“W hen the Lamb broke open the fifth seal,

I saw underneath the altar, the souls of those who had been slain
C ONSORTIUM C ARISSIMI
“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti Ritratto di Roma 1638
because of the witness they bore to the word of God.”
Apocalispe 6,9

USQUEQUO
PECCATORES
Music for All Saints & All Souls

Gethsemane Church - 905 4th Avenue South, Minneapolis, MN

Thursday, November 1st - 2007 7:00pm

St. Mary’s Chapel at St. Paul Seminary - 2260 Summit Ave, St. Paul, MN
Sunday, November 4th - 2007 4:00pm
16
 C ONSORTIUM C ARISSIMI
“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti Ritratto di Roma 1638
Presentation
Consortium Carissimi was founded in Rome in 1996 with the intent of uncovering and bringing to modern day
ears the long forgotten Italian-Roman sacred and secular music of the 16th and especially the 17th century.
Among the various types of music that flourished in Rome during the 17 th century, the Oratories of Giacomo
Carissimi are perhaps examples of the most outstanding form of composition of that time. Consortium Carissimi
proudly takes on his name as a means for performance practice in both concerts and recordings, moving ahead in
the area of the manuscript transcription and the performances of his little known Motets and Cantatas.
Alongside the works of Carissimi, the ensemble also proposes music of his contemporaries, which was often
mistaken as music of Carissimi either for the similar style or for it’s simple, fresh new approach to text, melody
and accompaniment. Dedicating much of the research and concert activity to composers like Graziani, Rossi,
Pasquini and Sances, Consortium Carissimi assures not only extremely interesting Concert Programming, but
provides a clearer picture of the musical fermentation of the Early Roman Baroque.
This repertory, wrongly forgotten and heard very little today, even within musicological-performance circles, offers
examples of the high level of musical creativity of the time and certainly no less excellent than the European
output of the 18th century. Of great importance is the performance of sacred and secular music transcribed from
manuscript or early print sources, which come from libraries located all over Europe. This work, which is done
by its founder Garrick Comeaux, allows Consortium Carissimi to program World Premier Concerts and
Recordings. The musical style, the affects of the texts, the ornamentation and the choice of the figured bass
instruments are object of continuous research. It is however right within these parameters that Consortium
Carissimi finds its reason for existence and finds the vital energy necessary for the continuing research and
performance practice.
The Italian Consortium Carissimi ensemble consisted primarily of a small nucleus: three male vocal specialists,
Fabio Furnari, tenor; Marco Scavazza, baritone; yours truly as bass singer, and Vittorio Zanon, organ and
musical direction; Pietro Prosser, theorbo; and Crisitiano Contadin, viola da gamba. This Italian ensemble truly
built the foundation for introducing Consortium Carissimi to North America.
Today you will hear the newly formed stateside ensemble of Consortium Carissimi. Much of the Carissimi
repertory requires more mixed voices and additional instruments, as is in the case of this evening’s concert. It is in
fact my hope to pursue the performance of the larger works of this era with this phenomenal stateside ensemble, as
well as to continue musical collaboration with my Italian friends. This first performance of Consortium
Carissimi USA is dedicated to all of them.
Garrick Comeaux
www.consortiumcarissimi.it
2 15
One of the first phrases I learned in Italy, many years ago, was the colloquial expression, ma ti rendi conto,
