Song of Songs / Songs of Love

Saturday, March 13, 2010 at 8 pm First Church in Cambridge, Congregational De las dos hermanas | jm ms ac pg Blue Heron Song of Songs / Songs of Love Vásquez Veni dilecte mi| dt jm ms pg / mn ss ac gb Saturday, March 13, 2010 at 8 pm Jennifer Ashe Vivanco First Church in Cambridge, Congregational Pamela Dellal I Martin Near Sicut lilium inter spinas | ja jm ac cb / pd ds ms pg V Daniela Tošić Sebastián de Vivanco (c.1550–1622) Trahe me post te Guerrero De los álamos vengo, madre | mn jm ds gb Allen Combs Desdeñado soy de amor | jm ss gb Juan Vásquez (c.1500–c.1560) Jason McStoots anonymous (Villancicos de diversos Autores, 1556) Surge, propera, amica mea David Scott Anima mea liquefacta est| mn jm ms ss pg Francisco Guerrero (1528–99) Steven Soph Nicolas Gombert (c.1495–c.1560) Mark Sprinkle II Ojos claros y serenos | pd dt ds ac Guerrero (Cancionero de Medinaceli, MS, c.1569) Ojos morenos, ¿quándo nos veremos? | ja pd ms ac cb Cameron Beauchamp Pues que no puedo olvidarte | mn dt ac Vásquez Glenn Billingsley Ginés de Morata (Cancionero de Medinaceli, MS, c.1569) Claros y frescos ríos | mn dt ac Paul Guttry anonymous (Cancionero de Medinaceli, MS, c.1569) Tota pulchra es, Maria VI Becky Baxter, Spanish cross-strung harp Tota pulchra es Guerrero Marilyn Boenau, bajón Gombert Peter Sykes, organ III Descendid al valle, la niña | pd jm ss cb Vásquez So ell encina Scott Metcalfe,director anonymous (Cancionero de Palacio, MS, c. 1500) Vidi speciosam sicut columbam Folias Victoria Diego Fernández de Huete (c.1640–1713) Pre-concert talk by Michael Noone (Compendio numeroso … para harpa de una orden, y harpa de dos órdenes, 1702–4) (Boston College), Ay luna que reluzes | dt ss ms pg sponsored by the Cambridge Society for Early Music. anonymous (Villancicos de diversos Autores, 1556) Vadam et circuibo civitatem This evening’s concert is presented with support from the Spanish Government, Program for Tomás Luis de Victoria (1548–1611) Cultural Cooperation between Spain’s Ministry of Culture and United States Universities. Intermission

IV Morenica me era yo | ja pd ds gb cb Vásquez Blue Heron Renaissance Choir, Inc. · 45 Ash Street, Auburndale MA 02466 Two vyllanos (617) 960-7956 · [email protected] · www.blueheronchoir.org Lucas Ruiz de Ribayaz (Luz, y norte musical, 1677) Blue Heron Renaissance Choir, Inc. is a 501(c)(3) tax-exempt entity. Fernández de Huete (Compendio numeroso...) This organization is funded in part by the Massachusetts Cultural Council, a state agency. The Song of Songs and songs of love from 16th-century Spain

the song of songs The Hebrew love poem known as the Song of Songs of Biblical texts known as the Vetus Latina. In the original. The Hebrew libbabtini, which Bloch and We’re not the first to be so confused, by any means, was likely written down sometime in the third cen- fourth century Jerome made two versions of the Bloch render, with the King James, as “You have but we shouldn’t assume that such attitudes are, or tury BCE and was admitted to the canon of Hebrew Song, the first a revision of the Vetus Latina, the ravished my heart,” is in the Vulgate vulnerasti cor ever were, universal. Antipathy towards sex is not Scripture long after the Torah and the Prophets, second translated directly from the original Hebrew; meum: “You have wounded my heart.” And where necessarily the attitude of the Hebrew scriptures, probably towards the end of the first century CE. the latter was incorporated into Jerome's complete the Hebrew continues, “You have ravished my heart as Ariel and Chana Bloch point out, citing various In the two millennia since it has most often been in- Latin Bible, the Vulgate. Translated into Latin prose, with … one link of your necklace,” Jerome’s Latin passages in Proverbs: terpreted by its religious guardians as an allegory— the Song's intoxicatingly sensuous images eventu- has the considerably more physical image “with one mystical, theological, historical, ecclesiastical, or ally found their way into texts of antiphons, respon- hair of your neck.” Three things I marvel at, otherwise. Learned commentaries have explained sories, and other items of the Catholic liturgy, often four I cannot fathom: the way of an eagle in the sky, the Song as representing “the love of God and Israel, freely remixed and rearranged, suggesting that the The texts set to music by Francisco Guerrero, Tomás the way of a snake on a rock, Christ and the Church, or Christ and the believer’s makers of liturgy knew the poem so thoroughly that Luis de Victoria, Sebastián de Vivanco, Nicolas the way of a ship in the heart of the sea, soul; the chaste love of the Virgin Mary; the mar- they didn't refer back to a written original in an at- Gombert, and other sixteenth-century composers the way of a man with a woman. riage of Solomon and Pharaoh’s daughter, or of the tempt to quote it accurately but simply drew on their are drawn from the liturgies of various feasts of the Proverbs 30:18–19 active and passive intellect; the discourse of Solo- memory of it. This phenomenon is most evident Virgin Mary. Many of the verses are intensely erotic: mon with Wisdom; the trials of the people of Israel; in the text of the final motet on our program, Vidi “My soul melted when my beloved spoke”; “I will Let your fountain be blessed; take delight in the wife of your youth, or the history of the Church—and that’s only a par- speciosam sicut columbam. A respond sung on the climb into the palm tree and take hold of its fruit: a loving doe, a graceful gazelle. tial list.”1 We have much to thank these interpreters Feast of the Assumption of the Blessed Virgin on and may your breasts be like clusters of grapes on Let her breasts fill you with pleasure, for, and not only their enormous contributions to August 15, the text lifts one striking line directly from the vine, and the scent of your mouth like apples.” be entranced always by her love. scholarship on the history and language of the Song. the Song ("Who is this, who rises out of the desert That language like this could be addressed to the Proverbs 5:18–19 It is likely that only the religious-allegorical view of like a pillar of smoke from the spices of myrrh and Mother of God points to a marvelously expansive the Song—boosted by the later, erroneous ascrip- frankincense?") and surrounds it with a profusion concept of the divine. Nowadays we are apt to In the Song motets composed by Guerrero, Victoria, tion of the poem to Solomon, one of Israel’s most of images found scattered throughout the poem: find the expression of erotic sentiment as a way of Vivanco and Gombert, the voluptuousness of the famous kings—made possible its inclusion in the doves, rivers, scented garments, and flowers. celebrating the relationship of a believer to Mary language is matched everywhere by a profound sen- canon of Holy Scripture, without which it may have confusing, discomfitting, or even unseemly. There suousness in the music. However these sixteenth- been lost to us forever. But as anyone who reads the The erotic meaning of the Song has sometimes been is no doubt that the frank sexuality of the Song has century human beings may have interpreted the original poem without an a priori commitment to a evaded or obscured by its translators. Where the often proven challenging to its religious interpret- Song of Songs, their music puts us directly in touch religious meaning is bound to see, the Song of Songs Hebrew has dodim, for example, the King James ers. But we twenty-first century Americans tend with all the unmediated sensual power of the origi- is plainly about love between two human beings, a Version uses the more general “love”; the Vulgate to speak and act, without examining our own pre- nal lyric. When a man as pious as Francisco Guer- young woman and a young man in the freshness has ubera, literally meaning “breasts” but in Latin conceptions or their application to our own real rero (who made a pilgrimage to the Holy Land in of their first passion, and specifically about erotic often intended in a figurative sense as richness or lives, as if sexuality and spirituality, or the sacred and 1588–9 at the age of 60, published a book about his love. This is made obvious by the repeated use of the fertility, perhaps suggesting abundant love. (The secular, are somehow separable or even opposed to travels a year later, and was preparing for a return Hebrew verb dodim, “a comprehensive term for love- Vulgate also uses ubera in the literal sense.) Some one another—as if human beings themselves don’t voyage when he died at age 71) writes sacred music making” with an unambiguously sexual meaning.2 transformations wrought by the scriptural versions fully contain both things, or as if God created the as powerfully sensuous as Tota pulchra es, Maria or are more neutral: the Hebrew tappuach, for example, soul but not the body, as if sex itself were not a gift Trahe me post te, one can only embrace the generous For centuries, however, the Song has been read by which present-day scholars generally identify as an of creation, or as if our constitutional principle re- inclusiveness of his spirituality. The music of this Jews and Christians as part of their holy scripture. apricot, became malus or apple, a fruit not found garding the establishment of religion in the body evening’s program invites us to sing love songs to Western Christians read the poem in translation, at in biblical Palestine. But other changes produce politic has some sort of analogy within the human God as well as to one another. first in Greek or in the Latin of the early versions a reading even more intensely sensual than the creature as well.

