2019-2020: The Fellowship of

COUNTRYSIDE and COURT Artistic Direction by Katherine Hill, with Emilyn Stam

OCTOBER 25 & 26, 2019 2019-2020

Jeanne Lamon Hall, Trinity-St.Paul’s Centre Season Sponsor THANK YOU! It is with sincere appreciation and gratitude that we salute Ann H. Atkinson for her leadership and support of this production.

JOIN US at our Intermission Café! The Toronto Consort is happy to offer a wide range of refreshments:

BEVERAGES SNACKS PREMIUM ($2) ($2) BAKED GOODS ($2.50)

Coffee Assortment of Chips Assortment by Tea Assortment of Candy Bars Harbord Bakery Coke Breathsavers Diet Coke Halls San Pellegrino Apple Juice

Pre-order in the lobby! Back by popular demand, pre-order your refreshments in the lobby and skip the line at intermission! PROGRAM

Countryside & Court Pieces marked with an asterisk are translated in the programme.

Airs de cour Si tu veux apprendre* Pierre Guédron (1602) Branles de Champaigne ed. Jean d’Estreés, Premier livre de Danseries (1559) Qu’on ne me parle plus d’amour* Pierre Guédron (1609) Je suis bon garçon* Pierre Guédron (1602) La bourrée ed. , Terpsichore (1612) Auvergne Regret d’après Antoine Bouscatel after Antoine Bouscatel (1867-1945) Scottish à Micallet after Eugène Solomagne (1897-1979) Bourrée: Aval dins la robiera* collected in Corrèze, Limousin Bourrée: Para lo lop traditional, Limousin Suite of bourrées on “Le tant pire de Madame Fauret” Auvergne/Limousin Sung bourrées: Je suis la délaissée* Limousin Ai vist lo lop* Limousin Fai anar pichona* Limousin

The Light of the Pleiades La brunelette violette reflorit* Claude LeJeune (c. 1530-1600) La lune est coustumière* Pierre Clereau (d. 1570) Une puce* Claude LeJeune Rondeaux à Ulysse Salesses after Ulysse Salesses (1897-1983), Gascony

INTERMISSION – Join us for the Intermission Café, located in the gym. Gascony Courante d’après Julien Déjean collected 1904, Gascony Rondeaux de Samatan collected in Samatan, Gascony

Voix de ville Branle: O ma dame pers-je mon temps* ed. Jehan Chardavoine (1575) Première Suyette de Bransles d’Escosse Estienne duTertre (c. 1557) Le roi fait battre le tambour* anon., 17th century En passant par la Lorraine* trad./Jacques Arcadelt (1554) with Bransles de village Terpsichore (1612) On the palace steps J’aime la dizaine* Charles Tessier (c.1597) Aux marches du palais* anon., 18th century J’ai vu le loup* traditional, Bretagne / Dies irae Tonight’s Performers are: Staff & Administration

Michelle Knight, Managing Director Adam Thomas Smith, Director of Katherine Hill, Artistic Director, Audience Engagement and Education voice, viola da gamba Nellie Austin, Bookkeeper Chris Abbott, Graphic Designer Michele DeBoer, voice Yara Jakymiw, Season Brochure Graphic Designer Martin Reis, Derek Haukenfreres, Box Office Ben Grossman, hurdy-gurdy, percussion Peter Smurlick, Database Consultant Gordon Baker, Stage Manager Paul Jenkins, voice, Cecilia Booth, Front of House, Volunteer Coordinator Gordon Peck, Technical Director Cory Knight, voice Ann Blennerhassett, CD Sales and Event Assistant

Esteban La Rotta, ,

John Pepper, voice Board of Directors Laura Pudwell, voice Heather Turnbull, President Harry Deeg, Treasurer Frances Campbell, Secretary Jason Bernardon WITH Jennifer Bryan Anita Nador Emilyn Stam, fiddle Andrea Whitehead

Lea Kirstein, fiddle, viola, cello

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427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected]

bloorstculturecorridor.com TorontoConsort.org ABOUT US

Top Row: Paul Jenkins, David Fallis, Laura Pudwell, Esteban La Rotta, John Pepper, Cory Knight Bottom Row: Katherine Hill, Michele DeBoer, Alison Melville, Ben Grossman Photo Credit: Bruce Zinger

Since its founding in 1972, The Toronto Consort from dedicated music-history aficionados has become internationally recognized for its to occasional or first-time patrons. excellence in the performance of medieval, Each year, the Consort presents a five- renaissance and early baroque music. Led by production, twelve-concert series in the beautiful a collective of Artistic Associates, the group’s acoustic of Jeanne Lamon Hall at Trinity-St. members are amongst Canada’s leading early Paul’s Centre, located in downtown Toronto’s music specialists, including both singers and Bloor Street Cultural Corridor. The Consort tours instrumentalists on early plucked and bowed regularly, having been to Europe and Great Britain, strings, flutes, keyboards, and percussion. across Canada, and into the United States. The Toronto Consort specializes in rarely The Toronto Consort also offers free audience- heard repertoire from roughly 1100 AD to 1650 AD, engagement activities, such as pre-concert lectures, frequently presented in collaboration with other high school education concerts and learning artists, such as actors, dancers, visual and workshops, and the Early Music Collaboration Lab for multi-media artists, and guest specialists. The Seniors and Youth, and runs development programs collaborative nature of its creative process for Emerging Artists and Board of Directors Training. has led to diverse productions enthusiastically To contact or learn more about The Toronto received by varied modern audiences, Consort, visit TorontoConsort.org. PROGRAM NOTES

