England’s Phœnix:William Byrd divine music for choir may 21 & 22, 2016 akron & cleveland

QClevelanduire Ross W. Duffin Artistic Director This is the final concert of Quire Cleveland’s 8th season. Founded in 2008, we hoped to fill a gap in the rich cultural community of Northeast Ohio, which had lacked an independent professional chorus for more than a decade. From the start, Quire has been embraced by audience and critics alike and, for that, we thank YOU!

It has been our privilege to sing for you from Cleveland Heights to Medina to Akron to Erie, PA. We are especially fortunate to sing in the glorious acoustics of Historic St. Peter’s, the Cathedral of St. John the Evangelist, and Trinity Cathedral in downtown Cleveland, as well as St. Bernard Catholic Church in downtown Akron, and many other inspiring venues. In Quire Cleveland programs, you get to hear the earliest AND the latest in choral music! We’ve presented many world premieres of exquisite and fascinating music that has lain dormant for centuries, reconstructed and/or edited for Quire by our artistic director, Ross Duffin. We’re excited to announce our 9th season in 2016–17*: September 30–October 1, 2016 Monteverdi: Mantuan Masterpieces December 2–4, 2016 Carols for Quire from the Old & New Worlds (8th annual) April 9 & tba, 2017 St. Matthew Passion by Richard Davy (from the Eton Choirbook) *Dates & programs are subject to change. For the most up-to-date information, visit quirecleveland.org and join our emailing list. In addition to coming to our concerts, we invite YOU to join in the Quire — sing in the shower; hum around the house; croon in the car; warble at work; yodel in the yard; belt at the bar; harmonize with humanity — and always keep a song in your heart!

Beverly Simmons Executive Director

When you shop on smile.amazon.com, select Quire Cleveland as your charitable organization and Amazon will donate 0.5% of the price of your eligible AmazonSmile purchases to support our programs. QClevelanduire Ross W. Duffin,Artistic Director

PROGRAM England’s Phœnix: William Byrd (c.1540–1623) May 21, 2016 May 22, 2016 St. Bernard Catholic Church, Akron Historic St. Peter Church, Cleveland Please hold your applause until the end of each half.

Sing joyfully BL MS Add. 29372–7 (1616)

Ne irascaris — Civitas sancti tui Cantiones Sacræ I (1589) Kyrie eleison from the Mass for Five Voices Printed without TP (c.1595)

Venite exultemus Gradualia II (1607) Exalt thyself, O God Worcester Cathedral Library MS A 3.3 Gloria from the Mass for Five Voices

INTERMISSION

Credo from the Mass for Five Voices

In resurrectione tua Cantiones Sacræ I (1589) Tollite portas Gradualia I (1605) Sanctus from the Mass for Five Voices

Hæc dicit Dominus Cantiones Sacræ II (1591) Ave verum corpus Gradualia I (1605) Agnus dei from the Mass for Five Voices ABOUT QUIRE CLEVELAND Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage. With highly-trained professional musicians — who collectively represent 500 years of choral singing — the ensemble has earned both popular and critical acclaim. Quire contributes to the artistic life of our community in unique ways, including collaborations with such organizations as the Cleveland Museum of Art, Cleveland Composers Guild, Music & Art at Trinity, CityMusic Cleveland, The Cleveland Foundation, WCLV, as well as Summit Choral Society and other choruses. Now in its eighth season, Quire Cleveland has presented more than 50 concerts and produced five CDs of music from the 12th to the 21st centuries. Artistic Director ossR W. Duffin creates unique editions for Quire, and plans programs that are appealing and accessible. In addition to live and recorded broadcasts on classical radio, Quire recordings have been included in the Oxford Recorded Anthology of Western Music (OUP) and Listening to Music (Schirmer). An education program, initiated in 2014, offers workshops and lectures. With concert videos posted on YouTube, Quire Cleveland’s reach has indeed been world-wide, attracting over 485,000 views from 208 countries. Soprano: Margaret Carpenter Haigh, Katie Cross, Donna Fagerhaug, Angela Mitchell, Elena Mullins, Lisa Rainsong Alto: Kerry McCarthy, John McElliott, Joseph Schlesinger, Beverly Simmons, Jay White Tenor: Evan Bescan, Kevin Foster, Peter Hampton, Bryan Munch, Corey Shotwell, Tyler Skidmore, Brian Wentzel Bass: Ian Crane, José Gotera, Nicolas Haigh, Nathan Longnecker, Michael McKay, Daniel Singer

Thank you so much for coming! Performing for you gives us joy in singing. But we have these small requests: • Please turn off cell phones and other noisemakers. • Please refrain from photography and audio/video recording. • If you’re suffering from a cough, DO help yourself to the cough drops available from the ushers and DON’T sit near a microphone. Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook, have gained international renown. In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; the St. Matthew Passion by Richard Davy, which will be featured in Quire’s 2016–17 season; and A Performer’s Guide to Medieval Music. He has sung with Apollo’s Fire since its inception in 1992.