4 5 Our program explores settings of the Song of as well from the Villancicos de diversos autores pub- sixteenth- and early seventeenth-century music Songs by three sixteenth-century Spanish com- lished in 1556 (also called the Cancionero de Upsala was written down in a system of so-called high posers, including two of the greatest musicians of after the present location of its only surviving copy) clefs. There is plenty of explicit evidence, dating at the century, Francisco Guerrero and Tomás Luis and the manuscript known as the Cancionero musi- least as far back as 1543, that the high clefs signalled de Victoria, and a strong and distinctive contender, cal de la casa de Medinaceli, which contains the date the performers to transpose down a fourth or fifth. Sebastián de Vivanco. (Notable by his absence is 1569. Many of the songs, like so much of the Song, The instances of high-clef notation most familiar Cristóbal de Morales, who seems not to have writ- are set in a natural world that reflects and enhances nowadays are Lauda Jerusalem and the Magnificat ten a single Song motet.) We also include works by the mood of the speaker. Sometimes nature is used of Monteverdi’s Vespers of 1610, but these are merely Nicolas Gombert, a contemporary of Morales’s who as a distraction. The boy Dein los álamos says to his the best known cases of a widespread practice. The travelled extensively in Spain as part of the famous mother, who must have been pestering him about repertoire affected includes much of Victoria and a capilla flamenca (“Flemish chapel”) employed by his whereabouts, “Oh, I was just over in the poplar great deal of Palestrina; on this program, Tota pul- the Habsburg emperor Charles V, the grandson of groves, mother, enjoying the way the wind blows chra es by Guerrero and by Gombert, Veni dilecte Ferdinand and Isabella. Gombert’s music is found through the leaves, over in the poplars in , me, Trahe me post te, and Vidi speciosam, as well as a in numerous Spanish manuscripts and in the Villan- mother…” Somewhere in the midst of all the breezy number of the songs. Once transposed down, the cicos de diversos autores printed in Venice in 1556. His chatter about trees he slips in, just once, that he may music no longer suits our idea of an SATB choir but expressive, sometimes highly dissonant style was also have seen his girlfriend. it does lie more happily for the normal Renaissance esteemed by Spanish musicians and inspired trib- ensemble of male falsettists, various sorts of tenors, utes such as Morales’s Missa Aspice Domine, based The harp music comes from both earlier and later and basses; no longer bright and high, it returns to on one of his motets. Gombert’s music frequently sources. So ell encina is an intabulation of a song the dark, rich, and sonorous palette the sixteenth presents the performer with knotty problems in the from a manuscript from around 1500. Again the a century seems to have favored. This evening we add application of the principles of musica ficta: chro- young man speaks to his mother, and again a tree is further richness in the form of the Spanish double matic alterations that were often left unspecified by involved: “Under the live oak I was going, mother, or cross-strung harp, the bajón or dulcian, and the the composer, leaving the singer to decide when, on a pilgrimage; to go more devoutly, I went with- organ. Spaniards appear to have combined voices for example, to raise a leading note at a cadence, or out company. I took another path, leaving the one I and instruments in sacred music more freely than to alter B-natural to B-flat in order to avoid a direct was on… I found myself lost on a mountain; and lay was normative elsewhere in Europe; a bajón was a tritone relationship with F. Inspired by the work myself down at the foot of a live oak. At midnight, I standard member of a sixteenth-century Spanish of Peter Urquhart, who has written extensively on remember, little one, I found myself in the arms of choir, where it reinforced the bass with its reedy these issues, our solutions tend to follow the linear the one I loved most…Very blessed be a pilgrimage tone; the harp was perhaps less of a common- logic of the individual parts. The result, especially such as this.” The variations on the ground called place but lent its highly characteristic and pungent in Tota pulchra es, is a texture dense with expressive the Folias and the Vyllanos (originally a song about sound to Spanish ensembles on occasions of greater My heartfelt thanks to Joel van Lennep, who has re- dissonance. a villager and his bread and onion) were not pub- splendor. vealed many treasures of Spanish Renaissance mu- lished until the late seventeenth or early eighteenth sic to me over the years and, as I was preparing this songs of love century, but their roots reach back to the early six- —Scott Metcalfe program, gave me a helpful short list of his favorite Side by side with the sacred polyphony, the pro- teenth century. songs; and to all my friends in Convivium Musicum, gram presents selections from the enormous and 1 Ariel Bloch and Chana Bloch, The Song of Songs: a with whom I first performed several of the sacred delightful repertoire of Spanish love songs, by turns pitch and performing forces new translation, Berkeley, 1995, introduction, “In the works on this concert. An earlier version of part of sweet, saucy, heartbroken, bitter, swaggering, urgent, If you have heard or sung some of the music on garden of delights,” pp. 34–5. these notes was originally written for a program of and comic. We feature the songs of Juan Vásquez, this program before, you may be surprised by some Song of Songs motets sung by Convivium Musicum printed in two collections of 1551 and 1560, and draw lower sounds than you are used to. A great deal of 2 Bloch and Bloch, pp. 27–8. in January, 2003.

