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©2010The National Bank of Indianapolis www.nlwfi.com MeniK-r FDIC THE 2015 Indianapolis Early Music Festiv-al

Presented since 1967 by Indianapolis Early Music

3646 BAY ROAD SOUTH DRIVE // INDIANAPOLIS, IN 46240 (317) 577-9731 // [email protected] / WWW.EM1NDY.ORG

Board of Directors FRIDAY, JUNE 19, 7:30 PM Leslie Bartolowits Alex Beauford Matthias Maute Ingrid Fischer-Bellman The Nightingale and the Angel 8 Suzanne B. Blakeman SUNDAY, JUNE 21, 4:00 PM Elizabeth Brayton Dr. David H. Chandler Ensemble Caprice Christopher Freeze Salsa Baroque.... 14 David A. Garrett Laura L. Goetz FRIDAY, JUNE 26,7:30 PM Andrew Kerr Aeris with Nell Snaidas Marcia Krieg Roman Holiday 20 Christine Kyprianides G.B. Landrigan SATURDAY, JUNE 27,11:00 AM J. David Litsey, DPM The Rose Ensemble Sylvia Patterson-Scott FREE Family Concert 300 Susan N. Pratt Lolly Ramey SUNDAY, JUNE 28,4:00 PM Stanley Ritchie The Rose Ensemble Janice Roger From the Land of Three Faiths 32 Margo M. Scheuring The Rev. Robert A. Schilling FRIDAY, JULY 10,7:30 PM Fred E. Schlegel Trio Settecento with Rosalind J. Wilgus David Douglass & Ellen Hargis Harriet A. Wilkins Orpheus Britannicus 400 Judy Wilson Ken E. Winslow SUNDAY, JULY 12, 4:00 PM Donna Worth and the Indianapolis Baroque Viva Vivaldi III Staff 46 Mark Cudek ARTISTIC DIRECTOR :

Gail McDermott-Bowler Pre-concert chats with Artistic Director Mark Cudek and performers MANAGING DIRECTOR sharing information on the music, the period, the instruments, and

SIM i ! VI I HANKS: the composers will be offered one half-hour before concert time. Nick Fogarry DESIGN INTERN

And, of course, our Post-Concert Receptions continue! j^^g INDIANAPOLIS EARLY MUSIC // www.emindy.org Greetings!

Welcome to the 49th annual Indianapolis Early Music Festival and to the Frank and Katrina Basile Theater at the Indiana History Center! This lovely venue will be home to some magical music-making this summer and I am once again honored to be at the artistic helm of this prestigious festival—America's oldest continually running early music concert series.

It was an absolutely tumultuous year for me. In December, at my Peabody Renaissance Ensemble concert, I was presented the Global Achievement Award by the Alumni Association of the Johns Hopkins University. In February three of my students were chosen to represent Peabody in the Conservatory Project at the Kennedy Center. The spring semester brought about the tragic loss of a dear undergraduate student in my department. Our ensembles had rehearsals canceled for snow and by the JHU curfew due to the rioting in Baltimore. On the road, the Baltimore Consort's 35th season culminated in performances at the National Gallery in Washington, D.C. and in the Bay area for the Sonoma Bach and the Santa Cruz Baroque festivals.

It was great fun being here in April to present the sensational Kivie Cahn-Lipman (and friends) and it is rewarding for me to be back presenting more great concerts this summer. We begin with two programs featuring the talents of the charismatic Matthias Maute, one of our Festival's favorite performers. He'll open the series with a solo recital and then bring in the rest of Ensemble Caprice for their lively and enchanting "Salsa Baroque." I had the good fortune of hearing this program at the Library of Congress in November and promise you'll love it as I did.

Our second weekend will feature a very new group and a "well-seasoned" ensemble. New York City's newest baroque ensemble Aeris consists of some ofthe top young players in the field and is directed by Juilliard faculty member Avi Stein. They are followed by The Rose Ensemble which has been going strong for nearly two decades! "From the Land of Three Faiths" presents Christian, Jewish, and Muslim music from Spain. Unifying these two diverse programs will be the sensational soprano voice of Nell Snaidas!

Indianapolis Early Music continues its commitment to presenting early music to young audiences. This summer we are instituting a policy of FREE ADMISSION for students! During the year we presented outreach events at the Indiana Math and Science Center, George Washington Carver School #87, and the Oaks Academy. The Rose Ensemble will be this summer's featured group in our ninth annual Family Concert. Generous underwriting from the Christel DeHaan Family Foundation in honor ofthe children and families of Christel House has once again made it possible for us to offer this free program as a gift to the community.

The indefatigable Rachel Barton Pine is the star of our final weekend! Her Trio Settecento is joined by David Douglass and Ellen Hargis, directors of 's Newberry Consort, jggggg

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL in a program of seventeenth century English music. Our grand finale showcases concertos for violin and viola d'amore, and features Ms. Pine and her exquiste instruments—originals by Nicola Gagliano—backed up by members of our own Indianapolis Baroque Orchestra.

It's especially fun for me to anticipate the wonderful music we'll present next year - the 50th Indianapolis Early Music Festival! I've cooked up some very special collaborations with the Indiana Repertory Theatre, Dance Kaleidoscope, IndyBaroque Music, and the Society of America! We will hear artists from England, , and Spain as well as the United States and I am thrilled beyond belief to present one of the all-time greats of early music, Dame Emma Kirkby! I have over one hundred of her recordings and "few voices in the early-music field are as immediately recognizable as Emma Kirkby's."—the Washington Post

I'm also excited to announce a very special 2016 spring concert I was able to book just before going to press. Fuoco e Cenere, a fabulous ensemble based in will perform Pulcinella complete with marionettes! This concert will take place on Friday, April 1, at the Indiana Landmarks Center. More information can be found on page fifty-one of this book.

So please sit back and enjoy some great music in our wonderful venue by the canal. Come early to hear some informal chats with the artists and stay late for one of IEM's famous receptions. And please, help us spread the word!

—Mark Cudek, Artistic Director

c^ROBERT ^SSDVFF Y Harpsichords & Clavichords

Providing Harpsichords to the Indianapolis Early Music Festival Since 1986.

(317) 293-1055 [email protected]

INDIANAPOLIS EARLY MUSIC // www.emindy.orq 2014 Annual Report (10/1/13-9/30/14)

As we approach our 50th Anniversary Season, I cannot help but reflect on the past, particularly the beginning. Festival Music Society, our corporate name, was founded in my living room by a few friends including Carl Weinhardt, Director ofthe IMA, and some of his staff, joined by several attorneys and their spouses. All shared a common dream to fill our summer evenings with early music. Many of us remember setting up behind the Lilly Pavilion ofthe Decorative Arts, lighting the tiki torches to keep the bugs away, and serving containers of orange juice at intermission! How things have changed.

However, one thing remains constant. We have a fully engaged Board that consistently moves us forward. As America's longest continually running early music festival, we were faced, for the first time, with holding the 2014 Festival in two locations, with five concerts and the Free Family Concert at our usual location in the Eugene and Marilyn Glick History Center, and one concert at the Indiana Landmarks Center. The Board vigorously worked to make a smooth transition. Our Artistic Director focused on obtaining both recently formed but accomplished groups, as well those known throughout the world. Each ensemble captivated audiences, and was rewarded by applause and favorable comments as everyone mingled during the receptions. The 2014 Festival included Musica Pacifica, Quicksilver, Pallade Musica, the Baltimore Consort, the Peabody Consort with Robert Aubry Davis, and Hesperus, which played during the showing of The Mark of Zorro.

During the year, the Board analyzed our educational initiatives to be sure we were providing teachers with programming that best complemented their classroom work. We focused on schools with populations less likely to be exposed to such programming. We used the group Shakespeare's Ear, which introduced students to a bit ofthe Bard, complete with costumes, dance, music, and instruments ofthe period. Even the wiggliest attendees became engaged.

We were privileged to have the president of Early Music America attend our concert featuring Pallade Musica, the 2012 winners ofthe Early Music America Baroque Competition. She addressed the audience, sharing with them how IEM has advanced among presenters of outstanding early music in the US. Each year we will continue to feature the winners of this fine national competition. Comments such as hers can only motivate the Board to charge forward with their work.

At the end of the Fiscal Year, the Board decided to offer free student tickets in the future, taking action to bring along new audiences and to recognize accomplished and talented young artists!!! We strongly believe the arts have a very positive impact on youth today.

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL The Board Finance Committee has continued to work aggressively to maintain and increase financial support. With our 50th Anniversary on the horizon, we are reviewing where we have been, the appropriate way to celebrate, and where we are going. Our Endowment is strong for a relatively small organization and our Finance Committee, led by our Treasurer, is prudent about all that we do.

I thank you for your involvement during the past 48 seasons and hope you will continue to join us as we endeavor to be a strong thread in the cultural tapestry of Indianapolis. When you are greeted at the concerts, enjoying the newsletter or the program book, receiving those fund-raising letters, seeing the printed material advertising the concerts around town, hearing the radio interviews, or getting Facebook messages, you are experiencing our Board at work. Mark and I couldn't make all of this happen without their many talents.

—Gail McDermott-Bowler, Managing Director

Special thanks to our sponsors and contributors:

CHRISTEL DEHAAN FAMILY •INDIANAPOLIS FOUNDATION 'FOUNDATION A OCf Affiliate (nsp'r)ng philanthropy

ART WORKS. w/iu arts.gov 103.7jfm 95.1> IAC 106.10 100.7f> Indiana Arts Commission Connecting People to the Arts s. I I Thii activity it mads possible, in part, with support from Ihe Indiana Arts Commission and the ENDO>vy.£.NT Endowment lor the Arts, a federal agency •INC*

P £ N R 0 D ARTS FA I R ARTSCOUNCIL AND THE CITY OF 1NDIANAPOIIS

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INDIANAPOLIS EARLY MUSIC // www.emindy.org Endowment Fund

Our endowment is steadily growing and has risen above the million-dollar mark again. The Festival Music Society created an endowment fund, known as the Frank Cooper Endowment Fund, in 1992 with an initial deposit of $60,000 in assets from various sources. Because ofthe support of individuals such as you, donating small amounts to significant amounts, we reached the first goal of hitting one million in assets. These funds generate income...

1. to provide general operating support 2. to increase funds available for performers' fees 3. to ensure the highest quality of concert performances 4. to continue marketing efforts to increase the size and diversity of the Society's audience The funds have remained invested in the Society's Endowment Fund, with Central Indiana Community Foundation to manage on behalf of the FMS/IEM. The goal ofthe Board of Directors of IEM is to raise endowment funds to continue to entertain audi­ ences with music of Medieval, Renaissance, Baroque and early classic eras featuring the highest caliber of musicians, performing on instruments ofthe period. Please visit the Endowment Table in the lobby with your questions or to donate.

PRINGER LEGACY FUND fitingthe Festival Mask. Society of Indiana, presenter of ihe "IndtomifjoUs Early- Music fosfrutd §B&

Frank Curtis Springer, Jr. was a beloved and devoted patron ofthe arts and an extraordinary friend and benefactor to FMS. In appreciation of this person who cared deeply about music, we named our Deferred Giving Fund in his honor. For information 317 577-9731 or [email protected]. Planned gifts to the FMS s Frank Springer Legacy Fund ensure the success of Festival Music Society in perpetuity.

• THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL DON'F MISS NEXF YEAR'S 50TH SUMMER CELEBRATIONS!! 2016 Indianapolis Early Music Festival America's oldest continually running early music concert series!

