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 of

the West Building after 6:30 pm is not permitted.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000B South Club Drive

Landover, md 20785

www.nga.gov

cover: Adriaen de Vries, Empire Triumphant over Avarice,

1610, National Gallery of Art, Washington, Widener Collection

The Sixty-eighth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,760th Concert

ARTEK and

National Gallery ofArt Vocal Ensemble

with Piffaro

January 17, 2010

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Claudio Monteverdi (1567-1643)

Vespro della Beata Vergine (Vespers of 1610)

Deus in adjutorium /Domine ad adjuvandum

Dixit Dominus

Nigra sum

Laudate pueri Dominum

Pulchra es

Laetatus sum

Duo seraphim

Nisi Dominus

Audi coelum verba mea

Lauda Jerusalem

Sonata sopra Sancta Maria, ora pro nobis

Ave maris Stella

Magnificat

Magnificat anima mea Dominum

Et exultavit spiritus meus

Quia respexit humilitatem ancillae suae 

Quia fecit mihi magna

Et misericordia

Fecit potentiam in brachio suo

Deposuit potentes

Esurientes implevit bonis

Suscepit Israel puerum suum

Sicut locutus est

Gloria Patri 

Sicut erat in principio

The Musicians

ARTEK

Founded by Gwendolyn Toth in 1986, the early music ensemble artek has

gained a reputation for exciting, dramatic performances of baroque music

infused with vitality and spirit. In 2001 Toth was awarded the Newell Jenkins

Prize for excellence in early music performance in recognition of her work

with ARTEK.

Highlights of arteic’s recent seasons include I’ll Never See the Stars

Again, performed at the off-off-Broadway Mazer Theater in New York City

and at the Edinburgh Fringe Festival; standing-room-only concerts at the

Regensburger Tage Alter Musik in Germany; and artek’s debut performance at the prestigious Boston Early Music Festival.

From 1997 to 2002, artek toured with the Mark Morris Dance Group,

performing in more than fifty ofAmerica’s premier theaters as well as major

venues in Canada, Italy, and the United Kingdom. In addition to repeat 

engagements at the Regensburger Tage Alter Musik, artek has appeared

in Beaulieu, France; Dolni Lukavice, Czech Republic; Feldkirchen, Austria;

Konstanz, Germany; Kreuzlingen, Switzerland, and Utrecht, Holland. In

addition to its own series of evening concerts each season at halls and

churches in New York City and Princeton, New Jersey, artek has appeared 

in concert series that include First Night New York at St. Bartholomew’s

Church, Music Before 1800, and Princeton Friends of Music, artek

makes its Lincoln Center debut this spring on the “What Makes It Great’’

series with Robert Kapilow. artek appears at the National Gallery ofArt

by arrangement with gems Live! (Gotham Early Music Scene, Inc.) of

New York City.

3
Members of artek participating in this concert are:

Jessica Tranzillo, soprano

Barbara Hollinshead, mezzo-soprano

Lawrence Lipnik, countertenor, tenor viol, recorder

Philip Anderson, tenor

Michael Brown, tenor

Peter Becker, bass

Charles Weaver, baritone, theorbo, cittern, guitar

Enrico Gatti, violin

Vita Wallace, violin

Lisa Terry, viola da gamba

Rosamund Morley, viola da gamba, violone

Motomi Igarashi, lirone, viola da gamba, violone

Michael Collver, cornetto

James Miller, cornetto

Grant Herreid, theorbo, lute, recorder

Christa Patton, baroque triple harp, recorder, Renaissance flute

Daniel Swenberg, theorbo

Dongsok Shin, harpsichord, organ

Gwendolyn Toth, harpsichord, organ, and director

4

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

The National Gallery of Art Vocal Ensemble is now in its sixth season as a

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

The choir 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) and

seventeenth-century Dutch music in honor ofJan Lievens: A Dutch Master

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

(2009). In January 2008 the singers were guest artists at the Festival Dr.

Alfonso Ortiz Tirado in Sonora, Mexico, where they sang a program of 

Spanish and Hispanic choral music.

