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Release Date: May 22, 2020
Catalog #: NV6274
Format: Digital & Physical

Ignacio Jerusalem

Mass in G "De Los Niños": Gallant Music From Mexico City

Chicago Arts Orchestra | Javier José Mendoza artistic director

Lovers of Early Music are in for a huge treat with IGNACIO JERUSALEM: MASS IN G, a tribute commemorating the 250th anniversary of the composer's death. The little-known, Italian-born, galant creator, who spent much of his colorful life in Mexico, receives long-deserved attention from the Chicago Arts Orchestra under the baton of Mexican-American conductor Javier José Mendoza.

Considered the most influential composer of galant music in the Americas, Ignacio Jerusalem (1707-1769) might not be as well-known as his European counterparts: but the reason for his limited renown has more to do with a geographical disadvantage, rather than lack of musical ability. The works presented on this album were largely composed towards the end of the emigre's life, in the 1760s, and they bear all of the hallmarks one would expect from a European-born composer of the era. There is plenty of zest, liveliness, spirit, drive; but also a distinctly Italian take on Catholic piety, spiritual reflection and faith.

One might be forgiven to view Jerusalem as a ready-made, run-of-the-mill church composer, considering that most of Jerusalem's oeuvre consists of liturgical works – after all, he spent the last two decades of his life as chapel master of the Catedral de México, which had commissioned plenty of works by him even before his official tenure. Doing so, of course, would mean doing injustice to his delightful secular compositions, such as AL COMBATE which was previously recorded by the Chicago Arts Orchestra and released on Navona Records. Furthermore, one cannot disregard the composers non-liturgical sacred works, such as the charming duet Pedro Amado or the magnificent Incipit Lamentatio Jeremiae Prophetae, which are anything but run-of-the-mill.

IGNACIO JERUSALEM: MASS IN G is a solid attempt at shining a light on a composer whose legacy unjustly suffered from his relative isolation and lack of peerage. It is a well-deserved tribute, and one that will indubitably please the ear as well as the soul – just as the master intended.


Hear the full album on YouTube

"Plenty of zest, liveliness, spirit, drive; but also a distinctly Italian take on Catholic piety, spiritual reflection and faith."

Records International

Track Listing & Credits

# Title Composer Performer
01 Mass in G Major "De los Niños": I. Kyrie Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Nythia Martínez, Bruno Rivera, Mallory Harding, and Billy Sefton, soloists 2:34
02 Mass in G Major "De los Niños": II. Gloria Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Nythia Martínez, soprano; Mallory Harding, alto; Billy Sefton, tenor 8:39
03 Mass in G Major "De los Niños": III. Credo Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Nythia Martínez, soprano; Bruno Rivera, soprano; Mallory Harding, alto; Billy Sefton, tenor 7:43
04 Mass in G Major "De los Niños": IV. Sanctus Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Nythia Martínez, Bruno Rivera, Mallory Harding, and Billy Sefton, soloists 1:24
05 Mass in G Major "De los Niños": V. Agnus Dei Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Nythia Martínez, Bruno Rivera, Mallory Harding, and Billy Sefton, soloists 1:44
06 Incipit Lamentatio Jeremiae Prophetae Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Alexa Græ, alto 12:09
07 ¡Ah! De la Dulce Métrica Armonía Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Eleanor Ranney-Mendoza, soprano; Nythia Martínez, soprano 6:06
08 Pedro Amado Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster; Eleanor Ranney-Mendoza, soprano; Nythia Martínez, soprano 5:50
09 Symphony in G Major with Hunting Horns: I. Allegro Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster 2:11
10 Symphony in G Major with Hunting Horns: II. Andante Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster 3:00
11 Symphony in G Major with Hunting Horns: III. Allegro Ignacio Jerusalem Chicago Arts Orchestra | Javier José Mendoza, artistic director; Chicago Arts Chorale | Jonathan Metzinger, choirmaster 2:19

Recorded October 12-13, 2019, at Saint Francis Xavier Roman Catholic Church in Wilmette IL

All performing editions for this recording have been prepared by Professor Drew Edward Davies, Northwestern University

Session Producer Brad Michel
Session Engineer John McCortney, Airwave Studios

Artistic Director Javier José Mendoza
Scholar-in-residence Drew Edward Davies

Violin I Brandi Berry Benson (Concertmaster) Songhea Sackrider, Mariah Schultz
Violin II Yuriy Geyer, Pascal Innocenti, Henry Zheng
Viola Becca Wilcox
Cello Morgan Little
Bass Roland Moyer
Horn John Schreckengost, Thomas Vienna
Harpsichord and Organ Mark Shuldiner

