Ockeghem@600 | Concert 6 MA MAISTRESSE: SONGS, MASSES & A FOR MY LADY 8 PM • Saturday, October 14, 2017 First Church in Cambridge, Congregational Ockeghem@600 | Concert 6 MA MAISTRESSE: MA MAISTRESSE: SONGS, MASSES & A MOTET FOR MY LADY SONGS, MASSES & A MOTET FOR MY LADY This program explores a complex of with Ockeghem’s Mass may have provoked interrelated works—a song and two masses the ascription to the much more famous (c. 1425-1496) cantus by , a song by one musician.) Margot Rood Barbingant, and a song by . Celsitonantis ave genitrix / Abrahe fit promissio • mr mn jm st pg Martin Near The first of this group of pieces seems to To be honest, it is not entirely certain that Barbingant (fl. c.1465-75) tenor & contratenor be Ockeghem’s song Ma maistresse, whose Au travail suis borrowed its “Ma maistresse” Au travail suis • mr sr sm Owen McIntosh earliest source is a manuscript from the early figure from Ockeghem’s song, or whether the Jason McStoots to mid-1450s: it was probably composed loan may have gone in the other direction. Johannes Ockeghem (c. 1420-1497) Stefan Reed Sumner Thompson around or shortly after 1450 and is one of the has argued in favor of Missa Au travail suis very earliest works of Ockeghem’s known to Barbingant originating the figure, largely on • & Gloria mn om pg dm bassus us. The song survives in eight sources, while the grounds that Ockeghem’s handling of Paul Guttry its text (which David Fallows has suggested it in imitation at the fifth is more complex Anonymous David McFerrin En atendant vostre venue • mr om st may be by Alain Chartier) is found in two than Barbingant’s imitation at the octave, so Scott Metcalfe purely poetic collections. The song’s opening that Ma maistresse appears to raise the stakes Ockeghem fiddle & director gesture, setting the words “Ma maistresse,” on Au travail suis. Fallows has also noticed sine nomine • mn jm st pg is treated in imitation at the fifth between what appears to be a direct quote of both the cantus and tenor parts, a rather unusual cantus and tenor voices of Au travail suis, with technical maneuvre for the mid-15th century. imitation at the octave, in the tenor and bass intermission Ockeghem@600 is Blue Heron’s Perhaps it was in part this feature that inspired at the beginning of the Gloria of the Missa Ma long-term project to perform Barbingant to quote the figure, in imitation at maistresse; Fallows did not remark upon it, but the complete works of Johannes the octave, when setting the same two words the same quotation, in the same two voices, is Firminus Caron (fl. c. 1460-75) Ockeghem in a series of concert in his song Au travail suis. reprised at the climactic final moments of the Cent mil escuz • mn jm dm programs presented between 2015 and 2021. We are very pleased to movement, at the words “In gloria Dei patris, Ockeghem have Professor Sean Gallagher join Apparently undocumented in archival Amen.” Furthermore, in some cases where we Missa Au travail suis us as adviser for the entire project. records, Barbingant is known to us by a are sure of the chronology, the opening line Credo • mn om dm pg small handful of ascriptions in musical of a later song quotes an internal line from • mr sr/om dm pg Pre-concert talk by Sean Gallagher sources from the 1460s and 1470s, including another, rather than the reverse: Busnoys’s En Agnus dei • mr/mn om dm pg (New England Conservatory of three French songs and one mass. His songs soustenant vostre querelle, for example, takes its Music) sponsored in part by The enjoyed considerable success: one (L’omme textual incipit from the last line of Binchois’s Ockeghem Cambridge Society for Early Music. banny de sa plaisance) is found in no less than indisputably earlier De plus en plus. Ma maistresse • mn jm st ten sources, while Ockeghem took Au travail Blue Heron is funded in part by suis as a model for his Missa Au travail suis. (In But both the chronology of the sources and Ockeghem the Massachusetts Cultural Council, fact, Au travail suis was so highly regarded that considerations of musical style make a strong a state agency. Missa Ma maistresse one scribe ascribed it to Ockeghem himself. case that Ma maistresse was composed first, • Kyrie mr om sr dm Modern scholarship has been divided on sometime in the early 1450s, Au travail suis Gloria the question, but Barbingant’s authorship perhaps a decade later. In this view, Barbingant seems most likely; the association of the song honored Ockeghem with a quotation of Ma

Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 maistresse in the second half of Au travail suis, also befitting Holy Writ, which is cycle may once have existed. Both song, aside from the head-motif of each ensuring that the allusion was easily audible proposed to all without distinction movements draw liberally and audibly on Mass movement, which is drawn from by employing the simpler technical device of persons…that spiritual truths the discantus and tenor of the . the song’s opening gesture. As so often of imitation at the octave and setting the be expounded by means of figures The bass of the Kyrie quotes the entire with Ockeghem, there seems to be no quotation off with a clear cadence immediately taken from corporeal things, in tenor line of the first section of the song, explanation of these mysteries. before it. Ockeghem then returned the tribute, order that thereby even the simple while in the Gloria both the first and rather subtly, by quoting Barbingant in the who are unable by themselves to second sections of the song’s discantus Credo sine nomine & Cent mil escuz Missa Ma maistresse, and paid more lavish grasp intellectual things may be melody are quoted complete by the homage to him elsewhere with an entire Mass able to understand it. tenor. At the last moment, at the words Although based throughout on plainchant cycle which takes Barbingant’s song as its point “In gloria Dei patris, Amen,” the tenor and otherwise unrelated to Au travail suis, of departure. Summa theologiae (Q. 1, art. 9), reprises the opening gesture of the song; the Credo sine nomine does share material written 1265–74 as noted above, the bass joins for moment with the Credo of the Missa Au travail in Songs & masses of imitation in an apparent allusion to one passage, that setting the words “Et The most obvious and most common analogy Au travail suis. Besides these direct and incarnatus…et homo factus est.” It is unclear Although the idea was not completely new, made available by courtly love was between extended quotations, the song’s melodies which work quotes which, but the quotation fifteenth-century composers absorbedthe unattainable object of desire and Mary, are absorbed into all the lines of the Mass. of a Credo based entirely on chant in a freely- secular melodies into sacred music with much and the virelai Ma maistresse provides an composed Mass based on song, or vice versa, greater frequency and freedom than did their exquisite example. The poem merits a rubric is characteristic of Ockeghem, at once playful predecessors, basing numerous Mass cycles like that given by the Burgundian court No two of Ockeghem’s Masses sound and serious, allusive, and densely layered. and on preexisting music drawn from chronicler and poet, Jean Molinet, to his quite the same or address formal problems songs, which were often incorporated into poem Dame sans per: “Dictier qui se poeult in the same manner. As Fabrice Fitch Among the sacred works and elevated the new composition in such a way as to be adreschier soit a la vierge Marie ou pour observes, “most of them present a highly sentiments of the rest of the program, Cent immediately recognizable to the listener. un amant a sa dame” (“Poem that may be distinctive profile, determined by features mil escuz appears the odd one out. What is this Far from violating propriety, the use of song addressed either to the Virgin Mary or by peculiar to the one work alone. Thus, the decidedly mundane song—a hit composed melodies was meant to offer enlightening a lover to his lady”). Ma maistresse speaks soundscapes of individual works vary by the memorably named Firminus Caron, parallels to the listener; the poetic texts of a lady “perfect in good qualities, if ever a considerably, and the differences between praised by Tinctoris alongside Ockeghem, they evoked in the memory, even if not sung, woman was, / She alone whose reputation them are often more obvious than their like Regis—doing in such company? As Sean suggested metaphors by which humans might and fame it is / To be without peer,” of the similarities.” Indeed, the Missa Au travail Gallagher has noticed, the song’s last phrase, attempt to comprehend their relationship speaker’s urgent desire to see her and his hope suis presents a stark contrast with the setting the words “Aulcuneffoiz quant je to God. Aquinas had stressed the utility of for her pity. The song is one of Ockeghem’s Missa Ma maistresse. The distinctive pourroye,” is a close match for the opening metaphor in conveying divine truth, which most bewitching creations, and its soaring features of the former include its unusual point of imitation of Ma maitresse, here might not be directly apprehendable by all: melodies lend an air of enchantment to the scoring—two lower parts moving in the extended to involve the third voice as well. The Mass based on it—a Mass that, according same range and two upper parts very close motivation for the musical reference is hard to It is befitting Holy Writ to put to an allegorical interpretation, may have in range—and its brevity, which may link see, but just possibly it was this feature that forward divine and spiritual originally been intended for a Marian feast or it to a Missa brevis tradition centered in inspired a considerably bawdier poem found truths by means of comparisons a Lady Chapel. Milan. The Mass maintains an ambiguous in a handful of slightly later sources. (Reader, with material things. For God relationship to its model: after citing the I blush to print it, but such is the record of our provides for everything according Just the Kyrie and Gloria of the Missa Ma song’s tenor literally in the Kyrie, it then past.) to the capacity of its nature.