PATRICK DUPRE QUIGLEY, CONDUCTOR
April 10–13, 2025
Baroque: Angels Behind the Walls
WILLIAMSON IS MIAMI
Program Note
Angels Behind the Walls
By Craig Monson
In 1664, a Bolognese clergyman extolled the music he had heard while playing tourist in Milan:
At Santa Radegonda (a convent of nuns), we couldn’t tell if the singing voices were from down here, below, or celestial. They sang a Regina Coeli, which plainly showed that they had learned from the angels how to salute their Queen of Heaven. The church was so packed with the nobility that one couldn’t breathe in the heat. Foreigners who pronounced upon this music were unashamed to say that it is second, neither to that of the Austrian Emperor nor to any performed in Italy!
It may come as something of a surprise that during the Baroque, nuns’ singing exerted such a powerful fascination for aristocratic connoisseurs and others on the European Grand Tour. In Milan, the best choral singing could be heard, not at the cathedral but at the Convent of Santa Radegonda (home to Chiara Margarita Cozzolani, who appears on this program). Nuns’ vocal attractions were enhanced by the fact that they remained invisible: their disembodied voices echoed from behind the grilled screens of their choir lofts, often high up, near the vaults of their churches.
The pseudo-privacy of their screened choir lofts allowed nun singers to perform respectably, without the social taint then associated with a woman’s singing in public. After all, sight had recently displaced hearing as the second most powerful provocation of lust, according to Catholic confessors’ manuals. As one fifteenthcentury influencer on family values had put it, “The speech of a noble woman can be no less dangerous than the nakedness of her limbs.”
But convent performances also required careful negotiation on the cloistered singers’ part: the church hierarchy remained suspicious of musical performance by nuns, who were supposedly “dead to the world.” One disapproving cleric lamented, “While their bodies remain within the sacred cloisters, music causes them to wander outside in their hearts, nourishing within themselves an ambitious desire to please the world with their songs.”
Most Baroque women who “went public” by publishing their compositions turned
out to have been nuns. Over seventy percent of published collections containing women’s music between 1568 and 1700 were the work of cloistered women. While many convent composers ventured into print only once (for example, Maria Xaveria Perucona and Bianca Maria Meda, both included on this program), Chiara Margarita Cozzolani published four volumes of her music.
It is worth remembering, however, that during the Baroque, audiences flocked to nuns’ churches more for the singers than the composers. Dozens of male composers dedicated works to notably musical convents or to individual, “starquality” convent musicians. Diarists commonly displayed greater interest in the performers than the specific works they sang. As co-creators of the musical experience with composers, convent singers eclipsed them in the public imagination.
This was also true at Venice’s renowned foundling hospital for abandoned girls, the Ospedale della Pietà, where female voices also resounded from behind choir loft screens. These girls, carefully trained as singers and instrumentalists, lived regimented lives behind their walls, but enjoyed somewhat greater freedom. With permission from the Ospedale’s governors, the best (and best-behaved) musicians could leave the Ospedale for the day to perform at noble households, provided that they returned before sunset. The Ospedale also received a few foreign girls, sent by German courts to be trained at their monarchs’ expense. The Ospedale’s governors were careful to extract assurances, however, that these girls were of impeccable virtue and would never perform in public theaters.
Despite his current reputation, Antonio Vivaldi remained a tangential figure around the Ospedale. After his initial appointment in 1703, he served there sporadically, commonly as maestro del violino, not as director of the Ospedale’s more prestigious choral performances. At their annual elections, the governors never voted unanimously to reappoint him and let him go more than once when he garnered insufficient positive votes to be kept on staff. He may have filled in, off-and-on, as a choral director between 1713 and 1717, when he provided most of his choral music (including the earliest version of his Magnificat). One contract in 1723 carefully stipulated that senior, female teachers “must always be present when the said Reverend Vivaldi shows up to teach the girls.” (Did they fear possible improprieties during his lessons?) After a decade’s absence, in 1737 he was one of several music masters hired piecemeal to direct the choir and provide appropriate music (including an updated version of his Magnificat). But a year later, the governors let him go once-and-for-all. During his periodic affiliation with the Ospedale, he never enjoyed the esteemed title of maestro di coro.
