Miller Theatre at Columbia University 2014-15 | 26th Season

Early Music Sacred Muses Peter Phillips, director

Saturday, December 13, 8:00 p.m. Church of St. Mary the Virgin From the Executive Director

It’s hard to believe that it’s December, and time for the final performance of 2014! These past few months have been an amazing time at Miller Theatre. We started the season strong with a sold-out Opening Night featuring eighth blackbird, where we were joined by more than 275 student audience members—many experiencing their first new- music performance.

Next, we welcomed over 375 community members to Miller for a week of lantern- making workshops during the third annual Morningside Lights, and over 1,000 people joined us for the illuminated procession through Morningside Park. Morningside Lights has fast become a beloved neighborhood tradition, and it’s just one of the ways that Miller is committed to sharing the arts with our community. Last year, almost 700 people joined us for free Pop-Up Concerts, enjoying new music and complimentary drinks. This spring, Pop-Up Concerts are back, with four new performances just announced!

Tonight, you’ll hear from the Tallis Scholars, one of the world’s most esteemed Early Music ensembles, who have performed at Miller annually for more than a decade. They’re one of many top ensembles we bring in from across the globe to share their masterful interpretations of early music with you. We also make it a priority to support living composers, helping the musical voices of our own era contribute to the body of work we love and celebrate. During my tenure, it’s been an honor to commission 11 composers and two visual artists: nine for Composer Portraits, two for the Early Music series, and two site-specific murals for the Miller Theatre lobby.

If you value the work that we do, please make a donation to support Miller today. Big or small, your gift matters a lot. Miller has no programming endowment, so we rely on support from friends like you to keep the music going for everyone.

You may have received a letter from me recently, asking for your support. If you’ve already given to Miller Theatre, thank you. On behalf of all of us, we appreciate your generosity.

Melissa Smey Executive Director Miller Theatre at Columbia University 2014-15 | 26th Season

Early Music Saturday, December 13, 8:00 p.m. Church of St. Mary the Virgin Sacred Muses The Tallis Scholars Peter Phillips, director

Vigilate (1540-1623)

Missa Gaudeamus Josquin Desprez (1451-1521)

INTERMISSION

Laetentur caeli Byrd

Plorans plorabit Byrd

Ye sacred Muses Byrd

Ne irascaris Byrd

Magnificat Edmund Turges (1450-1500)

The Tallis Scholars Amy Haworth, soprano Christopher Watson, tenor Emma Walshe, soprano Simon Wall, tenor Caroline Trevor, alto Guy Cutting, tenor Patrick Craig, alto Tim Scott Whiteley, bass Mark Dobell, tenor Simon Whiteley, bass

This program runs approximately two hours, including intermission.

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. The Church of St. Mary the Virgin is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program

The sixteenth century was a time of change for Europe. The seeds of the Italian Renaissance were beginning to disseminate across the continent, carried on the breeze of the printing press. Yet while culture was drawing Europe’s nations ever closer, the Reformation was driving them apart, splitting the continent irrevocably down the fault lines of Catholic and Protestant. Tonight’s concert showcases music from the Golden Age of England and the Netherlands. Works by Byrd and Josquin might be divided by religion, but each represents the pinnacle of creative achievement within two very different schools of composition.

We open with music from William Byrd (c. 1540-1623)—colleague, collaborator, and possibly student of the older . Spanning the greater part of the Tudor dynasty, it is through the work of these two composers that we can trace the changing liturgical and stylistic conventions of this period of religious unrest. The Latin texts used by all but one of tonight’s English works reflect the essential contradiction of the age; under not only Mary, but also Elizabeth and the latter years of Henry VIII, the Latin Rite and Latin-texted music quietly persisted—an important focus for Catholic Tallis and the staunchly recusant Byrd, once famously described by Elizabeth I as “A stiff Papist and a good subject.”

