Ockeghem@600 | Concert 7 Thursday, 1, 2018 Friday, March 2, 2018 Saturday, March 3, 2018 St. Cecilia Parish, Boston St. Andrew’s Church, Wellesley First Church in Cambridge, Congregational Ockeghem@600 | Concert 7 Fors seulement Fors seullement: from sacred to secular in the ffeenth century

cantus A number of themes run through our pro- of . He worked at the church of Our Megan Chartrand gram this evening. All the sacred music Lady in and in the chapel of the (c. 1420-1497) Martin Near Fors seullement l’acente que je meure • mc mn st in the concert honors the Blessed Virgin duke of Bourbon before joining the French tenor & contratenor Mary in some fashion. You will hear poly- royal court by 1451. By 1459 he was living Mathaeus Pipelare (c. 1450-c. 1515) Owen McIntosh Jason McStoots phonic setings of a hymn (Maria mater in , on the about a hundred Fors seullement • MC OM ST DM Sumner Tompson gratie) and an antiphon () ad- miles southwest of , and earning Ockeghem bassus dressed directly to Mary, and Mass move- an income as treasurer of the collegiate Fors seullement contre ce qu’ay promys / Paul Gutry ments whose musical material is derived in church of St-Martin, whose nominal Fors seullement l’actente que je meure • MC JM PG Steven Hrycelak David McFerrin some way from secular songs which may head was the king of . (A collegiate ? (c. 1452-1518) Scot Metcalfe be interpreted allegorically as expressing church is one by a college or community Maria mater gratie / Fors seullement • MC OM JM DM PG director devotion to her in one case, or her grief at of clerics.) Ockeghem died on February Ockeghem losing her son in the other. 6, 1497, a prosperous and celebrated man • Ockeghem@600 is Blue Heron’s & Gloria Fors seullement MN OM JM ST SH long-term project to perform whose passing inspired laments by poets the complete works of Johannes Tis is also a story of three generations and musicians including Josquin, whose Ockeghem in a series of concert of musicians from a small geographic seting of mourned the intermission programs presented between 2015 and 2021. area encompassing parts of northern older musician’s death, just as Ockeghem France and the southern Low Countries had honored Binchois with his Mort, tu as Ockeghem We are very pleased to have (now )>an area, rich in choir Fors seullement • MC OM JM ST DM navré de ton dart. Professor Sean Gallagher schools or maîtrises, that trained most of join us as adviser for Gilles de Bins, called Binchois (c. 1400-1460) the entire project. Europe’s best singers and in Mathaeus Pipelare, , Je ne vis onques la pareille • MN OM PG the ffeenth century. T e oldest of our Pierre de la Rue, and Johannes Ghiselin Pre-concert talk in Cambridge by composers, Gilles de Bins, called Binchois, represent the next generation. All four Alexander Agricola (c. 1450-1506) Sean Galagher (New England Credo Je ne vis onques la pareille (II) • MN OM JM PG Conservatory of Music) was born around 1400, probably in Mons, were born in the 1450s, and all also had sonsored in part by the capital of the province of Hainaut. He some connection with the Habsburg- Johannes Ghiselin (documented 1491-1507) Te Cambridge Society spent most of his career in the employ of Burgundian court, the descendant of the Salve regina Je ne vis onques la pareille for the duke of before retiring to storied . Agricola was Q&A afer the concert with Soignies, a town just ten miles northeast born in and spent the frst decades Sean Galagher & Scot Metcalfe of Mons, on the way to . Johannes of his career in and working for the Ockeghem was born around 1420 in the French royal court before joining the

Blue Heron is funded in part by the Massachusets Cultural Council, a state agency. small town of St-Ghislain, just to the west Habsburg-Burgundian court in 1500.

Blue Heron 950 Watertown St., Suite 8, Wes Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 La Rue was almost certainly born in the Fors seullement falling motive occurs more than a dozen downwards, surrounding it with three cathedral city of , also in Hainaut times in the course of the song. A duet be- newly-composed parts, one higher and very near the French border, and educated Our point of departure is Fors seullement tween the lower voices also introduces the two lower. Te piece may have been in- in the cathedral school. He was at the l’actente. Te frst line of the text is itself song’s second part, which sounds briefy, tended for instruments, for it is transmit- Habsburg-Burgundian court by 1492; he borrowed from the end of Alain Chartier’s deceptively happy, before it returns to a ted entirely without text and cannot sen- retired in 1516 and died in 1518. Ghiselin, La Complainte (from the mid-1420s), desolate minor mode. sibly be divided into two sections, which also known as Verbonnet, is only docu- where it is spoken by the male narrator is necessary for the full performance of a mented working in Italy between 1491 about his lady and mistress (“ma dame About three dozen subsequent pieces , but the lines are perfectly sing- and 1507, but he was described as “da et ma maistresse”), a paragon of virtue rework the material of Fors seullement. able and carry the poem with ease. Piccardia” (from Picardy in northern snatched away by an untimely death. Ockeghem himself took the top part of France) in a Florentine chapel register the song, transposed it down a twelfh, Te fve-voice Maria mater gratie is Autre bien n’ay, n’autre bien n’assaveure and used it as the lowest, contratenor transmited uniquely and anonymously from 1493 and as a “famengo” (Fleming) Fors seulement l’actente que je meure; part of a new song, Fors seullement contre in a songbook that was copied for in one from Ferrara in 1502. His music Et desire que briefment vieigne l’eure, ce qu’ay promis, whose upper two voices Marguerite of Austria, the daughter of includes a song whose incipit, “Je l’ay em- Qu’apres ma mort en paradis la voye. pris,” was the moto of (d. declaim a curious political text. Aside the Holy Roman Emperor Maximilian 1477), the last Burgundian duke to rule an No other good do I have, no other good do I enjoy from the frst two words, is hard to see I, in the scriptorium of Petrus Alamire independent polity. Pipelare worked in save only the expectation that I shall die; the connection between this poem and at Marguerite’s court in the , Antwerp and ’s-Hertogenbosch, and pos- and I desire that the hour come shortly, the sentiments of the original rondeau, probably sometime afer 1516. Marguerite sibly also in Ghent. More than half of his that afer my death I shall see her in Paradise. whose entire frst strophe is writen in the was a highly cultured, politically savvy, surviving compositions are transmited in new song’s contratenor part in one source. and famously melancholy lady who took manuscripts associated with the scripto- Te text of Ockeghem’s song is spoken An ironic twist seems possible, in which a as her moto “Fortune infortune fort rium of the Habsburg-Burgundian court. by a woman who, rejected by the man male speaker’s bluster about alliances and une” (Fortune makes a woman very un- she loves, curses her own loyalty to him, honor is>literally>undercut by a female happy), and the contents of her songbook Finally, our program presents composi- which causes her sufering beyond mea- voice lamenting her abandonment. (A sub- refect her seriousness and grief. In this tions based on pre-existent music: songs, sure. Ockeghem matches the poem’s grief tle disparity between the mode of the top song, probably by one of the Habsburg- , and Masses that draw their mu- and biterness with music of stark beauty. voices and that of the contratenor leads to Burgundian court’s star composers, Pierre sical inspiration from one or another of A pair of duets open the song, each fea- some disorienting metrical displacement de la Rue, four voices pray to Mary for her the two most famous songs of the mid- turing a falling melodic motive with the in the second half the song, too.) intercession at the hour of death, while a ffeenth century, Ockeghem’s Fors seulle- distinctive rhythmic profle of a doted ffh (second from the botom) quotes the ment l’actente que je meure and Binchois’s Je whole note followed by two descending Tis seting of Fors seullement by second voice of Ockeghem’s song down an ne vis onques la pareille. quarter notes (a doted semibreve and two Pipelare (one of two he wrote) also takes octave. Nothing but the frst two words of semiminims, in 15th-century terms). Te Ockeghem's melody and transposes it the original French text is writen in the

