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Home , Gilles Binchois, Haine, Johannes Ciconia, John the Fearless, Missa Caput, Missa prolationum

Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH 8 PM • FRIDAY, FEBRUARY 17, 2017 — First Parish of Lexington 8 PM • SATURDAY, FEBRUARY 18, 2017 — First Church in Cambridge, Congregational Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH OCKEGHEM & THE ENGLISH

Johannes Ockeghem (c. 1420-1497) cantus In this fifth program of our multi-season survey particular the way in which it handles the Missa Caput Martin Near of the complete works of , two lower lines of its four-voice contrapuntal Laura Pudwell • lp ms st dm / mn om jm pg we present one of his earliest surviving texture (labelled Tenor primus and secundus), Gloria • lp om jm pg works, the Missa Caput. Those who have influenced a generation of French and Flemish tenor & contratenor John Pyamour (d. before March 1426) attended previous concerts in the series will . Ockeghem adopts the new manner Owen McIntosh Quam pulcra es • om jm dm Jason McStoots perhaps share the impression we are forming of writing in four parts, but then ups the Mark Sprinkle of Ockeghem’s compositional character— technical ante considerably by the daring and (d. before June 1475) Sumner Thompson curious, experimental, boldly asserting novel use to which he puts the . Alas alas alas is my chief • mn st pg Ave regina celorum • lp ms dm his superior craft vis-à-vis his models by bassus surpassing their technical achievements, and The cantus firmus melody quotes a long Ockeghem Paul Guttry stretching the theoretical systems of his time in melisma on the word “caput” from an Missa Caput David McFerrin ways that challenge our ability to find a definite sung during the foot-washing ceremony on • mn jm st dm solution (and surely posed similar challenges Maundy Thursday in the Sarum rite. The Sarum to musicians of his day). No two of his pieces antiphon is in the seventh mode, with a G final — intermission — Scott Metcalfe director sound quite the same or address formal and no flat in its signature; the Caput melisma Frye problems in the same manner. As Fabrice begins on a B-natural, ends on G, and features Tout a par moy, affin qu’on ne me voye • lp ms jm Fitch observes in his study of the Masses, many prominent Bs and Es. The English “most of them present a highly distinctive Caput Mass places the plainchant melody in (b. c. 1430, d. after March 13, 1479) profile, determined by features peculiar to its traditional locus in the second-lowest voice, • Le souvenir de vous me tue mn ms pg the one work alone. Thus, the soundscapes and unsurprisingly, the Mass, like its tenor, is Gilles de Bins, dit Binchois (c. 1400-1460) of individual works vary considerably, and in a sparkling G mode, featuring numerous Dueil angoisseux, rage desmesuree • lp st jm the differences between them are often more G and C major triads. This is the normal obvious than their similarities.”1 situation in modal : according to Ockeghem the preeminent theorist , Missa Caput These tendencies are already obvious in the the mode of a piece generally corresponds to Agnus dei music of Ockeghem’s younger years, including the mode of its tenor. the Missa Caput. Probably composed by around 1450, the Mass borrows its cantus If anyone were to say to me, Tinctoris, I ask Ockeghem@600 is a long-term project exploring the complete works of firmus (the preexisting plainchant melody you, of what mode is the song Le serviteur? I Johannes Ockeghem in thirteen concert programs presented between 2015 and 2021. quoted by the tenor) and much of its structure would reply, In general, of an irregular first Blue Heron is very pleased to have Professor Sean Gallagher as adviser for the entire project. from an anonymous English Mass that arrived mode, because the tenor, the principal part Pre-concert talk (in Cambridge) by Sean Gallagher (New Conservatory of Music) on the continent perhaps a decade before. The of the song, is of such a mode. sponsored in part by The Cambridge Society for . technical innovations of the English work, in Liber de natura et proprietate tonorum, 1476 Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. The Lexington performance is supported in part by a 1 Fabrice Fitch, Johannes Ockeghem: masses and models grant from the Lexington Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency. (1997), p. 41.

Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 The Gloria of the English Mass, performed often than they are compatible. The modal as “erratic and arbitrary.”3 Absent personal on this program, conveys an excellent sense schizophrenia that results is obvious right guidance from Ockeghem himself, it does not of the whole work—sunny, jazzy, energetic, from the outset, as the D-A sonority of the seem possible to arrive at a definitive solution seemingly uncomplicated, with the top two first measure is followed immediately by one to the puzzles posed by the piece and so, as parts granted the lion’s share of melodic and on B with an F-sharp above it, which is in turn Jaap van Benthem remarks in the preface to his rhythmic interest, the bottom two proceeding quickly succeeded by another D sonority, this edition of the Missa Caput, “We can be quite mostly in longer note values and together Fig. 1. The Caput tenor from the time with an F natural in the topmost voice. sure that any performance of the composition creating the harmonic framework. English Missa Caput. Trent, Archivio Soon more F-sharps ensue, and it’s not long not supervised by the or someone Diocesano, MS 93, f. 126v. before a B-flat turns up, too. The Mass is rife acquainted with the composer’s intentions Arrestingly strange in sound from its very with such harmonic contradictions from start must, even at the time, have been different opening measures, Ockeghem’s Missa Caput to finish. from all others.” could hardly be more different in effect. Its young composer (probably less than 30 when So things sound strange indeed—but we can’t We make no claims to have discovered what he wrote the piece) takes the cantus firmus of be certain exactly how strange. The problem Ockeghem would have wished (and our the English Mass—not the plainchant itself, is that fifteenth-century musicians did not reading of the piece differs from van Benthem’s, which he likely did not know, as it belongs invariably specify in their written music how naturally), but we have attempted to conjure to the insular Sarum repertoire—intact, to inflect the notes of the scale, raising or up a performance that a group of well-trained including the rhythms devised by the English lowering them a semitone by adding a flat or fifteenth-century singers might have produced composer, but he directs that it be sung down sharp, but left many such inflections implicit. from the surviving source material—two an octave, where it becomes the lowest voice Fig. 2. Ockeghem’s tenor in his Missa The application of such chromatic alterations manuscript copies, neither of which, it must in the . (See figures 1-3.) In this Caput. Trent, Museo Provinciale d’Arte, was governed by a combination of theory, be noted, derives directly from Ockeghem. position its numerous B-naturals require Castello del Buonconsiglio, MS 1375 melodic convention, and custom. Singers (One was copied in northern in the late F-sharps a perfect fifth above them in order (formerly 88), f. 287v. were expected to solve these questions on 1450s, the other in the Habsburg- to create a “perfect consonance” or stable the spot, and they didn’t always agree how scriptorium in Mechelen nearly a half century harmony. This situation is unusual enough to resolve issues when observing one rule or later, a few years after the composer’s death.) in fifteenth-century music, where sharps custom creates a conflict with another. (An lie outside the gamut of “real music,” must early sixteenth-century correspondence However the Missa Caput is realised in be borrowed from the “imaginary” world documents one such disagreement between performance, it makes for compelling of musica ficta (feigned or false music), and musicians.) Such questions arise again and listening—mysterious, certainly, but hauntingly Fig. 3. The “canon” or rule directing usually function as temporarily raised leading again in Ockeghem’s Missa Caput, and many beautiful, sonorous, meditative, and fascinating, the singer of Ockeghem’s tenor to tones at cadences—F-sharp leading to G, for commentators have expressed their perplexity the extraordinary creation of an phenomenally transpose the tenor down an octave: example. The greater oddity is that Ockeghem’s over it, one writing that “the application of gifted, skilled, and imaginative composer at the “Alterum caput descendendo tenorem Mass is not oriented to a final of G, as is the these alterations, which were taken for granted, beginning of his career. per diapason et sic per totam missam” Caput cantus firmus, but to D, with F-naturals presents difficulties without number,”2 another (Another Caput, lowering the tenor by and B-flats in abundance. In short, the cantus describing the harmonic style of the Mass an octave, and thus for the entire mass). firmus, which normally serves as the structural Biblioteca Apostolica Vaticana, MS foundation of the counterpoint, is in a different Chigi C VIII 234, f. lxii’. mode or key than the music in which it is 2 Charles van den Borren, Études sur le quinzième siècle 3 Manfred Bukofzer, “Caput: a liturgical-musical study,” embedded, and the two modes conflict more musical (1941), p. 197. Studies in medieval and music (1951), p. 287.