6 7 Texts & Translations

Sicut lilium inter spinas, sic amica mea inter filias. Like a lily among thorns, so is my love among daughters. Tota pulchra es Maria, et macula non est in te. You are all beautiful, Mary, and there is no flaw in you. Sicut malus inter ligna silvarum, sic dilectus Like the apple among the trees of the woods, so is my Veni de Libano, sponsa mea, veni coronaberis. Come from Lebanon, my bride, come, you shall be meus inter filios. Sub umbra illius quam desid- beloved among sons. I sat in his shade, as I had so Vulnerasti cor meum, soror mea sponsa, in uno crowned. eraveram sedi: et fructus dulcis gutturi meo. much desired, and his fruit was sweet to my taste. oculorum tuorum, et in uno crine colli tui. You have wounded my heart, my sister, my bride, with Song of Songs 2:2–3 Song of Songs 4:7–9 one glance of your eyes, and with one hair of your neck.

De los álamos vengo, madre, I’m coming from the poplars, mother, ¡Ay, luna que reluzes, Ah, shining moon, de ver como los menea el ayre. watching how the air stirs them. toda la noche m’alumbres! light my way all night! De los álamos de Sevilla From the poplars of Seville, Ay, luna tan bella, Ah, moon so lovely, (de ver a mi linda amiga) (seeing my fair love) alúmbresme a la sierra, light my way through the hills de ver como los menea el ayre. just watching the air stir them. por do vaya y venga. wherever I come and go. Toda la noche m’alumbres. Light my way all night!

Surge, propera, amica mea, columba mea, Arise, hasten, my love, my dove, my fair one, and come. formosa mea, et veni. Iam enim hyems transiit, Lo, the winter is over, the rains are over and gone. Vadam et circuibo civitatem: per vicos et plateas I will rise and go about the city: in alleys and in broad imber abiit et recessit. Flores apparuerunt in Flowers appear in the land and the time of pruning quaeram quem diligit anima mea; quaesivi streets I will seek him whom my soul loves; I sought terra, tempus putationis advenit. is come. illum, et non inveni. Adiuro vos, filiae him, but I found him not. I charge you, O daughters Vox turturis audita est in terra nostra; ficus The voice of the turtle is heard in our land, the fig puts Jerusalem, si inveneritis dilectum meum, ut of Jerusalem, if you find my beloved, to tell him that I protulit grossos suos, vineae florentes forth green fruits, the flowering vine gives off its scent. annuntietis ei quia amore langueo. am weak with love. dederunt odorem suum. Surge, surge, amica Arise, arise, my love, and come. Qualis est dilectus tuus, quia sic adiurasti nos? What is your beloved, that you so charge us? My mea, et veni. Dilectus meus candidus et rubicundus, beloved is white and ruddy, the choicest among Song of Songs 2:10–12 electus ex milibus. Talis est dilectus meus, et thousands. Such is my beloved, and such is my love, Cantus firmus: Veni, sponsa Christi. Cantus firmus: Come, bride of Christ. est amicus meus, filiae Jerusalem.Quo abiit O daughters of Jerusalem. Where has your beloved dilectus tuus, o pulcherrima mulierum? Quo gone, O loveliest of women? Where has he turned declinavit? et quaeremus eum tecum. Ascendit in to? and we shall seek him with you. He has climbed palmam et apprehendit fructus eius. into the palm tree and taken its fruit. Ojos morenos, Oh brown eyes, Song of Songs 3:2, 5:8–10, 5:16, 6:1, 7:8 ¿quando nos veremos? when will we see each other again? Ojos morenos Brown eyes, de bonica color, of such a pretty color, soys tan graciosos you are so charming Morenica me era yo, Me, I used to be a little cutie— que matays de amor. that you kill with love. dizen que sí, dizen que no. some say yes, some say no. Unos que bien me quieren Those who love me much dizen que sí; say yes; otros que por mi mueren others who die for me Claros y frescos ríos Clear and cool streams, dizen que no. say no. que mansamente báis which gently flow siguiendo vuestro natural camino; following your natural path; desiertos montes míos my deserted mountains, que en un estado estáis which are in a state De las dos hermanas, do sé, From what I know of the two sisters, de soledad contino; of perpetual solitude; válame la gala de la menore. may the charm of the younger favor me! abes en quien ay tino birds, who have the knack La menor es más galana, The younger is more elegant, de descansar cantando; of resting while singing; más pulida y más loçana; more refined, and more beautiful: arboles que bibís y al fin morís, trees, which live and in the end die: a quien quiere mata y sana. him who loves, she kills and heals. oydme juntamente hear, together, ¡Válame la gala de la menore! May the charm of the younger favor me! mi boz amarga, ronca y muy doliente. my voice—bitter, hoarse, and sorrowful.

8 9 Veni, dilecte mi, egrediamur in agro, Come, my beloved, let us go forth into the field, let us no me miréis con ira, do not regard me with anger, commoremur in villis. Mane surgamus ad lodge at the farms. Let us go up early to the vineyards, porque no parezcáis menos hermosos. so that you might not appear less beautiful. vineas; videamus si floruit vinea, si flores to see if the vine flourishes, if the flowers of the fruit ¡Ay, tormentos rabiosos! Ah, violent torments! fructus parturiunt, si floruerunt mala punica: appear, if the pomegranates bud forth: there I will Ojos claros y serenos, Bright and serene eyes, ibi dabo tibi ubera mea. Mandragorae give you my love. The mandrakes give forth their ya que ansí me miráis, even if you look at me thus, dederunt odorem suum, in portis nostris aroma; at our gates all manner of fruits, miradme al menos. look at me, at least. omnia poma nova et vetera, dilecte mi, new and old, O my beloved, I have servavi tibi. stored away for you. Song of Songs 7:11–13 Pues que no puedo olvidarte, Since I cannot forget you, ¡tómete el diablo, llévete el diablo, may the devil take you, may the devil seize you, el diablo que aya en ti parte! may the devil win you! Trahe me post te, virgo Maria, curremus in Draw me after you, virgin Mary: we will run toward Elvira, pese a mal grado, Elvira, despite your unwillingness, odorem unguentorum tuorum. Quam the fragrance of your perfumes. How beautiful you quiéreme, siquiera un día, love me, even for just one day! pulchra es et quam decora, carissima, in are, and how fair, dearest, in charms: your stature is que boto a diez, vida mía, for I swear to God, my life, delitiis: statura tua assimilata est palmae, et like to a palm tree, and your breasts the clusters of its que bibo desesperado. that I live a desperate man. ubera tua botris. Dixi: ascendam in palmam, fruit. I said, I will climb into the palm tree and take Si en pago de mi cuydado If in return for my troubles et apprehendam fructum eius; et erunt ubera hold of its fruit: and may your breasts be like clusters en ti creçe el descuydarte, your neglect of me increases, tua sicut botri vineae, et odor oris tui sicut of grapes on the vine, and the scent of your mouth ¡tómete el diablo, llévete el diablo, may the devil take you, may the devil seize you, malorum. like apples. el diablo que aya en ti parte! may the devil win you! Song of Songs 1:4, 7:6–8

