The use of cameras or recording equipment during the

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry ofthe 

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

www.n2a.s0v

cover: Canaletto, The Square ofSaint Mark’s, Venice, 1742/1744,

National Gallery of Art, Washington, Gift of Mrs. Barbara Hutton

The Sixty-ninth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,831st Concert

National Gallery ofArt Vocal Ensemble

with Chatham Baroque

Presented in honor of

Venice: Canaletto and His Rivals

March 13, 2011

Sunday Evening, 6:30 pm 

West Building, West Garden Court

Admissionfree
Giovanni Antonio Rigatti (1613-1648)

Laudate Dominum, a 6 con 2 violini 

(Praise the Lord, in six voices with two violins)

Program Antonio Lotti (1667-1740)

Querela amorosa (Amorous Querela)

Inganni dell' umanita (Human Deceptions)

La Vita caduca (The Short Life)

Baldassare Galuppi (1706-1795)

From Mass in C

Antonio Vivaldi (1678-1741)

Trio Sonata in G Minor, op. 1. no. 1, rv 73

Kyrie and Gloria Vivaldi

Magnificat, rv 610 (1715)

Francesco Cavalli (1602-1676)

From Musiche sacre concementi (Regarding Sacred Music) (1656)

Agnus Dei

Biagio Marini (1594-1663)

Sonata sopra “La Monica” (Sonata on “La Monica”), op. 8 (1626)

Benedetto Marcello (1686-1739)

Salmo x (Psalm 10)

Dario Castello (1590-1658)

From Libro secondo (Second Book of Sonatas) (Venice, 1629)

Sonata decima (Tenth Sonata)

Claudio Monteverdi (1567-1643)

Beatus vir (Blessed is the Man) (1641)

INTERMISSION
The Musicians

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

The National Gallery7 ofArt Vocal Ensemble is now in its seventh season as a

chamber choir under the leadership ofits artistic director, Rosa Lamoreaux.

Tire ensemble has presented special programs in honor of Gallery exhibitions, including part-songs and anthems by nineteenth-century English composers in honor of The Artist’s Vision: Romantic Traditions in Britain (2006);

seventeenth-century Dutch music in honor ofJan Liei’ens: A Dutch Master

Rediscovered (2008); and Pride ofPlace: Dutch Cityscapes ofthe Golden Age

(2009). In 2008 the singers were guest artists at the Sonora, Mexico, Music

Festival, where they sang a program of Spanish and Hispanic choral music.

In 2010 members ofthe Vocal Ensemble joined forces with the early music

ensemble artek to perfonn Claudio Monteverdi’s Vespers ofthe Blessed Virgin

(1610) on the occasion ofits 400th anniversary year.

Members ofthe ensemble participating in this concert are:

Rosa Lamoreaux, artistic director and soprano

Barbara Hollinshead, mezzo-soprano

Rebecca Kellerman Petretta, soprano

Roger Isaacs, countertenor

Stephen White, tenor

Steven Combs, baritone

Matthew Heil, tenor

Peter Becker, bass-baritone

Organist Joseph Gascho participates in this concert as guest keyboardist

with the Vocal Ensemble.

4

The three Pittsburgh-based musicians who comprise Chatham Baroque

have a reputation for dazzling technique and artful interpretations. The

Chicago Tribune recently called the group “a splendid period-instruments

ensemble,” and the Washington Post described the trio as “musically impeccable.” The baroque violin of Andrew Fouts, the viola da gamba as played 

by Patricia Halverson, and the theorbo in the hands of Scott Pauley combine

to provide a unique insight into the music ofthe baroque. Founded in 1991,

Chatham Baroque has taken its concert and education programs to the British 

Virgin Islands, Mexico City, Montreal, and Toronto as well as to many venues

in the United States. Tire ensemble has been heard on CBC/Radio-Canada,

Indiana Public Media’s Hannonia, American Public Media’s Performance

Today, and whsu Public Radio’s Sunday Baroque.

When they are not on tour, the three musicians present a regular concert

series in Pittsburgh. With the assistance of guest performers, the ensemble

has produced such programs as “Espanoleta” with percussionist Danny Mallon,

“Bohemian Rhapsody” with baroque trumpeter Barry Bauguess, and “Music

ofthe Jewish Diaspora” with soprano Anna Levenstein. Violinist Robert 

Seletsky participates in this concert as a guest player with Chatham Baroque.

