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Release Date: February 5, 2021
Catalog #: NV6333
Format: Digital & Physical

Vespers

MUSIC FROM THE CONVENTO DE LA ENCARNACIÓN, MEXICO CITY

Juan de Lienas composer
The Newberry Consort | Ellen Hargis director

Chicago's best-known early music ensemble The Newberry Consort exhilarates with VESPERS, a collection of dazzlingly original music for women’s voices. The composer? A mysterious early-17th-century Mexican named Juan de Lienas, whose style energetically oscillates between Renaissance and Baroque elements.

Little is known about de Lienas beyond the manuscripts, which, much to the undeserved discredit of the poor composer, occasionally include unflattering personal remarks scrawled in the margins. Perhaps that these insults on his appearance and personality stemmed from mere envy, for the music captured by his hand presents such skill, wit and zest that it can still be enjoyed a full four centuries after its inception.

Not an easy feat by any means, and certainly facilitated by a spectacular performance of The Newberry Consort under the direction of director and soprano Ellen Hargis. Since the music on VESPERS was originally composed for use in women's convents, the bass voice is either sung up the octave, or replaced by bassoon or viola da gamba. The result is graceful, airy, ethereal, otherworldly. Easy on the ears not only for lovers of early music, and for these: a veritable treat.

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Track Listing & Credits

# Title Composer Performer
01 Deus, in adiutorium meum intende attr. Juan De Lienas (fl. 17th c.) The Newberry Consort 1:29
02 Martyr Dei Liber Usualis The Newberry Consort 2:20
03 Dixit Dominus á 8 Juan De Lienas The Newberry Consort 5:41
04 Beatus vir á 11 Fray Jasinto (fl. 17th c.) The Newberry Consort 6:32
05 Laudate pueri á 8 Juan De Lienas The Newberry Consort 6:56
06 Credidi propter á 8 Juan De Lienas The Newberry Consort 7:03
07 Laudate Dominum omnes gentes á 8 Anonymous The Newberry Consort 3:52
08 Quinto tiento de medio registro de tiple de séptimo tono, FO 29 Francisco Correa De Arauxp (c. 1576-1654) The Newberry Consort 4:46
09 Ave maris stella Liber Usualis The Newberry Consort 3:50
10 Magnificat á 10 Juan De Lienas, Reconstructed by E. Hargis And F. Fitch versillos by Anonymous, 17th c. The Newberry Consort 12:03
11 Te lucis ante terminum Juan De Lienas The Newberry Consort 4:43
12 Salve regina á 8 Juan De Lienas, The Newberry Consort 8:42

THE NEWBERRY CONSORT
Ellen Hargis soprano, director
Margaret Carpenter Haigh soprano
Lucía Mier Y Terán Romero soprano
Salome Sandoval soprano, baroque guitar
Josefien Stoppelenburg soprano
Pamela Dellal mezzo-soprano
Ashley Mulcahy mezzo-soprano
Debra Nagy alto
Beverly Simmons alto
Candace Smith alto
Rachel Begley bajón
Frances Conover Fitch organ
Katherine Shuldiner viola da gamba

Recorded July 15-17, 2019 at St. Clement Church in Chicago IL

Recording Session Producer David Douglass

Recording Session Engineer John McCortney, Airwave Studios

Five-stop portative organ built by Taylor & Boody Organ Builders, Staunton VA

The Consort wishes to thank the following for their support of this project:
St. Clement Church
The Paul M. Angell Family Foundation
The Newberry Library
An Anonymous Family Foundation

Executive Producer Bob Lord

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

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 Newberry Consort

Ensemble

The Newberry Consort presents historically-informed programs of early music—often drawn from the collections at the Newberry Library—through an annual concert series in Chicago, national and international touring, residencies at colleges and universities, and recordings. The Newberry Consort was founded in 1986 and has offered an annual concert series continuously since 1988. The ensemble incorporated as an independent nonprofit organization in 2009.

Rachel Begley

Bajón

Rachel Begley performs with ensembles across North America, and has been hailed for her virtuosic and sensitive playing on both recorders and historical bassoons. Recent performing and recording highlights include the Metropolitan Opera, Trinity Baroque Orchestra, The Newberry Consort, Yale Schola Cantorum, Boston Early Music Festival, The Play of Daniel, Early Music New York, and more.

