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A special thanks to

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,

Generous donors without whom this programming would not be possible.

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

Don Livingston

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

Lenten Oratorio Concert 2010

Exquisite Music for the Season

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Soprani Heather Cogswell

Alison Lund Emily Rakes

Alto

Lisa Drew Lauren Vick

Tenor

Andrew Kane Tim Nelson

Bass

Garrick Comeaux Ben Henry-Moreland

Violins Marc Levine

Ginna Watson

Basso Continuo

Viola da gamba Mary Virginia Burke

Theorbo

Paul Berget

Harpsichord Bruce Jacobs

Organ

Donald Livingston

Direction Garrick Comeaux

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Daniel – Soprano

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. Thecel: appensus es instanter, et inventus es minus habens.

Phares: divisum est regnum tuum et datum est Medis et Persis.

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;

moreover, this is the interpretation of the words: Mane: God has numbered your Kingdom and has ended it.

Thecel: You have been seriously weighed and found wanting. Phares: Your kingdom has been divided and given to the Medes and the Persians.

Historicus – Tenor and Alto

Tunc, iubente rege, indutus est Daniel purpura et torque aurea ornatus. 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, as Daniel had prophesied.

À cinque Hinc, ediscite, o gentes!

Quanta rerum mortalium nos verset inconstantia, quae capita regnantia statim ad ima detrahit! Hinc, o gentes, ediscite

Therefore, remember, o nations!

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.

Therefore, o nations, remember! À due

Fortunae mendacis tenor instabilis, et muni fallacis favor mutabilis, et vitae fugacis spes variabilis, 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

fleeting life change now into mournful, now into happy times, and in their alternating cycles are taken quickly up on high but suddenly, suddenly come tumbling down.

Bass Felix ille qui labiles mundi descipit glorias, superbientis aulae non elatus favoribus, 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 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.

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À due

Regi nostro complaudamus, grates debitas agamus, qui convivio tam laeto, lautis epulis repleto, hodie nos recreat.

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.

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.

—— Pars Secunda —— 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:

And lo! in the midst of the songs and the applause of the rejoicing banqueters, suddenly there appeared fingers like those of a man’s hand,

writing opposite the candlesticks on the surface of the royal palace’s wall. 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,

et quicumque ex eis legerit et interpretatus fuerit scripturam hanc, purpura vestietur, et torquem auream habebit.

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

dressed in purple garments and will have a gold chain about his neck. Historicus – Soprano

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, Daniel was introduced and the King spoke this to him:

Baltazar – Bass Audivi de te, Daniel, quod spiritum deorum habeas et multa polleas sapientia et doctrina. Age, age ergo,

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.

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THE PROGRAM

St. Mary’s Chapel at the St. Paul Seminary - 2260 Summit Ave, St. Paul, MN Friday, March 26 - 8:00pm

Saturday, March 27 - 8:00pm

Giacomo Carissimi

(1605 - 1674)

Bonifazio Graziani (1604 - 1664)

Luigi Rossi (1589? - 1653)

Giacomo Carissimi

Mottetto Emendemus in melius for three voices and Basso continuo L’Oratorio Adae for four voices and Basso continuo Pars Prima Pars Secunda Oratorio per la Settimana Santa for five voices, two violins and Basso continuo Parte Prima

Parte Seconda L’Oratorio Baltazar Assyriorum Rex for five voices, two violins and Basso continuo Pars Prima Pars Secunda

10 Minute Pause

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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

Presentation

Consortium Carissimi was founded in Rome in 1996 with the intent of uncovering and bringing to modern day ears the long forgotten Italian-Roman sacred and secular music of the 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 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. The Italian ensemble truly helped build the solid foundation for introducing Consortium Carissimi to North America. Today you will hear a different formation of the stateside ensemble of Consortium Carissimi. Eight fine singers, one to a voice part and exceptional instrumentalists, each adding particular colors of their own. Much of the 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 stateside ensemble, as well as to continue musical collaboration with our Italian friends. Garrick Comeaux

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Balthazar

—— Pars Prima —— Historicus – Tenor

Baltazar, Assyriorum rex opulentissimus, optimatibus suis mille splendidum apparavit convivium, superbo luxu et lautissimis epulis magnifice instructum;

dulcisonis interim cytharaedorum vocibus plaudentibus et tale carmen modulantibus:

Belshazzar, most opulent king of the Assyrians, prepared for a thousand of his lords a magnificent feast, splendidly laid on with superb elegance and the most sumptuous dishes, with the sweet sounding voices of

the harpers, from time to time, applauding and performing a song such as this: Soprano

Inter epulas canori exultantes sonent chori regis nostri, regis nostri gaudia. Agant plausus convivales, mensae nitent dum regales oneratae dapibus.

