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Home , Boston Baroque, Boston Camerata, Festival Mozaic, Pamela Dellal, The Tallis Scholars, Wallenberg (opera)

A Mass for St. Augustine of Canterbury

Friday, October 17, 2014 St. Peter’s Episcopal Church, Weston

Saturday, October 18, 2014 First Church in Cambridge, Congregational late summer of 1540 Canterbury Cathedral had PROGRAM NOTES put together a roster including ten “queresters” (choristers, “quire” being the normal sixteenth- century spelling of the word), their master, and A Mass for St. Augustine of Canterbury Music by the anonymous twelve vicars-choral, the professional singing- and the unknown men. is listed first of the “vyccars”; Introit: Sacerdotes dei benedicite Sarum plainchant Bull is sixth. But besides singers, the new choral establishment required an entire library of up-to- Kyrie Orbis factor This program is part of Blue Heron’s long-range project of performing and recording long- date polyphonic repertory, and this Bull supplied, unsung music from the so-called Henrician set of bringing about 70 works with him from Oxford. Gloria / Missa sine nomine Anonymous (Peterhouse partbooks, c.1540) partbooks now residing at Peterhouse, Cambridge. The brilliant choral institution at Canterbury Credo / Missa sine nomine The partbooks, originally five in number, contain a large collection of Masses, Magnificats, and would not last long. Henry died in 1547 and the votive antiphons. They were copied in the latter Protestant refomers who came to power with the —intermission— years of the reign of Henry VIII at Magdalen ascension of his young son, Edward, took a dim College, Oxford, by the professional singer and view of such popish decorations as professional music scribe Thomas Bull, just before Bull left choirs and the highly sophisticated Latin music Votive antiphon: Ave Maria, mater dei Robert Hunt (early 16th century) Oxford to take up a new position at Canterbury they sang. All the elaborate polyphonic music Cathedral. of late medieval English Catholicism became, at Sanctus /Missa sine nomine Anonymous best, obsolete; at worst it was viewed as gaudy Bull wrote down, within a very short time, a great ornament to a despicable ritual. Many musical Agnus dei / Missa sine nomine quantity of music in plain, carefully checked, and manuscripts were lost and many destroyed, and highly legible copies that were clearly intended if a manuscript escaped deliberate destruction to be used for liturgical performance, rather by zealots, it might yet be subjected to other than for study or for presentation to a noble indignities: as a gift. (A presentation manuscript would demand decoration and fancy trimmings.) Why A greate nombre of them whych purchased did Bull copy so much music so quickly? He those superstysyouse mansyons [the former appears to have been commissioned to supply monasteries], reserved of those librarye Canterbury Cathedral with a complete repertoire bokes, some to serve their jakes [privies], of polyphonic music. The monastic foundation at some to scoure their candelstyckes, and Canterbury had been dissolved by Henry VIII in some to rubbe their bootes. Some they solde April 1540, one of nearly a dozen great monastic to the grossers and sope-sellers…. Yea the treble Jolle Greenleaf, Sonja Tengblad, Teresa Wakim cathedrals dissolved in the years 1539-41. Most universytees of thys realm are not all clere in mean Jennifer Ashe, Pamela Dellal, Martin Near were refounded in short order as secular (i.e. this detestable fact…. I know a merchaunt contratenor Owen McIntosh, Mark Sprinkle non-monastic) institutions, which were subject man, whych shall at thys tyme be namelesse, Jonas Budris, Jason McStoots not to an abbot—a member of a religious order— that boughte the contentes of two noble Paul Guttry, Steven Hrycelak, Paul Max Tipton but to a bishop and thence to the king, who had lybraryes…. Thys stuffe hath he occupied in declared himself head of the Church of England. the stede of graye paper [wrapping-paper] Scott Metcalfe,director Now, monks sang mostly plainchant and did not for the space of more than these x yeares, generally attempt virtuosic polyphonic music, and yet hath store ynough for as many yeares Pre-concert talk on Friday by Scott Metcalfe & Saturday by James Simpson (Harvard University). but the new foundation cathedrals aspired to to come. considerable pomp and circumstance and so they needed to hire a choir of professional singers Preface to The laboryouse Journey & serche of Johann Leylande for England’s Antiquities (1549) Blue Heron is funded in part by the Cultural Council, a state agency. as well as recruit and train choirboys. By the