She holds a Doctor of Musical Arts degree in recorder and early music from SUNY Stony Brook, and was a visiting scholar at Indiana University’s Early Music Institute.

Margaret Carpenter Haigh

Soprano

Praised as “fiery, wild, and dangerous” (Classical Voice North Carolina) with “a talent for character portrayal” (Chicago Classical Review), soprano Margaret Carpenter Haigh captivates audiences with her “flawless intonation” and “perfect vocalism” (CVNC).

A member of The Choir of Trinity Wall Street, she also appears as a soloist with symphonies around the United States and can be heard regularly with ensembles including Handel and Haydn Society, Apollo’s Fire, and Bach Akademie Charlotte. Margaret is in demand as a specialist interpreter of early music throughout North America and is co-founder of the North Carolina-based early music consort L’Académie du Roi Soleil.

Pamela Dellal

Mezzo-soprano

Pamela Dellal, mezzo-soprano, enjoys a distinguished career performing repertoire from the 12th to the 21st centuries. Her international credits include appearances in the US, Europe, Australia and Japan.

Renowned for chamber music, early music, and contemporary music, she has performed frequently with Sequentia, BEMF, the Newberry Consort, Dinosaur Annex, Boston Musica Viva, and Blue Heron Renaissance Choir. In thirty-five seasons with Emmanuel Music, she has performed almost all of Bach’s sacred cantatas. Her discography includes over forty titles. Dellal currently teaches at the Longy School of Music of Bard College and the Boston Conservatory at Berklee.

Francis Conover Fitch

Organ

Organist, harpsichordist and clavichordist Frances Conover Fitch is thrilled to be part of this Lienas project with an amazing group of singers of all ages. Aside from teaching and running a church music program and concert series, there is nothing she likes better than collaborating as a continuo player, particularly when the repertoire is from the early Baroque era.

In the 1980’s, she co-founded the groundbreaking ensemble Concerto Castello. She has performed on four continents and made over a dozen recordings. She teaches at Tufts and Brandeis Universities and New England Conservatory of Music.

Lucía Mier Y Terán Romero

Soprano

Born and raised in Mexico City, she is a singer, interdisciplinary artist and Spanish professor. She holds a bachelor’s degree in singing from UNAM (National Autonomous University of Mexico) an MA in Interdisciplinary Arts from Columbia College Chicago and a Masters in Spanish teaching from UNAM. She performs in numerous formats such as physical theater, music and puppetry.

Ashley Mulcahy

Mezzo-soprano

Mezzo-soprano Ashley has performed with numerous ensembles including Bach Collegium Japan, Theatre of Voices, New York State Baroque, Pegasus Early Music, the Boston Early Music Festival, and Music of the Baroque.

Ashley also co-directs her own ensemble, Lyracle, dedicated to repertoire for voices and viols. Ashley graduated from the Voxtet Program at the Yale School of Music, where she had the opportunity to work with internationally renowned conductors including Nicholas McGegan and Masaaki Suzuki and performed at venues such as Carnegie Hall and Alice Tully Hall. Ashley earned undergraduate degrees in vocal performance and Italian from the University of Michigan.

Debra Nagy

Alto

Debra Nagy has been called a “musical polymath” (San Francisco Classical Voice) for her accomplished performances as a singer and historical wind player. One of North America’s leading performers on the baroque oboe, Debra is principal oboe with Boston’s Handel & Haydn Society, Apollo’s Fire, and many other ensembles.

Debra is the founder of acclaimed chamber ensemble Les Délices and performs late-medieval music as a regular guest with Blue Heron and TENET. She has recorded over 30 CDs with repertoire ranging from 1300-1800 and has had live performances featured on radio in Canada, Europe, and across the U.S. Visit www.debranagy.com and www.lesdelices.org.

Salomé Sandoval

Soprano

A native of Venezuela Salomé Sandoval holds a GPD in Early Music, voice and lute, from Longy School of Music; a MA from MTSU and a BM from IUDEM both in classical guitar. She has played in master classes, radio shows, theater, movie soundtracks and television.

