PROGRAM

Thursday, June 20, 2013, at 8:00Friday, June 21, 2013, at 1:30Saturday, June 22, 2013, at 8:00Sunday, June 23, 2013, at 3:00

Riccardo Muti ConductorAlisa Kolosova Mezzo-sopranoChicago Symphony Chorus

Duain Wolfe Director

MozartAve verum corpus, K. 618

CHICAGO SYMPHONY CHORUS

VivaldiMagnificat, R. 611MagnificatEt exultavitQuia respexitQuia fecitEt misericordiaFecit potentiamDeposuit potentesEsurientes implevitSuscepit IsraelSicut locutusGloria

ALISA KOLOSOVACHICAGO SYMPHONY CHORUS

First Chicago Symphony Orchestra performances

INTERMISSION

ONE HUNDRED TWENTY-SECOND SEASON

Chicago Symphony OrchestraRiccardo Muti Music DirectorPierre Boulez Helen Regenstein Conductor EmeritusYo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

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VerdiFour Sacred PiecesAve MariaStabat MaterLaudi alla Vergine MariaTe Deum

Kimberly Gunderson, soprano

CHICAGO SYMPHONY CHORUS

These concerts are generously sponsored by Mr. & Mrs. Dietrich M. Gross.

Sponsorship of the music director and related programs is provided in part by a generous gift from the Zell Family Foundation.This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.

COMMENTS BY PHILLIP HUSCHER

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Ave verum corpus, K. 618

Wolfgang MozartBorn January 27, 1756, Salzburg, Austria.Died December 5, 1791, Vienna, Austria.

These forty-six perfect measures are among music’s miracles. In

two pages of a flawless, uncorrected vertical script, Mozart left us one of his most moving testaments to the power of art and the mystery of simplicity. It is clearly the work of a master, yet, as we listen, it is hard to pinpoint exactly what makes it so distinctive, so extraordinary. �e color palette is small, restricted to voices with strings and organ; the vocal range narrow—the soprano part, for example, covers just one octave. Mozart writes a single expression marking at the begin-ning: sotto voce—literally “under voice”—hushed, in other words. �e melodic line is simple and unadorned, with only the hint of a flourish near the end. �e entire piece moves forward in steady quarter notes, like a hymn, and the harmonies are, for the most part, schoolbook plain. And yet, one

cannot imagine changing a note without diminishing, if not, in fact, damaging, its fragile beauty.

Ave verum corpus was written in the summer of 1791, Mozart’s last. In compiling his catalog of Mozart’s works, Ludwig von Köchel assigned it number 618. It is followed only by a handful of works, including �e Magic Flute, from which Mozart stole a few hours of time in order to compose it; the Clarinet Concerto; and finally the Requiem, K. 626, which he did not live to finish. It is his first piece of sacred music since the C minor mass of nearly a decade before. Ave verum corpus was written for a friend, Anton Stoll, who was a schoolteacher in Baden, a town near Vienna, and it was probably intended for the feast of Corpus Christi, which fell on June 23 that year. In its surprising simplicity, this and a handful of other works from Mozart’s last months hint at a

COMPOSEDJune 16–17, 1791

FIRST PERFORMANCEProbably June 23, 1791

ONLY PREVIOUS CSO PERFORMANCESJanuary 2–4, 1969, Orchestra Hall (without chorus). Rafael Kubelìk conducting

INSTRUMENTATIONfour-part mixed chorus, strings, organ

APPROXIMATE PERFORMANCE TIME6 minutes

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new direction his music might have taken. After Mozart’s death, Stoll apparently continued to perform it often in the tiny parish church

he served as choirmaster, no doubt recognizing its significance, so at odds with its humble origins and miniature scale.

AVE VERUM CORPUS

Ave verum corpus,natum de Maria Virgine,vere passum, immolatumin cruce pro homine,cuius latus perforatumunda fluxit et sanguine:esto nobis praegustatumin mortis examine.

Hail, true body,born of the Virgin Mary,who has truly suffered and was sacrificedon the cross for humankind.Whose side, being pierced,flowed with water and blood:may you be for us a foretasteIn the trial of death.

