PATRICK DUPRE QUIGLEY AND JAMES K. BASS, CONDUCTORS
February 27- March 9, 2025
Program Note
Choral Music in the Age of Romanticism
By Andrew H. Weaver, Ph.D.
Ask a classical music enthusiast to think of Romantic music, and what probably comes to mind are operas and symphonies, or possibly small-scale genres like songs and piano works. Choral music, however, thrived during the Romantic era. As a philosophical and cultural movement, Romanticism sought to free the individual from the ills of modern life, encouraging people to unburden themselves of social conformity in favor of imagination, personal expression, and a critical approach to the world. The Romantic individual engaged in a process of interior self-cultivation, using the arts to better themselves, with the aim of rising above the everyday rabble of our broken world. Romantics were thus on a quest for wholeness and redemption, which they sought through such avenues as spirituality, pure love (including the joy and suffering it wrought), the supernatural, the distant past, and especially the wonders and mysteries of nature.
Romanticism was a response to sweeping social changes taking place in the late eighteenth and early nineteenth centuries, and thanks to these changes, the audience for Romantic music was vastly different from that in previous centuries. Whereas the fine arts had long been almost the sole province of the highest classes, there was now widespread cultivation of music by the middle class. Almost every bourgeois home had a piano, and in fact, most piano works and songs were intended not for concerts but for private performance among friends and family in the parlor. The song (in German, “Lied”) became a quintessentially Romantic genre, combining poetry on Romantic themes with sophisticated music that adds depths of meaning to the words.
But in addition to encouraging musical activities at home, Romantic composers wanted to bring people together in communal music-making, and choral music was ideal for this purpose. By setting for choir the same poems used for songs, Romantic composers extracted choral singing from the domain of the church and transformed it into an outlet for amateur musicians of all classes. During the nineteenth century, choral societies sprang up in almost every European city, and many famous composers were involved with them. Robert Schumann led choirs in Dresden before accepting a job directing a choir in Düsseldorf. Felix Mendelssohn’s early fame was due in part to directing choirs, and choral conducting formed an important part of his duties at his major posts in Leipzig and Berlin. Johannes
Brahms spent much of his life as director of a choir in Vienna. Although Franz Schubert (who spent much of his career out of the public eye) never held a regular choral conducting job, thirty-five years after his death an amateur choral society bearing his name was founded in Vienna. In England, Charles Villiers Stanford conducted the Cambridge University Musical Society during and after his student years, and he was later conductor of the Bach Choir in London. Although Camille Saint-Saëns’s and Gabriel Fauré’s choral activities were mostly within the realm of church jobs, amateur choral organizations were an important part of musical life in nineteenth-century Paris.
While these choral organizations were run by men, Romanticism’s emphasis on nonconformity helped open doors for people who would have had difficulty pursuing musical careers in previous centuries, particularly women. Clara Wieck Schumann, the daughter of a well-known piano pedagogue (the teacher of her future husband), made a name for herself as a virtuoso pianist well before her marriage to Robert in 1840, having given her first public performance in 1828 at the age of nine and her first solo concert at age eleven. She went on to become one of the most famous pianists of her day while also composing and publishing a substantial catalog of music. Mendelssohn’s sister Fanny enjoyed a thorough musical education and blossomed into a talented pianist and prolific composer; however, she pursued a traditional life as wife and mother, confining her musical activities (including running a small choral group) to the home and not publishing any music until a year before her untimely death at forty-one.
Life was challenging for people of color in the nineteenth century, but one successful Black musician was the British composer Samuel Coleridge-Taylor. A student at the Royal College of Music, where he studied with Stanford, ColeridgeTaylor became renowned as a composer of choral music, often setting works by African-American poets. So well-known did he become in America that his music inspired the establishment of the Coleridge-Taylor Choral Society in Washington, DC, with whom the composer toured several times.
The legacy of Romantic choral music can still be felt in the vibrant choral music scenes that exist to this day in many American and European cities.
Andrew H. Weaver is Professor of Musicology at The Catholic University of America in Washington, DC. He holds a Ph.D. in musicology from Yale University and a B.Mus. in musicology and viola performance from Rice University.
