Giovanni

LEGRENZI(1626–1690) Compiete, Op. 7 Prayers at the End of the Day Nova Ars Cantandi Ivana Valotti, Organ Giovanni Acciai

WORLD PREMIERE RECORDING Giovanni Nova Ars Cantandi LEGRENZI Alessandro Carmignani, Soprano (1626–1690) Andrea Arrivabene, Contralto 1, 3–% Massimo Altieri, Tenor 1, 3–% Compiete con le lettanie Gianluca Ferrarini, Tenor 1, 3–% et antifone della B.V. a 5, Op. 7 (1662) Marcello Vargetto, Bass 1, 3–% Text: Bible 3–7 9–0, Anonymous 8 ! #–%, Hermannus Contractus (1013–1054) @ Ivana Valotti, Organ

1 Iube, domne, benedicere ...... 2:30 Giovanni Acciai 2 Confiteor Deo omnipotenti ...... 3:04 3 Converte nos, Deus (Psalmus 85 [84]) ...... 2:45 We would particularly like to thank Monsignor Giancarlo Manzoli for allowing us to make 4 Cum invocarem (Psalmus 4) ...... 8:14 this recording in the Palatine Basilica of Santa Barbara in Mantua; thanks to Licia Mari, who looks after the Mantua diocesan historical archive, for her constant support 5 In te, Domine, speravi (Psalmus 31 [30]) ...... 5:28 during the various stages of the recording. 6 Qui habitat in adjutorio Altissimi (Psalmus 91 [90]) ...... 4:11 7 Ecce nunc benedicite Dominum (Psalmus 134 [133]) ...... 3:43 8 Te lucis ante terminum (Hymnus) ...... 1:23 9 In manus tuas, Domine (Responsorium brevis) ...... 1:37 0 Nunc dimittis servum tuum, Domine (Canticum Simeonis) ...... 5:00 ! Litaniae Beatae Mariae Virginis ...... 6:46 @ Alma Redemptoris mater (Antiphona mariana) ...... 2:54 # Ave, Regina caelorum (Antiphona mariana) ...... 2:39 $ Regina caeli laetare (Antiphona mariana) ...... 2:38 % Salve, Regina (Antiphona mariana) ...... 5:15 58:54 WORLD PREMIERE RECORDING Giovanni LEGRENZI (1626–1690) Ospedale dei Mendicanti in 1676. In the same year, composers ‘familiar with things studied in depth’.1 Compiete con le lettanie et antifone della B.V. a 5, Op. 7 (1662) Legrenzi competed to succeed With his Op. 7, the Compiete, it was the first time (1602–1676) as maestro di cappella of San Marco, that he had tackled a corpus of prayers belonging but , former vice maestro of the to a liturgy rarely set to music, in comparison Compieta (in English ‘Compline’, derived from Ad the plural title Compiete (‘Complines’) and not Marcian chapel, was the preferred choice. with his countless Mass and Vesper settings. He Completorium – ‘completion’) represents the final Compieta. Five years later, in January 1681, Legrenzi essentially wanted to demonstrate that he had first- part of the Divine Office. It is the collection of Giovanni Legrenzi was born in Clusone, a replaced as vice maestro to rate technical expertise and the education required prayers that, from the first half of the 6th century pleasant town near Bergamo, at that time a domain Monferrato. When Monferrato died, on 23 April to adapt the setting to the new stylistic norms – with the introduction of St Benedict’s Regola of the Venetian Republic, sometime in the first 1685, he finally became maestro di cappella of the which, proceeding along the lines of Monteverdian Monasteriorum – monks (and later also priests) in ten days of August 1626 (his baptism certificate ‘golden basilica’, occupying the same post held by seconda prattica,2 wished to place the words, the Roman church intoned over the course of the bears the date of 12 August). The little Giovanni the sublime Monteverdi 40 years before. in all their expressive power, all their emotional day. learned the first rudiments of music from his father, Giovanni Legrenzi died in in his house sensuality and all their representative physicality, The Divine Office could follow the monastic Giovanni Maria, a violinist at the parish church of opposite the Church of San Lio on 27 May 1690 and at the centre of the act of creation. Conveying the cursus, used by monastic communities that Clusone. Because of his singular and exceptional was buried in Santa Maria della Fava. Thus ended sound of the words through the medium of the observed the Benedictine Rule, or the Roman