Bienvenue! A very warm welcome to present day, in dance tunes from the sixteenth Countryside and Court, the opening concert of century that can be danced to with traditional our 2019-2020 season. Tonight we are pleased steps, and in the enduring presence of modal to be offering a musicaltour de through melodies (as opposed to melodies in the major both space and time, aided by very special guest and minor keys used in modern harmony). artists Emilyn Stam and Lea Kirstein on fiddle, Clearly, some ideas and tastes have remained viola and cello. This tour will take us from , quintessentially French throughout the ages! the Île de France, and surrounding regions in the north, down to Auvergne, Gascogne and By consciously mixing together repertoire Limousin in the south, travelling at the same time and practitioners of early music and traditional from the mid-sixteenth century all the way to music this evening, we hope to provide a picture the present day. Travelling not by bicycle, but by of the richness, colour and liveliness of the feet — the dancing feet and poetic feet that have past and present, in a more complete way than been shaping western music for centuries — we the historical record alone can provide. After will hear sumptuous vocal , intricate all, while we are very fortunate to have access instrumental textures, tunes with earthy and to written music from centuries ago, these irresistible heartbeats, and captivating songs documents can never tell us everything about of love, lechery, betrayal and heartbreak. the nuances, the conventions and the shared experience that animated music-making in the The elements of our tour at first glance sixteenth century. This evening’s mélange of seem like pairs of opposites: north and south, music and musicians allows us to recognize a old and new, court and countryside, early music direct kinship with traditional music, in the sense and traditional music. Certainly, the music that sixteenth-century music was written for on tonight’s programme encompasses many dancing and other very specific social purposes, styles, colours, functions and points of origin. none of which were concerts in venues the size However, some common threads also weave of Trinity St Paul’s. During the preparation for through our repertoire, in the form of old songs this project, our traditional music colleagues and poems still living in the traditions of the have aided us in exploring what kinds of unwritten nuances our documented sixteenth- The of Guédron’s predecessor at century music might have had, and, equally court, Claude LeJeune, are perhaps the furthest important, they have also offered us a glimpse removed from the countryside, often using of the qualities traditional music from the past poems by members of the Parisian literary (the undocumented music from beyond courts group La Pléiade, who were committed to and urban centres) might have possessed. elevating the French language by emulating the forms and metres of ancient Greek poetry. Our sixteenth-century repertoire The results create irregular but compelling tonight shows the work of urban and courtly rhythms, painted with colourful harmonies, composers, that is, composers who served as can be heard in “La brunelette” as well as noble or royal patrons, and whose work was Guédron’s “Si tu veux apprendre”. Renowned published by royal license. The first set on poet Pierre de Ronsard (1524-1585), a key the programme features airs de cour (courtly member of La Pléiade, is featured in Pierre songs accompanied by the lute) by Pierre Clereau’s luminous three-voice setting of “La Guédron, who served as a court musician under lune est coustumière,” which is one of many Henry IV (reigned 1589-1610). The first two odes Ronsard wrote to his muse, Cassandre airs demonstrate poetry addressing courtly Salviati. Elsewhere on the programme, we concerns, but the third, ”Je suis bon garçon,” see other courtly composers, such as Jacques imitates the style of (or perhaps borrows) a pop Arcadelt (employed by both Henry II and tune of the time. This is but one of a multitude Charles IX) and Charles Tessier (who worked of examples in Guédron’s compositions, and for a time at the court of Queen Elizabeth in the compositions of many other courtly I), making four-voice arrangements of what composers of the sixteenth century, of the were surely beloved pop tunes of the day, “En borrowing of themes and melodies from popular passant de la Lorraine” and “J’aime la dizaine.” and traditional music, which were then blended into compositions designed to be consumed Songs were not the only kind of music in by the élite. Thanks to these borrowings, we which the lines between court and countryside get to enjoy the compositions themselves, as could blur in the sixteenth century. Thanks well as the traces of the delightful, original to collections of dance music published in tunes that otherwise would be lost to us. France (Pierre Attaignant) and Germany (Michael Praetorius) in the sixteenth and have records of the beautiful and tragic ballad early seventeenth centuries, we get a glimpse ”Le roi a fait battre le tambour” as well as the of courtly dances printed alongside more touching simplicity of “Aux marches du palais.” rustic variants (“La bourrée,” “Branles du Champaigne”). As is the case with traditional The final piece on our programme, “J’ai vu music today, dances and tunes from other le loup”, deserves special mention, as in some countries were embraced and incorporated into respects it is the perfect souvenir of our tour local traditions over time: the “Branles d’Écosse” de France. The melody of this Breton dance by Estienne du Tertre (published in 1560, during song, known today in various versions all over the short reign of Francis II, who was married France (including the bourrée “Ai vist lo lop” to Mary, Queen of Scots) are likely some early in the first half of this evening’s programme), steps towards the eventual presence of the traces its origins to the Dies irae from the Schottische in modern-day French dancing. Gregorian Requiem mass, likely as old as the late thirteenth century. With Hallowe’en and the No celebration of French music of the Feast of All Souls just around the corner, it is the sixteenth century could be complete without perfect moment to tap our feet to the rhythms a few popular songs found in the urban song established by those who came before us, as collections of voix de ville (”voice of the city”) our hearts beat together in the here and now. and its descendants. ”O ma dame”, from Jehan Chardevoine’s 1576 publication, is not just a Katherine Hill, Artistic Director catchy tune but also a dance song, following a typical sixteenth-century branle rhythm. The voix de ville (over time contracted to vaudeville) custom carried on through the 17th and 18th centuries, when books of songs were offered in the city streets by colporteurs (pedlars carrying a variety of small items on trays suspended from the neck by a leather strap). Thanks to the long tradition of colportage, we are lucky to A WORD FROM EMILYN STAM

It is such a pleasure to be able to share a life-long adventure of loving and learning this music with you; these old melodies that about the traditional music of France. have been passed down orally from generation to generation, from voice to , from the Since that moment in the Netherlands, drone of the bagpipe to the drone of the I’ve had the privilege of travelling many times gurdy, through the feet of the dancers. My first through France and its neighbouring countries, encounter with traditional French music was in attending and performing at various festivals a hidden bar in an anarchist skateboard park and gatherings of traditional music and dance. in the Netherlands. I was living in Tilburg, close From a bal on a boat in Paris, to a luthier festival to the Belgian border, studying classical piano in a forest beside a castle, what stands out for at the Conservatorium, when one day I heard me is the connection between the music and a busker playing Celtic tunes on the fiddle. It the dance, and the lack of separation between caught my ear – music I had grown up with in “performer” and “audience”. People are coming Northern BC, right there on the shopping street together to create a shared experience, in which in Noord Brabant! Boris was in town from his neither the musician nor the dancer is more home in Auvergne, France, visiting his brother important, in which you can’t keep yourself David, a local Brabant folk troubadour, of sorts. from joining in. It is a living tradition, one in David plays whistles and mandolin, and knows which people are excited about melodies that all the local traditional songs (and writes a lot have been around for centuries, while still of hits himself!). He hosts a weekly traditional accepting new compositions to the repertoire. and acoustic music jam on Wednesdays, A tune is never ”owned”, even by its composer. which happened to be that very day … so off Once it leaves the strings it was born on, it I went on my bike to fetch my fiddle. At that becomes shared in the community. To have jam I heard an dros from Bretagne, bourrées your composition be attributed to “Trad” is one from Auvergne, mazurkas, schottisches – all of the biggest compliments in the traditional tune types I had never heard of before which and folk music scene. At that point it has been sounded so earthy and groovy, so different played by enough instruments, danced to by from the jigs and reels I had grown up with. enough feet, sung as wordless melody on a train in conversation – it is a free agent, polished And so, as if from a folk fairytale, it and shaped by those who play it, connecting was a simple conversation with a Dutch people across countries and centuries. busker that led me on what I know will be TEXTS & TRANSLATIONS