Salomé has sung and played early, Latin American, and contemporary music in various ensembles and choirs in Venezuela and the US. CD recordings and collaborations include: Camerata de Caracas, El Mundo, Newberry Consort and El Fuego, with repertoires from New World to Spanish Eighteenth Century sacred and stage music. www.elfuegofire.com

Katherine Shuldiner

Viola da Gamba

Katherine Shuldiner graduated from Oberlin Conservatory in viola da gamba performance under the tutelage of Catharina Meints. Katherine has become a fixture in the Chicago baroque music scene performing with ensembles such as BBE: Bach and Beethoven Experience, Bella Voce, and The Newberry Consort.

Nationally, she has performed with Washington Bach Consort, La Follia Austin Baroque, as well as performing Bach’s Saint Matthew’s Passion with Bel Canto Chorus and the Milwaukee Chamber Orchestra. When Ms. Shuldiner is not performing, she enjoys teaching the viola da gamba to children and adults alike. For more information, please visit kateshuldiner.com.

Beverly Simmons

Mezzo-soprano

Mezzo-soprano Beverly Simmons is a singer and graphic designer. With a doctorate in Early Music Performance Practices from Stanford, she has enjoyed a varied career as choral conductor, university professor, radio broadcaster, concert presenter, artist representative, and arts administrator.

Her association with the Newberry Consort is multi-faceted—she studied voice with Ellen Hargis, designs the Consort’s printed materials, and has sung in the NC Convent Ensemble since its founding. Simmons is the recipient of Early Music America’s 2018 Howard Mayer Brown Award for Lifetime Achievement in Early Music. She is based in Pasadena and Washington, DC.

Candace Smith

Alto

Candace Smith, from Los Angeles, was active in contemporary music before specializing in medieval music at the Schola Cantorum Basiliensis (Switzerland) under Andrea von Ramm. She has lived In Italy since 1978, studying and collaborating with the late singer Cathy Berberian, among others.

In 1991 she founded the ensemble Cappella Artemisia, dedicated to the music of early Italian convents. In 1994 she earned a diploma in vocal pedagogy from the Rabine-Institut für funktionale Stimmpädagogik (Germany). She teaches voice at the Bernstein School of Musical Theatre in Bologna and the Accademia Teatrale Veneta in Venice.

Josefien Stoppelenburg

Soprano

Dutch soprano Josefien Stoppelenburg is best known for her dazzling vocal agility and her passionate and insightful interpretations. Her appearance on Chicago’s classical radio program, “Live from WFMT”, was selected as one of the 10 best performances in 2016.

As a Baroque specialist and recitalist, she has performed throughout the United States, Europe, Asia, South America, and in the United Arab Emirates. Stoppelenburg frequently teaches masterclasses in Baroque Vocal Performance, such as at Indiana University (Jacobs School of Music), University of Colorado, Cincinnati Conservatory of Music, and Illinois State University. www.josefienstoppelenburg.com

Notes

This recording features music for Vespers and Compline by Mexican composer Juan de Lienas, drawn from a set of choir books from the Convento de Nuestra Señora de la Encarnación in Mexico City. The community was established in the late 16th Century and dissolved sometime in the 19th Century. As was common elsewhere in Mexico, women entering the community were offered dowry waivers if they were trained musicians, thereby ensuring a high level of musical performance for the convent. The fact that much of the music in the convent’s six surviving choir books now housed in the Newberry Library is in high clefs, and occasionally lacks text in the bass parts, suggests that this music was performed by the nuns without help from men. Direct contact with male musicians in a cloistered community was forbidden, so either the women sang the low parts, played them on viol or bajón (bassoon), or possibly, transposed them up an octave.

Lienas is the best represented composer in the Newberry Choirbooks, supplying a dazzling collection of antiphons, motets, and polychoral psalm settings. Sadly, we know nothing of his life. His music appears in only one other Mexican source, and there is no mention of his name in church records. He seems to have had some enemies at the Convent of the Encarnación; his name, written by some as “Don Juan de Lienas” (Lord or Sir Juan Lienas), is also written “el famoso cornudo” (the well-known cuckold), the even nastier “cornudillo” (the little cuckold), and “el chibato Lienas” (the billy-goat Lienas), this last supported by a drawing of him with a silly moustache and a scrappy beard at the beginning of one bass part.

The service of Vespers, or Evening Prayer, is one of the most musically rich services set to music; perhaps composers through the ages have been inspired by the poetic language of the Psalms and the Magnificat, the texts at the core of the Vespers, varied for specific feast days and seasons of the Church year. This reconstruction includes texts for the Feast of Saint Clement as well as music appropriate for a Vespers service honoring the Blessed Virgin Mary and from Compline, the last service of the day sung before the community retired to bed.