With its trumpet-like opening gambit, Vigilate plunges us into a world of drama and musical narrative. All the rhythmic vigor and expressive ingenuity of the secular madrigal is brought to bear here on a sacred text warning of the ever-present threat of the Day of Judgement. A cock-crow is rendered with unmistakable clarity, while the “sudden” appearance of the Lord is heralded by choppy little exchanges that hustle and push in upon each other and a shift of time signature.

Byrd’s two volumes of Cantiones Sacrae (published in 1589 and 1591) are united by their Latin texts—clear indication that the works were intended not for the Protestant church, but for Byrd’s own community of recusant Catholics. Laetentur caeli belongs to the first volume, one of two vibrant Advent motets (the other being Vigilate) that anticipate God’s coming with dramatic urgency. After the religious conflicts of Henry VIII and Mary I’s reigns, how resonant must this text—“There shall rise in thy days justice, and an abundance of peace”—have been?

The opening of Byrd’s motet sets the elegant rejoicing of the heavens, with their rising scalic melody, against the more heavy-footed celebrations on earth. Rhythms are syncopated and lively, and the imitative dance continues throughout Part I. Part II, “Orietur in diebus,” opens in more contemplative mood with a reduced-voices verse section, but gradually regains confidence and ends in full-throttle musical rejoicing.

The Catholic plight is also at the fore in the penitential richness of Plorans ploravit. Once again Byrd takes the Babylonian captivity (vividly described here in a text from Jeremiah) as a metaphor for England under Protestant rule, and demonstrates in the insistent lamentation of his falling scalic motifs that his ear for persuasive point- scoring is still keen, even at this late stage of his career.

Written after the death of Thomas Tallis, Ye scared Muses is a rare secular work from Byrd, and its madrigalian coloring gives plaintive voice to his personal grief at the loss of his colleague and teacher. Scored for five voices, the work is most commonly performed by solo voice and viol consort, but voices can also provide an alternative. The whole work is animated by emotive little harmonic touches and suspensions, but perhaps most moving is the extended repetition of the final phrase: “Tallis is dead and music dies”—a heartfelt sentiment, but one fortunately proved wrong by the musical richness we have already heard today.

Ne irascaris is deservedly celebrated among Byrd’s motets for its elegant marriage of political protest and exquisite musical invention. Five voices weave in dense contrapuntal imitation, their text pointed by occasional harmonic twists of the knife, before finding temporary peace in the meditative acceptance of Part II’s closing refrain: “Jerusalem desolata est.”

Josquin des Prez (c.1450-1521) was the Franco-Flemish master of polyphony—the dominant musical force in an era rich with composers, and a pioneer of the cyclic mass-setting. Among numerous parody and paraphrase masses however, only a handful of settings based on a plainchant original survive in Josquin’s output, and the Missa Gaudeamus may well be the earliest. But far from an apprentice piece, the work displays a flexibility and creativity towards its source material that looks ahead to the paraphrase techniques that would flourish throughout the 16th century, not least in Josquin’s own .

About the Program Based on Gregorian introit Gaudeamus Omnes, the mass was possibly intended for All Saints’ Day, and its complexity and scale are certainly fit for a major feast. There are passages in which the music is rooted in a , but this is far from a constant. Instead, this technique is combined with ostinato-based passages, and moments of freely evolving counterpoint. Even when the cantus firmus is present, the tenor does not behave as we might expect; rather than anchoring the music with slow, sustained notes, the voice is often seduced by the rhythmic patterns of other parts, imitating them and dissolving back into the texture.

It has been suggested that the mass also contains a covert layer of symbolism. Repetitions of the plainchant’s distinctive opening motif recur throughout each movement, though in no obvious proportion to the length of each movement (six times in the Kyrie, twenty-seven in the Agnus Dei). Instead, the number correlates to key episodes in the Book of Revelation, conveying broader thematic ideas about salvation, perhaps appropriate to All Saints’ Day.