Choirmaster Jonathan Metzinger

Soprano I Michelle Ford, Katelyn Lee, Nythia Martínez, Eleanor Mendoza
Soprano II Alexa Grae, Sarah Mikulski, Bruno Rivera, Allison Selby-Cook
Alto Thomas Aláan, Scott Dankert, Mallory Harding
Tenor Jared Esguerra, Enrico Bellomo, Billy Sefton

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil

VP, Audio Production Jeff LeRoy
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Sara Warner

Artist Information

The Chicago Arts Orchestra


The Chicago Arts Orchestra was established by a group of musicians and creative artists to perform great music and to make music accessible and affordable. Comprised of professional musicians with active performance schedules in Chicago, the CAO aims to achieve its mission by providing educational opportunities for the community through the performance of historic and new orchestral music. The CAO seeks to be innovative in its programming and presentation of concerts.

Javier Jose Mendoza

Javier José Mendoza

Artistic Director

JAVIER JOSÉ MENDOZA is the Artistic Director of the Chicago Arts Orchestra. Under Mendoza’s direction, the CAO has consistently been named a “Critics Pick” by Time Out Chicago and a “Recommend” by the Chicago Tribune’s John von Rhein. Early Music Today praises the CAO by saying “the Chicago Arts Orchestra plays terrifically,” and Steven Ritter of Audiophile Audition claimed that the CAO is an “exciting group for sure.”

In 2014 Mendoza led the CAO to being named “Professional Orchestra of the Year” by The Illinois Council of Orchestras. Mendoza’s work with the CAO can be heard on the album, AL COMBATE, from Navona Records. In 2017 Mendoza led the CAO on tour to Mexico City with performances at the Catedral Metropolitana, Anfiteatro Simón Bolivar, and Sala Nezahualcóyotl at the invitation of the Universidad Nacional Autónoma de México.

Mendoza is active in a movement to unearth, and re-debut forgotten works from viceregal Latin America and is energetically re-premiering pieces in an effort to bring this wonderful music back into public awareness. He has presented lectures on this subject at Loyola University-Chicago, the National Autonomous University of Mexico (Chicago Campus), Virginia Tech, Instituto Cervantes, International University of Andalucía, and the Universidad Autónoma de Madrid.

Mendoza appeared as a conductor with the CAO at the Chicago Latino Music Festival from 2015-17. He has served as guest conductor with Opera Maya in Quintana Roo, Mexico. Here, Mendoza presented the first orchestral concert performed at Tulum, one of the last cities built and inhabited by the Maya. Mendoza has performed with the CAO and Opera Maya across Mexico including performances in San Miguel de Allende, Campeche, Cancun, Playa del Carmen, and Chetumal. Other international performances include appearances with the State Philharmonic of Sibiu, Romania, the Camerata Antonio Soler in El Escorial, Spain, and as guest conductor at the University of Copenhagen. Recent highlights include engagements in Bolivia, Chicago, and Madrid. Mendoza is also active in training the next generation of orchestral musicians, and as such serves as the Director of Orchestral Studies at the Florida International University School of Music in Miami FL.

Alexa Græ


ALEXA GRÆ is a multi-disciplinary artist. They are a graduate of Northwestern University where they received a master’s degree in Vocal Performance and Literature and a Certificate in Performance, and they also received bachelor's degrees in Vocal Performance and Composition from Texas Tech University. They have performed with companies such as Haymarket Opera Company, Madison Opera, and Elements Contemporary Ballet.

In 2018 GRÆ released their first studio song cycle titled Seen, a mix of genres spanning from classical art song to house music accompanied by the premiere of Sur La Nuit an operatic/electronic music video.

Eleanor Mendoza


ELEANOR MENDOZA, soprano, performs early music, chamber music, and opera. Over the last ten years, Mendoza has performed with the CAO internationally in Mexico and nationally in Chicago, New Mexico, and Indiana. Mendoza is currently a voice professor at Barry University in Miami FL.