FRIDAY, JUNE 17 special collaboration for the 400th Anniversary of Shakespeare's death! The Baltimore Consort with actors from Indiana Repertory Theatre If Music be the Food of Love

SUNDAY, JUNE 19 special collaboration! Gut, Wind, and Wire and Friends, and David Hochoy's Dance Kaleidoscope Come Sweet Love: Dances of Dowland - At the Schrott Center for the Arts, Butler University

FRIDAY, JUNE 24 special collaboration with the Lute Society of America! From Barcelona: Xavier Diaz-Latorre, & Baroque Jordi Savalls "...superb ..."—the New York Times

SUNDAY, JUNE 26 From : Dame Emma Kirkby with Jacob Lindberg "...die heroine ofthe early-music movement..."—the New York Times "...an artist of unique vocal personality and intelligence." —Gramophone "....The legendary voice of early music..." —the Telegraph

FRIDAY JULY 8 Les Delices " Debra Nagy, director Folly of Youth with soprano Tess Wakim "Their performance is chamber music at its finest." —NPR Harmonia

SUNDAY, JULY io special collaboration! Indianapolis Early Music and IndyBaroque Music present the Indianapolis Baroque Concerto Competition (winners to perform with the Indianapolis Baroque Orchestra)

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INDIANAPOLIS EARLY MUSIC // www.emindy.orq Friday, June 19,2015 Matthias Maute, Recorder The Nightingale and the Angel

David Jacques, baroque guitar Susie Napper, baroque cello

Sonata La Vinciolina Giovanni Pandolfi Mealli (c.l630-c.l670) La Bernabea

Engels Nachtegaeltje Jacob van Eyck (1590-1657) Canzona detta la Rondella Matthias Maute (b.1963) Sonata seconda (1664) Johann H.Schmelzer (c. 1620-1680)

Prelude et passacailles Francesco Corbetta (c. 1615-1681) Sarabande espagnole (1676) Remy Medard (17th c.)

Sonata op.V, No.4 in F major (1653-1713) Adagio Allegro Largo Giga Tempo di Gavotta

Intermission

Chaconne in G minor Tomaso Antonio Vitali (1663-1745)

Triosonate in D minor T 42 :d7 G. Ph.Telemann (1681-1767) Andante Vivace Adagio Allegro

Polonaise (1728/29) G. Ph.Telemann Hungaricus 53 (1730) Anonymous (18th century) Carillon (1728/29) G. Ph.Telemann Anglicus (1730) Anonymous (18th century) Musette BWV Anh 126 J.S. Bach (1685-1750)

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Sonata for and basso continuo, RV 59 (1681-1747) Largo Allegro Pastorale Allegro ma no presto

"...with exuberant panache and jaw-dropping virtuosity by the amazing Matthias Maute, who is clearly poised to be early music's breakout superstar." —Kansas City Star

Matthias Maute has carved out an impressive international reputation for himself not only as one of the great recorder and baroque flute virtuosos of his generation but also as a composer and conductor. Since winning first prize in the soloist category at the prestigious Bruges Early Music Competition in 1990, he has led a highly successful career as a recorder and baroque flute soloist. He made his debut in New York's in 2008 and has twice been the featured soloist for the Boston Early Music Festival. The Washington Post hailed him as one ofthe greatest recorder players on the North American musical scene. He has been invited to petform as guest soloist or conductor by the world's most eminent baroque , including: Seattle Baroque, the Portland Baroque Orchestra, the Cleveland Baroque Orchestra (Apollo's Fire), and the Magnificat Baroque Ensemble. In recent years he has also been invited to conduct other renowned orchestras, including I Musici de Montreal. Matthias Maute is also celebrated for his work as artistic director and conductor of Ensemble Caprice. In this capacity he is known for creating and leading ingenious and captivatingly original programs. He tours extensively with the ensemble, which is regularly invited to take part in prestigious festivals around the globe. In Canada, the group has performed at the Ottawa International Chamber Music Festival, the Festival international du Domaine Forget, Early Music Vancouver, Early Music Voices in Calgary and the Elora Festival in Ontario. Under his direction, Ensemble Caprice was granted an esteemed JUNO award in 2009 for best vocal/choral album ofthe year (for its CD Gloria'. Vivaldi and his Angels on the Analekta label). Matthias Maute's compositions are highly regarded and have been published by Breitkopf & Hartel, Amadeus, Moeck, and Carus. He has some thirty recordings to his credit on the Analekta, Vanguard Clasics, Bella Musica, Dorian, Bridge and ATMA Classique labels. Matthias Maute teaches at McGill University's Schulich School of Music and at the Faculty of Music ofthe Universite de Montreal.

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INDIANAPOLIS EARLY MUSIC // www.emindy.orq Program Notes When Sylvestro Ganassi published his treatise La Fontegara in 1535, little could he know how the recorder would further evolve throughout music history. The advanced technique of playing the recorder he described fostered interest in the instrument for more than a century. It would not, however, prevent the slow decline that would finally erase the instrument from the concert halls for more than one hundred fifty years. The unexpected rise in the recorder's fortunes throughout the twentieth century has led to a flourishing culture of recorder playing that continues to thrive by means of festivals and concerts centered around this instrument with its particular history.

Nothing much in human history is destined for eternity, and it comes as no surprise that both the gamba and the theorbo share with the recorder the history of disappearance and—eventually—renaissance. It is our pleasure to bring together the recorder, gamba, and theorbo, whose common history is matched by the blend of colors they produce together.

Jacob van Eyck, a Dutch recorder virtuoso and carillon player, developed the art of improvisation in an outstanding way: due to his blindness, he had no choice but to make up the variations he used to play based on favorite tunes of his time, such as The English Nightingale (Engels Nachtigaeltje). The fact that he could not see explains the unusually high number of misprints in his Der Fluyten Lust-hof(l649)• From his variations we are just one step away from composing, and it is my pleasure to add a piece from my own workshop: written at the end ofthe twentieth century, the Canzona La Rondella is entirely conceived in the style of mid-seventeenth century Italian music and therefore goes along well with the extravagant music by Pandolfi Mealli. This Italian violin virtuoso worked north of the Alps in Innsbruck, and it is very unfortunate that most of his music has been lost. The remaining two works, op. 3 and 4, are spectacular collections featuring eccentric virtuosity in La Bernabea and sad melancholy in La Vinciolina. The latter sonata might be the only one in the seventeenth century that lines up exclusively with plenty of adagios without giving any respite from melancholy and sadness until the very end of the piece, where finally a fast dance concludes the sonata.

Mealli's Austrian composer colleague, Johann Heinrich Schmelzer, himself an outstanding violin virtuoso, pushes expressivity and virtuosity on a new, hitherto unprecedented level. His Sonata quarta from Sonata unarum fidium (1664) starts with a tegular bass but eventually leaves the limited harmonic range behind and, in the second half of the piece, sets off on a trip through landscapes of eccentric conttasts.

Tomaso Antonio Vitali's chaconne shares some eccentric features with Schmelzer's chaconne. However, Vitali's piece reached unparalleled fame when famous violinists of the twentieth century like Fritz Kteisler incorporated it into their concert repertoire. The far-reaching modulations and high-wire virtuosity would certainly allow for a post- baroque show-off by great virtuosos. Nevertheless, it must be said that the most striking feature of this chaconne is to be found in its underlying resignation and melancholy.

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL When composed in D minor, it would not necessarily mean that tragedy had struck. The elegant phrasings of his melodies would always keep a certain graceful serenity afloat. Only in the last movement does he unleash the influence ofthe Polish style with its punchy motives that would ask for some rough edges. It might be the only for recorder and the dessus de viole, and it is obvious that Telemann enjoys contrast between styles. The final piece ofthe program, which is taken from the sonata collection II Pastor Fido, sums up the whole concert: published in Paris in 1737 under Antonio Vivaldi's name, it pretends to be Italian. However, it turns out that most ofthe six were written by the French composer Nicolas Chedeville, who was nourishing hopes of selling more copies of his music by offering them under the name of an Italian celebrity. And Italian music it is! The sparkling virtuosity—which teminds us of Arcangelo Corelli's incredible Sonata op. V, No. 4, performed right before the intermission—seems to break through the limits ofthe sonata style and reaches out to the wild world of the concerto, where flashy flights of fantasy belong to the order of the day.

Playing this powerful music makes us think how lucky we are that we can let ourselves be carried away by the beauty and expressivity ofthe melodic flourishes, harmonic twists, and rhythmical drive offered by the composers from the seventeenth and eighteenth centuries.

-Matthias Maute Biographies

David Jacques was born in 1978 in Saint-Georges, Quebec, Canada. In 2007 he completed a Doctor of Music in Performance at the University of Montreal. He also has a Master's degree in performance from Laval University, a First Prize in guitar, a Prize with high distinction in chamber music from the Conservatoire de musique du Quebec, and a Bachelor's in music teaching from Laval University, where he studied .

Many times a finalist and semi-finalist in international and national competitions, Jacques has received numerous grants and sponsorships. Since 2002, he has played with many ancient music groups like Anonymous, Ensemble Caprice, Bande Montreal Baroque, Les Voix Humaines, Les Voix Baroques, Stadacone, Musica Divina, etc. He has published many arrangements for guitar for Les Productions d'OZ. He has recorded more than sixteen CDs with major labels like XXI-21, Universal Records, Analekta and ATMA Classique, as well as dozens of smaller contributions in other productions.

INDIANAPOLIS EARLY MUSIC // www.emindy.orq B He has given concerts in the USA, France, Poland, Austria, Bosnia, Croatia, Mexico, Chile, Vietnam, Brazil, Argentina, India, Nepal, Taiwan, Pakistan, Indonesia, Brunei, Singapore, New Zealand, Australia, and Canada. With these successes, he has been invited to give concerts for such political and world leaders as the President of the USA, the Prime Minister of Canada, and for four Prime Ministers of Quebec.

Cellist, gambist, continuo player par excellence, Susie Napper is known for her colorful, even controversial performances of both solo and chamber repertoire ofthe seventeenth and eighteenth centuries. Having spent her childhood in an artistic milieu in London, in her late teens she moved to New York to study at the , then to the Paris Conservatoire. San Francisco followed, where, after a foray into contemporary music, she co-founded and directed the Philharmonia Baroque Orchestra. Since then she has spent two decades with a foot on either side ofthe Atlantic as principal cellist with several groups including Stradivaria in France, the Studio de Musique Ancienne de Montreal and Les Boreades in Montreal, and the Trinity Consort of Portland. Her concert tours have taken her as far afield as China, Japan, New Zealand, India, the Middle East, as well as most European countries. As a member of the very active duo Les Voix Humaines, she has discovered a new facet of musical expression in the form of musical arranging, thus providing an endlessly fascinating new repertoire for two . Susie Napper teaches at McGill University and founded the Festival International Montreal Baroque, which has been presented in Montreal in June since 2001. She was awarded the Prix Opus 2002 for Personality ofthe Year by the Conseil quebecois de la musique.

Her recordings, which include most ofthe known repertoire for two viols, can be heard on Harmonia Mundi, EMI, Erato, ADDA, CBC Records, Naxos, and most notably on the ATMA label. But her true vocation is not on the concert stage or the recording studio. The kitchen is the center of her domain, where she creates dishes both colorful and controversial for her own pleasure as well as that of her guests.