Very little is known of Edmund Turges (c. 1450-1500)—even the composer’s name is subject to debate. But together with composers like Robert Fayrfax and John Browne, he formed part of an early flourishing of English polyphony epitomized by the music of the Eton Choirbook, embellishing choral textures with new intricacy and contrapuntal complexity. Three Magnificats by Turges have been lost from the Eton Choirbook, but one survives in the Caius Choirbook—a manuscript dating from the late 1520s—and gives some idea of what we might be missing. The twenty-minute work is an extraordinary achievement of early Renaissance polyphony, gilded and woven into a musical tapestry of rare and intricate complexity.

The composer takes the tradition of the alternatim Magnificat, alternating verses of plainchant and polyphony, and amplifies it. The structure remains the same, but the polyphonic sections are finessed into a series of inventive and elaborate episodes, featuring everything from complex rhythmic counterpoint, swift-moving quaver flourishes, extremes of range and, most prominently, lengthy and sustained melismas, subordinating text to a greater musical goal. The result has the same scope and impact as the arching interior of a Gothic cathedral, teeming with detail and drama.

Program notes by Alexandra Coghlan Texts and Translations

Vigilate Vigilate, nescitis enim quando Dominus Watch ye alway, for that ye know not domus veniat, sera an media nocte an at what hour the Lord will come again: gallicantu, an mane. Vigilate ergo, necum eventide, or haply at midnight, or at the venerit repente, inveniat vos dormientes. cockcrow, or morning. Watch ye therefore Quod autem dico vobis omnibus dico: alway, lest if suddenly he cometh he findeth Vigilate. you then sleeping. What then I say unto you, I say unto all: Watch ye alway. Missa Gaudeamus Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Gloria in excelsis Deo, et in terra pax Glory be to God on high, and in earth peace, hominibus bonae voluntatis. Laudamus goodwill towards men. We praise thee; we te; benedicimus te; adoramus te; glori- bless thee; we worship thee; we glorify thee. ficamus te. Gratias agimus tibi propter We give thanks to thee for thy great glory, magnam gloriam tuam, Domine Deus, Rex O Lord God, heavenly king, God the Father caelestis, Deus Pater omnipotens. almighty.

Domine Fili unigenite, Jesu Christe; O Lord the only-begotten Son, Jesus Christ; Domine Deus, Agnus Dei, Filius Patris, O Lord God, Lamb of God, Son of the Fa- qui tollis peccata mundi, nobis; ther, that takest away the sins of the world, qui tollis peccata mundi, suscipe depre- have mercy upon us; thou that takest away cationem nostram; qui sedes ad dexteram the sins of the world, receive our prayer; Patris, miserere nobis. thou that sittest at the right hand of God the Father, have mercy upon us. Quoniam tu solus Sanctus; tu solus For thou only art Holy; thou only art the Dominus; tu solus altissimus, Jesu Lord; thou only, O Christ, with the Holy Christe, cum Sancto Spiritu, in gloria Dei Ghost, art Most High in the glory of God the Patris. Amen. Father. Amen.

Credo in unum Deum, Patrem omnipo- I believe in one God, the Father almighty, tentem, factorem caeli et terrae, visibili- Maker of heaven and earth, and of all um omnium et invisibilium. Et in unum things visible and invisible. And in one Dominum Jesum Christum, Filium Dei Lord, Jesus Christ, the only-begotten Son unigenitum, et ex Patre natum ante omnia of God, begotten of his Father before all saecula. Deum de Deo; Lumen de Lumine; worlds. God of God; Light of Light; very Deum verum de Deo vero; genitum, non God of very God; begotten, not made: being factum; consubstantialem Patri; per quem of one substance with the Father; by whom omnia facta sunt. all things were made.

Qui propter nos homines, et propter Who for us men, and for our salvation, nostram salutem descendit de caelis, et came down from heaven, and was incar- incarnatus est de Spiritu Sancto, ex Maria nate by the Holy Ghost of the Virgin Mary, Virgine, et homo factus est. Crucifixus and was made man. And was crucified etiam pro nobis sub Pontio Pilato; pas- also for us under Pontius Pilate; he suffered sus et sepultus est. death and was buried.