Leves saltus, molles luctus blanda suscitet voluptas ad sonantem cytharam.

Between courses, let melodious choruses exultantly sound the joys of our King, our King. Let the guests clap their hands, let the royal tables glow, loaded with dainties.

Let charming delight of the sounding harp stir up light–footed leaps and tender meanings. À cinque

Regi nostro complaudamus. Praecinamus, collaetemur, gratulemur, et convivale carmen modulemur.

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.

Curae tristes procul este; loci risus, huc adeste,laeta laetaque tripudia.

Rixae truces, hic silete lites improbae; valete; corda pax exhilaret.

Sad concerns, go hence; come hither, happy laughter and happy dancing. Rowdy brawls, here be silent; evil thoughts, farewell; let peace gladden hearts.

Soprano Hic dum floret nobis aetas, ne ponamus gulae metas, satiemur epulis.

Rosis caput coronemus, calicesque propinemus dulci plenos nectare. Molle corpus ut pinguescat, hic post dapes conquiescat, blando fruens otio.

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 the soft body may grow plump, may it rest here after the feast, enjoying sweet leisure.

Alto Procul maestus eat questus, procul flentes eant gentes; sola regnent gaudia.

Away, mournful complaining; away, weeping people; may joy only reign.

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Vergine

Votisi pur de’ mali l’urna su le vitali

ombra di questa spoglia. Ecco l’ancilla tua pronta a tua voglia:

s’a te piace il mio pianto, occhi piangete; se t’aggrada il mio duolo,

è poco un petto solo.

Dolori, tormenti, crescete! Piangete occhi, piangete! In lagrime quest’anima

Disciolgasi, dissolvasi, si stempre! Occhi piangete, si piangete sempre!

Madrigale ultimo

Piangete occhi, piangete! Dolori, tormenti, crescete, che per un Dio che langue,

per un figlio che more, che versa per amore un mar di sangue,

è poco ogni tormento, ogni dolore. O d’eccelsa pietà nobile insegna,

ch’ai suoi seguaci il vero calle addita di vincer morte e d’eternarsi in vita

e lacera n’insegna che per salir di vera gloria al trono e le pene e i martir le penne sono.

Now let this urn of evils be emptied Upon the mortal remains of this victim.

Behold your handmaid, ready to do your bidding; If my tears please you, then weep my eyes:

If my pain is agreeable to you, One breast alone is not enough.

Woes, torments, increase!

Weep, you eyes, weep! Let this soul dissolve,

In tears, melt and flow! Eyes, weep, yes, weep forevermore!

Weep, you eyes, weep! Woes, torments, increase! Since for an expiring God,

For a dying son, Who, for love, shed a sea of blood,

All torment is too little, all pain. O noble token of sublime mercy,

That shows his disciples the right way To conquer death and obtain eternal life,

And teaches in pain That to attain the throne of glory,

Suffering and torment are the wings.

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Latin Text Translations

Emendemus in melius

Emendemus in melius quae ignoranter peccavimus;

ne subito praeoccupati die mortis, quaeramus spatium poenitentiae,

et invenire non possimus.

Let us amend for the better those things

in which we have sinned through ignorance; lest suddenly overtaken by the day of death,

we seek space for repentance, and be not able to find it.

Attende, Domine, et miserere; quia peccavimus tibi.

Hearken, O Lord, and have mercy:

for we have sinned against thee.

Adae Oratorio

—— Pars Prima —— Textus

Heva, Mater viventium sedebat secus arborem, de cuius fructu Dominus praeceperat ne tangeret. Tunc ergo serpens callidus ascendens super arborem sic ait, sic ait ad mulierem.

Eve, the Mother of all living things, was sitting near the tree whose fruit the Lord had commanded her

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?

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Heva Fructum ligni non comederemus, ne forte, ne forte moriamur.

We may not eat of the fruit of that tree lest by chance, lest by chance we should die.

