C ONSORTIUM C ARISSIMI

squisita musica strumentale ed eccellente musica vocale. Pompilio Totti Ritratto di Roma 1638

Tu es Petrus

Exquisite Music for the Winter Season

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Consortium Carissimi Singers & Players Choir I Heather Cogswell Marita Link Christine Anameier Bill Pederson Douglas Shambo II Choir IV Kristi Bergland Timothy P. Faatz Mike Pettman Mike Schmidt

A special thanks to
The Basilica of St. Mary for hosting this program and to Kathy Dhaemers, Johan Van Parys, and Teri Larson for their many contributions.

Tiorba: Phil Rukavina Archlute: Thomas Walker Jr. Viole da gamba: Mary Burke, Rachel Ramadhyani Trombone: Garrett Lahr Organ: Don Livingston Organ: Bruce Jacobs The Basilica Schola Cantorum Teri Larson, director Choir II Teri Larson Elina Kala Lauren Vick Don Krubsack Trevor Carolan Choir III Janet Grove Joanna Fulton Sandra Valentines Sam Johnson Joseph Clements Taylor Kohl

Garrick Comeaux, artistic director Don Livingston, associate artistic director Elisabeth Comeaux, executive director

Staff

Look for future concert programming under our Future Concerts section at our website: www.consortiumcarissimi.org Consortium Carissimi is a 501(c)(3) non-profit organization P.O. Box 40553 Saint Paul, Minnesota 55104 Tel. 612.741.2524
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Direction Garrick Comeaux

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Thanks to our Sponsors and Donors

Anonymous Christine Anameier Steven C. Anderson Nancy Archer Kristen Berglund Peder Bolstad Dan Dressen and Elisabeth Comeaux Garrick Comeaux William and Mary Cunningham Don and Cathy Donahue Henry Dougherty Steve and Judy Emmings Timothy P. Faatz Robert Foy Cathy Gier Michael Hagburg Mary Harrington Bob and Darlene Hays Gerald and Merry Hoekstra Jeffrey Holland Mariellen Jacobsen Don Livingston Stuart Lorberbaum Kristin Lovejoy Steve Luzaich Joanne Manthe Thomas McCallum Tim and Kathy Nelson Kathy Neumann Pat and Beth Nunnally Jessie Okie Andy Otness Val Pezzani Cynthia Prosek Mary Ress Larry Reynolds Dick and Vivian Stuck Kim and David Sudduth Vern Sutton Dale Talley Claire Ann Thoen Bob and Maureen Vince Nancy Ann Werner Grace and Rich Weichman Dr. Preston and Sharon Williams Jenna Wolf

Friday, February 22nd, 2013 at 8:30 pm, The Basilica of St. Mary, - Minneapolis, MN Sunday, February 24th, 2013 at 1:30 pm, The Basilica of St. Mary, - Minneapolis, MN

THE PROGRAM Giovanni Pierluigi da Palestrina (15251594) Motet Tu es Petrus (Prima pars) Kyrie Gloria Motet Euge serve bone Motet Hodie Simon Petrus Motet Tu es Petrus (Prima et secunda pars) Credo Hymn Iste Confessor Domini Sanctus Agnus Dei Motet Salve Regina

Orazio Benevoli (16051672)

Giacomo Carissimi (1605-1674) Giacomo Carissimi Giovanni Pierluigi da Palestrina

Orazio Benevoli Gregorian Chant

Robert Hays, president Beth Nunnally, treasurer Jodi Mohs-Davis, secretary Steven C. Anderson Timothy P. Faatz

Board of Directors

Orazio Benevoli

Giacomo Carissimi

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- Organization History Sanctus

