Seraphic Fire Magazine, Volume IV Issue I

Seraphic Fire presents the highest quality performances of historically significant and under-performed music, and advance art through the professional development, refinement, and documentation of our musicians’ talents and promote community connectivity through education programs.

Thriving arts organizations are a catalyst for economic prosperity in our communities. As we celebrate 20 years serving South Florida, it is important to highlight Seraphic Fire’s growing impact and why your continued investment is so critical and so deeply valuable.

According to the Arts & Economic Prosperity V study, Seraphic Fire concerts generate over $165,000 in audience spending — audience surveys show that one-third of our concert goers make a purchase in the local economy as a result of their attendance. The study also shows that Seraphic Fire’s activities support 56 full-time equivalent jobs, and generate $161,000 in local and state tax revenue. These great contributions to our South Florida community and economy are no small drop in the bucket.

With our national network of partners, such as University of Miami, UCLA, and Aspen Music Festival and School, and the expansion of our youth education programs into the Broward and Collier county school systems, our impact only continues to grow and flourish- some thing that can truly only be accomplished with your support.

I hope that you take great pride in this institution and in the knowledge that you are an integral part of our community oriented, inclusive, and forward-thinking arts organization.

Rhett M. Del Campo Executive Director

Welcome to Seraphic Fire’s 20th Anniversary Season, and thank you for your support of our unique and important mission. As ceaseless advocates for a more historically inclusive concert hall experience, we have developed seasons that regularly span more than 1,000 years of musical history. This 20th season is no different.

In November, Seraphic Fire combines Claudio Monteverdi’s Madrigali guerrieri ed amorosi (Madrigals of Love and War) with choral miniatures by modern and contemporary voices. Samuel Coleridge Taylor’s Sea Drift is a premiere for the ensemble, while the Seraphic Fire commissioned Tu, Paz Mia by Ileana Perez Velázquez and Paul Crabtree’s arresting When David Heard receive second performances.

In December, A Seraphic Fire Christmas introduces audiences to both new and old carols and motets in preparation for a new Seraphic Fire Christmas recording, to be released in 2023. In January, we are joined by the dynamic conductor Jason Max Ferdinand in a program that features Aaron Copland’s canonical Old American Songs alongside music of 20th and 21st century African American composers.

For 20 years, Seraphic Fire has been using music history as a lens to look at our commu nity’s present and inspire its future. We welcome you to the newest edition of our mis sion-based programming, and are proud to celebrate this milestone with you.

Patrick Dupre Quigley Artistic Director

Artist Roster

For complete artist bios, visit SeraphicFire.org/About

SOPRANO

Elisse Albian New York, NY 4th Season elissealbian.com

Rebecca Myers Philadelphia, PA 9th Season rebeccamyerssoprano.com

Jessica Beebe

Philadelphia, PA 2nd Season jessicabeebesoprano.com

Molly Quinn

Chapel Hill, NC 11th Season mollyquinn.com

Amy Broadbent Washington, DC 1st Season amy-broadbent.com

Nola Richardson New York, NY 5th Season nolarichardson.com

Chelsea Helm New York, NY 5th Season chelseahelmsoprano.com

Addy Sterrett

Los Angeles, CA 1st Season addysterrett.com

Robyn Lamp Jacksonville, FL 1st Season robynmarielamp.com

Laura Choi Stuart Washington, DC 2nd Season laurachoistuart.com

Alexandra Colaizzi

Miami, FL 3rd Season alexandracolaizzi.com

Douglas Dodson

Atlanta, GA 9th Season dougdodson.com

William Duffy Montreal, CAN 3rd Season guillaumedufay.com

Kimberly Leeds Boston, MA 4th season kimleeds.com

Clara Osowski

Minneapolis, MN 7th Season claraosowski.com

Sandra Sharis

New Haven, CT 1st Season

Artist Highlight Chelsea Helm

Elisa Sutherland New York, NY 4th Season elisasutherland.com

Tivoli Treloar

Los Angeles, CA 1st Season tivolitreloar.com

An active choral artist, Ms. Helm appears regularly with Seraphic Fire, the Santa Fe Desert Chorale, True Concord Voices & Orchestra, Vocal Arts Ensemble Cincinnati, and Conspirare, with whom she was nominated for 2020 and 2022 GRAMMY® awards for Best Choral Album. You can also hear her with Kinnara, the Carmel Bach Festival, the American Soloists Ensemble, and Voices of Ascension. This season she makes debuts with the Concordia Chamber Players, The Thirteen, and Spire Chamber Ensemble. Ms. Helm has also been featured in concert with the South Korean Klim Orchestra, the National Chorus of Korea, the Grand Rapids Symphony, Kalamazoo Symphony Orchestra, Muskegon Symphony Orchestra, Brevard Festival Orchestra, the Rice University Orchestra, and at the University of Wisconsin La-Crosse and Missouri State University. Ms. Helm holds a Master of Music in Voice Performance from the Shepherd School of Music at Rice University, and a Bachelor of Music in Voice Performance and Music Education from Western Michigan University. Also a WMU Gold Company alumna, Ms. Helm recorded a Downbeat award-winning album in 2013 with vocal jazz quartet the Four Corners. A Michigan native, she is now based in New York City.

Artist Highlight

Marques Ruff

American bass-baritone and conductor Marques Jerrell Ruff has performed across the globe, from the Walt Disney Hall in Los Angeles to the Weiner Musikverein in Vienna, and beyond. Mr. Ruff is a former member of the GRAMMY® award-winning ensemble Chanticleer. As an ensemble musician he has appeared with several of the nation’s top professional choirs, including the Santa Fe Desert Chorale, Conspirare, and Seraphic Fire. During the 2022-23 season, in addition to a full season of solo and ensemble work, he will also star in and executive produce the concert series The Evolution of the African American Spiritual in Missouri and Illinois. Mr. Ruff remains engaged giving presentations and workshops on the importance of the Negro Spiritual, and Diversity, Equity, and Inclusion within the Choral Arts. He is a graduate of Central Connecticut State University, where he was the recipient of the University Singers Scholarship under the direction of Dr. Pamela J. Perry. Mr. Ruff also holds dual Master of Music degrees in Choral Conducting and Voice Performance from the University of Missouri-Columbia. Recently, he held the position of Interim Director of Choral Activities at Tennessee State University, Tennessee’s land-grant institution and also one of the 105 Historical Black Colleges & Universities in America. Mr. Ruff is currently pursuing his PhD in Music Education with an emphasis in Choral Conducting at Florida State University.

TENOR

BASS

Blake Beckemeyer Indianapolis, IN 3rd Season barrybeckemeyer.com Steven Bradshaw Philadelphia, PA 10th Season stevenbradshawart.com Brad Diamond Sterrett, AL 11th Season

Andrew Fuchs New York, NY 5th Season andrew-fuchs.com Nickolas Karageorgiou New York, NY 4th Season

Patrick Kilbride Washington, DC 2nd Season patrickkilbride.com

James Reese Philadelphia, PA 6th Season jamesreesetenor.com

Eric Alatorre San Francisco, CA 4th Season

James K. Bass

Associate Conductor Los Angeles, CA 20th Season

John Buffett Los Angeles, CA 11th Season Matthew Goinz Washington, DC 2nd Season matthewgoinz.com Luc Kleiner Los Angeles, CA 1st Season

Enrico Lagasca New York, NY 4th Season enricolagasca.com

Marques Ruff Tallahassee, FL 1st Season marquesjerrellruff.com

Jonathan Woody New York, NY 2nd Season

Welcome to Seraphic Fire’s 20th Anniversary Season

Love | War

PATRICK DUPRE QUIGLEY, CONDUCTOR

Nov 3 - 6, 2022

To open its 20th Anniversary Season, Seraphic Fire explores the juxtaposition and intersection of love and war through madrigals of Claudio Monteverdi and contemporary works.

Miami | Coral Gables | Ft. Lauderdale | Boca Raton

A Seraphic Fire Christmas

JAMES K. BASS, CONDUCTOR

Dec 4 - 18, 2022

Within a serene candle-lit setting, the hustle and bustle of the holiday season will quiet and the a capella voices of Seraphic Fire will fill the room with musical peace and joy.

Naples | Sarasota | Coral Gables | Miami Beach | Ft. Lauderdale | Boca Raton | Pompano Beach | Miami | Coral Gables | Cutler Bay

Old | New

JASON MAX FERDINAND, CONDUCTOR

Jan 19 - 22, 2023

Guest conductor Jason Max Ferdinand leads a program that sees contemporary composers breathing new life into traditional American melodies and texts.

Naples | Coral Gables | Ft. Lauderdale | Miami Beach

BUY TICKETS at SeraphicFire.Org/Tickets or 305.285.9060

The Enlightenment Festival

PATRICK DUPRE QUIGLEY, CONDUCTOR

Feb 16 - 26, 2023

The third annual Enlightenment Festival returns with two back-to-back weeks of choral-orchestral works. This year’s Festival will celebrate the music of Bach with programs highlighting the enduring composer’s sacred cantatas and oratorios.