which can be said as a question or as an exclamation. It means in either case, can you believe it? or perhaps go
figure!
I landed in Italy with a one way ticket, to continue my studies at the Conservatorio di Santa Cecilia in Rome.
In order to make ends meet financially and not get into trouble with Italian work permit office, I took a
job as an au pair in a private home in Velletri. I soon came to the realization that this was the home of the
Italian cinema actor, Ugo Tognazzi and his large extended family, ma ti rendi conto!
I helped in the kitchen, served at table and I drove the children to school; Maria Sole to Castel Gandolfo and
Gian-Marco to Marino. This is where it all started. I soon fell in love with Marino and all the Castelli
Romani, land of wine and bread and Popes, and the birth-place and home of two of our composers in this
evening’s concert, Graziani and Carissimi, ma ti rendi conto!
It is interesting to notice that this small hillside town of Marino produced musicians the likes of Carissimi
and Graziani. There is yet one more but even lesser-known musician that Marino can claim. Giovanni
Battista Mocchi will make for interesting future investigation and concert programming.
I am very pleased that this music has stirred up interest on the part of such fine singers and players and
has brought about this state side ensemble to come together. We are truly honoured to bring this music to
the fine Twin Cities audience.
Garrick Comeaux
Look for future concert programming under our Future Concerts section at our website:
www.consortiumcarissimi.it
——————— Consortium Carissimi CD Recordings ———————
Mass for Three Voices Naxos Records (8.555075)
with Six Motets of Giacomo Carissimi (1605-1764)
Ten Motets Naxos Records (8.555076) of Giacomo Carissimi (1605-1764)
Santa Agnese Oratorio Disques Pierre Verany PV703051
of Bernardo Pasquini (1637 - 1710)
Dialogue Motets of Cristóbal de Morales Sanctuary Records — London CD GAU 343
Jephte / Jonas / Dai più riposti abissi Naxos Early Music 8.557390
12 Motets of Giacomo Carissimi Disques Pierre Verany — Paris PV 705011
Even though Mottettum de martyribus is written on the front cover of Usquequo peccatores, this sort of
composition exposes the difficulty in determining what actually differentiates an oratorio from a The Singers
Motet. This Motet (or Oratory) is made up of different familiar Biblical passages which recount the
course of all the Saints and Souls throughout history. Sopranos Altos Tenors Basses
Linh Kaufman Karla Cole Steven Knight Dan Cross
A facsimile of page three of the figured bass part has been placed on the back cover of this concert
program. It gives specific indication of the theatrical nature of this music, whether we call it an Kathryn Higgins Timothy Faatz Tim Nelson Tim Higgins
oratory or a motet. You will notice an inscription to the left of the third line down which states sotto Bridget Higgins Jerry J. Hinks Steve Staruch Christopher Michela
l’altare for choir II. This choir (soprano, alto and tenor) sang from underneath the altar where often
the relics of a patron saint are placed for veneration. Many basilicas and churches in Rome have this Diane Koschak Beth Nunnally Ben Henry-Moreland
structure (somewhat similar to St. Peter’s) thereby creating acoustical dynamics for a very dramatic Julie Seykora Douglas Shambo II
interpretation.
Carrie Henneman- Jeff Stone
Shaw
The works in this concert program are undoubtedly some of greatest masterpieces of the Early Italian
Baroque. It is most appropriate to end our first concert with the words of the psalmist: Raise a song and Lani Willis
sound the timbrel, the merry harp, and the lyre.
Garrick Comeaux
The Players