Members ofthe National Gallery Vocal Ensemble participating 

in this program are:

Rosa Lamoreaux, soprano

Barbara Hollinshead, mezzo-soprano

Roger Isaacs, countertenor

Matthew Smith, tenor

Steven Combs, baritone

Peter Becker, bass

PIFFARO

Since it was founded in 1980, the Renaissance band Piffaro has delighted 

audiences throughout North and South America and Europe with its

recreations of the elegant sounds of the wind bands ofthe late Medieval and 

Renaissance periods. Piffaro maintains an ever-expanding collection of bagpipes, lutes, guitars, harps, krumhorns, percussion instruments, recorders, 

sacbuts, and shawms, each ofwhich is a careful reconstruction of an 

instrument that existed several centuries ago. Under the direction of Joan

Kimball and Robert Wiemken, Piffaro tours extensively in the United States

and Europe, and has performed for all the major early music series and 

festivals, as well as many college and community concert series. The ensemble is regularly heard nationwide on National Public Radio’s Performance

5
Today. Piffaro has recorded for Newport Classics, Deutsche Grammophon/

Archiv Produktion, and Dorian Recordings. Members of Piffaro perform

regularly throughout the year for elementary, middle, and high school

students, and conduct master classes and workshops for college students

and adult amateurs. Piffaro was awarded Early Music America’s “Early Music

brings history alive” award in 2003.

Members of Piffaro participating in this concert are:

Joan Kimball, dulcian, recorder, shawm

Bob Wiemken, dulcian, contradulcian, recorder, shawm

Thomas Zajac, sachut, recorder, Renaissanceflute

Greg Ingles, sachut

Erik Schmalz, sachut

Mack Ramsey, bass sachut, cometto

Grant Eferreid, theorbo, lute, recorder

Christa Patton, baroque triple harp, recorder, Renaissanceflute

6

Program Notes

This concert is the first in a series offive National Gallery ofArt concerts that

will present masterworks from the years 1610,1710,1810,1910, and 2010.

Because Claudio Monteverdi s Vespro della Beata Vergine is commonly identified as his “Vespers of 1610,” it makes the ideal starting point for the project, 

which will occupy the Sunday and Wednesday concerts at the Gallery until

the end ofJanuary. On Wednesday, January 20, at 12:10 pm, organist and

Gallery music department head Stephen Ackert will be joined by mezzosoprano Anne-Marieke Evers and members ofthe National Gallery ofArt

Chamber Players to perform music that would have been heard in 1710 in

the ducal chapel in Weimar, Germany. The music that the chapel organist,

then twenty-four-year-old Johann Sebastian Bach, composed and performed

during his tenure in Weimar (1708-1717) includes some ofthe most significant organ works ever written as well as numerous fine cantatas. The January

20 concert will be presented jointly by the Gallery and The United Church

at 1920 G Street, nw, in Washington, dc. The concert will take place at

the church, which has an organ and acoustics that are much like those that

existed at the ducal chapel in 1710.

On Sunday, January 24, three ofthe National Gallery’s resident ensembles will take the stage to present masterworks that Beethoven produced

or published in 1810. On Wednesday, January 27, at 12:10 pm in the West

Building Lecture Hall, the Auryn String Quartet will play Alban Berg’s String

Quartet, op. 3, one ofthe great chamber works written in 1910. To conclude

the series, on Sunday, January 31, the new music ensemble Great Noise will

join the nga Vocal Ensemble and the nga Orchestra to perform the world

premieres oftwo new works, written especially for the occasion by Armando

Bayolo, who will conduct the concert, and Carlos Carillo.

7
The delineation ofthe Sabbath and other holidays in the Jewish tradition

is a twenty-four hour period from sundown to the following sundown. Both

the monastic and cathedral traditions ofthe Roman Catholic Church followed

this same pattern from early in their history, marking the beginning of every

feast day with the evening vesper service (“first vespers”), and concluding the

feast at the end ofthe next day with another Vesper service (“second vespers”).

