FESTIVAL CONCERT NEW ENGLAND CONSERVATORY’S JORDAN HALL | THURSDAY, JUNE 11 | 5PM

Three, Four & Twenty Paul O’Dette, director

Canzone a Otto Voci per suonar à 4 Liuti (1599) Giovanni Antonio Terzi (fl. 1580–1600) Canzone a Tre Liuti (1623) (1566–ca. 1638) Canzon XIII à 8 arranged by Patrick O’Brien (ca. 1554–1612) Suite for Four Lutes (1616) Nicolas Vallet Ballet (ca. 1583–ca. 1642) Ballet Est-ce Mars de Mars Un jour de la semaine Allon aux noces Galliarde Passamezzo di Zorzi — Padoana — Saltarello (1564) Giovanni Pacoloni Als ick u vinde (1584) Hubert Waelrant arranged by Emanuel Adriaenssen (ca. 1554–1604) (ca. 1517–1595) Madonna mia pietà Orlando di Lasso arranged by Adriaenssen (1532–1594) O Villanella Waelrant arranged by Adriaenssen

Three Masque Dances “for the twenty Lutes” Robert Johnson arranged by Tim Crawford and Patrick O’Brien (ca. 1583–1633) The Songe called Robert Parsons reconstructed by Lyle Nordstrom (ca. 1535–1571/2)

BOSTON FESTIVAL extends heartfelt thanks This afternoon’s performance of Three, Four & Twenty Lutes is sponsored by the New York Continuo Collective, in loving memory of Pat O’Brien, whose genius inspires us all

2015 BOSTON EARLY MUSIC FESTIVAL 325 FESTIVAL CONCERT Suite from Terpsichore (1612) arranged by Patrick O’Brien and Grant Herreid (1571–1621) Ballet CCLVIII Courante LV Courant CL M.M. Wüstrow Bransle de la Torche XV Reprinse secundam inferiorem CCCX Courante CLXXXIII Dalle più alte sfere Antonio Archilei (ca. 1541–1612) O che nuovo miracolo Emilio de’ Cavalieri Ellen Hargis, Nell Snaidas & Danielle Reutter-Harrah, voice & guitar (ca. 1550–1602) BOSTON EARLY MUSIC FESTIVAL extends heartfelt thanks to: Daniel and Ruth Shoskes for their leadership support of Paul O’Dette, director, in this afternoon’s performance of Three, Four & Twenty Lutes

Lutenists Paul O’Dette, director, treble, alto & tenor lutes Grant Herreid, tenor & bass lutes, Charles Weaver, , treble, alto & tenor lutes , bass & theorbo Ryaan Ahmed, theorbo Christopher Morrongiello, alto & tenor lutes Kenneth Bé, alto lute Lyle Nordstrom, bandora & tenor lute Deborah Fox, theorbo Kevin Payne, tenor lute Douglas Freundlich, bass lute Phillip Rukavina, tenor lute Gail Gillispie, alto lute Andy Rutherford, bass lute Lucas Harris, theorbo Paul Shipper, cittern Dieter Hennings, Baroque guitar Daniel Shoskes, tenor lute Catherine Liddell, alto & tenor lutes Daniel Swenberg, bass lute & theorbo Singers Ellen Hargis & Nell Snaidas, soprano Danielle Reutter-Harrah, mezzo-soprano BEMF Young Artists Training Program Sarah Mitchell & Hannah Rose Stubbs, soprano Brittany Fowler, mezzo-soprano Michael Manning, alto Bradley J. King, tenor Zachary Lenox, bass