musical talent, the young man was admitted to the the earthly existence of one of the most gifted, music became the constant guiding endeavour cursus. The latter was practised in the collegiate Accademia di Santa Maria Maggiore in Bergamo admired and influential composers of the latter half for Legrenzi the composer. Clearly, the preferred chapters of cathedrals, parish churches and by between 1639 and 1643 in order to prepare for the of the 17th century. formal model of setting the Compiete texts is some religious orders, such as mendicant friars priesthood and to complete his musical education Legrenzi’s rise to fame and esteemed reputation that of the multi-section ‘cantata’, consisting of and canons, and was also known as the secular with musicians such as Benedetto Fontana was remarkable not only in Italy, but across Europe, a succession of individual parts in contrasting cursus or canonic cursus. The main elements of the (organist at the basilica) and Giovanni Battista and would continue even after his death. Even styles, time signatures and tempos according to Divine Office were identical in both cases, but the Crivelli (maestro di cappella). , formulas rooted in the stile concertato. In fact, with number and arrangement of these elements could On 30 August 1645 Legrenzi became the and Johann Adolph Hasse, enchanted by the beauty the exception of the Confiteor Deo omnipotenti vary between the two. organist at Santa Maria Maggiore, replacing of his superb music and his melodic invention, did (a kind of recitative-aria) and the hymn Te lucis Compline constitutes the final moment of prayer Francesco Rogantino. Due to conflicts with the not hesitate to choose Legrenzi’s melodies as ante terminum (an extended through-composed in the monastic or secular day. It is recited before Chapter of Santa Maria Maggiore, in October 1656 themes for their contrapuntal elaborations. section in ternary time), all the other pieces of the the day ends, and the monks or priests retire for he left Bergamo and accepted the post of maestro Aside from a few pieces that have survived in collection are set in a concertato style, articulated the night to rest (Ad Completorium). With the di cappella at the Accademia della Spirito Santo in manuscript form, Giovanni Legrenzi’s entire output with the frequent alternation between solo and exception of the Marian antiphons and the Litanies Ferrara, which he only held until 1665. His plays and of sacred music appeared in ten volumes published tutti. A refined example of this musical design is that sometimes accompany it, Compline is the one the Compiete manuscript, dedicated to his patron by the Venetian printers Alessandro Vincenzi, undoubtedly Qui habitat in adjutorio Altissimi, a hour of the Divine Office that never changes during the Marchese Ippolito Bentivoglio, date back to this Francesco Magni and Giuseppe Sala in the period piece based on its continual swapping between the the liturgical year. period. between 1654 and 1692. solo entries and the responses of the vocal quintet. Leaving Ferrara in June 1665, Legrenzi tried The complines, together with the litanies The Compiete is a work of dazzling beauty, 1 Quote taken from Legrenzi’s Eteocle e Polinice (libretto and antiphons of the Blessed Virgin by Giovanni to get hired, unsuccessfully, at the courts of the undoubtedly written to impress his generous by Tebaldo Fattorini, dates unknown), first performed at Teatro Legrenzi, Op. 7, published in Venice in 1662 and Habsburgs in Vienna, the Farnese in Parma and protector, Marchese Ippolito Bentivoglio, and in San Salvatore, Venice, Carnival, 1675. 