C ONSORTIUM C ARISSIMI

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

SILENTIUM
TENEBANT
Music for Christmas & Epiphany

Trinity Church - 322 2nd Street, Excelsior, MN

Friday, January 4th - 2007 7:00 pm

St. Mary’s Chapel at the St. Paul Seminary - 2260 Summit Ave, St. Paul, MN
Saturday, January 5th - 2007 7:00 pm
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 Soprano
Carrie Henneman Shaw
Soprano
Diane Koschak
Alto
Jerry J. Hinks
Tenor
Steve Staruch
Baritone
Douglas Shambo II
Bass
Garrick Comeaux
La Chiesa del Gesù ossia Il Gesù

Violins
Karen Fox Fischer
Kathryn McWilliams
Cheryl Zylla
Basso Continuo
Phil Rukavina, theorbo
Thomas E. Walker, Jr. theorbo
Mary Virginia Burke, viola da gamba
Mark Kausch, violone

Organ
Peter Hendrickson La Basilica di Sant’Apollinare

Direction
Garrick Comeaux

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 Be silent.
Consortium Carissimi Lowly herds and flocks hush their bleating.
Whether you dwell on earth or in Heaven, be silent, silent, silent.
——— Board Members ——– from the motet Silentium tenebant

THE PROGRAM
Robert Pontious, President
Beth Nunnally, Treasurer Silentium tenebant
David Seykora, Secretary for two sopranos, tenor, two violins and Basso continuo
Giacomo Carissimi (1605-1674)
Consortium Carissimi is a a 501(c)(3) non-profit organization
P.O. Box 40533 Litania della Madonna Op.11, 1665
Saint Paul, Minnesota 55104 for 4 voices and Basso continuo
Bonifazio Graziani (1604-1664)
Tel. 612.822.1376

Alma redemptoris mater

——————— Consortium Carissimi CD Recordings ——————— for two sopranos, bass and Basso continuo
Giacomo Carissimi

Mass for Three Voices with Six Motets of Giacomo Carissimi (1605-1764) Ach mein herzliebes Jesulein
Naxos Records 8.555075 for two sopranos, bass, two violins and Basso continuo
Christoph Bernhard (1628-1692)
Ten Motets of Giacomo Carissimi (1605-1764)
Naxos Records 8.555076
Quasi aquila
Santa Agnese Oratorio Music of Bernardo Pasquini (1637 - 1710) for tenor solo, two violins and Basso continuo
Disques Pierre Verany - Paris PV703051
Giacomo Carissimi
Dialogue Motets of Cristóbal de Morales
Sanctuary Records - London CD GAU 343
Das newgebohrne Kindelein BuxWV 13
Jephte / Jonas / Dai più riposti abissi Two Oratories and a Serenade of Giacomo Carissimi for four voices, three violins and Basso continuo
Naxos Early Music 8.557390 Dietrich Buxtehude (1636-1707)

12 Motets of Giacomo Carissimi of G. Tricarico, S. Durante, N. Monferrato, F. Foggia, G. M.

Pagliardi, M. Cazzati, B. Graziani, and G. Carissimi? Hodie Salvator mundi
Disques Pierre Verany - Paris PV 705011 for six voices, two violins and Basso continuo
Giacomo Carissimi

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 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 17th 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. A special thanks to
Alongside the works of Carissimi, the ensemble also proposes music of his contemporaries, which was often Fr. Tom Margevicius, our host at the St. Paul Seminary,
mistaken as music of Carissimi either for the similar style or for it’s simple, fresh new approach to text, melody Rev. W. Andrew Waldo and the community of Trinity Episcopal Church, Excelsior,
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 Bill Mathis and Hennepin United Methodist Church for the use of their portative organ,
provides a clearer picture of the musical fermentation of the Early Roman Baroque. Peter Hendrickson and Tina Brauer for allowing us to rehearse at Augsburg College,
Julie Seykora, Beth Nunnally
This repertory, wrongly forgotten and heard very little today, even within musicological-performance circles, offers and
examples of the high level of musical creativity of the time and certainly no less excellent than the European
Elisabeth Comeaux,
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 for their organizational skills, time and efforts,
by its founder Garrick Comeaux, allows Consortium Carissimi to program World Premier Concerts and Robert Foy for the indispensable help with some very difficult Latin texts and their translations,
Recordings. The musical style, the affects of the texts, the ornamentation and the choice of the figured bass and to Mr. Douglas Shambo II for reconstructing the elusive second violin part to Silentium.
instruments are objects 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 consists 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
helped build the solid foundation for introducing Consortium Carissimi to North America.

