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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

C O N S O R T I U M C A R I S S I M I squisita musica strumentale ed eccellente musica vocale. Pompilio Totti Ritratto di Roma 1638

MARIAN VESPERS OF 1610 Vespro della Beata Vergine da concertato composto sopra canti fermi

Claudio Monteverdi (1567-1643)

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Consortium Carissimi Singers

Consortium Carissimi Players

Direction

Garrick Comeaux

*Stephen Escher

*Kris Kwapis

Mark Levine

Ginna Watson

Steve Staruch

Alan Kolderie

Brian Krysinski

*Monte Mumford

Andrew Nelson

Garrett Lahr

Mike Pettmann

*Elisabeth Motter

*Annalisa Pappano

Bruce Jacobs

Donald Livingston

Cornetto I

Cornetto II

Violin I

Violin II

Viola

Recorder I

Recorder II

Sackbut Ialto

Sackbut IItenor

Sackbut IIIbass

Lute

Harp

Viola da gamba/Lirone

Organ

Organ/Harpsichord

Heather Cogswell

Marita Link

Linda Kachelmeier

Clara Osowski

Bill Pederson

Roy Heilman

Steve Staruch

Douglas Shambo II

Eric Sorum

soprano

soprano

mezzo-soprano

mezzo-soprano

tenor

tenor

tenor

bass

bass

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Project III Usquequo peccatores

Friday, April 24, 2015 7:30 p.m.

Sunday, April 26, 2015 2:00 p.m.

Venues: St. Clements, St. Paul and

Christ the King, Minneapolis

Repertory: Eight Motets of Carissimi

Consortium Carissimi has performed over these past

seven seasons many of Carissimis larger scale mo-

tets. The metamorphosis of the motet into the ora-

tory is particular to this period of composition, ren-

dering the distinction between the two very difficult.

This project brings back eight motets from our rep-

ertory of Giacomo Carissimi. These motets have

been performed over the past years at our Epiphany

Concerts, Concerts for All Saints, and in the context

of our Oratory Projects. Scored for two violins,

mixed voices and figured bass instruments, this con-

cert will be recorded for the Naxos label in July of

2015, our third CD with this phenomenal stateside

ensemble.

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Friday, January 2nd 2015 7:30 pm Sunday, January 4th 2015 2:00 pm

St. Marys Chapel at the St. Paul Seminary - St. Paul, Minnesota

Deus, in adjutorium Versicle & Response for six-voices and six instruments

Dixit Dominus

Psalm 110 for six voices and six instruments

Nigra sum Motet for tenor solo and figured bass

Laudate Pueri

Psalm 113 for eight voices and instruments

Pulchra es Motet for two soprano voices

Laetatus sum

Psalm 122 for six voices

Duo Seraphim Motet for three tenor voices

Nisi Dominus

Psalm 127 for ten voices

Audi Coelum Motet for six voices

Lauda Jerusalmem

Psalm 147 for seven voices

THE PROGRAM

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Sonata 8 sopra Santa Maria Sancta Maria ora pro nobis for soprano and instruments

Ave Maris Stella

Hymn for eight voices

Magnificat for seven voices and instruments

Et exultavit for three tenor voices

Quia respexit for tenor and instruments

Quia fecit for three voices and violins

Et misericordia for six voices

Fecit potentiam for alto and violins

Deposuit for tenor and cornetti

Esurientes for two sopranos and instruments

Suscepit Israel for three voices

Sicut locutus for alto and instruments

Gloria Patri for three voices

Sicut erat for seven voices and instruments

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A special thanks to

Father Tom Margevicius at the St. Paul Seminary

Bill Pederson for procuring instrument parts through the U of M Music Library; Reid Kruger for recording both concerts;

and Bruce Jacobs for use of his home studio and instruments.