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-ggsgg INDIANAPOLIS EARLY MUSIC//www.emindy.orq Sunday, June 21, 2015 Ensemble Caprice Matthias Maute & Sophie Lariviere, Artistic Directors Salsa Baroque: Music of Latin America and Spain

Matthias Maute, recorder, traverso; Sophie Lariviere, recorder, traverso David Jacques, baroque guitar; Susie Napper, baroque cello Ziya 1 abassian, percussion; with Esteli Gomez, soprano

Jacaras! Santiago de Murcia (1673-1739) Hanacpachap cussicuinin Anonyme (published in Cuzco, Peru, 1631) Chacona Anonyme (coll. Flores de musica, 1706-1709)

Tarantelas Santiago de Murcia La suave melodia Andrea Falconieri (1586-1656) Doulce memoire Diego Ortiz (publ. 1553) Canarios Santiago de Murcia

Xicochi Conetzintle Gaspar Fernandes (c. 1570-1629) Pasacalles de 2o tono Antonio Martin y Coll (c. 1660-c. 1740) Marizapolos Santiago de Murcia La Andrea Falconieri

Los coflades de!la estleya Antonio Martin y Coll Differenzias sobre la Gayta Juan de Araujo (1648-1712)

Intermission

Pastorale Domenico Zipoli (1668-1726) Allegro Piva Pastorale Lanchas para baylar Anonyme (coll. Truxillo del Peru II, c. 1780) Battalia Domenico Zipoli Battalia imperiale Battalia dolorosa Battalia furiosa

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Tarara Antonio de Salazar (c. 1650-1715) Temblante estilo italiano Aitonio Martin Y Coll Yo soy la locura (excerpt of Ballet de la follie) Henry de Bailly (c. 1585-1637) La Jota Santiago de Murcia

Discurso con ecos Antonio Martin y Coll Danza del hacha Antonio Martin y Coll Canarios Antonio Martin (late 17th century)

Wainjo Anonymous (trad.Argentine) Chaconne The Nightwatch Heinrich Ignaz Biber (1644-1704) Convidando esta la noche Juan Garcia de Zespedes (1619-1678)

Ensemble Caprice, a baroque ensemble which performs on period instruments, was founded by acclaimed recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to an increasingly expanding musical repertoire. In addition to its series of concerts in Montreal, the group tours extensively, giving dozens of concerts in Quebec, Canada, the USA, Europe, and even Asia. The ensemble is a regular guest at many prestigious European festivals: the Lufthansa Festival of Batoque Music in London, the Bruges (Belgium) and Utrecht (Netherlands) festivals, the Felicia Blumenthal International Music Festival in Tel Aviv; and in Germany, the Musikfestspiele Potsdam Sanssouci, the Regensburg Early Music Festival, the Handel-Festspiele in Halle, and the Stockstadt Festival. In the USA the group performs at New York's Frick Collection and Miller Theater, Boston's Early Music Festival and the Library of Congress in Washington, D.C. In Canada, the ensemble can be heard at the Ottawa Intetnational Chamber Music Festival, Early Music Vancouver, Early Music Voices in Calgary, the Edmonton Chamber Music Society, the Elora Festival and the Festival International du Domaine Forget. This remarkable touring schedule has established Ensemble Caprice as one ofthe most important baroque ensembles on the present day musical scene. In November of 2009, the New York Times published a lengthy article hailing the musicians' innovative and refreshing approach, praising them as "imaginative, even powerful; and the playing is top-flight."

The Ensemble's recording activity is every bit as impressive, comprising over twenty CDs on the Analekta, ATMA Classique and Antes labels, sold in some fifty countries

INDIANAPOLIS EARLY MUSIC // www.emindy.orq around the world. These recordings have gained many honors and much critical acclaim. The CD Gloria! Vivaldi and his Angels received a Juno Award in 2009 from the Canadian recording industry. The Conseil quebecois de la musique presented the group with three prestigious Prix Opus awards: Performer of the Year, Concert of the Year for its performance of Bach's B Minor Mass during the 2011 Montreal Bach Festival, and then again Concert ofthe Year for Le Faste de la France, a collaboration with the Studio de Musique ancienne de Montreal. Ensemble Caprice was also recognized for its artistic approach and the quality of its performances by being selected People's Choice (2008- 2009 season) and was a finalist in the music category for the Montreal Arts Council's Grand Prix de Montreal for 2009. The group also earned the Echo Klassic award in Germany and several other nominations for the Association quebecoise de 1'industrie du disque and Prix Opus awards. And finally, the acclaimed publication Gramophone Magazine chose the group's CD Telemann and the Baroque Gypsies as one of its recommended recordings.

Program Notes During the sixteenth and seventeenth centuries, the musical dialogue between the Old and the New Worlds produced extraordinary results. This fascinating blend of European polyphony and Latin American traditional music created a unique style that is exemplified by the ofthe Bolivian composer Juan de Araujou and the colourful guarachas of his contemporaries. Also included in the program are sonatas by Falconieri, a European composer who was influenced by this Latin American style. Gems from this musical era will be performed on instruments that were common at the time: and recorders,baroque guitar, cello and various percussion instruments.

One can describe the of Latin America as a fusion of harmonies and rhythms of Europe and Africa blended with Amerindian nuances and styles. This unique fusion dates back to the sixteenth century and gave rise to a complex and fascinating multitude of musical forms resulting in a great variety of instrumentations, structures, and rhythmic and melodic phrasing.

Salsa is the Spanish word for sauce, designating at the same time a dance as well as a family of musical genres in Latin-American music. It is this latter meaning and its ancient roots that, together with a bit of humor, we have taken to give the title Salsa Baroque to our project. Despite the human and political tragedies surrounding the colonization ofthe South-American continent, the multipolar musical culture that resulted is distinguished by its fiery spirit and passion: here is music with a unique character that enriches the repertoire of the seventeenth century with refreshing novelties.

Gaspar Fernandes (c. 1570-1629) was Portuguese by birth but emigrated to New Spain, where he became a chapel musician at the cathedrals of Guatemala and Puebla. His

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL villancicos (a popular song form of Spanish origin) often have texts written in a mixtute of an Amerindian language with Spanish or the local dialect. The touching lullaby Xicochi conetzintle utilizes the Nahuatl language ofthe Aztecs. The collection of roughly 250 works from the pen of Gaspar Fernandes forms the largest source of seventeenth- century secular music from the New World.

Juan de Araujo (1648-1712), born in Spain, also spent his life as a musician in Peru and Bolivia, where he was appointed Choirmaster ofthe cathedral in La Plata. His Los coflades de la estleya (with the subtitle "Black Song for the Birth of Our Lord") and the Convidando esta la noche by Juan Garcia de Zespedes (1619—1678) distinguish themselves through the use of African rhythms juxtaposed with sections of European counterpoint. It is perhaps through these two short masterpieces of mixed coloring that the peculiar ambiance that reigned in Latin America in the seventeenth century is best conveyed.

The Christmas music, Tarara, by Antonio de Salazar (c. 1650—1715), as well as the Pastorale by Domenico Zipoli (1668-1726) display the originality of composers in the New World who were able to meld their European background with—from a European point of view—the exotic sonorities of their Latin-American environment. The audacious final melody of the Pastorale gives us an inkling ofthe creative desires of an immigrant musician.

Spanish music is represented by instrumental works from the vast collection of Antonio Martin y Coll (1671-1734) that encompasses some hundred pieces of music in its four volumes called Flores de musica. The Chacona and the Xacara are enriched with complex rhythms that approach those of another contemporary Spanish composer who had travelled in Latin America, Santiago de Murcia (1673—1739), whose Tarantelas, Jacaras, and Lajota draw on a rich repertoire of dance rhythms.

It is evident that geographic separation did not impede the relatively rapid transfer of musical styles and genres despite the problems imposed by the very limited means of international and intercontinental travel. Cancion de clarin con eco a discrecion, also taken from the Flores de musica collection, as well as Temblante estilo italiano clearly show the Italian influence on the Iberian Peninsula. Conversely, the air de cour Yo soy la locura by Henry de Bailly (c. 1585—1637) has a Spanish text in spite of the French nationality of the composer.

The rite Hanacpachap cussicuinin was sung and performed during religious processions in church. Published in 1631 in Peru, this is the very first polyphony published in the Americas. It is a very touching piece of music, born of different cultural worlds united by the beauty of music.

—Matthias Maute

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INDIANAPOLIS EARLY MUSIC // www.emindy.orq Biographies Esteli Gomez, soprano Praised for her "clear, bright voice" (New York Times) and "artistry that belies her young years" (Kansas City Metropolis), soprano Esteli Gomez is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. In January 2014 she was awarded a Grammy with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznan, Poland. An avid performer of early and new music, Esteli can be heard on the Juno-nominated recording Salsa Baroque with Montreal-based Ensemble Caprice, as well as Roomful of Teeth's self-titled debut album, for which composer Caroline Shaw was awarded the 2013 Pulitzer Prize.

Highlights of 2014-15 include soprano solos on Conspirare's newest CD in Robert Kyr's Songs ofthe Soul (Harmonia Mundi), a performance of Mozart's Exultate Jubilate with the Louisiana Philharmonic in New Orleans, soprano solos in Esenvalds' Passion and Resurrection in Kansas City, Ligeti's Aventures and Nouvelles Aventures in Dallas, recitals with lutenist Sylvain Bergeron and guitarist Colin Davin, and performances with Roomful of Teeth at Lincoln Center, Carnegie Hall, Walt Disney Hall, and in Seoul, South Korea.

Originally from Santa Cruz, California, Esteli received her Bachelor of Arts with honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan. She currently travels and performs full-time. esteligomez.com

Sophie Lariviere has participated in the International Recorder Symposium in Stuttgart, the Recorder Series in Schwelm, and the Recorder Festival of Stockstadt in Germany. She has been a member of Ensemble Caprice since 1997 and is the artistic co-director. In this function, she has contributed to the enrichment of the Ensemble, leading audiences to musical discoveries featuring both virtuosity and artistry. She has also been a guest performer with several early music ensembles, including Arion, , Les Idees Heureuses, Les Violons du Roy, REBEL, Le Studio de Musique Ancienne de Montreal, New York Collegium and Theatre of Early Music. In 2003 and 2004, under Jeunesses Musicales du Canada's tutelage, Lariviere took

| THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL part in some thirty concerts throughout Quebec, Ontario and New Brunswick. In June, 2004, with Ensemble Caprice, she performed for the first time in Austria, and few months later took part in a series of concerts at the Boston Early Music Festival. In the fall of 2006, she made her debut in Israel with Ensemble Caprice in a series of concerts in Tel Aviv and Yehiam.

With Le Concert Spirituel (Paris), she took part in an American tour that led her to Detroit, Chicago and Washington, D.C. She has performed under such renown conductors as Andrew Parrott, Herve Niquet, Philipp Picket, Jaap ter Linden, and Barthold Kuijken. She is second traverso of the REBEL Baroque Orchestra in New York under the direction of Owen Burdick. She has recorded with Ensemble Caprice, Arion, REBEL, Theatre of Early Music, and Les Violons du Roy.

Born in 1979, , , Ziya Tabassian began playing the tombak (Iranian drum) at the age often. After a brief initiation period in Iran, he continued his autodidactic training in Quebec, his adopted homeland. From 1994 to 2001, he studied classical Western percussion with Julien Gregoire and obtained a Bachelor's degree in performance from the Universite de Montreal. His artistic aspirations, which lean toward improvised music from the Mediterranean and Middle East, found an outlet in Constantinople, an ensemble that he co-founded with his brother Kiya.

In a residency at the Banff Centre for the Arts (Alberta) in 2003, he explored the contemporary repertoire with Iranian percussion instruments, which was to have a lasting influence. A tireless traveller, he is continuing his personal research in advanced courses with Bahman Rajabi (Teheran), Aziz Alarm (Fez), Trichy Sankaran (Toronto) and Misirli Ahmet (Istanbul).

As a percussionist, Ziya Tabassian is professionally active in early music (Medieval, Renaissance and Baroque), as well as contemporary, current and world music. Supported by the Conseil des arts et des lettres du Quebec and the Canada Council for the Arts, he has dozens of albums to his credit, including ten with Constantinople on the ATMA and Analekta labels, and two in tandem with his brother Kiya Tabassian.