In the seventeenth century, when Claudio Monteverdi was composing music

for the church, the vesper service surpassed even the mass as the vehicle for

elaborate celebrations on major feast days.

The heart ofthe vesper service is the recitation of a series offive psalms.

In Medieval and Renaissance church music, each psalm was “troped” with an

antiphon, a brieftext that was originally sung at the beginning ofthe psalm,

after each verse, and again at the conclusion. By the early seventeenth century,

it had become common to substitute instrumental pieces for these antiphons.

Monteverdi’s teachers belonged to the Florentine Camerata ofthe middle

and late sixteenth century. This group of composers set out to duplicate the

effect on the listener of ancient Greek music, which was believed to have 

been a powerful and direct expression of poetry, by abandoning polyphony

and writing vocal solos with a simple chordal accompaniment (monody).

This simple texture, along with the free use of dissonance that was developing

concurrently in both secular and sacred music, constituted a complete break

with the Renaissance style known as Prima prattica. Monteverdi embraced the

revolutionary techniques and new harmonies ofthe monodists, but he was

also able to write extremely well in the old style, and to combine elements of

the old and the new in a synthesis all his own.

The Vespers of1610 is Monteverdi’s first major publication ofsacred

music. It is dedicated both to the Virgin Mary—whom his patrons, the

Gonzaga dukes of Mantua, claimed as the special protectress oftheir city—

and to Pope Paul v. The initial publication includes a six-voice polyphonic

mass in conservative style, but the music for the vespers draws from the

most diverse and modern examples available to the composer. Virtuoso

instrumental and vocal solos appear side-by-side with psalms featuring

falsibordoni (unmeasured chordal recitation ofthe Gregorian psalm chant),

complicated imitative counterpoint, highly ornamented virtuoso duets,

ground basses, dance-like triple meters, double-choir antiphony, and instrumental ritornellos. The closing Magnificat is a showcase of virtuoso vocal

and instrumental writing. It is likely that Monteverdi used some ofthis

music as part of his successful audition for the position of maestro di capella

at the ducal church of Saint Mark in Venice, from the standpoint ofits

music program the most important church in all of northern Italy. There

he remained for the rest of his life, well-paid, highly respected, and in great

demand as a composer.

Every vesper service begins with an opening briefsolo verse and choral

response requesting the aid of God. In the opening response ofthe Vespers of

1610 (Domine ad adjuvandum), the chant consists of a single note, the reciting

tone. Monteverdi buries it in a block D-major chord, and superimposes the

music he used for the opening toccata ofhis great masterpiece of 1607, the

opera Orfieo. This in itselfis a brilliant statement—the composer marries the

new expressive techniques of Baroque theater with the received glory of chant

and Renaissance polyphony. Closing the main part of all vesper services is the

canticle of Mary, the Magnificat, taken from the Gospel according to Luke. This

ancient chant is presented formally, in long notes, with each verse surrounded

by a different combination ofvoices and instruments.

In this concert performance ofthe Vespers of1610, the music is presented

without the intervention of plainchant antiphons, the biblical chapter, or other

verses and responses found in a liturgical vesper service.

Program notes by Robert Eisenstein and Jeffrey G. Kurtzman; used by permission

9
Upcoming Concerts

Stephen Ackert, organist

Anne-Marieke Evers, mezzo-soprano

Risa Browder, violinist

John Moran, viola da gambist

Music by J. S. Bach from 1710

A joint presentation ofthe 

National Gallery of Art music department

and The United Church, Washington, DC

January 20, 2010

Wednesday, 12:10 pm

1920 G Street, nw

Washington, DC

National Gallery of Art Piano Trio,

String Quartet, and Wind Quintet

Music by Beethoven from 1810

January 24, 2010

Sunday Evening, 6:30 pm

West Building, West Garden Court

Auryn String Quartet

Music by Berg from 1910

January 27, 2010

Wednesday, 12:10 pm

West Building Lecture Hall

National Gallery ofArt Vocal Ensemble

With Great Noise Ensemble and members ofthe

National Gallery ofArt Orchestra

Armando Bayolo, guest conductor

World premieres of new works by Bayolo and Carillo

January 31, 2010

Sunday Evening, 6:30 pm

West Building, West Garden Court
Magnificat

Magnificat anima mea Dominum.