…It is maistresse remain, although a complete seems to abandon all reference to the

4 5 La teneur de cent mille escuz A hundred thousand escus in hand it, which have been wholly unknown until Today’s performance of En atendant, which is Et le dessus de ma maistresse and a position atop my mistress now. Among them, En atendant caught my eye very likely the first since the fifteenth century Je soubzhaitte pour prendre liesse is what I want for happiness, because its fourth line, “Quant de vous seul je and certainly an American premiere, offers Et ne faire guerre que a culz and not making war except on asses. pers la veue,” is also the first line of a song by a small taste of the “new” repertoire in the Ockeghem. Ockeghem, whom Jean Molinet’s Leuven Chansonnier, which has just been Auoir mes ennemis vaincuz To have vanquished my enemies, lament Nymphes des bois describes as “doct” or made public and has barely begun to be Tousiours sante auec ieunesse and always have my health and youth, learned, seems to have had a broad knowledge studied. Blue Heron plans to feature much Je soubzhaicte pour prendre lyesse what I wish to be happy is of the music and poetry of his contemporaries more in future seasons. and forebears and was fond of referring to it in La teneur de cent mille escuz a hundred thousand escus in hand his own creations, as we find in theMissa Au As for Barbingant, whoever he was, he seems Et le dessus de ma maistresse and a position atop my mistress. travail suis, in songs such as D’ung autre amer to have died before Ockeghem and ascended Lors lairrons ie lances et escus So I’m giving up lances and shields and Fors seullement, both of which draw their to heaven, where Guillaume Crétin’s Pour empoigner tetin ou fesse in order to seize a tit or ass first lines from Alain Chartier’sComplainte , Déploration…sur le trépas de Jean Okeghem Jamais ie nen gendreroys tristesse and never would I beget sadness, and in other works, both sacred and secular. records him among the choir of musicians Mais chanteroye auec bacus but with Bacchus I would sing In this case, it is surely the anonymous poet who welcome Ockeghem by singing his of En atendant who quotes the incipit of a works—including, among no less than three La teneur de cent mille escuz A hundred thousand escus in hand song by the famous Ockeghem—just as settings of the and the , Et le dessus de ma maistresse… and a position atop my mistress… Barbingant seems to have done in Au travail. the Missa Au travail suis.

Just in case anyone has failed to perceive unrelated to Au travail suis is the anonymous Son dict finy, tous instrumentz cesserent, Their piece finished, all the instruments fell silent, the reference to two songs, the author has song En atendant vostre venue, but the song Et sur ce poinct les chantres commencerent. and at this moment the singers began. underlined it with an obvious pun: the return has more connections to our program, albeit to the refrain can perfectly well be read as “But subtle ones, than might appear. En atendant is La du Fay, le bon homme survint, There Du Fay, the worthy man, stepped forth, with Bacchus I would sing / The tenor ofCent found uniquely in a songbook that returned Bunoys aussi, et aultres plus de vingt, Busnoys too, and others, more than twenty, mille escuz / And the top part of Ma maistresse.” to light just three years ago, the first major Fede, Binchois, Barbingant et Doustable Fedé, Binchois, Barbingant, and Dunstaple, rediscovery in the field of fifteenth-century Pasquin, Lannoy, Barizon tres notable: Pasquin, Lannoy, the very famous Barizon, A motet & a new songbook song since before the Second World War. Now Copin, Regis, Gille Joye et Constant. Copin, Regis, Gille Joye, and Constant. safely entrusted to the Alamire Foundation in Maint homme fut aupres d’eulx escoutant, Many men were there listening to them, Just two works on the program stand entirely Leuven, Belgium, and known as the Leuven Car bon faisoit ouyr telle armonye, for it was good to hear such harmony, outside the Au travail suis complex. We open Chansonnier, the songbook, probably copied Aussi estoit la bende bien fournye. and the ensemble was well staffed, what’s more. the concert with the splendid and exuberant in the 1470s in France, contains fifty songs, Celsitonantis ave genitrix by Ockeghem’s including Au travail suis, Ma maistresse, and Lors se chanta la messe de My My, Then theMissa My my was sung, near-exact contemporary, Johannes Regis, a Cent mil escuz (with a unique last strophe, Au travail suis, et Cujus vis toni, Au travail suis, and Cujus vis toni, pioneer of the five-voice motet, perhaps the which we sing in this concert). Many of the La messe aussi exquise et tres parfaicte and also the exquisite and most perfect author of this motet’s rather over-ambitiously songs in the Leuven songbook are fifteenth- De Requiem par ledict deffunct faicte. Requiem mass composed by the deceased. classicizing text (its numerous errors century hits transmitted in numerous other have been emended by Leofranc Holford- manuscripts, though for some Leuven Barbingant must have been pleased. Strevens), and another one of Tinctoris’s contains a unique reading. Even more exciting, five illustrious moderns. The other work there are also twelve songs that are unique to —Scott Metcalfe

6 7 TEXTS & TRANSLATIONS Au travail suis que peu de gens croiroient, I am in agony, though few would believe it— On le peult bien qui vieult apercevoir, anyone who wishes to can perceive it clearly— Mays c’est pour ce que je ne puis veoir but it is because I cannot see Celsitonantis ave genitrix sublimis Olympi, Hail, mother of the High-Thunderer of lofty Ma maistresse ainsi qu’aultres feroient. my mistress as others may do. imperioque potens cunctis dominansque Heaven, both mighty in power and mistress supernis, quam chorus angelicus rutilantem over all above, whom as one that glows with Bien envieulx certes aulcuns seroient, Some would be very envious, certainly, luce perenni, se super attollens, laudat, perpetual light the angelic choir, exalting Si par sa grace du bien povoye avoir. if by her grace I should have some good. colit et veneratur, horrendique chaos thee above itself, praises, cherishes, and cetus cui paret Averni! Nam tu celsa polo reveres, and the confusion of the company Au travail suis que peu de gens croiroient, I am in agony, though few would believe it— profundaque sciris abysso. Quis tibi, stella of dread Hell obeys! For in Heaven thou On le peult bien qui vieult apercevoir. anyone who wishes to can perceive it clearly. maris, maris expers, alma Maria, quis tibi, art known as high, and in Hell as deep. virgo parens, condigna referre valebit? ah, Who to thee, Star of the Sea, knowing not a S’il m’avenoit, grant doleur porteroient, If it happened that I had mercy, some would quibus et quantis et qualibet ipsa coruscas man, nurturing Mary, who to thee, Virgin Car veoir mon bien leur feroit recepvoir suffer greatly, peccatrix anima penis crucianda barathri Mother, shall be able to render worthy Mal si tresgrant que s’il duroyt, pour voir for upon seeing me benefit they would feel per te nunc aditum gaudet reperisse quietis! thanks? Ah, by what and how great pains Je suis tout seur que de dueil creveroient. such very great pain that, if it lasted, in truth of Hell – and wherever thou thyself shinest I am quite sure that they would die of grief. – was to be tormented the sinful soul that Au travail suis… rejoices to have found through thee the I am in agony … entry to peace!

