Chansons De Printemps Songs for Spring & Other Seasons from 16Th-Century France & the Low Countries

Chansons de printemps Songs for spring & other seasons from 16th-century France & the Low Countries

Saturday, May 4, 2013 • 8 pm First Church in Cambridge, Congregational Chansons de printemps Songs for spring & other seasons from 16th-century France & the Low Countries V. Desolation Saturday, May 4, 2013 • 8 pm First Church in Cambridge, Congregational Le Jeune Je suis desheritee (I) Program Du Caurroy Fantasie sur Je suis desheritee I. Spring at last VI. By the waters of Babylon Claude Le Jeune (c. 1528-1600) Debat la noste trill' en May (Vilageoise de Gascogne) (instrumental) Clément Marot (1496-1544) / Loys Bourgeois (c. 1510-1559) Revecy venir du printans Estans assis aux rives aquatiques (poem & tune) Claude Goudimel (c. 1520-1572) II. The musical nightingale Estans assis aux rives aquatiques (two settings) Rinalde del Melle (c. 1554-c. 1598) Paschal de L’Estocart (?1539-c.1584) Rossignolet qui chante Estans assis aux rives aquatiques Le Jeune Jan Pieterszoon Sweelinck (1562-1621) Rossignol mon mignon Estans assis aux rives aquatiques Alfonso Ferrabosco (1543-88) Le Rossignol plaisant et gratieux VII. Fantasies & divisions André Pevernage (1543-91) Claude Le Jeune Fantasie (II) a 4 Le Rossignol plaisant et gratieux Henry Le Jeune Fantasie a 5 with divisions

III. A girl in a convent VIII. It's Latin! Albert de Rippe (Alberto da Ripa) (c.1500-1551) Le Jeune Fantasie Tu ne l’enten pas Anonymous Emanuel Adriaenssen (c. 1554-1604) Une jeune fillette Galiarda per B dure in B fabemi Eustache Du Caurroy (1549-1609) Pevernage Five fantasies on Une jeune fillette Vous qui goutez d’amour le doux contentement Le Jeune IV. Just spinning Fuyons tous d’amour le jeu Philip Van Wilder (c. 1500-1533) Je file quand Dieu me donne de quoy IX. Green pastures, clear waters Le Jeune Marot / Bourgeois Je file quand on me donne de quoy Mon dieu me paist sous sa puissance haute (poem & tune) Sweelinck Intermission• Mon dieu me paist sous sa puissance haute Scott Metcalfe,director

Blue Heron Shari Wilson, Martin Near, Owen McIntosh, fifteenth season 2013-14 Jason McStoots, Michael Barrett & Paul Guttry,voices Scott Metcalfe,director, violin

Parthenia October 19 | Beverly Au, Lawrence Lipnik, Rosamund Morley & Lisa Terry, viols Featuring Robert Jones’sMusic Missa Spes nostrafor Canterbury Cathedral For its annual exploration of music from the Peterhouse partbooks, copied in 1541 for Can- with guests terbury Cathedral, Blue Heron returns to one of its favorite masses, which will be recorded Emily Walhout, viol & Hank Heijink, lute subsequently for world premiere release on CD.

Pre-concert talk by Peter Urquhart (University of New Hampshire) sponsored in part by December 20 & 21 | The Cambridge Society for Early Music. A festive program of music for AdventChristmas and Christmas in from 15th-centuryMedieval England, England including motets by Leonel Power and John Dunstaple, English carols, and Sarum plainchant. Blue Heron PO Box 372 February 15 | Ashland MA 01721 A musical valentine: 16th-centuryUn Petrarchino madrigals setting thecantato poetry of Petrarch, by Arcadelt, Wil- (617) 960-7956 laert, Rore, Wert, Marenzio & others. [email protected] www.blueheronchoir.org April 26 | Music of 16th-centurySpanish Spain, featuring masters Alonso Lobo’s Missa Simile est regnum caelorum, based This organization is funded in part by the Massachusetts Cultural Council, on a motet by Francisco Guerrero. a state agency. Songs for spring Le Jeune was a member of the humanist cadémieA de has been so neglected as to have been lost altogether, poésie et de musique, founded in 1570 by the poet Jean while Harmony has been so precisely investigated in Antoine de Baïf together with a number of musicians the last two hundred years that it has been perfected. It creates effects of beauty and grandeur, but these in order to “recover the effects of ancient music and Our program today contains a handful of the nearly west from Brussels, in the county of Hainault. Hain- are not those which antiquity records.… Claudin Le compose all their songs on the models of the fixed 10,000 polyphonic secular songs in French which have ault, a part of the duchy of Burgundy in the fifteenth Jeune … is the first to have made bold to retrieve this rules of the Greeks” (according to Marin Mersenne, poor Rhythm from the grave in which it had so long come down to us in manuscript or printed sources century, was absorbed into the Holy Roman Empire a pupil of Mauduit, who also belonged to Baïf’s Aca- been languishing, and make it Harmony’s equal. This from the sixteenth century, and a few of the several along with the rest of Burgundy in the late 1400s and démie). he has done with such art and such felicity, that from thousand polyphonic settings of the psalms translated only became part of France in 1678. Le Jeune was a the first stroke he placed our music at the summit of into French verse, with their melodies, from the Ge- Protestant and enjoyed the protection of various Les antiens qui ont traité de la Musique l’ont divisée en perfection, a thing that will cause him to be followed nevan Psalter. Given the vast size of these repertoires, Huguenot nobles in the Low Countries and France deux parties, Harmonique, & Rythmique: l’une consistant by many more admirers than imitators: for he has no concert program could possibly aspire to present throughout his career, eventually gaining an appoint- en l’assemblage proportionée des sons graves, & aigus, rendered it not merely equal to that of the ancients, but much more excellent and more capable of beauti- a representative sample. Instead, our selection juxta- ment as maistre compositeur ordinaire de la musique de l’autre des temps briefz & longs.… La Rythmique … a esté mise par eux en telle perfection, qu’ils en ont fait des ful effects… poses songs loosely connected by common themes or nostre chambre to Henri IV of France. But even his effects merveilleux: esmouvans par icelle les ames des hom- Preface sur la musique mesurée (Le Printems, 1603) images (springtime, willows, nightingales, and, inevi- noble protectors could not spare Le Jeune some of the mes a telles passions qu’ils vouloient: ce que’ils nous ont tably, love). We sing songs from France and from the effects of the violent religious conflicts that gripped voulu representer sous les fables d’Orphée, & d’Amphion, Hoping to endow French poetry and music with the Low Countries, draw several works from an anthol- France during his lifetime. During the seige of Paris qui addoucissoyent le courage selon les bestes plus sauvages, emotional potency of Greek lyrics sung to the lyre—a ogy published in Antwerp in 1597, Le rossignol musical in 1590, for instance, having made aconfession de foi & animoyent les bois & les pierres, jusques à les faire mouvoir, & placer ou bon leur sembloit. Depuis, ceste fantastic persuasiveness that the academicians could des chansons, and play fantasies based on songs, as well hostile to the Catholic League, he was forced to flee Rythmique a esté tellement négligée, qu’elle s’est perduë du only read about and imagine, since not one note of as some freely invented. The composers, French, Bel- the city and only escaped having some of his manu- tout, & l’Harmonique depuis deux cens ans si exactement actual classical music was known to sixteenth-centu- gian, Dutch, and even Italian, include several obscure scripts burned by a guard at the St Denis gate thanks recherchée qu’elle s’est rendue parfaite, faisant de beaux ry Europe—the Académie devised an ingenious but names; at the same time we emphasize the music of to the intervention of a Catholic friend, the composer & grands effects mais non telz que ceux que l’antiquité highly artificial system. It imposed on French verse the marvelous and justly famous Claude Le Jeune. Jacques Maudit. raconte.… Claudin le Jeune … est le premier enhardy de retirer ceste pauvre Rythmique du tombeau ou elle avoit the quantitative meters of Greek and Latin, and Le Jeune was born around 1530 in Valenciennes, a city Le Jeune’s contemporaries perceived in his music an esté si long temps gisant, pour l’aprier à l’Harmonique. Ce then required it to be set it to music whose long and on the river Escaut (or Scheldt), about 65 miles south- unparalleled rhythmic vitality. qu’il a fait avec tel art & tel heur, que du premier coup il a short notes (in the ratio 2:1) corresponded to long mis nostre musique au comble d’une perfection, qui le fera and short syllables. The verse was calledvers mesu- suyvre de beaucoup plus d’admirateurs que d’imitateurs: la rendant non seulement egale à celle des antiens, mais rés à l’antique, the musical fruit, musique mesurée à Puis que le IEVNE est mort, le balet des Muses a ceßé: Because LE JEUNE is dead, the dance of the Muses has ceased: beaucoup plus excellente, & plus capable de beaux effects… l’antique. Le Jeune became the leading exponent of Leur carrolle se taist, l’eau d’Hipocréne a tari. Their carol is mute, Hippocrene’s waters run dry. musique mesurée, an irregular, jazzy mixture of duples Nul ne scavoyt marquer, comme luy, la cadence de leur chant: None knew how to render, as he did, the cadence of their songs: The ancients who have discussed music have divided and triples, and in his hands this rather mechanical Nul ne donnoyt aux vers l’ordre & le bransle pareil. None gave to verse equal order and verve. it into two parts, Harmony and Rhythm: the one technique dances with life, as can be heard in Revecy Nul ne pourvoyt chatouiller les sens de si douce ravisson, None could caress the senses with such sweet ravishing, consisting in the proportional joining together of low Et remplir, comme luy, d’ayse l’oreille’ et le coeur. And fill, as he did, the ear and heart with ease. and high sounds, the other of short and long beats.… venir du Printans, setting a lengthy poem most likely Encor a son tombeau mile fleurs font naistre ce printemps: At his tomb a thousand flowers still give birth to this spring: Rhythm … was brought to such perfection by them written by Baïf himself. Whethermusique mesurée Mais a ce beau printemps touche un éternel hyver. But this fair spring is touched by an eternal winter. that with it they achieved marvelous effects: with it achieved the precise effects of classical poetry is -im CLAVDE LE IEVNE mourant, sont morts ensemble tou’ CLAUDE LE JEUNE dies, and with him die together at one they could move men’s souls to whatever passions possible to know. No accounts survive of rocks being d’un coup stroke they wished, which they have represented to us in the moved, but in 1605, according to the poet Théodore- Des mouvementz nombreux l’art, la science, & l’honneur. The art, science, and honor of numbered movements. fables of Orpheus and Amphion, who calmed the spir- its of the most savage beasts and animated the woods Agrippa d’Aubigné, the composer Eustache du Caur- Nicolas Rapin, Sur la mort de Claude le Jeune…vers elegiaques and rocks to the point of making them move, and plac- roy became converted to the system upon hearing (preface to Le Printemps, 1603) ing them wherever they pleased. Since then, Rhythm two of Le Jeune’s psalms sung by over 100 singers