4 5 The Much of our commonplace understanding hitherto unattained perfection of the arts in the of the evolution of European music in the modern age demonstrates that the end of the The English Caput Mass is but one of a large number of works by English musicians that crossed early fifteenth century rests upon the few world is at hand. He describes how the singing the Channel in the first half of the fifteenth century. According to contemporary witnesses, lines cited above. From them has been of Du Fay and Binchois surpasses that of three the style practiced by and other insular composers had a profound effect on derived a satisfyingly linear narrative famous musicians of the previous generation; continental musicians. starring a triumvirate of great composers. adds more detail about their new practices According to this account, Dunstaple and “en haulte et basse musique” (an expression his English contemporaries developed a new that would usually refer to instrumental compositional style which was sweet and ensembles); and finally says that they have Tapissier, Carmen, Cesaris, Tapissier, Carmen, and Cesaris pleasing to the ear, rich in harmonic concords, partaken of an unexplained English manner. N’a pas long temps sy bien chanterent Not long ago sang so well and supple in melody. Thecontenance angloise By these means their “” (performance Qu’ilz esbahirent tout Paris That they astonished all of Paris or English manner arrived on the continent or composition?) is made joyous and worthy. Et tous ceulx qui les frequenterent; And all those who visited them; in the early decades of the and was But note that the “contenance angloise” does Mais onques jour ne deschanterent But never did they discant assimilated by and Gilles not necessarily include the technical features En melodie de tel chois, In melody so choice de Bins, called Binchois, who transmitted it listed beforehand, which themselves resist our Ce m’ont dit ceulx qui les hanterent, (So I have been told by those who heard them) to their followers, thus drawing the curtain on precise understanding. Que G. Du Fay et Binchois. As do G. Du Fay and Binchois. the and ushering in the musical Renaissance. As pointed out As for Tinctoris, a Franco-Flemish theorist Car ilz ont nouvelle pratique For these have a new practice thirty years ago, however, “such a view fails to writing in Naples, he is careful to say that the De faire frisque concordance Of making elegant consonance match the discernible facts.” All of the features fount and origin of the new art is held to be En haulte et en basse musique, In loud and soft music, typically associated with the “new” style can among the English (Fallows speculates that En fainte, en pause et en muance; In feigning, pausing, and changing; be found in works by continental composers Tinctoris’s source, like Le Franc’s, may have Et ont pris de la contenance And they have partaken of the English of the generation before Dunstaple, and it is been Du Fay himself, who probably knew both Angloise, et ensuy Dompstable; Manner, and followed Dunstaple; far from clear exactly how and when English men) and that the French composers were Pour quoy merveilleuse plaisance Whereby a marvellous pleasingness music and musicians exerted an influence contemporary with Dunstaple, not necessarily Rend leur chant joieux et notable. Renders their song joyous and worthy. across the Channel, although they undeniably disciples of his or his music. did so in some fashion, for English music of the Martin le Franc, Le champion des dames, c. 1438-42 (trans. SM) fifteenth century is abundant in manuscripts In short, the history of English influence on from northern Italy and . (In contrast, continental music is more complicated than most English sources have been destroyed.) the tidy canonical story suggests, which is not surprising. As we have seen, Ockeghem’s At this time…the possibilities of our music have been so marvelously increased that there appears Furthermore, as Fallows went on to observe, handling of his English model—an undeniable to be a new art, if I may so call it, whose fount and origin is held to be among the English, of whom the statements made by Le Franc and Tinctoris case of inspiration and modelling—shows Dunstaple stood forth as chief. Contemporary with him in France were Du Fay and Binchoys, to are considerably less specific and more difficult how a composer of genius could transform whom directly succeeded the moderns Ockeghem, Busnoys, Regis and Caron, who are the most to interpret than latter-day music historians his source materials so that they are virtually excellent of all the composers I ever heard. have often taken them to be. In the passage unrecognisable to the ear. above from Le champion des dames, the hero, Johannes Tinctoris, Proportionale musices, 1472-3 (trans. Oliver Strunk) Franc Vouloir (an allegorical character, Free In order to place Ockeghem’s Mass in the Will), is explaining to his opponent how the context of the contenance angloise, our program

6 7 offers a small sample of English music from melodies established a standard to which all across these years, including sacred music in song composers of the fifteenth century might Latin, a song in English, and two French aspire. Whereas Le souvenir features a text in a by English composers. The earliest piece is female voice (revealed by adjectival endings), by one John Pyamour, who became a clerk in Dueil angoisseux sets a by Christine ’s Chapel Royal in the late and de Pizan. Binchois meets the eloquence of was commissioned to impress boy choristers Christine’s lament, perhaps written on the and take them to the King in France. Preserved death of her husband, with music of simple, only in continental sources, Quam pulcra es is restrained, pathos. Pyamour’s only known work. The text, from —Scott Metcalfe the Song of Songs, was also famously set by Dunstaple.

Next we turn to the music of Walter Frye. Presumably a near-contemporary of Ockeghem, Frye himself remains obscure and undocumented, but his works were extremely popular in continental Europe. The antiphon settingAve regina celorum turns up in more than a dozen manuscripts, including a couple of songbooks devoted primarily to secular music in which it is the first item, and the songTout a par moy survives in ten sources, in one of which Fig. 4. The first opening of Ockeghem’sMissa Caput in the Chigi Codex, Biblioteca Apostolica it is ascribed (unconvincingly) to Binchois. Vaticana, MS Chigi C VIII 234, ff. lxii’-lxxiii. Our last two songs come from the Burgundian court. The first,Le souvenir de vous me tue, is by Robert Morton, described in a document of late 1457 appointing him to the chapel of Philip the Good as “chappellain angloix”; absent the appellation, one would have assumed Morton was French. Le souvenir, one of his most famous songs, is poignant and ravishingly lovely. Finally, before turning back to the Sanctus and Agnus dei of Ockeghem’s Caput Mass, we will hear a song by the most celebrated of all Burgundian court composers, Gilles de Bins, called Binchois, like Ockeghem a native of the in present-day , whose elegant style and perfectly balanced