2 Louis XIV in Paris. Attempts at being employed to Monteverdi’s Seconda Prattica (‘Second Practice, or Perfec- presented for the first time in the modern era in this particular the aristocratic and ecclesiastical world tion of Modern music’). ‘The Second Practice is the musical recording, faithfully follow the order of prayers in the post of maestro di cappella at the cathedrals of Ferrara. Legrenzi was at the beginning of his style which makes the “oration” (i.e. the word together with the final hour of the Holy Office as described above, of Milan (1669) and San Petronio in Bologna (1671 professional career: he wished to make his mark the meaning, communicative sense, spirit and concept that lie and 1673) also failed. He then moved to Venice, within it, as well as prosody, syntax and rhetoric) the mistress covering in a single collection the two versions on the musical world by all means possible, in of harmony (i.e. of the music and its phonics, grammar and intended for monastic and non-monastic use. This accepting the role of music teacher at the Ospedale order to allow his talents to be recognised, and structure) and not its maidservant’ (Claudio Gallico: Monte- is the reason why the composer gave his collection dei Derelitti (or dei Poveri) in 1672, and later at the to be considered as one of the skilled and special verdi, 1979). Legrenzi’s sacred music also reveals a mature, The value of Giovanni Legrenzi’s art lies in conscious mastery of the most up-to-date his total adherence to the Monteverdian seconda compositional techniques of the day in the ‘nuova prattica that the music be serva dell’horatione musica’. The listener can easily identify the infinite – serving the expressive demands of the text. range of rhetorical devices associated with the Every piece, whatever its style, is infused with an ‘effects’ of the words, where Legrenzi demonstrates extraordinary intensity of feeling deriving from his knowledge and ability to use them appropriately Legrenzi’s response to the words. and opportunely (some wonderful examples: the The words have a heartbeat – syllables and opening of Cum invocarem, or the significant, stresses give them their breath, their flatus vocis. ornamented bel canto passage on the words ‘Et Song in turn does not simply fulfil a musical or scitote, quoniam mirificavit Domine’). aesthetic function as a display of beauty. It is the No less filled with ingenious ‘inventions’ are expression of the emotions inherent in the words. the parts in stylus gravis or antiquus employed in It was this supreme manifestation of a secret several fugato passages such as on ‘Amen’ in the knowledge that only Legrenzi held the key to. psalms Converte nos Deus, Cum invocarem, Ecce nunc, benedicite Dominum and Nunc dimittis Giovani Acciai servum tuum, Domine. The alto part for In te Domine speravi. Photo C Francesco Fratto

Nova Ars Cantandi Collegium vocale et instrumentale Giovanni Acciai

Founded in 1998 by Giovanni Acciai, Nova Ars Cantandi is one of the most original and creative ensembles in today’s early music scene. Specialising in rare and unpublished Italian sacred vocal repertoire, Nova Unanimously recognised as one of the leading interpreters of Renaissance and Baroque vocal repertoire, Ars Cantandi is particularly admired and acclaimed for its exemplary performances. For over 20 years the Giovanni Acciai studied organ, composition and choir conducting and specialised in palaeography and ensemble of singers and instrumentalists has enabled audiences to explore a musical world full of intense musical philology at the University of Pavia. He is currently emeritus professor of musical palaeography emotion and rare beauty, authentic to the Baroque era, performing in cities such as Venice, Rome and on the musicology course at the ‘Giuseppe Verdi’ Milan Conservatory. Acciai served as conductor of the Naples. Nova Ars Cantandi has recorded for many labels including Tactus, Stradivarius, Universal Music chamber choir of RAI in Rome and the symphonic choir of RAI in Turin. He is currently the conductor Italia, Archiv Produktion and Naxos. The ensemble has been critically acclaimed by publications such and artistic director of the collegium vocale et instrumentale Nova Ars Cantandi, with which he has made as Classic Voice, Musica, Diapason and Early Music America, and