Welcome
I am pleased to welcome you to our Season Opening concert—an all-Mozart program featuring musicians celebrated throughout the Bay Area and beyond. We are delighted to have you join us at St. Mark’s Lutheran Church, a venue renowned for its beauty and historical significance in the heart of San Francisco. Zephyr Symphony was previously known as Lakeside Symphony and last performed Schubert’s Mass No. 6 in Eb, along with Beethoven’s Fifth Symphony in March of this year.
This is the first of four concerts, all to be held at St. Mark’s Lutheran church. A fifth concert will feature Vox Humana SF now in its third season of presenting exceptional vocal works. Vox Humana SF, also conducted by Don Scott Carpenter, is now a part of the Zephyr Symphony family.
“Music can heal the soul”, transport us beyond the present moment, and evoke every emotion—all while lifting the spirit. We sincerely hope you enjoy the concert. Information about the musicians and the works may be found in the program book.
Now more than ever, the arts depend on the generosity of supporters like you, especially in the face of substantial funding cuts. Zephyr Symphony is sustained solely by its Board and concert attendees. If you are able, we kindly ask you to consider donating—no matter the size—beyond your ticket purchase, to help us continue sharing music and our mission with the community.
Thank you for being a part of the inaugural concert presented by Zephyr Symphony.
Margaret Elam Executive Director
THANK YOU FOR YOUR SUPPORT!
PATRONS OF THE BREEZE
FOUNDER’S CIRCLE
$10,000 and above
Dan Anderson+
Beth & Kevin Phipps+
CONDUCTOR’S CIRCLE
$5,000 to $9,999
Don Scott Carpenter & Dr. Erick Palafox+
Margaret Elam+*
Judith J. Murio & Todd Jolly+
BENEFACTOR
$2,500 to $4,999
Sharon Mayo
Cindy Young
UNDERWRITER
$1,000 to $2,400
Gail Hemenway+
+Patrons of the Breeze Founding Donors
*Members of the Trade Winds Society which are Monthly Donors
GENERAL GIVING
$500 to $999
Corby York & Kevin Marlon
$250 - $499
Judy Lindquist
Up to $249
Helen Berggruen
Janet Cluff
Edward Gordon
Cheryl Jacobs
George Krigas
George & Charlotte Masson
Doug Miller
Become a Donor
We gratefully acknowledge the generosity of the individuals listed above who have made contributions to The Zephyr Symphony between January 1 and September 14, 2025. Contributions of any amount are greatly appreciated and can be a meaningful way to honor or remember loved ones. Checks may be sent to the address below. You can also scan the QR codes to make a gift now.
Zephyr Symphony Attn: Development Office 324 Tara Street` San Francisco, CA 94112
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Welcome from our Founding Music Director
It is my great joy to welcome you to today’s performance and to thank you for being part of this musical community; your presence here affirms the enduring power of live music to inspire, comfort, and unite us.
When we founded this organization, our vision was to create performances that would be both artistically excellent and deeply human—concerts that invite you into a shared space where music becomes a conversation between performers and listeners. Each program is crafted not only to showcase exceptional artistry, but also to tell stories, explore ideas, and reflect the world around us.
The works you will hear today remind us that music, like the human spirit, is both timeless and ever-changing. Our musicians bring not only their skill but their hearts to the stage, and I am continually inspired by their dedication to creating something meaningful in each performance.
This program offers a sweeping journey through the musical world of Wolfgang Amadeus Mozart, from youthful exuberance to the transcendent mastery of his final years.
We begin with Exsultate, jubilate (1773), a radiant motet written for the celebrated castrato Venanzio Rauzzini. Still a teenager, Mozart demonstrates the operatic brilliance and melodic poise that would define his career, pairing devotional text with dazzling vocal virtuosity.
Fast-forward to 1788, and we encounter his Symphony No. 41 in C major, “Jupiter”. This monumental work—Mozart’s final symphony—unites ceremonial grandeur, lyrical grace, and contrapuntal genius in a triumphant summation of the Classical style.
From 1791, his last year, we hear two contrasting works. Per questa bella mano pairs the deep sonority of the bass voice with a virtuosic double bass obbligato, a rare and playful combination that celebrates friendship and artistry.
JOIN THE ZEPHYR FAMILY!
