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Guillaume De Machaut Coronation Anthems Remede De Fortune

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HANDEL GUILLAUME DE MACHAUT CORONATION ANTHEMS REMEDE DE FORTUNE Pacific Baroque Orchestra, Alexander Weimann music director Vancouver Cantata Singers, Paula Kremer VCS artistic director Blue Heron, Scott Metcalfe music director EMV'S 50TH SEASON WILL BE ANNOUNCED! AT THE CHAN CENTRE AT CHRIST CHURCH CATHEDRAL APR| 14 MAR| 23 9 This concert is generously supported by Helen & Frank Elfert 9 Tickets from $36 | early music.bc.ca | 604.822.2697 This concert is generously supported by Elaine Adair E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directors Chris Guzy Chris Guzy GOVERNMENT SUPPORT president Fran Watters Fran Watters vice president Spencer Corrigal , We acknowledge the support of Ron Kruschen the Province of British Columbia treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace Kathleen Bourchier THE BRENNAN SPANO Melody Mason FAMILY FOUNDATION Spencer Corrigal cpa,caJesse Read Sherrill GraceTim Rendell , THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Ingrid Söchting Tim Rendell cpa,ca Vincent Tan Johanna Shapira 2018-19 PRODUCTION PARTNERS Ingrid Söchting Vincent TanJosé Verstappen EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ pacific José Verstappen cm baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew White staff Matthew WhiteNathan Lorch executive & artistic director Jocelyn Peirce Nathan Lorch business manager Laina Tanahara Jocelyn Peirce ¡¢£ ¡£¤¥ ¢£ ¦¢¡¢ §: development coordinator Jonathan Evans Laina Tanahara marketing & volunteer coordinator Jan Gates Jonathan Evans CORPORATE SUPPORT production coordinator Murray Patterson Jan Gates Marketing Group Rosedale on Robson Suite Hotel VANCOUVER, BC Tony Knox event photographer Barrister & Solicitor, Arbitrator Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected] Trevor Mangion 1291 West 40th Avenue, Murray Paterson Vancouver, B.C. V6M 1V3 Canada We also gratefully acknowledgewww.knoxlex.com the generosity of our many donors and volunteers. Marketing Group and Knox & Co. denotes D.A.Knox Law Corporation marketing & mediaThe Chanrelations Centre Box Of fice Staf f : ­. ­ THANK YOU! Trevor Mangion You can be in good company too! and The corporate sponsors of Early Music Vancouver give back to their community through The Chan Centre Box Office Staff Season Calendar panels 2018-19.indd 36 the support of our performances and education & outreach programmes.16/06/2018 Their 12:13:31 efforts PM emv ticket office: 604.822.2697 make a meaningful difference for concertgoers and musicians alike. Our wide range of activities offers unique sponsorship opportunities for both large and 1254 West 7th Avenue, small companies to support us while also reaching their corporate goals. A range of Vancouver BC, V6H 1B6 sponsorship advantages is available, including logo recognition, complimentary tickets for tel: 604.732.1610 your clients, employee discounts, and many other benefits tailored to your specific needs. fax: 604.732.1602 Call Jocelyn Peirce to discuss how our audience [email protected] profile may fit with your company’s objectives: earlymusic.bc.ca 604 732 1610. 2 | EMV Cathedral Series 2018/19 Guillaume de Machaut – Remede de Fortune [email protected] the artists programme Blue Heron Guillaume de Machaut Scott Metcalfe Remede de Fortune / A Remedy for Fortune director in collaboration with I. Prologue, or How to love well Les Délices Ballade: Esperance qui m’asseure Debra Nagy II. In the Court of Love director Lai: Qui n’aroit autre deport (rf1) Martin Near Motet: Hareu, hareu! / Helas! ou sera pris confors / Obediens usque ad mortem countertenor & percussion III. On Fortune’s Wheel Owen McIntosh tenor & percussion Ballade: Gais et jolis (instrumental) Complainte: Tieus rit au main qui au soir pleure (rf2) Jason McStoots tenor & narrator IV. Lady Hope comes to the Lover’s aid Debra Nagy Chant royal: Joye, plaisance, et