Et exultavit spiritus meus in Deo

salutari meo.

Quia respexit humilitatem

ancillae suae, ecce enim ex hoc

beatam

me dicent omnes generationes.

Quia fecit mihi magna qui potens 

est

et sanctum nomen eius.

Et misericordia eiusa progenie

in progenies timentibus eum.

Fecit potentiam in brachio suo;

dispersit superbos mente cordis sui.

Deposuit potentes de sede

et exaltavit humiles.

Esurientes implevit bonis,

et divites dimisit inanes.

Suscepit Israel puerum suum,

recordatus misericordiae suae.

Sicut locutus est ad patres nostros, 

Abraham et semini eius in secula.

Gloria Patri, et Filio, et Spiritui

Sancto.

Sicut erat in principio, et nunc, et

semper

et in secula seculorum. Amen.

My soul doth magnify the Lord

and my spirit has rejoiced in God

my savior.

For he has regarded the lowliness

of his handmaiden, for behold from

henceforth

all generations shall call me blessed.

For he that is mighty has magnified

me,

and holy is his name.

And his mercy is on them that fear him

throughout all generations.

He has showed strength with his arm;

he has scattered the proud in the imagination

oftheir hearts.

He has put down the mighty from their seat

and has exalted the humble and the meek.

He has filled the hungry with good things

and the rich he has sent away empty.

He remembering his mercy has helped

his servant Israel

As he promised to our forefathers,

Abraham and his seed forever.

Glory be to the Father, and to the Son, and

to the Holy Spirit

As it was in the beginning, is now and

forever,

world without end. Amen.

Texts, Translations, and Notes 

January 17, 2010

Performance notes by Gwendolyn Toth

Any performance reflects innumerable considerations related to forces, venue, context, style, and (last but not

least) funding.

1610 isa period just on the cusp ofthe new baroque period. Today, we tend to associate“baroque" witha

Vivaldi concerto ora Bach cantata. However, the instrumental and vocal forces ofthese 18th-century baroque

works have little or nothing to do with the early baroque“orchestra” or“choir”. The instruments available in

Monteverdi’s time for sacred music included instruments ofthe string family (violins, viole da brazzo, viole da

gamba, violone and contrabasso da gamba), wind family (cometti, sacbuts, recorders, shawms, dulcians); and 

what we now term“continuo” instruments” (organ, harpsichord, spinettino, lute, theorbo, cittern, harp, lirone, 

guitar). Typical ofthe late Renaissance was the use of complete families of instruments; thus, viole da gamba in

alto, tenor, bass and contrabass sizes; alto, tenor and bass sacbuts; recorders ofvarious sizes, and dulcians all the

way down to 16’ contrabass dulcian. Typically, Renaissance instrumentalists performed not only music written

specifically for instrumental use but also vocal music. And, very often (unlike modem practice, wherea cappella

vocal ensembles hold sway) frequently instruments doubled voices. The practice was undoubtedly more“ad lib”

than notated; ifa piece was performed ata court where there wasa generous complement of instruments, they

were likely to participate in the music we might nowadays think of as “vocal” music.

Much research has been done into vocal ensembles, and the maximum size fora typical vocal ensemble seems

to have been between8 and 16 singers at St. Mark’s Cathedral in Venice. Our vocal ensemble of 12 singers

(including our very historical instrumentalists who also double on voices) representsa fair average ofthis size.

However, Monteverdi’s music for the psalms in the Vespers are written for the type of virtuoso singers he knew

in Mantua, and onlya one-to-a-part performance enablesa stylistic performance ofthe florid passage-work.