Today you will hear a different formation of the stateside ensemble of Consortium Carissimi. Six fine singers,
one to a voice part and exceptional instrumentalists, each adding particular colors of their own. Much of the
Carissimi repertory in fact requires more mixed voices and additional instruments, as is in the case of this
evening’s concert. It is our hope to pursue the performance of these larger works of this era with this phenomenal
stateside ensemble, as well as to continue musical collaboration with our Italian friends. Look for future concert programming under our Future Concerts section at our website:
www.consortiumcarissimi.org
These first performances of Consortium Carissimi USA are dedicated to all of them.

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sponsus procedens de thalamo suo exultavit ut gigans ad currendam viam suam; Wisdom 11,23
Quoniam tamquam momentum staterae sic ante te est orbis terrarum et tamquam gutta roris
antelucani quae descendit in terram. and liturgical sections in the Responsorio 3 In Nativitate Domini,
Quem vidistis, pastores? dicite, annuntiate nobis, in terris quis apparuit? The source is Arion Romanus sive
Liber primus sacrarum cantionem I-V vocibus vel instrumentis concidenarum. (Kostanz: D. Hautt, jun., 1670)
reproduced with the kind permission of the Zentralbibliotek, Zürich, Switzerland.
We neither know the date of Dietrich Buxtehude's birth or his nationality. Germany claims him,
but the Dutch would declare Danish ownership, citing the obituary notice after his death in 1707
which read «he recognized Denmark as his native country, whence he came to our region». He
certainly spent most of his life in Germany, where he worked as organist and composer at the
main church in Lübeck for nearly 40 years. He left around 114 sacred vocal works, a vast number
of compositions for keyboard and organ, and a number of cantatas including Das newgebohrne
Kindelein which come to us in manuscript form, from our familiar source in Uppsala.
Buxtehude was undoubtedly one of the finest church composers working in Germany at that time.
There is no doubt that Buxtehude must have exerted an influence on the entire Bach family, since
his cantatas, like Das newgeborhne point the way to the shape of choral music to come. J.S Bach
makes partial use of this Christmas text in his Cantata 122, which carries the same name.
Hodie Salvator mundi is an incipit to numerous liturgical sources for the Christmas season. The
creativity involved in textual manipulation at the Collegio in those days, renders however this
incredible motet to be appropriate for Easter. Again our friends in Uppsala Sweden keep the
manuscript copy which is in tablature only. The text in certain sections of the motet remains to be
somewhat of an enigma.
Our Latinist, Robert Foy, has done a magnificent job in discerning the misspelled words and
incorrect grammar, but a couple of cases have proven to be real grattacapi (head-scratchers). In
these few instances we have simply reproduced what was on the manuscript, leaving the
uncertainty within brackets.
Consortium Carissimi was honored to be asked to sing for the 450th Anniversary of the Jesuit
Gregorian University in Rome in 2001. We had an attentive audience of biblical scholars, professors
of dogmatic theology, philosophers, religious and students from all over the world. As we closed
the concert with Hodie salvator mundi, we were asked to sing the O dies laeta again and again. What a
wonderful thing to hear the audience singing this refrain as we all left the chapel that day. We have
chosen to close this Christmas concert with this motet in the hopes you might take it with you on
your way home.
Buon Natale!
Garrick Comeaux
Artistic Director
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Program Notes and Latin text translations
Giacomo Carissimi (1605-1674)
Silentium tenebant for two sopranos, tenor, two violins and Basso continuo
Silentium tenebant omnia, et atra nocte circumfusa tellus gelidum sentiebat algorem,
dum noctis silentium, inter choros angelorum, virginea vox temperebat dicens, temperebat dicens,
laborum dulce levamen, grate puelle veni, veni, lingue Palatium ad hanc aerumnam, qui es confugium.
All things kept silence, and by dark night surrounded, the Earth knew frigid cold,
while, in the midst of choirs of angels, the voice of the Virgin broke the night’s silence, saying,
“Some sweet relief from my labor, gracious little boy; come, come,
leave your palace for this hardship, you who are my refuge.”
Divini infantuli oculos madidos et membra lapsula absterge refove, somne; veni, veni.
Hic est, hic est. Qui prodiens, e patris aeterni sinu, plaude coeli somnos,
ibi deposuit, ut suis vigiliis dulce nobis ostium compararet.
Sleep, wipe the eyes of the divine infant and refresh his exhausted limbs; come, come.
He is here, he is here! Celebrate the one who proceeding from the lap of the Father Eternal,
left the slumbers of Heaven behind,
that by his wakefulness, he might prepare a sweet access for us.
Sed, blandae pupullae, matris deliciae, mi carae, dormi, dormi, dormi pupullae, dormi blandulae, dormi tenellulae.
Dormi, dormi, dormi, tu caeli gaudium, tu matri corculum.
But, darling pupils of the eye, dear to the mother, dear to me, sleep now, sleep, sleep.
Little Lad’s pupils, sleep, little darlings, sleep, tender ones.
Sleep on, sleep on, sleep on, joy of Heaven, your mother’s dear heart.
Adiuro vos, adiuro, o aeterni gens, o caeliculae, ne suscipetis neque evigilare faciatis dilectum, quoad usque ipse velit.
I beg you, I beg, O Folk of Eternity, O Dwellers in Heaven,
do not pick up the precious one or offer to wake him until he wills it himself.
Silete Pecudes et oves humiles balatus comprimunt. Quique terriginae quique caeliculae, silete, silete, silete.