8 9 TEXTS & TRANSLATIONS Ave regina coelorum, Hail, queen of heaven, mater regis angelorum, mother of the king of angels, O Maria, flos virginum, O Mary, flower of virgins, Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, velut rosa, velut lilium, like a rose, like a lily, have mercy. Funde preces ad filium Pour forth prayers to your son pro salute fidelium, for the salvation of the faithful, , et in terra pax Glory to God in the highest, and on earth peace O Maria, flos virginum, O Mary, flower of virgins, hominibus bone voluntatis. Laudamus te. to all of good will. We praise you. We bless you. velut rosa, velut lilium. like a rose, like a lily. Benedicimus te. Adoramus te. Glorificamus te. We adore you. We glorify you. We give thanks Gratias agimus tibi propter magnam gloriam to you for your great glory. Lord God, heavenly tuam. Domine deus, rex celestis, deus pater king, almighty God the Father. Lord Jesus Credo in unum deum, patrem I believe in one God, the Father almighty, omnipotens. Domine fili unigenite, Jesu Christ, only begotten Son. Lord God, lamb of omnipotentem, factorem celi et terre, maker of heaven and earth and of all things Christe. Domine deus, agnus dei, filius patris. God, Son of the Father. Who takes away the sins visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord Jesus Qui tollis peccata mundi, miserere nobis. Qui of the world, have mercy on us. Who takes away unum dominum Jesum Christum, filium dei Christ, the only Son of God, eternally tollis peccata mundi, suscipe deprecationem the sins of the world, receive our prayer. Who sits unigenitum: et ex patre natum ante omnia begotten of the Father. God from God, nostram. Qui sedes ad dexteram patris, at the right hand of the Father, have mercy on us. secula. Deum de deo, lumen de lumine, Light from Light, true God from true God. miserere nobis. Quoniam tu solus sanctus, tu For you alone are holy, you alone are the Lord, deum verum de deo vero. Genitum non Begotten, not made; of one being with the solus dominus, tu solus altissimus, Jesu Christe, the Most High, Jesus Christ, with the Holy Spirit factum, consubstantialem patri: per quem Father, through whom all things are made. For cum sancto spiritu in gloria dei patris. Amen. in the glory of God the Father. Amen. omnia facta sunt. Qui propter nos homines us and for our salvation he came down from et propter nostram salutem descendit de Heaven. He was born of the Holy Spirit and celis. Et incarnatus est de spiritu sancto ex the Virgin Mary, and was made man. He was Quam pulcra es et quam decora, carissima, How beautiful you are, and how fair, dearest, in Maria virgine: et homo factus est. Crucifixus crucified for our sake under Pontius Pilate, in deliciis. Statura tua assimilata est palme, delights! Your stature is like to a palm tree, and etiam pro nobis sub Pontio Pilato: passus died, and was buried. On the third day he et ubera tua botris. Caput tuum ut Carmelus, your breasts the clusters of its fruit. Your head is like et sepultus est. Et resurrexit tertia die rose again, in accordance with the Scriptures. collum tuum sicut turris eburnea. Veni, Mount Carmel, your neck a tower of ivory. Come, secundum scripturas. Et ascendit in celum: He ascended into heaven and is seated at the dilecte mi, egrediamur in agrum, et videamus my beloved, let us go forth into the field, let us see if sedet ad dexteram patris. Et iterum venturus right hand of the Father. He will come again si flores fructus parturierunt, si floruerunt the blossoms have budded, if the pomegranates are est cum gloria judicare vivos et mortuos: to judge both the living and the dead, and his mala punica. Ibi dabo tibi ubera mea. Alleluya. in flower. There I will give you my love. Alleluia. cujus regni non erit finis. Et in spiritum kingdom shall have no end. And I believe in sanctum dominum et vivificantem qui ex the Holy Spirit, the Lord, the giver of life, who patre procedit. Qui cum patre et filio simul proceeds from the Father, who with the Father Alas, alas, alas is my chief song, Alas, alas, alas is my chief song: adoratur et conglorificatur: qui locutus est and Son is worshipped and glorified, who has ffor peyne and wo none other can y syng. for pain and woe none other can I sing. per prophetas. Et unam sanctam catholicam spoken through the prophets. And I believe Insted of rest asobbe y tale among, Instead of resting, sobbing I tell my tale over and over, et apostolicam ecclesiam. Confiteor unum in one holy, catholic and apostolic church. I ffor myn onese and deathe along siching. sighing all the while for my distress and death. baptisma in remissionem peccatorum. Et confess one baptism for the forgiveness of sins. expecto resurrectionem mortuorum, et vitam And I await the resurrection of the dead, and The grounde of wo I fele is departing: The cause of the woe I feel is separation; venturi seculi. Amen. the life of the world to come. Amen. the more long, the more byting the peyn. the longer it lasts, the more biting the pain. With the trew turtil all chaunge forsweryng, With the true turtledove all change forswearing, Welchome my deth certeyne y entune and pleyne. “Welcome, my certain death,” I sing and lament.

10 11 Tout a par moy, affin qu’on ne me voye, All by myself, so that no-one sees me, Dueil angoisseux, rage demeseurée, Anguished sorrow, unbounded rage, Si tresdolant que plus je ne pourroye, so very hurt that I could not be more so, Grief desespoir plain de forcenement, grievous despair, full of madness, Je me tiens seul comme une ame esbahie, I keep myself apart, like a stunned soul, Langor sans fin et vie maleurée, endless languor and a life of misfortune, Faisant regrez de ma dolente vie lamenting my doleful life Plaine de plour, d’angoisse et de torment, full of tears, anguish, and torment, Et de Fortune, qu’ainsy fort me guerroye. and Fortune, who so fiercely wars against me. Coeur doloreux qui vit obscurement, doleful heart which lives in darkness, Tenebreux corps sur le point de partir wraithlike body on the verge of death: Pensez quel deul mon desplaisir m’envoye, Think what grief my misfortune sends me, Ay sans cesser, continuellement, all these are mine without cease, continually, Car j’ay des maulx a si tresgrant monjoye for I have woes in such great amount Et si ne puis ne garir ne morir. and thus I can neither heal nor die. Que je crains fort que briefment je m’occye. that I very much fear that soon I shall kill myself. Fierté, durté de joye separée, Harshness, hardness bereft of joy, Tout a par moy, affin qu’on ne me voye, All by myself, so that no-one sees me, Triste penser, parfont gemissement, sad thoughts, deep sighs, Si tresdolant que plus je ne pourroye, so very hurt that I could not be more so, Engoisse grant en las cuer enserrée, great anguish locked in a weary heart, Je me tiens seul comme une ame esbasye. I keep myself apart, like a stunned soul. Courroux amer porté couvertement, bitter distress endured in secret, Morne maintien sanz resjoissement, mournful demeanour without gladness, Et non pourtant se mourir en devoye Yet nonetheless, should I have to die Espoir dolent qui tous biens fait tarir, foreboding which dries up all good, En la poursuitte de vous servir, ma joye, while engaged in your service, my joy, Si sont en moy, sanz partir nullement, are in me and never depart, Et fussiez vous plus fort mon ennemye, and were you to become even more my enemy, Et si ne puis ne garir ne morir. and thus I can neither heal nor die. N’ayez paour qu’a jamaiz vous oblie, have no fear that I could ever forget you, Car c’est mon sort qu’il fault que vostre soye. for it is my fate to be yours. Soussi, anuy qui tous jours a durée, Worry, affliction which lasts forever, Aspre veillier, tressaillir en dorment, bitter waking, troubled sleep, Tout a par moy, affin qu’on ne me voye… All by myself, so that no-one sees me… Labour en vain a chiere alangourée vain labor with a listless expression, En grief travail infortunéement, destined to grievous torment, Et tout le mal qu’on puet entierement and all the ill which one could ever Le souvenir de vous me tue, The memory of you kills me, Dire et penser sanz espoir de garir, say or think, without hope of relief, Mon seul bien, quant je ne vous voy, my only love, when I do not see you, Me tourmentent desmesuréement, torment me beyond measure, Car je vous jure sur ma foy, For I swear to you upon my faith, Et si ne puis ne garir ne morir. and thus I can neither heal nor die. Sans vous ma liesse est perdue. Without you my joy is lost. Princes, priez a Dieu que bien briefment Prince, pray to God that very soon Quant vous estes hor de ma vue, When you are out of my sight, Me doint la mort, s’autrement secourir he grant me death, if by other means Je me plains et dis a par moy: I lament and say to myself: Ne veult le mal ou languis durement, he will not remedy the ill in which I painfully Le souvenir de vous me tue, The memory of you kills me, Et si ne puis ne garir ne morir. languish, so that I can neither heal nor die. Mon seul bien, quant je ne vous voy. my only love, when I do not see you. — (1365-after July 1429) Seule demeure despourveue, Alone, I remain deprived, D’ame nul confort ne reçoy, From no soul do I receive comfort, Et si seuffre sans faire effroy, And thus I suffer without complaint Jusques a vostre revenue. Until your return. Le souvenir de vous me tue… The memory of you kills me…