Tota pulchra es, amica mea, et macula non est You are all beautiful, my love, and there is no flaw in you. Desdeñado soy de amor: I am scorned by love: in te. Veni de Libano, columba mea, veni Come from Lebanon, my dove, come, you shall be guardeos Dios de tal dolor! God keep you from such pain! coronaberis. crowned. Desdeñado y malquerido, Disdained and hated, Song of Songs 4:7–8 maltratado y aborrecido; ill-treated and abhorred; del tiempo que os he servido for all the time I have served you no tengo ningún favor: I have not one token of favor: guardeos Dios de tal dolor! God keep you from such pain! Descendid al valle, la niña, Come down to the valley, my girl, que ya es venido el día. for the day is already come. Descendid, niña de amor, Come down, girl of love, que ya es venido el alvor. for the dawn is already come. Anima mea liquefacta est ut dilectus locutus est: My soul melted when my beloved spoke: I sought him Vereys a vuestro amador You shall see your love, quesivi et non inveni illum, vocavi illum et and could not find him, I called him and he did not qu’en veros se alegraría, who would be cheered to see you, non respondit mihi. Invenerunt me custodes answer. The watchmen of the city found me, they que ya es venido el día. for the day is already come. civitatis, percusserunt me et vulneraverunt struck me down and wounded me: the keepers of the me: tulerunt pallium meum custodes walls took away my garment. murorum. Filie Jerusalem, nuntiate dilecto meo quia amore Daughters of Jerusalem, tell my beloved that I am sick Vidi speciosam sicut columbam ascendentem I beheld the beautiful one like a dove arising from above langueo. with love. desuper rivos aquarum, cuius inestimabilis the rivers of water, whose matchless scent was strong Song of Songs 5:6–8 odor erat nimis in vestimentis eius, et sicut in her garments, and as on a spring day she was dies verni circumdabant eam flores rosarum et surrounded by flowers of roses and lily of the valley. lilia convallium. Quae est ista quae ascendit per desertum sicut Who is this, who rises out of the desert like a pillar of Ojos claros y serenos, Bright and serene eyes, virgula fumi ex aromatibus myrrhae et thuris? smoke from the spices of myrrh and frankincense? and si de un dulçe mirar sois alabados, if by a sweet glance you are honored, et sicut dies verni circumdabant eam flores as on a spring day she was surrounded by flowers of ¿por qué si me miráis, miráis airados? why, if you glance at me, do you look angry? rosarum et lilia convallium. roses and lily of the valley. Si quanto más piadosos, If however more compassionate, Cento, Song of Songs 3:6 and other texts más bellos paresçeis a quien os mira, the more lovely you appear to him who regards you,

