MONTEVERDI Love’S Fire; Love’S Ashes

MONTEVERDI Love’s Fire; Love’s Ashes

Director Nicholas Mulroy

Thurs 18.5.17 - St Machar’s Cathedral, Aberdeen Fri 19.5.17 - Mareel, Lerwick Sun 21.5.17 - Methodist Church, Edinburgh Mon 22.5.17 - Wiltshire Music Centre, Bradford-on-Avon 2 MONTEVERDI

CLAUDIO MONTEVERDI (1567-1643)

Ecco mormorar l’onde (book 2) Sfogava con le stelle (book 4) Non piu Guerra (book 4) Ohime, dove’il mio ben (book 7) Instrumental Ai lumi delle stelle (book 7) Si dolce e’il tormento Ch’io t’ami (book 5)

INTERVAL

Zefirotorna (book 6) Rimanti in pace (book 3) Parlo, misero, o taccio? (book 7) Si ch’io vorrei morire (book 4) Instrumental Lamento della Ninfa (book 8) Perche se m’odiavi Instrumental Sestina, ossia Lagrime... (book 6) LOVE’S FIRE; LOVE’S ASHES 3

NICHOLAS MULROY DIRECTOR, TENOR

Rachel Redmond — Soprano Hanna Bayodi — Soprano Jimmy Holliday — Bass Malachy Frame — Bass

Toby Carr — Theorbo David Gerrard — Organ 4 MONTEVERDI PROGRAMME NOTE

Claudio Monteverdi’s life (1567-1643) bridged explained that his new style made the words “the the end of the Renaissance and the beginning of mistress of the harmony and not the servant”. the Baroque eras in music. Specific biographical Never before (and, one could add, rarely since) details are sketchy, but we do know that he was has a composer so successfully mined his source born in Cremona and began his professional life texts for dramatic momentum and emotional there, before moving to the Court of the Gonzagas impact. in Mantua (c1590-1610). From there he tried his hand briefly in Rome and then more famously Monteverdi’s fame rests now mostly on his three moved to Venice, where he held the prestigious surviving operas – L’Orfeo (1607), Il Ritorno position of Maestro di Capella at San Marco from d’Ulisse in Patria (1640) and L’Incoronazione 1613 until his death. di Poppea (1643) and his Vespers of 1610. This programme, however, focuses on the madrigal: His time in Mantua was marked by lamentable a form that he elaborated – and repeatedly professional conditions and punctuated by revolutionized – throughout his life. It was in personal tragedy: in 1607 he lost his wife and his madrigals that Monteverdi perfected the in 1608 he lost his favourite pupil, for whom he compositional techniques that make his operas had written the title role in his (now lost) opera so successful to this day - he shared with L’Arianna. Whilst in Mantua, his mentor was contemporaries Shakespeare and Caravaggio the the Flemish composer Giaches de Wert, and he ability to make his characters love, hate, live and sang in and directed the resident professional breathe with uncanny humanity. Beyond this, vocal ensemble, at that time a very new and very too, his madrigals represent some of his most rare commodity. It is reasonable to link these intimately personal writing. latter two factors as significant contributions to his extraordinarily far-reaching compositional Whilst their texts often draw on the humanist development whilst at the Gonzaga Court. fixation with antiquity, Monteverdi’s madrigals unfailingly render the texts with a radically Whilst being in full command of the stile antico, modern sense of human subjectivity. We might as evidenced by works such Missa in illo tempore therefore consider the madrigals as a collection (published alongside his famous 1610 Vespers of chamber masterpieces that reveal his genius as if to display his mastery of both ancient and just as eloquently as the better-known, large- modern styles), Monteverdi quickly outgrew the scale works. Full of beauty, love and heartbreak; prevailing musical language of the time, which teeming with tangible innovation, inspiration, and prioritized a strict adherence to established imagination, it is no exaggeration to place them musical laws. He sought instead to represent alongside Haydn’s string quartets, Bach’s cantatas faithfully and more truly the technicolour reality and Schubert’s songs as supreme examples of of human emotions. This brought controversy – extended artistic creativity with enduringly a public spat with noted theorist Giovanni Maria personal resonance. Artusi in particular – but Monteverdi countered that his innovations were “entirely for the sake of Nicholas Mulroy the truth”. Via the pen of his brother, Monteverdi LOVE’S FIRE; LOVE’S ASHES 5 TEXT & TRANSLATION