Si tu veux apprendre If you want to learn Les pas à danser, the dancing steps, Il faut pour l’entendre then to understand Vers moy t’avancer: you must come close to me: Fay donc à la danse As you dance, Le tour que voilà, turn like this, Soubs cette cadence to this music, Tu feras cela. do like that.

Tu n’es point esmüe You are not inspired A glisser tes pas, to glide your steps; Si tu ne remüe if you do not move, Tu n’apprendras pas: you will not learn:

Je crois que tu resves, I think you are dreaming, A ce que je voy from what I can see, Ouvre un peu tes gresves, part your legs a little, Et fay comme moy: and do like me:

Que te sert de feindre It is no good pretending, En tes pas perdans, wasting your steps, Il ne faut rien craindre there is nothing to fear: Te voilà dedans: you are there!

Qu’on ne me parle plus d’amour Speak no more to me of love, L’inconstance règne à la cour : inconstancy reigns at court : O Dieux, punissez ces âmes volages O gods, punish those fickle souls, O Dieux, punissez ces légers amoureux. O gods, punish those thoughtless lovers.

Ils n’ont de la fidelité They are faithful to nothing Sinon pour la desloyauté : except disloyalty : O Dieux, punissez ces coeurs infidelles, O gods, punish those unfaithful hearts, O Dieux, que n’ont-ils leurs coeurs dans les yeux. O gods, if only their hearts were in their eyes.

Ils feignent plus de passion They feign the most passion Lors qu’ils ont moins d’affection : when they feel the least affection: O Dieux, punissez ces coeurs infidelles, O gods, punish those unfaithful hearts, O Dieux, punissez ces légers amoureux. O gods, punish those thoughtless lovers.

La foy de ces esprits mocqueurs The insincerity of those mocking minds Fuit par leurs bouches de leurs coeurs : escapes from their hearts through their mouths: O Dieux, punissez ces coeurs infidelles, O gods, punish those unfaithful hearts, O Dieux, punissez ces légers amoureux. O gods, punish those thoughtless lovers. Je suis bon garçon, je n’y pense en nul mal. I’m a good lad, with no bad thoughts. En m’en revenant de Sainct Nicolas, On my way back from St Nicholas, N’y rencontray personne qui me salua. I met no one who greeted me. Fors qu’une bonne femme, monsieur Dieu Only a good woman, “Sir, may God vous gard. protect you.” Luy demanday sa fille, monsieur la voyla. I asked her for her daughter: “Sir, there she is. Elle est un peu jeunette monsieur choyés-la. She’s a bit young, sir, take care of her.”

Three Sung Bourrées Aval dins la riviera, There, in the river, Los canards lei son, los canards lei son, the ducks are there, Lei son qu’ela se banhon the ducks are there, bathing, Enb’ los canetons, enb’ los canetons. and the little ducklings, too!

Je suis la délaissée I am the forsaken one Qui pleure nuit et jour who weeps night and day. Celui qui m’a trompée The one who deceived me Est mon premier amour. was my first love.

Ai vist lo lop, la lebré, I saw the wolf, the hare É lo rainard dançar. and the fox dancing. Fasián lo torn del aubré, They chased each other around a tree Sens pouver ch’atrapar. without catching each other.

Fai anar pichona Take your pitcher of wine, Fai anar ton violon. and take your violin, Ton violon, ton violoneta, your violin, your little violin: Ton violon que me va bien. that sounds good to me!

La brunelette violette reflorit The dusky violet blooms again, La belle peinte Primevere s’en vient, the beautifully-painted springtime approaches, Ramène fleurs que le Zephire nourrit, bringing flowers which the south wind feeds, Le parement de la nouvelle saizon. the decoration of the new season. O que je puesse de la joy’ Oh, if only I could feel du renouveau me sentir! the joy of the new season! Je ne le puis, ne la voyant céle qui m’est I cannot, not seeing her who for me is all joy, Et toute joy’, et toute fleur, et Printans. all flower, and springtime.

Les oyzillons s’aparians drillet et vont The mating young birds circle about, Et le bocage réjouy retentit and the happy grove is full De mile voix dégouzillantes en l’air, of a thousand voices warbling in the air, Toute liess’ en amoureuze douceur. full of the pleasure of amorous sweetness. Le patoureau sa patourelle rejouit The shepherd pleases his shepherdess Flajoletant du flajolét sa , playing his song on a pipe, Ele qui l’oit va le trouver de son gré, she, hearing, seeks him willingly, En y alant quite quenouille et fuzeau. leaving behind distaff and spindle. Les amoureaus Cupidoneaus de toute pars The amorous little Cupids on all sides Volet épars, fléches et dars répandans: fly here and there, shooting arrows and darts: Toute la mer, toute la terr’ et les cieus, the whole sea, all the earth and heavens Tous animaus d’amour épris s’égayront. and animals are joyful, smitten with love. La lune est coustumière, The moon is accustomed Renaistre tous les mois to being reborn every month, Mais quand notre lumière but when our light Sera morte une fois, will once be extinguished Longtems sans reveiller we will be forced to sleep Nous faudra someiller. for a long time, without waking.

Tandis que vivrons ores While we live, though, Un baiser donne moy, give me a kiss, Donne m’en mille encores, give me a thousand more; Amour n’a point de loy, Love has no rules A sa grand deité and infinity suits Convient l’infinité. his great Godhead.