Chatham Baroque has released seven best-selling CDs on Dorian Records.

Both The Scotch Humour and Henry Purcell: Sonatas and Theatre Music received

five-star ratings from Europe’s Goldberg magazine. The ensemble’s CD of

music by the seventeenth-century Italian composer and lutenist Giovanni

Girolamo Kapsperger will be released later this year. Chatham Baroque

appears at the National Gallery by arrangement with Jonathan Wentworth

Associates, Ltd., wwvrjwentworth.com.

CHATHAM BAROQUE

5
Program Notes

By the eighteenth century, Venetians could claim a heritage ofmore than

two hundred years of glorious music and illustrious composers. Looking 

back to the sixteenth century, they could point to Adrian Willaert (1490-

1562) and his pupils Andrea (1532-1585) and Giovanni (1554-1612) Gabrieli,

all ofwhom served as music director at the Cathedral of Saint Mark. From

the seventeenth century, they could boast ofClaudio Monteverdi (1567-1643),

Francesco Cavalli (1602-1676), and Giovanni Legrenzi (1626-1690). During the course ofthe eighteenth century, the era ofAntonio Vivaldi, Tomaso

Albinoni, and the superstar castrato Carlo Broschi, popularly known as

Farinelli, the city’s vibrant cultural life also inspired a school of cityscape 

painters whose achievements are among the most brilliant ofthe period. The

exhibition Venice: Canaletto and His Rivals celebrates the rich variety ofthese

painted views of Venice, known as vedute, through masterworks by Giovanni

Antonio Canal (1697-1768), popularly known as Canaletto, and his rivals,

including Bernardo Bellotto (1720-1780), Francesco Guardi (1712-1793), and

Michele Marieschi (1710-1743). Responding to an art market fueled largely by

the Grand Tour, these gifted painters depicted the famous monuments and

vistas ofVenice in different moods and seasons.

This evening’s program brings together works by some ofthe city’s

most illustrious resident composers, providing an opportunity to hear music

that was played within the walls ofthe palaces and churches depicted in

the vedute. This concert is the third offour presented by the Gallery in honor

of Venice: Canaletto and His Rivals. The final concert takes place on April 10,

when the guest ensemble will be the Venice Baroque Orchestra. Tire exhibition remains on view in the East Building until May 30, 2011.

Giovanni Antonio Rigatti published nine volumes ofsacred music, five

containing motets, and four containing psalms and masses. From 1635 t° 1637,

he w7as the choirmaster at the Cathedral in Udine. Though only in his twenties

at the time, he was already a highly esteemed composer of church music.

From Udine he went to Venice, where he entered tire priesthood, sang at Saint

Mark’s Cathedral, and taught singing at one ofthe Venetian conservatories.

6

Bom on the island of Burano, where a monument has been erected in 

his memory, Baldassare Galuppi was known to his eighteenth-century Venetian colleagues as “II Buranello.” A pupil ofAntonio Loth, Galuppi worked

most of his life in Venice except for sojourns at the court of Catherine the

Great in Saint Petersburg and as an opera composer in London. Written

while he was the choirmaster at the Ospedale degli Incurabili (Venice’s hospice for “incurables”) and at Saint Mark’s Cathedral, his sacred choral works

include oratorios, motets, masses, and other settings ofliturgical texts. His

instrumental w^orks consist ofseveral dozen keyboard sonatas (which were

influential in the development ofthe form) and a set of concert! grossi, which

w'as for a long time misattributed to the more famous Arcangelo Corelli

(1653-1713). Galuppi’s music went out offashion soon after his death and is

only now7 being rediscovered.

Known primarily as an opera composer, Francesco Cavalli was a singer

in the choir at Saint Mark’s Cathedral when it was conducted by Claudio

Monteverdi. An organist as well as a singer, Cavalli eventually assumed the

post of maestro di cappella at the cathedral in 1668. He wrote forty'-one operas,

twenty-seven ofwhich are still extant. The musical scores exhibit a strong

sense of dramatic effect as w'ell as a facility in writing for both instruments

and voices, and the libretti are laced with grotesque humor, an indication of

the taste ofthe times in Venice.