6 7 in Paris. And the metrical flexibility the technique early sixteenth century as a psalm-singing movement hearts of men to invoke and praise God with a more Psalm 137, Estans assis aux rives aquatiques,for example, produced transformed Le Jeune’s rhythmic sense in spread throughout the continent, propelled by the en- vehement and ardent zeal.… perfectly reflects the tendency of French to rise gently compositions outside of the strictly regulated realms ergies of religious reform. Now among the … things proper to recreate man and towards the end of words and phrases, while falling of musique mesurée. give him pleasure, music is either the first or one of on weak endings. It also conveys by purely musical In 1537 Clément Marot, a valet de chambre at the the principal, and we must think that it is a gift of God means the intense melancholy and nostalgia of the Another theme running through the program is imita- French Catholic court, made metrical, rhymed ver- deputed to that purpose.… But there is still more, for psalm, its unfulfilled yearning for the lost homeland: there is hardly anything in the world with more power tion, specifically the use of a pre-existing melody or sions of thirty psalms. Calvin used some of Marot’s rising again and again through the octave above the polyphonic work as the basis for a new composition. psalm translations in his first, partial psalter, the Aul- to turn or bend, this way and that, the morals of men, as Plato has prudently considered. And in fact we find final, the melody never manages to ascend beyond the We hear two versions of Je file quand Dieu me donne cuns pseaulmes et cantiques mys en chant of 1539. by experience that it has a secret and almost incredible seventh degree of the scale to sound the octave itself. de quoy, both based on an earlier chanson by a certain Marot, a Huguenot, fled to Geneva in 1542. Various power to move our hearts in one way or another. Maistre Gosse (Le Jeune’s song changes the words incomplete psalters appeared over the next several Estans assis is heard here in five versions: first, the un- Jean Calvin, Epistle to the Reader,La forme des prières adorned tune by Bourgeois from the 1562 Psalter; sec- slightly; perhaps he found the first line blasphemous) years, the work of Marot and a second poet, Théo- et chantz ecclésiastiques (Geneva, 1542) and two of Je suis desheritée, based on a work by Pierre dore de Bèze, with melodies by a Genevan municipal ond, a simple four-part harmonization by Goudimel, Cadéac. Une jeune fillette is the most common French musician, Loys Bourgeois, and others, all encouraged Calvin promoted congregational singing of psalms, in with the tune in the tenor; third, a short polyphonic version of a tune popular across Europe; it may have and supervised by Calvin. The first complete psalter unison or in straightforward note-against-note har- psalm-motet by Goudimel, in which the Genevan originated in Italy, where it was known as La monica. of 1562 was hugely popular among Protestants and monizations. Outside of church, however, the French tune is sung as a cantus firmus by the superius. Next After the song itself, we include a series of fantasies by Catholics alike and went through over forty editions psalms and their melodies also inspired elaborate follows a work by Paschal de L’Estocart with the Du Caurroy, in three, four, and five parts, that take the within two years. polyphonic treatment by some of the century’s great- psalm melody placed back in the tenor (we perform melody as a cantus firmus. est composers. Prominent among these were Le Jeune it with a singer on the tenor and viols on the remain- The Protestant reformers shared a desire to make and Jan Pieterszoon van Sweelinck, both of whom de- ing three parts) and finally an elaborate (though min- In the second half of the concert we turn also to mu- the liturgy directly accessible to all and to rid it of voted a large part of their creative energies to musical iature) motet by Sweelinck, in which each phrase of sic inspired by the Genevan Psalter, the sixteenth- excessive ornament and pomp, but they varied in settings of the Genevan Psalter intended not for use in the melody is treated imitatively in all five voices, pro- century translation into French verse of the Book of their opinion of the role of music in a reformed church, but for enjoyment and spiritual refreshment ducing a texture saturated with the contours and the Psalms. A collection of 150 devotional poems whose church. Martin Luther embraced music as a power- at home or in social gatherings. Sweelinck, organist at mood of Marot’s verse and Bourgeois’s tune. sentiments range from anguish to exaltation and from ful gift of God, thus inaugurating a glorious tradi- the Oude Kerk in Amsterdam, set the entire psalter The program concludes with another of Sweelinck’s the most peaceful expressions of joy to the bitterest tion of sacred music in Germany. At the other end of in polyphony, which he published in four volumes most inspired psalm compositions. The three stanzas hatred of one’s enemies, the Book of Psalms provided the spectrum, Zwingli forbade all music whatsoever. between 1604 and 1621. Claude Goudimel, too, made of Marot’s Psalm 23, Mon Dieu me paist, are set for four, Jews and Christians alike with a rich source of texts Calvin’s views lay somewhere between the two: he the creation of a substantial repertoire of Psalter set- five, and then six voices. Virtually all the material is for public ritual and private spiritual exercise, and for opposed instrumental music in church and frowned tings a major goal of his life’s work. He issued three drawn from the psalm melody, which is furthermore generation upon generation the psalter was at the on artifice or frivolity of any kind, but recognized complete versions of the entire Psalter in simple har- heard as a plain cantus firmus in the tenor of both sec- core of religious life in Europe. Chanting the com- the ethical power of music and its long history in monizations suitable for congregational use, as well ond and third parties. Sweelinck’s endlessly resource- plete Latin psalter over the course of a weekly cycle, Christian worship. as eight collections of psalm-motets. ful counterpoint is at once technically dazzling and for example, was a basic obligation of monastic life. As to the public prayers, these are of two kinds: some immediate in its expressiveness. The psalter’s already immense popularity received are offered by means of words alone, the others with Two reasons for the success of the Genevan Psalter are —Scott Metcalfe an additional boost from the Protestant Reforma- song. And this is not a thing invented a little time ago, immediately obvious from the texts and tunes heard for it has existed since the first origin of the Church; tion, whose emphasis on direct personal engagement today: first, the poetry is wonderful; second, the Special thanks to Convivium Musicum, with whom I first this appears from the histories, and even Saint Paul explored the music of the Genevan Psalter; to Jesse Blum- with biblical texts dovetailed neatly with the textual speaks not only of praying by word of mouth, but also melodies are beautifully crafted, supple, memorable, berg and the Five Boroughs Music Festival for presenting interests of humanists. Vernacular verse translations of singing. And in truth we know by experience that expressive, and excellently matched to the rhythms the program in New York; and above all to Parthenia, for of the psalms began to appear across Europe in the song has great force and vigor to move and inflame the and intonation of the French language. The melody of proposing to Blue Heron the idea of this collaboration.