4 5 manuscript, but it seems perfectly appro- together in a single source copied in the implacability, pitilessness>or of Mary that makes it impossible to be absolutely priate to sing it in this context. Netherlands a few years afer the com- cursing her loyalty to her son.) In this certain which version wins out. poser's death, it seems very likely that the interpretation, a Missa Fors seullement A Missa Fors seullement5or two Kyrie and Gloria form a pair independent refers to Christ’s Passion and would most In contrast, in the Credo the tenor sings of the Credo, despite all three being set for appropriately be sung during Holy Week. the entire melody of the song’s upper voice, A pioneer both in the development of the fve voices rather than the usual four, for plus some of the second voice’s melody cyclical Mass (a unifed seting of the they difer signifcantly in style, technique, Te Kyrie and Gloria are extraordinarily from the B section, all virtually unaltered, fve movements of the of the notated range, and voice designations. complex pieces of music, in which the in a traditional and (for Ockeghem) Mass) and in the use of borrowed mate- Te scribe of the manuscript in question, dense fve-part texture is relieved by straighforward cantus frmus seting fea- rial, Ockeghem composed thirteen extant the celebrated Chigi Codex, appears to the occasional passage for three or four turing numerous duos and trios. cycles (three of which survive in partial have expected to copy a complete cycle, voices. Material derived from the song’s form): six are known to draw from pre- Je ne vis onques la pareille for he ruled enough paper to accomodate superius and tenor (its two highest voic- existent secular songs and a seventh may es) is distributed among all fve voices of two more movements scored for fve Je ne vis oncques is that rarest of musical well be based on a song that has been lost. the Mass; even the song’s contratenor is voices. But whether a or Agnus works for which we have some specifc Tis evening we will hear one of his partial quoted in the Kyrie. Ockeghem explores dei on Fors seullement by Ockeghem ever information about how it was once per- cycles>if these three movements do in or exploits one particular feature of the existed or not, this scribe apparently never formed in the ffeenth century. Te scene fact constitute part of a true cycle. song, its use of notes both a whole tone received them; he later entered four-voice is the Banquet of the Oath of the Pheasant, and a semitone above the fnal (B natu- Mass cycles are ofen regarded as sacro- music on the empty pages. held in in 1454, at which the duke ral and B fat above the fnal of A), with sanct wholes nowadays, but such an ati- of Burgundy, Philip the Good, swore the Te Mass movements on Fors seullement rather startling and harmonically disori- tude was foreign to the ffeenth century, Knights of the Order of the Golden Fleece present a possible case of a Christological enting results. Tese are particularly ap- which, however much it valued complete to a new crusade against the Turks. application of a song, with Marian im- parent in the Gloria at the end of its frst masses, considered it perfectly seemly to plications. Te frst strophe, in which a section, at the words “flius patris,” where extract and sing whatever was needed for Te city of Constantinople, ancient capitol woman, overwhelmed by grief, speaks to the fat predominates until a last-minute the liturgy at hand. Numerous indepen- of Eastern Christianity, fell to the Turks a man she is “sure of losing,” might be read natural in the fnal sonority, and again at dent mass movements by ffeenth-centu- in 1453, sending shock waves through allegorically as a sort of Stabat mater, the the end of the second section, where the ry composers also testify to the usefulness Europe. On February 17 of the following 13th-century hymn that describes Mary contratenor and tenor answer each other of single mass sections set polyphonically. year, Philip the Good, , weeping at the foot of the cross. (As so of- in short canonic segments a tone apart, In the case of what is generally known convoked the Knights of the Golden Fleece ten with these songs, subsequent lines or one voice singing fats, the other naturals, today as Ockeghem's Missa Fors seul- to a grand feast in the city of Lille. Philip stanzas do not seem to ft the allegory so the dispute resolved, once again, at the lement, consisting of three movements had founded the order twenty-fve years gracefully, for it would not be appropriate last moment>but, characteristically for (Kyrie, Gloria, and Credo) transmited earlier with the idea of organizing a new to speak of the Savior’s “rigeur”>hardness, Ockeghem, in a contrapuntal context crusade, an obsession that acquired new

6 7 urgency in the wake of the Turkish victory silk. On the elephant there was a castle, on the very frontier of Christendom. Te When everyone was seated…a bell Next, afer the church and the pastry in which there was a woman dressed gathering in Lille, known as the Feast of rang very loudly in the church in the had each played four times in turn, like a nun in white satin. Over this she principal table…. Afer the bell had there entered into the hall a marvel- wore a cloak of black cloth, and her the Pheasant or the Banquet of the Oath, stopped ringing, three litle children lously large and beautiful hart, com- head was bound with a white kerchief was meant to win sworn commitments and a tenor sang a very sweet . pletely white with great golden antlers, in the style of Burgundy or of a nun. from his Knights. Several descriptions of And when they had fnished, in the and covered by a rich drape of vermil- the Feast have come down to us, includ- pastry…a shepherd played a bagpipe in ion silk. Upon this hart was mounted Apparently played by La Marche himself, ing an eyewitness account from a partici- a very novel fashion. Hardly a moment a young boy of twelve clothed in a the woman represented the Holy Church pant, the Burgundian chronicler and poet afer that there came in through the short robe of crimson velour, wearing herself, and she addressed a long lament Olivier de la Marche (writen, however, entrance to the room a horse walking a small slashed black hat and pointed in verse to the company. Afer the lam- backwards, richly covered with red silk. shoes. Tis child held in his two hands at least twenty years later), and another, entation was spoken, “the giant and the On it were two trumpeters seated back the horns of the hart. And on his entry nearly identical but somewhat more de- to back without a saddle. Tey were this boy began to sing the dessus of a Church departed…and the oaths began to tailed, compiled by Mathieu d’Escouchy. dressed in mantles of gray and black song, most loud and clear, and the hart be sworn on all sides.” Many of the knights silk, with hats and masks; and they sang the tenor, with no one else visible retained enough composure, despite the Te hall where the banquet was held led the horse backwards up and down except the child and the artifcial hart. late hour and the amount of wine they had was large and beautifully hung with a the length of the room, all the while And the song they sang was called Je ne tapestry depicting the life of Hercules.… surely imbibed, to include in their vows playing a fanfare on their . vis onques la pareille. In this hall were three covered tables, precise restrictions about how exactly their participation in any new crusade one medium-sized, another large, and Te entertainments continued with mu- another small. On the medium-sized Te entremets or between-course en- might be limited by circumstances sup- sic of futes, , organs, trumpets, and table there was a skilfully-made church tertainments that followed included a posedly beyond their control. In any event, fddles, motets sung from the church, a with transept and windows, in which performance on a German cornet, the en- whatever true enthusiasm there may have there were a ringing bell and four fre-breathing dragon, a heron set loose trance of a goblin “with the hairy legs and been for such an undertaking did not ex- singers who sang and played organs in the hall to be hunted and killed by two feet and long talons of a grifn from the tend to actually carrying it out. when their turn came.… Te second waist down and the form of a man above falcons, and more mystery plays reenact- table, which was the largest, had the waist,” a pageant featuring Jason, the ing the batles of Jason. Te climax of the Secular and sacred music intermingle on it…a pastry in which there were evening was reached with the entrance of twenty-eight living persons playing in mythological patron of the Order, motets seamlessly in the succession of entremets a huge giant dressed in green-striped silk. turn various instruments.… Te third played on the organs in the “church,” and at the Feast of the Pheasant. A chanson is table, smaller than the others, had on it a “long chanson” called La Saulvegarde de On his head he wore a turban in the sung from the church as the festivities get a marvelous forest, like a forest of India, ma vie sung from the pastry by three sweet manner of the Saracens of Granada, underway: “What it was I could not say,” in which there were many strange and voices. in his lef hand he held an enormous, writes D’Escouchy, “but it seemed to me a strangely made beasts that moved by old-fashioned mace, and with his right pleasant benedicite for the commencement themselves as if alive.… hand he led an elephant draped with of the supper.” Motets are sung and played