Mendoza earned a master’s degree from Mannes Conservatory at The New School for Music in NYC and holds a Bachelor of Music degree from The University of New Mexico. She has performed such roles as Susannah in The Marriage of Figaro by Mozart, Yum Yum in the Mikado by Gilbert and Sullivan, and the role of Nannetta in Falstaff by Verdi.

Nythia Martínez


NYTHIA MARTÍNEZ has had the privilege of being choral and musical theater director at Northside College Preparatory High School since 2004. Martínez is a graduate of the Indiana University School of Music, where she earned a Master’s of Vocal Performance in 2004 and both a Bachelor’s of Vocal Performance (B.M.) and Music Education (B.M.E.) in 2002.

Notable performances/accolades include: sharing the stage with acclaimed jazz pianist Fred Hersch in Bloomington’s premiere of his work, Leaves of Grass; being a finalist in the Carnegie Hall / Dianne Reeves Workshop for Jazz Vocalists; appearing with the Barber Brothers Quintet at the Kennedy Center in Washington D.C.; being a Chicago Music Award Nominee in the category of “Best Female Vocalist”; and working as vocalist of the Chicago Afro-Latin Jazz Ensemble (CALJE) since 2006.  Most recently, Martínez was a featured artist at the 2019 Chicago Latin Jazz Festival sponsored by the Jazz Institute of Chicago and regularly performs with the Newberry Consort.



One of the most prolific composers to have worked in New Spain (colonial Mexico), Ignacio Jerusalem (1707-1769) followed an extraordinary musical career that spanned three continents. He was born into a musical family in Lecce, Apulia in southern Italy, and later studied in Naples. A musical post with a military regiment would see him stationed in Ceuta, a Spanish enclave on the North African coast, for much of the 1730s. An accomplished violin, cello, and horn player, Jerusalem departed from Cádiz, Spain in 1743 for Mexico City, where he would remain for the rest of his life. From 1750 onward, Jerusalem served as chapel master of Mexico City’s prestigious Metropolitan Cathedral and composed about 260 high quality musical works in the galant style. He also taught and directed liturgical music.

In the 1750s, Jerusalem had a reputation for being a colorful personality: his wife tried to divorce him, he squandered his money, and he even briefly ended up in jail. But in the 1760s, he seemed to turn greater attention to his duties, and he had a fruitful artistic period in which he composed many of his finest works. Eventually, Jerusalem’s music enjoyed a wider distribution than any other composer based in a New Spanish city, and versions of his compositions remain today at ecclesiastical archives that cover the length of former New Spanish territory, from Guatemala in the southeast to California in the northwest. He was the most influential composer of galant music to have worked in the Americas and was regarded as a master in the decades following his death, which was announced by the authorities of Mexico City Cathedral on December 16, 1769 (precisely one year before the birth of Ludwig van Beethoven).

As such, 2019 marked the 250th anniversary of Jerusalem’s death, and a series of distinct musical and academic activities in Chicago, Mexico City, Andalusia, and Miami commemorated the composer’s legacy. 2019 saw exciting advances in our knowledge about Jerusalem, including the discovery by Spanish musicologists Javier Marín-López and José Antonio Gutiérrez of Jerusalem’s posting in Ceuta as well as my own compilation of a comprehensive list of Jerusalem’s compositions that identifies not only as many authentic pieces as possible, but also arrangements of Jerusalem’s music made in later periods. Hopefully through these efforts, as well as a new Selected Works Edition from the Madrid music publisher Dairea Editions, Jerusalem will become better recognized internationally as a significant 18th-century composer.

Most of Jerusalem’s surviving music is liturgical, as his primary job as a composer was to write music for the cathedral. Nonetheless, a few secular works survive within the cathedral archive that show his contribution to the activities of Mexico City’s social elite, especially high profile political events. One of these is Al combate, an ode— previously recorded by Chicago Arts Orchestra on an album from Navona Records— that celebrates Carlos III, King of Spain. A related, but much shorter, ode is Ah de la dulce métrica armonía, which sets a propagandistic text that honors Carlos or his representative in Mexico City, the Viceroy. Since the work is not dated, it is not clear whether it was intended for a specific viceroy, six of whom served during Jerusalem’s tenure at the cathedral, or whether it was used on multiple occasions. The text is local, highlighting the loyalty of America (meaning Spanish territories in the Americas) to the crown and the joy of its residents who bow to their leader, yet unspecific as to the identity of the Prince. In a similar galant style, the charming duet Pedro amado counts as one of many pieces written in honor of St. Peter in Mexico City, and it dramatizes two souls ecstatically envisioning union in heaven with the first leader of the Christian Church.