has received numerous prestigious numerous recordings, and given concert tours both in Italy and abroad. Acciai has published several awards including the 2019 Franco Abbiati Prize (Italian National Association of Music Critics) for its album articles, reviews on early music and musicological essays, and released albums on the record labels Antes Leo: Responsoria (Archiv Produktion) and a 2017 International Classic Music Award nomination for its Edition, Stradivarius, Sarx, Unda maris, Tactus, Archiv Produktion and Naxos. In 1991 he was appointed an album Bassani: Armonici entusiasmi di Davide (Tactus). Nova Ars Cantandi has participated in various honorary member of the American Choral Directors Association for his international artistic achievements. international festival such as Accademia Musica Antica Milano, Antiqua Bolzano and Magie Barocche. www.giovanniacciai.it www.novarscantandi.it COLLATIO COLLATIO COMPIETA COMPLINE 1 V. Iube, domne, benedicere. V. Lord, bless me. 3 PSALMUS 85 (84), 5; 70 (69), 1-2 PSALM 85 (84), 5; 70 (69), 1-2 S. Converte nos, Deus, salutaris noster. S. Convert us, o God, our saviour. BENEDICTIO BLESSING R. Et averte iram tuam a nobis. R. And turn off thy anger from us. S. Noctem quietam et finem perfectum The Lord Almighty grant us a quiet night S. Deus, in adiutorium meum intende. S. O God, come to our aid. concedat nobis Dominus omnipotens. and a perfect end. R. Domine, ad adiuvandum me festina. R. O Lord, make haste to help us. R. Amen. R. Amen. S. Gloria Patri, et Filio, S. Glory be to the Father et Spiritui Sancto. and to the Son and to the Holy Spirit. LECTIO BREVIS: I Petri, 5, 8-9 SHORT LESSON: I Peter, 5, 8-9 R. Sicut erat in principio, et nunc, et semper, R. As it was in the beginning, is now, and ever V. Fratres, sobrii estote, et vigilate, V. Brethren, be sober, be vigilant because et in saecula saeculorum. shall be, world without end. quia adversarius vester diabolus, tamquam leo your adversary the devil, as a roaring lion, Amen. Alleluia. Amen. Alleluia. rugiens circuit, quaerens quem devoret: walketh about, seeking whom he may devour; cui resistite fortes in fide. whom resist, steadfast in the faith. 4 PSALMUS 4 PSALM 4 Tu autem, Domine, miserere nobis. But thou, O Lord, have mercy upon us: Cum invocarem exaudivit me Deus Hear me when I call, O God R. Deo gratias. R. Thanks be to God. iustitiae meae: of my righteousness: in tribulatione dilatasti mihi. thou hast set me at liberty when I was in trouble; PSALMUS 124 (123), 8 PSALM 124 (123), 8 Miserere mei, have mercy upon me, S. Adiutorium nostrum in nomine Domini. S. Our help is in the name of the Lord. et exaudi orationem meam. and hearken unto my prayer. R. Qui fecit caelum et terram. R. Who hath made heaven and earth. Filii hominum, O ye sons of men, usquequo gravi corde? how long will ye blaspheme mine honour? 2 S. Confiteor Deo omnipotenti, S. I confess to almighty God, ut quid diligitis vanitatem, and have such pleasure in vanity beatae Mariae semper virgini, to blessed Mary ever Virgin, et quaeritis mendacium? and seek after leasing? beato Michaeli Archangelo, to blessed Michael, the Archangel, Et scitote quoniam mirificavit Dominus Know this also that the Lord beato Ioanni Baptistae, to blessed John the Baptist, sanctum suum: Dominus exaudiet me hath chosen to himself the man that is godly: sanctis apostolis Petro et Paulo, to the holy apostles Peter and Paul, cum clamavero ad eum. when I call upon the Lord he will hear me. et omnibus Sanctis, quia peccavi nimis, to all the saints and to you, that I have sinned Irascimini, et nolite peccare: Stand in awe, and sin not: cogitatione, verbo et opere, exceedingly, in thought, word and deed, quae dicitis in cordibus vestris, commune with your own heart mea culpa, mea culpa, through my fault, through my fault, in cubilibus vestris compungimini. and in your chamber, and be still. mea maxima culpa. through my most grievous fault. Sacrificate sacrificium iustitiae, Offer the sacrifice of righteousness: Ideo precor beatam Mariam Therefore I beseech the blessed Mary, et sperate in Domino. and put your trust in the Lord. semper Virginem, beatum ever virgin, Multi dicunt: «Quis ostendit nobis bona?». There be many that say: ‘Who will shew us any good?’