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t^^r'' JUNE 23-JULY 16, -< V EUGENE AND MARlC GLICK INDIANA HISTO 450 W. OHIO STRE 4APOLIS,IN 4620 DOWNTOWN WESTCARMEL/ZIONSVILLE 107 North Pennsylvania Street 106th and North Michigan Road

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THE NATIONAL X BANMNDIANAPOLIS 261-9000 THE 2017 Indianapolis Festival Presented since 1967 by Indianapolis Early Music

3646 BAY ROAD SOUTH DRIVE, INDIANAPOLIS, IN 46240 (317) 577-9731 II [email protected] // WWW.EMINDY.ORG

Board of Directors Leslie Bartolowits FRIDAY, JUNE 23, 7:30 PM Ingrid Bellman Hesperus plays a live sound track for the 1921 classic Suzanne B. Blakeman The Three Musketeers Roberr Bolyard Charlotte Elizabeth Brayton SATURDAY, JUNE 24, 11:00 AM Stephen S. Brockmann The Peabody Consort Dr. David H. Chandler FREE Family Concert. Laura Goetz Rusty Jones SUNDAY, JUNE 25, 4:00 PM Andrew Kerr The Peabody Consort with the Echoing Air Vocal Ensemble Marcia Krieg "A Vanished World: Words and Music of Three Faiths" 1' Christine Kyprianides FRIDAY, JULY 7, 7:30 PM G.B. Landrigan Kim Linton Michael Slattery and La Nef Ellen Patterson "The People's Purcell" li Susan N. Pratt SUNDAY, JULY 9,4:00 PM Lolly Ramey Matthias Maute and REBEL Stanley Ritchie Janice Roger "Telemann alia Polacca" 2,4 Margo M. Scheuring FRIDAY, JULY 14, 7:30 PM The Rev. Robert A. Schilling Infusion Fred E. Schlegel "An Italian Voyage" 3^ Sylvia Patterson Scott Mary Ann Shields SUNDAY, JULY 16, 4:00 PM fvlichael Toulouse Piffaro and the Rose Ensemble Singers Harriet A. Wilkins "The Musical World of Don Quixote" 3'< Judy Wilson Ken E. Winslow Donna Worth

Advisory Board Pre-Concert Chats with Artistic Director Mark Cudek Frank Cooper and performers sharing information on the music, Joan Leibman the period, the instruments, and the composers will J. David Litsey, DPM Lucina Moxley be offered one-half hour before concert time. Dorit Paul And, of course, our Post-Concert Receptions continue! Neal Rothman Rosalind Wilgus jj^^g INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Greetings!

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Welcome to the 51st annual Indianapolis Early Music Festival and to the Frank and Katrina Basile Theater at the Eugene and Marilyn Glick History Center! We are America's oldest continually running early music concert series, and I am especially proud to be at the artistic helm of this prestigious festival as we embark on our second half-century.

It's been quite a year for me. The Baltimore Consort is still immersed in the Shakespeare 400th, and we've had one of our busiest touring seasons ever. Highlights were the Seattle Early Music Guild and the Santa Cruz Baroque Festival. Events at the Peabody Conservatory have also ramped up and this fall we will be welcoming our largest class of early music majors ever!

Speaking of education, Indianapolis Early Music continues its commitment to bringing early music to young audiences. This year our Education Outreach Committee has brought performances by Tomas Lozano with the hurdy-gurdy, and Daily Bread and Butter with hurdy-gurdy, , and a button accordion, much to the delight of the students at Park Tudor and The International School. This summer we continue our policy of free admission for students, who should call IEM at 317-577-9731 and reserve seats in advance. The Peabody Consort will perform the Festival's TENTH!!! annual Free Family Concert. Generous underwriting from the Christel DeHaan Family Foundation in honor of the children and families of Christel House has once again made it possible for us to offer this free program as a gift to the community. I'm thrilled to report that we will be offering TWO free family concerts in 2018.

Our first weekend opens with Hesperus and Douglas Fairbanks returning for another one of Tina Chancey's brilliant sound tracks for silent film. Hesperus will accompany The Three Musketeers with courtly and popular music from the French . I'm thrilled to be on stage with some former students for the Peabody Consort's presentation of "A Vanished World: Words and Music of Three Faiths." This program hearkens back to the brief "Golden Age" of Alfonso X, when Muslim and Jewish scholars, inventors, and musicians were welcome at the Christian king's court. We're delighted to be joined by the ten singers from Steven Rickards's ensemble Echoing Air as well as by guest artist Israeli "recorder virtuoso" {New York Times) Daphna Mor. Medieval Spanish readings from the three faiths will be provided by members of the Indianapolis community.

Our second weekend will feature a couple of old friends! Michael Slattery dazzled us in 2013 with "Dowland in Dublin," and he returns with La Nef for a new and interesting look at that other great early English composer, . Although Matthias Maute is likely our most familiar face, this is his first appearance with REBEL since 2011. This exciting ensemble has made many recordings of Telemann and returns to us to commemorate the 250th anniversary of this important composer's death. jggggg

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Our final weekend opens with the young musicians of Montreal's Infusion Baroque— winners of Early Music America's 2014 Baroque Competition. The ensemble will feature recorder and baroque flute virtuoso Alexa Raine-Wright, the winner of last summer's Indianapolis International Baroque Competition!

It's always fun to look ahead to next summer's programs. We'll have a rousing opener with Ronn McFarlane's Ayreheart playing music of the British Isles. Ronn, himself a Grammy-nominated lutenist, will return with legendary player and Boston Early Music Festival Artistic Co-Director Paul O'Dette for a program of Italian and English duets. Philadelphia's Tempesta di Mare will present a fascinating program of works of Bach, his sons, Janitsh, and Mozart preserved by Sara Levy (the great-aunt of Felix Mendelssohn) and her sisters, Jewish art patrons living in Berlin in the late eighteenth century. I'm especially excited to present Bach's Ascension Oratorio, scored for a quartet of vocal soloists and full orchestra in a performance by the Bach Society of Minnesota conducted by Matthias Maute. The orchestra, which will include strings, , timpani, flutes, and , will be complemented by members of Ensemble Caprice, who will stay over and play a family concert and our season's final concert ": Voices of Eternity." This program features variation and improvisation as seen in musical forms like the chaconne, , and and is the repertoire for Ensemble Caprice's eighteenth CD.

Before signing off I need to tell you we have new web and email addresses: www.IEMusic.org and [email protected]. Thanks for being with us to enjoy great music in our wonderful venue by the canal. Please come early to hear informal chats with the artists and stay late for IEM's famous receptions. And please, help us spread the word!

—Mark Cudek, Artistic Director

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INDIANAPOLIS EARLY MUSIC // www.IEMusic.org 2016 Annual Report (10/1/15 - 9/30/16)

Before the genesis of the Festival Music Society, the city's professional classical musicians, chiefly members of the Indianapolis Symphony Orchestra, were often idle during the summer, and their fans had nothing local on their summer concert schedule. Music lovers had gone to Tanglewood and Aspen, but they wanted something here, and thus our Festival Music Society (FMS) and today's Indianapolis Early Music (IEM) were formed.

The Festival Music Society began with a series of five concerts held out-of-doors on the terrace of Oldfields, the estate donated by the Lilly family to the Art Association of Indianapolis on the grounds of the Indianapolis Art Museum.

Today, programs are presented indoors in the acoustically favorable Katrina and Frank Basile Auditorium of the Eugene and Marilyn Glick Indiana History Center, and the festival has prospered. It has been led by three artistic directors: Michael Palmer, Frank Cooper, and for the last ten years, Mark Cudek. Known for his early music scholarship and performance, Cudek brings to Indianapolis each summer the finest medieval, renaissance, baroque, and classical music from around the world.

A festive atmosphere prevailed throughout the Indianapolis Early Music Festival of 2016. There was a sense of anticipation before each concert as we celebrated our 50th-anniversary season. It was a festival of memories dedicated to countless friends, whose love and support of early music have brought mirth and beauty to Indianapolis.

What were some of the highlights of the 50th-anniversary season for me?

A special resolution from the Indianapolis City-County Council and Mayor Greg Ballard to recognize Indianapolis Early Music's contribution to the cultural life of the city. IEM's being featured on the cover of Early Music America magazine and the lovely article written by Jay Harvey. The joyous feeling at the opening concert as the realization that our fifty years' anniversary was indeed here and now. The beautiful tiered cake certainly added to the festive atmosphere. A sense that our Education Outreach in schools and our free tickets for students had encouraged more young people to attend our concerts last summer. The commemorative gifts at every concert (the late Dave Garrett, longtime Board member, provided the gifts). The beautiful 50th-anniversary booklet and commemorative CD (Board members Andrew Kerr and Chris Freeze created both). The launch of the Indianapolis International Baroque Competition which attracted many performers from various countries. Master of Fine Arts candidate in metalsmithing and jewelry design at Texas Tech University, Sarah Spomer, designed and created the stunning medals. Honoring founder and longtime board member Fred Schlegel for his many years of unwavering service. And of course, who could forget the host of enticing programs!

The festival was dedicated to our past and present leaders and to so many accomplished musicians who have shared their talents with our Festival Music Society audiences. It was a jggggj

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL celebratory season of what has been and a precursor of what is yet to come in our fifty-first season and beyond.

We so look forward to the next fifty years and hope that you will continue to be part of it!

—Gail McDermott-Bowler, Managing Director

Special thanks to our sponsors and contributors:

CHRISTEL DEHAAN FAMILY '•Ac' FOUNDATION '"•INDIANAPOLIS • FOUNDATION A CIO Affiliate • nspir>ng phiianinropy

jSlk ART WORKS. SfffiU arfs.gov 103.7>« 95.i> 106.i> 100.7)m

LILLY Indiana Arts Commission ENDOWMENT Connecting People to the Arts Thn> activity Is made poviltrie. in part, with support N C from the Indiana Am Commission and the National EiKJcwmonl for the Arts. 3 federal agency.

'THE —— JORDAN COLLEGE IENROD BUTLER ofcht ARTS ARTSCOUNCIL 'OCIETY AND THE Cl'y OF INDIANAPOLIS

jg^ggg INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq SUPPORTING INDIANAPOLIS EARLY MUSIC

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In addition to attending our concerts and inviting your friends, family, and acquaintances to join you, there are several ways that you can support IEM's mission to bring outstanding Early Music performances to Central Indiana and to educate children and adults about the delights of early music.

Donate to the Endowment Fund

The FMS Endowment Fund, established in 2000 and managed by the Central Indiana Community Foundation, provides long-term support for our concerts and outreach activities. Contributions to IEM/FMS designated for the endowment are transferred to this fund. As the fund grows, the annual distribution to the operating budget provides a significant foundation for IEM's activities.

Designate IEM/FMS as a Recipient of Legacy Gifts

By naming IEM/FMS in your will, on your life insurance, or through other assets, you can make a future contribution that will support our mission for years to come.

Give to the Annual Fund

When you donate to IEM during our annual fund drives or at other times, you provide resources to help cover the costs of performances and staff and support activities.

Corporate Sponsorships

Small and large businesses can support general operating expenses and particular events. Contact the Managing Director for further details.

smile.amazon.com

When you shop on Amazon, choose smile.amazon.com and select Festival Music Society as your designated charity. IEM/FMS receives a contribution from your purchase.

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL DON'T MISS NEXT YEAR'S 52*D SUMMER CELEBRATIONS! 2018 Indianapolis Early Music Festival America's oldest continually running early music concert series yy///////y/xxx/y//////A

FRIDAY, JUNE 22 Ronn McFarlane's Ayreheart The hottest crosss-over band playing early music today!

SATURDAY, JUNE 23 f- *. 4J . >•" Ayreheart presents our 1 lth annual FREE Family Concert , colascione, percussion, and the voice of Brian Kay.

*•% - SUNDAY, JUNE 24 Tempesta di Mare: "Sara and Her Sisters" Chamber music by Bach and Mozart from the collections of three Jewish sisters who defied boundaries of class, religion, and gender to become cultural tastemakers in 1780's Berlin.