Ah vous m’avés maitresse, Ah mistress, in kissing me De la dent entamé, you have stopped my tongue – La langue chanteresse, the tongue that has praised De votre nom aymé : your beloved name; Quoy? est-ce là le pris what? is that the reward Du labeur qu’elle a pris? for the task it undertook?

Elle, qui voz louanges My tongue set out to extol Dessus le Luth vantoit, your praises on the lute, Et aux peuples estranges and it sang to unknown peoples Voz merites chantoit, your merits, Ne faisant l’air si non making the air Bruyre de votre nom. resound with your name.

De voz tetins d’Ivoyre It sang of the glory Joyaux de l’Orient, of your ivory breasts, Eternisoit la gloyre, the jewels of the East, Et de votre œil friant and of your dainty eyes; Pour la recompenser so to recompense it La faut-il offenser? should we offend it?

Las! de petite chose Alas, of little things Je me plan durement, I complain harshly; La playe en l’ame enclose the wound hidden in my soul Me cuit bien autrement burns me very differently Que ton œil m’y laissa than when your eyes left me, Le jour qu’il me blessa. on the day they wounded me. Une puce j’ay dedans l’oreille helas! I have a flea in my ear, alas! Qui de nuit et de jour me fretille et me mord, which, night and day, itches and bites me, et me fait devenir fou. and drives me mad. Nul remede n’y puis donner No remedy is to be given, Je cour de là retirela moy, je t’en pri. I run hither and thither – take it out, I beg you! O toute belle secour moy. O fairest one, help me!

Quand mes yeux je pense livrer au sommeil, When I think to rest my eyes in sleep Elle vient me piquer, me demange, et me point, it comes to sting, to bite, to prick me, et me garde de dormir. and to stop me from sleeping.

D’une vieille charmeresse aydé me suis, I was helped by an old sorceress Qui guerit tou le monde et de tout guérisant, who cures everything, ne m’a sceu me guérir moy. but she didn’t know how to cure me.

Bien je scay que seule peux guérir ce mal. Well do I know who alone can cure this ill. Je te prie de me voir de bon oeil, et vouloir, I beg you to look kindly on me, choosing m’amolir ta cruauté. to soften your cruelty.

INTERMISSION Please join us for the Intermission Café located in the gymnasium

O ma dame pers-je mon temps O my lady, do I waste my time, Voulez-vous que me retire: do you want me to withdraw: O ma dame pers-je mon temps, O my lady, do I waste my time, Ou si j’aurai ce que j’atens? or shall I have that which I await?

Las que c’est une grand’ peine, Alas, it is a great sorrow, Quand l’esperance incertaine when uncertain hope Tient la personne en suspens holds on, suspended Entre plaisir & martyre: between pleasure and agony:

Je luy ay dit ma pensée I told her my intentions, Dont elle semble offensée, by which she seemed offended, Et ses beaux yeux malcontens, and those lovely eyes unhappy, Qui devant me souloient rire: that used to laugh before me:

Celle à qui amour je porte She for whom I bear love Est parfaite en toute sorte is perfect in every way, De corps, d’esprit, et de sens, in body, spirit, and mind, De cœur, je n’en sçay que dire: in heart – what more can I say? Le roi a fait battre tambour

Quand le Roi entra dans la cour When the King entered the court Pour saluer ces dames to greet the ladies, La première qu’il salua the first one he greeted Lui a ravi son âme. stole his heart.

Le roi demanda au marquis : The king asked the marquis: A qui est cette dame? “Who is this lady?” Le marquis lui a répondu: The marquis replied, Sire roi, c’est ma femme. “Sire, she is my wife.”

Marquis t’es plus heureux qu’un roi “Marquis, with a wife so fair, D’avoir femme si belle. you are happier than a king. Si tu voulais, l’honneur j’aurais If you pleased, I would have the honour De coucher avec elle. of taking her to bed.”

Sire, vous avez tout pouvoir, ”Sire, you have all power, Tout pouvoir et puissance : all power and authority, Mais si vous n’étiez pas le roi, but were you not king, J’en aurais ma vengeance ! I would take my revenge!”

Marquis ne te fâche donc pas, “Marquis, be not irate; T’auras ta récompense : you will be rewarded: Je te ferai dans mes armées I shall make you Beau maréchal de France. field marshal of my armies.”

Adieu ma mie, adieu mon cœur, “Farewell, my love, farewell my heart, Adieu mon espérance ! farewell, my hope! Puisqu’il te faut servier le roi, Since you must serve the king, Séparons-nous d’ensemble. we must part.“

Le roi l’a prise par la main, The king took her by the hand L’a menée dans sa chambre. and led her to his chamber. La belle, en montant les degrés, As she climbed the steps, the lady A voulu se défendre : tried to resist.

Marquise, ne pleurez pas tant, “Marquise, weep not so: Je vous ferais princesse I shall make you a princess; De tout mon or et mon argent, of all my gold and silver Vou serez la maîtresse. you shall be the mistress.”

Gardez votre or et votre argent “Keep your gold and your silver; N’appartient qu’à la reine. they belong to the queen alone. J’aimerais mieux mon doux marquis I would rather have my gentle marquis Que toutes vos richesses. than all your riches.” La reine lui fit un bouquet The queen made her a bouquet De trois roses jolies, of three lovely roses, Et la senteur de ce bouquet and the poisoned scent of the bouquet Fit mourir la marquise. made the marquise die.

Le roi lui fit faire un tombeau The king had a tomb made for her Tout en fer de Venise ; all of Venetian iron; A fait marquer tout à l’entour : and all around it he had inscribed: Adieu, belle marquise. “Farewell, fair marquise.”

En passant par la Lorraine, Margot As I, Margot, passed through Lorraine Rencontray trois capitaines, I met three captains. Il m’ont saluée vilaine They declared me common, Je fuis leur fièvres cartaines. I fled their fever.

Je ne suis pas si vilaine, I am not so common, Puisque le fils du roi m’aime. for the king’s son loves me.

Il m’a donné pour étrennes As a New Year’s gift Un bouquet de marjolaine he gave me a bunch of marjoram: S’il fleurit je serai reine if it blossoms, I shall be queen, S’il y meurt je perds ma peine. if it dies, I am wasting my time.