. Michaelem Archangelum, blessed Michael the Archangel, Signatum est super nos lumen vultus tui, Domine: Lord, lift thou up: the light of thy countenance upon us. beatum Ioannem Baptistam, blessed John the Baptist, dedisti laetitiam in corde meo. Thou hast put gladness in my heart: sanctos apostolos Petrum et Paulum, the holy apostles Peter and Paul, A fructu frumenti, vini, et olei sui since the time that their corn, and wine, and oil, et omnes Sanctos, orare pro me all the Saints to pray multiplicati sunt. increased. ad Dominum Deum nostrum. to the Lord our God for me. In pace in idipsum I will lay me down in peace, dormiam et requiescam; and take my rest: Quoniam tu, Domine, singulariter in spe for it is thou, Lord, only, that makest me dwell constituisti me. in safety. Gloria Patri, et Filio, Glory be to the Father and to the Son: Scuto circumdabit te veritas ejus: his faithfulness and truth shall be thy shield and buckler. et Spiritui Sancto. and to the Holy Ghost. non timebis a timore nocturno, Thou shalt not be afraid for any terror by night: Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever shall be: a sagitta volante in die, nor for the arrow that flieth by day; et in saecula saeculorum. Amen. world without end. Amen. a negotio perambulante in tenebris: For the pestilence that walketh in darkness: ab incursu et daemonio meridiano. nor for the sickness that destroyeth in the noonday. 5 PSALMUS 31 (30) PSALM 31 (30) Cadent a latere tuo mille, A thousand shall fall beside thee and ten thousand at In te, Domine, speravi In thee, o Lord, have I put my trust: et decem millia a dextris tuis: thy right hand: non confundar in aeternum, let me never be put to confusion ad te autem non appropinquabit. but it shall not come nigh thee. in iustitia tua libera me. deliver me in thy righteousness. Verumtamen oculis tuis considerabis Yea with thine eyes shalt thou behold: Inclina ad me aurem tuam, Bow down thine ear to me: et retributionem peccatorum videbis. and see the reward of the ungodly. adcelera ut eruas me. make haste to deliver me, Quoniam «tu es, Domine, spes mea», For ‘thou Lord art my hope’: Esto mihi in Deum protectorem and be thou my strong rock Altissimum posuisti refugium tuum thou hast set thine house of defence very high. et in domum refugii, and house of defence: Non accedet ad te malum There shall no evil happen unto thee: ut salvum me facias. that thou mayest save me. et flagellum non appropinquabit neither shall any plague come nigh Quoniam fortitudo mea For thou art my strong tabernaculo tuo. thy dwelling. et refugium meum es tu rock and my castle: Quoniam angelis suis mandavit de te For he shall give his angels charge over thee: et propter nomen tuum deduces me be thou also my guide ut custodiant te in omnibus viis tuis. to keep thee in all thy ways. et enutries me. and lead me for thy Name’s sake. In manibus portabunt te They shall bear thee in their hands: Educes me de laqueo quem Draw me out of the net that ne forte offendas ad lapidem pedem tuum. that thou hurt not thy foot against a stone. absconderunt mihi, they have laid privily for me: Super aspidem, et basiliscum ambulabis, Thou shalt go upon the lion and adder: quoniam tu es protector meus. for thou art my strength. et conculcabis leonem et draconem. the young lion and the dragon In manus tuas, Domine, In your hands, Lord, shalt thou tread under thy feet. commendo spiritum meum; I commend my spirit; Quoniam in me speravit, liberabo eum: Because he hath set his love upon me redemisti me, Domine, Deus veritatis. save me, O God of truth. protegam eum, quoniam cognovit therefore will I deliver him:I will set him up Gloria Patri, et Filio, Glory be to the Father nomen