Blue Heron PO Box 372 Ashland MA 01721 (617) 960-7956 [email protected] www.blueheronchoir.org Sandon himself is not convinced of this tend to be quirky, angular, and busy, especially Very few collections of church music survived We are able to sing the Peterhouse music hypothesis, writing that “In reality, the omission in sections of reduced scoring for two or three the upheaval. The main sources extant from the nowadays thanks to the extraordinarily skilled of the composer’s name and the work’s title must parts, such as the duet in the Credo that follows entire first half of the sixteenth century are a mere recomposition of the missing parts by the English surely be wholly innocent”—in short, that the the opening passage for the full ensemble. There three choirbooks, four sets of partbooks, and one musicologist Nick Sandon. (Sandon also pieced scribe probably omitted this information simply is one, and only one, instance of a “Gimel” or organ manuscript. (Compare this paucity to, for together the story of the genesis of the partbooks because he didn’t know it. But the connection to two lines written for one divided voice part: the example, choirbooks owned in 1524 that I have related above.) Sandon completed Augustine via the chant quotation remains quite texture of two trebles and one mean, answered by a single establishment, Magdalen College, his dissertation on the Peterhouse partbooks plausible, and with this possibility in mind, we by a trio of lower voices, is a beautiful surprise Oxford.) We do not know what happened to in 1983, including in it recompositions of most open our concert performance with the introit when it occurs early in the Gloria, and it is almost Bull’s five partbooks (one each for the standard of the missing lines; in the years since he has from the Mass for the feast of a Confessor- equally surprising that it never recurs. The five parts of early sixteenth-century English been refining his work and gradually issuing it Bishop, leading from that into the troped Kyrie piece features some arresting harmonic changes, polyphony: treble, mean, contratenor, tenor, and in Antico Edition. For the anonymous Missa sine Orbis factor and thence to the first of the four notably at the end of each movement. In every bass) between 1547 and the early years of the nomine and Robert Hunt’s Ave Maria, Sandon movements of the Missa sine nomine, the Gloria. movement but the Sanctus the last section is next century, but by the 1630s they had made recomposed the entire tenor line. (Sixteenth-century English polyphonic settings written in a mensuration (a time signature, more their way to the library of Peterhouse, where of the mass never include a Kyrie, leaving it to or less) that implies a very quick triple meter— they would survive yet another cataclysm of be sung in plainchant in one of several traditional, another surprise, especially for the final words of destruction, that wrought by the Puritans in the elaborate troped texts like Orbis factor.) the Mass, “Dona nobis pacem.” All these things 1640s. A Mass without a name lend the piece a strongly individual character. As for the composer, Professor Sandon can Or, at least, some of Bull’s five partbooks survived. The anonymousMissa sine nomine is based on a identify no likely candidate. The music, as he says, At some point the tenor book disappeared, along plainchant cantus firmus. The copyist Thomas is “fluent, vigorous and imaginative,” but lacks with several pages of the treble. Now, of the 72 Bull gave a title to almost every Mass in the features which would associate it with the style Hunt’s Ave Maria mater dei pieces in the set, 39 are transmitted uniquely, partbooks; in the case of a cantus firmus mass, of other composers represented in the Peterhouse while another dozen or so are incomplete in their the title is normally the first few words of the partbooks or in other manuscripts. The Mass may The Peterhouse partbooks are the only extant other sources. The result is that some fifty pieces chant passage. Why he omitted the title in this well be the work of a skilled and prolific composer source of music by Robert Hunt. The composer of music—a significant portion of what survives case is something of a mystery, and the mystery whose music has disappeared, in part or altogether. has not been identified but may have been the from pre-Reformation England—now lack their is deepened by Sandon’s failure (after decades Indeed, it is only due to the happy survival of the chorister of that name at Magdalen College tenor, and some of these are also missing all or part of work on the partbooks) to locate a perfectly Peterhouse partbooks (about four-fifths of them, between 1486 and 1493; if so he would have of their treble. In the Peterhouse repertoire, music convincing match for the cantus firmus melody. to be precise) that we know anything, or anything been born around 1478. Only two pieces by him by the most famous masters of the early sixteenth The nearest he has come is a part of an antiphon much, of Mason, Pygott, Jones, or Hunt, just to exist: we performed his Stabat mater last season century, such as Robert Fayrfax, , from vespers on the feast of a confessor-bishop, name a few composers whose music Nick Sandon and it will appear on volume 4 of our series Music and Thomas Tallis, sits next to music by less and it is this discovery that prompted him to has restored and which Blue Heron has been from the Peterhouse Partbooks. Like the powerfully celebrated but nonetheless first-class composers speculate that the Mass may have been dedicated fortunate enough to sing. eloquent Stabat mater, Hunt’s Ave Maria mater dei such as Nicholas Ludford and Hugh Aston, and a to the local luminary, St. Augustine of Canterbury, is a bit rough and craggy, and it shares with that number of wonderful pieces by musicians whose or, as a late fifteenth-century English source has Each movement of the Mass opens with a few work the characteristic of turning dramatically careers are less well documented and who have it, “Saynt Austyn that brought crystendom in measures of exactly the same music before it from one mood to another. Here that is achieved been virtually forgotten for the simple reason to Englond.” If so, perhaps there was something pursues its own way, each coming to rest a short by quick shifts between major and minor that so little of their work survives: Richard politically risky about a Mass dedicated to a saint while later, pausing for breath, as it were, after sonorities, close or simultaneous juxtaposition Pygott, John Mason, Robert Jones, Robert Hunt, who played a foundational role in establishing the exordium of its argument. The cantus firmus, of two forms of the same note (B-flat versus and others. Some of these men cannot even be Catholicism in England—a man whose lofty which is recognisable as a sequence of long notes, B-natural, C-natural versus C-sharp), or sudden identified with certainty. And, although Bull was stature and unquestionable authority as a leader is heard mostly in the mean, the second voice changes in the speed at which motives move or quite scrupulous in providing ascriptions for the of the church must have offered, to religious from the top, occasionally migrating elsewhere answer each other—or by all of the above at once, music he copied, two of the unique Peterhouse conservatives such as the new dean and chapter including its traditional locus in the tenor (in the as at the words “sed tuam sanctissimam.” Note works are anonymous, including the mass we at Canterbury Cathedral, a telling contrast to the Sanctus at “in nomine domini”), and, strikingly, also the marvelous way the piece relaxes into the sing today. present king. And perhaps that is why the Mass the bass (in the second invocation of the Agnus Amen, which lasts a full quarter of the length of was left without ascription. dei at “qui tollis peccata mundi”). The melodies this unusually concise antiphon.

4 5 Vocal scoring and voice types very low, it continueth in one ordinari tenor in the passage quoted above, and indeed, no As always, we are immensely grateful to Nick of the voice and therefore may be sung by an less a musician than is known to Sandon for his matchless skill in restoring this The five-voice scoring of pre-Reformation indifferent [that is, average] voice. have participated in liturgical music-making wonderful music and allowing it to sound anew. English polyphony employs four basic voice with a mixed choir. The English Jesuit William A thorough account by Sandon of the history types: treble (sung by a boy with a specially The orContratenor , is so called, Weston, visiting the Berkshire country house of of the Peterhouse partbooks and his restoration trained higher voice), mean (sung by a boy with becaus it answereth the Tenor, though com- Richard Ford in 1586, described “a chapel, set work may be found in volume 1 of Blue Heron’s an ordinary voice), tenor, and bass. Tenor parts monly in higher keyz [clefs]: and therefore aside for the celebration of the Church’s offices” CD series, Music from the Peterhouse Partbooks. are further divided into tenor and contratenor, is fittest for a man of a sweet shrill voice.1 and musical forces that included “an organ and the latter a part written “against the tenor” and Which part though it have little melodi by other musical instruments and choristers, male —Scott Metcalfe originally in the same range. Beginning around itself…yet in Harmoni it hath the greatest and female, members of his household. During the 1520s English contratenor parts tended to lie grace specially when it is sung with a right these days it was just as if we were celebrating slightly higher than the tenor. On the continent voice: which is too rare. an uninterrupted Octave of some great feast. this bifurcation happened somewhat earlier: Mr Byrd, the very famous English musician and the higher part was called a contratenor altus, a The Mean is so called, because it is a mid- organist, was among the company.” “high part written against the tenor,” eventually dling or mean high part, between the Coun- to be known simply as altus. A contratenor was tertenor, (the highest part of a man) and the While sixteenth-century English choirs employed not a man singing in falsetto (like the modern Treble (the highest part of a boy or woman) boys on the “mean” line, on the continent parts “countertenor”) but a high tenor. and therefore may bee sung by a mean voice. in this range were sung either by adult male falsettists or by boys. Our mean is sung by one An anonymous early Jacobean document de- The Treble is so called, because his notes ar male falsettist and two women. Contratenor, scribes these five voice types succinctly: placed (for the most part) in the third Sep- tenor, and bass lines are sung by high, medium, tenari [i.e. the highest of the three octaves and low mens’ voices, respectively. Nature has disposed all voices, both of men of the normal composite range of human and children, into five kinds, viz: Basses (be- voices], or the Treble cliefs: and is to be sung In its size and distribution our ensemble very ing the lowest or greatest voices), be- with a high cleere sweete voice. closely resembles the one pre-Reformation ing neither so low or so great, choir for which we have detailed evidence of (being less low and more high than tenors) Although not so well documented for earlier eras, the distribution of voices used in an actual of which three kinds all men’s voices consist. the division of male voices into five types dates performance, as opposed to a roster of the singers Then of children’s voices there are two kinds, back to well before the Reformation. An entry in on staff. On one typical occasion in about 1518, viz. Meane voices (which are higher than the early sixteenth-century Household Book of this choir—that of the household chapel of the men’s voices) and Treble voices, which are the Earl of Northumberland, for example, divides Earl of Northumberland—was divided very the highest kind of Children’s voices. the “Gentillmen and childeryn of the chapell” as much as ours is, 3/3/2/2/3 from top to bottom. follows: “Gentillmen of the chapell viij viz ij Grand collegiate foundations such as Magdalen Charles Butler provides more detail (and some Basses ij tenors aund iij Countertenors yoman or College or cathedrals like Canterbury may fanciful etymology) in The principles of musik grome of the vestry j Childeryn of the chapell v have sung polyphonic music with larger forces. (1636): viz ij Tribills and iij Meanys.” Between 1500 and 1547 Magdalen College usually maintained a complement of 16 boys and The Base is so called, becaus it is thebasis or As for our forces, since we are not bound by 9 or 10 men; the Canterbury staff list of 1540 foundation of the Song, unto which all the the old ecclesiastical prohibition against men includes 10 choristers and 12 men (13 counting other Partes bee set: and it is to be sung with and women singing sacred music together, our the master of the choristers), whom we might a deepe, ful, and pleasing Voice. treble parts are sung by women, rather than imagine to have divided themselves 5/5/4/4/4, boys. Charles Butler suggests the possibility if the entire choir ever sang polyphony together. The Tenor is so called, because it was com- I know of no evidence, however, that connects a 1 monly in Motets the ditti-part or Plain-song… “Shrill” meant high or bright and did not carry the negative particular complement or distribution of forces connotations it has now. The word might describe the sound or (if you will) becaus neither ascending to of a lark or a trumpet, as in “the shrill-gorg’d Larke” (King Lear to the performance of a specific piece of music. any high or strained note, nor descending IV.vi.58) or “the shrill Trumpe” (Othello III.iii.351).