Serpens Nequaquam, nequaquam moriemini, sed sicut Deus eritis scientes bonum et malum.

Quampulcher est, quam dulcis est hic fructus arboris, quam bonus est. Heva, tolle, carpe pomum, gustefructum arboris. Visu pulcher, tactu blandus, gusta dulcis fructus est.

By no means, by no means will you die, but you will be as God, knowing good and evil.

How lovely it is, how sweet is the fruit of the tree here, how good it is! Eve, pick, seize the apple, taste the fruit of the tree.

Lovely to see, pleasant to touch, sweet to taste is the fruit! Heva

Ergo erimus sicut Deus scientes bonum et malum?

Will we then be as God, knowing good and evil? Serpens

Bonum et malum sicut Deus sic scienteseritis. Dulcis scientia, filia, divinitas quae nos caelicolum aequabit Domino.

Yes, you will be as God, knowing good and evil.

Sweet knowledge is the divinity that will make as equal to the Lord of those who dwell in the Heaven. à due

Vere pulcher, vere dulcis, vere fructus bonus est, vere fructus bonus est.

Truly lovely, truly sweet, truly good is the fruit, truly good is the fruit! Heva

Age pulchrum, Adam, pomum, dulce pomum comede, Heva pomum quod comedit. Heva pomum porigit.

Come, Adam, eat the lovely apple, the sweet apple, the apple that Eve ate. Eve is offering you the apple.

Adam Moriemur, moriemur hoc si fructu vescimur,moriemur Adam, morti commeratus est Deus.

We will die, we will die if we feed upon this fruit, we will die!

Heva Ada, quid dubitas, quid dubitas? Ubi mors est si fructus arboris tam dulcis est?

Adam, why to you hesitate, why hesitate? Where is death if the fruit of the tree is so sweet?

Adam

Dulcis hic igitur fructus est arboris? Non hic mors est si fructus arboris tam dulcis est.

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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E tu, croce ingemmata dai rubini del cielo, già vile e nudo stelo

ch’ogni gioia, ogni bene a me rapisti, e compagna a due padri,

ai furti avvezza, me d’ogni mia richezza impoveristi

io t’abbraccio e t’onoro, rendimi il mio tesoro!

Coro di Demoni

O follia di cieca fé! Dal ferro ingiurioso

d’un legno sanguinoso costei spera pietà, chiede mercè!

Vergine

E tu figlio perché? Se per me,

e col ferro e col legno il ciel d’accordo con oltraggiose note a le preghier mie chiamato e sordo com’esser può che tu pietà infinita te comporti deriso me schernita?

Deh, come essere mai puote che tu figlio, acconsenti,

che sotto rio flagel d’aspri tormenti, se tanto ardir mi lice,

figlio, ch’io sia tua madre e sia infelice? Errai, ah, figlio errai!

Se pur mai cader mai può nella tua madre errore,

errò d’amor bendato il mio dolore.

Coro di Demoni Così d’empio dolor forza omicida,

ove a battaglia sfida, ove ad un cor fa guerra,

ogni vigor di sofferenza atterra, ch’al fin petto di selce , alma di smalto

d’ostinato martir cede all’assalto.

And you, cross, adorned With heaven’s rubies,

You lowly and naked pillar, That of every joy, every treasure, have robbed me,

You, companion of two thieves, And inured to the left,

Who have deprived me of all my wealth, I embrace you and honor you:

Give me back my heart!

O, madness of blind faith! From scornful iron,

From bloodstained wood, There she hopes for pity, begs for mercy!

And you, my son why? If, as to me, Heaven,

Consenting to the iron and the cross, Is deaf to my prayers,

Cried out with outrageous clamor, How can it be that your infinite mercy

Tolerates that you be derided, and I be mocked? Ah, how can it be That you consent

That I, under the cruel lashes of bitter torments, If such boldness be permitted me,

My son, that I should be your mother and be unhappy?

I erred, ah, my son, I erred! But if ever

Your mother could fall into error, My agony erred, blinded by love.

Thus the murderous power of relentless pain, Wherever it calls to battle,

Wherever it wars on a heart, destroys All the force of suffering,

So that finally a breast of flint, a soul of enamel, Gives way under the assaults of unrelenting torment.

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Vergine Tormenti non più!