SUNDAY, JULY 1 Paul O'Dette and Ronn McFarlane Two of the world's greatest lutenists in a rare duet concert.

FRIDAY, JULY 13 Matthias Maute conducts the Minneapolis Bach Society A performance of the Ascension Oratorio, BWV 11 of J.S. Bach with soloists and full orchestra.

SATURDAY, JULY 14 Ensemble Caprice presents a second Indianapolis Early Music FREE Family Concert "Gypsy Baroque!"

SUNDAY, JULY 15 Montreal's Ensemble Caprice with Matthias Maute A perennial favorite returns to close the Festival with "Chaconne: Voices of Eternity."

jggggj INDIANAPOLIS EARLY MUSIC // WWW.IEMusic.Orq Friday, June 23, 7:30 PM - pre-concert chat 7:00 PM Hesperus The Three Musketeers

Julie Bosworth, soprano; Tina Chancey, director, treble , renaissance fiddle Brian Kay, tenor, lute; Daphna Mor, recorders; Niccolo Seligmann, bass viol

Running time is 119 minutes There will be no intermission Partial list of tunes

L'Amour de Moy Anonymous Je Suis d'Allemagne Anonymous Margot Labourez les Vignes (1507-1568) En Revenant de Charenton Traditional

Queen's Bransle Pierre Phalese (1510-1573) Baisez Moy Traditional II Faut Bien Aimez le Oyselet Antoine de Fevin (1470-1512) Gentil Galans Anonymous Champagne Bransle Claude Gervaise (1510-1558) Tant que Vivray Claudin de Sermisy (1490-1562) Queen's Bransle Gai Claude Gervaise

En Amours Antoine de Fevin Nous Sommes de l'Ordre de Saint Babouin Loyset Compere (1445-1518) La Lune Traditional Dit le Bourguignon Anonymous En Venant de Lyon Traditional Pavan, Passpied, Bransle, Alamandes Claude Gervaise Voila ma Jou Traditional

1 THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL 1 ! Innovative, historically informed, and W: multicultural, Hesperus's collaborative 9 -\JS #". artists perform a variety of programs that make connections between the rSf 55 * "Sli ,'^i>'^i rich musical past and curious twenty-first-century concertgoers: early l#ii ilfcyS music soundtracks for silent movies; partnerships with theater, mime and dance; musical portraits of a single culture through time; fusions of European early music with American traditional styles; and single-genre early music programs from medieval to Spanish and British colonial music. Whatever the genre, Hesperus performs with creative energy, technical assurance, and a lively sense of irony. Program Notes

Silent films were seldom silent. In the early twentieth century, they were accompanied by a score written for the film with a pianist or an organist improvising to the screen or by a small combo playing light music of the day. Nowadays, you may hear a newly composed score for percussion ensemble or a rock guitar with distortion pedal. Hesperus does something different: we use music from the time the film was set, not made. We take early music that reflects the mood of a scene and arrange it for early instruments. This gives us a score that adds context to the performance, and grounds the rather extravagant acting style of the day.

This score to Fairbanks's The Three Musketeers, a mixture of and traditional music, is a tribute to the seven summers I've spent in France in a small village in the Ardeche accompanying renaissance balls (towns around France celebrate their local history by putting on village fetes where they teach renaissance dances to the party goers), driving around to see friends and play concerts, and learning traditional tunes.

Most of our music was originally monophonic: single lines which have been arranged by the publishers or, in our case, by the performers. The majority of the polyphonic composed pieces have been found in Howard Mayer Brown's wonderful collection, Theatrical of the 15th and Early 16th Centuries, while others appear in the Harmonice Musices Odhecaton, the first book of instrumental music printed in moveable type in 1501. We've selected dances from sixteenth-century published collections by Claude Gervaise and Pierre Phalese. Songs have been discovered in the renaissance ball repertoire, in old recordings, and at parties. If any of our movie scores can be called ethnographic, this is the closest. We perform it on early instruments with copious amounts of spontaneous improvisation and ornamentation with the hope that you'll find that it reflects the spirit of the film. —Tina Chancey jggggj

INDIANAPOLIS EARLY MUSIC // WWW.IEMUSJC.Orq Biographies Tina Chancey s playing has been called "expressive and virtuosic with much to admire," by the New York Times. She is director of Hesperus and plays medieval and traditional fiddles, da gamba, and pardessus on roots music from Sephardic and Irish to Machaut and Joni Mitchell. A member of Trio Sefardi and the Katrine Anderson Band, she is a former member of Toss the Feathers, Folger Consort, Ensemble for Early Music, New York Renaissance Band, Blackmore's Night and QUOG. Tina teaches, performs, improvises, produces recordings, composes and arranges, writes popular and scholarly articles, and directs SoundCatcher workshops on playing by ear and improvisation. She has been given a Special Education Award by Early Music America and four Wammies for best classical instrumentalist. Her newest release on the pardessus de viole is Fetes Galantes (June, 2017), and she just returned from directing a Pardessus Mini-Fest at the Boston Early Music Festival.

Acclaimed for her "sublime singing" and "especially vivid" performances {Baltimore Sun), soprano Julie Bosworth revels in the performance practice of every age, but truly finds a home in early music. Julie's 2016—2017 season highlights included solos in two different performances of Handel's Messiah; the role of Queen of the Night in Mozart's Die Zauberflote; concerts with The Thirteen, The Bridge Ensemble, and the Monadnock Chorus; and a tour through Rome with the choir of the Basilica of the National Shrine of the Immaculate Conception. This summer, she will travel to San Francisco for the American Bach Soloists Academy. Julie is also a core member of The Broken Consort and has sung with the Baltimore Symphony Orchestra, Hesperus, The Peabody Consort, The District 8, and The New Consort (which was the recipient of the 2015 American Prize in Chamber Music).

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL "Natutal born stoty-teller" Brian Kay is a modern-day troubadour. Hailed as "far-ranging," "brilliant," and "exciting" {ClevelandPlain Dealer), Brian performs throughout the United States as a solo artist and with a number of critically acclaimed ensembles. He has appeared on more than ten album releases at the age of thirty-two. His recent projects include Play, Music!, a one-man show featuring music and songs from the plays of Shakespeare, co-directot and soloist of a Mediterranean music program with Cleveland's baroque orchestta Apollo's Fire, and an original music album release entitled Moonsong. His live radio appearances include NPR, Baltimore's WYPR, Baltimore's 98ROCK, Boston's WGBH, and Cleveland's WCLV. He has tecorded with record labels Avie and Sono Luminus and has been in the top ten on the BILLBOARD charts thtee times in the last yean

Daphna Mors "astonishing virtuosity" {Chicago Tribune) has been heatd in solo recitals in the United States, Croatia, Germany, and Switzerland. She has performed as a soloist with the New York Collegium, the New York Early Music Ensemble, and Little Orchestra Society, and as an orchestra member of the New York Philharmonic, New York City , and Orchestra of St. Luke's. Mot was awarded First Prize in the Settimane Musicali di Lugano Solo Competition and the Boston Conservatory Competition, and has appeared in a duo with Joyce DiDonato on the singer's promotional tour for the album In War and Peace. Devoted to new music, Mot has recorded on John Zorn's Tzadik label, and has performed the world premiere of David Bruce's Tears, Puffes, Jumps, and Galliard with the Metropolis Ensemble. Also active in the world music community, Mor has performed in festivals and on stages worldwide, including New York's Summer Stage and Munich's Gasteig. She can also be heard on Sting's album If on a Winters Night for Deutsche Gtammophon. Mor serves as the Music Director of Beineinu, a New York initiative dedicated to the modern cultivation of Jewish culture, and is a performer and teacher of liturgical music of the Jewish diaspota. She leads programs for the Education Depattment of the Metropolitan Museum of Art. www.daphnamor.com

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Niccolo Seligmann's musical experience transcends time, _^^^^^ place, and genre. Equally at home playing Bach in a church, Hi • taqsim at a Persian Nowruz party, and electronic chaos metal in W' a sweaty basement, he thrives on the communication between musical traditions. His early music improvisations have been featured on WGBH Boston, WYPR Baltimore, and on Sunday Baroque's 2013 Christmas compilation CD. Having graduated from Peabody Conservatory in 2015, he continues to tour across North America playing viola da gamba and vielle with ensembles such as Alkemie, The Broken Consort, Divisio, Hesperus, and The Peabody Consort. He enjoys teaching viola da gamba and vielle at UCLA, Curiosity Crossing in Portland, Oregon, and in his private studio. The year 2016 marks the beginning of his live-coding chaos metal side project, LADYPRODUKT, which looks forward to going on an East Coast tour in the summer. PIAFPlus

danceKALEiDOScoPE" Take an artistic trip to Paris (via Carmel) with music by Jacques Brel & Edith Piaf, and beautiful, athletic dancing.

August 5 & 6 THEJ^INGTON 3 C&nter Green, Csrmel MTWCEMEHKM «**»«.«« ««s

Tickets atTheCenterPresents.org, 317.843.3800 or at the Center's Box Office

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Saturday Morning June 24 at 11:00 AM

:NTH ANNUAL FREE FAMILY CONCERT

Join the Peabody Consort for a family-friendly, informal presentation of music from the time of the 13th century Spanish King Alfonso X. This concert is suitable for children of all ages!

Admission is FREE! Sponsored by the Christel DeHaan Family Foundation

The Peabody Consort Family Concert Program

Julie Bosworth, soprano; Mark Cudek, percussion Brian Kay, oud, voice; Niccolo Seligmann, vielle guest artist: Daphna Mor, recorders, ney, voice

Echoing Air Vocal Ensemble: Shannon Christie, Carys Diaz, Kathleen Gunn, Janet Hock, Elisabet Karnick, Anna Jirgal, Annie Meek, Madelyn Merrell, Ellie Thompson, and Lucy "Wortham

Selections from the Laudario di Cortona (Italian songs of praise)

Cantigas de Santa Maria (from the Court of Alfonso X)

Traditional Arabic songs and improvisations

Sephardic romances from the Jewish tradition

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INDIANAPOLIS EARLY MUSIC // WWW.IEMusiC.Orq Sunday, June 25, 4:00 PM - pre-concert chat 3:30 PM The Peabody Consort with the Echoing Air Vocal Ensemble A Vanished World: Words and Music of Three Faiths

Julie Bosworth, soprano; Mark Cudek, director, percussion; Brian Kay, voice, oud Niccolo Seligmann, vielle; with guest artist Daphna Mor, voice, ney, recorders

With Shannon Christie, Carys Diaz, Kathleen Gunn, Janet Hock, Elisabet Karnick Anna Jirgal, Annie Meek, Madelyn Merrell, Ellie Thompson, and Lucy Wortham

Readers (in order of appearance): The Rev. Robert A. Schilling, North United Methodist Church Michael Toulouse, Indianapolis Early Music Cantor Judy Meyersberg, Director, B'nai Mitzvah

Regina pretiosa Laudatio di Cortona, 13th c. La Rotta Anonymous, 14th c. Cristo e nato Laudario di Cortona

Reading: Excerpt from Miracle 20: "The Inebriated Monk" Gonzalo de Berceo (ca.l 197—before 1264)

Cantigas de Santa Maria: The Court of Alfonso X "El Sabio" (1221—1284) Tanto son da Groriosa (No. 48) Des oge mais quer' eu trobar (No. 1) Santa Maria, Strela do dia (No. 100) Como poden per sas culpas (No. 166) Todo-los Santos que son no Ceo (No. 15)

Reading: Gentle Now, Doves of the Thornberry and Moringa Thicket Muhyi al-din Muhammad ibn Ali ibn al-Arabi (1165-1240)

Bin el Barah Anonymous Kaaurdilicaz Longa Mwasha Oud improvisation Nassam alayna el-hawas sgggg

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Reading: "The Soul" Moshe ibn Ezra (ca.l060-ca.l 138)

Tzur mishelo Anonymous, Sephardic Partos trocado Ah, el novio Los Bibilicos Tu madre cuando te pario Dos amantes Cuando el Rey Nimrod

The Peabody Consort is a select group of early music alumni from the Peabody Conservatory of Johns Hopkins University. The group was founded by Mark Cudek in 1996 for a tour of Rome, Italy, and has performed in several U.S. venues, including the Kennedy Center and Baltimore's Artscape Festival with great acclaim: "The degree of polish and attention to musical nuance offered by the Peabody Consott does enormous justice to these works that only encourage curiosity for both the insttuments and compositions of this period." {lonarts) As fot the Indianapolis Early Music Festival, "The progtam showed careful preparation, delighting from start to finish." {Nuvo) In May and June of 2010 the Consort performed in several venues in Taiwan and in Tokyo, Japan, including a command performance for Taiwan's First Lady at the National Concert Hall in Taipei. In 2016 the ensemble was invited to perform at the Conciertos de la Villa de Santo Domingo Festival in the Dominican Republic.