Born in Brescia in the northern Italian region of Lombardy, Biagio Marini

traveled widely and influenced other composers throughout Europe. In

addition to Venice, where he culminated his career, he worked in Brussels,

Diisseldorf, Ferrara, and Milan. He wras one ofthe first composers for string

instruments to incorporate the slur, double and triple stopping, and explicitly

notated tremolo effects. “La Monica” is a tune that appeared in England,

France, Germany, Italy, and the Low Countries in the sixteenth century. In 

Italy it was sung to the text Madre non mifar monaca (Mother, Don’t Make

Me a Nun). The text touches on forced entry into a monastery, a theme often

repeated in Italian folk literature from the middle ages to the Renaissance.

7
Often used for dancing, the same tune appears in sixteenth-century lute

books without text, with such titles as Ballo tedesco efrancese (German and

French Dance), Balletto celeste giglio (Little Dance ofthe Light Blue Lily), and

Ana Venetia che cantava Scappino (The Venetian Air that Scappino Sang).

Born into the Italian nobility, Benedetto Marcello was forbidden by his

parents to consider music as a profession, and was obliged to study law.

However, he managed to combine careers in law, public sendee, and music.

In 1711 he was appointed a member ofthe Council of Forty7 (Venice’s ruling

oligarchy), and he later served as proweditore (district governor) ofthe city

of Pola. At the same time, he composed an impressive amount ofmusic,

including oratorios, hundreds ofsolo cantatas, duets, sonatas, concertos,

and sinfonias. Salmo x comes from his most notable work, Estro poeticoannonico (Poetic-Harmonic Inspiration) (1724-1727), a musical setting for 

voices and occasional solo instruments ofthe first fifty7 psalms, as paraphrased

in Italian by Giovanni Giustiniani (1513-1566).

Little is known about composer and wind player Dario Castello, except 

that by 1621 he held posts as leader of a wind ensemble and musician at the

Cathedral of Saint Mark. As is the case with his Sonata decima, many of his

manuscripts do not specify the solo instrument. The compositional style is

dramatic, juxtaposing sections of contrasting tempo and affect.

One ofthe giants among Venetian composers, Claudio Monteverdi

began his musical education as a boy chorister in the Cathedral of Cremona.

In 1590 he received his first appointment as court musician from Vincenzo

Gonzaga, Duke of Mantua. When the duke died in 1613, Monteverdi moved

to Venice to become Maestro di Cappella at Saint Mark’s. He is credited

with inventing opera as a genre, producing works such as L’Orfeo and

L’Incoronazione di Poppea that had no precedent and that are still frequently

programmed today. The psalm setting Beatus vir exemplifies another of his

innovations, the concertato style. Built over a basso continuo—a bass line

with harmonic suggestions but no written-out realizations—concertato

compositions present the text in various combinations ofvoices, interrupted

by instrumental interludes.

One ofseveral composers on tonight’s program who started out as a

choir boy at Venice’s Cathedral of Saint Mark, Antonio Lotti studied under

Lodovico Fuga (1643-1722) and Giovanni Legrenzi, both ofwhom were

employed there. Lotti rose through the musical ranks at the cathedral,

starting as an alto singer and moving on to assistant to the second organist,

second organist, first organist, and finally maestro di cappella, a position he

held until his death. He also wrote music for the Ospedale degli Incurabili.

In 1717 he was given leave to go to Dresden, to produce some ofhis operas.

He returned to Venice two years later and remained there until his death in

1740. In addition to masses, cantatas, and operas, Lotti wrote madrigals,

three ofwhich appear on tonight’s program. Much sought after as a teacher,

he numbered Domenico Alberti (1710-1740), Baldassare Galuppi, Benedetto

Marcello, Giuseppe Saratelli (c. 1680-1762) and Johann Dismas Zelenka

(1679-1745) among his pupils. Lotti is thought to have influenced Johann

Sebastian Bach and George Frideric Handel, both ofwhom had copies of his

Missa sapientiae in their libraries.

Composer and virtuoso violinist Antonio Vivaldi not only led the Venetian

musical scene in his own generation, but produced works that have withstood

the test offline. His innovative contributions to string writing, the concerto

genre, and programmatic orchestral music place him as a pivotal figure

between the baroque composers who came before him and the classical composers who followed. His trio sonatas are firmly in the da camera style, in

which most ofthe movements are dances (allemande, courant, gigue, etc.).

