Old St. Patrick’s Church
700 W Adams St
Chicago, IL 60661
Ticket Information: www.signmeup.com/118699
Franz Joseph Haydn’s masterpiece The Seven Last Words of Christ is a meditation on the gravity of tragedy and the possibility of hope and redemption, explored through the purity and intimacy of the string quartet. The music expresses the immense weight of Christ’s suffering in an Introduction, seven slow movements, and a depiction of the earthquake. Haydn wrote “each movement is expressed by purely instrumental music in such a way that even the most uninitiated listener will be moved to the very depths of his soul.” This work was originally commissioned in 1783 for the Good Friday services at the Cathedral in Cádiz, Spain, providing a sonic backdrop for meditation on each of the seven last utterances of Christ. This musical treasure has endured the test of time, remaining in the performance repertory for more than 200 years.
On The Seven Last Words of Christ, Haydn wrote: About fifteen years ago I was requested by a canon of Cadiz to compose instrumental music on The Seven Last Words of Our Saviour on the Cross. It was customary at the Cathedral of Cadiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the centre of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit, and prostrated himself before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on…. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits…
The Haymarket String Quartet is composed of members of Haymarket Opera Orchestra. Founded in the summer of 2016 in order to explore the rich quartet literature from the 18th century, HSQ makes its public debut with this concert.
Elizabeth Blumenstock is a long-time concertmaster, soloist, and leader of the San Francisco Bay Area’s Philharmonia Baroque and American Bach Soloists, concertmaster of the International Handel Festival in Göttingen, Germany, and artistic director of the Corona del Mar Baroque Music Festival. Her love of chamber music has involved her in several accomplished smaller ensembles including Musica Pacifica, Galax Quartet, Ensemble Mirable, Live Oak Baroque, and Voices of Music. In addition to Juilliard’s Historical Performance program, she teaches at the San Francisco Conservatory of Music, the American Bach Soloists’ summer Festival and Academy, the International Baroque Institute at Longy, and the Valley of the Moon Music Festival. Ms. Blumenstock plays a 1660 Andrea Guarneri violin built in Cremona, Italy, on generous loan to her from the Philharmonia Baroque Period Instrument Trust.
Jeri-Lou Zike is a versatile, energetic musician who enjoys a variety of artistic activities in symphonic, baroque, and chamber music. She is principal and founding member of the Metropolis Symphony Orchestra and principal second violin of the Chicago Opera Theater. She is also a member of the Chicago Philharmonic, the Joffrey ballet orchestra and the Ravinia Festival Orchestra. As a period instrument performer, Ms. Zike is concertmaster of Haymarket Opera Company. Other musical credits include principal of Baroque Band, soloist with the Chicago Baroque Ensemble, Concertmaster of the University of Chicago Rockefeller Chapel Concerts, as well as performances with His Majestie’s Clerkes, Kansas City Music Consort, and Music of the Baroque.
Dave Moss is an accomplished chamber musician who has performed with Joshua Bell, Itzhak Perlman, Jaime Laredo, Miriam Fried, Shmuel Ashkenasi, Yo-Yo Ma, Renée Fleming, and with members of the Juilliard, Guarneri, and Ying Quartets. As an orchestral musician he has performed with the Metropolitan Opera Orchestra and the Chicago Symphony Orchestra. His interest in historical performance has led him to work recently with Tafelmusik and with tenor Mark Padmore at the Britten-Pears Festival, as well as performing with Haymarket Opera Company, Baroque Band, and Callipygian Players. Moss is a graduate of The Juilliard School and Oberlin Conservatory and is currently pursuing his MBA in finance at University of Chicago. Dave makes his home in Chicago where he is on faculty of the Arts with Juilliard Program at the British International School.
Craig Trompeter has been a musical presence in Chicago for more than twenty years, performing in concert and over the airwaves with Second City Musick, Music of the Baroque, the Chicago Symphony, Lyric Opera of Chicago, Chicago Opera Theater, the Cal Players, the Newberry Consort, and the Oberlin Consort of Viols. As chamber musician, he has appeared at the Metropolitan Museum of Art, the Art Institute of Chicago, the Glimmerglass Festival, the Brooklyn Academy of Music, and the Valletta International Baroque Festival in Malta. He has performed as soloist at the Ravinia Festival, the annual conference of the American Bach Society, with the Chicago Symphony Orchestra, and with Music of the Baroque. He is the Artistic Director of Haymarket Opera Company.