On April 10, 2010, the Peabody Consort performed "Jewish Music from the 15th through 17th Centuries" for the 25th Anniversary of Bolton St. Synagogue with the response: "Thank you fot directing, promoting, and presenting the excellent musical program by the Peabody Consott ... at Bolton Street Synagogue. A heatty mazel tov for all of the musicians who shared this wonderful experience with all of us. I wish the entire Jewish community could have heard that concert. . . . The music gets heard so rarely and was presented in an attractive, educational way." (Alan Rubinstein, Cantor, Bolton St. Synagogue)

The insttumentation of the ensemble is varied to match the demands of a variety of repertories and includes recorder, viola da gamba, plucked strings (lute, , guitar, ), percussion, and solo voice or voices. Alumni of the Peabody Consort have

jggsgg INDIANAPOLIS EARLY MUSIC // WWW.IEMusiC.Orq performed with Apollo's Fire (Cleveland ), ARTEK, the Baltimore Consort, the Boston Eatly Music Festival Orchestra, the Catacoustic Consort, the Folger Consort, Harmonious Blacksmith, Hespetus, , Montreal Baroque, New York Collegium, New York's Ensemble for Early Music, Philharmonia Baroque Orchestra, Tempesta di Mare (Philadelphia Baroque Orchestta), and the Waverly Consort. "The opening selections from the Spanish Renaissance . . . received stylish, atmospheric performances. Mark Cudek, founding director of the Peabody Renaissance Ensemble, has clearly imparted to his instrumentalists and singers not just a respect for historical detail, but a keen sense of the expressive possibilities in this repertoire. There was an admirable sense of spontaneity from the players." {Baltimore Sun)

Program Notes Today's concert brings together music and texts from an exttaordinary era in medieval Spain. For seven centuries Muslim, Christian, and Jewish intellectuals commingled in Al-Andalus, the name given to the western-most Islamic territories. From the moment Muslim adventurers crossed the Sttait of Gibraltar in 711 until theit defeat in Granada in 1492, this cultural terrain, according to scholar Maria Rosa Menocal, was where "Jews, Christians, and Muslims lived side by side and, despite their intractable differences and enduring hostilities, nourished a complex culture of tolerance."

The figure of Alfonso X, known as El Sabio ("The Wise"), who reigned from 1252 to 1284, serves as an example of Al-Andalus's unique multiculturalism. Employing Jewish and Muslim scholars in his Escuela de Traductores (School of Translators) in Toledo, Alfonso oversaw the production of scientific, legal, philosophical, religious, and literary texts written in Castilian, the vernacular language of Jews, Muslims, and Christians. He also wrote the Cantigas de Santa Maria, a large collection of vernacular monophonic songs. These hymns to the Vitgin Mary were likely accompanied by instruments of Arabic origins, including the oud, a form of lute; the rabab, a bowed string instrument; and percussion instruments such as the tar, doumbec, and riq used in today's concert. A note on the ney from Daphna: "There are three styles in the Middle East and northern Africa: Arabic, without a mouthpiece; Turkish, with a mouthpiece; and Petsian, played between the teeth. I play the Arabic and Turkish styles." From Gonzalo de Berceo's humorous stoty of "The Inebriated Monk," to the sensual longing of Muhammad ibn Al-Arabi's "Gentle Now," and Moshe ibn Ezra's melancholy "The Soul," the poets heatd today were all participants in the cultural exchange of AI-Andalus, fluent in its multiple languages and literary traditions, as well as its intertwined faiths. —Sarah Adams Hoover, Peabody Conservatory Biographies

Biographies of Julie Bosworth, Brian Kay, Daphna Mor, and Niccolo Seligmann may be found on pages 10-12. ggs^j

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Mark Cudek is Chair of the Historical Performance Department at the Peabody Conservatoty, Artistic Directot of the Indianapolis Early Music Festival, and a founding membet of the Baltimore Consort. In recognition of his work as Founder/Directot of the Peabody Renaissance Ensemble and the High School Early Music Program at the Interlochen Arts Camp, Mark received from Early Music America the 2001 Thomas Binkley Award and the 2005 Awatd for Outstanding Contribution to Eatly Music Education. Matk is the 2014 recipient of the Johns Hopkins Univetsity Alumni Association's Global Achievement Award. He has performed with Apollo's Fire (Cleveland Baroque Orchestra), Catacoustic Consort, Folger Consort, and Hesperus and in his youth, worked as a cafe guitarist in the Virgin Islands. Mark is also director of the Peabody Consott, an ensemble consisting of alumni from Peabody's Early Music program, which has toured Rome, Taiwan, Japan, and the Dominican Republic. Selected festival appeatances are the Boston Early Music Festival, Glasgow International Early Music Festival, Ottawa International Chambet Music Festival, and Tage Altei Musik/ Regensburg, with appearances at the Kennedy Center, Metropolitan Museum, National Theatre of Panama, and Vienna Konzerthaus. Matk has recorded on the Dorian, Eclectra, Koch International, Linn, and Windham Hill labels.

Steven Rickards is the directot of the ensemble Echoing Air and coached the refrain singers for today's program. He has received international acclaim as one of America's finest countettenots. He took part in the premiere of John Adams's oratorio El Nino at the Chatelet Opera in Paris. Subsequent performances of the wotk have featured the BBC Philharmonic, the Deutsches Symphonie Otchester, the Los Angeles Philharmonic, San Francisco Symphony, and the Tokyo Symphony. Rickatds has appeared internationally with Joshua Rifkin and the Bach Ensemble, as well as with the American Bach Soloists, Chanticleer, Ensemble Voltaire, Gabrieli Consort, Chicago's Music of the Baroque, New London Consort, St. Paul Chamber Orchestta, Seattle Baroque Orchestta, the Opera Company of Philadelphia, Santa Fe Opera, and the symphony orchestras of Indianapolis, Pittsburgh, San Francisco, St. Louis, and Tokyo. He has sung at Carnegie Hall with the Oratorio Society of New York, in France as a soloist with The Festival Singers under the direction of Robett Shaw, and with Paul Hilliet and the Theatre of Voices. He has recorded for Chanticleet, Decca, Dorian, Four Winds, Gothic, , Koch, Naxos, Newport Classics, Smithsonian, and . Rickatds is on the faculty of the Historical Performance Institute at the Jacobs School of Music, Indiana University, Bloomington, Indiana. He currently lives in Indianapolis, where he teaches singing at Butler University and the University of Indianapolis. He received his doctorate from Florida State University. g^^ INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Friday, July 7, 7:30 PM - pre-concert chat 7:00 PM La Nef, with Michael Slattery, tenor The People's Purcell

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Michael Slattery, tenor, shruti box; Sylvain Bergeron, archlute Sean Dagher, cittern; Gregoire Jeay, flutes; Alex Kehler, nyckelharpa, baroque Amanda Keesmaat, baroque ; Tanya Laperriere, Elin Soderstrom, viola da gamba

Artistic Direction, Sylvain Bergeron; Musical direction, Sean Dagher Arrangements, Sean Dagher, Gregoire Jeay, Michael Slattery, Amanda Keesmaat

Come all ye songsters of the sky Henry Purcell (1659-1695) Sweet, be no longer sad More love or more disdain, I crave How Pleasant 'tis to Love

Furstemberg / Abdelazar Jig

I attempt from love's sickness to fly in vain What power art thou (The Cold Song)

The Fairy Queen Suite Let each gallant heart

She loves and she confesses too

Intermission

Music for a while

Halcyon Suite

When I have often heard

If love's a sweet passion

King Arthur Suite Fairest isle Now that the sun hath veiled his light (An Evening Hymn)

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Founded in Montreal in 1991, La Nef creates, produces, and distributes concerts, multimedia and multidisciplinaty shows, physical and digital albums, musical tales, and CD-books. Its activities are aimed at audiences of all ages.

Its wide-ranging repertoire includes early music, the music of oral traditions, world music, and experimental and contemporary approaches to musical creation.

According to the approach chosen, its performances integrate theater, movement and dance, visual arts, video; and now, with advances in technology, digital arts. All of these elements contribute to the high artistic quality, stylistic divetsity, and distinctive character that ate the company's unique signature.

Over the coutse of several years, La Nef has performed in North and South America, Europe, and Asia. Often nominated or listed as a finalist fot its concerts, shows, discs, and CD-books, La Nef counts Opus, ADISQ, and CFMA prizes among its many awatds and distinctions.

Program Notes Henry Purcell (1659-1695) represents the height of in England. He defines the genre, having written a vast quantity of music that to this day is held in high regard. Despite his great fame and high position in British society, Purcell made a connection with the common people, his theatrical music both drawing inspiration from and contributing to popular songs and dance tunes of the of the day.

"The People's Purcell" presents some of Purcell's very best songs and dances arranged in a variety of styles. As with our earlier exploration of the music of English composer and lutenist , we have treated some of Purcell's baroque masterpieces with a certain freedom, permitting ourselves to make adjustments to undetlying rhythms and harmonies in order to create altogether new pieces, related to but distinct from the originals.

We are not alone in having treated the music this way. During his lifetime Purcell's music was extremely popular, and shortly after his death his tunes began appearing in 's succession of compilations called The Dancing Master alongside popular (and mostly anonymous) folk tunes.

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Conversely, we have been careful to retain the intention of the music, leaving some pieces untouched, both out of respect for the composet and to underscore the importance of the place from which we have started. We hope to offer a new way to heat some old and very beautiful music by intertwining both familiarity and freshness, ultimately affording the audience a powerful and deeply enjoyable evening of music.

-Sean Dagher and Michael Slattery Biographies

Michael Slattery made an unforgettable debut in 2014, stepping in at the last minute to sing Benjamin Britten's Serenade for Tenor, Horn, and Strings with the New York Philharmonic. "It could not have been more triumphant," wtote The Examiner. "He took his bows to an enthusiastic audience who welcomed him with thunderous applause." Slattery rejoined the Philharmonic in December as the tenor soloist in Handel's Messiah. Career highlights include the title role in Bernstein's Candide at Royal Festival Hall in London; The Very Best of Lerner & Loewe with Kelli O'Hara, Paolo Szot, and the New Yotk Pops at Carnegie Hall; J.S. Bach's Mass in B Minor with Ivan Fischer and the National Symphony Orchestra; Peter Sellars's Tristan Project with Esa-Pekka Salonen, and Philip Glass's Akhnaten with John Adams, both with the Los Angeles Philharmonic; the title role in Monteverdi's EOfeo at the Theatre du Chatelet in Paris; and Monteverdi's Vespers of 1610 at the Berlin Staatsopet.

Michael Slattety's solo recordings include The Irish Heart and Dowland in Dublin, with the latter chosen by Opera News as one of the best recordings of 2012. He has recorded an impressive number of Handel's works. Recent projects have included Britten's Curlew River, with Opera de Lyon; and Robert Catsen's production of Britten's A Midsummer Night's Dream for the Festival d'Aix-en-Provence.