The use of still or video cameras and recording devices is prohibited in Orchestra Hall.

Latecomers will be seated during designated program pauses. PLEASE NOTE: Some programs do not allow for latecomers to be seated in the hall.

Please use perfume, cologne, and all other scented products sparingly, as many patrons are sensitive to fragrance.

Please turn off or silence all personal electronic devices (pagers, watches, telephones, digital assistants).

Please note that Symphony Center is a smoke-free environment.

Your cooperation is greatly appreciated.

Note: Fire exits are located on all levels and are for emergency use only. The lighted Exit sign nearest your seat is the shortest route outdoors. Please walk—do not run—to your exit and do not use elevators for emergency exit.Volunteer ushers provided by The Saints—Volunteers for the Performing Arts (www.saintschicago.org)

Symphony Center Information

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Magnificat, R. 611

If you book a room at the Metropole in Venice today, you

will be staying at the very heart of Vivaldi country. �e Metropole, a five-star luxury hotel, occupies part of the building that once housed the Ospedale della Pietà, the famous orphanage where Antonio Vivaldi was in charge of music for most of his career, teaching violin and other string instruments, sometimes directing the choir, and writing some of his best music for the schoolgirls to perform.

�e Pietà, founded in 1336, was one of four large Venetian institutions dedicated to the care of orphaned children and specializing in their musical upbringing. Unlike the others, the Pietà accepted all illegitimate infants who were left by their mothers at the entrance—provided the child was still small enough to fit in the scaffetta, the box placed by the door. (With its fine antiques and sumptuous Fortuny fabrics, the Metropole scarcely sug-gest the monastic accommodations

that the resident girls—as many as 4,000 in the early eighteenth century—knew as their only home.) Of the four Venetian institutions, the Pietà was the one with the most substantive music program; it became known as one of Europe’s most highly regarded centers of musical training, a conservatory in everything but name.

�e Ospedale is located in a prime spot on the Riva degli Schiavoni, the broad seaside promenade that begins to the right of Saint Mark’s Square—as you face the piazza, arriving by water—and runs east past the Bridge of Sighs. Next door to the Ospedale sits the Church of Santa Maria della Pietà, which regularly employed Vivaldi and performed his music, although the current building wasn’t completed until 1760, nearly two decades after Vivaldi’s death. �is neighborhood is particularly overrun by tourists today, but even more than a century ago, when the American writer Henry James recorded his famous

Antonio VivaldiBorn March 4, 1678, Venice, Italy.Died July 28, 1741, Vienna, Austria.

COMPOSEDca. 1715, rev. ca. 1739

FIRST PERFORMANCEdate unknown

These are the first Chicago Symphony Orchestra performances

INSTRUMENTATIONsolo female voice, four-part mixed chorus, strings, organ, harpsichord

APPROXIMATE PERFORMANCE TIME26 minutes

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observations about Venice, it was already so popular that the piazza appeared to him “as an enormous saloon and the Riva degli Schiavoni as a promenade deck.”

After Vivaldi was ordained as a priest in 1703, he became

affiliated with the Ospedale della Pietà. Vivaldi’s relationship with the Pietà was tumultuous, resulting in a series of firings and rehirings, but in the end he worked there for more than three decades. It was the place for which he wrote much of his output, and its young residents, carefully trained under his eye, were the musicians who first played and sang several of his best-known compositions, including the Magnificat performed this week. It was the temporary departure of the music director and chorus master Francesco Gasparini in 1713 that offered Vivaldi the chance to begin writing sacred choral music. In June of 1715, Vivaldi was given a promo-tion of sorts, a modest increase in his meager salary, and the commis-sion to write religious works. �e Magnificat, a work that exists in four different versions, is one of the finest results of this new chapter in Vivaldi’s composing life.