The Ospedale’s choral performances eclipsed those of the girls’ instrumental ensembles, which Vivaldi more commonly directed. As the singers’ voices echoed from behind the church’s choir loft grills at Vespers, their invisibility enhanced their mysterious allure. Enthusiastic audiences down below, forbidden to applaud within the sanctuary, could only express their approval by coughing heartily, loudly blowing their noses, and shuffling their feet instead.
Perhaps no audience member was more enraptured than the French philosopher, Jean-Jacques Rousseau, whose Confessions (1782) reveal just how entranced he was by these hidden voices. One of the governors agreed to take him to tea with the invisible singers. “On entering the salon,” he wrote, “which contained these beauties I so longed to see, I felt an amorous trembling as never before. Monsieur le Blond presented these celebrated female singers to me, one after another, whose names and voices were all I knew of them. ‘Come, Sophia’ — she was hideous! ‘Come, Cattina’ — she had but one eye! ‘Come, Bettina’ — smallpox had utterly disfigured her. Two or three looked tolerable--they only sang in the choruses. I was nearly in despair. I scarcely dared return to their Vespers service. But I still found their singing delightful and their voices so embellished their persons that, despite my eyes, I continued adamantly to think them beautiful.”
Craig A. Monson is Paul Tietjens Professor Emeritus of Music at Washington University in St Louis, where he taught for three decades.
Baroque: Angels Behind the Walls
Thu, Apr 10, 2025 | 7:30 pm | St. Gregory’s Episcopal, Boca Raton
Fri, Apr 11, 2025 | 8:00 pm | Church of the Little Flower, Coral Gables
Sat, Apr 12, 2025 | 7:30 pm | All Saints Episcopal, Ft. Lauderdale
Sun, Apr 13, 2025 | 4:00 pm | Moorings Presbyterian, Naples
Patrick Dupre Quigley, conductor
O Caeli Cives Chiara Margarita Cozzolani (1602 - 1678)
Gaude Plaude Maria Xaveria Perucona (1652 - 1709)
Ardete Celestes Flammæ Bianca Maria Meda (c.1661 - c.1732)
Vibrate Fulmina
Concerto in B minor for 4 violins, Op. 3, No.10
Antonio Vivaldi (1678 - 1741)
Magnificat, RV 610 Vivaldi
SOPRANO
Jessica Beebe
Madeline Chamberlain*
Michele Kennedy
Jane Long
Krystal Mao*
Deborah Stephens ALTO
Camryn Deisman*
Kimberly Leeds
Olivia Salazar*
Gabriela Solís
Elisa Sutherland
TENOR
Yani Araujo*
Derek Chester
Andres Delgado*
Haitham Haidar
Rohan Ramanan BASS
James Bass
Kevin Cornwell II*
Steven Eddy
Leland Smith
Patrick Dupre Quigley, conductor
*UCLA Herb Alpert School of Music Ensemble Artist Program student
Violin
Edson Scheid
de Andrade, concertmaster
Will Copeland
Aniela Eddy
Susannah Foster
Renée Hemsing
Katie Hyun
Kako Miura
Viola
Annie Garlid
Kyle Miller
Cello
Sarah Stone Bass
Jessica Powell Eig
To read full artist bios, scan the QR code or visit SeraphicFire.org/Artists
Organ
Aya Hamada
O Caeli Cives
Chiara Margarita Cozzolani (1602 - 1678)
O cæli cives, O angeli pacis, audite, volate, venite, narrate: ubi pascat, ubi cubet Christi sponsa Catharina?
In cælo quiescit et inter sanctos pax illius est.
O felix requies, beata sors!
Dicite nobis: ubi regnat exaltata coronata Christi sponsa Catharina?