Guest Lecturer & Artist Kerry McCarthy is a musician and author known for her work on early English music. Her recent book about William Byrd (published by Oxford University Press in 2013) won the ASCAP Nicolas Slonimsky Award for musical biography of the year. It was celebrated and reviewed in the London Review of Books (“intelligent and affectionate biography”), the New York Review of Books (“Kerry McCarthy’s fine, thoughtful new book ... will now be the starting point for all enthusiasts for [Byrd’s] music”), and other journals of note. Kerry received a B.A. from Reed College and a Ph.D. from Stanford University. She spent eleven years as professor of music history at Duke University in North Carolina. In 2014, she returned to her home town of Portland, Oregon, where she enjoys a wonderful variety of singing gigs. Her current projects include a new book about the composer Thomas Tallis and a study of the motet in 16th-century England.

ocT 15 & 16, 2016 MaRcH 11 & 12, 2017 songs Without Machaut’s Remede Words de Fortune 2016 / 17 Jan 20, 2017 aPRil 8 & 9, 2017 8 th season Mozart in Paris Fated Lovers

TickeTs on sale in augusT | DeTails aT www.lesdelices.org NOTES William Byrd loved the sound of the human voice. He wrote in 1588 that “there is not any Musicke of Instruments whatsoever comparable to that which is made of the voyces of Men, where the voyces are good, and the same well sorted and ordered.” This concert offers a broad selection of Byrd’s vocal music: Latin and English, public and private, melancholy and joyful. Byrd’s Mass for Five Voices is the golden thread running through our program. It is surprising that anyone was writing this kind of thing at all in Elizabethan England. Catholic worship was illegal there, punishable by heavy fines at best and gruesome execution at worst. Byrd knew the risks he was taking when he composed music for it. For many other Renaissance composers, writing masses was the bread and butter of everyday musical life. (We have a letter from the prolific Palestrina, reassuring one of his patrons that he could produce one every ten days.) Byrd took a different approach. He wrote only three masses, one each for three, four, and five voices. Unlike his European colleagues, he did not build them on pre-existing materials such as popular songs or chant melodies. He never even gave them names—or, if he did, the names have been long lost. He brought his own unique approach to each movement in the five-voice mass, from the beautifully quirky setting of the Creed to the emotional intensity of the Agnus Dei. In the 16th century, the Agnus was generally treated as a grand finale, a place to pile on extra voices and show off technical skill. Here it is a poignant appeal for mercy and peace, two things that were certainly needed in Byrd’s day. Alongside his three masses, Byrd also wrote a large selection of music for different times and seasons of the church year. Tollite portas is a piece for Advent, a setting of the “Lift up your heads, O ye gates” so familiar from Handel’s Messiah. It offers some perfect examples of Byrd’s own principle, as reported by his loyal student Thomas Morley: “You must haue a care that when your matter signifieth ascending, high heauen, and such like, you make your musicke ascend: for it will be thought a great absurditie to talke of heauen and point downwarde to the earth.” Ave verum corpus, from the same collection of music, is a traditional rhyming prayer in honor of the Eucharist. Its elegant simplicity has made it one of Byrd’s best-known works. It is also unlike any other Latin motet he ever wrote. He borrowed its most arresting features from the secular French and English love songs that were so popular in sixteenth-century England: all the voices singing the same words at once, repeated pauses for rhetorical effect, and the whole final section repeated to get the point across. This is also where we find, in a moment of pious fervor (“O dulcis! O pie!”), the only exclamation marks Byrd ever put in print. Many of Byrd’s most famous sacred works were not written for church at all. His Cantiones sacræ (“sacred songs”) were chamber music for connoisseurs, the same people who would have enjoyed evenings of playing the harpsichord or the viols in richly tapestried Elizabethan rooms. Ne irascaris, a substantial ten-minute motet, was perhaps the most famous of all these pieces. One musician in Byrd’s own day copied it out with the simple note “good songe.” Byrd treats the mournful text from Isaiah with solemnity and insistence. Even the major chords are quite sad. (The only musician who seems to have missed the point was one enthusiastic seventeenth-century English scribe who adapted this motet to the text Behold I bring you glad tidings.) Hæc dicit Dominus is another intense lament, with echoes of the older generation of music that Byrd would have known in his childhood. Byrd also wrote some splendidly cheerful motets. Our concert includes two of the most enjoyable ones to sing. The Easter motetIn resurrectione tua is one of his shortest works, taking up barely a minute and a half even with its exuberant alleluias. Venite exultemus has the distinction of being the very last Latin motet he ever published. He added it to the end of his final motet book as a sort of bonus track, an all-purpose song of rejoicing that fits any happy occasion. The musical language is shared with the madrigals of his day. If we ignore the words for a moment, it is easy to imagine nymphs and shepherds frolicking in some Arcadian scene. Our program is completed by two of Byrd’s English anthems. One of them, Exalt thyself, was lost until the 1970s, when it was rediscovered in an obscure manuscript in the library of Worcester Cathedral. We owe this near-miss to the fact that Byrd generally did not publish his English church anthems in print. Unlike his other vocal works, they seem to have been the exclusive property of the Chapel Royal, the great cathedrals linked to it, and the guild of professional musicians who copied this music out by hand for their own use. One of the few anthems to make it successfully out of this narrow orbit was Sing joyfully, which was already a classic in its own day. It is also the only piece by Byrd which we know was performed on a very specific historical occasion: the baptism of King James’s infant daughter Mary in 1605. The little girl—the first royal baby born in England since the days of Henry VIII—was dressed in velvet and ermine for her christening. After the happy event, “there ffollowed a full Anthem (singe Joyfullye),” sung by the musicians of the Chapel Royal. — Kerry McCarthy Guest Lecturer & Artist

