresca a noi, o gloria degli eroi,

perchè regni la pace e le virtute trionfi;

allegrezze trionfi,

anni e salute.

May the heavens increase for us,

O glory of the heroes;

that peace might reign and virtue triumph.

Joyfulness triumph for years and good health!

3

Friday, October 16 (Sateren Hall ) 8:00 p.m. Saturday, October 17 (Hoversten Chapel) 8:00 p.m.

Sunday, October 18 (Sateren Hall) 2:00 p.m. At Augsburg College in Minneapolis

William Lawes 1602-1645

Henry Purcell 1659-1695

Hans Leo Hassler

1564-1612

Henry Purcell

Antonio Scandello 1570 - 1580

William Lawes

M.-A. Charpentier 1643/45 - 1704

Henry Purcell

Marco Marazzoli

c.1602/8 – 1662

Part song A hall, a hall to welcome our friend! (For some liquor call ) Catch for 3 voices If all be true Ihr musici auf Catch for 3 voices Wine in a morning Der Wein der schmeckt mir also wohl A dialogue for 3 voices and B.c. A health to the northern lass Two Part song for 3 voices and B.c. What ho, we come to be merry When each line’s a faithful drinker Veux-tu, Compère, Grégoire, Epitahium Carpentarij Down, down with Bacchus (and France) La Vendemmia

LA VENDEMMIA

4

Original Texts and English Translations

A hall, a hall to welcome our friend!

A hall, a hall to welcome our friend!

For some liquor call.

Hoe, A new or fresh face must not alter our pace, but make us still drink the quicker.

Hoe, Wine! Oh ‗tis divine! Come fill it unto our brother.

What‘s at our tongue‘s end it forth doth send and will not a syllable smother.

Then it unlocks the breast and throws out the rest, and learns us to know each other.

If all be true

If we all be true that I do think

there are Five Reasons,

there are Five Reasons we should Drink:

Good wine, a friend, or being Dry,

Or least we should be by and by,

Or any other Reason,

Or any other Reason;

Or any other Reason why,

any Reason why.

Ihr musici auf

Ihr Musici, frisch auf und laßt doch hören,

Die lieblich Kunst tut euch zusammen kehren!

Ein jeder faß sein Stimm alsbald,

Tenor und Baß,

Diskant und Alt.

Singt allerseits, zur rechten und zur linken.

Denn wer nicht singt,

der soll auch nicht mittrinken.

You musicians, refresh yourselves and let once more

be heard the lovely art that draws you together!

Each one will take his part at once:

tenor und bass,

descant and alto.

Sing in every direction, to the right and to the left.

For he who does not sing

may not join in the drinking!

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Del mio Gradoli la gratia ch’ha l’odor della viola,

più mordace più consola, più si bee manco ne satia.

O del sol chiaro assai più, quasi manna a noi stillato,

madre in terra, alba ti fu ma nel ciel par che sei notte.

Voi pendici genitrici di si nobile tributo,

voi mariti delle viti d’oro gravide saluto.

Sù, sù via da noi concordi mentre il vento arride in

poppa s’avvicini a’i labri ingordi

pria che naufraghi la coppa.

Viva Alessandro e regni

e perchè sian di Belo sommersi

nell’Eufrati Doli indegni

arrida ai voti suoi propitio il cielo.

Hor senza intervallo con labra mordace

di nuovo si baci l’amato cristallo.

Beve nettare la mia bocca che a noi verde vien dall’Etrusia,

o l’amabile di Liguria

dal mio calice sol trabocca.

Nel mio vaso cristallino al rubino mosto eguale ondeggia e bolle,

le vendemmie più sanguigne delle vigne manda

a noi d’Etrusia un Colle.

Manda il Rodano un suo figlio spiritoso,

ma gentile perchè chiaro è il suo vermiglio

serba ancor nome simile.

Questo io bevo e giorno e notte,

porporino è generoso e pur nato è nelle grotte,

nelle grott’ abita ascosa.

Questo, questo vogl’io, che spuma e brilla del color delle fiamme

che del bel catinel in regia villa della lupa toscana

offron le mamme.