A Vespers service is somewhat flexible in content and is always tailored to the season and feast day. Essential elements include a selection of psalms with antiphons, hymns, and a Magnificat. The Mexican Choirbooks contain most of what I needed for this reconstruction, and plenty of it written by Juan de Lienas. But because we are probably missing two volumes of the original set, I had to be creative when choosing the psalms and the setting of the Magnificat.

Vespers always begins with the psalm Deus in adiutorio meo, and the setting here is from the volume titled “1o Coro de la Salbe y Salmos... de d. Jo Lienas” (First choir of the “Salve” and the Psalms by Don Juan de Lienas). Unfortunately, the pages of this book were trimmed when the book was rebound in the 18th century, and the tops of the pages were cut off, eliminating (among other things) the names of the composers. With no certain attribution left to us, the Deus in adiutorio a 5 has been catalogued as “anonymous.” But careful scrutiny convinced me that Lienas could certainly have written the piece. The work is in the midst of others with his name scribbled nearby, and his style is recognizable, especially his trademark setting of the et in secula from the doxology; the same melody and rhythm for that text is found in the setting of Psalms 112 and 115.

Next, a hymn, and then five psalms are sung at Vespers. An antiphon, a chant on a text that elucidates or comments on a psalm, traditionally precedes the psalm itself. I’ve chosen antiphons that are appropriate for the Feast of St. Clement and in modes complimentary to those that the psalms are based upon. Lienas set only three psalms for this feast day, so I’ve chosen the other two from the Choirbooks: Beatus Vir (Psalm 111) by Fray Jacinto, and an anonymous setting of Psalm 117. This last is in the style of Jasinto, with its ecstatic antiphonal choruses of “laudate” almost overshadowing the rest of the text.

Two hymns are sung in plainsong: Martyr Dei and Ave maris stella. The first, a hymn for the feast of a martyr, is strophic, with a simple rhyme scheme and a sweet, almost folk-like melody. Ave maris stella (“Hail, Star of the Sea”) is for a Marian Vespers, and the tune is famous from many settings, notably the one in Monteverdi’s Vespers of 1610.

Jasinto’s Beatus Vir a 11 is incomplete in the Newberry Choirbooks, lacking the top choir of two voices. Searching microfilms from a Puebla cathedral archive, we found the missing parts tucked into a legajo, or notebook of random loose pages of music, and were able to reconstruct the full piece.  I encountered a similar situation with the Lienas Magnificat a 10. Only eight parts, the bottom two choirs, are in the Choirbooks. When we could not locate the missing parts elsewhere, I decided to complete the piece by composing the missing parts in the style of Lienas, drawing on material from the extant composition and from other works by the composer. Frances Fitch and I decided to interpolate organ versillos, short keyboard verses, between sung verses of the Magnificat, a common practice at the time. Since there is no purely instrumental music in the Mexican Choirbooks, Frances plays anonymous versillos drawn from an organ publication that would have been familiar to a keyboard player in any Spanish or colonial church.

The hymn Te lucis ante terminum has three verses, only the first set by Lienas. I added the second verse in plainsong, and then set the third verse and the final “amen” to Lienas’ polyphony. Te lucis is sung to a number of tunes in the Roman Liber Usualis, but Lienas’ version is based on a canto llano, or plainsong, published in 1565 by Luis de Villafranca. We sing this traditional Spanish tune for Te lucis for the plainsong verse.

The Salve Regina by Lienas is one of his best-known works because it’s found in a second source, known as the Carmen Codex, in addition to the Newberry Choirbooks, and was published in a modern edition in the early 1950s. In that source, as in the Choirbooks, the piece is in clefs that make it singable by mixed male and female voices. But in the cloistered community of the Encarnación, they must have transposed the piece to a higher key where it can be sung by all women.

Francisco Correa de Arauxa was a priest, composer and organist in Seville in the late 16th and early 17th centuries. He displays an expert use of dissonance within a strict and somewhat old-fashioned contrapuntal style. The score contains two little drawings of a tiny hand pointing to the most pungent dissonances, just in case they might be missed! The Spaniards taught the stile antico to the indigenous folks and may well have used a piece like this as a fine example. No doubt the female organists at the convent knew this work and played it in addition to accompanying the singers.