Sylvain Bergeron has perfected his playing of insttuments of the lute family during numerous stays in the United States and Europe with, among other teachers, Paul O'Dette and Eugene Dombois. Betgeton is one of the foundets and artistic directors of La Nef, which has existed since 1991. Since then, he has been responsible for the creative and musical direction of some twenty productions, such as Celtic Christmas, Elegies: Music for the Day of the Dead (winner of an Opus award),

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Perceval, Mont-Segur (winnet of an Opus award), The Garden of Delights, and Music for Joan the Mad. In January 1993 he accompanied celebrated gamba player Jordi Savall in a series of four recitals dedicated to . He is in high demand on the Canadian musical scene as an accomplished petformer on the lute and the theorbo and gives more than sixty concerts per season. He has performed and recorded with many renowned soloists including Emma Kirkby, James Bowman, David Daniels, Magdalena Kozena, Daniel Taylor, Karina Gauvin, Suzie LeBlanc, Vivica Genaux, Matthew White, Agnes Melon, Meredith Hall, Charles Daniels, Anne Azema, and Patrizia Bovi. Sylvain Bergeron has toured all five continents and has performed under well-known conductots. He has played in concert halls as prestigious as the Concettgebouw in Amsterdam, the Salle Gaveau in Paris, the Kennedy Center in Washington, D.C., and the Frick Museum and the Lincoln Center in New York.

Sean Dagher is an active performer, arranger, and composer from various folk and classical music traditions: medieval, baroque, Arabic, Celtic, French-Canadian, and Maritime. He is the artistic director of Skye Consort and its principal arranger. Sean often provides arrangements for other ensembles and artists, including La Mandragore, Pierre Lapointe, Shannon Mercet, I Furiosi, Les Voix Baroques, and Les Voix Humaines. His music has been performed across m.-^m^mmmm Canada and the United States. Sean has worked with the Festival du Monde Arabe, creating performances of Middle Eastern and North African music. He has performed (on mandolin) with the Orchestre Symphonique de Montreal and participated in its 2014 European tout. Sean has arranged and composed music for audio books, with stoty-teller and musician Suzanne De Settes and for American authot Sandra Gulland. In addition, he has been a composet and sound designer for theatet productions. Sean has been nominated for numerous ADISQ awards, including Best Classical Vocal Recording for his 2013 CD of his original composition Trobairitz with La Nef and Shannon Mercer. He participated in the ADISQ-winning CD, La Traverse Miraculeuse with La Nef and Les Charbonniers de l'Enfer. A member of La Nef's artistic committee, Sean has served as a composer, arranger, and musical director for several of La Nef's productions as well.

jggggj INDIANAPOLIS EARLY MUSIC // WWW.IEMUSJC.Orq ETIQUETTE CONSULTING SERVICES, LLC Louellen Ramey, Director 9425 N. Meridian Street, #228 Indianapolis IN 46260 317-388-2911

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.orq Sunday, July 9, 4:00 PM * pre-concert chat 3:30 PM REBEL with Matthias Maute Telemann: Alia Polacca Ouvertures, Concert!, and Quartets for Flute, Recorder, and Strings

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Jorg-Michael Schwarz, Karen Marie Marnier, and directors Matthias Maute, recorder and traverso; Risa Browder, viola; John Moran, violoncello Motomi Igarashi, ; Dongsok Shin,

To commemorate the 250th anniversary of the death of Geotg Philipp Telemann (1681—1767)

Ouverture in E-flat Majot TWV 55: Es 2 for flute pastorelle and strings Ouverture I Menuet I & III I Bouree I & IIw Passepied I & III I Gigu

Concerto Polonois a 4 in G Majot TWV 43: G 7 for 2 violins, viola, and Polonoise (Andante) I Allegro /Largo I Allegro

Quartet/Concerto in A Minor TWV 43: a 3 for recorder, 2 violins, and basso continuo Adagio I Allegro I Adagio I Vivace

Intermission

Quartet in G Majot TWV 43: G12 for traverso, 2 violins, and basso continuo Dolce I Allegro I Soave I Vivace

Concerto Polonois in B-flat Major TWV43:3 for 2 violins, viola, and basso continuo Polonoise I Allegro I Largo I Allegro

Concerto in D Major TWV 51: D 2 for traverso, strings, basso continuo Moderato I Allegro I Largo I Vivace

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Hailed by the New York Times as "sophisticated and beguiling" and praised by the Los Angeles Times for theit astonishingly vital music-making," the New Yotk-based REBEL (pronounced "Re-BEL") has earned an impressive international reputation, enchanting diverse audiences by their unique style and their virtuosic, highly expressive and provocative approach to the baroque and classical repertoire.

The core formation of two violins, recorder/traverso, cello/viola da gamba, and harpsichord/organ expands with additional strings, winds, theotbo, and vocalists, performing on period insttuments. REBEL, through its long-term residency from 1 997— 2009 at historic Trinity Church, Wall Street, in New Yotk City, has achieved high acclaim for its collaborations with Trinity Choit in petformance, radio broadcasts, webcasts, and recordings, with works ranging from the of Bach to large-scale works by Montevetdi, Handel, Bach, Purcell, Mozart, and Haydn. An eight-CD set of the complete masses of Haydn was released in 2009 on the Naxos label. The REBEL Baroque Orchestra first gained worldwide recognition for its acclaimed performance of Mozart's Requiem with Trinity Choit under the direction of Dr. Owen Burdick, broadcast nationally over Nationall Public Radio in September 2001, and for its annual petformances of Handel's Messiah and the choral works of Haydn, which had been broadcast live ovet WQXR-FM in New Yotk City, as well as internationally over the internet.

Named after the innovative French Baroque composer Jean-Fery Rebel (1666-1747), REBEL was originally formed in The in 1991. In the Fifth International Competition fot Ensembles in Early Music, Utrecht 1991 (now the Van Wassenaet Competition), REBEL was awarded first prize. Since then the ensemble has performed at European venues such as the Holland Festival Oude Muziek, Tage Altet Musik Berlin, the Konzerthaus (Vienna), La Chapelle Royale (Versailles), Internationale Festtage fur Aire Musik Stuttgart, Tage Alter Musik Regensburg, the Handel Festspiele (Halle, Germany), and the Gottingen-Handel Festival amongst others.

REBEL has appeared to critical acclaim at distinguished American venues, such as the Da Camera Society, the Schubert Club, Friends of Music Kansas City, Clarice Smith Performing Arts Center, Library of Congress, Caramoor, Chautauqua Institution, Stanford Lively Arts, Univetsity of Chicago Presents, Univetsity of Arizona (Tucson) Presents, the Shrine to Music Museum, the Isabella Stewatt Gatdner Museum, the Cleveland Museum of Aft, the of Boston and Betkeley, and Music Before 1800 in New York City.

INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq REBEL has collaborated with renowned vocalists Max von Egmond, Derek Lee Ragin, Suzie Le Blanc, Daniel Taylor, Marta Almajano, Peter Kooy, Barbara Schlick and Rufus Miiller; in 2005 REBEL appeared in collaboration with Renee Fleming at Carnegie Hall to critical acclaim. The ensemble has recorded for all the major European national radio netwotks and has been showcased in performance and interview on BBC's Radio 3. Arguably the most aired American baroque ensemble in the U.S. today, REBEL is regularly featured on NPR's Performance Today and MPR's St. Paul Sunday. REBEL remains the only period instrument ensemble to be awarded an artists' residency at National Public Radio in Washington, D.C. In 2012 REBEL was the ensemble-in-residence at the Finnish festival "Les Lumieres" in Helsinki, and since 2013 the ensemble has been in residence at Grace Church in White Plains, N.Y.

REBEL has recorded for Deutsche Harmonia, Dorian, ATMA Classique, Hanssler Classic, Bridge Records, Naxos, and Sono Luminus/Dorian. Their highly acclaimed disc Georg Phillip Telemann: Double Concerti for Winds and Strings was released in 2013 on Bridge Records; a disc of the complete trio sonatas of Johann Gottlieb Goldbetg was released in 2016.

Program Notes "What I have done with musical style is well known. First came Polish..." —Telemann writing in his autobiography of 1729 If a self-conscious appreciation of contrasting national styles was the secret ingredient necessary to good musical taste in the early eighteenth century, it is no wonder that was regarded as a master chef. Naturally, Telemann wrote fluently in both French and Italian styles, in addition to his native German. Already in 1695, just eight years after the death of Jean-Baptiste Lully, the most French of French composers—even if he was born Giovanni Battista Lulli in Florence—the French lexicographer Sebastian de Brossard wrote that "every composer in Paris was madly writing sonatas in the Italian manner." Many observers feared that the French style itself was under threat. Eventually, however, it was saved, if only temporarily, by a style famously set forth by Francois Couperin in his 1724 collection Les gouts reiinis. This hybrid style artfully combined elements of the two national styles into a new unified whole. The style was immediately championed by the leading composers in Paris. By the 1730s good German composers were expected to have a command of both French and Italian styles. Telemann was the composer who exemplified combining the two seamlessly into what he called gemischter Geschmack or "mixed taste."

It is hardly surprising that a composer as prolific and multifaceted as Telemann should have gone beyond the popular French and Italian styles to explore other national idioms. However, in keeping with the prevailing taste for things French and Italian, Telemann used those languages to variously label some of his forays into the Polish style. He interchangeably designated movements with the French polonoise (modern: polonaise) jjgggg

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL or the Italian polacca to call attention to his use of Polish style elements. The distinctive fhythms of the dance, best known today in the Polonaises of Chopin, were exploited by Telemann, like Bach, for their noble character, but for Telemann the tetms polonoise and polacca did not exclusively designate this dance, rather they broadly signaled the use of Polish idioms.

Music in the Polish manner was a logical outgrowth of Thiemann's broader interest in style. His first official appointment following his period as a student in Leipzig was a summons in 1705 to the court of Count Erdmann II of Promnitz in Sorau (present-day Zary in Poland), where he became Kapellmeister, a post which he held for approximately three years. While the young composer was fulfilling his duties to sate his count's appetite fot French-style music, he was being exposed to local fare in the form of Polish folk music. His interest seems to have been initiated during a six-month sojourn the court made to the countryside in Pless, part of the count's tettitory in Upper Silesia, where Telemann heard Polish folk music first-hand. His interest was nuttured and his taste cultivated during several visits to Krakow, where, according to Telemann himself, he developed an admiration for the "batbaric beauty" of this style.

Aftet hearing a Polish dance band consisting of thirty-six bagpipers and eight fiddlets, playing violins tuned a third higher than usual so that, according to Telemann, one of them was loudet than a half dozen otdinary violins, Telemann wrote, "One would hardly believe what wonderful inspirations come to these pipers and fiddlers. Whenever the dancets rest, these musicians improvise. In eight days an astute listener could snap up enough ideas to last a lifetime Since this period I have written various concerti and trios in this style which I have robed in Italian dress as alternating movements in Adagio and Allegro." Telemann was a very astute listenet who here seems to be indirectly acknowledging his lifetime debt to Polish music. As he said, he could readily incorporate Polish elements into pieces which were not explicitly in the Polish style. For Telemann, Polish music supplied vital thythmic and motivic inspiration as well as ideas about the use of insttumental colon

Telemann's Suite in E-flat Major specifies a flute pastorelle without further explanation of what this might mean. The specific ethnic origins of the flute pastorelle are not certain, but it was clearly not part of the usual, noble instrumentarium. The name suggests some sort of rustic pipe. The range of the solo part is only an octave and a sixth, seemingly better suited to a renaissance recorder than a baroque instrument. All Telemann's other recorder parts employ the full range of the instrument. Fortunately an insttument survives in a collection in Copenhagen which fits the demands of this piece. A copy of this instrument is used in this petformance. It is clearly a folkloric insttument, a sixth flute pitched close to a'=440 Hz with a natrow range and other characteristics similar to a renaissance recorder, despite its eighteenth-century origins. Considering its small size it has a relatively dark tone. As a sixth flute this instrument is in D. Because it is pitched a halftone higher than the strings and harpsichord (tuned to a'=4l5) it is possible for the flute to play in D major while sounding in E-flat majot, relative to the rest of the instruments. The overture to this suite is reminiscent of overtures in Telemann's 2^^^ INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq specifically labelled Polish pieces. Additionally, the rustic flute and the extensive use of folk-like idioms in the dance movements suggest that Telemann was here drawing on his knowledge of Polish music. The pastoral quality is most clearly displayed in the second bouree, scored for recorder and violin alone, where the violin takes turns echoing the flute's inventions in music which readily evokes the image of shepherds making music togethet in the fields as their sheep graze.

