94491 CARISSIMI The recent experience of the Ensemble Seicentonovecento with the of has illuminated ADDITIONAL LINER NOTES some interesting, and hitherto never thoroughly explored, aspects of the complex relationship between music and PICTOGRAPHY OF SOUND painting established in the first half of the 17th century, first in the Roman school, then at , and then, Medieval and baroque frescoes may show different degrees progressively, in all the major Italian centres. of preservation, but the approach to the objects themselves is the same. However, the interpretations of medieval and The vastness of Carissimi's expressive range becomes baroque art are certainly very different. An expert on 13th always clearer with the systematic exploration of his works, century art might not understand Pietro da Cortona at all, which are partly known to philologists, but little frequented and viceversa. But on one point there is no doubt: the two by a wider public of enthusiasts and scholars. works of art can be set in front of us to examine together. It is almost as if in the history of 17th century painting One is older, the other younger, and they represent points personalities such as Domenichino or Guercino were known of view and philosophies that are far apart, but in their only through a limited number of works. Carissimi is at a physical reality they are equally present. There is only one similar level ‐ the level of an extremely subtle and ardent means of observation, while there is knowledge relevant to poet touching with the same creative energy all the chords the one but not to the other. It is of course also possible to of a compact and solemn universe, in a continual widening verify, even to interfere with, the material of which a work of his expressive horizon. Reflection on this vast conceptual of art is made. range, which was gained by the master from his concrete With music, it is different. A 17th century piece is experience in the environment of the Roman school, makes incomplete, at least in the present state of knowledge, it seem permissible to compare different artistic techniques while a 19th century one is complete. Nor does the remark on the basis of the fundamental concept of the intellectual about interpretation always hold good. The attitudes outlook which is concrete image, but also ideal form of a necessary to interpret Carissimi certainly differ from those compositional structure ‐ traceable with equal legitimacy in needed to interpret Schumann. the space of sound and in the figurative space. The point is a different one. In a Schumann text there is The fatal century opened with an event, in the first days of enough for the planning of an interpretation, but not in a the year, that could not better render such an idea: the Carissimi text. The resulting conflicts about correct, or if you Rappresentatione di Anima et di Corpo by Emilio de' prefer, reliable performance, of a piece by Carissimi, Cazzati, Cavalieri, which many historians of music have wished to Perti, or Monteverdi, cannot be resolved in the absence of recognize, not totally wrongly, as the first manifestation of unequivocal documentary evidence, of which there is none. what was later to be the . While it is very easy to demolish critically performances that Here the term "representation" has a double meaning. On lack any philological depth, it is very difficult to judge as the one hand it is an echo of the theatrical performance, exact that which should remain open to question and is in since the composition is true theatrical action: it is not any case subjective. It is not that a secret substructure is playing, but just 'staging", in a synthetic and convincing lacking; there are simply no defining concepts. manner, allegorical ideas and concepts that the public must That is why a comparison between different artistic perceive with visual immediacy. On the other hand, techniques of the same period may help the maturing of a "representation" means a portraying, in the pictorial sense critical conscience. This does not mean that it is legitimate of the term. That is, the music has a "visual" ambition, in the absence of any real basis to propose comparisons or almost intrinsic to its language. Of course this is only a parallels. In fact, careful study shows that each period has metaphor, but its ultimate meaning is not so far from that its paradigm art forms and its minor ones. The reason for all of today's movie sound‐tracks: there are conventions that this surely cannot be explained once and for all on principles make it unnecessary for us actually to see the images on the valid for all periods and all artistic techniques. The truth is screen to understand, from the music, which "genre" of immediately clear. To take a canonical example, the Italian movie it is. For example, a horror movie has sound elements 15th century was a giant of the figurative arts, but it is that could never be transferred unaltered to a comedy. The difficult to remember even just one great writer of the same conventions are so engrained in the mind of the public that period. And if 19th century Opera has enjoyed extraordinary such a transfer would immediately be interpreted as having triumphs, the same cannot be said about most 19th century an ironic significance. paintings. This is logical: there is no Art without further But in the case of the movie it is obvious: music must not determinants. There are artistic techniques, and it is have so much visual ambition, but should merely constitute obvious that their developments and vicissitudes cannot a track along which run images already overloaded with constantly run in parallel. However, if this is true, it is also meaning. This procedure is completely distinct from the true that certain comparisons between different techniques procedure of 19th century lyric Opera, where the staging is might yield illuminating results, when one of them refers based on abstract conventions and subordinate to the either implicitly or explicitly to the others. Reasoning of this requirement that the voices be audible at all times and in all kind is applicable, with high confidence, to the Italian 17th circumstances. century. Thus Emilio de' Cavalieri's Rappresentatione is a kind of Here, confronted with an extraordinary and most energetic "pictography of sound" in which the music is intended to be period in the field of figurative art, we still have today a the true equivalent of the visual representation, and builds feeling of a rather uniform musical culture, undoubtedly of up an image that is interesting for its clarity and a high level, but its articulations and crucial personalities are completeness. not very clear.

94491 Giacomo Carissimi: The Complete Oratorios ‐ Revised and edited by Colusso 1

There is a striking similarity between the pictorial work of a When, in the time that is now ours, the criterion of work as genius such as Caravaggio, and de’ Cavalieri's musical the efficient functioning of a machine reached a crisis, the allegories. The common ideal is that of vision, which implies whole great machinery of the symphony also reached a that the musician must take the radical step of abandoning crisis, at least from the creative point of view. Whole the polyphonic idea and arranging the music in the generations of musicians have composed by the criterion of harmonic arena, where the melodising settles down in an the functioning machine, following not an expressive unwavering melody. Blocks of sound are closed in on contour, but one of performance. themselves and provided with an internal coherence. The Logically, the notion of demonstrating function lies also at ensemble that emerges is really spatial, resembling the the base of the work of a Frescobaldi or a Monteverdi, but pictorial spaces in which the old idea of fullness at each without one fundamental element: production of a socially point has disappeared, and in contrast the dimension of useful object a role that could be played, for example, by a emptiness, of that which is commensurable only by the Brahms symphony, destined to the concert hall and criteria of the imagination, starts seeping through. therefore to the public. After all, this was the legacy of late 16th century The problem of correct performance praxis of a 17th polyphonism, always more oriented, with the Roman school century oratorio is linked not only to the fact that not of Palestrina and Animuccia, towards tranquil everything that should have been written actually was contemplation, saturating the density of the sound. This written, but also to the fact that its performance praxis was in seeming contrast with the expectation, carried to the cannot any longer belong to us, because we are "by excess" limit by Di Lasso, of the difficulty of moving outside the world that ignored the idea of performance as a forward, of researching in the contrapuntal space, in a kind work co‐ordinated by a leader who guides everyone of fatal movement that seems to reject final conclusion as involved toward a socially relevant production, just as the the inevitable end of human endeavours, sublime as they great polyphony of the 15th and 16th centuries was outside might seem. "by defect". From this derives the margin of objective But at the beginning of the 17th century, song could have incomprehensibility when one confronts the solution of the appeared to be the very place for figurative sound, while problem of performance, of which the congruent usage of untiring and often bitter research invaded the dominion of period instruments, correctly identified and rebuilt on a the keyboard, envisaging the prospect of a musical philological basis, is only one aspect, although a defining cathedral. one. But a period instrument makes sense only if it is known how it was used; otherwise it is merely a toy in the hands of To sum up, if Frescobaldi might be comparable to a an innocent child. demanding architect, Carissimi is comparable to a distinguished painter. From this point of view, the music‐image hypothesis acquires a historical relevance, because it tends to support a One reason in terms of mastery of space, of structure, but notion of performance, admittedly on an unavoidable also of expression and "naturalness", the most significant philological basis, that extols the figurative and pictographic outcome of the science of painting. aspects of those factors which can really assist a decision to To be heeded and then salvaged, all this must now be play in one way rather than another. reconciled with performance praxis and the considerations A fresh commitment to Carissimi's oratorios, as is here that follow from it. And here the difficulties commence, and proposed, raises some decisive issues: the dynamics, the not exclusively in the Frescobaldian sense. Because we ask tempi, instrumental density and the choices that follow ourselves (and the most recent generations of musicians from it, resolution of the basso continuo, articulation, and who have faced the problem continue to ask the question phrasing compared with the use of a fixed structure that with growing urgency) whether the very idea of tends to blunt the dimension of "fantasy" often investigated performance praxis that we inherited from the 19th century in the context of Frescobaldian performance praxis. The has a meaning when transferred unaltered to the world of learned commentators recognize obscurely that this fantasy the first half of the 17th century, at least up to Cavalli's dimension could not in any way be directly compared to the death (1676), just to choose a symbolic date. It is not easy romantic idea of the Schubertian, or, even better, to clarify the reasons why one feels that there is so wide a Schumannian "wanderer", with whom one might also be divergence between the present concept of performance tempted to propose a rapprochement. praxis and that which must have characterized the 17th century, at least up to the first acknowledgment of Corelli's But all this is of little use: the "freedom" with which worth. When talking about performance praxis today we everyone thinks that composers such as Frescobaldi, Veggio, refer basically to a kind of problem that is strictly connected Segni, and the others who came from an essentially with the evolution of the social organization of work, madrigal culture have followed the arduous path of the intended in a wide sense. The baroque orchestra is already ricercar, should be performed, has nothing in common with a symbolic reflection of a group of people working together the freedom emanating from a Chopinian text. This is with constant and repetitive rhythms. This concept develops certainly not because in the 17th century text the amount of together with the parallel evolution of the organization of writing was decidedly less, but because in the 17th century work in the factory up to the time of the assembly line, the dimension of romantic "freedom" was undoubtedly reaching its historical demise with the appearance of the latent, although with a technically incomparable sensibility. avant‐gardes of the early 20th century, when the way in which the ensemble of performers is coordinated, first by a Schonberg, then by a Boulez, tends to look more and more like Frescobaldi and Monteverdi, rather than Bach or Beethoven.

94491 Giacomo Carissimi: The Complete Oratorios ‐ Revised and edited by Flavio Colusso 2

Here both a comparison between artistic techniques and a correct deciphering of the musicimage relationship can be of help. In the first place, the Frescobaldian "freedom" comes close to a lack of balance between form and content; this lack is obvious in the late Italian chivalry poem up to the end of a totally "free" work such as the Secchia rapita by Tassoni. Again, the "freedom" may be compared to the tensions between gigantism and allegory that can be found in a pictorial masterpiece such as the Allegoria della Divina Provvidenza by Pietro da Cortona in the Barberini Palace in , which is of 1630. In other terms, here the freedom of execution is linked to the purely figurative idea of the typical space of a well‐ defined artistic genre, which seeks to expand and to be explored in all its potentialities, precisely in the light of scientific inquiry, in a kind of sound laboratory extending in all directions. Comparison with the following generations can help the understanding. In the great romantic, everything is written on the page, but it is obvious that interpretation depends on the mode of expression or, if you prefer, on the rhythm of the phrase on which the very intelligibility of the work depends. In Frescobaldi, the text is a kind of massive cage (like the subject of the picture) but the structure contains an implicit freedom of expansion (like the content of the picture). The form is then free, because it is not based on the dialectical development of a discourse that advances along a straight line, but on the distribution of space that therefore requires of the performer an intelligence, entirely interior, in measuring the parts and starting building. This music is, in a certain sense, motionless. And since it is motionless, it can be compared to a pictorial image. An ability to express this fixity, as the form approaches its asymptotes, is the baroque fantasy. The progress of this discourse is circumscribed, but its grandeur is in the total devotion to sound heard as a living organism and not as a mere mechanism. This idea of a meditative halt in an enclosed space has been extolled in the dimension of song, to the point that the very allegory of the concept of Harmony seems finally to find its sanction in the later experiences of the Roman school. © Claudio Strinati

94491 Giacomo Carissimi: The Complete Oratorios ‐ Revised and edited by Flavio Colusso 3

GIACOMO CARISSIMI or THE ORIGINS OF he discovered Carissimi's music during his journey to Rome EUROPEAN MUSICAL CULTURE or from English copies, was so struck by it that he inserted Jephthah's in Alexander's Feast and the final At first a chorister, then organist at Tivoli Cathedral, "the chorus of the same oratorio in . Carissimi's music greatest musician ever produced by Italy" ‐ in the words of was introduced into France in 1656, certainly thanks to the P. Bourdelot became chapel‐master of the Cathedral of San Jesuits. Like many French artists who had travelled to Rome, Rufino at Assisi, before holding the same position at "a city host to the arts and all the beauties capable of Sant'Apollinare, the church of the Jesuit Collegium satiating curious and learned spirits", Ouvrard, an enthusiast Germanicum in Rome. of "foreign" music, had come to own a sizable collection of Italian music, copies of which he would send to his friends, This institution, founded in Rome in 1552, was one of the not only in Paris, but also in the provinces, thus helping the most prestigious centres of the Counter‐Reformation and, works of the Maestro of the Collegium Germanicum to be thanks to the superiority of its teaching, attracted not only known in a country eager for Italian culture. The scores the Roman nobility, but also aristocrats from other parts of were arriving almost at the same time as the concerts were Italy, beside a great number of German students. Giacomo held in Rome: “…A man who arrived two months ago has Carissimi (1605‐74), heir to such renowned teachers as furthermore told me that Signor Carissimi had not obtained Tomas Louis de Victoria, Ruggero Giovannelli, Agostino permission to have his compositions printed, a thing that I Agazzari, Antonio Cifra and Lorenzo Ratti, was put in charge cannot believe. I hope, Sir, that on your return, you will of the education of the choir‐boys, the musical training of make enquiries about all these things, and I count on you to the students and the music programme at the collegiate complete the work that you have started, convincing Signor Church of Sant'Apollinare. He composed for the Basilicas of Carissimi to publish all of his works, without restriction. San Pietro and San Giovanni in Laterano, taught From what I heard about him during my sojourn in Rome, counterpoint, and took part in the concerts of the Oratory where I used to be among his audience on all feast days and of the Holy Crucifix. A very influential teacher (his fame had Sundays, I have great respect for everything he does." crossed the Alps), Giacomo Carissimi formed in Rome those musicians who were to be of importance in the second half Ouvrard composed some sacred histories in imitation of of the 18th century: V. Alberici, Giovanni Battista Bassani (c Carissimi: Histoire du Publicain et du Pharisien, Histoire de 1657‐1716), P. J. Baudrexel (1627‐91), Christoph Bernhard Joseph, and Histoire en musique de Jèricho. These works, (1627‐92), Giovanni Maria Bononcini (1642‐78), Marc‐ now lost, of which we know only the titles, are mentioned in Antoine Charpentier (c 1645‐1705), Giovanni Paolo Colonna the correspondence between Ouvrard and Nicaise, and (1637‐95), M. Farinel (1649‐?), K. Föster (1616‐73), Johann were probably performed in Paris while Charpentier was Kaspar Kerll (1627‐93), Johann Philip von Krieger (1649‐ still studying in Rome. This piece of information is proof that 1727) and Scarlatti (1660 ‐1725). These already in the 17th century there existed in Paris a public musicians helped to spread familiarity with his music to responsive to this new genre, Carissimi's spiritual work, Dresden, Warsaw, Leipzig, Prague and Paris. With the even if it was limited to the Italian coterie. While Lully was exception of one single volume, his works, collected in a active at the court, Italian music never ceased to exercise an series of autographic manuscripts, were destroyed in 1773 influence on the circles of the abbés Matthieau and when the Society of Jesus was dissolved, and would have Raguenet, of the canons Nicoise and Ouvrard, and on been definitively lost had there not been some printed Philippe d'Orleans, who never concealed his lively interest in editions (masses, motets, , sacred histories) and, Italian music. above all, a number of German, Italian, French and English copies, which are evidence of the importance to his Marc‐Antoine Charpentier was one of the few 17th century contemporaries of Carissimi's music. French musicians who completed his music studies in Rome, with "the best music master we ever had”: "Jacobus Two countries are especially indicative of the considerable Carissimus excellentissimus et celebris famae symphonieta, influence exercised by the Roman Maestro on the musical ecclesiae Sancti Apollinaris Collegi Germanici multorum world of the second half of the 18th century: England, annorum spatia musicae prefectus, in quoscumque affectus where we find Carissimi's influence in Handel's music, and transformandos sunt enim ejus compositiones succo et France, with Charpentier. vivacitate spiritus plenae". [Giacomo Carissimi, most excellent and famous composer, music director at the In England, King Charles II had manifested a lively interest in Church of Sant'Apollinare of the Collegium Germanicum, Italian music and had invited to his court a number of Italian whose compositions, capable of inducing feelings of every musicians, among them Alberici, who had brought with him kind, are full of the essence and liveliness of the spirit]. the Roman Maestro's works. Carissimi was therefore known in that country from 1660 (we find him mentioned in The Mercure Galant insistently repeats that Charpentier Monfort's Journal) and his music was not only performed ‐ "has lived in Rome for three years", where he "has learnt one of Pepys's letter, dated 1664, describes a concert music [...] under the guidance of Charissimi, considered the comprising the best existing musical pieces, among which best teacher in Italy". In the eternal city, where an intense those of the "famous master in Rome" ‐ but also "copied". cultural life was then at its height, he had been able to listen The best evidence for Carissimi's reputation is the number to excellent sacred music: motets, hymns, masses, and of his works that have survived in English manuscripts. above all oratorios, which had gained pride of place within While Purcell had copied Cazzati and Monteverdi, G. the Roman religious life. Jeffreys, H. Aldrich (Deacon of Christ Church at Oxford) and R. Goodson the Elder (professor of Music at Oxford from It was principally at Sant'Apollinare and at the Collegium 1682 to 1718) were preserving most of Carissimi's works for Germanicum that Charpentier could have heard the later generations. Aldrich took up in his Anteo the thematic "historiae sacrae". They were performed also in Santa Maria material of the Maestro, whose music he never stopped in Vallicella, at the Arch‐confraternity of Jesus, in San Luigi copying, and Handel, of whom it is still uncertain whether dei Francesi and San Gerolamo della Carita. These dramatic compositions that had made Carissimi famous, possessed

94491 Giacomo Carissimi: The Complete Oratorios ‐ Revised and edited by Flavio Colusso 4

peculiarities and expressive characters that would remain the sentiment for nature, appropriate to stage action and for ever impressed in his memory: syllabic or declamatory able to make the best use of the artist's interpretation" advancing the dramatic action with now an (President de Brosse, Lettres d'ltalie); a highly developed energetic, now a soft language; "ariosi", rich in audacious dramatic sense; a well‐defined taste for contrast and melodic lines, surfacing when the staged sentiments reach musical breaks; an extreme vivacity of musical discourse; a their heights (Judicium Salomonis, Duet of the Mothers"Non "pointilliste" rhetoric giving rise to a continuous textual est ita .. .'); vocalizations extending over several bars exegesis to bring the words alive; long melismas worthy of whenever the words are not enough to express sorrow; the best madrigals; embellishments underlining an numerous sections in the form of arias, with regular and important word; greatness, immensity, quickness of the dancing (3/2) rhythms, and at times with deeply sorrowful movement, excitement, violence, joy, jubilation, as if a accents, amplifying the dramatic strength of the characters: feeling arriving at its climax could no longer be expressed in themes defining the personages; preludes, ritornelli and words; dramatic use of silences; a mobile, refined and symphonies capable, at times, of becoming full‐fledged expressive harmony, dissonant chords, unexpected scenarios (Judicium extremum: trumpets of the judgment); asperities of sound left unresolved, bold modulations, precise textual exegeses that visualize the words almost one unusual tonalities, harmonic progressions, intervals of by one, making the text capable of taking the place of seconds, chromatisms, brutal modal changes, Neapolitan scenery, costumes, and staging; choruses, double (Historia sixths, use of the ethos of modes; perfect intelligibility of Divitis, Diluvium universale, Jonas), if not triple (Judicium language, great attention to detail so that each word extremum), often composed by the soloists joining to form corresponds perfectly to the feelings that are expressed in choral sonorities in which homophonic passages often the text through agile, syllabic, declamatory recitatives, alternate with virtuoso interventions (in Jonas there are: a made up of a great number of repeated notes, with a double chorus describing the storm through a fast powerful language that moves the action forward and in movement with vigorous rhythms present throughout; which the inflections of the voice are annotated as faithfully homorhythmic blocks echoing each other, intoning in turn as possible; ariosos with bold melodic lines; a vast vocal each word of the phrase, interrupted melodic lines rising by range expressing great emotion at climaxes, audacious degree, while at the same time describing the unbridled harmonic lines, numerous augmented or diminished billows and the sailors' anguish); final sections written as intervals; finally, an expressive and moving continuo. thanksgiving prayers. Carissimi's students did not limit themselves to finding In the sacred histories of Marc‐Antoine Charpentier one inspiration in his style of composition: they discovered in finds the same formulae for composition: one can recognize the Roman Maestro two new musical genres that would the great figurative scenes of Judicium extremum and soon spread all over Europe, meeting with unprecedented Diluvium universale, in Mors Saulis et Jonathae, Proelium success: the and the oratorio. Michaelis or Josuè; Jonas's monologue in Judit, and Thanks to his innovative genius, what had been an ordinary Ezechias’s in Caecilia, Filius Prodigus or Innocentium; the Jesuit boarding school became an international centre for intensively expressive style of the choruses of Jephte or music where Italians, Germans, the French and the English Jonas in Reniement de Saint Pierre, Extremum Dei Judicium came to learn music. or Caedes... In this way, Carissimi's name and his life’s work were On his return to Paris, Charpentier did not forget Carissimi's recognized immediately as the symbols of the beginning of oratorios, some copies of which he had annotated in the an European musical culture. margins and brought back with him. Charpentier was always convinced of the efficacy of librettos in which quotations © Annick Fiaschi and biblical paraphrases alternated in order to emphasize the most dramatic personages of the Old or New Testament, and was invariably faithful to a musical form in which recitatives, ariosos, arias and choruses follow each other without interruption, and incessantly reawaken the interest of the audience. The man to whom are attributed the words "Go to Italy: it is the real source" could not but take into account a musical form that allowed him to express freely his innate sense of the theatre: "Charpentier, as cultivated as the Italians, possessed to the highest degree the art of conjugating words with the most apt tones". Charpentier found in Carissimi's oratorios the model for his sacred histories, histories whose realization he achieved in that expressive way so singular, and at the same time so sober and pathetic, that constituted the very essence of his art. Study of the work of Charpentier and of the other students of Carissimi allows one better to focus on the characteristics of composition diffused all over Europe by the Roman Maestro's works: long dramatic monologues in which the hero can freely pour out his feelings: "uproarious arias full of music and Harmony for ringing voices; others sweetly singable and deliciously formed for thin and flexible voices; still others passionate, tender, touching, true expressions of

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Giacomo Carissimi The Complete Oratorios Revised and edited by Flavio Colusso JONAS Nautae (II, III, IV) Mariners (II, III, IV) HISTORICUS DEUS Dii magni, dii fortes, dii coeli, dii maris! Highest gods, mighty gods, gods of heaven, Alia Simonichvili I Aurio Tomicich Misericordes et potentes, de angustiis et periculis gods of the sea! Ye merciful and powerful, by Chiarastella Onorati II in misericordia et potentia liberate nos. your mercy and power deliver us from anguish Mario Boccardo III NAUTAE Dicite tempestati, imperate ventis ut sileant et and danger. Address the storm, command the Aurio Tomicich IV Nunzia Santodirocco I quiescant, et adiuvate nos et salvi erimus. winds, that they fall silent and set at rest; help Chorus Chiarastella Onorati II us, and we shall be safe. Mario Boccardo III

GUBERNATOR Aurio Tomicich IV 2. Historicus (I) 2. Narrator (I) Chiarastella Onorati Jonas autem in interioribus navis in maestitia But jonah, inside the ship, shrouded in sadness,

cordis sui dormiebat sopore gravi et excitavit was fast asleep; so the shipmaster awoke him, JONAS eum Gubernator navis et dixit ei: and said: Francesco Sclaverano

Gubernator Shipmaster 1. Symphonia 1 .Symphony Quid tu sopore deprimeris? Surge, invoca What meanest thou, o sleeper? arise, call upon

Deum tuum; si forte recogitet Deus de nobis et thy God, if so be that God will think upon us, Historicus (I) Narrator (I) non pereamus. that we perish not. Cum repleta esset Ninive iniquitate, vox Because Nineveh was full of iniquity, the voice peccatorum of its sinners cried out from the earth unto the Nautae (III, IV) Mariners (III, IV) ejus clamavit de terra ad Dominum, qui Lord, who from heaven spake unto the prophet Venite, mittamus sortem super nos, ut sciamus Come, and let us cast lots, that we may know locutus est ad Jonam prophetam de coelo dicens: lonah, saying: quare hoc malum sit nobis. wherefore this evil is upon us.