— Ellen Hargis

Texts

Deus, in adjutorium meum intende.
Domine, ad adiuvandum me festina.

Gloria Patri et Filio et Spiritui Sancto,
Sicud era in principio et nunc et senper
Et in secula seculorum. Amen. Alleluia.
(Psalm 69)

O God, come to my assistance;
O Lord, make haste to help me.

Glory be to the Father, and to the Son, and to the Holy Spirit:
As it was in the beginning, is now and ever shall be,
World without end, Amen. Alleluia.

Martyr Dei, qui unicum
Patris sequendo Filium,
Victis triumphas hostibus,
Victor fruens cælestibus.

Tui precatus munere
Nostrum reatum dilue,
Arcens mali contagium,
Vitæ removens tædium.

Soluta sunt iam vincula
Tui sacrati corporis;
Nos solve vinclis sæculi,
Amore Filii Dei.

Deo Patri sit gloria, ejusque soli Filio,
Cum Spiritu Paraclito,
Et nunc et in perpetuum. Amen

God’s holy martyr, who disdained
And overcame all pains and death,
Your faithful following of Christ
Has led you to her Father’s home.

By your incessant prayer for us,
Obtain forgiveness for our sins;
Protect us from the pow’rs of ill,
Relieve us in our daily cares.

For you are free from ev’ry bond
That bound you once to things of earth,
By you own ardent love for Christ,
Free us from all that drags us down.

All honor to our Father, God,
Who with the Spirit and the Son,
[Awarded you a deathless crown,]
In heaven’s court of glory blest. Amen.**

Antiphon
Cum iter ad mare cepisset,*
Populus voce magna clamabat:
Domine Jesu Christe, salva illum:
Et Clemens cum lacrimis dicebat:
Suscipe Pater spiritum meum.

As he began to move toward the sea
The people cried out with a loud voice :
Lord Jesus Christ, deliver him:
And Clement, weeping, said :
Father, receive my spirit!

Salmo
Dixit Dominus Domino meo:
Sede a destris meis,
Donec ponam inimicos tuos scabellum pedum tuorum.

Virgam birtutis tue emittet Dominus exion:
Dominare in medio inimicorum tuorum.

Tecum principium in die virtutis tue in splendoribus sanctorum:
Ex utero, ante luciferum, genui te.

Jurabit Dominus et non penitebit eum:
Tu es sacerdos in eternum secundum ordinem Melchisedes.

Dominus a destris tuis:
Comfregit in die ire sue reges.

Judicabit in nasionibus, inplebit ruinas;
Conquassabit capita in tera multorum.

De torrente in bia bivit; propterea exaltabit caput.

Gloria Patri…
(Psalm 109)

The Lord said to my Lord:
Sit thou at my right hand:  Until I make thy enemies thy footstool.

The Lord will send forth the sceptre of thy power out of Sion:
Rule thou in the midst of thy enemies.

With thee is the principality in the day of thy strength: in the brightness of the saints:
From the womb before the day star I begot thee.

The Lord hath sworn, and he will not repent:
Thou art a priest for ever according to the order of Melchisedech.

The Lord at thy right hand
Hath broken kings in the day of his wrath.

He shall judge among nations, he shall fill ruins:
He shall crush the heads in the land of the many.

He shall drink of the torrent in the way: therefore shall he lift up the head.

Glory be to the Father…

Antiphon
Euge* serve bone, et fidelis:
Quia super pauca fuisti fidelis,
Super multa te constituam;
Intra in gaudium Domini tui.

Well done, good and faithful servant:
You have been faithful in a few things,
I will make you ruler over many things:
Enter into the joy of your Lord.

Salmo
Beatus vir, qui timet Dominum:
in mandatis eius volet nimis.

Potens in terra erit semen eius;
generatio rectorum benedicetur.

Gloria et divitiae in domo eius;
et justitia eius manet in saeculum saeculi.

Exortum est in tenebris lumen rectis:
misericors, et miserator et justus.

Jucundus homo qui miseretur et commodat.
disponet sermones suos in judicio:

Quia in aeternum non commovebitur.
in memoria aeterna erit justus.

Ab auditione mala non timebit.
paratum cor eius sperare in Domino;

Confirmatum est, cor eius:
non commovebitur, Donec despiciat inimicos suos.