Telemann wrote two for strings and continuo which he specifically called "Polish." Each of these pieces begins with a slow movement that is vaguely reminiscent of the slow part of a French ouverture. With the Concerto in B flat Major, Telemann explicitly titles this movement a polonoise. It is in a broad duple time rathet than the lilting triple time which is more commonly associated with the name. Here Telemann seems to be using the term to acknowledge the Polish features of the piece, rather than to specify a particular dance type. In the similat movement which opens Telemann's G Major concerto polonoise simply carries the designation Dolce, though it is cleat that this movement has the same musical function as the Polonoise in the B-flat Major concerto. In the one case Telemann is masking the movement's Polish origins, whereas in the other he is broadcasting them. Throughout both of these concertos, crisp upbeats and betray their Polish inspiration. Furthermore, Telemann is presumably ttying to suggest a more rugged style of performance than he would have expected otherwise. Polish music was widely known as folk music and dance music. The third movement Largo of the B-flat Major concerto is, in fact, a fantastic example of a classic, triple-time polonaise, full of pride and vigor.

Telemann wrote quartets fot a divetse array of instrumentations. Because of the obbligato nature of all the parts in the Quartet in A Minor, the piece, variously titled "Quartet" and "Concerto" (TWV 43: a3), is called one of Telemann's Sonaten auf Concertenart, or sonatas in concerto style. It was originally scored for recorder, , violin, and basso continuo. The designation "quartet" refers to its scoring in four roughly equal parts, what might also be called a "sonata a quattro," but the individual, virtuosic treatment given to each of the upper three parts accounts for its alternative title of "concerto." While the solo writing for the upper three instruments in this tour de force is very idiomatic, the oboe part does not sound out of character on the violin. The Quartet in G Major (TWV 43: G12), is one of two quartets Telemann wrote with the unusual scoring of flute, two da gamba, and basso continuo, in this case also with the option of substituting violins for . Stemming from about 1730, it is one of Telemann's last quartets to come down to us in manuscript form only and indeed the slow movements are good examples of his later galant style. Because of the obbligato nature of all the parts, this sonata is also categorized as one of Telemann's Sonaten auf Concertenart.

The Concerto in D Major is Telemann's best-known work for [traverso in program] and strings. Like Bach in his Orchestral Suite in B Minot, which is also scored for transverse flute and strings, Telemann includes a polonaise; but for Telemann this is one of the various concerti he has written in the Polish style but has "robed in Italian dress as alternating movements in Adagio and Allegro." Though cleatly a polonaise in the s^^g

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL classic sense, Telemann simply gives the first movement of this concerto the tempo indication "moderate" While Bach, in his suite for transverse flute and strings, writes a pair of polonaises, a typical baroque set of paired dances, Telemann writes a single polonaise, a somewhat extended, rondo-form movement where the opening eight- measure theme keeps returning after contrasting episodes. Both composers chose to begin with a clear statement of the dance rhythm, saving the running sixteenth notes for the later, contrasting sections. In light of Telemann's own admission that he wrote entire concerti in the Polish style where the Polish origins were disguised with Italian titles, it is not too much of a stretch to imagine that Telemann might also have infused the subsequent movements of this concerto with a little surreptitious Polish-oriented rhythmic lack. —John Moran (adapted from notes to the CD Telemann alia polacca)

Matthias Maute has achieved an international reputation as a conductor, a recorder and flute player and a composer. Mr. Maute is esteemed fot his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. With this ensemble he regularly appears at major festivals world wide. In Canada he has performed at the Ottawa Chamber Music Festival, Festival international du Domaine Forget and Elora Festival among others.

In the realm of choir and orchestra direction Matthias Maute has focused more and more on large-scale projects. His versions of Bach's B Minor Mass, Arvo Part's and J.S.Bach's Magnificat and J. D. Zelenka's Miserere were broadcast nationwide by CBC Radio 2 and Radio Canada/Espace Musique. Mt. Maute has recorded Handel's Music for the Royal Fireworks on CD, and under his direction Ensemble Caprice was awarded the prestigious 2009 for Best Classical Album of the Year (Vocal or Choral Performance) for its CD Gloria! Vivaldi's Angels on the Analekta label. In September 2012 Ensemble Caprice, directed by Matthias Maute, will release a double CD on Analekta featuring Bach's Brandenburg Concertos juxtaposed with Preludes from Shostakovich's 24 Preludes and , Op. 87.

His solo career has soared since winning First Prize in the soloist category at the renowned Early Music Competition in Bruges, Belgium in 1990. He made his debut at Lincoln Center in New York in December 2008. In 2003 and 2005, he was the featured recorder soloist at the Boston Early Music Festival. Matthias Maute's compositions hold an important place in the world of contemporary recorder music and are published by Breitkopf & Hartel, Amadeus, Moeck, and Carus. Mr. Maute has made some twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge, and Atma Classique labels. He teaches at the Universite de Montreal and McGill University in Montreal.

INDIANAPOLIS EARLY MUSIC // WWW.IEMusiC.Orq ^JS^ROBERT COSDVFF Y &

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Join us! April 29, 2018, 4:00 PM Indiana History Center Indianapolis Early Music Festival's Spring Concert details soon at www.IEMusic.org

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL CHAMBER ENSEMBLE Looking forward to seeing you in 2017-2018 — our 34th Season!

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jggggj INDIANAPOLIS EARLY MUSIC // WWW.IEMusic.Orq Friday, July 14, 7:30 PM *> pre-concert chat 7:00 PM Infusion Baroque An Italian Voyage

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Alexa Raine-Wright, baroque flute/recorder; Sallynee Amawat, baroque violin Andrea Stewart, baroque cello; Rona Nadler, harpsichord

Ciaccona (1594/5-1665)

Sonata duodecima Dario Castello (ca.l590-ca. 1658)

Toccata nona (1583—1643) {Toccate epartite d'intavolatura, Libro 1, Roma, 1615)

Sonata No. 1 in G Majot Domenico Gabrielli (1659-1680) (for cello and basso continuo)

Chiacona Bertali (1605-1669)

Sinfonia from La Susanna (1639-1682)

Intermission

The Broom of Cowdenknowes (1687-1762)

Sonata in G Majot, Op. 4, No. 10 (1687-1762) Preludio I Grave I Tempo di gavotta (presto)

Sonata No. 3 in E Major, Op. 5 (1695-1764) Andante I Largo I Allegro I Vivace

Sonata No. 3 in G Minot, Op. 13 Jean-Marie Leclair (1697-1764) Adagio I Allegro ma non tropo / Gratioso - autre IAllegro

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Winners of the Grand Prize and Audience Prize at the 2014 Early Music America Baroque Performance Competition, Montreal-based ensemble Infusion Baroque seeks to draw a new audience to early music by integrating chambet music performance and other artistic media. Their performances have been described as "dynamic and alive" {Early Music America), and with "polish, energy, and finely-honed style" {Milwaukee Journal Sentinel). Their debut album, 1747: CPE. Bach, was released in February 2017 and has been described as "real baroque with much character" (Radio Canada). Infusion's innovative programming includes "Musique en couleur," featuring live painting by visual artist Sylvia Chan; and "Rebels and Rivalry," based on scandalous stories from the lives of the great composers. Past projects include "LArte di Corelli," featuring a slide show of baroque visual art inspired by the composer's extensive collection of paintings; and "Who Killed Leclair?," an interactive murder mystery soiree based on the unsolved murder of the famous composer.

Program Notes

When looking back in histoty, the Italian school was inarguably the dominant influence on Western classical music during the seventeenth and eighteenth centuries. This program explores the development of Italian music, and features composers who were both innovative in their writing style and virtuosic in their performance, thus impacting how music was written or performed well after their time. The second half of the seventeenth century was an important time for the development of instrumental music; many Italian composets began to explore beyond the limits of sacred vocal music, experimenting with new forms of insttumental compositions and technique, and are thus credited with laying the foundation for the vast canon of instrumental works of the baroque period.

Tarquinio Merula (1594/5-1665), Italian organist, composet, and violinist, composed sacred music in a style similar to that of Monteverdi. Although he worked throughout Italy and even in Poland, his music is representative of the Venetian school. He was also influential in developing early forms of instrumental music such, as the sonata da chiesa, sonata da camera, sinfonia, and variations of a ground bass, such as the ciaconna.

INDIANAPOLIS EARLY MUSIC // WWW.IEMUSiC.Orq Giorlamo Frescobaldi (1583—1643) was born in Ferrara but spent most of his professional life in Rome. He was the first important European composer to concentrate his creative output on the composition of instrumental music, patticulatly for the keyboard. His solo works feature unusual rhythmic groupings, broken-style figuration, arpeggiated passages, and florid ornamentation.

Alessandro Stradella (1639—1682) is credited with having written some of the earliest forms of the , first in the form of instrumental accompaniments to vocal music, then in opening sinfonias to vocal wotks such as "La Susanna," and finally as independent compositions. This genre would later take root firmly in the baroque canon of instrumental wotks.

While little is known about the life of Venetian composer Dario Castello (c. 1590—e. 1658), his instrumental works are noteworthy fot theit technical brilliance, particularly for the . His use of special techniques, such as tremolo to build excitement in the absence of vocal text, was innovative for its time. Dario Castello and anothet Castello by the name of Giovanni Battista were possibly one and the same, the latter name being attributed to a prominent virtuoso of both the violin and bassoon.

Italian composets of the baroque period were the first to highlight the cello as a solo insttument in the late seventeenth century in contrast to the viola da gamba, which was highly favored in most othet parts of Europe at that time. Domenico Gabrielli (1659—1680) was a composer and virtuoso cellist who wrote some of the earliest works for solo cello, including two sonatas fot cello and basso continuo.

The impacts of the Italian style of composition and performance were not limited to Italy. Antonio Bertali (1605-1669) was employed at the Imperial Court of Vienna beginning in 1624, and enjoyed a solid reputation as a composer and violinist. His popularity amongst his contemporaries is evidenced by the mention of his name in Italian, Latin, French, and English sources of the time. Though known mainly fot oratorios and , his instrumental music encompassed a broad range of seventeenth century styles. The dissemination of Bertali's works can be traced through holdings originating in cathedrals, courts, and municipal archives in Northern Europe, indicating that he was one of the most influential representatives of Italian music of his generation north of the Alps.

Fifty years later, another violinist-composet by the name of Arcangelo Corelli (1653—1713) would surpass Bertali to become possibly the most highly regarded Italian composer before the nineteenth centuty. By 1675, Corelli was one of the foremost violinists in Rome. His works were widely circulated throughout Europe, in part due to the remarkable boom in music publishing, but also as a result of his teaching. His instrumental compositions were studied throughout Europe as perfect models of the Italian style.

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Many violinists traveled to Rome specifically in order to study with Corelli, and subsequently promoted themselves back in their native lands as pupils of the "Corelli school." Pietro Antonio Locatelli (1695-1764) was just such a product of this school; although he never studied with the master directly, his training came from several of Corelli's most prized students. Locatelli is seen as the founding father of violin technique thanks to the publication of his influential collection of concertos, L'arte del violino (1733). While some of his works, particularly his 24 caprices for violin, have been criticized for their "questionable taste," his Op. 5 trio sonatas create a pleasing atmosphere, with some characteristically surprising harmonies thrown in for dramatic effect.

Thanks to Corelli, Francesco Geminiani (1687-1762) enjoyed a long, successful career as a virtuoso violinist, composer, and theorist in London, where the dissemination of Corelli's music, particularly his sonatas and concerti grossi, were all the tage. Geminiani promoted himself as a pupil of Corelli, although no records exist regarding the exact time when he might have studied with the master. Geminiani was as much a pedagogue as a performer/composer, publishing several treatises on the art of violin playing and music-making. The Scottish tune "The Broom of Cowdenknows" was included in his Treatise of Good Taste, in which he attributed it (scholars say spuriously) to David Rizzio. While Geminiani was an admirer of Rizzio as a composer of melodies, he claimed that "Melody, tho' pleasing to All, seldom communicates the highest Degree of Pleasure," and thereby composed an arrangement of three parts, thus giving it "all the Variety and Fullness required in a Concert."