Consortium Carissimi was founded in Rome, Italy in 1996, with the mission of uncovering and bringing to modern day ears, through live concerts, master classes, recordings and publications, the long-forgotten early Italian baroque music of the 16th and 17th centuries. Consortium Carissimi consists of ten to thirty musicians that include singers and period instruments. Consortium Carissimi contributes to the cultural vitality of the community in four key ways: Manuscript transcription and publication - Consortium Carissimi is the only organization in the United States that has in its library transcriptions of over 200 manuscripts of this time period, including the complete works of Giacomo Carissimi; Educational programs - Consortium Carissimi conducts master classes with educational institutions, both in and out of state; Master classes include intense studies of vocal and instrumental practices of 17th century Rome; Performances - the ensemble of mixed voices and instruments performs three concerts annually of repertoire from the ItalianRoman sacred and secular music of the 16th and 17th century; Recordings - Consortium Carissimi extends public access to and knowledge of this musical tradition through digital recordings. Consortium Carissimis unique commitment to the Italian works of the 16th and 17th centuries is quickly establishing its role as an arts leader here at home and abroad. Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Holy, Holy, Holy Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest.

Agnus Dei
Agnus Dei, Lamb of God, qui tollis peccata mundi, you take away the sins of the world, miserere nobis. have mercy on us.

Motet Salve Regina

Salve, Regina, Mater misericordi, vita, dulcedo, et spes nostra, salve. ad te clamamus exsules filii Hev, ad te suspiramus, gementes et flentes in hac lacrimarum valle. Eia, ergo, advocata nostra, illos tuos misericordes oculos ad nos converte; et Iesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende. O clemens, O pia, O dulcis Virgo Maria. Hail, holy Queen, Mother of mercy, our life, our sweetness, and our hope. To you we cry, the children of Eve; to you we send up our sighs, mourning and weeping in this land of exile. Turn, then, most gracious advocate, your eyes of mercy toward us; lead us home at last and show us the blessed fruit of your womb, Jesus: show to us when earthly exile ends. O clement, O loving, O sweet Virgin Mary.

- Our Guest Artists for this Production The Basilica Schola Cantorum is a semi-professional auditioned group that sings predominantly for vespers, held at The Basilica at 3pm on Sundays during Advent / Christmas and Lent as well as other special liturgies, including Tenebrae on Good Friday evening. Our members career paths range from education to accounting to the professional musician. The Schola Cantorum has travelled to Europe with the Cathedral Choir of The Basilica of Saint Mary and has been featured on two compact disc recordings.
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Hymn Iste Confessor Domini

Iste Confessor Domini colentes Quem pie laudant populi per orbem: Hac die laetus meruit beatas Scandere sedes. Qui pius, prudens, humilis, pudicus, Sobriam duxit sine labe vitam. Donec humanos animavit aurae Spiritus artus. Cujus ob praestans meritum frequenter, gra quae passim jacuere membra, Viribus morbi domitis, saluti Restituuntur. Noster hinc illi chorus obsequentem Concinit laudem, celebresque palmas; Ut piis ejus precibus juvemur Omne per vum. Sit salus illi, decus, atque virtus, Qui super cli solio coruscans, Totius mundi seriem gubernat, Trinus et unus. Amen This the Confessor of the Lord, whose triumph Now all the faithful celebrate, with gladness First on this feat-day merited to enter Into his glory. Saintly and prudent, modest in behavior, Peaceful and sober, chaste was he, and lowly, While that life's vigor, coursing through his members, Quickened his being. Sick ones of old time, to his tomb resorting, Sorely by ailments manifold afflicted, Often have welcomed health and strength returning, At his petition. Whence we in chorus gladly do him honor, Chanting his praises with devout affection, That in his merits we may have a portion, Now and forever. Glory and virtue, honor and salvation, Be unto him that, sitting in the highest, Governs all things, Lord and God Almighty, Trinity blessed. Amen.

