The Washington Revels PRESENTS

IN CELEBRATION OF THE WINTER SOLSTICE, A MIDWINTER’S TALE OF THE KING AND THE FOOL WITH Piffaro, the Renaissance Band The Stonecastle Carolers The Welspent Youth The Sprytlie Children The Lord of Misrule The Royall Noyse Brass The Foggy Bottom Morris Men Matthew Nielson AS THE KING AND Mark Jaster AS THE FOOL

Roberta Gasbarre ARTISTIC DIRECTOR Elizabeth Fulford Miller MUSIC DIRECTOR Jason Morris PRODUCTION MANAGER John Clewett EXECUTIVE DIRECTOR AND PRODUCER

LISNER AUDITORIUM THE GEORGE WASHINGTON UNIVERSITY 21ST AND H STREETS NW, WASHINGTON, DC DECEMBER 3–5 AND 10–12, 2004 PART ONE Setting the Stage BAILIFF, Lock Handley FOOL, Mark Jaster 1. Brass Prelude Dating from 1325, this estampie comes from a fragmentary manuscript known as the Robertsbridge Codex, which preserves the earliest known keyboard music. Brass arrangement by Charlie Pilzer. The Royall Noyse Brass 2. Deo Gracia Anglia – ‘The Agincourt Carol’ This anonymous carol, written in 1415, recounts the remarkable victory of Henry V at the battle of Agincourt. We sing it here to welcome our King. The Latin refrain can be translated as Give thanks unto God, O England, for victory. Greg & Christopher B. Lewis, Constance Ridgway & Jim Lazar, Gary Colonna & William Wurzel, Zoe Handerson & Douglas Baumgardt, SINGERS or a twenty-second year, The Revels brings to The Stonecastle Carolers Piffaro, The Renaissance Band Washington the ancient and joyous celebration of the year’s rebirth at ‘the shortest day’ – the winter solstice. 3. In Dulci Jubilo We find ourselves in the Great Hall of a medieval castle, awaiting In Dulci Jubilo is one of the oldest and most famous of ‘macaronic’ songs, which combine Latin and a vernacular language such as English or German. The melody dates from 14th-century the arrival of King and court, and the commencement of the royal midwinter Germany, and the words are attributed to the German mystic Heinrich Suso (ca. 1295-1366), festivities. Our companion in waiting is the Fool. who is said to have had a vision in which angels sang these words as he joined them in a dance of worship. The brass arrangement is by Charlie Pilzer, and the English paraphrase and handbell The King embodies temporal power, and his kingdom relies upon him for parts are by Elizabeth F. Miller. its sense of security. The Fool is much closer to the earth, more attuned to the Greg Lewis, LEADER natural order. Together, they reflect the tension between human power and the Leah de La Beaujardiere, Andrea Blackford, Gillian Hollar & Constance Ridgway, HANDBELLS forces of nature. It is only when these forces are in balance that peace and The Royall Noyse Brass harmony can prevail. ALL SING: When danger is at hand, the power of the Fool comes into play. It calls to us from one chaotic age to another, beware! We are entering into the time of the Feast of Fools, when nothing is sacred, and every convention will be tested.