Margot, labourez les vignes, vignolet, Margot, tend the vineyards, the little vines, Margot, labourez les vignes, bientôt. Margot, tend the vineyards soon. J’aime la dizaine

Marguarita, Marguarita “Margarita, Margarita, Las, qu’abez bous a plorad? alas, why are you weeping?” L’on dict tout par baux la bille “All over town they say Que bous en boulas allad. you are going away.” J’ayme la dizaine I like my dues, J’ayme la dizaine la tourelouryfa. I like my dues, tralala.

Ceux qui bous l’on dict la belle “Those who told you so, my beauty, Bous ont dict la beritad. were telling you the truth: Les chevaux sont à l’éstable the horses are in the stable Tous sellat et tous bridat. all saddled and bridled.

Et moy qui suis Gentil’homme And I am a gentleman, Suis tousjours esperonnad. I am always in spurs.” Bous bous dittes Gentil’homme “You say you are a gentleman Bous ne l’abez pas monstrad. but you have not shown it.

Bous abez mon pucelage You have taken my maidenhood Bous ne m’abez rien donna. and have given me nothing (in return).” Il fouilla dans sa boursetta He searched in his purse Cent escus luy a donnat. and gave her a hundred crowns.

Or tenez la jeune fille “Then take this, young maid, Boisla pour bous maridad. take this for your wedding. A dieu la bille d’Amboise Farewell to the city of Amboise: Toute la noble assistad, all the noble assembly, Et toutes ces jeunes filles and all the young maids Celles que j’ay tant aymad. I have loved so well.” Aux marches du palais On the palace steps Y a une tant belle fille. there is a maid so fair. Elle a tant d’amoureux She has so many lovers Qu’elle ne sait lequel prendre. that she knows not which to choose. C’est un p’tit cordonnier ’Tis a little shoemaker Qu’a eu sa préférence. who has her preference.

La belle, si tu voulais “My love, if you wished, Nous dormirions ensemble, we would sleep together Dans un grand lit carré in a large, square bed, Couvert de toiles blanches, spread with white linen.

Aux quatre coins du lit At the four corners of the bed, Un bouquet de pervenches. a bunch of periwinkles; Dans le mitan du lit, In the middle of the bed, La rivière est profonde, a deep river.

Tous les chevaux du roi All the king’s horses Y viendraient boire ensemble. could drink there together. Et là, nous dormirions And there we would sleep, Jusqu’à la fin du monde. till the world comes to an end.”

J’ai vu le loup

C’est dans neuf ans, je m’en irai In nine* years, I’ll go away. J’ai vu le loup, le renard cheuler, I saw the wolf, the fox carousing, J’ai vu le loup, le renard, le lièvre, I saw the wolf, the fox and the hare, J’ai vu le loup, le renard cheuler, I saw the wolf, the fox carousing, C’est moi-même qui les ai rebeullés. and I kicked them away.

J’ai ouï le loup, le renard, le lièvre, I heard the wolf, the fox and the hare, J’ai ouï le loup, le renard chanter, I heard the wolf and the fox singing: C’est moi-même qui les ai rechignés. and I scolded them.

J’ai vu le loup, le renard, le lièvre, I saw the wolf, the fox and the hare, J’ai vu le loup, le renard danser, I saw the wolf, the fox dancing, C’est moi-même qui les ai revirés. and I chased them away.

MISERERE. HAVE MERCY.

*With every repetition of the song, the number counts down, from nine to one. BIOGRAPHIES

Katherine Hill, Artistic Direction

Singer KATHERINE HILL first developed a love for old European text and music here in her native Toronto. With support from the Canada Council for the Arts she moved to the Netherlands in 2000, studying, appearing in concerts, radio broadcasts and at festivals throughout Europe over many years. Her particular interest in music from medieval women’s communities has led to her developing and directing her own projects in Amsterdam, Toronto and Calgary, and she currently directs a women’s group, Vinea (The Vineyard). In 2010, she completed an M.A. in Medieval Studies at the University of Toronto’s world-renowned Centre for Medieval Studies, and in 2012, with the support of the Canada Council for the Arts, Katherine received a diploma from the Eric Sahlström Institute in Sweden, where she studied the nyckelharpa (a Swedish keyed fiddle with origins in the middle ages). Katherine is the Director of Music at St Bartholomew’s Anglican Church, an Anglo-Catholic parish in Regent Park, Toronto. She performs and records frequently with early, traditional and new music groups here in Toronto and abroad.

Michele DeBoer

Born and raised in Toronto, MICHELE DEBOER enjoyed a rich musical education growing up, particularly through the Claude Watson School for the Arts and the Toronto Children’s Chorus. After completion of a Bachelor of Music at the University of Western Ontario and an Associateship in Singing Performing (ARCM) from the Royal College of Music in London, England, a career balancing performing and teaching evolved. Michele has sung with Tafelmusik, Opera Atelier and many other leading early music groups and professional in the GTA and Quebec, currently working as a church organist and maintaining a voice studio in Mississauga. A proud member of the class of 2020, Michele is pursuing a Master’s Degree in Speech Language Pathology at McMaster University. A highlight of the program so far has been time spent working with Indigenous communities in Sioux Lookout, Northern Ontario.

Ben Grossman

BEN GROSSMAN is a busy musician: improviser, studio musician, composer, noise-maker and audio artist. He works in many fields, having played on over 100 CDs, soundtracks for film and television, sound design for theatre, installations, work designed for radio transmission, and live performances spanning early medieval music to experimental sound art. Ben’s tools of choice are electronics, percussion, and, especially, the hurdy gurdy (vielle à roue), a contemporary electro-acoustic string instrument with roots in the European middle ages. He studied the instrument in Europe (with Valentin Clastrier, Matthias Loibner and Maxou Heintzen) and has also studied Turkish music in Istanbul. www.macrophone.org Paul Jenkins

PAUL JENKINS cultivates an eclectic musical career as a keyboardist and tenor. A longtime member of the Toronto Consort, he has appeared with some of Canada’s leading baroque and early music groups, including Tafelmusik, Opera Atelier, La Nef, Aradia, and Theatre of Early Music. Other guest appearances include the London Symphonia, Hamilton Philharmonic Orchestra, the Kitchener-Waterloo, Windsor, and Toronto Symphony Orchestras, Canadian Opera Company, Opera in Concert, Esprit Orchestra, Soundstreams, Apollo’s Fire, I Furiosi, Toronto Masque Theatre, North Wind Concerts, and Scaramella. This season Paul appears as soloist in St. Michael’s Cathedral Concerts’ Organ Spectacular and The Mozart Project’s Mystical Birds.

