CIM/CWRU Joint Program Wednesday, OctoberDecember 5, 7,2016 2016

La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, with CWRU Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross

ProgramCarlos Salzedo dans la nuit Grace Cross & Grace Roepke from La (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins

Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) • Karin Cuellar,Since I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar

Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7

Year Yoon, guitar

Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston. Series sponsors Centennial loan on view in gallery 208 through November 1.. CIM/CWRUQuant Theseus/Ne quier veoir Joint MachautMusic Program Wednesday,Margaret Carpenter October Haigh, 5, Nathan 2016 Dougherty, voices Allison Monroe, Karin Cuellar,

HoquetusCarlos Salzedo David (1885–1961) TangoMachaut Grace Cross & Grace Roepke, harp AllisonCIM/CWRU Monroe, Karin Cuellar, Joint vielles Music Program CIM/CWRU Joint Music Program PaulLauraWednesday, Hindemith Osterlund, (1895–1963) October douçaine 7, 2015 from Sonate für Harfe Wednesday, October 7, 2015 Sehr langsam Grace Cross Par maintes foys Jean Vaillant (fl. 1360–90) CarlosWolfgang Salzedo Amadeus Mozart (1756–1791) ChansonString Quartet dans la No. nuit 23 in F major, K. 590 Wolfgang Amadeus Mozart (1756–1791) String Quartet No. 23 in F major, K. 590 Margaret Carpenter Haigh, voice I. Allegro moderato I. Allegro moderato Grace Cross & Grace Roepke Laura Osterlund, recorder • Karin Cuellar,II. Andante vielle (Allegretto) II. Andante (Allegretto)

CarolineRebecca Lizotte Benjamin (b. 1969) and Yu Ming Ma, ;from Suite Mark Galactique Liu, viola;, op. Sarah39 Miller, cello Rebecca Benjamin and Yu Ming Ma, violins; Mark Liu, viola; Sarah Miller, cello Exosphère Hé,GraceLeoš tres Janácˇek Roepke doulz (1854–1928) roussignol StringBorlet Quartet (fl. No.1380–1400?) 1, “Kreutzer Sonata” Leoš Janácˇek (1854–1928) String Quartet No. 1, “Kreutzer Sonata” I. Adagio con moto I. Adagio con moto MargaretPierre Beauchant Carpenter (1885–1961) Haigh, Nathan Dougherty,Triptic Dance voices II. Con moto II. Con moto Laura Osterlund, recorder • Allison Monroe, vielle Grace Cross & Grace Roepke Carter Coleman and Colin Laursen, violins; Chloé Thominet, viola; Carter Coleman and Colin Laursen, violins; Chloé Thominet, viola; David Olson, cello David Olson, cello Sylvius Leopold Weiss (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande QuantBedrˇich je Smetana suy mis (1824–1884) StringMachaut Quartet No. 1 in E minor, JB 1:105 Bedrˇich Smetana (1824–1884) String Quartet No. 1 in E minor, JB 1:105 Lucas Saboya (b. 1980) fromI. Allegro Suite vivo Ernestina appassionato I. Allegro vivo appassionato Daniel Fridley, voice I. Costurera II. Allegro moderato a la Polka II. Allegro moderato a la Polka with ensemble II. De Algún Modo The Belka Quartet The Belka Quartet BuddyBeatrice Johnson Hsieh (1915-1977) and Charles Gleason, violins;Since I FellMatthew for You Geise, viola; Beatrice Hsieh and Charles Gleason, violins; Matthew Geise, viola; (arr. for guitar by A. Poxon) Daniel Blumhard, cello Daniel Blumhard, cello DitAndy de Poxon, la Fonteinne guitar amoureuse Machaut (translation by R. Barton Palmer) Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Margaret Carpenter Haigh, Nathan Dougherty, Daniel Fridley, voices, J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 with ensemble IV. Allegro assai

Heitor Villa-Lobos (1887–1959) Etude no. 7

Year Yoon, guitar

Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston Gift of Mrs. J. D. Cameron Series sponsors: Series sponsors: Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston. Series sponsors Centennial loan on view in gallery 208 through November 1..