8 9 for entertainment, instrumental solos original contratenor perhaps served as of the antiphon seting, at the same speed Credo setings based upon it. Te Credo and ensemble pieces sound at the conclu- hindquarters for the “artifce du cherf.”) as in the song itself. Various passages Je ne vis oncques I performed this evening sion of religious allegories; music diverts As for the song, it is grave and moving; also quote the plainchant melody of the is a highly virtuosic work, flled with and persuades, allegorical spectacle both one hopes the boy and the stag did it jus- antiphon. syncopation and dashing passage work, impresses by its virtuosity and compels tice. Although it is ascribed to Guillaume culminating in a rollicking third section action, or at least the promise of action; Du Fay in one source, scholarly opinion Never one to content himself with the (“Et iterum venturus est”) that fies along meaning layers upon meaning. Presented favors another manuscript’s ascription to simplest solution to a musical challenge, at twice the speed of the opening. in a context so laden with symbolism, Binchois, Burgundian chanson Agricola makes the most complicated uses which is signalled from the outset by the par excellence, who had retired from the of Je ne vis oncques la pareille in his two >Scot Metcalfe horse riding backwards, and sung by a boy court just a year before the Feast of the and a white hart>an unmistakeable sym- Pheasant. bol for Christ>the song Je ne vis oncques la pareille acquires a signifcance beyond that Je ne vis oncques la pareille inspired a large of a perfectly conventional lyric of courtly family of works that drew upon its text or love addressed to a “gracious lady”: the music. In the later half of the ffeenth lady is Our Lady. Te lyric lends itself eas- century, courtly love lyrics were frequent- ily to the transfer, for the lady’s identity, ly put to use as Marian allegory, and the Scott Metcalfe, director slipping between human and divine, is quotation of a secular song such as Je ne vis SEASON CONCERTS AT oncques la pareille in a piece of sacred music First Church in Cambridge, already questioned by the speaker: “Upon Congregational, 11 Garden St. such as a mass or mass movement seems (next to the Sheraton Commander) seeing you I marvel / And ask, could this NINETEENTH SEASON CONCERTS (2017–18) be Our Lady?” to have signalled the appropriateness of OCTOBER 14 OCKEGHEM@600 | MA MAISTRESSE: Songs, masses & a for My Lady the music for a Marian feast. Alexander DECEMBER 22 & 23 CHRISTMAS IN MEDIEVAL ENGLAND It must be said that, as information about Agricola based two Credo setings on it, FEBRUARY 3 MUSIC FROM THE PETERHOUSE PARTBOOKS performance practice, the chroniclers’ both preserved in sources that suggest use MARCH 3 OCKEGHEM@600 | MISSA FORS SEULEMENT & other music based on songs APRIL 14 THE IBERIAN SONGBOOK: Spanish songs & dances, 1450–1600 account of a three-part song sung by a in Marian masses. Te Marian allegory is boy and a hart>that rarest of cases in explicit, of course, if the song is quoted in the ffeenth century, a fairly detailed de- a Marian antiphon such as the Salve regina, scription of the performance of a specifc as is the case in the seting by Ghiselin. piece>is not exactly what one hopes for. Te frst verse of Ghiselin’s Salve regina em- Today we lack a boy and are missing the ploys the song in the most audible manner hart, but we do have a low contratenor, possible, quoting the frst nine measures ADDITIONAL CONCERTS: PROVIDENCE (FEB. 4) sung on this occasion by a man. (Te of the song’s melody in the highest voice BACK BAY (MAR. 1) WELLESLEY (MAR. 2) DORCHESTER (APR. 15) (617) 960–7956 | blueheron.org NEW! Family Concert (Apr. 14) 10 First Church in Cambridge, Cong. 11 TEXTS & TRNSLATIONS Je cuide avoir en terre des amys I believe I have friends in the land Et que en eulx ay ma fance mis; and in them I have placed my trust; Fors seullement l’actente que je meure, Save only the expectation that I shall die, On doibt scavoir que n’ay nulle doubtance one should know that I have no doubts, En mon las cueur nul espoir ne demeure, no hope remains in my weary heart, Ou aultrement querroye ma desfance, otherwise I would pursue my suspicions, Car mon malheur si tresfort me tourmente for my misery torments me so biterly Car je sceray de tout honneur . for I would be denied all honor. Qu’il n’est doleur que par vous je ne sente, that there is no pain I do not feel for you, Fors seullement contre ce qu’ay promys… Save only for that which I have promised… Puis que je suis de vous perdre bien seure. for I am quite certain to lose you.

Vostre rigeur follement me court seure Your pitilessness pursues me so beyond measure Maria mater gratie Mary, mother of grace, Qu’en ce parti il fault que je m’asseure that in this situation I can only be sure Mater misericordie mother of mercy, Dont je n’ay bien qui en rien me contente that I have nothing at all that comforts me Tu nos ab hoste protege protect us from the enemy Fors seullement l’actente que je meure, save only the expectation that I shall die; Et hora mortis suscipe. and receive us at the hour of death. En mon las cueur nul espoir ne demeure, no hope remains in my weary heart, Gloria tibi domine Glory be to thee, O Lord, Car mon malheur si tresfort me tourmente for my misery torments me so biterly. Qui natus es de virgine who wast born of a virgin, Cum patre et sancto spiritu with the Father and the Holy Spirit Mon desconfort toute seulle je pleure All alone I weep for my distress, In sempiterna secula. Amen. for ever and ever. Amen. En mauldisant sur ma foy a toute heure ever cursing, by my faith, Ma loyaulté qui tant me fait dolente. my loyalty, which makes me sufer so. Las! que je suis de vivre mal contente Alas! how unhappy I am to remain alive Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, Quant de par vous n’ay riens qui me sequeure. when from you I receive nothing to succor me. have mercy.