6 7 A MASS FOR ST. AUGUSTINE OF CANTERBURY Credo in unum deum, patrem omnipotentem, I believe in one God, the Father almighty, maker factorem celi et terre, visibilium omnium et of heaven and earth and of all things visible and invisibilium. Et in unum dominum Jesum invisible. And in one Lord Jesus Christ, the only Introit Christum, filium dei unigenitum: et ex patre Son of God, eternally begotten of the Father. God Sacerdotes Dei, benedicite dominum: sancti et O priests of God, bless the Lord: praise him with a natum ante omnia secula. Deum de deo, lumen from God, Light from Light, true God from true humiles corde laudate deum. holy and humble heart. de lumine, deum verum de deo vero. Genitum God. Begotten, not made; of one being with the Ps. Benedicite omnia domini domino: Ps. Bless all the works of the Lord in the name of the non factum, consubstantialem patri: per quem Father, through whom all things are made. He was laudate et superexaltate eum in secula. Lord: praise and exalt him forever. omnia facta sunt. Et incarnatus est de spiritu born of the Holy Spirit and the Virgin Mary, and Gloria patria et filio et spiritui sancto: sicut erat Glory to the Father and the Son and the Holy Spirit: sancto ex Maria virgine: et homo factus est. was made man. He was crucified for our sake under in principio et nunc et semper et in secula as it was in the beginning, is now, and ever shall be, Crucifixus etiam pro nobis sub Pontio Pilato: Pontius Pilate, died, and was buried. On the third seculorum. Amen. world without end. Amen. passus et sepultus est. Et resurrexit tertia die day he rose again, in accordance with the Scriptures. secundum scripturas. Et ascendit in celum: He ascended into heaven and is seated at the right Kyrie Orbis factor sedet ad dexteram patris. Et iterum venturus hand of the Father. He will come again to judge Orbis factor rex eterne eleyson. World-creator, eternal King, have mercy. est cum gloria judicare vivos et mortuos: cujus both the living and the dead, and his kingdom shall Pietatis fons immense eleyson. Immeasurable fountain of kindliness, have mercy. regni non erit finis. Amen. have no end. Amen. Noxas omnes nostras pelle eleyson. Take away all our faults, have mercy. Christe qui lux es mundi dator vite eleyson. Christ, who art light of the world, life-giver, have mercy. Arte lesos demonis intuere eleyson. Behold the wounds caused by demonic arts, have mercy. Conservans te credentes confirmansque eleyson. Preserving and strengthening your believers, have mercy. Ave Maria, mater dei, regina celi, domina mundi, Hail Mary, mother of God, queen of heaven, lady Patrem tuum teque flamen utrorumque eleyson. Spirit of both you and your Father, have mercy. imperatrix inferni. nostri et totius of the world, empress of hell. Have mercy on us Deum scimus unum atque trinum esse eleyson. We know God to be one and three, have mercy. populi christiani, et ne permittas nos mortaliter and the whole Christian people, and do not let us Clemens nobis assis Paraclite ut vivamus in te O merciful Holy Spirit, be with us, that we may live in peccare, sed tuam sanctissimam voluntatem commit mortal sin, but let us fulfill your most holy eleyson. you, have mercy. adimplere. Amen. will. Amen.

Gloria in excelsis deo, et in terra pax hominibus Glory to God in the highest, and on earth peace to Sanctus, sanctus, sanctus, dominus deus sabaoth. Holy, Holy, Holy, Lord God of hosts. bone voluntatis. Laudamus te. Benedicimus te. all of good will. We praise you. We bless you. We Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory. Adoramus te. Glorificamus te. Gratias agimus adore you. We glorify you. We give thanks to you Osanna in excelsis. Hosanna in the highest. tibi propter magnam gloriam tuam. Domine for your great glory. Lord God, heavenly king, Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the Lord. deus, rex celestis, deus pater omnipotens. almighty God the Father. Lord Jesus Christ, only Osanna in excelsis. Hosanna in the highest. Domine fili unigenite, Jesu Christe. Domine begotten Son. Lord God, lamb of God, Son of deus, agnus dei, filius patris. Qui tollis peccata the Father. Who takes away the sins of the world, mundi, miserere nobis. Qui tollis peccata have mercy on us. Who takes away the sins of the Agnus Dei, qui tollis peccata mundi, miserere Lamb of God, who takes away the sins of the world, mundi, suscipe deprecationem nostram. Qui world, receive our prayer. Who sits at the right nobis. Agnus Dei, qui tollis peccata mundi, have mercy on us. Lamb of God, who takes away the sedes ad dexteram patris, miserere nobis. hand of the Father, have mercy on us. For you miserere nobis. Agnus Dei, qui tollis peccata sins of the world, have mercy on us. Lamb of God, Quoniam tu solus sanctus, tu solus dominus, tu alone are holy, you alone are the Lord, the Most mundi, dona nobis pacem. who takes away the sins of the world, grant us peace. solus altissimus, Jesu Christe, cum sancto spiritu High, Jesus Christ, with the Holy Spirit in the in gloria dei patris. Amen. glory of God the Father. Amen.

8 9 he vocal ensemble Blue Heron has been season included a return to The Cloisters and acclaimed by The Globe as “one of debut appearances at the Library of Congress, at Tthe Boston music community’s indispensables” Yale University, and in Seattle, Kansas City, and and hailed by Alex Ross in The New Yorker for Cleveland. In 2014-15 the ensemble inaugurates the “expressive intensity” of its interpretations. a long-term project to perform the complete Combining a commitment to vivid live works of Johannes Ockeghem and tours to St. performance with the study of original source Louis, , and Milwaukee. materials and historical performance practice, Blue Heron ranges over a wide and fascinating repertoire, including 15th-century English and Franco-Flemish polyphony, Spanish music between 1500 and 1600, and neglected early Mustering up “rock solid technique” and 16th-century English music, especially the “the kind of vocal velvet you don’t often hear rich and unique repertory of the Peterhouse in contemporary music” (Boston Phoenix), partbooks, copied c. 1540 for Canterbury Jennifer Ashe has been praised Cathedral. Blue Heron’s first CD, featuring for performances that are music by Guillaume Du Fay, was released “pure bravura…riveting in 2007. In 2010 the ensemble inaugurated the audience with a radiant a 5-CD series of Music from the Peterhouse and opulent voice” (The Partbooks. Three discs have been released so Boston Globe). A strong far, of music by Hugh Aston, Robert Jones, advocate of new works, Nicholas Ludford, John Mason, and Richard she frequently performs Pygott; volume 4 will be released in April 2015 with the Harvard Group and volume 5 in 2016. Blue Heron has also for New Music, New recorded a CD to accompany the book Capturing Music Brandeis, New Gallery Concert Series, Music: The Story of Notation by Thomas Forrest and the Fromm Festival at Harvardm and is a Kelly, forthcoming in November 2014 from senior member of the Callithumpian Consort W. W. Norton. All of Blue Heron’s recordings and the soprano for the Boston Microtonal have received international critical acclaim and Society’s chamber ensemble NotaRiotous. volume 1 in the Peterhouse partbooks series She created the role of Sarah Palin in Guerilla made the Billboard charts. Opera’s premiere of Say It Ain’t So, Joe by Curtis Hughes. Recent projects include Lukas Foss’s Blue Heron has appeared at the Boston Early Time Cycle with Boston Musica Viva and Phillip ; in New York City at The Leroux’s Voi(Rex) with Sound Icon. She also Cloisters, the 92nd Street Y, and Music Before sings with and the Handel & 1800; at Dumbarton Oaks in Washington, Haydn Society. Ashe holds a DMA and an MM D.C., at Festival Mozaic in San Luis Obispo, from the New England Conservatory and a BM California, and at the Berkeley from the Hartt School of Music. Formerly on Festival. In September 2012, Blue Heron took the faculties of the College of the Holy Cross up a new position as ensemble in residence and Eastern Connecticut State University, she at the new Center for Early Music Studies at teaches for Music and Movement of Newton . Highlights of the 2013-14 and the Dana Hall School of Music in Wellesley.