Board of Directors

Joel Hanson, president Jeff Holland, secretary Beth Nunnally, treasurer Steven C. Anderson Katie Schoeneck

Staff

Garrick Comeaux, artistic director Robb Asklof, director of development Jenna Wolf, director of digital marketing

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Our Donors

Mercedes Blue Alleshouse Christine Anameier Nancy Archer Philip Asgian

The Asklof/Fursteneau Family Matt Barbatsis Maureen Berg

Bob and Joyce Brelje Peder Bolstad Frank Cerra

Dan Dressen and Elisabeth Comeaux Garrick Comeaux Shirley Comeaux Stefan Conrady

William and Mary Cunningham Patrick and Mona Dewane

Henry Dougherty Lisa Drew

Debra Dykhuis Timothy Faatz Cathy Gier

Brandt Gustafson Chris and Michael Hagburg Laurie Leigh Harpist Bob and Darlene Hays Ruth and Ross Heilman Linda and Dale Herron

Mark Hiemenz and Charlie Rounds Gerald and Merry Hoekstra

Jeffrey Holland Stephen Houtz Mariellen Jacobson Julia K. Lofness Stuart Lorberbaum

Trent and Cynthia Lunder Steve Luzaich Joanne Manthe Cari McAskill

Thomas McCallum

Ian and Lara McClellan Lisa McClain Beth McGuire

Linda Rose Michel Jodi Mohs-Davis

Mary Jeanne Mourlam Tim and Kathy Nelson Kathy Neumann

Pat and Beth Nunnally Nuveen Investments, Inc.

Andy Otness Darlene Petit and Karen Olson Philip and Linda Pettman

Val Pezzani Rachel & Satish Ramadhyami

Barbara Raport Mary Ress Ryan Reuss Patrick Romey Tom Ross

Dave and Carol Schoeneck Brad and Jen Searl

Hamp Smith and Sally Reynolds Mark Stanton

Cassandra Stillman Vivian Stuck Dale Talley

Claire Ann Thoen Linda and Mark Triplett Bob and Maureen Vince

Suzane Walks Nancy Ann Werner

Grace and Rich Weichman Dr. Preston and Sharon Williams

Jenna Wolf Laurel Woodruff

Reuer International Trade Advisors, Inc. McNearney Funeral Home

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Program Notes

Undoubtedly one of the most exciting aspects of the work I do with Consortium Carissimi is programming music that hasnt been performed much, if at all, in modern history. The preferred school is Roman and the period I personally like is between 1600 to 1700. Another exciting aspect is that I dont necessarily have to program only little known music of early Roman Baroque but can program other early baroque music that has had great success in performances today as well in numerous recordings. Lets face it, some early music is better known than other early music. Monteverdis Vespers is one these. Programming such a work means numerous things, and I have asked my friend and colleague Douglas Shambo to better elaborate below. I however feel compelled to underscore two very important things about programming such a monumental work. It would be virtually impossible to do a historically informed performance with one voice and instrument to a part had I not these fine musicians to help me pull it off. This production has also brought in some really fine musicians that dont live in the Twin Cities. I have put an *asterisk next to their names on page 2 so you can find out more on our website. Secondly, I am very fortunate to have a board of directors that tirelessly assist with all the details and the behind the scenes work that makes these performances possible here in the Twin Cities. You will find their names at the back of this program. If you dont know them, introduce yourself. If you do know them, thank them. If you like Consortium Carissimi, tell someone about us. Thanks for coming, e viva Monteverdi!