My gracious Gradoli which smells of violas,

more the bite, the more it consoles,

more you drink, the less you are satisfied.

O of the sun, even clearer,

almost manna distilled for us, mother on earth;

dawn you were made, but in heaven,

you seem night.

You parental slopes of such noble tribute,

you husbands of the golden heavy vines, cheers!

Come on, we are all in agreement, while the wind

smiles on the stern, to the voracious lips come closer,

before the goblet is shipwrecked.

Long live Alessandro and may he reign!

Those of Belo, may they be submerged in the

Euphrates. Undeserving deceits, laugh at his vows,

but favorable are the heavens.

Now without a pause, and with biting lips,

again we kiss the beloved crystal.

My mouth drinks green nectar which comes to us

from Etrusia, or the sweet one from Liguria,

flow over from my chalice.

In my crystal ruby vase, equal must ripples and boils;

the bloodiest grape harvests of the vineyards,

Etrusia sends a hill.

The Rodano send one of his witty sons, but gentle

because clear is his vermilion,

and still hold a name which is similar.

This I drink night and day, the little purple is

generous even if born in the grotto,

in the grotto it lives hidden.

This, this I want, which mothers offer, that foams and

glows the color of the flames that from the beautiful

basin in the royal villa of the Tuscan Wolf.

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Io la madre del vino con nudo piè

sviscecaro’ nel fino.

Et io, che biond ad alba esser non sofri, farò che il ventre mio

serva per doglio.

Sù, sù, si corra all’opra ciascun nel suo mestier

pronto si scopra.

Ma, in sì lungo viaggio io che le fauci

ho sordide di polve.

Io cui del sole il raggio tutto in sudor risolve.

Noi giovinetti insoliti al digiuno senza riposo alcun, senza

piena ristoro, troppo saremo inabili al lavoro.

Ecco in più vetri immersi entro del ghiaccio vario liquor

impriginato gela onde da man reale a noi si svela un autunno

spumante al verno in braccio. È dover, si godesse i doni di colui

che sempre a prò d’altrui benefico vedere.

Non ha cor, si villano che col calice in mano

meglio render le gratie a lui dovute

s’annuntii al gran Pastor, vita, vita e salute.

O d’ambra o vermiglie rugiade novelle più dolci

di quelle che all’alba son figlie,

sia d’ambrosia si soave ogni nappo adorno e grave.

Quel che a voi più fà prò, o famoso o gentile, o d’oro o d’osti,

è pronto al piacer vostro,

quello che aggrada più sceglier si può.

Voglio quel di musco ripieno che Falisco mont’e ne manda.

O dei colli del Trasimeno odorifera la bevanda.

Un più lontano Autunno io sol cerco e desio che dagli scogli

fertili di Scio suol peregrino a noi portar Hetunno.

Falerno a diluvio ch’é pieno d’orgoglio o pur del

Vesuvio le lacrime io voglio.

I, the mother of wine, with my feet,

will squeeze every drop out.

And I, so that the blond in the morning do not suffer,

will see that my belly serves for birthing.

Let‘s go, let‘s run to the work at hand, each one ready

to display their craft.

But, after such a long journey,

my jaws are deaf with dust.

I, from the suns ray, resolve everything with sweat.

We young men, unaccustomed to fasting, to no rest

and no complete refreshment, will be unable to help.

Here in bottles immersed in ice, diverse imprisoned

liquors freeze and uncover an sparkling autumn with

winter around the corner. It is a duty, to enjoy the

gifts of him who always has the good of others in

sight. He has no heart, such a poor-mannered soul,

that with a chalice in hand one renders thanks that are

due; to the Pastor, life and health.

Either orange or vermillion, this new dew is sweeter

than those that are sons of the dawn, or ambrosia so

sweet that every cluster is heavy.

The object of your desires, whether famous, or kind,

golden or host, is now ready for your pleasure; that

which most pleases, you may choose.

I want that one full of moss, which comes from

Monte Falisco or from the hills of Trasimeno,

the sweet-smelling drink.

In a far off Autumn, I seek and desire, that from the

fertile cliffs of Scio, should bring us to Hetunno.

Falerno flooding which is full of pride or even the

tears of Vesuvio I want.