12 13 of Congress and Dumbarton Oaks in Sanctus, sanctus, sanctus, Holy, Holy, Holy, ABOUT THE ARTISTS dominus deus sabaoth. Lord God of hosts. Washington, D.C., at the Berkeley Early Music Festival; and in San Luis Obispo, Seattle, Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory Blue Heron has been acclaimed by The Boston St. Louis, Chicago, Cleveland, Milwaukee, Osanna in excelsis. Hosanna in the highest. Globe as “one of the Boston music community’s Pittsburgh, and Philadelphia. This season’s Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the Lord. indispensables” and hailed by Alex Ross in highlights include a debut at the National Osanna in excelsis. Hosanna in the highest. The New Yorker for its “expressive intensity.” Gallery of Art in a special program designed Committed to vivid live performance informed to accompany the exhibition “Della Robbia: and enhanced by the study of original source Sculpting with Color in Renaissance .” Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, materials and historical performance practices, Blue Heron has been in residence at the Center miserere nobis. have mercy on us. Blue Heron ranges over a wide repertoire, for Early Music Studies at Boston University Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, from plainchant to new music, with particular and at Boston College. In 2015 the ensemble miserere nobis. have mercy on us. specialities in 15th-century Franco-Flemish embarked on a long-term project to perform Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, and early 16th-century English polyphony. the complete works of Johannes Ockeghem (c. dona nobis pacem. grant us peace. Blue Heron’s first CD, featuring music by 1420-1497). Entitled Ockeghem@600, it will Guillaume Du Fay, was released in 2007. wind up in 2020-21, in time to commemorate Translations from the French by Scott Metcalfe In 2010 the ensemble inaugurated a 5-CD the composer’s circa-600th birthday. series of Music from the Peterhouse Partbooks, including many world premiere recordings Bass-baritone Paul Guttry of works copied c. 1540 for has performed throughout Cathedral; the fifth disc will be released in the USA and internationally March of this year. Blue Heron’s recordings with Sequentia, Chanticleer, also include a CD of plainchant and polyphony the Boston Camerata, and to accompany Thomas Forrest Kelly’s book New York’s Ensemble for Capturing Music: The Story of Notation and the Early Music. A founding live recording Christmas in Medieval England. member of Blue Heron, he Jessie Ann Owens (UC Davis) and Blue Heron has also appeared in and won the 2015 Noah Greenberg Award from the around Boston as soloist with Emmanuel Music, American Musicological Society to support the Handel & Haydn Society, the Boston Early a world premiere recording of Cipriano de Music Festival, the Tanglewood Music Center, Rore’s first book of (1542), to be Cantata Singers, Boston Cecilia, Prism Opera, begun next season. Boston Revels, Collage, the Boston Modern Orchestra Project, and Intermezzo. Paul can be Founded in 1999, Blue Heron presents a heard on all Blue Heron’s recordings, on discs concert series in Cambridge, Massachusetts, of by Sequentia, Kurt Weill’s and has appeared at the Boston Early Music Johnny Johnson and French airs de cour with the Festival; in New York City at Music Before Boston Camerata, and on Emmanuel Music’s 1800, The Cloisters (Metropolitan Museum Bach CDs. of Art), and the 92nd Street Y; at the Library