Life | Death

Miami | Coral Gables | Ft. Lauderdale | Miami Beach

Beginning | End

Naples | Coral Gables | Ft. Lauderdale | Boca Raton

Sacred | Profane

MARÍA GUINAND, CONDUCTOR

Mar 22 - 26, 2023

María Guinand, internationally lauded director of the Schola Cantorum de Venezuela, joins Seraphic Fire to weave a program that contrasts the heavenly love of Johann Sebastian Bach’s Jesu, meine Freude with secular, Spanish-language works.

Miami | Naples | Coral Gables | Ft. Lauderdale | Miami Beach

First | Last:

20th Anniversary Concert

PATRICK DUPRE QUIGLEY, CONDUCTOR

Apr 27 - 30, 2023

To celebrate its 20th Anniversary, Seraphic Fire brings you a program containing both the oldest and newest pieces in the repertoire.

Naples | Coral Gables | Ft. Lauderdale | Boca Raton Health and Safety

Please visit SeraphicFire.org/Health-and-Safety to learn more about what to expect when attending a concert this season.

November 3 6, 2022

Miami | Coral Gables | Ft. Lauderdale | Boca Raton

“Entrada” from Madrigals of War and Love Claudio Monteverdi (1567-1643) “Altri canti d’Amor, tenero arciero” from Madrigals of War and Love Monteverdi When David Heard Paul Crabtree (1918-1979)

“Ardo, avvampo” from Madrigals of War and Love Monteverdi Tu, Paz Mia Ileana Perez Velázquez (b. 1964) “Volgendo il ciel per l’immortal sentiero” from Madrigals of War and Love Monteverdi

“Ballo” from Madrigals of War and Love Monteverdi “Altri canti di Marte e di sual schiera” from Madrigals of War and Love Monteverdi Sea Drift Samuel Coleridge-Taylor (1875-1912)

“Sinfonia” from Madrigals of War and Love Monteverdi “Lamento della Ninfa” from Madrigals of War and Love Monteverdi “Vago Augelletto” from Madrigals of War and Love Monteverdi

SOPRANO

Jessica Beebe

Amy Broadbent Molly Quinn Nola Richardson

ALTO Douglas Dodson Kimberly Leeds Elisa Sutherland

TENOR

Steven Bradshaw Andrew Fuchs James Reese

BASS

James K. Bass John Buffett Enrico Lagasca

VIOLIN Katie Hyun Chloe Fedor VIOLA Stephen Goist

CELLO

Sarah Stone BASS Nathaniel Chase

Made possible by William Jaume.

KEYBOARD

Aya Hamada

CONDUCTOR

Patrick Dupre Quigley

Love | War

Altri canti d’Amor, tenero arciero Monteverdi

Altri canti d’Amor, tenero arciero, I dolci vezzi, e i sospirati baci; Narri gli sdegni e le bramate paci Quand’unisce due alme un sol pensiero.

Di Marte io canto, furibondo e fiero, I duri incontri, e le battaglie audaci. Strider le spade, e bombeggiar le faci, Fo nel mio canto bellicoso e fiero.

Tu cui tessuta han di cesareo alloro La corona immortal Marte e Bellona, Gradisci il verde ancor novo lavoro, Che mentre guerre canta e guerre sona, Oh gran Fernando, l’orgoglioso choro, Del tuo sommo valor canta e ragiona.

When David Heard

Paul Crabtree

It is a terrible, painful past. When David heard that Absalom was slain, He went up to his chamber over the gate and wept. And thus he said: It is a terrible, painful past. And thus he said: O my son, my son Absalom. I have the pain of someone who made terrible mistakes, and caused you pain, would God I had died for thee.

Ardo, avvampo Monteverdi

Ardo, avvampo, mi struggo, ardo, accorrete vicini, amici, all’infiammato loco. Al ladro, al tradimento, al foco, al foco: Scale, accette, martelli, acqua prendete. E voi, torri sacrate anco tacete, su, su, bronzi, ch’io dal gridar son roco: dite il periglio altrui non lieve o poco e degli incendi miei pietà chiedete.

Son due belli occhi il ladro e seco Amore l’incendiario che l’inique faci dentro la rocca m’avventò del core. Ecco i remedi omai vani e fallaci, mi dice ognun per sì beato ardore: lascia ch’el cor s’incenerisca e taci.

Others sing of Cupid, the gentle archer, of his sweet charms and sighing kisses; let them sing of quarrels and the longed-for truces when two souls are united by a single thought.

I sing of Mars, proud and raging, of his bitter conflicts and valiant battles. Swords screech and faces grimace, In my fierce and warlike song.

You, for whom an immortal crown of imperial laurel has been woven, accept Bellona’s wreath, still green and fresh, for in our songs and music of war, o mighty Ferdinand, our proud choir celebrates your matchless valor.

I’m on fire, ablaze, burning up, on fire – hurry, friends and neighbors, to the site of the fire. Stop thief, traitor, to the fire, to the fire: bring ladders, hatchets, hammers, water. And you, holy towers, who stand silently by, come, ring your bells, for I’m hoarse from shouting: warn other men of this terrible danger and call for mercy as I burn.

Two pretty eyes are the thief, and with her is Cupid the fire bringer, who has hurled those wicked torches into the citadel of my heart.

All remedies are now worthless and false: Everyone tells me that in a case of such blessed fire: a man should let his heart burn to ashes, and be silent.

Tu, Paz Mia

Ileana Perez Velázquez

Tu, paz mia... Aceite sobre mi mar en remolino, gusto, sal de mi vida Tu, espejo milagroso que no reflejas mis tinieblas y reflejas la luz que ya no es mia. Tu, jazmin dormido Estrella descolgada para mi cielo tan vacio....

Volgendo il ciel per l’immortal sentiero Monteverdi

Volgendo il ciel per immortal sentiero le ruoti della luce alma e serena, un secolo di pace il sol rimena sotto il re novo del Romano Impero.

Su, mi si rechi omai del grand’Ibero profonda tazza inghirlandata e piena, che correndomi al cor di vena in vena, sgombri da l’alma ogni mortal pensiero.

Venga la nobil cetra. Il crin di fiori cingemi, o Filli. io ferirò le stelle cantando del mio re gli eccelsi allori.

E voi che per beltà, donne e donzelle, gite superbe d’immortali onori, movete al mio bel suon le piante snelle, sparso di rose il crin leggiadro e biondo, e lasciato dell’Istro il ricco fondo, vengan l’umide ninfe al ball’anch’elle.

Movete al mio bel suon le piante snelle, sparse di rose il crin leggiadro e biondo, e lasciato dell’Istro il ricco fondo, vengan l’umide ninfe al ball’anch’elle.

Fuggano in questo dì nembi e procelle d’aure odorate al mormorar de l’onde, fatt’eco al mio cantar, rimbombi il mondo l’opre di Ferdinando eccelse e belle.

Ei l’armi cinse e su destrier alato corse le piagge e su la terra dura la testa riposò sul braccio armato. Le torri eccelse e le superbe mura al vento sparse e fe’ vermiglio il prato, lasciand’ogni altra gloria al mondo oscura

You, my peace

Like oil on a swirling ocean surface I savor this, salt of my life

You, miraculous mirror That doesn’t reflect my darkness but reflects the light that is no longer mine You, sleeping jasmine Fallen star in my sky so empty...

As Apollo drives his chariot of blessed, peaceful light along its eternal, heavenly course, he brings with him an era of peace under the new king of the Roman Empire.

Come, pour me a deep glass of Spanish wine, full to the brim and wreathed in flowers, wine that will run through my veins to my heart, banishing all mortal concerns from my soul.

Bring me my noble lyre. Place the flowery crown upon my brow, o Phyllis. I will wound the stars by singing the praises of my king.

And you ladies and damsels who walk in beauty and dignity, to your everlasting honor, let your slender feet dance to my fine music, your fair, golden hair entwined with roses. And let the naiads of the Danube too leave its deep waters and join our dance.

Let your slender feet dance to my fine music, your fair, golden hair entwined with roses. And let the naiads of the Danube too leave its deep waters and join our dance.

Let clouds and storms flee on this day, let the happy murmur of the perfumed breeze echo my song, and let the world resound with the fine and noble feats of Ferdinand.

He took up his weapons and on his winged steed traveled throughout the land, and rested his head on his mailclad arm. He scattered lofty towers and imposing walls to the winds, and turned the fields red with blood, eclipsing all other earthly glories.

Altri canti di marte e di sua schiera Monteverdi

Altri canti di Marte e di sua schiera gli arditi assalti e l’onorate imprese, le sanguigne vittorie e le contese, i trionfi di morte orrida e fera.

Io canto, Amor, da questa tua guerriera, quant’ebbi a sostener mortali offese, com’un guardo mi vinse, un crin mi prese: istoria miserabile, ma vera.

Duo belli occhi fur l’armi, onde trafitta giacque, e di sangue in vece amaro pianto sparse lunga stagion l’anima afflitta.

Tu, per lo cui valor la palm’e ‘l vanto ebbe di me la mia nemica invitta, se desti morte al cor, dà vita al canto.

