2015-2016 he Sounds of Time Music of the

TENET

Luthien Brackett mezzo-soprano Jolle Greenleaf soprano Shira Kammen & vielle & harp Kathryn Montoya recorders Nils Neubert tenor Andrew Padgett bass Charles Weaver & baritone

Jolle Greenleaf artistic director Robert Mealy guest music director

7pm on February 5, 2016 St. Luke in the Fields 487 Hudson Street, 7pm on February 6, 2016 , Marquand Chapel 409 Prospect Street, New Haven CT Music of the Ars Subtilior

I Enigmas and Canons Ma fin est mon commencement (1300–1377) Tout par compas suy composés (instrumental) (fl. early 15c) Fumeux fume (fl. late 14c)

II Nature, Love, and War Pres du soloil Matteo da (fl early 14c) Dance (after Machaut) Kammen/Mealy Rose, liz, printemps, verdure Machaut Par maintes foy Jehan Vaillant (fl late 14c)

III Mythological Love Se Zephirus, Phebus et leur lignie Magister (fl mid-14c) De ce que fol (instrumental) after Pierre des Molins (fl mid-14c) Medee fu en amer veritable Anonymous Moult sui (instrumental) Machaut Le Mont Aön de Trace Anonymous Alarme, alarme Grimace

3 TEXT AND TRANSLATIONS Ma fin est mon commencement My end is my beginning Et mon commencement ma fin and my beginning my end: Est teneure vraiement. this is truly my tenor. Ma fin est mon commencement. My end is my beginning. Mes tiers chans trois fois seulement My third line three times only Se retrograde et einsi fin. goes back on itself and so finishes. Ma fin est mon commencement My end is my beginning Et mon commencement ma fin. and my beginning my end. Tout par compas suy composés With a compass was I composed En ceste ronde proprement. in this circle, appropriately enough. Pour moy chanter plus seurement, To sing me more correctly, Regarde com suy disposés, Behold how I am disposed, Compaing, je te pri chierement. Good friend, I pray you kindly. Tout par compas suy composés With a compass was I composed, En ceste ronde proprement. in this circle, appropriately enough. Trois temps entiers par toy posés Three times in total, by your count, Chacer me pues joyeusement, you can chase me joyously, S’en chantant as vray sentement. If in singing you have true understanding. Tout par compas suy composes… With a compass was I composed… Fumeux fume par fumée Smoky smolders smokily Fumeuse spéculation. in smoky speculation. Qu’entre fumet sa pensée. Thus he steeps his thoughts in smoke. Fumeux fume par fumée Smoky smolders smokily. Car fumer moult lui agrée For it suits him well to smoke Tant qu’il ait son entention. until he gets his way. Fumeux fume par fumée Smoky smolders smokily Fumeuse spéculation. in smoky speculation. Pres du soloil deduissant s’esbanoye In the pleasant sunlight a fearsome falcon d’eulx ententis un redouté fauchon enjoyed himself, watched by other birds, sur la riviere plus riche que soye above a river, richer than any other de maint osiaux d’une et d’aultre façon. with birds of all kinds. Close est d’un beaux rosier de par viron, The river is bordered by a rosebush. dont s’il ne sont bien preux, If the birds aren’t brave, jeune et veglarde, young, and vigilant, meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Chescun se doubte Everyone is afraid et ne scet que fer’ doye and doesn’t know what to do, fors que d’esmay trayre de la sayson. except to pass the time fearfully Sans plus, tout prest en l’eure si s’employe: and then to act as quickly as possible. pluseurs aultres aylent ver les buisson, Some flee into the woods, aucun demeure, aucun y torne en ron, others stand firm or turn around in circles, simple de cuer sans chault de faire garde innocently and withou tdefense;