— DECEMBER 2004 4. Border Morris Dance 9. Children’s Songs A raucous style of morris dance from the Welsh border country to rout evil spirits and bring in luck Villagers All! for the new year. The dancers, often miners, would wear masks or blacken their faces with coal Words from the carol sung to Mole and Rat by the field mice in The Wind in the Willows, by dust for anonymity. This particular dance, Hunt the Squirrel, is derived from the morris traditions Kenneth Grahame. of Shropshire, Herefordshire and Worcestershire. Miri it is The Foggy Bottom Morris Men One of the earliest surviving English secular songs with music, dating from 1220. Sung in Piffaro, The Renaissance Band early English, it can be loosely translated as Summer while it lasts is merry with the song of birds. But now the blast of the wind and foul weather is coming. Ei, Ei! How long is the night! And I with 5. The King’s Dance so much wrong, sorrow and mourn and fast. Step Stately is a courtly English country dance from John Playford’s collection, The English Dancing There Was a Pig Went Out to Dig Master, ed. 1650. The tune to which it is danced is called Jack Pudding. An old agrarian mummers’ carol from Bedfordshire, linking the Christmas season with the cycle of Matthew Nielson & Elisabeth Myers, Susan & Greg Lewis, planting and harvesting. Sara Moses & Christopher B. Lewis, DANCERS The Sprytlie Children, WITH Julianne Harden Piffaro, The Renaissance Band Piffaro, The Renaissance Band 6. A Courtly Interlude 10. The Lord of Misrule th A three-part chanson by Italian composer Antonello de Caserta (late 14 c.), Beauté parfaite As in Medieval times during the Feast of Fools, a Lord of Misrule is chosen from the populace to sets a poem by the famous French poet and composer Guillaume de Machaut. Reflecting preside in topsy-turvy fashion over the celebration. the ars subtilior (more subtle art) style of the late 14th century, each part moves in its own COURT INTERPRETER: James Lazar independent and complex rhythm, yet the overall effect is of a flowing and elegant unity. O Tocius Asie Piffaro, The Renaissance Band This medieval song dates from the Crusade of 1248, but its music represents a style current some fifty years earlier. 7. Personent Hodie Douglas Baumgardt, Jackie Berry, Andrea Blackford, Greg Lewis, Diane Kresh, This jubilant Latin rejoices in the birth of the baby, the wise men following the star, Nancy Lynn, Mike Matheson, Mari Parker & Donna Simonton, SINGERS and the angels singing ‘Glory to God in the Highest.’ The tune first appeared in the Moosburg Piffaro, The Renaissance Band Gradual of 1360, although with different words. The present setting, arranged by English composer Make We Merry Both More and Less John Rutter, is based on the text and tune as they appeared in , a Scandanavian song-book published in 1582. This anonymous text, from a medieval manuscript found at Balliol College, Oxford, is said to be connected with festivities associated with the Lord of Misrule. The tune, a late 13th-century Nota The Stonecastle Carolers or untitled dance, is found in the same manuscript as the well-known round Sumer is icumen in. Douglas Baumgardt, Monica Hosky, Gillian Hollar, Michael Matheson & Julianne Harden, HANDBELLS The Stonecastle Carolers Piffaro, The Renaissance Band Piffaro, The Renaissance Band The Royall Noyse Brass 11. Ding Dong Merrily on High 8. Somerset The music for this popular Christmas carol first appeared in the Orchesographie, a 16th-century The word ‘wassail’ comes from the Anglo-Saxon phrase wæs hal – an everyday greeting that can be book of dances written by Johan Tabourot (1519-93). This Branle l’Officiel was to be danced by translated as ‘be healthy.’ The phrase was eventually contracted into one word, and came to refer ‘lackeys and serving wenches and sometimes by young men and maids of gentle birth masquerad- to the act of toasting someone’s health. Wassailers would travel from house to house, singing, with ing as peasants and shepherds.’ The English lyric was written in the early 20th century by George a ‘wassail cup’ which their hosts were expected to fill. Cecil Sharp collected this folksong in the Ratcliffe Woodward. The verse two harmony, verse three descant and handbell parts are by early 1900s from the Drayton wassailers in Somerset. The brass arrangement is by Brian Holmes. Elizabeth F. Miller. RIDDLER: William Wurzel Greg Lewis, LEADER The Stonecastle Carolers Gillian Hollar & Diane Kresh, HANDBELLS The Royall Noyse Brass The Stonecastle Carolers The Royall Noyse Brass using figures from the English morris dance tradition. Morris dances brought fertility and luck to ALL SING: the fields and villages in which they were performed. Greg Lewis, SINGER Christopher B. Lewis, Andrew Marcus & Phinney McIntire, DANCERS (ALTERNATING) The Royall Noyse Brass ALL SING REFRAIN: ‘Dance, then, wherever you may be; I am the Lord of the Dance,’ said he, ‘And I’ll lead you all, wherever you may be, And I’ll lead you all in the Dance,’ said he. INTERMISSION w 12. The Contest In many cultures, the testing of the king in combat is a necessary ritual to preserve the power and PART TWO spirit of the office. One version of this incantation, published in an early Mother Goose collection, has been connected to the tragic Battle of Culloden in 1746, in which Bonnie Prince Charlie and Instrumental Prelude his Highland clansmen were defeated by British troops. A setting by Heinrich Finck (1444-1527) of the ancient German song Greiner Zanner. The Sprytlie Children The Royall Noyse Brass 13. Te Deum Laudamus 17. O Rubor Sanguinis An anonymous 13th-century English hymn, offered here as a prayer for the King’s success. The Written by Hildegard von Bingen (1098-1179), this homage to St. Ursula of Cologne evokes the text is credited to Nicetas, Bishop of Remesiana (ca. 335-414), in what is now Serbia. image of red blood flowing between Heaven and Earth: O redness of blood, who have flowed down The Stonecastle Carolers Men from that height which divinity touched: you are the flower that the winter of the serpent’s breath Piffaro, The Renaissance Band never withered. The influential German abbess also wrote major works on theology and natural history as well as poetry and plays, and was an advisor to bishops, popes and kings. 14. The Battle Julianne Harden, Mallary Forbes & Ryan Greene-Roesel, SINGERS A Shadow Knight comes from the natural world to bring forth winter’s deepest darkness. As the Andrea Blackford, Zoe Handerson, Helen Fields & Elisabeth Myers, HANDBELLS contestants meet, we hear the keening of human voices and of nature. The chant is O virga ac diadema by Hildegard von Bingen; the soundscape design is by Matthew Nielson. 18. Abbots Bromley Horn Dance Claudia Dulmage, Ryan Greene-Roesel, Zoe Handerson, Diane Kresh, The ancient ceremony of ‘deer running,’ once a mid-winter ritual dance of the hunt, is still Nancy Lynn, Sara Moses, Celia Murphy & Donna Simonton, SINGERS danced every year in the English village of Abbots Bromley in Staffordshire, ‘bringing in the luck.’ The first written account of the horn dance dates from 1226 at the Barthelmy Fair, but carbon 15. Fortz Chausa Es dating indicates that the reindeer antlers still used today at Abbots Bromley date to 900 A.D., about the time of the Danish invasion. The dance’s supernumerary characters – the Fool, Hobby This planh, or elegy, written in Provençal by troubadour Gaucelm Faidit (fl. 1170-1205), laments Horse, Man-Woman and Boy Archer – link it with the mumming tradition of Old Christmas. the death of Richard Lion-Heart, who died in 1199 from an infected arrow wound received in battle against the rebelling Limousins. The Foggy Bottom Morris Men, WITH Joan Kimball, RECORDER Elisabeth Myers, SINGER Grant Herreid, LUTE 19. Man mei longe him lives wene An anonymous English minstrel song from the 13th century: Man may expect long life, yet often, Katy Warren, DANCER for him, there waits a trick. Fair weather often turns to rain, and sunshine is wondrously made. Therefore, man, bethink thyself – all thy green youth shall fade. Well-a-day! Neither King nor