Be silent. Lowly herds and flocks hush their bleatings.
Whether you dwell on earth or in Heaven, be silent, silent, silent.
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 Bonifazio Graziani (1604-1664)
Litania della Madonna Op.11, 1665 for 4 voices and Basso continuo
Kyrie eleison. Christe eleison. Kyrie eleison.
Christe audi nos. Christe exaudi nos.
Fili redemptor mundi Deus, Pater de Caelis Deus ,
Spiritus Sancte Deus, miserere nobis.
Sancta Trinitas unus Deus, miserere nobis.
Sancta Maria, ora pro nobis. Holy Mary, pray for us.
Sancta Dei Genitrix, ora pro nobis. Holy Mother of God, pray for us.
Sancta Virgo Virginum, ora pro nobis. Holy Virgin of Virgins, pray for us.
Mater Christi, Mater divinae gratiae, ora pro nobis.
Mater purissima, Mater castissima, ora pro nobis.
Mater inviolata, Mater intemerata, ora pro nobis.
Mater amabilis, Mater admirabilis, ora pro nobis.
Mater Creatoris, Mater Salvatoris,
Virgo prudentissima, Virgo veneranda, Virgo praedicanda,
Virgo potens, Virgo clemens, Virgo fidelis,
Sedes sapientiae, Causa nostrae letitiae, ora pro nobis.
Vas Spirituale, Vas honorabile,
Vas insigne devotionis, ora pro nobis.
Rosa mystica, Turris Davidica, Turris eburnea, Domus aurea,
Faederis arca, Ianua Caeli,
Stella matutina, Salus infirmorum,
Refugium peccatorum, Consolatrix afflictorum,
Auxilium Christianorum, ora pro nobis.
Regina Angelorum, Regina Patriarcharum, Regina
Prophetarum, ora pro nobis.
Regina Apostolorum, ora pro nobis.
Regina Martyrum, Regina Confessorum,
Regina Virginum, ora pro nobis.
Regina Sanctorum omnium, ora pro nobis.
Lord, have mercy, Christ, have mercy,
Lord, have mercy. Christ, hear us.
God the Son, redeemer of the world, God the Father.
God the Holy Spirit, have mercy on us,
Holy Trinity, One God, have mercy on us.
Mother of Christ, Mother of divine grace, pray for us.
Mother most pure, Mother most chaste, pray for us.
Mother inviolate, Mother undefiled, pray for us.
Mother adorable, Mother worshipful, pray for us.
Mother of the Creator, Mother of the Savior,
Virgin most wise, Virgin worthy of veneration, Virgin
commendable, Virgin powerful, Virgin merciful,
Virgin faithful, Seat of wisdom, Cause of our
happiness, pray for us.
Vessel spiritual, Vessel honorable, Vessel remarkable
for devotion, pray for us.
Mystic Rose, Tower of David, Tower of ivory,
Golden Household, Arc of the Covenant, gate of
Heaven, morning star, Health of the sick, Refuge of
sinners, Consoler of the afflicted, Aid of Christians,
pray for us.
Queen of Angels, Queen of the Patriarchs,
Queen of the Prophets, pray for us.
Queen of the Apostles, pray for us.
Queen of Martyrs, Queen of Confessors,
Queen of Virgins, pray for us.
Queen of All Saints, pray for us.
T 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 Carissimi’s music was no exception. Silentium tenebant is preserved in
manuscript form in the Bibliothèque National, Paris. Whether or not this style of
composition was common for Carissimi, it is certainly an exceptional, one of a kind
piece of music that is available to us today. The word painting and rhythmic colors
of the violins along with figured bass ostinato passages, resembling the drone of the
zampogna (Italian bagpipes, which one can still hear at Christmas time in Italy) gently
place listeners and musicians alike around a manger as a baby soundly sleeps.
Carissimi’s friend and colleague, Bonifazio Graziani was employed at Il Gesù, a very large church just
down the street from Sant’ Apollinare where Carissimi lived and worked in Rome. Images of both
institutions are reproduced on page 15 this program. The Litania della Madonna is undoubtedly a good
example of the Graziani’s genius. Skillfully incorporating a text which is by nature a verse with a
response, the litany proper begins after the prescribed penitential rite, with clearly stated petitions and
extended final ora pro nobis from all four voices. As is customary, the work is concluded with a form of
Agnus Dei. Graziani was fortunate to have a brother who was a printer, and consequently a great deal
of his music was printed. Carissimi definitely had no such luck. This litany comes from the Opus 11,
published in 1665, in which were included four other litanies; two for five voices, one for seven and
one for eight. Our transcription is from a copy kept in the beautiful Biblioteca Casanatense in Rome.
Alma redemptoris mater comes from an anthology published in Rome in 1647. Carissimi was fortunate to
have this motet and one other placed among these. Our transcription comes from a doctoral
dissertation written by Andrew Jones, whose source is the Library of Westminster Abbey in London.
An interesting variation on this text is found in the Universitetsbiblioteket in Uppsala Sweden. The
original Alma text is one of four Marian Antiphons, traditionally said or sung after Compline all
throughout Advent up to the Feast of the Presentation, but this same northern European source also
provides the same work with a modified text, more proper to the Protestant world of the time; Alleluia.
Jesum nostrum laudate.
Carissimi was sought out as a composition teacher and many that were enrolled in the college were
later to achieve eminence as composers. Composers already established sought his insight as well, such
as Marc-Anoine Charpentier, Johann Kaspar Kerll, and Christoph Bernhard. Bernhard took the fine text of Ach,
mein herzliebes Jesulein which was later to be set by many composers such as Johann Schelle (1648-1701)
and of course J.S. Bach, who placed it as the final chorale of the first cantata of his Weihnachts -
Oratorium. It follows the lullaby nature of Silentium tenebant and makes a fine contribution to this
particular concert program.