Lea Kirstein

LEA KIRSTEIN is a Toronto based violist, fiddler, and cellist. While studying music education and classical viola performance at the University of Victoria with Joanna Hood, Lea began exploring many different linguistic paths for her string instruments and found great inspiration in the intersection of traditional and modern folk music. She performs regularly across Canada, the U.S., and Europe with her wife Reenie Perkovic in folk-pop duo Citizen Jane, and with modern fiddle quartet Roaring Timber. She has recorded with JUNO nominees Oliver Schroer and Teresa Doyle, and currently freelances in the Toronto music scene with chamber music, jazz, pop, singer-songwriter, and folk music groups. Lea is in demand as a guest workshop clinician, classroom teacher, and general rabble-rouser, frequently guest teaching at many youth fiddle organizations, camps, and school programs across Canada. She is the current Artistic Director of World on a String Folk Orchestra in Toronto.

Cory Knight

Described as ”that rare, wonderful, lyric tenor who turns every note he sings into gold” (Musical Toronto), tenor CORY KNIGHT enjoys a career as both a soloist and ensemble singer. Cory holds a Master of Arts degree in Historical Performance Practice from the prestigious Schola Cantorum Basiliensis in Switzerland and an Advance Diploma in vocal performance from the Glenn Gould School. He has sung at major festivals and concert venues across Europe, including the Utrecht Early Music Festival, Trigonale Early Music Festival, Baroque Music Festival in Ambronay, Warsaw Philharmonic Hall, the Concertgebouw in Amsterdam, and the Palau de la Música Catalana in Barcelona. In addition to his role as an Artistic Associate with Toronto Consort, Cory is a core member of the Tafelmusik Chamber . Highlights of his work in Canada include singing with Opera Atelier, La Chapelle de Québec, Soundstreams, and Tapestry Opera. Fun Facts: Cory is from the Tomato Capital of Canada and is an Occasional Teacher with the Toronto Catholic District School Board.

Esteban La Rotta

ESTEBAN LA ROTTA is one of Canada’s leading lutenists. In demand as both a soloist and continuo player, he studied at the Civica Scuola di Musica di Milano with Paul Beier, and in Montreal with Sylvain Bergeron where he received his doctorate in performance in 2008 concentrating on the baroque guitar. His interest in the origins of the lute as a polyphonic instrument brought him to pursue a specialization on the solo repertoire for lute in the late Middle Ages and early Renaissance at the Schola Cantorum Basiliensis under the guidance of Crawford Young and Hopkinson Smith. As a specialist in a variety of early plucked instruments, La Rotta has extensive experience with the early renaissance repertoire as well as with Baroque Italian and French repertoire for solo . He is a regular participant at Festival Montréal Baroque and collaborated regularly with ensembles such as the Copenhagen Soloists, Ensemble , Les Violons du Roy, Les Voix Humaines, Les idées Heureuses, the SMAM, Ensemble Caprice, and Pallade Musica. He has appeared in numerous festivals including Musique Royale, Boston Early Music Festival, Seattle Early Music Guild, Tage Alter Musik (Regensburg), Lamèque Early Music Festival, Stratford Festival, the National Arts Centre in Ottawa, and the Orford Music Festival. His performances have been broadcast on the CBC in Canada and the BBC in England. He can be heard on the Atma label, both as a soloist and with Pallade Musica, and on the Passacaille and Recercare labels. Since 2017 La Rotta teaches early music ensembles at McGill University.

John Pepper

A native of Annapolis, Maryland, bass JOHN PEPPER has sung with Festival Singers of Canada, Tapestry Singers, The Gents, the Tafelmusik Chamber Choir, Elora Festival Singers, the Toronto Chamber Choir, Opera Atelier, and Choir 21. He has recorded extensively with most of those organizations and with Canadian Brass, and has taken part in recordings and premières of music by John Beckwith, R. Murray Schafer, Harry Somers and Arvo Pärt. His work in music theatre includes Huron Country Playhouse, Comus Music Theatre and Rainbow Stage Theatre. He has written program notes for The Toronto Mendelssohn Choir, the Elora Festival and Roy Thomson Hall, and liner notes for CBC Records and CentreDiscs, among others. John has been a member of The Toronto Consort since 1990. His principal hobby is genealogy and family history.

Laura Pudwell

Grammy–nominated LAURA PUDWELL has a well-established international profile, with recent engagements in Paris, Salzburg, London, Houston, Boston and Vienna. She has sung with many leading orchestras and opera companies, including Tafelmusik, Les Violons du Roi, the Boston Early Music Festival, the Calgary Philharmonic Orchestra, Calgary Opera, Vancouver Opera, Opera Atelier, Symphony Nova Scotia and the Kitchener-Waterloo Symphony. Her range of repertoire is immense, ranging from Hildegard of Bingen, through a recording of Dido and the Sorceress in Purcell’s Dido and Aeneas under Hervé Niquet, to Prokofiev’sAlexander Nevsky, Elgar’s Dream of Gerontius, and evenings of Stephen Sondheim and Cole Porter. A native of Fort Erie, she lives in Waterloo with her husband and two children. www.knowlesarts.com

Emilyn Stam

EMILYN STAM is an Ontario-based fiddler, pianist and accordionist who creates, performs, records and teaches in folk, trad, and neo-trad styles from Europe and Canada. Her unique style is largely influenced by her mentor, the late Oliver Schroer. She has toured throughout Canada and Europe with The Lemon Bucket Orkestra, Filippo Gambetta (accordionist from ), John David Williams, and more. She regularly crosses over into other art forms, collaborating with improvising clowns, theatre groups, contemporary dancers and poets. In 2013 she co-founded Balfolk Toronto, a movement of social folk dancing in Toronto which hosts weekly dance evenings with live music jams and larger “bals” featuring international performers throughout the year. In 2018 she started Canada’s first Traditional French Music and Dance “Balfolk” Festival, The Big Branch, featuring performers from Europe set in rural Ontario. Currently she is immersing herself in the repertoire and style of fiddling from France, especially Auvergne and Gascony, as well as composing original music for dancing traditional French dances to. Her duo with John David Williams will be releasing an album of original and traditional music for dancing, titled “Honeywood”, in Spring 2020. Thank You The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.