Vivaldi traveled widely and held a variety of positions in courts, churches,

and other establishments, notably the Ospedale della Pieta, one offour

Venetian institutions devoted to the care of orphaned girls, where he was 

employed for over thirty years. The musical training at the Ospedale was

such that the vespers and high masses that were celebrated there became a

focal point ofVenetian culture, regularly attracting local nobility and foreign

dignitaries. While his primary responsibility at the Ospedale was the provision

ofinstrumental music like the L’Estro armonico (“Harmonic Inspiration”)

of 1711, during periods when the position of choirmaster was vacant he was 

frequently called upon to provide music for the mass and vespers. It is most

likely that this was the genesis ofthe Magnificat from 1715.

9
The Vivaldi Magnificat exists in four distinct versions, and its wide

circulation throughout Europe suggests that it was his best-knowrn sacred

composition during his lifetime. He returned to the work in the late 1720s,

making relatively small changes. More extensive revisions, including

alternate settings for some movements, were made for a performance in

1739. This evening’s performance is based on the original 1715 version, but

includes one ofthe 1739 additions, the setting for alto solo of Sicut locutus est.

The work divides the Biblical song of Mary (My soul doth magnify the 

Lord—Luke 1:46-55) across nine movements. The opening text—Magrificat

anima mea Dominum—is presented by a homophonic wall ofsound in a

highly chromatic idiom. The second movement resembles a briefinstrumental concerto, with an active violin ritornello, three successive vocal solos,

and a punning interruption by the full choir that presents the word omnes

(everyone). The setting for soprano and alto voices of Et misericordia (And his

mercy is upon us) is harmonically rich, using chromatics and dissonance to

set the text. Vivaldi’s penchant for text-painting continues in a stormy string 

accompaniment for the w-ords Fecit potentiam (He has showred strength with

his arm), and unison descending scales for the Deposuit (He has cast down

the proud). The texture alternates in the next three movements between a

light and cheery7 duet for tw7o sopranos— Esurientes implevit bonis (He hath

filled the hungry with good things)—full forces on Suscepit Israel, and a

transparent setting for solo alto and continuo of Sicut locutus est (As he spoke

to our forefathers). Vivaldi indulges another musical pun with the Gloria Patri

that closes the Magnificat. As the text Sicut erat in principio (As it wras in the 

beginning) is sung, the homophonic wall ofsound and chromatic idiom with

which the work began are heard again.

Program notes by Stephen Ackert, head, music department,

National Gallery ofArt

10

Next week at the National Gallery ofArt

National Gallery ofArt

New Music Ensemble

Music by Antosca and Shatin

Celebrating the Seventieth Anniversary 

ofthe National Gallery ofArt

March 16 and 17, 2011

Wednesday and Thursday, 12:10 pm

West Building Rotunda

Francois Chaplin

Music by Debussy

Presented in honor of

Gauguin: Maker ofMyth

March 20, 2011

Sunday Evening, 6:30 pm

West Building, West Garden Court
Texts and Translations—March 13, 2011

National Gallery of Art Vocal Ensemble and Chatham Baroque

Laudate Dominum - Psalm 116

Laudate Dominum omnes gentes

Praise the Lord, all nations;

Laudate eum, omnes populi

Praise Him, all people.

Quoniam confirmata est

For He has bestowed

Super nos misericordia eius,

his mercy upon us,

Et veritas Domini manet in aetemum. 

and the truth of the Lord endures forever.

Gloria Patri et Filio et Spiritui Sancto.

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

Sicut erat in principio, et nunc, et semper.

As it was in the beginning, is now, and will be forever,

Et in saecula saeculorum.

and for generations unto generations.

Amen.

Kyrie and Gloria

Kyrie eleison

Lord have mercy

Chiste eleison 

Christ have mercy

Kyrie eleison 

Lord have mercy

Gloria in excelsis Deo. Et in terra pax

Glory in the highest to God. And on earth peace

hominibus bonae voluntatis. Laudamus te. Benedicimus te.

to men of good will. We praise thee. We bless thee.

Adoramus te. Glorificamus te. Gratias agimus tibi

We worship thee. We glorify thee. Thanks we give to thee

propter magnam gloriam tuam. Domine Deus, Rex coelestis,

because of thy great glory. Lord God, King of heaven,

Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe.

God, the Father almighty, Lord Jesus Christ, only begotten son,

Domine Deus, Agnus Dei, Filius Patris.

Lord God, Lamb of God, Son of the Father,

Qui tollis peccata mundi, miserere nobis.

Who takest away the sins of world, have mercy on us.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Who takest away the sins of the world, receive our supplication.