5

Wine in a morning

Wine, wine in a morning makes us frollick and gay

that like eagles we soar in the pride of the day;

Gouty sots in the night only find a decay.

'Tis the sun ripes the grape and to drinking gives light:

We imitate him when by noon we're at height;

They steal wine who take it when he's out of sight.

Boy, fill all the glasses, fill 'em up now he shines,

The higher he rises, the more he refines;

But wine and wit palls as their maker declines.

Der Wein der schmeckt mir also wohl

Der Wein, der schmeckt mir also wohl,

macht mich Sommer und Winter voll,

Lieber Brüder, wir glaubens wohl,

so will ich itzund fangen an,

dies gläslein das soll rummer gahn.

Frisch Auf! Mein Brüderlein,

es sei gleich gut Bier oder Wein,

so muß es doch getrunken sein.

Den guten Wein ich trinken soll,

Ihr trinkt auch gerne allzumal,

Es ist ja wahr; er schmeckt auch wohl,

Ich will austrinken zu der stund,

Trinkt ihts auch aus bis an den grund.

Frisch Auf!...

Das Glas ist aus, wir ihr da seht,

ihr sollt auch recht tun bescheid,

Wir wollens tun ohn alles leid,

so laß ich wieder schenken ein,

tut all Bescheid ihr Brüder mein.

Frisch Auf!...

Wine tastes really good to me,

it makes my summer and winter full

Dear Brother, we believe you and how,

and so I will now begin,

this little glass should be passed around.

Let‘s go my brothers!

Good Bier or Wien, its all the same,

and so must it be drunk.

Good Wine I should drink,

You guys gladly drink all the time,

This is true, it tastes really good.

I will empty my glass on the hour,

Empty yours till on the ground.

Let‘s go!

The glass is now empty, as you all see,

You should do something about this.

We happily will to take care of this,

Then let me have one more,

And all of you as well!

Let‘s go!

6

A health to the northern lass

A Health, a health to the Nut-brown Lass

with the Hazle Hyes,

She that has good Eyes has also good Thighs,

let it pays, let it pays.

As much to the livelier Gray,

They're as good by night as day,

She that has good Eyes has also good Thighs,

Drink away, drink away.

I'll pledge, Sir, I'll pledge,

What ho some wine, here some wine to mine,

And to thine, to thine, to thine,

And to mine the Colours are Divine.

But Oh, the black eyes,

the black give me as much again,

And let it be Sack.

She that has good Eyes has also good Thighs,

And a better knack.

What ho, we come to be merry

What ho, we come to be merry.

Open the doors.

A jovial crew, lusty boys, and free,

and very, very lusty boys are we.

We can drink till all look blue,

dance sing and roar,

and never give o‘er.

Daintilly, we shall pass,

none kisseth like the lisping lass.

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Al Tirso della mano al verde pampano,

che mi circonda il crin misto co’ledere,

a queste grote, che vermiglie avvampano,

voi che Bacco son’io potete credere.

Son quello che adora il Gange che per voi

vo’ tutto in sangue.

Io vigor d’alma che sangue io consolo un cor che piange tra

l’esequie hebbi i natali. E tra i fulmini e i baleni pur recando i

dì ceneri, sono al mondo oblio de’ mali,

son quel che mentre nasce acerba prole Giove

ancor genitrice essermi vuole.

A voi piagge e d’alba antica vengo a te colle sublime a goder su

le tue cime nuovi rai di stella amica.

Sò che l’eroe, che in Vatican s’adora le mie vendemmie in

questi poggi homaggi honora.

Su prendete o miei ministri Agatirsi e Coribanti e voi menadi e

boccanti a sonar crotali e sistri rimbombando evoè,

ogni eco il vostro pie’ vada girando intorno de Colli di Gandolfo

al bel soggiorno.

Signor già corre’alla vendemmia usata del paese la rustica

brigata. In si belle pendici chiedono aita a voi gl’ospiti amici.

O primo domator de’ flutti Eoi. O delizia del mondo,

dolce nume giocondo ecco tutti siam pronti à cenni tuoi.

Io da viticchi opachi a sveller prendo

i grappoli fecondi.