alestrina is a small town to the south of Rome, and at the time of Giovanni Pierluigi it was part of the Papal States. Born in the town of Palestrina, Giovanni Pierluigi best distinguished himself from others, called by the same name, by adding da Palestrina to his own. Similarly, other composers acquired family names by adding the town they came or other references. Gesualdo da Venosa, for example, came from Venosa and died in his castle called Gesualdo. The Flemish composer Jacob Clemens was surnamed non Papa, in order to distinguish him from Pope Clement VII. I digress. Documents suggest that Palestrina first visited Rome in 1537, when he is listed as a chorister at the Basilica of Santa Maria Maggiore. He studied with Robin Mallapert Agnus Dei, Lamb oflast God, and Firmin Lebel (a composer we highlighted year). He spent most of his career in tollis peccata came mundi, the sins of thethe world, the Eternal qui City. Palestrina ofyou agetake as away a musician under influence of the miserere nobis. have mercy on us. northern European style of polyphony, which owed its dominance in Italy primarily to two influential Franco-Flemish composers, Guillaume Dufay and Josquin des Prez, who had spent significant portions of their careers there. Italy itself had yet to produce anyone of comparable fame or skill in polyphony. Salve, Regina, Mater misericordi, Hail, holy Queen, ofchurch, mercy, St. Agapito, From 1544 to 1551, Palestrina was organist of the Mother principal vita, dulcedo, et spes nostra, salve. our life, our sweetness, and our hope. of his city, and in 1551 he became maestro cappella at the of Cappella adnative te clamamus exsules filii Hev, To you wedi cry, the children Eve; Giulia, the papal at St Peter's. His et first published compositions, a book of Masses, had made ad techoir suspiramus, gementes flentes to you we send up our sighs, in hac lacrimarum valle. mourning and weeping in this land of of Palestrina) exile. so favorable an impression with Pope Julius III (previously the Bishop that he appointed Palestrina musical director of the Julian Chapel. This was the first Eia, ergo, advocata nostra, Turn, then, most gracious advocate, book of Masses bymisericordes a native composer. illos tuos oculos your eyes of mercy toward us; During the next Palestrina positions ad decade, nos converte; lead held us home at last similar to his Julian Chapel et appointment Iesum, benedictum fructum ventris tui, and show the blessed fruit of Basilica your womb, at other chapels and churches in us Rome, notably the of Jesus: San nobis post hoc exsilium ostende. show to us when earthly exile ends. Giovanni in Laterano (15551560) and the Basilica of Santa Maria Maggiore (1561 O clemens, O pia, O dulcis Virgo Maria. O clement, O loving, O sweet Virgin Mary. 1566). In 1571 he returned to the Julian Chapel and remained at St Peter's for the rest of his life. The decade of the 1570s was difficult for him personally: he lost his brother, two of his sons, and his wife in three separate outbreaks of the plague (1572, 1575, and 1580, respectively). He seems to have considered becoming a priest at this time, but
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- Program Notes -

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instead he remarried, this time to a wealthy widow. This finally gave him financial independence (he was not well paid as choirmaster), and he was able to compose prolifically until his death. He died in Rome of pleurisy in 1594. The motet, Tu es Petrus, for the Feast of St Peter and St. Paul, was published in Rome in Palestrinas Second book of motets in 1572. It comes as no surprise that Palestrina would have composed music on the text for his papal patrons. Both Palestrina's First (1569) and Second (1572) books of motets contain settings of Tu es Petrus. The six-voiced version from the 1572 book (sung in this concert) abandons the Latin antiphon chant and text, setting instead the complete speech (Matt. 6:18-19) as heard during the Feast of the Chair of St. Peter's Chair in Rome, now February 24th).

Credo
Credo in unum Deum, Patrem omnipotntem, factorem cli et terr, visiblium mnium et invisiblium. Et in unum Dminum Iesum Christum, Flium Dei unignitum, et ex Patre natum, ante mnia scula. Deum de Deo, lumen de lmine, Deum verum de Deo vero, gnitum, non factum, consubstantilem Patri: per quem mnia facta sunt. Qui propter nos hmines et propter nostram saltem descndit de clis. Et incarntus est de Spritu Sancto ex Mara Vrgine, et homo factus est. Crucifxus tiam pro nobis sub Pntio Pilto; passus et sepltus est, et resurrxit trtia die, secndum Scriptras, et ascndit in clum, sedet ad dxteram Patris. Et terum ventrus est cum glria, iudicre vivos et mrtuos, cuius regni non erit finis. Et in Spritum Sanctum, Dminum et vivificntem: qui ex Patre Filique procdit. Qui cum Patre et Flio simul adortur, et conglorifictur: qui loctus est per Prophtas. Et unam, sanctam, cathlicam et apostlicam Ecclsiam. Confteor unum baptsma in remissinem peccatorum. Et expecto resurrectionem mortuorum, et vitam ventri sculi. Amen.
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I believe in one God, the Father almighty, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, the Only Begotten Son of God, born of the Father before all ages. God from God, Light from Light, true God from true God, begotten, not made, consubstantial with the Father; through him all things were made. For us men and for our salvation he came down from heaven, and by the Holy Spirit was incarnate of the Virgin Mary, and became man. For our sake he was crucified under Pontius Pilate, he suffered death and was buried, and rose again on the third day in accordance with the Scriptures. He ascended into heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead and his kingdom will have no end. I believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son, who with the Father and the Son is adored and glorified, who has spoken through the prophets. I believe in one, holy, catholic and apostolic Church. I confess one Baptism for the forgiveness of sins and I look forward to the resurrection of the dead and the life of the world to come. Amen.