Summit Choral Society 1/2-page ad SINGERS BIOGRAPHIES

Tenor Evan Bescan holds a Bachelor of Soprano Donna Fagerhaug holds a Music degree from Capital University in Master of Arts degree in Church Music Columbus, Ohio, along with a Methodology from Trinity Lutheran Seminary and a Diploma from the Kodály Institute in Bachelor of Music from the Conservatory Kecskemét, Hungary. He is currently a full- at Capital University, both in Columbus, time elementary music teacher at Elyria Ohio. In addition to Quire, she sings with Community Elementary School in Cleve- Apollo’s Singers and Contrapunctus, and land and a chorister at the Cathedral of St. is soprano soloist at Lakewood Congregational Church. John the Evangelist. Evan is also a consultant of the Freda Donna also works as a vocal coach in the Rocky River Joyce Brint Foundation, using music to enhance learning City Schools. She lives in Rocky River with her husband and life in people with Alzheimer’s and dementia. and three children. Soprano Margaret Carpenter Haigh Kevin S. Foster, tenor, studied piano was a Gates Cambridge Scholar at Clare and voice at Ohio Wesleyan University and College, Cambridge, where she completed choral conducting at Bowling Green State the M.Mus. in Choral Studies. She has University. His time is presently divided been featured on the Easter at King’s between his role as a stay-at-home dad College Concert Series, was soloist in the and his musical endeavors as a composer, Monteverdi Vespers alongside His Majestys vocal coach, and occasional voiceover Sagbutts and Cornetts, and co-founded artist. He is in demand as an accompanist L’Académie du Roi Soleil with British organist and and as a tenor soloist; his gift for connecting with continuo player Nicolas Haigh. She has toured widely people of all ages has earned him respect as a conductor under Timothy Brown; performs with Apollo’s Fire and clinician, as well. Composer of nearly 30 songs and the South Dakota Chorale, in addition to Quire; (many published through Santa Barbara Music), Kevin and is currently undertaking her DMA in Historical continually receives accolades from performers and Performance Practice at Case Western Reserve audiences alike for his expressive, sensitive text settings. University. margaretcarpenter.com www.kevinsfoster.com Bass Ian Crane currently teaches José Gotera began singing at the age of 8 music at Cuyahoga Falls High School, and at St. Michael’s Choir School in Toronto. He spent five years as instructor of bagpipes completed degrees in Human Biology and at Edinboro University of Pennsylvania. Music History at the University of Toronto He has performed at the Kennedy and sang with the Tafelmusik Chamber Center, Smithsonian Folklife Festival, Choir. In Cleveland, José was an artist- Metropolitan Museum of Art, sung with in-residence with Cleveland Opera on Bobby McFerrin and Contrapunctus, and Tour, and has also performed with Opera performed as both vocalist and instrumentalist with Circle, Opera per Tutti, and the West Shore Chorale. He Apollo’s Fire. Ian earned a bachelor’s degree in music completed an M.A. in Early Music from Case Western education from Cleveland State and a master’s in con- Reserve University. José can be heard on recent releases ducting from Kent State. He resides in Lakewood with by Apollo’s Fire and Quire Cleveland. At present, he is his wife, Tricia, and children, Phoebe and Alexander. a voice instructor at Cleveland State University. Soprano Katie Cross is an avid musical Nicolas Haigh is currently Associate collaborator, in performances ranging from Director of Music at Trinity Episcopal chamber music to orchestral situations to Cathedral in Cleveland, and a doctoral stu- professional a cappella singing. A gradu- dent in the Historical Performance Program ate of both the Oberlin Conservatory and at Case Western Reserve University. He has Ithaca College with degrees in piano per- held organist positions at New College, formance, she maintains teaching studios Oxford, and York Minster. He was a stu- at the Oberlin Community Music School dent at the University of Cambridge, and also the Outreach program at Baldwin-Wallace where he graduated with a degree in musicology and Conservatory. She also leads classes in early childhood held the Sir William McKie Organ Scholarship at Clare music, group piano, and eurhythmics, and is music di- College. A recipient of the Limpus Prize