Nam patris ingeniti genitus quo cuncta For the unbegotten Father’s begotten Son, by Kyrie eleison. Christe eleison. Lord, have mercy. Christ, have mercy. reguntur, alta ducum superat, regum whom all things are ruled, surpasses the Kyrie eleison. Lord, have mercy. sublimia vincens. A patre non cedens, in heights of commanders, surmounting the te descendit ab alto orbe, gemens facinus lofty reaches of kings. Though not departing protoplasti, sponte peremptus, nobiliumque from the Father, he came down into thee , et in terra pax Glory to God in the highest, and on earth potens nutu fastigia ferre. Hic chorus iste from high Heaven, bemoaning the sin of the hominibus bone voluntatis. Laudamus te. peace to all of good will. We praise you. tibi laudum modulamini cantat, te rogitans, first man, willingly slain, and able to take Benedicimus te. Adoramus te. Glorificamus We bless you. We adore you. We glorify natum pro nobis ut prece pulses, quatinus away the highest nobility with his nod. Here te. Gratias agimus tibi propter magnam you. We give thanks to you for your great ipse suo donet nos numine fungi. Amen. this chorus sings thee songs of thy praises, gloriam tuam. Domine deus, rex celestis, glory. Lord God, heavenly king, almighty beseeching thee that for us thou urge thy deus pater omnipotens. Domine fili God the Father. Lord Jesus Christ, only Son with prayer that he grant that we may unigenite, Jesu Christe. Domine deus, begotten Son. Lord God, lamb of God, Son feel his Godhead. Amen. agnus dei, filius patris. Qui tollis peccata of the Father. Who takes away the sins of the tenor mundi, miserere nobis. Qui tollis peccata world, have mercy on us. Who takes away Abrahe fit promissio quod illus successio velut A promise is made to Abraham that his mundi, suscipe deprecationem nostram. the sins of the world, receive our prayer. arena cresceret stillisque equalis fieret. descendance should increase as the sand and Qui sedes ad dexteram patris, miserere Who sits at the right hand of the Father, become equal to the stars. nobis. Quoniam tu solus sanctus, tu solus have mercy on us. For you alone are holy, dominus, tu solus altissimus, Jesu Christe, you alone are the Lord, the Most High, Jesus Edited & translated by Leofranc Holford-Strevens cum sancto spiritu in gloria dei patris. Christ, with the Holy Spirit in the glory of Amen. God the Father. Amen.

8 9 En atendant vostre venue, While awaiting your arrival, Cent mil escuz quant je vouldroye A hundred thousand escus when I wanted, Mon bien que je desire tant, my dear one whom I so desire, Et paradis quant je mourroye: and Paradise when I die: Une heure me dure bien cent one hour seems quite as long as a hundred Mieulx ne scaroye souhaitier, I wouldn’t know what better to wish for Quant de vous seul je pers la veue. when I lose sight of you alone. Si non user de mon moitier except to ply my trade Aulcuneffoiz, quant je pourroye. from time to time, when I could. Bien souvent seullete, esperdue, Very often, alone and desperate, Je passe mon temps en pleurant I pass my time in weeping De rien je ne me soussiroye, I wouldn’t worry about a thing, Mays les dames je festeroye but I’d throw parties for the ladies, En atendant vostre venue, while awaiting your arrival, Si j’avoye pour moy aidier if only I had the aid of Mon bien que je desire tant. my dear one whom I so desire. Cent mil escuz quant je vouldroye A hundred thousand escus when I wanted, Mais bon Espoir m’a maintenue But good Hope has come to my aid, Et paradis quant je mourroye: and Paradise when I die: Et de son bon gré m’assemant through her good will preparing me Mieulx je ne scaroye souhaitier. I wouldn’t know what better to wish for! Que je vous reverray briefment to see you again very shortly, Qui en joy m’a entretenue. who have introduced me to joy. Ung millier de chantres j’auroye I’d have a thousand singers, Et Dieu scet comment je beuroye and God knows I’d drink En atendant vostre venue… While awaiting your return… Jusqu’au clou come ung nul soudier. to the very last drop, more than any soldier En brief il ne fault point cuidier ever. Que feroye feu si j’avoye In short you shouldn’t imagine Credo in unum deum, patrem omnipotentem, I believe in one God, the Father almighty, maker that I’d be working very hard if I had factorem celi et terre, visibilium omnium et of heaven and earth and of all things visible Cent mil escuz… invisibilium. Et in unum dominum Jesum and invisible. And in one Lord Jesus Christ, A hundred thousand escus… Christum, filium dei unigenitum: et ex patre the only Son of God, eternally begotten of the natum ante omnia secula. Deum de deo, Father. God from God, Light from Light, true lumen de lumine, deum verum de deo vero. God from true God. Begotten, not made; of one Credo (see above) Genitum non factum, consubstantialem being with the Father, through whom all things patri: per quem omnia facta sunt. Qui propter are made. For us and for our salvation he came nos homines et propter nostram salutem down from Heaven. He was born of the Holy Sanctus, sanctus, sanctus, dominus deus sabaoth. Holy, Holy, Holy, Lord God of hosts. descendit de celis. Et incarnatus est de spiritu Spirit and the Virgin Mary, and was made man. Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory sancto ex Maria virgine: et homo factus est. He was crucified for our sake under Pontius Osanna in excelsis. Hosanna in the highest. Crucifixus etiam pro nobis sub Pontio Pilato: Pilate, died, and was buried. On the third day he Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the Lord. passus et sepultus est. Et resurrexit tertia die rose again, in accordance with the Scriptures. Osanna in excelsis. Hosanna in the highest. secundum scripturas. Et ascendit in celum: He ascended into heaven and is seated at the sedet ad dexteram patris. Et iterum venturus right hand of the Father. He will come again est cum gloria judicare vivos et mortuos: to judge both the living and the dead, and his Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the cujus regni non erit finis. Et in spiritum kingdom shall have no end. And I believe in miserere nobis. world, have mercy on us. sanctum dominum et vivificantem qui ex the Holy Spirit, the Lord, the giver of life, who Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the patre procedit. Qui cum patre et filio simul proceeds from the Father, who with the Father miserere nobis. world, have mercy on us. adoratur et conglorificatur: qui locutus est and Son is worshipped and glorified, who has Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the per prophetas. Et unam sanctam catholicam spoken through the prophets. And I believe dona nobis pacem. world, grant us peace. et apostolicam ecclesiam. Confiteor unum in one holy, catholic and apostolic church. I baptisma in remissionem peccatorum. Et confess one baptism for the forgiveness of sins. expecto resurrectionem mortuorum, et vitam And I await the resurrection of the dead, and the venturi seculi. Amen. life of the world to come. Amen. 10 11 Ma maistresse et ma plus grant amye, My lady and my greatest friend, ABOUT THE ARTISTS Cleveland, Milwaukee, Pittsburgh, Philadelphia, De mon desir la mortelle ennemye, mortal enemy of my desire, and Providence. This season’s highlights include Parfaicte en biens s’onques maiz le fut femme, perfect in good qualities, if ever a woman was, an October tour to England, with performances Celle seulle de qui court bruit et fame she alone whose reputation and fame it is Blue Heron has been acclaimed by The Boston at Peterhouse and Trinity College in Cambridge D’estre sans per: ne vous verray je mye? to be without peer: will I never see you at all? Globe as “one of the Boston music community’s and at Lambeth Palace Library, at the London indispensables” and hailed by Alex Ross in residence of the Archbishop of Canterbury. Blue Helas, de vous bien plaindre me devroie, Alas! certainly I should complain of you The New Yorker for its “expressive intensity.” Heron has been in residence at the Center for S’il ne vous plaist que brefvement vous voye, if it does not please you that I see you soon, Committed to vivid live performance informed Early Music Studies at Boston University and at M’amour, par qui d’aultre aymer n’ay puissance. my love, because of whom I am powerless to by the study of original source materials and Boston College, and has enjoyed collaborations love another. historical performance practices, Blue Heron with A Far Cry, Dark Horse Consort, Les ranges over a wide repertoire, from plainchant Délices, Parthenia, Piffaro, and Ensemble Plus Car sans vous voir, en quelque part que soye, For when I do not see you, wherever I might be, to new music, with particular specialities in Ultra. In 2015 the ensemble embarked on a Tout quant que voys me desplaist et ennoye, everything I see displeases and vexes me, 15th-century Franco-Flemish and early 16th- multi-season project to perform the complete Ne jusque alors je n’auray souffisance. nor until I see you will I be satisfied. century English polyphony. Blue Heron’s first works of Johannes Ockeghem (c. 1420-1497). CD, featuring music by , Entitled Ockeghem@600, it will wind up around Incessammant mon dolent cueur larmye Ceaselessly my sorrowing heart weeps, was released in 2007. In 2010 the ensemble 2021, in time to commemorate the composer’s Doubtant qu’en vous Pitié soit endormye. fearing that in you Pity might be asleep. inaugurated a 5-CD series of Music from the circa-600th birthday. Que ja ne soit, ma tant amée dame! May it not be so, my so-beloved lady! Peterhouse Partbooks, including many world Maiz s’ainsy est, si malheureux me clame But if so it is, I declare myself so unhappy premiere recordings of works copied c. 1540 Bass-baritone Paul Guttry Que plus ne quiers vivre heure ne demye. that I do not want to live one hour more, nor for Canterbury Cathedral; the fifth disc was has performed throughout even one half. released in March 2017. Blue Heron’s recordings the USA and internationally also include a CD of plainchant and polyphony with Sequentia, Chanticleer, Ma maistresse et ma plus grant amye… My lady and my greatest friend… to accompany Thomas Forrest Kelly’s book the Boston Camerata, and Capturing Music: The Story of Notation and the New York’s Ensemble for Translations from the French by Scott Metcalfe live recording Christmas in Medieval England. Early Music. A founding Jessie Ann Owens (UC Davis) and Blue Heron member of Blue Heron, he won the 2015 Noah Greenberg Award from the has also appeared in and Kyrie (see above) American Musicological Society to support a around Boston as soloist with Emmanuel Music, world premiere recording of ’s the Handel & Haydn Society, the Boston Early first book of madrigals (1542), to be begun this Music Festival, the Tanglewood Music Center, Gloria (see above) season. Cantata Singers, Boston Cecilia, Prism Opera, Boston Revels, Collage, the Boston Modern Founded in 1999, Blue Heron presents a concert Orchestra Project, and Intermezzo. Paul can be series in Cambridge, Massachusetts, and has heard on all Blue Heron’s recordings, on discs appeared at the Boston Early Music Festival; of by Sequentia, Kurt Weill’s in New York City at Music Before 1800, The Johnny Johnson and French airs de cour with the Cloisters (Metropolitan Museum of Art), and Boston Camerata, and on Emmanuel Music’s the 92nd Street Y; at the Library of Congress, the Bach CDs. National Gallery of Art, and Dumbarton Oaks in Washington, D.C.; at the Berkeley Early Music Hailed for his “voice of seductive beauty” Festival; at Yale University; and in San Luis (Miami Herald), baritone David McFerrin has Obispo, Seattle, St. Louis, Kansas City, Chicago, won critical acclaim in a variety of repertoire.