David Jacques - please see page 11

Matthias Maute - please see page 9

Susie Napper - please see page 12

INDIANAPOLIS EARLY MUSIC //www.emindy.orq Friday, June 26th, 2015 Aeris with soprano Nell Snaidas Roman Holiday: Handel and the Italians m^^cs////////////////////,

Zachary Carrettin, violin; William Skeen, cello Avi Stein, harpsichord; Charles Weaver, guitar

Sonata in D Minor Op. 6, No. 12 Pietro Antonio Locatelli Adagio (1695-1764) Allegro Andante Allegro

Sinfonia in D Minor Alessandro Stradella (1639-1682)

Cantata Dietro I'ormefuggaci, HWV 105, uArmida abbandonata (1685-1757) Accompanied: Dietro I'orme fuggaci Aria: Ah! crudele, e pur ten vai Recitative: Per te mi struggo, infido Accompanied: O voi, dell'incostante Aria: Venti, fermate, si Recitative: Ma che parlo, che dico? Aria: In tanti affanni miei

Diverse Bizzarie Sopra La Vecchia Sarabanda O Pur Ciaconna Nicola Matteis (fl. c.l670-c.l698) Intermission

Sonata in G Minor Op. 2, No. 1 Francesco Maria Veracini Overtura (1690-1768) Aria Paesana Giga

Son qual stanco peregrino G. E Handel from Arianna in Creta, HWV 32

Tarantella: Chi vive con amor vive beato A. Stradella from Chi resiste al dio bendato

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Aeris is a radically dynamic and expressive trio devoted to the riveting virtuoso violin sonata repertory ofthe Italian baroque. Comprised of three soloists, violinist Zachary Carrettin, cellist William Skeen, and harpsichordist Avi Stein, the band explores the transcendental and impetuous nature of this unrestrained music.

Program Notes The aphorism "All roads lead to Rome" took on a distinct meaning beginning in the seventeenth century for those who embarked on the Grand Tour. This phenomenon of a cultural pilgrimage to Italy became a standard rite of passage for many wealthy Europeans, as documented in E. M. Forster's A Room with a View. Awards that facilitated such a journey for artists were considered one ofthe highest honors. The Prix de Rome included among its recipients Hector Berlioz and Claude Debussy, while the American equivalent was given to, among others, Samuel Barber and Aaron Copland. Romantic representations of Rome include Mendelssohn's Symphony no. 4 ("Italian") and Berlioz's Harold in Italy, based on a poem of Lord Byron.

Handel's first biographer, John Mainwaring, wrote in the 1760s of Handel's reaction to a collection of contemporary Italian music shown to him by the Medici Duke of Tuscany: "He was much at a loss to conceive how such a great culture should be followed by so little fruit." If this was really Handel's response to Italian music, then it seems strange that his first voyage abroad should be a four-year tour ofthe Italian peninsula. Moreover, he turned down an offer for financial help for the trip by the Duke and saved up his own earnings. Handel had undoubtedly encountered the Italian style previously to his aforementioned meeting with the Medici Duke in Hamburg, where he was employed at the house. In that meeting, the Duke evidently tried persuading Handel to visit Italy by showing what he might learn from Italian music, only to have the pieces dismissed as unremarkable. Perhaps several decades had colored Handel's recollection ofthe event, or perhaps Mainwaring, in an attempt to promote a more interesting narrative for his English readers, had embellished some ofthe details. Indeed, many ofthe reports that describe Handel's years in Italy provide us with several contradictions. The first record of his journey is an eyewitness account that tells in amazement of a "Saxon" playing the organ at the Roman church of St. John Lateran. Handel's ability as an organist is further described in a report of a competition that pitted him against . While Scarlatti is said to have prevailed at the harpsichord, Handel apparently left no doubt as to his supremacy as an organist. Whereas Scarlatti's several hundred sonatas serve as testimony to his facility at the instrument, sadly, Handel's time in Italy left us nothing for the organ beyond a couple of obbligato movements in vocal works.

gjggg INDIANAPOLIS EARLY MUSIC //www.emindy.orq The majority of Handel's compositions during his stay in Italy from 1707 until 1710 are the chamber cantatas. While Italy was the European center of opera, in Rome it was nonexistent while Handel was there. A papal decree in the 1690s had banned operatic productions and was in effect until after Handel's departure. Although the papacy found opera objectionable, others in the church hierarchy, such as the Cardinals Pamphili and Ottoboni, were very glad to produce oratorios and private concerts. If Rome lacked the public theatres found in Venice or Florence, as the papal seat it attracted a considerable number of cardinals, foreign ambassadors and other nobility who were pleased to sponsor lavish musical activities. Even while Roman opera flourished in the seventeenth century, private households were nonetheless strong centers of musical patronage. Most remarkable were the exiled courts of Queen Christina of Sweden and Queen Maria Casimira of Poland. In addition the Cardinals Mazarino and Barberini had strong connections with several important Roman musicians of the mid-seventeenth century.

Handel's chief Roman patron was Francesco Maria Ruspoli. The majority of Handel's cantatas were written for Sunday afternoon conversazione, or private concerts, held at Ruspoli's residence. Rupsoli was a member ofthe Arcadian Academy, an intellectual and artistic circle founded at the end of the seventeenth century, which attempted to bring about classical aesthetics and pastoral ideals modeled on Greek antiquity. Therefore, the characters of the cantatas are usually mythological characters or idealized shepherds such as Tirsi and Clori. The cantatas were excellent substitutes for , as they were essentially self-contained operatic scenes. They included many ofthe musical and formal techniques used in opera to convey the narrative and emotional aspects of the plot. Like opera, the standard form ofthe cantata is a division into recitative and aria. Many of the dramatic elements, such as the physical landscape and its psychological implications, are often illustrated in the music. The first movement sets the tone for the rest of the work as well as any overture to a romantic opera. Armida abbandonata also includes some stock operatic scenes such as the storm and the lament. The lament had become popular in opera as an independent genre particularly after the success of two works by Monteverdi: Arianna's Lament from the opera of 1608 and the Lament ofthe Nymph from the eighth book of madrigals of 1638. Both works had been extraordinarily influential, and after the latter's publication, laments were often found as or repeating bass-lines. The lament at the end of Armida abbandonata is set as a Siciliana rather than as a ground-bass. This seems to have been somewhat popular in Roman and Neopolitan operas at the end of the seventeenth century, as several Siciliana laments can be found in operas by Alessandro Scarlatti, Bononcini and Mancini. While in Italy, Handel came in contact with many of its leading musical figures. His trips to Florence and Venice allowed him to hear operas by Albinoni, Gasparini, Lotti, Caldara and Antonio Scarlatti. The libretti to several of the operas produced during Handel's stay in Italy were eventually used in his own operas after he moved to London.

Handel eventually settled in London, as did many Italian vittuosi. Francesco Veracini made his way on two occasions to London, where it was said that "There was no concert now without a solo on the violin by Veracini." Soon after his second arrival, he began

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL to play for Handel's rival, the Opera ofthe Nobility. One ofVeracini's own operas, based on Shakespeare's As You Like It, was disparaged by a contemporary critic as "wild, awkward, and unpleasant; manifestly produced by a man unaccustomed to write for the voice, and one possessed of a capo pazzo (crazy head)." The score included a well-known Scottish ballad tune which was derided as a failed attempt "to flatter the English" since "few ofthe North Britons, or admirers of this national and natural Music, frequent the opeta, or mean to give half a guinea to hear a Scots tune, which perhaps their cook- maid Peggy can sing better than any foreigner." However, this critic had eventually to admit that "this opera, to my great astonishment when I examined the Music, ran twelve nights." Adding to the drama ofVeracini's eccentric persona are a number of remarkable events. These included a shipwreck in the English Channel in which he lost some of his manuscripts as well as two prized violins, and an incident in Dresden when he leapt from a third-story window. Veracini latet claimed that there was a plot against his life inspired by jealousy from his fellow court musicians, yet according to the composer and chronicler , it was inspired by a fit of madness brought on by too much violin practice and study of alchemy.

Pietro Locatelli began his career in Rome as a student in the Corelli circle of violinists, though not necessarily with Corelli himself; one source lists Veracini as his teacher. Locatelli eventually made his way to a northern European commercial center, but rather than the concert life of London, he sought the publishing world of Amsterdam. Locatelli's strong business acumen included personally managing the sales of his publications and obtaining a privilege to print his own works. Like Geminiani, he seemed to shy away from large public performances; one contemporary observation mentioned that "he never will play any where but with gentlemen." Regular weekly concerts for a small select crowd were organized in his home, and this seems to have supported Locatelli quite well, judging from the sizeable collection of books and art he built in his three decades in Amsterdam. In his works one finds the seeds ofthe nineteenth-century virtuoso, for they include many technical innovations including a systematic exploration ofthe high range ofthe instrument far beyond where other violinists ofthe time were willing to ventute. It was in fact Locatelli's caprices that would serve as a model for Paganini's own pieces of the same title in the following century.

-r>. i . —Avi Stein Biographies Zachary Carrettin has performed as violinist and conductor in more than twenty-five countries on four continents, dazzling audiences by fusing ancient music with sounds influenced by South American, Middle Eastern, and European folk traditions, as well as guitar solos by Eddie Van Halen and Jimi Hendrix. Fusing improvisation with decades of experience researching old manuscripts and performing on original instruments, his performances are singular, unlike any other. Whether improvising a cadenza in a romantic violin concerto or performing the Four Seasons with an all-electric-instrument chamber orchestra, he continues to surprise audiences with a sense of freedom, poetic depth, and brilliant virtuosity.

INDIANAPOLIS EARLY MUSIC // www.emindy.orq Zachary has performed as featured artist at festivals in Italy, Germany, Norway, and Argentina, in the world's great concert halls including the Mondavi Center, Zurich's Tonhalle, the Grieg Hall in Bergen, the Wolf Trap Center, the San Francisco War Memorial Opera House, and at one hundred international stadiums on tour with Yanni. Zachary has been featured in Brazil by IBM, in Oman by Toyota, and in Las Vegas at The Venetian.

A dynamic conductor and violin soloist, Zachary has led orchestras across Europe, the U.S., and South America, including the National Symphony Orchestras of Bolivia and Moldavia. He performs with pianist Mina Gajic in the duo Mystery Sonata, which presents twenty-first century programs including Nuevo and Balkan Dances alongside impressionist and impetuous classical concert works.

Zachary has held university positions in violin and conducting at the University of St. Thomas and Sam Houston State University. He has premiered numerous works by living composers, while resurrecting the forgotten works of great artists ofthe past. Not one to be bound by self-prescribed limitations, he frequently presents the complete unaccompanied works for violin (and cello) by J.S. Bach on electric violin. Currently he is the Music Director ofthe Boulder Bach Festival.

Grammy-nominated cellist William Skeen is Principal Cellist with American Bach Soloists and Musica Angelica and Co-Principal Cellist with Philharmonia Baroque Orchestra. William also performs with Pacific MusicWorks in Seattle, Portland Baroque Orchestra, and Bach Collegium San Diego. He is co-founder of the New Esterhazy Quartet, whose repertoire includes over one hundred fifty string quartets performed exclusively on gut strings. Other ensembles of which Mr. Skeen is currently a member include: Aeris, El Mundo, Galanterie, Agave Baroque, and Philharmonia Chamber Players. He is represented on over eighty recordings.

Skeen teaches at the University of Southern California and the American Bach Soloists Academy; he is also the co-founder of the highly successful San Francisco Early Society's Classical Workshop.

Grammy-nominated soprano Nell Snaidas has been praised by the New York Times for her "vocally ravishing" performances and "melting passion." Her voice has also been described as "remarkably pure with glints of rich sensuality" (Vancouver Sun) as well as having "just the right opulence for the early-middle baroque period" (NUVO). Of Uruguayan-American descent, Nell is recognized for her specialization in historical performance practice, in particular the repertoire of Italy, Latin America, and Spain. Nell began her career singing leading roles in at New York City's Repertorio Espafiol and has sung in venues ranging from the Hollywood Bowl

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL to Tanglewood, from Teatro Massimo (Palermo) to the missions of Bolivia. Favorite projects include singing with Los Angeles Philharmonic at Disney Hall, recording the movie-soundtrack of The Producers with Mel Brooks in the booth, singing Schubert Lieder with duet partner Daniel Swenberg on nineteenth century guitar, and collaborating with Alicia Keys on the musical arrangement and Italian translation of her song Superwoman for Kathleen Battle at the grand finale ofthe 2008 America Music Awards. Operatic performances include "Lisetta" in Alessandro Scarlatti's Gli Equivoci nel Sembiante at the Internazionale Festivale di Scarlatti in Sicily; "Queen Ottavia" in the modern era debut of Daniele Castrovillari's Cleopatra with Ars Minerva; and roles at the Boston Early Music festival, most recently "Amore" and "Valletto" in ITncoronazione di Poppea and "Amore" in IIRitorno d'Ulisse in Patria by Monteverdi, as well as "Princess Olga" in the U.S. debut of Johann Mattheson's Boris Goudenow.