for the highest rector at the Oberlin Unitarian Universalist Fellowship. marks in the Fellowship examinations from the Royal College of Organists, he has performed in the St Alban’s served as associate organist at the Cathedral of St. John International Organ Festival. His teachers have included the Evangelist from 1998 to 2012. He resides in Cleveland Malcolm Archer, Clive Driskill-Smith, James McVinnie, with his wife and two children. and Douglas Hollick. Soprano Angela Mitchell has Peter Hampton is the choral director at performed with Cleveland Opera Theater, Lakewood High School, where he directs 7 Opera in the Heights, Kingwood Summer choral ensembles, and teaches music his- Opera, Lonestar Lyric Opera, and the tory and class piano. In addition to being a Moores Opera Center. Her recent operatic former member of Cantores Cleveland, he roles include Kate in Pirates of Penzance, has performed with the choirs of Lakewood Musetta in La bohème, Nannetta in Congregational Church and the Cathedral Falstaff, Miss Wordsworth in Albert of St. John the Evangelist. Peter has a bach- Herring, and Pauline in La vie parisienne. She is also a elor degree in music education (vocal emphasis) from member of the Cleveland Orchestra Chorus. Angela holds an M.M. degree from the University of Houston Otterbein University in Westerville, Ohio, where he and a B.M. from the University of Minnesota. She is studied voice with Robert Nims. His choral highlights in- Assistant Producer for WCLV Classical 104.9 clude singing in the US premiere of The Lord of the Rings ideastream©. angelamitchellsoprano.com Symphony with the Columbus Symphony Orchestra and tours with choirs throughout Europe. Elena Mullins is a soprano with wide- ranging musical interests. In the 2015 Nathan Longnecker studied voice summer issue of Early Music America with Irvin Bushman and Deltrina Grimes magazine, she was recognized as one of and organ with Karl Stahl. In addition to the country’s most promising young early Quire Cleveland, this past year he has music performers. She has sung with the sung with Apollo’s Fire, Bobby McFerrin, Newberry Consort, Apollo’s Fire, Three and Contrapunctus. Notch’d Road, Generation Harmonique, John McElliott, countertenor, holds and Quire Cleveland. Elena is co-founder of undergraduate degrees in voice and or- Alkemie, an ensemble specializing in medieval music. gan performance from the University of She also sings at the Church of St. Catherine of Siena in Akron. He spent a year abroad as a cho- New York. A voice student of Ellen Hargis, she holds a ral scholar at Winchester Cathedral in D.M.A. in Historical Performance Practice from the UK. John is a soloist/section leader at CWRU and a B.A. in Musical Arts from the Eastman Trinity Episcopal Cathedral in Cleveland School of Music. An avid performer and teacher of ba- and sings with several choral ensembles roque dance, this summer she joins the faculty of the in Northeast Ohio, including Apollo’s Fire and the Baroque Performance Institute at Oberlin as a dance Trinity Chamber Singers. He is also president of instructor. Karen McFarlane Artists, Inc., where he manages concert careers for many of the world’s great concert Bryan Munch received his engineer- ing degree and M.B.A. from Case organists and choirs. A versatile vocalist, he sings alto, Q Western Reserve University, where he tenor, and baritone parts in uire and serves as the participated in many vocal groups in- organization’s Secretary. cluding Early Music Singers. When he Michael McKay, baritone, is office is not playing with his kids, he plays manager in the Performing Arts, Music, with data at Progressive Insurance. and Film department at the Cleveland Soprano Lisa Rainsong’s musical life Museum of Art. Having studied voice with integrates composition, education, vocal Noriko Paukert and organ with Margaret performance, and natural history. She Scharf, he graduated summa cum laude earned her Doctor of Musical Arts in with a bachelor of music from Cleveland composition from the Cleveland Institute State University. He has performed with of Music and is a member of CIM’s Music Apollo’s Fire, Old Stone Singers, St. Paul’s Episcopal Theory faculty. A certified naturalist, Lisa Church Choir, and CWRU Early Music Singers, as well has developed a music-based approach to as in various Cleveland-area chamber ensembles. He teaching classes on bird song and insect