Laut verkünde unsre Freude, his final completed composition, is a Masonic cantata of joyful dignity, written for a ceremonial lodge dedication just weeks before his death.
These four works trace a portrait of Mozart as dramatist, architect, innovator, and humanist—offering us, across nearly two decades, a living testament to his creativity and emotional range.
I am deeply grateful to our community—patrons, donors, volunteers, and friends—whose generosity and encouragement make all of this work possible. Live performance is a collaborative act, and you are as essential to it as the notes on the page.
As you listen, I invite you to allow the music to speak to you personally. Perhaps it will stir a memory, spark an idea, or open a new perspective. Whatever your experience, I hope you leave with a renewed sense of connection—to the music, to the performers, and to each other.
On behalf of our musicians, board, and staff, thank you for joining us. It is a privilege to share this moment with you, and I look forward to many more musical journeys together.
Warmly,
Don Scott Carpenter Founding Music Director @dnscttcrpntr
Zephyr thrives because of the passion and dedication of its community. As we grow, we need your help to keep the music alive! We’re seeking enthusiastic volunteers, creative committee members, and visionary Board members to shape Zephyr’s future.
Whether you can give your time at concerts, lend your skills behind the scenes, or help guide our mission at the leadership level, your involvement makes a difference. Together, we can bring inspiring music to our community and beyond.
Interested? Contact us at info@zephyrsymphony.org — we’d love to welcome you into the Zephyr family!
CONDUCTOR
Don Scott Carpenter
H: Louisville, Kentucky
R: San Francisco, California
ZEPHYR SYMPHONY
VIOLIN I
Gail Hernández-Rosa (Concertmaster)
H: Santurce, Puerto Rico
R: Freestone, California
Mateo Garza
H: Bend, Oregon
R: San Francisco, California
Maxine Nemerovski
H: Needham, Massachusetts
R: San Francisco, California
Alicia Yang
H: Baltimore, Maryland
R: San Francisco, California
VIOLIN II
Joseph Edelberg (Principal)
H: Northampton, Massachusetts
R: El Sobrante, California
Daria D’Andrea
H: Atherton, California
R: San Francisco, California
Jennifer Redondas
H: Havana, Cuba
R: San Francisco, California
Alexandra Santon
H: Meadville, Pennsylvania
R: Berkeley, California
VIOLA
Mitso Floor (Principal)
H: Seattle, Washington
R: San Francisco, California
Aaron Westman
H: Santa Rosa, California
R: Santa Rosa, California
Maria Caswell
H: San Francisco, California
R: Occidental, California
VIOLONCELLO
Hasan Abualhaj (Principal)
H: Ramallah, Palestine
R: San Francisco, California
Laura Gaynon
H. Pala Alto, California
R: Palo Alto, California
BASS
Daniel Turkos (Principal)
H: New Brunswick, New Jersey
R: Freestone, California
Bruce Moyer
H: Doylestown, Pennsylvania
R: Cupertino, California
FLUTE
Lars Johannesson
H: Arvika, Sweden
R: Santa Cruz, CA
OBOE
Matthew Hudgens
H: Grand Junction, Colorado
R: Portland, Oregon
Alessandra Ramos
H: Glendale, California
R: San Francisco, California
BASSOON
Jamael Smith
H: Mukilteo, Washington
R: San Francisco, California
Favio Valery Villanova
H: Caracas, Venezuela
R: San Francisco, California
HORN
Elisabeth Axtell
H: Olympia, Washington
R: Olympia, Washington
Sadie Glass
H: Manitowoc, Wisconsin
R: Stockton, California
TRUMPET
William Harvey
H: Berkeley, California
R: Oakland, California
We love sharing a glimpse into the lives of our musicians—where their journeys began and where they are rooted today. It celebrates the diversity of backgrounds and experiences that enrich our performances, reminding us that music is a universal language connecting people across places and cultures.