Nell has served on the faculty at the Madison Early Music Festival at the University of Wisconsin teaching classes on seventeenth and eighteenth century Song Interpretation of the Spanish Dominions and has served as fifteenth to twenty-first century Spanish, Ladino and Latin American language coach for ensembles including NYC's Trinity Wall Street Choir, the New York Continuo Collective, and the Rose Ensemble.

Nell was featured on CBC radio as one ofthe leading interpreters of Spanish Renaissance/Sephardic song and has recorded for Sony Classical, Sono Luminus, Koch International and Dorian. Recent projects include collaborations as soloist/co-director with: Apollo's Fire: The Cleveland Baroque Orchestra in Sephardic Journey (CD release 2016), the Bishops's Band in Codex Trujillo del Peru with Tom Zajac (Trinity Wall Street 12th Night Festival), and an upcoming production with the Bach Collegium San Diego of music from eighteenth-century Latin America. Nell is the co-artistic director of GEMAS, a concert series in New York City devoted to the early music and musicians of the Americas and sponsored by Americas Society and GEMS, www.nellsnaidas.com

Avi Stein is the associate organist and choirmaster at Trinity Church Wall Street in Manhattan, where he takes part in a wide range of activities, from liturgical events to the weekly Bach cantata series and the tecent Carnegie Hall performance of Ives and Ginastera. He teaches continuo and chamber music at the Juilliard School, and vocal repertoire at the Yale Institute of Sacred Music, and is the artistic director ofthe Helicon Foundation. Avi performed on the 2015 Grammy Award-winning recording by the Boston Early Music Festival of Marc-Antoine Charpentier's La Descente d'Orphee aux Enfers and La Couronne de Fleurs. The New York Times described Avi as "a brilliant organ soloist" in his Carnegie Hall debut, and he was recendy featured in Early Music America magazine in an article on the new generation of leaders in the field. Avi has performed throughout the United States, in Europe, Canada, and Central America. He has directed the young artists' program at the Carmel Bach Festival and conducted a variety of ensembles including the Opera Francais de New York, OperaOmnia, the Amherst Festival Opera, and a critically acclaimed annual series called The 4x4 Festival. Avi studied at the Indiana University Jacobs School of Music, the Eastman School of Music, the University of Southern California, and was a Fulbright scholar in Toulouse.

INDIANAPOLIS EARLY MUSIC // www.emindy.orq Charles Weaver performs on early plucked-string instruments both as a recitalist and as an accompanist. Chamber music appearances include Early Music New York, Hesperus, Piffaro, Parthenia, Chamber Music Society of Lincoln Center, the Folger Consort, TENET, ARTEK, Musica Pacifica, and Blue Heron. The New York Times has noted his "agile lute and Baroque guitar ." He is on the faculty of the Juilliard School and the New York Continuo Collective, an ensemble of players and singers exploring the poetic and musical antecedents of opera in semester-length workshop productions. He has also taught at the Lute Society of America Summer Workshop in Vancouver, British Columbia and the Western Wind Workshop in ensemble singing. He is assistant director ofthe St. Mary's Student Schola program in Norwalk, CT, teaching Gregorian chant and theory to children. Texts and Translations

Dietro I'orme fuggaci del guerrier Following wearily in the footsteps of the che gran tempo, in lascivo soggiorno fugitive warrior, with whom for so long she ascoso avea, Armida abbandonata had enjoyed love while she kept him safely il pie movea; e poi che vidde al concealed, the abandoned Armida trekked. fine che l'oro del suo crine, i vezzi, But at last, when she realised that her i sguardi, i preghi non han forza golden tresses, her charms, her beseeching, che leghi il fuggitivo amante, fermo her prayers, had no power to hold back her le stanche piante, e afissa sopra un fleeing lover, she stayed her tired feet, and scoglio, calma di rio cordoglio, a sat on a rock, calm in her despair; and quel leggiero abete, che il suo ben gazed upon the slender mast which carried le rapia, le luci affisse, piangendo e away her love. And weeping, and sighing, sospirando cosi disse: she said:

Ah, crudele! E pur ten vai, e mi lasci Ah, cruel one, you are leaving me, in preda al duolo, e pur sai che sei and yet you know that you are tu solo il diletto del mio cor. the sole delight of my heart! Come, ingrato, e come puoi involare How, thankless one, can you steal from my a questo sen, il seren de' lumi tuoi, breast the light of your starry eyes, se per te son tutta ardor? when you know that I burn for you alone?

Per te mi struggo, infido, I yearn for you, faithless one! per te languisco, ingrato; I suffer for you, ungrateful that you are! ah, pur lo sai che sol da tuoi bei rai Ah, you even know that my heart per te piagato ho il seno, e pur tu breaks for your eyes alone, and yet you m'abbandoni, infido amante! abandon me — unfaithful lover!

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL O voi, dell' incostante e procelloso O, you fearful and terrifying monsters of amare orridi mostri, dai piu profondi the sea's abyss! From the deepest cloisters chiostri, a vendicarmi uscite, e contro of the ocean, hurry to avenge me, and quel crudel in crudelite! turn your cruelty against this cruel lover! Si, si si, sia vostro il vanto e del Yes, yes! In your pride and boasting vostto rigore un mostro lacerar di voi bring forth a monster even greater than maggiore! Onde, venti, che fate, che yourselves! Waves! Winds! Stop! Do not voi nol sommergete? Ah, no! Fermate! drown him — ah, no! Stop!

Venti, fermate, si, nol sommergete! Winds, stay! No, do not drown him! E ver che mi tradi, It is true that he has betrayed me, ma pur l'adoro! but still I love him! Onde crudeli no, non l'uccidete! Cruel waters, do not kill him! E ver che mi sprezzo, It is true that he has broken my heart, ma e il mio tesoro. yet still he is my beloved!

Ma che parlo, che dico? Ah, ch'io But no, what am I saying? Ah, I am vaneggio; e come amar potrei un raving! Aid how could you, treacherous traditore, infelice mio core? heart, still love a traitor? Rispondi, o Dio, rispondi! Ah, che Answer me, O God, answer me! Ah, my tu ti confondi, dubbioso e palpitante heart, you are confused, doubtful and vorresti non amare e vivi amante. trembling, you wish only not to love, and Spezza quel laccio indegno, che tiene yet still you love. Shatter these unworthy awinto ancor gli affetti tuoi. chains, which still ensnare your affections. Che fai misero cor, che fai misero cor? What are you doing, poor sad heart? Ah, tu non puoi! Ah, you cannot!

In tanti affanni miei assisti mi almen In this, my darkest hour, help me, tu, nume d'amore! O God of Love! E se pietoso sei, And, ifyou have any pity for me, fa ch'io non ami piii quel traditore! destroy the love I have for this traitor.

Son qual stanco pellegrino I am like a weary traveller Che nel dubbio suo cammino whose steps on his unsure path Muove incerto move hesitantly Errando il pie. and go astray. Ma se poi si fa sua scorta But if a torch or star Face, oh stella becomes his guide, Si conforta e smarrita he takes comfort, Piu non e. and is no longer lost.

Son qual, etc. I am like, etc.

INDIANAPOLIS EARLY MUSIC // www.emindy.orq Chi vive con amor vive beato. Those who live and love live joyously. All'ardor di due bei lumi Basking in the ardour of bright eyes, in un sen di gigli e rose on breasts of lilies and roses, con vicende aventurose in amorous affairs dolcemente si consumi, they happily spend their days adorando, sospirando in adoration, sighing quello strale che fatale since that fateful arrow con diletto l'ha piagato. pierced them with delight.

Chi vive con amor vive beato. Those who live and love live joyously.

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL THE KING'S STUDIO and WAYNE LUNDBERG Organist and Pianist Now at Fairview Presbyterian Church

Recording, Arranging & Teaching Music to the glory of God. Discover, create and enjoy music yourself. Piano lessons are available. [email protected] 317 617-9314

CHRISTEL DEHAAN FAMILY FOUNDATION

The Christel DeHaan Fa m ily Fo u nda tion is proud to support the Festival Music Society.

Our contribution is provided in honor of the children and families of Christel House International.

www.christelhouse.org

INDIANAPOLIS EARLY MUSIC // www.emindy.orq Saturday Morning June 27 at 11:00 AM

THE ROSE ENSEMBLE FREE FAMILY CONCERT AT THE GLICK INDIANA HISTORY CENTER (317) 577-9731 [email protected] www.emindy.org Join The Rose Ensemble for an informal, family-friendly iresentation of music from an ancient time and place. , he program will feature classical and folk music from 15th century Spain and beyond, representing Jewish, Christian ana Hispano-Arabic traditions. Audiences will be invited to participate in various ways, especially by learning simple Arabic rhythmic patterns. Children and adults alike will particularlyenjoy getting an up-close look at exotic instruments from the period.

Admission is FREE! Sponsored by the Christel DeHaan Family Foundation

The Rose Ensemble Family Concert Program

Jordan Sramek, Founder/Artistic Director, tenor, psaltery, hurdy-gurdy Kathy Lee, Kim Sueoka, sopranos Kris Kautzman, Natalie Nowytski, altos Matthew Dean, tenor; Jake Endres, ; Mark Dietrich, bass David Burk, 'ud; Tim O'Keefe (percussion); Ginna Watson, vielle, rebec, harp with special guest: Nell Snaidas (soprano)

Cuando'l Rey Nimrod Traditional Sephardic (Morocco) Pues que ni, Reyna del cielo Juan del Encina (1485-c. 1530)

Una matica de ruda Traditional Sephardic (Morocco/Turkey) Porque llorax blanca nina? Traditional Sephardic (Morocco/Turkey) Coplas de las flores Traditional Sephardic (Morocco)

Cantiga #424 Cantigas de Santa Maria (13th. Spanish)

Ayyu-ha s-saql 'ilay-ka 1-mustaka Hispano-Arabic muwashaha (mode: kurdl) ArabayaTas Koydum (instrumental) Traditional Turkish karsilama

Hoy comamos y bebamos Juan del Encina (1485-C.1530) Hazeremos una merenda Traditional Sephardic Quita'l tas, mete'1 tas Ttaditional Sephardic

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL ith 300 hundred acres, there's so much to enjoy at Hoosier Village. Pet owners, bird watchers and gardeners all appreciate the convenience of easy access to acres of woods and green space. With miles of walking and biking paths, wooded trails and our own golf course just minutes away, Hoosier Village offers lots of options for active senior living. There's plenty to enjoy indoors too. The new Community Center has an indoor pool, fitness rooms, art studio, spa and moTe. Two on-site restaurants provide both fine and casual dining.

esidents and their families have the security of knowing that Hoosier Village offers a complete continuum of care right on our campus. Additionally, our financial strength and stability ensure that we will maintain the superb level of amenities, accommodations, care and services our residents have selected.