Et resurrexit tertia die secundum Scrip- And the third day he rose again accord- turas; et ascendit in caelum, sedet ad dex- ing to the Scriptures; and ascended into teram Patris; et iterum venturus est cum heaven, and is seated at the right hand of gloria judicare vivos et mortuos; cuius the Father; and he shall come again with regni non erit finis. glory to judge both the quick and the dead; whose kingdom shall have no end. Et in Spiritum Sanctum, Dominum And I believe in the Holy Ghost, the Lord, et vivificantem, qui ex Patre Filioque and giver of life, who proceeds from the Fa- procedit; qui cum Patre et Filio simul ther and the Son; who with the Father and adoratur et conglorificatur; qui locutus est the Son is worshipped and glorified, who per prophetas; spoke by the prophets.

Et unam sanctam catholicam et apos- And I believe in one holy, catholic and ap- tolicam Ecclesiam. Confiteor unum ostolic Church. I acknowledge one baptism baptisma in remissionem peccatorum. for the remission of sins. And I look for the Et exspecto resurrectionem mortuo- resurrection of the dead, and the life of the rum, et vitam venturi saeculi. Amen. world to come. Amen.

Sanctus, Sanctus, Sanctus Dominus Holy, Holy, Holy, Lord God of hosts. Heav- Deus Sabaoth. Pleni sunt caeli et terra en and earth are full of thy glory. Glory be gloria tua. Hosanna in excelsis. to thee, O Lord most high.

Benedictus qui venit in nomine Domini. Blessed is he that cometh in name of the Hosanna in excelsis. Lord. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins of miserere nobis the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins of miserere nobis. the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, dona O Lamb of God, that takes away the sins of nobis pacem. the world, grant us thy peace.

Laetentur caeli Laetentur coeli et exultet terra; jubilate Rejoice, heavens, and let the earth rejoice. montes laudem quia Dominus noster Rejoice, hills, for our Lord will come and veniet; et pauperum suorum miserebitur. show mercy to his poor people. Justice and Orietur in diebus tuis justitia et abundan- abundance of peace will rise up in those tia pacis. days.

Plorans ploravit Plorans ploravit et deducet ocalus meus Mine eye shall weep sore, and run down lacrimas, quia captus est grex Domine. with tears, because the Lord’s flock is car- Die regi et dominatrici: humiliamini, ried away captive. sedete, quoniam descendit, decapite Say unto the king and queen: Humble vestro corona gloriae vestrae. yourselves, sit down: for the crowns of your glory shall fall from your heads. Ye sacred Muses Ye sacred Muses, race of Jove, whom Music’s lore delighteth, Come down from crystal heav’ns above to earth where sorrow dwelleth, In mourning weeds, with tears in eyes: Tallis is dead, and Music dies.

Texts and Translations Ne irascaris Ne irascaris, Domine, satis, et ne ultra me- Be not angry any more, O Lord, and do not mineris iniquitatis nostrae. Ecce, respice, remember our iniquity any longer. Behold, populus tuus omnes nos. see, we are all thy people. Civitas sancti tui facta est deserta. Sion The city of thy holy place is become a wil- deserta facta est. derness. Sion is become a wilderness. Ierusalem desolata est. Jerusalem is forsaken.