Fors seullement l’actente que je meure… Save only the expectation that I shall die… , et in terra pax Glory to God in the highest, and on earth hominibus bone voluntatis. Laudamus peace to all of good will. We praise you. te. Benedicimus te. Adoramus te. We bless you. We adore you. We glorify Fors seullement contre ce qu’ay promys, Save only for that which I have promised, Glorifcamus te. Gratias agimus tibi propter you. We give thanks to you for your great Et en tous lieux seray fort entremys I shall be deeply engaged on all sides magnam gloriam tuam. Domine deus, rex glory. Lord God, heavenly king, almighty Et acquerray une belle aliance. and shall obtain a fair alliance. celestis, deus pater omnipotens. Domine God the Father. Lord Jesus Christ, only J’en ay desir voire dez mon enfance: I have desired this ever since childhood: fli unigenite, Jesu Christe. Domine deus, begoten Son. Lord God, lamb of God, Son Point ne vouldroye avoir nulz anemys. I wish to have no enemies whatsoever. agnus dei, flius patris. Qui tollis peccata of the Father. Who takes away the sins of Mon vouloir j’ay tout en cela soubmis To this end I have entirely submited my will mundi, miserere nobis. Qui tollis peccata the world, have mercy on us. Who takes Et hors de la ja ne ferai transmis, and from this shall not now be moved, mundi, suscipe deprecationem nostram. away the sins of the world, receive our Garder n’y veul ordre, sens ne prudence nor do I wish to preserve order, sense, or prudence Qui sedes ad dexteram patris, miserere prayer. Who sits at the right hand of the nobis. Quoniam tu solus sanctus, tu solus Father, have mercy on us. For you alone Fors seullement contre ce qu’ay promys, save only for that which I have promised; dominus, tu solus altissimus, Jesu Christe, are holy, you alone are the Lord, the Most Et en tous lieux seray fort entremys I shall be deeply engaged on all sides cum sancto spiritu in gloria dei patris. High, Jesus Christ, with the Holy Spirit in Et acquerray une belle aliance. and shall obtain a fair alliance. Amen. the glory of God the Father. Amen.

12 13 Credo in unum deum, patrem I believe in one God, the Father almighty, Je ne vis onques la pareille I have never seen the equal omnipotentem, factorem celi et terre, maker of heaven and earth and of all things de vous, ma gracieuse dame, of you, my gracious lady, visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord Jesus car vo beaulté est, par mon ame, for your beauty is, upon my soul, unum dominum Jesum Christum, flium Christ, the only Son of God, eternally sur toutes aultres nonpareille. by all others unequalled. dei unigenitum: et ex patre natum ante begoten of the Father. God from God, omnia secula. Deum de deo, lumen de Light from Light, true God from true God. En vous voiant je m’esmerveille Upon seeing you I marvel lumine, deum verum de deo vero. Genitum Begoten, not made; of one being with the et dis qu’est ceci nostre dame? and ask, Is this Our Lady? non factum, consubstantialem patri: Father, through whom all things are made. per quem omnia facta sunt. Qui propter For us and for our salvation he came down Je ne vis onques la pareille I have never seen the equal nos homines et propter nostram salutem from Heaven. He was born of the Holy de vous, ma gracieuse dame. of you, my gracious lady. descendit de celis. Et incarnatus est de Spirit and the Virgin Mary, and was made spiritu sancto ex Maria virgine: et homo man. He was crucifed for our sake under Vostre tres grant doulceur resveille Your very great sweetness awakes factus est. Crucifxus etiam pro nobis sub Pontius Pilate, died, and was buried. On the mon esprit, et mon oeil entame my spirit, and my eye opens up Pontio Pilato: passus et sepultus est. Et third day he rose again, in accordance with mon cuer, dont puis dire sans blame, my heart, thus I may say without blame, resurrexit tertia die secundum scripturas. the Scriptures. He ascended into heaven puisqu’a vous servir m’apareille: for I am prepared to serve you: Et ascendit in celum: sedet ad dexteram and is seated at the right hand of the Father. patris. Et iterum venturus est cum gloria He will come again to judge both the living Je ne vis onques la pareille… I have never seen the equal… judicare vivos et mortuos: cujus regni non and the dead, and his kingdom shall have erit fnis. Et in spiritum sanctum dominum no end. And I believe in the Holy Spirit, the et vivifcantem qui ex patre procedit. Lord, the giver of life, who proceeds from Credo (see above) Qui cum patre et flio simul adoratur the Father, who with the Father and Son is et conglorifcatur: qui locutus est per worshipped and glorifed, who has spoken prophetas. Et unam sanctam catholicam through the prophets. And I believe in one Salve regina, mater misericordie, Hail queen, mother of mercy, et apostolicam ecclesiam. Confteor unum holy, catholic and apostolic church. I confess Vita dulcedo et spes nostra, salve. our life, our sweetness and our hope, hail! baptisma in remissionem peccatorum. Et one baptism for the forgiveness of sins. And Ad te clamamus exsules flii Eve. To you we cry, exiled children of Eve; expecto resurrectionem mortuorum, et I await the resurrection of the dead, and the Ad te suspiramus, gementes et fentes to you we sigh, weeping and wailing vitam venturi seculi. Amen. life of the world to come. Amen. in hac lacrimarum valle. in this vale of tears. Eia ergo, advocata nostra, Come then, our advocate, illos tuos misericordes oculos ad nos turn your merciful eyes upon us, converte, and show us Jesus, the blessed fruit of your Et Jesum, benedictum fructum ventris tui, womb, nobis post hoc exilium ostende. afer this our exile. O clemens, O pia, O dulcis virgo Maria. O merciful, O gentle, O sweet virgin Mary.

Translations by Scot Metcalfe.

14 15 ABOUT THE ARTISTS and at Lambeth Palace Library, at the London Chorale, Yale Choral Artists, Seraphic Fire, and residence of the Archbishop of Canterbury. Ensemble Origo. Born and raised in Sherwood Blue Heron has been in residence at the Center Park, Alberta, she now pursues an active for Early Music Studies at Boston University performance career based in New York City. and at Boston College, and has enjoyed She received her MMus from Yale University collaborations with A Far Cry, Dark Horse and her BMus from the University of Alberta. Consort, Les Délices, Parthenia, Pifaro, and Ensemble Plus Ultra. In 2015 the ensemble Music historian and embarked on a multi-season project to perform pianist Sean Gallagher the complete works of Johannes Ockeghem (c. (pre-concert speaker 1420-1497). Entitled Ockeghem@600, it will and adviser for Blue wind up around 2021, in time to commemorate Heron's Ockeghem@600 the composer’s circa-600th birthday. project) joined the faculty Blue Heron has been acclaimed by Te Boston Christmas in Medieval England. Jessie Ann of the New England Globe as “one of the Boston music community’s Owens (UC Davis) and Blue Heron won Praised for her “light, feet Conservatory in 2013. indispensables” and hailed by Alex Ross in the 2015 Noah Greenberg Award from the soprano” and “soaring, His research focuses on late medieval and Te New Yorker for its “expressive intensity.” American Musicological Society to support diamantine high notes” music in Italy, France and the Commited to vivid live performance informed a world premiere recording of Cipriano de (Opera News), Grammy- Low Countries, with particular emphasis on by the study of original source materials and Rore’s frst book of (1542), which it and Juno-nominated Johannes Ockeghem and his contemporaries. historical performance practices, Blue Heron will complete over the next two seasons. soprano Megan Chartrand His book on the 15th-century composer ranges over a wide repertoire from plainchant feels equally at home was published by Brepols to new music, with particular specialities in Founded in 1999, Blue Heron presents a singing early music, art in 2010, and he is editor or co-editor of four 15th-century Franco-Flemish and early 16th- concert series in Cambridge, Massachusets, song, chamber music, and concert repertoire. further volumes, including Secular Renaissance century English . Blue Heron’s frst and has appeared at the Boston Early Music Notable solo performances include Dalila in Music: Forms and Functions (Ashgate, 2013) CD, featuring music by , Festival; in New York City at Music Before Handel’s Samson with the American Classical and (with Tomas F. Kelly) Te Century of Bach was released in 2007. In 2010 the ensemble 1800, Te Cloisters (Metropolitan Museum Orchestra and Mozart’s with True and Mozart: Perspectives on Historiography, inaugurated a 5-CD series of Music fom the of Art), and the 92nd Street Y; at the Library Concord, both in Alice Tully Hall at Lincoln Composition, Teory and Performance (Harvard, Peterhouse Partbooks, including many world of Congress, the National Gallery of Art, Center. Exciting upcoming performances 2008). He has taught at the University of North premiere recordings of works copied c. 1540 and Dumbarton Oaks in Washington, D.C.; include Handel’s Messiah with the Calgary Carolina at Chapel Hill, Harvard University for Canterbury Cathedral; the ffh disc was at the Berkeley Early Music Festival; at Yale Philharmonic Orchestra and Clerambault’s (where he was awarded the Phi Beta Kappa released in March 2017 and was just selected University; and in San Luis Obispo, Seatle, Médée with the American Classical Orchestra. Prize for excellence in teaching), and Boston as a Critic’s Choice of 2017 by Gramophone. St. Louis, Kansas City, Chicago, Cleveland, Megan sings frequently with many of the University. In 2007 he was Visiting Professor at Blue Heron’s recordings also include a CD Milwaukee, Pitsburgh, Philadelphia, and most prestigious ensembles in North America Villa I Tati in . He frequently presents of plainchant and polyphony to accompany Providence. Tis season’s highlights include an including Te Choir of Trinity Wall Street, Te pre-concert talks and lecture-recitals on a wide Tomas Forrest Kelly’s book Capturing Music: October tour to England, with performances at Clarion Music Society, Te American Classical range of topics. Te Story of Notation and the live recording Peterhouse and Trinity College in Cambridge Orchestra, True Concord, Te Santa Fe Desert