song identification and is in demand statewide as a speaker. porary Youth Orchestra Chorus, and In addition, she does field recording and research on Assistant Director of the Cleveland “singing insects” — crickets and katydids — and in- Orchestra Youth Chorus. An active guest service training for naturalists. listeninginnature. conductor and clinician, he recently di- blogspot.com rected the OMEA District VI Junior Joseph Schlesinger, countertenor, be- Honor Choir. From 2003 to 2009, he gan his musical education playing prin- worked as a performer, music director, cipal trumpet in the Augustana College and teacher in the Chicago area, sang Symphony, where he completed a Bachelor with the Chicago Symphony Chorus, and was a vo- of Arts in Finance and Asian Studies. After calist and arranger with the Lakeside Singers. Daniel earning his Masters in Music from DePaul has a B.M. in Music Education from Northwestern University, he received a Netherlands- University and an M.M. in Choral Conducting from America/Fulbright Fellowship to study Michigan State University. Baroque Music at the Royal Conservatory, The Hague. Tyler Skidmore, tenor, is an active His repertoire includes baroque, opera, and contempo- music educator and performer. Teaching rary repertoire. Upon returning to the United States, he now at the same high school he attend- is delighted to have joined Quire Cleveland, Apollo’s ed, Tyler attempts to share the joys and Fire, and Contrapunctus in Cleveland, Chicago’s Music challenges of choral music with the stu- of the Baroque, Seattle Pro Musica, and the Madison dents at Medina High School. He holds Bach Musicians. a bachelor’s degree in music education from Mount Vernon Nazarene University Tenor Corey Shotwell is celebrated and a master’s in voice performance from Kent State for his performance of 17th- and 18th- University. Tyler has performed with other area choral century music. He was praised for his ensembles, including Opera Cleveland, The Cleveland Evangelist in J. S. Bach’s St. John Passion and Orchestra Chorus and Chamber Chorus, and Apollo’s another Bach Evangelist in the modern- Singers of Apollo’s Fire. era premiere of C. P. E. Bach’s St. Luke Passion of 1775. Operatic credits include Tenor Brian Wentzel is an organist, Chicago’s Haymarket Opera Company and singer, and composer. Since 2006 he has the Boston Early Music Festival. He sings with Apollo’s been Director of Music at First Lutheran Fire and Opera Circle, as well as Quire. Recent soloist Church in Lorain, Ohio. He maintains engagements include appearances with the Newberry an active performance schedule, playing Consort, Bella Voce, Bach Collegium-Fort Wayne, and recitals, leading hymn festivals, and sing- Chicago Bach Ensemble. A native of Michigan, he is a ing in professional choirs in the Cleveland graduate of the Cleveland Institute of Music and Western area. He composes and arranges extensive- Michigan University. coreyshotwell.com ly for his congregation, and is published by Augsburg Fortress and Hope Publishing. Brian has degrees in Beverly Simmons is a mezzo-soprano, mathematics, organ performance, and sacred mu- graphic designer, and Executive Director sic, and holds the Fellowship certification from the of Quire Cleveland. She earned a American Guild of Organists. doctorate in early music at Stanford University, before moving to Cleveland in Countertenor Jay White sang 8 seasons 1978. Her career has included stints as a with the internationally acclaimed ensem- CWRU music professor, WCLV radio an- ble Chanticleer, recording 14 albums and nouncer, international artist manager, concert produc- garnering two Grammy Awards. As an in- er, and mother of two. She founded the CWRU Early terpreter of medieval, Renaissance, and ba- Music Singers and has sung with Apollo’s Fire, as well as roque repertoire, he has appeared at festivals with the Cleveland Opera Chorus, St. Paul’s Episcopal worldwide and has been featured on nation- Church, and Temple Tifereth-Israel. Bev is also half of al and international radio. Trained at Indiana the cabaret duo, Rent-a-Yenta. University’s Early Music Institute and the University of Maryland, he taught at the University of Delaware and Daniel Singer is Director of Music at University DePauw University. Jay is now Associate Professor of School in Hunting Valley, Director of the Contem- Voice at Kent State University. TEXTS & TRANSLATIONS