8 9 Sources Texts & Translations

Claude Le Jeune, Debat la noste trill' en May:Livre de meslanges (Antwerp, 1585), Revecy venir du printans: Le Revecy venir du printans Behold the return of spring, printemps (Paris, 1603), Rossignol mon mignon, Tu ne l’enten pas: Le Rossignol musical des chansons (Antwerp, L’amoureuz’ et belle saison. the amorous and fair season. 1597), Je file, Fuyons tous d’amour, Fantasie a 6:Second livre des meslanges (Paris, 1612), Je suis desheritee (I): Le courant des eaus recherchant The current of waters that seeks Mellange de chansons des vieux autheurs que des modernes (Paris, 1572) Le canal d’été s’éclaircit: the channel in summer becomes clearer, Et le mer calme de ces flots and the calm sea soothes Del Melle, Rossignolet qui chante: Le Rossignol musical des chansons (Antwerp, 1597) Amolit le triste courrous: its waves’ sad anger; Ferrabosco, Le Rossignol plaisant et gratieux: Le Rossignol musical des chansons (Antwerp, 1597) Le canard s’egaye plonjant, The duck delights in diving Et se lave coint dedans l’eau; and washes itself gracefully in the water. Pevernage, Le Rossignol plaisant et gratieux: Livre quatrième des chansons (Antwerp, 1591), Vous qui goutez Et la grû’ qui fourche son vol And the crane that branches off in flight d’amour: Livre second des chansons (Antwerp, 1590) Retraverse l’air et s’en va. recrosses the air and flies away. De Rippe, Fantasie: Premier livre de tabulature de leut, contenant plusieurs chansons et fantasies (Paris, 1552) Revecy venir du printans Behold the return of spring, Anonymous, Une jeune fillette:Recueil des plus belles et excellentes chansons en forme de voix de ville (Paris, 1576) L’amoureuz’ et belle saison. the amorous and fair season. Du Caurroy, Fantasies (Paris, 1610) Le soleil éclaire luizant The sun shines brightly D’une plus séreine clairté: with a more serene light; Van Wilder, Je file quand Dieu me donne de quoy:Le Rossignol musical des chansons (Antwerp, 1597) Du nuage l’ombre s’enfuit, the shadow of the cloud, which sports Qui se ioû’ et court et noircit. and runs and darkens, vanishes; Marot / Bourgeois, Estans assis, Mon dieu me paist:Les pseaumes mis en rime francoise (Geneva, 1562) Et foretz et champs et coutaus human labor makes forests and fields Goudimel, Les 150 pseaumes (1564/65), Les cent cinquante pseaumes (1568/60) Le labeur humain reverdit, and slopes green again, Et la prê’ découvre ses fleurs. and the meadow unveils its flowers. De L’Estocart, Estans assis aux rives aquatiques: 50 pseaumes de…avec la mélodie huguenote (Geneva & Lyons, 1583) Revecy venir du printans Behold the return of spring, L’amoureuz’ et belle saison. the amorous and fair season. Sweelinck, Estans assis, Mon dieu me paist:Cinquante pseaumes de David (Amsterdam, 1604) De Venus le filz Cupidon Cupid, the son of Venus, Henry Le Jeune, Fantasie a 5: Marin Mersenne, Harmonie universelle (Paris, 1636-7) L’univers semant de ses trais, seeding the universe with his arrows, Adriaenssen, Galiarda per B dure in B fabemi: Novum pratum musicum (Antwerp, 1592) De sa flamme va réchaufér with his flame will warm Animaus, qui volet en l’air, animals that fly in the air, Animaus, qui rampet au chams, animals that crawl in the fields, Animaus, qui naget auz eaus. animals that swim in the seas. Ce qui mesmement ne sent pas, Even those that feel not Amoureux se fond de plaizir. melt with pleasure, in love. Revecy venir du printans Behold the return of spring, L’amoureuz’ et belle saison. the amorous and fair season. Rion aussi nous, et cherchon Let us laugh, too, and seek Les ébas et ieus du printans: The sports and games of spring: Toute chose rit de plaizir: everything smiles with pleasure; Sélebron la gaye saizon. let us celebrate the joyful season. Revecy venir du printans Behold the return of spring, L’amoureuz’ et belle saison. the amorous and fair season. 10 11 Rossignolet qui chante, Little singing nightingale, Un soir apres complie One evening after compline, Va-t’en a mon amy go to my lover Seulette estoit, all alone, Dire qu’il se contente, and tell him to be content, En grand melancolie in great melancholy Et que c’est mon attente and that is is my hope Se tourmentoit, she tormented herself De mourir avec luy. to die with him. Disant ainsi, douce vierge Marie, saying, Sweet virgin Mary, Abregez-moy la vie, bring my life to an end, Rossignol mon mignon, qui dans ceste saulaye Nightingale, my darling, you who in this willow grove Puis que mourir je doy. for I must die. Vas seul de branch’ en branche à ton gré voletant, go alone from branch to branch, fluttering about at will, Mon pauvre coeur souspire My poor heart sighs Et chantes à l’envy de moy qui vay chantant and sing in emulation of me, I who go singing Incessament, incessantly, Celle qui faut toujours que dans la bouche j’aye, of her whose name is always on my tongue, Aussi ma mort desire And I desire my death Journellement. Every day. Nous soupirons tous deux, ta douce voix s’essaye We both sigh, the two of us: your sweet voice devotes itself Qu’à mes parens ne puis mander n’escrire, Because I cannot send to nor write my parents, A soner l’amitié d’une qui t’ayme tant, to proclaiming the love of one who loves you much, Ma beauté fort empire, my beauty wastes away; Et moy triste je vay la beauté regrettant while I go sadly lamenting the beauty Je viz en grand tourment. I live in great torment. Qui m’a fait dans le coeur une si aigre playe. who has made such a bitter wound in my heart. Que ne m’a t’on donnée For they did not give me Toutefois, Rossignol, nous differons d’un point, All the same, Nightingale, we differ in one way, A mon loyal amy, to my faithful lover, C’est que tu es aymé, et je ne le suis point, which is that you are loved, and I am not at all, Qui tant m’a desirée who desired me so, Bien que tous deux ayons les musiques pareilles: although we both make the same music, Aussi ay-je moy luy, as I did him. Toute la nuict m’y tiendroit embrassée All night he held me in his embrace Car tu fléchis t’amie au doux bruit de tes sons, For you move your lover by the sweet sound of your calls, Me disant la pensée, telling me his thoughts, Mais la mienne qui prend à dépit mes chansons but mine, who is offended by my songs, Et moy la mienne à luy. and I telling him mine. Pour ne les escouter, se bouche les oreilles. in order not to hear them, stops up her ears. A Dieu vous dy mon pere, Adieu to you, my father, Pierre de Ronsard (1524-85), Ma mere et mes parens, my mother and my family, Continuation des amours (1555) Qui m’avez voulu faire who chose to make me Nonnette en ce convent, a nun in this convent, Le Rossignol plaisant et gratieux, The pleasing and gracious Nightingale Ou il n’y a point de resjouissance, where there is not any joy; Habiter veut tousjours au vert bocage, wishes always to live in the green wood, Je vis en desplaisance, I live in misery, Au champs voler et par tous autres lieux, to fly to the fields and everywhere else, Je n’attens que la mort. I hope for nothing but death. loving its liberty more than its cage: Sa liberté aimant plus que sa cage: La mort est fort cruelle Death is terribly cruel Mais le mien coeur qui demeure en ostage But this heart of mine, which lives hostage A endurer to suffer, Sous triste deuil qui le tient en ses lacs, to the sad grief that holds it in its snares, Combien qu’il faut par elle but however much one must endure Du Rossignol ne cherche l’avantage, does not seek the Nightingale’s superiority, Trestous passer. everything from it, Ne de son chant reçevoir le soulas. nor to receive the solace of its song. Encor’ est plus le grand mal que j’endure, even worse is the great grief that I suffer, Et la peine plus dure and even harder the pain La fleur de poésie francoyse (Paris, 1543) Qu’il me faut supporter. I am forced to bear.