Et io distinguerò de raspi i vachi dai più negi i più biondi.

Io sulla testa mia voglio ben presto colma

d’una portar fescina ò cesto.

With Thyrsus on hand to the green vine leaves,

which mixed with ivy, surround my head,

to these grottos which vermilions kindle,

you can believe that I am Bacchus.

I am he who adores the Ganges, which for you,

I want all in blood. I with more strength of soul than

blood, console the heart that weeps among funeral

rites in which it was born. And amidst thunder and

lightning, blowing ashes on the day, I am to the

world, the oblivion of all ill, I am he who is born a

sour child, Jupiter still wants to be my parent.

To you beaches and antique dawn, I come to you

sublime hills, to enjoy on your peaks, new rays of

friendly stars. I am the hero, whose harvests are

adored in the Vatican.

Come on, all you ministers and sing,

with the resounding ―Evoe‖ every echo as your feet

move around the hills of Gandolfo.

Sir, the rustic brigade is already running to the grape –

harvest. In these beautiful slopes our friendly guests

kindly ask you for help.

O first great tamer of the wild Aeolian waves, O

delight of the world, joyous sweet god,

we are all ready for your signal.

I uproot the fertile grapes

from the dull vine-growers.

And I will divide the rasps from the grains, the dark

red from the blond.

I want to timely place on my head

a basket overflowing.

La Vendemmia

10

Down, down with Bacchus

Down, down with Bacchus,

down, down with Bacchus:

from this honor Renounce,

renounce the grape's tyrannick pow'r;

Whilst in our large,

our large confed'rate bowl,

and mingling vertue, cheer the soul.

Down with the French,

down with the French,

march on to Nantz,

For whose, for whose dear sake we'll con'quer France;

And when, when th'inspiring cups swell high,

their hungry, hungry juice with score, with score defy.

Rouse, rouse, rouse, rouse royal boyes,

your forces joyn To rout,

to rout the Monsieur and his wine;

Then, then, then,

then the next year our bowl shall be quaff'd,

quaff'd under the vines in Burgundy.

7

When each line’s a faithful drinker

When each line‘s a faithful drinker,

and the centre is the stinker,

No figure to the perfect round,

But persists then when it is found.

Made by good fellows on the ground.

When the liquor trowels

and the full bowls go round like to the spheres,

Drown all your care and fears.

Veux-tu, Compère, Grégoire,

Epitaphium Carpentarij

Veux-tu, Compère Grégoire dormir sans fin,

Au lieu de rire et de boire ce bon vin,

Vite qu'on éveille ce gros cochon,

Faisons buire à son oreille le carillon

Du glou-glou de la bouteille et du plin-plan du flacon.

Do you wish, Friend Gregory, to sleep endlessly

Instead of laughing and drinking this good wine?

Quickly, if one awakens this fat pig

Let us make to rattle in his ear the carillon

Of the glug-glug of the bottle

And the plin-plan (drip-drip) of the flask.

Quid audio, quod murmur horrisonum simul es

harmonicum aure meas pepulis?

Quid video? Terra tremit. Hic lapsis inhiat.

Hic tumulus evomit umbram.

O portentem, fugiamus, fugiamus!

Amici, viatores, nolite timere.

Sistite gradum et audite verba oris mei.

Hic terminus viae et vitae vestrae ac meae.

Ille ego qui natus pridem ac notus eram saeculo

endonatus hoc late

o nudus nullusque sepulchro

What do I hear, what horrible-sounding roar, yet what

similar to harmony, has struck my ears?

What do I see? The earth trembles.

The rock gapes open. The tomb disgorges a spirit!

Oh, a monster let us flee!

Friends, travelers, do not be afraid.

Stop and listen to my words.

This is the end of the road of life - yours and mine.

I am he who was born long ago and had been known

widely during this century, but I am now naked and

nothing, dust in a tomb, an end

8

pulvis, finis et esca vermium. Satis vixi. Sed

parum si spectetur aeternitas.

O aeternitas quam longa; o vita quam brevis es.

Musicus eram, inter bonos a bonis,

et inter ignaros ab ignaris nuncupatus.