While Jean-Marie Leclair (1697—1764) was a Frenchman, he was heavily influenced by Italian musicians. Like Locatelli, he was a product of the "Corelli school," having studied in Turin with Corelli's pupil, the Italian violinist-composer Giovanni Battista Somis. Leclair's trio sonatas steer away from traditional French dance forms, highlighting instead the solo instruments through virtuosic passages. Leclair pushed the boundaries of violin technique, and is considered one of the founders of the French violin school. His violin concertos were often featured at the Concert Spirituel, a public concert series partially responsible for the dissemination of Italian music in France.

—Sallynee Amawat

INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Biographies

Equally at ease on the recorder and the batoque flute, Alexa Raine-Wright has shared her passion and talent for early music with audiences across the United States and Canada in solo, chamber, and orchestral performances. Alexa is a graduate of McGill University in Montreal, where she studied with Claire Guimond (baroque flute) and Matthias Maute (recorder). Winner of several national and intetnational competitions, Alexa was awatded the $10,000 Devonna & Amos Gerber Grand Prize as well as the Indianapolis Baroque Orchestra Prize at the 2016 Indianapolis Intetnational Baroque Competition. She also won First Prize at the 2015 National Flute Association's Baroque Flute Artist Competition in Washington, DC, as well as Second Prize at the 2015 Mathieu-Duguay Early Music Competition in New Brunswick. Alexa is a membet of the celebrated recorder quartet Flute Alors! Alexa has made recent appearances with Ensemble Caprice, Arion Baroque Orchestra, I Musici, and the Chicago Symphony Orchestra. She has petfotmed at music festivals across North America (including the Montreal Baroque Festival, Boston Eatly Music Festival, and Berkeley Festival & Exhibition) and has recorded with Arion Baroque Orchestra and La Bande Montreal Baroque on the label ATMA Classique.

A native of Chicago, violinist Sallynee Amawat is an active petformer in the North American early music scene, performing with period ensembles such as the American Baroque Orchestra, Arion Baroque Orchestra, Pacific Baroque Orchestra, Ensemble Caprice, Haymarket Opera, Les Boreades des Montreal, and Studio de musique ancienne de Montreal (SMAM). She has also performed in festivals across the U.S. and Canada, including the Montreal Baroque Festival, Amherst Early Music Festival, the Boston Eatly Music Fringe Festival, and EMA Young Performers Festival. While living in Bangkok, Thailand, Sallynee also petformed, recorded, and toured frequently throughout Asia with the Bangkok Symphony Orchestra, Bangkok Symphony Chamber Orchestra, and Bangkok Opera. Sallynee holds a Master's degree in Violin Performance from the Hartt School and a Master of Music and Doctor of Music in Early Music Performance from McGill University, where her research was focused on the early repertoire of the French violin school.

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Interested in the new sounds and techniques found in new music but still intrigued by the beauty of classical and baroque repertoire, Montreal-based cellist Andrea Stewart is as equally at home performing with electronics as she is playing basso continuo. Performances have brought her to venues across North America, Europe, and Asia, in solo recitals and with such ensembles as Grammy-nominated Uccello, Gruppo Montebello, Ensemble Caprice, Infusion Baroque, and collectif9. Andrea is a laureate of the Golden Violin Competition at the Schulich School of Music (McGill Univetsity) and the Eckhardt-Gramatte National Music Competition. Andrea holds the degrees of Doctor of Music (2015) and Mastet of Music (2009) from McGill University. Inspired by contemporary music, her research is devoted to the expansion of cello technique in relation to works in the contemporary repertoire. Support for Andrea's research has been granted from SSHRC, the Canada Council for the Arts, and the Conseil des arts et des lettres du .

Originally from Calgary, harpsichordist Rona Nadler is known as a stylish and sensitive continuo player. Rona holds Master's and Bachelor's degrees in Early Music Performance from McGill University, where she studied harpsichord with Hank Knox and historical keyboard improvisation with Dt. Porter. She has performed with various ensembles in the Montreal area, including Les Voix Baroques and La Rose des Vents, and has appeared in the Montreal Bach Festival, Ottawa International Chamber Music Festival, Montreal Baroque Festival, Orford Festival, and Arion's "Croque Baroque" Series.

Faulkenberg Printing proudly supports Indianapolis Early Music.

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Sunday, July 16, 4:00 PM - pre-concert chat 3:30 PM Piffaro, the Renaissance Band Bob Wiemken and Joan Kimball, directors With the Rose Ensemble Singers Jordan Sramek, director

SSJ^SS^^^^SS^SJ^^^^ The Musical World of Don Quixote

Grant Herreid, , guitar Priscilla Herreid, , dulcian, recorder, bagpipe, krumhorn Greg Ingles, , recorder, krumhorn Joan Kimball, shawm, dulcian, recorder, bagpipe, krumhorn Christa Patton, , shawm, bagpipe Bob Wiemken, dulcian, recorder, krumhorn

Guest singers: Nell Snaidas, soprano with the Rose Ensemble s Jordan Sramek (director) Jake Endres, Andrew Rader, and Bradley King

Guest instrumentalists: Erik Schmalz, sackbut Glen Velez, percussion Charles Weaver, vihuela, guitar

Musical program conceived and curated by Grant Herreid

Original support for "The Musical World of Don Quixote" was provided by The Pew Center for Arts & Heritage, Philadelphia

| The 1 Pew Center 1 for Arts & Heritage

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL I. The Madness of Don Quixote Cavallero de aventuras Anonymous (early 17th c.) Yo soy la Locura Henri du Bailly (d.1637); Gabriele Bataille (1574-1630)

II. Don Quixote Becomes a Knight Errant Cavallero de aventuras (reprise) Anonymous (early 17th c.)

III. Don Quixote Prepares His Armor and His Steed Villanos Improvised after 17th c. examples A dialogue between Rocinante (Don Quixote's horse) Don Quixote, Preface and Babieca (the hotse of El Cid) El cavallo del marques (villano) Anonymous (early 17th c), adapted by Grant Herreid

IV The Knight Chooses His Lady Romanesca Diego Ortiz (ca. 1510-ca. 1570) Ojos garcos ha la nina Francisco Guerrero (1528-1599)

V Don Quixote Sallies Forth De la piel de sus ovejas Pedro Ruimonte (1565-1627) No paseis el cavallero Anonymous (late 16th c.) Romance de Lanzarote Mateo Flecha (1481-1553); adapted by Grant Herreid Andalo Carabanda (1640-1710); adapted by Grant Herreid Con pavor recordo el moro Luis de (ca. 1500-1561) Gaitas Luis Venegas de Henestrosa (ca. 1510-1570)

VI. Don Quixote Sings in Helpless Discomfort Sospirastes Valdovinos Luis de Milan Solo, triste u ausente Anonymous (1625)

VII. The Priest Burns Don Quixote's Books of Chivalry Asperges me, Domine Tomas Luis de Victoria (1548-1611)

VIII. Don Quixote Recruits a Peasant To Be His Squire Al villano se le dan Text: published by Luis de Briceno (fl. 1610— 1630s)

IX. Don Quixote Encounters a Gang of Galley Slaves Jacara Gaspar Sanz (1640-1710) Romance de los Presos de la Carcel (jacara)

Intermission

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq X. Don Quixote Attends the Wedding of Camacho the Rich Espanoletas Arr. Piffaro, after 17th c. sources Matachines Canarios

XL Don Quixote Quotes a Sonnet by Garcilaso Por asperos caminos Alonzo Mudarra (1510-1580)

XII. Don Quixote Is Entertained by a Puppet Play of Moors and Christians La manana de San Juan Diego Pisador (1509/10-after 1557) Romance de Gaiferos Anon. (2nd half 16th c.) Kursi from Nuba Ghrib Traditional Andaluz (Algeria), arr. Tom Zajac Si d'amor pena senti's (Romance de Gaiferos) Anon, (early 16th c.) Romance de Gaiferos (continued) Diego Pisador A donde vas Mateo Romero (ca. 1575-1647)

XIII. Don Quixote Is Serenaded by Romance de Altisidora Anon, (early 16th c.) Romance de Don Quixote Anon, (eatly 16th c.) En tanta que de tosa y acu^ena Francisco Guerrero (1528-1599)

XIV Panza Appreciates Music Simile est regnum caelotum Francisco Guerrero

XV The Death of Don Quixote Conde Claros Enrique de Valderrabano (ca. 1500—aftet 1557) Da pacem Domine Gregorian chant Da pacem Domine Philippe Rogier (ca. 1561-1596) Agnus Dei from Missa Defunctis Tomas Luis de Victoria

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Piffaro delights audiences with highly polished re-creations of the rustic music of the peasantry and the elegant sounds of the official wind bands of the late-medieval and renaissance periods. Its ever-expanding instrumentarium includes , dulcians, , recorders, krumhorns, bagpipes, lutes, guitars, , and a variety of percussion—all careful reconstructions of insttuments from the period.

Under the direction of artistic directors Joan Kimball and Bob Wiemken, the world- renowned pied pipers of early music present an annual subscription concert series in the Philadelphia region; tour throughout the United States, Europe, Canada, and South America; and appear as performers and instructors at major early music festivals. Recordings are a significant part of the ensemble's work, and eighteen CDs have been released since 1992, including four on the prestigious label Deutsche Grammophon/ .

Piffaro has been active in the field of education since its inception in 1980 and has been honored twice for its work by Early Music America, receiving the Eatly Music Brings History Alive Award in 2003, and the Laurette Goldberg Lifetime Achievement Award in Early Music Outreach in 2011. In June 2015, the American Recorder Society honored Piffaro with its Distinguished Achievement Award.

Program Notes NOTE: Translation of passages and lyrics from Don Quixote by Edith Grossman (Harper Collins, 2003).

I. The Madness of Don Quixote

Somewhere in La Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing. And so, let it be said that this aforementioned gentleman spent his times of leisure—which meant most of the year—reading books of chivalry with so much devotion and enthusiasm that he forgot almost completely about the hunt and even about the administration of his estate. In short, our gentleman became so caught up in reading that he spent his nights reading from dusk till dawn and his days reading from sunrise to sunset, and so with too little sleep and too much reading his brains dried up, causing him to lose his mind. {Don Quixote I, 1, 19)

Madness is a central theme in Don Quixote, and Madness herself ("La Locura" in Spanish) is featured in a Spanish song found in a French songbook published in Paris in 1614. "Yo soy la Locura" (I am Madness) was performed in a French court ballet featuring "La Folie" (folly, or madness), and the character may have sung in Spanish, because the popular song and dance form called "" was known to have originated in the Iberian Peninsula.

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq There is a dearth of Spanish song publications from Spain itself, but fottunately several of the French books of airs de cour (a popular type of seculat vocal music in France) contain a few Spanish secular songs, reflecting a keen interest in Iberian musical culture at the French court in the time of Cervantes.

II. Don Quixote Becomes a Knight Errant

The ttuth is is that when his mind was completely gone, he had the strangest thought any lunatic in the world ever had, which was that it seemed reasonable and necessary to him, both for the sake of his honor and as a setvice to the nation, to become a knight errant and travel the world with his armor and his horse, to seek adventures and engage in everything he had read that knights errant engaged in, righting all mannei of wrongs and, by seizing the oppottunity and placing himself in danget and ending those wrongs, winning eternal renown and everlasting fame. {Don Quixote I, 1, 21)

The anonymous three-part song "Cavallero de aventuras" extolls the virtues and deeds of Saint Ignatius Loyola, the foundet of the Jesuits. By substituting "Quixote" for "Ignatius" and "La Mancha" fot "Loyola," the song makes a suitable fanfare fot the beginning of our knight's adventures.