meum. because he hath known my Name. et Spiritui Sancto. and to the Son: and to the Holy Ghost. Clamabit ad me et ego exaudiam eum: He shall call upon me and I will hear him: Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever shall be: cum ipso sum in tribulatione, yea, I am with him in trouble et in saecula saeculorum. Amen. world without end. Amen. eripiam eum et glorificabo eum. I will deliver him and bring him to honour. Longitudine dierum replebo eum With long life will I satisfy him: 6 PSALMUS 91 (90) PSALM 91 (90) et ostendam illi salutare meum. and shew him my salvation. Qui habitat in adiutorio Altissimi Who-so dwelleth under the defence of the most High: Gloria Patri, et Filio, Glory be to the Father and to the Son: in protectione Dei caeli commorabitur. shall abide under the shadow of the Almighty. et Spiritui Sancto. and to the Holy Ghost. Dicet Domino: «Susceptor meus es tu I will say unto the Lord: ‘Thou art my hope Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever shall be: et refugium meum, and my strong-hold: et in saecula saeculorum. Amen. world without end. Amen. Deus meus, sperabo in eum». my God in him will I trust’. Quoniam ipse liberavit me For he shall deliver thee 7 PSALMUS 134 (133) PSALM 134 (133) de laqueo venantium, from the snare of the hunter: Ecce nunc benedicite Dominum, Behold now praise the Lord: et a verbo aspero. and from the noisome pestilence. omnes servi Domini; all ye servants of the Lord Scapulis suis obumbrabit tibi He shall defend thee under his wings qui statis in domo Domini, Ye that by night stand in the house of the Lord: et sub pennis eius sperabis. and thou shalt be safe under his feathers: in atriis domus Dei nostri. even in the courts of the house of our God. In noctibus extollite manus vestras in sancta, Lift up your hands in the sanctuary: 0 CANTICUM SIMEONIS (Luca 2, 39-32) CANTICLE OF SIMEON (Luke 2, 29-32) et benedicite Dominum. and praise the Lord. Nunc dimittis servum tuum, Domine, Lord now lettest thou thy servant depart in peace; Benedicat te Dominus ex Sion, The Lord that made heaven and earth: secundum verbum tuum in pace; according to thy word. qui fecit caelum et terram. give thee blessing out of Sion. quia viderunt oculi mei salutare tuum; For mine eyes have seen thy salvation. Gloria Patri, et Filio, Glory be to the Father and to the Son: quod parasti ante faciem omnium populorum: Which thou hast prepared; before the face of all people; et Spiritui Sancto. and to the Holy Ghost. lumen ad revelationem gentium To be a light to lighten the Gentiles; Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever shall be: et gloriam plebis tuae Israel. and to be the glory of thy people Israel. et in saecula saeculorum. Amen. world without end. Amen. Gloria Patri, et Filio, Glory be to the Father, et Spiritui Sancto. and to the Son, and to the Holy Ghost. 8 HYMNUS HYMN Sicut erat in principio, et nunc, et semper, As it was in the beginning; is now, and ever shall be: Te lucis ante terminum, Now that the daylight dies away, et in saecula saeculorum. Amen. world without end. Amen. rerum Creator, poscimus by all thy grace and love, ut solita clementia thee, Maker of the world, we pray ! LITANIAE BEATAE MARIAE VIRGINIS LITANY OF THE BLESSED VIRGIN MARY sis praesul ad custodiam. to watch our bed above. Kyrie, eleison. Lord, have mercy on us. Procul recedant somnia Let dreams depart and phantoms fly, Christe, eleison. Christ, have mercy on us. et noctium phantasmata; the offspring of the night, Kyrie, eleison. Lord, have mercy on us. hostemque nostrum comprime keep us, like shrines, beneath thine eye, Christe, audi nos. Christ, hear us. ne polluantur corpora. pure in our foe’s despite. Christe, exaudi nos. Christ, graciously hear us. Praesta, Pater piissime, This grace on thy redeemed confer, Pater de caelis, Deus, miserere nobis. God the Father of heaven, have mercy on us. Patrique compar unice Father, co-equal Son, Fili, redemptor mundi, Deus, miserere nobis. God