4 meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Quar noblesse et vigour si le convoye, Nobility and strength, desire, hope, desir, espoir, wisdom and reason sagacitié et rayson accompany him in his plans, a son porpois tout brief qu’il se voloye which he quickly tries to catch l’oysel qu’aten hurter des artiglon. with his talons, a fleeing bird. D’aultre ne quier sy donra coulps felon He wants nothing else pour definer, than to kill the bird fache qui vuelt sa garde: with evil blows. Be careful: meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour, flower, balm, and sweetest perfume: Bele, passés en douçour. Beauty, you surpass them in sweetness. Et tous les biens de Nature, And all the gifts of nature avez dont je vous aour. are yours, for which I adore you. Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour. flower, balm, and sweetest perfume Et quant toute creature And since your virtues surpass Seurmonte vostre valour, all living creatures, Bien puis dire et par honnour: I must say in all honor: Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour, flower, balm, and sweetest perfume: Bele, passés en douçour. Beauty, you surpass them in sweetness. Par maintes foys avoy recoillie How many times are the skies filled Du rossignol la douce melodie with the sweet song of the nightingale! Mais ne si veult le cucu a corder. But the cuckoo never joins in; Ains veult chanter contre ly par envie, he prefers to sing enviously Cucu, cucu, cucu toute sa vie “Cuckoo, cuckoo” all his life. Car il veult bien a son descourder. He wants his song to bring discord. Et pourtant dit le reussignol et crie; So the nightingale cries out: Je vos commant quon le tue et ocie “I command that you shall be killed. Tue tue tue tue tue Slain, slain, Oci oci oci oci oci killed, killed, Fideli fideli fideli fi fie upon you, fie upon you, Fi du cucu qu d’amors veut parler. Cuckoo who wants to speak of love.” Si vous suppli ma tres douce alouete, “I beg you, dear skylark, Que vous voules dire votre ; thus to sing your song: Lire lire lire lire liron lire, lire, liron, Que dit Dieu, que te dit Dieu. Il est temps as God tells you. It’s time Que le reussignol die sa chansonnette; for the nightingale’s little song; Oci oci oci oci seront killed, killed, they’re killed, Qui vos vont guerroyant. those who wage war with you.” Assembles vous; prenes la cardinette “Flock together; bring the goldfinch Faites chanter la calle et le sanson. and make him and the starling sing out. 5 Tues bates se cucu pile bisson. Kill the cuckoo and silence him. Il est pris, soit mis amort orrement. He is taken, let him be killed. An joli ver vos queres culli la mosette, in the lovely springtime praise the hawk, Ami ami ami ami tardis our friend, our friend; Seray le dieu d’amours priant. and praise the god of love.” Se Zephirus, Phebus If Zephirus, Phoebus, et leur lignie and their descendants Furent d’acort pour moy donner confort. were willing to grant me comfort, Et s’eüsse Fortune pour amie. and if I had Fortune on my side, Si croi je bien qu’encor seroit ce fort. I believe I would be powerful enough Que eusse bien sante to allow me to enjoy health, ne Reconfort and reassurance. Quant a present esbatement ne Joye. Since for now I’d find no delight or joy Se devant moy, ma dame ne veöye. if I cannot see my lady before me. Se Jupiter qui donna seignurie If Jupiter, who gave power to Au cler veänt Argus pour amer fort clear-eyed Argus to strongly love 6 Venus qui fu sa deësse et s’amie Venus, his goddess and lover, Et me vausist d’amors donner le port. would show me the harbor of Love, Ne pouroit pas mon cuer estre d’acort then my heart would not agree Que fusse gay pour chose que ie voye for me to have joy from any visible thing Se devant moy, ma dame ne veöye. If I cannot see my lady before me. Car c’est celle que me puet donner vie For it is she who can give me life; Ne ie quier pas avoir autre ressort I don’t wish for any other help. Si li sopli que me soit enaÿe And so I beg her to support me, quar certes ie n’ay soulas ne depourt. for, indeed, I have no solace or pleasure Et sa beaute si doucement ma mort and her beauty gently kills me Que nullement estre liez ne porroye so that I in no other way can be happy Se devant moy, ma dame ne veöye. if I cannot see my lady before me. Si pri amours et a merci supplie So I pray Love and beg Mercy Que pitie qui on cuer ma dame tort. that Pity, who sleeps in my Lady’s heart Recueillent pour estre de ma partie should awaken and take up my cause Qu’autrement, certes, brief m’aroït mort otherwise for sure I shall soon die, Car ma langor trop