H: Hometown R: Current Residence
Charles Ryan
H: San Francisco, California
R: San Francisco, California
PERCUSSION
Allen Biggs (Principal)
H: San Francisco, California
R: San Francisco, California
KEYBOARD
Yunyi Ji (Principal)
H: Beijing, China
R: Oakland, California
ZEPHYR CHORUS
TENORS
Mickey Butts
H: San Antonio, Texas
R: Berkeley, California
Shiddharth Chand (soloist)
H: Auckland, New Zealand
R: San Francisco, California
Emilio Peña
H: Fresno, California
R: San Francisco, California
Ryan S. Peterson
H: Tucson, Arizona
R: San Francisco, California
Rynn Mancuso
H: Columbia, South Carolina
R: Oakland, California
Toan Thanh Nguyen (soloist)
H: New York, New York
R: San Francisco, California
BASSES
Josh Black
H: Salt Lake City, Utah
R: San Francisco, California
Daniel Brakefield (soloist)
H: Macomb, Illinois
R: Livermore, California
Joey Valkevich
H: Lafayette, California
R: Martinez, California
Michael Villarreal
H: Dinuba, California
R: San Francisco, California
Praised for her “effortless” artistry and “soaring high range,” soprano Chelsea Hollow dazzles audiences with brilliant coloratura, vivid storytelling, and passionate performances. She creates intimate, welcoming recitals that weave together music from all eras and genres, earning acclaim for her ability to combine vocal virtuosity with emotional connection. Recent operatic credits include Birds and Balls (Opera Parallèle), Dolores (West Edge Opera), and Albert Herring (Pocket Opera). Favorite traditional roles include the Queen of the Night (Die Zauberflöte), Zerbinetta (Ariadne auf Naxos), Blonde (Die Entführung aus dem Serail), Olympia (Les Contes d’Hoffmann), Lakmé, and Marie (La Fille du régiment). On the concert stage, highlights include Gubaidulina’s Concerto for Two Orchestras (Berkeley Symphony), Carmina Burana (Golden Gate Symphony), and Handel’s Judas Maccabaeus (San Francisco City Chorus). A dedicated musical activist, Chelsea’s debut album Cycles of Resistance (2023) features 22 commissioned works telling global stories of resilience. She also created Allowed to be Loud (2021), commissioning 21 new works for San Francisco’s Ruth Asawa School of the Arts.
San Francisco-born baritone Julio Ferrari is known for his commanding voice, engaging stage presence, and ability to bring authenticity and depth to both classic and contemporary roles. Trained at San Diego State University and San Francisco State University, he combines a strong vocal foundation with a natural flair for dramatic interpretation, shaping performances that highlight character-driven storytelling. Equally at home in opera and concert repertoire, Julio’s artistry reflects his respect for music’s power to connect emotionally with audiences. Recent and upcoming roles include Verdi’s Il Trovatore and Britten’s Albert Herring, demonstrating his versatility across contrasting styles and traditions. In addition to his musical career, Julio works professionally in Human Resources, bringing the same focus, empathy, and interpersonal skill to both fields. An avid hiker and guitarist, he draws inspiration from the landscapes and culture of his native San Francisco, channeling that energy into every performance.
San Francisco-based double bassist Daniel Turkos is an engaging performer and educator whose work spans classical, early music, and folk traditions. Known for his stylistic versatility and rich tone, he appears regularly with leading ensembles including American Bach Soloists, Philharmonia Baroque Orchestra, Handel & Haydn Society, and Tempesta di Mare. Daniel is co-founder of Beneath a Tree – Baroque to Folk, an ensemble that weaves together Baroque repertoire with traditional folk music. Performing on double bass, octave mandolin, cittern, and vocals, he brings a fresh and accessible perspective to historical performance. Festival appearances include the Oregon Bach Festival, Amherst Early Music Festival, and the American Bach Soloists Academy. A dedicated teacher, Daniel has served on faculty at The Westtown School and worked with Play On, Philly!, inspiring students to explore music as both craft and personal expression. He holds degrees from West Chester University, Penn State, and The Hartt School.
Tenor Shiddharth (Sid) Chand, of New Zealand Fijian-Indian heritage, is rapidly establishing himself as a compelling voice in opera and concert performance. Recent engagements include Candide in Bernstein’s Candide (SFCM Opera) and covering Pedrillo in Mozart’s Die Entführung aus dem Serail, along with fellowships at the Manetti Shrem Opera Program and Festival Napa Valley. His role debuts encompass Rinuccio (Gianni Schicchi), Ferrando (Così fan tutte), and Miles (Proving Up), highlighting his versatility across traditional and contemporary repertoire. A passionate advocate for new music, Sid premiered Alexander Cowdell’s A Place of Quiet and earned acclaim for Britten’s Serenade for Tenor, Horn, and Strings. He is proudly supported by the Dame Kiri Te Kanawa Foundation and other distinguished trusts, reflecting his promise as an emerging international artist.