Sea Drift

Samuel Coleridge-Taylor

See! See! See where she stands on the west sea sands, looking across the water: Wild is the night, but wilder still the face of the fisher’s daughter.

What does she there in the lightning’s glare? What does she there, I wonder? What dread demon drags her forth In the night and wind and thunder?

Is it the ghost that haunts this coast? The cruel waves mount higher, higher, And the beacon pierces the stormy dark, With its javelin of fire,

beyond the light of the beacon bright, A merchant-man is tacking; The hoarse wind whistling through the shrouds, and the brittle topmast crackling.

The sea moans… over dead men’s bones. The sea…it foams in anger; the curlew swoop thro’ the resonant air with a warning cry of danger.

Let others sing of Mars and of the daring attacks and honorable deeds undertaken by his troops, of their bloody victories and disputes, of the triumphs of hideous and cruel death.

I sing, Cupid, of your warrior, of the many mortal insults I have had to endure, of being conquered by a look, taken prisoner by her tresses: a wretched tale, but a true one.

Two beautiful eyes were the weapons whose blows have wounded and felled me, and my stricken heart has long shed bitter tears in place of blood.

You, by whose valor my undefeated enemy won both palms and pride from me, having given death to my heart, give life to my song.

The starfish clings to the seaweed’s rings, It clings ina vague dumb sense of peril; And the spray, the spray, with its phantom fingers, grasps at the mullein dry and sterile.

O, who is she that stands by the sea? In the lightning’s glare, undaunted? -Seems this now like the coast of Hell, by one white spirit haunted!

The night draws by; and the breakers die along the ragged ledges; The robin stirs in its drenched nest, the hawthorn blooms on the hedges.

In shimmering lines, through the dripping pines, the stealthy morn advances; And the heavy sea fog straggles back before those bristling lances!

Still, she stands on the wet sea sands; the morning breaks above her, and the corpse of a sailor gleams on the rocks. What if it were her lover?

Lamento della Ninfa Monteverdi

Non havea Febo ancora recato al mondo il dì ch’una donzella fuora del proprio albergo uscì.

Sul pallidetto volto scorgease il suo dolor, spesso gli venia sciolto un gran sospir dal cor.

Sì calpestando fiori, errava hor qua, hor là, i suoi perduti amori così piangendo va:

“Amor,” dicea, il ciel mirando il piè fermò “dove, dov’è la fé che ‘l traditor giurò?

Fa che ritorni il mio amor com’ei pur fu, o tu m’ancidi, ch’io non mi tormenti più.”

Miserella, ah più no, tanto gel soffrir non può.

“Non vo’ più ch’ei sospiri se non lontan da me, no, no, che i suoi martiri più non dirammi, affé!

Perché di lui mi struggo tutt’orgoglioso sta, che sì, che sì se ‘l fuggo ancor mi pregherà?

Se ciglio ha più sereno colei che ‘l mio non è, già non rinchiude in seno Amor si bella fé.

Né mai si dolci baci da quella bocca havrai, né più soavi; ah, taci, taci, che troppo il sai.”

Sì tra sdegnosi pianti spargea le voci al ciel; così ne’ cori amanti mesce Amor fiamma e gel.

Not had Phoebus yet gone to light the world that day when a maiden goes out Of her own dwelling.

On the pale face

Was plain to see her sorrow, Often dissolved with a great sigh from the heart.

Yes trampling flowers, Wandering here, and there, his lost love

Cries thusly:

“Love,” she said to the sky With her foot, she stomped “Where, O Where is the faithfulness that the traitor swore to give me?

Give him back to me

Even as he loved before, Or kill me, so I can end this torment.”

Miserable girl, oh, cry no more, so much pain I can no longer suffer.

“I no longer wish to hear him sigh unless he is far from me, No, that is for martyrs Tell me no more, affé!

Because I still pine for him, He remains proud, But if I flee, will he beg for me?

She may have eyes, More fair and serene than mine, But she does not have in her heart A love more beautiful or faithful.

Nor will he receive sweeter kisses from that her fair mouth, Than he could from mine; Ah, hush, hush, he knows too much.”

Yet, with scornful cries She casts her anguish to the sky; Because in the heart of every lover, Lives a mix of love’s fire and ice.

Vago augelletto Monteverdi

Vago augelletto che cantando vai, over piangendo, il tuo tempo passato, vedendoti la notte e ‘l verno a lato e ‘l dí dopo le spalle e i mesi gai, se, come i tuoi gravosi affanni sai, cosí sapessi il mio simile stato, verresti in grembo a questo sconsolato a partir seco i dolorosi guai.

Little wandering bird that goes singing your time gone by, with weeping notes, seeing the night and the winter near, and the day and all the joyful months behind, if, knowing your own heavy sorrows, you could know of my state like your own, you would fly to this disconsolate breast to share your grievous sadness with me.

“one of South Florida’s finest musical organizations” – South Florida Classical Review

December 4-18, 2022

Naples | Sarasota | Coral Gables | Miami Beach | Ft. Lauderdale Boca Raton | Miami | Pompano Beach | Cutler Bay

I Saw Three Ships Edwin Fissinger (1920-1990)

Adeste Fideles (O Come All Ye Faithful), John Francis Wade (1711-1786) arr. David Willcocks/ Patrick Dupre Quigley Lullaby, My Sweet Little Baby William Byrd (1543-1623)

Jesus, Jesus Rest Your Head Appalachian Carol, arr. Quigley I Wonder as I Wander John Jacob Niles, arr. Quigley Jesús en Pesebre William J. Kirkpatrick (1838-1921), arr. Quigley

In Dulci Jubilo Michael Praetorious, arr. James K. Bass

Adam Lay y Bounden John Ireland (1879-1962) Adam Lay y Bounden Matthew Martin (b. 1976)

‘Twas in the Moon of Wintertime

Huron Carol, arr. Timothy C. Takach (b. 1978) The Angel Gabriel from Heaven Came Basque Carol, arr. Susan LaBarr (b. 1981)

All Beautiful the March of Days James Kallembach (b. 1976)

Jesus Christ the Apple Tree Elizabeth Poston (1905-1987)

Maria Durch Ein Dornwald Ging Gottfried Wolters (1910-1989), arr. Bass

Away in a Manger

Ola Gjielo (b. 1978)

Mary Had a Baby William L. Dawson (1899-1990) Ain’-a that Good News Dawson

Silent Night Franz Xaver Gruber (1787-1863), arr. Quigley

SOPRANO

Elisse Albian

Chelsea Helm

Jane Long

Rebecca Myers (12/8-18 only)

Addy Sterrett (12/2-7 only)

ALTO

Alexandra Colaizzi

William Duffy

Tivoli Treloar

TENOR

Blake Beckemeyer

Brad Diamond

Nickolas Karageorgiou

BASS

John Buffett Matthew Goinz

Luc Kleiner

CONDUCTOR

James K. Bass

Made possible by the Meredyth Anne Dasburg Foundation.

A Seraphic Fire Christmas

I Saw Three Ships

Edwin Fissinger

I saw three ships come sailing in, On Christmas day, on Christmas day, I saw three ships come sailing in, On Christmas day in the morning.

And what was in those ships all three? On Christmas day…

Our Saviour Christ and his lady On Christmas day…

Pray whither sailed those ships all three? On Christmas day…

Oh, they sailed into Bethlehem, On Christmas day…

And all the bells on earth shall ring, On Christmas day…

And all the Angels in Heaven shall sing, On Christmas day…

And all the souls on earth shall sing, On Christmas day…

Then let us all rejoice, amain,

Adeste Fideles (O Come All Ye Faithful)

John Francis Wade, arr. David Willcocks/ Patrick Dupre Quigley

Adeste fideles laeti triumphantes, Venite, venite in Bethlehem. Natum videte Regem angelorum. Venite adoremus Dominum.

En grege relicto, Humiles ad cunas, vocati pastores approperant. Et nos ovanti gradu festinemus; Venite adoremus Dominum.

Oh, come, all ye faithful, Joyful and triumphant! Oh, come ye, oh, come ye to Bethlehem; Come and behold him, Born the King of Angels: Oh come let us adore him Christ the Lord.

See how the shepherds, summoned to His cradle, leaving their flocks, draw nigh to gaze. We too will thither bend our hearts’ oblations Oh come let us adore him, Christ the Lord!

God of God, Light of Light, Lo! He abhors not the Virgin’s womb; Very God, begotten, not created: Oh come let us adore him, Christ the Lord!

Sing choirs of angels, Sing in exultation, Sing, all ye citizens of heav’n above; Glory to God, Glory in the highest; Oh come let us adore him, Christ the Lord.

Lullaby, My Sweet Little Baby

William Byrd

My sweet little Baby, what meanest Thou to cry? Be still, my blessed Babe, though cause Thou hast to mourn,

Whose blood most innocent to shed the cruel king has sworn; And lo, alas! behold what slaughter he doth make, Shedding the blood of infants all, sweet Saviour, for Thy sake. A King, a King is born, they say, which King this king would kill.

O woe and woeful heavy day when wretches have their will! Lulla, la-lulla, lulla, lullaby.