fort me point et mort because my longing tortures me so harshly Si que ensement vivre ainsy ne porroye I can’t go on living this way Se devant moy, ma dame ne veöye. if I cannot see my lady before me. De ce que fol pense souvent remaynt; A fool’s plans often come to nothing; helas! je le puis bien par moy prouver, Alas! I am living proof of this proverb, car par penser et cuidier me destraint for with thoughts and beliefs, Amours le corps et fayt mon cuer crever; Love oppresses my body and breaks my heart; ensy m’estuet les griefs maulz endurer thus I must endure bitter sadness celeement pour vous, dame honouree, for you in secret, honoured lady, d’ainsi languir en estrange contree. to languish thus in a strange country. Medee fu en amer veritable: Medea was true in loving: Bien aparu quant Jason enama it appeared clearly when she loved Jason De cuer si vray, si ferme, with a heart so true, so firm, et si estable and so immovable Que la terre de son pere bussa that she abandoned the land of her father Dont elle fu hiretiere; of which she was the heiress; Ne se cura d’estre en royal chayere, She wanted neither the royal throne, Ne bien mondain avoir, fors son amy. nor to have riches, other than her friend. Ma dame n’a pas ainsi fait a my. My lady has not behaved thus to me. Car au prumier je la trouvay aimable, For at first I found her very amiable, Et son ami doucement me clama, and she sweetly called me her friend, Et sanz rayson a esté variable and without cause she has been changeable Si que s’amour a autre donné ha: so that she has given her love to another; Ce n’est pas bone maniere, this is not good behavior, Quar vraye amour doit estre si entiere for true love should be so entire Que ne se doit changier journe de mi. that it would never turn itself from me. Ma dame n’a pas ainsi fait a my. My lady has not behaved thus to me. Si m’est avis qu’elle est desraysonable So I believe that she is unreasonable Autant ou plus que fu Briseyda as much—or more—than was Briseida 7 Qui en amours eut l’œil si aimable, who in loving had so amiable an eye Que sa vie loyauté mains garda. that she was not loyal throughout her life. Helaine a la belle chiere Helen of the beautiful face N’eut vers Paris par amour legiere, was not lightly in love with Paris, Car vist l’ama when she saw him, she loved, et pour s’amour gemy. and suffered for her love. Ma dame n’a pas ainsi fait a my. My lady has not behaved thus to me. Moult sui de bonne heure nee. I was born in a happy hour. Quant je sui si bien amee since I am so well loved De mon doulz ami by my sweet friend Qu’il ha toute amour guerpi that he has left all other loves Et son cuer a toutes vee and kept his heart from all others Pour l’amour de mi. for love of me. Si que bonne Amour graci So that I thank kind Love Cent mille fois, qui one hundred thousand times, M’a si tres bien assenee who has so well endowed me Que j’aim la fleur et le tri that I love the flower and the choice De ce monde cy. of this world. Sans part et sans decevree. Without reserve or deceit. Pour sa bonne renommee for his good renown Qu’est cent fois de tous loee which is highly praised by all Plus que je ne di. more than I can say; Qui mon cuer ha si ravi He has so ravished my heart Qu’onques mais enamouree that never was any woman Fame ne fu sy. so loved. Le mont Aön de Thrace, doulz païz Mount Aon of Thrace, pleasant country, Ou resonnent les douçours d’armonie where the pleasures of harmony resound, A en sa court nuef dames de haut pris has in his court nine ladies of great worth, Qui de beauté tienent la seygnorie. who are supreme in beauty. La tient Febus son sejor, There it is that Febus sojourns, Quar d’elles vient sens, bien for from them come wisdom, wealth, et toute honour, and all honor, Dont cuer d’amant se doit which the heart of any who loves them moult esjoïr will enjoy Se leur amor il povoit acquerir. if he can win their love. Les poetes qui furent tant soubtiz The poets who were so subtle Mirent leur sens et tout leur estudie applied their intelligence and all their zeal A bien savoir les amourex delis to learn the amorous pleasures De Libefrois, la fontayne jolie of Liebefrois, lovely fountain. Ou ces dames nuit et jour There night and day these ladies Font treçons et chapeaux de noble atour make suits of clothing and hats of noble aspect. Desquels avoir n’i poura nulz fayllir None will fail to acquire these things Se leur amor il povoit acquerir. if he can win their love. La gist mes cuers qui est tres entendis There one who is well known sings my loves Au doulz acors de la grant melodie to the sweet sound of grand melody,