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Three, Four & Twenty Lutes Longe Elegantissima…Carmina (printed in 1564, probably Notes on the Program after an earlier edition), presenting versions of many popular dances carefully scored for the ensemble, gives us The lute is usually thought of as solo instrument par a uniquely clear idea of one type of dance . excellence. Its delicacy of tone and dynamic flexibility, A steady harmonic support is given by the bass lute, whose combined with its capability of rendering all the parts of a only elaborations consist of an appealing use of “walking polyphonic composition made it ideal for the solitary bass” figures, while the two other lutes are provided with amateur as well as the perfect medium for virtuoso display. elaborate divisions whose improvisatory character is But lutes, especially in the hands of professionals, were underlined by Pacoloni’s apparent lack of concern over frequently brought together into ensembles, most harmonic clashes between the parts. An extra cittern part commonly duet teams in which a skilled performer by Frederico Viaera, tailored to fit these trios, was improvised virtuoso runs and counterpoints to a simpler published in the same year. This splendidly lively music is accompaniment played by his assistant on the second lute. mostly arranged into “suites” in which the same thematic Sometimes, however, the groups were larger: trios and material is heard gradually accelerating in three dances: quartets frequently played for dancing, and for special passamezo, padoana, and saltarello. occasions such as ballets de cour, masques, or the elaborate Florentine Intermedii, while very large groups of plucked Until recently it was thought that the single part marked instruments—even as many as 40—were combined to Replete for three lutes in an English lute manuscript now ravishing effect. This afternoon’s program gives some idea at the National Library of Wales in Aberystwyth was an of the range of possibilities suggested by the scattered isolated fragment, impossible to reconstruct. But Paul sources of lute ensemble music of the and O’Dette noticed that it is an arrangement of the lower four early Baroque periods. voices of a popular six-part consort piece by Robert Parsons called variously The Songe called Trumpets, Mr One of the greatest of the Italian lute virtuosi of the late Parsons his Songe, Cante Cantate, and Lusti Gallant. The sixteenth century was Giovanni Antonio Terzi, also highly missing upper lute parts have been reconstructed by Lyle esteemed as a singer, whose two books of lute music (1593 Nordstrom, thus providing a worthy addition to the very and 1599) present some of the finest and most idiomatic sparse English lute ensemble repertoire. compositions and arrangements for the solo instrument. While these are rather neglected today owing to their great In the English masque, the equivalent of the Italian ballo or technical difficulty, Terzi is well known to lutenists for his the French ballet de cour, London’s artistic elite was duets and for the canzone for four lutes. In this cleverly mobilized to provide court entertainment on the most contrived piece, two pairs of lutes are pitted against one lavish scale. Great talents like Ben Jonson and Inigo Jones another in the manner of contemporaneous double-choir produced scripts and designs of lasting fame, generally canzonas by Guami and Gabrieli. These, and other praising the monarchy and encouraging extreme canzonas set for multiple lutes, inspired Pat O’Brien to patriotism. One of the musicians who regularly provided arrange the present Gabrieli canzona for lute ensemble. music for masques was the lutenist Robert Johnson, whose father John was one of the leading royal lutenists of Queen Aleassandro Piccinini was a distinguished and innovative Elizabeth’s reign. For one of the most lavish masques, Ben musician whose fine works for the lute and for the Jonson’s Oberon (1611), Robert Johnson was hired to chitarrone provided a parallel to the keyboard music of his produce dance music to be arranged for the court contemporary Frescobaldi. His canzona for three lutes band. He is also known to have engaged “XX lutes…for (1623), one of the masterpieces of the lute ensemble the Princes Dance” in the same masque; the large number repertoire, begins in a rather conservative, solidly of lutes taking part is further confirmed by an anonymous contrapuntal style, but ends thrillingly with the two upper eyewitness account: “Before passing into the hall, ten instruments exchanging virtuoso passages over the sober musicians appeared each with a lute and two boys who accompaniment of the bass lute, rather as Pacoloni had sang very well some sonnets in praise of the prince [Henry] done over fifty years before. and his father [James I].” The dances by Johnson performed in this conjectural reconstruction by Tim A controversial area of scholarly debate is the performance Crawford, later revised by Pat O’Brien, probably come of sixteenth-century dance music. On what instruments from a slightly later masque in honor of the marriage of was it played? Do the plain ensemble versions of the Princess Elizabeth and the Elector Palatine in 1613; they popular dances that have come down to us represent what survive in excellent five-part settings for strings by the was actually heard in the ballrooms of the time? The dance violinist William Brade, as well as in versions for solo lute. music for a group of three lutes in Giovanni Pacoloni’s