Three kings this King of kings to see are come from far, To each unknown, with offerings great, by guilding of a star; And shepherds heard the song which angels bright did sing. Giving all glory unto God for coming of this King, Which must be made away — King Herod would Him kill.

Lo, lo, my little Babe, be still, lament no more: From fury Thou shalt step aside, help have we still instore; We heavenly warning have some other soil to seek; From death must fly the Lord of life, as lamb both mild and meek; Thus must my Babe obey the king that would Him kill.

But thou shalt live and reign, as sibyls hath foresaid, As all the prophets prophesy, whose mother, yet a maid And perfect virgin pure, with her breasts shall upbread Both God and man that all hath made, the Son of heavenly seed, Whom caitiffs none can ‘tray, whom tyrants none can kill.

Jesus, Jesus Rest Your Head

Appalachian Carol, arr. Quigley

Jesus, Jesus, rest your head. You have got a manger bed. All the wicked folk on earth Sleep in feathers at their birth.

Jesus, Jesus, rest your head. You have got a manger bed. Have you heard about our Jesus? Have you heard about his fate? How his mother came to a stable On that Christmas Eve so late?

Winds were blowing, cows were lowing, Stars were glowing, glowing, glowing.

To the manger came the Wise Men Bringing from hin and yon, For the mother and the father, And the blessed little Son. Farm folk left their fields and flocks and Sat amid the horse and oxen.

I Wonder as I Wander

John Jacob Niles, arr. Quigley

I wonder as I wander out under the sky, How Jesus, the Saviour, did come for to die. For poor ornery people like you and like I: I wonder as I wander, Out under the sky.

When Mary birthed Jesus, Twas in a cows’ stall, With wisemen and farmers and shepherds and all. But high from God’s heaven a star’s light did fall, And the promise of ages it then did recall.

If Jesus had wanted for any wee thing: A star in the sky, or a bird on the wing; Or all of God’s angels in heaven to sing, He surely could have had it, ‘cause he was the King!

Jesús en Pesebre

William J. Kirkpatrick, arr. Quigley

Jesús en pesebre sin cuna nació; Su tierna cabeza en heno durmió. Los astros, brillando, prestaban su luz Al niño dormido, pequeño Jesús.

Los bueyes bramaron y Él despertó; Mas Cristo fue bueno y nunca lloró. Te amo, oh Cristo, y mírame, sí, Aquí en mi cuna, pensando en Ti.

Te pido, Jesús, que me cuides a mí, Que me ames siempre, y estés junto a mí. A todos los niños da Tu bendición, y haznos más dignos de Tu gran mansión. Away in a manger, no crib for a bed;

In Dulci Jubilo

Michael Praetorious, arr. James K. Bass

In dulci jubilo, Nu singet und seid froh! Unsers Herzens Wonne Leit in praesepio; Und leuchtet wie die Sonne Matris in gremio. Alpha es et O!

Adam Lay y Bounden

John Ireland, Matthew Martin

Adam lay ybounden, Bounden in a bond: Four thousand winter Thought he not too long. And all was for an apple, An apple that he took, As clerkès finden Written in their book.

Nè had the apple taken been, The apple taken been, Ne had never our lady Abeen heavenè queen.

Blessèd be the time That apple taken was, Therefore we moun singen,

The little Lord Jesus laid down his sweet head. The stars in the bright sky look down where he lay, The little Lord Jesus asleep on the hay.

The cattle are lowing, the baby awakes, But little Lord Jesus, no crying he makes. I love thee, Lord Jesus! Look down from the sky, And stay by my cradle ‘til morning is nigh.

I ask you, Jesus, to keep watch over me, Loving me always, as I love you. Give your blessing to all the children, And make us more worthy of your great mansion.

In sweet rejoicing, now sing and be glad! Our hearts’ joy lies in the manger; And it shines like the sun in the mother’s lap. You are the alpha and omega

‘Twas in the Moon of Wintertime

Huron carol, arr. Timothy C. Takach

‘Twas in the moon of wintertime, When all the birds had fled, That mighty Gitchi Manitou Sent angel choirs instead.

Before their light the stars grew dim, And wondering hunters heard the hymn: Jesous ahatonia, Jesus is born, in excelsis gloria.

Within a lodge of broken bark The tender Babe was found; A ragged robe of rabbit skin Enwrapped His beauty round; But as the hunter braves drew nigh, The angel song rang loud and high: In excelsis gloria.

O children of the forest free, O sons of Manitou, The Holy Child of earth and heaven Is born today for you. Come kneel before the radiant boy, Who brings you beauty, peace, and joy. Jesous ahatonia, Jesus is born, in excelsis gloria.

The Angel Gabriel from Heaven Came Down

Basque carol, arr. LaBarr

The angel Gabriel from heaven came, his wings as drifted snow, his eyes as flame; “All hail,” said he to meek and lowly Mary, “Most highly favored maiden.” Gloria!

“I come from heav’n to tell the Lord’s decree: a blessed virgin mother you shall be. Your Son shall be Immanuel, by seers foretold, most highly favored maiden.” Gloria!

Then gentle Mary meekly bowed her head; “To me be as it pleases God,” she said. “My soul shall laud and magnify his holy name.” Most highly favored maiden, Gloria!

Of her, Immanuel, the Christ, was born In Bethlehem, all on a Christmas morn, and Christian folk throughout the world will ever say, “Most highly favored maiden.” Gloria!

Jesus Christ the Apple Tree

Elizabeth Poston

The tree of life my soul hath seen, Laden with fruit, and always green, The trees of nature fruitless be, Compar’d with Christ the apple tree. His beauty doth all things excel, By faith I know, but ne’er can tell, The glory which I now can see, In Jesus Christ the apple tree.

For happiness I long have sought, And pleasure I have dearly bought; I missed of all but now I see ‘Tis found in Christ the apple tree.

I’m wearied with my former toil, Here I will sit and rest awhile; Under the shadow I will be Of Jesus Christ the apple tree.

With great delight I make my stay, There’s none shall fright my soul away, Among the sons of men I see, There’s none like Christ the apple tree

I’ll sit and eat this fruit divine, It cheers my heart like spiritual wine. And now this fruit is sweet to me, That grows on Christ the apple tree.

This fruit doth make my soul to thrive, It keeps my dying faith alive; Which makes my soul in haste to be With Jesus Christ the apple tree.

All Beautiful the March of Days James Kallembach

All beautiful the march of days, As seasons come and go; The hand that shaped the rose hath wrought The crystal of the snow, Hath sent the hoary frost of heav’n, The flowing waters sealed, And laid a silent loveliness On hill and wood and field.

O’er white expanses sparkling pure The radiant morns unfold; The silent splendors of the night Burn brighter through the cold. Life mounts in ev’ry throbbing vein, Love deepens round the hearth, And clearer sounds the angel hymn, “Good will to all on earth.”

O Thou from whose unfathomed law The year in beauty flows Thyself the vision passing by In crystal and in rose, Day unto day doth utter speech, And night to night proclaim, In ever changing words of light The wonder of Thy name.

Maria durch ein Dornwald ging

Gottfried Wolters, arr. Bass

Maria durch ein’ Dornwald ging. Kyrie eleison!

Maria durch ein’ Dornwald ging, Der hat in sieben Jahr’n kein Laub getragen! Jesus und Maria.

Was trug Maria unter ihrem Herzen? Kyrie eleison!

Ein kleines Kindlein ohne Schmerzen, Das trug Maria unter ihrem Herzen! Jesus und Maria.

Da haben die Dornen Rosen getragen. Kyrie eleison!

Als das Kindlein durch den Wald getragen, Da haben die Dornen Rosen getragen! Jesus und Maria.

Away in a Manger

Ola Gjeilo

Away in a manger

No crib for His bed

The little Lord Jesus Laid down His sweet head

The stars in the bright sky Looked down where He lay The little Lord Jesus Asleep on the hay

The cattle are lowing The Baby wakes But little Lord Jesus No crying He makes I love Thee, Lord Jesus Look down from the sky And stay by my side Until morning is nigh

Be near me, Lord Jesus I ask Thee to stay Close by me forever And love me I pray Bless all the dear children In thy tender care And fit us for heaven To live with Thee there

Maria walks amid the thorn, Christ have mercy!

Which for seven years no leaf hath born She walks amid the wood of thorn Jesus and Maria.

What ‘neath her heart does Mary bear? Christ have mercy!

A little child doth Mary bear Beneath her heart he nestles there. Jesus and Maria.

And as the two are passing near Christ have mercy!

As the babe was carried through the woods, Lo! Roses on the thorns appear! Jesus and Maria.

Mary Had a Baby

William L. Dawson

Mary had a baby, my Lord, Mary had a baby, oh my Lord, Mary had a baby, my Lord.

Where was he born? Born in a manger. Mary had a baby, born in a manger, Mary had a baby, my Lord.

What did they call him? King Jesus! Oh, Mary had a baby, he was called King Jesus, Mary had a baby, oh yes.

He’s called King Jesus, Mighty Counselor, King emmanuel, Mighty One, Everlasting Father, Prince of Peace, Mary had a baby, my Lord.