douce nourreture (rf3) recorders, douçaine & harp Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet Baladelle: En amer a douce vie (rf4) Charles Weaver lute, voice & hurdy-gurdy Scott Metcalfe INTERVAL fiddle & harp V. Wrestling with Doubt projections designed by Bird song (instrumental): Or sus, vous dormes trop (anon., excerpt arr. Nagy) Shawn Keener Ballade: Dame de qui toute ma joie vient (rf5) Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins VI. Dancing en plein air Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy) Virelai: Dis tans plus (Lescurel) Virelai: Dame, a vous sans retollir (rf6) VII. Reunited with his Lady Messe de Nostre Dame: Kyrie I generously supported by Estampies based on Machaut tunes (arr. Nagy) Rondelet: Dame, mon cuer en vous remaint (rf7) Elaine Adair VIII. She loves me, she loves me not Pre-concert talk at 6:45 pm Ballade: Biauté qui toutes autres pere with host Matthew White: Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Scott Metcalfe All works by Guillaume de Machaut (c.1300-1377) unless otherwise noted. rf1-7 are from the Remede itself. THE UNAUTHORISED USE OF Translations of all texts will be projected as supertitles. ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED Complete texts & translations are available on our website: blueheron.org earlymusic.bc.ca Guillaume de Machaut – Remede de Fortune EMV Cathedral Series 2018/19 | 3 programme notes Remede de Fortune / A Remedy for Fortune Guillaume de Machaut Bonne of Luxembourg & the Remede de Fortune Guillaume de Machaut first enters the historical record in Of all his patrons, the one who seems to have attracted a few ecclesiastical documents from 1330-33 in which he is Machaut’s warmest personal devotion was Bonne of described variously as a clerk, almoner, notary, and secretary Luxembourg. Born May 20, 1315, she died at age 34 on to the king of Bohemia, Jean of Luxembourg. Machaut September 11, 1349, perhaps of the Black Death, the mother probably worked as Jean’s secretary, travelling all over Europe, of ten. Machaut may have undertaken the compilation of his until the king’s heroic if foolhardy death at the battle of Crécy first complete works manuscript for Bonne, in the late 1340s on August 26, 1346. (He insisted on being led into battle, (the so-called MS C), but she died before it was finished and although he was by then completely blind.) After Crécy, it was completed either for her widower Jean or for their Machaut seems to have served a number of other eminent son Charles. The lavishly illustrated book concludes with nobles, a confusing number of whom are named either Jean or the motet Trop plus est bele que Biauté, perhaps intended as Charles: his patrons included the king of Bohemia’s daughter, a memorial benediction for Bonne, “Far more beautiful than Bonne of Luxembourg; her husband Jean, duke of Normandy, Beauty itself…, better than Goodness, and full of everything, in who became King Jean II of France; their son Charles, the truth, that a good and beautiful lady should have.” The Remede future King Charles V; Charles’s brothers, Jean, duke of Berry, de Fortune, too, appears to be dedicated to Bonne: the text and Philip the Bold, duke of Burgundy; Pierre de Lusignan, identifies her more or less explicitly as the perfect lady of the king of Cyprus; King Charles of Navarre, and others. Machaut tale, to whom everyone rightly gives the name bonne. lived through the Black Death, which peaked in France in the …tousdis enclinoie years 1348-50, killing 30-60% of the European population, Mon cuer et toute ma pensee including about half of Paris’s 100,000 inhabitants. By 1360 Vers ma dame qui est clamee or so Machaut seems to have taken up residence in Reims, De tous sur toutes belle et bonne: where he had held a benefice at the Cathedral since 1338. (A Chascun par droit ce nom li donne. benefice was an ecclesiastical appointment offering a salary …my heart and all my thoughts without requirement of service in return: a literal sinecure, were ever inclined