Vivaldi’s first setting of the Magnificat was composed

around 1715, and over the years he continued to adjust it for different circumstances and different singers: one version calls for double chorus, another adds oboes to the orchestra. �e version performed this week is the last. We know that it was prepared for a performance at the

Ospedale in 1739, partly because the five solo arias were composed expressly for Vivaldi’s finest singers then at the Pietà, and their names are written into the score, one above each aria: Apollonia, La Bolognesa, Chiaretta, Ambrosina, and Albetta. From a poem written around the time, which describes many of the Ospedale’s exceptional girls, we learn that Apollonia had a lovely clear soprano voice and was skilled at both lively and introspective singing (she had been suspended and then reinstated the previous year for attacking the porteress). Ambrosina’s voice was so unusually deep that it could be mistaken for that of a tenor, which is no doubt why Vivaldi wrote her aria in the less common tenor clef. Maria La Bolognese sang nicely, but often inaccurately.

In this final version of the Magnificat setting, Vivaldi broke what originally was a single move-ment, “Et exultavit,” into three separate solo arias, and replaced later movements with two more arias, giving one to each of his sing-ers. �ese five arias, all performed by the same singer at this week’s concerts, remind us of Vivaldi’s remarkable, apparently inexhaust-ible, gift for unforced melody. Even the trickiest coloratura passages, filled with challenging rows of rapid notes and trills, flow natu-rally. (�e technical difficulty of these arias suggests just how well trained Vivaldi’s singers must have been.) Vivaldi left the choral move-ments unchanged in this version; they are the pillars of the piece, each one remarkably distinct. �e

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opening “Magnificat” sets the tone with its imposing blocks of sound. “Et misericordia” unfolds unpre-dictably in arches of slowly shifting chords. “Deposuit potentes” is the rarest of creations: an entire movement sung and played in

octaves, each leap and running scale heightened in its effect by the unanimity of every performer. �e final “Gloria” begins with solid, stately chords and then takes wing with a contrapuntal allegro that is a magnificent double fugue.

MAGNIFICAT

CHORUS

Magnificat anima mea Dominum.

ARIA

Et exsultavit spiritus meus in Deo salvatore meo.

ARIA

Quia respexit humilitatem ancillae suae.

Ecce enim ex hoc beatam me dicent omnes generations.

ARIA

Quia fecit mihi magna, qui potens est, et sanctum nomen eius.

CHORUS

Et misericordia eius in progenies et progenies timentibus eum.

My soul magnifies the Lord

and my spirit rejoices in God my Savior.

For he has regarded the lowliness of his handmaid,

and henceforth all generations shall call me blessed.

For he who is mighty has done great things for me, and holy is his name.

And his mercy is from age to age on those who fear him.

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CHORUS

Fecit potentiam in brachio suo,dispersit superbos mente cordis sui.

CHORUS

Deposuit potentes de sede et exaltavit humiles.

ARIA

Esurientes implevit bonis et divites dimisit inanes.

CHORUS

Suscepit Israel puerum suum, recordatus misericordiae [suae].

ARIA

Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.

CHORUS

Gloria Patri et Filio, et Spiritu Sancto:

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

He has filled the hungry with good things; and the rich he has sent away empty.

He has shown strength with his arm: he has scattered the proud in the

imagination of their hearts.

He has put down the mighty from their thrones, and exalted the lowly.

He has helped his servant Israel, in remembrance of his mercy,

as he spoke to our fathers, to Abraham, and to his descendants forever.

Glory be to the Father, and to the Son, and to the Holy Spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

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Four Sacred Pieces

Two weeks after his eighty-fourth birthday, Giuseppe Verdi

packed up the last two of his Four Sacred Pieces and sent them off to Ricordi, his publisher. “As long as they were on my writing desk,” he commented, “I looked at them every so often with pleasure and they seemed to be mine! Now they are no longer mine!!” After more than sixty years as a composer—most of them spent in the public eye—Verdi could scarcely bring himself to part with these scores, for he surely knew they were his last. “You will say that they are not yet published,” he continued. “�at is true: but they no longer exist just

for me and I no longer see them on my writing desk!! It is truly sad!”