Violin Basso Continuo Organ

Kathryn McWilliams Thomas E. Walker, Jr. theorbo David Bartlett
Cornetto Phil Rukavina, theorbo
Scott Hagarty Annett Richter, lute
A special thanks
Recorders Mary Virginia Burke, viola da gamba

to Fr. Tom Margevicius, our host at the St. Paul Seminary and helper with latin text translations, Eden Kaiser Mark Kausch, violone

to Rev. Aron Kramer and the community of Gethsemane Episcopal Church, Alan Kolderie

to Bill Mathis and Hennepin United Methodist Church for the use of the portative organ,
to Julie Seykora, Beth Nunnally, for helping set to up our state-side administration,
to Tom Walker and Mark Kausch for thier collective energies,
to Douglas Shambo for help with more latin text translations and to Direction
Elisabeth Comeaux Garrick Comeaux
for truly believing that this incredible endeavor should come to pass.

English translations of the Latin Texts with Biblical and the Liturgical references
have been reproduced in bold letters and left in their original contexts.
Poetical innovations in these counter-reformation texts are translated directly in [brackets].

14 3
 THE PROGRAM Manuscripts or Early Printed Editions, and as a consequence, much if not all of this music has not
been performed and heard since. Any endeavour to accurately account for this music would be
Timete Dominum Giacomo Carissimi (1605-1674) difficult without the enormous work done by Prof. Andrew V. Jones in his Doctoral Dissertation Motets
Motet for five mixed voices, and Basso continuo of Carissimi Oxford University 1980, British studies in musicology no.5; a revision of the author’s
Ben Henry-Moreland, Bass thesis, produced and distributed by UMI Research Press, Ann Arbor, Michigan (USA).
Timete Dominum omnes sancti eius O fear the LORD, ye his saints: for there is no
More than 200 Motets have been attributed to Carissimi over the years but Prof. Jones’ exhaustive
quoniam nihil deest timentibus eum. want to them that fear him.
work has helped in clearing much of the confusion concerning the correct authorship of numerous
Inquirentes autem Dominum, ...but they that seek the LORD shall not want
Motets (Cazzati, Foggia, Sances and Graziani). When close scrutiny is applied in the quest for
non deficient omni bono. any good thing. Ps. 34(33) 10,11
authenticity, many Motets still remain of uncertain attribution. All of this evening’s music is
Alleluia. definitely of the hand of Carissimi, Graziani and Cavalli.
Venite, venite ad me, Come unto me,
all you that labor and are heavy laden, We open with the Motets Timete Dominum, and Beati mundo corde. Timete is in fact an interesting aspect
omnes qui laboratis et oneratiestis, and I will give you rest. Mt. 11,28
et ego reficiam vos. of the liturgical innovation going on within the counter-reformation city of Rome. The motet begins
Alleluia. with the text from the Gradual Psalm, moves directly to the Alleluia Verse and Tract, repeating the
Alleluia.

Beati mundo corde
Motet for three mixed voices and Basso continuo
Diane Koshak, Kathryn Higgins, Sopranos - Steve Staruch, Tenor
Beati, beati mundo corde, beati, beati innocentes quae
Deus nobis bona preparavit
non oculi viderunt non aures audiverunt,
non cor mens humana non cogitavit.
Gaudete ergo, gaudete, gaudete mundo corde,
gaudete innocentes gaudete,
gaudete mentem sanctam Domini,
ad mentam sanctam Domini.
Vestra vos iubilantes innocentia ducet.
Gaude, gaude beate, beate gaude,
collaudare carmen aeterno regi modulati.
Innocentiam servasti generosam animosam tuam
fidelium te probasti iam coronam, coronam capite
Longa merces, brevis vitae voluptatis faustitatis
immortalis infinita reportabis flumine.
Certamen consumasti. Iam in valle lachrymarum.
Gemendo plorando et suspirando
et suspirando tuum semen seminasti.
Iam gloriam petis et regna caelorum,
iam gloriam petis et regna caelorum,
iam gaudia metis flores, et flores, et flores honorum.
Bonifazio Graziani (1604-1664)
Blessed are the pure in heart:
for they shall see God. Mt 5,8
But as it is written,
Eye hath not seen, nor ear heard,
neither have entered into the heart of man,
the things which God hath prepared
for them that love him. I Cor 2,9
Blessed is the man that endures temptation: for
when he is tried,
he shall receive the crown of life,
which the Lord hath promised
to them that love him. Js 1, 12
Bonifazio Graziani is perhaps one of the best kept secrets of the early Roman Baroque period.
Discerning authorship of his music is not as problematic as it is with Carissimi’s, since most of his
efforts were conveniently published, by his brother, Graziano. His motet Beati mundo corde is set to the
first line or incipit of the text for the Offertory of All Saints, but as is often the case in this period,
none of the text that follows is consistent with the prescribed liturgical text.
Militia est vita hominis and Suscitavit Dominus are “dialogue motets” that were probably not heard within
any liturgical context, but rather in the para-liturgical atmosphere of the oratory, (San Filippo Neri at
the Chiesa Nuova and of course the Santissimo Crocifisso near via del Corso). Fridays in Lent were
especially popular for Roman Catholics (literally Roman) and these events of great music and fine
preaching were considered to be spiritual exercises for the upcoming Holy Week and the Easter Feast.
Pier Francesco Cavalli came from Crema, Italy (same area as Monteverdi and Verdi) but found his
way to Venice where he held the prestigious post of choirmaster at St. Mark’s for many years. At the
death of Monteverdi in 1643, the position had in fact been offered to Carissimi, who declined for
reasons we are not sure about, but we can certainly speculate that Rome was home and that he had it
quite good. Towards the end of Cavalli’s career, he wrote this eight voice Requiem in 1675 and died
in 1676, one year after Giacomo. The Sequentia Dies irae which belongs to this Requiem Mass is
dramatic and expressive. Made up of 19 small sections, the eight voices perform as different organ
registrations, alternating in threes and fours, and splendidly bringing to a close the first part of this
All Saints Concert.
Sustinuimus pacem and Usquequo peccatores come from a Seminary Library in Kroměříž in Moravia of the
Czech Republic. Sustinuimus pacem is composed of two responsorio texts that come from the Offices for
the 1st Sunday in November. The rest of the text is a free composition, either on the part of Graziani
himself or a Jesuit colleague at Il Gesù, where he was employed, as Maestro d Cappella.