8 Voir tant plaisants, certes qu’il m’est Avis my loves so sweet to look upon. He assures me Riens ne me soit de ma grief malcedie that nothing of my grief will remain, Et si sçay bien qu’a mon tour and thus I know that I in my turn Trouveray foy, pais, loyauté, amour will find faith, country, loyalty, love En cil qui scet toutes dames servir. in him who knows how to serve all ladies Se leur amour il povoit acquerir. if he can win their love. Alarme, alarme sans sejour et sans demour: Help, help! No more waiting or delay, car mon las cuer si est en plour. for my heart is drowned in tears. Alarme tost doulce figure, Help soon, sweet face, help, alarme car navres suis de tel pointure for I am deeply wounded by these barbs. que mors suy sans nul retour I am dead beyond recall diex en ait l’ame. and God now has my soul. Si vous supli, nette et pure, So I beseech you, with frank simplicity, pour qui tant de mal endure as one who has endured such grief, qu’armer vous voellies pour moy. to plead my cause for me. Contre ma doulour obscure Against my deep sadness que me tient en grief ardure grant me the answer to my tearful prayers dont souvent ploure en requoy. and save my soul from jeopardy. Vuacarme, vuacarme, Rescue me, rescue me quel dolour et quel langour from suffering such grief and sadness, suefrir, dame, pour vostre amour. my lady, through your love. Vuacarme douce creature. Rescue me, sweet creature. vuacarme me larez en tel aventure Do not leave me in such plight demourir en greif tristor to die of harrowing grief, sans confort, dame. without your comfort, my lady.