10 11 Biographies The vocal ensemble Blue Heron combines a com- as Harvard Group for New Music, New Music Bran- In Boston, Cameron is a member of Blue Heron, time member of the Choir of the Church of the mitment to vivid live performance with the study of deis, and the Fromm Festival at Harvard. She is a Exsultemus, Cut Circle, Schola Cantorum, Boston Advent, he has been a part of Blue Heron since its original source materials and historical performance senior member of the Callithumpian Consort led Secession, and the choir of the Church of the Ad- inception. Glenn’s wife, soprano Monique Phinney, practice. Blue Heron’s principal repertoire interests by Steven Drury, and the soprano for the Boston vent. He also sings with Austin’s Conspirare, Miami’s is on the voice faculty of The Boston Conservatory, are fifteenth-century English and Franco-Flemish Microtonal Society’s chamber ensemble NotaRiot- Seraphic Fire, Atlanta’s New Trinity Baroque, and and their two children – guitarist, drummer and polyphony, from Dunstable and Du Fay through ous. She is also a founding member of the flute and the Santa Fe Desert Chorale. A native of San Anto- songwriter Ken, and dancer and singer Lisa – are Ockeghem to Josquin; Spanish music between 1500 soprano duo Prana, with Alicia DiDonato, which nio and ten-year resident of the DFW area, Cam- both undergraduate business majors. and 1600; and neglected early sixteenth-century was honored to be chosen as a semi-finalist at the eron frequently performed with the Dallas Bach English music, especially the rich repertory of the 2007 Gaudeamus Interpreters Competition. She Society, Texas Camerata, Orpheus Chamber Singers, Marilyn Boenau received a Soloist’s Diploma from Peterhouse partbooks (c. 1540). The ensemble has holds a DMA in vocal performance from New Eng- Texas Choral Artists, the Helios Ensemble, and the the Schola Cantorum in Basel, Switzerland, where also reached outside these areas to perform very land Conservatory. Formerly on the faculty at the Orchestra of New Spain, and was a regular soloist she studied recorder and shawm with Michel Piguet, early music (organa by the twelfth-century French College of the Holy Cross in Worcester, MA, she for the Dallas Symphony Orchestra. He received and dulcian and bassoon with Walter Stiftner. She composer Perotin) and very recent music (new is currently an Assistant Professor at Eastern Con- his musical training from the University of North performs with Philharmonia Baroque Orchestra, works by the Australian composer Elliott Gyger). necticut State University. Texas, where he doubled in voice and jazz trom- the Handel & Haydn Society, Tafelmusik, Port- Founded in 1999, Blue Heron presents its own se- bone. While at UNT, Cameron sang at two national land Baroque Orchestra, Apollo’s Fire, Tempesta ries of concerts in Cambridge and has appeared at Exploration of medieval, Renaissance, and baroque ACDA conventions with the A Cappella choir, and di Mare, and Opera Lafayette. She can be heard on other venues throughout the Northeast, including harp repertoire, along with performance practice won a prestigious Downbeat award with one of the three recently released recordings: Lully’s Psychée the Boston Early Music Festival, St. Ignatius of research, is a passion for native Texan Becky Baxter. university’s world famous jazz ensembles. Cameron with the Boston Early Music Festival, Rameau arias Antioch and the 92nd Street Y in New York City, Ms. Baxter’s harp studies and career began during has participated in recording projects for numerous with Opera Lafayette (Washington, DC), and Fasch and Monadnock Music in New Hampshire. In July her undergraduate years at the University of Hous- record labels, including Harmonia Mundi, Edition suites with Tempesta di Mare (Philadelphia). She 2008 it made its West Coast debut at Festival Mo- ton with Beatrice Rose, while she simultaneously Lilac, Pro Organo, Klavier, and GIA. He has also has performed with the Boston zaic in San Luis Obispo, California, and in October obtained her bachelor’s degree in organ perfor- performed for BBC Radio, WGBH Boston, and Camerata and the Folger Consort. Her playing has 2009 celebrated its tenth birthday by opening the mance. She continued her studies at the Shepherd WRR Classical Radio of Dallas. With Conspirare been called “breathtaking” by the Portland Orego- twentieth-anniversary season of the Boston Early School of Music at Rice University but her greatest he will perform on a future television project for nian. Marilyn is the Executive Director of Amherst Music Festival concert series. Blue Heron’s first CD, inspirations in early music came from her studies PBS. Early Music, Inc., which presents the Amherst Early featuring music by Guillaume Du Fay, was released in Milan, Italy, under harp teacher Mara Galassi. Music Festival at Connecticut College in New Lon- in March of 2007 to international critical acclaim; its Ms. Baxter has recorded on the Dorian (now Sono Glenn Billingsley is the Director of Foundation don. second, of music by Hugh Aston, Robert Jones, and Luminus) and Naxos labels as a soloist and with and Planned Giving for the Boston Early Music John Mason (Music from the Peterhouse partbooks, groups such as Chatham Baroque and Catacoustic Festival. Before entering the world of fund raising, Tenor Allen Combs is a native of Idaho Falls, Idaho, vol. 1) is being released today. Consort. In addition to touring for concerts and Glenn sang with the New York City Opera National and received his education at the University of Ida- teaching at workshops all over the nation, she loves Company and the Santa Fe, Chautauqua, and Lake ho and the University of Lowell. In addition to his Described as “the kind of vocal velvet you don’t being a part of the thriving early music scene and George Opera companies, appeared in the Spoleto work with Blue Heron, Mr. Combs has performed often hear in contemporary music,” displaying performing with Ars Lyrica and Mercury Baroque and Madeira Bach Festivals, toured Europe and the with Schola Cantorum, Cappella Alamire, and “rock solid technique” (Boston Phoenix), Jennifer in Houston, her home of over 48 years. She is also Western Hemisphere with the Waverly Consort and Exultemus. His recital repertoire embraces music Ashe, soprano, has been hailed by the Boston Globe Music Director at All Saints Episcopal Church in the SEM Ensemble, and did significant solo work from the Renaissance to the twenty-first century as giving a performance that was “pure bravura… Stafford, Texas. in New York with Musica Sacra, the Ensemble for and includes the major song cycles of Schubert and riveting the audience with a radiant and opulent Early Music, the Bach Aria Group, Johannes So- Britten. Mr. Combs has given world premieres at the voice.” Ashe is a familiar face in the Boston new Cameron Beauchamp, bass, is in demand through- mary’s Amor Artis Chorale, and others, and with Lowell New Music Festival and with Composers in music scene, frequently performing on series such out the country as a soloist and chamber musician. numerous choral organizations in Boston. A long- Red Sneakers. He performs frequently at Phillips