Deus God Historicus (I) Narrator (I) Surge, Jona, et vade in Ninivem civitatem grandem Arise, Jonah, go to Nineveh, that great city, and Miserunt ergo sortem et ecce sors cecidit super So they cast lots, and the lot fell upon Jonah. et praedica in ea, quia malitia ejus ascendit cry unto it, for their wickedness is come up Jonam; dixerunt ergo ei viri navis: Then said the mariners unto him: coram me. before me.

Nautae (II, III, IV) Mariners (II, III, IV) Historicus (I) Narrator (I) Indica nobis cujus causa malum istud sit. Tell us for whose cause this evil is upon us. Audivit Jonas vocem Domini et timuit timore Jonah heard the voice of the Lord, and his fear Quod est opus tuum? What is thine occupation? magno et descendit in navim euntem in Tharsim, was great; and he went down into a ship going Quae est terra tua? What is thy country? ut fugeret et eriperet se a facie Domini. to Tarshish to flee, and to remove himself from Quod est iter tuum? Whither goest thou? the presence of the Lord. Vel ex quo populo es tu? And of what people art thou?

Historicus (II) Narrator (II) Jonas Jonah Et cum processisset in mare, excitavit Dominus But while he was sailing, the Lord sent out a Hebraeus ego sum et Dominum Deum coeli timeo, I am an Hebrew, and I fear the Lord, the God of procellam vehementem in spiritu tempestatis. great wind, and there was a mighty tempest. qui fecit mare et aridam. heaven, which hath made the sea and the dry land.

Historicus (Chorus) Narrator (Chorus) Nautae(I, II, III) Mariners (I, II, III) Et proeliabantur venti et Notus et Auster et Africus And the winds waged war: Notus and Auster Quid faciemus tibi et cessabit tempestas ista, What shall we do unto thee, that the tempest fremuerunt contra navim, nubes et nimbi, and Africus raged against the ship; clouds and quae nobis interitum minatur? waging destruction upon us may come to an end? fluctus et turbines, grandines et fulgura, tonitrus nimbuses, billows and whirlwinds, hail and et fulmina, impetu horribili, fremuerunt contra lightnings, thunders and thunderbolts raged navim, ceciderunt super mare, et facta est against the ship with horrible force, and fell tempestas upon the sea, and there was a mighty tempest magna in mari, et terruit nautas clamantes in the sea. And the mariners were afraid, and ad deos suos et dicentes: every man cried unto his god, saying:

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Jonas Jonah 4. Historicus (I) 4. Narrator (I) Tollite me et mittite in mare, et cessabit tempestas Take me up, and cast me forth into the sea; so Et crediderunt Ninivitae, revertentes a via sua So the people of Nineveh believed, turned from ista: scio enim ego, quod propter me tempestas shall the tempest come to an end: for I know mala et agentes poenitentiam dixerunt: their evil way and repented, and said: haec grandis est super vos. that for my sake this great tempest is upon you. Soli et Chorus Soloists and Chorus 3. Historicus (Chorus) 3. Narrator (Chorus) Peccavimus, Domine, et in viis tuis non ambulavimus; We have sinned, o Lord, and we have walked Tulerunt nautae Jonam et miserunt in mare: et The mariners took up Jonah, and cast him forth sed convertere Domine, et convertemur, not in thy ways; but return, o Lord, and we stetit mare a furore Suo. into the sea: and the sea ceased from her illumina vultum tuum super nos et salvi shall return; make thy face shine upon us, and raging. erimus. we shall be safe

Historiecus (IV) Narrator (IV) Et praeparavit Dominus cetum grandem, ut And the Lord prepared a great whale to swallow JEPHTE deglutiret up Jonah, who prayed unto the Lord his HISTORICUS FILIA JEPHTE Jonam, qui de ventre ceti oravit ad God out of the fish's belly, and said: Alia Simonichvili I Nunzia Santodirocco Deum suum et dixit: Vittoria D’Annibale II

Chiarastella Onorati III ECHO Jonas Jonah Aurio Tomicich IV Alia Simonichvili Justus es, Domine, et rectum judicium tuum, Righteous art thou, o Lord, and upright are thy Chorus Vittoria D’Annibale potens es et voluntati tuae non est qui possit judgments; mighty art thou, and there is none Aurio Tomicich resistere. Projecisti me in profundum maris et that could resist thy will. Thou hadst cast me JEPHTE fluctus tui super me transierunt. into the deep of the sea, and thy waves passed Francesco Sclaverano Justus es, Domine, et rectum judicium tuum, over me. Righteous art thou, o Lord, and upright sed cum iratus fueris, misericordiae recordaberis. are thy judgments: but in wrath, remember 5. Historicus (III) 5. Narrator (III) Placare Domine, ignosce Domine, et miserere. mercy. Be appeased, o Lord, forgive, o Lord, Cum vocasset in proelium filios Israel rex filiorum And the king of the children of Ammon made and have mercy. Ammon et verbis Jephte acquiescere war against the children of Israel, and hearkened

noluisset, factus est super Jephte Spiritus not to the words of Jephthah. Then the Abiectus sum a conspectu oculorum tuorum, I am cast out of thy sight, thine anger is hot, Domini, et progressus ad filios Ammon votum Spirit of the Lord came upon Jephthah, and he accensus est furor tuus et contra me tempestas and a tempest was raised against me; the winds vovit Domino dicens: passed over unto the children of Ammon, and orta est et infremuerunt venti et fluctus raged, and the waves roared, the depth closed vowed a vow to the Lord, saying: intumuerunt, vallavit me abyssus et cetus deglutivit me round about, and the whale swallowed me. me. Num quid in aeternum projecisti servum Hast thou cast off thy servant for ever? Be Jephte Jephthah tuum? appeased, o Lord, forgive, o Lord, and have Si tradiderit Dominus filios Ammon in manus If the Lord shall deliver the children of Ammon Placare Domine, ignosce Domine, et miserere. mercy. meas, quicumque primus de domo mea occurrerit into mine hands, whatsoever cometh forth of

mihi, offeram illum Domino in holocaustum. the doors of my house to meet me, I will offer it

up to the Lord for a burnt offering. Angustiata est in me anima mea et in afflictione My soul is anguished, and in my afflictions I multa recordatus sum tui, Domine Deus meus; remembered thee, o Lord my God. It is good to Historicus (Soli et Chorus) Narrator (Soloists and Chorus) bonum est oboedire mandatis tuis et a facie tua obey thy commandments, and stray not from Transivit ergo Jephte ad filios Ammon, ut in Then Jephthah passed over unto the children of non declinare. thy side. Here am I: send me, and I will obey Spiritu forti et virtute Domini pugnaret contra Ammon to fight against them with the help of the Ecce ego, mitte me et oboediam tibi: audi verba thee. Hear my words, and hearken unto me in eos; et clangebant tubae, et personabant tympana, Lord. And the trumpets were blown, and the timbrels mea et exaudi me in angustiis confitentem my distress, and I shall praise thy name. Be et proelium commissum est adversus sounded, and the battle against Ammon was nomine tuo. appeased, o Lord, forgive, o Lord, and have Ammon. Fugite, fugite, cedite impii, perite gentes; joined. Flee, flee, yield, ye ungodly; perish, ye Placare Domine, ignosce Domine, et miserere. mercy. occumbite in gladio, Dominus exercituum peoples; fall by the sword, the Lord of hosts hath

in proelium surrexit et pugnat contra vos. risen into battle, and fighteth against you. Flee, Historiecus (II, III, IV) Narrator (II, III, IV) Fugite, cedite impii, corruite et in furore gladii yield, ye ungodly, fall, and be scattered by the Et imperavit Dominus pisci, et evomuit Jonam And the Lord spake unto the fish, and it vomited dissipamini. Et percussit Jephte viginti civitates fury of the swords. And Jephthah smote twenty qui praedicavit in Ninive juxta verbum Domini. out Jonah, who preached unto Nineveh Ammon plaga magna nimis. cities of Ammon with a very great slaughter. And according to the word of the Lord. Et ululantes filii Ammon facti sunt coram filiis the children of Ammon cried, and were subdued

Israel humiliati. before the children of Israel.

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6. Historicus (IV) 6. Narrator (IV) Filia Jepthe Jephthah's Daughter Cum autem victor Jephte in domum suam And jephthah came victorious unto his house, Dimitte me, ut duobus mensibus circumeam Let me alone two months, that I may go up and reverteretur, occurrens ei unigenita filia sua and his only daughter came out to meet him montes, lit cum sodalibus meis plangam virginitatem down upon the mountains, and bewail my virginity, cum tympanis et choris praecinebat: with timbrels and with dances, singing: meam. I and my fellows.

Filia Jepthe et sodales Jephthah's Daughter and Companions Jephte Jephthah Incipite in tympanis et psallite in cymbalis, Begin with timbrels, and play on the cymbals, Vade filia, vade filia mea unigenita, et plange Go daughter, go mine only daughter, and hymnum cantemus Domino et modulemur let us sing and tune a song unto the Lord. Let us virginitatem tuam. bewail thy virginity. canticum. Laudemus Regem coelitum, laudemus praise the King of heaven, the prince of war belli principem qui filiorum Israel victorem that hath restored unto us the victorious leader 8. Historicus (I, II, III, IV) 8. Narrator (I, II, III, IV) ducem reddidit. Hymnum cantemus of the children of Israel. Let us sing and tune a Abiit ergo in montes filia Jephte et plorabat cum And the daughter of Jephthah went to the Domino et modulemur canticum qui dedit song unto the Lord that hath given glory to us sodalibus virginitatem suam, dicens: mountains, and bewailed her virginity with her nobis gloriam et Israel victoriam. and victory to Israel. companions, saying: Cantate mecum/Cantemus omnes Domino, Sing with me/Let us all sing unto the Lord; sing, cantate omnes populi, laudate/laudemus belli all ye peoples, praise/let us praise the prince of Filia Jepthe Jephthah's Daughter Principem qui nobis dedit gloriam et Israel war that hath given glory to us and victory to Plorate colles, dolete montes et in afflictione Bewail, ye hills; grieve, ye mountains, and cry victoriam. Israel. cordis mei ululate. loudly over the affliction of my heart.

7. Historicus (III) 7. Narrator (III) Echo Echo Cum vidisset Jephte, qui votum Domino voverat, When Jephthah, who had vowed the vow unto Ululate. Cry loudly. filiam suam venientem in occursum, prae the Lord, saw his daughter coming toward him, dolore et lachrimis scidit vestimenta sua et ait: he rent his clothes in sorrow and tears, and said: Filia Jepthe Jephthah's Daughter Ecce moriar virgo et non potero morte mea Behold, I shall die a virgin, and my death will Jephte Jephthah meis filiis consolari. Ingemiscite silvae, fontes et not find comfort in children. Sigh, ye woods, Heu, heu mihi, filia mea! Heu, decepisti me, Alas, woe is me, my daughter! Alas, thou hast flumina, in interitu virginis lachrimate. fountains and rivers, weep over the virgin1s ruin. filia unigenita; et tu pariter, heu, filia mea, deceived me, mine only daughter; and altogether decepta es. thou, alas, my daughter, hast been deceived. Echo Echo Lachrimate. Weep. Filia Jepthe Jephthah's Daughter Cur ego te, pater, decepi, et cur ergo, filia tua Why, my father, have I deceived thee, and why Filia Jepthe Jephthah's Daughter unigenita, decepta sum? have I, thine only daughter, been deceived? Heu me dolentem, in laetitia populi, in victoria O how grieved I am, in the midst of the joy of Israel et patris mei; ego sine filiis virgo, the people, the victory of Israel, and my father's Jephte Jephthah ego filia unigenita moriar et non vivam! glory; I, a virgin with no children, an only daughter, Aperui os meum ad Dominum ut quicumque I opened my mouth unto the Lord, and said that Exhorrescite rupes, obstupescite colles, valles et shall die, and shall not live! Be horrified, primus de domo mea occurrerit mihi, offeram whatsoever came forth of my house to meet cavernae in sonitu horribili resonate. ye rocks; be astonished, ye hills; valleys and illum Domino in holocaustum. me, I would offer it to the Lord as a burnt offering. caves sound again with awful sounds. Heu mihi, filia mea! Alas, thou hast deceived me, mine only Heu, decepisti me, filia unigenita; et tu pariter, daughter; and altogether thou, alas, my daughter, Echo Echo heu, filia mea, decepta es. hast been deceived. Resonate. Sound again.

Filia Jepthe Jephthah's Daughter Filia Jepthe Jephthah's Daughter Pater mi, pater mi, si vovisti votum Domino, Father, father, if thou hast vowed a vow unto Plorate filii Israel, plorate virginitatem mea, et Bewail, children of Israel, bewail my virginity, reversus victor ab hostibus, ecce ego filia tua the Lord, and hast come back victorious against Jephte filiam unigenitam in carmine doloris lamentamini. and with sorrowful songs mourn for Jephthah's unigenita: offer me in holocaustum victoriae our enemies, here am I, thine only daughter: only daughter. tuae. offer me as a burnt offering for thy victory. Let Hoc solum, pater mi, praesta filiae tuae unigenitae this thing, father, be done for me, thine only Chorus Chorus ante quam moriar... daughter, before I die ... Plorate filii Israel, plorate omnes virgines et filiam Weep, children of Israel; weep, all ye virgins; Jephte unigenitam in carmine doloris lamentamini. and with sorrowful songs mourn for Jephthah's Jephte Jephthah only daughter. Quid poterit animam tuam, quid poterit te, What could comfort thy soul, o daughter, what moritura filia, consolari? could comfort thee, my daughter ready to die?

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HISTORIA DI JOB Job Job DIABOLUS ANGELUS Sicut Domino placuit: ora, factum est; sit As it pleased the lord: pray, it came to pass; Aurio Tomicich Patrizia Pace nomen Domini benedictum. blessed be the name of the lord.

JOB 12. Diabolus 12. Devil Jean Nirouët Filiis tuis et filiabus edentibus et bibentibus Thy sons and thy daughters were eating and

repente ventus vehemens irruit e regione deserti, drinking: and there came a great wind from the 9. Diabolus 9. Devil et concussit quatuor angulos domus quae corruit, wilderness, and smote the four corners of the Audi, audi Job quas aerumnas coelum defluat Hear, hear, Job, what sorrows heaven casteth quae corruens oppressit liberos tuos et mortui house, and it fell upon thy sons, and they are super te. upon you. sunt; et evasi ego solus ut nunciarem tibi. dead; and I only am escaped alone to tell thee.

Job Job Job Job Quae me flagellant voces? Quis turbare praesumit What voices scourge me? Who dareth trouble Nudus egressus sum ex utero matris meae et Naked came I out of my mother's womb, and animam mearn? my soul? nudus reverter illuc. Dominus dedit, Dominus naked shall I return thither: the lord gave, and

abstulit; sit nomen Domini benedictum. the lord hath taken away; blessed be the name Angelus Angel of the lord. Spiritus malus est, sed esto fortis, Job. Ego Dei It is an evil spirit, Job, but be strong. I, the angel angelus te tuebor, te defendam. of God, shall defend thee, I shall save thee. 13. Angelus 13. Angel

Vade, vade spiritus malus, hic est cujus os non Go away, go, thou evil spirit, here is he whose Job Job conteret iniquitas. mouth iniquity hath not defiled. Happy is the Aures meae non turbabuntur in voluntate That which the Lord willeth shall not trouble Beatus homo qui corripitur a Deo: ipse vulnerat man whom God correcteth: for he maketh sore, Domini mei, malum spiritum spernam et mittam mine ears; I shall despise the evil spirit; I shall et medetur, percutit atque sanat. and bindeth up; he woundeth, and his hands derelictum semperque dicam: "Sit nomen send him away without listening to him, and Patientissime Job, inconcussus remanebis. make whole. O long‐suffering Job, thou wilt Domini benedictum". always shall say: "Blessed be the name of the Lord". liber ibis ulta clade, male spiritus; vade, vade. stay firm. And thou, evil spirit, thou wilt go free

after thy defeat; go, go. 10. Angelus 10. Angel

Sit tecum timor suus, fortitudo sua, patientia Let the fear of God, his confidence, his hope, Angelus Angel sua et perfectio viarum [su]arum. and the uprightness of his ways be with thee. Perge princeps tenebrarum; pauperiem mala Depart, prince of darkness; evil bringeth want

miserias. Non iuvabunt: nam patientia semper and grief. It will not serve: for hope always will Diabolus Devil vigebis. prevail. Audi, audi Job. Hear, hear, Job. Dum semper in ore habebis hoc dictum: sit nomen And thou shalt always have these words in thy

Domini benedictum. mouth: blessed be the name of the lord. Job Job

Audio, audio. I hear, I hear. Job Job

Jam me solatur coelestis angelus: mei Custos Now the heavenly angel hath comforted me: O Diabolus Devil affer opem, [pauperiem mala miserias]. my keeper, give me strength; evil bringeth want Boves arabant et asinae pascebantur juxta eas, The oxen were plowing, and the asses feeding Non timebo, et patientia semper vigebis, et and grief. I shall not fear, and hope always will et irruerunt Sabei tuleruntque omnia et pueros beside them, and the Sabeans fell upon them, s[emper in ore habebo hoc dictum]: sit nomen prevail, and I shall always have these words in percusserunt gladio, et evasi ego solus ut and took them away, and they have slain the Domini benedictum, sit nomen Domini benedictum. my mouth: blessed be the name of the lord, nunciarem servants with the edge of the sword; and I only blessed be the name of the lord. tibi. am escaped alone to tell thee.

Diabolus Devil Job Job Quae me vox agitat, quae me depellit, [pauperiem What voice shaketh me, and driveth me away? Dominus dedit, Dominus abstulit; sit nomen The lord gave, and the lord hath taken away; mala miserias]. Evil bringeth want and grief. I shall try again, Domini benedictum. blessed be the name of the lord. Renovabo, nec patientia semper vigebis; nec and hope will not always prevail; and I shall

semper in ore habebis hoc dictum: sit nomen never have these words in my mouth: blessed 11. Diabolus 11. Devil Domini benedictum. be the name of the lord. Ignis Dei cecidit et tactas oves puerosque The fire of God is fallen from heaven, and hath consumpsit, burned up the sheep, and the servants, and et evasi ego solus ut nunciarem tibi. consumed them; and I only am escaped alone

to tell thee.

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DILUVIUM UNIVERSALE

HISTORICUS ANGELI Noe Noah Sara Allegretta I Sara Allegretta I Parce Domine, parce populo tuo et ne [cadat] Spare, Lord, spare thy people, that all the Nunzia Santodirocco II Nunzia Santodirocco II genus in perditionem. nations perish not. Luigi Petroni III

Chorus HOMINES Deus God Sara Allegretta I Non parcam his qui me oderunt, impiorum non I will not spare them that hate me; I will not DEUS Nuzia Santodirocco II miserebor sed omnes sub aquis demergam. have mercy upon the wicked, but I will drown Mario Boccardo Hyun Chung Kim III them in water. Chorus

NOE Noe Noah Aurio Tomicich Quid faciam miser, quomodo effugiam ab What shall I do, wretched man that I am, how

impetu aquarum inundantium? will I flee the violence of the waters? 1. Symphonia 1. Symphony

Deus God Historicus (I, II) Narrator (I, II) Fac tibi ligneam arcam et ingredere in eam cum Make thee an ark of wood, and come into it Cum vidisset Deus quod in immensum increvisset And God saw that the wickedness of man was filiis tuis ut aquas effugias quae submergent omnes with thy sons, to escape the waters that will hominum malitia super terram et omnis increasing beyond measure in the earth, and habitatores terrae. cover all the inhabitants of the earth. eorum cogitatio intenta esset in malum, dixit: that every imagination of the thoughts of his

heart was only evil, and he said: Angeli et Chori Angels and Choruses

Agite, ruite, ruite currentes Austri, furentes Austri, Come, rush, rush in, ye impetuous, furious Dues et Homines (I, II, Chorus) God and Men (I, 11, Chorus) movete turbines, ciete pluvias, per vos winds of the south, move, ye whirlwinds, Ecce homines quos creavi, omnes peccaverunt ; Behold, the men that I have/thou hast created praecipiti seviat impetu effusis imbribus tempestas sweep, rain: because of you, the fearful storm omnes declinaverunt, omnes me have all sinned; they have all gone astray, and horrida, coelum horrissono fragore mugiat, shall increase its fierceness with the great violence dereliquerunt/omnes forsaken me/thee. There is none who remembereth terrarum ardua tremiscant tonitra, astra per nubila of overflowing showers, the sky shall roar te dereliquerunt ; non est qui convertatur me/thee, none who turneth toward erumpant fulgura, flammescant ignea with frigthful sounds, the rocks of the earth ad me/te. Non est qui faciat bonum, me/thee, none who doeth good, not even one. fulgorum lumina, strepenti strideant rumore fulmina, shall tremble with thunders, lightnings shall non est usque ad unum. superba montium feriant culmina, ventorum rent the clouds with their burning lights, their

rabies aëra verberet effusa grandine, nimbi howling noise shall roar, and the proud tops of 2. Deus 2. God praecipitent. the mountains shall be smitten; let the raging Noe, Noe, ubi es? Noah, Noah, where art thou? winds strike the air, and upon the scattered hailstones,

let the rain fall. Noe Noah

Ecce, ecce adsum, Domine. Here, here am I, Lord. 3. Historicus (I) 3. Narrator (I)

Dirupti sunt ergo omnes fontes aquarum et All the fountains of the great deep were broken Deus God cataractae coeli apertae sunt et longa imbrium up, and the windows of heaven were opened; Audi, audi quae dicam libi. Hear, hear what I say unto thee. continuatione per quadraginta dies et quadraginta and a long, constant rain was upon the earth

noctes facta est inundatio super universam forty days and forty nights, and the flood was Noe God terram. Aquis arva demergunt, flavae segetes upon the earth. The fields are covered with Loquere, Domine, quia audit servus tuus. The end of all the earth is come before me: and sternuntur floribusque viduata manent prata. water, the harvest is stricken to the ground. it repenteth me that I have made man.

Deus Historicus (II) Narrator (II) Finis universae terrae venit coram me, poenitet Noah Villae cadunt et vincta fera gurgite deleta et The cities fall down flat, and the fields, me fecisse hominem. Speak, Lord: your servant heareth thee. colonis deplorata jacent sata. destroyed by the fierce flood, lie abandoned.

Noe Noah Hisrtoricus (I) Narrator (I) Quare poenitet te humanum genus creasse? Why repenteth it thee that thou hast made man? Summis haerent pisces nimbis sedes fuit quae The fishes are caught in the clouds, where the Quare furor tuus insurget adversus homines? Why should thy anger rise up against men? columbis, supra silvas damae natant dum doves were, the deer swim over the woods

absortae ab undis cadant. until, swallowed by the waves, they fall down. Deus God

Quia repleta est terra iniquitate eorum. Because the earth is full of their wickedness.