14 15 Hailed for his “voice of stage with the country’s finest ensembles, with the Green Mountain Project. He has also directing the baroque orchestra at Oberlin seductive beauty,” baritone including Apollo’s Fire, Blue Heron, Boston performed with Boston Lyric Opera, Pacific Conservatory. He taught vocal ensemble David McFerrin has won Baroque, Carmel Bach Festival, Les Canards MusicWorks, Boston Camerata, TENET, San repertoire and performance practice at Boston critical acclaim in a variety of Chantants, New Vintage Baroque, Staunton Juan Symphony, Pablo Casals Festival, Early University from 2006-2015 and is at work on repertoire. His opera credits Music Festival, TENET, Trident Ensemble, Music Guild of Seattle, Tragicomedia, and the a new edition of the songs of . include Santa Fe Opera, True Concord, San Diego Bach Collegium, Tanglewood Music Center. Mr. McStoots can Seattle Opera, Florida and the Grammy-nominated Choir of Trinity be heard on all six of Blue Heron’s recordings, Countertenor Martin Grand Opera, the Rossini Wall Street. Recent solo engagements include and also appears on the Grammy-nominated Near enjoys a varied career Festival in Germany, and Mozart’s Die Zauberflöte with Boston Baroque, recording of Lully’s Pysché and on other exploring his twin passions numerous roles with Boston Lyric Opera. As a Haydn’s L’isola disabitata with the American discs of music of Charpentier and John Blow for early music and new concert soloist he has sung with the Cleveland Classical Orchestra, Monteverdi’s Vespers with the Boston Early Music Festival on the music. Mr. Near recently Orchestra, Israel Philharmonic, and Boston of 1610 with Apollo’s Fire and with Green CPO label. He is a voice teacher at Brandeis sang in the solo quartet Pops, and in recital at the Caramoor, Ravinia, Mountain Project, Bach’s St. Matthew Passion University and a stage director, staging operatic of Arvo Pärt’s Passio with and Marlboro Festivals. Last season Mr. with Grand Rapids Symphony, Il ritorno works with Connecticut Early Music Festival, the Boston Modern McFerrin was an Adams Fellow at the Carmel d’Ulisse in patria with Opera Omnia and Amherst Early Music Festival, Wayland First Orchestra Project, was Bach Festival in California, debuted with the Boston Baroque, and the Evangelist in Bach’s Unitarian Players, and Brandeis University. the countertenor soloist in the premiere Vermont Symphony and Boston’s chamber St. John Passion with Tucson Chamber Artists. performance of Dominick DiOrio’s Stabat orchestra A Far Cry, and appeared with the Scott Metcalfe has gained mater with Juventas New Music Ensemble, Handel & Haydn Society in Boston, Canada, Described by critics as wide recognition as one of sang the role of Hamor in Handel’s Jephtha with and California. He was also runner-up in the “a gifted young tenor North America’s leading Boston Cecilia, and was noted for his “fine Oratorio Society of New York’s 2016 Lyndon with wonderful comedic specialists in music from work” in Buxtehude’s Heut triumphieret Gottes Woodside Solo Competition. Upcoming talents,” an “alluring tenor the fifteenth throughSohn with Boston Baroque. He sings regularly highlights include solo appearances with the voice,” and a “bright, seventeenth centuries with Emmanuel Music, Boston Baroque, and the Handel & Haydn Society in performances of clear and fully-fledged and beyond. Musical and Handel & Haydn Society. Mr. Near was Music Bach and Monteverdi, a debut with Boston tenor sonority,” Jason artistic director of Blue Director of Exsultemus from 2009 to 2012. Baroque as Achilla in Handel’s Giulio Cesare, McStoots has performed Heron, he is also music and various programs with Blue Heron. around the world. In director of New York City’s Green Mountain Grammy-nominated mezzosoprano Laura 2015 he was honored with a Grammy award Project (Jolle Greenleaf, artistic director) Pudwell has established a superb reputation Acclaimed as a “lovely, with the Boston Early Music Festival for his and has been guest director of TENET (New through her performances tender high tenor” by The roles of Ixion in La descente d’Orphée aux York), the Handel & Haydn Society (Boston), worldwide. Equally at home New York Times, Owen enfers and Forestan in La couronne de fleurs, Emmanuel Music (Boston), the Tudor on the opera, oratorio, or McIntosh enjoys a diverse both by Charpentier. Recent appearances Choir and Seattle Baroque, Pacific Baroque recital stage, Ms. Pudwell career of chamber music include Tabarco in Handel’s Almira, Apollo in Orchestra (Vancouver, BC), Quire Cleveland, sings a vast repertoire and solo performance Monteverdi’s Orfeo, and Eumete and Giove in the Dryden Ensemble (Princeton, NJ), and ranging from early ranging from bluegrass Il ritorno d’Ulisse in patria, all with the Boston Early Music America’s Young Performers music to contemporary to reggae, heavy metal Early Music Festival, Pedrillo in Mozart’s Festival Ensemble. Metcalfe also enjoys a works, and has received to art song, and opera Abduction from the Seraglio and Evangelist in career as a baroque violinist, playing with Les international acclaim for to oratorio. A native of remote Northern Bach’s St. Mark Passion with Emmanuel Music, Délices (dir. Debra Nagy), Montreal Baroque her recordings. She is best known in Boston California, Mr. McIntosh has shared the and soloist for Monteverdi’s Vespers of 1610 (dir. Eric Milnes), and other ensembles, and for her appearances in operas presented by

16 17 the Boston Early Music Festival. On the opera the Cambridge Bach Ensemble and a fellow OCKEGHEM@600 stage, she has performed across Canada with of the Britten-Pears School and has recorded such companies as Opera Atelier, the Calgary for Dorian, Koch, Harmonia Mundi, Decca, Ockeghem@600 is Blue Heron’s multi-year OCKEGHEM@600 | 2015-2021 project to perform the complete works of Opera, Vancouver Early Music, and Festival Arabesque, and Telarc. Most programs are organized around a setting Vancouver, as well as with the Houston Grand Johannes Ockeghem, one of the very greatest composers of the Western tradition, in of the mass, but all will also include Opera and the Cleveland Opera. Ms. Pudwell Praised for his “elegant and songs by Ockeghem and other composers: is a regular participant in many festivals, and style” (The Boston Globe), thirteen programs over the course of seven seasons. Inaugurated in the spring of 2015, Binchois, Du Fay, Regis, Busnoys, Josquin, appears regularly with the Toronto Consort, Sumner Thompson is Ockeghem@600 will wind up in 2020-21, just Obrecht, and others. and is a frequent guest soloist with Tafelmusik, highly sought after as in time to commemorate the 600th anniversary the Kitchener-Waterloo Symphony, the both baritone and tenor. of Ockeghem’s birth in circa 1420. 2014-15 | Predecessors & contemporaries Calgary Philharmonic Orchestra, the Toronto His appearances on the 1. Ockeghem & Binchois: Missa De plus en plus Chamber Choir, Symphony Nova Scotia, and operatic stage include roles Besides concerts, the undertaking requires the St. Lawrence Choir, among others. in the Boston Early Music and will include a significant component of 2. The ive:F Ockeghem, Regis, Busnoys, Festival’s productions of research into the many questions of fifteenth- Faugues & Caron Tenor Mark Sprinkle’s Conradi’s Ariadne (2003) and Lully’s Psyché century performance practice which remain singing has been described (2007) and several European tours with unsolved puzzles—questions as basic as pitch 2015-16 | Early masses I level, voice types, and scoring. By the end as “expressive,” “very Contemporary Opera Denmark as Orfeo in 3. L’homme armé rewarding,” “outstanding,” Monteverdi’s L’Orfeo. He has performed across we expect to have a better understanding of “vivid,” and “supremely North America as a soloist with the Handel & such issues. We will also have created a new complete practical edition of the music of 2016-17 | Early masses II stylish.” He has collaborated Haydn Society, Concerto Palatino, Tafelmusik, Ockeghem, scrupulously based on the original 4. Ecce ancilla domini with the Boston Early Apollo’s Fire, Les Boréades (Montreal), Les sources and rigorously tested in practice. Music Festival, the Boston Voix Baroques, Pacific Baroque Orchestra, 5. Caput Camerata, the Mark the King’s Noyse, Mercury Baroque, and the Along the way we will also explore music of 2017-18 | Masses based on songs Morris Dance Group, Emmanuel Music, symphony orchestras of Charlotte, Memphis, Ockeghem’s predecessors (Du Fay, Binchois, Boston Baroque, the Handel & Haydn Society, and Phoenix. Recent highlights include et al.), contemporaries (Regis, Busnoys, et al.), 6. Ma maistresse & Au travail suis and many others, performed at festivals in Monteverdi’s Vespers of 1610 and a new Vespers and followers (Josquin, Obrecht, Agricola, 7. Fors seulement Bergen (Norway), Vancouver, Edinburgh, of 1640 with the Green Mountain Project, Isaac, et al.), developing and sharing with and Aldeburgh (UK), and worked as a soloist Buxtehude’s Membra Jesu Nostri with Les Voix our audiences a sense of the entire fifteenth- 2018-19 | Speculative music and ensemble singer under Seiji Ozawa, Baroques and Houston’s Mercury Baroque, century repertoire. Succeeding our series of recordings of music from the Peterhouse 8. Cuiusvis toni Christopher Hogwood, William Christie, Mozart’s at St. Thomas Church in 9. Prolationum Roger Norrington, John Nelson, Andrew New York City, a tour of Japan with Joshua partbooks, the fifth and final volume of which will be released in spring 2017, a new series of Parrott, Grant Llewellyn, and Craig Smith. Rifkin and the Cambridge Concentus, a return five CDs is being planned, including a 2-CD set 2019-20 | Freely composed masses He has appeared as a soloist with Concerto to the Carmel Bach Festival, and Britten’s War of all of Ockeghem’s songs. Palatino and has sung the Evangelist in Bach Requiem with the New England Philharmonic 10. Missa quinti toni 11. Passions with the Handel & Haydn Society, the and several guest choruses. Joining Blue Heron as adviser for Boulder Bach Festival, the Oriana Singers of Ockeghem@600 is Professor Sean Gallagher Vermont, Seraphim Singers, Boston’s Chorus of the New England Conservatory, one of the 2020-21 | Last things & legacies Pro Musica, and the Andover Choral Society, world’s leading experts on Ockeghem and the 12. Requiem among others. Mr. Sprinkle was a member of music of the fifteenth century. 13. Missa Mi mi