Silent Night

Franz Xaver Gruber, arr. Quigley

Stille Nacht! Heilige Nacht! Alles schläft; einsam wacht Nur das traute heilige Paar. Holder Knabe im lokkigten Haar, Schlafe in himmlischer Ruh!

Ain’-a That a Good News

William L. Dawson

I got a crown up in-a the Kingdom, Ain’-a that good news!

I’m a-goin’ to lay down this worl’, Goin’-a shoulder up-uh my cross, Goin’-a take it home-a to my Jesus, Ain’-a that good news!

I got a harp up in-a the Kingdom, Ain’-a that good news! …

I got a robe up in-a the Kingdom, Ain’-a that good news! ….

I got a Saviour in-a the Kingdom, Ain’-a that good news! ….

Silent night, holy night, All is calm, all is bright ‘Round yon virgin Mother and Child Holy infant so tender and mild Sleep in heavenly peace

Silent night, holy night, Shepherds quake at the sight, Glories stream from Heaven afar, Heav’nly hosts sing Alleulia; Christ the Saviour is born.

January 19 22, 2023

Naples | Coral Gables | Ft. Lauderdale | Miami Beach

Old American Songs Aaron Copland (1900-1990) Set 1

The Boatman’s Dance The Dodger Long Time Ago Simple Gifts I Bought Me a Cat Set 2 The Little Horses Zion’s Walls The Golden Willow Tree At the River Ching-A-Ring Chaw

Keramos James Mulholland (b. 1935) Steal Away Traditional Spiritual, arr. Diedre Robinson

Many are the Wonders Ken Burton (b. 1970) When David Heard Thomas Tomkins (1572-1656) Psalm 57 Betty Jackson King (1928-1994)

Hold Fast To Dreams Joel Thompson (b. 1988) No Color Stacey V. Gibbs (b. 1964) and Shawn Kirchner (b. 1970)

Zion’s Wall’s William L. Dawson (1899-1990)

I Cannot Stay Here by Myself Hall Johnson (1888-1970) My Soul’s Been Anchored in the Lord Traditional Spiritual, arr. Moses Hogan

If I Can Help Somebody Alma Androzzo (1912-2001), arr. Nathan Carter

Lift Every Voice and Sing J. Rosamond Johnson (1873-1954), arr. Roland Carter

SOPRANO

Chelsea Helm

Robyn Lamp Nola Richardson

Laura Choi Stuart

ALTO

Kimberly Leeds Clara Osowski Sandra Sharis

TENOR

Blake Beckemeyer Patrick Kilbride James Reese

BASS

Eric Alatorre John Buffett

Jonathan Woody

CONDUCTOR

Jason Max Ferdinand

PIANO Anna Fateeva

Old | New

The Boatman’s Dance

High row the boatmen row, Floatin’ down the river the Ohio.

The boatmen dance, the boatmen sing, The boatmen up to ev’rything, And when the boatman gets on shore He spends his cash and works for more. Then dance the boatmen dance, O dance the boatmen dance.

O dance all night ‘til broad daylight, And go home with the gals in the mornin’.

I went on board the other day To see what the boatmen had to say. There I let my passion loose An’ they cram me in the callaboose. Dance the boatmen dance, O dance the boatmen dance.

O dance all night ‘til broad daylight, And go home with the gals in the mornin’.

The boatman is a thrifty man, There’s none can do as the boatman can. I never see a pretty gal in my life But that she was a boatman’s wife. Dance the boatmen dance, O dance the boatmen dance.

O dance all night ‘til broad daylight, And go home with the gals in the mornin’.

High row the boatmen row, Floatin’ down the river the Ohio.

Long Time Ago

On the lake where droop’d the willow Long time ago, Where the rock threw back the billow Brighter than snow.

Dwelt a maid beloved and cherish’d By high and low, But with autumn leaf she perished Long time ago.

Rock and tree and flowing water Long time ago, Bird and bee and blossom taught her Love’s spell to know.

While to my fond words she listen’d Murmuring low, Tenderly her blue eyes glisten’d Long time ago.

The Dodger

Yes the candidate’s a dodger, yes a well known dodger, Yes the candidate’s a dodger, yes and I’m a dodger too.

He’ll meet you and treat you and ask you for your vote

But look out boys he’s a dodgin’ for a note, Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin Yes we’re all dodgin’ out away through the world

Yes the preacher he’s a dodger, yes a well known dodger, Yes the preacher he’s a dodger yes and I’m a dodger too. He’ll preach you a gospel and tell you of your crimes

But look out boys he’s a dodgin’ for your dimes,

Yes the lover he’s a dodger, yes a well known dodger, Yes the lover he’s a dodger yes and I’m a dodger too.

He’ll hug you and kiss you and call you his bride

But look out girls he’s a tellin’ you a lie.

Simple Gifts

‘Tis the gift to be simple ‘tis the gift to be free ‘Tis the gift to come down where you ought to be And when we find ourselves in the place just right, ‘Twill be in the valley of love and delight.

When true simplicity is gained To bow and to bend we shan’t be ashamed To turn, turn will be our delight. ‘Till by turning, turning we come round right.

I Bought Me a Cat

I bought me a cat, my cat pleased me, I fed my cat under yonder tree. My cat says fiddle eye fee.

I bought me a duck, my duck pleased me. I fed my duck under yonder tree. My duck says, ‘Quaa, quaa’, My cat says fiddle eye fee.

I bought me a goose, my goose pleased me. I fed my goose under yonder tree. My goose says, ‘Quaw, quaw’, My duck says…

I bought me a hen, my hen pleased me. I fed my hen under yonder tree. My hen says, Shimmy shack, shimmy shack’, My goose says…

I bought me a pig, my pig pleased me. I fed my pig under yonder tree. My pig says, ‘Griffey, griffey’. My hen says…

I bought me a horse, my horse pleased me. I fed my horse under yonder tree. My horse says, ‘Neigh, neigh’, My pig says…

I bought me a cow, my cow pleased me. I fed my cow under yonder tree. My cow says ‘Moo, moo’, My horse says..

I bought me a wife, my wife pleased me. I fed my wife under yonder tree. My wife says, ‘Honey, honey’, My cow says…

The Golden Willow Tree

There was a little ship in South Amerikee, Crying O the land that lies so low, There was a little ship in South Amerikee, She went by the name of the Golden Willow Tree, As she sailed in the lowland lonesome low, As she sailed in the lowland so low.

We hadn’t been a sailin’ more than two weeks or three, Till we came in sight of the British Roverie, As she sailed in the lowland lonesome low, As she sailed in the lowland so low.

Up stepped a little carpenter boy, Says “What will you give me for the ship that I’ll destroy?”

“I’ll give you gold or I’ll give thee,

The Little Horses

Hush you bye, don’t you cry, go to sleepy little baby. When you wake, you shall have all the pretty little horses. Blacks and bays, Dapples and grays, coach and six-a little horses.

Hush you bye, don’t you cry, go to sleepy little baby. When you wake, you’ll have sweet cake and all the pretty little horses. A brown and gray and a black and a bay and a Coach and six-a little horses.

Hush you bye, don’t you cry, oh you pretty little baby. Go to sleepy little baby. Oh you pretty little baby.

Zion’s Walls

Come fathers and mothers, Come sisters and brothers, Come join us in singing the praises of Zion. O fathers, don’t you feel determined To meet within the walls of Zion? We’ll shout and go round The walls of Zion.

The fairest of my daughters as she sails upon the sea

If you’ll sink ‘em in the lowland lonesome low, If you’ll sink ‘em in the land that lies so low.”

He turned upon his back and away swum he, He swum till he came to the British Roverie, He had a little instrument fitted for his use, He bored nine holes and he bored them all at once.

He turned upon his breast and back swum he, He swum till he came to the Golden Willow Tree.

“Captain, O Captain, come take me on board, And do unto me as good as your word For I sank ‘em in the lowland lonesome low, I sank ‘em in the lowland so low.”

“Oh no, I won’t take you on board, Nor do unto you as good as my word, Tho’ you sank ‘em in the lowland lonesome low, Tho’ you sank ‘em in the land that lies so low:’

“If it wasn’t for the love that I have for your men, I’d do unto you as I done unto them, I’d sink you in the lowland lonesome ow, I’d sink you in the lowland so low:’

He turned upon his head and down swum he, He swum till he came to the bottom of the sea. Sank himself in the lowland lonesome ow, Sank himself in the land that lies so low.

At the River

Shall we gather by the river, Where bright angel’s feet have trod, With its crystal tide forever Flowing by the throne of God. Yes, we’ll gather by the river, The beautiful, the beautiful river, Gather with the saints by the river That flows by the throne of God. Soon we’ll reach the shining river, Soon our pilgrimage will cease, Soon our happy hearts will quiver With the melody of peace. Yes, we’ll gather by the river, The beautiful, the beautiful river, Gather with the saints by the river That flows by the throne of God.

Keramos

James Mulholland

Turn, turn, my wheel! Turn round and round Without a pause, without a sound: So spins the flying world away! This clay, well mixed with marl and sand, Follows the motion of my hand; For some must follow, and some command, Though all are made of clay!