the Son, redeemer of the world, have mercy on us. cum Spiritu Paraclito and Holy Ghost, the Comforter, Spiritus Sancte, Deus, miserere nobis. God the Holy Ghost, have mercy on us. regnans per omne saeculum. eternal three in one. Sancta Trinitas, unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us. Amen. Amen. Sancta Maria, ora pro nobis. Holy Mary, pray for us. 9 RESPONSORIUM BREVE (Ps. 31, 6; Lc. 23, 46) SHORT RESPONSORY (Ps. 31, 6; Lc. 23, 46) Sancta Dei genetrix, ora pro nobis. Holy Mother of God, pray for us. V. In manus tuas, Domine, V. Into your hands, Lord, Mater Christi, ora pro nobis. Mother of Christ, pray for us. commendo spiritum meum. I commend my spirit. Mater divinae gratiae, ora pro nobis. Mother of divine grace, pray for us. R. In manus tuas, Domine, R. Into your hands, Lord, Mater purissima, ora pro nobis. Mother most pure, pray for us. commendo spiritum meum. I commend my spirit. Mater inviolata, ora pro nobis. Mother inviolate, pray for us. V. Redemisti nos, Domine, Deus veritatis. V. You have redeemed us, Lord God of truth. Mater intemerata, ora pro nobis. Mother most amiable, pray for us. R. In manus tuas, Domine, R. Into your hands, Lord, Mater Creatoris, ora pro nobis. Mother of our Creator, pray for us. commendo spiritum meum. I commend my spirit. Virgo prudentissima, ora pro nobis. Virgin most prudent, pray for us. V. Gloria Patri, et Filio, V. Glory be to the Father Virgo veneranda, ora pro nobis. Virgin most venerable, pray for us. et Spiritui Sancto. and to the Son and to the Holy Spirit. Virgo praedicanda, ora pro nobis. Virgin most renowned, pray for us. R. In manus tuas, Domine, R. Into your hands, Lord, Virgo clemens, ora pro nobis. Virgin most clement, pray for us. commendo spiritum meum. I commend my spirit. Virgo fidelis, ora pro nobis. Virgin most faithful, pray for us. V. Custodi nos, Domine, ut pupillam oculi. V. Protect me as the pupil of your eye. Speculum iustitiae, ora pro nobis. Mirror of justice, pray for us. R. Sub umbra alarum tuarum protege nos. R. Hide me in the shadow of your wings. Causa nostrae laetitiae, ora pro nobis. Cause of our joy, pray for us. Vas spirituale, ora pro nobis. Spiritual vessel, pray for us. Vas honorabile, ora pro nobis. Vessel of honour, pray for us. Vas insigne devotionis, ora pro nobis. Singular vessel of devotion, pray for us. Rosa mystica, ora pro nobis. Mystical rose, pray for us. # AVE, REGINA CAELORUM HAIL, O QUEEN OF HEAVEN ENTHRONED Turris Davidica, ora pro nobis. Tower of David, pray for us. Ave, regina caelorum, Hail, o queen of heaven enthroned, Turris eburnea, ora pro nobis. Tower of ivory, pray for us. ave, domina angelorum: hail, by angels mistress owned; Domus aurea, ora pro nobis. House of gold, pray for us. salve, radix, salve, porta root of Jesse, gate of morn, Foederis arca, ora pro nobis. Ark of the covenant, pray for us. ex qua mundo lux est orta. whence the world’s true light was born. Ianua caeli, ora pro nobis. Gate of heaven, pray for us. Gaude, virgo gloriosa, Glorious virgin, joy to thee, Stella matutina, ora pro nobis. Morning star, pray for us. super omnes speciosa, loveliest whom in heaven they see: Salus infirmorum, ora pro nobis. Health of the sick, pray for us. vale, o valde decora, fairest thou where all are fair, Refugium peccatorum, ora pro nobis. Refuge of sinners, pray for us. et pro nobis Christum exora. plead with Christ our sins to spare. Consolatrix afflictorum, ora pro nobis. Comforter of the afflicted, pray for us. Auxilium christianorum, ora pro nobis. Help of Christians, pray for us. $ REGINA CAELI, LAETARE, ALLELUIA JOY TO THEE, O QUEEN OF HEAVEN, ALLELUIA Regina angelorum, ora pro nobis. Queen of angels, pray for us. Regina caeli, laetare, alleluia. Joy to thee, o queen of heaven, alleluia. Regina patriarcharum, ora pro nobis. Queen of patriarchs, pray for us. quia quem meruisti portare, alleluia, He whom it was thine to bear, alleluia. Regina prophetarum, ora pro nobis. Queen of prophets, pray for