Magnificat Magnificat anima mea Dominum. My soul doth magnify the Lord. Et exultavit spiritus meus in Deo salutari And my spirit hath rejoiced in God my meo. Saviour. Quia respexit humilitatem ancillae suae: For he has looked with favour on the lowliness of his handmaiden. Ecce enim ex hoc beatam me dicent Behold, from henceforth all generations omnes generationes. shall call me blessed. Quia fecit mihi magna qui potens est : et For he that is mighty has done wondrous sanctum nomens eius. things for me; and holy is His name. Et misericordia eius a progenie in prog- And his mercy is upon them that fear him enie timentibus eum. throughout all generations. Fecit potentiam in brachio suo: dispersit He has shown the power of his arm; he has superbos mente cordis sui. scattered the proud in their conceit. Deposuit potentes de sede; et exeltavit He has put down the mighty from their humiles. seat, and has exalted the humble and meek. Esurientes implevit bonis: et divites He has filled the hungry with good things dimisit inanes. and the rich he has sent empty away. Suscepit Israel, puerum suum, recordatus He has sustained his servant Israel, in misericordiae suae. remembrance of his mercy; Sicit locutus est ad patres nostros, Abra- as he promised to our forefathers, Abraham ham et semini eius in saecula. and his seed, forever. Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son, Sicut erat in principio, et nunc, et semper, and to the Holy Ghost. As it was in the et in saecula saeculorum. beginning, is now, and ever shall be: world Amen. without end. Amen. About the Artists

The Tallis Scholars them by Gabriel Jackson and Eric Whita- Peter Phillips, director cre. Their recording of the Missa Gloria Amy Haworth, soprano tibi Trinitas by the 16th Century Tudor Emma Walshe, soprano composer, , was released on Caroline Trevor, alto the exact anniversary of their first concert Patrick Craig, alto in 1973 and enjoyed six weeks at number Mark Dobell, tenor one in the UK Specialist Classical Album Christopher Watson, tenor Chart. Simon Wall, tenor Guy Cutting, tenor The 2014/2015 season sees tours of the Tim Scott Whiteley, bass USA, China, South Korea, Hong Kong as Simon Whiteley, bass well as extensive touring around Europe and the UK. Their performance at the The Tallis Scholars were founded in 1973 BBC Proms 2014 saw the world premiere by their director, Peter Phillips. Through of Sir John Tavener’s Requiem Fragments, their recordings and concert perfor- a work written especially for the group. mances, they have established themselves as the leading exponents of Renaissance The Tallis Scholars’ career highlights have sacred music throughout the world. included a tour of China in 1999, including two concerts in Beijing; and the privilege The Tallis Scholars usually give around of performing in the Sistine Chapel in 70 concerts each year across the globe. April 1994 to mark the final stage of the In 2013 the group celebrated their 40th complete restoration of the Michelan- anniversary with a world tour performing gelo frescoes, broadcast on Italian and 99 events in 80 venues in 16 countries and Japanese television. The ensemble have travelling sufficient air-miles to circum- commissioned many contemporary navigate the globe four times. They kicked composers: in 1998 they celebrated their off the year with a spectacular concert in 25th Anniversary with a special concert St Paul’s Cathedral, London, including premiering a Sir John Tavener work writ- a performance of Thomas Tallis’ 40- ten for the group and narrated by Sting. A part motet Spem in alium and the world further performance was given with Sir premieres of works written specially for Paul McCartney in 2000. Much of The Tallis Scholars reputation Tallis Scholars Summer Schools: annual for their pioneering work has come from choral courses based in Uppingham their association with Gimell Records, (UK), Seattle (USA) and Sydney set up by Peter Phillips and Steve Smith (Australia). In 2014 he launched the in 1980 solely to record the group, and London International A Cappella Choir recordings by The Tallis Scholars have Competition in St John’s Smith Square, attracted many awards throughout the attracting choirs from all over the world. world. In addition to conducting, Peter Phillips Peter Phillips has made an impressive if is well-known as a writer. For 31 years he unusual reputation for himself in dedi- has contributed a regular music column cating his life’s work to the research and to The Spectator. In 1995 he became the performance of Renaissance polyphony. owner and Publisher of The Musical He founded the Tallis Scholars in 1973, Times, the oldest continuously published with whom he has now appeared in over music journal in the world. His first book, 1900 concerts and made over 50 discs, English Sacred Music 1549–1649, was encouraging interest in polyphony all over published by Gimell in 1991, while his the world. As a result of his work, through second, What We Really Do, an unblink- concerts, recordings, magazine awards ing account of what touring is like was and publishing editions of the music and published in 2003 and again in 2013. writing articles, has come to be accepted for the first time as Peter Phillips has made numerous televi- part of the mainstream classical reper- sion and radio broadcasts. Besides those toire. featuring The Tallis Scholars, he has ap- peared several times on the BBC’s Music Apart from the Tallis Scholars, Peter Weekly and on the BBC World Service, Phillips continues to work with other on Kaleidoscope (BBC Radio 4), on Today specialist ensembles. He has appeared (BBC Radio 4), National Public Radio in with the BBC Singers, the Collegium the U.S. and on German, French, Italian, Vocale of Ghent and the Netherlands Spanish, and Canadian radio. Chamber Choir, and is currently working with the Choeur de Chambre de Namur, Peter has recently been appointed a Reed Intrada of Moscow, Musica Reservata of Rubin Director of Music and Bodley Fel- Barcelona and El Leon de Oro of Orviedo. low at Merton College, Oxford. In 2005 He gives numerous master-classes and Peter Phillips was made a Chevalier de choral workshops every year around the l’Ordre des Arts et des Lettres by the world and is also Artistic Director of the French Minister of Culture. About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A three- time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