Ecco mormorar l’onde (book 2) Here the waves murmur

Ecco mormorar l’onde Here the waves murmur, e tremolar le fronde the leaves and bushes rustle a l’aura mattutina e gli arboscelli, in the morning breeze, e sovra i verdi rami i vaghi augelli cantar and on green branches the charming birds soavemente sing sweetly, e rider l’oriente. and the east smiles. Ecco già l’alba appare Here, the dawn already breaks e si specchia nel mare and mirrors itself in the sea, and heaven calms itself, e rasserena il cielo turning the mild frost to pearls e [le campagne] imperla il dolce gelo, e gli and the high mountains are gilt. alti monti indora. O lovely and laughing dawn, O bella e vaga Aurora, the breeze is your messenger, and you are of L’aura è tua messaggera, the breeze, [e tu de l’aura which restores every burnt-out heart! ch’ogni arso cor ristaura.

Sfogava con le stelle (book 4) Together with the stars

Sfogava con le stelle Together with the stars un’infermo d’Amore a man sick with love sotto notturno ciel il suo dolore, poured out his sorrow beneath a night sky, e dicea fisso in loro: and said, gazing upon them: O imagini belle de l’idol mio ch’adoro se ‘O lovely images com’a me mostrate, of the idol whom I adore, mentre cosi splendete, just as you show me la sua rara beltate while thus you shine, her rare beauty, cosi mostrast’a lei so could you show her i vivi ardori miei my own feelings of passion; la fareste col vostr’aureo sembiante pietosa si you could make her, with your golden come me fat’amante. likeness, merciful indeed, as you make me a lover’. Ottavio Rinuccini (1562-1621) 6 MONTEVERDI

Non piu Guerra (book 4) No more war

Non piú guerra, pietate, No more war, but pity, pietate, occhi miei belli, My beautiful eyes, my triumphant eyes! occhi miei trionfanti! A che v’armate Why do you take arms contr’un cor ch’è già preso, e vi si rende? Against a heart already captured and Ancidete i rubelli, surrendering? Kill the rebels, ancidete chi s’arma e si difende, kill those who take up arms and defend non chi, vinto, v’adora. themselves, not the one who is conquered Volete voi ch’io mora? and worships you. Do you want me to die? Morrò pur vostro, e del morir l’affanno I shall die yours, and if the suffering of sentirò sí, ma sarà vostr’il danno. death will be mine to feel, the loss shall be yours.

Ohime, dove’il mio ben (book 7) Alas, where is my love, my sweetheart

Ohimè dov’è il mio ben, dov’è il mio core? Alas, where is my love, my sweetheart? Chi m’asconde il mio ben, e chi me’l toglie? Who has stolen my love and hidden her from me? Dunque ha potuto sol desio d’onore darmi Thus only desire for honour fera cagion di tante doglie? could give me harsh cause for such sorrow. Dunque han potuto in me, più che il mio Thus my love counted for less than did amore, ambitiose e troppo lievi voglie? ambitious and frivolous desires. Ahi sciocco mondo e cieco! Ahi cruda sorte, Ah, blind and silly world! Ah, cruel fate, che ministro mi fai della mia morte! that makes me my own executioner.

Bernardo Tasso (1493-1569)

Ai lumi delle stelle (book 7) By starlight

Al lume delle stelle By starlight Thyrsis sat Tirsi, sotto un alloro, beneath a laurel and si dolea lagrimando in questi accenti; tearfully complained in these sad measures: “O celesti facelle, “O heavenly torches, di lei ch’amo ed adoro you look like the shining eyes rassomigliate voi gli occhi lucenti. Luci care of her whom I adore and love. e serene, Lights dear and serene, sento gli affani ohimé, sento le pene, I feel the sorrows, alas, I feel the pains. luci serene e liete, Lights serene and joyful, sento le fiamme lor mentre splendete.” I feel their flames while you shine forth.” LOVE’S FIRE; LOVE’S ASHES 7

Sì dolce è il tormento So sweet is the torment

Sì dolce è il tormento che in seno mi stach’io So sweet is the torment that lies in my vivo contento per cruda beltà...nel ciel heart, that I live happily because of its cruel di bellezza s’accreschi fierezza et manchi beauty. May beauty’s fury grow wide in the pietàche sempre qual scoglio all’onda heavens without pity; for my faith shall d’orgoglio mia fede sarà... hold like a rock against pride’s unrelenting wave.