Enlightenment Festival - Romantic: Schumann & Mendelssohn
Thu, Feb 27, 2025 | 7:30 pm I St. Stephen’s Episcopal, Coconut Grove
Fri, Feb 28, 2025 | 7:30 pm | St. Philip’s Episcopal, Coral Gables
Sat, Mar 1, 2025 | 7:30 pm | All Saints Episcopal, Ft. Lauderdale
Sun, Mar 2, 2025 | 4:00 pm | St. Gregory’s Episcopal, Boca Raton
James K. Bass, conductor
Ziguenerleben
Robert Schumann (1810-1856) Ungewisses Licht
Vorwärts
Clara Schumann (1819-1896) Abendfeier in Vendig
Madrigal, Op.35
Gabriel Fauré (1845-1924) Calmes des Nuits Camille Saint-Saëns (1835-1921)
Whispers of Summer
Schilflied
Samuel Coleridge-Taylor (1875-1912)
Fanny Mendelssohn Hensel (1805-1847) Schweigend sinkt die Nacht
Mitten wir im Leben Sind Felix Mendelssohn (1809-1847)
Hymne an den Unendlichen Franz Schubert (1797-1828) Des Tages Weihe
The Blue Bird
Vier Quartette, Op. 92
1) O Schöne Nacht
2) Spätherbst
3) Abendlied
4) Warum
Charles Villiers Stanford (1852-1924)
Johannes Brahms (1833-1897)
SOPRANO
Elisse Albian
Chelsea Helm
Rebecca Myers
Nola Richardson
ALTO
Amanda Crider
Kim Leeds
Gabriela Linares
TENOR
Derek Chester
Brad Diamond
James Reese
BASS
John Buffett
Edmund Milly
Chris Talbot
James K. Bass, conductor
To read full artist bios, scan the QR code below or visit SeraphicFire.org/Artists
Zigeunerleben
Robert Schumann (1810-1856)
Zigeunerleben
Im Schatten des Waldes, im Buchengezweig, da regt’s sich und raschelt und flüstert zugleich.
Es flackern die Flammen, es gaukelt der Schein um bunte Gestalten, um Laub und Gestein.
When the Zigeuner bewegliche Schaar mit blitzenden Aug’ und mit wallendem Haar, gesäugt an des Niles geheiligter Fluth, gebräunt von Hispaniens südlicher Gluth.
Um’s lordernde Feuer, in schwellendem Grün, da lagern die Männer verwildert und kühn, da kauern die Weiber und rüsten das Mahl, und full geschäftig den alten Pokal.
Und Sagen und Lieder ertönen im Rund, wie Spaniens Gärten so blühend und bunt, und magische Sprüche für Noth und Gefahr verkündet die Alte der horchenden Schaar.
Schwarzäugige Mädchen beginsnen den Tanz.
Da spruhen die Fackeln im rötlichen Glanz. Is locked the Guitar, the Cymbel klingt.
Wie wild and wilder of the Reigen sich lingt!
Dann ruh’n sie ermüdet vom nächtlichen Reih’n.
Es rauschen die Buchen in Schlummer sie ein. Und die aus der glücklichen Heimath verbannt, sie schauen im Traume das glückliche Land.
Doch wie nun im Osten der Morgen erwacht, verlöschen die schönen Gebilde der Nacht, Es charret das Maulthier bei Tagesbeginn, fort zieh’n die Gestalten, wer sagt dir wohin?
Gypsy life
In the shadow of the wood, in the branches of the beeches one hears stirring, cracking and whispering at the same time one sees the flames dancing and a glow fluttering around colored silhouettes, foliage and rocks.
Here is the moving troop of Gypsies with sparkling eyes and waving hair, fed on the blessed river of the Nile, browned by the ardent heat of Spain.
Around the warmth of the fire, in the swelling verdure, the wild and bold men then set up camp, the women crouch down to prepare the meal; busy, they fill the old pot.
Then legends and songs resound in the circle, as flowery and colorful as the gardens of Spain.
An old woman reveals to the attentive troop magic formulas against adversity and danger. Young girls with black eyes open the dance.
The torches spring up in the glowing light. The guitar becomes seductive, the cymbal resounds, while the round winds more and more wild.
Then they rest, tired of their night dance, lulled by the murmur of the beeches and the people driven from the blessed homeland see in a dream the blessed country.
However, while the morning awakens in the East, the beautiful images of the night dissolve. The mule paws the morning air and the silhouettes go away, who will tell you where?
Ungewisses
Robert Schumann (1810-1856)
Ungewisses Licht
Bahnlos und pfadlos, Felsen hinan stürmet der Mensch, ein Wandersmann. Stürzende Bäche, wogender Fluß, brausender Wald, nichts hemmet den Fuß!
Dunkel im Kampfe über ihn hin, jagend im Heere die Wolken zieh’n; rollender Donner, strömender Guß, sternlose Nacht, nichts hemmet den Fuß!
Endlich, ha! endlich schimmert’s von fern! Ist es ein Irrlicht, ist es ein Stern? Ha! wie der Schimmer so freundlich blinkt, wie er mich locket, wie er mir winkt!
Rascher durcheilet der Wandrer die Nacht, hinnach dem Lichte zieht’s ihn mit Macht! Sprecht, wie: sind’s Flammen, ist’s Morgenrot, ist es die Liebe, ist es der Tod?