towards sine cura or free of pastoral duties.) He died sometime before my lady, who is proclaimed November 9, 1377, when his position at the Cathedral of Reims by all beautiful and good above all: passed to another. everyone rightly gives her this name. Remede de Fortune, 52-6 While Machaut’s life is sparsely documented, his works are richly transmitted in a unique series of six “complete The Remede is a dit or narrative poem of over 4000 octosyllabic works” manuscripts produced between c. 1350 and 1390, lines, telling the story of a young and inexperienced lover and mostly under the author’s supervision, several abundantly his attempt to learn how to be happy, to live and love well, illuminated. The manuscripts contain more than fifteen long despite the reversals dished out by Fortune and her wheel. narrative poems or dits; a collection of lyric poetry known as Interspersed into the highly didactic story are seven lyric the Loange des dames or Praise of Ladies, consisting of some poems, set to music, which present a catalogue of exemplary 280 poems not set to music; and a music section which forms arranged from old to new, from the traditional, virtuoso eventually comprised 19 lais, 23 motets, a setting of the lai, a comically extended complainte, and chanson royal—forms Mass, a hocket, 42 ballades, 22 rondeaux, and 33 virelais. The inherited from the previous century—to the newer forms order in which all this was to appear was carefully specified of the so-called seconde rhétorique, the ballade and related by the composer, as a manuscript compiled at the very end baladelle, the virelai, and the rondeau (here labelled rondelet).
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    GUILLAUME de MACHAUT Remede de Fortune / A Remedy for Fortune 8:00 p.m. • Friday, March 17, 2017 First Church in Cambridge, Congregational GUILLAUME de MACHAUT VI. Dancing en plein air Remede de Fortune / A Remedy for Fortune Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy) Virelai: Dis tans plus (Lescurel) Virelai: Dame, a vous sans retollir (RF6) I. Prologue, or How to love well VII. Reunited with his Lady Ballade: Esperance qui m’asseure Messe de Nostre Dame: Kyrie I Estampies based on Machaut tunes (arr. Nagy) II. In the Court of Love Rondelet: Dame, mon cuer en vous remaint (RF7) Lai: Qui n’aroit autre deport (RF1) Motet: Hareu, hareu! / Helas! ou sera pris confors / Obediens usque ad mortem VIII. She loves me, she loves me not Ballade: Biauté qui toutes autres pere III. Love slays the Lover Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Ballade: Gais et jolis (instrumental) Complainte: Tieus rit au main qui su soir pleure (RF2) All works by Guillaume de Machaut (c.1300-1377) unless otherwise noted. IV. Lady Hope comes to the Lover’s aid RF1-7 are songs from the Remede itself. Chant royal: Joye, plaisance, et douce nourreture (RF3) Translations of all texts will be projected as supertitles. Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet Complete texts & translations are available on our website: www.blueheron.org. Baladelle: En amer a douce vie (RF4) Pre-concert talk by Matilda Bruckner (Boston College, retired) sponsored in part by The Cambridge Society for Early Music INTERMISSION V.
  • Performance Practice in the Seconda Prattica Madrigal Author(S): Rinaldo Alessandrini Source: Early Music, Vol

    Performance Practice in the Seconda Prattica Madrigal Author(S): Rinaldo Alessandrini Source: Early Music, Vol

    Performance Practice in the seconda prattica Madrigal Author(s): Rinaldo Alessandrini Source: Early Music, Vol. 27, No. 4, Luca Marenzio (1553/4-99) (Nov., 1999), pp. 632-639 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128763 . Accessed: 04/04/2011 12:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org Performingmatters RinaldoAlessandrini Performancepractice in the secondaprattica madrigal Seconda prattica, de la quale e statto il primo rinovatore ne nance (Monteverdi, Marenzio), chromaticism and nostri caratteri il Divino Cipriano Rore ..