12 13 Academy, Andover, where he has been a member of and opera with the Seattle Early Music Guild, St. Scott Metcalfe is a specialist in music between 1400 the role of David in Handel’s Saul with the Harvard the voice faculty since 1987. Currently a soloist and Paul’s Ex Machina, the Plymouth Music Series in and 1750 whose career as a violinist and conductor University Choir and Baroque Orchestra. A found- chorister at the Church of the Advent, Mr. Combs Minneapolis, the Austin-based choir Conspirare, has taken him all over North America and Europe. ing member of the professional early music ensem- has also sung with the choirs of Emmanuel and and the Santa Fe Pro Musica. In Boston he has ap- He has been invited to serve as guest director by ble Exultemus, Mr. Near takes up the role of Music Trinity Church. He has been music director and peared as soloist with Emmanuel Music, the Handel Emmanuel Music, Monadnock Music, the Tudor Director this season. He recently made his debut conductor of the Andover Choral Society since 1990, & Haydn Society, the Boston Early Music Festival, Choir and Seattle Baroque, Pacific Baroque Orches- as record producer for a recording of sacred music is the vocal director for the Composers’ Confer- the Tanglewood Music Center, Cantata Singers, tra (Vancouver, BC), and the Dryden Ensemble by and Marbrianus de Orto with ence and Chamber Music Center at Wellesley Col- Boston Cecilia, Prism Opera, Intermezzo, Boston (Princeton, NJ), in works by Monteverdi, Buxte- the vocal ensemble Cut Circle, to be released this lege, and served for five years as music director for Revels, and Collage. In addition to Blue Heron’s Du hude, Handel, Bach, and others, and in January 2010 year. In 2002 Mr. Near served as composer and the New England Dance Ensemble in Derry, New Fay disc, Paul can be heard on recordings of medi- he led the Green Mountain Project in an all-star music director of the one act opera Six Character Hampshire. eval music by Sequentia, Kurt Weill’s Johnny Johnson 400th-anniversary performance of Monteverdi’s 1610 in Search of an Opera for Project ARIA (AIDS Re- and French airs de cour with the , Vespers in New York City, which the New York Times sponse by Independent Artists). An advocate of Pamela Dellal, mezzo-soprano, is an acclaimed so- and on recordings of Bach by Emmanuel Music. called “quite simply terrific.” Metcalfe is concertmas- the performance of new music, Mr. Near has been loist and recitalist whose singing has been praised ter of the Trinity Consort in Portland, Oregon (dir. a soloit in numerous world premieres, including for her “exquisite vocal color,” “musical sensitivity,” Jason McStoots has performed throughout the US Eric Milnes), a member of Les Délices (dir. Debra Temptation in the Desert by Elliott Gyger for Mr. and “eloquent phrasing.” She has been featured in in the genres of opera, oratorio, recital, and musical Nagy), and a participant in Montreal’s early music Near and Seraphim Singers, and Some Reflections leading roles in operas of Purcell, Mozart, Britten, theater, and has been described by critics as “a natu- scene, working with Arion, Montreal Baroque, Les by John Eaton, a microtonal piece in 72-note equal and others. With Sequentia, Ms. Dellal has recorded ral, a believable actor and a first-rate singer” and as Voix baroques, and other groups. He was a founding temperament composed for the 20th anniversary the music of Hildegard von Bingen and toured the having “a silken tenor voice” and “sweet, appealing member of the 17th-century ensemble La Luna and of the Boston Microtonal Society. US, Europe, and Australia. Passionate about cham- tone.” He has performed with numerous organi- of the Renaissance violin band The King’s Noyse, ber music, early music, and contemporary music, zations including Boston Lyric Opera, The Early and from 1996 through 2007 he conducted the David Thorne Scott, tenor, is an active performer in she performs frequently with Dinosaur Annex, Music Guild of Seattle, Handel Choir of Baltimore, Renaissance choir Convivium Musicum. Besides many styles including jazz, chamber music, and ora- Boston Musica Viva, Ensemble Chaconne, Blue New Haven Symphony Orchestra, Emmanuel Mu- playing and directing, Metcalfe keeps busy writ- torio. He sings with the choral ensembles Cut Circle Heron, and the Musicians of the Old Post Road. sic, Granite State Opera, OperaProvidence, Tragi- ing, teaching, translating, and editing. He is at work and Philovox and was a finalist in the professional She has been a regular soloist in the Emmanuel comedia, Blue Heron, and the Boston Early Music on a new complete edition of the songs of Gilles division of the Boston NATS Song and Aria Festival. Music Bach Cantata series for twenty-five years Festival, and has long standing relationships with In- Binchois in collaboration with Sean Gallagher of David’s album Shade was chosen as a Top 5 Vocal and has performed almost all 200 of Bach’s extant termezzo: The New England Chamber Opera Series Harvard University, and is a lecturer in choral reper- Jazz CD by the Jazz Education Journal. As a member sacred cantatas. Recent appearances include the and the Florestan Recital Project. Particularly noted toire and performance practice at Boston University. of the vocal jazz quartet Syncopation (called “a 21st- premiere of a new John Harbison work, The Seven for his interpretations of new or modern music and Metcalfe received a bachelor’s degree in 1985 from century Manhattan Transfer or Lambert, Hendricks Ages, at Merkin Concert Hall last April. This season music of the baroque era, he is both a champion of Brown University, where he majored in biology, and and Ross” by the Boston Globe), he sang and played she will perform the work in San Francisco, Boston living composers’ works and frequent interpreter in 2005 completed a master’s degree in historical trumpet with the Boston Pops on their Fourth of and London. of the works of J.S. Bach, performing regularly as performance practice at Harvard. July Fireworks Spectacular. David also performs a part of the weekly cantata cycle at Emmanuel as a solo jazz singer/pianist. His arrangements for Bass-baritone Paul Guttry enjoys the variety of op- Music, where he was honored to be the Lorraine Countertenor Martin Near began his professional jazz choir are published by Hal Leonard, while his era, oratorio, and a specialization in early music. A Hunt-Lieberson Fellow for 2007-08. McStoots is a singing career at age ten in the choir of men and arrangements for his vocal jazz quintet Vocalogy former member of Chanticleer, Paul has performed member of the voice faculty at Brandeis University boys at Saint Thomas Fifth Avenue in New York City, are published by University of Northern Colorado throughout the USA and internationally with Se- and the Walnut Hill School. advancing to Head Chorister. He recently appeared Jazz Press. David holds a B.A. in English and music quentia, the Boston Camerata, and New York’s En- as alto soloist with Boston Cecilia in Bach’s Mass in from Drew University, an A.A.A. in professional semble for Early Music. He has appeared in concert B Minor and was praised as “winsome and lyrical” in music from the School for Music Vocations (South-

14 15 western Community College, Creston, IA) and a performances of Bach cantatas and Magnificat in a founding board member and current president of M.M. in jazz vocal performance from the University Jordan Hall with H&H. In February 2010 he will the Boston Clavichord Society. of Miami. He continues his studies in voice with be featured in a concert of newly-composed songs Mark Baxter. David is Associate Professor of Voice by the winners of the Longfellow Chorus’s annual Mezzo-soprano Daniela Tošić, a native of Belgrade, at Berklee College of Music. international composer’s competition in Portland, Yugoslavia, is a soloist and chamber musician who Maine. An active Bach Passion Evangelist, he has specializes in early, contemporary, and world music With a voice hailed as “sweetly soaring” by the sung the role in the St. John Passion with Chorus repertories. She has performed in concerts through- Dallas Morning News, tenor Steven Soph is an ac- Pro Musica (Boston) and with the Boulder Bach out the U.S. and Europe. Ms. Tošić is a founding tive performer in chamber music and oratorio. He Festival in Boulder, Colorado, among others; his member of the internationally renowned vocal sings with Blue Heron, Boston Secession, Schola performance has been described as “supremely styl- ensemble Tapestry, winners of the Echo Klassik Cantorum, Cut Circle, Philovox, Exsultemus, and ish.” He was a founding member of the Cambridge and Chamber Music American's Recording of the the Choir of Church of the Advent. Recent solo Bach Ensemble, has performed at music festivals in Year. She has premiered numerous new works and engagements include Bach’s St. John Passion with Bergen (Norway), Vancouver, Edinburgh, and Al- performed Steve Reich's Tehillim with the Colo- New Trinity Baroque of Atlanta and Musikanten deburgh, UK, and has recorded with Dorian, Koch, rado Symphony and Cabrillo Festival Orchestra Montana, Schütz’s Musicalische Exequien with the Harmonia Mundi, Decca, Arabesque, and Telarc. conducted by Marin Alsop. In the Boston area Ms. Providence Singers, and Bach’s cantatas BWV 148 He was a Fellow of the Britten-Pears School. In ad- Tošić performs regularly with La Donna Musicale and 76 with Musica Maris. While studying at the dition to singing and teaching, he is an American and Balmus. She is also a founding member of the University of North Texas with Julie McCoy and Canoeing Association Open Water Sea Kayaking medieval-world fusion ensemble HourGlass. David Sundquist, he performed with the Orpheus Instructor and a Registered Maine Guide. Chamber Singers, Texas Choral Artists, Dallas Bach Society, Helios Ensemble, Orchestra of New Spain, Peter Sykes is Associate Professor of Music and Paradigm Singers, and the Chancel Choir of the Chair of the Historical Performance Department Episcopal Church of the Incarnation. Mr. Soph at Boston University, where he teaches organ, harp- appears on recordings for Arsis, Edition Lilac and sichord, performance practice, and continuo real- Pro Organo labels. When not singing, he restores ization. He is also a member of the faculty of the electro-pneumatic organs for Spencer Organ Co. in Longy School of Music and Music Director of First Waltham, Massachusetts. Church in Cambridge. He performs extensively on the harpsichord, clavichord, and organ, and has Tenor Mark Sprinkle has appeared as a soloist in made ten solo recordings of organ repertoire rang- Carissimi’s Abraham and Isaac at the 92nd Street ing from Buxtehude, Couperin, and Bach to Reger Y in New York City, with the Handel & Haydn and Hindemith and his acclaimed organ transcrip- Society in Bach’s St. Matthew Passion and Vivaldi’s tion of Holst’sThe Planets. Soon to be released will Gloria in Symphony Hall, Boston, in Monteverdi’s be a recording of the complete Bach harpsichord 1610 Vespers at the Emerson Majestic Theatre under partitas on the Centaur label. He also performs and Grant Llewellyn, in concerts of Handel’s Chandos records with Boston Baroque and Aston Magna. Anthems with Christopher Hogwood in Jordan A recipient of the Chadwick Medal from the New Hall, and with Concerto Palatino, the Boston Cam- England Conservatory and the Erwin Bodky Prize erata, the Boston Early Music Festival, Emmanuel from the Cambridge Society for Early Music, he is Music, and Blue Heron. Recent solo turns include