In cælo nunc regnat et inter sanctos regnum eius est.
O felix regnum, æternum regnum, beata sors! Dicite nobis, angeli Dei: ubi regnat gloriosa triumphat?
In cælo triumphat et inter sanctos palma illius est.
O felix triumphus, O palma beata, beata sors!
Dicite nobis: ubi iubilans gaudet, exultat, lætatur iocunda Catharina?
In cælo congaudet, exultat, lætatur, et gaudium eius plenum est.
O dulcis risus, O felix gaudium, beata sors! Ergo casta Christi sponsa Catharina in cœlo quiescit?
In æternum.
In cælo nunc regnat?
In æternum.
In cælo triumphat?
In æternum. In cælo lætatur?
In æternum.
In æternum, in cælo nunc regnat, quiescit, triumphat, lætatur, exultat, in æternum cantabit “Alleluia.”
O citizens of heaven, O angels of peace Listen, fly, come, tell us: Where might she feed, where might she sleep, Catherine, Christ’s bride?
In heaven she rests and among the saints is her peace
O happy rest, blessed fate! Tell us: where does she reign, exalted, crowned, Catherine, Christ’s bride?
In heaven she reigns now, and among the saints is her kingdom
O happy eternal realm, O blessed lot!
Say to us, angels of God: Where does that glorious queen triumph?
In heaven she triumphs, And her palm is among the saints.
O happy triumph, O blessed palm, blessed fate!
Tell us: where, jubilant, does she delight, exult, that jovial Catherine?
In heaven she delights, exults, and rejoices, and her joy is complete.
O sweet laughter, happy joy, blessed fate! So does Catherine, Christ’s chaste bride, now rest in heaven?
In eternity.
In heaven does she now rule? In eternity.
In heaven does she triumph?
In eternity.
In heaven is she joyous?
In eternity.
In eternity, in heaven now she rules, rests, triumphs, is glad, exults, forever she will sing, “Alleluia”
Gaude Plaude
Maria Xaveria Perucona (1652 - 1709)
Gaude plaude
Summa laude sine fraude
Quantum potest tantum
Gaude plaude
Turba catholica
Plaude Virgini
Plaude Martiri Virgini
Qui tentatus et afflictus
Derelictus quasi victus
Iacet inter angustias
Ila vicit superavit
Mortem feras et tirannum illa vicit
Gaude plaude potest tantum aude plaude
Speculum virtutis
Gloriose dux salutis
Solatium reorum
Ó felices cicatrices
Ó beata vulnera
Ó felices cicatrices
Clara signa victoriae
Quantum potest tantum aude
Gaude plaude
Et duplicemus gaudia
Tu ó martir ad tui gloriam
Assume modulos assume cantica
Et merorum peccatorum apud regem
Angelorum per te precor veniam
Et te semper cantabo
Alleluia
Clap with joy
High praise without deception
As much as he can
Clap with joy
Catholic crowd
Praise the Virgin
Applause to the Martyr Virgin
He who was tempted and afflicted
Abandoned as if defeated
He lies between the difficulties
Ila won and overcame
She defeated the beast and the tyrant Clap with joy can only clap with courage
A mirror of power
Glorious leader of salvation
Consolation of the guilty
O happy scars
O blessed wounds
O happy scars
Clear signs of victory
Dare as much as possible
Clap with joy
And let us double our joy
You are a martyr to your glory
Take the modules
Take the song and of mere sins with the king I pray for the forgiveness of the angels
And I will always sing of you Alleluia
Ardete Celestes Flammæ
Bianca Maria Meda (c.1661 - c.1732)
Ardete celestes flammae, ardete cor meum;
o dulcis ardor, o suave incendium. Sum felix ardendo et corda dum mille accendunt scintille delector languendo.
O caritatis refrigerans incendia quanta repleor amoris dulcedine dum totus ardeo celesti amore.
O ignes amati ardores beati accendite me. Dum beor suspiro ardendo respiro confirmo in spe.