A Canal in Venice, Italy, c. 1900–1920. Edward Crosby Doughty (American, A Canal in Venice, Italy, c. 1900–1920. Edward Crosby Doughty (American, 1877–1952). Gelatin silver print; 19.5 x 24 cm. Gift of Mrs. Edd A. Ruggles 1877–1952). Gelatin silver print; 19.5 x 24 cm. Gift of Mrs. Edd A. Ruggles 1972.1088. This work is on on view in gallery 230 as part of the exhibition 1972.1088. This work is on on view in gallery 230 as part of the exhibition Shadows and Dreams: Pictorialist Photography in America. Shadows and Dreams: Pictorialist Photography in America. Notes on the Program

Guillaume de Machaut is believed to have been though no less passionate song, the singer assures his born in 1300 and educated near Reims. His surname lover that regardless of their separation, she is always in identifies him as coming from the nearby town of his thoughts. Finally, in Quant je suy mis, the slow and Machault. Machaut received an ecclesiastical education quiet intensity of the melody underscores the singer’s and became a canon in 1337. He was employed as a elation after meeting with his lady. secretary to John I, Count of Luxembourg and King of and traveled extensively with the king’s Quant Theseus/Ne quier veoir is a four-voice court. Machaut was both a poet and . His , another forme fixe with a refrain. Only the output includes some 400 poems, a substantial upper two voices are texted, and each sings a different number of which were set to music. The poetic style of French poem. The top voice sings of the adventures of Machaut in the was emulated by medieval Theseus, Hercules, and Jason while the second asserts authors such as Jean Froissart and Geoffrey Chaucer. that he does not wish to experience the wonders of A polyphonic setting by François Andrieu laments antiquity; they both, however, sing the same refrain Machaut’s death in 1377. at the end of the chanson: “I see enough, when I see my lady.” Musically, the ballade is highly complex. Composed in Reims in the 1360s, Machaut’s La Each voice is independent, often moving in rapid Messe de Nostre Dame for four voices is the first syncopations against the others. stylistically cohesive setting of the Mass . The work was used as the memorial mass for the death of The two instrumental pieces on our program his brother, and was popular enough to be performed showcase the virtuosity of instruments in different even after Machaut’s death, perhaps even into the 15th families played together. Stringed instruments join century. In the Kyrie, polyphonic settings of the text forces with woodwind and reed instruments, a common alternate with monophonic renditions of the plainchant. practice during the that reflects the In the polyphonic settings, the appears in “unequal” composition of polyphonic pieces. The the slow-moving tenor voice in a series of repeated Quarte estampie royal is a dance that was copied down rhythmic motives, a technique known as isorhythm; in middle of the 13th century (between 1255 and 1260) the rhythmic motive grows longer in the “Christe” and and is included in the Manuscrit du Roi with over 600 longer still in the fourth and sixth “.” Machaut pieces by and trouvères. The work is also gives contratenor voice an isorhythmic treatment constructed of melodically varied puncti alternating beginning in the “Christe,” with a rhythmic pattern that with open (ouvert) and closed (clos) refrains. The term covers half of each polyphonic section through the hoquetus, or hocket, comes from the French word end of the piece. The upper two voices, meanwhile, are meaning to “hiccup.” The composition features closely consistently more active than the lower, often moving alternating rhythm between the two upper voices in rapid, syncopated passages. above a long-note cantus firmus.

The Medieval Ensemble’s program features three Par maintes foys, another by Jean Vaillant, virelai, one of the three Medieval formes fixes, or fixed and ’s Hé, tres doulz roussignol both feature forms, that governed French in the 14th and 15th onomatopoeic texts that describe the songs of birds. In centuries. True to the form, each of songs has a refrain Par maintes foys the skylark, goldfinch, starling, cuckoo, wherein all of the voices can join in to sing familiar and nightingale sing their songs. The celebrated words to a familiar tune. The word “virelai” comes from work was later set to German poetry (“Der mai mit the old French word “virer,” or “to turn” or “to twist,” lieber zal”) by Oswald von Wolkenstein. Hé, tres doulz highlighting its connection to dance. As such, all three roussignol is an entreaty to the nightingale and lark to feature a regular pulse and dance rhythms. In Douce appeal to and melt the heart of the woman beloved. dame—a fast-paced and lively chanson—the singer tells a cruel lady that she alone has mastery over his heart. —Nathan Dougherty & Laura Osterlund In Comment qu’à moy lonteinne, a somewhat slower Song Texts and Translations