How then to appropriately filla grand space ona festive occasion in early seventeenth-century style? This

performance context is best realized with an extensive use of instrumental doubling in the late 16th century/early

17th century sty le, with the various families of instrumentsjoining the singers in all the non-virtuoso parts.

The use ofmultiple continuo instruments (chordal instrumental instruments that improvise an accompaniment

througha figured bass line) is documented in many sacred collections ofthe period: lutes, theorbos, harps,

harpsichords, citterns. With our addition ofthe lirone,a bowed bass chordal instrument, our continuo section

represents an extravagant accompaniment that was nevertheless completely common to early 17l -century Italy. 

The continuo instruments support the rhetorical structure ofthe musical phrases, adding to the tension and

release ofthe marvelous dissonances employed by Monteverdi throughout.A single organ, or evena single 

organ and theorbo, would have been thoughta rather miserly accompaniment in Monteverdi’s time fora grand

performance before an audience ofa thousand people.

Much has been written on the subject ofthe transposing clefs(“chiavette”) in the Vespers.A study ofthe

historical sources is unequivocal in supporting the conclusion that certain sets of clefs necessarily implya

downward transposition. There can be no doubt about it. Sometimes, these downwards transpositions are

difficult to accept, because one might be used to hearing sucha piece in the (wrong) untransposed, or high, 

pitch.I am convinced that cleftransposition was used by composers specifically to notatea piece witha

generally quite low tessitura. Ironically, then, these low tessitura pieces became known in modem performance

as high tessitura pieces. It

’sa bit like preferringa Renaissance painting witha darkening smudge ofsooty

varnish, because that’s the way we’ve always known it. Peel it away, and find the wonderful colors underneath!

Lauda Jerusalem and the complete Magnificat cycle will be performed transposed downa fourth.

Pronunciation is another area in which modem singers and audiences are slowly becoming more enlightened.

For our performance, w'e have chosen to doa northern Italian, and wftere possible specifically Venetian,
pronunciation ofthe Latin. Although not tremendously different, nevertheless the flavor ofthe vowels is slightly

different (more closed) and the “x” is replaced by “z” (as in zoo) sound, rather than “ks” ofmoem Italianate 

church Latin. Other consonants also differ, and the “1” sound is almost disappearing. I am indebted to Professor 

Jeffrey Gall ofMontclair State University for his guidance and assistance in the pronunciation.

Lastly, in the same spirit ofremaining faithful to the performance style of Monteverdi's own time, we are using

high pitch at A=465 and a quarter-comma meantone temperament. The pitch is close to, though still perhaps a

bit lower than, the pitch ofmany northern Italian churches in Monteverdi’s time, but is far closer than the

modem pitch ofA=440, a halfstep lower. Quarter-comma meantone is without a doubt one ofthe most

beautiful performing pitch systems ever invented. The thirds are absolutely pure and serene, with a beauty that is

unknown to those poor deprived souls who know only the compromised modem equal temperament ofthe

piano. (Yes: I am biased; after 25 years of playing in quarter-comma meantone, I can scarcely bear to hear equal

temperament because it sounds so hideously out oftune.) I invite everyone to particularly enjoy the final chords

of each movement, with their sense of complete timeless eternity from such a wonderful sonority.- Gwendolyn

Toth

Gwendolyn Toth is thefounder and director ofARTEK, and conductor oftoday’s performance.

Deus in adjutorium/Domine ad adiuvandum Versicle & Response

Versicle

Deus in adjutorium meum intende.

Response

Domine ad adiuvandum me festina.

Gloria Patri, et Filio,

et Spiritui Sancto.

Sicut erat in principio, et nunc et

semper,

et in secula seculorum. Amen.

Alleluia.

Dixit Dominus Psalm 109

Dixit Dominus Domino meo:

sede a dextris meis, donee ponam

inimicos

tuos scabellum pedum tuorum.

Ritornello

Virgam virtutis tuae emittet Dominus

ex Sion:

dominare in medio inimicorum

tuorum.

Tecum principium in die virtutis tuae;

in splendoribus sanctorum

ex utero ante luciferum genui te.

