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Toronto Consort Night Games House Program

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PROGRAM Night Games Prologue Orazio Vecchi, L’Amfiparnaso (1597) Allegrezza d’Amore Fabritio Caroso, Nobilità de Dame (1600) THE MASKS Tich toch, o Zanni! Vecchi, Selva di varia ricreatione (1590) Trinc tin tin Adriano Banchieri, La Pazzia Senile (1598) Chi passa per sta strada (instrumental) Filippo Azziolo (fl. 1530-1570) Lauretta viso d’oro Banchieri, La Pazzia Senile Pantalon, che vostu far? Banchieri, La Pazzia Senile Lazzo di Pantalone (silent) O Pierulin dov’estu? Vecchi, L’Amfiparnaso Leggiadria d’Amore Caroso, Il Ballarino (1581) THE IMITATION GAME Imitation of a Venetian Vecchi, Le Veglie di Siena (1604) Pavana El Todesco (instrumental) collected by Henry Fitzalan (1560) Matona mia cara (Imitation of a German) Orlando di Lasso (1581) Imitation of a Spaniard Vecchi, Le Veglie di Siena Spagnoletta (instrumental) Michael Praetorius, Terpsichore (1612) O, ecco il Capitano Vecchi, L’Amfiparnaso La Folia Andrea Falconieri (c.1585-1656) Choreographic arrangement by Marie-Nathalie Lacoursière inspired by Baltasar de Rojas Pantoja, Feuillet and Pécour Intermission Join us for the Intermission Café, located in the gym. READ BETWEEN THE LINES Brando dei cavalli (instrumental) L’Orchesographie (1589) Tiridola non dormire Vecchi, Selva (1590) Saltarello detto Trivella Vecchi, Selva O bene mio Adrian Willaert (1545) Chi chi li chi Lasso (1581) Lazzo di Pantalone (silent) Daspuò c’ho stabilio sto parentato Vecchi, L’Amfiparnaso La Fedeltà d’Amore Cesare Negri, Le Gratie d’Amore (1602) VIVA L’AMORE! A quand’a quand’haveva una vicina Willaert (1545) Passacaille à 3 (instrumental) Falconieri Mostrava in ciel Vecchi, Selva Celeste Giglio – Balletto Jean-Baptiste Besard (c.1600) Caroso, Nobilità de Dame Tonight’s Performers are: Staff & Administration Michelle Knight, Managing Director Katherine Hill, Artistic Director, soprano, Adam Thomas Smith, Director of viola da gamba Audience Engagement and Education Michele DeBoer, soprano Nellie Austin, Bookkeeper Kirk Elliott, accordion, fiddle, Chris Abbott, Graphic Designer mandolin, bladder pipe Romina Julian, Marketing and Development Assistant Yara Jakymiw, Season Brochure Graphic Designer Ben Grossman, colascione, Martin Reis, Derek Haukenfreres, Box Office hurdy-gurdy, percussion Peter Smurlick, Database Consultant Paul Jenkins, tenor, harpsichord Gordon Baker, Stage Manager Cecilia Booth, Front of House, Volunteer Coordinator Cory Knight, tenor Gordon Peck, Technical Director Esteban La Rotta, lute, Renaissance guitar Pradeep Gade, CD Sales and Event Assistant Alison Melville, flute, recorder Lydia Lee, Intern John Pepper, bass Laura Pudwell, alto Board of Directors Heather Turnbull, President WITH SPECIAL GUESTS Ann Posen, Past President Marie-Nathalie Lacoursière*, Harry Deeg, Treasurer actor, dancer, director Frances Campbell, Secretary Jason Bernardon Stéphanie Brochard, dancer Jennifer Bryan Pierre-François Dollé, dancer Anita Nador Tiffany Grace Tobias * The participation of this Artist is arranged by permission Andrea Whitehead of Canadian Actors’ Equity Association under the provisions of the Dance Opera Theatre Policy (DOT). The Toronto Consort Follow us on Facebook is a Proud Member of and Instagram! @TorontoConsort 427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected] bloorstculturecorridor.com TorontoConsort.org ABOUT US Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein Since its founding in 1972, The Toronto Consort to Europe and Great Britain four times, and has become internationally recognized for its frequently across Canada and into the US. excellence in the performance of medieval, The Toronto Consort has made recordings renaissance and early baroque music. Collectively for the CBC Collection, Berandol, SRI, Dorian, led by eight Artistic Associates, some of Canada’s and currently Marquis Classics, with 10 CDs to leading early music specialists have come together to its credit, two of which have been nominated form The Toronto Consort, whose members include for Juno awards. The most recent recording both singers and instrumentalists (lute, recorder, (The Italian Queen of France) was released in 2017. guitar, flute, early keyboards and percussion). Recently, the ensemble has been called Each year The Toronto Consort offers a upon to produce music for historical-drama subscription series in Toronto, presented in the TV series, including The Tudors, The Borgias and beautiful acoustic of the recently-renovated The Vikings, all produced by the cable network 700-seat Jeanne Lamon Hall, at the Trinity- Showtime. The Toronto Consort recorded St. Paul’s Centre in downtown Toronto. The the soundtrack for Atom Egoyan’s award- ensemble also tours regularly, having been winning film The Sweet Hereafter. PROGRAM NOTES Night Games: Madrigal Comedy and early operas blended ancient mythology and the Renaissance Theatrum Mundi a new style of composition for solo voice and chordal accompaniment (both of which were to The world is a stage, become integral elements of baroque music), Life is a performance; madrigal comedy relied on two traditions that You come, you watch, you go. were thoroughly grounded in the Renaissance — Democritus (c.460-c.370 BCE) – commedia dell’arte (a style of theatre featuring masks, improvisation and archetypal characters) While most of us might not be overly familiar and the madrigal (a poem sung by multiple with the ancient Greek philosopher Democritus, voices) – to create what we might think of today as it is very likely that we have seen his stylized, sixteenth-century-style musical revues. Madrigal grinning face in the duo of comedy and tragedy comedies were produced over a span of a mere masks that symbolize theatre in the Western sixty years or so (1567-1630), with only twenty- world. Just as Democritus’ mask represents both two works belonging to the canon; compared to an actor in a comedy and an audience member opera, the genre is a veritable blip on the giant watching a comedy, so the other mask of the radar screen of music history! What I hope we will pair, a mournful and literally down-in-the-mouth discover tonight is that, while madrigal comedy Heraclitus, bears its relationship to tragedy. itself did not endure, works from this genre show These figures illustrate for us the metaphor of off late-Renaissance vocal and instrumental the theatrum mundi, or Theatre of the World, music at its best, in terms of its high quality, in which we are all both actors and spectators, expressive power, wit and irresistible appeal. caught up in the drama of life on earth. In Night Games, we are sampling vocal and Tonight’s performance will give us a chance instrumental music from madrigal comedies of to situate ourselves in the Renaissance theatrum the 1590s and early 1600s. As in any Renaissance mundi, as we explore the musico-theatrical entertainment, dance will also take centre stage, genre of madrigal comedy, which was emerging as our special guests, led by the incomparable in northern Italy at the same time as opera, Marie-Nathalie Lacoursière, will offer us a rare that is, in the late sixteenth century. Where opportunity to enjoy choreography and dance tunes from sixteenth-century dance manuals From its beginnings in the 1520s, it remained a (Allegrezza d’Amore, Leggiadria d’Amore, La highly popular form, enjoyed in both private and Fedeltà d’Amore). In the vocal music, we will public spheres in all kinds of contexts. Madrigal encounter serenading, swaggering, battles of composers sought to intensify the sound and insults (Lauretta viso d’oro) and propositions meaning of poetry by using a toolbox of variety (Chi chi li chi), as well as playful imitations of and invention, coordinating or scattering the musical instruments, of stutterers (O bene singers’ voices and rhythms, painting specific mio) and of smooth operators (Imitation of a words with evocative melodic gestures, and Venetian). In true, politically incorrect madrigal- colouring different emotions with sweet, languid comedy fashion, particular cultural groups will or jarring harmonies. A vast variety of conceits, be parodied, both musically and linguistically, narratives and emotions could be encompassed including the Spanish (via the quintessentially by these techniques, and so madrigals ranged macho Captain Cardon), the Germans (Matona in tone from the academic and serious to the mia cara), and the “uncultured”, speakers of pastoral, the lighthearted, the humorous and non-Tuscan (read: non-literary) dialects from the downright raunchy. The “dialogue” style Venice, Bergamo and Bologna (from our Toronto of madrigal, in which a conversation between perspective, think Charlie Farquharson or the two or more people could be represented by Trailer Park Boys). We will hear instruments different groupings of voices, is featured in that complement the comedic tenor of the several pieces on the programme (Tich toch, evening, including harpsichord, percussion, Tiridola), but perhaps most brilliantly in the hurdy-gurdy, guitar, bladder pipes (yes, you three commedia scenes from Orazio Vecchi’s read that right: a small bagpipe made out of a madrigal comedy L’Amfiparnaso(“The Double sheep’s bladder) and … accordion. As with our Parnassus of Theatre and Music”, 1597), which English surtitles this evening, we hope that will be simultaneously acted out, by our the accordion, with its present-day association superb colleagues,
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  • A Musical Correspondence from the Time of Philip II