La speme fallace rivolgami il pièdiletto né False hope, keep me wandering! pace non scendano a mee l’empia ch’adoro Let no peace nor pleasure befall me! mi nieghi ristoro di buona mercètra doglia Cruel woman, whom I adore, infinita, tra speme tradita vivrà la mia fe’... deny me compassionate relief; amidst infinite pain, amidst broken hopes, my faith shall survive.

Per foco e per gelo riposo non honel porto del From fire and ice I will find no rest. Only in Cielo riposo haverò...se colpo mortale con heaven shall I find peace. rigido strale il cor m’impiagòcangiando mia Should the deadly strike of an arrow injure sorte col dardo di morte il cor sanerò... my heart, I shall still heal, changing my lot with that same arrow of death.

Se fiamma d’amore già mai non sentìquel If the stubborn heart that has stolen mine rigido core ch’il cor mi rapìse nega pietate la has never felt love’s ardour; cruda beltate che l’alma invaghìben fia che if the cruel beauty that charmed my soul dolente pentita e languente sospirami un dì... denies me compassion, Well, pained, repenting and languishing, may she pass a sigh for me one day. 8 MONTEVERDI Ch’io t’ami (book 5)

Ch’io t’ami, e t’ami più de la mia vita, se tu If, cruel girl, you know not no ’l sai, crudele, that I love you, love you more than life, ask chiedilo a queste selve these forests che te ’l diranno, e te ’l diran con esse le fere and they will tell you, as will lor e i duri sterpi e i sassi the beasts within them, the scrubland and di questi alpestri monti rocks of these steep mountains che ho sì spesse volte so often roused to pity intenerito al suon de’ miei lamenti. by the sound of my lamenting.

Deh, bella e cara e sì soave un tempo cagion Ah, beloved, fair and once my dear del viver mio, mentr’al ciel piacque, volgi reason for living, when it so pleased una volta e volgi heaven, turn once more and look at me quelle stelle amorose, with those loving stars, come le vidi mai, così tranquille full of as much peace and mercy e piene di pietà, prima ch’io moia; as I ever saw in them, before I die; ché ’l morir mi fia dolce. so that death may come gently to me. E dritt’è ben che, se mi furo un tempo dolci And it is right that segni di vita, or sien di morte quei belli occhi those fair and loving eyes amorosi; that once meant life to me, now mean e quel soave sguardo death; and the gentle gaze che mi scorse ad amare, that led me to love, mi scorga anco a morire; let it now lead me to death; e chi fu l’alba mia and let she who was my dawn del mio cadente dì l’espero or sia. now, as I languish, be my evening star.

Ma tu, più che mai dura, But, harder of heart than ever, favilla di pietà non senti ancora; you still feel not a spark of pity; anzi t’inaspri più, indeed the more I beg, quanto più prego. the more unrelenting you become. Così senza parlar, dunque, m’ascolti? Can you then hear me and say nothing? A chi parlo infelice? A un muto sasso? S’altro To whom do I, poor wretch, speak? A non mi vòi dir, dimm’almen: mori! dumb rock? If nothing else, at least say to E morir mi vedrai. me: “die!” And you will see me perish. Quest’è ben, empio Amor, miseria estrema: Wicked Love, this is truly dreadful misery: che sì riggida ninfa this unfeeling nymph non mi risponda e l’armi answers me not and d’una sola sdegnosa e cruda voce you even deny me the weapons sdegni di proferire of a cruel and angry voice at my death. al mio morire. Guarini, Il Pastor Fido LOVE’S FIRE; LOVE’S ASHES 9 Zefiro torna (book 6)

Zefiro torna, e ‘l bel tempo rimena, Zephyrus brings the time that sweetly e i fiori e l’erbe, sua dolce famiglia, scenteth, with flowers and herbs, and et garrir Progne et pianger Filomena, winter’s frost exileth, e primavera candida e vermiglia. Progne now chirpeth and Philomel lamenteth, Flora the garlands white and red compileth;

Ridono i prati, e ‘l ciel si rasserena; Giove Fields do rejoice, the frowning sky s’allegra di mirar sua figlia; relenteth; l’aria e l’acqua e la terra è d’amor piena; ogni Jove to behold his dearest daughter smileth; animal d’amar si riconsiglia. th’air, the water, the earth to Joy consenteth, each creature now to love, him reconcileth.