18 19 uses means both melodic and rhythmic (pitch His rhythm, too, is complex and varied, WHO WAS JOHANNES OCKEGHEM? and duration, the basic elements of music). oftentimes obscuring the music’s organization His counterpoint spins out long-limbed, into regular metrical units of two or three. Johannes Ockeghem was born in Saint Caron, and , who supple, and simply gorgeous melodies whose Captivating at first hearing, Ockeghem’s music relationship to one another is not obvious— rewards the closest possible study and repeated Ghislain, near the city of in the county glory in having studied this divine art there are few unanimous cadences and few listening. of Hainaut (now in Belgium) around 1420. under John Dunstable, Gilles Binchois, He first enters the historical record in 1443 as immediately noticeable points of imitation, and Guillaume Du Fay, recently a vicaire-chanteur at the church of Our Lady in although many subtle instances occur, often —Scott Metcalfe Antwerp, a modest appointment appropriate deceased. Nearly all the works of these almost hidden within the texture of the music. to a young professional singer. By 1446 he had men exhale such sweetness that in my become one of seven singers in the chapel of opinion they are to be considered most Charles I, duke of Bourbon, and in 1451 he suitable, not only for men and heroes, joined the musical establishment of Charles but even for the immortal gods, Indeed, THE MUSIC OF JOHANNES OCKEGHEM VII, king of France. He served the French I never hear them, I never study them, royal court as premier chapelain for the rest of his career, mainly residing in Tours in the without coming away more refreshed and wiser. Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Loire Valley, where he held the prestigious Masses, three partial Mass cycles, an independent Credo, and an incomplete Requiem. and well-remunerated post of treasurer at the royal collegiate church of Saint Martin. A Ockeghem died on February 6, 1497. His SONGS passing was mourned by numerous musicians friend and colleague of the greatest musicians Aultre Venus Ma bouche rit ¿Qu’es mi vida preguntays? of the previous generation, Guillaume Du and poets. The most famous lament on his death is Nymphes des bois, by the Burgundian court Baisiés moi Ma maistresse by Johannes Cornago, with Fay and Gilles de Bins (usually known by the D’un autre amer Mort tu as navré added voice by Ockeghem sobriquet Binchois), he was esteemed by his chronicler and poet Jean Molinet, later set to music by Josquin Desprez—an act of homage Fors seulement contre ce Alius discantus super O rosa bella S’elle m’amera / Petite camusette contemporaries and successors as a master Fors seulement l’actente Permanent vierge Se vostre cuer beyond compare, enormously skilled as both that Ockeghem had previously rendered Binchois with Mort, tu as navré de ton dart. Il ne m’en chault Prenez sur moi Tant fuz gentement singer and composer, as well as virtuous, Je n’ay dueil (two versions) Presque transi Ung aultre l’a generous, and kind. Ockeghem left us about two dozen French La despourveue Quant de vous songs, just over a dozen Masses, and four motets, L’autre d’antan Writing in 1477, the theorist Johannes Les desleaux Tinctoris placed him at the head of an exalted a relatively small output for one of the greatest company of modern composers: composers of all time. Perhaps no composer other than Bach has equalled Ockeghem in MOTETS MASSES …at this present time, not to mention contrapuntal skill, and the two men are also equally astonishingly able to invest their work Alma redemptoris mater Missa Au travail suis Missa Fors seulement innumerable singers of the most with meaning at every level, from the smallest Ave Maria Missa Caput (Kyrie, Gloria, Credo) beautiful diction, there flourish, surface detail to the deepest, largest-scale, awe- Intemerata dei mater Missa cuiusvis toni Missa Ma maistresse whether by the effect of some celestial inspiringly complex structure, in music that Missa De plus en plus (Kyrie, Gloria) influence or by the force of assiduous is at once intensely sensuous and rigorously Missa Ecce ancilla Missa sine nomine a 5 practice, countless composers, among intellectual, of extraordinary beauty and Missa L’homme armé (Kyrie, Gloria, Credo) Credo sine nomine them Johannes Ockeghem, Johannes rhythmic vitality. Ockeghem’s music has the Missa Mi mi miraculous effect of taking hold of and altering Missa quinti toni a 3 Regis, Antoine Busnoys, Firminus our sense of time, and to do so Ockeghem Missa prolationum Requiem (incomplete)