Kyrie Kyrie eleison, Christe eleison, Kyrie eleison. Lord have mercy, Christ have mercy, Lord have mercy Douce dame jolie, pour dieu ne pensés mie, que nulle ait Fair sweet lady, for God’s sake, do not think that any woman signorie seur moy fors vous seulement. has mastery over me except you alone. 1. Qu’adès sans tricherie, chierie, vous ay et humblement, 1. For always without deceit I have cherished you, and tous les jours de ma vie, servie, sans villain pensement. humbly served you all the days of my life, without any base Helas! et je mendie d’esperance et d’aïe; dont ma joie est thought. Alas! I am bereft of hope and help; and so my joy fenie, se pité ne vous en prent. is ended, unless you pity me. Douce dame … Sweet lady … 2. Mais vo douce maistrie,maistrie, mon cuer si durement 2. But your sweet mastery masters my heart so harshly as to qu’elle le contralie et lie en amour tellement. Qu’il n’a de torment it and bind it with love, so much so that it desires riens envie fors d’estre en vo baillie; et se ne li ottrie vos nothing but to be in your power; and yet your heart grants cuers nul aligement. it no relief. Douce dame … Sweet lady … 3. Et quant ma maladie garie ne sera nullement, 3. And since my sickness will not be cured in any way, sans vous, douce anemie, qui lie estes de mon tourment, save by you, sweet enemy, who are glad at my distress, A jointes mains deprie vo cuer, then with my hands clasped I pray that your heart, puis qu’il m’oublie, que temprement m’ocie, since it neglects me, may kill me soon, car trop langui longuement. for I have languished too long. Douce dame … Sweet lady … —Stephen Haynes Comment qu’à moy lonteinne Comment qu’à moy lonteinne, soiez, dame d’onnour, However far from me you may be, honored lady, si m’estes vous procheinne par penser nuit et jour. yet you are close to me in my thoughts, night and day. Car Souvenir me meinne, si qu’adès sans séjour For Memory guides me, so that always, without pause, vo biauté souvereinne, vo gracieus atour, your sovereign beauty, your gracious bearing, vo maniere certainne et vo fresche coulour your confident manner, and your fair complexion, qui n’est pale ne veinne, vou toudis sans séjour. which is not pale or wan, are constantly before me. Comment qu’à moy lonteinne … However far from me … Dame, de grace pleinne, mais vo haute valour, Indeed, lady, full of grace, your great virtue, vo bonté souvereinne et vo fine douçour your sovereign goodness, and your exquisite sweetness en vostre dous demeinne m’ont si mis que m’amour, have put me so much in your power that my love, sans pensée vilainne, meint en vous que j’aour. without any base thought, dwells in you, whom I adore. Comment qu’à moy lonteinne … However far from me … Mais Desirs qui se peinne d’acroistre mon labour But Desire, who strives to increase my affliction, tenra mon cuer en peinne et de mort en paour, will keep my heart in torment and in fear of death, se Diex l’eure m’ameinne qu’à vous, unless God hastens the hour qui estes flour de toute flour mondeinne, when I may quickly return to you, face tost mon retour. flower of all the flowers in the world. Comment qu’à moy lonteinne … However far from me … —Stephen Haynes Song Texts and Translations (continued)

Quant Theseus/Ne quier veoir 1. Quant Theseus, Hercules et Jason cercherent tout, 1. When Theseus, Hercules and Jason sought everywhere, et terre et mer parfonde. both on land and the deep sea, 2. Pour accroistre leur pris et leur renon et pour veoir bien 2. to increase their fame and renown and to see the whole tout l’estat dou monde. state of the world. 3. Moult furent dignes d’onnour. 3. They were worthy of great honor. Mais quant je voy de biaute l’umble flour, But when I see the humble flower of beauty, assevis sui de tout, si que, par m’ame, I am satisfied for everything, so that, by my soul, Je voy asses, puis que je voy ma dame. I see enough, when I see my lady.

1. Ne quier veoir la biaute d’Absalon I do not wish to see the beauty of Absalom ne de Ulixes le sens et la faconde. nor the wisdom and eloquence of Ulysses. 2. Ne esprouver la force de Sanson. 2. Nor to test the strength of Samson, Ne regarder que Dalila le tonde. nor to see Delilah fleecing him. 3. Ne cure n’ay par nul tour des yeux Argus 3. Nor do I care at all for the eyes of Argus ne de joie gringnour. Car pour plaisance or any greater joy. For with pleasure et sans aide d’ame. and without the aid of anyone, Je voy asses, puis que je voy ma dame. I see enough, when I see my lady