4 13

Jubilate, jubilate,
Martyres non cadet amplius super vos aestus et sol,
jubilate...
Jubilemus, jubilemus.
Facti estis coronati, nunc felices, nunc felices et beati
in aeternum esultate.
In aeternum exultate, in aeternum triumphate.
Facti sumus facti sumus consolati nunc felices et beati
in aeternum exultemus in aeternum triumphemus.
Gaudete Martyres, jubilate Martyres.
Gaudete, gaudete, jubilate.
Sumite psalmum, tangite citharas et cantate.
—————— This evening’s performance ——————
[ Rejoice O martyrs! ]
They shall not hunger nor thirst; neither shall
the heat nor sun smite them: for he that hath
mercy on them shall lead them, even by the
springs of water shall he guide them. Is.49,10
[ We rejoice! ]
When the LORD restored
the fortunes of Zion,
then were we like those who dream. Ps 126,1
[ Rejoice in eternity, triumph forever! ]
Sing with joy to God our strength and raise a
loud shout to the God of Jacob.
Raise a song and sound the timbrel, the
merry harp, and the lyre. Ps 80,1
Militia est vita hominis
Motet for three mixed solo voices, two violins, bassoon and Basso continuo
Kathryn Higgins, Lani Willis, Sopranos - Douglas Shambo, Bass
Militia est vita hominis super terram, militia est.
Non coronabitur nisi qui legitime certaverit,
non coronabitur.
State ergo dilectissimi
succinti lumbos vestros in veritate,
induimini loricam justitiae, et pugnate cum dracone.
Induimini arma lucis.
Induimini arma fidei in qua possitis ignem tela
nequissimi hostis extinguere.
Sumite galdium spiritus, sumite scutum justitiae,
sumite galeam salutis.
Sumite arma lucis, et pugnate cum dracone.
Non coronabitur nisi qui legitime certaverit,
non coronabitur.
Giacomo Carissimi
Does not man have hard service on earth?
Job 7,1
Similarly, if anyone competes as an athlete, he
does not receive the victor's crown unless he
competes according to the rules. II Tim. 2,5
Stand firm then, with the belt of truth buckled
round your waist, with the breastplate of
righteousness in place, Eph. 6,14
And there was war in heaven. Michael and his
angels fought against the dragon, and the dragon
and his angels fought back. Ap. 12,7
The night is nearly over; the day is almost here.
So let us put aside the deeds of darkness and put
on the armor of light. Rm. 13,12
In addition to all this, take up the shield of faith,
with which you can extinguish all the flaming
arrows of the evil one.
Take the helmet of salvation
and the sword of the Spirit,
which is the word of God. Eph. 6,16-17

Today, unfortunately not one autograph manuscript of Giacomo Carissimi is to be found in

Rome or anywhere for that matter. The first attempt to seriously search for them was done by Suscitavit Dominus Giacomo Carissimi
Pietro Alfieri (1801-1863) who published his findings in the Gazzetta musicale di Milano in 1851 and Motet for three mixed voices, two violins and Basso continuo
again in 1855. Alfieri concluded that the suppression of the Society of Jesus (1773) caused an Jerry J. Hinks, Alto - Ben Henry-Moreland, Bass - Steve Staruch, Tenor
enormous upheaval at the College where Carissimi taught and where the manuscripts were most
likely sold as waste paper to the cheese mongers at the Campo de’ fiori open market. The French Suscitavit Dominus super Babylonem et super See! I rouse against Babylon, and against
occupation in Rome (1798-1799) also caused the pillaging of many archives which contained this habitatores eius quasi ventum pestilentem those who live in Chaldea, a destroying wind.
sacred music. Already in 1851, Alfieri underscores the fact that those manuscripts which survive Against Babylon I will send winnowers to
are due to the enthusiasm and diligence of those who were students of Carissimi, and to those
misit ventilatores et ventilabunt et demolientur eam.
winnow her and lay waste her land; Jer. 51,1-2
scholars who came to Italy and collected music.