Tenor-sopranist Toan Thanh Nguyen is a dynamic soloist and educator based in New York City and San Francisco. He has performed with the San Francisco Symphony Chorus and Zephyr Symphony, earning recognition for his expressive sound and stylistic versatility across sacred, early, and contemporary repertoire. Also an accomplished organist, Toan has served Catholic and Episcopal parishes, bringing sensitive accompaniment and leadership in liturgical settings. He is pursuing vocal performance at the Manhattan School of Music, where he specializes in pedagogy and musicianship, and serves as a Vocal Coach with the National Children’s Chorus, inspiring students through artistry, technique, and confidence.
Bass Daniel Brakefield is a versatile performer and educator recognized for his rich, resonant voice and expressive musicality. Equally adept in opera, oratorio, and concert repertoire, he has performed with ensembles such as Vox Humana SF and other chorus and orchestras, bringing depth and nuance to every role. Daniel is also a dedicated teacher, guiding students in classical vocal technique, musicianship, and performance practice. Known for his collaborative spirit and commitment to artistry, he combines technical skill with interpretive insight, whether performing on stage, in the recording studio, or coaching emerging singers.
September 20, 2025
7:30 pm
St. Mark’s Lutheran Church, San Francisco
Don Scott Carpenter Conductor
Tonight’s program is sponsored by the Zephyr Symphony Board of Directors.
Joannes Chrysostomus Wolfgangus Theophilus Mozart
aka
Wolfgang Amadeus Mozart
B. January 27, 1756, Salzburg
D. December 5, 1791, Vienna
Exsultate, Jubilate, K. 165
I. Exsultate, jubilate
II. Fuget amica dies
III. Tu virginum corona
IV. Alleluia
Chelsea Hollow, soprano
Per questa bella mano, K. 612
Julio Ferrari, baritone
Daniel Turkos, obbligato double bass
Laut verkunde unsre Freude, K. 623
I. Chorus
II. Recitative and Aria
III. Recitative and Duet
IV. Chorus
Shiddharth Chand, tenor
Toan Thanh Nguyen, tenor
Daniel Brakefield, bass
Zephyr Chorus
Symphony No. 41 in C Major, K. 551 “Jupiter”
I. Allegro vivace
II. Andate cantabile
III. Menuetto: Allegretto
IV. Molto allegro
Exsultate, jubilate, K. 165
Exsultate, jubilate, K. 165 is one of Mozart’s earliest and most enduring sacred works, written in January 1773 when he was just 16 years old. Despite his youth, it shows the poise, virtuosity, and expressive range that would define his mature style. The work is scored for solo soprano and orchestra of two oboes, two horns, strings, and continuo, and is effectively a mini-concerto for the voice.
Mozart composed it in Milan for the celebrated castrato Venanzio Rauzzini, who had sung the lead role in his opera Lucio Silla. Rauzzini’s extraordinary agility and purity of tone inspired the writing—full of sparkling runs, leaps, and sustained high notes—making the motet both a devotional piece and a display of vocal brilliance.
The Latin text is a jubilant hymn of praise, not tied to a specific liturgical occasion, though it is often associated with the Christmas season or Marian feasts. Its tone is celebratory throughout, concluding with the famous Alleluia.
Listening Guide
The motet unfolds in four sections:
Exsultate, jubilate (Allegro, F major) – A bright, festive opening aria. The soprano bursts forth with calls to “rejoice and be glad,” the orchestra answering with buoyant figures. The vocal line demands both agility and radiant tone.
Fulget amica dies (Andante, A major) – A lyrical slow aria of serene devotion. Here the voice floats long phrases over gentle orchestral accompaniment, evoking the calm joy of divine grace.
Tu virginum corona (Recitative, F major) – A brief but expressive passage, declaiming the Virgin Mary’s glory and preparing for the final outpouring of praise.
Alleluia (Molto allegro, F major) – The best-known section, a virtuosic vocal tour de force. Rapid runs, brilliant leaps, and sustained high notes create an exhilarating conclusion.
Exsultate, jubilate sits at a fascinating point in Mozart’s output— still early in his career, yet already masterful in balancing theatrical sparkle with sacred dignity. Its operatic energy reflects his immersion in the Italian style during his Milan years, while its devotional text roots it firmly in church tradition.