uring his lifetime and for many years after his death, Orazio Benevoli was considered one of the worthiest successors of Palestrina. He was born on 19 April 1605 in Rome. His father, Master Robert Vnevot, from Chatillon-sur-Seine, a pastry-cook, settled in Rome between 1580 and 1590. His son Orazio was admitted on February 1617 to the choir -school of the Church of St Louis of the French, where his first choirmasters were Vincenzo Ugolini and Lorenzo Ratti. He served as the choirmaster in various Roman churches from 1624 to 1643, then as Kapellmeister in the court of Archduke Leopold Wilhelm of Austria from 1643 to 1645. In 1646, Benevoli returned to Rome, where he was choirmaster at San Luigi dei Francesi, S. Maria Maggiore, and the Cappella Giulia in the Basilica of Saint Peter. He died in Rome. Benevoli's sacred compositions frequently make use of four or more choirs. Many of Benevoli's works are massive and in the Colossal Baroque style. Sixteen masses for 8 to 16 voices survive, but little of his music has been performed or recorded in modern times. Benevoli based his Tu es Petrus Mass setting on the version from the 1572 Motet of Palestrina. Regrettably, Benevolo did not publish any of his large-scale choral works. Only some smaller motets for two and three voices appeared in collections of music by different composers, published in Rome and in northern Italy. All the same, his reputation for skill in writing polychoral works was such that it lasted several
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qui tollis peccta mundi, miserre nobis; qui tollis peccta mundi, sscipe deprecatinem nostram. Qui sedes ad dxteram Patris, miserre nobis. Quniam tu solus Sanctus, tu solus Dminus, tu solus Altssimus, Iesu Christe, cum Sancto Spritu: in glria Dei Patris. Amen.

you take away the sins of the world, have mercy on us; you take away the sins of the world, receive our prayer. you are seated at the right hand of the Father, have mercy on us. For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.

generations, and Giuseppe Ottavio Pitoni, one of his successors at the Cappella Giulia and a famous teacher, had the scores of a series of his compositions for two, three four and six choirs restored for his pupils to study as models of the genre. Some of Benevoli's contemporaries, indeed, spoke of him as the Palestrina of their time. Some of these study scores have been preserved and were published from 1950 by the Reverend Lorenzo Feininger (source for our performances), while the rest of his work remains scattered in various libraries.

Motet Euge serve bone

Euge, serve bone Well done, good and faithful servant; in modica fidelis, you have been faithful in earnest, intra in gaudium Domini tui. enter into the joy of your master.