10 11 Tenor Jonas Budris is a concert soloist, stage Heron, and the Musicians of the Old Post Road. around Boston as soloist with Emmanuel Music, vocal energy and rhythmic performer, and ensemble She has been a regular soloist in the Emmanuel the Handel & Haydn Society, the Boston Early bite” and his “strong yet musician, engaging new Music Bach Cantata series for over twenty- Music Festival, the Music Center, sweet tenor voice” produces works, early music, and five years and has performed almost all 200 of Cantata Singers, Boston Cecilia, Prism Opera, the “clearest lines and most everything in between with Bach’s extant sacred cantatas. She has recorded Boston Revels, Collage, the Boston Modern nuanced performances.” equal passion. As a concert for Arabesque, Artona, BMG, CRI, Dorian, Project, and Intermezzo. Paul can be Recent solo engagements soloist, Mr. Budris performs Meridian, and KOCH. She serves as faculty at the heard on all Blue Heron’s recordings, on discs of include the St. Matthew frequently with Boston Boston Conservatory and at the Longy School of medieval music by , Kurt Weill’s Johnny Passion with Grand Rapids Baroque and the Handel Music of Bard College. Johnson and French airs de cour with the Boston Symphony, Il ritorno d’Ulisse & Haydn Society, and he Camerata, and on Emmanuel Music’s Bach CDs. in patria with Opera Omnia and Boston Baroque, often sings in their choruses as well. He sings Hailed as a “golden soprano” and “a major force in and the Evangelist in Bach’s St. John Passion with in the weekly Bach Cantata Series at Emmanuel the New York early-music scene” by The New York Steven Hrycelak, bass, is in wide demand Tucson Chamber Artists. Mr. McIntosh is also a Music, where he was named a Lorraine Hunt Times, Jolle Greenleaf is one of the leading as an operatic, concert, and core member of the vocal chamber ensembles Blue Lieberson Fellow. He is also a core member of voices in the field. She is a ensemble performer. He has Heron, New Vintage Baroque, Gamut, Tucson the Skylark Vocal Ensemble. On the opera stage, much sought-after soloist performed with the New Chamber Artists, TENET, and Trinity Wall Street. he has performed principal and supporting roles in music by Bach, Handel, York Virtuoso Singers, Toby with numerous musical organizations, including Haydn, Purcell, Mozart and, Twining Music, ekmeles, Described by critics as “a gifted young tenor with Guerilla Opera and Opera Boston. Recent roles most notably, Monteverdi. Early Music New York, wonderful comedic talents” and an “alluring tenor include Henrik in A Little Night Music (Emmanuel Her performances have Vox, TENET, Meridionalis, voice,” Jason McStoots has performed around Music), Garcin in No Exit (Guerilla Opera), earned from the Seraphic Fire, and the vocal the world and the US. He Anfinomo in Il ritorno d’Ulisse in patria (Boston Oregonian, which wrote that jazz quintet West Side 5. He garnered critical accolades Baroque), Agenore in Il re pastore (Grand she “sang with purity and has also been a frequent soloist at Trinity Church for his recent performances Harmonie), and Acis in Acis and Galatea (Blue beguiling naturalness,” and The New York Times, Wall Street, as well as with NYS Baroque, Pegasus, with Les Délices: the Cleveland Hill ). which called her “an exciting soprano soloist… Musica Sacra, 4x4, the Waverly Consort, the Plain Dealer described his beautifully accurate and stylish.” Ms. Greenleaf American Symphony Orchestra, Sacred Music singing as “exquisite” and said Pamela Dellal, mezzo-soprano, has enjoyed is the artistic director of the virtuoso one-voice- in a Sacred Space, Union Avenue Opera, and the that he “easily filled the room a distinguished career as per-part ensemble TENET, for whom she creates Collegiate Chorale. His performance in the role with a sound both rich and an acclaimed soloist and programs, directs, and sings in performances of Monteverdi’s Seneca with Opera Omnia was dulcet, commanding ears with recitalist. She has appeared of repertoire spanning the middle ages to the hailed by The New York Times as having “a graceful what one suspected was one-tenth of his potential. in Symphony Hall, the present day. TENET’s programming has been bearing and depth.” He has traveled the US, Beyond that, he was a fine actor, rounding out Kennedy Center, Avery lauded by The New York Times as “smart, varied, Canada, and Europe singing in Frank London’s heartfelt performances with meaningful gestures Fisher Hall, and the Royal and not entirely early.” klezmer musical A Night in the Old Marketplace. Mr. and facial expressions.” McStoots has appeared Albert Hall, and premiered Hrycelak has degrees from Indiana University and with such groups as Boston Lyric Opera, Pacific John Harbison’s chamber Bass- Paul Guttry Yale University, where he sang with the world- MusicWorks, , TENET, San Juan work The Seven Ages in New has performed throughout renowned Yale Whiffenpoofs. He is also a coach and Symphony, Festival, Tragicomedia, York, San Francisco, Boston, and London. With the USA and internationally accompanimental pianist. and the Tanglewood Music Center. He has recently Sequentia Ms. Dellal has recorded the music with Sequentia, , appeared as Tabarco in Handel’s Almira and Apollo of Hildegard von Bingen and toured the US, the Boston Camerata, and A native of remote Northern California, Owen in Monteverdi’s Orfeo with the Boston Early Music Europe, and . Passionate about chamber New York’s Ensemble for McIntosh has enjoyed a career of diverse Festival and can be heard on their Grammy- music, early music, and contemporary music, Early Music. A founding musical endeavors from bluegrass to reggae, heavy nominated recording of Lully’s Pysché and newly she performs frequently with Dinosaur Annex, member of Blue Heron, he metal to art song, and opera to oratorio. Heralded released discs of music of Charpentier and John Boston Musica Viva, Ensemble Chaconne, Blue has also appeared in and by critics as “stylistically impeccable,” he “sings with Blow. He is also a voice teacher and stage director.