Today, the motet is a staple of the concert and liturgical repertoire, cherished by sopranos for its combination of vocal fireworks and heartfelt lyricism. In its youthful exuberance, Exsultate, jubilate already hints at the seamless blend of drama and spirituality that would mark Mozart’s greatest vocal works.
Per questa bella mano, K. 612
Per questa bella mano, K. 612 is one of Mozart’s most unusual and delightful concert arias, composed in Vienna in March 1791—a year that would yield The Magic Flute, the Requiem, and several late instrumental masterpieces. Scored for bass voice, obbligato double bass, and orchestra, it pairs two deep voices—the human and the instrumental—in an intimate yet virtuosic dialogue rarely encountered in the 18th-century repertoire.
The Italian text, likely drawn from a contemporary opera libretto, is a declaration of steadfast love: the singer swears eternal fidelity, promising that only death could break his bond with the beloved. Mozart’s setting elevates this conventional sentiment into something theatrical, elegant, and deeply personal. He composed it for Friedrich Pischelberger, one of Vienna’s most celebrated double bass virtuosos, crafting a part that exploits the instrument’s full expressive range—rapid passagework, brilliant arpeggios, and soaring high-register melodies.
Listening Guide
The aria opens with a stately orchestral introduction in G major, setting a refined, courtly mood. The bass voice enters with “Per questa bella mano”, immediately answered by the double bass in ornamental dialogue. In this first section, voice and instrument often trade roles: the singer’s lyrical phrases are met with dazzling flourishes from the double bass, creating a kind of operatic duet.
The middle section shifts briefly to the minor mode, heightening the emotional intensity. The vocal line becomes more impassioned, and the double bass answers not with virtuosity alone, but with lyrical, song-like lines, showing its capacity for warmth as well as brilliance.
In the da capo reprise, the original themes return with added ornamentation. Both soloists take greater expressive liberties—cadential flourishes, extra turns, and playful embellishments—culminating in short cadenza-like exchanges.
The final measures feature the bass voice holding resonant tones while the double bass spins rapid figurations high above, an inversion of their expected roles. The orchestra closes the work with a graceful, courtly flourish.
` Within Mozart’s final-year output, Per questa bella mano stands alongside Sarastro’s arias in The Magic Flute as a testament to his affinity for the bass voice. Yet here, the focus is equally on the instrumental partner, making it as much a celebration of friendship between composer and performer as an exploration of unusual sonic possibilities. It remains a rare and rewarding showcase for both voice and double bass—equal partners in charm, virtuosity, and expressive depth.
Laut verkünde unsre Freude, K. 623
Laut verkünde unsre Freude, K. 623, often referred to as Eine kleine Freimaurer-Kantate, was composed on 15 November 1791 for the Viennese Masonic lodge Zur neugekrönten Hoffnung (“To the Newly Crowned Hope”). Written for the dedication of a new Masonic temple, it calls for two tenor soloists, a bass soloist, male chorus (TTB), and orchestra of flute, two oboes, two horns, and strings—forces ideally suited to the allmale membership and ceremonial setting.
The text, attributed either to Emanuel Schikaneder (librettist of The Magic Flute) or Karl Ludwig Giesecke, celebrates Masonic virtues: the pursuit of truth, moral refinement, and the fraternal bonds that unite the brethren. While The Magic Flute presented Masonic allegory in a public, theatrical form, Laut verkünde remains firmly within the ritual life of the lodge, blending formality with moments of intimacy.
Listening Guide
The cantata is structured in four concise movements that mirror one another:
Opening Chorus (Allegro, C major) – A jubilant proclamation of joy, with bright orchestral fanfares framing the resonant male chorus. The music conveys ceremonial welcome and collective unity.
Recitative and Aria (Andante, G major) – A soloist reflects on enlightenment and virtue. The aria’s lyrical elegance is supported by graceful string textures, offering a moment of personal meditation within the public ceremony.
Recitative and Duet (Andante, F major) – Two soloists exchange vows of loyalty and mutual aid, their voices intertwining over warm orchestral support—like a musical handshake sealing their bond.
Closing Chorus (Allegro, C major) – A reprise of the opening music, reinforcing the joy and solidarity of the occasion, and bringing the work full circle.