Ma per me, lasso, tornano i più gravi sospiri, But with me, wretch, the storms of woe che del cor profondo tragge quella ch’al ciel se persevere ne portò le chiavi; and heavy sighs, which from my heart she straineth that took the key thereof to heaven for ever. e cantar augelletti, e fiorir piagge, So that singing of birds and springtime e ‘n belle donne oneste atti soavi flowering, sono un deserto, e fere aspre e selvagge. and ladies’ love that men’s affection gaineth are like a desert, and cruel beasts devouring.

Nicolas Yonge (Musica Transalpina) 10 MONTEVERDI

Rimanti in pace (book 3) Peace be with you

‘Rimanti in pace’ a la dolente e bella ‘Peace be with you’ sighed Thyrsis Fillida, Tirsi sospirando disse. to Phyllis sad and beautiful. ‘Rimanti, io me ne vo; tal mi prescrisse ‘Peace, I go away; this is forced on me legge, empio fato, aspra sorte e rubella.’ by laws, wicked fate, harsh and rebellious destiny.’

Ed ella ora da l’una e l’altra stella And now from one or the other eye stillando amaro umore, i lumi affisse distilling a bitter tear, her gaze fixed ne i lumi del suo Tirsi e gli traffisse on the eyes of her Thyrsis, she pierced his il cor di pietosissime quadrella. heart with a pitiful arrow.

Ond’ei, di morte la sua faccia impressa, Then he said with deathly look, disse: ‘Ahi, come n’andrò senza il mio sole, ‘Ah, how shall I leave without my sun, di martir in martir, di doglie in doglie?’ from torment to torment, from pain to pain?’

Ed ella, da singhiozzi e pianti oppressa, And she, oppressed by sobs and plaints, fievolmente formò queste parole: feebly spoke these words: ‘Deh, cara anima mia, chi mi ti toglie?’ ‘Alas, my love, who takes you from me?’ Livio Celiano

Parlo, misero, o taccio? (book 7) Shall I speak, miserable, or remain silent?

Parlo, miser’, o taccio? Shall I speak, miserable, or remain silent? S’io taccio, che soccorso havrà il morire? S’io If I silent remain, what help will dying parlo, che perdono havrà l’ardire? Taci; che bring? If I speak, what pardon will my ben s’intende chiusa fiamma tal’hor da chi burning bring? Be silent; for a smothered l’accende. flame is well understood To he who lit the fire.

Parla in me la pietade, Pity speaks in me Parla in lei la beltade; Beauty speaks in her, e dice quel bel volto al crudo core, And that beautiful countenance says to the chi può mirarmi, e non languir d’amore? cruel heart Who can look on me, and not languish with love? G B Guarini LOVE’S FIRE; LOVE’S ASHES 11

Si ch’io vorrei morire (book 4) Oh yes, I would welcome death

Sì, ch’io vorrei morire, Oh yes, I would welcome death; ora ch’io bacio, amore, now, as I kiss, O love, la bella bocca del mio amato core. the soft lips of my beloved.

Ahi, car’ e dolce lingua, Ah, tongue so dear and sweet, datemi tanto umore, bestow such nectar upon me che di dolcezza in questo sen’ m’estingua! that i expire of sweetness on this breast.

Ahi, vita mia, a questo bianco seno, Ah, my love, upon this snowy breast deh, stringetemi fin ch’io venga meno! clasp me, I pray, until my senses reel! Ahi, bocca! Ahi, baci! Ahi, lingua! Torn’ a Ah, lips, ah kisses, ah tongue, I repeat: dire: Oh yes, I would welcome death. Sì, ch’io vorei morire!

Maurizio Moro 12 MONTEVERDI

Lamento della Ninfa (book 8) The nymph’s lament

Non havea Febo ancora Apollo had not yet recato al mondo il dì brought light to the day ch’una donzella fuora when a young maiden del proprio albergo uscì. came out of her abode.

Sul pallidetto volto On her pale face scorgease il suo dolor, was revealed her grief; spesso gli venia sciolto often she let loose un gran sospir dal cor. a huge sigh from her heart.