Uncertain light
Without a path, without a trail, the man, the wanderer storms up the cliffs: Plunging streams, a roaring river, Booming woods, nothing breaks his stride!
Warring in darkness above, Clouds pursue him in armies; Rolling thunder, streaming torrents, a starless night, nothing breaks his stride!
At last, ha! At last it glitters in the distance! Is it a phantom, is it a star?
Ha, its sparkle is so friendly, How it entices me, how it beckons to me!
Faster now the wanderer hurries through the night, Drawn by the power of the light. Tell: is it a flame, is it the sunrise? Is it love, is it death?
Vorwärts
Clara Schumann (1819-1896)
Forward
Lass das Träumen, lass das Zagen, Unermüdet wandre fort!
Will die Kraft dir schier versagen, ‘Vorwärts’ ist das rechte Wort.
Darfst nicht weilen, wenn die Stunde Rosen dir entgegenbringt, Wenn dir aus des Meeres Grunde Die Sirene lockend singt.
Vorwärts, vorwärts! Im Gesange Ringe mit dem Schmerz der Welt, Bis auf deine heisse Wange Goldner Strahl von oben fällt,
Forward
Leave the dreaming, leave the hesitation, Wander on tirelessly!
When your strength almost fails you, ‘Forward’ is the right word.
You may not tarry when the hour Brings you roses, When from the bottom of the sea The siren sings temptingly.
Forward, forward! In song Wrestling with the pain of the world, Until upon your hot cheek Falls a golden ray from above,
Bis der Kranz, der dichtbelaubte, Schattig deine Stirn umwebt, Bis verklärend überm Haupte Dir des Geistes Flamme schwebt.
Vorwärts drum durch Feindes Zinnen, Vorwärts durch des Todes Pein, Wer den Himmel will gewinnen, Muss ein rechter Kämpfer sein!
Until the wreath, with leaves Woven around, shadows your forehead, Until your head is transfigured By the spirit’s flame floating above it.
Forward through the enemy’s battlements, Forward through the pain of death, Those who want to win [entrance to] heaven, Must be real warriors!
Abendfeier in Venedig
Clara Schumann (1819-1896)
Abendfeier in Venedig
German source: Emanuel Geibel
Ave Maria! Meer und Himmel ruh’n, Von allen Türmen hallt der Glocken Ton.
Ave Maria! Laßt vom ird’schen Tun, Zur Jungfrau betet, zu der Jungfrau Sohn!
Des Himmels Scharen selber knieen nun Mit Lilienstäben vor des Vaters Thron, Und durch die Rosenwolken wehn die Lieder Der sel’gen Geister feierlich hernieder.
O heil’ge Andacht, welche jedes Herz Mit leisen Schauern wunderbar durchdringt!
O sel’ger Glaube, der sich himmelwärts Auf des Gebetes weißem Fittich schwingt!
In milde Tränen löst sich da der Schmerz, Indes der Freude Jubel sanfter klingt.
Ave Maria!
Erd’ und Himmel scheinen bei diesem Laut sich liebend zu vereinen.
Evening celebration in Venice English translation © Richard Stokes
Hail Mary! Sea and sky are at rest, The sound of bells echoes from all the towers. Hail Mary! Let go of earthly actions
Pray to the Virgin, to the Virgin’s Son. Heaven’s multitudes themselves kneel now with lilies before the Father’s throne and blow through the roseate clouds the songs of the blessed spirits solemnly float down.
Oh holy devotion, which each shudder quietly taps each heart!
Oh blessed faith that goes heavenward sing on the white wing of prayer! The pain dissolves in mild tears, while the joy of cheering sounds softer.
Hail Mary!
Earth and sky shine to unite lovingly at this sound.
Madrigal, Op. 35
Gabriel Fauré (1845-1924)
Inhumaines qui, sans merci
Vous raillez de notre souci
Refrain: Aimez quand on vous aime, aimez quand on vous aime
Ingrats qui ne vous doutez pas, Des rêves éclos sur vos pas
Sachez ô cruelles beautés
Que les jours d’aimer sont comptés
Sachez, amoureux inconstants
Que le bien d’aimer n’a qu’un temps !
Un même destin nous poursuit Et notre folie est la même
C’est celle de fuir qui nous aime
C’est celle d’aimer qui nous fuit
Calme des Nuits
Camille Saint-Saëns (1835-1921)
Calme des nuits, fraîcheur des soirs, Vaste scintillement des mondes, Grand silence des antres noirs Vous charmez les âmes profondes. L’éclat du soleil, la gaité, Le bruit plaisent aux plus futiles; Le poète seul est hanté Par l’amour des choses tranquilles.