To learn more or to arrange a visit, please call John Koontz or Amy Snyder at 317-873-3349. www.hoosiervillage.com

Hoosier Village, 9875 Cherryleaf Drive TWptjillot Indianapolis, IN 46268 (Located off 96th Street between Michigan and Zionsville Roads) Phone: 317.873.3349

A BHI SENIOR LIVING COMMUNITY

INDIANAPOLIS EARLY MUSIC // www.emindy.orq Sunday, June 28, 2015 The Rose Ensemble From the Land of Three Faiths: Voices of Ancient Mediterranean Jews, Christians, and Muslims

Jordan Sramek, Founder/Artistic Director, tenor, psaltery, hurdy-gurdy Kathy Lee, Kim Sueoka, sopranos; Kris Kautzman, Natalie Nowytski, altos Matthew Dean, tenor; Jake Endres, baritone; Mark Dietrich, bass David Burk, 'ud; Tim O'Keefe, percussion; Ginna Watson, vielle, rebec, harp with special guest: Nell Snaidas, soprano

Cuando'l Rey Nimrod Traditional Sephardic (Morocco) Pues que tu, Reyna del cielo Juan del Encina (1485-C.1530)

Una matica de ruda Traditional Sephardic (Morocco/Turkey) Porque llorax blanca nina? Traditional Sephardic (Morocco/Turkey) Coplas de las flores Traditional Sephardic (Morocco)

Cives caelestis patriae Plainchant (12th-century Italian) Iudea et Ierusalem (instrumental) Anonymous (14th-century English) Siete hijos tiene Hanna Traditional Sephardic

Longa Sultani Yegah Anonymous Turkish (mode: Sultani Yegah) Psalm 29 traditional Sephardic (Istanbul) Meyuchad Liturgical song (Sephardic Synagogue of Florence)

Adoramoste Senor Francisco de la Torre (1460-1504)

Hoy comamos y bebamos Juan del Encina Hazeremos una merenda Traditional Sephardic Quita'l tas, mete'l tas Traditional Sephatdic

Intermission

Cantiga #424 Cantigas de Santa Maria (13th-century Spanish)

Ayyu-ha s-saql 'ilay-ka 1-mustaka Hispano-Arabic muwashaha (mode: kurdl) Arabaya Tas Koydum (instrumental) Traditional Turkish karsilama

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Cantiga #10 Cantigas de Santa Maria Morena me llaman Traditional Sephardic (Salonika) Two simsimiyya songs (instrumental) Traditional Bedouin (arr. The Rose Ensemble)

Et Sha'are Ratzon Sephardic piyyut (Libya) Cuando el rey Nimrod Traditional Sephardic (Balkan)

Founded in 1996 by Artistic Director Jordan Sramek and now in its 19th performance season, The Rose Ensemble is based in Saint Paul, Minnesota and enjoys a full schedule of performing, recording and outreach. Through virtuosic artistry and scholarly research, the group produces imaginative and inspiring musical performances and educational programs that connect each individual to compelling stories of human culture and spirituality from around the world. Each season, the group illuminates several centuries of rarely heard repertoire, bringing to modern audiences research from the world's manuscript libraries and fresh perspectives on music, history, languages, politics, religion and more. With ten critically acclaimed recordings and a diverse selection of concert programs, The Rose Ensemble has thrilled audiences across the United States and Europe with repertoire spanning one thousand years and over twenty-five languages, including new research in European, Middle Eastern and American vocal traditions.

Rose Ensemble musicians have received acclaim for their ability to perform both as an ensemble and as individual soloists, while Mr. Sramek has been lauded for diverse programming and ground-breaking research. The group is the recipient ofthe 2005 Margaret Hillis Award for Choral Excellence and took first place in both secular and sacred categories at the 2012 Tolosa (Spain) International Choral Competition. Mr. Sramek is the 2010 recipient ofthe Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal.

Recognized as a leader and innovator in the world-wide vocal music scene, The Rose Ensemble tours regularly. Recent appearances include Trinity Wall Street Series (NYC), Early Music Now (Milwaukee), the Museum (Phoenix), Cornell University, Luther College, the J. Paul Getty Museum in Los Angeles, the National Gallery (Washington, D.C.) and St. Quirinus Cathedral, Neuss (Germany). In 2012 the group served as artists in residence at the Society for Biblical Literature Conference, and

INDIANAPOLIS EARLY MUSIC // www.emindy.org in 2014, the ensemble was chosen to represent the United States at the international Baroque music festival Misiones de Chiquitos in Bolivia. The Rose Ensemble can be heard regularly on American Public Media, the European Broadcasting Union and NPR's Performance Today.

Program Notes One ofthe challenges in creating a musical program such as this, which focuses on the so-called "Land of Three Faiths"—music largely from Hispano-Arabic traditions, and which strives to represent equally the traditions of Christianity, Judaism, and Islam—is the simple fact that while the Christian and Jewish traditions provide scholars with an abundance of repertoire, there is, in stark contrast, no Islamic liturgical music, save the chanting ofthe Qur'an (which, it should be noted, is not technically viewed as "music" in the Islamic tradition, and would nevertheless be inappropriate in this concert setting). The Rose Ensemble's approach to this thematic program, therefore, is more about emphasizing the cultural, musical and linguistic exchanges and collaborations that took place among people of different faith traditions in medieval Spain and, in subsequent generations, throughout many parts ofthe Mediterranean. In some traditions, manuscript sources are available (although precise, historically accurate interpretation is difficult to claim); and in other traditions, generations of people have been responsible for the preservation of melodies and texts, through orally transmitted history and by means of collective memory, most notably during times of war and oppression.

Our goal has always been that audiences would be enlightened with a greater knowledge of both world history and religious history, leaving performances with a sense that the lines between what traditionalists call "sacred" and "secular," what contemporary critics insist on labeling "folk" and "classical," and what modern society speaks of—at once synonymously and separately—as "Islamic" and "Arab," are very much blurred throughout history.

Our program highlights the Hispano-Arabic Middle Ages as both an important and devastating chapter of Judaic, Christian and Islamic history. In earlier times, having participated in the golden age of classical Arab culture in the Near East, Jews played an important role in Spain as mediators between Arab and Christian cultures, and Jewish poetry and music consequently reached a new pinnacle. In the thirteenth and early fourteenth centuries, Jews and Arabs joined the troubadours from Spain, France and Portugal as musicians at the Castilian court. The famous Cantigas de Santa Maria (Songs ofthe Virgin Mary) of King Alfonso X (1252-84) show Arab and Christian musicians playing together and many Cantigas tell of Jewish and Muslim life and culture in Spain. At the court of Sancho IV, along with thirteen Christian and fifteen Arab musicians, the Jew Ismael played the rota and accompanied his wife when she danced. But in the fourteenth century, when the Catholic re-conquest of Spain made considerable progress, the co-habitation of Spanish Christians, Jews and Muslims began to crumble, and the j^sgg

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL persecutions of 1391 led to mass conversions of Jews and Muslims, followed by the expulsion of the Jews in 1492 and the final Muslim expulsion between 1609 and 1614.

***

We can describe Jewish Music as having three distinct "streams." One is the Ashkenazi, or Western stream, which includes Klezmer, and denotes music originating in Eastern Europe and extending to the rest of Europe and the Americas. The second stream is the Sephardi, which refers to Mediterranean cultural sources, including Spain, Portugal, North Africa, Greece, and Turkey. The third stream is the Mizrahi, literally "Eastern," and refers to the music of Jewish people who resided for centuries amidst Arabic cultures. Sephardi literally means "Spanish" and alludes to the fact that until the Spanish expulsion of all non-Christians in 1492, a very fruitful Jewish culture existed in Spain; when these Jewish communities were expelled, they migrated to places all around the Mediterranean basin: Morocco, Egypt, Turkey, Greece, etc. They took with them a fifteenth-century version of Spanish called Ladino (Judeo-Spanish), in which most Sephardic songs are written.

Juan del Encina's works dominate much ofthe music found in the manuscript called the Cancionero Musical de Palacio (Palace Songbook), which was used at the household ofthe Duke of Alba, who employed Encina as "troubadour" for five years. Encina was with his patron at the siege of Granada and wrote songs to commemorate the passing of Muslim civilization in Spain. In one of Queen Isabel Is illuminated Books of Hours, the queen herself is depicted kneeling in prayer and in adoration of the Virgin Mary, who is crowned as Queen of Heaven. Isabel chose Mary as her Patroness, and her devotion to the Virgin can be seen in several dedicatory pieces such as the vernacular , Pues que tu, Reyna del cielo.

Only a few written examples of Sephardic music have survived. However, in addition to the descriptions of Sephardic musical practice taken from early sources, the Sephardim's oral heritage provides a guide to this immensely rich musical culture, such as the beautiful blend of at least two different stories in Porque llorax blanca ninai

Chapter 21 ofthe Book of Revelation begins with John's vision ofthe holy city, New Jerusalem, coming down from God out of Heaven, prepared as a bride adorned for her husband. He goes on to describe the twelve foundations of the wall of the city being garnished with all manner of precious stones. This gorgeous hymn, Cives caelestis patriae, describes two particular foundation jewels (and their mystical meanings) ofthe New Jerusalem.

Hanukkah, also known as the Festival of Lights, is an eight-day Jewish holiday commemorating the rededication ofthe Holy Temple in Jerusalem at the time ofthe Maccabean Revolt ofthe 2nd century BCE. One story traditionally told during this celebration is that of a Jewish martyr, Hannah, the subject ofthe song, Siete hijos tiene

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INDIANAPOLIS EARLY MUSIC // www.emindy.org Hanna. Hannah and her seven sons were arrested by the Greek king, Antiochus IV, who tried to force them to eat pork. When they refused, he tortured and killed the sons one by one. The narrator mentions that the mother "watched her seven sons die in the space of a single day, yet she bore it bravely because she put her trust in the Lord."

The words cantiga, cantica, and cantar were widely used in Spain and Portugal up to about 1450 to designate songs, but most ofthe surviving music is that ofthe Cantigas de Santa Maria, which have come down to us in four splendid manuscripts, three of them with , as well as depictions more than forty instruments. The manuscripts are distinguished by the beauty of their miniatures and the notation, the latter of which has assisted modern scholars in the reading of other medieval notation. With the exception of a few cantigas, including no. 424, the majority are ballad-style accounts of miracles performed by the Virgin Mary, rich with legends, anecdotes, and household tales. Written in Galician-Portuguese dialect, the Cantigas de Santa Maria follow a strict order, with every tenth song a poetically expressed cantiga de loor, a hymn in praise ofthe Virgin arousing the most heartfelt religious feelings. Cantiga no. 10 is one ofthe most beloved of all cantigas.

The Bedouin of Southern Sinai are scattered over the area between the bay of Elat to the east, the Suez Canal to the west and the Tiah and Egma cliffs to the north. Within these boundaries live nine Bedouin tribes; each is constituted by a group of people linked by family kinship ties and ruled by a sheikh who functions as their leader. The music and poetry practiced in the Bedouin encampments of the Sinai Peninsula and other places probably contain the most archaic features of Near Eastern folk music to survive. As there is no Islamic liturgical music, and only a very small portion of Islamic religious music would be appropriate in concert, we are pleased with our decision to feature music from the Bedouin tradition.

Et Sha'are Ratzon is a moving and dramatic piyyut, or para-liturgical poem, written by Judah Samuel Abbas (ca. 1100). It is sung on Rosh Hashanah after the reading ofthe haftarah, and preceding the blowing of the shofar. The poem contains the Midrashic version ofthe binding of Isaac (Midrash is the designation of a particular genre of rabbinic literature containing anthologies and compilations of homilies). As the cantor sings the last verse, which refers to the ensuing blowing of the shofar, his voice imitates the tremolo ol the teruah, a particular sound on the shofar. In some Oriental-Sephardic synagogues, this hymn is also chanted in Ladino.

—Jordan Sramek Biographies

Nell Snaidas - please see page 24

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Jordan Sramek is Founder/Artistic Director of The Rose Ensemble (Saint Paul, Minnesota), and enjoys an active career as a performing musician, scholar, teacher, and arts entrepreneur. Jordan studied early vocal performance and harpsichord at the College of St. Scholastica and has spent time learning from such early-music experts as Benjamin Bagby, Eric Mentzel, Dom. Daniel Saulnier, Margriet Tindemans and Crawford Young. He is highly respected for his meticulous research of music rarely heard in the concert hall and has championed vocal repertoire from Renaissance Poland, Bohemia and Sweden, as well as Baroque Mexico and nineteenth-century Hawaii. Now in frequent demand as performer and clinician, Jordan has led musical workshops and master classes at universities and festivals across the U.S., and with The Rose Ensemble he has developed several award-winning educational programs for young people. Jordan's honors include a Minnesota State Arts Board Fellowship for Performing Musicians, a Jerome Foundation Travel/Study Grant, and the 2010 Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal.