Garrick Comeaux

Monteverdi's Vespers of 1610 - Not for the Faint of Heart

The music of Claudio Monteverdi can strike fear in the heart of the most technically capable singer; it can also create similar feelings of shock and awe for the typical modern listener. It is not that Monteverdi makes vocal demands that differ sharply from those of other composers of his day historical evidence shows that he really didnt. For singers, Monteverdis music seems to force a different approach vocally and interpretively. For listeners unfamiliar with Monteverdis music, understanding this difference requires a bit of context and explanation. Singers today are trained to sing in the Bel Canto style. This manner of singing places emphasis on maximizing resonance and breath through a low position for the larynx, low

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breath support, a free vibrato, a raised soft palate, and an open throat and in not using the larynx or throat to manipulate or stop sound. What results is the resonant, flexible sound we generally think of as healthy and beautiful. This technique works well for singing most vocal repertory. What generally impresses the average listener first about Monteverdi is his use of and seeming insistence on many ornaments, the execution of which can seem at great odds with Bel Canto. He made lavish use of (and wrote frequently of his fondness for) the trillo, a rapid repetition of the same note in almost machine-gun-like fashion. He also made liberal use of trills, grupetti, apoggiature, accaciature, and rapid melismas requiring the singer to employ the throat and breath in very non-Bel-Canto-like ways. These ornaments were not unique to Monteverdi. Such expressive effects were actually common and expected in the interpretation of the music of the new secunda practica, ushered in by the then-new medium of opera, all the rage in Florence and Venice. Singers were expected to let the text lead the singing (as opposed to the more objective, intellectual style of the prima practica), painting the text expressively through precise diction and lavish ornament. The new stile recitative style was monophonic (as opposed to the prima practica of closely imitative multiple vocal lines), supported by a realized general bass accompaniment (which later became, with symbols or figures to define the harmony, the figured bass). The composer generally left the decision about ornamentation to the singer. In the preface to his collection of monodies entitled Le Nuove Musice, Monteverdis contemporary Giulio Caccini attempted to define the conventions of the style. Caccini documented such elements as the filling in of melodic leaps with melismatic flourishes and grupetti, cadential ornaments, trills, and effects such as the trillo, tremolo, and grogia. Caccini notwithstanding, exactly how singers of the time ultimately handled these is a still matter of scholarly inquiry. Unlike his contemporaries who left ornamentation largely to the singer, Monteverdi actually wrote ornaments into the music in the places he wanted them sung. (Years later J.S. Bach pursued a similar compositional practice, for which he was harshly criticized by his contemporaries.) In so doing, Monteverdi elevated vocal ornamentation from a merely expressive and somewhat ad libitum element to an integrally structural one. As much as he was invested in the secunda practica, Monteverdi was nonetheless a dedicated student of the prima practica. Among the composers of that era that he admired were Josquin des Prez, Jacques Arcadelt, and Nicolas Gombert. All three combined strong

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13) Magnificat anima mea Dominum.

Et exultavit spiritus meus in Deo salutari meo.

Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes

generationes.

Quia fecit mihi magna qui potens est: et sanctum nomen ejus.

Et misericordia ejus 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 misericordiae suae.

Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula.

Gloria Patri et Filio et

Spiritui Sancto. Sicut erat in principio, et nunc, et semper,

et in saecula saeculorum. Amen.

My soul doth magnify the Lord. And my spirit hath rejoiced in God my saviour. For he hath regarded the lowliness of his handmaiden: for behold from henceforth all generations shall call me blessed. For he that is mighty hath done great things to me, and holy is his name. And his mercy is on them that fear him from generation to generation. He hath shewed strength with his arm; he hath scattered the proud in the imagination of his heart. He hath put down the mighty from their seat, and hath exalted the lowly. He hath filled the hungry with good things, and the rich he hath sent empty away. He hath sustained Israel his servant, remembering his mercy. As he promised to our forefathers, Abraham and his seed for ever. 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. Amen.

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12) Ave maris stella, Dei Mater alma

Atque semper Virgo Felix coeli 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, bountiful mother of God and ever Virgin, happy gate of heaven. Taking that Ave from the mouth of Gabriel, preserve us in peace, giving Eve a new name. Loose the chains of the bound, bring light to the blind, drive out our ills, invoke all things good. Show thyself to be a mother, may he who was born for us receive our prayers through thee. Singular virgin, more gentle than all, absolve us from sin and make us gentle and pure. Grant us a pure life, prepare a safe way, that in seeing Jesus we may rejoice for ever. Praise be to God the Father, glory to Christ on high, and with the Holy Spirit honour to the three in one. Amen.