Dispersit, dedit pauperibus:
justitia eius manct in saeculum saeculi,
cornu eius exaltabitur in gloria.

Peccator videbit, et irascetur;
dentibus suis fremet et tabescet.
Desiderium peccatorum peribit.

Gloria Patri…
(Psalm 111)

Blessed is the man that feareth the Lord:
he shall delight exceedingly in his commandments.

His seed shall be mighty upon earth;
the generation of the righteous shall be blessed

Glory and wealth shall be in his house:
and his justice remaineth for ever and ever.

To the righteous a light is risen up in darkness:
he is merciful, and compassionate and just.

Acceptable is the man that sheweth mercy and lendeth:
he shall order his words with judgment:

Because he shall not be moved for ever.
The just shall be in everlasting remembrance:

He shall not fear the evil hearing.
His heart is ready to hope in the Lord:

His heart is strengthened,
he shall not be moved until he look over his enemies.

He hath distributed, he hath given to the poor:
his justice remaineth for ever and ever:
his horn shall be exalted in glory.

The wicked shall see, and shall be angry,
he shall gnash with his teeth and pine away.
The desire of the wicked shall perish.

Glory be to the Father…

Antiphon
De sub cujus pede * fons vivus emanat:
Fluminis impetus laetificat civitatem Dei.

From beneath whose foot * a fountain of living waters flowed forth:
The stream of the river that maketh glad the city of God.

Salmo
Laudate, pueri, Dominum;
Laudate nomen Domini.

Sid 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 celos gloria eius.

Quis sicut Dominus Deus noster,
qui in altis habitad,
Et humilia respicid in celo et in terra?

Susitans 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 letantem.

Gloria Patri…
(Psalm 112)

Praise the Lord, ye children:
praise ye the name of the Lord.

Blessed be the name of the Lord,
from henceforth now and for ever.

From the rising of the sun unto the going down of the same, the name of the Lord is worthy of praise.
The Lord is high above all nations; and his glory above the heavens.

Who is as the Lord our God,
who dwelleth on high:
And looketh down on the low things in heaven and in earth?

Raising up the needy from the earth, and lifting up the poor out of the dunghill:
That he may place him with princes, with the princes of his people.
Who maketh a barren woman to dwell in a house, the joyful mother of children.

Glory be to the Father…

Antiphon
Omnes gentes * per gyrum crediderunt Christo Domino.

All the nations * round about believed in Christ the Lord.

Salmo
Credidi propter quod loqutus sum:
ego autem humiliatus sum nimis.

Ego dixi in excessu meo: omnis homo mendax.
Quid retribuam Domino, pro omnibus quae retribuit mihi?

Calicem salutaris accipiam:
et nomen Domini imbocabo.

Vota mea Domino reddam
coram omni populo eius:
Presiosa in conspectu Domini mors santorum eius.

O Domine quia ego serbus tuus:
Ego serbus tuus, et filius ancille tue.

Dirupisti vincula mea:
tibi sacrificabo hostiam laudis,
et nomen Domini imbocabo.

Vota mea Domino reddam in conspectu omnis populi ejus:
In atriis domus Domini, in medio tui Hierusalem.

Gloria Patri…
(Psalm 115)

I have believed, therefore have I spoken;
but I have been humbled exceedingly.

I said in my excess: every man is a liar.
What shall I render to the Lord, for all the things he hath rendered unto me?

I will take the chalice of salvation;
and I will call upon the name of the Lord.

I will pay my vows to the Lord
before all his people:
Precious in the sight of the Lord is the death of his saints.

O Lord, for I am thy servant:
I am thy servant, and the son of thy handmaid.

Thou hast broken my bonds:
I will sacrifice to thee the sacrifice of praise,
and I will call upon the name of the Lord.

I will pay my vows to the Lord in the sight of all his people:
In the courts of the house of the Lord, in the midst of thee, O Jerusalem.

Glory be to the Father…

Antiphon
Isti sunt sancti* qui pro testamento Dei
Sua corpora tradiderunt.
Et in sanguine Agni laverunt stolas suas.

These are the saints* who for the covenant of God,
Their bodies were handed down .
And have washed their robes in the blood of the Lamb.

Salmo
Laudate Dominum, omnes gentes;
laudate eum, omnes populi.
Quoniam confirmata est super nos misericordia ejus,
Et veritas Domini manet in aeternum.