Inhumans who, without mercy, You mock our concern,
Chorus: Love when we love you, love as you are loved
Ungrateful people, who do not suspect, Dreams hatched in your footsteps
Know, O cruel beauties
That the days of love are numbered
Know, fickle lovers
That the good of love does not last!
The same destiny pursues us
And our madness is the same
It is that of fleeing that loves us It is that of loving that escapes us
Whispers of Summer
Samuel Coleridge-Taylor (1875-1912)
When whispers of summer are filling the air, It’s oh! to escape from the tumult of life, From its ceaseless worry, and its endless care, To flee from the sound, the sound of its strife, It’s Oh! just to be by the sweet summer sea, When the dancing waves sing low, And the heavens are bright and flushed with the light of a sunset afterglow, It’s oh! for the peace that is waiting there, When whispers of summer are filling the air.
Stillness of the night, cool of the evening, Vast shimmering of the spheres, Great silence of black vaults Deep thinkers delight in you. The bright sun, merriment, And noise amuse the most frivolous; Only the poet is possessed By the love of quiet things.
TRANSLATION FROM CPDL
Schilflied
Fanny Mendelssohn Hensel (1805-1847)
Schilflied
Drüben geht die Sonnen scheiden, Und der müde Tag entschlief. Niederhangen hier die Weiden In den Teich, so still, so tief.
Und ich muß mein Liebstes meiden: Quill, o Träne, quill hervor! Traurig säuseln hier die Weiden, Und im Winde bebt das Rohr.
In mein stilles, tiefes Leiden
Strahlst du, Ferne! hell und mild, Wie durch Binsen hier und Weiden Strahlt des Abendsternes Bild.
Reed Song
Over there the suns are parting, And the tired day passed away. The willows hang down here Into the pond, so quiet, so deep.
And I have to avoid my beloved: Quill, oh tear, well up! The willows here rustle sadly, And the reed shakes in the wind.
In my silent, deep suffering Shine, distant! Bright and mild, As through rushes here and willows Shines the image of the evening star.
Schweigend sinkt die Nacht
Fanny Mendelssohn Hensel (1805-1847)
Schweigend sinkt die Nacht hernieder, still verglimmt des Abends Pracht, leis‘ verklingen unsre Lieder, leiser klingt die Welle wieder, unsre Fahrt, sie ist vollbracht, gute Nacht, gute Nacht.
The night falls silently, the evening’s splendor quietly fades away, our songs fade away quietly, The wave sounds softer again, our journey, it is accomplished, goodnight, goodnight.
Mitten wir im Leben sind
Felix Mendelssohn (1809-1847)
Mitten wir im Leben sind
Mitten wir im Leben sind
Mit dem Tod umfangen.
Wen seh’n wir, der Hülfe tu’, Dess’ wir Gnad erlangen?
Das bist du, Herr, alleine. Uns reuet unser Missetat, Die dich, Herr, erzürnet hat. Heiliger Herre Gott, Heiliger, starker Gott, Heiliger, barmherziger Heiland, du ewiger Gott, Laß uns nicht versinken in des bittern Todes Not! Kyrie eleison.
Mitten in dem Tod anficht Uns der Höllen Rachen.
Wer will uns aus solcher Not Frei und ledig machen?
Das tust du, Herr, alleine.
Es jammert dein Barmherzigkeit
Unser Sünd’ und großes Leid.
Heiliger Herre Gott, Heiliger, starker Gott, Heiliger, barmherziger Heiland, du ewiger Gott, Laß uns nicht verzagen vor der tiefen Höllen Glut! Kyrie eleison.
Mitten in der Höllen Angst Unser Sünd’ uns treiben. Wo soll’n wir denn fliehen hin, Da wir mögen bleiben?
Zu dir, Herr Christ, alleine. Vergossen ist dein teures Blut, Das g’nug für die Sünde tut.
Heiliger Herre Gott, Heiliger, starker Gott, Heiliger, barmherziger Heiland, du ewiger Gott, Laß uns nicht entfallen von des rechten Glaubens Trost! Kyrie eleison.
In the middle of our lives
Though in midst of life we be, Snares of death surround us; Where shall we for succor flee, Lest our foes confound us?
To thee alone, our Saviour. We mourn our grievous sin which hath Stirr’d the fire of thy fierce wrath.
Holy and gracious God!
Holy and mighty God!
Holy and all-merciful Saviour!
Thou eternal God!
Save us, Lord, from sinking
In the deep and bitter flood. Kyrie eleison.
Whilst in midst of death we be, Hell’s grim jaws o’ertake us; Who from such distress will free. Who secure will make us?
Thou only, Lord, canst do it!
It moves thy tender heart to see
Our great sin and misery.
Holy and gracious God!
Holy and mighty God!
Holy and all merciful Saviour!
Thou eternal God!
Let not hell dismay us With its deep and burning flood.