III. Don Quixote Prepares His Armor and His Steed

Then he went to look at his nag, and though its hooves had more cracks than his master's pate and it showed more flaws than Gonnella's hotse, that was nothing but skin and bones, it seemed to him that Alexander's Bucephalus and El Cid's Babieca were not its equal . . . He finally decided to call the horse Rocinante ("nag-before"), a name, in his opinion, that was noble, sonorous, and reflective of what it had been when it was a nag, before it was what it was now, which was the foremost nag in all the wotld. {Don Quixote I, 1, 22)

Another example of the vogue fot Spanish song in France is a guitar book published by Luis de Briceno in Paris in 1626. His Metodo mui facilissimo (Very Easy Method Book) contains many of the earliest versions of Spanish popular song lyrics. Briceno taught the Spanish guitar to the French aristocracy at a time when the guitat outside Spain was considered to be a poor rustic relation of the sophisticated lute. Unfottunately, the lyrics in Briceno's book were set down without melodies. He placed guitar chords over the wotds and included some ambiguous strumming patterns, but the melodies associated with these songs have to be gleaned or reconstructed from other sources. We present two of Bric,eno's versions of the popular tune called the "villano" (the peasant). The villano conveys a rustic spirit with its typical refrain: "El villano que le dan / La cebolla con el pan" (To the peasant they give onions and bread). One of Don Quixote's closest friends is a batbet, who no doubt could strum and sing the villano, fot in Spain barbers were known for playing the guitat.

Briceno's "El cavallo del marques" describes an animal reminiscent of Don Quixote's own knightly steed, his poor beast of burden recruited into knight ettantty early in the ^^^

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jggggj INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq book. After much deliberation, Don Quixote gives the beast the descriptive name of Rocinante, which translates as "nag-before." In the novel's preface, Cervantes penned an imaginary dialogue between Rocinante and the horse of the famous of Spain, El Cid.

IV. The Knight Chooses His Lady

It is believed that in a nearby village there was a very attractive peasant girl with whom he had once been in love, although she, apparently, never knew or noticed. Het name was Aldonza Lorenzo, and he thought it a good idea to call het the Lady of his Thoughts, and searching fot a name that would not differ significantly from his and would suggest and imply that of a princess and great lady, he decided to call het Dulcinea of Toboso. {Don Quixote I, 1, 23)

Evety knight requires a noble lady to whom he pledges his chivalric service, and Don Quixote fixes on a peasant wench in his district, whom he dubs "Dulcinea del Toboso." Throughout the novel he dedicates his adventures to her, and though he never actually meets het, he praises her beauty and her worth, as in the song by Francisco Guerrero.

V. Don Quixote Sallies Forth

He armed himself with all his armor and mounted Rocinante, wearing his poorly constructed helmet, and he grasped his shield and took up his lance and through the side door of a corral he rode out into the countryside with great joy and delight at seeing how easily he had given a beginning to his virtuous desire.

He rode all that day, and at dusk he and his hotse found themselves exhausted and half-dead with hunget; as he looked all around he saw an inn not far from the path he was traveling. ... At the door there happened to be two young women, the kind they call ladies of easy vittue. . . .

At this moment a geldet of hogs happened to atrive at the inn, and as he arrived he blew on his four or five times, which confitmed for Don Quixote that he was in a famous castle where they were entertaining him with music. {Don Quixote I, 2, 24)

The jaunty rhythmic sonorities of Pedro Ruimonte's "De la piel de sus ovejas" evoke the swashbuckling excitement of out knight setting out on his fitst foray. In his interactions with wenches of ill-repute, innkeepers, and swineherds, Don Quixote quotes a few different chivalric romances, for which music survives. The anonymous "No paseis el cavallero" and Briceno's version of the highly lascivious dance-song "zarabanda" (eventually outlawed as immoral!), reflect the sauciness of his entettainment at the inn, which is topped by a sowgelder in the fields blowing a reed pipe (similar to a bagpipe). All compose the sweetest couttly music in the ears of our knight.

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL VI. Don Quixote Sings in Helpless Discomfort

Seeing then that in fact he could not move, he took refuge in his usual remedy, which was to think about some situation from his books, and his madness made him recall that of Valdovinos and the Matquis of Mantua, when Carlotto left him wounded in the highlands, a history known to children, acknowledged by youths, celebrated, and even believed by the old, and despite all this, no truer than the miracles of Mohammed. This is the tale that seemed to him perfectly suited for the situation in which he found himself, and so, with displays of great emotion, he began to roll about on the ground and to say with faint breath exactly what people say was said by the wounded Knight of the Wood. {Don Quixote I, 5, 41)

Don Quixote's fitst adventure ends badly: thrown by his horse, he is beaten by a muleteet and lies on the ground unable to move. In his distress, he quotes the "Romance de Valdovinos," in a setting by Luis de Milan.

VII. The Priest Burns Don Quixote's Books of Chivalry

Housekeeper: "Woe is me! Now I know, and it's as true as the death I owe God, that those accursed books of chivalry he's always reading have driven him crazy! Now I remember hearing him say time and again that he would become a knight errant, and go out in the wotld in search of adventures. Those books should go straight to Satan and Barabbas, for they have ruined the finest mind in all of La Mancha." Priest: "By the sign of the Cross I will burn them before nightfall tomorrow." Housekeeper: "Senor Licentiate, sprinkle this room, so that no enchanter in these books can put a spell on us! {Don Quixote I, 5, 43)

Don Quixote's other close friend is the village priest, who would have intoned the mass with the traditional antiphon "Aspetges me," presented here in a setting by Tomas Luis de Victoria. Victoria exclusively wrote settings of sacred Latin texts, as maestro in the convent of the Dowager Empress Maria. When Don Quixote's housekeepet implores the priest to sprinkle her mastet's house with holy water to fid it of the evil spirits who have made him mad, the priest may have thought to intone this antiphon.

VIII. Don Quixote Recruits a Peasant to Be His Squire

During this time Don Quixote approached a farmer who was a neighbor of his, a good man—if that title can be given to someone who is poor—but without much in the way of brains. In short, he told him so much, and persuaded and promised him so much . . . that Sancho Panza, for that was the farmer's name, left his wife and his children and agreed to be his neighbot's squire. {Don Quixote I, 7, 55)

The other version of the villano in Briceno's guitar book invokes not only the rustic rudeness of Quixote's squire but also alludes to a peasant being flogged by cruel lashes. Sancho himself is threatened with this punishment later in the book.

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INDIANAPOLIS EARLY MUSIC // WWW.IEMUSJC.Orq LX. Don Quixote Encounters a Gang of Galley Slaves

"This man, Senor, is being taken away for being a canary, I mean a musician and singer." "What?" Don Quixote repeated. "Men also go to the galleys for being musicians and singers?" "Yes, Senor," responded the galley slave, "because there's nothing worse than singing when you're in difficulty." "But I have heatd it said," said Don Quixote, "that troubles take wing for the man who can sing." "Here just the opposite is true," said the galley slave. "Warble once, and you weep the rest of your days." "I do not undetstand," said Don Quixote. But one of the guatds told him: "Senor, among these non sancta people, singing when you're in difficulty means confessing under torture. They tortured this sinner and he confessed his crime. . . . He didn't have the courage to say his nos. Because they say no has even fewer lettets than yes. {Don Quixote I, 22, 165)

Don Quixote and his squire overtake a gang of prisoners condemned to tow in a ship's galley. The practice of sentencing criminals and prisoners of war to forced service on military ships was very common throughout the Mediterranean during Cervantes's lifetime (for five years Cervantes himself was a galley slave in the service of Batbaty pirates). As the demand for rowers increased, rowing in the galleys became the punishment fot more and more types of crime, and for crimes of lesser and lesser degree, until it was the most common punishment for anyone who was not a clergyman or a nobleman. The criminals in "Romance de los Presos de la Carcel" (Ballad of the Prisoners in the Jail) serve time on a galley. Its popular refrain, "y alguno que canta cantando reniega" (and he who sings, by singing curses himself), is echoed in Cervantes's galley-slave episode: one of the criminals is called a "canaty," scorned for "singing" under torture. This romance survives without music, but it is certainly a "jacara," a form of romance that dealt with the exploits of criminals and underworld thugs: jacara derives from xaque or jaque, a term that means "pimp" (or sometimes "ruffian"). Jacara also refers to the robust music to which these ballads were sung and danced, characterized by strong rhythms and hemiola.

X. Don Quixote Attends the Wedding of Camacho the Rich

It grew dark; but before they reached the town they heatd the pleasant mingled notes of a variety of instruments, flutes, drums, psalteries, pipes, tabors, timbrels . . . and a Zamora bagpipe. The musicians were the life of the wedding, wandering through the pleasant grounds in separate bands, some dancing, others singing, others playing the various instruments already mentioned. {Don QuixoteW, 19, 582)

To begin the program's second half, we imitate the musicians who entettain at a rich peasant's wedding celebration, playing "flutes, drums, psalteries, pipes, tabors, timbrels . . . and a Zamora bagpipe."

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL XI. Don Quixote Quotes a Sonnet by Garcilaso

"I know that the path of virtue is very narrow, and the road of wickedness is broad and spacious; I know that their endings and conclusions are different, because the expansive, spacious road of wickedness ends in death, and the road of virtue, so narrow and difficult, ends in life, not the life that ends, but the life everlasting, and I know, as our great Castilian poet says, that: Along this harsh, rock-strewn terrain we climb to the peak, high seat of immortality, never reached if these rigors are declined." {Don Quixote II, 6, 495)

There are several sonnets featured in Cervantes's novel, with no extant musical settings. But one sonnet is a parody by Cervantes of a sonnet by Garcilaso de la Vega, "Por asperos caminos," which survives in a musical setting by Alonzo Mudatra for voice and vihuela.

XII. Don Quixote Is Entertained by a Puppet Play of Moors and Christians

"This true history, presented here for your graces, is taken literally from the French chronicles and Spanish ballads which are in the mouths of everyone, even children, on our streets. It tells of how Senor Don Gaiferos freed his wife, Melisendra, who was held captive in Spain by the Moors, in the city of Sansuena, which was the name given in those days to the city of Zaragoza; and your graces can see there how Don Gaiferos is playing at backgammon, as they sing in the song: Don Gaiferos is playing at backgammon, his lady Melisendra is forgotten." {Don Quixote II, 26, 629)

There is a Moorish undertone to the genesis of Don Quixote: Cervantes claims that he discovered the story in a manuscript in the market in Toledo, written in Arabic by an Arab historian. He found a Morisco (a Moorish convert to Christianity) to translate it for him, without changing a single word. Of the two major episodes in the novel that involve Moorish characters, the puppet play of the knight Don Gaiferos has some musical references. There is no mention of Moorish music in Don Quixote, but if Cervantes had heard such music it may have sounded like the example of the traditional nuba from Andalucia, arranged here by Tom Zajac. We present two settings of parts of the Romance de Gaiferos that have survived in Spanish sixteenth-century manuscripts. Pisador s "La manana de San Juan" recounts anothet battle between Christians and Moors; we have used the music of his four-part setting to complete our recounting of this episode, followed by an instrumental rendition of a villancico by Mateo Romero.

XIII. Don Quixote Is Serenaded by Altisidora

He heard the sound of a harp played very softly. When he heatd this, Don Quixote was dumbfounded. . . . He feared he might surrender and resolved not to allow himself to be vanquished, and commending himself with all his heart and soul to his lady Dulcinea of Toboso, he decided to listen to the music. . . . When she had tuned and adjusted the harp, Altisidora began to sing this ballad. . . . {Don Quixote II, 44, 743)

Later, when it was eleven o'clock, Don Quixote found a vihuela in his room. . . . Turning the pegs of the vihuela and tuning it the best he knew how, he spat and cleared his throat, g^^ INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq and then, in a voice that was husky but in tune, he sang the following ballad, which he had composed that day. . . . (II, 46, 754)

At this point the soft, pleasant music of flutes began to he heard, coming, apparently, from beneath the catafalque, and, unconstrained by any human voice, because in that place silence imposed silence on itself, the music sounded gentle and amorous. Then suddenly, next to the pillow of what was, apparently, a cotpse, there appeared a handsome youth dressed in Roman fashion. ... In a soft, clear voice he sang these two stanzas. (II, 69, 908)

Don Quixote's aristocratic hosts encourage one of the ladies of the court, Altisidora, to have some fun with the knight by serenading him with a love song. Accompanied by a harp, Altisidora vents her passion for the knight otitside Don Quixote's window. But Don Quixote can serve no lady but Dulcinea del Toboso, as he replies in song the following evening, accompanying himself on the vihuela. These two serenades, Cervantes's creations, have no known musical settings and are sung here to old anonymous romance settings. Latet in the novel the hoax continues, as Don Quixote and Sancho are seated before the body of Altisidora, said to have died of heattbteak ovet Don Quixote's refusal to love her. An elaborate rite to bring het back to life is introduced by winds and features a song, the text of which parodies a sonnet by Garcilaso that was set to music by Francisco Guerrero.