Turn, turn, my wheel! All life is brief; What now is bud will soon be leaf, What now is leaf will soon decay; The wind blows east, the wind blows west; The blue eggs in the robin’s nest

Will soon have wings and beak and breast, And flutter and fly away.

Turn, turn, my wheel! The human race, Of every tongue, of every place, Caucasian, Coptic, or Malay, All that inhabit this great earth, Whatever be their rank or worth, Are kindred and allied by birth, And made of the same clay.

Turn, turn, my wheel! What is begun At daybreak must at dark be done, To-morrow will be another day; To-morrow the hot furnace flame Will search the heart and try the frame, And stamp with honor or with shame These vessels made of clay. All that inhabit this great earth, Are kindred and allied by birth.

Ching-A-Ring Chaw

Ching-a-ring-a ring ching ching, Hoa dinga ding kum larkee, Ching-a-ring-a ring ching ching, Hoa ding kum larkee.

Brothers gather round, Listen to this story, ‘Bout the promised land, An’ the promised glory.

You don’ need to fear, If you have no money, You don’ need none there, To buy you milk and honey.

There you’ll ride in style, Coach with four white horses, There the evenin’ meal, Has one two three four courses. Nights we all will dance To the harp and fiiddle, Waltz and jig and prance, “Cast off down the middle!”

When the mornin’ come, All in grand and spendour, Stand out in the sun, And hear the holy thunder.

Brothers hear me out, The promised land’s a-comin’ Dance and sing and shout, I hear them harps a strummin’.

Steal Away

Traditional, American, arr. Diedre Robinson

Steal away, steal away, steal away to Jesus! Steal away, steal away home. I ain’t got long to stay hear. My Lord, He calls me! He calls me like the thunder! The trumpet sounds within-a my soul! I ain’t got long to stay here.

Green trees are bendin’, And sinners stand a-tremblin’, The trumpet sounds within-a my soul! I ain’t got long to stay here.

Many are the Wonders

Ken Burton

O Lord, open my lips and my mouth will declare Thy praise. Many, O Lord my God, are the wonders with You have done. My tongue shall sing aloud; my tongues shall declare Thy praise.

Psalm 57

Betty Jackson King

Oh God, be merciful unto me

For my soul taketh refuge in thee Yea, in the shadow of thy wings will I take refuge Until these sorrows pass over

My heart is fixed

For thy loving kindness is great unto the heavens And thy truth unto the skies

Be thou exalted, oh God, above the heavens Let thy glory be above all the earth Amen

No Color

Stacey V. Gibbs and Shawn Kirchner

No color can come between us, No shade to be thrown, No tone be taken to demean us, No hue of hate to be sown, No color, no shade, no tone; Let me be transparent with you.

Whose history is whose? Who’s walking in whose shoes? Who’s making whose rules? Who’s learning in whose schools? Whose history, whose shoes, whose rules? Let me be transparent with you.

More love is our intention, Stop- did we forget to mention that We are more alike than we are different?

United we stand, Ignited with hand in hand, To build a band of harmony. No time to wait, don’t hesitate!

Within me there’s a love so strong, Within me there’s a hope to belong, Within me there’s a fire to right all wrongs. Within me there’s a love to share, Within me there’s a need to care, Within my heart is a risk to dare.

When David Heard Thomas Tomkins

When David heard that Absalom was slain He went up into his chamber over the gate and wept, and thus he said: my son, my son, O Absalom my son, would God I had died for thee!

Hold Fast To Dreams Joel Thompson

Hold fast to dreams, For if dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams, For when dreams go Life is a barren field Frozen with snow.

Zion’s Wall’s Traditional, American, arr. William L. Dawson

Come fathers and mothers, Come sisters and brothers, Come join us in singing the praises of Zion. O fathers, don’t you feel determined To meet within the walls of Zion? We’ll shout and go round The walls of Zion.

I Cannot Stay Here by Myself

Traditional, American, arr. Hall Johnson

I cannot stay here by myself, No, I cannot stay here by myself. I’m goin’ away, the Lord knows where, I just can’t stay here by myself.

Sometimes I weep like a willow. Lord, sometimes I moan like a dove, But I’m goin’ away, the Lord knows where, I just can’t stay here by myself.

My Soul’s Been Anchored in the Lord

Traditional, American, arr. Moses Hogan

In the Lord, In the Lord my soul’s been anchored in the Lord.

Before I’d stay in hell one day, my soul’s been anchored in the Lord. I’d sing an’ pray myself away, my soul’s been anchored in the Lord.

Goin’ shout an’ pray an’ never stop, my soul’s been anchored in the Lord.

Until I reach the mountain top, my soul’s been anchored in the Lord.

Do you love Him? (Oh yes!)

Do you love Him? (Hallelujah!)

Do you love Him? (Oh yes!)

God almighty.

Are you anchored?

Are you anchored? (Oh yes!)

Yes, I’m anchored, My soul’s been anchored in the Lord.

Yes, will you serve Him? Will you serve him? (Oh yes!) Will you serve Him? (Hallelujah!)

If I Can Help Somebody

Alma Androzzo, arr. Nathan Carter

If I can help somebody as I pass along If I can cheer somebody with a word or song If I can show somebody he is traveling wrong Then my living shall not be in vain

If I can do my duty as a Christian ought If I can bring their beauty to a word or song If I can spread the message that the Master taught Then my living shall not be in vain

Then my living shall not be in vain Then my living shall not be in vain If I can help somebody as I pass along Then my living shall not be in vain

Lift Every Voice and Sing

J. Rosamund Johnson

Lift every voice and sing Till earth and heaven ring Ring with the harmonies of Liberty Let our rejoicing rise High as the listening skies Let it resound loud as the rolling sea

Sing a song full of the faith that the dark past has taught us

Sing a song full of the hope that the present has brought us

Facing the rising sun of our new day begun Let us march on till victory is won

Stony the road we trod Bitter the chastening rod Felt in the days when hope unborn had died Yet with a steady beat

Have not our weary feet

Come to the place for which our fathers sighed? We have come over a way that with tears has been watered

Will you serve Him? (Oh yes!)

God almighty. Are you anchored? Are you anchored? (Oh yes!)

Yes, I’m anchored

My soul’s been anchored in the Lord.

Hallelujah! Will you praise Him?

Will you praise Him? (Oh yes!)

Will you praise Him? (Hallelujah!)

Will you praise Him? (Oh yes!)

God almighty. Are you anchored? (Yes I’m anchored)

Lord, I’m anchored. (Oh yes!)

Lord, I love You. (Oh yes!)

Yes, I’ll serve You. (Oh yes!)

Lord, I’ll praise You. (Oh yes!)

Hallelujah!

My soul’s been anchored in the Lord.

We have come, treading our path through the blood of the slaughtered Out from the gloomy past Till now we stand at last

Where the white gleam of our bright star is cast God of our weary years God of our silent tears Thou who has brought us thus far on the way Thou who has by Thy might Led us into the light Keep us forever in the path, we pray

Lest our feet stray from the places, our God, where we met Thee Lest, our hearts drunk with the wine of the world, we forget Thee

Shadowed beneath Thy hand May we forever stand True to our God True to our native land

Amen.

Seraphic Fire Youth Initiative

Seraphic Fire Youth Initiative is a multi-pronged program that provides high-quality music education experiences to students throughout South Florida.

The Choral Education Residency is a weekly program where a University of Miami doctoral music education student develops curricula and teaches classes in collaboration with the music specialists at two elementary schools. Dynamic In-School Workshops are presented three times a year at twelve schools

of CER students showed improvement in subject matter and peer-relational skills over the course of the program.

in Broward, Collier, and Miami-Dade counties by a quartet of Seraphic Fire professional artists. Each semester culminates in district-wide Educational Concerts in Miami-Dade, Broward, and Collier counties that serve as a guided tour of a subscription concert for elementary students.

parents reported that the program helps their child do better in school.

of students reported that the program helped them get along better with other children.

“Thank you for the WONDERFUL sound of the choir. It was…an amazing experience” –SFYI Education Concert student attendee

Miami-Dade County

Spanish Lakes Elementary

West Hialeah Gardens Elementary

Joella C. Good Elementary

Palm Springs Elementary

Bent Tree Elementary

Wesley Matthews Elementary

Royal Palm Elementary

Zora Neal Hurston Elementary

Broward County

Stephen Foster Elementary

North Andrews Gardens Elementary

Collier County

Mike Davis Elementary Avalon Elementary

Professional Choral Institute

About the Program

Seraphic Fire’s Professional Choral Institute (PCI) at the Aspen Music Festival and School offers intensive performance and seminar programs for aspiring ensemble singers and choral conductors designed to prepare students to work in the professional choral music industry.

PCI, one element of Seraphic Fire’s multi-pronged education initiatives, creates a pathway for students from all walks of life to train for a career as an ensemble singer or choral conductor. PCI students have gone on to be hired professionally for Seraphic Fire and other top choral groups, or furthered their pre-professional training in Seraphic Fire’s Ensemble Artist Program at UCLA, demonstrating that the program can serve as a career catalyst.