12 13 Scott Metcalfe has gained wide recognition role of Hamor in Handel’s Jephtha with Boston Cecilia, No. 2 with the Boston Modern New Trinity Baroque (Atlanta), and the Oregon as one of North America’s and was noted for his “fine work” inBuxtehude’s Heut Orchestra Project, and in Bach Festival, and is the baritone soloist on the 2012 leading specialists in music triumphieret Gottes Sohn with Boston Baroque. He sings Carnegie Hall and Lincoln Grammy-nominated recording of Brahms’s from the fifteenth through regularly with Emmanuel Music, Boston Baroque, and Center debuts with the New with Seraphic Fire (Miami). Recent engagements seventeenth centuries and the Handel & Haydn Society. Mr. Near has also worked York City Chamber Orchestra. include Britten’sWar Requiem, Monteverdi’s Vespers beyond. Musical and artistic as a recording producer and was Music Director of She also won second place of 1610, Bloch’s Sacred Service, the title role in Mozart’s director of Blue Heron, he is Exsultemus from 2009 to 2012. in the 2014 American Prize , the Station Master in Paul Crabtree’s also music director of New Competition’s art song and The Ghost Train, and all of Bach’s motets with the Bach York City’s Green Mountain Tenor Mark Sprinkle’s singing has been oratorio division. Her 2014- Collegium Japan. Mr. Tipton is a graduate of Yale Project (Jolle Greenleaf, described as “expressive,” “very 2015 season will feature a collaboration with the University’s Institute of Sacred Music, where he was artistic director), and has conducted the Handel & rewarding,” “outstanding,” Shirish Korde ensemble on a film score depicting mentored by tenor James Taylor, and of the University Haydn Society, TENET, Emmanuel Music, the Tudor “vivid,” and “supremely the experiences of female war veterans and the of Michigan School of Music, where hs studied with Choir and Seattle Baroque, Pacific , stylish.” He has collaborated continuation of her recital project with percussionist George Shirley and Luretta Bybee. In 2012 Mr. Tipton Quire Cleveland, and Early Music America’s Young with the Boston Early Music Jonathan Hess, Talking Drums, that will premiere works was made a Lorraine Hunt-Lieberson Fellow at Performers Festival Ensemble. Metcalfe also enjoys Festival, the Boston Camerata, by Adam Simon, Matthew Peterson, and Emmy award- Emmanuel Music. a career as a baroque violinist, playing with with Les the Mark Morris Dance winning composer Kareen Roustom. Other upcoming Délices (dir. Debra Nagy) and other ensembles. He Group, Emmanuel Music, appearances include with the New Bedford Praised for her “gorgeous, profoundly expressive teaches vocal ensemble repertoire and performance Boston Baroque, the Handel Symphony, Mozart’s Waisenhausmesse with the Handel instrument” (The Cleveland Plain Dealer) and voice practice at Boston University and is at work on a new & Haydn Society, and many others, performed at & Haydn Society, and Carmina Burana with the Austin of “extraordinary suppleness and beauty” (The New edition of the songs of Gilles Binchois (c. 1400-1460). festivals in Bergen (Norway), Vancouver, Edinburgh, Symphony. Ms. Tengblad performs with Austin’s York Times), soprano Teresa Wakim is perhaps Metcalfe received an AB from Brown University, and Aldeburgh (UK), and worked as a soloist and 5-time Grammy-nominated ensemble Conspirare, the best known as “a perfect where he majored in biology, and an AM in historical ensemble singer under Seiji Ozawa, Christopher Yale Choral Artists, and Boston’s Lorelei Ensemble, early music voice” (Cleveland performance practice from Harvard. Hogwood, William Christie, Roger Norrington, John Handel & Haydn Society, Boston Baroque, and Classical). First Prize Winner of Nelson, Andrew Parrott, Grant Llewellyn, and Craig Emmanuel Music. the 2010 International Soloist Countertenor Martin Near began his professional Smith. He has appeared as a soloist with Concerto Competition for Early Music singing life at age ten in the Palatino and has sung the Evangelist in Bach Passions Described by The Atlanta Journal-Constitution as a in Austria, she is a featured choir of men and boys at Saint with the Handel & Haydn Society, the Boulder Bach dignified and beautiful singer, bass-baritone Paul soloist on four Grammy- Thomas Fifth Avenue in New Festival, the Oriana Singers of Vermont, Seraphim Max Tipton enjoys an active career in opera, nominated recordings, York City, advancing to Head Singers, Boston’s Chorus Pro Musica, and the Andover oratorio, and . with the Boston Early Chorister. He now enjoys a Choral Society, among others. Mr. Sprinkle was a Mr. Tipton’s repertoire ranges Music Festival and Seraphic Fire. Noted solo varied career exploring his twin member of the Cambridge Bach Ensemble and a from Schütz and Monteverdi engagements include Bach’s B Minor Mass, St. John passions for early music and fellow of the Britten-Pears School and has recorded for to Britten and Bolcom, with Passion, and with the Amsterdam Baroque new music. Mr. Near recently Dorian, Koch, , Decca, Arabesque, his interpretations of Bach’s Orchestra, Bach’s Magnificat with Wiener Akademie sang in the solo quartet of and Telarc. passions being acclaimed in Orchester, Bach’s Wedding Cantata with the Cleveland Arvo Pärt’s Passio with the Boston Modern Orchestra particular for their strength Orchestra, Bach’s Missa Brevis with the San Francisco Project, and together with soprano Margot Rood was Commended by The Boston Globe for her “crystalline tone and sensitivity. He has recently Symphony, Brahms’s Ein Deutsches Requiem with the noted for producing “an ear-boggling array of close- and graceful musicality,” soprano Sonja DuToit appeared with the symphonies Omaha Symphony, Mozart’s Exsultate, jubilate with the harmony sonorities...seemingly generating overtones Tengblad has recently appeared in Monteverdi’s Il of San Antonio, Grand Rapids, Lincoln, and Stamford New World Symphony, Handel’s ˆwith the Charlotte, and wave-interference patterns that not even dogs ritorno d’Ulisse in patria with Boston Baroque, CT, with the Orchestra of St. Luke’s, and with the New San Antonio, and Alabama Symphonies, Pamina in could hear.” He was the countertenor soloist in the Handel’s Acis and Galatea with the Blue Hill Bach York Philharmonic as part of their first Bach Festival. Mozart’s with Apollo’s Fire, and a title premiere performance of Dominick DiOrio’s Stabat Festival, Purcell’s King Arthur and Handel’s Samson with He has been a soloist with Conspirare (Austin), Bach role in Handel’s Acis and Galatea with Musica Angelica mater with Juventas New Music Ensemble, sang the the Handel & Haydn Society, Knussen’s Symphony Collegium San Diego, TENET, Ars Lyrica (Houston), and the Boston Early Music Festival.