16 17 Bass-baritone Paul Gutry has performed Orchestra, Sacred Music in a Sacred Space, Union yet Highly Proftable Enterprise of Mr. Burke and pronunciation” (Cleveland Plain Dealer), throughout the USA and internationally with Avenue Opera, and the Collegiate Chorale. His Mr. Hare with Boston Lyric Opera, a debut with with an “alluring tenor voice” (ArtsFuse), Sequentia, Chanticleer, performance in the role of Monteverdi’s Seneca the Arion Baroque Orchestra in Montreal, solo Jason McStoots is a the Boston Camerata, and with Opera Omnia was hailed by Te New York appearances with the Handel & Haydn Society, respected interpreter of New York’s Ensemble for Times as having “a graceful bearing and depth.” and various programs with Blue Heron. early music whose recent Early Music. A founding He has traveled the US, Canada, and Europe solo appearances include member of Blue Heron, he singing in Frank London’s klezmer musical Acclaimed as a “lovely, tender high tenor” Les plaisirs de Versailles has also appeared in and A Night in the Old Marketplace. Mr. Hrycelak by Te New York Times, Owen McIntosh by Charpentier, Orfeo, Il around Boston as soloist received degrees from Indiana University and enjoys a diverse career ritorno d’Ulisse in patria, with Emmanuel Music, Yale University, where he sang with the world- of chamber music and and the Vespers of 1610 by the Handel & Haydn Society, the Boston Early renowned Yale Whifenpoofs. He is also a vocal solo performance ranging Monteverdi, Te Abduction fom the Seraglio by Music Festival, the Tanglewood Music Center, coach and accompanist. from bluegrass to reggae, Mozart, Bach’s Christmas Oratorio and St. Mark Cantata Singers, Boston Cecilia, Prism Opera, heavy metal to art song, Passion, Purcell’s Dido and Aeneas, and Handel’s Boston Revels, Collage, the Boston Modern Hailed for his “voice of seductive beauty” and opera to oratorio. A Messiah. He has performed with Boston Lyric Orchestra Project, and Intermezzo. Paul can be (Miami Herald), baritone David McFerrin native of remote Northern Opera, Emmanuel Music, Pacifc MusicWorks, heard on all Blue Heron’s recordings, on discs has won critical acclaim California, Mr. McIntosh TENET, San Juan Symphony, Bach Ensemble, of by Sequentia, Kurt Weill’s in a variety of repertoire. has shared the stage with the country’s fnest Casals Festival, Seatle Early Music Guild, Johnny Johnson and French airs de cour with the His opera credits include ensembles, including Apollo’s Fire, Blue Tragicomedia, and Tanglewood Music Center. Boston Camerata, and on Emmanuel Music’s Santa Fe Opera, Seatle Heron, Boston Baroque, Carmel Bach Festival, He was proud to appear on BEMF’s Grammy- Bach CDs. Opera, Florida Grand Les Canards Chantants, New Vintage Baroque, winning 2015 Charpentier recording; other Opera, the Rossini Festival Staunton Music Festival, TENET, Trident recording credits include Lully’s Pysché, Steven Hrycelak, bass, in , and numerous Ensemble, True Concord, San Diego Bach Handel’s Acis and Galatea, Blow’s Venus and is equally at home as appearances in and around Collegium, and the Grammy-nominated Choir Adonis, and Charpentier’s Acteon with BEMF an operatic, concert, or Boston. As concert soloist he has sung with the of Trinity Wall Street. Recent solo engagements (CPO), Fischer’s Vespers (Toccata Classics), ensemble performer. He is Cleveland Orchestra, Israel Philharmonic, and include Mozart’s Die Zauberföte with Boston Awakenings with Coro Allegro (Navona), and a member of the Grammy- Boston Pops, and in recital at the Caramoor, Baroque, Haydn’s L’isola disabitata with the all of Blue Heron’s recordings. nominated Choir of Ravinia, and Marlboro Festivals. Recently American Classical Orchestra, Monteverdi’s Trinity Wall Street, both Mr. McFerrin was an Adams Fellow at the Vespers of 1610 with Apollo’s Fire and with Scot Metcalfe has gained wide recognition as as ensemble singer and Carmel Bach Festival in California, debuted Green Mountain Project, Bach’s St. Mathew one of North America’s leading specialists in soloist. Other ensembles include ekmeles, the with Boston Baroque (as Achilla in Handel’s Passion with Grand Rapids Symphony, Il music from the ffeenth through seventeenth New York Virtuoso Singers, Toby Twining Giulio Cesare) and Apollo’s Fire in Cleveland, ritorno d’Ulisse in patria with Opera Omnia and centuries and beyond. Musical and artistic Music, Early Music New York, Vox, TENET, and performed with the Handel & Haydn Boston Baroque, and the Evangelist in Bach’s director of Blue Heron, he was music director Meridionalis, Seraphic Fire, and the vocal jazz Society in Boston, New York, and California. St. John Passion with Tucson Chamber Artists. of New York City’s Green Mountain Project quintet West Side 5. He has also been a soloist He was also runner-up in the Oratorio Society (Jolle Greenleaf, artistic director) from 2010- with NYS Baroque, Pegasus, Publick Musick, of New York’s 2016 Lyndon Woodside Solo Described by reviewers as “the consummate 2016 and has been guest director of TENET the Mimesis Ensemble, Musica Sacra, 4x4, the Competition. Tis season’s highlights include artist, wielding not just a sweet tone but (New York), the Handel & Haydn Society Waverly Consort, the American Symphony the world premiere of Te Nefarious, Immoral, also incredible technique and impeccable (Boston), Emmanuel Music (Boston), the