    A Musical Correspondence from the Time of Philip II

    Ignace Bossuyt 0 socii durate A musical correspondence from the time of Philip II ANTOINE Perrenot de Granvelle (1517-86) was painted by, among others, Titian, Antonio Moro one of the most fascinating personalities to have and Leone Leoni. patronized the arts in the second half of the 16th cen- Music, too, meant much to him, as is apparent tury. He played a crucial role both as a prince of the from his contacts with the most prominent com- church and as a politician in the Netherlands under posers of his time. His extensive correspondence the Spanish domination. After studying at the uni- contains a wealth of hitherto unknown musical versities of Leuven (Louvain) and Padua, he became data. A systematic examination of his letters, some Bishop of Arras in 1538, aged 21 years. In 1550 he suc- of which are preserved in the Palacio Real and the ceeded his father, Nicolas Perrenot, as prime minis- Biblioteca Nacional in Madrid,' has yielded particu- ter to Charles V, King of Spain and Holy Roman larly interesting information on his relationship Emperor, and retained this post after Charles's son with two composers of international stature: Adrian Philip II became ruler of the Netherlands in 1555. Willaert (c.1490-1562), who was maestro di cappella Following Philip's return to Spain in 1559 Antoine of St Mark's in Venice between 1527 and 1562, and became first counsellor to Margaret of Parma. Op- Orlande de Lassus (1530/32-1594), a tenor at the position to him increased steadily from 1561, espe- Bavarian court in Munich from September 1556 and cially after his elevation to cardinal and archbishop Kapellmeister there from 1563 until his death in of Malines (Mechelen).