Kyrie eleison.
Into hell’s fierce agony
Sin doth headlong drive us: Where shall we for succor flee, Who, O, who will hide us?
Thou only, blesséd Saviour.
Thy precious blood was shed to win
Peace and pardon for our sin.
Holy and gracious God!
Holy and mighty God!
Holy and all-merciful Saviour!
Let us not, we pray,
From the true faith’s comfort
Fall in our last need away. Kyrie eleison.
Hymne an den Unendlichen
Franz Schubert (1797-1828)
Hymne an den Unendlichen
Zwischen Himmel und Erd’, hoch in der Lüfte Meer,
In der Wiege des Sturms trägt mich ein Zackenfels, Wolken türmen
Unter mir sich zu Stürmen, Schwindelnd gaukelt der Blick umher, Und ich denke dich, Ewiger!
Deinen schauernden Pomp borge den Endlichen, Ungeheure Natur! du der Unendlichkeit
Riesentochter!
Sei mir Spiegel Jehovahs!
Seinen Gott dem vernünft’gen Wurm Orgle prächtig, Gewittersturm!
Horch! er orgelt – Den Fels wie er herunterdrönt!
Brüllend spricht der Orkan Zebaoths Nahmen aus.
Hingeschrieben
Mit dem Griffel des Blitzes: Kreaturen, erkennt ihr mich? Schone, Herr! wir erkennen dich!
Des Tages Weihe
Franz Schubert (1797-1828)
Des Tages Weihe
Schicksalslenker, blicke nieder, Aug ein dankerfülltes Herz; Uns belebt die Freude wieder, Fern entfloh’n ist jeder Schmerz.
Und das Leid, es ist vergessen, Durch die Nebel strahlt der Glanz Deiner Größe unermessen, Wie aus hellem Sternenkranz.
Liebevoll nahmst du der Leiden Herben Kelch von Vaters Mund, Darum ward in Fern und Weiten Deine höchste Milde kund.
Hymn to the Infinite
Between heaven and earth, high in the sea air,
In the cradle of the storm a jagged rock supports me, Clouds are piling up To storm beneath me, Dizzying, the gaze wanders around, And I think of you, Eternal!
Lend your shuddering pomp to the finite, Immense nature! You of infinity, Giant’s daughter!
Be a mirror of Jehovah to me!
Let its God be known to the rational worm By your mighty, splendid, thunderstorm!
Hark! He organizes – the rock how it roars down!
Roaring, the hurricane utters the names of hosts.
Written down
With the stylus of lightning: Creatures, do you recognize me? Spare us, Lord! We recognize you.
Consecration of the Day
Fortune’s pilot, look down On a thankfilled heart; We are revived by joy again, Far fled is every pain.
And suffering, it is forgotten; Through mists shine the light Of Your greatness beyond measure As from a bright wreath of stars
Lovingly, You took away the bitter cup Of suffering from a father’s mouth; Therefore, both far and wide, Your great mercy has become known.
The Blue Bird
Charles Villiers Stanford (1852-1924)
The lake lay blue below the hill. O’er it, as I looked, there flew Across the waters, cold and still, A bird whose wings were palest blue.
The sky above was blue at last, The sky beneath me blue in blue. A moment, ere the bird had passed, It caught his image as he flew.
Vier Quartette, Op. 92
Johannes Brahms (1833-1897)
O Schöne Nacht
O Schöne Nacht am Himmel märchenhaft
Erglänzt der Mond in siner ganzen Pracht; Um ihn der kleinen Sterne Liebliche Genossenschaft.
O Schone Nacht
Es schimmert hell der Tau am grünen Halm; Mit macht im Fliederbushe Schlägt die Nachtigall. Der Knabe schleicht zu seiner Liebsten sacht.
O Schöne Nacht.
Spätherbst
Der graue Nebel tropft so still herab auf Feld und Wald und Heide, als ob der Himmel weinen will in übergroßem Leide.
Die Blumen wollen nicht mehr blühn, die Vöglein schweigen in den Hainen, es starb sogar das letzte Grün, da mag er auch wohl weinen.
Oh beautiful night!
The moon is fabulously shining in its complete splendor in the sky; Around it, sweet company of little stars Lovely cooperative.
Oh beautiful night!
The dew is shimmering brightly on the green blades of grass; The nightingale sings ardently in the lilac bush, And the boy steals gently from his lover. Oh beautiful night!
The grey mist drips down so silently On the field, and forest and heath As if Heaven wanted to cry In extreme suffering.
The flowers do not want to bloom anymore, The birds are silent in the groves, And the last bit of green has died; He may well cry then.
Abendlied
Abendlied
Friedlich bekämpfen Nacht sich und Tag; wie das zu dämpfen, wie das zu lösen vermag.