12 13 His opera credits include Music Festival, TENET, Trident Ensemble, with BEMF (CPO), Fischer Vespers (Toccata mater with Juventas New Santa Fe Opera, Seattle True Concord, San Diego Bach Collegium, Classics), and Awakenings with Coro Allegro Music Ensemble, sang Opera, Florida Grand and the Grammy-nominated Choir of Trinity (Navona). the role of Hamor in Opera, the Rossini Festival Wall Street. Recent solo engagements include Handel’s Jephtha with in Germany, and numerous Mozart’s Die Zauberflöte with Boston Baroque, Scott Metcalfe has gained wide recognition as Boston Cecilia, and was appearances in and around Haydn’s L’isola disabitata with the American one of North America’s leading specialists in noted for his “fine work” Boston. As concert soloist Classical Orchestra, Monteverdi’s Vespers of music from the fifteenth through seventeenth in Buxtehude’s Heut he has sung with the 1610 with Apollo’s Fire, the Green Mountain centuries and beyond. Musical and artistic triumphieret Gottes Cleveland Orchestra, Israel Project, and True Concord, Bach’s St. Matthew director of Blue Heron, he was music director of Sohn with Boston Baroque. Philharmonic, and Boston Pops, and in recital at Passion with the Grand Rapids Symphony, Il New York City’s Green Mountain Project (Jolle He has been a member of Blue Heron since 2001 the Caramoor, Ravinia, and Marlboro Festivals. ritorno d’Ulisse in patria with Opera Omnia and Greenleaf, artistic director) from 2010-2016 and appears on all of the group’s recordings. Recently Mr. McFerrin was an Adams Fellow at Boston Baroque, and the Evangelist in Bach’s St. and has been guest director of TENET (New He also sings regularly with Emmanuel Music, the Carmel Bach Festival in California, debuted John Passion with Tucson Chamber Artists. York), the Handel & Haydn Society (Boston), Boston Baroque, and the Handel & Haydn with Boston Baroque (as Achilla in Handel’s Emmanuel Music (Boston), the Tudor Choir Society, and was Music Director of Exsultemus Giulio Cesare) and Apollo’s Fire in Cleveland, Reviewers describe Jason McStoots as having and Seattle Baroque, Pacific Baroque Orchestra from 2009 to 2012. and performed with the Handel & Haydn an “alluring tenor voice” (ArtsFuse) and as “the (Vancouver, BC), Quire Cleveland, the Dryden Society in Boston, New York, and California. consummate artist, wielding not just a sweet tone Ensemble (Princeton, NJ), and Early Music Soprano Margot Rood, hailed for her He was also runner-up in the Oratorio Society but also incredible technique and impeccable America’s Young Performers Festival Ensemble. “luminosity and grace” by The New York Times, of New York’s 2016 Lyndon Woodside Solo pronunciation” (Cleveland Plain Dealer). In Metcalfe also enjoys a performs a wide range of repertoire. Recent Competition. Upcoming highlights include 2015 he won a Grammy career as a baroque violinist, and upcoming solo appearances include those the world premiere of The Nefarious, Immoral, in Opera with the Boston playing with Les Délices with Cleveland Orchestra, Boston Symphony yet Highly Profitable Enterprise of Mr. Burke and Early Music Festival for (dir. Debra Nagy), Montreal Orchestra, New World Symphony, Handel & Mr. Hare with Boston Lyric Opera, a debut with the music of Charpentier. Baroque (dir. Eric Milnes), Haydn Society, Seraphic Fire, Lorelei Ensemble, the Arion Baroque Orchestra in Montreal, solo A respected interpreter and other ensembles, and Les Délices, A Far Cry, Boston Modern appearances with the Handel & Haydn Society, of early music whose directing the baroque Orchestra Project, Rhode Island Philharmonic, and various programs with Blue Heron. solo appearances include orchestra at Oberlin Blue Heron, The Thirteen, Cape Symphony, Les plaisirs de Versailles Conservatory. He taught Bach Collegium San Diego, and Grand Acclaimed as a “lovely, tender high tenor” by (Charpentier), Orfeo, Il vocal ensemble repertoire Harmonie, as well as onstage with the Boston The New York Times, Owen McIntosh enjoys ritorno d’Ulisse in patria, and performance practice at Boston University Early Music Festival, Monadnock Music, St. a diverse career of chamber music and solo Vespers of 1610 (Monteverdi), Abduction from from 2006-2015, is teaching a class in vocal Petersburg Opera, and Green Mountain Opera performance ranging the Seraglio (Mozart), Christmas Oratorio, St. ensemble performance at Festival. Ms. Rood is the from bluegrass to reggae, Mark Passion (Bach), Dido and Aeneas (Purcell), this year, and is at work on a new edition of the recipient of numerous heavy metal to art song, and Messiah (Handel), he has appeared with songs of . He holds degrees from awards, including the St. and opera to oratorio. A Boston Lyric Opera, Emmanuel Music, Pacific Brown University and Harvard University. Botolph Emerging Artist native of remote Northern MusicWorks, TENET, San Juan Symphony, Award, the Lorraine Hunt California, Mr. McIntosh Bach Ensemble, Casals Festival, Seattle Early Countertenor Martin Near enjoys a varied Lieberson Fellowship at has shared the stage with the Music Guild, Tragicomedia, and Tanglewood career exploring his twin passions for early Emmanuel Music, and country’s finest ensembles, Music Center. He is a core member of Blue music and new music. Mr. Near recently sang third place in The American including Apollo’s Fire, Heron and can be heard on all Blue Heron in the solo quartet of Arvo Pärt’s Passio with Prize competition in art Blue Heron, Boston recordings. Other recording credits include the Boston Modern Orchestra Project, was song and oratorio. Her new Baroque, Carmel Bach Festival, Les Canards Lully’s Pysché, Handel’s Acis and Galatea, Blow’s the countertenor soloist in the premiere music venture, Mélange, with percussionist Chantants, New Vintage Baroque, Staunton Venus and Adonis, and Charpentier’s Acteon performance of Dominick DiOrio’s Stabat Caleb Herron, makes its debut in Baltimore this

14 15 season. She has been invited for performances several European tours with Contemporary OCKEGHEM@600 and masterclasses by composers at Columbia Opera Denmark as Orfeo in Monteverdi’s University, the University of Pennsylvania, L’Orfeo. He has performed across North America Ockeghem@600 is Blue Heron’s multi-year OCKEGHEM@600 | 2015-2021 McGill University, and Keene State College. Her as a soloist with the Handel & Haydn Society, project to perform the complete works of Most programs are organized around a setting debut solo recording with composer Heather Concerto Palatino, Tafelmusik, Apollo’s Fire, Johannes Ockeghem, one of the very greatest Gilligan, Living in Light, is now available from Les Boréades (Montreal), composers of the Western tradition, in of the mass, but all will also include motets Albany Records. Ms. Rood holds degrees Les Voix Baroques, Pacific thirteen programs over the course of seven and songs by Ockeghem and other composers: from the University of Michigan and McGill Baroque Orchestra, the seasons. Inaugurated in the spring of 2015, Binchois, Du Fay, Regis, Busnoys, Josquin, University. King’s Noyse, Mercury Ockeghem@600 will wind up in 2020-21, just Obrecht, and others. Baroque, and the symphony in time to commemorate the 600th anniversary Originally from Glasgow, Virginia, Stefan orchestras of Charlotte, of Ockeghem’s birth in circa 1420. 2014-15 | Predecessors & contemporaries Reed is currently based in Jamaica Plain, Memphis, and Phoenix. 