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intellect and technique with powerful expressive gesture. Monteverdis admiration of Gombert is particularly noteworthy, since he is known even today to have written some of the most complex music ever composed. The Vespers of 1610 is perhaps the most unique of Monteverdis works. The choral movements, with their dense counterpoint, are remarkably similar to those of Gombert. The best example of this kind of writing in the Vespers is Nisi Dominus, with its moments of almost incomprehensively complex counterpoint and its chorus-versus-chorus dialogue. And, like the sacred music of the prima practica, there is a plainchant cantus firmus present in nearly every movement, although the cantus does not really seem to perform its traditional role of structurally underpinning any of the movements, given the swirling imitative counterpoint over, under, and around it. The solos, duets, and trios, though, are very much of the secunda practica, and represent some of Monteverdis most daring vocal writing. In the movement Duo Seraphim, a veritable tour-de-force for three tenors, the top two lines are heavily and imitatively ornate, with frequent melismas, grupetti, and trilli. When the third tenor finally enters about half way through the movement, Monteverdi reverts for a moment to a very prima practica bit of suspension and resolution, and then goes quickly back to the close and complex ornamental imitation of the beginning of the movement. The Vespers show Monteverdi at the height of his intellectual and expressive powers. They show him to be, like Beethoven or Stravinsky, at the culmination of an older style, and at the vanguard of a new one.

Douglas Shambo II

The Texts and Translations

1) Deus, in adjutorium meum intende, Domine, ad adjuvandum me festina.

Gloria Patri et Filio et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.

Amen. Alleluia.

Make haste, O God, to deliver me: make haste,O Lord, 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. Amen. Alleluia.

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2) Dixit Dominus Domino meo: Sede a dextris meis:

donec ponam inimicos tuos scabellum pedum tuorum.

Virgam virtutis tuae

emittet Dominus ex Sion: dominare in medio inimicorum tuorum.

Tecum principium in die virtutis tuae

in splendoribus sanctorum: ex utero ante luciferum genuite.

Juravit Dominus,

et non poenitebit eum: tu es sacerdos in aeternum

secundum ordinem Melchisedech.

Dominus a dextris tuis, confregit in die irae suae reges.

Judicabit in nationibus,

implebit ruinas: conquassabit capita in terra multorum.

De torrente in via bibet: propterea exaltabit caput.

Gloria Patri et Filio et

Spiritui Sancto. Sicut erat in principio, et nunc,

et semper, et in saecula saeculorum. Amen.

The Lord said to my Lord, sit at my right hand, until I make thine enemies thy footstool. The Lord shall send out the rod of thy strength from Zion: rule thou in the midst of thine enemies. At thy beginning in thy day of glory in the splendour of the holy places, before the first light I begat thee. The Lord hath sworn, and will not repent: thou art a priest for ever after the order of Melchisedech. The Lord at thy right hand shall destroy kings in the day of his wrath. He shall judge among the nations, fill them with the dead, and smash heads in many lands. He shall drink of the brook in the way: thus shall he raise his head. 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. Amen.

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10) Lauda, Jerusalem, Dominum: lauda Deum tuum, Sion.

Quoniam confortavit seras portarum tuarum: benedixit filiis tuis in te.

Qui posuit fines tuos pacem:

et adipe frumenti satiat te. Qui emittet eloquium

suum terrae: velociter currit sermo ejus. Qui dat nivem sicut lanam:

nebulam sicut cinerem spargit. Mittit crystallum suam sicut buccellas:

ante faciem frigoris ejus quis sustinebit?