Der mich bedrückte, schläfst du schon, Schmerz?
Was mich beglückte, was war’s doch, mein Herz?
Freude wie Kummer, fühl ich, zerran, aber den Schlummer führten sie leise heran.
Und im Entschweben, immer empor, kommt mir das Leben ganz wie ein Schlummerlied vor.
Warum
Warum doch erschallen himmelwärts die Lieder?
Zögen gerne nieder Sterne, die droben blinken und wallen, zögen sich Lunas lieblich Umarmen, zögen die warmen, wonnigen Tage seliger Götter gern uns herab!
Evening Song
Night and day are engaged in peaceful struggle as if they are able to dampen or to dissolve.
Are you asleep, Grief, who depressed me?
What was it then, my heart, that made me happy?
Both joy and sorrow, I feel, did melt away but gently they introduced the slumber. And, while evermore floating upward, life itself appears to me like a lullaby.
Why then do songs resonate Ever up towards heaven? They would draw down the stars That twinkle and sparkle above; Or Luna’s lovely embrace; Or the warm, blissful days Of the blessed gods towards us!
Program Note
Musical Queens
By Rebecca Cypess, Ph.D.
Europe in the second half of the eighteenth century saw the rise of numerous powerful queens: the Habsburg Empress Maria Theresa, her daughter Marie Antoinette of France, Queen Charlotte of England, Catherine the Great of Russia, and others. Navigating their positions as women of authority required careful selffashioning within accepted paradigms of womanhood that allowed their subjects and peers to respect and honor them.
Seraphic Fire’s March 2025 program explores music in Vienna during the reign of Empress Maria Theresa, who became a patron to numerous women artists whose brilliance reflected well on her. Among these artists was the composer Marianna Martines, who achieved international renown when she became the first woman inducted into the Accademia filarmonica of Bologna in 1773. Because of her family’s friendship with the imperial court poet Pietro Metastasio, the leading operatic librettist of the eighteenth century, Martines had the opportunity to perform for the empress and her daughters. Martines was a virtuosic singer and keyboardist as well as a prolific composer of instrumental and vocal music, much of which she performed herself. She regularly hosted musical soirées in her home that attracted guests from the local intelligentsia, professional artists, and aristocrats, as well as international visitors, all of whom came to hear her. Among these guests was the English music historian Charles Burney, who gushed about Martines’s performances and compared her to St. Cecilia, patron saint of music.
All of Martines’s surviving Italian cantatas are set to texts penned by Metastasio. This includes “Berenice, che fai?,” the text of which derives from Metastasio’s operatic libretto Antigone. The story revolves around the Egyptian princess Berenice, who is betrothed to the Macedonian king Antigono, but who is in love with his son Demetrio. Martines chose for this cantata a highly dramatic excerpt in which Berenice appears insane with rage. The original audience for this work would no doubt have known that the story ends happily—Berenice is ultimately allowed to marry Demetrio—but they would have reveled in seeing her temporary madness, a condition widely associated with women in the eighteenth century.
Martines’s sacred motet “O Virgo, cui salute” is dedicated to Mary, another archetypal “queen” who served as a paradigm of womanhood. The piece is composed of a recitative, an aria, another recitative, and a concluding Alleluia, and it includes an obbligato oboe part that offers a counterpoint to the soprano soloist. While, in theory, women were not allowed to perform in church, they did so occasionally, as Burney recounted after he visited Vienna’s St. Stephen’s Church. The presence of a set of performing parts for this motet in the archive of St. Michael’s Church suggests that the piece was performed there, perhaps by Martines herself. Tonight’s performance is a modern world premiere of this motet, based on an edition by musicologist Lynette Bowring.
Vienna’s musical life depended on the collaboration and competition of its leading artists. In an autobiographical letter, Martines recalled that, in her youth, she had studied keyboard with Franz Joseph Haydn. In the 1780s, Wolfgang Amadeus Mozart attended Martines’s soirées and played keyboard duets with her. On this program, works by Haydn and Mozart complement Martines’s compositions.
Mozart’s Laudate Dominum, from his Solemn Vespers, K. 339, was composed in 1780 for performance in the Salzburg Cathedral. In a melody that soars above the orchestra, the soprano soloist pronounces a Latin translation of Psalm 117, which calls on all people to praise God; her invocation is answered by the chorus. Mozart wrote his Missa brevis, K. 192, when he was just 18 years old. Its Credo movement is unified by a recurring four-note theme (Do-Re-Fa-Mi), which he would later use as the basis of the finale of his last symphony, “Jupiter” (No. 41).