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The “twenty lutes” in these entertainments also included Another lutenist of an earlier generation working in the other plucked-string instruments such as cittern, bandora, Low Countries was Emanuel Adriaenssen, whose Pratum theorbo, and guitar, as was also apparently the custom for Musicum was first published in 1584. As well as containing the Entrées de luth in the French ballets de cour. In the fantasias and dances for solo lute and the usual solo Entrées de cour, the players, twelve or more in number and arrangements of vocal items, it includes an interesting attired in fantastic costumes, advanced slowly onto the series of and chanson arrangements in which only stage and there played a sort of concert. The theorbo was two out of the original four-or-more voice parts are introduced into England by Inigo Jones in 1607, but at first provided, together with a lute part. Lassus’s Madonna mia it was confiscated by an overzealous customs officer at pietà, however, is provided with three lute parts, while the Dover who feared it might be “an engine of war sent by two songs by Hubert Waelrant are accompanied by a some Popish country to destroy our King.” It is remarkable consort of four lutes doubling the individual voice parts how little things have changed for lute players over the past and supplying some distinctively ornamented cadences. 400 years! The chanson Als ick u vinde is a rare example of a chanson in Dutch, but Waelrant also published a version of the song The dances collected by Praetorius for his popular with Italian words with a rather different sentiment. Both Terpsichore are among the finest examples of music from texts are performed here separated by a version with lutes ballets de cour to have survived. These charming works, only. often used today to demonstrate the wide variety of Renaissance instruments depicted by Praetorius in his De The elaborate musical interludes, or intermedii, performed Organographica, were originally intended for a consort of at Florentine weddings in the sixteenth century, also , the primary ensemble to provide music for ballet. utilized large numbers of plucked instruments. The most Praetorius goes on to explain that many of the dances were extravagant of these, performed at the 1589 wedding of written by lutenists, mostly as solo pieces, but on occasion Ferdinand de’ Medici, was a musical event of such performed by the large plucked ensembles described above. significance that it brought together more than fifty of the The present arrangements, made by Patrick O’Brien and finest musicians in Italy working for nearly a year to Grant Herreid, are an attempt at recreating the kind of produce something truly memorable. The opening song, sound heard on those occasions. For the Johnson dances, Dalle più alte sfere, was sung by the most celebrated divisions for the treble lute have been added to the repeated soprano of the time, Vittoria Archilei, to the strains, while those in the Praetorius works were supplied accompaniment of a consort of lutes and theorbos. The “by a French dancing master.” final ballo, O che nuovo miracolo, alternates villanelle for three sopranos accompanying themselves on guitars of two One of the most important French lutenists of the early different sizes, with choruses that included the entire seventeenth century was Nicolas Vallet, who seems to have company. The music of this ballo was an instant hit, and it spent almost his entire working career in the Netherlands became known as the Ballo del Gran Duca or the Aria di as a Huguenot exile. He established strong links with Fiorenza, one of the most popular pieces upon which England: a relative, Adam Vallet, worked as a musician to instrumentalists in the seventeenth century composed or the English court, and Nicolas dedicated his Regia Pietas improvised sets of variations. (1620), settings of all 150 psalms for solo lute, to James I. In 1626 he formed a permanent quartet in Amsterdam This program was originally designed for and performed at with three English lutenists, and a surviving contract the 1989 Boston Early Music Festival by Paul O’Dette and between them tells us that the group played for dancing, Pat O’Brien. Pat, who was the lute teacher and mentor to and at banquets and weddings. We can safely assume that nearly all of the world’s leading lutenists, passed away they would have played music similar to this “suite” of suddenly last July, leaving an enormous hole in all of our seven pieces for four lutes that Vallet published in 1616. lives. Today’s performers were all students of Pat’s. For the Here there is another link with the ballet de cour, for there decades of patient and devoted guidance he provided to so is a fair probability that the first four items were originally many, we felt there could be no better tribute than to performed in Parisian ballets, though we cannot be sure of reprise this program of the music he loved the most. ◆ their original scoring. —Paul O’Dette and Tim Crawford