1. Ockeghem & Binchois: Missa De plus en plus Massachusetts and is enjoying an active career Recent highlights include Besides concerts, the undertaking requires in chamber music, oratorio, and recording, with Monteverdi’s Vespers of and will include a significant component of 2. The Five: Ockeghem, Regis, Busnoys, performances and projects in New England and 1610 and a new Vespers research into the many questions of fifteenth- Faugues & Caron throughout the country. Mr. of 1640 with the Green Mountain Project, century performance practice which remain Reed has been characterized Buxtehude’s Membra Jesu Nostri with Les Voix unsolved puzzles—questions as basic as pitch 2015-16 | Early masses I as an “intense, focused, lyric Baroques and Houston’s Mercury Baroque, level, voice types, and scoring. By the end tenor” (Miami Herald) and Mozart’s Requiem at St. Thomas Church in New we expect to have a better understanding of 3. L’homme armé his performances have been York City, a tour of Japan with Joshua Rifkin such issues. We will also have created a new described as “dramatically and the Cambridge Concentus, a return to the complete practical edition of the music of 2016-17 | Early masses II expressive and technically Carmel Bach Festival, and Britten’s War Requiem Ockeghem, scrupulously based on the original 4. Ecce ancilla domini impressive” (Boston Musical with the New England Philharmonic and several sources and rigorously tested in practice. 5. Caput Intelligencer). He performs guest choruses. regularly with Boston Along the way we will also explore music of 2017-18 | Masses based on songs Baroque, Blue Heron, Conspirare, the Handel Ockeghem’s predecessors (Du Fay, Binchois, & Haydn Society, and Seraphic Fire. Recent et al.), contemporaries (Regis, Busnoys, et al.), 6. Ma maistresse & Au travail suis and upcoming solo engagements include and followers (Josquin, Obrecht, Agricola, 7. Fors seulement performances with the Vermont Symphony Isaac, et al.), developing and sharing with Orchestra, Coro Allegro, the Handel & Haydn our audiences a sense of the entire fifteenth- 2018-19 | Speculative music Society, Boston Baroque, and Boston Cecilia. century repertoire. Succeeding our series Mr. Reed spent two summers as a fellow at of recordings of music from the Peterhouse 8. Cuiusvis toni the Tanglewood Music Festival and holds partbooks, the fifth and final volume of which 9. Prolationum performance degrees from the New England will be released in spring 2017, a new series of Conservatory and George Mason University. five CDs is being planned, including a 2-CD set 2019-20 | Freely composed masses of all of Ockeghem’s songs. 10. Missa quinti toni Praised for his “elegant style” (The Boston Globe), 11. Sumner Thompson is highly sought after as Joining Blue Heron as adviser for both baritone and tenor. His appearances on Ockeghem@600 is Professor Sean Gallagher the operatic stage include roles in the Boston of the New England Conservatory, one of the 2020-21 | Last things & legacies Early Music Festival’s productions of Conradi’s world’s leading experts on Ockeghem and the 12. Requiem Ariadne (2003) and Lully’s Psyché (2007) and music of the fifteenth century. 13. Missa Mi mi

16 17 uses means both melodic and rhythmic (pitch His rhythm, too, is complex and varied, WHO WAS JOHANNES OCKEGHEM? and duration, the basic elements of music). oftentimes obscuring the music’s organization His spins out long-limbed, into regular metrical units of two or three. Johannes Ockeghem was born in Saint Caron, and , who supple, and simply gorgeous melodies whose Captivating at first hearing, Ockeghem’s music relationship to one another is not obvious— rewards the closest possible study and repeated Ghislain, near the city of in the county glory in having studied this divine art there are few unanimous cadences and few listening. of Hainaut (now in Belgium) around 1420. under John Dunstable, Gilles Binchois, He first enters the historical record in 1443 as immediately noticeable points of imitation, and Guillaume Du Fay, recently a vicaire-chanteur at the church of Our Lady in although many subtle instances occur, often —Scott Metcalfe Antwerp, a modest appointment appropriate deceased. Nearly all the works of these almost hidden within the texture of the music. to a young professional singer. By 1446 he had men exhale such sweetness that in my become one of seven singers in the chapel of opinion they are to be considered most Charles I, duke of Bourbon, and in 1451 he suitable, not only for men and heroes, joined the musical establishment of Charles but even for the immortal gods, Indeed, THE MUSIC OF JOHANNES OCKEGHEM VII, king of France. He served the French I never hear them, I never study them, royal court as premier chapelain for the rest of his career, mainly residing in Tours in the without coming away more refreshed and wiser. Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Loire Valley, where he held the prestigious Masses, three partial Mass cycles, an independent Credo, and an incomplete Requiem. and well-remunerated post of treasurer at the royal collegiate church of Saint Martin. A Ockeghem died on February 6, 1497. His SONGS passing was mourned by numerous musicians friend and colleague of the greatest musicians Aultre Venus Ma bouche rit ¿Qu’es mi vida preguntays? of the previous generation, Guillaume Du and poets. The most famous lament on his death is Nymphes des bois, by the Burgundian court Baisiés moi Ma maistresse by Johannes Cornago, with Fay and Gilles de Bins (usually known by the D’un autre amer Mort tu as navré added voice by Ockeghem sobriquet Binchois), he was esteemed by his chronicler and poet Jean Molinet, later set to music by Josquin Desprez—an act of homage Fors seulement contre ce Alius discantus super O rosa bella S’elle m’amera / Petite camusette contemporaries and successors as a master Fors seulement l’actente Permanent vierge Se vostre cuer beyond compare, enormously skilled as both that Ockeghem had previously rendered Binchois with Mort, tu as navré de ton dart. Il ne m’en chault Prenez sur moi Tant fuz gentement singer and composer, as well as virtuous, Je n’ay dueil (two versions) Presque transi Ung aultre l’a generous, and kind. Ockeghem left us about two dozen French La despourveue Quant de vous songs, just over a dozen Masses, and four motets, L’autre d’antan Writing in 1477, the theorist Johannes Les desleaux Tinctoris placed him at the head of an exalted a relatively small output for one of the greatest company of modern composers: composers of all time. Perhaps no composer other than Bach has equalled Ockeghem in MOTETS MASSES …at this present time, not to mention contrapuntal skill, and the two men are also equally astonishingly able to invest their work Alma redemptoris mater Missa Au travail suis Missa Fors seulement innumerable singers of the most with meaning at every level, from the smallest Ave Maria Missa Caput (Kyrie, Gloria, Credo) beautiful diction, there flourish, surface detail to the deepest, largest-scale, awe- Intemerata dei mater Missa cuiusvis toni Missa Ma maistresse whether by the effect of some celestial inspiringly complex structure, in music that Missa De plus en plus (Kyrie, Gloria) influence or by the force of assiduous is at once intensely sensuous and rigorously Missa Ecce ancilla Missa sine nomine a 5 practice, countless composers, among intellectual, of extraordinary beauty and Missa L’homme armé (Kyrie, Gloria, Credo) Credo sine nomine them Johannes Ockeghem, Johannes rhythmic vitality. Ockeghem’s music has the Missa Mi mi miraculous effect of taking hold of and altering Missa quinti toni a 3 Regis, Antoine Busnoys, Firminus our sense of time, and to do so Ockeghem Requiem (incomplete)