Since there are no existing autograph Motet manuscripts of Giacomo Carissimi, all manuscripts Fugite populi, fugite gentes, de medio Babylonis, et Flee away from the confines of Babylon,
that have been transcribed by Consortium Carissimi are transcriptions themselves of Carissimi’s salvet unusquisque animam suam. flee for your lives. Jer. 51,6
contemporaries. These transcriptions of both sacred and secular music come from Library

12 5
 Super muros eius levate signum augete custodiam Against Babylon’s walls display the standard,
keep strict watch, post sentinels. Jer 51,12 Let them vanish like smoke when the wind drives it
preparate insidias,
Whet arrow and fill quiver, the Lord has put a Quid sum miser tunc dicturus? What am I theaway; wretchas the
thenwax
to melts
say? at the fire,
acurite sagittas, implete faretras, quia ultio Domini est, so let the wicked perish at the presence of God.
resolve into the heart of the Median King, quem patronum rogaturus?
Pereant peccatores a facie Dei, memoria eorum What patron I to beseech?
mens eius est perdat eam, e Psalm 67,3
he will have Babylon overthrown. Jer 51,11 cumetvix
super illos veniat mors iustus sitinfernum,
descendant securus When scarcely the just be secure.
t ponat urbem fortem in ruinam. Let their sin be always before the LORD;
...a crumbling ruin, pereant, pereant peccatores a facie Dei, pereant, but let him root out their names from the earth;
all that is left of a walled city. Is. 25,2 Rex pereant.
pereant, tremendae maiestatis, King of tremendous Majesty, Psalm 109,15
...thy end is reached, thy thread is spun. qui salvandos salvas gratis, who saves those-to-be-saved
Let death come upon them free, suddenly; let them
Jer 51,13 salva me, fons pietatis. save me, Fount of piety.
go down alive to the grave;
Infelix Babylon, quae habitas super aquas multas locu- See how her warriors quit the field, for wickedness is in their dwellings, in their very
ples in thesauris, venit finis eius, venit interitus eius, to garrison their strongholds, Recordare Iesu pie, Remember, faithful Jesus,
midst. Psalm 55,15
venit dies praecisionis tuae, cessarverunt fortes tui a how their valour dies away, quod sum causa tuae viae: because I am the cause of your journey:
praelio, habitaverunt in praesidiis, how her roofs blaze, ne me perdas illa die. do notWhen the third
lose me angel
on that blew his trumpet, a large star
day.
the bars of her gates shattered! Jer 51,30 burning like a torch fell from the sky.
devoratum est robur eorum, It fell
incensa sunt tabernacula tua. Quaerens me, sedisti lassus: Thou has sat down as on
onea third of the
wearied rivers me,
seeking
and on the springs of water. Ap 8,10
redemisti crucem passus: thou has redeemed having suffered the Cross:
Dies irae Pier Francesco Cavalli (1602-1676) See, the storm of the LORD!
tantus labor non sit cassus. so muchHis labor let it
wrath breaksnot forth
be lost.
in a whirling storm that
The Sequentia from the Missa pro defunctis for two choirs Heu, Stella, heu stella fatales, heu, procelle, heu, bursts upon the heads of the wicked. Jer 30,23
Dies irae, dies illa, Day of wrath, heu procelle fatales, nos Iuste
abscondite
iudexcolles, nos Just judge
ultionis, of cried
They the avenging-punishment,
out to the mountains and the rocks,
solvet saeculum in favilla, day that will dissolve the world into burning coals, abscondite valles, heu perimus,
donum facperimus, monteswork the
remissionis, “Fall onofusthe
gift andremission (of sins)
hide us from the face of the one
teste David cum Sibylla. as David bore witness with the Sibyll. et valles nos perimus sed non perimus.
ante diem rationis. before thewhoDaysits of
onthe
theReckoning.
throne and from the wrath of
the Lamb…” Ap 6,16
Quantus tremor est futurus, How great a tremor is to be, Ingemisco, tamquam reus: I groan, as the accused:flesh on the mountains, and fill
I will leave your
quando iudex est venturus, when the judge is to come culpa rubet vultus meus: my face grows thered
valleys
fromwith (my)your carcass. Ez 32,6
fault:
cuncta stricte discussurus! briskly shattering every (grave). They came and
supplicanti parce Deus. spare (this) supplicant, O God. woke him, saying, "Lord, save us!
We are perishing!" Mt 8, 25
We are afflicted in every way, but not constrained;
Tuba mirum spargens sonum A trumpet sounding an astonishing sound Qui Mariam absolvisti, Thou who forgave Mary
perplexed, but not driven to despair; persecuted, but
per sepulcra regionum, through the tombs of the region et latronem exaudisti, and favorably heard the
not abandoned; (good)
struck thief,
down, but not destroyed;
coget omnes ante thronum. drives all (men) before the throne. mihi quoque spem dedisti. hast also given me hope. II Cor 4,0