Une jeune fillette A young girl A Dieu vous dy les filles Adieu to you, daughters De noble coeur, of noble heart, De mon pays, of my land, Plaisante et joliette pleasant and pretty, Puis qu’en cest Abbaye for in this Abbey De grand’ valeur, of great worth, Me faut mourir, I must die. Outre son gré on l’a rendu nonnette, was made a nun against her will, En attendant de mon Dieu la sentence, Awaiting my God’s judgment, Cela point ne luy haicte, which did not suit her at all, Je vy en esperance I live in hope Dont vit en grand douleur. and so she lived in great sadness. D’en avoir reconfort. of receiving comfort from it. 12 13 Je file quand Dieu me donne de quoy, I spin when God gives me the wherewithal, Tu ne l’enten pas, la la la, You don’t understand it, la la la, Je file ma quenouille auvoy. I spin my distaff, oho! Tu ne l’enten pas, c’est Latin. You don’t understand it, it’s Latin. En un jardin m’en entray, Into a garden I entered, Trois fleurs d’amour j’y trouvay. three flowers of love I found there. La fille d’un bon homme s’est levée au matin, The daughter of a good man got up in the morning, Je vay, je vien, je tourne, je vire, I go, I come, I turn, I turn about, A prin trois bichetz d’orge, s’en va droit au moulin, took three bushels of barley, went straight to the mill. Je ferre, je file, je tons, je raiz, I fit, I spin, I shear, I shave, Je danse, je saute, je ris, je chante, I dance, I leap, I laugh, I sing, Tu ne l’enten pas, la la la, You don’t understand it, la la la, Je chauffe mon four, I heat my oven, Tu ne l’enten pas, c’est Latin. You don’t understand it, it’s Latin. Je garde mes ouailles du loup. I guard my sheep from the wolf. Je file quand Dieu me donne de quoy, I spin when God gives me the wherewithal, A prin trois bichetz d’orge, s’en va droit au moulin, She took three bushels of barley, went straight to the mill; Je file ma quenouille au voy. I spin my distaff, oho! Mon amy, si dit elle, moudray je bien mon grain. My friend, says she, I’d like my grain well ground. Tu ne l’enten pas, la la la, You don’t understand it, la la la, Je file quand on me donne de quoy, I spin when given the wherewithal, Tu ne l’enten pas, c’est Latin. You don’t understand it, it’s Latin. Je file ma quenouille au boy. I spin my distaff in the wood. Trois fleurs d’amour j’y trouvay, Three flowers of love I found there, Mon amy, si dit elle, moudray je bien mon grain. My friend, says she, I’d like my grain well ground. A mon amy les donnay. To my lover I gave them. Ouy, dit il, la belle, attendés à demain. Okay, says he, my pretty, wait til tomorrow. Je vay, je vien, je tourne, je vire, I go, I come, I turn, I turn about, Tu ne l’enten pas, la la la, You don’t understand it, la la la, Je ferre, je taille, je tons, je rais, I fit, I trim, I shear, I shave, Tu ne l’enten pas, c’est Latin. You don’t understand it, it’s Latin. Je danse, je saute, je ris, je chante, I dance, I leap, I laugh, I sing, Je chauffe mon four, I heat my oven, Ouy, dit il, la belle, attendés à demain. Okay, says he, my pretty, wait til tomorrow. Je garde mes ouailles du loup. I guard my sheep from the wolf. J’ay bien perdu ma peine: I’ve really wasted my time (says she), Je file ma quenouille au boy, I spin my distaff in the wood, car tu n’es qu’un badin. for you are nothing but an ass. Je file quand Dieu me donne de quoy, I spin when given the wherewithal, Je file ma quenouille au boy. I spin my distaff in the wood. Tu ne l’enten pas, la la la, You don’t understand it, la la la, Tu ne l’enten pas, c’est Latin. You don’t understand it, it’s Latin.

Je suis desheritée I am desolate Vous qui goutez d’amour le doux contentement, You who taste the sweet contentment of love Puis que j’ay perdu mon amy; for I have lost my love; Chantez qu’il n’est rien tel que l’estat d’un amant: say that there is nothing like the state of a lover: Seulette il m’a laissée all alone he left me, Vous qui la liberté pour déess’ avez prize, You who have taken liberty as a goddess Pleine de dueil et de soucy. full of grief and care. Chantez qu’il n’est rien tel que garder sa franchise. say that there is nothing like keeping your freedom. Rossignol du boys joly, Fair nightingale of the woods, Sans plus faire demeurée without further stay go tell my love Va t’en dire à mon amy Fuyons tous d’amour le jeu Let’s all flee the game of love that for him I am tormented. Que pour luy suis tourmentée. Comme le feu, as from fire! Ayme qui voudra les femmes, Let him who wishes love women, Serve qui voudra les dames, let him who wishes serve ladies: Seated by the watery banks Estans assis aux rives aquatiques Quand à moy je n’en ay cure, as for me I don’t care for them, of Babylon, we wept, filled with grief, De Babylon, plorions melancoliques, Ni les procure, nor put any effort towards them; remembering the land of Zion: Nous souvenans du pays de Sion: Jamais on n’y gaigne rien, never does one gain anything that way, And in the midst of that place Et au milieu de l’habitation Je le voy bien. I see well. where we shed so many tears of regret, Où de regrets tant de pleurs espandismes, Fuyons tous d’amour le jeu Let’s all flee the game of love Aux saules verds nos harpes nous pendismes. on the green willows we hung our harps. Comme le feu. as from fire! Psalm 137, trans. Clément Marot (1496-1544)

14 15 Blue Heron Mon Dieu me paist sous sa puissance haute My God leads me to graze beneath his high might, C’est mon berger, de rien je n’auray faute. He is my shepherd, I shall want for nothing. En tect bien seur, joignant les beaux herbages, In sure shelter, beside green pastures, Coucher me fait, me mene aux clairs rivages, He makes me lie down; he leads me to clear waters, The vocal ensembleBlue Heron has been acclaimed season. All of Blue Heron's recordings have received in- Traite ma vie en douceur tres-humaine, Treats my life with sweetness most gentle, by The Boston Globe as “one of the Boston music com- ternational critical acclaim and the first Peterhouse CD Et pour son Nom par droits sentiers me mene. And for his Name’s sake leads me in righteous paths. munity’s indispensables” and hailed by Alex Ross in made the Billboard charts. The New Yorker for the “expressive intensity” of its Si seurement, que quand au val viendroye Yea surely, when I shall enter the valley interpretations. Combining a commitment to vivid Blue Heron presents subscription series in Boston and in D’ombre de mort, rien de mal ne craindroye, Of the shadow of death, I shall fear no evil, live performance with the study of original source New York City. The ensemble has appeared at the Boston Car avec moy tu es à chacune heure: For you are with me at every hour, materials and historical performance practices, Blue Early Music Festival; in New York City at The Cloisters, Puis ta houlette et conduite m’asseure. And your staff and escort reassure me. Heron ranges over a wide and fascinating repertoire, the 92nd Street Y, and Music Before 1800; at Dumbarton Tu enrichis de vivres necessaires You enrich my table with all needed provisions including 15th-century English and Franco-Flemish Oaks in Washington, D.C., at Festival Mozaic in San Luis Ma table aux yeux de tous mes adversaires. Before the eyes of all my adversaries. polyphony, Spanish music between 1500 and 1600, Obispo, California, and at the Berkeley Early Music Festi- and neglected early 16th-century English music, val. In September Blue Heron took up a new position as Tu oings mon chef d’huiles et senteurs bonnes, You anoint my head with oils and good scents, especially the rich and unique repertory of the Pe- ensemble in residence at the new Center for Early Music Et jusqu’aux bords pleine tasse me donnes: And give me a cup filled to the brim: terhouse partbooks, copied c. 1540 for Canterbury Studies at Boston University. Highlights of the 2012-13 Voire et feras que ceste faveur tienne And surely you shall see to it that your favor Cathedral. Blue Heron’s first CD, featuring music by season include performances for the visit of His Holiness Tant que vivray compagnie me tienne: Accompany me as long as I live: Guillaume Du Fay, was released in 2007. In 2010 the the Dalai Lama to the Massachusetts Institute of Tech- Si que tousjours de faire ay esperance So that I expect always ensemble inaugurated a 5-CD series of Music from the nology in October, an appearance at the new Shalin Liu En la maison du Seigneur demeurance. To dwell in the house of the Lord. Peterhouse Partbooks; two discs have been released so Performance Center in Rockport, the presentation of far, of music by Hugh Aston, Robert Jones, Nicho- North American premieres of music from the Peterhouse Psalm 23, trans. Clément Marot las Ludford, John Mason, and Richard Pygott, and partbooks by Ludford and Mason, and a collaboration volume three was recorded last fall for release next with the viol consort Parthenia from New York.