18 19 Tudor Choir and Seatle Baroque, Pacifc Boston Baroque, and the Handel & Haydn OCKEGHEM@600 Baroque Orchestra (Vancouver, BC), Quire Society. Mr. Near was Music Director of Cleveland, the Dryden Exsultemus from 2009 to 2012. Ockeghem@600 is Blue Heron’s multi-year OCKEGHEM@600 | 2015<2021 Ensemble (Princeton, NJ), project to perform the complete works of Most programs are organized around a seting and Early Music America’s Praised for his “elegant style” (Te Boston Johannes Ockeghem, one of the very greatest of the mass, but all will also include motets Young Performers Festival Globe), Sumner Tompson is highly sought composers of the Western tradition, in and songs by Ockeghem and other composers: thirteen programs over the course of seven Binchois, Du Fay, Regis, Busnoys, Josquin, Ensemble. Metcalfe also afer as both baritone and seasons. Inaugurated in the spring of 2015, Obrecht, and others. enjoys a career as a baroque tenor. His appearances Ockeghem@600 will wind up in 2020-21, just violinist, playing with Les on the operatic stage in time to commemorate the 600th anniversary 2014-15 | Predecessors & contemporaries Délices (dir. Debra Nagy), include roles in the Boston of Ockeghem’s birth in circa 1420. Montreal Baroque (dir. Eric Milnes), and Early Music Festival’s 1. Ockeghem & Binchois: Missa De plus en plus other ensembles, and has directed the baroque productions of Conradi’s Besides concerts, the undertaking requires 2. Te Five: Ockeghem, Regis, Busnoys, and will include a signifcant component of Faugues & Caron orchestra at Oberlin Conservatory on several Ariadne (2003) and Lully’s research into the many questions of ffeenth- occasions. He taught vocal ensemble repertoire Psyché (2007) and several century performance practice which remain and performance practice at Boston University European tours with Contemporary Opera unsolved puzzles>questions as basic as pitch 2015-16 | Early masses I from 2006-2015, taught a class in vocal Denmark as Orfeo in Monteverdi’s L’Orfeo. level, voice types, and scoring. By the end 3. L’homme armé ensemble performance at Harvard University He has performed across North America as we expect to have a beter understanding of last fall, and is at work on a new edition of the a soloist with the Handel & Haydn Society, such issues. We will also have created a new 2016-17 | Early masses II complete practical edition of the music of songs of . He holds degrees from Concerto Palatino, Tafelmusik, Apollo’s Ockeghem, scrupulously based on the original 4. Ecce ancilla domini Brown University and Harvard University. Fire, Les Boréades (Montreal), Les Voix sources and rigorously tested in practice. 5. Caput Baroques, Pacifc Baroque Orchestra, the Countertenor Martin Near enjoys a varied King’s Noyse, Mercury Baroque, and the Along the way we will also explore music of 2017-18 | Masses based on songs Ockeghem’s predecessors (Du Fay, Binchois, career exploring his twin passions for early music symphony orchestras of Charlote, Memphis, 6. Ma maistresse & Au travail suis and new music. In recent years Mr. Near sang and Phoenix. Recent highlights include et al.), contemporaries (Regis, Busnoys, et al.), and followers (Josquin, Obrecht, Agricola, 7. Fors seulement in the solo quartet of Arvo Pärt’s Passio with Monteverdi’s Vespers of 1610 and a new Vespers Isaac, et al.), developing and sharing with the Boston Modern of 1640 with the Green Mountain Project, our audiences a sense of the entire ffeenth- 2018-19 | Speculative music Orchestra Project, was the Buxtehude’s Membra Jesu Nostri with Les Voix century repertoire. Succeeding our series 8. Cuiusvis toni countertenor soloist in the Baroques and Houston’s Mercury Baroque, of recordings of music from the Peterhouse 9. Prolationum premiere performance of Mozart’s Requiem at St. Tomas Church in partbooks, the ffh and fnal volume of which will be released in spring 2017, a new series of Dominick DiOrio’s Stabat New York City, a tour of Japan with Joshua 2019-20 | Freely composed masses fve CDs is being planned, including a 2-CD set mater with Juventas New Rifin and the Cambridge Concentus, a return of all of Ockeghem’s songs. 10. Missa quinti toni Music Ensemble, sang to the Carmel Bach Festival, and Briten’s War 11. the role of Hamor in Requiem with the New England Philharmonic Joining Blue Heron as adviser for Handel’s Jephtha with Boston Cecilia, and was and several guest choruses. Ockeghem@600 is Professor Sean Gallagher 2020-21 | Last things & legacies of the New England Conservatory, one of the noted for his “fne work” in Buxtehude’s Heut 12. Requiem triumphieret Gotes Sohn with Boston Baroque. world’s leading experts on Ockeghem and the music of the ffeenth century. 13. Missa Mi mi He sings regularly with Emmanuel Music,

20 21 WHO WAS JOHANNES OCKEGHEM? uses means both melodic and rhythmic (pitch His rhythm, too, is complex and varied, and duration, the basic elements of music). ofentimes 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 frst hearing, Ockeghem’s music relationship to one another is not obvious> rewards the closest possible study and repeated Ghislain, near the city of Mons in the glory in having studied this divine art there are few unanimous and few listening. of Hainaut (now in Belgium) around 1420. under John Dunstable, Gilles Binchois, He frst 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, ofen >Scot 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. Te 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 , later set to music by Josquin Desprez>an act of homage Fors seullement contre ce Alius discantus super O rosa bella S’elle m’amera / Petite camusete contemporaries and successors as a master Fors seullement 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 lef 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 Kyrie, Gloria & Credo innumerable singers of the most with meaning at every level, from the smallest Ave Maria Fors seullement beautiful diction, there fourish, surface detail to the deepest, largest-scale, awe- Intemerata dei mater Missa cuiusvis toni Kyrie & Gloria Ma maistresse whether by the efect of some celestial inspiringly complex structure, in music that Salve regina Missa De plus en plus Kyrie, Gloria & Credo sine infuence or by the force of assiduous is at once intensely sensuous and rigorously Missa Ecce ancilla nomine a 5 practice, countless composers, among intellectual, of extraordinary beauty and Missa L’homme armé Credo sine nomine them Johannes Ockeghem, Johannes rhythmic vitality. Ockeghem’s music has the Missa Mi mi miraculous efect of taking hold of and altering Missa quinti toni a 3 Requiem (incomplete) Regis, Antoine Busnoys, Firminus our sense of time, and to do so Ockeghem

22 23 OCKEGHEM’S LIFE & TIMES Ockeghem Music & other arts Hisory 1450 • c. 1450 frst 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 Ockeghem Music & other arts Hisory • by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the chapel of Charles VII; lives in • b. c. 1450 Otoman Turks 1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of Tours until his death b. c. 1397, Bersele, near Brussels Burgundy; succeeded by John • d. 1453 • 1452 encounters Guillaume Du Fay • Gilles de Bins, dit Binchois the Fearless • Josquin Desprez at meeting between French royal b. c. 1450–55, ?near Saint Quentin b. c. 1400, ?Mons • 1409 Pope Alexander VI elected: court and ducal court of Savoy • Rogier van der Weyden there are now three popes • • by 1454 appointed frst chaplain b. c. 1457-8, Ghent b. c. 1400, Tournai of French royal chapel • c. 1410 Jean, duke of Berry, • Leonardo da Vinci • January 1, 1454 presents the king b.1452 (died 1519) commissions Très riches heures, with “a book of song”; receives illustrated by Limbourg brothers a New Year’s gif of four ells of • 1455 Johannes Gutenberg c. 1412-16 cloth in return completes printing of the Bible in Mainz • 1455 meets Du Fay again 1410 • Johannes Ciconia d. 1412 • 1414-18 Council of Constance • January 1, 1459 gives the king “a • October 25, 1415 very richly illuminated song” and Batle of Agincourt receives a New Year’s gif in return • 1419 d. , • 1459 named treasurer of the duke of Burgundy; succeeded by collegiate church of St. Martin Philip the Good in Tours