Ritornello

Iuravit Dominus et non paenitebit 

eum;

tu es sacerdos in aetemum secundum

ordinem Melchisadech.

Dominus a dextris tuis confregit

in die irae suae reges.

Ritornello

ludicabit in nationibus, implebit

ruinas:

conquassabit capita in terra 

multorum.

De torrente in via bibet:

propterea exaltabit caput.

Gloria Patri. . .

Nigra sum Sacred Song

Nigra sum sed formosa filia

Ierusalem.

Ideo dilexit me Rex, et introduxit

[me] in cubiculum suum et dixit

mihi:

Surge, arnica mea, et veni.

Iam hiems transiit imber abiit et

recessit, flores apparuerunt in terra 

nostra; tempus putationis advenit.

God make speed to save me.

Lord make haste to help me.

Glory be to the Father and to the Son

and to the Holy Ghost.

As it was in the beginning, is now and

forever,

world without end. Amen.

Alleluia.

The Lord said unto my Lord:

sit thou at my right hand, until I

make

thine enemies thy footstool.

The Lord shall send the rod ofthy strength

out ofZion:

rule Thou in the midst ofthine enemies.

Thine is the foundation in the day ofthy

power; in the beauties of holiness 

I have birthed thee from the womb

before the morning star.

The Lord hath sworn and will not 

repent;

thou art a priest forever after ofthe

order of Melchisadech.

The Lord at thy right hand has broken 

kings in the day of his anger.

He will judge the nations, he will fill them

with ruins:

he will break the heads in the populous 

land.

He shall drink ofthe torrent on the way;

therefore he shall lift up his head.

Glory be to the Father . . .

I am a black and also beautiful daughter of

Jerusalem.

So the King loved me, and led

me into his chamber and said

to me:

Arise, my love, and come away.

Now winter has passed, the rain has

gone, and flowers have appeared in

our land; the time of pruning has come.
Laudate pueri Psalm 112

Laudate pueri Dominum:

laudate nomen Domini.

Sit nomen Domini benedictum,

ex hoc nunc, et usque in seculum. A solis ortu usque ad occasum,

laudabile nomen Domini.

Excelsus super omnes gentes Dominus,

et super coelos gloria eius.

Quis sicut Dominus Deus noster,

qui in altis habitat et humilia

respicit in coelo et in terra,

suscitans

a terra inopem

et de stercore erigens pauperem,

ut collocet eum cum principibus,

cum principibus populi sui?

Qui habitare facit sterilem in domo,

matrem filiorum laetantem.

Gloria Patri . . .

Pulchra es Sacred Song

Pulchra es, arnica mea,

suavis et decora filia Ierusalem.

Pulchra es, arnica mea, suavis

et decora sicut Ierusalem,

terribilis sicut castrorum acies

ordinate

Averte oculos tuos

a me,

quia ipsi me avolare fecerunt.

Laetatus sum Psalm 121

Laetatus sum in his quae dicta sunt

mihi:

in domum Domini ibimus.

Stantes erant pedes nostri in atriis tuis

Ierusalem;

Ierusalem, quae aedificatur ut civitas

cuius participatio eius in idipsum. I Hue enim ascenderunt tribus,

tribus Domini, testimonium Israel

ad confitendum nomini Domini.

Quia illic sederunt sedes in iudicio,

sedes super domum David.

Rogate quae ad pacem sunt Ierusalem

et abundantia diligentibus te.

Fiat pax in virtute tua

et abundantia in turribus tuis.

Propter fratres meos et proximos

meos

loquebar pacem de te.

Propter domum Domini Dei nostri

quaesivi bona tibi.

Gloria Patri . . .

Praise the Lord, ye children,

praise the name ofthe Lord.

Blessed be the name ofthe Lord,

from this time forth for evermore.

From sunrise to sunset,

the Lord's name is worthy of praise.

The Lord is high above all nations

and His glory above the heavens.

Who is like the Lord our God,

who dwells on high and looks down

on the humble things in heaven and earth,

raising the helpless from the earth

and lifting the poor man from the dungheap

to place him alongside princes,

with the princes of his people?