Advisory Committee Paul D. Carter Mark Jackson Margo Viscusi* Mary Sharp Cronson* Eric Johnson Mr. and Mrs. George Votis* Stephanie French* Philip Mindlin Cecille Wasserman* Marcella Tarozzi Goldsmith Linda Nochlin Elke Weber Karen Hagberg Peter Pohly I. Peter Wolff* * Miller Theatre Advisory Board member Columbia University Trustees Jonathan D. Schiller, Chair William V. Campbell, Benjamin Horowitz A’Lelia Bundles, Vice Chair Chair Emeritus Ann F. Kaplan Mark E. Kingdon, Vice Chair Lisa Carnoy Jonathan Lavine Esta Stecher, Vice Chair Kenneth Forde Charles Li Rolando T. Acosta Noam Gottesman Paul J. Maddon Armen A. Avanessians Joseph A. Greenaway, Jr. Vikram Pandit Andrew F. Barth James Harden Michael B. Rothfeld Lee C. Bollinger, Marc Holliday Claire Shipman President of the University Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Charlotte Levitt Director of Marketing & Outreach Brenna St. George Jones Director of Production James Hirschfeld Business Manager Nora Sørena Casey Marketing & Communications Associate Megan Harrold Audience Services Manager Katherine Bergstrom Artistic Administrator Taylor Riccio Production Coordinator Rhiannon McClintock Executive Assistant

Aleba & Co. Public Relations The Heads of State Graphic Design Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts Dow Jones Foundation H. F. (Gerry) Lenfest National Endowment for the Arts

$10,000 - $24,999 William V. Campbell Fritz Reiner Center for Contemporary Music New York State Council on the Arts The Aaron Copland Fund for Music at Columbia University The Fan Fox and Leslie R. Samuels Foundation Mary Sharp Cronson The Gladys Krieble Delmas Foundation The Evelyn Sharp Foundation Margo and Anthony Viscusi $5,000 - $9,999 The Amphion Foundation CLC Kramer Foundation Craig Silverstein Ann and Gordon Getty Foundation

$1,000 - $4,999 Rima Ayas Carol Avery Haber / Haber Family Jessie and Charles Price Paul D. Carter Charitable Fund Peter Pohly Hester Diamond Karen Hagberg and Mark Jackson Christopher Rothko R. H. Rackstraw Downes Donella and David Held Cecille Wasserman Claude Ghez Roger Lehecka Janet C. Waterhouse Marcella Tarozzi Goldsmith Philip Mindlin Elke Weber and Eric Johnson Christine and Thomas Griesa Linda Nochlin Anonymous Jeanine and Roland Plottel