14 15 Acknowledgments Patron ($500 – $999) Tracy Powers Blue Heron’s existence as a performing has created many brochures, postcards, and Anonymous (2) Ann Besser Scott ensemble is made possible by the devotion, hard other publicity materials over the years. Philip Rebecca & Thom Barrett Andrew Sigel work, and financial support of a community of Davis serves on our board; he is also a superb Marie-Hélène Bernard Martha Maguire & Oleg Simanovsky John Paul & Diane Britton Robert B. Strassler board members, staff, volunteers, donors, and recording engineer and has recorded virtually John A. Carey John Yannis concertgoers. We offer our grateful thanks to all of our concerts since day one. We could not David R. Elliott all those who join us in creating, nurturing and be more fortunate to have all this expertise Jean Fuller Farrington Supporter ($100 – $249) sustaining an organization dedicated to making working with us. Arthur Hornig Joseph Aieta, III the music of the 15th and 16th centuries come Benjamin Krepp Anonymous (5) alive in the 21st. Thanks to the Cambridge Society for Early Mastwood Charitable Foundation Andy & Margaret Ashe Music for supporting the pre-concert talks, and Rick and Anne Matsen James Bartlett Our programs, postcards, season brochure, to the Center for Early Music Studies, Boston Anne H. Matthews Pamela Bartter advertisements, and CD booklets are designed University, where Blue Heron is ensemble in Michael P. McDonald Daryl Bichel by Melanie Germond and Pete Goldlust. Erik residence. Opus Affair Linda Black Bertrand maintains our website and rebuilt it Susan S. Poverman Joan Boorstein Rachael Solem Catherine Nichols & Robert Borden in 2013; the site was originally built by Evan Many thanks to our board and to all our Dr. Giovanna Vitelli Boston Baroque Ingersoll (Angstrom Images), who designed volunteers for their help this evening and David C. Brown our programs for many years. Chris Clark (Cave throughout the year. Cantata Singers Dog Studio) designed our program covers and Sponsor ($250 – $499) Carnegie Corporation of New York Thomas N. Bisson Anne P. Chalmers We are honored and grateful to have so many generous donors. Howard Franklin Bunn David Chase Katie and Paul Buttenwieser Robert Cochran Susan Hockfield & Tom Byrne Nathaniel S. & Catherine E. Coolidge Donations received The Cambridge Society for Early Music Scott Corey-Dunbar between october 9, 2013 and october 9, 2014 Elizabeth C. Davis Catherine Davin, in memory of Joe Davin Pamela Dellal Lynda Ceremsak & F. George Davitt Angel ($5,000 +) Guarantor ($1,000 – $2,499) John F. Dooley Carl & May Daw Anonymous Gail & Darryl Abbey Eastern Bank Charitable Foundation Michael Dettelbach Philip H. Davis Alfred Nash Patterson Foundation Marie-Pierre & Michael Ellmann Rosanne T. Dobbin Fred Franklin & Kaaren Grimstad for the Choral Arts Samuel Engel & Anne Freeh Engel Alan Durfee William & Elizabeth Metcalfe Peggy & Jim Bradley Robert Grant Margery Eagan Richard L. Schmeidler Diane L. Droste Michelle Gurel Margaret Fickeisen Harry J. Silverman Laurie Francis Paul Guttry Bradley N. Gater James Catterton* & Lois Wasoff John & Ellen Harris Handel & Haydn Society Sarah Gates Mary Eliot Jackson Alex & Jean Humez GE Foundation Benefactor ($2,500 – $4,999) Elena Kaczorowski Laura Jeppesen Annamae Goldstein, in honor of Stanley Scott Metcalfe Mary Briggs & John Krzywicki John Lemly Goldstein Cindy & Peter Nebolsine Willie Lockeretz Richard O'Connor & Julianne Lindsay Connie & Don Goldstein Katherine L. Rosenfield Dr. & Mrs. David F. McGinnis Jr. Neal Plotkin & Deborah Malamud Shirley Goldstein Peter Belknap & Jennifer Snodgrass Robert A. Schuneman John Emerson Mann William Miniscalco & Sarah Guilford Erin E. M. Thomas Taylor House Catering Jason McStoots Hope Hare William J. Vaughan Susan Miron Elaine Hubert & Bill Harwood Michal Truelsen & Jody Wormhoudt Paul LaFerriere & Dorrie Parini Donald Hatfield

16 17 Margaret R. Higonnet Paul B. Cousineau Arthur Shippee Board of Directors Margot Honig Brent Cummings Larry Sides John Yannis, president Pete & Jane Howard Martha W. Davidson Ann Stickney Peter Belknap, treasurer Jane Wegscheider Hyman Mark Davis Anne Umphrey Richard Schmeidler, clerk Louis Kampf & Jean Jackson Robb Forman Dew Dr. Marsha Vannicelli Daryl Bichel Pat Krol Brenda & Monroe Engel Lee Warren Mary Briggs Jacquelyn Lenth John Felton Charles A. Welch Philip Davis Catherine Liddell Katherine Florio Pamela Werntz Scott Metcalfe David McSweeney Marc Gidal Steven Leinbach White Jim Meyer Nancy Graham Martin & Phyllis Wilner Harry Silverman Scott Clugstone & Wallace Norman Ivan Hansen Elizabeth Wylde Jennifer Farley Smith Jaylyn Olivo David Harrison Penelope Yonge Stephen H. Owades Steven Hecht Bernard Ziomkiewicz General Manager Susan Cornwall & Nick Pappas Mike & Mary Horrigan John Yannis Phillips Candy House Leslie Horst * Deceased Katherine Raia Judith Huenneke Office Administrator Lee Ridgway Anne Huntington Gail Abbey Sue Robinson Isabella Stewart Gardner Museum James Sargent Marcia W. Jacob Administrative Intern Ron Lacro & Jon Schum Carole Friedman & Gail Koplow Christopher Petre An Sokolovska Penelope Lane Mark Sprinkle Mary Marissen Volunteers Polly S. Stevens Jean Millican Darryl Abbey Anatole Sykley Beverly Woodward & Paul Monsky Meg Abbey Richard Tarrant Amy Mossman John Baumer Taylor House Bed & Breakfast Martha Mutrie Daryl Bichel Carol Wetmore, in memory of Joan Yannis Karen Near Linda & Bill Wolk Robert Silberman & Nancy Netzer Jaime Bonney Alex Yannis Virginia Newes Sue Delaney Mark Townley & Charlene Newton Michelle Gurel Friend ($50 – $99) Maarten & Tinie Noordzij Alexandra Hawley Julie Rohwein & Jonathan Aibel Richard Odermatt Anne Kazlauskas Christine Ammer Monika Otter Laura Keeler Alan S. Amos Mary Parker John Nesby Anonymous (5) Aaron Sheehan & Adam Pearl Shan Overton Jeffrey Del Papa & Susan Assmann Joyce & John Penniston Beth Parkhurst Kenneth Hoffman & Kathleen Blanchard Nancy Eligator & Keith Pirl Christopher Petre Edward & Matilda Bruckner Richard & Janet Post Samuel Rubin Stephen Butts Margo Risk Cheryl Ryder Judy Campos Mary Lynn Ritchey Jennifer Farley Smith Michael Caputi Katy Roth Charlotte Swartz Jill Carrier Paul Sawyer Erin E. M. Thomas John & Cynthia Coldren Polly Scannell Marvin Collins Cynthia C. Schlaikjer Sonia Wallenberg Corning Incorporated Foundation Huguette Shepard Ava Ziporyn Laura Zoll

18 19 music from the peterhouse partbooks blue heron cds on sale tonight

BLUE HERON is nearing the completion of a recording project of international musical significance: a five-CD series of Music from the Peterhouse Partbooks—a glorious collection of music from the golden age of English church music, long- unheard due to the loss of one of the partbooks but now singable once again in brilliant reconstructions by Nick Sandon. Three volumes have been released to wide critical acclaim; Volume IV will be released in the spring of 2015 and the music performed today is being recorded this month for Volume V, with a projected release in the spring of 2016.