�is was a difficult time for Verdi. He was the last of the titans of nineteenth-century music, and now his career as a composer—as popular as any in history—was over. During the past few years, he had learned, one by one, of the deaths of Wagner, Liszt, Tchaikovsky, Bruckner, and—earlier that summer—Brahms. Now his beloved wife, Giuseppina, her very name a twin to his own, was near death. �e day after shipping off his last scores, Verdi asked Ricordi to confirm that two graves had been set aside in Milan

Giuseppe VerdiBorn October 9, 1813, Le Roncole, near Busseto, Italy.Died January 27, 1901, Milan, Italy.

COMPOSEDAve Maria: 1889

Laudi alla Vergine Maria: ca. 1890

Te Deum: 1896

Stabat Mater: 1897

FIRST PERFORMANCEApril 7, 1898, Paris: Laudi alla Vergine Maria, Stabat Mater, Te Deum

1899, Vienna: Ave Maria

FIRST CSO PERFORMANCEFebruary 15, 1962, Orchestra Hall. Chicago Symphony Chorus; Carlo Maria Giulini conducting

MOST RECENT CSO PERFORMANCEApril 27, 2001, Orchestra Hall. Chicago Symphony Chorus; Daniel Barenboim conducting

INSTRUMENTATIONAve Maria: four-part a cappella chorus

Stabat Mater: four-part chorus, three flutes, two oboes, two clarinets, four bassoons, four horns, three trumpets, four trombones, timpani, bass drum, harp, strings

Laudi alla Vergine Maria: four-part a cappella women’s chorus

Te Deum: soprano solo, double chorus, three flutes, two oboes and english horn, two clarinets and bass clarinet, four bassoons, four horns, three trumpets, four trombones, timpani, bass drum, strings

APPROXIMATE PERFORMANCE TIME41 minutes

CSO RECORDING1977–78. Chicago Symphony Chorus; Sir Georg Solti conducting. London

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according to his wishes. Giuseppina died of pneumonia in less than three weeks. In a gesture that her famous husband would mirror scarcely three years later, she left instructions for a simple funeral: “I came into the world poor and without pomp; and without pomp I want to go down into the grave.”

Giuseppina’s death seemed to diminish Verdi himself, and he never composed again. “Great sor-row does not demand great expres-sion,” he wrote to a friend. “It asks for silence, isolation, I would even say the torture of reflection.” He later told his friend Arrigo Boito, who had provided the texts for his final operas, Otello and Falstaff, that his hands trembled so much that he could barely write, and that he was half-deaf, half-blind, and unable to focus on anything. (In the spring of 1899, a rumor circulated that he was composing King Lear, an opera on the Shakespearean subject that had long tempted him, but Verdi quickly denied it.)

After a lifetime attending the premieres of his works, from

dismaying failures such as La traviata to the triumphs of Otello and Falstaff, Verdi didn’t go to Paris to hear the first performance of his sacred pieces. In fact, Boito had to talk him into letting them be performed at all—“�ey will sleep without seeing the light of day,” Verdi said at first. Reluctantly he gave in, agreeing to the perfor-mance of three of the four pieces, arguing that the Ave Maria was too private—simply a technical exercise, done to amuse an old man.

When Verdi’s doctor refused to let him make the trip to Paris, he sent Boito to supervise in his place—but only after spending two solid days teaching him exactly how the music should go. Verdi was crestfallen when Boito sent word from Paris that the chorus wasn’t up to the job. “Now I don’t hope for much,” Verdi replied. “But we have gone to the ball and we have to dance.”

�e Paris premiere was a success after all, but Verdi got cold feet when La Scala wanted to perform the works later that season and said that he wanted “these poor pieces left in peace.” �e attention seemed to make him uncomfortable—“my name is too old and boring,” he protested—and he sensed, cor-rectly, that these unconventional scores, so intimate and spiritual, weren’t right for the La Scala stage. When they were performed there in April 1899, Verdi stayed home, tak-ing little solace in Boito’s carefully worded report of their lukewarm reception. Verdi wrote back, “Some charitable applause, some indul-gent criticism as a comfort to the Old Man cannot soften me up.” �ese pieces had been written to please no one but himself, and he still thought of them as his private papers. He is even said to have wanted the score of the Te Deum buried with him.