1. Sing joyfully unto God our strength; sing loud unto the God of Jacob! 2. Take the song, and bring forth the timbrel, the pleasant harp, and the viol. 3. Blow the trumpet in the new moon, even in the time appointed, and at our feast day. 4. For this is a statute for Israel, and a law of the God of Jacob. — Psalm 81: 1–4

Ne irascaris Domine, satis, et ne ultra memineris Be not very angry, O Lord, and remember no longer our iniquitatis nostræ. Ecce, respice populus tuus omnes nos. iniquity: behold, see we are all thy people. Civitas sancti tui, facta est deserta. Sion deserta facta est. The city of thy sanctuary is become a desert, Sion is made Jerusalem desolata est. a desert, Jerusalem is desolate. — Isaiah 64: 9–10 — Douay-Rheims Bible (1610)

Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy upon us; Christ, have mercy upon us. Lord, have mercy upon us.

Venite exultemus Domino: O come, let us sing unto the Lord: jubilemus Deo salutari nostro, let us heartily rejoice in the strength of our salvation. præoccupemus faciem eius in confessione, Let us come before his presence with thanksgiving, et in Psalmis jubilemus ei. Amen. and show ourself glad in him with psalms. Amen. — Psalm 94 [95]: 1–2 — Great Bible (1539)

6. Exalt thyself, O God, above the heav’ns, and let thy glory be upon the earth. 9. Awake, my tongue, awake viol and harp, I will awake right early. 10. I will praise thee, O Lord, among the people, and I will sing unto thee among the nations. 11. For thy mercy is great unto the heav’ns, and thy truth unto the clouds. — Psalm 57: 6, 9–11

Gloria in excelsis Deo. et in terra pax hominibus bonæ Glory be to God on high, and in earth peace, good will voluntatis. Laudamus te. Benedicimus te. Adoramus te. towards men. We praise thee, we bless thee, we worship Glorificamus te. Gratiam agimus tibi propter magnam thee, we glorify thee, we give thanks to thee for thy gloriam tuam. Domine Deus, Rex cœlestis, Deus Pater great glory, O Lord God, heavenly King, God the Father omnipotens. Domine Fili unigenite, Jesu Christe. Almighty. O Lord, the onlybegotten Son, Jesu Christ; O Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou mundi, miserere nobis. Qui tollis peccata mundi, suscipe that takest away the sins of the world, have mercy upon deprecationem nostram. Qui sedes ad dexteram Patris, us. Thou that takest away the sins of the world, receive miserere nobis. Quoniam tu solus Sanctus. Tu solus our prayer. Thou that sittest at the right hand of God Dominus. To solus Altissimus, Jesu Christe. Cum Sancto the Father, have mercy upon us. For thou only art holy; Spiritu in gloria Dei Patris. Amen. thou only art the Lord; thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen. Credo in unum Deum, Patrem omnipotentem, factorem I believe in one God the Father Almighty, Maker of cœli et terræ, visibilium omnium et invisibilium. Et heaven and earth, And of all things visible and invisible. in unum Dominum Jesum Christum, Filium Dei And in one Lord Jesus Christ, the only begotten Son of unigenitum. Et ex Patre natum ante omnia sæcula. Deum God, Begotten of his Father before all worlds, God of de Deo, lumen de lumine, Deum verum de Deo vero. God, Light of Light, very God of very God, Begotten, Genitum, non factum, consubstantialem Patri: per quem not made, Being of one substance with the Father, By omnia facta sunt. Qui propter nos homines, et propter whom all things were made: Who for us men and for our nostram salutem descendit de cœlis. Et incarnatus est salvation came down from heaven, And was incarnate by de Spiritu Sancto ex Maria Virgine: Et Homo factus est. the Holy Ghost of the Virgin Mary, And was made man, Crucifixus etiam pro nobis; sub Pontio Pilato passus, et And was crucified also for us under Pontius Pilate. He sepultus est. Et resurrexit tertia die, secundum Scripturas. suffered and was buried, And the third day he rose again Et ascendit in cœlum: sedet ad dexteram Patris. Et iterum according to the Scriptures, And ascended into heaven, venturus est cum gloria judicare vivos et mortuos: cujus And sitteth on the right hand of the Father. And he shall regni non erit finis. Et in Spiritum Sanctum, Dominum come again with glory to judge both the quick and the et vivificantem: qui ex Patre Filioque procedit. Qui cum dead: Whose kingdom shall have no end. And I believe Patre, et Filio simul adoratur et conglorificatur: qui in the Holy Ghost, The Lord and giver of life, Who locutus est per Prophetas. Et unam, sanctam, catholicam proceedeth from the Father and the Son, Who with the et apostolicam Ecclesiam. Confiteor unum baptisma in Father and the Son together is worshipped and glorified, remissionem peccatorum. Et exspecto resurrectionem Who spake by the Prophets. And I believe one Catholick mortuorum. Et vitam venturi sæculi. Amen. and Apostolick Church. I acknowledge one Baptism for the remission of sins. And I look for the Resurrection of the dead, And the Life of the world to come. Amen.