“Everyone associated with this project should be very proud… [Volume III] should be counted as one of the best… Can’t wait for the next CD.” — Robert Aubrey Davis, “Millennium of Music” (January 5, 2014) “This album [Volume II] and its predecessor…are the beginning of an exciting series, more than hinting at the wealth of great sacred music written by English composers between roughly 1500 and 1540…top marks in all respects: engineering, liner notes—by the group’s director, Scott Metcalfe—and, of course, the performances themselves.” — Barry Brenesal, Fanfare (September/October 2012) Music by Guillaume Du Fay (1397-1474) Hugh Aston: Three Marian Antiphons “Expressive intensity…even a hint of Baroque flair…fine gradations of dynamics; pungent diction; telling contrasts of ethereal Music from the Peterhouse Partbooks, vol. 1 and earthly timbres… It is good to feel a hint of turbulence, of mortal fear in performances such as Blue Heron’s.” "glorious performances with incandescent singing… perfect blend and balance…a triumph" "Expressive intensity, even a hint of Baroque flair…fine gradations of dynamics; pungent diction; telling con- — Alex Ross, The New Yorker (January 10, 2011) — Craig Zeichner, Early Music America trasts of ethereal and earthly timbres; tempos that are This landmark set of five CDs will do much to restore the Peterhouse repertoire to the central position in music history "this is one of the finest Dufay collections to come out in more lusty than languid; a way of propelling a phrase and in concert life that it merits. This is an expensive and ambitious undertaking, made possible by Blue Heron’s recent years" — J. F. Weber, Fanfare toward a goal...." — Alex Ross, The new yorker Peterhouse Partners, a leadership group of donors who pledge support for the complete 5-disc series, enabling Blue Heron to bring this extraordinary and neglected repertoire to a wider modern audience. We are deeply grateful for their vision, commitment, and generosity.

Blue Heron’s Peterhouse Partners Peter Belknap & Jennifer Snodgrass Arthur Hornig Richard Schmeidler Margaret & James Bradley Pat Jackson Harry Silverman John Carey Benjamin Krepp & Ginger Webb Rachael Solem Choral Arts New England Anne Matthews & Edward Fay, Jr. Erin E. M. Thomas The Cricket Foundation Scott Metcalfe Christopher Thorpe Phillip H. Davis William & Elizabeth Metcalfe Michal Truelsen & Joda Wormhoudt Diane Droste Eiji Miki & Jane Hever William Vaughan Fred Franklin & Kaaren Grimstad Cindy & Peter Nebolsine Giovanna Vitelli

To learn more about becoming a Peterhouse Partner, please contact John Yannis, General Manager of Blue Heron: [email protected]. Nicholas Ludford: Missa Regnum mundi Nicholas Ludford: Missa Inclina cor meum COMING SOON: Music from the Peterhouse Partbooks, vol. 2 Music from the Peterhouse Partbooks, vol. 3 “I cannot recommend this superb CD highly enough— “Exemplary... suffused with elegance and polish, ... Music from the Peterhouse Partbooks, vol. 4 it is the sort of recording to listen to in awe at the intense, expressively heightened dramas that unfold in sustained and unerring skill of the performers and the a kind of purified, meditative slow motion.” burgeoning brilliance of the composers (and their un- — Matthew Guerrieri, The Boston Globe obtrusive editor), and to shed a quiet tear for the untold Volume 4 of the Peterhouse series, treasures that have been lost.” “Sublime music sung sublimely.” — featuring Robert Jones’s Missa Spes nostra, — D. James Ross, Early Music Review (UK) 20 21 will be released in April 2015. 2014 –2015 Concerts OUR 25 th SEASON! ival BEMF Vocal & Chamber Ensembles Paul O’Dette & , Musical Directors

Saturday, October 11, 2014 | NEC’s , Boston Monteverdi Madrigals: Songs of Love and War Kenneth Weiss, Saturday, November 1, 2014 | First Church in Cambridge, Congregational Rameau: Opera and Ballet Transcriptions BEMF CHAMBER OPERA SERIES Pergolesi’s La serva padrona and Livietta e Tracollo Saturday, November 29, 2014 | NEC’s Jordan Hall, Boston Sunday, November 30, 2014 | NEC’s Jordan Hall, Boston Paul O’Dette & Stephen Stubbs, Musical Directors Gilbert Blin, Stage Director | Robert Mealy, Concertmaster

The Tallis Scholars | Peter Phillips, director

Paul O’Dette & Stephen Stubbs, Artistic Directors Friday, December 12, 2014 | St. Paul Church, Cambridge Gaudeamus! Music of Byrd, Josquin, and Turges The Newberry Consort | with Exsultemus David Douglass & Ellen Hargis, co-directors Friday, February 6, 2015 | First Church in Cambridge, Congregational Rosa das Rosas: Cantigas de Santa Maria Stile Antico Sunday, March 1, 2015 | St. Paul Church, Cambridge From the Imperial Court: Music for the House of Hapsburg Venice Baroque Orchestra | Avi Avital, mandolin Friday, March 13, 2015 | First Church in Cambridge, Congregational Music of Vivaldi, Marcello, Geminiani, and Paisiello on Early Music Fe , soprano | David Hansen, countertenor Paul O’Dette, theorbo | Stephen Stubbs, lute & Baroque guitar

Friday, April 10, 2015 | Sanders Theatre at Harvard University, Cambridge Music of Handel, Steffani, and Monteverdi

Bo ORDERORD TODAY! 617-661-1812 | WWW.BEMF.ORG A holiday tradition returns to Sanders Theatre at Harvard University! Radiating C.P.E. Bach and Rameau “ Celebration Sarasa elegance and Chamber Music Series ” Music of Alborea, C.P.E. Bach, and Rameau eloquence… 2014–2015 Season l 8 pm Saturday, November 8, 2014 — Boston Globe Friends Meeting House, Cambridge l 7 pm Sunday, November 9, 2014 Sarasa Season Continues… First Parish in Concord Haydn’s Genius Music of Haydn and Mozart l 8 pm Saturday January 31, 2015, Friends Meeting House l 7 pm Sunday February 1, 2015, First Parish in Concord

Bohemian Rhapsody Dvořák and Brahms String Sextets l 8 pm Saturday, May 30, 2015, Friends Meeting House Robin Bigwood Jennifer Morsches l BUY TICKETS NOW! 7 pm Sunday May 31, 2015, First Parish in Concord harpsichord piccolo cello 617.496.2222 OR REVELS.ORG INFORMATION: www.sarasamusic.org l [email protected]

mozart BACH CANTATA SERIES emmanuel Sundays at 10 AM, Emmanuel Church music September 21, 2014 – May 17, 2015 Ryan Turner, Artistic Director MENDELSSOHN/WOLF CHAMBER SERIES, YEAR I Sundays at 4 PM, Emmanuel Church Nov 2 & Nov 16, 2014, April 12, 2015

EVENING CONCERT SERIES Crossroads crossroads October 17, 2014, 8 PM Pickman Hall - Longy School of Music

Bach: St. John Passion March 21, 2015, 8 PM bach Emmanuel Church Mozart: Abduction from the Seraglio May 9, 2015, 8 PM st john Emmanuel Church 20 14 FULL SEASON SCHEDULE passion www.emmanuelmusic.org 15 617-536-3356

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MuS 381336 P.O.Box MA 02238-1336 Cambridge, All performances at: performances All Congregational Church First 11 Street, Garden Massachusetts Cambridge, www.musicasacra.org 349-3400 617 2014–2015 Sea Including Mozart’s beloved ExsultateIncluding Mozart’s beloved Jubilate

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2014 15 Season Ad_Dunya half pg ad 9/26/14 12:55 PM Page 1 Rumbarroco BEMF half _La Donna BEMF half 9/30/14 2:45 PM Page 1

