Concert Program
of Holy Week

DIE MEISTERSINGER

Excerpts from the opera Die Meistersinger von Nürnberg Arranged by Edmund J. Siennicki

​

"Die Meistersinger von Nürnberg" ("The Mastersingers of Nuremberg") is an opera from the Romantic period, composed by the famous German composer Richard Wagner in 1867. This opera, premiered in 1868 in Munich, is one of the longest in standard repertoire and is widely considered one of Wagner's masterpieces. The overture to "Die Meistersinger" is one of Wagner's most celebrated and is notable for its brilliant orchestration and rich palette of sonic colors. The overture lasts approximately ten minutes and is made up of several musical themes that are then developed and interspersed throughout the opera. The overture begins with a powerful prelude that establishes the main theme, followed by quieter, more lyrical sections that present other melodic motifs. These themes intertwine and develop into a musically complex but very coherent structure. One of the highlights of the overture is its use of the leitmotif, a musical technique characteristic of Wagner in which a specific musical motif is assigned to a character, object, or idea in the opera. Throughout the overture, motifs associated with the different characters and themes of the opera can be heard, helping to establish the mood and narrative before the stage action begins. The version we will perform tonight is an arrangement by the American composer and arranger, Edmund J. Siennicki, who selected several of the musical themes from Wagner's opera and combined them in this beautiful arrangement that evokes power, tranquility and pompousness. from the original composition of the industrious composer, Richard Wagner.

AIR of Suite No. 3 BWV1068

​

“Air” from Suite No. 3 in D major, BWV 1068, commonly known as “Air on the G String,” is one of the most famous and beloved pieces by German Baroque composer Johann Sebastian Bach. Suite No. 3 in D major is one of four orchestral suites composed by Bach and was written around 1730. Each suite consists of a series of stylized baroque dances, such as allemande, courante, sarabande and giga, although Suite No. 3 is exceptional because of its famous “Air”, which is a sarabande. The best-known version of this piece is the string adaptation of the main melody, which is performed mainly on the G string of the violin. This adaptation was made in the 19th century by the German composer August Wilhelmj and has become one of the most iconic interpretations of Bach's work. It is a piece that transmits a feeling of calm and tranquility, due to its serene beauty and its delicate and moving melody. It has been widely used in popular music, film soundtracks, video games, and various social and ceremonial events. This work has become one of the most recognizable and beloved pieces in Bach's repertoire.

BEN HUR Arranged by John Glenesk Mortimer

​

Ben Hur is a 1959 American film of the epic and dramatic genres, set mostly in the Roman province of Judea during the time of Emperor Tiberius, when the crucifixion of our Lord Jesus Christ occurs. It was directed by William Wyler and produced by Sam Zimbalist for Metro-Goldwyn-Mayer. His main roles are played by Charlton Heston, Stephen Boyd, Jack Hawkins, Hugh Griffith and Haya Harareet. Through a spectacular plot, the film takes us to see what it is to find forgiveness. The music for "Ben-Hur" composed by Miklós Rózsa, a Hungarian-American composer, is one of the most iconic soundtracks in film history. The film "Ben-Hur", directed by William Wyler, was released in 1959 and is an epic adaptation of the novel of the same name by Lew Wallace. Rózsa's score contributed significantly to the emotional and dramatic impact of the film, winning numerous awards, including the Oscar for Best Original Score. Rózsa's music for "Ben-Hur" is a masterpiece of film music, known for its grandeur and majesty. The score features a variety of memorable and emotional themes that perfectly complement the film's visual narrative, from moments of action and battle, to moments of introspection and emotionality. One of the highlights of the score is the use of leitmotifs, recurring musical themes associated with specific characters, places, or emotions in the film. These leitmotifs help establish thematic cohesion and guide the viewer through the film's complex plot. Rózsa's score for "Ben-Hur" remains a classic example of how music can elevate a film to new heights of grandeur and emotionality.

AVE VERUM CORPUS Motet K. 618

​

"Ave verum corpus" is a motet composed by Wolfgang Amadeus Mozart in 1791. It is one of his final works, completed on June 17, 1791, just six months before his death. The motet is written for SATB choir and strings. The text is a short Eucharistic hymn, in Latin, dating from the 14th century and attributed to Pope Innocent VI. It used to be sung at mass, during the consecration, just at the moment when the host is raised. Despite its brevity (it lasts only about three minutes), "Ave verum corpus" is considered one of Mozart's most moving and sublime compositions. It exemplifies Mozart's mastery of sacred choral music, characterized by its simplicity, elegance and profound expression of faith. Mozart's music for this text is deeply reverent and reflective, capturing the solemnity and devotion of the words. It is characterized by its lyrical melodies, graceful harmonies and sensitive phrasing, evoking a sense of spiritual contemplation and reverence. Despite its brevity, "Ave verum corpus" remains a cherished piece in the choral repertoire and is frequently performed in sacred settings such as church services, concerts, and memorial services. Its enduring popularity is a testament to Mozart's enduring legacy as one of the greatest composers in history. Text in Latin: Ave verum corpus, natum De Maria Virgine, Vere passum, immolatum In cruzo pro homine, Cujus latus perforatum Unda fluxit et sanguine, Esto nobis praegustatum In mortis examine. It translates into English as: “Hail, true Body, born of the Virgin Mary, Who truly suffered, sacrificed on the Cross for humanity, Whose pierced side gushed water and blood, Be for us a foretaste in the trial of death. "