Never intended as a set, the Four Sacred Pieces were written

at different times. �e ones we know as the first and third pieces are the earliest, composed in the years between Otello and Falstaff. Both are scored for unaccompanied

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voices—the Ave Maria for four-part chorus and the Laudi alla Vergine Maria for women’s chorus (origi-nally sung by four soloists). �e Ave Maria was written in response to a musical game published in a Milan newspaper in 1888. Adolfo Crescentini, a local professor of music, printed an “enigmatic” scale, full of odd intervals, challenging readers to submit harmonizations. Verdi and Boito puzzled over it together—“When we are old, we become boys again,” Verdi said. Eventually, Verdi felt it could become a piece with words, possibly an Ave Maria. His solution was an austere, daringly harmonized, full-scale chorus for four voices that surely far exceeded Crescentini’s expectations. Like Beethoven, who turned Diabelli’s insipid little waltz tune into a magnificent set of varia-tions, Verdi made a work of art out of a newspaper puzzle. But Verdi downplayed its worth—a sciarada, a mere conundrum, an intellectual game, he called it—and only reluc-tantly let it be published along with the other sacred pieces.

�e Stabat Mater, the second piece, scored for chorus and a large, turn-of-the-century orchestra, was Verdi’s last work. It’s the most overtly operatic of the pieces in its narrative sweep and rich scene-painting, from still, reflective moments to thrilling climaxes—like surging crowd scenes in a grand finale. �ere’s a tradition of Stabat Mater settings, including those by Pergolesi, Dvořák, and Rossini, which turn it into an epic novel with many chapters. With Verdi, it becomes a fast-paced

short story. �ere’s not a repeated line of text or wasted musical gesture. Verdi’s knack for finding the right color for each moment is unsurpassed—the stabbing pain of the very opening, the funeral procession that passes by at “Dum emisit spiritum” (breathing out his spirit), the final glow of “para-dise,” gently lit by the harp at first and then spreading to the entire orchestra and chorus. �e work is a marvel of concentrated emotion—a grand opera condensed to one astonishing scene.

Verdi took his text (in Italian rather than Latin) for the Laudi alla Vergine Maria from the final canto of Dante’s Paradiso in �e Divine Comedy. Written for women’s voices only, Verdi transports the purity and clarity of Italian Renaissance music (he considered Palestrina the father of Italian music) to the lan-guage of late romanticism. Even in a work of such restraint and limited colors, Verdi makes dramatic use of texture and harmony—listen, for example, to the static, earthbound chords that accompany those who try to “fly without wings.”

�e Te Deum, a hymn of praise, was Verdi’s favorite of these late works. He begins with traditional plainsong melody—ever the born dramatist, setting the scene in a darkened cloister—and then follows it with low, soft chordal singing, like the archaic chant-ing of the medieval church. But then, in one of the grandest special effects of his career, he unleashes a very modern explosion of sound at “Sanctus.” Verdi is a master of the simple, unforgettable moment—the

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thunderbolt, the sudden revelation, the single measure of music that changes the course of everything that follows. From this point on, the piece is airborne, sweeping from section to section, its des-tination always in sight. (Verdi knew as much about timing as any modern filmmaker; here the pace never slackens because he dictates a constant speed throughout, with momentary fluctuations “always returning to the original tempo.”) Nearly every theme in the Te Deum is derived from the initial chant—Verdi was particularly proud of the moment the opening melody is transformed into urgent brass fanfares at “Tu Rex gloriae” (You are king of glory). �e very end is another masterstroke. In a momentary silence, a single female voice rings out—not the outpouring of a great diva, but the pure, steady tones of a chorus soprano. She should sound, Verdi wrote, like the voice of “humanity that is fright-ened of hell.”

Verdi’s Four Sacred Pieces are among the great and most

surprising landmarks of the nine-teenth century—the final works of a master, filled with a sense of valediction, of bidding farewell to a style he helped to mold and perfect, and yet soaring off in unexpected new directions. �ey have the power—the ability to touch people deeply and profoundly—of the greatest of Verdi’s operas. And in their exploratory harmonies and their refusal to bow to convention, they also remind us that they were written at the same time as the first works by newcomers Claude Debussy, Richard Strauss, Gustav Mahler, and Arnold Schoenberg. �ey are works that are difficult to categorize—at once both ancient and modern, down-to-earth and visionary—except as the work of a genius, restless and pioneering even in old age.