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Historicus (II) Narrator (II) 5. Angeli et Chori 5. Angels and Choruses Lupi natant inter oves, inter canes, inter boves, Wolves swim among sheep, among dogs, and Polos sidereos nubila linquite, campos aethereos Abandon the sky, ye clouds; encompass the omne vivens in profunda vada maris trahit among oxen; the waves draw every living thing lumina cingite, stent jam silenti aëre venti, ethereal fields, ye stars; let the winds be silent; unda, omne quod sub coelo aquae in demersum in the deep fords of the sea, and all that is imbres jam cessent nec aquae terras amplius let the rain be restrained, and let the waters torment latet. under the sky is hidden in the overflowing divexent. the land no more. flood. Inclarat jam dies quae coelum serenat ventosque Now the day breaketh, in which the gentle refrenat mitissima quies. quiet maketh serene the sky, and restraineth the Historicus (III) Narrator (III) winds. Videntes autem homines quod in tantam Then men, seeing that the waters were increased altitudinem increvissent aquae, ad altissima greatly, moved toward the highest tops of Omnes All montium culmina convergebant, et lamentabili the mountains, and lamenting with loud shouts, O Felix dies, o dies beata, o dies super omnes O happy day, o blessed day, o more than any ululatu complorantes, mendaces deos suos accused their false gods, and said: fortunata. other fortunate day. incusabant dicentes:

Homines (I, II, III, Chori) Men (I, II, III, Choruses) CAIN Heu, heu, quae superum rabies, quae coelitum Alas, alas, what wrath of the gods, what fatal HISTORICUS DEUS letifera nos vexat inclementia! cruelty of the heavens tormenteth us! Alas, alas, Patrizia Pace I Aurio Tomicich Heu, heu nos how sad and sorrowful are we, too much hated Nunzia Santodirocco II tristes, heu dolentes, nimis coelo invisas gentes! by heaven! How dire, abominable, and deadly Pamela Borri III CAIN Quae nos dira et execranda, quae funesta trahunt our fate is! O cruel gods, o terrible gods, why Mario Boccardo IV Jean Nirouët fata! are ye so fierce with us, guilty ones? why prevailest Jean Nirouët V Crudeles o deos, o numina dira, jam fera, jam thou over us, called back for no reason? Aurio Tomicich VI †nostra cur agitis reos? Cur nulla praevalis nos why are we condemned to such a harsh fate? revocatis, mortales ad dura cur fata damnatis, why do ye rejoice at the sight of us mortals 6. Historicus (IV) 6. Narrator (IV) sic demersis, sic deles o mortalibus gaudes?† flooded and destroyed? o wicked cruelty, o Offerebat Cain de fructibus terrae munera Domino. Cain brought of the fruit of the ground an offering O iniquam saevitiam, o deorum saevissimam pitiless wickedness of the gods! Come, thou Dominus autem non respexit munera unto the lord. And to his offering the lord nequitiam! wicked Jupiter, thou fierce heavenly tyrant, ejus, sed respexit ad Abel et sacrificium illius. had not respect, but had respect unto Abel and Age, Juppiter impie, ferox, tiranne coelitum, come, triumph, applaud our afflictions, rejoice to his offering. age, triumpha, plaude nostris aerumnis, gaude and delight at our destruction, and boast with nostris laetare cladibus istis, te jactes laudibus. praise of that which thou dost. Be exceeding Historicus (I, II, III) Narrator (I, II, III) Nostr[os] ad fletus exulta laetus, nostro crudelis glad, delighted by our tears, and feed upon our Et iratus est Cain vehementer, et consurrexit And Cain was very wrath, and he rose up dolore pascere: nostro jam satis pectora luctu. cruel sorrow: already filled with mourning is contra fratrem suum, et interfecit eum. Dominus against his brother, and slew him. And the lord Orbis molem cur creasti ut aquae vi deprimeres, our heart. Why hast thou made the world, to autem dixit ad Cain: said unto Cain: cur virentes procreasti diluvio perimeres, press it down with the strength of the waters? cur ad limen nos vocasti quam subito adimeres? why hast thou made every green thing, to Deus God O inanem dementiam, o immanem Tonantis destroy it with the flood? why hast thou called Ubi est Abel frater tuus? Where is Abel, thy brother? inclementiam! us to life, to take us away in an instant?

o vain folly, o immeasurable cruelty of the Cain Cain thundering god! Nescio: num custos fratris mei sum ego? I know not: Am I my brother's keeper?

4. Historicus (III) 4. Narrator (III) Deus God Post dies vera centum et quadraginta quibus And the waters prevailed upon the earth an Quid fecisti? Vox sanguinis fratris tui clamat ad What hast thou done? the voice of thy brother's aquae obtinuerunt terras, recordatus est Dominus hundred and forty days; and the lord remembered me de terra. blood crieth unto me from the ground. Noe et ait: Noah, and said: Nunc igitur maledictus eris super terram: cum And now art thou cursed from the earth: when

operatus fueris eam non dabit tibi fructus suos. thou tillest the ground, it shall not henceforth Deus God Vagus et profugus eris super terram. yield unto thee her strength; a fugitive and a Fontes abyssi jam claudantur, cessent jam pluviae, let the fountains of the deep be stopped, let the vagabond shalt thou be in the earth. imminuantur aquae, decrescant ripis flumina, rain be restrained, let the waters be abated, let mare ad litora redeat ut Noe ex area possit the rivers return within their banks, let the sea egredi. flow back to the shore, that Noah may go forth

of the ark.

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Cain Cain 9. Angeli(I, II) 9. Angels (I, II) Major est, Domine, iniquitas mea, quam ut veniam My punishment is greater than I can bear. Surgite mortui, venite ad judicium. Arise, ye dead, come to your judgment. merear. Ecce eicis me hodie et a facie tua Behold, thou hast driven me out this day, and abscondar et era vagus et profugus in terra: from thy face shall I be hid; and I shall be a Angelus (I) Angel (I) omnis igitur qui invenerit me Decidet me. fugitive and a vagabond in the earth; and every Surgite primi qui obdonnistis in Domino, surgite Rise first, ye who fell asleep in the Lord; rise, ye one that findeth me shall slay me. Sancti et electi Dei ut rapiamini obviam Saints and God's elect, to be caught up to meet Christo in aera. Christ in the air. Deus Gad Nequaquam ita fiet: sed omnis qui occiderit It shall never be so; whosoever slayeth Cain, Angelus (II) Angel (II) Cain septuplum punietur. vengeance shall be taken on him sevenfold. Congregamini populi, consurgite gentes et descendite Gather yourselves together, ye peoples, arise, in vallem Josaphat et [i]bi Dominus ye nations, and come down into the valley of 7. Historicus (Omnes) 7. Narrator (All) vobiscum disceptabit. Jehoshaphat, where the Lord shall judge you. Tunc egressus est Cain a facie Domini, et habitavit And Cain went out from the presence of the profugus in terra. Lord, and was a vagabond in the earth. Angeli(I, II) Angels (I, II) Surgite mortui, venite ad judicium. Arise, ye dead, come to your judgment.

Angelus (I) Angel(I) JUDICIUM EXTREMUM State omnes ante tribunal Christi, rationem reddituri Stand all before the judgment seat of Christ, for de malis et bonis quae in saeculo gessistis. ye shall give account of that ye have done, HISTORICUS ANGELI whether it be good or bad. Sara Allegretta I Sara Allegretta I

Nunzia Santodirocco II Nunzia Santodirocco II Angelus (II) Angel(II) Hyun Chung Kim III Plangite omnes tribus terrae, et videte Filium Weep, all ye nations of the earth; see the Son of Vittoria D’Annibale IV JUSTI hominis sedentem a dextris virtutis Dei, [reddentem Man sitting on the right hand of the power of Francesco Sclaverano V Luigi Petroni bonis et malis] secundum opera sua. God, and rendering to the righteous and the Mario Boccardo VI Francesco Sclaverano wicked according to their deeds. Mario Boccardo

PROPHETA 10. Soli et Chori 10. Soloists and Choruses Mario Boccardo PECCATORES Quam magna, quam amara, quam terribilis erit How great, how bitter, and how terrible shall Chorus dies novissima cum advenerit Dominus ad judicandum the last day be, when the Lord shall come to CHRISTUS nos. Sol obscurabitur, luna obtenebrabitur, judge us. Shall the sun be darkened, and the Aurio Tomicich totus stellifer coeli inflammabitur, de coelo moon shall not give her light, and all the firmament

cadent sidera; arescent fontes, arescent flumina, shall be set on fire, and the stars shall fall 8. Symphonia 8. Symphony arescent aequora, coeli regia concidet, from heaven. The fountains shall be dried up,

mundi machina corruet. the rivers shall be dried up, the waters shall be Propheta Prophet dried up, the heavenly house shall be brought Aspiciebam in visione noctis, et ecce in nubibus I saw in my vision by night: behold, the Son of down, and the bulwarks of the earth shall fall coeli Filius hominis veniebat cum potestate man was coming in the clouds of heaven with down flat. magna et majestate, judicaturus orbem terrarum power and great glory, ready to judge the world in justitia, dicens: in righteousness, and said: 11. Historicus (V) 11. Narrator (V)

Tunc, apertis coelis, ministrantibus angel is, Then, the heavens shall be opened, and while Christus Christ considentibus Apostolis, in sole majestatis suae the angels minister, and the Apostles sit, Christ Ite, ite Angeli mei, cum tuba et voce magna, et Go, go, my Angels, and with a great sound of a Christus apparens dicet; shall appear in the glory of his majesty, and say; congregate electos meos a quatuor ventis a trumpet gather together my elect from the four summis coelorum usque ad termonos eorum. winds, from one end of heaven to the other. Christus Christ

Congregate, angeli mei, ante me omnes gentes; Gather together all nations before me, my Soli et Chori Soloists and Choruses separate eos ab invicem, sicut pastor segregat angels; separate them one from another, as a Tunc, horribili sonitu, tubae clangentes vocabunt Then, with a dreadful sound, the blowing of the oves ab haedis, et statuete oves a dextris, haedos shepherd divideth his sheep from the goats; and gentes, et a sepulcris excitabunt angeli. trumpets shall call together the peoples, and the autem a sinistris. set the sheep on the right hand, but the goats Vocis fragore, tubae clangore, mugiet terra, angels shall raise them up from their graves. on the left. resonabunt aethera. And the earth shall bellow, and heaven sound

again with the clamour of the voices, and the

blowing of the trumpets.

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Angeli(I,II) Angels (I, II) 12. Soli et Chori 12. Soloists and Choruses Justi separentur ab impiis; stent a dextris electi, Let the righteous be separated from the wicked; Quam magna, quam amara, quam terribilis erit How great, how bitter, and how terrible shall consistant a sinistris peccatores, ut secundum let the elect be on the right, and on the left the dies novissima, cum advenerit Dominus ad the last day be, when the Lord shall come to opera sua retributionem aut paenam recipiant. sinners, that every man shall be given either judicandum nos. Sol obscurabitur, luna obtenebrabitur, judge us. Shall the sun be darkened, and the reward or punishment, according to his works. totus stellifer coeli inflammabitur, de moon shall not give her light, and all the firmament coelo cadent sidera; arescent fontes, arescent shall be set on fire, and the stars shall fall Justi The Righteous flumina, arescent aequora, coeli regia concidet, from heaven. The fountains shall be dried up, Ecce nos, pro te Domine, bonum certamen Behold, o Lord, for thy sake we have fought a mundi machina corruet. the rivers shall be dried up, the waters shall be certavimus, cursum consummavimus, fidem good fight, we have finished our course, we dried up, the heavenly house shall be brought servavimus. have kept the faith. down, and the bulwarks of the earth shall fall Redde ergo nobis, justus Judex, repositam nobis Give us, O righteous Judge, the crown of righteousness down flat. a te coronam justitiae. that thou hast laid out for us.

AUDITE SANCTI Christus Christ CHRISTUS Venite, benedicti Patris mei, possidete paratum Come, ye blessed of my Father, inherit the kingdom Aurio Tomicich vobis regnum a constitutione mundi. prepared for you from the foundation of

Vos autem, qui a sinistris meis estis, discedite a the world. Depart from me, ye cursed that are ANIMAE ELECTAE me, maledicti, in ignem aeternum. on my left hand, into everlasting fire. Patrizia Pace

Pamela Borri Peccatores Sinners

Cur in aeternum irasceris nobis, Domine? Quare Why doth thy wrath wax hot against us for ever, 1. Christus 1. Christ sic repente praecipitas nos in profundum? Lord? why yet dost thou destroy us? Audite Sancti, audite justi, audite fortis electorum Hear, ye Saints; hear, ye righteous ones; hear,

animae: ecce vas tradet Dominus in manus ye strong souls of the elect: behold, the lord Christus Christ impiorum ut comprobaverit vas; accipiatis shall deliver you into the hands of the wicked Quare exurivi, sitivi; nudus, infirmus, aut in For I was an hungered; I was thirsty; I was coronam vitae. to prove you; receive the crown of life. carcere eram, nec mihi cibum, potum, aut vestem naked, sick, and in prison; but ye gave me no dedistis. meat, no drink, and ye clothed me not. Animae electae Souls of the Elect

Si tradiderit Dominus nos, servos suos, in Though the lord should deliver us, his servants, Peccatores Sinners manus impiorum, stabimus omnes in magna into the hands of the wicked, we shall all stand Domine, quando te vidimus exurientem, sitientem, Lord, when saw we thee an hungered, or athirst, constantia adversus angustias persequentium. firm, and suffer the adversities. For who shall nudum, infirmum aut in carcere et non or naked, or sick, or in prison, and did not Quis enim nos separabit a caritate Christi? separate us from the love of Christ? ministravimus tibi? minister unto thee?

Christus Christ Christus Christ Tribulatio an angustia? Tribulation or disaster? Quod non fecistis uni de minoribus his, nec Inasmuch as ye did it not to one of the least of mihi fecistis. Ite, ergo, maledicti in ignem aeternum these, ye did it not to me. Depart, ye cursed, Animae electae Souls of the Elect qui paratus est Satanae et angelis ejus. into everlasting fire, prepared for Satan and his Non separabit. They shall not separate us. angels.

Christus Christ Historicus (III) Narrator (Ill) Persecutio an fames? Persecution or famine? O vox nimium tremenda! Vox horrenda Creatoris O voice, dreadful beyond measure! Terrible judicantis, peccatores condemnantis! voice of the Creator who judgeth and condemneth Animae electae Souls of the Elect the sinners! Non separabit They shall not separate us.

Historicus (IV) Narrator (IV) Christus Christ O vox tristis et funesta, qua gens reproba et O sad and mournful voice,. by which the reprobates Nuditas an periculum? Nakedness or peril? scelesta, and the transgressors, cursed for ever, in perpetuum maledicta, aeternis erit ignibus shall be condemned to everlasting fire! Animae electae Souls of the Elect addicta! Non separabit. They shall not separate us.

Christus Christ

Ignis an gladius? Fire or sword?

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Animae electae Souls of the Elect Animae electae Souls of the Elect Non separabit. They shall not separate us. Non sunt condignae ad futuram gloriam. They are not worthy to be compared with the glory that shall be ours. Christus Christ Christus et Animae electae Si consistant castra adversum vos? Though an host should encamp against you? Scimus enim quod passiones nostrae non sunt Christ and Souls of the Elect condignae ad futuram gloriam For we know that our sufferings are not worthy Animae electae Souls of the Elect to be compared with the glory that shall be Non timebit cor nostrum. Our hearts shall not fear. ours.

Christus Christ

Si exurgat proelium adversum vos? Though war should rise against you?

SALVE JESU Animae electae Souls of the Elect JESUS Non timebit cor nostrum. Our hearts shall not fear. Mario Boccardo

Christus Christ FIDELES Si maledixerint vobis homines? Though men should revile you? Nunzia Santodirocco I

Pamela Borri II Animae electae Souls of the Elect Mario Boccardo III Non timebit cor nostrum. Our hearts shall not fear.

2. Fideles (I, II, III) 2. The Faithful Christus Christ Salve Jesu spes nostra, suscipe nos miseros servos. Hail, jesus, our hope, receive us, thy poor servants. Si principes persecuti vos fuerint? Though the princes should persecute you?

Jesus Jesus Animae electae Souls of the Elect Venite filii, venite ad Jesum et dabit vobis Come, children, come unto me, and I shall give Non timebit cor nostrum: scimus enim quod Our hearts shall not fear. For we know that our panem coelestem, omne delectamentum in se you the bread from heaven, able to content passiones nostrae non sunt condignae ad futuram sufferings are not worthy to be compared with habentem. every man's delight. gloriam. the glory that shall be ours.

Fidelis (I) Faithful one (I) Christus Christ Tandem quae poterit lingua, vox texere, Jesu What tongue, what voice, o jesus, can say how Saevientes tortorum manus? The cruel hands of the tormentors? dulcissime, quam sis mellifluus? Omni dulcedine gracious thou art? Jesus, thou art more gracious

tu es suavior. than the most gracious things. Animae electae Souls of the Elect

Non sunt condignae ad futuram gloriam. They are not worthy to be compared with the Fidelis (II) Faithful one (II) glory that shall be ours. Tu, suavissimus panis angelicus, nostras animas Divinely refresh our souls, thou sweet bread of

divine reficis et nobis praeparas aeterna gaudia. the angels, and prepare for us everlasting joy. Christus Christ

Formidabiles leonis molae? The formidable teeth of the lion? Fideles (I, II, III) The Faithful (I, II, III)

Ecce, o Jesu benignissime, per promissiones Behold, o most loving Jesus: filled with heavenly Animae electae Souls of the Elect tuas coelesti repleti gaudio, properamus ad te joy for thy promises, in exceeding gladness Non sunt condignae. They are not worthy to be compared. cum exultatione. we come unto thee.

Christus Christ

Lanientes ungulae? The tearing claws?

Animae electae Souls of the Elect Non sunt condignae. They are not worthy to be compared.

Christus Christ Igne candentes laminae? Scorching bands of iron?

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QUO TAM LAETUS QUIS EST HIC Patrizia Pace Cantus I Patrizia Pace Nunzia Santodirocco Cantus II Nunzia Santodirocco Pamela Borri 3. Cantus I 3. Canto I Quo tam laetus progrederis, vir beatissime, quo Whither goest thou, so joyful, thou most blessed 4. Quis est hic vir beatissimus cujus enarrant coeli 4. Who is this most blessed man, whose glory is tam praecipites gressus agglomeras, Christi man? whither turnest thou thy steps so gloriam, cujus opera terrarum orbis resonat? told by the heavens, and with whose deeds all miles fortissime? quickly, o most valiant soldier of Christ? Beatus [Jacobus]. earth soundeth again? He is the blessed [James].

Cantus II Canto II Quis exultabilem hanc nobis reddidit celebritatis Who is he whose fame is restored to us in this Ad supplicia propero, ad tormenta adcedo ut I go to the torments, I approach to torture, that I diem? memorable day? Christo in passione socius quem futura largitorem partake of the passion of Christ, from whom I Beatus [Jacobus]. He is the blessed [James]. mihi gloria spero. hope to receive the glory that shall be mine. Quis est cujus meritis et virtutibus universa fulget Who is he whose metirs and virtue the universal Church Cantus I Canto I Ecclesia? shineth? Non terribiles tyranni minae, non formidabiles Fearest thou not the terrible threatenings of the Beatus [Jacobus]. He is the blessed [James] tortorum manus, non atrae territant carcerum tyrant, the mighty hand of the torturer, the darkness umbrae, non times graves compedum nexus, of the gloomy prison? art thou not terrified Agite ergo coelestes Spiritus, habentes singuli Come now, ye heavenly Spirits, ye with the golden non ferrea catenarum vincula pavescis? by the heavy chains on thy feet, nor frightened cytharas aureas. harps. by the bonds of the fetters? Jubilate, cantate et modulamini in voce laudis Rejoice, sing, and tune a poem of praise, and a et in sonitu laetitiac novae carmen hannoniae joyous song of new harmonies unto the blessed Cantus II Canto II beato [Jacobo] cujus inclita virtus, cujus illustris [James] whose famous virtue, excellent glory Si Dominus salus mea est, quid pertimescam? A If the Lord is my saviour, why should I be gloria, cujus felix victoria in coelis hodie and great victory triumph to day, crowned in quo trepidabo ipse mecum descendet in afraid, what should I fear? For he will descend coronata triumphat. heaven. foveam, ipse in vinculis non derelinquet me, with me in the pit, and abandon me not in my non timebo quid faciat mihi homo. Tyranni bonds; and I shall not fear what man will do to Nos quoque socii laetos et canoros dulcisonantes We also shall accompany the joyful and sweetsounding minae, tortorum manus, impavidum me semper me. Fearless, I shall suffer the tyrant's threatenings angelorum choros alternantibus prosequamur vocibus. songs of the angels, singing in turn. ferient. and the torturer's hand. jubilemus, cantemus et modulemur triumphale let us rejoice, sing, and tune a triumphal song canticum beato [Jacobo], cujus inclita virtus coronata unto the blessed [james], whose famous virtue, Cantus I Canto I triumphat, cujus illustris gloria, cujus felix excellent glory and great victory triumph to day, Cur immaturam enixe expetis mortem, quasi vis Why so eagerly desirest thou an untimely victoria in coelis hodie coronata triumphat. crowned in heaven. novissimum caede finire diem? Nullus ne tam death, as if to end thy last day in slaughter? acerbae mortis, ne timor occupat, nullus tangit Doth not fear of such harsh death occupy thee? praecordia metus? doth it not touch thy heart?

Cantus II Canto II Nulla cecidit super me formido mortis, nulla No fear of death falleth upon me, nor am I frightened me terrent novissima mortalium pericula, quoniam by dangers extremes to mortals; for me mihi vivere Christus est, et mori lucrum; to live is Christ, and to die is gain; nevertheless vivo ego, jam non ego, vivit in me Christus, I live; yet not I, but Christ liveth in me, and I cupio dissolvi et esse cum Christo. have a desire to depart, and to be with Christ.

Cantus I et II Canto I and II Vade miles fortissime, vade miles beatissime, Go, most valiant soldier; go, most blessed soldier; quickly vade festina propera ad supplicia, ad tormenta, turn to the torments, to torture, to ad carceres, quoniam tibi vivere Christus est, et prison, since for thee to live is Christ, and to mori lucrum; vade jam non vivis, vivit in te die is gain; go, thou that yet livest not, but in Christus: ille salus, vita, spes et gaudium. O thee liveth Christ: he who is salvation, life, quam dulce est, O quam jucundum mori hope, and joy. O how sweet, how joyful it is to mundo et Christo vivere, qui te perducit hodie die to the world, and live in Christ who to day ad sempiterna Paradisi gaudia! bringeth thee to the everlasting joy of Paradise!

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SUSCITAVIT DOMINUS QUI NON RENUNTIAT Luigi Petroni Altus Aurio Tomicich Bassus CHRISTUS Mario Boccardo Tenor Aurio Tomicich

5. Altus 5. Alto DISCIPULI Suscitavit Dominus super Babyloniam et super The lord rose up against , and against them Luigi Petroni habitatores ejus quasi ventum pestilentum, misit that dwelt in her, a destroying wind; and he sent Mario Boccardo ventilatores et ventilabunt et demolientur eam. fanners that they should fan her, and destroy her. 6. Christus 6. Christ Altus, tenor, bassus Alto, Tenor, and Qui non renuntiat omnibus quae possidet non Whosoever he be of you that forsaketh Fugite gentes, fugite populi, fugite de medio Flee, ye nations, flee, ye peoples, flee out of the potest meus esse discipulus. that he hath, he cannot be my disciple. Babylonis et salvet unusquisque animam suam. midst of Babylon, and deliver every man his soul. Discipuli Disciples Bassus Bass Domine, ecce nos reliquimus omnia et secuti Lord, behold, we have forsaken all, and followed Super muros ejus levate signum, augete custodiam, Set up the standard upon her walls, make the sumus te. thee. praeparate insidias, acuite sagittas, watch strong, prepare the ambushes, make bright implete pharetram, quia ultio Domini est mors the arrows, gather the shields, for the vengeance Christus Christ ejus est ut perdat eam et ponat urbem fortem in of the lord is her death, it is to destroy Sed qui non baiulat crucem suam et venit post And whosoever doth not bear his cross, and ruinam. her, and make of the defended city an heap. me non potest meus esse discipulus. come after me, cannot be my disciple.