In resurrectione tua Domine, Alleluya, lætentur cœli, At thy resurrection, O Lord, alleluia, let the heavens give et exultet terra, Alleluya. praise and the earth rejoice, alleluia.

Tollite portas principes vestras, et elevamini portæ Lift up your gates ye princes, and be ye lifted up, O æternales, et introibit Rex gloriæ. eternal gates, and the King of glory shall enter in. Quis ascendet in montem Domini, aut quis stabit in loco Who shall ascend into the mount of our Lord? or who santo ejus? innocens manibus et mundo corde, Alleluia. shall stand in his holy place? The innocent of hands, and — Psalm 23: 7, 3–4 of clean heart, alleluia. — Douay-Rheims Bible (1610)

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Holy, holy, holy, Lord God of Hosts, heaven and earth Pleni sunt cœli et terra gloria tua. Hosanna in excelsis. are full of thy glory; Hosanna in the highest. Blessed is Benedictus qui venit in nomine Domini. Hosanna in he that cometh in the Name of the Lord; Hosanna in the excelsis. highest.

Hæc dicit Dominus, vox in excelsisaudita est Thus saith our Lord: A voice of lamentation is heard on Lamentationis, luctus et fletus, Rachæll plorantis filios high of the mourning, and weeping, of Rachel weeping suos, et nolentis consolari super eos quia non sunt. for her children and refusing to be comforted for them, because they are not. Hæc dicit Dominus qui escat vox tua a ploratu, et ocui Thus saith our Lord: Let thy voice cease from weeping, tui a lacrimis, quia est merces operi tuo, ait Dominus, et and thine eyes from tears, because there is a reward for est spes in novissimis tuis, et revertentur filii ad terminos their work, saith our Lord: and there is hope to thy last suos. ends, and the children shall return to their borders. — Jeremiah 31: 15–17 — Douay-Rheims Bible (1610) Ave verum corpus, natum de Maria Virgine: Vere All hail, O true body, born of the blessed Virgin Mary: passum immolatum in cruce pro homine, cuius Which in anguish, to redeem us did suffer upon the latus perforatum unda fluxit sanguine: Esto nobis cross, from whose side when pierced by spear there came prægustatum in mortis examine. O dulcis, O pie, O Jesu forth blood: May we receive you at our last trial in death. fili Mariæ, miserere mei. Amen. O Sweet, O pious, O Jesus son of Mary, have mercy on us. Amen.

Agnus dei, qui tollis peccata mundi, miserere nobis. O Lamb of God that takes away the sins of the world, Agnus dei, qui tollis peccata mundi, dona nobis pacem. have mercy upon us. O Lamb of God that takes away the sins of the world, grant us peace.

