CIM/CWRU Joint Music 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, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (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 Lute 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 estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec 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, vielles 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, violins;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 Bohemia and traveled extensively with the king’s Quant Theseus/Ne quier veoir is a four-voice court. Machaut was both a poet and composer. His ballade, 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 formes fixes 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 Ordinary. 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 Middle Ages that reflects the In the polyphonic settings, the chant 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 “Kyries.” Machaut pieces by troubadours 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 virelai by Jean Vaillant, virelai, one of the three Medieval formes fixes, or fixed and Borlet’s Hé, tres doulz roussignol both feature forms, that governed French poetry 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.