Altus, tenor, bassus Alto, Tenor, and Bass Discipuli Disciples Fugite gentes, fugite populi, fugite de medio Flee, ye nations, flee, ye peoples, flee out of the Usque in hanc horam esurimus et sitimus et colaphis Even unto this present hour we both hunger, Babylonis et salvet unusquisque animam suam. midst of Babylon, and deliver every man his soul. caedimur, persecutionem patimur et and thirst, and are buffeted; and, being persecuted, sustinemus. we suffer it. Tenor Tenor Infelix Babylon quae habitas super aquas multas, O unhappy Babylon, thou that dwellest upon many Christus Christ locuples in thesauris, venit finis ejus, venit in finibus waters, abundant in treasures, thine end is come, Arcta est via quae ducit ad coelum; ideo nisi Narrow is the way, which leadeth unto heaven; ejus, venit dies perditianis tuae, cassaverunt the day of thy calamity; thy mighty men have forborn efficiamini sicut parvuli non intrabitis in and except ye become as little children, ye fortes tui in proelio, habitaverunt in insidiis, the fight, they remain in their snares: their regnum coelorum. shall not enter into the kingdom of heaven. devoratum est robur earum, incensa sunt might hath failed, and thy tabernacles are burnt. tabernacula tua. Discipuli Disciples Immo minorati sumus a parvulis, nos enim sumus Nay, we are less than little children; for we are Altus, tenor; bassus Alto, Tenor, and Bass vermes et non homines. worms, and no men. Fugite gentes, fugite populi, etc. Flee, ye nations, flee, ye peoples, ete. Who is he through whose merits and virtue the Christus Christ universal Church shineth? Bene fecistis omnia eo quod in caritate perfecta Ye have done all things well, and in perfect He is the blessed [james]. dilexi vos. love I have loved you.

Discipuli Disciples Et nos super omnia diligimus te. And we love thee above all things.

Christus Christ Majorem caritatem nemo habet ut animam Greater love hath no man than this, that a man suam ponat quis pro amicis suis. lay down his life for his friends.

Discipuli Disciples Ecce, pro amore tuo parati sumus in carcerem Behold, for love of thee we are ready to go, et in mortem ire. both into prison, and to death.

Christus Christ Haec est perfecta caritas quam aquae multae non This is perfect love, that many waters cannot potuerunt extinguere. quench.

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Christus Christ Christus Christ Gaudete igitur et exultate quoniam merces Be glad, then, and rejoice, foryour reward is Qui sunt hi sermones quos confertis ad What manner of communications are these that vestra copiosa est in coelis. great in heaven. invicem, et estis tristes? ye have one to another, and are sad?

Discipuli Christ and Disciples Discipulus (II) Disciple (II) Gaudeamus igitur et exultemus quoniam Let us be glad, then, and let us rejoice, for ourreward Tu solus peregrinus es in Jerusalem, et non cognovisti Art thou only a stranger in Jerusalem, and merces nostra copiosa est in coelis. is great in heaven. quae facta sunt de Jesu Nazareno? not known the things which are come to concerning Jesus of Nazareth?

CUM REVERTERETUR DAVID Discipulus (I) Disciple (I)

Patrizia Pace Non cognovisti quomodo tradiderunt eum Hast thou not known how the chief priests Nunzia Santodirocco summi sacerdotes et principes nostri in damnationem our rulers delivered him to be condemned Sara Allegretta mortis, et crucifixerunt eum? death, and have crucified him?

7. Cum reverteretur David, percusso Philistaeo, 7. When David was returned from the slaughter Discipuli (I, II) Disciples (I, II) egressae the Philistine, the daughters of Israel came Nos autem sperabamus quia ipse esset redempturus But we trusted that it had been he which sunt filiae Israel in occursum cantantes singing and dancing, to meet him, with tabrets, Israel. Nunc tertia est dies, et eum surrexisse have redeemed Israel. To day is the third day: chorosque ducentes, in tympanis laetitiae et in with joy, and with joyful voices; and testantur audisse mulieres quaerentes certain women, looking for the heavenly lover, voce exsultationis praecinebant ei ludentes et played instruments of music, and said: coelestis amantis, amore languentes. and languishing with love, testify that they have dicentes: hath slained his thousands, and David his ten heard that he is risen from the dead. "Percussit mille et David decem milia. thousands. Alleluiah, alleluiah." Alleluja, alleluja". Christus Christ O stulti et tardi corde ad credendum! Nonne o fools, and slow of heart to believe! Ought haec oportuit pati Christum, et ita intrare in gloriam not Christ to have suffered these things, and to HISTORIA DEI PELLEGRINI DI EMMAUS suam? Hic nostros dolores cum ipso portavit, enter into his glory? Himself bare our sorrows; hic nostros languores moriendo sanavit. by his death, he healed our sicknesses. HISTORICUS CHORUS

Nunzia Santodirocco I Nunzia Santodirocco Chorus Chorus Francesco Sclaverano II Pamela Borri Ite felices, ite beati vobis invicem colloquentes, Go, ye happy, go, ye blessed ones, talking Francesco Sclaverano simul unaque recolentes qu[od] oportuit together, and recall why Christ must suffer. Go, CHRISTUS Christum pati. Ite felices, ite beati. ye happy, go, ye blessed ones. Mario Boccardo

Historicus (II) Narrator (II) DISCIPULI Cum igitur Jesus interpretaretur discipulis in And Jesus expounded unto them in all the Nunzia Santodirocco I omnibus Scripturis quae de ipso era[n]t, Scriptures the things concerning himself, and Pamela Borri II appropinquaverunt castello quo ibant, et ipse finxit se they drew nigh unto the village, whither they

longius ire. went: and he made as though he would have 8. Historicus (II) 8. Narrator (II) Discipuli autem coëgerunt Jesum intrare, et gone further. But the Disciples constrained him Duo ex discipulis Jesu ibant in castellum nomine Two of the Disciples of Jesus went to a village dixerunt: to enter into it, saying: Emmaus, quod erat in spatio stadiorum sexaginta called Emmaus, which was from Jerusalem ab Jerusalem. about three‐score furlongs. Discipuli (I, II) Disciples (I, II)

Expirat jam dies, et umbrae inclinantur, ut cibi The day is far spent, and the shadows are going Chorus Chorus sumantur nos vocat hic quies; ne facias viator down; rest inviteth us to take our food here; Ite felices, ite beati, vobis invicem colloquentes, Go, ye happy, go, ye blessed ones, talking hoc noctum inane, mane nobiscum. walk not in the night in vain, abide with us. simul unaque recolentes qu[od] oportuit together, and recall why Christ must suffer. Go,

Christum pati. Ite felices, ite beati. ye happy, go, ye blessed ones. Historicus (II) Narrator (II)

Intravit itaque Jesus ut recumberet cum eis, qui Jesus went in, and sat at meat with them; and Historicus (I) Narrator (I) cognoverunt illum in fractione panis, et ipse they knew him when he took bread, and brake Et factum est dum loquerentur de his omnibus And it came to pass, that, while they communed evanuit. it; and he vanished. quae acciderant, ipse Jesus appropinquans ibat together of all these things which had happened, Dixerunt ergo ad invicem: And they said one to another: cum illis; oculi autem eorum tenebrantur ne Jesus himself drew near, and went with them. But eum agnoscerent, et ait ad illos: their eyes were holden that they should not know

him. And Jesus said unto them:

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Discipuli (I, II) Disciples (I, II) Dives Rich Man Nonne cor nostrum ardens erat in nobis dum Did not our heart burn within us, while he talked Heu miser, quid audis? O nuntios execrabiles, Alas, woe is me, what do I hear? Terrible messengers, loqueretur in via, et aperiret nobis Scripturas? with us by the way, and while he opened to us mihi ergo est moriendum? then must I die? Eamus, surgamus, canendo dicamus: “O Christi the Scriptures? Let us go, let us rise, let us thus victoria, o triumphalis, o immortalis resurgentis sing: "O victory of Christ, O triumphal, O immortal Daemones (Soli et Chorus) Demons (Soloists and Choruses) gloria”. glory of him that is risen from the dead". Moriendum, moriendum; et opes et divitias Thou must die, must die; and, leaving wealth relinquendum, nobiscum in infernum descendendum. and riches, thou must descend with us unto hell. HISTORIA DIVITIS Dives Malus Dives Rich Man HISTORICUS DAEMONES O spes meas fallaces, o laetitias fugaces, O deceitful hopes, o fleeting joy, o too grievous Patrizia Pace I Patricia Pace I o mortis vires nimium rapaces! might of death! What evil things did I, Nunzia Santodirocco II Nunzia Santodirocco II Quid mali, miser, egi, wretched man that I am? what henious crime Mario Boccardo III Vittoria D’Annibale III quid dirum nefas ausus, durst I do? what wickedness must now be Chiarastella Onorati IV quae mihi morte sunt luenda crimina? washed away by death? DIVES Mario Boccardo V

Francesco Sclaverano Aurio Tomicich VI Daemon (I) Demon(I) Chorus Pane canes alebas, Thou didst feed the dogs with bread, but not ABRAHAM pauperes non replebas. the poor. Aurio Tomicich

Daemon (V) Demon (V) 1. Historicus (I) 1. Narrator (I) Auro scorta ditabas, nihil pauperi dabas. Thou gavest gold to the harlots, but nothing the poor. Erat vir quidam opulentissimus qui purpureis There was a certain rich man, which was utebatur vestibus et splendide quotidie epulabatur, clothed in purple and fine linen, and fared Daemon (VI) Demon (VI) cujus domus ad ostium stabat mendicus sumptuously every day. And lazarus, a beggar, Nec terra usquam nee aëra, lacus, flumina et Neither the earth, nor the air, nor the lakes, Lazarus, scabie et ulceribus plenus; dum ad ostium was laid at his gate, full of scab and sores; he maria quae tibi escas parabant tuam vastam the rivers, nor the sea that gave thee lood satisfied hie jacebat stipem quaerens, saepe maerens, was laid at the gate begging, and often complaining, ingluviem explebant. thine immeasurable greed. fame, miser, tabescebat et de micis cupiebat consumed with hunger, and desiring saturari quae de avari mensa divitis cadebant. to be fed with the crumbs which fell from the Daemon (II) Demon (II) Sed pietate non inanes stabant canes ejus rich man's table. Moreover, pitiful dogs licked Sic cordis impietate, gulae voracitate, manus Thus, with thy wicked heart, thy greed, and thy ulcera lingentes et a sordibus tergentes. his sores, and wiped away his filth. rapacitate, Deum exacerbasti et tibi aeternam rapacious hand, hast thou angered God, and

mortem comparasti. brought eternal death upon thee. Historicus (II) Narrator (II)

Factum est autem ut moreretur mendicus Lazarus, And it came to pass, that lazarus the beggar died, Dives Rich Man et absumptus est ab angelis in sinum and was carried by the angels into Abraham's O mors horrida, violenta et amara, homini opulenti O awful, violent and bitter death, for a rich Abrahae. Dives vero, nimia gulae intemperanintia, bosom. And the rich man, because of his sore in voluptatibus suis conquiescenti. man at rest among his own pleasures. in lethalem aegritudinem incidens et se greed, was struck by a deadly sickness, and feeling morti jam proximum sentiens, horridam mille that he was at the point of death, he saw Daemones (Soli et Chorus) Demons (Soloists and Choruses) daemonum turbam sibi adstantem vidit, before him an horrible swarm of demons, shouting, Morere, inlelix! Supremum age spiritum. Die, unhappy one! Give up the ghost. Die, clamantium et dicentium; and saying: Morere, inlelix! Age, jam execrabilem evome, unhappy one! Wretched one, now vomit thy

tristis, animam. detestable soul. 2. Daemones (Soli et Chorus) 2. Demons (Soloists and Choruses)

Jam satis edisti, jam satis bibisti, jam satis plausisti, Enough hast thou eaten, enough hast thou drunk, 3. Daemon (II) 3. Demon (II) jam satis lusisti; jam satis voluptatis hausisti, enough hast thou rejoiced, enough hast thou Sat mensas mille plenas obsoniis habuisti. Enough hast thou had tables filled with savoury jam satis edisti, jam satis bibisti; et nunc tibi played; enough hast thou tasted pleasures, enough meat. est moriendum, et pro flagitiis et pro peccatis hast thou eaten, enough hast thou drunk; and now est in chaos horrendum nobiscum descendendum, thou must die, and, for thy crimes and sins, Daemon (III) Demon (III) ubi semper torqueberis et mille, mille descend with us into the horrible chaos where Sat molles cantilenas et sonitus audisti. Enough hast thou heard pleasant sounds and malis undique repleberis. thou shalt be tormented for ever, and filled with songs. thousands and thousands of evils from every side.

Daemon (II) Demon (II)

Sat ad ludicras scenas mimos spectans risisti. Enough hast thou laughed at the merry shows

of the mimes.

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Daemon (I) Demon (I) Dives Rich Man Sat fallaces sirenas audiens obdormisti. Enough hast thou gone to sleep listening to Quae purpurae operiar? In what purple shall I be clothed? deceitful sirens. Daemones (V, Chorus) Demons (V, Chorus) Daemon (IV) Demon (IV) Flammea. Purple of fire. Sat tibi est in profundum nobiscum descendendum. Now thou shalt descend with us in the deep. Dives Rich man Daemon (I) Demon (I) Quibus fruar spectaculis? What sights shall delight me? Ubi ab igne voraberis, et tormentis aeternis Where thou shalt be consumed by fire, and tormented cruciaberis. for ever. Daemones (VI, Chorus) Demons (VI, Chorus) Teterrimorum daemonum. Tremendous devils. Daemones (Soli et Chorus) Demons (Soloists and Choruses) Morere, infelix! Die, unhappy one! Dives Rich Man Quos jocos, quos risus, quos lusus miscebor? What games, what laughters and amusements Daemon (I) Demon (I) shall stir me up? En vitae 5uprema venerunt momenta quae Behold, the last moment of thy life hath come dabunt extrema Averni tormenta. with hell's extreme torments. Daemones (I, II, Chorus) Demons (I, II, Chorus) Fletus et gemitus, et ululatus. Tears, wails and laments. Daemon (II) Demon (II) Jam gressus intende ad manes silentes, ad ignes Now turn thy steps to the silent regions of hell, Dives Rich Man ardentes nobiscum descende. descend with us into the burning fire. Quia igitur nulla spes superest, moriamur. Since there is no hope, let us die.

Daemon (I) Demon (I) Daemones (I, II, Chorus) Demons (I, II, Chorus) Hic tibi debentur horrores et metus, hic gaudia Here thou shalt be paid with horror and fear; Morere, infelix! Descende nobiscum in infernum, Die, unhappy one! Descend with us into hell, in fletus aeternos vertentur. here pleasures will become eternal tears. ubi es cruciandus in aeternum. where thou wilt be tormented for ever.

Dives Rich Man 4. Historicus (III) 4. Narrator (III) Heu me miserum, heu dolentem, heu perditum! O wretched man that I am, woe is me, I am Mortuus est ergo Dives et sepultus in inferno, And the rich man died, and was buried in hell. O infelices felicitates meas; quo vadam, miser, lost! O my ill‐starred happiness; where shall I ubi cum esset in tormentis, elevans oculos suos And in hell he lift up his eyes, being in torments, quae habitabo palatia? go, wretched man that I am, in which palaces vidit Abraham a longe et mendicum Lazarum and seeth Abraham afar off, and Lazarus shall I dwell? in sinu ejus, et clamavit dicens: in his bosom. And he cried and said:

Daemones (VI, Chorus) Demons (VI, Chorus) Dives Rich Man Igneas tartari fornaces. The burning furnaces of hell. Pater, pater Abraham, miserere mei, et mitte Lazarum ut Father, father Abraham, have mercy on me, and aqua refrigeret linguam meam quia send Lazarus that he may cool my tongue with Dives Rich Man crucior in hac flamma. water; for I am tormented in this flame. Quas gustabo epulas? What food shall I taste? Abraham Abraham Daemones (V, VI, Chorus) Demons (V, VI, Choruses) Fili, recordare quia recepisti bona in vita tua, Son, remember that thou in thy lifetime receivedst Serpentes et viperas. Serpents and vipers. Lazarus vero mala; nunc autem hie consolatur, thy good things, and likewise Lazarus evil things: tu vera cruciaris. but now he is comforted, and thou art tormented. Dives Rich Man Quae bibam vina? What wines shall I drink? Dives Rich Man Rogo te, pater, ut mittas eum ad fratres meos, I pray thee, father, that thou wouldest send Daemones (I, Chorus) Demons (I, Chorus) ut testetur eis ne et ipsi veniant in hunc locum Lazarus to my brethren; that he may testify unto Picem et sulphura. Pitch and sulfur. tormentorum. them, lest they also come into this place of torment.

Dives Rich Man Abraham Abraham Quali recumbam lectulo? On what bed shall I lie? Habent Moysem et prophetas: audiant illos. They have Moses and the prophets; let them hear them. Daemones (VI, Chorus) Demons (VI, Chorus) Ferreo et candenti. On a bed of scorching iron.

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Dives Rich Man VANITAS I • La vanité des hommes Sed, si quis ex mortuis ierit ad eos, poenitentiam But if one went unto them from the dead, they Sara Allegretta cantus I agent. will repent. Nunzia Santodirocco cantus II

Abraham Abraham 8. Cantus I et II 8. Canto I and II Si Moysem et prophetas non audiunt, neque si If they hear not Moses and the prophets, neither Vanitas vanitatum et omnia vanitas. Vanity of vanities: all is vanity. quis ex mortuis resurrexerit credent. will they be persuaded, though one rose from

the dead. Cantus I Canto I

Erat dives in civitate; epulabatur quotidie, There was in the city a rich man; he feasted 5. Soli et Chorus 5. Soloists and Choruses induebatur purpura, accingebatur bysso. Mille every day, and was clothed in purple and fine O Dives miserrime, o Dives pauperrime, o O most wretched rich man, o poorest rich servi pendebant ab eo; dicebat huic; "Vade" et linen. And he had a thousand servants; he now Dives infelicissime! man, o most unhappy rich man! ibat; alteri: "Facito", et faciebat. O quanta said unto one: "Go", and he went; and then Ubi sunt aedes illae superbissimae? Ubi villae, Where are thy superb house now? where thy bona, o quantae deliciae; prae multitudine divitiarum unto another: "Do this", and he did it. O how ubi palatia? Ubi sunt immensa agrorum countryhouses, where thy palaces? where are non erat ei similis in universo. many good things, o how many delights; none spatia? Ubi sunt jucunditates? Ubi gaudia et thy vast fields? where delights? where joy and Misera gloria, aegra superbia, quae ictu oculi in the world was like him in his great wealth. O voluptates? Ubi gratiae et venustates? pleasure? where gracefulness and beauty? firma non est. Stulte dives jam non dives, jam miserable glory, o sick pride, no more stable Versae sunt omnes in calamitates. All are become calamities. te ego dum discerno et sepultum in inferno. than the flickering of an eye‐lid. O foolish rich Ubi sensuum blandimenta? Ubi gulae irritamenta? Where the flatteries of the senses? where the man, rich no more, I see thee buried in hell. Transierunt in tormenta. charm of greed?

Ubi aureum lenimentum? Ubi musicae They are become torments. Cantus I et II Canto I and II oblectamenta? Where the comforts of gold? where the delights Vanitas vanitatum et omnia vanitas. Vanity of vanities: all is vanity. Transierunt in lamenta. of music?

Ubi lusus, ubi amores? They are become laments. Cantus II Canto II Transierunt in ardores. Where games, where loves? Erat rex Assiriorum potentissimus qui, erectam There was a most mighty king of the Assyrians; he Ubi mimi et saltatores? They are become burning flames. statuam auream immensae magnitudinis, ad made an image of gold of immeasurable size, and Transierunt in maerores. Where mims and acrobats? sonum cytharae et fistulae, jussit illam populis commanded that, at the sound of the harp and the Ubi plausus, ubi honores? They are become grief. adorari; "Venite, accurrite, volate, gentes, et voce flute, all the people should worship it: "Come, Transierunt in dolores. Where clapping of hands, where honours? submissa et fronte humiliatis dicite laudes, make speed, fly, ye peoples, and with soft voices Ubi flores, ubi odores? They are become sorrows. spargite preces ad imaginem formidandam". and humble brows, praise the terrible image, and Transierunt in faetores. Where flowers, where perfumes? Sed ecce, ibi subito scisso de monte lapide, statua pray unto it". But, behold, suddenly a rock was Ubi gaudia, ubi laetitia? They are become stink. nobilis in mille partibus dissolvit se. cut out of the mountain, and brake the image into Transierunt in tristitiam. Where joy, where delight? Didte: "Ubi nunc aurum, ubi nunc machina a thousand pieces. Say: "Where is now the gold, They are become sadness. tam magni ponderis fundata stat? In luto, in where is the weighty engine grounded? In the

pulvere, in umbra, in nihilo”. mud, in the dust, in the shadows, into nothing". 6. Historicus (I) 6. Narrator (I)

Quam stulti sunt, quam vani deliciis affluentes, How foolish, how vain, are they that run after Cantus I et II Canto I and II se jactantia inani ad sidera extollentes. pleasure, and they that, with empty pride, lift Vanitas vanitatum et omnia vanitas. Vanity of vanities: all is vanity. themselves up to the stars. Nostra spes, amor divine, sine fine accende O our hope, o divine love, inflame us for ever;

nos; et dum in tenebris vitae mortalis, in poenis, and while we stagger in the darkness of mortal Historicus (III) Narrator (III) in malis agitati vacillamus solum te corde life, in torments and in afflictions, our hearts Hos statim mors acerba cunctis bonis nudabit, Harsh death will deprive them of all their quaeramus. seek only thee. et illorum superba colla humiliabit. wealth, and will humble their proud necks.

Historicus (II) Narrator (II)

Avernales inter poenas et atroces lanienas, In infernal pains and cruel torments, sorrowful dolentes, gementes in barathro stabunt et ignibus and wailing, they will stay in the deep, and aeternis aestuabunt. burn in the everlasting fire.

7. Soli et Chorus 7. Narrator (II)

Avernales inter poenas et atroces lanteinas. In infernal pains and cruel torments, sorrowful dolentes, gementes in barathro stabunt, et ignibus and wailing, they will stay in the deep, and aeternis aestuabunt. burn in the everlasting fire.

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VIR FRUGI ET PATER FAMILIAS Vir frugi Righteous Man VIR FRUGI CHORUS Quomodo dolores inferni, quomodo tortorum How wilst thou be able to abide the sorrows of Maurizio Dalena Maurizio Dalena minas, flagella, ignes et sempiternos cruciatus hell, the threatenings of the torturers, the scourges, Francesco Sclaverano sustinere poteris? Revertere, quaeso, ad Dominum, the flames, and the everlasting torments? PATER FAMILIAS Mario Boccardo et age paenitentiam! Return to the Lord, I pray thee, and repent. Francesco Sclaverano

Pater familias Master of the House 9. Vir frugi 9. Righteous Man Heu, heu, me miserum! Cur ad tantam caecitatem Alas, alas, woe is me! Why do I sleep with such Amice, amice! Cur te tantum premunt curae Friend, friend! Why carest thou so much for obdormio? Heu, heu, me miserum! blindness? Alas, alas, woe is me! mortales ut ad eas totus intentus videaris? earthly things that thou seemest all busied with

Quare prae fallacibus et transeuntibus bonis them? Why, because of false and passing Chorus Chorus Dei mandata contemnis? goods, despisest thou God's commandments? Aperi, Domine, mentis oculos et corporis lumina Open, o Lord, the eyes of the mind, and quench Exsurge, quaeso, et ad aeterna bona mentem Awake, I pray thee, and with all thy might turn extingue. the lights of the body fort iter intende! thy thoughts to everlasting goods!

Vir frugi Righteous Man Pater familias Master of the House Fac ut sentiam vivens dolores inferni ut mortuus o Lord, make me feel the pain of hell while I Vis itaque ut liberos egenos et pauperes relinquam? Wishest then thou that I leave my children in fugiam cruciatus sempiternos. yet alive, that, when I die, I may escape the Nam si spernendo terrestria de coelestibus tantum need, and poor? For if, spurning earthly goods, I think too stinh torments. cogitem, de me et ipsis actum est. much of heavenly ones, this is what shall happen to

Heu, bone vir, si tibi essent liberi, profecto de myself and my children. O good man, if thou had children, Chorus Chorus coelestibus parum curares. little wouldest thou care for heavenly goods. Parce, Domine, parce paenitenti. Spare, O Lord, spare him that repenteth.