The major work on this recording is the Mass in G Major for four voices “de los Niños.” Five settings of the Mass Ordinary by Jerusalem survive at Mexico City Cathedral, and this one was written in 1767, toward the end of Jerusalem’s career. In fact, a copy of it at Puebla Cathedral in Mexico has the words “requiescat in pace” (rest in peace) written below the composer’s name on each of its vocal and instrumental parts, probably because it was copied in Mexico City shortly following Jerusalem’s death. According to Italian custom, the Mass is structured as a cantata, meaning that the individual movements are broken up into distinct sections, each with its own character and scoring. Some of these are martial, such as the opening of the Kyrie eleison and the closing “Et vitam venturi saeculi” of the Credo, and the Amen of the Gloria is even lightly fugal. But the work also achieves considerable emotional depth in sections such as the “Et incarnatus est” of the Credo and in the sections cast for solo voices. Another special feature of this Mass is a dialogue passage between voices and natural horns in the “Quoniam” section of the Gloria. As was the case in many Hispanic Masses of the time, there is no Benedictus section of the Sanctus (it would have been sung in chant), and the Sanctus and Agnus Dei movements of the Mass remain brief, placing the weight of the work in the Gloria and the Credo. The subtitle “de los Niños” may refer to the fact that the vocal parts feature the higher voices— originally sing by choirboys— in a chorus divided SSAT, or to the possibility that the work was performed on an occasion when the choirboys took on a significant role. The subtitle may have also served a practical function to differentiate the piece from another Mass Jerusalem wrote in the same key (a role it continues to serve, given that the other G Major Mass was recorded in Mexico in 1995 on the Urtext label). What is certain is that this Mass is not labeled “of the children” because of its ease of performance; on the contrary, it requires elegant, trained singing and playing throughout.

Jerusalem is the only composer in New Spain to have written Italianate symphonies, which were also known as overtures at the time. Three such pieces attributed to Jerusalem survive at Durango Cathedral in northern Mexico, one of which is a stand-alone copy of the overture to Al combate. The Symphony for Hunting Horns is a three-movement symphony with a unique pastoral quality created not only by the two featured horn parts, but also by the “siciliana” rhythms of the slow movement, which signify imaginary pastoral scenes in Italian music of the time. Jerusalem played the horn in addition to string instruments, so it makes sense that he would have written music featuring horns rather than relegating them to accompaniment passages, as some 18th-century composers do. Throughout the program, Jerusalem’s characteristic mixture of emotional depth with period gracefulness is clearly heard, as is the high quality of his compositional craftsmanship for specific instruments and voices.

— Drew Edward Davies, Northwestern University



Kyrie eleison.
Christe eleison.
Kyrie eleison.

Lord, have mercy.
Christ, have mercy.
Lord, have mercy.


Gloria in exceslis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris, Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory to God in the highest. And on earth peace to people of good will. We praise You. We bless You. We worship You. We glorify You. Lord God, heavenly King, God the Father almighty. Lord Jesus Christ, the Only-begotten Son. Lord God, Lamb of God, Son of the Father. You who take away the sins of the world, have mercy on us. You who take away the sins of the world, receive our prayer. You who sit at the right hand of the Father, have mercy on us. For You alone are holy. You alone are Lord. You alone are the Most High, Jesus Christ, with the Holy Spirit, in the Glory of God the Father. Amen.


Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, not factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis; sub Pontio Pilato passus, et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos. cujus regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.

I believe in one God, The Father Almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the Only-begotten Son of God. Born of the Father before all ages. God of God, Light of Light, true God of true God. Begotten, not made, of one substance with the Father. By whom all things were made. Who for us men and for our salvation came down from heaven. And became incarnate by the Holy Spirit of the Virgin Mary: And was made man. He was also crucified for us, suffered under Pontius Pilate, and was buried. And on the third day He rose again according to the Scriptures. He ascended into heaven and sits 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. And in the Holy Spirit, the Lord and Giver of life, Who proceeds from the Father and the Son. Who together with the Father and the Son is adored and glorified, and who spoke through the prophets. And one holy, Catholic and Apostolic Church. I confess one baptism for the forgiveness of sins and I await the resurrection of the dead and the life of the world to come. Amen


Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy Lord God of Hosts. Heaven and earth are filled with your glory. Hosanna in the highest.


Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who take away the sins of the world, have mercy on us. Lamb of God, who take away the sins of the world, grant us peace.

Translation adapted from: Internet Medieval Source Book

Incipit lamentatio Jeremiae Prophetae.

ALEPH. Quomodo sedet sola civitas plena populo: facta est quasi vidua domina Gentium: princeps provinciarum facta est sub tributo.

BETH. Plorans ploravit in nocte, et lacrimae ejus in maxillis ejus: non est qui consoletur eam ex omnibus caris ejus: omnes amici ejus spreverunt eam, et facti sunt ei inimici.

GHIMEL. Migravit Judas propter afflictionem, et multitudinem servitutis: habitavit inter Gentes, nec invenit requiem: omnes persecutores ejus apprehenderunt eam inter angustias.

DALETH. Viae Sion lugent eo quod non sint qui veniant ad solemnitatem: omnes portae ejus destructae: sacerdotes ejus gementes: virgines ejus squalidae, et ipsa oppressa amaritudine.

HE. Facti sunt hostes ejus in capite, inimici ejus locupletati sunt: quia Dominus locutus est super eam propter multitudinem iniquitatem ejus: parculi ejus ducti sunt in captivitatem, ante faciem tribulantis.

Jerusalem, Jerusalem, convertere ad Dominum Deum tuum.


Here begins the lamentation of the Prophet Jeremiah.

ALEPH. How deserted lies the city, once so full of people! How like a widow is she, who once was great among the nations! She who was queen among the provinces has now become a slave.

BETH. Bitterly she weeps at night, tears are on her cheeks. Among all her lovers there is no one to comfort her. All her friends have betrayed her; they have become her enemies.

GHIMEL. After affliction and harsh labor, Judah has gone into exile. She dwells among the nations; she finds no resting place. All who pursue her have overtaken her in the midst of her distress.

DALETH. The roads to Zion mourn, for no one comes to her appointed festivals. All her gateways are desolate, her priests groan, her young women grieve, and she is in bitter anguish.

HE. Her foes have become her masters; her enemies are at ease. The Lord has brought her grief because of her many sins. Her children have gone into exile, captive before the foe.

Jerusalem, Jerusalem, return to the Lord thy God.

Translation: Bible, New International Version (Lamentations 1: 1-5)

¡Ah! De la dulce métrica armonía
que sonora concierta la alegría
la América hoy incita placentera
en la dicha que espera la gran jeliz
a cuyo fin canoro convoca
de Castalia el alto coro.

¿Qué ordenas, qué mandas?
Que al príncipe nuestro
celebren conformes
todos los afectos.

El aplauso Amor afeita
y derecho con Minerva
unidos de la América
expliquen los contentos.
Héroe glorioso,
Atlante esclarecido,
el reino americano a vos rendido
os aclama excelente
luminar regia
Apolo refulgente.

La fama paz leva
que vuela ligera
el orbe pregona
eco que eslabona
su clarín marcial,
y al príncipe amante
celebre constanta
la América ufana
pues que le de Maná
bien tan singular.


Ah! America pleasantly incites today
the sweet metered harmony
that sonorously tunes joy,
and for the melodious intentions
that the great leader awaits,
the high choir convokes the Castalian spring.

What’s your order, what’s your command? That all of the affections
celebrate our prince
in the same way.

Cupid trims the applause
and on the right with Minerva
they explain, as one,
the joys of America.
Glorious hero,
renowned Atlas,
the American realm submits to you
and greatly acclaims you
luminary ruler
and splendid Apollo.

Fame weighs peace
that flies lightly,
the orb proclaims
an echo that repeats
his martial clarion,
and proud America
confirms the loving prince
in celebration,
for he is a godsend
and singular good.

Translation: Drew Edward Davies

Pedro amado,
dulce dueño,
yo te adoro,
yo te quiero
¡ay! qué dicha es adorar
lo que se llega a querer.

Mi corazón,
mis afectos,
mi cuidado,
mi deseo
se quiere sacrificar
y en tus aros solo arder.


Beloved Peter,
my sweet keeper,
I worship you,
I love you;
oh, what happiness it is to worship
that which comes to love!

My heart,
my feelings,
my care,
my desire
all want to sacrifice
and burn in your embrace.

Translation: Drew Edward Davies