Sì calpestando fiori, Thus, trampling the flowers, errava hor qua, hor là, she wandered here and there; i suoi perduti amori thus her lost loves così piangendo va: did she lament: —

“Amor,” dicea, il ciel Love (she said, stopping mirando il piè fermò and gazing at the skies), “dove, dov’è la fé Love, where is the faith che ‘l traditor giurò? the traitor swore. (Unhappy maiden.)

Fa che ritorni il mio Let my love return to me amor com’ei pur fu, as he was before, o tu m’ancidi, ch’io or kill me, so that I non mi tormenti più.” suffer torment no longer. Miserella, ah più no, (Unhappy maiden, ah no longer tanto gel soffrir non può. can she bear such coldness!)

“Non vo’ più che i sospiri No, I don’t want him to sigh se non lontan da me, except far from me, no, no, che i suoi martiri nor that he will tell me, più non dirammi, affé! in faith, of his torments.

Perché di lui mi struggo Because I am consumed with love for him, tutt’orgoglioso sta, he is proud, che sì, che sì se ‘l fuggo and if I flee from him ancor mi pregherà? he will beg for my love again. LOVE’S FIRE; LOVE’S ASHES 13

Se ciglio ha più sereno If his new love colei che ‘l mio non è, be fairer than I, già non rinchiude in seno love does not hold in his breast Amor si bella fé. a more faithful love than mine.

Né mai si dolci baci You shall never have such sweet da quella bocca havrai, kisses from those lips, né più soavi; ah, taci, nor more tender, ah be silent, taci, che troppo il sai.” be silent, for you know it full well.

Sì tra sdegnosi pianti Thus, amidst her angry tears spargea le voci al ciel; she lifted her voice to heaven. così ne’ cori amanti In this way in the hearts of lovers mesce Amor fiamma e gel. does love mix flames and ice.

Translated by Edward Fairfax

Perche se m’odiavi

Perché se m’odiavi mostravi d’amarmi Why, if you hated me, did you feign love per sol inganarmi? only to deceive me? Ahi, Stella, ti se così bella, Alas, my star, you made yourself so sì fera sì’altera per l’alma’impiagarmi. beautiful, so wild, so proud, so as to wound Io t’adorava’e, tù sprezzavi me, my spirit. Empia Filli, perché? I adored you, you scorned me, unkind Phyllis, why?

Chissà ch’una volta, la stolta fierezza Who knows if, some day, lofty pride non brami chi sprezza. may not long for what it now disdains. Ahi, ch’io vuo’ dir al cor mio Alas, I would tell my heart che fugga che strugga l’infida bellezza. to flee, to destroy that faithless beauty. Forse’a te tocchera chieder pietà, Perhaps it will be your turn to beg for Empia Filli chissà? mercy, unkind Phyllis, who knows?

No, no, ch’io non voglio, se scoglio m’aspetta No, no, I will not, if a rock awaits me drizzar la barchetta. steer my boat towards it. Più fiera, que st’empia megera Prouder still, this wicked Fury uccide, s’en rid’e ridendo saetta. kills, laughs, and as she laughs, fires her Chiama pur quanto voi, ch’io non verrò, arrow. Summon me if you like, I shall not Empia Filli, no, no! come, unkind Phyllis, no, no! 14 MONTEVERDI

Sestina, ossia Lagrime... (book 6)

Incenerite spoglie, avara tomba O ashes of my beloved, the stingy tomb Fatta del mio bel Sol, terreno Cielo, lit by my earthly sun is now my heaven. Ahi lasso! I’ vegno ad inchinarvi in terra. Alas, I grieve. I come to bury you in the Con voi chius’è ‘l mio cor a marmi in seno, earth. E notte e giorno vive in foco, in pianto, My heart is buried with thee, as my love In duolo, in ira, il tormentato Glauco. is buried within my breast. And night and day, Glauco lives in tears, in fire, in pain, in bitterness and torment.

Ditelo, O fiumi, e voi ch’udiste Glauco O rivers and you who hear Glauco, L’aria ferir dì grida in su la tomba, rend the air with cries over this tomb Erme campagne - e’l san le Ninfe e ‘l Cielo: and these barren fields, with cries heard A me fu cibo il duol, bevanda il pianto, only by the Nymphs and the skies. Anguish - Letto, O sasso felice, il tuo bel seno - became my food; tears my drink. Poi ch’il mio ben coprì gelida terra. Rocks are my bed where I dream of your beautiful breast since the frozen earth has covered my beloved.