Misera, e quale io sento, trionfator contento, con urli e con sibili, con gridi orribile,

con voci di scherno, rider gl’abissi e festeggiar l’inferno

e degli orrendi chiostri dell’estinta beltà pregiarsi i mostri?

Che d’insano livore alto trofeo! Ogni beltà cadeo

Con l’adorato mio figlio Gesù. Tormenti non più!

Cieli, stelle, pietà

d’una madre dogliosa, lagrimosa, ch’a soffrire tanto martire

già perduto il suo cor, più cor no ha. Cieli, stelle, pietà! Maria si more:

s’a me fu tolto il core, se del fronte di vita io resto priva,

com’esser può ch’io viva? Fate ch’io mora almeno non senza core in seno,

e sia poi di quest’alma, alma il dolore. Rendetemi il mio core!

Coro di Demoni

Turbe amiche, udite, udite Come al ciel chiede pietà questa misera e non sa

che sotto orrido velo già chiuso è il cielo

sua fatal disavventura o non vede, o non ode o non la cura.

Vergine Asprissimi chiodi, dure chiave spietate

ch’ove aprite, rompete e lacerate, voi che ligato e stretto con saldi e ferrei nodi

a una croce sposate il mio diletto e me crudi vedovate

e di sposo e di figlio e del mio amore, rendetemi il mio core!

Torments, no more! But, poor wretch, do I hear,

In happy triumph, With howls and hisses, With hideous shrieks, With jeering voices,

The abyss laughing and hell rejoicing, And the monsters of the horrendous cloisters

Delighting in the extinguished beauty? What a lofty triumph of insane hatred!

All beauty falls With my beloved son. Jesus.

Torments, no more!

Heavens, stars, have mercy! On a pain-racked, mourning mother, Who in suffering so many torments,

Has already lost her heart and no longer has a heart. Heavens, stars, have mercy!

Mary dies; If my heart has been torn from me, If I am deprived of the font of life,

How can it be that I shall live? Let me at least die

Without a heart in my breast, And let the pain be the soul of this soul.

Give me back my heart!

You multitudes, friends, listen, how this wretched woman calls on Heaven

for mercy and does not know that beneath a hideous veil Heaven is already closed,

And neither see, nor hears, Nor cares about her fatal misfortune.

Most terrible nails, Hard pitiless keys,

That where you open you break and rend, You who with tight and iron fetters,

Binding, gripping, Press my beloved against a cross,

And, cruel ones, robbed Of my spouse, my son, and my beloved,

Give me back my heart!

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Then let me eat, then let us eat the apple, the tree’s sweet apple. Death is not here if the fruit of the tree is so sweet.

Textus (à quattro) O amara dulcitudo, o voluptas paricida! Dulce pomum quod venanat, quod mortales funerat.

Heva gustat, gustat Adam, et cum Heva et cum Adam, heu nos omnes funerat!

O bitter sweetness, o traitorous pleasure! Sweet apple that poisons, that kills mortal beings. Eve tastes, and Adam, and along with Eve, along with Adam – alas! – it kills us all.

—— Pars Secunda ——

Deus Adam, Adam, ubi es, ubi es Adam?

Adam, Adam, where are you, where are you, Adam?

Adam Vocem tuam, Domine, audivi in Paradiso et timui eo quod nudus essem et abscondi me.

Your voice, O Lord, I heard in the garden, and I feared it because I am naked, and I hid myself.

Deus Nudus es, et te abscondes? Cur mandatum violasti? Cur de fructo comedisti quod praeceperam ne tangere?

You are naked and are hiding yourself? Why have you broken my commandment?

Why have you eaten of the fruit that I forbade you to touch? Adam

Mulier quam dedisti mihi sociam dedit mihi de ligno et comedi.

The woman whom you gave me for a companion gave it to me from the tree and I did eat. Deus

Quare, Heva, quare pomum comedisti? Et quare Adam tradidisti?

Why, Eve, why did you eat the fruit? And why did you give it to Adam? Heva

Serpens callidus, serpens callidus, decepit me; pulcrum visu, tactu blandum, dulce gustu, pomum tradidit. Ille dictis, ille dictis me decepit serpens callidus.

The cunning serpent, the cunning serpent deceived me; an apple lovely to see, pleasant to touch,

sweet to taste he gave me. With words, with words, the cunning serpent deceived me. Deus

Maledictus eris serpens et super te descendet maledictio; super pectus gradieris et pulverem comedis. Inimicus eris feminae et insidiaberis calcaneo eius, ipsa vera conteret caput tuum.