18 19 OCKEGHEM’S LIFE & TIMES Ockeghem Music & other arts History 1450 • c. 1450 first extant compositions: • February 1453 Binchois retires • 1453 end of Hundred Years War Ma maistresse, Missa Caput from Burgundian court and moves between France and England • by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the Ockeghem Music & other arts History chapel of Charles VII; lives in • b. c. 1450 Ottoman Turks Tours until his death 1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of • d. 1453 b. c. 1397, Bersele, near Brussels Burgundy; succeeded by John • 1452 encounters Guillaume Du Fay • Josquin Desprez the Fearless at meeting between French royal b. c. 1450–55, ?near Saint Quentin • Gilles de Bins, dit Binchois court and ducal court of Savoy b. c. 1400, ?Mons • 1409 Pope Alexander VI elected: • there are now three popes • by 1454 appointed first chaplain b. c. 1457-8, Ghent • Rogier van der Weyden of French royal chapel b. c. 1400, Tournai • Leonardo da Vinci • January 1, 1454 presents the king b.1452 (died 1519) • c. 1410 Jean, duke of Berry, with “a book of song”; receives commissions Très riches heures, a New Year’s gift of four ells of • 1455 Johannes Gutenberg illustrated by Limbourg brothers cloth in return completes printing of the Bible c. 1412-16 in Mainz • 1455 meets Du Fay again • January 1, 1459 gives the king “a 1410 • d. 1412 • 1414-18 Council of Constance very richly illuminated song” and • October 25, 1415 receives a New Year’s gift in return Battle of Agincourt • 1459 named treasurer of the • 1419 d. John the Fearless, collegiate church of St. Martin duke of Burgundy; succeeded by in Tours Philip the Good 1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII; 1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. Waudru, • 1422 Charles VII becomes dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI in Saint Ghislain, near Mons, Mons, 1419-23 King of France • 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good, County of Hainaut, diocese of • Johannes Regis b. c. 1425 • June 1462 travels to Cambrai d. June 18, 1464, in Brussels duke of Burgundy; succeeded by Cambrai Charles the Bold • Jean Fouquet b. 1420 (d. 1481) • February-March 1464 travels • Charles d’Orléans to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the Fay; ordained as a priest on this • Donatello d. 1466 Bold and Margaret of York 1430 • Binchois at Burgundian court • 1431 Joan of Arc burned at the occasion? by at least January 1431 stake in Rouen by the English; • 1465-7 Busnoys composes In • c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem • Antoine Busnoys b. c. 1430-35 Henry VI of England crowned king of France in Notre-Dame in Tours • Christine de Pizan d. c. 1430 de Paris • 1467/8 Missa L’homme armé • Alain Chartier d. 1430 • 1435 Treaty of Arras copied in Bruges • François Villon b. c. 1430 between France and Burgundy • Jean Molinet b. c. 1435 • 1436 armies of Charles VII 1470 • 1470 travels to Spain on 1 or 2 • Du Fay • 1477 d. Charles the Bold, • 1436 Santa Maria del Fiore reclaim Paris diplomatic embassies (adds 4th d. November 27, 1474, duke of Burgundy; Burgundy (Florence) completed with voice to Cornago’s Qu’es mi vida in Cambrai absorbed into the French crown dome engineered by Filippo preguntays) • 1478 William Caxton Brunelleschi; Du Fay composes • lament for Du Fay (lost) publishes first printed copy for • 1475/6 Missa Mi mi of the Canterbury Tales consecration th copied in Bruges (written late 14 century) • 1476/7 Missa cuius vis toni 1440 • 1443-44 earliest documentation: • Jan van Eyck • 1449 French reconquer copied in Bruges vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy Lady, Antwerp • • 1446-8 first of seven singers in b. c. 1446, Ghent 1480 • All of Ockeghem’s surviving • 1483 d. Louis XI; music composed by c. 1480? succeeded by Charles VIII the chapel of Charles I, duke of • 1440s earliest cyclic Masses, Bourbon composed in England, reach the • August 1484 travels to Damme continent via Flanders: Missa and Bruges; banquet in his honor Caput, Missa Veterem hominem, etc. at St. Donatian, Bruges • 1444 Cosimo de’ Medici founds • 1488 travels to Paris Laurentian Library in Florence • 1448 Pope Nicholas V founds 1490 • d. February 6, 1497, • Busnoys d. 1492 Vatican Library presumably in Tours • Regis d. c. 1496 ?Soignies

20 21 HOW DID OCKEGHEM SPELL HIS NAME? ACKNOWLEDGEMENTS

Jehan de Ockeghem was born around 1420 in the and Jehan very likely grew up speaking French Blue Heron’s existence as a performing ensemble (Cape Ann Recordings) or Joel Gordon. Joel is small town of Saint Ghislain, near Mons, in the as his first tongue. By the mid-1440s he was is made possible by the devotion, hard work, and also the engineer for our CDs, working with our county of Hainaut and in the diocese of Cambrai. living and working in France, and from about financial support of a community of board members, producer Eric Milnes. Kathy Wittman (Ball Square Saint Ghislain lies in modern-day Belgium, about 1450 until his death in 1497 he was a member of staff, volunteers, donors, and concertgoers. Many Films) is our videographer and Liz Linder is our 50 miles southwest of Brussels and less than ten the chapel of the the king of France and lived in grateful thanks to all those who join us in creating, photographer. Our debt to these wonderful people miles from the present312 border with France.LES ARTISTESTours,TOURANGEAUX in the Loire Valley. nurturing, and sustaining an organization who have shaped our look and sound is impossible dedicated to making the music of the 15th and 16th to overstate. The county of HainautObligis or ouHainaultObligys was(Nicolas), a The m-Flemishbrodeur, familyparoisse nameSaint- was a source of centuries come alive in the 21st. lordship within the HolyVineent, Romanil Tours Empire(1531), withavait endlessrpouse confusionJehanne toPreze, speakersfille ofde Fench, Italian, Special thanks to Brett Kostrzewski for help its capital at Mons Jehan(BergenPreze, in Flemish);maitre des theoeu German,vres de maconuerie and other languages,de la ville de and it may be Blue Heron is extraordinarily fortunate to work preparing a performing edition of the Missa Au name comes from Tours.the river Haine. Hainaut found spelled in a bewildering variety of ways in with a regular slate of talented, skilled, and travail suis from the original sources. devoted designers, engineers, videographers, and comprised what is nowOdin the (sireBelgianGirard), provinceTIl' brodeurcontemporarydes rois sources:Louis XII Ockeghem,et Fran- Okeghem, photographers. Our programs, postcards, season We are very grateful to the gracious hosts who offer of Hainaut and part eoisof the)H. Frenchparoisse départementNotre - DameOkegheem,de I'Ecrignolle, Ockegheem,it Tours, Okeghen,est Okeghan, brochure, advertisements, and CD booklets are their hospitality to musicians from out of town. of Nord, and includedeire thedans citiesI'nrventaire of Charleroi,des archivesOkenghem,d'Arnhoise, Ockenheim,en t498l'ten Okekam, Obekhan, to the east of Mons, and, to the southwest, designed by Melanie Germond and Pete Goldlust. 