Phillip Huscher is the program annota-tor for the Chicago Symphony Orchestra.

AVE MARIA

Ave Maria, gratia plena, Dominus tecum:

benedicta tu in mulieribus, et benedictus

fructus ventris tui Jesus.Sancta Maria, Mater Dei,ora pro nobis peccatoribusnunc et in hora mortis nostrae.Amen.

Hail Mary, full of grace, the Lord is with you;

blessed are you among women, and blessed

is the fruit of your womb, Jesus.Holy Mary, Mother of God,pray for us sinnersnow and at the hour of our death.Amen.

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STABAT MATER

Stabat Mater dolorosaJuxta Crucem lacrymosaDum pendebat Filius.

Cujus animam gementem,Contristatam et dolentemPertransivit gladius.

O quam tristis et afflictaFuit illa benedictaMater Unigeniti!

Quae maerebat et dolebat,Pia Mater, dum videbatNati poenas inclyti!

Quis est homo qui non fleretMatrem Christi si videretIn tanto supplicio?

Quis non posset contristari,Christi Matrem contemplariDolentum cum Filio?

Pro peccatis suae gentisVidit Jesum in tormentisEt flagellis subditum.

Vidit suum dulcem natumMoriendo desolatum,Dum emisit spiritum.

Eia, Mater, fons amoris,Me sentire vim doloris,Fac ut tecum lugeam.

Fac ut ardeat cor meumIn amando Christum Deum,Ut sibi complaceam.

Sancta Mater, istud agas,Crucifixi fige plagasCordi meo valide.

�e grieving motherstood weeping by the crosswhere her son was hanging.

Her spirit cried out,mourning and sorrowing,as if pierced with a sword.

Oh, how grieved and struck downwas that blessed woman,mother of the sole begotten One!

How she mourned and lamented,this holy mother, seeingher son hanging there in pain!

Who would not weepto see Christ’s motherin such humiliation?

Who would not suffer with her,seeing the mother of Christsorrowing for her son?

For the sins of his peopleshe saw Jesus in torment,beaten down with whips.

Saw her gentle sondying in desolation,breathing out his spirit.

Let me, mother, font of love,feel with you your grief,make me mourn with you.

Make my heart so burnfor love of Christ my Godthat it be satisfied.

Holy mother, let it be,that the stripes of the crucifiedmay pierce my heart.

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Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.

Fac me tecum pie flere,Crucifixo condolere,Donec ego vixero.

Juxta Crucem tecum stareEt me tibi sociareIn planctu desidero.

Virgo virginum praeclara,Mihi jam non sis amara:Fac me tecum plangere.

Fac ut portem Christi mortem,Passionis fac consortem,Et plagas recolere.

Fac me plagis vulnerari,Fac me Cruce inebriariEt cruore Filii.

Flammis ne urar succensus,Per te, Virgo, sim defensusIn die judicii.

Christe, cum sit hinc exire,Da per Matrem me venireAd palmam victoriae.

Quando corpus morietur,Fac ut animae doneturParadisi gloria. Amen.

LAUDI ALLA VERGINE MARIA

Vergine madre, figlia del tuo figlio, umile ed alta più che creatura, termine fisso d’eterno consiglio,

tu se’ colei che l’umana natura nobilitasti sì, che ’l suo fattore non disdegnò di farsi sua fattura.

With your injured sonwho suffered so to save melet me share his pains.

Let me weep beside you,mourning the crucifiedas long as I shall live.

To stand beside the crossand to join with youin weeping is my desire.

Virgin famed of all virgins,be not severe with me now;let me weep with you.

Let me bear Christ’s death,let me share his sufferingand remember his blows.

Let me be wounded with his blows,inebriate with the crossand your son’s blood.

Lest the flames consume me,be my advocate, virgin,on the day of judgment.

Christ, when my time is finished,grant, through your mother, that I winthe palm of victory.

When my body dies,let my soul be grantedthe glory of heaven. Amen.