us. resurrexit, sicut dixit, alleluia. as he promised, hath arisen, alleluia. Regina apostolorum, ora pro nobis. Queen of apostles, pray for us. Ora pro nobis Deum, alleluia. Plead for us a pitying prayer, alleluia. Regina confessorum, ora pro nobis. Queen of confessors, pray for us. Regina virginum, ora pro nobis. Queen of virgins, pray for us. % SALVE, REGINA, HAIL TO YOU, O QUEEN, Regina sanctorum omnium, ora pro nobis. Queen of all saints, pray for us. MATER MISERICORDIAE MOTHER OF LOVING KINDNESS Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Salve, regina, mater misericordiae, Hail to you, o queen, mother of loving kindness, parce nobis, Domine. spare us, o Lord. vita, dulcedo, et spes nostra, salve. our life, our happiness, our hope. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Ad te clamamus, exsules filii Hevae, Hear us cry out to you, children of Eve in our exile; exaudi nos, Domine. graciously hear us, o Lord. ad te suspiramus, gementes et flentes hear as we sigh, with groaning and weeping Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, in hac lacrimarum valle. in this life, in this valley of tears. miserere nobis. have mercy on us. Eia ergo, advocata nostra, illos tuos Come then, our advocate, turn towards us misericordes oculos ad nos converte. the gaze of your kind and loving eyes. @ ALMA REDEMPTORIS MATER MOTHER BENIGN OF OUR REDEEMING LORD Et Iesum, benedictum fructum ventris tui, And show us Jesus, the blessed fruit of your womb, Alma Redemptoris mater, Mother benign of our redeeming Lord, nobis, post hoc exilium, ostende. when at last our exile here is ended. quae pervia caeli star of the sea O clemens, o pia, o dulcis virgo Maria. O gentle, o loving, o sweet virgin Mary. porta manes et stella maris, and portal of the skies, succurre cadenti unto thy fallen people help afford fallen, V. = Versiculus/Versus (Versicle) surgere qui curat, populo: but striving still anew to rise. S. = Sacerdos (Priest) tu quae genuisti, Thou who didst once, R. = Responsum (Response) natura mirante, while wond’ring worlds adored, tuum sanctum Genitorem, bear thy Creator, Latin sung texts curated by Lucio Cristante. virgo prius ac posterius, virgin then as now, Gabrielis ab ore sumens illud, Ave, o by thy holy joy at Gabriel’s word, peccatorum miserere. pity the sinners who before thee bow. Hermannus Contractus, 1013–1054 Hermannus Contractus, 1013–1054 Giovanni Legrenzi’s eventual rise to fame can be measured by the fact that both Bach and Handel chose his melodies as themes for their contrapuntal elaborations. Many years earlier, however, as a young composer in Ferrara, Legrenzi wrote Compiete (‘Compline’ in English) which constitutes the final moment of prayer in the monastic or secular day. It is a work of dazzling beauty that shows a mature, conscious mastery of the most up-to-date compositional techniques of Legrenzi’s time in the ‘nuova musica’, and fully honours Monteverdi’s precedent in ensuring music serves the text in all its richness and variety. Giovanni LEGRENZI (1626–1690) 1–% Compiete con le lettanie et antifone della B.V. a 5, Op. 7 (1662) WORLD PREMIERE RECORDING Nova Ars Cantandi Alessandro Carmignani, Soprano Andrea Arrivabene, Contralto Massimo Altieri, Tenor Gianluca Ferrarini, Tenor Marcello Vargetto, Bass Ivana Valotti, Organ Giovanni Acciai A detailed track list can be found inside the booklet. The Latin sung texts and English translations are included in the booklet and may also be accessed along with Italian translations at www.naxos.com/libretti/579086.htm Recorded: 23–25 April 2018 at the Palatine Basilica of Santa Barbara, Mantua, Italy Producers: Ivana Valotti, Giovanni Acciai • Recording engineer and mastering: Jean-Marie Quint Booklet notes: Giovanni Acciai • Cover: Decorated ceiling of the Basilica of Santa Maria Maggiore, Bergamo, Italy; Photo: C pstedrak (ID: 32763584 / 123rf.com) Publisher: Venice, Bartolomeo Magni, 1662; modern critical edition by Giovanni Acciai (b. 1946).