Darà la notte il sol lume alla terra The sun will light the earth by night Splenderà Cintia il di, prima che Glauco and the moon by day before Glauco will Di baciar, d’honorar lasci quel seno cease to kiss, to honor this breast which Che fu nido d’Amor, che dura tomba was Preme; né sol d’alti sospir, di pianto, the nest of love, now crushed by the Prodighe a lui saran le fere e ‘l Cielo! weighty tomb. May the heavens be kind to him, now alone with the pain of his weeping.

Ma te raccoglie, O Ninfa, in grembo ‘l Cielo, Receive her, O Nymphs, in the lap of Io per te miro vedova la terra heaven. Deserti i boschi e correr fium’il pianto. I look to thee, for the earth is widowed, E Driade e Napee del mesto Glauco deserted are the woods, and the rivers Ridicono i lamenti, e su la tomba are filled with tears. The Dryads and the Cantano i pregi dell’amante seno. Nymphs echo sorrowful Glauco’s lament and sing over his beloved’s breast. LOVE’S FIRE; LOVE’S ASHES 15

O chiome d’or, neve gentil del seno O golden hair, o delicate snowy breast, O gigli della man, ch’invido il cielo o white hand that heaven, envious, has Ne rapì, quando chiuse in cieca tomba, stolen: though locked in this blind tomb, Chi vi nasconde? Ohimè! Povera terra who can hide thee? Ah, me! Poor earth - Il fior d’ogni bellezza, il Sol di Glauco will thou hide the flower of beauty, the sun Nasconde! Ah! Muse! Qui sgorgate il pianto! of Glauco? Ah muses, shed your tears.

Dunque, amate reliquie, un mar di pianto Therefore, lovers, unleash a sea of tears; Non daran questi lumi al nobil seno for do they not light the noble heart D’un freddo sasso? Eco! L’afflitto Glauco of this cold stone? Here the afflicted Glauco Fa rissonar “Corinna”: il mare e ‘l Cielo, shouts Corinna’s name to the skies, Dicano i venti ogn’or, dica la terra crying each hour to the winds and the “Ahi Corinna! Ahi Morte! Ahi tomba!” earth: O Corinna! O death! O tomb!

Cedano al pianto Let words yield to tears, beloved breast. I detti! Amato seno Let heaven give thee peace and peace to A te dia pace il Cielo, Glauco, Pace a te, Glauco praying at thy honored tomb and sacred Prega, honorato tomba earth. E sacra terra.

IF YOU ENJOY OUR MUSIC, JOIN US FOR THE OPENING CONCERT IN EDINBURGH INTERNATIONAL FESTIVAL’S QUEEN’S HALL SERIES.

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The Dunedin Consort was founded in 1995 which won the 2008 Midem Baroque Award and is named after Din Eidyn, the ancient and the 2007 Gramophone Award for Best Celtic name of Edinburgh Castle. Baroque Vocal Album; Bach’s Matthew Passion (Last Performing Version, c. 1742); Acis Under the musical direction of John Butt, the and Galatea (Original Cannons Performing ensemble has established itself as the leading Version, 1718), nominated for a Gramophone Scottish Baroque ensemble, and now regualrly Award in 2008; Bach’s Mass in B Minor performs at major national and international (Breitkopf & Härtel Edition, edited by Joshua festivals. In addition to performing the Rifkin, 2006); Handel’s first English Oratorio, Baroque and Classical repertory and Esther; Bach’s John Passion (Reconstruction researching historical performance, the of Bach’s Passion liturgy) nominated for ensemble has commissioned and performed a Recording of the Year award in both works by numerous contemporary composers, Gramophone and BBC Music Magazine and, including William Sweeney, Errollyn Wallen, most recently, David Black’s new edition of Peter Nelson and Sally Beamish. Mozart’s Requiem, which won a Gramophone Award last year and was nominated for a It broadcasts frequently on BBC Radio 3 and GRAMMY™ Award. BBC Scotland, and its discography includes the original Dublin version of Handel’s Messiah, LOVE’S FIRE; LOVE’S ASHES 17

Our latest recording...

available at the desk or at www.dunedin-consort.org.uk

DID YOU KNOW? We are now the most decorated classical music company in Scotland thanks to awards for our sought-aft er recordings. Th ese include two Gramophone Awards, three further Gramophone nominations, a Grammy Nomination, three BBC building a library recom- mendations and two SAY award nominations!