$500 - $999 Oliver Allen Cedomir Crnkovic / Cavali Foundation Marian M. Warden Fund of the Foundation Regula Aregger Kristine and Joseph Delfausse for Enhancing Communities Mercedes Armillas Stephanie French James Sharp ASCAP Mary and Gordon Gould J. P. Sullivan Barbara Batcheler John Kander Cia Toscanini Elaine S. Bernstein Mark Kempson and Janet Greenberg Kathryn Yatrakis Paul J. Maddon

$100 - $499 Gail and James Addiss Marc Gilman Gerald McGee Qais Al-Awqati, M.D. June O. Goldberg Bannon and Barnabas McHenry Edward Albee Richard Gray Rolf Meyershon Roger Bagnall James P. Hanbury Susan Narucki Sandra and Marc Bernstein Barbara Harris Mary and Andrew Pinkowitz Andrew Birsh Bernard Hoffer Monique Rinere in honor of James F. Rinere Jim Boorstein Alan Houston and Lisa DeLange Carol Robbins Alexandra Bowie and Daniel Richman Frank Immler and Andrew Tunick Esther Rosenberg and Michael Ostroff Eileen and Adam Boxer William Josephson Mariam Said Elizabeth and Ralph Brown Rebecca Kennison Eliisa Salmi-Saslaw Caplan Family Foundation L. Wilson Kidd, Jr. Elliot Schwartz Richard Carrick and Nomi Levy-Carrick Sandra Kincaid Anita Shapolsky Ginger Chinn Nikki Kowalski Gilbert Spitzer and Janet Glaser Spitzer Jennifer Choi Daniel Lee Rand Steiger and Rebecca Jo Plant Gregory Cokorinos Barbara and Kenneth Leish Peter Strauss Merry Conway Arthur S. Leonard Jim Strawhorn Noah Creshevsky Richard H. Levy and Lorraine Gallard Larry Wehr David Demnitz Peter C. Lincoln Seymour Weingarten Rosamund Else-Mitchell Sarah Lowengard Ila and Dennis Weiss Randy Ezratty Patricia Lowy and Daniel Frank Elizabeth Wheeler Peter and Joan Faber Caroline and Anthony Lukaszewski Anonymous as of November 14, 2014 This Spring at Miller

Early Music Saturday, February 28 Church of St. Mary the Virgin From The Imperial Court Stile Antico These masterful interpreters of Renaissance choral music return with a program that captures triumphs and tragedies from the Imperial courts of the Hapsburgs.

Saturday, March 28 Myths & Allegories Les Délices Selections from Jean-Féry Rebel’s opera Ulysse provide the evening’s centerpiece, with a focus on the love triangle between the witch Circe, Ulysses, and his wife Penelope.

Bach, Revisited Thursday, March 12 Michael Gordon + Bach Michael Gordon blends “the fury of punk rock, the nervous brilliance of free jazz and the intransigence of classical modernism” (New York Times), and this inquisitiveness draws him to Bach, a harmonic and structural innovator.

Thursday, April 9 Helmut Lachenmann + Bach An eye-opening dialogue between two composers who redefined the role of solo strings, this program features Bach and Lachenmann works for solo violin and cello, an early Lachenmann trio, plus a contemporary companion to Bach’s Two-Part Invention.

Friday, May 8 Sofia Gubaidunlina + Bach Sofia Gubaidulina shares a special affinity with Bach: both artists’ music are influenced by their faith, and they share a unique blend of emotional transcendence and compositional rigor. Upcoming Events

Saturday, January 24, 8:00 p.m. JAZZ Renee Rosnes Quartet

Tuesday, January 27 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Trios by Zorn

Thursday, February 5, 8:00 p.m. COMPOSER PORTRAITS Missy Mazzoli

Tuesday, February 10 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Curtis 20/21 featuring the Curtis Guitar Studio

Thursday, February 28, 8:00 p.m. COMPOSER PORTRAITS Stefano Gervasoni

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