He makesa home for the barren woman,

a joyful mother of children.

Glory be to the Father . . .

You are beautiful, my love, a sweet and comely daughter ofJerusalem.

You are beautiful, my love, sweet

and comely as Jerusalem,

terrible as the sharp lines ofa military

camp.

Turn your eyes from me,

because they have put me to flight. I was glad when they said unto me:

we shall go into the house ofthe Lord.

Our feet were standing within thy gates, O Jerusalem;

Jerusalem, which is built as

a city

that is compact together.

For thither ascend the tribes,

the tribes ofthe Lord, to testify unto

Israel, to give thanks

to the name ofthe Lord.

For there are the seats ofjudgment, 

the seats over the house of David. O pray for the peace ofJerusalem

and may prosperity attend those who

love thee.

Peace be within thy strength,

and prosperity within thy towers.

For my brothers and my neighbors' sake, I will ask for peace for thee;

for the sake ofthe house ofthe Lord

our God

I have sought blessings for thee.

Glory be to the Father . . .

Duo Seraphim Sacred Song

Duo Seraphim clamabant alter ad

alterum:

Sanctus, sanctus, sanctus Dominus

Deus Sabaoth:

plena est omnis terra gloria eius.

Tres sunt qui testimonium dant in

coelo:

Pater, Verbum et Spiritus Sanctus:

et hi tres unum sunt.

Sanctus . . .

Nisi Dominus Psalm 126

Nisi Dominus aedificaverit domum,

in vanum laboraverunt qui aedificant 

earn.

Nisi Dominus custodierit civitatein,

frustra vigilat qui custodit earn.

Vanum est vobis ante lucem surgere:

surgite postquam sederitis,

qui manducatis panem doloris.

Cum dederit dilectis suis somnum;

ecce hereditas Domini, filii:

merces, fructus ventris.

Sicut sagittae in manu potentis:

ita filii excussorum.

Beatus vir qui implevit desiderium

suum ex ipsis:

non confundetur cum loquetur

inimicis suis in porta.

Gloria Patri. ..

Audi coelum Sacred Song

Audi coelum verba mea,

plena desiderio

et perfusa gaudio.

Audio.

Die, quaeso, mihi:

Quae est ista quae consurgens ut

aurora rutilat, ut benedicam?

Dicam.

Die, nam ista pulchra ut luna,

electa ut sol replet laetitia

terras, coelos, maria.

Maria.

Two Seraphim were calling one to the

other:

Holy, holy, holy Lord God of

Hosts:

the whole earth is full of his glory.

There are three who give testimony in

heaven:

the Father, the Word, and the Holy Spirit:

and these three are one.

Holy. ..

Except the Lord build the house,

they labor in vain that 

build it.

Except the Lord keep the city,

the watchman wakes, but in vain.

It is vain for you to rise before dawn:

rise when you have sat down,

ye who eat the bread ofsorrow,

when He has given sleep to those He loves.

Behold, children are an inheritance ofthe

Lord,a reward, the fruit ofthe womb.

As arrows in the hand ofthe mighty,

so are children ofthe vigorous.

Blessed is the man who has fulfilled his

longing by them:

he shall not be perplexed when he speaks

to his enemies at the gate.

Glory be to the Father . . .

Hear,O heaven, my words,

full of desire

and suffused with joy. I hear.

Tell me,I pray: who is she

who, rising like the dawn,

shines, thatI may bless her?

I shall tell you.

Tell, for she is beautiful as the moon,

exquisite as the sun which fills with

joy the earth, the heavens and the seas.

Mary.
Maria Virgo ilia dulcis,

praedicata de prophetis Ezechielis

porta orientalis,

Talis.

111a sacra et felix porta,

per quam mors tuit expulsa,

introducta autem vita,

Ita.

Quae semper tutum est medium

inter homines et Deum,

pro culpis remedium.

Medium.

Omnes hanc ergo sequamur,

quae cum gratia mereainur 

vitam aetemam. Consequamur.

