Program Notes by Sylvia O’Neill

This program starts with a bang, as Kelsey and Chris authoritatively open with the festive “Sound the Trumpet” by Henry Purcell. We will also hear three soprano and trumpet duets by Alessandro Scarlatti: “Rompe Sprezza,” “Si riscaldi il Tebro,” and “Mio tesoro per te moro.” In all of these Baroque pieces, the trumpet acts as a brilliant and equal partner for the voice.

The rest of the program directly or indirectly celebrates two anniversaries: the 200^th anniversary of the death of Carl Maria von Weber (1786-1826) and the 150^th anniversary of the birth of Manuel De Falla (1876-1946). Since Weber’s cousin Constanza was married to Mozart, we are also presenting works by Mozart, including his late masterpiece, Sonata in C Major for piano four hands, played by Russell and me. Finally, we included Schubert’s “Ave Maria,” sung by Melissa, because the concert date is close to August 15, the Feast of the Assumption of the Blessed Virgin Mary.

Outside of the Baroque soprano and trumpet pieces, today’s music also explores different aspects of Romanticism. Although little of this music sounds typically “Romantic,” the pieces do reflect Romantic ideas. The most Romantic-sounding piece might be the Schubert “Ave Maria,” which infuses personal emotion into the liturgical text.

We will recognize Weber’s anniversary by presenting Ännchen’s aria, “Kommt ein schlanker Bursch,” sung by Kelsey. This aria is from Weber’s opera Der Freischütz, which is considered to be the first German Romantic opera because it engages with “Romantic” ideas such as mystical nature, the untamed forest, and the supernatural.

Mozart’s opera Die Zauberflöte is a product of the Enlightenment since its plot is based on the 18th-century initiation rites of Freemasonry and reflects the values of reason, virtue and moral transformation. Although rooted in the Enlightenment, this opera can be considered a precursor to Weber and German Romanticism through its use of supernatural and folk elements. Papageno’s aria “Ein Vogelfänger bin ich ja,” sung by Nicolas, is a folk-like melody that anticipates the Romantic fascination with nature and rural simplicity.

De Falla’s songs, “Asturiana,” “Nana,” and “Canción,” sung by Melissa, use dissonant 20th-century harmonies. Even without tonal harmonies, these songs still incorporate a feature of Romanticism since they are each based on distinct regional Spanish folk melodies.

We wish to thank our two wonderful coaches, Dr. Patricia Taylor Lee (piano) and Ms. Nancy Starr (German). We also thank Pocket Opera and its Executive Director, Nicolas A. Garcia, for their partnership and for granting permission to use Donald Pippin’s excellent English translations of Der Freischütz and Die Zauberflöte.