Professional Choral Institute 2022 26 singers and 2 conducting fellows joined the professional artist faculty, led by Program Director James K. Bass, for two weeks of singing in the beautiful setting of Aspen, CO. Hosted in partnership with the Aspen Music Festival and

School, program activities included seminars, lessons and sectionals, small ensemble sessions, full ensemble rehearsals, and performances alongside the Seraphic Fire professional ensemble. Highlights of the experience included a spotlight recital by PCI students and Seraphic Fire in Harris Hall, and a performance of Hector Berlioz’s Requiem in the Benedict Music Tent with the Aspen Festival Orchestra, conducted by Robert Spano.

James K. Bass

Rhett M. Del Campo

Ashley C. Drumm

Rebecca Myers

John Quaintance and Robert Riggs

Patrick Dupre Quigley

Peter Rutenberg

“In the professional ensemble singing industry, there really aren’t many opportunities like this.” — PCI student

Seraphic Fire is Something Like a Miracle

By Beth Braswell

“Seraphic Fire is something that could have never happened or could have fizzled out, but instead, it endured and flourished in a historically unlikely place Miami. The last two decades have been an amazing and special ride from a grass roots choir to a now highly touted ensemble with significant national prominence.” James K. Bass, Associate Conductor

Turn the clock back 20 years to a Miami that was teeming with music. The Florida Philharmonic was playing 19th century romantic music, the New World Symphony’s repertoire featured music from the 19th and 20th century, and the Florida Grand Opera performed, well, opera. The vast missing gap was the genius compositions of the Baroque, Renaissance, and medieval periods.

An incredibly gifted organist and music aficionado, Joanne Schulte, was partly responsible for securing a fresh, young musical talent to lead her church’s music program. His name was Patrick Dupre Quigley. Together they shared a love of French Chamber Choir and enjoyed the music of a group called Les Arts Florissants, which was the seed for their dream: recreating that same type of ensemble for Miami. Quigley describes Schulte as the “oracle, guru, guide, and cheerleader” that pushed the vision into fruition. Sitting at the kitchen table, the two visionaries penciled out a plan to create a high-performing, a capella ensemble that enthralled and educated audiences by singing historically significant works, many of which were underperformed. They called it Seraphic Fire. The name whisked from the opening of William Billing’s Invocation, “Majestic God, our Muse inspire, and fill us with Seraphic fire.”

One of those early singers shared a story about his audition that first year: While working on his doctoral degree in conducting, James K. Bass ran across a flyer that said

something like: ‘if you’re interested in singing, call this number.’ In his cargo shorts and baseball cap, he went to the audition prepared to sing the prescribed and very difficult Jephtha Oratorio excerpts. Not only was Quigley impressed, but he invited his new bass to stay for that night’s rehearsal. “I knew right away that this [Seraphic Fire] was something special,” said Bass. “Patrick had such an infectious energy. It was a very unique set of singers. After rehearsal every Tuesday night, we would go to the Sunset shops, have dinner and hang out together. There was a family feel right from the beginning that was remarkable.” contuned on page 34

The first ever Seraphic Fire concert in 2004

Seventeen years ago, Quigley was helping to mold South Florida’s expectations of Seraphic Fire: “This is an inyour-face, take no prisoners approach to music making. Classical music is as relevant to a 25-year-old as it is to a 55-year-old. We are the future of classical music.”

After three or four years, this group of Seraphic Fire singers began to graduate and receive professional opportunities away from Miami. At that point, a choice had to be made: would Seraphic Fire be an ensemble that was made up of university students that faced a cycle of change and re-training with each graduation OR would the core group of the ensemble, those who have contributed greatly to its success, stay together?

The momentous decision was reached, creating a model which, at the time, was very revolutionary and adventurous. Seraphic Fire would contract singers to fly in, rehearse for three days and then produce multiple performances at an array of venues. Singers that used to drive a couple of miles from campus and rehearse one night a week for six to eight weeks were now providing the same high-level performances in only a few days. This was only possible because the group was acutely attuned to each other and already so knowledgeable about the sounds that Quigley wanted from them. He had developed a ‘house sound’ that is representative of every Seraphic Fire performance to this day.

The early patrons in Miami were often transplants from New York, Chicago, Cleveland – places that had great traditions of music like Alice Tully Hall or Symphony Hall in Chicago. But the difference that Seraphic Fire provided was an intimacy with the music; small venues and the immediacy of having the art right in front of the listener.

James K. Bass recounted how those initial audiences grew in size. “There was our core group of followers, and they would invite friends and then those friends would invite their family and friends. They would listen in amazement and say ‘I have never heard anything like that! Is it just your voices?’ And I would always joke; ‘I don’t have a microphone in my pocket! It’s just us.’”

That level of adulation contributed to the addition of venues and performances. Bass recounts conversations with patrons: “Can you come to my neighborhood in Ft. Lauderdale and then it was Miami Beach, and so on. We developed our own set of fans in every location we were asked to perform.”

In addition to their regular season schedule, the ensemble has been a partner to unbelievably diverse music collaborations; touring with the American Brass Quintet, collaborating with the Jewish world music artist George Mordecai, and delivering arresting performances alongside New World Symphony and the Cleveland Orchestra. One of Seraphic Fire’s very first collaborations was with the international Latin pop star Shakira; Seraphic Fire is featured on her 2005 album, Oral Fixation Vol 2.

There were many memorable moments during the season also. Seraphic Fire’s October 2004 program featured their first performance of Handel’s Messiah and included high caliber soloists such as tenor Brian Hymel and mezzo-soprano Leah Wool. The performance occurred at the precise same time as the presidential debate between John Kerry and George W. Bush. Quigley shares his memory: “There were 1,000 attendees for our show who all rushed out to their car radios at intermission to hear the debate. Our hearts dropped, and we were somewhat in disbelief when every one of them returned for the second half. It was a night I won’t forget.”

“It was midnight, and I was already in bed. The phone rang and Patrick, obviously excited, said: “Guess what? We didn’t get just one GRAMMY® nomination, we got two!’ It was an amazing moment not just for Patrick and me but for the singers; it was affirmation of all that he and the singers had accomplished. It spurred us on to do different and more wonderful things, and just look how much Seraphic Fire has grown over those next ten years.” – Joanne Schulte on Seraphic Fire’s GRAMMY® nominations for Brahms: ein Deutsches Requiem and A Seraphic Fire Christmas.

Quigley has a deep passion for early music, but also knew Seraphic Fire was capable of performing brand new music. With just a few years under their belt, Seraphic Fire took on the challenging The Road from Hiroshima by Shawn Crouch. Bass remembers his interactions with the other artists: “We all knew when we finished the performance that it was unique; it was not something many groups could do, and we just did it spectacularly. There’s some point along the way where you say ‘Wow, this could really be something,’ and we already were something, we just didn’t know it.”

“We started from the smallest you can start from, just a volunteer organization, and we became not only real, but pertinent on the national stage. Great artists are excited to sing with us and celebrated conductors seek us out. We try to make our audiences proud of us and do better each year than we did before. This season, Seraphic Fire is performing a whole host of music we have never done before, to include world premieres and commissioned works. We will have 40 singers on our April program for Thomas Tallis’ Spem in alium; a first for us. Our audience can expect a ‘fireworks of music’ in celebration of our 20th anniversary season. The unwavering support of our patrons over the past two decades has been the fuel for our many successes.” Patrick Dupre Quigley, Co-Founder and Artistic Director.

“It’s just like old home week when we fly in. As soon as we start to make music together, the familiarity sets in. This second sense we have about each other is other worldly. The institution brought us together as singers and now we are like brothers and sisters. We write Christmas cards to each other, watch football games together; we’re not just gig partners. I hope that the next generation of singers get to have that same experience.”

– James Bass, Associate Conductor

It was an important moment in the history of the group when Seraphic Fire started to get commissions, giving world premieres of pieces sthat other groups were not able to perform

Meet Jason Max Ferdinand

A rock-star conductor with a passion for exceptional choral art.

By Beth Braswell

“Jason has a real electricity to his music making. As I watched him perform a piece by Bach with The Aeolians from Oakwood University, I was struck by the magnificence, the chorus, the energy, the interpretation it was simply fantastic,” remarked Patrick Dupre Quigley. “He draws out a towering performance quality that not a lot of people can get.”

Celebrate the New Year with a musical experience designed to pique all of your senses. The program of OLD | NEW, performed under the baton of guest conductor Jason Max Ferdinand, features Aaron Copland’s Old American Songs and a dozen other composers ranging the musical spectrum from modernist Betty Jackson King to the spiritual genius of Moses Hogan. Hailing from the island of Trinidad and Tobago and now the director of Choral Activities at the University of Maryland, College Park, Jason Max Ferdinand’s musical journey is continuously both exciting and noteworthy. As Director of Choral Activities at Oakwood University, he has led The Aeolians to stages around the globe and equally as many accolades. Asked which of his many accomplishments are the most special memories, he begins by sharing that Oakwood University, on its best day, is a small school of only 1,500 students located in the small town of Huntsville, Alabama. So, the exceptional acclaim they have received under his baton is duly magnified: “Choir of the World” and “Most Outstanding Director Award” along with three gold medals and Champion status achieved in two categories in the 10th World Choir Games held in South Africa. Not only is Jason a full-time teacher, but he continues to be an active composer,

guest conductor and lecturer, and somehow found spare time to become a published author. As with all great teachers, one of his greatest joys is watching students grow - mentoring aspiring composers and basking in pride as they succeed.