Emittet verbum suum, et liquefaciet ea:

flabit spiritus ejus, et fluent aquae. Qui annunciat verbum suum Jacob:

justitias et judicia sua Israel. Non fecit taliter omni nationi:

et judicia sua non manifestavit eis. Gloria Patri et Filio et

Spiritui Sancto. Sicut erat in principio, et nunc, et semper,

et in saecula saeculorum. Amen.

Praise the Lord, O Jerusalem; praise thy God, O Zion. For he hath strengthened the bars of thy gates; he hath blessed thy children within thee. He maketh peace in thy borders, and filleth thee with the finest wheat. He sendeth his commandment to the earth; his word runneth swiftly. He giveth snow like wool; he scattereth hoar frost like ashes. He casteth forth his ice like morsels; before his cold who can stand? He sendeth out his word, and melteth them; his spirit blows, and the waters flow. He sheweth his word unto Jacob, his statutes and judgements to Israel. He hath not dealt so with any nation; and his judgments he hath not made manifest. 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. Amen.

11) Sancta Maria, ora pro nobis. Holy Mary, pray for us.

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9) Audi, coelum, audi verba mea plena desiderio

et perfusa gaudio. - Audio

Dic, quaeso, mihi: Quae est ista quae consurgens ut aurora rutilat,

ut benedicam. - Dicam

Dic nam ista pulchra ut luna, electa ut sol, replet laetitia

terras, coelos, maria. - Maria

Maria virgo illa dulcis praedicta de propheta

Ezekiel, porta orientalis? - Talis

Illa sacra et felix porta per quam mors fuit expulsa

introduxit autem vita? - Ita

Quae semper tutum est medium inter homines et Deum

pro culpis remedium? - Medium

Omnes hanc ergo sequamur qua cum gratia

mereamur vitam aeternam. Consequamur. - Sequamur

Praestet nobis Deus,

Pater hoc et Filius et Mater cujus nomen invocamus dulce miseris solamen. - Amen Benedicta es, virgo Maria, in saeculorum saecula.

Hear, O heaven, hear my words full of longing and pervaded by joy. - I hear Tell me, I pray, who is she that shines like the dawn in her rising, that I might bless her? - I will tell Tell me, for she, beauteous as the moon, radiant as the sun, fills with joy the earth, heavens and seas. - Mary Mary, that sweet virgin foretold by the prophet Ezekiel, the portal of the East? - Even she That sacred and happy portal through which death was driven out and life brought in? - Even so She who is always a sure intermediary between men and God, the cure for our sins? - The Mediator Let us all therefore follow her through whose grace we may be granted eternal life. Let us go with her. - Let us follow May God help us, God the Father, and the Son, and the Mother on whose sweet name we call as a comfort to the wretched. - Amen Thou art blessed, virgin Mary, for ever and ever.

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3) Nigra sum, sed formosa, filiae Jerusalem.

Ideo dilexit me rex et introduxit me in cubiculum suum et dixit mihi: Surge, amica mea, et veni.

Jam hiems transiit, imber abiit, et recessit.

Flores apparuerunt in terra nostra, tempus putationis advenit.

I am black but comely, ye daughters of Jerusalem. Therefore the king hath delighted in me and brought me to his chamber and said to me: Arise, my love, and come. For the winter is passed, the rain is over and gone; Flowers have appeared in our land, the time of pruning is at hand.

4) Laudate, pueri, Dominum: laudate nomen Domini.

Sit nomen Domini benedictum, ex hoc nunc, et usque in saeculum.

A solis ortu usque ad occasum,

laudabile nomen Domini. Excelsus super omnes gentes Dominus,

et super coelos gloria ejus. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in coelo et in terra?

Suscitans a terra inopem,

et de stercore erigens pauperem: ut collocet eum cum principibus,

cum principibus populi sui.

Qui habitare facit sterilem in domo, matrem filiorum laetantem.

Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio,

et nunc, et semper, et in saecula saeculorum. Amen.