Corporate & Community Supporters

Foundation Supporters

The Keith Foundation at the Strategic Giving Charitable Foundation, MZ Media, The Spem in Alium Fund, The S.M. Blair Family Foundation and The Pluralism Fund.

Special Thanks Special thanks to Guillaume Bernardi, Robert Busiakiewicz, Clara MacCallum Fraser, Balfolk Toronto, the Big Branch Festival, Brian McCoy and Geo. Heinl & Co. Limited. Many thanks to our team of over 100 volunteers who provide ushering, event hosting and administrative support. 2019-20 Toronto Consort Donors

GOLD RENAISSANCE Anya Humphrey Sean Lawrence Coleen Clark CIRCLE D. Kee Michael Lerner Stephen Cockle — Grace & Henry Klaassen Dr. Teresa Liem Douglas Crowe ($10,000 and above) Lois Kunkel & John Olthuis Oliver & Gillian Long S. Davidson Eric A. Lipka Margaret Magee Mr. David Devan Ann H. Atkinson Lynda Newmarch Mary Ella Magill & Rev. David Dubbledam Estate of Norman John Cornack Prof. E.M. Orsten Christina Mahler Colin Dobell Estate of Patricia Hosack Jean Podolsky & Jeanne Lamon Richard Earls Estate of Joseph Koenig Paul & Elaine Pudwell Pat & Howard Malone Lee Emerson Estate of Rita-Anne Piquet Barbara Tangney Alina Matus Bruce M.P. Ferriera-Wells Janet Walker Barbara McNutt Joyce Ford ($2,500 – $9,999) Heather Walsh Alec & Joyce Monro David & Helena Garlin Meg & Jim Young Margaret & Reid Morden André & Brydon Gombay Tom Bogart & Kathy Tamaki Elizabeth Mowat A.L. Guthrie Greig Dunn Stephen J. Munro Ulla Habekost & Robert Maclennan BENEFACTOR Toby & Martine O’Brien Terrie-Lee Hamilton Kevin Finora — Selma Odom Christopher Harris Jane & Al Forest ($200 – $499) Christopher Palin & Mary Shenstone John & Maire Percy Ruth Pincoe & David Peebles Corrine Hart Joan E. Robinson Anonymous (2) Carol Percy Avril N. Hill Lewis W. Abbott Anne-Marie Prendiville Deborah Holdsworth ($1,000 – $2,499) James & Penny Arthur & John Gillies Gail Houston Nellie Austin Georgia Quartaro Susanna Jacob Anonymous (2) Edward & Jocelyn Badovinac Brenda Rolfe J. & J. Jimenez Jane Couchman & Bill Found David & Anne Bailey Dorothy & Robert Ross Elisabeth Jocz David Fallis Ann Balmer Joanne & Walter Ross Ann Karner Chester & Camilla Gryski Jason Bernardon Lee Smith & Lyle Burton William Karner John Ison Sara Blake B. Stalbecker-Pountney John Klassen William & Hiroko Keith Jennifer Bryan Elizabeth Stewart Natalie Kuzmich Robert & Michelle Knight Marie Campbell Paul & Lynne Stott Anita Lapidus Oleg Kuzin, Frances Campbell Richard Sumner Cheryl Lewis & Mihkel Voore in memory of Betty Kuzin & Larry Isaacson Karen Teasdale Kenneth & Mary Lund Marion Lane & Bill Irvine Priscilla Chong Mary Thomas Nagel Hillary MacKenzie Bonnie & Timothy McGee Michael Clase Edward J. Thompson Mendl Malkin Anita Nador Thomas & Elizabeth Cohen Roger Townshend Sean Miller Ann F. Posen Stephen & Linda Cook Patricia & Alasdair Urquhart Frank Moens Ted & Sheila Sharp Lloy Cook Gisela Van Steen Jeanne Moffat Heather Turnbull Steven Davidson and & the late Mark Van Steen Darryl Nakamoto & Priyanka Sheth Rob MacKinnon Catherine & Gary Vivian Lorna Novosel Guy Upjohn Jayne & Ted Dawson Sharon Walker Dana Oakes Jane Witherspoon Annette DeBoer Laurie White Jason Roberts & Brian Stewart Stephanie de Bruijn Andrea Whitehead Elaine Rolfe Berta Zaccardi Harry Deeg Margaret Yamanaka Marina Romain & Craig Robertson Michael Disney Morden Yolles Joan Rosenfield Neil Dobbs & Susan Girard Janet Rubinoff In memory of Everett Cathy Schell RENAISSANCE CIRCLE & Freddy Fleming PATRON Erik Schryer — Katalin Gallyas — C. Schuh & M. Horn ($500 – $999) Joan Mary & David Gilbert ($100 – $199) Kevin Skelton Carol & Peter Gould Alexandra Skoczylas Anonymous (2) John & Jane Grant Anonymous (3) & Shaun Little Margaret Ackerman Joan & Ian Guenther Tim Andreeff Diana Sherwin Donald E. Altman & Judy Skinner Jerry Hogan Robert D. Bedolf Donald Smith Matthew & Phyllis Airhart Nancy Jacobi & Peter Jones Gyuszi Berki Ella Taylor-Walsh Monica Armour Peter & Jane Jennings Stephen Bishop Martha ter Kuile Marion Breukelman Miret Ludwig W. Kalchhauser Alison Booz Ross Tilley Jean Edwards George & Kathryn Kawasaki C. Burr Carol Vine Eva & Doug Green Ania & Walter Kordiuk Philippa Campsie Imogene Walker George Hathaway Anne-Louise Lanteigne & Norman Ball Marilyn Whiteley Jill Humphries Kathy & Ken Lawday Connie Catalfamo Beverley Wybrow Angie Wong Barbara Yip Sharon Zimmerman YOUR SUPPORT MAKES FRIEND — ALL THE DIFFERENCE. ($50 – $99)