You will be cursed, serpent, and upon you a curse will come:

you shall go upon your belly and dust shall you eat. You will be the woman’s enemy, and you will ambush her heel, and she will bruise your head.

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Textus - à due 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.

O lying, shameless snake, Eve’s deceiver, inventor of sins!

You will crawl and smell, you will eat earth, there will be no peace for you with the women. Though you will ambush her heel, her foot will trample your proud neck.

Textus – Basso In aerumnis, Heva, vives, et conceptam sinu prolem in dolore paries. Viro servies et ipse in te dominabitur.

You will dwell in hardship, Eve, and in sorrow you will bring forth the offspring

conceived in your womb. You will serve your husband, and he will be your master. Textus – Soprano

Vives, semper in aerumnis et conceptam Hevae prolem, in dolore paries, Ne viro pare, viro servi, servi semper nunquam impera.

You will always live in hardship and you will bear Eve’s offspring in sorrow.

Never think yourself your husband’s equal, serve your husband, always serve him, never rule him.

Deus Maledicta terra in opere tuo, Adam, maledicta terra sit, terrae fructus in labore, in sudore comedis.

Tibi tribulos et spinas terra semper germinet donec moriens in terra revertaris pulverem. Quia sumptus es de terra, quia pulvis, Adam, es

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. For you the earth will bring forth thorns and thistles until, dying, you return to dust in the earth.

For you were taken from the earth and, Adam, you are dust. Textus – Soprano

Terrae fructus in labore, semper, Adam, comedis, Terra tribulos et spinas tibi semper, semper germinet, donec moriens in terra revertaris pulverem.

Quia sumptus es de terra, quia pulvis, Adam, es.

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.

For you were taken from the earth and, Adam, you are dust. Textus - à due

O dolentis, o gementis, o mortalium parentis, paricidas miseros! Tristis Adam morietur, morietur Heva gemens, et labores et dolores ad sepulcrum inferant.

O grieving, o sighing, parents of humankind, miserable traitors! Adam will die in sadness,

Eve will die sighing, and labor and grief will take them to the grave. Textus - à quattro

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!

13

Demonio

O del tartareo speco dell’antro cieco

del regno della morte dalla nemica sorte

dannati amici ad eternare i pianti, come in sì lieta e sospirata aurora

per noi si posa e non si riede ancora con deliri vaganti?

Coro di Demoni

Al riso, al suono, ai canti! Demonio

Stige, Averno, che fai? Quando mai di Lete e d’Acheronte,

dell’acceso Flegetonte, di Cocito su le sponde

sì giocose increspar l’onde si vedranno, e quando mai?

Coro di Demoni

Stige, Averno, che fai? Demonio

Quando mai l’atra magione, con più ragione sepolti i gemiti, con lieti fremiti

il ciel, la terra, il mare assordirà? Vergine

Cieli, stelle, pietà!

Coro di Demoni Chi si fè prole divina,

che di noi gl’oltraggi ordì già nel suol la fronte inchina,

già per lui s’eclissa il dì. L’inimico Nazzareno,

de viventi la beltà, sovra un legno venne meno,

catenato a un tronco stà chi da regi adorato un tempo fu.

O friends, you who

In the dens of Tartarus, In the dark caverns,

In the realm of death, Are damned by hostile fate to eternal laments,

Why, at so happy and long-awaited a dawn Do we not rest and not laugh

In rapturous sport?

Laughter, music, song return!

Styx, Avernus, what are you doing? When, on the banks of Lethe and Acheron,

Of flaming Phlegeton, And of Cocytus

Will we see the waves joyfully rippling, when o when?

Styx, Avernus, what are you doing?

When, o when will the black abode, Having most justly Buried the wails, With joyous roars

Deafen Heaven, earth and sea?

Heavens, stars, have mercy!

He who elevated himself to the progeny of divinity, Who brought disgrace upon us,

Already inclines his brow upon the earth, Already for him the day darkens.

The Nazarene foe, The beauty of living,

Upon a cross is failing, Bound to a tree is he

Who was once worshipped by kings.

—— Parte Seconda ——

12

Un Demonio

Il fatto è di te degno e ridir non sia greve

quanto deve al tuo merto il nostro regno.