1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. Waudru, • 1422 Charles VII becomes 1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII; in Saint Ghislain, near Mons, Mons, 1419-23 King of France dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI , diocese of • Johannes Regis b. c. 1425 • 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good, • Jean Fouquet b. 1420 (d. 1481) • June 1462 travels to Cambrai d. June 18, 1464, in Brussels duke of Burgundy; succeeded by Charles the Bold • February-March 1464 travels • Charles d’Orléans to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the 1430 • Binchois at Burgundian court • 1431 Joan of Arc burned at the Bold and Margaret of York by at least January 1431 stake in Rouen by the English; Fay; ordained as a priest on this • Donatello d. 1466 occasion? • Antoine Busnoys b. c. 1430-35 Henry VI of England crowned • 1465-7 Busnoys composes In king of France in Notre-Dame • c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem • Christine de Pizan d. c. 1430 de Paris in Tours • Alain Chartier d. 1430 • 1435 Treaty of • 1467/8 Missa L’homme armé • François Villon b. c. 1430 between France and Burgundy copied in • Jean Molinet b. c. 1435 • 1436 armies of Charles VII • 1436 Santa Maria del Fiore reclaim Paris 1470 • 1470 travels to on 1 or 2 • Du Fay • 1477 d. Charles the Bold, (Florence) completed with diplomatic embassies (adds 4th d. November 27, 1474, duke of Burgundy; Burgundy dome engineered by Filippo voice to Cornago’s Qu’es mi vida in Cambrai absorbed into the French crown Brunelleschi; Du Fay composes preguntays) • 1478 William Caxton Nuper rosarum fores for • lament for Du Fay (lost) publishes frst printed copy consecration of the Canterbury Tales • 1475/6 Missa Mi mi th copied in Bruges (writen late 14 century) 1440 • 1443-44 earliest documentation: • • 1449 French reconquer • 1476/7 Missa cuius vis toni vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy copied in Bruges Lady, Antwerp • Alexander Agricola • 1446-8 frst of seven singers in b. c. 1446, Ghent the chapel of Charles I, duke of 1480 • All of Ockeghem’s surviving • 1483 d. Louis XI; • 1440s earliest cyclic Masses, music composed by c. 1480? succeeded by Charles VIII Bourbon composed in England, reach the continent via : Missa • August 1484 travels to Damme Caput, Missa Veterem hominem, etc. and Bruges; banquet in his honor at St. Donatian, Bruges • 1444 Cosimo de’ Medici founds Laurentian Library in Florence • 1488 travels to Paris • 1448 Pope Nicholas V founds Vatican Library 1490 • d. February 6, 1497, • Busnoys d. 1492 presumably in Tours • Regis d. c. 1496 ?Soignies

24 25 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 can remember. Erik Bertrand built and maintains small town of Saint Ghislain, near Mons, in the as his frst tongue. By the mid-1440s he was is made possible by the devotion, hard work, and our website. Our concerts are recorded by Philip county of Hainaut and in the diocese of Cambrai. living and working in France, and from about fnancial support of a community of board members, Davis (Cape Ann Recordings) or Joel Gordon. Joel Saint Ghislain lies in modern-day Belgium, about 1450 until his death in 1497 he was a member of staf, volunteers, donors, and concertgoers. is also the engineer for our CDs, working with our 50 miles southwest of Brussels and less than ten the chapel of the the king of France and lived in Many thanks to all those who join us in creating, producer Eric Milnes. Kathy Witman (Ball Square miles from the present312 border with France.LES ARTISTESTours,TOURANGEAUX in the Loire Valley. nurturing, and sustaining an organization Films) is our videographer and Liz Linder is our dedicated to making the music of the 15th and 16th photographer. Our debt to these wonderful people Te county of HainautObligis or Hainaultou Obligys was (Nicolas), a Te Flemishm- brodeur, familyparoisse nameSaint- was a source of centuries come alive in the 21st. who have shaped our look and sound is impossible lordship within the HolyVineent, Romanil Tours Empire(1531), withavait endlessrpouse confusionJehanne toPreze, speakersfille ofde Fench, Italian, to overstate. 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 name comes from Tours. the river . Hainaut found spelled in a bewildering variety of ways in with a slate of talented, skilled, and devoted We are very grateful to the gracious hosts who ofer designers, engineers, videographers, and their hospitality to musicians from out of town. comprised what is nowOdin the (sire BelgianGirard), provinceTIl' brodeurcontemporarydes rois sources:Louis XII Ockeghem,et Fran- Okeghem, photographers. Our programs, printed publicity of Hainaut and part eoisof the)H. Frenchparoisse départementNotre - DameOkegheem,de I'Ecrignolle, Ockegheem,it Tours, Okeghen,est Okeghan, materials, and CDs are designed by Melanie Many thanks to our board and to all our volunteers of , and includedeire thedans citiesI'nrventaire of ,des archivesOkenghem,d'Arnhoise, Ockenheim,en t498l'ten Okekam, Obekhan, to the east of Mons, and, to the southwest, Germond and Pete Goldlust. FlashPrint in Harvard for their help this evening and throughout the year. 1504 eorume ayant recu plusieursObergan,payements Hockeghen,de Hoquegan,celte ville Hocquergan, Square has printed our programs for as long as we and thepour diocesandivers seattravaux of Cambrai,de son art.Hoiquergan, Holreghan, Okegus. Eugène both in later-day France. In 1420 the county Giraudet, in Les artistes tourangeaux (Tours, Nons avons rencontre e~alement un grand nombre de fois was ruled by Jacqueline, daughter of duke 1885), reproduces a presumed autograph We are honored and grateful to have so many generous donors. Wilhelm II of -Straubing,Ie nom de eet artistebut in 1432dans lessignatureregistres ondes p.deliberations 312, but failsmu- to indicate the it was ceded to the Duchynicipales.mr of BurgundyiI fig-ure underit titre source,fie conseiller whichet ispair otherwisede la ville. unknown and is Donations Received between February 23, 2017 and February 23, 2018 Philip the Good; in 1477,Dans uponnne assernhleethe death oftenue nowIe 7 apparentlyavril 15z3. lost.sons Nevertheless,Ia presi- modern ARCHANGEL (V10,000 +) GUARANTOR (V1,250 – V2,499) Charles the Bold, itdeuce passedde toJacques the Habsburgsde Beanne, scholarshiphailli de Touraine, has generallydans lehut accepted the Anonymous Anonymous with the rest of the Burgundiand'aviser aux Netherlands.mesures de sureteauthenticityit adopter ofponr the la signature,defense de in part due to Te Cricket Foundation Robert J. Henry Ia ville, Girard Odin s'eugage,the detail unusualcurieux, formationit fournir of thejus- c, which could Paul LaFerriere & Dorrie Parini Mary Briggs & John Krzywicki Te composer’s givenqu'au nameno.ubre was Jehande (orsoixaute Jean), ouvriersbe takenhrodeurs for an e;(I). such an oddity, as Jaap van Harry J. Silverman Michael P. McDonald Susan Miron ~n ~531, ii, enrich it de s~~ h.rod~ries Ie poele on dais en normally given as Johannes in or other Benthem has writen, “might plead against any ANGEL (V5,000 – V9,999) Prof Jessie Ann Owens - toile d or et d arjreut, double a l'interieur de satiu blanc, noir non-French contexts. Te surname suggests that suggestion of a nineteenth-century atempt Anonymous Andrew Sigel his family originatedet in[auue the townet decore of Okegemde fleurs on de[at]lis forgery.”et de salnrnandres Te signature,; ce dais assuming it is Philip H. Davis { the Dendre, IIlessI{ than. ~~ 35 milesdestine to ilthela northreception in indeedde la genuine,nouvelle establishesreioe Eleonore that, at least on Fred Franklin & Kaaren Grimsad PATRON (V600 – V1,249) 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 Richard L. Schmeidler Tomas & Rebecca Barret Hainaut1f"" \ wasI culturallyd'oeloLre and linguistically1532. French, name OCKEGHEM. Peter Belknap & Jennifer Snodgrass Peggy & Jim Bradley John Paul Briton & Diane Briton J ;( Ockeghem (Jehan de). premier chapelain, chantre de la BENEFACTOR (V2,500 – V4,999) Katie and Paul Butenwieser chapelle de Louis XI et de Charles VIII, tresorier de Saint, John A. Carey Lynda Ceremsak & F. George Davit Diane L. Drose Daniel & Ann Donoghue William Lockeretz Helen Donovan & Holly Nixholm William & Elizabeth Metcalfe Mary Eliot Jackson, in Honor of Paul Gutry Cindy & Peter Nebolsine John Lemly & Catharine Melhorn Joan Margot Smith Anne H. Mathews & Edward Fay, Jr. James Caterton & Lois Wasof Merrill Family Charitable Foundation, Inc. Marlin. Peu de noms ont <'Ie aussi defigures que eelui de c; Charitable Gif Fund Scot Metcalfe grand musicieu et chanteur; ainsi, on l'a appeJe tour it tour Michal Truelsen & Jody Wormhoudt Stephen H. Owades