Mozart completed the cantata just three weeks before his death, making it his last fully finished composition. He conducted its premiere on 17 November 1791, and soon after, the lodge published the score to benefit Constanze Mozart—a moving testament to the personal bonds within his Masonic circle.
In the broader context of Mozart’s final year, Laut verkünde shares the clarity, optimism, and ceremonial grandeur of his late choral writing, from Ave verum corpus to the Masonic choruses in The Magic Flute. Its music is concise but eloquent, luminous in orchestration, and balanced between public celebration and private sincerity. As a farewell, it resounds not in lament, but in joy—an enduring musical benediction from Mozart to his brethren.
Symphony No. 41 in C major, K. 551 “Jupiter”
Mozart’s Symphony No. 41 in C major, K. 551, nicknamed the “Jupiter,” is the final symphony he ever composed, completed on 10 August 1788. It crowns a remarkable sequence of three symphonies—Nos. 39, 40, and 41—written within a matter of weeks during a period of financial and personal strain. Although the origin of the nickname “Jupiter” remains uncertain (likely coined by the impresario Johann Peter Salomon after Mozart’s death), it perfectly captures the music’s grandeur, brilliance, and Olympian mastery.
The symphony is scored for a full Classical orchestra: flute, pairs of oboes, bassoons, horns, trumpets, timpani, and strings. It stands as a summation of Mozart’s symphonic craft, fusing Italianate melodic grace with German contrapuntal rigor, and a sense of ceremonial brilliance befitting its key of C major.
Listening Guide
The symphony unfolds in four movements, each distinct yet part of a grand architectural whole:
Allegro vivace – A bold, martial opening theme launches the work with an air of celebration. Contrasting lyrical passages and brilliant orchestral tuttis create a dynamic interplay of character. Listen for Mozart’s seamless transitions between majestic fanfares and graceful song-like melodies.
Andante cantabile – In F major, this movement offers poised lyricism and subtle melancholy. The main theme, tinged with gentle sighing figures, undergoes elegant variations, revealing Mozart’s mastery of expressive shading within a restrained tempo.
Menuetto: Allegretto – A courtly yet robust minuet in C major, balanced by a contrasting trio in A minor. The earthy elegance of this dance offers a bridge between the intimacy of the slow movement and the grandeur of the finale.
Molto allegro – The celebrated finale is a contrapuntal tour de force. Five independent thematic ideas are introduced and developed with dazzling ingenuity, culminating in a climactic fugato where all five themes combine. The effect is both exhilarating and awe-inspiring—a symphonic apotheosis.
Though it may not have been performed in Mozart’s lifetime, Symphony No. 41 has become emblematic of his genius: it balances beauty and intellect, accessibility and complexity, human warmth and divine craftsmanship. In its synthesis of songful melody, architectural clarity, and contrapuntal brilliance, the “Jupiter” stands not only as the apex of Mozart’s symphonic writing, but as one of the greatest achievements in Western music.
Aria
Exsultate, jubilate, o vox animae beatae, dulcia cantica canendo, cantui vestro respondendo, psallant aethera cum me.
Rezitativ
Fulget amica dies, jam fugere et nubila et procellae; exortus est justis inexspectata quies. Undique obscura regnabat nox, surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date.
Aria Tu virginum corona, tu nobis pacem dona, tu consolare affectus, unde suspirat cor.
Aria Alleluja.
Per questa bella mano, per questi vaghi rai, giurami, idolo mio, che sempre m’amerai.
Ti giuro che mai più non cangerò pensiero, che fido ti sarò sino a l’ultimo spiro.
Se mai mentirti ardissi, dal ciel mi cada un fulmine, e in polve mi riduca.
Rejoice, be glad, O voice of the blessed soul; singing sweet songs, and in answer to your singing, let the heavens resound with me.
The friendly day shines forth, now clouds and storms have fled; for the righteous, unexpected peace has arisen. Everywhere the dark night held sway—rise at last in joy, you who have lived in fear until now, and to the happy, blessed dawn bring garlands and lilies with full hands.
You, crown of virgins, grant us peace, console our hearts’ longing, from which the soul sighs.
Alleluia!
By this fair hand, by these lovely eyes, swear to me, my beloved, that you will always love me.
I swear that never again will I change my heart, that I will be faithful to you until my final breath.
If ever I should dare deceive you, may a thunderbolt fall from heaven and reduce me to dust.