Parthenia

Parthenia is a dynamic quartet of viols which ani- world’s foremost early music specialists including Piffaro, mates ancient and contemporary repertoires with a Julianne Baird, Paul O’Dette, Blue Heron, and ARTEK. ravishing sound and a remarkable sense of ensem- Parthenia actively commissions and premieres works by ble. Parthenia is presented in concerts and festivals today’s composers including Eleonor Sandresky, Richard across America including Bargemusic, Music Before Einhorn, Phil Kline, Frances White, Max Lifchitz, Will 1800, Maverick Concerts, The Rockport Chamber Ayton, Nicholas Patterson and Kristin Norderval. Parthe- Music Festival, The Metropolitan Museum of Art, nia records on the MSR Classics label, and is represented The Miller Theatre, and the Yale Center for British by GEMS Live artists management. Art, and in Europe at the Regensburg Tage Alter Musik. The ensemble produces its own concert series Parthenia is Beverly Au, Lawrence Lipnik, Rosamund translations: Scott Metcalfe in New York City, collaborating regularly with the Morley, and Lisa Terry.

16 17 In addition to her exten- and First Phase Diploma in Baroque and Classical sing- TENET’s recent CD A Feast for the Senses and on production ofThe Nose, and a Jordan Hall performance sive work with the viol ing from the Royal Conservatory in The Hague. In the Green Mountain Project’s live recording of Claudio of Benjamin Britten’sSerenade for Tenor and Horn. Mr. consort Parthenia, Bev- fall of 2010 he began doctoral studies in choral conduct- Monteverdi’s Vespers of 1610. Mr. Heijink holds a per- McIntosh is also a member of various ensembles, in- erly Au has performed ing at Boston University. formance degree from The Hague’s Royal Conserva- cluding Blue Heron, Exsultemus, Emmanuel Music, with many notable early tory (The Netherlands), as well as a degree in com- Boston Baroque, the Handel & Haydn Society, Harvard music ensembles and Paul Guttry, bass-baritone, puter science, and a PhD in social sciences. When Baroque, Tucson Chamber Artists, and Seraphic Fire. series, including Bach enjoys the variety of opera, not playing lute, he writes software for the iPhone. Vespers at Holy Trinity, oratorio, and a specializa- Tenor Jason McStoots has NY’s Ensemble for Early tion in early music. A former Lawrence Lipnik has performed around the world. Music, Carnegie Hall member of Chanticleer, Paul performed with many Critics have described him as Neighborhood Concerts has performed throughout acclaimed chamber and “light and bluff, but neither and The American Classical Orchestra. She has the USA and internationally early music ensembles lightweight nor bland, and played on Broadway (The Tempest, starring Patrick with Sequentia, the Boston from Anonymous 4 to with exemplary enuciation” Stewart), on television and in film (Al Pacino’sLook - Camerata, and New York’s Ensemble for Early Music. In New York City Opera and and as having “a silken tenor voice” and “sweet, appeal- ing For Richard). Boston he has appeared as soloist with Emmanuel Music, is a founding member of ing tone.” His recent appearances include Bach’s Christ- the Handel & Haydn Society, the Boston Early Music Parthenia and the vo- mas Oratorio and a Japanese tour of the St. Matthew Pas- Festival, the Tanglewood Music Center, Cantata Singers, Michael Barrett has col- cal ensemble Lionheart, sion under the direction of Joshua Rifkin, Monteverdi’s Boston Cecilia, Prism Opera, Intermezzo, Boston Rev- laborated with the Bos- whose recent recording 1610 Vespers and The Return of Ulyssesin Seattle under els, and Collage. This summer he sang the role of Osmin ton Camerata, Huelgas “John the Revelator” rose to the top 20 Billboard Stephen Stubbs, and Handel’s Acis and Galatea with the in the Connecticut Early Music Festival’s production of Ensemble, Blue Heron, Classical Crossover charts. In addition to perform- Boston Early Music Festival. He has appeared with such Mozart’s Die Entführung aus dem Serail and in the spring the Netherlands Bach So- ing, he is a contributor to the Cambridge Compan- groups as Boston Lyric Opera, Pacific MusicWorks, Bos- will appear as the Father in Britten’sThe Prodigal Son with ciety, L’Académie, Seven ion to Shakespeare and Contemporary Dramatists ton Camerata, Handel Choir of Baltimore, New Haven Intermezzo. In addition to Blue Heron’s discs, Paul can Times Salt, and Exsulte- and has collaborated on numerous television and Symphony, Tragicomedia, and the Tanglewood Music be heard on recordings of medieval music by Sequentia, mus, and has performed video projects with artist William Wegman. Center, and in annual Monteverdi performances by New Kurt Weill’s Johnny Johnson and French airs de cour with in several recent operas York’s Green Mountain Project, directed by Scott -Met the Boston Camerata, and music of Bach by Emmanuel produced by the Boston Tenor Owen McIntosh is calfe. He can be heard on recordings with Blue Heron Music. Early Music Festival. He can be heard on harmonia the recipient of a master’s and Cut Circle, as well as on the Grammy-nominated mundi and Blue Heron record labels. Mr. Barrett LutenistHank Heijink (pro- degree from the New Eng- recording of Lully’s Psyché and on recordings of Char- directs the Renaissance choir Convivium Musicum nounced Hey-ink) has played land Conservatory of Mu- pentier and John Blow with the Boston Early Music Fes- and the professional vocal ensemble Sprezzatura, and all over the world with lead- sic. Heralded by critics as tival on the CPO label. he serves on the advisory board of L’Académie, a pro- ing ensembles such as the “stylistically impeccable,” fessional ensemble for Baroque music. Mr. Barrett Amsterdam Baroque Or- “he sings with vocal en- Scott Metcalfe has gained has worked as a conductor and music theory teacher chestra, European Union Ba- ergy and rhythmic bite” wide recognition as one of at Harvard University, is a faculty member of IMC, a roque Orchestra, Orchestre and his “strong yet sweet North America’s leading spe- New York-based company for music curriculum and d’Auvergne, TENET, Mark tenor voice” produces cialists in music from the fif- instruction, and has served as a workshop leader for Morris Dance Group, and the the “clearest lines and most nuanced performances.” teenth through seventeenth professional development courses. He also maintains Wooster Group, among oth- Recent performances include the title role in He- centuries and beyond. Mu- a studio for private instruction in voice, piano, and ers. He is in high demand as an accompanist on theo- lios Early Opera’s production ofDavid et Jonathas sical and artistic director of music theory. Mr. Barrett earned an AB in music rbo, lute, and guitar, and his playing has been described by Charpentier, Bach’s B Minor Mass with Tucson Blue Heron since its founding from Harvard University, an MM in choir conduct- as “eloquent” (The Wall Street Journal) and “deft and Chamber Artists, the Evangelist in Telemann’sSt. in 1999, he is also music direc- ing from Indiana University Jacobs School of Music, sensitive” (The New York Times). He can be heard on Luke and St. John Passions, soloist in Opera Boston’s tor of New York City’s Green