Anonymous (4) You can’t put a price on the joy of live music or the importance of providing Dianna Allen music education to young people in our community. You can, however, Sandra Alston Geraldine Campbell help ensure it continues for decades to come. DONATE TODAY! Ann Elizabeth Carson Rose Marie Cira Amy Colson Ruth Comfort – WAYS TO GIVE – Nancy Conn Sue Cousland John Crozier MEMBERSHIP DOES YOUR EMPLOYER Mary Catherine Doyle Brenda Ellenwood Members enjoy an enhanced connection MATCH EMPLOYEE Angela Emmett to The Toronto Consort through behind- DONATIONS? Margaret Furneaux the-scenes events and advance access Joseph Gamble If you have made a personal donation to Constance Moore Gardner to special ticket offers and community The Toronto Consort, the company you Joan Garner events. Become a monthly donor – work for may match that gift and make Isabelle Gibb When you join our monthly giving circle Richard & Marie Hands its own donation to the Consort. Contact Beatrice de Montmollin of donors, your gift goes further. We can your Human Resources Department & Larry Herman plan better and put more of your donation to see if your company supports the Marie Howes-Clark directly to work to present the very charitable giving of its employees. Monika Johnston best Early Music programs in Canada. Tiiu Klein Ronald Leprohon DONATE TODAY! Along with a tax Oliver & Gillian Long Mary & Kenneth Lund receipt for the full amount of your PLANNED GIVING: Sophie Malek membership donation, we offer a LEAVE A LEGACY Vaclava G. Matus range of exclusive member benefits. Robert McGavin A planned gift through your estate Patricia Moffat enables you to make a significant Ellen Mole Sheila O’Connor A GIFT OF SECURITIES gift to The Toronto Consort without Annabelle Orejana affecting your current income. Manfred & Sylvia Petz Stocks, bonds, and other investments Planned gifts also result in immediate June Pinkney are a great way to make a significant cash or deferred tax benefits for you. Marion Pope donation to The Toronto Consort. By Anne Power If you have made a provision for Holly Price donating through one of these vehicles, & Joanne Laplante you will avoid capital gains with the added The Toronto Consort in your will or if Cathy Richardson benefit of a charitable tax-receipt for you have any questions, please contact Molly Robbins the fair market value of your donation. Michelle Knight at 416-966-1045 or Takayo Shimoda [email protected] Jennifer Smith Roberta Smith Janet Stern HONOUR SOMEONE SPECIAL Jackie Taschereau Kaspers Tuters An honorary or memorial gift to The Catherine Ukas Carol B. Watson Toronto Consort is the perfect way to Anne & William Whitla celebrate special occasions or honor Susan Q. Wilson the memory of a friend or loved one. Perry Wong

Listing includes donations received as of October 1, 2019. DONATE ONLINE at TorontoConsort.org or call 416-966-1045 Please let us know if we have missed you or made an error.

Do you share our passion to bring to life and sustain the extraordinary music of the Middle Ages, Renaissance and early Baroque periods? We’re currently entertaining applications for various positions, including:

ADVISORY COMMITTEE COMMITTEES (ACTION TEAMS) — — The Toronto Consort’s and Committees often The Consort’s Marketing, Education, and reach out to its community experts to get feedback Fundraising committees help staff with immediate and advise on a variety of matters on an ad hoc and long-term initiatives. Board members, basis. If you have experience on any of the areas directors-in-training, and additional volunteers listed below, and are willing to be on our roster of with a range of experiences and skills populate experts and serve on this committee, we would these committees. like to hear from you. The time commitment is less than a board or other committee membership We are looking for volunteers who can: roles but a great way to contribute to the Toronto • Participate in 3-6 formal meetings per year Consort community and to engage with other • Assist in projects and promote awareness community members. Areas of expertise: Youth of the organization Engagement and Outreach, Social Media, Digital Content, Marketing, Fundraising, HR, Corporate Sponsorship, Information Technology, and Artistic DIRECTORS-IN-TRAINING Operations. — The Consort’s Directors-in-Training (“DIT”) program provides would-be board members with THE BOARD OF DIRECTORS an excellent introduction to the Consort and its (GOVERNANCE TEAM) culture. So if you have a passion for the performing — arts with (or without) governance experience, the Our Board consists of ten members supported DIT program offers you expert mentoring and a by a committee structure (Nominations, Finance, great orientation. Marketing, Education, Fundraising, and Human Resources). Musical excellence is the focus of We are always looking for enthusiastic the organization, supplemented by effective Director in Training candidates who can: organizational and business operation capabilities. • Participate in 3-4 board meetings per season • Contribute to special projects and committees You might be a great fit if you can: • Assist in fundraising (including corporate • Participate in 8-10 formal meetings per year sponsorship) (typically 90 minutes) held in downtown Toronto • Promote the organization’s public image • Assist in special projects and outreach • Contribute to a committee (If appropriate) • Assist in fundraising (including corporate After completing one cycle of the Directors-in- sponsorship) Training program, participants may be considered • Promote the Consort’s public image and for Board positions as they become available. expand its outreach

To learn more about the benefits of volunteering with The Toronto Consort, contact: Michelle Knight, Managing Director: 416-966-1045, or [email protected] Music has the power to bring people together.

THE EARLY MUSIC COLLABORATION LAB is a free education program that provides behind-the-scenes learning opportunities for adults over 55 years old and youth aged 14-25. EMCL cohorts are open to 40 learners, are guided by a facilitator and a Toronto Consort Artistic Associate or guest musician.

Learn more at TorontoConsort.org/EMCL Great music lives here.

At BMO, we take pride in our local communities, and the artists that contribute to the cultural diversity and artistic richness of our cities. We’re proud to be The Toronto Consort’ s 2019/2020 Season Sponsor. COMING UP NEXT

Schütz’s CHRISTMAS STORY

DECEMBER 13 & 14 at 8pm DECEMBER 15 at 3:30pm Artistic Direction by David Fallis

Celebrate the season with one of the brightest musical jewels of early- Baroque Germany: Heinrich Schütz’s The Christmas Story.

We are thrilled to welcome back internationally-acclaimed English tenor Charles Daniels in the role of the Evangelist, together with a gloriously colourful band of recorders, cornetti, , , violas da gamba, keyboards and . This Yuletide, step back in time and experience an Tickets starting at only $32! endearing telling of the Christmas story,

along with music by Schein, Scheidt TRINITY-ST. PAUL’S CENTRE and Praetorius. 427 BLOOR ST WEST

416-964-6337 | TorontoConsort.org