Agnus Dei qui tollis peccata mundi, parce nobis, Domine. Lamb of God, who takes away the sins of the world, The Christmas text in Quasi aquila is a good example of the creativity of counter-reformation authors.
Agnus Dei qui tollis peccata mundi, exaudi nos Domine. spare us, Lord. Whether the actual author is a Jesuit priest of the Collegio Germanico or is Carissimi himself, is at present
Agnus Dei qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the world, impossible to say. The text is a poetical reconstruction of biblical passages taken from Deuteronomy
hear us, Lord. 32,11 sicut aquila provocans ad volandum pullos suos et super eos volitans expandit alas suas et adsumpsit
Lamb of God, who takes away the sins of the world, eum atque portavit in umeris suis.; Psalm 19(18) 6 in sole posuit tabernaculum suum et ipse tamquam
have mercy on us.
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 O dies laeta, o lux amata, o dies fausta, o lux optata, o felix dies, o lux beata. Giacomo Carissimi
Haec dies quam fecit Dominus, exultemus et laetemur in ea! Alma redemptoris mater for two sopranos, bass and Basso continuo
O day wonderful, a light beloved, a day fortunate, o light desired, o happy day, a night blest. Alma redemptoris mater, quae pervia caeli
This is the day the Lord has made, let us rejoice and be glad in it. Porta manes, et stella maris, succurre cadenti,
Surgere qui curat, populo: tu quae genuisti,
Hodie Salvator mundi destruxit vincula mortis et ab inferis victor ascendens, Natura mirante, tuum sanctum Genitorem
elevavit portas aeternales utacciperent fidelis omnes deplenitudine divinitatis. Virgo prius ac posterius, Gabrielis ab ore
Gaude, tellus, et exulta in perfecta sortium, redemptorem habet culpa, caeli patet ostium. Sumens illud Ave, peccatorum miserere.
Cessa fides, cohors Christi, [cessa pectoris im glutta ad triumphanque vidisti serenate mastopultu.]
Hail, Queen of Heaven, Hail, Ruler of Angels: Greetings, Root of Jesse,
Today the world’s Savior has destroyed death’s chain and, ascending from Hell a victor, Portal Through which lights has dawned upon the world:
has opened the gates eternal, that all the faithful may receive the fullness of the Godhead. Rejoice, glorious Virgin, Lovely beyond all the rest:
Rejoice, Earth, and exult in the fulfillment of the prophecies. Greatly, o greatly fitting, And for us ever plead to Christ.
Our sin has a savior who shows the way to Heaven.
Your faith is completed, Company of Christ …
Christoph Bernhard (1628-1692)
Triumphate nunc, fidelis gratiarum filii, triumphate, o fidelis sanctitatis socii. Ach mein herzliebes Jesulein for two sopranos, bass, two violins and Basso continuo
Animatum corpus illius, lachrymantes filiae, iam surrexit, vos post illum Galilaeam pergite.
Vale horror inferorum, iam scudendum ad serena, vale [dolorum tomum, iam migrandum ad amanu, Ach, mein herzliebes Jesulein!
vale dolorum tomum,] iam migrandum ad serena. Mach'dir ein rein sanft Bettelein,
Nullae turbent jam furentis Acherontis minae, [trunces ivit stige] refulgentis gloriosus crucis stipes. zu ruhn in meines Herzens Schrein,
dass ich nimmer vergesse dein.
Triumph now, faithful sons of grace, triumph, o faithful comrades of holiness.
His body has been revived, weeping daughters, already he has risen, go you after him to Galilee. O my beloved baby Jesus!
Farewell, horror of Hell, the sunshine is now to be enjoyed, farewell … Make here your soft little bed,
Now, no threats of raging Acheron confound … and rest in the shrine of my heart,
so that I may never ever forget you. Amen.
Age Mater [deplorantis ors recurrit gaudii,] nunc mirare suscitati iuvat mirum filii.
[Nunc velator manum fausta tolle plausi et bravi] atria pandis coeli claustra. Gaude laudis melodia, gaude laudis melodia. Giacomo Carissimi
Quasi aquila for tenor solo, two violins and Basso continuo
Go, Mother … now … it is good to marvel at the marvel of your risen son.
You have opened the locked halls of Heaven. Quasi aquila provocans ad volandum et sicut gigas Salvator noster exultavit ad curendam viam;
Rejoice with songs of praise, rejoice with songs of praise. desummo egressus caelo descendit tanquam imber, et sicut stillae roris super terram.
Non in purpura, non in folio foeno tectus, Rex pacificus regnat in praesepio.
Tristes diu [cimbimunes] Christo dicant gloriam, [nati sedes triumphales] concinant victoriam, In humili caula Salvator est natus cui caelum est aula, qui nobis est datus.
[nati sedes triumphales] concinant victoriam.
Ite luctus, ite fletus [erum nostri] mortis metus cadunt, jubilo. Sexus omnis plaudat coetis hoc paschali gaudio. Like an eagle compelled to take flight and just like an athlete, Our Savior rejoiced to run his race;
So, having issued from Heaven like the rain or drops of dew, he came down to the earth.
The sad ones, long since dead, give glory to Christ. Clad in no purple, upon no throne, the King of Peace reigns in a manger.
Depart lamentation, go, depart, weeping … the fears of death are dead and I rejoice. In a humble stable was born the Savior who was given for us, whose palace is Heaven.
Let every kind together applaud this Paschal joy.