The Cambridge Society for Early Music Chamber Music by Candlelight 2014-2015 Les Bostonades: A Period Instrument Ensemble Telemann & Bach: Diverse Pleasures —From the Sublime to the Ridiculous Akiko Sato, director October 30 – November 3 presents Blue Heron, in collaboration with Les Délices A More Subtle Art: The 14th-Century Avant-Garde Jason McStoots & Martin Near, voices A Latin Holiday Scott Metcalfe, vielle & harp – Debra Nagy, recorders, douçaines & voice Kimberly Ayers, Gerrod Pagenkopf, January 29 – February 2 Voyage Bradley Fugate, voices Catherine Stein, Early winds; Dünya, an Early Music Collective A Concert For Peace In Venezuela Kera Washington, percussion Othello in the Seraglio: Alejandro Chávez and Carlos Sulbarán, The Tragedy of Sümbül the Black Eunuch Cancioneros, Baroque guitars and percussion —A coffee house opera villancicos, and some danceable music, Laury Gutiérrez, viola da gamba and guitars Tom Zajac & Mehmet Ali Sanlikol, directors Tal Shalom-Kobi, bass February 26 – March 2 all performed with Latino zest! Presented in Carlisle, Weston, Salem, Ipswich & Cambridge Friday, December 5 Sunday, December 7 Saturday, December 13 at 8 PM at 4:30 PM at 7:30 PM Information at www.csem.org United Parish in Brookline Mariposa Museum 9301 Biscayne Boulevard Telephone 617-489-2062 210 Harvard St., Brookline, MA 26 Main St., Peterborough, NH Miami Shores, FL www.mariposamuseum.org www.saintmarthaconcerts.com

Tickets may be purchased at www.ladm.org or 617-461-6973

Renaissance Songs of Newton Choral Society David Carrier, Director

Love and War 2014-2015 - Our 39th Season

Shannon Canavin, Artistic Director Acclaimed early vocal ensemble Exsultemus Sunday, November 16 at 3 PM Exquisite voices… presents a unique program of rarely-heard music Exhilarating performances. of the 15th & 16th centuries depicting passionate Ralph Vaughan Williams A Sea Symphony devotion and thrilling combat, including settings of the Song of Songs, mass movements based on Kim Leeds, Soprano Philip Lima, Baritone L’homme armé, and Clément Janequin’s Sanders Theatre, 45 Quincy St., Cambridge La Guerre—the exciting musical reenactment of the 1515 battle of Marignan. Sunday, March 15 at 3 PM

Shannon Canavin, soprano; Gerrod Pagenkopf, Sacred Visions Music for Church and Synagogue countertenor; Matthew Anderson & Jason McStoots, tenor; Ulysses Thomas, bass-baritone The Second Church in Newton, 60 Highland St., West Newton

Friday, November 7 at 8pm Sunday, May 16 at 8 PM First Lutheran Church of Boston Blooming in Boston Local Boston Composers “Unquestionably in the top-tier of Renaissance vocal ensembles in the Tickets: $35 & $20; $5 off for students & seniors Susan Consoli, Soprano Thomas Jones, Baritone Mark Feldjusen, Pianist Northeast.” – Boston Musical Intelligencer 857-998-0219 • www.exsultemus.org Church of the Holy Name, 1689 Centre St., West Roxbury

www.newtonchoral.org

CapturingCapturing Musi CMusiC WritingWriting and and Singing Singing Music in Musicthe Middle in Ages the Middle Ages

A multimedia event exploring the power A multimedia event in two Aof writtenmultimedia music in picturesevent exploring& sound the power parts with a dinner break,  this unique presentation will of written music in pictures & sound explore the power of written music in pictures and sound. Professor Kelly will present,  and Blue Heron will sing, key  moments in the art of music saturday, nov. 15, 2014 from c. 800 to c. 1400, includ- ing Gregorian chant, organa 3 pM & 8 pM  by Leonin and Perotin, and First Church in Cambridge, Congregational songs by Machaut, Ciconia, Senleches, and Cordier. saturday,Q&A session n withov. Prof. Kelly 15, 2014 & Scott Metcalfe at 7 PM The event coincides with the 3 pM & 8 pM publication of Prof. Kelly’s First Church in Cambridge, Congregational book Capturing Music: The After the concert take home a Story of Notation, which comes with a companion CD record- n GRAB ‘ GO SUnDAE PARTY KIT ed by Blue Heron. The book Ready to go ice cream sundaes for 5 people thomas Forrest Kelly will be available for purchase 1 qt ice cream • hot fudge Morton B. Knafel Professor of Music, Harvard University at the concert and the author • whipped cream • 2 dry toppings will be on hand to sign copies. • bowls •spoons •napkins • ice cream scoop Linder Liz Photo: Buy tickets online at OVER 50 FLAVORS www.blueheronchoir.org Ice Cream Cakes • Frozen Yogurt • Tofutti • Sorbet thomas Forrest Kelly or contact: HOMEMADE ICE CREAM CATERED SUNDAE PARTIES • CELEBRATIONS Morton B. Knafel Professor of Music, Harvard [email protected] (617) 960-7956 Blue Heron Scott Metcalfe, director open ‘til 11:00pm First Church in Cambridge, Congregational • 11 Garden Street, Cambridge — Fully accessible www.lizzysicecream.com T Red Line, Harvard Square • Free parking at University Place Garage (with validation at concert)

ICE CREAM PARLOR & PARTY ROOM: 367 Moody St Waltham • 781.893.6677 Linder Liz Photo: Reserved seating $90 / $63.75 • General Admission $45 / $37.50 senior / $15 student & low income / under 18 free (at the door only) TAKE OUT: 29 Church St • Harvard Square • 617.354.2911 * This is one event in two halves. One ticket entitles you to attend both parts. ICE CREAM PARLOR: 1498 Highland Ave • Needham • 781.455.1498 * This event is NOT part of Blue Heron’s subscription series.

Blue Heron Scott Metcalfe, director “musical magic that touches the soul and speaks to the heart” – Susan Miron, tHe BoSton MuSiCAL inteLLigenCer

Scott metcalfe Music Director

2014-15 SubScriptiOn SerieS October 18 • 8 pm All Concerts A MAss for st. Augustine of CAnterbury & Events at: Featuring an Anonymous Missa Sine nomine First Church in Cambridge, from the Peterhouse partbooks Congregational, 11 Garden St. December 18 & 19 • 8 pm December 20 • 2:30 pm ChristMAs in 15th-Century fr AnCe & burgundy February 21 • 8 pm oCkegheM, binChois & du fAy march 21 • 8 pm oCkegheM, busnoys, regis, CAron & fAugues

(617) 960-7956 • www.blueheronchoir.org

SpeciAL eVent: nov. 15, 2014 • 3pm & 8pm CAPturing MuSiC: Writing And singing MusiC in the Middle Ages A multi-media event in 2 parts. Part 1 begins at 3 PM — colophon Part 2 at 8 PM. Presented in collaboration with Prof. thomas Forrest Kelly (Harvard). inside cover: Stained glass window in St. Augustine's Church, music from the Ramsgate, Kent © aclerkofoxford.blogspot.com peterhouse partbooks, vol. 3 “exemplary... Suffused with elegance and polish... photos of Blue Heron: Liz Linder intense, expressively heightened dramas that unfold in a kind of purified, meditative slow motion...” graphic design: — Matthew Guerrieri, the Boston globe Melanie Germond

Volume 4 of the Peterhouse series, featuring Robert Jones’s program content copyright Missa Spes nostra, will be released in April 2015. © 2014 Blue Heron Renaissance Choir, Inc.