Mors stupebit et natura, Death will be stunned and (so) will Nature, Preces meae non sunt dignae: My prayers are not worthy,
I tell you, unless your righteousness surpasses
cum resurget creatura, when arises (man) the creature sed tu bonus fac benigne, but do Thou, Good (God), deal kindly
that of the scribes and Pharisees,
iudicanti responsura. responding to the One judging. ne perenni cremer igne. lest I burn
you will not enterfire.
in perennial into the kingdom of heaven.
Gaudete, gaudete Martyres, gaudete, Martyres,
Mt 5,20
Liber scriptus proferetur, The written book will be brought forth, iustitia vestra
Interconvertetur,
oves locum praesta, Among the Yousheep offer (me)
have turned a place into dancing;
my wailing
in quo totum continetur, in which the whole is contained convertetur in gaudium, verteturmeinsequestra,
et ab haedis gaudium and from the goatsyou have put offme,
sequester my sack-cloth
unde mundus iudicetur. whence the world is to be judged. gaudete, Martyres, gaudete.
statuens in parte dextera. placing (me) atand clothed
(Thy) rightme with joy. Ps 29,12
hand.
Amen, amen, I say to you, you will weep and
Iudex ergo cum sedebit, Therefore when the Judge shall sit, mourn,
Confutatis maledictis, After the accursed while
have beenthesilenced,
world rejoices;
quidquid latet apparebit: whatever lay hidden will appear; you will grieve, but your
flammis acribus addictis, given up to the bitter flames, grief will become joy.
nil inultum remanebit. nothing un-avenged will remain. voca me cum benedictis. call me with the blest.

6 11

Usquequo peccatores, usquequo gloriabuntur,
usquequo gloriabuntur,
Deus ultionum Dominus redde retributionem superbis.
Vox sanguinis fratris tuorum de terra clamat ad te,
animas interfectorum propter verbum Dei
clamat voce magna dicentes, vindica domine, s
anguinem sanctorum quorum, qui effusus est.
Mihi, mihi vindictam et ego, et ego retribuam, consolabor
super inimicos vestro et vindicabo.
Propter te mortificamur tota die solitudinibus errantes et
montibus et speluncis in vigiliis in ieiuniis (aerumnis?)
egentes angustiati adflicti tamquam oves ad occisionem
ducti, vindica…
Inebriabo sagittas meas
sanguine peccatorum et vindicabo.
Exite, exite Angeli et vindicate, et vindicate,
et vindicate, et vindicate.
10
Dies irae cont.
How long shall the wicked, O LORD,
how long shall the wicked triumph? Ps 94 (93)1-3
What have you done! Listen: your brother's
blood cries out to me from the soil! Gen 4,10
They cried out in a loud voice, "How long will
it be, holy and true master, before you sit
in judgment and avenge our blood on the
inhabitants of the earth?" Ap 6,9-10
Let it be known among the heathen and in our
sight that you avenge the shedding of your
servants' blood. Ps 79,10
Beloved, do not look for revenge but leave room
for the wrath; for it is written,
“Vengeance is mine, I will repay,” says the
Lord. Rm 12,19
Therefore says the Lord, the LORD of hosts,
the mighty One of Israel,
Ah, I will ease me of mine adversaries, and
avenge me of mine enemies: Is 1,4
As it is written: “For your sake we are being
slain all the day; we are looked upon as sheep to
be slaughtered.” Rm 8,36
The world was not worthy of them. They wan-
dered about in deserts and on mountains, in
caves and in crevices in the earth. Hebrews 11,38
...in beatings, imprisonments,
riots, labors, vigils, fasts; II Corinthians 6,5
They were stoned, sawed in two, put to death at
sword's point; they went about in skins of sheep or
goats, needy, afflicted, tormented. Heb 11,37
As it is written: “For your sake we are being slain
all the day; we are looked upon as sheep to be
slaughtered.” Rm 8,36
I will make my arrows drunk with blood,
[ of sinners, and I will punish ]. Dt 32,42
[ Arise, arise angels, and punish! ]
Quid sum miser tunc dicturus? What am I the wretch then to say?
quem patronum rogaturus? What patron I to beseech?
cum vix iustus sit securus When scarcely the just be secure.
Rex tremendae maiestatis, King of tremendous Majesty,
qui salvandos salvas gratis, who saves those-to-be-saved free,
salva me, fons pietatis. save me, Fount of piety.
Recordare Iesu pie, Remember, faithful Jesus,
quod sum causa tuae viae: because I am the cause of your journey:
ne me perdas illa die. do not lose me on that day.
Quaerens me, sedisti lassus: Thou has sat down as one wearied seeking me,
redemisti crucem passus: thou has redeemed having suffered the Cross:
tantus labor non sit cassus. so much labor let it not be lost.
Iuste iudex ultionis, Just judge of the avenging-punishment,
donum fac remissionis, work the gift of the remission (of sins)
ante diem rationis. before the Day of the Reckoning.
Ingemisco, tamquam reus: I groan, as the accused:
culpa rubet vultus meus: my face grows red from (my) fault:
supplicanti parce Deus. spare (this) supplicant, O God.
Qui Mariam absolvisti, Thou who forgave Mary
et latronem exaudisti, and favorably heard the (good) thief,
mihi quoque spem dedisti. hast also given me hope.
Preces meae non sunt dignae: My prayers are not worthy,
sed tu bonus fac benigne, but do Thou, Good (God), deal kindly
ne perenni cremer igne. lest I burn in perennial fire.
Inter oves locum praesta, Among the sheep offer (me) a place
et ab haedis me sequestra, and from the goats sequester me,
statuens in parte dextera. placing (me) at (Thy) right hand.
Confutatis maledictis, After the accursed have been silenced,
flammis acribus addictis, given up to the bitter flames,
voca me cum benedictis. call me with the blest.
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Dies irae cont.
Oro supplex et acclinis, Kneeling and bowed down I pray, Sustinuimus pacem Giacomo Carissimi
cor contritum quasi cinis: My heart contrite as ashes: Motet for six mixed voices and Basso continuo
gere curam mei finis. Do Thou [my End,] care for my end. Diane Koshak, Kathryn Higgins, Sopranos