ORIGINAL MANUSCRIPTS ON DISPLAY During our concert at St. Peter’s, the three “Blossom Partbooks” will be exhibited by Melissa Hubbard, Head of Special Collections at Case Western Reserve University. These are original music manuscripts, copied during Byrd’s lifetime, and containing two of the motets on our program, Ne irascaris Domine and In resurrectione tua (see the Cantus below). The manuscripts are the Cantus, Tenor(see cover below), and Bassus partbooks of an original set of six (the others now lost), donated to CWRU in 1938 by Mrs. Dudley Blossom. They were previously in the collection of 19th-century bibliophile, Henry Huth, with whose collection they were sold at auction by Sotheby’s in 1916 for £18; the imprint of that price is visible on the Tenor cover. Ross Duffin has published articles about the books, proposing that they were prepared around the time of the wedding of King James’s daughter, Princess Elizabeth, in 1613. Act one begins

Beck Center for the Arts

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience. Your Investment: Strengthening Community

Visit cacgrants.org/impact to learn more. ACKNOWLEDGMENTS Quire Cleveland is grateful to St. Bernard Parish, Fr. Dan Reed, Pastor; and to Historic St. Peter Church, Fr. Robert Kropac, Pastor, for hosting Quire Cleveland. We also wish to thank our generous donors:

Magister $2,500+ Richard & Bernice Jefferis Gay & Quentin Quereau Cuyahoga Arts & Culture Ursula Korneitchouk Jane Richmond Ohio Arts Council Alexander Kuszewski Linda Royer Simmons/Duffin Family Fund Brenda Logan Wilma Salisbury of the Dayton Foundation Dr. & Mrs. Stephen Mahoney Cynthia Seaman Geraldine McElliott Rev. Dianne Shirey Cantus $1,000–$2,499 Jean M. Minnick Dean & Judith Sieck Janet Curry & Richard Rodda in honor of Donna Fagerhaug Shirley Simmons John McElliott Russell Oberlin Daniel & Andrew Singer-Sords Elva Rust Elizabeth & David Rothenberg Richard Snyder Gerald P. Weinstein Diane & Lewis Schwartz Kent & Nancy Spelman Altus $500–$999 Mr. & Mrs. William E. Spatz Sarah Steiner Arthur V. N. Brooks Kathryn Westlake Nancy Stemmer & Laura Sims Shannon Canavin Contratenor up to $99 Nancy Tuttle Dr. Alan Rocke & Cristine Rom Anonymous (5) Bancroft Twaddell Sarah Steiner Christa Acker Mary Warren David C. Carver Richard Weber Tenor $250–$499 Kathryn Weise John & Laura Bertsch Lucy Chamberlain Anne Cook Edith Yerger Becky Bynum & Phil Calabrese Doreen A. Ziska GE Foundation Gayle Crawford Jim & Jenny Meil Ruth E. Fenske Thanks also to the English-Speaking E. William Podojil Bruce Grasser Union Cleveland chapter; The Hermit Larry Rosche & Judy Semroc Maureen & Francis Greicius Club; Loganberry Books; 104.9 WCLV; Byron & Elizabeth Hays 90.3 WCPN; WKSU 89.7; Melissa Bassus $100–$249 Donald J. Jackson Hubbard; Summit Choral Society; Anonymous Gale & Jim Jacobsohn Ωort∞simo design; Micrologus Music Edward Alix Lou Keim Press; Spunmonkey Design; Beth Segal Bonnie Baker Eric & Sue Kisch Photography. Joanne Blazek Sarah & Michael Knoblauch The Ohio Arts Council helped fund this Lloyd Max Bunker & Anthony Bianchi Clayton Koppes program with state tax dollars to encourage Terry Boyarsky Dorothy Lungmus economic growth, educational excellence, Mary R. Bynum & J. Philip Calabrese Arlene & J. Adin Mann, Jr. and cultural enrichment for all Ohioans. Lucy Chamberlain Michael Miller Drs. Virginia & Matthew Collings Nancy M. Miller England’s Phœnix: William Byrd is Dr. Roman & Dr. Diana Dale Paula Mindes & George Gilliam supported in part by the residents of Peter & Ann Gerhart Carolyn & Perry Peskin Cuyahoga County through a public David & Loraine Hammack Joanne Poderis grant from Cuyahoga Arts & Culture. Donors listed from the 2014–15 and current seasons. Please let us know of any errors or omissions in attribution.

Board of Directors Richard Rodda, ph.d., President Fr. Robert Kropac, Community Outreach John McElliott, Secretary Gerald P. Weinstein, ph.d., cpa, Treasurer Ross W. Duffin,d.m.a. , Artistic Director Beverly Simmons, d.m.a., Executive Director Box Office Manager: Ann Levin Recording Engineer: Thomas Knab c Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization. CD Sale: $10 each or 2 for $15 Take Quire home with you!

*Carols for Quire Volume 3 The Land of Harmony American Choral Gems *Madrigalian Motets from Jacobean England

*Carols for Quire Volume 2

*includes music by William Byrd

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