16 17 Acknowledgments Thanks to the Cambridge Society for Early Music for their support of this season’s pre-concert talks. A podcast series featuring previous pre-concert talks and concert performances can be found on Blue Heron’s website. • Barbara Poeschl-Edrich graciously hosted Becky Baxter. Thank you! • Many thanks to Peter Sykes for the CD Release and Celebration use of the organ. • Evan Ingersoll (Angstrom Images) designs our programs and our website, Chris Clark (Cave Dog Studio) designs our publicity materials and program covers, and Philip Davis records our concerts. Blue Heron’s second full-length All three further support this organization in ways that extend beyond their expert services. • Special thanks CD will be officially released to our devoted volunteers for their help this evening and throughout the year. after the concert on March 13. We are honored and grateful to have so many generous donors. Blue Heron would not exist without you. You are invited to join in the Many, many thanks. celebration at a reception fol- • Donations from March 8, 2009 through March 8, 2010 • lowing the concert. After the angel Ellen H. Powers friend final bows, follow the singers Philip H. Davis Andrew Sigel Lorraine Adams through the doors at the front Laurie Francis-Wright Peter Belknap & Jennifer Snodgrass Anonymous (2) of the church to Margaret Jew- William & Elizabeth Metcalfe Joan Boorstein ett Hall, where we will toast this Harry Silverman supporter Beatrice Brewster Jonathan Aibel Susan H. Bush milestone in Blue Heron’s excit- benefactor Noel Bisson Joan Campbell ing journey. Massachusetts Cultural Council Thomas Bisson Beryl H. B. Cox Erin McCoy Marilyn Boenau Jim Fowle Blue Heron’s second CD pres- Cynthia C. Schlaikjer Louise Botero Edward S. Ginsberg ents superb music by three Eng- The Spanish Government Robert Cochran Ivan Hansen Maureen A. Conroy Margot Honig lish composers of the early 16th guarantor Nathaniel S. Coolidge Leslie Horst century: Hugh Aston, Robert John Paul & Diane Britton May & Carl Daw Elaine Hubert & Bill Harwood Jones, and John Mason. Al- John & Harriet Carey Sheila and Charles Donahue Jane Hyman though their music is gorgeous Scott Metcalfe Daniel Donoghue IBM Corporation and of superlative quality, As- Cheryl K. Ryder John F. Dooley Mary E. Jackson Richard L. Schmeidler Eastern Bank Capital Toni Jackson ton, Jones, and Mason are virtually unknown to performers and scholars today, for the primary William J. Vaughan Samuel Engel & Anne Freeh Engel Louis Kampf extant source of the music—in the case of Robert Jones’s, the sole extant source—is now in- Frances Fitch and Gregory Bover Paul LaFerriere & Dorrie Parini complete through the loss of one partbook and a portion of another, out of an original set of five. patron Irving House at Harvard Deborah Levey The set, known as the Peterhouse partbooks for its present location in the library of Peterhouse Benjamin Krepp Ron Lacro & Jon Schum Catherine Liddell College, Cambridge, was copied in 1540 for Canterbury Cathedral and is the largest and most Elizabeth Davidson Fred Langenegger Amy Mossman John & Ellen Harris Samuel Lorber Kathleen Pasek important source of English music surviving from the period just before the Reformation; it Peter & Cindy Nebolsine James Martin Samuel Rubin & contains over seventy works, fifty of which are unique to Peterhouse. Blue Heron’s recording Katherine L. Rosenfield Keith Ohmart & Helen Chen Jennifer Farley Smith uses brilliantly idiomatic reconstructions by Nick Sandon, a British musicologist now living in Joan Margot Smith Janet & Dick Post Paul R. Schierenbeck France, who has devoted his career to the music of the Peterhouse partbooks. Michal Truelsen & Joda Wormhoudt Susan Potter Helen Seager Susan Poverman Candace Smith sponsor Richard Rivard Polly Stevens This is the first disc in a projected series of recordings of music from the Peterhouse partbooks Connie & Don Goldstein Mark Schueppert Marsha Vannicelli and includes world premiere recordings of three works and the first of another in the form David Halstead & Jay Santos Ann B Scott Martha Weisberg recorded here. Julianne Lindsay & Richard O’Connor Thomas Stone Martin & Phyllis Wilner Mastwood Charitable Foundation Richard Tarrant Linda C. Woodford Anne H. Matthews Lee Warren Elizabeth Wylde Thank you to all of you who helped to make this CD a reality! Michael P. McDonald Alex Yannis Eiji Miki & Jane Hever John Yannis

18 Attention Join Blue Heron Workshop Join Blue Heron’s mailing list to receive all the news about educators! our concerts in the Boston area, in New York, and on the Next Weekend! road. If you sign up for the e-mail list, you will also receive our quarterly newsletter, only available through e-mail, and

bulletins about special events, such as workshops, educa- Are you a music teacher or Would you like to SING some of the music you are hearing this evening? tional events, parties, and CD releases. All this can be done professor? Blue Heron offers a wide Come next Saturday and sing works selected from this program and other through our website, blueheronchoir.org, where you will variety of educational programs, for 16th-century Spanish music, under the direction of Scott Metcalfe. The also find a detailed concert history, past programs and notes, students ranging from elementary workshop is open to all, but please pre-register and let us know what part essays on performance practice, pictures of the musicians, school to the post-graduate level, you like to sing. podcasts, and more. including master classes, ensemble coaching, lecture- demontrations, and workshops, Saturday, March 20, 2010 · 10:00 am–2:30 pm as well as recital and concert (box lunch provided) programs. We are eager to build relationships with and among Church of the Good Shepherd educators, and an appearance by 9 Russell Ave. (corner of Mt. Auburn St.), Watertown Blue Heron at your institution may fully accessible · right on the 71 bus line from Harvard Square be more affordable than you think. and not far from Watertown Square If you are interested, please contact Gail Abbey at [email protected]. $45 per person / $35 for season pass holders