18 19 Mountain Project (Jolle Greenleaf, artistic director), Countertenor Martin Emily Walhout grew up Soprano Shari Alise whose performances of Claudio Monteverdi’s 1610 Near began his profes- playing the cello, but it Wilson is among the Vespers and a “1640” Vespers of Metcalfe’s own devis- sional singing life at age was not until attending new generation of singing have been hailed by The New York Times as “quite ten in the choir of men college that she discov- ers specializing in early simply terrific” and byThe Boston Globe as “stupen- and boys at Saint Thom- ered her love for baroque and modern music, dem- dous.” Metcalfe has been a guest director of TENET as Fifth Avenue in New bass lines, and at Oberlin onstrating great versatil- (New York), Emmanuel Music (Boston), the Tudor York City, advancing to Conservatory she took ity and stylistic sensitiv- Choir and Seattle Baroque, Pacific Baroque Orchestra Head Chorister. He now up the baroque cello and ity. Recent highlights (Vancouver, BC), Quire Cleveland, and the Dryden enjoys a varied career, ex- the viola da gamba. Ms include performances at the Houston Early Music Ensemble (Princeton, NJ), and he conducted Early ploring his twin passions Walhout, whose playing Festival with La Donna Musicale, Bach’s Magnificat Music America’s Young Performers Festival Ensem- for early music and new music. This past April Mr. has been described as with American Bach Soloists, Handel’s Messiah with ble in its inaugural performance at the 2011 Boston Near sang in the Evangelist quartet of Arvo Pärt’s “soulful and expressive ” by The New York Times, is Austin’s Ensemble VIII, David Lang’s Little Match Early Music Festival. Metcalfe also enjoys a career Passio with Boston Modern Orchestra Project, and currently a member of the ensemble Les Délices (dir. Girl Passion with Boston Modern Orchestra Project, as a baroque violinist and currently plays with Les together with soprano Margot Rood was noted for Debra Nagy), based in Cleveland, as well as Boston’s Haydn’s Creation (Angel) with Marsh Chapel Colle- Délices (dir. Debra Nagy), Les Boréades (dir. Fran- producing “an ear-boggling array of close-harmony Carthage Consort. She was a founding member of gium, and the New York debut of Kile Smith’s Vespers cis Colpron), L’Harmonie des Saisons (dir. Eric sonorities...seemingly generating overtones and wave- La Luna, an ensemble of two violins and continuo, with Piffaro and The Crossing Choir. She made her Milnes), and other ensembles in Boston, Montreal, interference patterns that not even dogs could hear.” and from 1987 through 2004 played bass violin with New York City solo debut in 2006 at Merkin Hall in and elsewhere. He teaches vocal ensemble repertoire In November 2011 he was countertenor soloist in the The King’s Noyse. She has toured as a chamber musi- the world premiere performance of Benjamin C.S. and performance practice at Boston University and is premiere performance of Dominick DiOrio’s Stabat cian throughout North America and Europe and has Boyle’s Cantata: To One in Paradise, and has travelled co-director (with Victor Coelho) of BU’s new Cen- mater with Juventas New Music Ensemble. In March recorded extensively with the Boston Camerata, La to the Festival of Two Worlds in Spoleto, Italy, where ter for Early Music Studies. In his spare time he is at 2011 Mr. Near took the role of Hamor in Handel’s Luna, and The King’s Noyse. She has also been solo she performed in choral concerts and operas, most work on a new edition of the songs of Gilles Binchois Jephtha with Boston Cecilia, and was noted for his gambist or principal cellist for the Boston Early Music notably working with Gian Carlo Menotti in Amahl (c. 1400-1460). Metcalfe received a bachelor’s degree “fine work” in Buxtehude’s Heut triumphieret Gottes Festival Orchestra, Seattle Baroque, the Portland- Ba and the Night Visitors. Engagements this season in- in 1985 from Brown University, where he majored in Sohn with Boston Baroque. He also relishes ensem- roque Orchestra, Les Violons du Roy (Quebec City), clude concerts with Conspirare at the International biology (perhaps uniquely in the early music world, ble work and sings regularly with Emmanuel Music, the New York Collegium, Les Boréades (Montreal), Polyfollia Choral Music Festival in Saint-Lô, France, he was lead author of an article published in the An- Boston Baroque, and the Handel & Haydn Society. and the Trinity Consort (Portland, OR), and has Haydn’s Theresienmesse with Cambridge Concen- nals of Botany), and in 2005 he completed a master’s Mr. Near served as a producer for Cut Circle’s CD, performed and recorded on lirone with Les Voix Ba- tus, works by Bach and Monteverdi with Seraphic degree in historical performance practice at Harvard. “De Orto and Josquin: Music in the Sistine Chapel roques, the Handel & Haydn Society, and Montreal Fire (Miami), soprano soloist with the Boston Ce- around 1490,” and as Music Director of Exsultemus Baroque. cilia, and Handel’s Messiah with Ensemble VIII; she On all the viols and their from 2009 to 2012. also joins Exsultemus for their 10th Anniversary sea- medieval ancestors,Ro - son. She can be heard on Blue Heron’s recording of samund Morley per- Lisa Terry is a long-time Nicholas Ludford’s Missa Regnum mundi and on Kile forms with Parthenia member of Parthenia and Smith’s Vespers with Piffaro and The Crossing Choir. and the Waverly Consort the Dryden Ensemble as well as with many en- and was recently named sembles as diverse as The principal cellist of Tem- Yale Schola Cantorum, pesta di Mare, Philadel- ARTEK, The Boston phia’s baroque orchestra. Camerata and Sequentia. A founding member of She is a founding member of My Lord Chamberlain’s ARTEK, she has per- Consort which presents concerts of entire Elizabe- formed with the New York Philharmonic, New York than and Jacobean music books on the anniversaries City Opera, Juilliard Opera Orchestra, Opera Lafay- of their original publication years. ette, Orchestra of St. Luke’s and Concert Royal. 20 21 Acknowledgments BLUE HERON is much more than an ensemble Sue Ladr (Ladr Design) designed the program. Evan Board of Directors of musicians. Only the devotion, hard work and fi- Ingersoll (Angstrom Images) built our website and John A. Yannis, president Peter Belknap, treasurer nancial support of a community of board members, designed our programs for many years, Erik Bertrand Supporter ($100 – $249) Charles A. Welch Richard L. Schmeidler, clerk staff, volunteers, donors, and concertgoers makes our maintains the website, Chris Clark (Cave Dog Studio) Lorraine Adams Carol B. Wetmore Daryl Bichel existence possible, and we offer most grateful thanks designed our brochure, the postcard, various publici- Julie Rohwein & Jonathan Aibel Alex Yannis Philip H. Davis to all those who join us in this endeavor of creating, ty materials and our program covers, and Philip Davis Anonymous (4) John Yannis Scott Metcalfe Andy & Margaret Ashe Harry Silverman nurturing and sustaining an organization dedicated records our concerts. We are most fortunate to have Friend ($50 – $99) Klaus Bibl General Manager to making the music of the 15th and 16th centuries all this expertise on our side. Thomas Bisson Joseph Aieta, III John Yannis come alive in the 21st. Thanks to The Cambridge Society for Early Music for Marilyn Boenau Anonymous Jeffrey Del Papa Office Administrator supporting the pre-concert talks. Spyros Braoudakis Special thanks to the Center for Early Music Studies, James Burr & Susan Assmann Gail Abbey Edward & Matilda Bruckner Boston University, which this year welcomes Blue Many thanks to all our volunteers for their help this Keith Ohmart & Helen Chen Office Assistant Thomas Clark Edward & Gail Bucher Jennifer Farley Smith Heron as resident ensemble, and to Michael Noone evening and throughout the year. Robert Cochran Stephen Butts Interns and the Department of Music at Boston College for We are honored and grateful to have so many gener- Mary & Kenneth Carpenter Nathaniel S. & Catherine E. Christopher A. Petre, inviting us to a residency for the third year. ous donors. Coolidge Martha W. Davidson administrative assistant Priscilla Drucker Elizabeth Davidson Kevin Killmon, In Memory of Joe Davin Hope Ehn marketing assistant Elizabeth C. Davis Brenda & Monroe Engel Donations from February 22, 2012, through April 22, 2013 Carl & May Daw Jim Fowle Administrative Consultant Pamela Dellal Kate Gyllensvärd Carole Friedman Angel ($5,000 +) Sponsor ($250 – $499) Rosanne T. Dobbin Ivan Hansen Volunteers Joan Margot Smith John H. Doherty Elaine Hubert & Bill Harwood Darryl Abbey Anonymous Christopher Thorpe Anonymous (2) The Cricket Foundation Mr. & Mrs. Thomas A. Barrett John F. Dooley Margot Honig Daryl Bichel William & Elizabeth Metcalfe Marie-Hélène Bernard Paula Douglas Louis Kampf Jaime Bonney Harry J. Silverman Susan Hockfield & Tom Byrne Alan Durfee Penelope Lane Toni-Lee Capossela Patron ($500 – $999) James Catterton & Lois Wasoff Sarah Gore & Charles Ruberto Jay Lane & Jean Monroe Luca Daniel Anonymous (2) Jane Lewis Sue Delaney Benefactor ($2,500 – $4,999) Scott Clugstone Jane Wegscheider Hyman John Paul & Diane Britton Ron Lacro & Jon Schum Catherine Liddell David Fillingham Peter Belknap & Jennifer Snodgrass Susan Cornwall & Nick Pappas The Cambridge Society for Early Daniel Donoghue Paul LaFerriere Tod Machover Barney Gage John A. Carey Music & Dorrie Parini Mary Lynn Ritchie Michelle Gurel Philip H. Davis Eastern Bank Aaron Ellison Charitable Foundation William Lockeretz Katy Roth Alexandra Hawley Benjamin Krepp & Elizabeth Farnsworth David R. Elliott Nancy B. Mandel Samuel Rubin Walter Jonas Erin E. McCoy David Halstead Marie-Pierre & Michael Ellmann Sarah M. Guilford & Jennifer Farley Smith Anne Kazlauskas Scott Metcalfe Arthur Hornig Michelle Gurel & William Miniscalco Polly Scannell Laura Keeler Katherine L. Rosenfield Mastwood Charitable Foundation Richard O’Connor Amy Mossman Aaron Sheehan & Adam Pearl Carrie Lin Richard L. Schmeidler Michael P. McDonald & Julianne Lindsay Perry & Susan Neubauer Polly Sutton Stevens Sharon Liu Eiji Miki & Jane Hever Andrew Manshel & Heidi Waleson James M. Paisner Michael, Annlinnea & Judy Erin McCoy Guarantor ($1,000 – $2,499) Susan S. Poverman James Martin Keith & Janet Polk Terranova John Nesby Peggy & Jim Bradley Cheryl K. Ryder Anne H. Matthews Paul Rabin & Arlene Snyder Richard Turbet Shan Overton Alfred Nash Patterson Foundation Rachael Solem James Meyer Lee Ridgway Lloyd Van Lunen Kellie Pacheco for the Choral Arts William J. Vaughan Mary Ellen Myhr Susan Rowley & Margaret Wilson Beth Parkhurst Diane L. Droste Dr. Giovanna Vitelli Tracy Powers Michael Scanlon Dr. Marsha Vannicelli Cheryl Ryder Laurie Francis Michal Truelsen Katherine Raia Robert Silberman Lee Warren Charlotte Swartz Fred Franklin & Kaaren Grimstad & Jody Wormhoudt Ann Besser Scott & Nancy Netzer Heather Wiley Julie Shapiro John & Ellen Harris Andrew Sigel Richard Silverman Martin & Phyllis Wilner Jennifer Farley Smith Mary Eliot Jackson Robert B. Strassler Amy Stoffelmayr Charlotte B. Wilson Gerry Weisenberg Peter & Cindy Nebolsine Martha Weisberg Tom & Valerie Stone Linda C. Woodford Sonia Wallenberg