Virgin mother, daughter of your son, more humble and more high than any creature, fixed goal of the eternal plan,

you are she who so ennobled human nature that your creator did not disdain to be born of you.

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Nel ventre tuo si raccese l’amore per lo cui caldo nell’eterna pace così è germinato questo fiore.

Qui se’ a noi meridiana face di caritate, e giuso, in tra i mortali, se’ di speranza fontana vivace.

Donna, se’ tanto grande e tanto vali, che qual vuol grazia ed a te non ricorre, sua disianza vuol volar senz’ali.

La tua benignità non pur soccorre a chi dimanda, ma molte fiate liberamente al dimandar precorre.

In te misericordia, in te pietate, in te magnificenza, in te s’aduna quantunque in creatura è di bontate.

Ave, ave!

—Dante

TE DEUM

Te Deum laudamus:te Dominum confitemur.Te aeternum Patremomnis terra veneratur.Tibi omnes Angeli, tibi Caeliet universae Potestates:Tibi Cherubim et Seraphimincessabili voce proclamant:Sanctus, sanctus, sanctus,Dominus Deus Sabaoth.Pleni sunt caeli et terramajestatis gloriae tuae.Te gloriosus Apostolorum chorus:Te Prophetarum laudabilis numerus:Te Martyrum candidatus

laudat exercitus.Te per orbem terrarumsancta confitetur Ecclesia:Patrem immensae majestatis.Venerandum tuum verumet unicum Filium.

In your womb was gathered the love by whose warmth, in this realm of eternal peace, has sprouted this flower.

Here you are our midday sun of charity; below, among mortals, an unending font of hope.

Lady, you are so great and powerful that whoever seeks grace without recourse to you seeks vainly, as if to fly without wings.

Your blessings fall not only on those who ask for them, you grant many more in anticipation.

In you is mercy, in you is pity, in you is power, in you is gathered all the good of all created beings.

Hail, hail!

We praise you, God,we confess you as our Lord.All the earth worships youas eternal Father.All the angels, all heavenlyand universal powers,the Cherubim and Seraphimceaselessly proclaim you:Holy, holy, holy,Lord God of Hosts.Heaven and earth are fullof the glory of your majesty.�e mighty chorus of apostles,the worthy number of prophets,the splendid army of martyrs

praises you.Over all the earththe holy church confesses you,our majestic Father;praised be your trueand only Son

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Sanctum quoque Paraclitum Spiritum.Tu Rex gloriae, Christe.Tu Patris sempiternus es Filius.

Tu ad liberandum suscepturus hominem,

non horruisti Virginis uterum.Tu devicto mortis aculeo,aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes,in gloria Patris.Judex crederis esse venturus.Te ergo quaesumus,tuis famulis subveni,quos pretioso sanguine redemisti.

Aeterna fac cum sanctus tuisin gloria numerari.Salvum fac populum tuum, Domine,et benedic hereditati tuae.Et rege eos et extolle illosusque in aeternum.Per singulos dies, benedicimus te.Et laudamus nomen tuumin saeculum, et in saeculum saeculi.

Dignare Domine, die istosine peccato nos custodire.Miserere nostri, Domine,miserere nostri.Fiat misericordia tua, Dominesuper nos, quemadmodum

speravimus in te.In te speravi:non confundar in aeternum.

and the comforting Holy Spirit.You are king of glory, Christ.You the son are everlasting with

your father.You, to free us, were born as a man,

and did not shun a virgin’s womb.You, having conquered death’s sting,did open to the faithful the kingdom

of heaven.You sit at God’s right hand,to the glory of your father.We know that you will be our judge.We pray to you thereforeto come to the aid of your servantswhom you have redeemed with your

precious blood.Number us among your saintsin eternal glory.Save your own people, Lord,and bless your children.Lead them, and deliver themunto eternity.Every day we bless you,and we shall praise your namefor a hundred years, for a

hundred centuries.Grant, Lord, this dayto keep us free of sin.Have mercy, Lord,have mercy on us.Let your mercy shine, Lord,on us as we place our trust in you.

In you, Lord, I put my trust;let me not be confounded for eternity.

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