The title of Franz Joseph Haydn’s Symphony No. 63, “La Roxelane,” refers to the work’s second movement, which is a musical portrait of another queen: Roxelane, wife of Suleiman the Magnificent, a sixteenth-century sultan of the Ottoman Empire. Attempting to understand the meaning of Haydn’s title, scholars have suggested that he composed incidental music to accompany a German adaptation of the play Soliman II by the French writer Charles Favart, which was performed in Vienna throughout the 1770s. However, this suggestion is speculative; no such work survives.
Rebecca Cypess is The Mordecai D. Katz and Dr. Monique C. Katz Dean of the Undergraduate Faculty of Arts and Sciences at Yeshiva University.
Enlightenment Festival - Classical: Martines, Mozart & Haydn
Thu, Mar 6, 2025 | 7:00 pm | Moorings Presbyterian, Naples
Fri, Mar 7, 2025 | 8:00 pm | Church of the Little Flower, Coral Gables
Sat, Mar 8, 2025 | 7:30 pm | All Saints Episcopal, Ft. Lauderdale
Sun, Mar 9, 2025 | 4:00 pm | Miami Beach Community Church, Miami Beach
Missa brevis, K. 192
Patrick Dupre Quigley, conductor
Laudate Dominum from Solemn Vespers, K. 339
O, Virgo, cui salutem
Berenice, a che fai
Symphony No. 63
Wolfgang Amadeus Mozart (1756-1791
Marianna Martines (1744-1812)
Franz Joseph Haydn (1732-1809)
SOPRANO
Elisse Albian
Madeline Chamberlain*
Chelsea Helm
Krystal Mao*
Rebecca Myers
Nola Richardson ALTO
Amanda Crider
Camryn Deisman*
Kim Leeds
Gabriela Linares
Olivia Salazar*
TENOR
Yani Araujo*
Derek Chester
Andres Delgado*
Brad Diamond
James Reese
BASS
James Bass
Kevin Cornwell II*
Edmund Milly
Leland Smith*
Chris Talbot
*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
Laura Lutzke
VIOLA
Annie Garlid
Stephen Goist
CELLO
Sarah Stone
BASS
Nathaniel Chase
FLUTE
Joe Monticello
Patrick Dupre Quigley, conductor
OBOE
Pablo O’Connell
Emily Ostrom
BASSOON
Anna Marsh
HARPSICHORD
Leon Schelhase
To read full artist bios, scan the QR code or visit SeraphicFire.org/Artists
Missa Brevis in F, K. 192
Wolfgang Amadeus Mozart (1756-1791)
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
Gloria
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 caelestis, 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.
Credo
Credo in unum Deum. Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium.
Credo, et in unum Dominum Jesu Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
And on earth peace, good will towards men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory,
O Lord God, heavenly King, God the Father Almighty.
O Lord, the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us.
Thou that takest away the sins of the world, receive our prayer.
Thou that sittest at the right hand of God the Father, have mercy upon us.
For thou only art holy; thou only art the Lord;
thou only, Jesus Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen.
I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And I believe in one Lord, Jesus Christ, Only begotten Son of God, Begotten of his Father before all worlds. God of God, light of light, Very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made. Who for us men and for our salvation came down from heaven.
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 caelum: 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 expecto resurrectionem mortuorum Et vitam venturi saeculi. Amen.
Sanctus
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Benedictus
Benedictus qui venit in nomine Domini.
Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis
And was incarnate by the Holy Ghost of the Virgin Mary: And was made man.
And was crucified also for us under Pontius Pilate: suffered, and was buried.
And the third day He rose again according to the Scriptures. And ascended into heaven, and sitteth at the right hand of the Father And He shall come again with glory to judge the living and the dead: His kingdom shall have no end.
And in the Holy Ghost, Lord and giver of life: Who proceedeth from the Father and Son. Who with the Father and Son together is worshipped and glorified: Who spake by the Prophets.
And in one holy catholic and apostolic church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead And the life of the world to come. Amen.
Holy, holy, holy Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Lamb of God, who takes away the sins of the world, have mercy on us.
Lamb of God, who takes away the sins of the world, have mercy on us.
Lamb of God, who takes away the sins of the world, grant us peace.
Laudate Dominum from Solemn Vespers, K. 339
Wolfgang Amadeus Mozart (1756-1791)
Laudate Dominum, omnes gentes; laudate eum, omnes populi. Quoniam confirmata est super nos misericordia ejus, et veritas Domini manet in aeternum.
Gloria Patri, et Filio, et Spiritui Sancto:
Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.
O praise the Lord, all ye nations: praise him, all ye people.
For his merciful kindness is great toward us:
and the truth of the Lord endureth for ever.
Glory be to the Father, and to the Son, and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be: world without end. Amen.
O, Virgo, cui salutem
Marianna Martines (1744-1812)
Recitative
O virgo, cui salutem debet orbis, quae gratiae extinctum excitasti lumen, summum parturiens numen.