22 Blue Heron’s 5-CD recording project: Music from the Peterhouse Partbooks, Vol. 3 Music from the Peterhouse Partbooks Nicholas Ludford Missa Inclina cor meum | John Mason Ave fuit prima salus The next installment in Blue Heron’s groundbreaking 5-CD series of long-unsung music from the Peterhouse LUE HERON is in the midst of a recording project of international musical significance: a five-disc seriesMusic of partbooks, copied at Magdalen College, Oxford, c. 1541, for from the Peterhouse Partbooks – a glorious collection of music from the golden age of English church music by the the newly formed polyphonic choir of Canterbury Cathe- Bgreatest composers working in England c. 1510-1540. The music for Volume III was recorded in October, for release next dral. This volume, like volume 2, will be the world premiere season, while Volumes I and II have been hailed by critics at home and abroad: recording of all the music on the disc. The missing voice parts (lost through the disappearance long ago of the tenor partbook and some of the treble book) were restored by “Blue Heron…produces a spectacularly rich and accurate sound, with beautifully delineated articulation.…I was trans- Nick Sandon in a brilliant feat of reimagination. ported by the exquisite beauty of this Mass, and found myself sitting in semi-darkness luxuriating in the genius of Lud- ford’s intertwining vocal lines. Pygott’s enormous Salve regina, running in this recording to almost 23 minutes of intricate To be released in October 2013. polyphony…is given an equally intelligent and exquisitely unhurried performance. I cannot recommend this superb CD about the series: highly enough…” (D. James Ross, Early Music Review (UK), October 2012) “an exciting series… top marks in all respects: engineering, liner notes — by the group’s director, Scott Metcalfe — and, of course, the The Peterhouse partbooks, copied in 1540 for Canterbury Cathedral, are the largest and most important extant source performances themselves… highly recommended in all respects.” of pre-Reformation English sacred music, but the repertoire has gone unsung, unheard, and unregarded, largely on ac- Barry Brenesal | Fanfare, Sept/Oct 2012 count of the disappearance, centuries ago, of one of the five partbooks and a portion of another. For providing a remedy “highly persuasive... Blue Heron are fine advocates for such remark- to this situation we are indebted to the English musicologist Nick Sandon, retired from the University of Exeter, who has able scholarly reconstruction” devoted the greatest part of his professional life to the Peterhouse music and by now has published brilliant and idiomatic David Trendell | Early Music, Aug 2012 reconstructions of nearly all of the incomplete music. Blue Heron has been involved with the Peterhouse repertoire since Leading support for this recording project has been provided by The Cricket Foundation and Blue Heron’s Peterhouse Partners recording fund. its founding in 1999 and is deeply steeped in the particularities of its richly melismatic style; the ensemble is thus ideally The project is also supported in part by an Alfred Nash Patterson Grant from Choral Arts New England. suited to act as an ambassador on behalf of this wonderful music and Doctor Sandon, its devoted restorer, who has joined Blue Heron as an advisor in this undertaking.

A set of five CDs will surely help restore the Peterhouse repertoire to the central position in music history and in concert CONVIVIUM·MUSICUM· life that it merits. This is an expensive and ambitious undertaking, and we thank those who have provided seed money · in the early phases. Please consider providing a significant gift in support of the remaining CDs in the series, which will help expose more and more of this important repertoire to the world. Please contact John Yannis (jy@blueheronchoir. S : M S: org) to discuss funding this special recording project. M ic & M hem ics in e Rena sance e logic of mathematics and geometry played Blue Heron’s series of recordings of music from the Peterhouse Partbooks is made possible by our Peterhouse Partners, a signi cant role in the compositional process a leadership group of donors who pledge support for the complete 5-disc series, enabling Blue Heron to bring this ex- of Renaissance composers, nowhere more in- traordinary and neglected repertoire to a wider modern audience. We are deeply grateful for their vision, commitment, geniously demon rated than in the works of and generosity. Johannes Ockeghem. Blue Heron’s Peterhouse Partners M , , J ( ) Peter Belknap & Jennifer Snodgrass Arthur Hornig Cindy & Peter Nebolsine Peggy & Jim Bradley Mary Eliot Jackson Richard L. Schmeidler We are delighted to announce that the men of John A. Carey Benjamin Krepp Harry J. Silverman Convivium will assi the Bo on Camerata in Choral Arts New England Anne H. Matthews Rachael Solem “…the chorus’s unyielding focus The Cricket Foundation Erin E. McCoy Christopher Thorpe their performance of Guillaume de Machaut’s Philip H. Davis Scott Metcalfe William J. Vaughan con antly caused this li ener to admire Messe de Notre Dame, on March in Am- Diane L. Droste William & Elizabeth Metcalfe Giovanna Vitelli such extraordinary accomplishment…” her and March in Cambridge; please see Fred Franklin & Kaaren Grimstad Eiji Miki & Jane Hever Michal Truelsen & Jody Wormhoudt www.bo oncamerata.com for details. — David Patterson, Bo on M ical Inte igencer To learn more about becoming a Peterhouse Partner, please contact Blue Heron at [email protected]. .. musica sacra