NO. 6 CONFUTATIS - NO.7 LACRIMOSA

​

​

​

Concert Choir School of Fine Arts of Bayamon Solmarí Figueroa, director Superior Choir Specialized School of Fine Arts “Pablo Casals” of Bayamón Rubén M. Mattos Escabí, director

​

The Requiem in D minor, K. 626, is one of the most famous and emblematic works of Wolfgang Amadeus Mozart, musical genius, distinguished Austrian composer and pianist, master of the era of Classicism. It is a requiem mass, that is, a liturgical work that is composed to honor and pray for the deceased. The work was commissioned by an Austrian nobleman, Count Franz von Walsegg, who wished to honor his late wife through a mass. Mozart worked on the Requiem while seriously ill and under intense time pressure. As his health declined, he was only able to complete part of the work before his death on December 5, 1791, at the age of 35. But he left instructions and sketches for his student Franz Xaver Süssmayr, who completed the work based on Mozart's instructions. The structure of the Requiem consists of several sections, including the Introit, the Kyrie, the Dies Irae, the Rex Tremendae, the Recordare, the Confutatis, the Lacrimosa, the Sanctus, the Benedictus and the Agnus Dei, among others. 1. Confutatis: This movement, which is part of the Dies Irae sequence, presents a Latin text that deals with the Last Judgment and the condemnation of sinners. The word "Confutatis" translates as "when the damned" and describes the torments of the damned in hell. The music of this movement is dramatic and passionate, reflecting the weight and solemnity of the text. It is an intense musical expression of anguish and fear in the face of divine judgment. 2. Lacrimosa: This movement, which immediately follows the Confutatis, continues the sequence of the Dies Irae. The text of the "Lacrimosa" is a plea for the eternal rest of the deceased, imploring divine mercy and liberation from suffering. The word "Lacrimosa" translates as "weeping" or "lamentable," and the music of this movement reflects that emotionality with its mournful melody and moving harmonies. It is one of the most moving and emotional moments in Mozart's Requiem, capturing the depth of human pain and the hope of divine redemption. Both movements, "Confutatis" and "Lacrimosa," are outstanding examples of Mozart's musical genius and his ability to express a wide range of emotions through music. Their beauty and emotional power have made these pieces loved and revered by listeners and musicians around the world. 1. Confutatis, maledictis, flamis acribus addictis. Voca, voca me, voca me cum benedictis! Oro supplex et aclinis, cor contritum quasi cinis. Gere curam mei finis! When the damned, cursed, thrown into the burning flames. Call me, call me, call me with the blessed. Pray suppliantly and humbly, heart contrite as ashes. Take care of me in the end. 2. Lacrimosa dies illa, qua resurget exafilam judicandus homoreus. Huic ergo parce, Deus, pie Jesu, Domine! Donate this requiem. Amen! Tearful day, the one in which man will rise to be judged. Therefore, have mercy on this one, O God, dear Jesus, Lord. Grant them rest. Amen!

THE LORD'S PRAYER - Arranged by Carl Dei

​

"The Lord's Prayer" is a well-known musical work by American composer Albert Hay Malotte, who composed it in 1935, using the words of the Lord's Prayer, a central Christian prayer in religious tradition. Malotte's music for "The Lord's Prayer" is reverent and solemn, capturing the devotion and sense of reverence associated with prayer. The composition has been widely performed in religious and secular contexts, and has been recorded by numerous artists over the years. The melody of "The Lord's Prayer" is instantly recognizable and has been appreciated for its beauty and simplicity. It is one of Malotte's most popular compositions and has touched the hearts of countless listeners with its spiritual message and beautiful music. The piece remains a popular choice for weddings, church services and special events, and continues to be a beloved part of the vocal repertoire.

WHEN YOU BELIEVE From the film THE PRINCE OF EGYPT Choral arrangement by Audry Snyder Orchestral arrangement by John Moss

​

COMBINED CHORUS "The Prince of Egypt" is an American musical animated film released in 1998 by DreamWorks Animation. The film, directed by Brenda Chapman, Steve Hickner and Simon Wells, is an adaptation of the biblical story of the Exodus, which chronicles the life of Moses, from his birth to his leadership in the liberation of the Hebrew people from slavery in Egypt. "When You Believe" is one of the songs in this movie. The song, composed by Stephen Schwartz and with music by Hans Zimmer, is performed in the film as a duet by singers Whitney Houston and Mariah Carey. The lyrics of "When You Believe" talk about faith and hope, and how these qualities can lead people to overcome obstacles and achieve the impossible. The song is based on the faith, gratitude and joy of the Hebrew people when they cross the Red Sea, after Moses divides it, with the help of God, according to the biblical story of the Exodus. You will hear the song of joy with the text in Hebrew. The song became a huge hit both commercially and critically. It won the Oscar for Best Original Song in 1999 and the Golden Globe for Best Original Song. Additionally, the song received the Grammy Award for Best Pop Performance by a Duo or Group with Vocal in 2000. It is one of the most popular and beloved songs from the movie "The Prince of Egypt," and its inspiring and powerful message continues to be inspiration for many.