Queen 16. Lord of the Dance shall escape the drinking of death’s draught. Man, ere thou fallest off thy bench, quench thy sin. Sydney Carter’s contemporary lyrics to the Shaker song Simple Gifts were choreographed for the first staged Christmas Revels in 1971 by Carol Langstaff with Shag Graetz and Jonathan Morse, Grant Herreid, SINGER 20. Danse Macabre ALL SING: A variant on the medieval dance of death, which underscores the cycle of life, death and rebirth. Interpreted by Mark Jaster from original choreography by Geoff Hoyle. Mark Jaster Piffaro, The Renaissance Band 21. Change Ring The tradition of ringing church bells to call and gather the community goes well back into the Middle Ages. The later innovation of mounting each bell on a full wheel allowed greater precision in ringing, which led to the development of intricate patterns of change ringing. Change ringing is also done on handbells, and is done now to bring in the year. Douglas Baumgardt, Zoe Handerson, Julianne Harden & Gillian Hollar, HANDBELLS 22. Sun Turning This traditional English street chant evokes the cycle of the seasons, from to Yule! 28. The The Sprytlie Children A traditional English ‘forfeit’ carol (those who sang at the wrong time were expected to forfeit a candy, or a kiss, to their neighbor), arranged for brass and tympani by Kenneth Pulig for Revels in 23. Resonet in Laudibus 1979. First appearing in the Moosburg Gradual of 1360, this popular German Christmas carol is associat- Greg Lewis, LEADER ed with the medieval custom of cradle-rocking, where a cradle was placed before the altar and The Royall Noyse Brass rocked to the singing of Wiegenlied (cradle-songs) at Christmas services. In the later Middle Ages, Resonet in Laudibus was also associated with dancing – large cradles depicting the town of ALL SING: were erected in churches, and young boys would leap around them, singing and clap- On the first day of Christmas my true love sent to me ping their hands. A partridge in a pear tree. The Stonecastle Carolers Two turtledoves, Piffaro, The Renaissance Band Three French hens, Four calling birds, 24. Please to See the King Five gold rings, A traditional carol from Pembrokeshire, South Wales, commemorating the ritual hunting of the Six geese a-laying, wren on St. Stephen’s Day, December 26. Its opening words, ‘Joy, Health, Love and Peace,’ have Seven swans a-swimming, become a favorite Revels expression of good wishes. We sing it now as our King emerges, evoking Eight maids a-milking, the Green Man, an icon of the return of Spring. Nine ladies dancing, The Sprytlie Children Ten lords a-leaping The Stonecastle Carolers Eleven pipers piping, Twelve drummers drumming, 25. Alle Psallite An anonymous 13th century conductus from the Montpellier Codex, used here as a coronation hymn. 29. Saint George and the Dragon A compilation by Revels founder John Langstaff of several medieval mummers’ plays celebrating Claudia Dulmage, Helen Fields & Sara Moses, HANDBELLS The Stonecastle Carolers fertility, death, and rebirth. The sword dance and ritual execution survive from a time when the Piffaro, The Renaissance Band death of the hero, also known as the ‘Sun King,’ was considered necessary to assure fertility and the return of light and warmth. The sword dance performed by the Foggy Bottom Morris Men is 26. Salutation from the ‘Ampleforth’ play of the North Riding, Yorkshire. From a letter written by Italian monk Fra Giovanni to a friend on , 1513. ROOM: Monica Hosky, : Dick Kovar, JOHNNY JACK: Gillian Hollar, THE DRAGON: Colin Sandel, ST.GEORGE: Christopher B. Lewis, THE DOCTOR: Terry Winslow Matthew Nielson, King 27. Round for Peace: Dona Nobis Pacem The Latin words mean ‘give us peace.’ Greg Lewis, LEADER 30. In dulci jubilo This setting of In dulci jubilo, by Samuel Scheidt (1587-1654), is a jubilant double-choir motet in PERFORMERS the Venetian style, with a musically athletic obligato part for two descant trumpets. Please join in The Leading Players: The Stonecastle Carolers: Matthew Nielson John L. C. Carter-Hirt singing the final ‘Alpha es et O!’ Mark Jaster, FOOL Douglas Baumgardt * Mari Parker Emma Hardin Michael Platt Blair James Greg Lewis, LEADER Matthew Nielson, KING Jacqueline R. Berry Andrea Jones Blackford * John Pomeranz Rebecca Marie McClung The Royall Noyse Brass: The Stonecastle Carolers Jill C. Braibanti Constance Ridgway * Amy Catharine Miller Robert Posten, DIRECTOR, Leah de La Beaujardiere * Colin Sandel Allie Names The Sprytlie Children BASS TROMBONE Gary Colonna Donna K. Simonton Jason Noone Piffaro, The Renaissance Band Robert Birch, TRUMPET Claudia Hastings Dulmage * Rolf Taffs Robin Pollak David Cran, TRUMPET The Royall Noyse Brass Helen Fields * Diane Behrens Winslow Jamie Sandel Dave Scianella, TROMBONE Barbara Gesumaria Terry Winslow Vidya L. Srinivasan Sharon Tiebert, FRENCH HORN Ryan Greene-Roesel William Wurzel Simon S. Voorhees Don Spinelli, TIMPANI Zoe Handerson * * THE HIGHTOWER BELLS Maddy S. G. Weko Piffaro, Lock Handley The Welspent Youth: The Foggy Bottom The Renaissance Band: Julianne J. Harden * Keegan Cassady Morris Men: Joan Kimball & James Harkless Robert Wiemken, DIRECTORS Jessye DePrest Nathaniel Brown Gillian Hollar * Grant Herreid, LUTE, GUITAR, Mallary Forbes Pete Brown Monica Hosky * SHAWM, RECORDER Trevor Lewis Brad Graham 31. The Shortest Day Richard Kovar Joan Kimball, SHAWM, Jasmine Mahboob Andrew Marcus Written by Susan Cooper in 1977, this poem has become an annual tradition in all Christmas Diane Nester Kresh * RECORDER, BAGPIPE, Sarah McClung Scott Marcus Revels performances throughout the country. CORNEMEUSE Jim Lazar Gordon Moore Jud McIntire, FOREMAN Christa Patton, SHAWM, HARP, Michael Lewallen Glen North Phinney McIntire BAGPIPE, RECORDER Christopher B. Lewis Elizabeth Parisi Colin Sandel 32. The Sussex Mummers’ Carol Robert Wiemken, SHAWM, Greg Lewis Art Shaw DULCIAN, RECORDER, Charlie Sullivan This carol was traditionally sung at the end of the mummers’ play in Horsham, Sussex, and has Susan Hall Lewis CORNEMEUSE, PERCUSSION Jocelyn Turner Cyd Shelby, MUSICIAN become the parting song in each of the eleven American communities where The Christmas Revels Nancy Lynn Tom Zajac, SACKBUT, RECORDER, Katy Warren Joe Shelby is performed. Brass transcription by Brian Holmes; descant and final verse harmonization by BAGPIPE, PIPE & TABOR Michael Matheson * Rodger Sunderland Ralph Vaughan Williams. Sara W. Moses * The Sprytlie Children: Gus Voorhees Celia Murphy Ella Barnes Jim Voorhees The Royal Noyse Brass Elisabeth R. Myers * Ella Caplin Simon Voorhees ALL SING:

The Washington Revels gratefully acknowledges the support of the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts.

The Washington Revels CELEBRATING TRADITION THROUGH MUSIC, DANCE AND DRAMA 7775 17th St. NW, Washington, DC 20012 · (202) 723-7528 · [email protected] · www.revelsdc.org BRAILLE PROGRAMS: Services for the Visually Impaired ADMINISTRATIVE ASSISTANT: Carrie Kovar INTERPRETERS FOR THE HEARING-IMPAIRED: Ava Barnett Morrow BOOKKEEPER: Christine McElroy, Rubino & McGeehin and Joyce Dworsky Lisner Auditorium Staff: ASHINGTON EVELS TAFF PRINTER: Printing Company W R S DIRECTOR: Rosanna Ruscetti Directors: Production Staff: WEBMASTER: Elizabeth Fulford Miller TECHNICAL DIRECTOR/PRODUCTION MANAGER: Eric Annis DIRECTOR: Roberta Gasbarre PRODUCER: John Clewett House Assistance: MASTER CARPENTER/ASSISTANT TECHNICAL DIRECTOR: Colin McGee MUSIC DIRECTOR: Elizabeth Fulford Miller PRODUCTION MANAGER: Jason Morris HOUSE MANAGER: Marta Schley SOUND ENGINEER/ASSISTANT TECHNICAL DIRECTOR: Michael Leach CHILDREN’S DIRECTOR: Jennifer Swanson Voorhees PRODUCTION STAGE MANAGER: Gil Thompson OUTREACH DRESS PREVIEW MANAGER: Rosanne O. 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SPECIAL THANKS Many cheerful hearts and willing hands have made this year’s show a reality. Of the many to whom we are grateful, we wish to offer particular thanks to:

· Lowell School for support in many areas, and in communities across America, and Washington Revels particular for providing audition, rehearsal, meeting Founder Mary Swope for planting and nurturing the and office space for The Washington Revels. Revels tradition in Washington, D.C. · The Potomac School, The Washington Episcopal · Revels Artistic Director Patrick Swanson for the origi- School, Bethesda Elementary School and Crossway nal conception of the production we present this year. Community for providing rehearsal space, and St. · Susan Cooper, Mary Swope, Mary Eugenia Myer, Columba’s Episcopal Church for providing audition Elizabeth Fulford Miller and Joan Kimball for material space. upon which the program notes are based. · The Friends of the National Arboretum, and All · Sheppard Ferguson for publicity photos of the Hallows Guild of Washington National Cathedral, King and the Fool. for providing wonderful venues for our Bringing in the May festivities. · Doug Baumgardt, Peter Behr, Andrea and Harold Blackford, Amy Brandenburg, Myron Bretholz, Brian · The Maryland Renaissance Festival for allowing Cardell, Lois Dunlop, Shannon Finney, Barry Galef, The Washington Revels to have a table at the Festival David Giusti, Julianne Harden, Judy Harrison, Steve for three weekends this fall. Hickman, James Houton, Mark Jaster, Diane Kresh, · The Philadelphia Revels, Cindy Speas, Mary Eugenia Lisa Leake, Greg and Susan Lewis, Elizabeth F. Miller, Myer and Diane Behrens Winslow for the loan of Keith Moore, Elizabeth Myers, Mari Parker, Rickey antlers of deer, elk and moose to adorn the Great Hall. Payton, Piffaro, Charlie Pilzer, Haley Powell, Christina · Arena Stage and Chris Lewton for the loan of a fog Robinson, Virginia Ryan, Jamie Sandal, Oran Sandel, machine. Cindy Speas, Michelle Terrell-Long and Flawn Williams, among others, for participating in · The Shakespeare Theatre for costumes. Washington Revels educational outreach perform- · Dennis Mulligan of Montgomery College for the loan ances at The Library of Congress, The Smithsonian of props. Institution’s Discovery Theater and The World Bank. · Mary Eugenia Myer and Tommy Wang for assistance · Mark Jaster, Donna Simonton, and Charlie and Cecily with props design and construction. Pilzer, for providing hospitality for our guest artists. · Eric Annis, Colin McGee and Terry Espenschied of · Helen French for database technical support. Lisner Auditorium for skillfully and cheerfully, above · Bruce Miller and William Wurzel for their many and beyond the call of duty, helping construct our set. volunteer hours in the office, and in particular for · Bill Clague and Bruce Miller for constructing the their database systems analysis. trophy poles mounted on stage. · Elizabeth Fulford Miller for web design and support · Laurie Cullen, Lois Dunlop, Joyce Duffy Bilanow and of our public and production websites. Steve Bilanow for constructing the backdrop and side · All those who provided production support to the curtains for our set. Third Annual Washington Revels Gala, and to Steve · Steve Campanella of Montgomery College for Hickman, Joan Kimball and Charlie Pilzer for their constructing the pillory for the Fool. music. · Lois Dunlop and the Wednesday Night Volunteers for · Drink More Water for providing water for our cast constructing, among many other things, the motley at Lisner Auditorium. robe for the Lord of Misrule. · Mary Flannery of Flannery Design for creative design · Peter Austin & Elizabeth Thornton of Quail Hill Farm work under deadline pressure. for the poplar trees used onstage. · Cindy Speas for her help in dozens of ways, from · John Langstaff, Master of Revels, for assembling such costumes and set construction to editorial and a rich body of traditional material and dramatizing it strategic advice, and for her immeasurable support so that it comes alive for thousands of people in to the Washington Revels office staff.

It is expressly forbidden to use photographic or sound reproducing equipment in the auditorium. Unauthorized persons found using such equipment in the theatre will be asked to leave. Revels® is a registered service mark of Revels, Inc. of Watertown, Massachusetts, and is used by permission.