XTV. Sancho Panza Appreciates Music

They heard the sound made by soft and harmonious music, which made Sancho very happy, and which he took as a good omen; and so, he said to : "Senora, where there is music, there can be nothing bad." "Not where there are lights and brightness," responded the duchess. To which Sancho replied: "A flame gives light, and bonfires give brightness, and if we go near them they can burn us, but music is always a sign of cheet and rejoicing." "We shall see," said Don Quixote. (Don Quixote II, 34, 690)

While sitting in the woods at night with a duke and duchess, Don Quixote and his squire are surrounded by a fearful tumult of battle sounds. The dreadful clamor suddenly ceases, and a sweet melodious music is heard. Sancho Panza's remarks are among the most famous lines of the novel.

XV. The Death of Don Quixote

Don Quixote . . . surrounded by the sympathy and tears of those present, gave up the ghost. {Don Quixote II, 74, 938)

Don Quixote returns home from his last adventure, and his sanity returns as well just before his end comes. He passes away without ceremony in his own bed, having made his will and renounced his former life of chivalry. His friend the priest presumably would have said mass for him, and so we give his soul a noble send off with the Agnus Dei of Victoria's Missa Defunctis (Mass of the Dead). —Grant Herreid ^ggg

THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL Biographies

Grammy-nominated artist Nell Snaidas has been praised by the New York Times fot her "beautiful soprano voice, melting passion" and "vocally ravishing" performances. Of Uruguayan-American descent, Nell is recognized for her specialization in Latin American/Spanish and Italian baroque music and has sung in venues ranging from the Hollywood Bowl toTanglewood (Boston Early Music Festival), from theTeatro Massimo (Palermo) to the missions of Bolivia. Favorite projects include appearing as a soloist with the Los Angeles Philharmonic, co-directing The Bishop's Band with Tom Zajac in his beautiful program Trujillo Codex of Peru at the Trinity Wall Street Twelfth Night Festival, touring Italy with Ex Umbris and co-directing/creating Sephardic Journey with Apollo's Fire. Nell is the co-artistic director of GEMAS: Early Music of the Americas, a concert series in New York City, which is a project of the Gotham Early Music Scene and Americas Society. Nell is an artist on the Board of Directors of Early Music America. Visit her website at www.nellsnaidas.com.

g^ Four-time Grammy Award-winner Glen Velez is an internationally acclaimed soloist, member of the Percussive Arts Society Hall of Fame, and seminal figure in the modern history of the frame drum. Velez has brought a new genre of drumming to the Western world by creating his own performance style, inspired by years of studying frame-drumming techniques from various cultures. Twentieth-century composer John Cage, regarded as a legendary figure among musicians and audiences worldwide, acknowledged Velez's of the instrument by writing a piece especially for him in 1989. Velez maintains an active touring schedule as a soloist and collaborator while teaching at the Mannes College of Music in New York City and has had a lifelong interest in adapting hand drumming to all forms of ancient music.

Jordan Sramek (tenor) is founder and artistic/executive directot of The Rose Ensemble and enjoys an active career as a performing musician, scholar, teacher, and arts entrepreneur. Jordan studied early vocal performance and harpsichord at the College of St. Scholastica, which recently awarded him a Doctor of Humane Letters (DHL). He is highly respected for his meticulous research of music rarely heard in the concert hall and has championed vocal repertoire from renaissance Poland, medieval Bohemia, baroque Malta, Sweden, , and Bolivia, as well as nineteenth-century Hawaii.

In demand as a scholar and lecturer, Jordan has led workshops and master classes at universities, conferences, and festivals across the United States and has served as international guest clinician at Festival d'lle de France (Paris), Certamen Coral deTolosa (Spain), the Hebrew University (Jetusalem), and St. Quirinus Cathedral, Neuss (Germany). He has

jggggg INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq also developed several award-winning educational programs for young people, including intensive wotkshops and week-long residencies. He is known for his engaging presentations designed fot libraries, community centers, and various public gatherings. Jordan's honors include a Minnesota State Atts Board Fellowship for Performing Musicians; a Jerome Foundation Travel/Study Grant; and the 2010 Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal. Each holiday season, he can be heard on American Public Media, WFMT-Chicago, and the European Broadcasting Union in The Rose Ensemble's international radio broadcast.

Founded in 1996 by Attistic Director Jordan Sramek (second from right), The Rose Ensemble has achieved an international reputation as a premiere American early music ensemble. Each performance illuminates centuries of rarely heard repertoire, bringing to modern audiences research from the wotld's manuscript libraries and fresh perspectives on history, culture, politics, and spirituality from around the globe. With ten critically acclaimed recordings and a diverse selection of concert programs, the group has thrilled audiences across the United States and Europe with repertoire spanning 1,000 years and over twenty-five languages.

The Rose Ensemble is the recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and was first-prize winner in both sacred and seculat music categories at the 2012 Tolosa Choral Contest in Spain (part of the European Choral Grand Prix). The group's concerts and recordings have been called "first class" Neuss-Grevenbroicher Zeitung, "impassioned and brightly alive" Choral Journal, and "engaging . . . satisfying" Gramophone.

The Rose Ensemble's recent performance highlights include appearances at Eatly Music Now (Milwaukee, WI), the University of Vermont Lane Series (Burlington, VT), California Lutheran University (Thousand Oaks, CA), Cornell University (Ithaca, NY), St. Quirinus Cathedral (Neuss, Germany), and the Misiones de Chiquitos Choral Festival (Bolivia). In 2014, The Rose Ensemble made its debut appearance with the Minnesota Orchestra in a special holiday program.

The Rose Ensemble can be heard regularly on American Public Media and the European Broadcasting Union (most notably with annual Christmas broadcasts) and has recently been featured in special live broadcasts on Iowa Public and Vermont Public Radio.

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL indybaroquemusic 2017-18 Season indybaroquemusic Eugene and Marilyn Glick Indiana History Center www.indybaroque.org Frank and Katrina Basile Theater

September WTJX Indianapolis Baroque Orchestra and The Beecher Singers Lutheran Reformation: 500 Years of Sacred Music

February wk*\ Ensemble Voltaire with Barthold Kuijken, traverso 30th Anniversary Celebration

February Indianapolis Baroque Orchestra - Barthold Kuijken, director

April Indianapolis Baroque Orchestra Chamber Players '•',;;:." with Vincent Lauzer, recorder Winner of Indianapolis International Baroque Competition Stanley Ritchie Audience Prize

Visit www.indybaroque.org for more concert information

In Appreciation of his Fifty Years of Service

to Indianapolis Early Music/ Festival Music Society

We remember Board Member and past President Dave Garrett

November 17, 1935 to December 7, 2016

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INDIANAPOLIS EARLY MUSIC // WWW.IEMuSJC.Orq Tributes

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An event such as the Indianapolis Early Music Festival would be impossible without the generous support of many individuals, businesses, and foundations. Fot your faith in and suppott of IEM, we sincerely thank you. Our Operating and Endowment Funds continue to grow through your generosity.

(Received October 1, 2016 through May 15, 2017)

ORATORIO CIRCLE $10,000 OR MORE Beth Fineberg John Paul Godich Anonymous Laura L. Goetz Allen Whitehill Clowes Charitable Foundation, Inc. Rosemary and James Jeffery Joie Kipka Marcia Krieg CONCERTO CIRCLE $5,000-$9,999 Joan and Jordan Leibman Anonymous Janet Levy Christel DeHaan Family Foundation Mary Flo and Thomas Mantel Indiana Art Commission Alison and Craig Nyquist Susan Porter Lolly Ramey CIRCLE $2,500-4,999 Stanley Ritchie Arts Council of Indianapolis Rita and Bob Schilling National Endowment For the Arts Alice and Bob Schloss Nicholas H. Noyes, Jr. Memorial Foundation Inc. Sylvia and Beverly Scott The City of Indianapolis John A Seest Sabine and Peter Sehlinger Ada Shaum SONATA CIRCLE $500-$2,499 Patricia Slichenmyer Jerry Badger Harriet Wilkins Suzanne B. Blakeman Judy and Meredith Wilson Laura and Brad Hays Mary Anne and Ken Winslow Christine Kyprianides Donna Worth Dorit and Gerald Paul Penrod Society Susan and Glenn Pratt FANTASIA CIRCLE up to $99 Neal Rothman Robert Bolyard Jane and Fred Schlegel Charlotte Elizabeth Brayton Cathy and John Bridge Stephen S. Brockmann TOCCATA CIRCLE $100-$449 Elizabeth and Paul Jarvis Rusty Jones Leslie and David Bartolowits G.B. Landrigan Ingrid and David Bellman Kim Linton Eric Bowes and Tatiana Faroud Biff and Allen Whaley Gail and Ron Bowler Marsha and Greg Brown David H Chandler Ellen and David Crabb Ann and Hank Cradduck Marni Fechtman

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL MEMORIAL GIFTS In memory of... David Garrett: IEM Board Dr. William Fechtman: Marnie Fechtman Betty Mantel: Mary Flo and Thomas Mantel

IEM STAFF

Mark Cudek, Artistic Director Gail McDermott-Bowler, Managing Director Brad Romine, Development Consultant special thanks: Louisa Liu, Design Intern

Festival Program Book compiled by Mark Cudek Special thanks: Charlotte Elizabeth Brayton, Laura L. Goetz, and Christine Kyprianides

Haydn's "Lord N' hit J! W-~ Joseph Flui ml,

2027-26 CPifferrjPdrie^ urfp. spmindy.org St. Paul's Music: Music in a Sacred Space

Thro- . Paul's Music iso biidg iran • •. IfhaJ creates community, connects people with the divine a ; develops young musicians

St. Paul's Episcopal Church 6050 North Meridian Street Indianapolis, IN 46208 317253.1277

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THE 2017 INDIANAPOLIS EARLY MUSIC FESTIVAL ith 300 hundred acres, there's so much to enjoy at Hoosier Village. Pet owners, bird watchers and gardeners all appreciate the convenience of easy access to acres of woods and green space. With miles of walking and biking paths, wooded trails and our own golf course just minutes away, Hoosier Village offers lots of options for active senior living. There's plenty to enjoy indoors too. The new Community Center has an indoor pool, fitness rooms, art studio, spa and more. Two on-site restaurants provide both fine and casual dining.

esidents and their families have the security of knowing that Hoosier Village offers a complete continuum of care right on our campus. Additionally, our financial strength and stability ensure that we will maintain the superb level of amenities, accommodations, care and services our residents have selected. To learn more or to arrange a visit, please call John Koontz or Amy Snyder at 317-873-3349. www.hoosiervil1age.com

Hoosier Village, 9875 Cherryleaf Drive TKHpjVJLUfflt Indianapolis, IN 46268 (Located off 96th Street between Michigan and Zionsville Roads) Phone:317.873-3349 ftr

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(Right) Sunday, July 9, 4:00 PM: Matthias Maute returns with REBEL to commemorate the 250th Anniversary of Georg Telemann's death

(Left) Friday, July 14, 7:30 PM: Alexa Raine-Wright, winner of the Indianapolis International Baroque Competition returns with her ensemble Infusion Baroque, winners of the Early Music America Baroque Competition

Front Cover: Friday, July 7, 7:30 PM: Michael Slattery returns with Montreal-based La Nef for "The Peoples Purcell"

14 u INDIANAPOLIS EARLT MUSIC

3646 BAY ROAD SOUTH DRIVE, INDIANAPOLIS, IN 46240 (317) 577-9731 // [email protected] // WWW.IEMUSIC.ORG