Chor; mit Soli:
Laut verkünde unsre Freude froher Instrumentenschall, jedes Bruders Herz empfinde dieser Mauern Widerhall.
Denn wir weihen diese Stätte durch die goldne Bruderkette und den echten Herzverein heut’ zu unserm Tempel ein.
Rezitativ; Tenor II:
Zum ersten Mal, edle Brüder, schließt uns dieser neue Sitz der Weisheit und der Tugend ein. Wir weihen diesen Ort zum Heiligtum unserer Arbeit, die uns das große Geheimnis entziffern soll.
Süß ist die Empfindung des Maurers an so einem festlichen Tage, der die Bruderkette neu und enger schließt; süß der Gedanke, daß nun die Menschheit wieder einen Platz unter Menschen gewann; süß die Erinnerung an die Stätte, wo jedes Bruderherz ihm, was er war, und was er ist, und was er werden kann, so ganz bestimmt, wo Beispiel ihn belehrt, wo echte Bruderliebe seiner pflegt und wo aller Tugenden heiligste, erste, aller Tugenden Königin, Wohltätigkeit in stillem Glanze thront.
Arie; Tenor II:
Dieser Gottheit Allmacht ruhet nicht auf Lärmen, Pracht und Saus, nein, im Stillen wiegt und spendet sie der Menschheit Segen aus.
Stille Gottheit, deinem Bilde huldigt ganz des Maurers Brust. Denn du wärmst mit Sonnenmilde stets sein Herz in süßer Lust.
Proclaim aloud our joy, let glad instruments resound! May every brother’s heart feel the echo within these walls.
For here we consecrate this place, bound by the golden chain of brotherhood, and the true union of hearts— today we dedicate it as our temple.
For the first time, noble brothers, this new hall embraces us in the shelter of wisdom and virtue. We set apart this place as the sanctuary of our labor, where the great mystery shall be revealed. How sweet to the Mason’s heart is such a day of festival— when the chain of brotherhood is drawn closer and stronger; sweet the thought that humankind has gained again a place among humankind; sweet the memory of the place where every brother learns what he was, what he is, and what he may yet become; where example instructs, where true fraternal love sustains, and where the first and holiest of virtues— the Queen of all, Charity— sits enthroned in gentle light.
The Almighty’s power rests not in noise, splendor, and display— but in quiet, it weighs and pours out blessings upon humanity.
Silent Godhead, to Your image the Mason’s heart bows wholly. With sunlike warmth You ever gladden his soul.
Rezitativ; Tenor I, Baß: Wohlan, ihr Brüder, überlaßt euch ganz der Seligkeit eurer Empfindungen, da ihr nie, daß ihr Maurer seid, vergeßt. Diese heut’ge Feier sei ein Denkmal des wieder neu und festgeschloss’nen Bunds. Verbannet sei auf immer Neid, Habsucht und Verleumdung aus unsrer Maurerbrust. Und Eintracht knüpfe fest das teuere Band, das reine Bruderliebe webte.
Duett, Tenor I, Baß: Lange sollen diese Mauern Zeuge unsrer Arbeit sein, und damit sie ewig daure, weiht sie heute Eintracht ein.
Laßt uns teilen jede Bürde mit der Liebe Vollgewicht, dann empfangen wir mit Würde hier aus Osten wahres Licht.
Diesen Vorteil zu erlangen, fanget froh die Arbeit an. Und auch der schon angefangen, fange heute wieder an.
Haben wir an diesem Orte unser Herz und unsre Worte an die Tugend ganz gewöhnt, o dann ist der Neid gestillet, und der Wunsch so ganz erfüllet, welcher unsre Hoffnung krönt.
Chor; mit Soli: Laut verkünde unsere Freude, ...
Come on, brothers, surrender yourself completely to the bliss of your feelings, so you never forget that you are a bricklayer. Be this celebration today a monument of the new and firmly closed covenant. Banish forever envy, Greed and slander from our mason’s chests. And unity tightly tie the dear bond, that pure brotherly love wove.
For a long time these walls shall be Witnesses of our work and so that it lasts forever, unity inaugurates today.
Let us share every burden with love full weight, then we receive with dignity true light here from the east.
To gain this advantage happily start to work. And what already is begun begin on it again today.
If we have in this place our heart and our words quite used to virtue, o then envy is satisfied, and the wish so completely fulfilled, which crowns our hope.