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TAls ick eu xvintdes & Translations Als ick u vinde met u spil’ en spinrock When I see you with your spindle and distaff, Met u schoon handen ende roode wanghen, With your fair hands and rosy cheeks, Dan vind ick dat ick ben van u ghevanghen. Then I find that I am truly captured by you.

Vorria morire per uscir di guai I wish to die to be rid of my woes: Ma mi par mala cos’ amaro me ne: But this seems to me a wicked and bitter thing Per che s’io mor’ oimè, non veggia te ne. Since if I die, alas, I shall not see you any more.

Madonna mia, pietà

Madonna mia, pietà My lady, have mercy on me Chiam’ et aita I beg you, and help me Ch’io moro e stento a torto pur volete: For I am dying, wrongly killed, and yet you wish it; Io grido, e nol sentete I cry out and you don’t hear me: Acqua, madonna, al foco Water, lady, to quench my fire! Ch’io si sento morire a poco a poco. For, little by little, I feel myself dying. Di chiedervi merce son quasi roco, I have begged for your pity so often that I am nearly hoarse, Sol della pena mia prendete gioco; But you only mock my sufferings. Pur grido in ogni loco: Still everywhere I go I cry out: Acqua, madonna, al foco. Water, lady, to quench my fire.

O Villanella

O Villanella quand’ al’acqua vai O peasant girl, when you go to the spring, Dimmi se fresca torn’ Tell me if you return refreshed, E poi che fai? And then what do you do? Non posso, no! I cannot, no! Dimmelo mo. Please tell me! O Villanella bella O beautiful peasant girl, E quando ti basciarò What if I kiss you, O dolce villanella? O sweet maiden?

O villanella, se dici che tu m’ami, O peasant girl, if you say you love me, Quando vai all’acqua, When you go to the spring, Perchè non mi chiami? Why do you not call me? Non posso, no! I cannot, no! Dimmelo mo. Please tell me! O Villanella bella O beautiful peasant girl, E quando ti basciarò What if I kiss you, O dolce villanella? O sweet maiden?

O villanella, se mi porti amore, O peasant girl, if you offer me love, Quando vai all’acqua When you go to the spring, Fammi ’no favore! Please do me a favor! Non posso, no! I cannot, no! Fammelo mo, Please do it for me! O villanella bella, O beautiful peasant girl, E quando ti basciarò, What if I kiss you, O dolce villanella? O sweet maiden?

O villanella, non mi far morire, O peasant girl, do not make me die, Quando vai all’acqua, When you go to the spring,

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Famici venire, Bring me with you. Non posso, no! I cannot, no! Vengoci mo, Please let me come! O villanella bella O beautiful peasant girl, E quando ti basciarò What if I kiss you, O dolce villanella? O sweet maiden?

Dalle più alte sfere

Dalle più alte sfere From the highest spheres, Di celesti Sirene amica scorta As friendly escort to the celestial sirens, Son l’Armonia, ch’a voi vengo, o mortali; I, Harmony, come down to you, O mortals; Poscia che fino al ciel battendo l’ali For, flying all the way to Heaven L’alta fama n’apporta, Exalted Fame has brought [the news] Che mai si nobil coppia’l sol non vidde That never has the sun seen such a noble couple Qual voi nuova Minerva, e fort’ Alcide. As you, a new Minerva and a strong Hercules.

O che nuovo miracolo

Tutti All O che nuovo miracolo O what new miracle! Ecco ch’in terra scendono Here descending to the earth Celeste alto spettacolo In noble, celestial display, Gli Dei ch’il mondo accendono The gods who bring light to the world. Ecco Himeneo e Venere, Here Hymen and Venus Co’l pie la terra hor premere. Now set foot upon the earth.