26 27 (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. Susan S. Poverman Chrisian & Michele Fisher Martha W. Davidson Binney & Bob Wells Catherine & J. Daniel Powell Carol Fishman Carl & May Daw Heather Wiley & Peter Renz Ann Besser Scot Dorothy Gillerman Pamela Dellal Linda C. Woodford Richard Silverman Helen Glikman & Dan Bartley Celia Devine Elizabeth Wylde Erin E. M. Tomas Terrie Harman Charles & Sheila Donahue David Harrison Robert Dulgarian SPONSOR (V300 – V599) Kay & Tom Hors Rita S. Edmunds Anonymous Richard F. Hoyt, Jr. Brenda & Monroe Engel Te Benevity Community Impac Fund Jean & Alex Humez Anne Gamble BOARD OF DIRECTORS Barbara Boles Joseph Hunter & Esher Schlorholtz Liz Goodfellow Peter Belknap, president James Burr Tomas Hyde Nancy Graham Mary Briggs, treasurer John F. Dooley David Kiaunis Steve Grathwohl Richard Schmeidler, clerk Alan Durfee Carole Friedman Michael Grossman, in honor of John Carey Philip H. Davis David R. Elliot Penelope Lane Joan Hadly Damon Dimmick Marie-Pierre & Michael Ellmann Lydia Knutson & Fred Langenegger Ivan Hansen Scot Metcalfe Laurie J. Francis Rob & Mary Joan Leith William L Harwood, in honor of Bill Metcalfe Dorrie Parini James A. Glazier Jackie Lenth Louis Kampf & Jean Jackson Harry Silverman Hope Hare Robert Macwilliams Lee & Chris Kauders Jennifer Farley Smith Tom and Kathy Kates Deborah Malamud & Neal Plotkin Joann Keesey Laura Zoll Ronald V. Lacro & Jon P. Schum Virginia Newes Barry Kernfeld & Sally McMurry Richard O'Connor & Julianne Lindsay Harold I. & Frances G. Prat Jo-Ann & Edgar Kuklowsky GENERL MANAGER Tracy Powers Tom Regan Margaret Lias John Yannis Jerome & Janet Regier William Hobbie & Virginia Rogers Catherine Liddell Robert B. Strassler Jennifer Farley Smith & Sam Rubin Teodore Macdonald OFFICE ADMINISTRTOR Betina Siewert & Douglas Teich Nancy & Ronald Rucker James Martin Janet Stone Judith Ogden Tomson Cheryl K. Ryder Karen Ruth McCarthy Michael Wise & Susan Petee Arthur Shippee & Mary Porterfeld Lindsay Miller DEVELOPMENT CONSULTANT Dr. David L. Sills Donald Mitchell Carole Friedman SUPPORTER (V125 – V299) Martha Maguire & Oleg Simanovsky Kenneth & Karen Near Anonymous (3) Anne Umphrey Robert Silberman & Nancy Netzer VOLUNTEERS Gail & Darryl Abbey Vendini, Inc. Perry & Susan Neubauer Gail Abbey Ian McGullam Joseph Aieta, III T. Walley Williams III William & Nancy Obrien Darryl Abbey John Nesby Robert Anderson Nicholas H. Wright Stephanie Paulsell Daryl Bichel Anna Nowogrodzki Peggy Badenhausen & Tom Kelly John Yannis Brad Peloquin Jaime Bonney Beth Parkhurs Tomas N. Bisson, in memory of Margareta Laura Zoll Cheryl Poole Jill Brand Chrisopher Petre Carroll Bisson Vanessa Rood, in honor of Margot Rood Dan Clawson Karen Prussing Jill Brand & Tomas Nehrkorn FRIEND (!50 – !124) Joan E. Roth Sheila Clawson Samuel Rubin Spyros Braoudakis Anonymous (7) Katy Roth Sue Delaney Cheryl Ryder Keith Ohmart & Helen Chen Julie Rohwein & Jonathan Aibel Polly S. Stevens David Fillingham Laura Sholtz Nathaniel S. & Catherine E. Coolidge Andy & Margaret Ashe Ann H. Stewart Alexandra Hawley Susan Singer Ruth Cope Jefrey Del Papa & Susan Assmann Anne Stone Anne Kazlauskas Jennifer Farley Smith Dennis Cosa Elaine V. Beilin & Robert H. Brown Jr. Richard & Louise Sullivan Laura Keeler Charlote Swartz Martha S. Dassarma Edward & Matilda Bruckner Richard Tarrant Mary Kingsley Erin EM Tomas Catherine Davin, in memory of Joe Davin Jean Burke Ann Van Dyke, in memory of Julius Gluck Diana Larsen Sonia Wallenberg Damon Dimmick Mary & Kenneth Carpenter Dr. Marsha Vannicelli Bob Loomis Ava Ziporyn Aaron Ellison Te Choir of Church of our Redeemer, Lexington Sonia Wallenberg Hannah Loomis Nicole Faulkner Robert Cochran John Taylor Ward Elena Loomis Kathleen Fay & Glenn KnicKrehm Wallace & Barbara Dailey Charles A. Welch 28 29 BLUE HERON CDS on sale at this concert

Music from the Peterhouse Partbooks Music from the Peterhouse Partbooks Guillaume Du Fay Chrismas in Medieval England vol. 1 vol. 2

“one of the discoveries of the year”

> Fabrice Fitch, Gramophone november 2017

Music from the Peterhouse Partbooks Music from the Peterhouse Partbooks Music from the Peterhouse Partbooks vol. 3 vol. 4 vol. 5

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