ETIQUETTE CONSULTING SERVICES, LLC Louellen Ramey, Director 9425 N. Meridian Street, #228 Indianapolis IN 46260 317-388-2911

INDIANAPOLIS EARLY MUSIC // www.emindy.org ronen

CHAMBER ENSEMBLE

2015-2016 Season Concerts

IN NATURE'S REALM Tuesday, September 15, 2015, 7:30 PM Wood Room ofthe Hilbert Circle Theatre Repertoire by Brahms, R. Strauss and others

THE SEASONS IN MUSIC Tuesday, November 17, 2015 , 7:30 PM Repertoire by S. Barber, G.Martin, R. Saxton and others

SCIENCE, MATH AND MUSIC Monday, February 22, 2016, 7:30 PM, Ruth Lilly Performance Hall at the Christel DeHaan Fine Arts Center Repertoire by Bartok, Hoist, Berners and others

VIOLIN IN THE SPOTLIGHT Tuesday, April 5, 2016, 7:30 PM, Basile Theater ofthe Glick Indiana History Center Ronen hosts HaomingXie, 2010 IVCI Laureate Repertoire by Khachaturian, Spohr and others

www.ronenchamber.org or see us on Facebook.

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL IP^•VH£^ BE YOUR FAVORITE SEAT.

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INDIANAPOLIS EARLY MUSIC // www.emindy.org Friday, July 10, 2015 Trio Settecento Orpheus Britannicus: Music of Purcell and his Forebears

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Rachel Barton Pine, baroque violin; John Mark Rozendaal, viola da gamba David Schrader, harpsichord and organ; with guest artists David Douglass, baroque violin; and Ellen Hargis, soprano

Sellenger's Rownde William Byrd (1539-1623) Love's Constancy Nicholas Lanier (1588-1666)

The Marigold N. Lanier The Lark Henry Lawes (1595-1662) Pavan Christopher Simpson (c. 1602-1669)

Faronell's Ground Michael Faronell; arranged by David Douglass, 2010

Stay, O Stay John Wilson (1595-1674) Beauty which all men admire John Wilson

Suite # 4 in C Major William Lawes (1605-1645) Fantasia Allemande Courante

Intermission

Music for a While from Oedipus (1659-1695)

Ayres, Compos'd for the Theatre: H. Purcell Ouverture from Bonduca Slow Air from Distressd Innocence Air from Distressd Innocence Air from The Virtuous Wife Sweeter than Roses from Pausanias Hornpipe on a Ground from The Married Beau Dance for the Chinese Man and Woman from The Fairy Queen

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Dry Those Eyes from The Tempest H. Purcell

A Hymn at Evening H. Purcell Three Parts on a Ground

Trio Settecento s passionate and authoritative interpretations renew the pleasures of hearing beloved music from the Age of Enlightenment while revealing the delights of new discoveries. Imagination, vigor, technical polish, and historical insight have made the Trio's performances appealing to audiences and critics alike.

Trio Settecento's "Grand Tour" recordings for Cedille Records survey seventeenth and eighteenth century chamber music of four nations (Italy, Germany, France, and England) and were declared by Classical North Carolina to be "...the finest recorded set of historically- informed Baroque period recitals that I have ever encountered." "There isn't a piece that doesn't impress" wrote Gramophone of An Italian Sojourn. Strings magazine praised A German Bouquet. "The music is lovely, and the playing exceptional." For A French Soiree, The Strad found the Trio had "ravishing form. . . . Magic moments abound." Of An English Fancy, Listen magazine said there are, "eighty minutes of labyrinthine delights here in which to lose yourself." The Trio's recording ofthe Francesco Maria Veracini's monumental Opus 2 Sonate Accademiche is scheduled for release on Cedille Records in June, 2015.

Trio Settecento was formed after Rachel Barton Pine, John Mark Rozendaal and David Schrader came together in 1996 to record the complete violin sonatas of George Frideric Handel. The Trio has appeared at the Boston Early Music Festival, the Frick Collection, the Chicago Early Music Festival, Millenium Park, Brome Beaux Arts, Columbia University's Miller Theatre, Dumbarton Oaks, and Houston Early Music.

Program Notes The seventeenth century in England was a golden age for song. The poignant and earthy imagery of metaphysical poetry married perfectly with the precious lyric gifts of generations of musicians whose work flourished from the flowering of Caroline culture, through the sad and distracted times ofthe Civil War, finally finding its place in the vigorous commercial theatet scene of Restoration London.

In 1626, after the accession of Charles I, Nicholas Lanier was appointed Master ofthe King's Music. The duties of this newly created post included supervision ofthe ensemble of " and voices." This elite group alone performed in the King's privy chamber, and, jggggj INDIANAPOLIS EARLY MUSIC // www.emindy.org despite the name, actually included violins, viols, and keyboards. The ensemble included musicians who had already worked together for both for Charles in his household as Prince of Wales and in the service of Charles' father James I, the Lawes brothers, William and Henry, and John Wilson. Peter Holman describes this milieu as a sort of think-tank in which these composers found scope to experiment with the latest ideas in both vocal and instrumental chamber music under the patronage of a knowing audience - the new King had himself studied music under Giovanni Coperario alongside William Lawes. The artistic "scene" around court must have been stimulating indeed: the musicians' work in courtly theatricals (masques) called for collaborations with illustrious writers and artists including Ben Johnson, Thomas Carew, John Milton, and Inigo Jones. John Donne and Anthony van Dyck were likewise active in these circles. It is one ofthe great endearing qualities of Cavalier culture that in this atmosphere of opulence and power, these artists persisted in creating music and poetry that quietly elevates the most ordinary, earthy bits ofthe human condition: immediate sensations ofthe natural world, as well as intimate expressions of fear and desire.

Nicholas Lanier's travels to Italy, where he purchased art for the royal collections, exposed him to the most modern forms of monodic song. "The Marigold" and "Love's Constancy" set quintessentially English verse by Thomas Carew, a protege of John Donne, using up-to-date Italian techniques. The author ofthe text of Henry Lawes' exquisite song "The Lark" is unknown. The poem itself draws on the stock of natural and supernatural imagery found in the masque texts of Jonson and in the Shakespeare's masque-like play, A Midsummer Nights Dream.

The pair of songs by John Wilson, is suggestive ofthe range of "high" and "low" cultural sources that enrich so much English music. "Beauty which all men admire" imitates, almost parodies modern Italian recitative with wrenching harmonic surprises underscoring the danger described in the text. On the other hand, the blithe "Stay, O Stay," with its lilting, vaulting lines strongly evokes the sound of Scottish popular song.

High and low styles are also incorporated in the instrumental selections on the first half of our program. William Byrd's keyboard variations on "Sellenger's Rownde" celebrate the joy and vigor of a popular ballad with subtly learned refinements of counterpoint and sonority. Our arrangement for four instruments is our own concept and not a recreation of a lost original or contemporary practice.

In pre-Restoration England the violin retained its vulgar associations with social dancing, popular music, and professionalism. A favored vehicle for virtuosi ofthe instrument throughout the era was a set of variations on a popular theme. The set of variations on "La Folia" by the Ftench violinist, Michel Faronel, was published by in The Division Violin of 1685. The Liibeck-born violinist Thomas Baltzar's advent on England's musical scene in 1655 was a sensation colorfully recorded by the musical chronicler Anthony Wood. Wood describes a musical meeting in Oxford at which Baltzar "played to the wonder of all the auditory; and exercising his finger upon the instrument several wayes to the utmost of his power. Wilson, thereupon, the public professor, the greatest judge

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL of Musick that ever was, did, after his humoursome way, stoop down to Baltzat's feet, to see whether or not he had a huff on, that is to say, to see whether he was a devil or not, because he acted beyond the parts of a man." Baltzar's famous multi-stopping and agility in passage work are in evidence in the exciting variations on "John Come Kiss," published in John Playford s The Division Violin of 1685.

William Lawes' Fantasia Suites, on the other hand represent an elite avant-garde practice that could only have been born in the rarified atmosphere of the royal court. The term "fantasy suite" has been coined to describe a genre invented by Giovanni Coprario, the Italian-trained dean of English composers. The form consists of an improvisatory fantasy followed by a pair of dances scored for two or three instruments (combinations of bass viols and treble instruments) accompanied by elaborate obbligato organ parts. Often the second dance is completed or followed by a slow section referring to the opening fantasy. These perorations make it clear that these pieces are not collections of individual movements, but actual integrated multi-movement works, the first such ever composed, created decades before the Italian sonata and the French dance suite achieved this level of articulation and integration. Coprario's suites are of such technical simplicity that one can easily imagine the prince playing the bass viol parts himself, as we are told he did. In the fantasy suites of W Lawes the instruments become eloquent rhetorical voices engaged in lofty (and peculiar!) conversations.

Between 1680 and 1695 the prodigious Henry Purcell composed music for more than fifty theatrical productions, a flood of lyric inspiration comparable to the achievements of Mozart or George Gershwin. In this music Purcell grafts his native melodic gift and his mastery of classic English counterpoint onto the French overture and dance forms and Italian vocal styles. The result is music whose immediate attractiveness, enduring freshness, and satisfying complexity have rarely been matched and never surpassed in the history of English music. Italian-style opera did not really take in London. The English wanted on-stage song to have a reason, therefore singing occurs in plays only when the drama suggests it. In Oedipus of John Dryden and Nathaniel Lee, three priests sing "Musick for a While" as a part of a ritual invocation to call the ghost of Laius from hell to name his murderer. Alecto is the personification of vengeful anger, one ofthe three Furies who who torment the dead. "Sweeter than Roses" is sung by a solitary character (Pandora) at the opening of Act III ofthe anonymous Pausanias. In John Dryden and Thomas Shadwell's revision of Shakespeare's The Tempest, the magical song "Dry Those Eyes" is sung by Ariel to the ship-wrecked and despairing Neapolitans just before the entrance of "eight fat Spirits, with Cornu-Copia in their hands."

The instrumental movements of our suite are drawn from the 1697 publication, A Collection ofAyres, Composd for the Theatre, and upon Other Occasions. This collection of one hundred nineteen pieces from thirteen stage productions is a treasure trove in which "one can scarcely find a lacklustre piece" (Curtis Price).

INDIANAPOLIS EARLY MUSIC // www.emindy.org Our program concludes with a pair of moving pieces composed on ground basses, a form shared by a number of Purcell's greatest works. "Three Parts upon a Ground" is scored for three treble instruments, most likely violins and basso continuo. This scoring may have been inspired by a suite by Thomas Baltzar, one which also inspired John Jenkins to compose for the same combination. The piece is a tour de force ofthe composer's craft, in which strict canons and dazzling fugal passages are woven over the strictly repeating bass line, a notoriously difficult task.