Musica Sacra thanks the

photo copyright © 2010 susan wilson (www.susanwilsonphoto.com) Cambridge Arts Council for their support of our exciting May concert: A NEW BIRTH OF FREEDOM: musica Celebrating the 150th Anniversary of the Emancipation sacra Proclamation and the Gettysburg Address. Saturday, May 11, 2013, 8:00 pm MARY BEEKMAN ARTISTIC DIRECTOR Music from the time of the Civil War and modern-day First Church Congregational settings of the poetry of Walt Whitman and Herman Melville. 11 Garden Street Cambridge, Massachusetts With special guest Jacqueline Schwab, the celebrated improvisational pianist of Ken Burns’ series “The Civil War.” MUSICA SACRA P.O.Box 381336 Students from Cambridge Rindge and Latin High School Cambridge, MA 02238-1336 will recite Lincoln’s speeches and other texts that gave www.musicasacra.org hope to so many — to soldiers who were far from home, to 617 349-3400 families left behind, and to slaves who dreamed of freedom.

26 Sarasa 2012-2013 CHAMBER MUSIC SERIES Folk-inspired Music with Fortepiano Newton Choral Society Maggie Cole: Haydn: Piano Trio, Hob. XV:18 David Carrier, Music Director …combines a marvellous

technique with superb musical Dvořák: Cypresses & Piano Quintet, Op. 81 “ 2012-2013 Season instincts and good taste. Maggie Cole, fortepiano — Boston” Globe Haldan Martinson and Christina Day Martinson, violins Jenny Stirling, viola; Timothy Merton, cello

l Saturday, May 18, 2013 at 8 pm Friends Meeting House n Carl Orff Carmina Burana n Cambridge, MA Susan Consoli, Soprano Matthew Anderson, Tenor l Sunday, May 19, 2013 at 7 pm Thomas Jones, Baritone Youth Pro Musica First Parish of Concord Concord, MA Saturday, November 17, 2012 8:00 PM Tickets: www.sarasamusic.org or 617-429-0332 Church of the Holy Name 1689 Centre St., West Roxbury

John Harbison EMMANUEL n Josef Haydn The Creation n MUSIC Kendra Colton, Soprano Peter Halpern, Tenor David Kravitz, Baritone the great Sunday, March 24, 2013 3:00 PM Sanders Theatre, Harvard University gatsby 45 Quincy St., Cambridge

Opera in concert Ryan Turner, conductor n Gabriel Faure Requiem n Pre-Concert Talk by John Harbison and Susan Consoli, Soprano Robert Kirzinger at 2 PM David McFerrin, Baritone Ross Wood, Organist Boston premiere of the opera based on F. Scott Fitzgerald’s classic novel. Composer John Harbison Saturday, May 11, 2013 8:00 PM presents a soundscape evoking the Roaring Twenties Sunday, May 12, 2013 Second Church in Newton while reflecting the story’s dark underlying themes of 60 Highland St., West Newton romantic obsession, corruption, betrayal and murder. 3:00 PM Jordan Hall at www.gatsbyinboston.com | 617.536.3356 New England Conservatory, Boston

SS Rapport half page_SS Rapport half 3/29/13 3:34 PM Page 1

May 18, 2013 2012–2013 Concert Series Tenth Anniversary Season

Un Rapport Français Shannon Canavin, Artistic Director

Exquisite voices… Gabriel Fauré et Lili Boulanger Exhilarating performances. Night Games of Siena Gabriel Fauré: Lili Boulanger: An Italian madrigal comedy Requiem, op. 48 Pie Jesu; La Source by Orazio Vecchi Mark Andrew Cleveland, baritone Hymne au Soleil Laura Serafino Harbert, soprano Les Sirènes Les Djinns, Le Ruisseau, Madrigal Three nights of musical caricatures, tongue twisters, and madrigals of various humors all in one magical performance.

Saturday, May 18 at 8pm University Lutheran Church, Cambridge

John W. Ehrlich, Sunday, May 19 at 3pm Tickets and information: Music Director www.spectrumsingers.org “Exsultemus…are to be commended First Lutheran Church of Boston or (617) 492-8902 for assembling a group of topnotch Tickets: $35, $25, $15; $5 off for students & seniors All concerts at First Church Congregational, 11 Garden St., Cambridge musicians to perform this important Tickets, details, more information: www.spectrumsingers.org music.” – Boston Musical Intelligencer 857-998-0219 • www.exsultemus.org

After the concert take home a Night Song GRAB ‘n GO SUnDAE PARTY KIT Ready to go ice cream sundaes for 5 people A Divine Time Out 1 qt ice cream • hot fudge • whipped cream • 2 dry toppings Bask in the beauty of Renaissance • bowls •spoons •napkins • ice cream scoop polyphony, Gregorian chant, and introspective modal improvisations by jazz instrumentalists. Over 50 flavOrs Ice Cream Cakes • Frozen Yogurt • Tofutti • Sorbet HOMEMADE ICE CREAM CATERED SUNDAE PARTIES • CELEBRATIONS Every Sunday at 7 PM November through April open ‘til 11:00pm First Church in Cambridge www.lizzysicecream.com ICE CREAM PARLOR & PARTY ROOM: 367 Moody St Waltham • 781.893.6677 TAKE OUT: 29 Church St • Harvard Square • 617.354.2911 www.nightsong.org ICE CREAM PARLOR: 1498 Highland Ave • Needham • 781.455.1498 On Sale Today

Blue Heron’s first CD, featuring music of Guillaume Du Fay, including three iso-rhythmic motets, two hymns, the Sanctus “Papale,” and a selection of chansons. Also available through our website, and through CD Baby: www.cdbaby.com. …glorious performances with incandescent singing … a triumph for an American ensemble in a field long dominated by Europeans. Craig Zeichner | Early Music America, Fall 2007

This debut marks Blue Heron as a leading new actor in the field of early Renaissance music, both for studying the sources and bringing them to life.… Altogether, this is one of the finest Dufay collections to come out in recent years… J. F. Weber | Fanfare, September/October 2007

The most attractive aspect of this recital is its feeling of immediacy and freshness.… For me, the high points are the Sanctus Papale, for which it is very welcome to have such a confident and poised rendition; and some of the later songs, for example Malheureux cuer, que veux tu faire, and the cheeky Puisque vous estez campieur… More, please.

ARTSBOSTON_QUARTERPAGEV(B+W).pdf Fabrice Fitch 1 | 6/9/09Goldberg ,09:47 August/September 2007

e Boston colophon cover images: Musical Robert Campin, The Annunciation Triptych (Mérode Triptych), detail, c.1425- Intelligencer 30, The Cloisters, Metropolitan Museum of Art, New York (Google Art project) the go-to online journal for a focused calendar, reviews, and articles Tapestry with the arms of the Giovio family (detail), woven in Bruges, by musicians and music academics Southern Netherlands (now Belgium), about classical music in greater Boston c.1540-55, Victoria and Albert Museum, London (Wikimedia Commons). CLASSICAL- SCENE. COM title page image: Robert D. Levin, editor Painting from 16th-century French copy of Bettina A. Norton, executive editor F. Lee Eiseman, publisher the Roman de la Rose, Morgan Library.

,+ concerts listed background images: Roman de la Rose ,+ reviews (above); illuminated initial "L", France, , hits/day 16thc, Walters Art Museum; image of fan vaulting is Steve Cadman's photo of the Peterborough Retrochoir, “One of the year’s ten best” Creative Commons license. oston hoenix ( ) Text is set in Adobe Arno Pro, recommended by Alex Ross titles in Hypatia Sans Pro. in e ew orker program design by Sue Ladr program content copyright ©2013 Blue Heron Renaissance Choir, Inc.