ARTISTS Preëminent New York City-based ensemble TENET celebrates its seventh sea- son in 2015-16. TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the to the present day. Their distin- guished soloists have been praised for their pristine one-voice-to-a-part singing “to an un- canny degree of precision” (The Boston Globe). TENET sponsors the highly praised Green Mountain Project, giving annual performances of ’s Vespers of 1610, as well as other Vespers that have been newly reconstructed by the project’s musical director, Scott Metcalfe, including music by Monteverdi, Giovanni Gabrieli, Marc-Antoine Char- pentier and their contemporaries. Performances of modern-day fare have included Arvo Pärt’s Passio at Carnegie Hall in 2014, and a new commission by Caroline Shaw in 2015. Their new recording The Secret Lover is scheduled for release in March 2016.

9 Praised for her “silky tone among all registers,” Newberry and Folger Luthien Brackett’s recent solo appearances in- Consorts, Parthenia, clude Bach’s St. John Passion with Music in the Anonymous IV, Rose of Somerset Hills, Charpentier’s Vespers with the Compass, the Ore- Green Mountain Project, Handel’s Messiah with gon, California and San The Choir of Trinity Wall Street, and Bach’s Francisco Shakespeare Festivals, singer Anne Christmas Oratorio with Princeton Pro Musica, Azema, storyteller Patrick Ball, clown Jeff Raz, as well as engagements with the Pablo Casals among many other fine performers, and is the Festival, Early Music Festival: NYC, and The founder of Class V Music, an ensemble dedicat- Washington Chorus. Her solo discography in- ed to providing music on river rafting trips. She cludes Trinity Wall Street’s Complete Haydn has performed and taught in the United States, Masses (Naxos), and its 2013 GRAMMY-nomi- Canada, Mexico, Europe, Israel, Morocco, Lat- nated recording of Handel’s Israel in Egypt (Mu- via, Russia, Abu Dhabi and Japan. sica Omnia). Luthien appears regularly with some of the country’s preeminent vocal groups, Robert Mealy first including The Choir of Trinity Wall Street, An- began exploring ear- tioch, TENET, Vox, Voices of Ascension, Pome- ly music as a teenager rium, the Clarion Society, and Seraphic Fire. in Berkeley. has always been Soprano and Artistic one of his loves, which Director of TENET, he explored in tours Jolle Greenleaf has and recordings with been called “a major , Ensemble force in the New York PAN, and Fortune’s early music scene” Wheel. He investigates the quirky and unexpect- (The New York Times) ed music of the seventeenth century with his for her work in cre- group Quicksilver, and he spends a good deal ating, performing in, of time leading baroque orchestras both here and organizing con- and abroad. When he’s not playing, he’s usually certs in NYC. Jolle is frequently called on to teaching at Juilliard, where he directs the Histor- sing the music of J.S. Bach, Purcell, Handel, and ical Performance program, or practicing, or try- most notibly Claudio Monteverdi. She found- ing to persuade his cats not to sleep in his violin ed an annual celebration of Claudio Montever- case. di’s Vespers called the Green Mountain Proj- ect (named for the translation of Monteverdi), Kathryn Montoya teaches baroque oboe and re- which is now a special project of TENET. She corder at Oberlin Conservatory and the Univer- is married to Hank Heijink, lutenist and iPhone sity of North Texas. She appears with a variety of programmer, and together they have a daugh- orchestral and chamber music ensembles includ- ter, who loves to sing and is learning to play the ing the internationally-acclaimed Boston Early violin. Music Festival Orchestra, Tafelmusik, the Wie- ner Akademie, Pacific Musicworks, and Apollo’s Multi-instrumentalist Shira Kammen has spent Fire among others. Kathryn received her degrees much of her life exploring the world of early mu- at Oberlin Conservatory and Indiana Universi- sic. A member for many years of the early music ty School of Music, Bloomington. Recent proj- Ensembles Alcatraz and Project , and ects include the Globe’s Tony award winning Medieval Strings, she has also worked with Se- productions of Twelfthe Night and Richard III quentia, Hesperion XX, the Boston Camerata, on Braodway, concerts and master classes in the Balkan group Kitka, the King’s Noyse, the Shanghai, and tour of Steffani’s Niobe, Regina 10 di Tebe with Philippe plished interpreter of both baroque and medie- Jaroussky, Karina val vocal music. He has collaborated with early Gauvin and the BEMF music luminaries including Masaaki Suzuki, orchestra. Kathryn en- Nicholas McGegan, Benjamin Bagby, and Susan joys the various thrills Hellauer, and has been featured as a soloist in of recording, has been concert venues world- broadcast on NPR’s wide such as Lincoln Performance Today Center’s Alice Tully and can be heard on Hall, and the Espla- the Erato, Naxos, CPO, nade Concert Hall in NCA, Analekta, and his hometown, Singa- Dorian Sono Luminus labels. pore.