Vir frugi Righteous Man Vir frugi Righteous Man Quid effaris, improbe, quid effaris? What sayest thou, thou wicked man! Nam pereat corpus, filii pereant, omnia pereant, Let my body die, let my children die, let all Omnia, praeter Deum, arbitratus sum ut stercora. Except God, I do count all things but dung. modo vivat in aeternum anima mea. things die, if my soul live for ever. Ille enim solus amandus et rebus omnibus Only he should be loved, and placed above all anteponendus est. things. Chorus Chorus

Parce, Domine, parce paenitenti, nam pereat Spare, Lord, spare him that repenteth. Let my Pater familias Master of the House corpus, filii pereant, omnia pereant, modo vivat body die, let my children die, if my soul live for At cares liberis, nam si haberes aliquos, saepe But thou hast no children. For, if thou had any, anima in aeternum. Cantemus ergo Domino ever. Let us then sing songs of joy unto the diceres: "Pereat corpus, amici pereant, anima thou wouldest often say: "Let my body die, let cantica exsultationis, alleluja! Collaudemus Lord, alleluiah! Let us praise him that looketh pereat, modo filii semper gaudeant bona mea". my friends die, let my soul die, if only my children eum qui ad lachrimas paenitentis respexit. upon the tears of those that repent. enjoy my possessions".

Vir frugi Righteous Man

Enimvero et si mihi essent liberi, semper clamarem: Without doubt, if I had children, I would

“Pereat corpus, filii pereant, omnia pereant, always cry: "Let my body die, let my children modo vivat in aeternum anima mea". die, let all things come to an end, if my soul

live for ever".

Pater familias Master of the House Righteous Man

Saepe diceres: "Pereat corpus, amici pereant, anima Thou wouldest always say:"Let my body die, let pereat, modo filii semper gaudeant bona mea" my friends die, let my soul die, if my children

enjoy my possessions."

Vir frugi Righteous Man

Saepe diceres:"Pereat corpus, filii pereant, Thou wouldest always say:"Let my body die, let omnia pereant, modo vivat in aeternum anima my children die, let all things come to an end, mea". if my soul live for ever".

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BALTHAZAR Convivae Banqueters Curae tristes procul este, joci risus huc adeste Go away, sad cares, come here, joyuous laughters HISTORICUS CONVIVAE laete, laetaque tripudia. Regi nostro complaudamus, and joyful dances. Let us applaud for the Nunzia Santodirocco I Soli et Chorus gartes debitas agamus, qui convivio tam laeto, king; gratefully, let us thank him that to day refresheth Pamela Bori II lautis epulis repleto, hodie nos recreat. Regi us with so delightful a feast, full of sumptuous Francesco Sclaverano III BALTHAZAR nostro complaudamus, praecinamus, collaetemur, food. Let us applaud for the king, let us Aurio Tomicich gratulemur, et convivale carmen modulemur. sing, rejoice, thank him, and tune a festive song. CYTHARAEDI

Alla Simonichvili I 3. Historicus (II) 3. Narrator (II) Nunzia Santodirocco II Aris Christofellis Et ecce, inter laetantium convivarum cantica et And behold, in the midst of the songs and the Pamela Borri III plausus, subito apparuerunt digiti, quasi manus clapping of hands of the happy banqueters, there

hominis scribentis contra candelabrum in superficie suddenly came forth fingers of a man's hand, 1. Symphonia 1. Symphony parietis aulae regiae. and wrote over against the candlestick upon the Historicus (III) Narrator (III) Quod ut vidit rex, statim commutata est facies plaister of the wall of the king's palace. Then the Balthazar, Assyriorum rex opulentissimus, , richest king of the Assyrians, made ejus, et totus prae timore contremiscens exclamavit, king’s countenance was changed, and trembling Optimatibus suis mille splendidum apparavit a great feast to a thousand of his lords, sumptuous dicens: with fear, he cried aloud, and said: convivium, superbo luxu et lautissimis epulis in its pomp and the richness of the food, magnifice instructum, dulcisonis interim and gladdened by the sweet‐sounding and Balthazar Balshazzar cytharaedorum vocibus plaudentibus et tale cheering voices of the harpers, singing this Heu, heu quae dira cerno prodigia, heu quae Alas, what terrible signs I see, alas what prodigies! carmen modulantibus: song: portenta! Ite, agite, aulae meae proceres, et Now go, nobles of my palace, and bring introducite ad me magos et Chaldaeos, et quicumque ex in the astrologers and the Chaldeans; and whosoever 2. Cytharaedus (I) 2. Harpist (I) eis legerit et interpretatus fuerit shall read this writing, and shew me the Inter epulas canori exultantes sonent chori regis Let sweet and merry choruses celebrate the joy scripturam hanc, purpura vestietur et torquem interpretation thereof, shall be clothed with nostri gaudia. of our king during the feast. auream habebit. scarlet, and have a chain of gold. Agant plausus convivales mensae nitent dum Let the banqueters clap their hands while the regales oneratae dapibus. royal tables, decked with dainties, shine. Historicus (I) Narrator (I) Leves saltus, molles luctas, blanda suscitet voluptas Let alluring desire raise up graceful dances and Statim ergo ingressi omnes sapientes et aruspices Then came in all the king's wise men and ad sonantem cytharam. sweet pleasure at the sound of the harps. regis, non potuerunt nee scripturam legere soothsayers, but they could not read the writing, nee earn interpretari. nor make known to the king the interpretation Convivae Banqueters Suadente autem regina, introductus est Daniel, thereof. But, the queen persuading, was Regi nostro complaudamus, praecinamus, Let us applaud for the king, let us sing, rejoice, ad quem rex ait: Daniel brought in. And the king said unto him: collaetemur, gratulemur et convivale carmen thank him, and tune a festive song. Go away, modulemur. Curae tristes procul este, joci risus huc sad cares, come here, joyuous laughters and Balthazar Balshazzar adeste, laeta, laetaque tripudia. Rixae truces hic joyful dances. Audivi de te, Daniel, quod spiritum deorum I have heard of thee, Daniel, that the spirit of silete, lites improbae valete, Be silent, cruel fights, go away, wicked brawls, habeas, et multa polleas sapientia et doctrina. the gods is in thee, and that understanding and corda pax exhilaret. that peace may make the hearts merry. Age, age ergo, scripturam hanc perlege, et si excellent wisdom is found in thee. Now if thou mihi veram ejus interpretationem indicaveris, canst read the writing, and make known to me Cytharaedus (II) Harpist (II) magna a me praemia promereberis. the interpretation thereof, thou shalt receive Hic dum floret nobis aetas, ne ponamus gulae While we are in the flower of life, let us not great rewards from me. metas, satiemur epulis. restrain our greed, let us be filled with food. Rosis caput coronemus, calicesque propinemus Let us crown our heads with roses, and let the Daniel Daniel dulci plenos nectare. vessels full of sweet nectar touch one to Scripturam hanc legam, o rex, et ejus interpretationem I will read the writing, o king, and make Molle corpus ut pinguescat, hic post dapes another. Let the body softly rest after the feast, tibi enarrabo. Deus altissimus, quia non humiliasti cor known to thee the interpretation. The most high conquiescat, blando fruens otio. that it may grow fat, enjoying sweet idleness. tuum ante ilium, hodie humiliabit te in conspectu God, as thou hast not humbled thy heart in gentium; haec autem est verborum interpretatio: MANE; front of him, to day shall humble thee before Convivae Banqueters numeravit Deus regnum tuum et complevit illud. THECEL; the nations. This is the interpretation of the Regi nostro complaudamus, praecinamus, Let us applaud for the king, let us sing, rejoice, appensus es in statera et inventus es minus habens. words; MANE; God hath numbered thy kingdom, collaetemur, thank him, and tune a festive song. PHARES; divisum est regnum tuum et datum est Medis et and finished it. TEKEL; Thou art weighed gratulemur, et convivale carmen modulemur. Persis. in the balances, and art found wanting. PERES; Thy kingdom is divided and given to the Medes Cytharaedus (III) Harpist (III) and Persians. Procul maestus eat questus, procul flentes eant Let sad laments go far away, let wailing people gentes, sola regnent gaudia. go far away, that only pleasure shall endure.

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Historicus (II, III) Narrator (II, III) MARTYRES Tunc, jubente rege, indutus est Daniel purpura Then commanded the king, and they clothed CHRISTUS et torque aurea ornatus. Daniel with scarlet, and decked him with a Francesco Sclaverano Eadem autem nocte interfectus est rex et regnum chain of gold. In that night was the king slain, ejus datum est Persis et Medis, ut Daniel and his kingdom given to the Persians and MARTYRES praedixerat. Medes, as Daniel had predicted. Patrizia Pace

Nunzi Santodirocco 4. Historicus (Soli et Chorus) 4. Narrator (Soloists and Chorus)

Hinc ediscite, o gentes! Quanta rerum mortalium Learn from this, ye nations! How buffeted are 5. Symphonia 5. Symphony nos verset inconstantia, quae capita regnantia we by the unstable nature of mortal things, that statim ad ima detrahit! Fortunae mendacis suddenly in an instant bringeth down the heads Christus Christ tenor instabilis et mundi fallacis favor mutabilis of kings! The unstable course of a lying chance, Tollite Sancti mei, tollite cruces vestras et venite Take up, my Saints, take up your crosses, and et vitae fugacis spes variabilis, nunc funestas, and the false favour of an ever‐changing world, post me; et sicut socii passionum eritis ita et follow me; and ye shall so be partakers of my nunc felices alternat vices, et gyro ancipiti, and the variable hope of a passing life, mingle consolationis. Passion and consolation. cursu praecipiti cum in sublime rapitur subito now calamitous and now happy events, and labitur. Hinc, o gentes, ediscite! Quanta rerum with a two‐edged turn, as soon as they raise up, Martyres Martyrs mortalium nos verset inconstantia, quae capita suddenly in an instant they make fall down. Tollemus Domine, tollemus cruces nostras et O Lord, we take up our crosses, and follow regnantia statim ad ima detrahit! Felix ille qui Learn from this, ye nations! How buffeted are sequamur te, Domine. thee, Lord. labiles muncli despicit glorias, superbientis we by the unstable nature of mortal things, that aulae non elatus favoribus, non inflatus honoribus, suddenly in an instant bringeth down the heads Christus Christ sed soli Dei gratiae, soli coeli praesidio of kings! The unstable course of a lying chance, Venite, venite Sancti mei et sicut socii passionum Come, come, my Saints, and follow me; and so ye securo corde nititur. Fortunae mendacis tenor and the false favour of an ever‐changing world, eritis ita et consolation is. shall be partakers of my Passion and consolation. instabilis et mundi fallacis favor mutabilis et and the variable hope of a passing life, mingle Martyres vitae fugacis spes variabilis, nunc funestas, nunc now calamitous and now happy events, and Martyrs O nos felices, o nos beatos, tibi in Passione felices alternat vices, et gyro ancipiti, cursu with a two‐edged turn, as soon as they raise up, O happy us, o blessed us, partakers of thy sociatos. praecipiti cum in sublime rapitur subito labitur. suddenly in an instant they make fall down. Passion.

6. Christus et Martyres 6. Christ and Martyrs Beati eritis cum vos oderint homines? Will you be blessed when men shall revile you? Beati erimus. We shall be blessed. Cum separaverint vos? When they shall separate you? Beati erimus. We shall be blessed. Cum iniecerint in vas manus suas? When they shall lay their hands on you? Beati erimus. We shall be blessed. Cum trahent vos ad reges, ad praesides? When they shall bring you before kings and rulers? Beati erimus. We shall be blessed. Cum tradent vos in conciliis et flagellabunt vos? When they will deliver you up to the councils, Beati erimus. and they will scourge you? Cum ejecerint nomen vestrum tamquam We shall be blessed. malum? When they shall cast out your name as evil? Beati erimus. We shall be blessed.

In tribulationibus? / Laudabimus te. In afflictions? / We shall praise thee. In necessitatibus? / Invocabimus te. In necessities? / We shall call upon thee. In angustiis? / Glorificabimus te. In distresses? / We shall glorify thee. In laboribus? / Exaltabimus te. In labours? / We shall exalt thee. In vigiliis? / Magnificabimus te. In watchings? / We shall magnify thy name. In ludibriis? / Confitebimur tibi. In mockings? / We shall confess to thee. In carceribus? / Legem tuam enarrabimus. In imprisonments? / We shall declare thy law. In flagellis? / Laudem tuam annunciabimus. In scourges? / We shall shew forth thy praise. In tonnentis? / Tibi, Domine, exaltabimur. In torments? / We shall exalt thee, Lord. In suppliciis? / Tuam gloriam decantabimus. In punishments? / We shall sing thy glory. In morte? / Te nos semper invocabimus. In death? / We shall always call upon thee.

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7. Christus 7. Christ 12. Symphonia 12. Symphony Venite, venite Sancti mei et sicut socii passionum Come, come, my Saints; and ye shall so be partakers eritis ita et consolation is. of my Passion and consolation. Bassus et Chorus Bass and Chorus Coacervavi mihi argentum et aurum et substantias I gathered me also silver and gold, and the Martyres Martyrs regum et provinciarum, possedi quoque et peculiar treasure of kings and of the provinces; O nos felices, o nos beatos, Christo Domino in O happy us, o blessed us, partakers of the ancillas, multamque familiam habui, armenta I got me maidens, and had servants born in my passione sociatos. Passion of Jesus Christ, our Lord. quoque et magnos ovium greges comparavi, et house; also I had great possessions of great and supergressus sum opibus omnes qui fuerunt small cattle, and increased more than all that 8. Omnes 8. All ante me: et vidi quod hoc quoque esset vanitas were before me: but I perceived that this also Congaudete nobiscum gentes et congratulamini in Rejoice with us, ye nations, with songs and et afflictio spiritus. was vanity and vexation of spirit. jubilo, in cantico, in sonitu laetitiae et exultationis. sounds of joy and jubilation. Vanitas vanitatum et omnia vanitas. Vanity of vanities: all is vanity.

13. Symphonia 13. Symphony VANITAS II Contempus mundi Cantus II et Chorus Canto I and Chorus Tamara Felbinger cantus I Francesco Sclaverano tenor Feci mihi cantores et cantatrices, et delicias I gat me men singers and women singers, and Nunzia Santodirocco cantus II Aurio Tomicich bassus filiorum hominum, nec prohibui cor meum the delights of the sons of men; I withheld not Marco Lazzara altus Chorus quin omni voluptate frueretur, et oblectaret se my heart from any joy; for my heart rejoiced in

in his quae praeparavera[m]. all my labour. Then I looked on all the labour 9. Symphonia 9. Symphony Cumque me convertissem ad omnia quae feceram, that I had laboured to do: and, behold, all was

vidi in omnibus vanitatem et afflictionem vanity and vexation of spirit, and there was no Tenor et Chorus Tenor and Chorus spiritus, et nihil permanere sub sole. profit under the sun. Vanity of vanities: all is Proposui in mente mea quaerere et investigare I gave my heart to seek and search out by Vanitas vanitatum et omnia vanitas. vanity. sapientes de omnibus quae sunt super terram. wisdom concerning all things that are done

Vidi omnia quae fiunt sub sole, et contemplatus upon the earth. I have seen all the works that 14. Cantus I et II 14 Canto I and II sum quaecumque magis expetunt filii hominum, are done under the sun, and have considered Hinc, mortales, ediscite quod vana mundi gaudia, Thus learn, o mortals, that vain are the delights, et ecce universa vanitas et afflictio spiritus. all the things that the sons of men most desire; inanes labores, fugaces honores, mendaces and void the labours of this world, that Vanitas vanitatum et omnia vanitas. and, behold, all is vanity and vexation of spirit. favores: omnia vanitas et umbra sunt. honours pass away, and false are favours: all is Vanity of vanities; all is vanity. vanity and shadow.

10. Symphonia 10. Symphony Altus, tenor et bassus Alto, Tenor and Bass

Sceptra, coronae, purpurae, pompae, triumphi, Sceptres, crowns, purple, triumphs, victories, Cantus I et Chorus Canto I and Chorus laureae, decora, ornatus, gloriae, et lusus, et honours, magnificence, glory, and games, and Cogitavi transferre [animum] ad sapientiam, dedi I sought to acquaint mine heart with wisdom; I deliciae, et fastus, et divitiae: omnia vanitas et delights, and splendour, and riches: all is vanity cor meum ut scirem prudentiam atque doctrinam, gave my heart to know wisdom, and to lay hold umbra sunt. and shadow. ut stultitiam evitarem et viderem quod on folly, till I might see that which was good for esset utile filiis hominum numero dierum vitae the sons of men in all the days of their life; and Soli et Chorus Soloists and Chorus suae, et cognovi quod in his quoque esset labor I perceived that this also is sorrow and vexation Omnia vanitas et umbra sunt. All is vanity and shadow. et afflictio spiritus. of spirit. Ubi sunt praeclari reges qui dederunt orbi Where are the noble kings that gave laws to the Vanitas vanitatum et omnia vanitas. Vanity of vanities; all is vanity. leges, ubi gentium ductores, civitatum conditores? world? where the leaders of nations, the founders

Pulvis sunt et cineres. of cities? They are dust and ashes. 11. Symphonia 11. Symphony

Ubi septem sapientes et scientias adolentes, ubi Where are the seven wise men, and they that Altus et Chorus Alto and Chorus retores discordes, ubi artifices experti? Pulvis honour wisdom? where the quarrelsome Dixi in corde meo: vadam, et affluam deliciis et I said in mine heart: Go to now, I will prove thee sunt et cineres. masters of eloquence, and the able artists? They fruar bonis. with mirth, therefore enjoy pleasure. I made me are dust and ashes. Magnificavi opera mea, aedificavi mihi domos, great works; I builded me houses; I planted me plantavi vineas, hortos et pomaria, et extruxi vineyards, I made me gardens and orchards, and I Ubi fortes sunt gigantes, tanto robore praestantes, Where are the mighty giants famous for their piscinas aquarum ad irrigandas silvas lignorum made me pools of water, to water therewith the ubi invicti bellatores, barbarorum domitores? strength? where the invincible warriors that germinantium: et vidi quod essent omnia vanitas wood that bringeth forth trees: but I perceived Pulvis sunt et cineres. subdued the barbarians? They are dust and et afflictio spiritus. that all this is vanity and vexation of spirit. Vanity ashes. Vanitas vanitatum et omnia vanitas. of vanities: all is vanity.

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Ubi heroum inclita proles, ubi vastae urbium Where the generation of heroes? where the JUDICIUM SALOMONIS moles, ubi [Athenae] ubi Carthago, veterisque imposing cities, where Athens, where Carthage, HISTORICUS SALOMON Thebae imago? and where the image of the ancient Thebes? Marco Lazzara Aurio Tomicich Solum nomen superest. Only their names remain. Chorus

Ubi dictatorum gloriae, ubi consulum victoriae, Where the dictators' glory, where the consuls' MULIERES ubi laureae triumphales, ubi decus immortale victories, where the triumphal laurels, where Tamara Felbinger I romanorum honorium? the immortal dignity of the Roman honours? Nunzia Santodirocco II Solum nomen superest. Only their names remain.

1. Symphonia 1. Symphony Heu, nos miseros! Alas, woe to us!

Sicut aquae dilabimur et sicut folium quod We flow away like water, and end up blown as Historicus Narrator vento rapitur, deficimus, eripimur. leaves in the wind. A solis ortu et ab occasu venite populi, properate Come, ye peoples, from the rising of the sun

gentes et sapientiam magni regis et judicium unto the going down thereof; make haste, ye Votis decipimur, tempore fallimur, morte We are deceived by our wishes, beguiled by Salomonis audite. nations, and hear of the wisdom of the great deludimur; quae nos anxii quaerimus, quae solliciti time, deluded by death; all things that we Ante regem duae steterunt infelices genitrices; king and of the judgment of . There petimus, omnia vanitas et umbra sunt. eagrly seek for are vanity and shadow. ululantes, ululantes et clamantes sic dixerunt: came to him two unhappy mothers, and among Vanitas vanitatum et omnia vanitas. Vanity of vanities: all is vanity. shrieks and shouts, they said:

Mulier (I) Woman(I)

Ego et mulier haec habitabamus in domo una et I and this woman dwell in one house; and I was

peperi apud eam in cubiculo. delivered of a child with her in the house.

Tertia autem die, postquam ego peperi, peperit And it came to pass the third day after that I was

et haec et eramus simul et nullus alius nobiscum delivered, this woman was delivered also: and

in domo. we were together, there was no stranger with us

Mortuus est autem filius mulieris hujus nocte in the house. And this woman's child died in the

dormiens, quippe oppressit eum, et confestim night, while sleeping, because she overlaid it:

intempesta nocte silentio tulit filium meum de and at once, in the silence of the dark night, she

latere meo et collocavit in sinu suo; filium took my son from beside me and laid it on her

autem suum, qui erat mortuus, posuit in sinu mea. bosom, and laid her dead child in my bosom.

Mulieres Women (II)

Non est ita, ut tu dicis, tuus est qui caret vita, It is not so as thou sayest: the dead is thy son,

meus autem vivit. and the living is my son.

Salomon Solomon

Deus, judicium tuum regi da, ut possit discernere God, give thy king thy judgment, that he may

inter bonum et malum. discern between good and bad.

Mulieres Women (I)

Non est ita, ut tu dicis, tu us est qui caret vita, It is not so as thou sayest; the dead is thy son,

meus autem vivit. and the living is my son.

Salomon Solomon

Afferte gladium et dividite infantem vivum in Bring me a sword. Divide the living child in

duas partes, et date dimidiam partem uni et two, and give half to the one, and half to the

dimidiam partem alteri. other.

Mulier(II) Woman (II)

Rectum judicium tuum, o rex, nec mihi nec tibi; Right is thy judgment, o king; let it be neither

dividatur! mine nor thine, but divide it.

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Mulier (I) Woman (I) HISTORIA ABRAHAM ET ISAAC Heu, fili mi! Commota sunt viscera mea super te. Alas, my son, my bowels yearn upon thee. Give HISTORICUS ABRAHAM Date illi potius infantem vivum et non dividatur. her the living child, and in no wise slay it. Maurizio Dalena I Francesco Sclaverano

Soli et Chorus Salomon Solomon ANGELUS Dividite infantem vivum! Divide the living child! DEUS Nunzia Santodirocco

Mario Boccardo Mulier (II) Woman (II)

Nec mihi, nec tibi; dividatur! let it be neither mine nor thine, but divide it. ISAAC

Vittoria D’Annibale Mulier (I) Woman (I)

Heu, non dividatur! Date illi potius infantem vivum Alas, in no wise slay it! Give her the living 4. Historicus (I) 4. Narrator (I) et non dividatur. child, and in no wise slay it. Tentavit Deus Abraham, vocavit, et dixit ad And God did tempt Abraham, called unto him,

eum; and said: Salomon Solomon

Date huic infantem vivum: haec est enim mater Give her the living child; she is the mother thereof! Deus God ejus! Abraham! Abraham! Tolle filium tuum unigenitum Abraham! Abraham! Take now thine only son

Isaac quem diligis, et vade in terram Isaac, whom thou lovest, and get thee into the 2. Mulier (I) 2. Woman (I) Visionis super unum montium quem monstravero, land of the Vision, and offer him there for a Congratulamini mihi omnes! Rejoice with me, ye all! tibi, et ibi illum offeres in holocaustum. burnt offering upon one of the mountains O felicem genitricem! O happy mother! which I will tell thee of. En infantem ter amatum. Behold, a thrice loved child.

O mi nate fortunate, ubera suge et regem O lucky son, suck my breasts, and worship the Historicus (I) Narrator (I) adora. king. Abraham ergo de nocte consurgens, parato And Abraham rose up in the night, and clave

ligno, sumpto gladio et igne et strato apparatu, the wood, and took a knife, the fire and all manner 3. Historicus (Chorus) 3. Narrator (Chorus) pergit ad locum quem illi Deus praeceperat, of things, and went with Isaac unto the O populi venite, o gentes adeste, judicium Come, ye people, approach, ye nations: honour Cum unigenito Isaac filio suo. Cumque illuc place of which God had told him. There he took Salomonis celebrate et regem sapientem the judgment of Solomon, and admire the wise accessisset, tulit ligna holocausti et imposuit the wood of the burnt offering, and laid it upon collaudate. king. super Isaac filium suum, qui ferens ignem et his son; and Isaac took the fire in his hand, and Plaudite regi Salomoni. Praise king Solomon. gladium dicebat patri suo: a knife, and spake unto his father, and said:

Isaac Isaac

Pater mi, ecce ignis, ecce ligna, ecce gladius et My father, behold the fire and the wood, and

apparatus; ubi est holocausti victima? the knife, and all manner of things; but where is

the lamb for a burnt offering?