20 21 OCKEGHEM’S LIFE & TIMES Ockeghem Music & other arts History 1450 • c. 1450 first extant compositions: • February 1453 Binchois retires • 1453 end of Hundred Years War Ma maistresse, Missa Caput from Burgundian court and moves between France and England • by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the Ockeghem Music & other arts History chapel of Charles VII; lives in • b. c. 1450 Ottoman Turks Tours until his death 1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of • John Dunstaple d. 1453 b. c. 1397, Bersele, near Brussels Burgundy; succeeded by John • 1452 encounters Guillaume Du Fay • Josquin Desprez the Fearless at meeting between French royal b. c. 1450–55, ?near Saint Quentin • Gilles de Bins, dit Binchois court and ducal court of Savoy b. c. 1400, ?Mons • 1409 Pope Alexander VI elected: • there are now three popes • by 1454 appointed first chaplain b. c. 1457-8, • of French royal chapel b. c. 1400, Tournai • Leonardo da Vinci • January 1, 1454 presents the king b.1452 (died 1519) • c. 1410 Jean, duke of Berry, with “a book of song”; receives commissions Très riches heures, a New Year’s gift of four ells of • 1455 Johannes Gutenberg illustrated by Limbourg brothers cloth in return completes printing of the Bible c. 1412-16 in Mainz • 1455 meets Du Fay again • January 1, 1459 gives the king “a 1410 • Johannes Ciconia d. 1412 • 1414-18 Council of Constance very richly illuminated song” and • October 25, 1415 receives a New Year’s gift in return • 1459 named treasurer of the • 1419 d. John the Fearless, collegiate church of St. Martin ; succeeded by in Tours Philip the Good 1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII; 1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. Waudru, • 1422 Charles VII becomes dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI in Saint Ghislain, near Mons, Mons, 1419-23 King of France • 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good, County of Hainaut, diocese of • b. c. 1425 • June 1462 travels to d. June 18, 1464, in Brussels duke of Burgundy; succeeded by Cambrai • Jean Fouquet b. 1420 (d. 1481) • February-March 1464 travels • Charles d’Orléans to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the Fay; ordained as a priest on this • Donatello d. 1466 Bold and Margaret of York 1430 • Binchois at Burgundian court • 1431 burned at the occasion? by at least January 1431 stake in by the English; • 1465-7 Busnoys composes In • c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem • Antoine Busnoys b. c. 1430-35 Henry VI of England crowned king of France in Notre-Dame in Tours • Christine de Pizan d. c. 1430 de Paris • 1467/8 Missa L’homme armé • Alain Chartier d. 1430 • 1435 Treaty of copied in Bruges • François Villon b. c. 1430 between France and Burgundy • Jean Molinet b. c. 1435 • 1436 armies of Charles VII 1470 • 1470 travels to Spain on 1 or 2 • Du Fay • 1477 d. Charles the Bold, • 1436 Santa Maria del Fiore reclaim Paris diplomatic embassies (adds 4th d. November 27, 1474, duke of Burgundy; Burgundy (Florence) completed with voice to Cornago’s Qu’es mi vida in Cambrai absorbed into the French crown dome engineered by Filippo preguntays) • 1478 William Caxton Brunelleschi; Du Fay composes • lament for Du Fay (lost) publishes first printed copy Nuper rosarum flores for • 1475/6 Missa Mi mi of the Canterbury Tales consecration th copied in Bruges (written late 14 century) • 1476/7 Missa cuius vis toni 1440 • 1443-44 earliest documentation: • • 1449 French reconquer copied in Bruges vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy Lady, Antwerp • • 1446-8 first of seven singers in b. c. 1446, Ghent 1480 • All of Ockeghem’s surviving • 1483 d. Louis XI; music composed by c. 1480? succeeded by Charles VIII the chapel of Charles I, duke of • 1440s earliest cyclic Masses, Bourbon composed in England, reach the • August 1484 travels to Damme continent via Flanders: Missa and Bruges; banquet in his honor Caput, Missa Veterem hominem, etc. at St. Donatian, Bruges • 1444 Cosimo de’ Medici founds • 1488 travels to Paris Laurentian Library in Florence • 1448 Pope Nicholas V founds 1490 • d. February 6, 1497, • Busnoys d. 1492 Vatican Library presumably in Tours • Regis d. c. 1496 ?Soignies

22 23 HOW DID OCKEGHEM SPELL HIS NAME? ACKNOWLEDGEMENTS

Jehan de Ockeghem was born around 1420 in the and Jehan very likely grew up speaking French Blue Heron’s existence as a performing ensemble Our concerts are brilliantly recorded by Philip small town of Saint Ghislain, near Mons, in the as his first tongue. By the mid-1440s he was is made possible by the devotion, hard work, and Davis (Cape Ann Recordings) or Joel Gordon; Joel county of Hainaut and in the diocese of Cambrai. living and working in France, and from about financial support of a community of board members, is also the engineer for our CDs, working with our Saint Ghislain lies in modern-day Belgium, about 1450 until his death in 1497 he was a member of staff, volunteers, donors, and concertgoers. We producer Eric Milnes. Kathy Wittman (Ball Square 50 miles southwest of Brussels and less than ten the chapel of the the king of France and lived in offer our grateful thanks to all those who join us in Films) is our videographer and Liz Linder is our miles from the present312 border with France.LES ARTISTESTours, TOURANGEAUX in the Loire Valley. creating, nurturing, and sustaining an organization photographer. Our debt to these wonderful people dedicated to making the music of the 15th and 16th who have shaped our look and sound is impossible The county of HainautObligis or ouHainaultObligys was(Nicolas), a The m-Flemish brodeur, family paroisse name Saint- was a source of centuries come alive in the 21st. to overstate. lordship within the HolyVineent, Romanil Tours Empire (1531), with avait endless rpouse confusion Jehanne to Preze, speakers fille of de Fench, Italian, its capital at Mons Jehan(Bergen Preze, in Flemish); maitre des the oeu German, vres de maconuerie and other languages, de la ville de and it may be Blue Heron is extraordinarily fortunate to work Special thanks to Brett Kostrzewski for help in the name comes from Tours.the river Haine. Hainaut found spelled in a bewildering variety of ways in with a regular slate of talented, skilled, and preparation of an edition of the Missa Caput from devoted designers, engineers, videographers, and the original sources. comprised what is nowOdin the (sireBelgian Girard), provinceTIl' brodeurcontemporary des rois sources: Louis XII Ockeghem, et Fran- Okeghem, photographers. Our programs, postcards, season of Hainaut and part eoisof the)H. Frenchparoisse département Notre - DameOkegheem, de I'Ecrignolle, Ockegheem,it Tours, Okeghen, est Okeghan, brochure, advertisements, and CD booklets are We are very grateful to the gracious hosts who offer of , and includedeire the dans cities I'nrventaire of Charleroi, des archivesOkenghem, d'Arnhoise, Ockenheim, en t498l'ten Okekam, Obekhan, to the east of Mons, and, to the southwest, designed by Melanie Germond and Pete Goldlust. their hospitality to musicians from out of town. 1504 eorume ayant recu plusieursObergan, payements Hockeghen, de Hoquegan, celte ville Hocquergan, Erik Bertrand maintains and rebuilt our website. Valenciennes and thepour diocesan divers seat travaux of Cambrai, de son art.Hoiquergan, Holreghan, Okegus. Eugène both in latter-day France. In 1420 the county Giraudet, in Les artistes tourangeaux (Tours, (The site was originally built by Evan Ingersoll, Many thanks to our board and to all our volunteers Nons avons rencontre e~alement un grand nombre de fois was ruled by Jacqueline, daughter of duke 1885), reproduces a presumed autograph who also designed our programs for many years.) for their help this evening and throughout the year. mu- Wilhelm II of Bavaria-Straubing,Ie nom de eet artistebut in 1432 dans lessignature registres on des p. deliberations 312, but fails to indicate the nicipales.mr iI fig-ure it titre fie conseiller et pair de la ville. it was ceded to the under source, which is otherwise unknown and is We are honored and grateful to have so many generous donors. Philip the Good; in 1477,Dans upon nne assernhleethe death of tenue now Ie 7apparentlyavril 15z3. lost.sons Nevertheless, Ia presi- modern Charles the Bold, itdeuce passed de to Jacques the Habsburgs de Beanne, scholarship hailli de Touraine,has generally dans lehut accepted the Donations Received between February 10, 2016 and February 10, 2017 with the rest of the Burgundiand'aviser aux Netherlands. mesures de sureteauthenticityit adopter of ponr the lasignature, defense de in part due to Ia ville, Girard Odin s'eugage, detail curieux, it fournir jus- the unusual formation of the c, which could ARCHANGEL ($10,000 +) Peter Belknap & Jennifer Snodgrass qu'au no.ubre de soixaute ouvriers hrodeurs (I). The composer’s given name was Jehan (or Jean), be taken for an e; such an oddity, as Jaap van Paul LaFerriere & Dorrie Parini Michal Truelsen & Jody Wormhoudt normally given~n as Johannes~531, in Latinii, enrich or other it de s~~Benthem h.rod~ries has Iewritten, poele on “mightdais enplead against any Harry J. Silverman non-French contexts.- toile The d surname or et d arjreut, suggests doublethat suggestion a l'interieur of de a satiunineteenth-century blanc, noir attempt GUARANTOR ($1,000 – $2,499) his family originatedet in [auue the town et decore of Okegem de fleurs on de[at] lis forgery.” et de salnrnandres The signature, ; ce dais assuming it is ANGEL ($5,000 +) Anonymous { the Dendre, IIless I{ than . ~~ 35 milesdestine to ilthela north reception in indeed de la genuine, nouvelle establishes reioe Eleonore that, at least on Anonymous John Paul Britton & Diane Britton John A. Carey East"4~"d Flanders.,ll1'l"'t,''lf'',\ulriehe, But during the later dont Middle I'eutree Ages, soleullelle"'n'eutthis one occasion, lieu the qu'au composermois spelled his last Fred Franklin & Kaaren Grimstad John & Ellen Harris Hainaut1f"" \ wasI culturallyd'oeloLre and linguistically 1532. French, name OCKEGHEM. Alice Honner-White & Peter C. White William & Elizabeth Metcalfe Mary Eliot Jackson J ;( Ockeghem (Jehan de). premier chapelain, chantre de la Cindy & Peter Nebolsine Lydia Knutson & Fred Langenegger chapelle de Louis XI et de Charles VIII, tresorier de Saint, Richard L. Schmeidler Michael P. McDonald Susan Miron BENEFACTOR ($2,500 – $4,999) Andrew Sigel Peggy & Jim Bradley In honor of Mimi & Elliott Sprinkle Diane L. Droste Erin E. M. Thomas Mary Briggs & John Krzywicki James Catterton & Lois Wasoff Charitable Gift Prof Jessie Ann Owens Fund Marlin. Peu de noms ont <'Ie aussi defigures que eelui de c; Joan Margot Smith grand musicieu et chanteur; ainsi, on l'a appeJe tour it tour