Tre Donne Three Ladies Del grande Heroe, che con benigna legge Jove in Heaven has heard Hetruria frena e regge Of the purity and devotion Udito ha Giove in Cielo Of the great hero Il purissimo zelo Whose benign rule governs Etruria, E dal suo seggio santo And from his sacred throne Manda il ballo, et il canto. Sends dance and song.

Tutti All Che porti, ò drappel nobile What do you bring, o noble crowd, Ch’orni la terra in mobile. To adorn the immovable earth?

Tre Donne Three Ladies Portiamo il bello e’l buon ch’in Ciel si serra We bring beauty and goodness that are stored in Heaven Per far al Paradiso ugual la Terra. So that the Earth may be like Paradise.

Tutti All Tornera d’auro il secolo? Will the golden Age return?

Tre Donne Three Ladies Tornera il secol d’oro The Golden Age will return, E di real costume, And royal customs, Ogni più chiaro lume. Each more clearly illuminated.

Tutti All Quando verra che fugghino When will all things evil I mali e si distrugghino? Be banished and destroyed?

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Tre Donne Three Ladies Di questo nuovo sole As soon as this new sun Nel subito apparire Appears; I gigli e le viole, Lilies and violets Si verdranno fiorire. Will then bloom.

Tutti All O felice stagion beata Flora! O happy season, O blessed Flora!

Tre Donne Three Ladies Arno ben sarai tu beato a pieno Arno, you will be fully blessed Per le nozze felici di Loreno. By the happy marriage with Lorraine.

Tutti All O novella d’Amor fiamma lucente: O shining new flame of love!

Tre Donne Three Ladies Questa e la fiamma ardente This is the burning flame Ch’infiammerà d’Amore That will inflame with love Ancor l’anime spente. Even lifeless souls.

Tutti All Ecco ch’amor e Flora Behold how Amor and Flora Il Cielo arde e innamora. Inflame the heavens with love.

Tre Donne Three Ladies A la sposa reale For the royal bride Corona trionfale Let nymphs and shepherds Tessin Ninfe e Pastori Weave a triumphal crown Dei più leggiadri fiori. Of the loveliest flowers.

Tutti All Ferdinando hor va felice altero; Ferdinand is now happy and proud.

Tre Donne Three Ladies La vergine gentil di santo foco The noble virgin burns with holy ardor Ard’e si accinge a l’amoroso gioco. And prepares herself for amorous sport.

Tutti All Voi Dei scoprite a noi la regia prole. O Gods, reveal to us the royal progeny.

Tre Donne Three Ladies Nasceran semidei Demigods shall be born Che renderan felice That will render the world Del mondo ogni pendice. Happy in every place.

Tutti All Serbin le glorie i cign’in queste rive May the swans on these banks preserve the glory Di Medici e Loreno eterne e vive. Of Medici and Lorraine for ever.

Tre Donne Three Ladies Le meraviglie nuove The new wonders Noi narreremo a Giove. We shall relate to Jove. Hor te coppia reale, Now, to you, royal couple, Il Ciel rend’immortale. The heavens give immortality.

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Tutti All Le quercie hor mel distillino Let oak trees drip with honey E latte i fiumi corrino And rivers run with milk. D’amor l’alme sfavillino Let souls sparkle with love E gl’empi vitii aborrino And abhor wicked vices E Clio tessa l’historie, And Cleo weave the story Di cosi eterne glorie Of these eternal glories. Guidin vezzosi balli Let graceful dances lead us Frà queste amene valli Among these pleasant valleys, Portin Ninfe e Pastori, Let nymphs and shepherds bring Del’arno al Ciel gl’honori Arno’s honors to the sky Giove benigno aspiri Let Jove benignly grant A i nostril alti desiri Our noble wishes. Cantiam lieti lodando We sing happily honoring Cristiana, e Ferdinando. ◆ Christine and Ferdinand. ◆

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