Qui sedes ad dexteram Patris, miserere nobis.

Who sittest at right hand of the Father, have mercy on us.

Quoniam tu solus sanctus. Tu solus Dominus.

For thou alone art holy. Thou alone art the Lord.

Tu solus altissimus, Jesu Christe.

Thou alone art most high, Jesus Christ,

Cum Sancto Spiritu in gloria Dei Patris. Amen.

with the Holy Spirit in the glory of God, the Father. Amen.
Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Lamb of God, who takest away the sins of the world, have mercy upon us.

Dona nobis pacem.

Grant us peace.

Salmo 10- Psalm 10

Mentre io tutta ripongo

in Dio la mia speranza, a che me dite mai?

Come augel cui mille reti

tese sian per ogni piano,

fuggi rapidoe al monte vola,

eal’insidie chet’aspettano,

1’innocente capo invola.

Mira gli arditi di Dio

nemici,e tuoi

ch’han tesol’arcoe la faretra han piena

di saette mortali, e’l bujo attendono

d’orrenda notte,

tutte iscaricarle

sopra il retto

di noi candido core. S’hanno gettatia terra

tanti forti ripari

opra de’ studi tuoi, che far piu resta 

al giusto ed innocente?

Che resta

a me si chiede?

Resta dio che nel suo tempio

e in ceil

sovrano giudisce risiede:

di la sono rivolti sopra il povero afflitto i guardi suoi e con immobil ciglio

de’ figliuolid’Adamoi fatti spia.

Egli esaminae libra

l’opre de’ buonie rei:

quindi il mortale apprenda

che amar l’iniquitadee odiar se stesso.

Verra quel tempo,

sopra de’ peccator laccil’Altissimo

in cui fara che piovano, e per loro liquor fia che

si versino in quello onde berran 

funesto calice,e fiamma

e solfoe fiammae tuoni

e lampie fulmini.

In the LordI shall find refuge;

In God doI put my trust.

How say ye unto me: “Flee to your mountain as

a bird,

to escapea thousand nets which threaten

to spread about the fields,

and save thy innocent head

from the dangers that encompass it?”

For lo, there are the wicked,

thine enemies and the Lord’s,

who bend the bow

and make ready the arrow upon the string,

and wait upon the night,

that out of darkness

they may secretly shoot

at the upright heart.

The earth begins to quake;

the foundations are destroyed 

that thou hast set for us; what then

can the righteous and innocent do? “What remains for us?” they ask me.

The Lord is in his holy temple;

The Lord’s throne is in heaven.

Whence his eyes look down,

and with unswerving gaze he trieth 

the deeds ofthe children ofAdam.

The Lord trieth and judgeth

the works ofthe righteous and the wicked

and him that loveth violence

his soul hateth.

Upon the wicked

the Almighty shall rain fire

and brimstone

where he shall fill for them to drink

the death-bearing cup;

and horrible tempests,

thunder, and lightning

shall be their portion.

E’ giusto, il grande Iddio, e’ di giustizia protettor l’Altissimo

ede conforto al povero innocente,

egli propizio di rivolger degnasi

sopra del’equita guardo clemente.

For the Lord is righteous;

and he loveth righteous deeds;

and comforteth the poor and innocent;

He that is upright

shall behold his countenance.

Beatus vir

Beatus vir qui timet Dominum:

In mandatis ejus volet nimis

Potens in terra semen ejus:

Benedicetur generatio rectorum

Gloria et divitiae in domo ejus,

Et justitia ejus manet in saeculum saeculi.

Exortum est in tenebris lumen rectis:

Misericors, et miserator et Justus.

Jucundus homo, qui miseretur et commodat 

Disponet sermones suos in juditio

Quia in aetemum non commovebitur.

In memoria aetema erit Justus;

Ab auditione mala non timebit.

Paratum cor ejus sperare in Domino,

Confirmatum est cor ejus;

Non commovebitur donee despiciat

Inimicos suos.

Dispersit, dedit pauperibus;

Justitia ejus manet in seculum saeculi;

Cornu ejus exaltabitur in gloria.

Peccator videbit et erascetur,

Dentibus suis fremet, et tabescet;

Desiderium peccatorum peribit.

Gloria Patri, et Filio, et Spiritui Sancto,

Sicut erat in principio et nunc et semper,

In seacula saeculorum, amen.

Blessed is he who fears the Lord,

Who delights in his commandments.