Par maintes foys 1, 4. Par maintes foys ay oy recorder 1, 4. The air is often filled du rosignol la douce melodie. with the nightingale’s sweet song. Mais ne s’i veult le cucu acorder, The cuckoo will never join in, ains veult chanter contre ly par envie: but instead sings enviously “Cucu, cucu, cucu” toute sa vie. “Cuckoo cuckoo” all his life. Car il veult bien a son chant descourder. He wished to bring discord with his song. et pourtant dit le reusignol et crie: So much so that the nightingale cries: “Je vos comant qu’on le tue et ocie: “I command that you be slain. Tue, tue, tue, tue, oci, oci, oci, fi de li, fi de li, fi de li, fi. Slain, slain, slain, Killed, killed, killed. Fie, fie upon you. oci, oci, oci, du cucu qui d’amours veult parler.” Fie on the cuckoo who wishes to speak of love.” 2. Si vous suppli, ma tres douce alouette 2. I entreat you, my dear skylark, que voz voulles dire vostre chanson: to sing your song thus: “Lire, lire, lire, lire, lirelon; que dit Dieu, Dieu” Lire, lire, lire, lire, liron; as God says, as God tells you. Il est tamps, il est tamps que le roussinolet Now it is time for the nightingale’s die sa chansounette: “Oci, oci, oci, little ditty: Slain, slain, slain, oci seront qui nos vont guerroyant.” they are slain, who would make war on you. 3. Assembles vos; prenes la cardinette, 3. Flock together; bring forth the goldfinch faites chanter la calle et le sanson, and make him and the starling call out. tues, bates cucu pile bisson! Kill the cuckoo and silence his song. Il est pris, pris, il est pris, pris. He is taken, Or soit dist il mort, mort, soit mis a mort, mort. let him be killed in sweet springtime Or aloms seurement an joliver nos qu’et cullir la mosette; let the hawk be praised. ami, ami, toudis seray le dieux d’amours priant. Praise too the god of love. Song Texts and Translations (continued)

He, tres doulz roussignol 1, 5. He, tres doulz roussignol joly que dit occy, occy, occy, 1. 5. O, most lovely nightingale, singing oci, oci, oci, je te deprie que sans detry voissés a ma dame jolie Please go at once, I beg you, to my fair lady, et dy de par moy et affye que ocy, ocy, ocy and assure her from me that oci, oci, oci she will kill me m’a se son dur cuer n’amoulie. unless her cold heart melts. 2. Alouette que vas voulant 2. Skylark, what do you think you’re doing si tres haut et cler chantant douce chançon, singing so high and clear, lire, lire, lire, liron, tout voletant. lire, lire lire liron? 3. A ma dame seras errant 3. To my lady begone, or li va tantost disant par ma chançon lire, lire lire, liron, now go and sing to her my song, lire lire lire liron, que mon cuer va sentant. that my heart is feeling. 4. He, dame, puis qu’il est ainsy quen vo merci, merci, merci 4. O lady, since it is thus, since your mercy, mercy, mercy ay mis ma vie je vous supli de mon povre cuer directs my life, I plead with you, from the bottom of my que m’en die que vous tenes en vo baillie poor heart over which you rule que merci, merci, merci ay és mercy ma vostre aye. to have mercy, mercy, mercy to grant me your merciful aid. Tenor: Roussignoulet du bois, Tenor: Nightingale of the woods, dounes au vilain le mal et puis la mort. give the villain the business and then kill him.

Quant je suy mis 1. Quant je suy mis au retour de veoir ma dame, 1. When I have returned from seeing my lady, Il n’est peinne ne dolour que j’aie, par m’ame. what I feel is neither pain nor sorrow—cross my heart. Dieux! c’est drois que je l’aim, sans blame, de loial amour. God! It is right that I love her, blamelessly, and with loyal love. 2. Sa biauté, sa grant douçour d’amoureuse flame, 2. Her beauty, her extreme sweetness— par souvenir, the mere memory of them enthralls me, nuit et jour m’esprent et enflame. and inflames me night and day. Dieux! c’est drois … God! It is right … 3. Et quant sa haute valour 3. And since my true heart mon fin cuer entame, is filled with her esteemed greatness, servir la vueil sans folour penser ne diffame. I shall serve her without wanton or dishonorable thoughts.

Dieux! c’est drois … God! It is right … —MarieStella Pâris

CWRU Early Music Singers CWRU Medieval Ensemble Elena Mullins, director Ross W. Duffin, director Triplum: Alyssa Stachowiak, Betsy Kaufman, Margaret Carpenter Haigh, soprano & harp Gail West, Julie Denker, Nathan Dougherty, tenor Rebekah Wadsworth Daniel Fridley, bass Motetus: Charlotte Newman, Elena Mullins, Katherine Thompson, Naomi Columna Allison Monroe, vielle & harp Karin Cuellar Rendon, vielle & rebec Contratenor: Aaron Manela, Nathan Dougherty Laura Osterlund, recorder & douçaine Tenor: Brian Schultis, Daniel Fridley, Matthew Stachowiak