Sustinuimus pacem et non venit quaesimuns bona
Lacrimosa dies illa, That sorrowful day,
et ecce turbatio.
qua resurget ex favilla. on which will arise from the burning coals
iudicandus homo reus: Man accused to be judged:
Cognovimus Domine peccata nostra peccavimus.
huic ergo parce Deus. therefore, O God, do Thou spare him.
Impii gessimus peccavimus iniquitatem fecimus
in omni iustitiam tuam.
Pie Jesu Domine, Faithful Lord Jesus,
dona eis requiem. Amen. grant them rest. Amen.
Aspice Domine de sede sancta tua, et miserere nostri.
Inclina Deus meus aurem tuam ad preces nostram,
aperi oculos et vide tribulationem nostram et esto
————— An interval of 15 minutes ————— placabilis super nequitia populi tui.
Clamemus ad Dominum et misericordiam tuam fusis
lachrimis postulemus
humiliemus illi animas nostra
et benedicat nos in aeternum.
We wait for peace, to no avail;
for a time of healing,
but terror comes instead. Jer 14,19
We recognize, O LORD, our wickedness,
the guilt of our fathers;
that we have sinned against you. Jer 14,20
O Lord, in keeping with all your just deeds,
let your anger and your wrath be turned away
from your city Jerusalem, your holy mountain.
Dan 9,16
Look thou upon me, and have mercy on me ac-
cording to the judgment of them
that love thy name. Ps 118,132
O my God, incline thine ear, and hear;
open thine eyes, and behold our desolations,
and the city which is called by thy name:
for we do not present our supplications before
thee for our righteousness,
but for thy great mercies. Dan 9,18
...let thy anger cease, and be appeased upon the
wickedness of thy people. Ex 32,12

Usquequo peccatores Giacomo Carissimi

Motet for ten mixed voices, two violins, lute and Basso continuo

CHOIR I
Linh Kauffman, Diane Koshak, Carrie Henneman-Shaw, Sopranos

CHOIR II
Kathryn Higgins, Soprano - Timothy Faatz, Alto - Tim Nelson, Tenor

CHOIR III
Lani Willis, Soprano solo- Steve Stauch Tenor solo - Douglas Shambo II, Bass solo

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