Historicus (I) Narrator (I)

Tunc obruit dolor patris viscera, fremuit sanguis, Then the father's heart was oppressed by sorrow,

horruit natura, et ingemiscens pater ait: his blood quivered, and he sighed, and said:

Abraham et Isaac Abraham and Isaac

Fili mi, heu, fili mi! My son, alas, my son!

Pater mi, pater mi, quid suspiras? My father, my father, why sighest thou?

Isaac Isaac

Pater mi, ubi est holocausti victima? My father, where is the lamb for a burnt offering?

Abraham Abraham

Providebit Dominus holocausti victimam. God will provide it himself.

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Historicus (I) Narrator (I) DICITE NOBIS Cumque Abraham aedificasset altare, ligna And Abraham built an altar, and laid the wood Patrizia Pace cantus I composuit, et alligavit filium Isaac unigenitum, in order, and bound Isaac his only son, and Pamela Borri cantus II arripuit gladium, extendit manum ad immolandum took the knife, and stretched his hand to slay Jean Nirouët altus illum. Tunc ecce Angelus Domini de coelo his son. And, lo, the angel of the Lord called Mario Boccardo bassus clamans, qui dixit Abraham: unto him out of heaven, and said:

7. Altus et bassus 7. Alto and Bass 5. Angelus 5. Angel Dicite nobis, sanctorum civium felices animae, Tell us, happy souls of the fellow‐citizens with Ne extendas manum tuam super Isaac, neque Lay not thine hand upon the lad, neither do quantis exultat gaudiis coelestis ilia civitas the saints, what joy fill that heavenly city illi quidquam facias, cognovi enim quod times thou any thing unto him: for now I know that Jerusalem in qua cum Christo laetamini sine Jerusalem where ye rejoice with Christ without Deum et non pepercisti unigenito filio tuo thou fearest God, seeing thou hast not withheld fine. end. propter me. thine only son from me.

Cantus II Canto II Abraham et Isaac Abraham and Isaac O quam magna est gloria Domini in salutari O how great is the glory of the lord, thy O felix nuntium, o dulce gaudium! O happy tidings, O sweet joy! tuo, o quam digna et jucunda felicitas, ubi superna saviour, O how worthy is the pleasant felicity in Procul ignis, procul dolor! Procul ferrum, procul Away with fire, away with sorrow! Away with fruimur beatitudine. which we enjoy great blessedness. mors! the iron, away with death! Dea nostro vivimus et benedicimus in saecula. We live in God, and we bless him for ever. Vivit pater, vivit infans! The father liveth, and the son liveth.

Bassus Bass Historicus (I) Narrator Dicite quam dilecta sunt tabernacula Domini, Tell us how lovely are the lord's tabernacles, Vocavit et iterum Angelus Domini de coelo And the angel of God called unto Abraham out dicite quam gloriosa est domus Dei. say how glorious is the house of God. Abraham, et dixit ei: of heaven the second time, and said:

Cantus I Canto I Angelus Angel O vere summa gaudia, o vere felix gloria ubi O truly supreme joy, O truly excellent glory in Quia fuisti mihi oboediens et non pepercisti Because thou hast obeyed me, and hast not facti sumus domestici Dei, ubi facti sumus which we are of the household of God, and unigenito filio tuo propter me, benedicam tibi, withheld thine only son, I will bless thee, and I coheredes Christi. joint‐heirs with Christ et tuum semen multiplicabo sicut stellas coeli, will multiply thy seed as the stars of the heaven, O vere suavis duleedo, o vere requies beata, o O truly sweet sweetness, O truly blessed rest, et sicut arenam quae est in litore maris, et in and as the sand which is upon the sea shore: vere merces copiosa quam reddit nobis and rich reward that the lord giveth us for ever semine tuo benedicentur omnes populi, omnes and in thy seed shall all the peoples, the Dominus in perpetuas aeternitates. and ever. gentes, omnes generationes. nations, and the generations be blessed.

Altus Alto Historicus (Soli et Chorus) Narrator (Soloists and Chorus) Dicite quam felix est locus iste, dicite quam Tell us how happy is this place, tell us how glorious Omnes populi laudate Deum, omnes gentes, All ye peoples, all ye nations, and all ye generations, gloriosa est domus Domini. is the house of the lord omnes generationes, et adorate Dominum. praise and worship the lord.

Cantus II Canto II Abraham Abraham Hic posuit pacem fons vitae perennis, aligerum Here the fountain of eternal life made peace, and Qui misit Angelum suum de coelo et eripuit He that sent his Angel from heaven, and delivered pennis sol temperat facem. the wings of the angels cool the face of the sun. Isaac dilectum de igne. my beloved Isaac from the fire.

Cantus I Canto I Angelus Angel Non luctus, non clamor, non habitat fletus sed Here there is no mourning, no crying, nor tears, De gladio. From the knife. permanet laetus divinus hic amor. but always dwelleth joyful, divine love.

Deus Bass Cantus II e II Canto I and II De morte. From death. Recedite planctus et querulae voces quo coeli Depart, ye tears and ye laments, here where the

veloces dant angeli cantus. swift heavens utter the songs of the angels. Abraham, Angelus et Deus Abraham, Angel, and Bass

Et de manu patris sui. And from his father's hand. 8. Omnes 8. All

o quies beata, pax vera justorum, o merces O blessed quiet, true peace of the righteous, O 6. Historicus (Soli et Chorus) 6. Narrator (Soloists and Chorus) laborum, o salus amata. Venite, curramus et reward for labours, O beloved salvation. Come, Omnes populi laudate Deum, omnes gentes, All ye peoples, all ye nations, and all ye generations, Regi coelorum, in aula Sanctorum, trophaea let us run and sing praises unto the King of heaven, omnes generationes, et ac/orate Dominum. praise and worship the lord. canamus. in the house of his Saints.

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HISTORIA DAVIDIS ET JONATHAE 10. Historicus (I, II) 10. Narrator (I, II) HISTORICUS DAVID Exhorruit sermone isto Jonathas et continuo Jonathan was terrified by these words, and Sara Allegretta I Maurizio Dalena quaerens David accessit ad eum dicens: immediately went to seek David; and he Nunzia Santodirocco II approached to him, saying: Chorus SAUL

Aurio Tomicich Jonathas Jonathan JONATHEN Ira iratus est pater meus adversum te nec eum My father's anger is kindled against thee, and I Luigi Petroni placare valui: quaerit occidere te; vade in pace could not appease him: he seeketh to kill thee;

et ab eo declina. go in peace, and avoid his presence. 9. Symphonia 9. Symphony

David David Historicus (I, II) Narrator (I, II) Quid feci, quae est iniquitas mea aut quod peccatum What have I done? what is my iniquity? what is Percusso Goliath et devictis Philistaeis exuens When he was returned from the slaughter of meum in patrem tuum, quia quaerit animam my sin before thy father, that he seeketh my pastorem David indutus est tunica jonathae; et Goliath, and the smiting of the Philistines, David meam? Servus ei fidelis sum: qualis retributio life? I am a faithful servant unto him: what ornatus gladio, arcu et balteo filii regis processit, stripped himself of his shepherd's clothes, and haec? reward is this? inciaruit et celebre factum est in Israel clothed himself with the robe of Jonathan. Then nomen ejus. Verum non rectis illum oculis he took the sword, the bow and the girdle of the Historicus (Chorus) Narrator (Chorus) aspexit Saul qui, spiritu malo invasus, locutus king's son, and he was famous, and his name was Servus ei fidelis est: qualis retributio haec? He is a faithful servant unto him: what reward est filio suo Jonathae dicens: much set by in Israel. But Saul eyed him from that is this? day, and an evil spirit came upon Saul, who thus

spake to Jonathan his son: David David

Ecce, heri in spelunca in qua fugiens a facie Behold, yesterday in the cave where, to flee Saul Saul Saul per dies plurimos latui, tradidit mihi from the presence of Saul, I did hide for many Non alium aspicit, non alium diligit Israel nisi Israel hath eyes and admiration only for David: Dominus inimicum meum ut quod placuerit days, the lord delivered mine enemy into mine David: ecce occurrit ei populus cum jubilatione behold, the rejoicing people meet him with joy, mihi facerem. hand, that I might do to him as it should seem et virgines psallunt ei in tympano et choro; quid and the virgins play for him with tabrets, and Restiti, confregi viros meos sermonibus et non good unto me. ergo ei superest nisi solum regnum? dance. And what can he have more but the permisi ut consurgerent contra Saul; vide oram But I stood and stayed my men with my words, kingdom? clamydis ejus quam praecidi silentem dum fuit and suffered them not to rise against Saul. See

in manu mea. the skirt of his robe that I cut off prively when Jonathas Jonathan he was into mine hand. Ne pecces, rex, in servum tuum David, quia Let not the king sin against his servant, against non peccavit tibi et opera ejus tibi bona sunt David; because he hath not sinned against thee, Historicus (Chorus) Narrator (Chorus) valde: percussit Philistaeum et fecit salutem and his works have been thee‐ward very good. Restitit, confregit viros suos sermonibus et non He stood and stayed his men with his words, magnam in universo Israeli; vidisti et laetatus For he slew the Philistine, and wrought a great permisit ut consurgerent contra Saul; qualis and suffered them not to rise against Saul. What est. salvation for all Israel. Thou sawest it and didst retributio haec? reward is this? rejoice.

11. Historicus (I, II) 11. Narrator (I, II) Historicus (I, II) Narrator (I, II) Et reversus est Jonathas ad patrem suum et retulit And Jonathan returned to his father and told Viderunt omnes et laetati sunt. All saw it, and did rejoice. ei omnia quae dixerat David et ostendit oram him all that David had spoken; then he shewed

clamydis abscissae dicens: him the skirt cut off from his robe, and said: Jonathas Jonathan

Ne pecces, rex. Let not the king sin. Jonathas Jonathan

Quem persequeris, rex Israel, [animadverte] et Beware, O king of Israel: he after whom thou Saul Saul vide quoniam neque peccatum nec iniquitas in hast pursued hath no sin nor iniquity. Thou laidest Ne respondeas mihi, sed vade et occide eum. Go, and kill him. eo est. Insidiavis ei at pepercit tibi dextera ejus wait for him, but his hand spared thee in

in spelunca. Judicat Dominus inter te et eum et the cave. The Lord judge between thee and Jonathas Jonathan ulciscatur innocentem. him, and the lord avenge the innocent. Ne pecces, rex. Let not the king sin.

Historicus (I) Narrator (I) Saul Saul Tunc convertit oculos suos Saul et vidit c1amydem And Saul turned his eyes, and saw the robe; Vade et occide eum. Go, and kill him. et elevans vocem suam flevit et dixit: and he lifted up his voice, and wept, saying:

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Saul Saul Justior est David quam ego: ille tribuit mihi David is more righteous than I: for he hath bona, illi mala reddidi. Dominus reddat et rewarded me good, whereas I have rewarded Pereat dies in qua nati sumus, pereat nox in Let the day perish wherein we were vicissitudinem hanc pro hoc quod operatus est him evil. Wherefore the Lord reward him good qua concepti fuimus. born, let the night perish wherein we were conceived. in me. Accedat David, accedat et faciamus foedus for that which he hath done unto me. Let David Impie, impie gessimus, iniquitatem fecimus, lumen We have done perversely; we have committed cum illo. come, let he come, and let us make a covenant justitiae, sol intelligentiae non illuxit nobis; iniquity; the light of righteousness and the with him. lassati sumus in via iniquitatis et perditionis, sun of righteousness have not shined upon us; we ambulavimus vias difficiles, vias Domini ignoravimus. wearied ourselves in the way of wickedness and 12. Historicus (I, II) 12. Narrator (I, II) destruction; we have gone where there lay no Revelavit Dominus justitiam regi. The Lord hath revealed righteousness to the way, but as for the way of the Lord, we have not king. known it.

Historicus (Chorus) Narrator (Chorus) Heu, heu nos miseros, heu dolentes; pereat dies Alas, alas, woe to us, alas, how wretched are we; Laetemur omnes et modulemur in voce psalmi. Let us all rejoice, and tune psalms with Our in qua nati sumus, pereat nox in qua concepti let the day perish wherein we were born, let the Lux orta [sit] regi et rectis corde laetitia. voice. Let the light rise for the king, and joy for fuimus. night perish wherein we were conceived. the righteous. Quid nobis profuit superbia? Quid divitiarum What hath pride profited us? what good hath jactantiae? Quid humanae sapientiae gloria? riches with our vaunting brought us? what the Transierunt omnia tamquam umbra. glory of man's wisdom? All those things are passed LAMENTATIO DAMNATORUM away like a shadow.

HISTORICUS Heu, heu nos miseros, heu dolentes; desperavimus, Alas, alas, woe to us, alas, how wretched we are; Francesco Sclaverano nequaquam ultra vivemus nec videbimus there is no hope; we will not live for ever, nor see DAMNATI faciem Dei. the face of God. Terrors make us afraid from Marco Lazzara Undique terrent nos formidines. Undique invadit every side. Horror falleth upon us from every Francesco Sclaverano nos horror. Undique tremor occupat. Undique side. Trembling taketh hold on us from every side. Aurio Tomicich pavor, luctus et angustiae; desperavimus. Fear, mourning and anguish from every side:

there is no hope. 1. Symphonia 1. Symphony

Quis stare poterit cum igne devorante? Who shall dwell with the devouring fire? Historicus Narrator Quis stare poterit cum [a]rdoribus sempitern[i]s? Who shall dwell with everlasting burnings? Turbabuntur impii timore horribili cum descendent The wicked shall tremble with horrible fear Quare non sumus in utero mortui? Why died we not from the womb? in terram tenebrosam et opertam mortis when they will descend into the land of darkness, Quare concepti fuimus? Why were we conceived? caligine, ubi nullus ordo sed sempiternus horror and of the shadow of death, without any Cur [u]beri[b]us lactati? Why were we given suck? inhabitat, prae angustia spiritus gementes et order, where only horror reigneth; and groaning Quare non ab utero translati ad tumulum? Why were we not carried from the womb to the dicentes: with anguish of spirit, they will say: Quare miseris data est lux? grave?

Quare data est vita his qui in amaritudine? Wherefore is light given to them that are in Damnati The Damned misery? Heu, heu nos miseros, heu dolentes; quomodo Alas, alas, woe to us, alas, how wretched are we; Wherefore is life given unto the bitter in soul? repererunt nos gemitus mortis, quomodo dolores how did the groanings of death find us; how did Heu, heu nos miseros, heu dolentes; pereat dies Alas, alas, woe to us, alas, how wretched are we; inferni circumdederunt me, quomodo in hac the sorrows of hell compass me, and how much in qua nati sumus, pereat nox in qua concepti let the day perish wherei n we were born, let the flamma perenni cruciamur incendio! Heu, heu are we tormented by the everlasting fire! Alas, fuimus. night perish wherein we were conceived. nos miseros, heu dolentes; pereat dies in qua alas, woe to us, alas, how wretched are we; let the nati sumus, pereat nox in qua concepti fuimus. day perish wherein we were born, let the night

Dies ilia vertatur in tenebras, non illustretur perish wherein we were conceived. Let that day lumine: occupet eam caligo et involvatur be darkness, nor let the light shine upon it; let a amaritudine. cloud dwell upon it; let the blackness of the day

Pereat dies in qua nati sumus, pereat nox in terrify it. Let the day perish wherein we were born, qua concepti fuimus. let the night perish wherein we were conceived.

Noctem illam tenebrosam horror possideat, As for that night, let darkness seize upon it, let the obtenebrentur stellae caligine ejus, expectent stars of the twilight thereof be dark; let it look for nec videant lucem, ortum non videant surgentis light, but have none; neither let it see the dawning aurorae. of the day.

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LUCIFER ANIMA ET ANGELUS HISTORICUS – LUCIFER ‐ DEUS ANIMA ANGELUS Aurio Tomicich Aurio Tomicich Marco Lazzara

2. Historicus 2. Narrator 4. Anima 4. Soul Lucifer, coelestis olim hierarchiae princeps Lucifer, of old the most noble prince of the heavenly Crucior, crucior in hac flamma nee sustinere I am tormented, I am tormented in this flame, praeclarissimus, superbe nimium fatue latus, hosts, with exceeding pride and foolishness possum tormenta quae patior. O utinam coelum nor can I bear the torments that I suffer. O that I aequalem Deo his se jactabat vocibus: boasted that he was equal with God, with tandem conscendam nec amplius in Purgatorio were to ascend to heaven, and were held in these words: detinear! Purgatory no more. Nimis enim crucior in hac flamma. Exceedingly I am tormented in this flame. Lucifer Lucifer O me felicem, o me beatum coelestis gloriae O how happy am I, blessed and garnished with Angelus Angel decoratum! In coelum conscendam et super heavenly glory. I will ascend into heaven, I will Anima quid ploras? Soul, why weepest thou? astra Dei exaltabo solium meum; sedebo in exalt my throne above the stars of God; I will sit Patienter tormenta sustine: cito veniet salus tua. Bear patiently thy torments; salvation will soon monte Testamenti, in leteribus Aquilonis, super also upon the mount of the congregation, in the come. altitudinem nubium, similis ero Altissimo. sides of the north, above the heights of the clouds; I will be like the most High. Anima Soul O Angele Dei, miserere mei, adiuva me, libera O angel of the lord, have mercy, succour me, Historicus Narrator me! deliver me! Haec audiens, summus omnium creator Deus, Hearing this, God, supreme Creator of all accitis angelis suis, ait: things, called his angels, and said: Angelus Angel Noli flere, quia cito veniet salus tua. Weep not, soon will thy salvation come. Deus God Ite angeli, angeli mei; ite fortissimi coelestis Go, ye angels, my angels; go, strongest hosts of Anima Soul aulae milites, superbientem exterminate Luciferum. the heavenly court: slay the proud Lucifer. Sed quando apparebo ante faciem Dei? Nimis But when shall I appear before God? Ite, pugnate, fugate rebelles. Go, fight, cause the rebels to fly with flight. angor, nimis patior, nimis crucior in hac flamma. Exceedingly I am grieved, exceedingly I suffer, Damnate superbos ad flammas Averni. Condemn the proud ones to the flames of and exceedingly I am tormented in this flame. Tartarei vadant ad limina fundi et Stigii cadant Avernus. That they go to the bottom of deep ad ima profundi. Tartarus, and fall into the deepest depth of the Angelus Angel Has addite poenas: in inferi portis parate catenas Styx. And these be the punishments: at hell's Pro te fideles jam fundunt preces, nunc Deum For thee, the faithful already make supplications before et vincula mortis; merentes, dolentes in gate prepare the chains and fetters of death; orant, nunc pro te rogant. God; they now pray him; they now igne locate. cast them grieving into the flames, according to intreat him. their deserts. Anima Soul O vos fideles, o vos misericordes, orate Deum, O ye faithful, O ye merciful, pray God, intreat SUB UMBRA NOCTIS rogate Dominum. the lord.

ANIMAE Angelus Angel Vittoria D'Annibale Eja gaude, laetate! O Anima, Jesus te ad coelum Rejoice, then, and be glad! O Soul, Jesus calleth Nunzia Santodirocco vocat, ad Agni dapes; veni, veni coronaberis. thee to heaven, to the feast of the lamb; Mario Boccardo come, come, thou wilt be crowned.

3. Animae 3. Souls Anima et Angelus Soul and Angel Sub umbra noctis profundae languemus in In the darkness of the deep night we, guilty and Ecce, ecce venio. Veni, veni. Behold, behold, I come. I Come, come. silentio, animae miserae sontes et immundae. unclean souls, suffer in silence. We are vexed Ecce, ecce venio. Cantemus, ergo cantemus, Behold, behold, I come. Nos opprimit afflictio et criminum compunctio, with afflictions, and the pricking of our crimes; ergo laetamur: ergo sit nomen Domini benedictum And now let us sing, let us sing and rejoice: nos vexat desolatio. we are tormented with desolation. O comforter in saecula semper, sit benedictum nomen blessed be the name of the lord for ever and Consolator afflictorum, spes unica miserorum: of the afflicted, only hope of the unhappy; forgive ejus, benedictum in aeternum! ever, blessed be his name for ever. poenitentes justifica, corda impleat c1aritas, cor the penitents, let thy glory fill their hearts, contritum laetifica, fulgeat tua bonitas et merentes make glad the broken hearts; let thy goodness et afflictos laetifica. shine, and make glad those that deserve it, and

the afflicted.

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FELICITAS BEATORUM Bealus (III) Blessed (III) Propter te, Domine, magnum ingressus fui certamen For thy sake, Lord, I entered the great race of sorrow, HISTORICUS laboris et, munitus robore caritatis, tyranni and fortified by the might of love, I endured Nunzia Santodirocco minas, carnificum verbera, tortorum saevitias, the threatenings of the tyrant, the scourgings of the

BEATI fortiter toleravi. executioners, and the cruelty of the tormentors: Sara Allegretta I Sed brevis ilia et momentanea pugna aeterna but this short race which was but for a moment, Nunzia Santodirocco II meruit gloria compensari. deserved to be recompensed with perpetual glory. Vittoria D'Annibale III Quis ergo pati renuisset majorem passionibus Who then would refuse, for earthly passions, a accepturus beatitudinem? higher blessedness? Who, O most glorious king of 5. Symphonia 5. Symphony Quis pretiosam in oculis tuis, rex martyrum gloriosissime, the martyrs, would not endure a death precious in mortem non recepisset? thine eyes? Thou approvest of him that calleth Historicus Narrator Tu vocantem comprobas, certantem adiuvas, upon thee, thou helpest him that strifeth, and Exultabunt justi in voce jucunditatis, cum In the voice of mirth will the righteous rejoice, dicentem coronas. crownest him that calleth thy name. ascendent in regnum lucis et irradiatum vitae while they ascend unto the kingdom of light, lit splendoribus, ubi omnia consonant et flos with the beauties of life, where harmony and 7. Beati (I, II, III) 7. The Blessed (I, II, III) tranquillitatis inhabitat. Exultabunt in Domino the flower of peace reside. The Saints, equal in In solitudine erravi, ab omni via deliciarum I wandered in the wilderness, I refrained my feet Sancti quos virtute pares, dissimiles pugna gloriae: virtue, diverse in their fight, will rejoice in the prohibui pedes meos, quasi gigas exultavi ad from every way of delights; I rejoiced as a strong sol victoria Deus justus judex coronavit; lord: the sun of glory, God, the righteous judge, currendas poenarum semitas; non in ebrietatibus, man to run the race of sorrow, not in drunkedness, prae laetitia cordis canentes et dicentes: hath crowned them with victory; and they, with non in cubilibus et impudicitiis, non in not in chambering and wantonness, not in hearts full of joy, will sing, and say: tentatione et aemulatione. Sitivi, abstinui, mortem strife and envying. I was thirsty, but I abstained, sustinui; in vigiliis et jejuniis, in castitate et and suffered death; in watchings, in fastings, in Beati The Blessed continentia, in carceribus et plagis, Deo, angelis, pureness and temperance, in stripes, in imprisonments, O felix gloria, o perennes divitiae, splendeat O happy glory, O eternal riches, let the day hominibus spectaculum facti. I was made a spectacle unto God, and to dies in qua mortui sumus, splendeat nox in qua shine in which we died, let the night shine in In te speravimus, Deus vitae nostrae, et inexpugnabilem angels, and to men. In thee we hoped, God of vexati fuimus. which we were tormented. animi fortitudinem: non mundi vicerunt regna, our life, unconquerable fortress of the soul: the non carnis deceperunt illecebrae, non mortis earthly kingdoms did not prevail, the allurements 6. Beatus (II) 6. Blessed One (II) terruerunt supplicia. Mundus nos odio habuit, of the flesh did not deceive us, the torments of Cunctis diebus quibus hic militavi, quaesivi te In all the days of my appointed time on earth, I vitam nostram aestimavi insaniam et finem death did not frighten us. The world hated us, in spiritu humilitatis, quotidie c1amavi ad te in sought thee with an humble spirit; each day I nostrum sine honore. accounted our life madness, and our end to be animo contrito et quem culpa offendi te, Deum called upon thee with a contrite heart; and thee, Nos autem in pace vivimus et confirmati sumus without honour. But we live in peace, for ever meum, poenitentia placavi; plorans ploravi in my God, whom I had offended through my fault, in conspectu tuo semper. O felix gloria, o standing fast before thy face. O happy glory, O nocte, potum cum fletu miscui et tamquam I appeased with repentance; I wept sore in the perennes divitiae, splendeat dies in qua mortui eternal riches, let the day shine in which we died, cinerem panem manducavi; metui honorari night, and I mingled my drink with weeping, and sumus, splendeat nox in qua vexati fuimus. let the night shine in which we were tormented. despui, non effugi et adhuc immundo corpore ate ashes like bread; I feared and abhorred positus extra mundum corde versabar ut me ad honours, and I fled not; and hitherto, standing 8. Bealus (III) 8. Blessed One (III) sublimem patriam incessantibus amoris stimulis with my body in the world, with mine heart I turned Quid fugacius vitae ludo, quo gaudetis in What is more fleeting than the dance of life, excitarem. without the world, to stir myself up toward nequitia? Fallax est omnis laetitia, fallax omnis which ye enjoy in wickedness? All joy is deceitful, Dum coeli serena voluntur, in corde horribili my own lofty country with the constant pricks of pulchritudo. deceitful all beauty. sorde vilescunt terrena. love. When we desire heavenly joy, in our heart earthly things turn into horrible filth. Bealus (I) Blessed One (I) Qua delectant in hac vita exoptantis cruciant The delights of this life torment the mind of him Beatus (I) Blessed One (I) mentem, corde taedent possidentem. that desireth them, and weary him that hath Cognovi, Domine, quia omnis caro fenum et I knew, O Lord, that all flesh is grass, and its them. c1aritas ejus sicut flos agri arridet, mundus ut glory a wild flower; the world smileth to chafe, saeviat, blanditur, ut fallat, extollit, ut deprimat, allureth to deceive, exalteth to oppress, enticeth Bealus (II) Blessed One (II) allicit, ut occidat: ideo contempsi vitam saeculi, to make fall down: and I despised life in this Solus beat Christi amor quem adorant coeli Only the love of Christ, him that is worshipped non adhaesit mihi cor pravum et virginalem world, and no evil cleaved to me, nor did I lose cives; super astra, super nubes, non est fuetus by the heavenly citizens, maketh blessed; non amisi pudicitiam. my virginal purity. But delight me, thou who non est clamor. above the stars, above the clouds, there is no Tu autem delecte mi, desponsasti te mihi in fide hast made promises to me in faith, and leading grief, there is no clamour. et deducens me in dextera tua cum gloria me with thine hand hast upholden me with suscepisti. glory. When we desire heavenly joy, in our Dum coeli serena voluntur, in corde heart earthly things turn into horrible filth. horribili sorde vilescunt terrena.