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 Si parvus in annis, si vilis in pannis, est magnus in caelis, pretiosus in stellis. Dietrich Buxtehude (1636-1707)
Accurunt custodes gregis et admirantur diffusam gratiam in suis labris. Das newgebohrne Kindelein BuxWV 13 for four voices, three violins and Basso
O speciose forma, O venustissime puer. continuo
Pastores, dicite, puer quem vidistis, quam pulcher est dicite.
Voces quas audistis quam dulces sunt dicite. Das neugeborne Kindelein,
Puer quem vidistis, quam pulcher est dicite, annuntiate et cantate, Noe, noe, noe! Das herzeliebe Jesulein
Bringt abermal ein neues Jahr
If little in years, if miserable in rags, he is great in the heavens, precious among the stars. Der auserwählten Christenschar.
The shepherds hurry and wonder at the grace suffused on his lips. The newly born, the tiny child,
Oh what a splendid body, O what a good-looking boy! The darling, little Jesus-child,
Shepherds, tell us: the boy you saw, tell us how lovely he is. Doth once again the year renew
The voices you heard, tell us how sweet they are. For this the chosen Christian throng.
The boy you saw, how lovely he is, tell us: announce it and sing “Noel, Noel, Noel.” Ist Gott versöhnt und unser Freund,
Was kann uns tun der arge Feind?
Trotz Teufel und der Höllen Pfort,
Das Jesulein ist unser Hort.