Et cum multo major numerus

esset eorum qui me spernebant quam qui laudabant,

musica mihi parvus honos sed magnum onus fuit;

et sicut ego nihil nascens intuli in hunc mundum,

ita moriens nihil abstuli.

Dic nobis, dic nobis umbra chara, multumne differt

caelestis aterrena musica.

Ah socii, ah socii, qui Carissimi nomen habeat in

terris Capronus, Chapronus vocatur in coelis.

Domine Deus meus, quem amo, quem possideo:

sana, purifica, sanctifica aures istorum ut possint

audire sacros angelorum concentus.

Audivit Deus deprecationem meam.

Tacete socii, Silete. Tacete.

Profitentes unitatem,

veneremur trinitatem pari reverentia,

tres personas asserentes

personali differentes a se differentia.

Patri natus est aequalis,

nec id tollit personalis amborum,

amborum distinctio;

patri compar filioque

spiritalis ab utroque

procedit connexio.

Pater, verbum, sanctum flamen,

Deus unus sed hi tamen habent quaedam propria.

Una virtus, unum numen, unus splendor, unum

lumen, una tribus Gloria.

and the food of worms. I have lived enough. But only

briefly should all eternity be considered.

O eternity, how long you are; O life how brief.

I was a musician, considered among the good

musicians by the good and among the ignorant

musicians by the ignorant. And since more numerous

were those who scorned me than those who praised

me, music became a small honor and a heavy burden;

and just as I, when born, brought nothing into this

world, thus dying, I took nothing away.

Tell us, dear spirit, whether heavenly music differs

from earthly music.

Ah, comrades, he who held the name of Carissimi

while on earth is called Chaperon in heaven. O Lord,

my God, whom I love and cherish: make healthy,

purify, and sanctify the ears of these men, so that they

can hear the sacred concert of the angels.

God has heard my prayer.

Be silent comrades. Be still. Be silent.

Declaring publicly its unity, let us venerate the Trinity

with equal reverence,

affirming three persons,

differing among themselves

with differences of personality.

The Son is equal to the Father

nor does the distinct identity of both deny this;

the Holy Ghost is equal to the Father and Son,

and arises as one with them.

The Father, the Word, the Sacred Flame,

one God,

but all three having however their own qualities.

One virtue, one power, one splendor, one light, one

glory in three.

9

O, o, o suave melos, o dulcis, o anticapronica musica.

Taedet me vitae meae.

Ah quando, quando anima mea, ad coelestem patriam

volabis, ut mellito hujus ce melodiae nectare replearis?

O amici, vivite laeti, at non immemores lethi.

Quis enim vestrum scit ancras an hodie an hac ipsa

forsitan hora sit moriendum.

Poenitentiam agite,

ad caproni musicam currite.

Hanc in supplicium vobis et purgatorium eligite,

et post mortem aeternae gaudia vitae gustabitis.

Beatus ille, beatus qui pro delendis culpis suis

fastidiosa et discordi, et discordi caproni musica aures

suas, aures suas fatigabit, castigabit, capronabit;

quoniam post mortem, post mortem auditui ejus

dabitur gaudium et laetitia in aeternum.

Beatus ille, beatus qui pro delendis culpis suis asininos

capronini tritus patienter audiet, quia post mortem

aeternae gaudia vitae gustabit, et nectareos angelorum

concentus in fonte voluptatis potabit.

O pleasing song, o Sweet non-Chaperonian music.

My life wearies me. Ah, when my soul, will you fly to

the heavenly homeland so that you may have the your

fill of the honeyed nectar of this song?

O friends, live happily, but not unmindful of death.

For who of you knows whether tomorrow,

today, or this very he may have to die.

Repent and embrace

this music as punishment

and purgatory, and after death,

you will taste the joys of eternal life.

Blessed is he who, to purge his sins, will tire, castigate,

and chaperonize his ears with disgusting and discordant,

goatish music; since after death joy and happiness will

be given as an eternal reward for listening to this.

Blessed is he who, to purge his sins, will patiently

listen to this asinine hack-work of Chaperon, since

after death he will taste the joys of eternal life and

drink the nectar-like harmony of the angels in the

fountain of pleasure.