His seed shall be mighty on earth,

The generation ofthe upright shall be blessed.

Wealth and glory to his house,

and his righteousness endures forever.

To the upright is risen light in darkness;

He is gracious, compassionate, and just. A good man shows favor, and lends.

He will guide his affairs with discretion.

He will not be moved forever.

The righteous shall be remembered;

He will not fear evil tidings.

His heart is fixed, trusting in the Lord;

His heart is established;

He shall not fear, until he sees

his desire upon his enemies.

He has dispersed [his wealth], has given to the poor;

His righteousness endures forever;

His horn shall be exalted with honor.

The wicked shall see it and grieve;

They will gnash their teeth and melt away;

The desire ofthe wicked shall perish.

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

as it was in the beginning, is now, and forever,

world without end. Amen.

Querela amorosa Amorous Complaint

Ben dovrei, occhi leggiadri

come ladri del mio core

condamavia lagrimar.

ma vendendo quei cari e dolci rai,

piu che mai mi ritomoa innamorar.

e scordandomi il mio duolo

mi contento pianger solo e non posso col mirarvi

benche ladri, occhi leggiadri

condannarvi

a lagrimar.

I should be well obliged, charming eyes,

as robbers of my heart

to sentence you to weeping.

But seeing those dear

and sweet rays [from your eyes],

more than everI return to fall in love.

And, forgetting my grief, I am content to weep alone.

AndI cannot, asI gaze upon you,

charming eyes, sentence you to weeping,

although you are robbers.
Inganni dell

’umanita Human Deceptions

A la tomba di Marte corre il guerrier

che sdegna della pace

il riposo edi consigli.

e poi dentro ai perigli 

sottol’ombra dei lauri

eglis’adira

e gl’ulivi tranquilli allor sospira.

tantoe ver che nel verao 

e caro il verdee sol si stima

il ben quando si perde.

La vita caduca

In una siepe ombrosa 

quand’il Sol co suoi raggii monti indora

pompa ed onor di Flora apre il bel seno

una vermiglia rosa.

Ma le foglie odoratee porporine 

circondano le spine e cade in su lo stelo

con pallide agonie

quando de lumi il Re parte dal Cielo.

Quindi ben lasso apprendo

que terrena belta similea un fiore

circondata da pene

con effimera vitae languee more.

At the trumpet ofMars the warrior hastens,

he who disdains the quiet of peace

as well as the advice of counselors.

And then during the perils,

under the shade ofthe laurel trees

he grows angry;

He longs for the tranquil olive grove.

It is true that in winter

green is precious, and only then

isa treasure esteemed when it is lost.

The Short Life

Bya shady hedge,

when the sun

’s rays gild the hills

and the splendor and glory offlowers,

the vermillion rose blooms beautifully.

But the leaves, fragrant and purple,

surround the thorns,

and the stem falls upon itself

with pale agonies

when the King of Light leaves the sky.

Therefore, quite wearilyI learn

that earthly beauty, likea flower,

surrounded by suffering in its transient 

life both languishes and dies.

Magnificat

Magnificat anima mea Dominum.

My soul doth magnify the Lord.

Et exsultavit spiritus meus in Deo salutari meo.

And my spirit hath rejoiced in God, my Savior.

Quia respexit humilitatem ancillae suae:

Because he hath regarded the humility of his handmaid:

ecce enim ex hoc beatam me dicent omnes generationes.

For behold, from henceforth all generations shall call me blessed.

Quia fecit mihi magna qui potens est: et sanctum nomen ejus.

Because he that is mighty hath done great things for me: and holy is his name.

Et misericordia ejusa progenie in progenies timentibus eum.

And his mercy is from generation unto generation, to them that fear him.

Fecit potentiam in brachio suo dispersit superbos

He hath showed might in his arm: he hath scattered the proud

mente cordis sui.

in the conceit oftheir heart.

Deposuit potentes de sede, et exaltavit humiles.

He hath put down the mighty from their seat and hath exalted the humble.

Esurientes implevit bonis: et divites dimisit inanes.

He hath filled the hungry with good things, and the rich he hath sent empty away.

Suscepit Israel puerum suum, recordatus misericordiae suae.

He hath received Israel, his servant, being mindful of his mercy,

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

as he spoke to our fathers: to Abraham and to his seed for ever.

Gloria Patri, et Filio, et Spiritui Sancto.

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

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

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