If God, appeased, is now our friend,

How can us harm the cruel foe?
Spite devil and the gate of hell,
The Jesus-child is now our shield.
Es bringt das rechte Jubeljahr,
Was trauern wir denn immerdar?
Frisch auf! itzt ist es Singenszeit,
Das Jesulein wendt alles Leid.
It brings the year of Jubilee,
Why do we mourn then anymore?
Quick, rise! Now is the time for song,
The Jesus-child fends off all woe.

Giacomo Carissimi
Hodie Salvator mundi for six voices, two violins and Basso continuo

In a desert land he found him, in a barren and howling waste.
He shielded him and cared for him; he guarded him as the apple of his eye,
like an eagle that stirs up its nest and hovers over its young,
that spreads its wings to catch them and carries them on its pinions.
Deuteronomy 32, 10-11
Hodie Salvator mundi, post crucis tormentum imposuit finem doloribus nostris.
Tu ergo Jerusalem, carpe lauros, carpe flores, texe Christo lauretum triumphanti da honores,
concine victoriam triumphanti, diem faustam tolle voce ad coelestem regiam.
Today the world’s Savior, after the torment of the cross, has put an end to our sorrows.
Therefore, Jerusalem, gather laurel boughs, gather flowers, braid a laurel crown for Christ, heap honor on
the victor, proclaim the victor’s triumph, the happy day, your voice lift up to the heavenly realm.

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