Motet Hodie Simon Petrus

Hodie Simon Petrus ascendit crucis patibulum. Hodie clavicularis regni, gaudens migrivit ad Christum. Hodie Paulus Apostolus, lumen orbis terrae, inclinato capite, pro Christi nomine martyrio coronatus est. Today Simon Peter ascended the gibbet of the cross. Today he, keeper of the keys of the kingdom, departed hence with joy to Christ. Today did the Apostle Paul, the light of the whole world, bow his head, and for Christs Names sake receive the crown of his martyrdom.
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hanks to the popularity of early Italian baroque music during its innovative period, northern Europeans that visited or studied in the eternal city would take with them copies of the music they so loved, and the music of Giacomo Carissimi (1605-1674) was no exception. Henry Aldrich (1648-1719), Dean of Christ Church in Oxford from 1689 to his death, adapted much of the music of Palestrina and Carissimi to English words with great skill and judgment. To him we owe the well-known catch, Hark, the bonny Christ Church bells. Aldrich undoubtedly had access to this source for his transcriptions. When comparing the Aldrichs autograph manuscripts at Christ Church with those of York Minster, it becomes evident that Aldrich made modifications in the texts and ensembles and indeed made numerous corrections of musical errors which are indicated in the critical notes that follow. Euge serve bone (AT, B.c.) and Hodie Simon Petrus (TT, B.c.) are from the same collection found at the Library of York Minster, and both are to be found transcribed in Aldrichs hand at Christ Church Oxford. The Motet Salve Regina (SATB/SATB) is taken from the early music collection at Universitetsbiblioteket, Uppsala Sweden. Gustav Dben (1624-1690) traveled throughout Europe collecting music in the years between 1649-1676. His transcriptions (Dbensammlung) were given to the library by his son Anders von Dben in 1732, having thereby established the library to be one of the largest collections of Italian early baroque music. This manuscript is, however, one of a kind, and the text is entirely missing. Certainty of Carissimis hand is impossible, but we prefer to think it is indeed his. Yes, we like that.

Musicians, like Orazio Benevoli and Giacomo Carissimi, were keen on innovative composition techniques which had moved radically away from the school which preceded them, that of the great Renaissance polyphonic traditions. This Renaissance tradition however remained appealing to these later composers, and its style was incorporated into their new music of the seventeenth century, consciously imitating it as the stile antico. This of course required familiarity with the compositional antico techniques. The total absence of Carissimi autograph manuscripts has not, however, excluded extant copies of his transcriptions of other composers music. Many years ago I met a Franciscan, Padre Albino Varotti (1925- ), who discovered in Assisi two rare manuscripts in Carissimis own hand. They consist of a transcription of a SATB Mass of Palestrinas Ad fugam; evidence of the underlying stylistic continuity which exists between the music of Palestrina and Carissimi. Andrew Jones states in his monumental tome on The Motets of Carissimi: The motets [of Carissimi] maintain a tradition which may be traced back through composers of the early seventeenth and late sixteenth centuries to Palestrina, the style of the individual melodic lines was influenced to a greater or lesser extent by contemporary secular forms. The glorious Renaissance tradition of contrapuntal elaboration of voices, their alignment in homophonic fashion and the use of declamation, word painting and simple poly-choral sonorous effects, were beginning to be considered old fashioned or stile antico as a new style began to bubble, especially in the Florentine region of the early 17th century. If in fact the stile antico was a product of the period of the seventeenth century, its incorporation of old elements with the new rendered it similar, but different. This fact can be looked at in two ways that the imitation was imperfect and thus failed to achieve its stated goal, or, as we prefer, that the historicizing technique remained contemporary, an authentic development of a dynamic artistic tradition. Yes, we like that, too.

Latin Texts and Translations Motet Tu es Petrus

Prima pars Tu es Petrus et super hanc petram aedificabo ecclesiam meam et portae inferi non praevalebunt adversum eam et tibi dabo claves regni caelorum Secunda pars et quodcumque ligaveris super terram erit ligatum in caelis et quodcumque solveris super terram erit solutum in caelis. First Part You are Peter, and on this rock I will build my church, and the gates of Hell will not overcome it. I will give you the keys of the kingdom of heaven; Second Part whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven.

Kyrie
Kyrie eleison Lord have mercy Chiste eleison Christ have mercy Kyrie eleison Lord have mercy

Gloria
Glria in exclsis Deo et in terra pax homnibus bonae volunttis. Laudmus te, benedcimus te, adormus te, glorificmus te, grtias gimus tibi propter magnam glriam tuam, Dmine Deus, Rex clstis, Deus Pater omnpotens. Dmine Fili Unignite, Iesu Christe, Dmine Deus, Agnus Dei, Flius Patris, Glory to God in the highest, and on earth peace to people of goodwill. We praise you, we bless you, we adore you, we glorify you, we give you thanks for your great glory, Lord God, heavenly King, O God, almighty Father. Lord Jesus Christ, Only Begotten Son, Lord God, Lamb of God, Son of the Father,
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Garrick Comeaux