Care flamme caritatis quam me belle recreatis. Dum celesti amore innocenti et ardore mea corda consumatis. Alleluia
Vibrate Fulmina
Bianca Maria Meda (c.1661 - c.1732)
Vibrate fulmina, o cæli, rigide ferite, o stellæ penas preparate, inferni vulnerate lacerate rebellum. Arma sunt sagittæ rebelles Omnes stelle sunt comete Conjurate sunt planete in peccantem servientes. Pene sunt eterni ardores mille flammæ cruciantes; et serpentes lacerantes cor errantis sint dolores.
Anima times dilecti rigores; doloris sunt voces, non ire minantis spera in terrore et vive in timore.
Dulcis terror Christi amantis sint timore tenet me; carus honor castigantis
Burn the heavenly flames, Burn my heart;
O sweet ardor, o sweet fire.
I am happy with the burning And hearts for a thousand
Light the sparks
He delights in languishing.
O cooling fires of charity
How much I am filled with the sweetness of love
While all ardent with heavenly love.
O beloved fires
Happy ardor Fire me.
While I drink I sigh
Burning breath
I confirm in hope.
Care the flame of charity
How well you refresh me. While in the sky with love
Innocent and passionate
My hearts are consumed.
Alleluia
Vibrate the thunderbolts, o heavens, strike hard
O prepare the stars
With the wounds of hell tear the rebellion. The arrows are the weapons of the rebels
All stars are comets They are conspiring with the planet serving the sinner. The burnings of a thousand tormenting flames are almost eternal; And the serpents tearing at the heart of the wanderer are the pains.
The soul fears the rigors of the beloved; They are voices of pain
Do not go, trust in terror and live in fear.
The sweet terror of loving Christ
Let fear hold me; Dear honor of the chastiser,
si mirando terret te.
Jubila cor spera gaudere fuga terrores hanella suspiria divinos amores si vis vivere felicissima. Alleluia.
Magnificat RV 610
Antonio Vivaldi (1678 - 1741)
Magnificat, anima mea, Dominum et exultavit spiritus meus in Deo, salutari meo.
Quia respexit humilitatem ancillæ suæ: 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 misericordiæ suæ, sicut locutus est ad patres nostros, Abraham et semini eius in sæcula. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.
if he frightens you with wonder. A joyful heart hopes to rejoice in the flight of terrors.
Hanella sighs divine love if you want to live the happiest life. Alleluia.
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 showed 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 forever.
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.
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WHEN SCALE MATTERS... Inspiration Starts Here!
NAPLES • SARASOTA • BOCA RATON • FORT MYERS
Be the Light That Fuels Seraphic Fire
Tonight’s music lifts our spirits and showcases the beauty Seraphic Fire brings to South Florida. While ticket sales help, it’s the generosity of friends like you that sustains over 40 performances and vital education programs for more than 3,500 K-12 students. Your gift today will keep this work thriving.
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Seraphic Fire recognizes its season sponsors, national sponsors, and institutional partners.
FOUNDER’S CIRCLE SPONSORS
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Robert R. Brinker & Nancy S. Fleischman
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INSTITUTIONAL PARTNERS
Seraphic Fire is sponsored by the Miami-Dade County Tourist Development Council, Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; the City of Coral Gables; Coral Gables Community Foundation; The Dunspaugh-Dalton Foundation; Funding Arts Network; Funding Arts Broward; The Kirk Foundation, Peacock Foundation, Inc; Quest Foundation; the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture, and the National Endowment for the Arts.
Support has been provided by the following Funds at the Community Foundation of Broward: Marlene Holder Fund for Broward, Barbara and Michael G. Landry Fund for Broward, Dorothy Osterhoudt Unrestricted Fund for Broward, and The Frederick A. DeLuca Foundation Broward Community Fund.
Seraphic Fire is funded by The Children’s Trust. The Children’s Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County by making strategic investments in their future. Programs in Broward County are made possible with the support of the Broward County Cultural Division.