On Sale Today! 20th ANNIVERSARY 2009-2010 SEASON Bo on Early Music Fe ival CONCERT SERIES Blue Heron’s first CD, featuring music of Guillaume Du Fay, � � including three iso-rhythmic motets, two hymns, the Sanctus Les Folies Françoises “Papale,” and a selection of chansons. Also available through directed by Patrick Cohën-Akenine, violin our website, and through CD Baby: www.cdbaby.com. Great Parisian Masters Under Louis VX …glorious performances with incandescent singing … a triumph for an American ensemble in a field long dominated Friday, March 19 at 8pm by Europeans. First Church in Cambridge Craig Zeichner, Early Music America | Fall 2007

This debut marks Blue Heron as a leading new actor in the field of early Renaissance music, both for studying the sources and bringing them to life.… Altogether, this is one of the finest Dufay collections to come out in recent years… J. F. Weber, Fanfare | September/October 2007

The most attractive aspect of this recital is its feeling of immediacy and freshness.… For me, the high points are theSanctus Papale, for which it is very welcome to have such a confident and poised rendition; and some of the later songs, for example Malheureux The Tallis Scholars directed by Peter Phillips cuer, que veux tu faire, and the cheeky Puisque vous estez Franco-Flemish Masters of the Renaissance campieur… More, please. Fabrice Fitch, Goldberg | August/September 2007 Saturday, March 27 at 8pm • St. Paul Church, Cambridge Visit us online at WWW.BEMF.ORG for complete details, or call 617-661-1812 for a full brochure. THE HUMAN Saturday, March 20 @ 3pm Friday, April 16 @ 7:30pm Sunday, May 2 & Tuesday, May 4 SATURDAY Revels Spring Sing Revels Salon Chorus Auditions MARCH 27, 2010 A Family Celebration with photographer Peter Vanderwarker for the 40th annual production of of the Vernal Equinox. Wine and cheese and a lively discussion in The Christmas Revels Bethel AME Church St. John’s Church, Watertown, MA the historic setting of The Commander’s St. John’s Church, Watertown, MA SPIRIT Mansion, Watertown, MA. BOSTON CHILDREN’S CHORUS 86 Wachusett Street Saturday, April 10 @ 6:30pm Wednesday, May 19 @ 6pm Jamaica Plain, MA Revels’ 2nd annual Saturday, May 1 @ 2:30pm Revels Pub Sing Cook-Off Revels May Day Celebration Eat, drink, sing! Good food and a good time. An indoor-outdoor family event with music Doyle’s Café, Jamaica Plain, MA Proceeds to support Revels and more! 3:00pm FREE education programs. St. John’s Church, Watertown, MA Holy Trinity Armenian Church, Cambridge, MA For more info: www.revels.org www.bostonchildrenschorus.org or (617) 972-8300 HEAR BCC’S PREMIER CHOIR, YOUNG MEN’S ENSEMBLE, AND CONCERT CHOIR NEW ENGLAND CONSERVATORY, LEAD ARTISTIC PARTNER CITIZENS BANK, NATIONAL PRESENTING SEASON SPONSOR Spring Revelry

Emmanuel Music 2009-2010 Spring Concerts · CONVIVIUMMichael Barrett, MusicMUSICUM Director Evening Concert Series Reinventing Vienna spring 2010 b K This spring Convivium explores the unique soundscape of April 17, 2010 at 8:00 pm Renaissance chromaticism. Our program includes works Orchestral works of Haydn and Schoenberg by Orlando di Lasso, Hans Leo Hassler, Alexander Utendal John Harbison & Michael Beattie, conductors e g and Michelangelo Rossi, whose madrigals surpass even Gesualdo in their daring use of pitches outside the “gamut,” Spring Chamber Series y a the set of pitches whose modern equivalent is the diatonic Sundays at 4:00 pm scale. There will even be a cameo appearance by a famous 20th century composer. March 28, April 11 and 25, 2010 o Haydn: Piano Sonatas m May 8, 8:00 pm · First Church, Cambridge Schoenberg: Complete Piano Pieces May 15, 8:00 pm · Church of St. John the Evangelist, Boston Russell Sherman, piano n u May 16, 7:00 pm · St. Paul’s Episcopal Church, Brookline with guest artist Katherine Chi, piano on April 11 May 22, 8:00 pm · Trinity Lutheran Church, Worcester

d t for complete concert information: www.emmanuelmusic.org F 617.536.3356 chromaticism in the Renaissance www.convivium.org · 978-318-6967 · [email protected] Cambridge Savings is proud to support arts in the community.

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Don Wilkinson Birding Tours Musical Feast The Boston Great Egret by Don Wilkinson {visit us before or after the concert} Musical ~ 2010 Tours ~ Monday Club Bar and Grill Intelligencer SoiréeSoiré Dining Dining RoomRoom April the go-to online journal Dry Tortugas & South Florida containing a focused calendar, 91 Winthrop Street reviews, and articles about classical May in the Heart of Harvard Square music in greater Boston North Carolina Pelagics & Land Specialties 617 864.1933 Robert Levin, EDITOR July upstairsonthesquare.com Bettina A. Norton, EXECUTIVE EDITOR Nevada & Utah for Himalayan Snowcock F. Lee Eiseman, PUBLISHER

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4.5” x 7.625”; PDF preferred; [email protected] Emanual Musice Program Board of Directors John A. Yannis, president Marilyn Boenau, treasurer Richard L. Schmeidler, clerk Philip H. Davis Harry Silverman Office Administrator Gail Abbey Volunteers Daryl Bichel Susan Delaney Laurie Francis-Wright Barney Gage Alexandra Hawley Anne Kazlauskas Benjamin Krepp Emily Letourneau Erin McCoy John Nesby Michelle Peatick Jessie Rodrique Cheryl Ryder Cynthia C. Schlaikjer Jennifer Smith

colophon cover image: Ventanas con arabescos en la Alhambra photo by Javier Carro, Creative Commons license

Text is set in Adobe Arno Pro, titles in Scala Sans. program design by Evan Ingersoll program contents copyright ©2010 Blue Heron Renaissance Choir, Inc.