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Beati (I, II, III) The Blessed (I, II, III) Filiae Jerusalem Daughters of Jerusalem O felix gloria, o perennes divitiae, ibi Triadis O happy glory, O eternal riches, there reign the Veni, veni gaudium amantium, veni jucunditas Come, come, O joy of lovers, come O delight of potentia et Deiparae sublimitas et sempiternus might of the Trinity, the loftiness of the Mother cordium, noli tardare, et dolentem consolare. the hearts, tarry not, and comfort her that grieveth. beatorum chorus, ibi melos poenitentiae, ibi of God, and the eternal chorus of the blessed; virginum laudatio. there songs of repentance, and praise for the 3. Symphonia 3. Symphony O felix gloria, o perennes divitiae, splendeat virgins. dies in qua mortui sumus, splendeat nox in qua O happy glory, O eternal riches, let the day Filia Jerusalem (II) Daughter of Jerusalem (II) vexati fuimus. shine in which we died, let the night shine in Ecce, ad te clamat, ad te suspirat dilecta tua; Behold, thy beloved crieth unto thee, sigheth which we were tormented. ostende illi faciem tuam, ut videat lumen oculorum for thee; shew her thy face, that she may see tuorum. the light of thine eyes. Come then, tarry not, Veni, ergo, noli tardare, et dolentem consolare. and comfort her that grieveth.

SPONSA CANTICORUM SPONSUS Filiae Jerusalem Daughters of Jerusalem FILIAE JERUSALEM Mario Boccardo Veni, veni gaudium amantium, veni jucunditas Come, O joy of lovers, come, O delight of the Patrizia Pace I cordium, noli tardare, et dolentem consolare. hearts; tarry not, and comfort her that grieveth. Nunzia Santodirocco II

Sara Allegretta III 4. Symphonia 4. Symphony

1. Symphonia 1. Symphony Filia Jerusalem (III) Daughter of Jerusalem (III)

O quam amarum est a te, dilecte, separari, cui How bitter it is to be separated from thee, my Sponsus Bridegroom sponsa in charitate cor suum donavit. beloved, to whom the spouse gave her heart for Filiae Jerusalem, surgite, ite in montes myrrhae, Arise, O ye daughters of Jerusalem, go to the Veni, ergo, noli tardare et dolentem consolare. love. Come, then, tarry not, and comfort her ubi me quaerit, ubi suspirat, ubi languet sponsa mountain of myrrh, where my fairest spouse that grieveth. mea pulcherrima. Vos lilium et rosas et mella seeketh me, sigheth, and is sick of love. Bring portate, et Sponsam formosam languentem stipate; lilies, and roses, and sweet honey, and comfort Filiae Jerusalem Daughters ofJerusalem in Libanum ite et Sponsam ful[ci]te. my beautiful spouse, sick of love: go to Veni, veni gaudium amantium, veni jucunditas Come, O joy of lovers, come, O delight of the Lebanon and stay her. cordium, noli tardare, et dolentem consolare. hearts; tarry not, and comfort her that grieveth.

Filiae Jerusalem Daughters of Jerusalem 5. Symphonia 5. Symphony Vox dilecti sonuit in auribus meis: surgamus, I heard the voice of the beloved: let us rise, go eamus et descendamus in hortum nostrum, ut down into our garden to gather flowers, and Sponsus Bridegroom flores colligamus, et festinantes ibimus in montem hastily go to the mountain of myrrh, where our Quis cognoscat me et non diligat me? Who could know me, and love me not? myrrhae, ubi soror nostra suspirat, ubi languet, sister sigheth, is sick of love, and seeketh her ubi quaerit dilectum suum. beloved. Filiae Jerusalem Daughters of Jerusalem 2. Symphonia 2. Symphony Quis cognoscat te et non diligat te? Who could know thee, and love thee not?

Sponsus Bridegroom Sponsus Bridegroom Laboravit dilecta mea in desiderio cordis sui, et My beloved was consumed by her heart's desire, Quis cognoscat me et non diligat me? Who could be far from me, and seek me not? quaesivit me. and sought me. Circuivit vicos et plateas, et ego habitavi in illa; She went about the city in the streets, and in Filiae Jerusalem Daughters of Jerusalem sed quia abscondi faciem meam posuit dolorem the broad ways where I was living; but I had hid Quis elongetur a te et non requirat te? Who could be far from thee, and seek thee not? in corde suo. my face, and she was grivied. Sponsus Bridegroom Filia Jerusalem (I) Daughter of Jerusalem (I) Si fugero? Were I to flee? Audivi dilectam tuam gementem et dolentem: I heard thy beloved grieving and sorrowing: "Ubi est absconditus pulcher dilectus meus, ubi "Where is my fair beloved, where is my spouse Filia Jerusalem (III) Daughter of Jerusalem (III) est Sponsus meus, quo fugit? Oculi mei facti who fleeth? My eyes are like fountains of tears, Quis non currat post te? Who would not run after you? sunt quasi fontes lachrimarum, cupio flere, diligo and I long to weep, I seek Sighs, I am tormented lachrimas, desidero suspiria, crucior amore, by love, and I shall not be comforted until my Sponsus Bridegroom nolo consolari donee dilectus meus in pulchritudine kind beloved come to me with his comely Si faciem meam avertero? Were I to avert my face? decoris sui benignus occurat mihi". countenance." Come, then, tarry not, and Veni, ergo, noli tardare, et dolentem consolare. comfort her that grieveth. Filia Jerusalem (I) Daughter of Jerusalem (I) Quis non desiderat vultum tuum aspicere? Who would not wish to see thy face?

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Sponsus Bridegroom Sponsus Bridegroom Si latuero? Were I to conceal myself? Ah, non dormit amor verus, amor ardens et sincerus. Ah, true love, burning and sincere love, sleepeth Flamma semper vigilat. not. Its flame waketh always. Filia Jerusalem (II) Daughter ofJerusalem (II) Quis non te quaerat? Who would not seek thee? Sponsa et Sponsus Bride and Bridegroom Ecce, surgo, dilecte mi. /Non, dormi, pigra, dormi. Behold, I rise, O my beloved. /No, idle one, sleep. Sponsus Bridegroom Si locutus fuero? Were I to speak? Sponsa Bride Ah, discessit infidelis, heu fugit crudelis! Ah, the unfaithful hath withdrawn, the cruel Sponsus et Filiae Jerusalem Bridegroom and Daughters ofJerusalem hath fled! Quis non respiret? Who would not be refreshed? Sponsa et Sponsus Bride and Bridegroom 6. Symphonia 6. Symphony Luge, plange, cor afflictum, perdidisti praedilectum; Cry, weep, afflicted heart, thou hast lost thy tunde pectus, funde questus, et amare beloved; smite thy breast, lament, and pour bitter Sponsus Bridegroom lachrimare. tears. Ite ergo cum floribus ad sponsam meam Go then to my spouse sick of love with flowers, languentem, and say unto her; "Be comforted, and tune et di[ci]te illi: "Consolare, dulce sweet songs; behold, here cometh thy beloved, DOMINE QUIS HABITABIT melos modulare: ecce venit dilectus tuus full of delights, leaping upon the mountains, ANIMAE CHRISTUS saliens in montibus, deliciis affluens, transiliens skipping upon the hills". Nunzia Santodirocco I Francesco Sclaverano colles". Pamela Borri II

Omnes All 8. Anima (I) 8. Soul (I) Eamus, eamus, ascendamus in montem festinantes, let us go, with quick steps, let us go up to the Domine, quis habitabit in tabernaculo tuo aut Lord, who shall abide in thy tabernacle? who flares et mala portantes, et dicamus mountain; let us bring flowers and apples, and quis requiescet in monte sancto tuo? shall dwell in thy holy hill? sorori nostrae: "Ecce venit dilectus ex millibus say unto our sister; "Behold, here cometh thy electus, per colies, per mantes accurrit festinus, beloved, chosen among the thousands; he Christus Christ ad campos, ad fontes te amor divinus invitat. maketh haste upon hills and mountains; and divine Qui ingreditur sine macula et operatur justitiam. He that walketh uprightly, and worketh righteousness. Surgamus, eamus in montem". love biddeth thee to the fields and the fountains. let us arise, let us go to the mountain". Anima(II) Soul (II) Quis ascendit in montem Domimi aut quis stabit Who shall ascend into the hill of the Lord? or in loco sancto ejus? who shall stand in his holy place? TOLLE SPONSA Christ SPONSA SPONSUS Christus He who hath not lifted up his soul unto vanity, Nunzia Santodirocco Mario Boccardo Qui non accepit †invano† animam suam nec nor sworn deceitfully. He shall receive the blessing juravit in dolo proximo suo; hic accipiet from the Lord, and righteousness from the 7. Sponsus 7. Bridegroom benedictionem a Domino et misericordiam a God of his salvation. Tolle, Sponsa, tolle , fares aperi. Rise up, my spouse, rise up; open the door. Deo salutari suo.

Quid dormitas? Why sleepest thou? Animae(I, II) Souls (I, II)

Beati, beati qui ambulant in domo tua, Domine, Blessed, blessed are those that walk in thine house, Sponsa Bride quoniam in saecula saeculorum laudabunt te. Lord, for they shall praise thee for ever and ever. Vox dilecti tangit aures. I hear the voice of my beloved.

9. Anima(I) 9. Soul(I) Sponsus Bridegroom Domine Deus meus, ubi posuisti tabernaculum Where, O Lord my God, where hast thou set Tolle fores, aperi, Sponsa; quid dormitas? Ipse Rise up, open the door, my spouse; why sleepest tuum? thy tabernacle? sum; quid dubitas? thou? It is I; why tarriest thou?

Christus Christ Sponsa Bride Tabernaculum meum cum hominibus et habitabo My tabernacle is with men, and with them I Vox dilecti tangit aures; sed, heu miseram, I hear the voice of my beloved; but, wretched cum eis. shall dwell. sopor obnubilat. that I am, sleep numbeth, me.

Anima (II) Soul (ÌI)

Ubi, ubi Domine permanet sedes tua? Where, O where is thy throne, my Lord?

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Christus Christ Ezechias Hezekiah In coelo sedes mea, in qua justi mecum vivunt My throne is in heaven, where the righteous Obsecro Domine; memento, quaeso, quomodo I pray thee, O Lord; remember now, I beseech et gaudebunt in aeternum. live with me, and shall rejoice for ever. ambulaverim semper coram te in veritate et thee, how I have walked before thee in truth, corde perfecto, et nunc ecce moriar, et in dimidio and with a perfect heart. And now, in the cutting 10. Omnes 10. All annorum meorum vadam ad portas inferi. off of my days, I shall go to the gates of the O salus amata, o domus beata, ubi in Domino O beloved salvation, O blessed house, where Parce mihi, Domine, et miserere. Reminiscere, grave. Spare me, O Lord, have mercy. gaudebunt et exultabunt Sancti in conspectu in the Lord shall the Saints rejoice, and be Domine, quanta bona fecerim in oculis tuis et Remember, Lord, that I have done that which is Dei. O sedes amata, o domus beata, ubi in exceeding glad before God. O beloved throne, quomodo legem tuam et mandata tua custodierim; good in thy sight, and have kept thy law and Domino gaudebunt et exultabunt Sancti in O blessed house, where in the Lord shall the et ecce moriar, nec amplius videbo Dominum thy statutes. Yet, I shall die, and shall see the conspectu Saints rejoice, and be exceeding glad before in terra viventium, nee ultra aspiciam Lord in the land of the living no more, no more Dei. God. habitatorem quietis. Parce mihi, Domine, et shall I behold the inhabitants of the world. miserere. Spare me, O Lord, have mercy. Clamabo ad te, Domine, sicut pullus hirundinis, while yet thou weavest. et meditabor ut columba quoniam praecisa Spare me, O Lord, and have mercy. EZECHIAS est a te velut a texente vita mea, dum adhuc As the chick of the swallow, so I will cry unto thee, O Lord; ordirer manus tua succidit me. I will mourn as a dove; I have cut off like a weaver HISTORICUS EZECHIAS Parce mihi, Domine, et miserere. my life; thou cuttest me off with thine hand, Alia Simonichvili I Francesco Sclaverano

Nunzia Santodirocco II 14. Historicus (I, II) 14. Narrator (I, II) Chorus DOMINUS Misertus est autem Dominus Ezechiae et ait: The Lord had pity on Hezekiah, and said: Aurio Tomicich

ISAIAS Dominus The Lord Pamela Borri Ezechia, audivi orationem tuam et vidi lachrimas Hezekiah, I have heard thy prayer, I have seen

tuas. thy tears: behold, I will add unto thy days fifteen 11. Symphonia 11. Symphony Ecce ergo adiciam super dies tuos quindecim years. And I will deliver thee and this city

annos et de manu Assyriorum eruam te et civitatem out of the hand of the Assyrians: and I will Historicus (I, II) Narrator (I, II) tuam et protegam earn. defend this city. Aegrotante Ezechia, locutus est Dominus ad And Hezekiah was sick, and the Lord spake to

Isaiam dicens: Isaiah, saying: Ezechias Hezekiah

Quod erit mihi signum quod hoc mihi facies, What shall be a sign, Lord, that thou wilt do Dominus The Lord Domine, quod locutus es. this thing that thou hast spoken? Vade, Isaia, vade ad regem Israel Ezechiam et Go, Isaiah, go to Hezekiah, king of Israel, and proxime illi stantem mortem annuncia. say unto him that death is near. Dominus The Lord

Hoc erit libi signo. Ecce, ego reverti faciam umbram This shall be the sign. 12. Historicus (I, II) 12. Narrator (I, II) linearum per quas descenderat in horologio Behold, I will bring again the shadow of the Surrexit Isaias et, sicut praeceperat ei Dominus, Isaiah rose and, as the Lord had commanded, sol et retrorsum decem lineis. degrees, which is gone down in the sun dial, ad regem ingressus, ait: came unto the king, and said unto him: ten degrees backward.

Isaias Isaiah 15. Historicus (I, II) 15. Narrator (I, II) Ezechia, hoc tibi dicit Dominus: dispone, o rex, Hezekiah, thus saith the Lord: Set thine house Et reversus est sol decem lineis per gradus quos And the sun returned ten degrees, by which domui tuae. in order, O king. descenderat; quod videns Ezechias benedixit degrees it was gone down; seeing this,

Dominum dicens: Hezekiah blessed the Lord, saying: Ezechias Hezekiah

Quare: "Dispone domui meae"? Wherefore: "Set mine house in order"? Ezechias Hezekiah Quia fortasse moriar? Shall I then die? Dextera Domini fecit virtutem, exaltavit me; The right hand of the Lord is exalted: the right

non moriar sed vivam et narrabo opera Domini. hand of the Lord doeth valiantly. I shall not die, Isaias Isaiah but live, and declare the works of the Lord. Moriaris, moriaris Ezechias et amplius non vives. Thou shalt die, Hezekiah, and not live.

Omnes All 13. Historicus (I, II) 13. Narrator (I, II) Narrabimus omnes opera Domini et mirabilia We shall all declare the works of the Lord, and Tunc convertens Ezechias faciem suam ad parietem Then Hezekiah turned his face toward the wall, ejus annunciabimus in aeternum. shew forth all his wonderful works for ever. totus effusus in lachrimis oravit dicens: and wept sore, and prayed unto the Lord:

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ORATORIO DELLA SS. VERGINE che quando di sua mano when, by his hand, oratorio in due parli di Francesco Balducci (1579 locava su gl'Abissi i fondamenti the Maker of all things placed 1642) deWampia terra iI Facitor del tutto in the Deep the foundations of the wide earth,

e distendeale intorno il Cielo, e l'aure, and spread around it the Sky and the air, LA VERGINE Luigi Petroni alto lo de gli immensi giri I of the immense cycles Pamela Borri Francesco Sclaverano tenore I misurava gli spatii, lo mi volgea measured the space, I turned Mario Boccardo tenore II e basso I seco per l’universo, e sovra i flutti with it in the universe, and walked above Patrizia Pace canto I Aurio Tomicich basso II ne gìa del mar profondo; the waves of the deep sea; Nunzia Santodirocco canto II nè senza me fora sì bello il mondo. nor without me would the world be so beautiful.

PARTE PRIMA FIRST PART Tenore Tenor

Chi è costei Who is this one 1. Sinfonia 1. Symphony che di rugiade who, all

tutta stillante exuding dew, Canto I e II Canto I and II si trahe dall’onde fuora, comes forth out of the waves, Ghirlandata di rose Garlanded with roses quasi un'Aurora? like an Aurora? colte per man dell'Hore in Oriente gathered in the Orient by the Hours' hand, la bionda Aurora usciva. fair Aurora stepped out. E' l'Alba forse, Is she Dawn, E d'orme luminose And with bright steps che 'l Dì precorre preceding Day stampando etheree piaggie il Dì nascente marking the ethereal lands, the breaking Day col piè lucente? with her shining foot? da lunge la seguiva. from afar followed her. Ma sì bello esser suole But so beautiful hardly Ridea la Riva, e s'indorava il fiume Laughed the Shore, and the river was gilded appena il sole. is the sun. al nuovo lume. by the new light.

La Vergine The Virgin Al mormorar de' venti Awakened by the murmur Non era ancor di stelle adorno il Cielo, Not yet with stars adorned was the Sky, che lievi percotean ne verdi allori, of the winds that lightly struck nè men di raggi il sole, nor more with rays the sun, svegliati gl' augelletti the green laurels, the little birds d'ombre la notte, e di sua luce il giorno with shadows night, and with its light the day, di soavi concenti with sweet harmony quand'lo di sol vestita when I, sun‐clothed, givano empiendo i gratiosi horrori filled the graceful wilderness mi volgea luminosa revolved bright de' nativi boschetti; of the native woods; per l’Universo a tondo; around the Universe; E ne' prati i fioretti apriano un riso And in the meadows, the flowers bloomed a laugh nè senza me fora sì bello il mondo. nor without me would the world be so beautiful. di Paradiso. of Paradise.

Basso Bass Quando dal mare When from the sea, Chi è costei, cui l'Universo inchina Who is this one to whom the Universe bows, sovra cerulea nube over a cerulean cloud come Reina, as if she were a Queen, in Cielo alzata to Heaven risen, e gl' odorati fumi and scented vapours gran Donna appare, a great Woman appears, offrono i Numi? offer the Gods? e cento Alati e cento, and an hundred Winged ones, and an hundred, Offre sù gl'Astri Unto the Stars, e in soave concento, and in sweet harmony, da terra il capo; from earth, she offers her head; come forse farian gl'Angioli, oh Dio, as would the Angels do, O God, e 'l piè per l'aria bruna and her foot in the dark air un simil suono uscìo. sang in unison. calza di luna. by moon is shod.