Gloria Patri…
(Psalm 116)

O praise the Lord, all ye nations:
praise him, all ye people.
For his mercy is confirmed upon us:
and the truth of the Lord remaineth for ever.

Glory be to the Father…

Ave, maris stella,
Dei Mater alma,
Atque semper Virgo,
Felix caeli porta.

Sumens illud Ave
Gabrielis ore,
Funda nos in pace,
Mutans Evae nomen.

Solve vincla reis,
Profer lumen caecis,
Mala nostra pelle,
Bona cuncta 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 Jesum,
Semper collaetemur.

Sit laus Deo Patri,
Summo Christo decus
Spiritui Sancto,
Tribus honor unus. Amen.

Hail, star of the sea,
Loving Mother of God,
And also always a virgin,
Happy gate of heaven.

Receiving that Ave
From Gabriel's mouth
Confirm us in peace,
Reversing Eva's name.

Break the chains of sinners,
Bring light to the blind,
Drive away our evils,
Ask for all good.

Show yourself to be a mother,
May he accept prayers through you,
He who, born for us,
Chose to be yours.

O unique virgin,
Meek above all,
Make us, absolved from sin,
Gentle and chaste.

Keep life pure,
Make the journey safe,
So that, seeing Jesus,
We may always rejoice together.

Let there be praise to God the Father,
Glory to Christ in the highest,
To the Holy Spirit,
One honor to all three. Amen.

Magnificat anima mea Dominum
Et exultavit spiritum meus in Deo salutari meo.

Quia respexit humilitatem ancillæ sue:
ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est,
et sanctum nomen eius.

Et misericordia eius a 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 misericordie sue,
Sicut loqutus est ad patres nostros,
Habraham et semini eius in sæcula.

Gloria Patri…

My soul doth magnify the Lord
And my spirit hath rejoiced in God my Saviour.

Because he hath regarded the humility of his handmaid;
for behold from henceforth all generations shall call me blessed.

Because he that is mighty, hath done great things to me;
and holy is his name.

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

He hath shewed might in his arm:
he hath scattered the proud in the conceit of their heart.

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

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

He hath received Israel his servant, being mindful of his mercy:
As he spoke to our fathers,
to Abraham and to his seed for ever.

Glory be to the Father…

Te lucis ante terminum,
Rerum Creator, poscimus,
Ut solita clementia,
Sis praesul ad custodiam.

Procul recedant somnia,
Et noctium phantasmata:
Hostemque nostrum comprime,
Ne polluantur corpora.

Praesta, Pater piissime,
Patrique compar Unice,
Cum Spiritu Paraclito
Regnans per omni secula. Amen.

To Thee before the close of day,
Creator of the world, we pray
That, with thy wonted favour, thou
Wouldst be our guard and keeper now.

From all ill dreams defend our sight,
From fears and terrors of the night;
Withhold from us our ghostly foe,
That spot of sin we may not know.

O Father, that we ask be done,
Through Jesus Christ, thine only Son,
Who, with the Holy Ghost and Thee,
Doth live and reign eternally. Amen.***

Salve, Regina, Mater misericordie,
Vita, dulcedo, spes nostra, salve.

Ad te clamamus exsules filii Hevæ,
Ad te suspiramus, gementes et flentes
In hac lacrimarum valle.

Eia, ergo, advocata nostra, illos tuos
Misericordes oculos ad nos converte;

Et Jesum, benedictum fructum ventris tui,
Nobis post hoc exsilium ostende.

O clemens, O pia, O dulcis Virgo Maria.

Hail, Holy Queen, Mother of mercy,
[Hail] our life, our sweetness and our hope!

To thee do we cry, poor banished children of Eve,
To thee do we send up our sighs,
mourning and weeping in this valley of tears.

Turn, then, most gracious advocate,
Thine eyes of mercy toward us,

And after this, our exile,
Show unto us the blessed fruit of thy womb, Jesus.

O clement, O loving, O sweet Virgin Mary.****

* From the Douay-Rheims Bible
** Martis, Douglas A. The Mundelein Psalter. Chicago: Liturgy Training Publications, 2007. Google books. Web. 28 February. 2016.
***Translation by John Mason Neale, 1852, alt.
**** Salve Regina Traditional English Translation