1504 eorume ayant recu plusieursObergan,payements Hockeghen,de Hoquegan,celte ville Hocquergan, Erik Bertrand built and maintains our website. Our Many thanks to our board and to all our volunteers Valenciennes and thepour diocesandivers seattravaux of Cambrai,de son art.Hoiquergan, Holreghan, Okegus. Eugène both in latter-day France. In 1420 the county Giraudet, in Les artistes tourangeaux (Tours, concerts are brilliantly recorded by Philip Davis for their help this evening and throughout the year. Nons avons rencontre e~alement un grand nombre de fois was ruled by Jacqueline, daughter of duke 1885), reproduces a presumed autograph mu- Wilhelm II of Bavaria-Straubing,Ie nom de eet artistebut in 1432dans lessignatureregistres ondes p.deliberations 312, but fails to indicate the We are honored and grateful to have so many generous donors. it was ceded to the Duchynicipales.mr of BurgundyiI fig-ure underit titre source,fie conseiller whichet ispair otherwisede la ville. unknown and is Philip the Good; in 1477,Dans uponnne assernhleethe death oftenue nowIe 7apparentlyavril 15z3. lost.sons Nevertheless,Ia presi- modern Donations Received between October 1, 2016 and October 11, 2017 Charles the Bold, itdeuce passedde toJacques the Habsburgsde Beanne, scholarshiphailli de Touraine, has generallydans lehut accepted the ARCHANGEL GUARANTOR with the rest of the Burgundiand'aviser aux Netherlands.mesures de sureteauthenticityit adopter ofponr the lasignature,defense de in part due to ($10,000 +) ($1,250 – $2,499) Ia ville, Girard Odin s'eugage,the detailunusualcurieux, formationit fournir of thejus- c, which could The Cricket Foundation Anonymous qu'au no.ubre de soixaute ouvriers hrodeurs (I). Paul LaFerriere & Dorrie Parini John Paul Britton & Diane Britton The composer’s given name was Jehan (or Jean), be taken for an e; such an oddity, as Jaap van Harry J. Silverman John A. Carey normally given~n as Johannes~531, in Latinii, enrich or otherit de s~~Benthemh.rod~ries has Iewritten,poele on “mightdais en plead against any Susan Miron non-French contexts.- toile Thed surnameor et d arjreut, suggestsdouble that suggestiona l'interieur ofde a satiunineteenth-centuryblanc, noir attempt ANGEL ($5,000 – $9,999) Erin E. M. Thomas his family originatedet in[auue the townet decore of Okegemde fleurs on de[at]lis forgery.”et de salnrnandres The signature,; ce dais assuming it is Anonymous James Catterton & Lois Wasoff Charitable Gift { the Dendre, IIlessI{ than. ~~ 35 milesdestine to ilthela northreception in indeedde la genuine,nouvelle establishesreioe Eleonore that, at least on Philip H. Davis Fund East"4~"d Flanders.,ll1'l"'t,''lf'',\ulriehe, But during the laterdont MiddleI'eutree Ages, soleullelle"'n'eutthis one occasion,lieu thequ'au composermois spelled his last Alice Honner-White & Peter C. White Hainaut1f"" \ wasI culturallyd'oeloLre and linguistically1532. French, name OCKEGHEM. Richard L. Schmeidler PATRON ($600 – $1,249) Anonymous J ;( Ockeghem (Jehan de). premier chapelain, chantre de la BENEFACTOR ($2,500 – $4,999) Peggy & Jim Bradley chapelle de Louis XI et de Charles VIII, tresorier de Saint, Diane L. Droste Laurie J. Francis Mary Briggs & John Krzywicki Fred Franklin & Kaaren Grimstad William & Elizabeth Metcalfe John & Ellen Harris Cindy & Peter Nebolsine Robert J. Henry Prof. Jessie Ann Owens Mary Eliot Jackson Joan Margot Smith Mastwood Charitable Foundation Peter Belknap & Jennifer Snodgrass Anne H. Matthews & Edward Fay, Jr. Marlin. Peu de noms ont <'Ie aussi defigures que eelui de c; Michal Truelsen & Jody Wormhoudt Michael P. McDonald grand musicieu et chanteur; ainsi, on l'a appeJe tour it tour

22 23 (1) Papier journal ordioaire des deliberations ot assembJees f.'lites ell l'ostel et maison de la communite de la ville et cite de Tours, tome XV. Merrill Family Charitable Foundation, Inc. Elizabeth Davidson Charles & Sheila Donahue BOARD OF DIRECTORS Scott Metcalfe Carl & May Daw Christian & Michele Fisher Peter Belknap, president Stephen H. Owades Eastern Bank Charitable Foundation Carol Fishman Mary Briggs, treasurer Susan S. Poverman Kathleen Fay & Glenn KnicKrehm Anne Gamble Richard Schmeidler, clerk Andrew Sigel James A. Glazier & James A. Ferguson Liz Goodfellow Philip H. Davis In honor of Mimi & Elliott Sprinkle Nancy Graham Michael Grossman, in honor of John Carey Damon Dimmick John Yannis Paul Guttry Ivan Hansen Scott Metcalfe Joan Hadly William L Harwood, in honor of Bill Metcalfe Dorrie Parini SPONSOR ($300 – $599) Terrie Harman Peter & Jane Howard Harry Silverman Myron & Rebecca Barnett David Harrison Louis Kampf & Jean Jackson Jennifer Farley Smith Thomas & Rebecca Barrett Kay & Tom Horst Marcia W. Jacob Laura Zoll Katie and Paul Buttenwieser Richard F. Hoyt, Jr. Joann Keesey Lynda Ceremsak & F. George Davitt Thomas Hyde Thomas Kelly GENERAL MANAGER Keith Ohmart & Helen Chen Tom and Kathy Kates Barry Kernfeld & Sally McMurry John Yannis Nathaniel S. & Catherine E. Coolidge David Kiaunis Carole Friedman & Gail Koplow Catherine Davin, in memory of Joe Davin Rob & Mary Joan Leith Penelope Lane OFFICE ADMINISTRATOR Pamela Dellal John Lemly & Catherine Melhorn Margaret Lias Janet Stone Helen Donovan & Holly Nixholm Robert Macwilliams James Martin John F. Dooley Brian McCreath Karen Ruth McCarthy DEVELOPMENT DIRECTOR Alan Durfee Kenneth & Karen Near Donald Mitchell Carole Friedman David R. Elliott Susan Cornwall & Nick Pappas Perry & Susan Neubauer Aaron Ellison Harold I. & Frances G. Pratt William & Nancy Obrien VOLUNTEERS Hope Hare Tom Regan Kate & Ted Ongaro Gail Abbey Cheryl Ryder Jean & Alex Humez Dr. David L. Sills Brad Peloquin Darryl Abbey Laura Sholtz Veronique & Ivan Kugener Martha Maguire & Oleg Simanovsky Mary Lynn Ritchey Daryl Bichel Susan Singer Richard O'Connor & Julianne Lindsay Richard Tarrant Robert Rood Jaime Bonney Jennifer Farley Smith June Matthews Judith Ogden Thomson Allen Rossiter Jill Brand Charlotte Swartz Virginia Newes Anne Umphrey Joan Doyle Roth Dan Clawson Erin EM Thomas Catherine & Dan Powell Alex Yannis Jennifer Farley Smith & Sam Rubin Sheila Clawson Sonia Wallenberg Tracy Powers Laura Zoll Ronald V. Lacro & Jon P. Schum Sue Delaney Ava Ziporyn Jerome Regier Huguette Shepard David Fillingham Michael Scanlon FRIEND ($50 – $124) Arthur Shippee & Mary Porterfield Alexandra Hawley Ann Besser Scott Anonymous (7) Richard & Louise Sullivan Anne Kazlauskas Robert B. Strassler Julie Rohwein & Jonathan Aibel Frank E. Warren Laura Keeler Bettina Siewert & Douglas Teich Jeffrey Del Papa & Susan Assmann Binney & Bob Wells Mary Kingsley Nicholas H. Wright Elaine V. Beilin & Robert H. Brown Jr. Carol Wetmore, in memory of Joan Yannis Diana Larsen Jill Brand & Thomas Nehrkorn Heather Wiley & Peter Renz Bob Loomis SUPPORTER ($125 – $299) James Burr T. Walley Williams III Hannah Loomis Anonymous Mary & Kenneth Carpenter Kathy Wittman Elena Loomis Vendini, Inc. Linda Clark Linda & Bill Wolk Ian McGullam Gail & Darryl Abbey Robert Cochran Elizabeth Wylde John Nesby Joseph Aieta, III Dennis Costa Anna Nowogrodzki Thomas N. Bisson Wallace & Barbara Dailey Beth Parkhurst Barbara Boles Martha S. Dassarma Christopher Petre Spyros Braoudakis Martha W. Davidson Karen Prussing Boston Early Music Festival Elizabeth C. Davis Samuel Rubin

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