Un’altro Demonio Attenti! Udite! Il preside Pilato,

ostinato, con sembianza è giusto e pia,

sostenea, che dannar innocente ei non potea

il figliolo di Maria. Allor che all’interesse

le piante io sciolse e fei salirlo in scena,

e al primo passo appena ch’ei nella corte impresse,

tanto fé, tanto oprò che giustizia e pietade al ciel volò.

Ragione all’odio cesse, e ben tosto vedrassi, con solleciti passi

d’ore fugaci e corte, chi vita esser dicea chinarsi a morte.

Vedrassi come pria giá di poggiar al ciel chiusa la via

e dai labbri gelati spirar la veritàgli ultimi fiati.

.Coro di Demoni

O menzogne fortunate, trionfate, trionfate! Fugate le grida,

le strida, e con strano portento

s’odano rimbombar là nel tormento, ne’ più profondi orrori,

vittoriose armonie, vanti canori. Suonino, tuonino, gioiose trombe,

e sol gioia rimbombe nell’Erebo fumante

con le tronche sue voci eco festante.

The deed is worthy of you, And it will not be hard for you to say

How much our empire owes to your merits.

But wait! Listen! The governor Pilate

Obstinately and With a just and pious look, insists

That he cannot condemn in innocence, The son of Mary.

Now, when out of curiosity, I began a work

And sent it up onto the stage, At the very first step

That he at court decided to take, It did so much, worked so much,

That justice and mercy flew up to heaven. Reason made way for hatred, And very soon we shall see

With hastening steps, Within fleeting and brief hours

Him, who said he was the life, submit to death. We shall see, as it always was,

How closed the way is that leads to Heaven, And from the frozen lips,

See that last breath exhale the truth.

O happy lies, triumph, triumph! Flee, you screams,

you shrieks, and like a strange wonder

will be heard resounding there, in the torment, in the deepest horror,

victorious harmonies, songs of praise. Sounding, blaring, joyful trumpets,

And only joy In smoking Erebus,

With its broken voices, resound in festive echo.

9

Give us Barabbas! The people of Israel call not for Jesus,

And to you, our Governor, we come to say That we desire a favor or a gift.

Give us Barabbas!

Who has the courage To defy the senseless tumult

Of the howling masses? In vain to uphold

The righteous spear of Astrea I struggle and toil With the inhuman crowd,

In whom blind hatred and inborn savagery of all reason Has extinguished the light.

Give us Barabbas!

Barabbas, the seducer, The rapacious murderer,

Whom you, by such great mercy, render bold Shall we once more see him author of new crimes?

For broad is the road of transgression, and error and sin are never forgotten.

Give us Barabbas!

And what shall become of Jesus? He who never transgressed, to whom shall he be delivered,

to whom cruel multitude?

To the cross, to the cross!

To the cross, your King?

Whose King? The only phoenix and king

Of our illustrious people is Caesar alone.

Turba Baraba, a noi si dia,!

Le turbe d’Israele Giesù non chiedono, e a te preside nostro a dir sen riedono

che gratia o dono ci sia. Baraba, a noi si dia,!

Pilato

Alo strepito insano di popolari strida

chi resister confida? Di sostenere invano

giuste lance d’Astrea suda il mio stento, con popolo inumano,

in cui d’ogni ragione il lume ha spento cieco livore e ferita natia.

Turba

Baraba, a noi si dia,! Pilato

Baraba il seduttore, l’omicida rapace,

fatto da voi per tanta grazia audace, vedrassi ancor di nuovo falli autore?

Chè purtroppo a le colpe ampie è la via, e’l fallire el’ peccary mai non si oblia

Turba

Baraba, a noi si dia,! Pilato

E di Giesù che fia? Quei che non mai fallì

A chi derassi, a chi, turba feroce? Turba

All croce, alla croce! Pilato

Alla croce, il vostro re? Turba

Che re? Del nostro inclito stuolo,

solo fenice e re, Cesare è solo.

Oratorio per la Settimana Santa

10

And for a villain

Shall we see in our breast The noble feeling of pity shine forth?

And with tragic torment Against a soul that is innocent of sin,

Shall we see the increasing cruelty Of your wrath and your clamor raging?

To die, yes , to die on the cross!

At so harsh a sentence Innocence

A complaint will raise now to the stars, And for the grave injustice

That I commit, who will ever be able to advance a righteous cause?