Ah, sicut olim ignea columna mira luce praesenti fulsit electae genti, in ardua ad caelum via, sis nostra lux, et nostra dux, Maria.
Aria
Per avia nemorosa, In nocte tenebrosa, Gemit errando, et tremit, Viator sine spe.
Nos pariter errantes, Nos quoque palpitantes, Pia mater generosa, Confugimus ad te.
Recitative
Ah, sancta parens, filium dignare pro nobis exorare.
Ut tecum exsultantes, laetemur iterantes.
Alleluia
O virgin, to whom the world owes salvation, which grace you have awakened the extinguished light, the highest begetting god.
Ah, as once a pillar of fire shone with a wondrous light upon the elect nation, on the steep road to heaven be our light and our guide, Mary.
Through the woodland sage, In the dark night, He groans as he wanders, and trembles, A traveler without hope.
We wander together, We, too, palpitating, Pious and generous mother, We take refuge in you.
Ah, holy parent, deign to pray for us, your son.
That, rejoicing with you, we may rejoice again and again.
Berenice, a che fai
Marianna Martines (1744-1812)
Recitative
Berenice, ah! che fai? muore il tuo bene, stupida, e tu non corri?
Oh, Dio! vacilla l’incerto passo; un gelido mi scuote insolito tremor tutte le vene
e a gran pena il suo peso il piè sostiene.
Dove son? qual confusa folla d’idee tutte funeste adombra la mia ragion?
Veggo Demetrio: il veggo che in atto di ferir... Férmati, vivi!
D’Antigono io sarò. Del core ad onta vado a giurargli fé: dirò che l’amo;
dirò... Misera me! s’oscura il giorno, balena il ciel!
L’hanno irritato i miei meditati spergiuri. Ahimé! lasciate ch’io soccorra il mio ben, barbari Dèi!
Voi m’impedite e intanto forse un colpo improvviso...
Ah, sarete contenti: eccolo ucciso.
Aspetta, anima bella: ombre compagne, a Lete andrem.
Se non potei salvarti, potrò fedel...ma tu mi guardi, e parti?
Non partir, bell’idol mio: per quell’onda all’altra sponda voglio anch’io passar con te.
Me infelice! Che fingo?
Che ragiono?
Dove rapita sono dal torrente crudel de’ miei martiri?
Misera Berenice, ah, tu deliri!
Aria
Perché, se tanti siete che delirar mi fate, perchè non m’uccidete, affanni del mio cor?
Alleluia Alleluia.
Crescete, oh Dio, crescete finché mi porga aita con togliermi di vita l’eccesso del dolor.
Berenice, ah! What are you doing? Your beloved is dying, you fool, and you don’t run? Oh, God! my uncertain step falters; an unusual chill shakes me, trembling all my veins
and with great difficulty my foot can support its weight.
Where am I? What a confused crowd of ideas, all fatal, overshadows my reason?
I see Demetrius: I see him in the act of wounding...Stop, live!
I will be Antigono’s. In spite of my heart I will swear to him my faith: I will say that I love him;
I will say... Wretched me! the day darkens, the sky flashes!
My thoughtful perjuries irritated him. Alas! let me help my beloved, you barbarous gods!
You are preventing me and in the meantime perhaps a sudden blow…
Ah, you’ll be happy: here he is, killed. Wait, beautiful soul: companion shadows, we will go to Lethe.
If I couldn’t save you, I could faithfully...but you look at me and leave?
Don’t leave, my beautiful idol: I too want to cross that wave to the other shore with you.
How unhappy I am! What am I pretending? What am I reasoning?
Where am I carried away by the cruel torrent of my martyrs?
Wretched Berenice, ah, you are delirious!
Why, if you are so many that make me delirious, why do you not kill me, troubles of my heart?
Grow, oh God, grow until you bring me help by taking away from me the excess of pain.
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Administration
Executive
Patrick Dupre Quigley, Artistic Director
Danny M. Yanez, Executive Director
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Associate
Education
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Contact Seraphic Fire
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info@SeraphicFire.org
305.285.9060
Nola Richardson, Artist Representative, ex-officio
John Buffett, Artist Representative, ex-officio
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.
Please consider making your gift by visiting SeraphicFire.org/Support. Thank you for being part of Seraphic Fire’s legacy in our community.
WHEN SCALE MATTERS... Inspiration Starts Here!
Seraphic Fire recognizes its season sponsors, national sponsors, and institutional partners.
FOUNDER’S CIRCLE SPONSORS
Anonymous
The Sayre Family Charitable Fund
NATIONAL SPONSORS
Robert R. Brinker & Nancy S. Fleischman
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Jane Hurt
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Martha R. Davis & Alix Ritchie
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 Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County. Programs in Broward County are made possible with the support of the Broward County Cultural Division.