Praise the Lord, ye servants: praise the name of the Lord. Blessed be the name of the Lord, from this time forth for evermore. From the rising to the setting of the sun, the Lords name be praised. The Lord is high above all nations, and his glory above the heavens. Who is like the Lord our God, who dwelleth on high, yet respecteth humbly what is in heaven and earth? He raiseth the simple from the dust, and lifteth the poor from the mire. That he may set him with princes, even the princes of his people. Who makes the barren woman to keep house, a joyful mother of children. 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. Amen.

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5) Pulchra es, amica mea, suavis et decora filia Jerusalem.

Pulchra es, amica mea, suavis et decora sicut Jerusalem,

terribilis ut castrorum acies ordinata. Averte oculos tuos a me, quia me avolare fecerunt.

Thou art beautiful, my love, sweet and comely daughter of Jerusalem. Thou art beautiful, my love, sweet and comely as Jerusalem, terrible as an army arrayed for battle. Turn thine eyes from me, for they make me flee away.

6) Laetatus sum in his, quae dicta sunt mihi:

in domum Domini ibimus. Stantes erant pedes nostri, in atriis tuis, Jerusalem.

Jerusalem, quae aedificatur ut civitas: cujus participatio ejus in idipsum.

Illuc enim ascenderunt tribus, tribus Domini testimonium Israel ad confitendum nomini Domini.

Quia illic sederunt sedes in judicio, sedes super domum David.

Rogate quae ad pacem sunt Jerusalem: et abundantia diligentibus te.

Fiat pax in virtute tua: et abundantia in turribus tuis.

Propter fratres meos, et proximos meos,

loquebar pacem de te: Propter domum Domini Dei nostri,

quaesivi bona tibi. Gloria Patri et Filio et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

I was glad when they said to me: we will go into the house of the Lord. Our feet shall stand in thy gates, O Jerusalem. Jerusalem, that is built as a city that is at one with itself. For thither the tribes go up, the tribes of the Lord, to the testimony of Israel, to give thanks to the name of the Lord. For there are the seats of judgment, the thrones of the house of David. Pray for the peace of Jerusalem: they shall prosper that love thee. Peace be within thy walls, and plenty within thy palaces. For my brethren, and my companions, I will seek peace for thee. For the house of the Lord our God, I will seek to do thee good. 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, Amen.

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7) Duo Seraphim clamabant alter ad alterum: Sanctus Dominus Deus Saboath. Plena est omnis terra gloria ejus.

Tres sunt, qui testimonium dant in coelo: Pater, Verbum et Spiritus Sanctus:

et hi tres unum sunt. Sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria ejus.

Two seraphim cried to one another: Holy is the Lord God of Sabaoth. The whole earth is full of his glory. There are three who bear witness in heaven: the Father, the Word, and the Holy Spirit: and these three are one. Holy is the Lord God of Sabaoth. The whole earth is full of his glory.

8) Nisi Dominus aedificaverit domum, in vanum laboraverunt qui aedificant eum.

Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam.

Vanum est vobis ante lucem surgere: surgite postquam sederitis,

qui manducatis panem doloris. Cum dederit dilectis suis somnum:

ecce, haereditas Domini filii: merces, fructus ventris.

Sicut sagittae in manu potentis: ita filii excussorum.

Beatus vir qui implevit desiderium suum ex ipsis:

non confundetur cum loquetur inimicis suis in porta. Gloria Patri et Filio et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.

Amen.

Unless the Lord build the house, they labour in vain who build it. Except the Lord keep the city, he watcheth in vain who keepeth it. It is vain for you to rise before dawn: rise later, ye who have eaten the bread of sorrows; When he will give sleep to his chosen. Lo, children are an heritage of the Lord; a reward, the fruit of the womb. As arrows in the hands of the mighty, thus are the children of outcasts. Blessed is the man whose quiver is full of them: they shall not be ashamed when they confront their enemies in the way. 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. Amen.