24 25 (1) Papier journal ordioaire des deliberations ot assembJees f.'lites ell l'ostel et maison de la communite de la ville et cite de Tours, tome XV. PATRON ($500 – $999) Jim Meyer David Kiaunis Huguette Shepard Peggy Badenhausen & Tom Kelly Kenneth & Karen Near Carole Friedman & Gail Koplow Arthur Shippee & Mary Porterfield Myron & Rebecca Barnett Virginia Newes Pat Krol Lari Smith Thomas & Rebecca Barrett Richard Odermatt Penelope Lane Frank E. Warren Katie and Paul Buttenwieser Dan Powell Rob & Mary Joan Leith Binney & Bob Wells Elizabeth C. Davis Tracy Powers John Lemly Patricia Wild Damon Dimmick Jerome Regier James Martin Kathy Wittman Helen Donovan & Holly Nixholm Richard Tarrant Amy Meltzer & Philip McArthur Linda C. Woodford John F. Dooley Anne Umphrey Brian McCreath Elizabeth Wylde Eastern Bank Charitable Foundation Nicholas H. Wright Ruth Morss David R. Elliott Amy Mossman Marie-Pierre & Michael Ellmann SUPPORTER ($100 – $249) Perry & Susan Neubauer Laurie J. Francis Anonymous (4) Kate & Ted Ongaro BOARD OF DIRECTORS Hope Hare Vendini, Inc. Stephen H. Owades John Yannis, president Veronique & Ivan Kugener Alan Amos Lee Ridgway Mary Briggs, treasurer Richard O'Connor & Julianne Lindsay Margaret & Charles Ashe Sue Robinson Richard Schmeidler, clerk Mastwood Charitable Foundation Jeffrey Del Papa & Susan Assmann Allen Rossiter Peter Belknap Anne H. Matthews & Edward Fay, Jr. Elaine V. Beilin & Robert H. Brown Jr. Joan Doyle Roth Damon Dimmick Merrill Family Charitable Foundation, Inc. Barbara Boles Nancy & Ronald Rucker Scott Metcalfe Scott Metcalfe Joan Boorstein Ronald V. Lacro & Jon P. Schum Susan Miron Michael Scanlon Jill Brand & Thomas Nehrkorn Polly S. Stevens Harry Silverman Ann Besser Scott Spyros Braoudakis Judith Ogden Thomson Jennifer Farley Smith Richard Silverman, James Burr Charles A. Welch Laura Zoll in memory of Eugenie M. Ellicott Mary & Kenneth Carpenter Carol Wetmore, in memory of Joan Yannis Robert B. Strassler Robert Cochran Heather Wiley & Peter Renz GENERAL MANAGER Bettina Siewert & Douglas Teich Maureen A. Conroy T. Walley Williams III John Yannis Michael Wise & Susan Pettee Nathaniel S. & Catherine E. Coolidge Linda & Bill Wolk Alex Yannis Boston Early Music Festival OFFICE ADMINISTRATOR John Yannis Martha S. Dassarma FRIEND ($50 – $99) Janet Stone Elizabeth Davidson Anonymous (2) SPONSOR ($250 – $499) Martha W. Davidson Julie Rohwein & Jonathan Aibel VOLUNTEERS Anonymous Catherine Davin, in memory of Joe Davin Edward & Matilda Bruckner Daryl Bichel Beth Parkhurst Joseph Aieta, III Carl & May Daw Wallace & Barbara Dailey Jill Brand Christopher Petre Thomas N. Bisson Charles & Sheila Donahue Mark Davis Dan Clawson Karen Prussing Frank & Betsy Bunn Samuel Engel & Anne Freeh Engel Edward S. Ginsberg Sheila Clawson Samuel Rubin Keith Ohmart & Helen Chen Carol Fishman Joan Hadly Sue Delaney Cheryl Ryder Susan Cornwall & Nick Pappas Constance & Donald Goldstein Ivan Hansen David Fillingham Laura Sholtz Pamela Dellal Liz Goodfellow Marcia W. Jacob Alexandra Hawley Susan Singer Alan Durfee Nancy Graham Tom and Kathy Kates Anne Kazlauskas Jennifer Farley Smith Aaron Ellison Terrie Harman Joann Keesey Mary Kingsley Brooks Sullivan Kathleen Fay & Glenn KnicKrehm David Harrison Catherine Liddell Bob Loomis Charlotte Swartz James A. Glazier & James A. Ferguson Peter & Jane Howard Stephen Livernash Hannah Loomis Erin EM Thomas Paul Guttry Richard F. Hoyt, Jr. Stephen Moody Elena Loomis Sonia Wallenberg Emorcia V. Hill Thomas Hyde Mary Lynn Ritchey Ian McGullam Ava Ziporyn Jean & Alex Humez Louis Kampf & Jean Jackson Robert Rood John Nesby Laura Zoll Martha Maguire & Oleg Simanovsky Barry Kernfeld & Sally McMurry Katy Roth Anna Nowogrodzki

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