Ferdinand shares how his love of music, and conducting, was nurtured: “Growing up in Trinidad, I was always involved with children’s choir or piano lessons or band. And the music was often more calypso than classical. I was introduced to conducting because there was no one to conduct the choir for a couple of years, and my piano teacher trusted me in that role. She had a plan. She threw me out front, and I just started waving my arms.”

However, keen young student that he was, Ferdinand excelled in physics, chemistry, and biology with his sights set squarely on entering med school. Luckily for his future audiences, he instead chose a career path that made him happier, deciding to focus on his music. “I came to the States, and I finished my undergrad in piano. I was good, but it just wasn’t my thing to be a concert or collaborative pianist. However, I had found that I always felt very comfortable in front of a choir. The interaction with people is something that I really enjoy. That’s when I decided to do a master’s in choral conducting.”

“Jason brings a real maturity to his music making that is beyond his young years. He has a dynamic podium presence and is an inspirer of musicians; they are in the palm of his hands. Jason is a rock star, and we are lucky to have him.”

Patrick Dupre Quigley

One of Ferdinand’s hallmarks is his unique appreciation of close harmony and how that translates to the quality of sound his choirs achieve.

He attributes this gift to the GRAMMY winning group, Take 6, as he was a great fan of their music growing up. “I wanted to emulate the close harmonies they were doing. It’s kind of in my blood and my ears are attuned to that type of music. Oakwood University, where most of us (Take 6 included) went to school, is steeped in that close harmony tradition. I love that sound with all my heart.”

The collection of music featured in the January production of OLD | NEW was a collaboration. “I asked Jason to include about 20 minutes of Copland songs that I felt were particularly special for this event, and Jason populated the rest of the program,” recounted Quigley. “I was immediately excited by the direction he was taking. There are some spirituals, but it’s really a program of music by black composers. We were focusing on a different cultural perspective. What’s truly amazing is that some of this music you will experience has never been recorded.”

Ferdinand shares insight on how he purposely selected the repertoire: “I searched for music that would provide

a unique experience for the artists and provide a new experience for the audience, too. I pulled out William Dawson, who is the giant of spirituals, but he took it a step further and turned spiritual texts into motets. One of my favorites is Zion’s Wall which is rarely done but sure to be appreciated by the audience. Also, one of my favorite American composers, James Mulholland, has a wonderful piece called Keramos. The lyrics proclaim, ‘Whatever be their rank or worth are kindred and allied by birth.’ We found music that speaks to a diverse population and, again, really challenges and bring fresh opportunities for the Seraphic Fire singers. I think that the

audience will feel the diversity of music within this program and experience, with their ear, hearts and minds, things they have never heard before.”

When asked about his enthusiasm for joining the Seraphic Fire ensemble for the OLD | NEW program in January, Ferdinand immediately flashed his charming smile: “I have been an admirer of Seraphic Fire for years and humbled that Patrick would invite me to conduct,” said Ferdinand. “Honestly, I am so excited because Seraphic Fire is the shining example of professional chorus. I get the opportunity to work with incredible singers, who will be really devoted to a high level of musicmaking. Who could say ‘no’ to that?”

Digital Library

Hit play and enjoy the witty cast of Seraphic Fire’s artistic company and special guests as they dive into a smart and frank discussion of classical music. Learn the deeper history behind many of the pieces performed in our programs throughout the season, take a deep dive into musical composition, and hear from Seraphic Fire conductors, artists, and special guests. Intended as listening guides for each of our programs this year, Seraphic Saturday podcast episodes will be integral to your concert experience.

“Delightful! This podcast gives fans and friends insight into everything from getting to know the artists, to hearing about different repertoire.”

- Apple Podcasts Reviewer

On-demand, streaming access to select Seraphic Fire performances and productions is now at your fingertips.

Start your 7-day free trial today and continue your access for just $5 per month or $50 per year to view full concerts and extras with new content added monthly!

Digital

media projects are made possible by a generous donation from David L. Webb and W. Lynn McLaughlin.

Our Donors

For Donations Between June 2020 & July 2022

Legacy Society

Anonymous

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Founder’s Circle

$50,000+

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Gigi Wright in memory of Marvin Sackner

† deceased

§ GenS Society

2022

23 Volunteers

Seraphic Fire’s volunteers are an indispensable part of our organizational success.

Volunteers create a warm, welcoming environment for our patrons by answering questions and assisting with programs, ticketing, and seating during concerts.

Glenda Carr

Bruce Dory

Helen Franklin

Joan and Paul Gluck

Miguel Gonzalez

Natalie Gonzalez

Sue Groskreutz

Elisa Halliley

Jill Harrington

Carol Lang

Brian Levey

Hortense Leon Nellie Lopez

Susan Mattes

Lucia Minervini

Heather Osowiecki

David Piriano

Anita Platt

Cecilia Rodriguez

Chris Rudd

Eric Runyan

Kurt Schubert

Barbara Soliday

John Soliday

Vera Stein

Kristian Toimil

Co-Founder Spotlight JOANNE

SCHULTE

Seraphic Fire commends Board member and Co-Founder Joanne Schulte for her decades of service to the organization and bestows hearty congratulations on her 2022 Arts & Culture Award from the Coral Gables Community Foundation and presented by Knight Foundation. Joanne is a Coral Gables native whose pioneer family arrived over a century ago with the development of the City. She is an internationally recognized concert organist, performing throughout the United States and Europe in solo performances and as a featured soloist with symphony orchestras. A passionate and tireless advocate for the arts, she has dedicated her life to the promotion of music, culture, and artistic education both locally and nationally.

A graduate of Indiana University’s Jacobs School of Music, Joanne was the first woman to be awarded a graduate fellowship by IU in organ performance. During her tenure on the Fine Arts Council of Florida Division of Cultural Affairs, Joanne created the professional grants panel that evaluates and distributes arts funding on behalf of the State. Locally, she assisted in the establishment of the Miami-Dade County Cultural Arts Division and has chaired the Cultural Development Board for the City of Coral Gables.

Joanne has had a long history of supporting Vizcaya, beginning in 1969 as Organist in Residence of the newly restored pipe organ. She continued her service to the historic house and gardens as Chairman of the Foundation for Villa Vizcaya, creating the Chamber Music series and building the coalition that established the Vizcaya Trust.

As a member of the Junior League, she assisted in the transfer of the Coral Gables Fire Department building on Salzedo which is now the Coral Gables Museum and residence of the Coral Gables Community Foundation. She has served as President of the Prelude Committee of the Miami Philharmonic, and as a board member of Beaux Arts, Junior League, Young Patronesses of the Opera and the Red Cross Ball Committee.

Presently, Joanne is the Chair of Organ Studies at Florida International University and a member of the American Guild of Organists, with 300 chapters throughout the United States and abroad.

Ellen Anderson

Jane Andersen

2022

Executive

23 Administration

Board of Directors

Rhett M. Del Campo, Executive Director

Artistic Administration

Patrick Dupre Quigley, Artistic Director

Alexis Aimé, Director of Artistic Planning & Operations

Andrea Leon-Moreno, Artistic Operations Associate

Advancement

Lauren Schiffer Leger, Director of Advancement & Grants

Rebecca Ashton, Marketing Manager

Judelle White, Development Associate

Andrea Leon-Moreno, Box Office Associate

Finance & Operations

JJ Flores, Finance and Operations Manager

Education

Suzanne Floyd, Director of Education

Alexandra Colaizzi, Education Coordinator

Wendy Chen Gunther, Education Liaison

Sarah Bowe, PCI Administrator

Mark Trowbridge, Interim Co-Chair

Diane Ashley, Interim Co-Chair and Secretary

Robert “Bob” Brinker, Treasurer

Joanne N. Schulte, Founding Chair

Matthew Anderson

Misty Bermudez

Nirupa Chaudhari

Alaina Fotiu-Wojtowicz

Karen Fuller

Megan Kelly

Marilyn Horowitz

Frank MacBride

Ana Marmol

Daniel Perron

Margaret “Peggy” Rolando

Mel VanderBrug

Edmundo Pérez-de Cobos, Director Emeritus

Rhett M. Del Campo, Executive Director, ex-officio Patrick Dupre Quigley, Artistic Director, ex-officio Molly Quinn, Artist Representative, ex-officio John Buffett, Artist Representative, ex-officio

are

Performances in Miami-Dade and Broward counties sponsored by:

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; John S. and James L. Knight Foundation; 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; P.L. Dodge Foundation; and Citizens Interested in Arts; 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.

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.

SeraphicFire.org | 305.285.9060 | 2153 Coral Way, Suite 401, Miami, FL 33145 Scan to visit our website.

Naples performances

made possible by the Jeri L. Wolfson Foundation & Charles L. Marshall, Jr. and Richard L. Tooke.