OUR NEW SEASON We are excited to be on the cusp of announcing our new season for 2017/18, which includes both our signature seasonal favourites Messiah and Matthew Passion, as well as some exciting new programmes.

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OUR NEXT RELEASE In March we teamed up with Linn Records yet again in order to add to our award-winning recording catalogue. As with many of our past recordings, the beautiful Greyfriars Kirk was transformed into a recording venue, with the goal this time to capture Monteverdi’s Vespers of 1610 as depicted by our wonderful singers and instrumentalists under the baton of John Butt. A release date is not yet confirmed, but watch this space!

MONTEVERDI Vespers 1610

DUNEDIN CONSORT JOHN BUTT

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Not only do our recordings provide our audience with lots of listening pleasure, they also provide us with an invaluable calling card that has given us opportunities to perform in some of Europe’s finest concert halls. Even though our recordings have consistenly been Linn Record’s best-sellers over the past three years, such is the state of the recording industry that making them is an expensive business that requires a significant outlay. It is yet again thanks to our incredible group of dedicated supporters that we are able to keep making these recordings, in so doing creating more opportunity for our musicians to fly the Dunedin flag far and wide. LOVE’S FIRE; LOVE’S ASHES 19

THANK YOU Dunedin Consort is grateful to the following organisations, charitable trusts and individuals for their generous support of our regular performances and educational work.

SUPPORTERS CANTORS’ CIRCLE Hugh Andrew Iain McGillivray PRINCIPAL SUPPORTERS KAPPELLMEISTER Ian and Lorna Paterson Creative Scotland Sir Muir & Lady Russell Iona MacKinlay Dunard Fund Richard Burns Isabel Nisbet Binks Trust James Friend KONZERTMEISTER James and Isobel Stretton TRUSTS AND FOUNDATIONS Anonymous James Wastle Bacher Trust Janette Dobson STADTPFEIFER Cray Trust Jo Elliot Cruach Trust Sir Jack & Lady Shaw Jo Leighton Cruden Foundation Sir Raymond & Lady Johnstone Jocelyn Blackburn Ernest Cook Trust Anonymous Prof. John & Dr. Mary Gillies JTH Charitable Trust John Innes ALUMNUS Hugh Fraser Foundation John & Lady Shaw HR Creswick Trust Alastair Weatherston John E Dale Lindsays Charitable Trust Agnes Robson Judith Brearley M&K Charitable Fund Brian and Deborah Jürgen Munz Nancie Massey Charitable Trust Charlesworth Lady Hope Penpont Trust Caroline Gardner Mike Radcliffe Scott Davidson Charitable Trust Caroline Higgitt Peter Smaill Stevenston Trust Christine Lessels Dr Roger and Judith McClure Plum Trust Colin Mumford Collins Robertson Trust David Caldwell Russell Duncan Tarnie Trust Dr Elizabeth Rogers Sir Russell Hillhouse Turtleton Trust Elspeth MacArthur and Ruth Woodburn The Tay Charitable Trust Michael Anderson Spedding Micklem Elwyn Evans Susanna Kerr Hannah Mills Hilary Patrick

If you are interested in becoming a supporter of Dunedin Consort, please come and chat to us at the interval or visit www.dunedin-consort.org.uk/support THE DUNEDIN CONCERTS TRUST LIMITED Registered Scottish Charity Number SC025336 Registered in Scotland Company Number SC361385

DIRECTORS Sir Muir Russell KCB FRSE (Chairman) Jo Elliot Shonaig MacPherson Kirsteen McCue David McLellan David Strachan John Wallace CBE

MUSIC DIRECTOR John Butt OBE

MANAGEMENT Alfonso Leal del Ojo (Chief Executive) Robin Hiley (Development & Education) Jessica Conway (Ensembles) Monica Sutcliffe (Projects & Development)

77 Montgomery Street, Edinburgh, EH7 5HZ Tel: +44 131 516 3718 e: [email protected]

Twitter @dunedinconsort Facebook.com/Dunedin