—John Mark Rozendaal Biographies

Violinist Rachel Barton Pine has appeared as soloist with many ofthe world's most pres­ tigious orchestras, including the Chicago, Atlanta, St. Louis, Baltimore, Montreal, Vienna, New Zealand and Iceland Symphonies, and the Philadelphia Orchestra, working with conductors including Charles Dutoit, Zubin Mehta, Erich Leinsdorf, Marin Alsop and Neeme Jarvi. Her festival appearances include Ravinia, Marlboro, and Salzburg. Her twen­ ty-five critically acclaimed albums for the Cedille, Dotian, and Cacophony labels include Brahms and Joachim Violin Concertos with Carlos Kalmar and the Chicago Symphony, and Beethoven and Clement Violin Concertos with Jose Serebrier and the Royal Philhar­ monic. She holds top prizes from the J.S. Bach (gold medal), Queen Elisabeth, Paganini, Kreisler, Szigeti, and Montreal international competitions. Her were made by Nicola Gagliano in 1770 and 1774, and have survived in completely original, unaltered condition, rachelbartonpine.com

John Mark Rozendaal specializes in performing stringed instrument music from the Baroque and Renaissance eras. He has served as founding Artistic Director ofthe Chicago Baroque Ensemble, and as as principal cellist of The City Musick and Basically Bach. He has performed solo and continuo roles with many period instrument ensembles, including Brandywine Baroque, the Newberry Consort, Orpheus Band, King's Noyse/Boston Early Music Festival Violin Band, Parthenia, The New York Consort of Viols, Repast, Fout Na­ tions Ensemble, and the Catacoustic Consort, jmrozendaal.com

Equally at home in front of a harpsichord, organ, piano, or fortepiano, David Schrader is "truly an extraordinary musician . . . (who) brings not only the unfailing right techni­ cal approach to each of these different instruments, but always an imaginative, fascinating musicality to all of them" (Norman Pelligrini, WFMT, Chicago). Schrader has appeared with the Chicago, Dallas, San Francisco, and Colorado Symphonies, and appeared as a soloist at four national conventions ofthe American Guild of Organists. He has also performed at the Irving Gilmore Keyboard Festival, the Ravinia Festival, and Aspen Music Festival, davidschrader.com

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL David Douglass is the director of the Newberry Consort; founder and director ofthe King's Noyse, a Renaissance violin band; and a frequently performer with such ensembles as the Musicians of Swanne Alley, the Harp Consort, the Parley of Instruments, the Toronto Consort, and the Folger Consort. His playing has been praised by the New York Times for its "eloquence" and "expressive virtuosity." Through his ground­ breaking work in the field ofthe early violin he has developed a historical technique that produces "a distinctively 'Renaissance' sound and style for the violin." (Fanfare Magazine) Mr. Douglass has been Artist Faculty at the Aston Magna Academy, teaches at many summer early music institutes and workshops, and is a frequent lecturer on early violin technique and repertoire. He has recorded a number of CDs for the Harmonia Mundi, Virgin, Erato, Berlin Classics, and Auvidis/Astree labels.

Soprano Ellen Hargis is one of America's premier early music singers, specializing in repertoire ranging from ballads to opera and oratorio. She has worked with many of the foremost period music conductors of the world, including Andrew Parrott, Gustav Leonhardt, Daniel Harding, Paul Goodwin, Monica Huggett, Jane Glover, Nicholas Kraemer, Harry Bickett, Simon Preston, , and Jeffery Thomas. She has performed with The Saint Paul Chamber Orchestra, The Virginia Symphony, Washington Choral Arts Society, Long Beach Opera, CBC Radio Orchestra, Freiburg Baroque Orchestra, Tragicomedia, The Mozartean Players, Fretwork, the Seattle Baroque Orchestra, Emmanuel Music and the Mark Morris Dance Group. Ellen Hargis has performed at many ofthe world's leading festivals including the Adelaide Festival (Australia), Utrecht Festival (Holland), Resonanzen Festival (Vienna), Tanglewood, the New Music America Festival, Festival Vancouver, the Berkeley Festival (California), and is a frequent guest at the Boston Early Music Festival.

Her discography embraces repertoire from medieval to contemporary music. She has recently recorded the leading role of Aegle in Lully's Thesee for CPO, nominated for a Grammy Award for Best Opera Recording in 2008, as well as Conradi's opera Ariadne, also nominated for a Grammy Award. She is featured on a dozen Harmonia Mundi recordings including a critically acclaimed solo recital disc of musk by , and in Arvo Part's Berlin Mass with Theatre of Voices, and two recital discs with Paul O'Dette on Noyse Productions.

Ellen Hargis teaches voice at Case Western Reserve University in Cleveland, and is Artist-in-Residence with the Newberry Consort at the University of Chicago and Northwestern University.

INDIANAPOLIS EARLY MUSIC // www.emindy.org Sunday, July 12, 2015 Rachel Barton Pine with the Indianapolis Baroque Orchestra Viva Vivaldi III: Concertos for violin & viola d'amore

Allison Edberg, violin I; Martie Perry, violin II and viola Rachel Gries, viola; Susan Rozendaal, viola Christine Kyprianides, cello; Phil Spray, violone Tom Gerber, harpsichord; David Walker, theorbo

Concerto for Viola d'amore in D Major, RV 392 Antonio Vivaldi (1678-1741) Allegro Largo Allegro

Imitation caracteres de la danse (1687-1755) Loure Rigaudon Rondeau Canarie Bouree Musette Passepied Polonois Presto Concertino

Concerto for Viola d'amore in D Minor, RV 395 Antonio Vivaldi Allegro Largo Allegro

Concerto for Viola d'amore in D Minor, RV 393 Antonio Vivaldi Allegro Largo Allegro

Intermission

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL Concerto for Strings in C Major, RV 114 Antonio Vivaldi Allegro Adagio Ciacona

L'Arte del Violino Opus 3, No. 12 Pietro Antonio Locatelli "The Harmonic Labrinth" (1695-1764) Allegro Largo - Presto - Adagio Allegro

Rachel Barton Pine is an internationaly acclaimed concert violinist, recording artist, educator, and philanthropist who has been hetalded as a leading interpreter ofthe great classical masterworks. Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences' experiences of classical music.

"An exciting, boundary-defying performer - Pine displays a power and confidence that puts het in the top echelon." —The Washington Post A brief note on the viola d'amore... According to Leopold Mozart, Wolfgang Amadeus's father, the viola d'amore is "a special kind of violin that sounds especially beautiful in the stillness ofthe night." The greatest violin virtuosi ofthe Baroque era performed on this instrument, including Johann Georg Pisendel in Germany (for whom Vivaldi wrote his viola d'amore concerti) and Petro Locatelli in Italy.

I first learned about the viola d'amore in my teens. However, it wasn't until 2007, when I received the loan of a beautiful modern nineteenth Century 14-string d'amore, that I finally had the opportunity to play this remarkable instrument. That experience reinforced my early fascination, and I began researching and collecting repertoire. I had the honor to host the Viola d'Amore Society Congress in Chicago in 2010 and subsequently acquired the gorgeous, original-condition, 1774 Nicola Gagliano 12-string viola d'amore that you'll be hearing tonight. Amazingly, the top of this instrument was made from the very same tree as the top of my original-condition 1770 Nicola Gagliano violin that I'll also be playing this evening.

It's a great pleasure to share these two instruments with you, and I hope that you enjoy the unique sound and beauty ofthe viola d'amore. —Rachel Barton Pine

INDIANAPOLIS EARLY MUSIC // www.emindy.org Named one ofthe top 25 ensembles in celebration of Early Music America's 25th anniversary in 2011, the Indianapolis Baroque Orchestra is dedicated to excellent and exuberant performance of seventeenth and eighteenth century music on period instruments. The orchestra was founded in 1997 and its current artistic director is Barthold Kuijken, internationally renowned Baroque flutist and distinguished Early Music pedagogue.

Members ofthe orchestra are some ofthe finest Baroque specialists in North America and are frequent collaborators with other well-known ensembles such as Bourbon Baroque, Apollo's Fire, Tafelmusik, Seraphic Fire and Washington Bach Consort.

Notable guest appearances by, among others, Julianne Baird, Stanley Ritchie, and John Holloway have become highlights in the concert seties the orchestra presents in Indianapolis and around the United States.

The Viola dAmore,

courtesy of the Deutches Museum

For more information on this instrument visit

www.violadamoresociety.org

and

www.violadamore.org

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL LANDRIGAN

REALTOR S'

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INDIANAPOLIS EARLY MUSIC // www.emindy.org Tributes v////////////y////////. An event such as the Indianapolis Early Music Festival would be impossible without the generous support of many individuals, businesses, and foundations. For your faith in and support of IEM, we sincerely thank you. Our Operating and Endowment Funds continue to grow through your generosity.

(Received October 1, 2014 through May 26, 2015)

PHILANTHROPIC $1000 OR MORE ALLIED $100-$249 Anonymous (three) Anonymous Arts Council of Indianapolis & Dawn and J Darrell Bakken The City of Indianapolis Ingrid and David Bellman The Indianapolis Foundation Suzanne Blakeman Allen Whitehill Clowes Charitable Foundation, Inc. e Sheila and Bill Boston Jerry Badger Marsha and Greg Brown Christel DeHaan Family Foundation David Chandler Indiana Arts Commission Regional Arts Partner Ellen and David Crabb Liberty Fund a Beth L Fineberg Joan and Jordan Leibman Laura L. Goetz Lilly Endowment Inc. * Elizabeth and Paul Jarvis Lilly Foundation Matching Gift Program Rosemary and James Jeffery Lucina B. Moxley Joie Kipka National Endowment for the Arts Dorian and Dave Poole Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Janice and Brandon Roger Penrod Society a Alice and Bob Schloss Neal Rothman Beverly and Sylvia Scott Susan and Glenn Pratt John A. Seest

Whitewater Group vAda Shaum BENEFACTORY $500-$999 Mary Ann and Daniel Shields .-- Cheryl and Jim Strain Suzanne B. Blakeman Glick Family Foundation Laurel and Brad Hays CONTRIBUTING Under $100 Kay F. Koch 9 Gail and Ron Bowler Jane and Fred Schlegel Elizabeth Brayton SPONSORING $250-$499 Cathy and John Bridge Anonymous Becky and Arnold Burkhart Eric Bowes and Tatiana Faroud Jack Doskow Leslie and David Bartolowits Robert Duffy Sylvia and Douglas Hill o James Glazier and James A. Ferguson Suzanne and John Paul Godich Mary Flo and Thomas Mantel Laura L. Goetz Kara Pearce Harriet Ivey and Dick Brashear Jane and Tony Tietz Marcia Krieg Mr. and Mrs. Alan Whaley Christine Kyprianides Stanley Ritchie Harriet Wilkins Mary Anne and Ken Winslow Donna Worth

THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL TRIBUTE GIFTS MEMORIAL GIFTS Tribute gifts are an excellent way to honor someone In memory of Dee Garrett: who values the Indianapolis Early Music Festival. David Garrett Joan and Jordan Leibman In honor of Ruth Baaken: Dawn E. Baaken FRANK SPRINGER LEGACY FUND J. Darrell Baaken Deferred Giving Fund: In honor of Suzanne Blakeman : Annette and John Carr Bob Mead Frank Cooper In honor of Steve Brockman: Dee and Dave Garrett C.E. Yeager Joie and Ross Kipka Gail McDermott-Bowler In honor of Cathy and Tilden Mendelsohn: Jane and Fred Schlegel Carlalea Cody Frank Springer

SAVE THE DATE: Friday, April 1, at 7:30 PM at Indiana Landmarks Center Indianapolis Early Music's 50th Season begins! From Paris: Fuoco E Cenere presents Pulcinellal

Noisy, impolite and oh! so politically incorrect, Pulcinella takes his leave of Igor Stravinsky's 20th century masterpiece in search of his true origins.To our delight he returns to Naples to cavort with his old friends from the Comedia dell'Arte. Amidst the new/old adventures of Pulcinella, Fuoco E Cenere also returns to the soave sonorities of Pergolesi, that tragic composer whose music so inspired all of Europe that new works appeared even decades after his death.

INDIANAPOLIS EARLY MUSIC // www.emindy.org CLINICAL LARYNGOLOGIST, DR. STACEY HALUM, AND VOICE PATHOLOGIST, REBECCA RLSSER, ARE A TEAM THAT HAS BEEN BOTH LOCALLY AND NATIONALLY RECOGNIZED FOR THEIR EXPERTISE IN THE CARE OF VOICE PROBLEMS. IF YOUR VOICE IS UNDER STAGEY L HALUM PERFORMING, MDV REBECCA RISSER CALL US FOR AN MM, MA. CCC-SLP APPOINTMENT AT 317.450.4180 YOUR VOICE. OUR PASSION.

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THE 2015 INDIANAPOLIS EARLY MUSIC FESTIVAL HOWEVER YDU LDDK AT IT

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Nell Snaidas sings with Aeris on Friday, June 26, at 7:30 PM and with The Rose Ensemble on Sunday, June 28, at 4:00 PM

Front Cover: Rachel Barton Pine performs with Trio Settecento on Friday, July 10, at 7:30 PM and with the Indianapolis Baroque Orchestra on Sunday, July 12, at 4:00 PM

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