Sequamur.

Praestet nobis Deus Pater 

hoc et Filius et Mater,

cuius nomen invocamus,

dulce miseris solamen.

Amen.

Benedicta es, Virgo Maria,

in seculorum secula.

Lauda Jerusalem Psalm 147

Lauda, Ierusalem, Dominum:

lauda Deum tuum, Sion.

Quoniam confortavit seras portarum 

tuarum;

benedixit filiis tuis in te.

Qui posuit fines tuos pacem,

et adipe frumenti satiat te.

Qui emittit eloquium suum terrae:

velociter currit sermo eius.

Qui dat nivem sicut lanam:

Nebulam sicut cinerem spargit.

Mittit crystallum suum sicut bucellas:

ante faciem frigoris eius quis

sustinebit?

Emittet verbum suum, et liquefaciet

ea:

flabit spiritus eius, et fluent aquae.

Qui annuntiat verbum suum Iacob:

iustitias et iudicia sua Israel.

Non fecit taliter omni nationi:

et iudicia sua non manifestavit eis.

Gloria Patri.

Mary, that sweet Virgin

foretold by the prophet Ezekiel, 

gate ofthe rising sun,

Such is she!

That holy and happy gate

through which death was driven out, but

life brought in,

Even so!

Who is alwaysa sure mediator 

between man and God, a remedy for our sins. A mediator.

So let us all follow her 

by whose grace we gain

Eternal life. Let us seek after her.

Let us follow.

May God the Father grant us this,

and the Son and the Mother,

on whose name we call,

sweet solace for the unhappy.

Amen.

Blessed art thou, Virgin Mary,

world without end

Praise the Lord,O Jerusalem:

praise thy God,O Zion. For He hath

strengthened the bars ofyour gates:

He hath blessed thy children within thee.

He makes peace in thy borders, 

and fills thee with the finest ofthe wheat.

He sends forth his commandment upon

earth:

His word runs very swiftly.

He gives snow like wool:

He scatters the cloud like ashes.

He casts forth his ice like morsels:

who will stand before His cold?

He will send out His word and melt them:

He will cause His wind to blow and the

waters will flow.

He shows His word unto Jacob,

His statutes and judgments unto Israel.

He has not dealt so with any nation:

and He has not shown His judgments to

them.

Glory be to the Father . . .

Sancta Maria, ora pro nobis

Sancta Maria, ora pro nobis.

Ave maris Stella Hymn

Ave maris Stella,

Dei mater alma,

Atque semper virgo,

Felix coeli porta.

Sumens illud ave

Gabrielis ore,

Funda nos in pace

Mutans Evae nomen.

Solva vincla reis,

Profer lumen caecis,

Mala nostra pelle,

Bona cunctis posce.

Monstra te esse matrem:

Sumat per te preces,

Qui pro nobis natus,

Tulit esse tuus.

Virgo singularis,

Inter omnes mitis,

Nos culpis solutos

Mites fac et castos.

Vitam praesta puram,

Iter para tutum,

Ut videntes Iesum

Semper collaetemur.

Sit laus Deo Patri,

Summo Christo decus,

Spiritui Sancto,

Trinus honor unus. Amen.

Sonata sopra

Holy Mary, pray for us.

Hail, star ofthe sea,

life-giving mother of God

and perpetual virgin,

happy gate of heaven.

Receiving that "ave"

from the mouth of Gabriel,

keep us in peace, 

reversing the name "Eva."

Loosen the chains from the guilty,

bring forth light to the blind,

drive out our ills,

ask for blessings for all.

Show yourselfto be His mother:

may He receive through you our

prayers who, bom for us,

deigned to be yours.

Peerless virgin,

gentle above all others,

when we are pardoned for our sins,

make us gentle and pure.

Grant usa pure life,

preparea safe journey, 

so that seeing Jesus

we may rejoice forever.

Praise be to God the Father,

glory to Christ most high,

and to the Holy Spirit,

triple honor in one. Amen.