That’s how it goes, Man’s fortune is as changeable

As his cradle is varied; His destiny is as different as his lot:

Some are destined for the throne, others for Calvary.

Too tight your eyes are bound by envy’s shroud.

And too much in you is dimmed The light of your love.

A judge who does not condemn A felon who has himself proclaimed a king,

And even tries to shield him from punishment, Does not heed the friendship of Caesar.

O cruel thrust of a mortal blow! Down, give in, O my zeal!

The wrath of heaven will punish Such an error, so grave a sin.

Truly, I am innocent and heaven knows it, Of the blood of a just man:

I wash my hands, and Barabbas I release to you.

Pilato

E risplender per un empio si vedrà nel vostro petto di pietà nobile affetto? E con tragico scempio

Contro d’un alma ch’è di colpe ignuda Vedrassi ognor più cruda imperversar

di voi l’ira e la voce?

Turba Mora, si, mora in croce!

Pilato Di sì rigida sentenza

l’innocenza le querele a le stelle erger saprà,

e di grave torto ch’io comporto

chi mai giusta cagione addur’ potrà?

Turba Così va,

così varia è la fortuna come è varia altrui la luna

così varia è la sorte, il fatto è vario; altri al trono riserba, altri al Calvario.

Pilato

Troppo i lumi vi benda invido velo.

Turba E troppo in te s’appanna

la luce del tuo bene. Giudice che non danna

reo che re si fa dire, anzi alle pene di ritrarlo procura l’amicizia di Cesare non cura.

Pilato

O di colpo mortale aspra puntura! Cedi, cedi mio zelo! Punirà l’ira del cielo error, si grave fallo.

Ben del sangue d’un giusto e ‘l cielo sallo, innocente io mi sono:

le mani io lavo e Baraba a voi dono.

11

Turba Se gelata paura il cor t’ingombra;

se pavento, se t’adombra dove possa quel sangue a cader vada,

sì, sì, sopra noi cada. De’ temuti tuoi perigli le vendette e le sciagure

cadan pure a noi sopra e i nostri figli. Cadan intanto trafitto

sovra d’un legno il Nazzareno invitto, e sia d’un re mentito al folle orgoglio

come scettro una canna, un tronco il soglio. Demonio

Respirate, respirate, atre caverne, là nel baratro profondo;

non più, no, lagrime eterne faccian mare al basso mondo!

Gioite omai, gioite, voi che la giù nella tartarea stanza

già per antica usanza non altro mai che lagrimar sentite.

Gioite omai, gioite! Coro di Demoni

Contro fatal decreto Come puote l’inferno esser mai lieto?

Demonio

Di stupor, di meraviglia, innarcate le ciglia,

o sempre al mal compagni e spiriti rei, ch’oprar più non potea l’ingegno e l’arte, sì che fra neri inchiostri e bianche carte

vivran vita immortale i gesti miei. Colui ch’al mondo uscì per debellar l’inferno, ond’ ho rossore eterno,

sin di Pluto la fronte impallidì: pria che tramonte il dì,

de suoi fasti la luce in fumo andrà. Morirà, morirà!

Coro di Demoni

Morirà, morirà!

When icy fear burdens your heart;

When terrors cloud your mind With thinking on whom this blood will fall,

Yes, yes, let it be upon us. The vengeance and the misfortunes

Of the perils that you fear, Let them be upon us and on our sons.

Meanwhile, nailed Upon the cross,

The unconquered Nazarene shall die, And let the false king, for his insane pride,

have a reed as scepter; a tree-trunk as throne.

Breathe again, you horrible caverns, There in the deep abyss,

Nevermore, no, will eternal tears Make the underworld a sea! Rejoice, henceforth, rejoice,

You, who down there in the Tartarean halls, Were wont, by ancient custom,

Never to hear anything but weeping, Rejoice, henceforth, rejoice!

Against the fatal decree How could hell ever be happy?

In astonishment, in wonder, lift up your eyes,

O everlasting companions of evil and cruel spirits, That skill and art can do no more,

and that in black ink on white paper, my deeds will live eternally.

He who came down to earth To vanquish Hell,

Which made me blush forever, And rendered Pluto’s brow pale,

Before the day has ended, The light of his glory will go up in smoke.

He will die! He will die!

He will die! He will die!