Certo somiglia Surely her golden head 2. La Vergine 2. The Virgin un sol che spunti resembles lo de l'eterna Mente I of the eternal Mind a l'aurea testa. a sun arising. primogenita eterna eternal first born Ma che? Le chiome belle But what? Her beautiful hair e del fecondo seno and of the fruitful bosom fregia di Stelle. she adorns with Stars. della miglior Natura of best Nature grand' e mirabil parto: great and wondrous issue,

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La Vergine The Virgin PARTE SECONDA SECOND PART Non ardea ancor ne la sua sfera iI foco, Not yet flamed in its sphere the fire, quando ardea nel mio petto when in my bosom flamed 4. Tenore II 4. Tenor II d'Amor la fiamma the flame of Love, Taccia Betulia Let Betulia be silent, al prima lume accesa. lit at first light. colei che forte she who tightly Non bagnavan le nubi Nor were the clouds sprinkling il ferro strinse, clasped the iron, di pioggia il suolo e non spiravan l'aure, with rain the earth, nor were the breeze blowing, e poi le man si tinse and then tinted her hands quando su "Alba, d'Increato Spirto when, at Dawn, breathed in my heart nell'empio sangue, with impious blood, spirava nel mio cor tepida l'aura, the tepid breeze of Uncreated Spirit, che di sua spada for it happens so e già di sue rugiade il sen fecondo; and already with its dews graced my bosom; avvien che cada that by her sword the drunkard nè senza me fora sì bello il mondo. nor without me would the world he so beautiful. ebro che giace in molli piume avvinto, falls who lies wrapped in soft feathers, dal sonno in prima e poi dal ferro estinto. by sleep at first, and then by sword extinguished. Alto Alto Veste di nubi Veiled in clouds Alto Alto il sol che l'have is the sun who Ma tu possente But, O thou mighty one, di sol vestita. clothed her in sun. altr'armi stringi take other arms Ahi, che miri, alma mia? Alas, what dost thou gaze upon, my soul? contra il serpente against the serpent, Ella è Maria. She is Maria. cui par non vide mai Delo né Colco, whose equal neither Delos nor Cholcos ever saw; e pur non tingi, and do not yet colour, La Vergine The Virgin Vergine invitta unconquered Virgin, Hor chi m'intesse Now who weaves for me, qual fé Giuditta as judith did, di voi mortali among ye mortals, de le mamme intatte the pure milk nuove ghirlande? new garlands? il puro latte. of thine untouched breasts. Hor chi mi porge Now who offers me, di voi bell'alme among ye, beautiful souls, Basso II Bass II del Libano le palme? of Lebanon the palms? Lasciava il fero The wild one did leave Fiaccato al serpente Broken of the serpent in suo sentiero in his path chè 'l piè vi morse, e l'uno, e l'altro corno; who bit your foot the one horn and the other, sì profondo il solco so deep a groove, risorto è il Possente risen from the dead is the Mighty ch'apriasi in valle la lasciata striscia that the trail left by the wicked snake che per voi cadde, e già 'l rivede il giorno who for you fell down, and the day sees him again dell'empia biscia. opened like a va lIey. di spoglie adorno. adorned with spoils. Tra le sue spire Within his spires Sù, sù spiegate à l'aure, alme redente, Come, come, unfold to the breezes, redeemed souls, chiudeansi i monti, the mountains were enclosed, l'insegne del Potente. the standards of the Almighty. seccava i fiumi et attoscava i fonti, he dried up the rivers and poisoned the fountains, ben che la sete del mortifer angue though the deadly snake's thirst 3. Canto I, II e Coro 3. Canto I, II, and Chorus fosse di sangue; was for blood. Ecco al vento le bandiere Behold in the wind the banners e già levata havea sovra le nubi And above the clouds he had just raised del gran Dio vittorioso, of the great victorious God; la crestata fronte, his crested front, poste in fuga ha l'empie schiere he put to flight the ungodly hosts quando del mostro a fronte when against the monster de l'Inferno insidioso. of insidious Hell. la Verginella Ebrea da chiuse porte the Hebrew Virgin, from behind closed doors, Splende pur con cento lampi With an hundred lightnings the great scatenò il Forte, unleashed the Strong one, de la Croce il gran mistero mystery of the Cross shines too; e fatto già degl'empi aspro governo, and meting out harsh treatment to the ungodly, ardon pur de l'aria i campi the fields of the air burn too; spoglio l'Inferno. she voided Hell. riede il giorno à l'Emisfero. the day returns to the Hemisphere. Hor di nuovo si raccende Now again the moon and the sun 5. Alto, tenore e basso I 5. Alto, Tenor, and Bass I de' suoi rai la luna e 'l sole, light up with their rays; Sù, sù si spogli Come, come, let us strip ride il Cielo, e l'aria splende, the Sky laughs, and glows the air, di fiori il prato the meadow of flowers, e l'inferno se ne duole. and Hell is burdened with regrets. e se n'intessa and weave serto odorato. a fragrant garland.

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Tenore Tenor 6. Tutti 6. All Che non isdegna For she does not disdain, Notte mai non è sì nera Never is the night so black questa Reina this Queen, ch'alla fin non habbia Aurora; that in the end it has no Aurora; che il crin s'infiori the adorning of her hair with flowers, dopo il verno i prati infiora after the winter, the perfumed spring ben che s' indori although gilt l'odorata primavera. covers the meadows with flowers. de le sue stelle. with her stars.

Alto, tenore e basso I Alto, Tenor, and Bass I ORATORIO DI DANIELE PROFETA Sù, verginelle. Come, young virgins, STORICO SATRAPI ED EUNUCHI hor ch'è fuggito now that the cold Luigi Petroni Nunzia Santodirocco I dal nostro Iito winter has fled Patrizia Pace II il freddo verno from our shore, DARIO Sara Allegretta III e 'l giro alterno and the alternate round Aurio Tomicich Vittoria D'Annibale IV d'amiche stelle, of friendly stars Maurizio Rippa V empie le piaggie fills the land DANIELE Luigi Petroni VI di tanti odori, with plentous scents, Aris Christofellis Mario Boccardo VII cogliete fiori. pick the flowers.

PARTE PRIMA FIRST PART Basso II Bass II Ecco che pur l'Aurora Behold, now also Aurora, 7. Storico 7. Narrator negli horti d'Oriente in the gardens of the Orient, Nella famosa terra To the famous land la sua chioma lucente her shining hair di Media, illustre per gl'imperi estinti, of Media, renowned for extinct empires, di fresche rose infiora. with fresh roses adorns. regi abbattuti e soggiogati regni, fallen kings and conquered kingdoms frasse la sorte prigioniero, in guerra, fate brought as captive in war, Alto Alto fra quei ch'in Gerosolima [fur] vinti among those defeated at Jerusalem Sù, sù per queste erbette Come, come, on these greenswards dall'Assiria potenza, by mighty , tessendo ghirlandette weaving little garlands, Daniele, il gran profeta, the great prophet Daniel, gareggiam con le stelle, let us compete with the stars famoso già per li scoperti inganni celebrated already for deceits discovered, chi sa treccie di fior to find who best knows how to weave dell'infame lascivia deceits hatched by the wicked lust tesser piu belle. the most beautiful braids of flowers. dell'esecrandi vecchi, of the execrable elders orditi all'innocenza di . against Susannah's innocence. Alto, tenore e basso 1 Alto, Tenor, and Bass III Sù, verginelle. Come, ye young virgins, Costui reser famoso He had achieved fame hor ch'è fuggito now that the cold appresso Dario, che di Medi e Persi before Darius, who ruled the empire of the Medes dal nostro lito winter has fled reggea l'impero, i dichiarati sogni and Persians, for he had interpreted the dreams iI freddo verno from our shore, di Nabuccodonosorre, il re superbo, of Nebuchadnezzar, the haughty king, e 'l giro alterno and the alternate round e d'altri regi i presagiti eventi, and predicted events of other kings; d'amiche stelle, of friendly stars onde fidati al suo valore egregio wherefore, in his egregious worth entrusted empie le piaggie fills the land i più gravi maneggi, with the gravest works, di tanti odori, with plenteous scents, quasi di Dario sostenea le veci. almost in Darius' stead he acted. cogliete fiori. pick the flowers. Hor, com'uso è de' regi, Now, as is the custom with kings, Dario chiamò Daniele, e fra lor dui Darius called Daniel, and between them, Canto I e II Canto I and II così spiegorno un dì gli accenti sui: thus were one day their words unfolded: Colorite homai Colour by now la guancia sbigottita, egri mortali, the blanched cheek, ye ailing mortals: Dario Darius la vittoria contro i maii victory against evil Daniele, o scorta fida Daniel, O faithful escort si guadagna a spada e lancia. is won with sword and spear. di questo scettro, e nelle gravi imprese of this sceptre, and in the grave deeds della mia destra non fallace guida: of my right hand no false guide: Alto, tenore I e basso I Alto, Tenor I, and Bass I già l'Assirio paese debellaro poc'anzi, already the Assyrian land has been subdued, Dopo i turbini e procelle After the swirls and the storms, come ben sai, le mie vittrici squadre. as thou well knowest, by my victorious host. si serena il ciel pietoso. the merciful sky becomes bright. Hor è ben che si pensi Now it is good to think Sa il nocchier per mare ondoso The shipmaster on the billowy sea knows a stabilir del soggiogato regno of endowing me with the great crown approdar le rive belle. how to reach pleasant shores. in me la gran corona. of the subjugated kingdom.

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Tu, dunque, ch'i miei sudditi correggi Thou, then, who rulest my subjects Dario Darius per mio volere, homai volgi l'ingegno by my will, now turn thy mind Si, son degni di te Yes, such wise advice a pensar quai si denno to think what statutes sì saggi consigli: is worthy of thee: colà da noi formare ordini e leggi. and laws should be made there by us. non temo perigli Perils I fear not, s'il Cielo mi diè, if Heaven hath given me Daniele Daniel ne' stanchi mie dì, in my weary days Signor, al tuo gran senno Lord, thy great wisdom ministri di fè. truthful ministers. d'huopo non è di ricercare altrove needst not to seek advice ch'in se stesso i consigli. elsewhere than from itself. Pensa, caro Daniele, Think, dear Daniel, Pur, mentre la fidanza But since the trust a ciò che far si debba, about what should be done, ch'in me, gran Re, per tua bontade hai po[s]to that by thy goodness thou hast set in me, great king, che questa [etade] annosa, so that in late age m'apre largo sentiero offereth me great opportunity questa stanca mia mente my tired mind di teco favellar, sciolgo la lingua to speak to thee, I let my tongue loose, piu ch'in altro mio fido more than in any other faithful attendant ch'accompagnata da un ardente zelo so that, with burning zeal, in te riposa. reposeth in thee. non sapra proferirti altro ch'il vero. I shall utter to thee nothing but truth. Starico Narrator Godo Signor, che l'espugnate mura I rejoice, Lord, that, the conquered walls Vedea la schiera de' ministri regi The multitude of the king's ministers observed di Babilonia altera, of proud Babylon, gl'honori ch'a Daniele iI Re facea, the honours given to Daniel by the king; onde l'Assirio impero a te soggiace, having subjected the Assyrian empire to thee, e già la Corte tutta, and already all the Court di palme gloriose orni tua fronte; now glorious palms adorn thy head; del novello ministro a'gesti egregi, burned with jealousy and malice t’è gloria, o Dario, che l'invitta destra, it bringeth glory to thee, O Darius, that thy invincible d'invidia piena, e di livore ardea. because of the new minister's worthy feats. fra i sanguinosi assalti, de' nemici hand amidst bloody assaults fiaccato habbia l'orgoglio, weakened the pride of the enemies, O stato miserabile de' grandi, O your miserable state, ye great! e che tutto un impero, and that, beside thy inherited kingdoms, che sottoposto sei that ye are doomed oltre i tuoi propri hereditari regni, a whole empire a non potere in alto alzare un giusto, not to be able to raise a righteous man high, pieghi l'alta cervice al tuo gran soglio, boweth its high head to thy great throne, senza ch'il dente infame without being torn by the wicked e riceva da te legge severa. and receiveth from thee strict laws. ti laceri di cento e cento rei! teeth of an hundred and an hundred evil ones.

Ma fra queste tue glorie, But among these glories, Covava in sen l'invidia Jealousy was brooding in the bosoms fra queste alte memorie, these high memories, de' Satrapi ed Eunuchi of the Satraps and the Eunuchs, io ne desio, Signor, una più vera. I wish, Lord, for something more true: l'in[si]dioso stuolo, the insidious swarm; Se diede là fra l'armi If thy very valour onde così fra loro and then among themselves di robusta fortezza there gave in arms ordiro a Daniele they plotted against Daniel i chiari segni il tuo valor verace, clear signs of great vigour, infame tradimento, aspra perfidia. an infamous betrayal, a bitter perfidy. deposta la fierezza, relinquishing fierceness da te si mostri hor la giustizia in pace. now shew righteousness in peace. 8. Satrapo (I) 8. Satrap (I) Non ti pregiar, se vai di palme onusto, Do not be proud in going wreathed with laurel, Dunque [n'andra Shall he then go ma ti gloria, Signor, but glory, Lord, con] chiaro trofeo with clear trophy se sarai giusto. in being righteous. di nostra sciocchezza of our foolishness, con tanta alterezza with such pride, Gl'imperi più grandi, The greatest empires, il giovane ebreo? the young Hebrew? i re più potenti, the mightiest kings, E' ch'il soffrirà? And who shall suffer it? da Dio furon spenti by God were extinguished con modo ammirandi. in an admirable manner. Gli scettri temuti The feared sceptres ch'il Cielo sprezzaro, that contemned Heaven con ordine raro now in order unusual son tosto caduti. have fast fallen down. Se giusto non è, If he is unrighteous, non pensi il potente let the mighty think not posar lungamente that he shall rest for long sui trono i suoi pie. his feet on the throne.`

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Satrapo (II) Satrap (II) Daniele, ch'al suo Dio Daniel, who to his God È Dario si folle Is Darius so foolish ben spesse volte il dì manda preghiere, many times a day sendeth his prayers, ch'estolle that he exalteth nella pena è caduto has incurred the penalty per primo nel regno as first in his kingdom in questo stesso giorno. Hor noi, d'accordo, this very day. Now all in agreement l'indegno! the unworthy one! al Re accorriamo, e dichiariam per reo let us hasten to the king and declare guilty E noi che tant'anni And we, who for so many years il favorito ebreo; the favoured Hebrew; gl'affanni the troubles né scusa alcuna in suo favor s'accetti, nor let us accept any excuse in his favour, dell'ampio suo stato of his great state finché nel lago de' leon si getti. that he shall be cast into the lion's den. habbiamo sofferto, have endured, Ecco Dario che viene, all'opra, all'opra! Behold, Darius is coming; to work, to work! siam privi di merto, are without merit, e ognuno soggiace every man subjected Dario Darius a vil forastiero. to a vile stranger. Addio, miei cari e fidi, Hail, my dear and faithful ones, o di mia stanca etade e del mio regno O ye of my advancing years and of my kingdom, Satrapo (I) Satrap (I) vero honore e sostegno, true honour and support, No, no, non fia vero, No, no, it shall not be true, che qui fra voi si tratta? what subject treat ye here, among yourselves? si scacci l'audace let us drive out our bold comune avversario, common rival, Satrapo (II) Satrap (II) o 'l regno di Dario or Darius' kingdom Signor, s'al giusto arridi, Lord, if thou favourest him that is righteous, non [h]abbia mai pace. shall never have peace. al delitto hoggi mai la pena adatta. to the crime today adapt at last the punishment. Daniele, quel tuo saggio, Daniel, that wise man of thine, Satrapi Satraps ch'a gli ocehi tuoi parea che portasse who in thine eyes appeareth as if on his face No, no, non fia vero, No, no, it shall not be true, nel volto un divin raggio, there shone a divine ray, si scacci l'audace let us drive out our bold non è trascorso un giorno when not even one day hath passed, comune avversario, common rival, che gl'ordini reali to the royal statutes giving no heed, o 'l regno di Dario or Darius' kingdom in non cale ponendo praying up to four times, non habbia mai pace. shall never have peace. ben quattro volte orando the penalty hath incurred of the royal decree. nella pena cadea del regia bando. Now we, on behalf of the whole kingdom, Satrapo (V) Satrap (V) Hor noi, per tutto il Regno, have here come to pray thee that thou punish Ma quai mezzi useremo, [e con qual] arte, But what means shall we use, and with which arts siamo a pregarti a castigar l'indegno. the unworthy. del Re, che quasi ammal[i]ato sembra shall we be able to move the mind of the king, dal saggio forastiero, who appeareth almost Satrapo (I, II, V) Satrap (I, II, VI) muover potremo a nostro pro la mente? bewitched by the wise stranger, in our favour? Si, si, pèra l'indegno Yea, yea, let the unworthy die, ch'i regi editti sprezza, who despiseth the royal statutes; Satrapo (I) Satrap (I) provi l'aspra fierezza let him try the harsh fierceness lo credo già d'haver oprato in parte I think that I have yet, in part, done de' feroci leoni. of the savage lions. ciò che conduce al nostro fine. lo dissi what will lead us to our end. I proposed appunto hieri del Re ch'ordine dasse only yesterday to the king to command Deh, non si perdoni Pray let there not be condoned ch'alcun, per qualche tempo, that no one, for a certain time, delitto sì reo, so wicked a crime, non sia ch'ardisca o tenti dare or attempt to ask a petition e 'l perfido ebreo and let the perfidious Hebrew di chieder cosa alcuna of any God or man a morte si doni. be sent to his death. nè al ciel nè ad huomo in terra save of the king himself; se non al Re medesmo; and gave as the prescribed time a month, Dario Darius e meta un mese al termine prefissi saying that this was the advice of the Eunuchs Ohimè, che sento, ohimè dunque degg'io Alas, what do I hear; alas, must I therefore dicendo esser parer d'Eunuchi e Saggi. and Wise men. dar a morte Daniele, il fiar de' saggi, put to death Daniel, the wisest of wise men, Il Re tutto consente, The king consenteth to all, per sì lieve cagione? for so slight a reason? e l'ordine già dato, and the command, already imparted, Deh, si faccia, vi prego, Let there be taken, I pray you, publicossi pur hoggi immantinente, was immediately published today, più maturo consiglio, more considered advice, con pena horrenda [d'essere gettato] with the awful penalty, that he be cast e si cangi consiglio, e se errate and let the ruling be changed; should ye err, nel lago de' leoni into the lion's den, l'error sopra me piglio. I take the error upon myself. chi fino al dì prescritto whosoever until the prescribed day di trasgredir presume il regio editto. presumeth to transgress the royal decree.

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Satrapi Satraps Nella suddita terra In the subdued land, Dario, non più s'indugi, Darius, let us tarry no more; a un Dario, a un Re che debellò poc'anzi to a Darius, to a king who hath just conquered dona a morte Daniele; put Daniel to death; imperi intieri, e si fé Re soggetti, entire empires, and subjugated kings, e se nostra richiesta and should our request [ev]vi chi minacciar osa la guerra there are those who dare to threaten war, sara da te negletta be neglected by thee, perch'un giusto punir aborre e sdegna: for he abhorreth and scorneth punishing a righteous guerra fiera e mortal, guerra t'aspetta. war waiteth for thee, fierce and mortal war. che sarà di chi regna man: con men giusti pensieri? what will happen to those who rule PARTE SECONDA SECOND PART O vie scoscese, o aspri, erti sentieri with less righteous thoughts? che, a chi non vi conosce, O precipitous ways, O hard, precipitous paths 9. Storico 9. Narrator vaghi sembrate, ond'huomo aspiri al trono: that, to those that do not know you, Nell'udir che fé Dario la richiesta Darius, hearing the request che sono i Regni, e che gli scettri sono? seem graceful, for which men aspire to the throne: de' primati del Regno, of the princes of his kingdom, What are kingdoms? what are sceptres? giusta doglia nel cuor di lui si desta, felt a righteous sorrow in his heart, riputando Daniele as he thought Daniel Storico Narrator di pene no, ma ben di premio degno; worthy not of punishment, but rather of reward; Ciò fra sé disse, e poi This he said to himself, and then e, conoscendo de' maligni l'arte, and knowing the artfulness of the malicious, alia schiera si volse, he turned to the multitude, pria che dar la risposta before giving an answer e in tali accenti la sua lingua sciolse: and with these words he loosened his tongue: in tal guisa parlò fra sé in disparte: thus he spake to himself: Dario Darius Dario Darius Non più udita ferità! Never before was greater fierceness heard! O dignità reale, o grave peso O royal dignity, O grave burden Petti fieri e inesorabili, Fierce and inexorable bosoms, tanto ambito qua in terra so longed for on this earth implacabili implacable dall'humana follia; by human folly; negli sdegni e crudeltà: in resentment and cruelty: venite, venite o voi ch'avete il petto acceso come, come, ye whose bosoms burn ecco già la vostra rabbia infellonita already your cruel rage di desio di trattar scettri e corone, with the desire for crown and sceptre, torre a un giusto può la vita, is able to take away the life of a righteous man, venite a contemplar la pena mia. come to see my suffering. e ad un Re la potestà. and the power of a king. Del conquisto de' regni è prezzo il sangue The price of the conquest of kingdoms is the blood Non più udita ferità! Never before was greater fierceness heard! de' regni antichi, onde talhor si strugge of ancient kingdoms, so that at times Sia vostro Daniele, Let Daniel be yours, l'uno per far dell'altro Regno acquisto. one kingdom is destroyed to acquire another. tinga il sangue innocente let his innocent blood colour Se in pace si governa, alberga un'angue If he ruleth in peace, a snake dwelleth dei feroci leoni with noble purple entro nel sen caolui ch'al regia manto in the the bosom of him who, in his royal robe, di nobil ostro pur gli artigli e 'l dente. the claws and teeth of the fierce lions. sembra più ch'uomo, e pare altrui felice. seemeth more than a man, and looketh happy to others. 10. Storico 10. Narrator Poiché la schiera infame After the loathsome multitude Che sei, Dario, e che siete What art thou, Darius, and what are ye, il suo disegno a fine hebbe ridotto, their scheme accomplished, voi che cotanto accende ye that are so burning ciò disse Daniele, incatenato, thus spoke Daniel, chained, cli terrene grandezze avida sete? with greedy thirst for earthly greatness? avanti a lor condotto: brought unto their presence: lo non son che comando: It is not I who rule: altri meco contende, others contend with me, Daniele Daniel e vuol che péra un giusto and want a righteous man to die, Queste dure ritorte These hard chains contra mia voglia istessa; against my will; che mi cingon le membra that bind my limbs et io, tiranneggiato, and, forced, I a me son lieve incarco, are a light burden to me, convien che sottoscriva un atto ingiusto. must abide, and subscribe to an unrighteous deed. e questa a me da voi bramata morte and this death of mine, that ye yearn for, Daniele infelice, Unhappy Daniel, per viver più felice opens to my soul io nel sublime stato, I to the lofty state apre all'anima mia del Cielo il varco. the gate of heaven, for an happier life. che fabbricò l'invidia al tuo gran merto, that yielded such jealousy of thy great merit Del fiero mar del mondo I did not wish to plough the happy waves ergere ti potei; could raise thee; solear non desiai l'onde felici, of the fierce sea of the world, hor, dagli invidi rei and now, from jealous evil men né di beni fugaci nor of fleeting riches per te non vaglio ad impetrar perdono? I cannot impetrate pardon for thee? unqua m'accese il petto avida sete. greedy thirst ever lit my bosom. Che sono i Regni, e che gli scettri sono? What are kingdoms? what are sceptres? Pascete pur, pascete Nourish, if ye like, nourish di dominar qua giù l'ardenti brame, your burning lust to rule down here, e me fieri ponete and send me, fierce ones, de' leon vostri a satollar la fame. to satisfy your lions' hunger.

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Ché s'il mio Dio vorrà che l'alma lasci For, if my God willeth that my soul leave Satrapi (V, poi I, II, III) Satraps (V, then I, II, III) queste spoglie mortali, this mortal coil, Hor pagherai di tant' audacia iI fio. Now thou shalt pay the price of such insolence. spiegherà l'ali she will unfold her wings con vol sublime a un nobile conforto. in a sublime flight to a noble solace. Daniele Daniel Voi restate fra l'onde, io vado al porto. Ye stay among the waves, I go to heaven. Non teme voi chi nel suo cuore ha Dio. He feareth you not who in his heart hath God.

Hor, chi sospende Now, who raiseth Satrapi Satraps le destre irate? the angered right hand? S' uccida, s' estingua Let us kill, let us extinguish Via, sù, che fate? Come, now, what do ye? sacrilega lingua the sacrilegious tongue L'anima accende My soul is lit di mente profana, of a profane mind, vago desio by a fair desire che legge sì insana that such an insane law di girne a Dio. to go to God. nell' anima annida: in the soul harboureth: L'ira animate, Rekindle your hunger, s' uccida s' estingua. Let us kill, let us extinguish. sù, via si doni let now be given cibo a' leoni: food to the lions: che più tardate? why tarry ye? Rompete pur gl'indugi, Take action, ché l'anima anelante for my longing soul questa fragile spoglia wisheth to abandon di lasciar brama, e girne a Dio davante. this frail coil, and go before God. Adempite la voglia Fulfill your wish d'esser soli all'impero: to be the only rulers: io d'un Regno più vero I of a truer Kingdom nel cuor l'imago e nella mente porto. in my heart harbour the image, and in my mind. Voi restate fra l'onde, io vado al porto. Ye stay among the waves, I go to heaven.

11. Satrapo (V poi I, II, V) 11. Satrap (V then I, II, V) Taci, lingua perversa: Be silent, wicked tongue: tu, seduttore audace, thou daring seducer, a Dario stesso im[pri]mer ne la mente in Darius' mind itself thou wishedst la tua legge volevi, ai nostri avversa. to stamp thy law, hostile to our people. Taci, lingua perversa. Be silent, perfidious tongue.

Daniele Daniel O, se il mio Dio permesso O had my God allowed m'havesse tanta gratia, O lui felice. me so much grace, O happy he.

Satrapo (I) Satrap (I) E pur osi dannar le leggi nostre? And still darest thou condemn our laws?

Daniele Daniel Non si possono laudar le leggi vostre. Your laws cannot be praised.

Satrapo (II) Satrap (II) Sù, tosto fra i leon Quick, among the lions l'empio si metta. let the wicked be cast.

Daniele Daniel Quest' ira tua le mie dolcezze affretta. This anger hasteneth my sweet things.

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