Tenor Nils Neubert Charles Weaver teach- maintains an active ca- es lute at the Juilliard reer in oratorio, opera, School. He plays seven- and recital, and is a teenth-century instru- frequent guest at mu- mental music all over sic festivals in the U.S. the country, especially and Europe. He holds with the group Quick- degrees from The Juil- silver. He also explores liard School (voice) and seventeenth-century vocal chamber music with his group the New (voice pedagogy), and is a doctoral candidate at York Continuo Collective, but his favorite music the CUNY Graduate Center. He is a sought-after is Franco-Flemish , which he sings as interpreter of Lieder, as well as the works of Bach, a member of the schola of St Mary’s Church in Mozart, Händel, Haydn, Mendelssohn, Rossini, Norwalk, Connecticut. There he also teaches Re- and Donizetti. He is also an avid chamber mu- naissance music theory and plainchant to chil- sician and frequently collaborates with contem- dren in the Student Schola program. porary . Nils Neubert serves on the voice faculty at William Paterson University, and teaches German diction at The Juilliard School, Mannes College the New School for Music, and Manhattan School of Music. Born and raised in Hamburg, Germany, he lives in New York City together with his wife, pianist Yuri Kim.

Praised by the Boston Music Intelligencer for his “powerful baritone and impressive vocal range”, bass-baritone Andrew Padgett is an accom-

11 PROGRAM NOTES

Tonight’s concert is the second of three programs exploring the high arts of secular Medieval lyric. Our first, in October, was devoted to the first flowering of and music with the trouvères in the thirteenth century; our last, in May, will celebrate the great achievements of Dufay and Binchois in the fifteenth century. Tonight we explore the strange and wonderful fourteenth century, when the huge variety of verse-forms that the and trouvères invented had crystallized into three classic : the , the , and the . These verses were made audible in a newly subtle and complex musical language, as the technology of music notation itself took a great leap forward. Given the subtleties of this new notation, composers were able to create elaborate and flexible time-streams, with the music shifting meter sometimes every few moments. The measurement of time was becoming, as we would say today, increasingly granular. Around the same time, the technology of clocks was also rapidly advancing; Giovanni da Donda provided the first detailed description of clockwork mechanism in a treatise from 1364, and for the first time, minute-hands began to appear on clocks. The music of the fourteenth-century avant-garde, sometimes known as ars subtilior or “the more subtle art,” grew out of the classical style created by the remarkable poet/ musician Guillaume de Machaut. Tonight we present some of Machaut’s works alongside those of the more experimental generation that followed, many drawn from one partic- ular anthology. This is the Chantilly manuscript, Musée Condé 564, which contains 112 polyphonic works created for the Southern French courts connected to the “Babylonian captivity,” the period when the Papal court had moved to Avignon. It’s impossible not to begin with Machaut’s wonderfully self-referential rondeau “Ma fin est mon commencement.” (This piece was my own introduction to his art; when I first heard it as a thirteen-year-old, I was so fascinated with it that I produced a carefully illuminated manuscript of its text.) Those who heard our trouvère program will remember the tiny, gem-like rondeaux of . Those lasted only a minute apiece, but they followed the same form that Machaut follows here, though now the form is far more extended. Poetically and musically, the structure is

A B a A a b A B where the capital letters indicate the text refrain, and the rhyme-scheme is reflected in the music. Part of the experience of this form, as you’ll hear, involves an extended circling around the music of the A section, before finally moving to the B section: something that is withheld or unresolved is finally completed. Another self-reflexive puzzle is the elaborate and quirky canon that Baude Cordier created. As it appears at the beginning of the , the music is itself a circle, “all created with a compass.” Its text is inscribed in various circles around the canon, much like the great Medieval clocks on city towers which show the sun and moon phases on ancillary discs. These texts give us the only biographical detail we know about Baude: one verse announces that he is known “from Reims to Rome.” Could he have met Machaut during Machaut’s later years as canon at Reims? Could the “cordier” in his name mean simply that he was a harper, and could he be the same as Baude Fresnel, who worked at the Burgundian court of Philip the Bold? As with so many of these composers, all we are

12 left with for sure is the intricate technology of their music. Our set of puzzles and canons concludes with another great subtilior strangeness, the rondeau “Fumeux fume” by Solage. The fumeurs are a group of “self-described melanchol- ic, quarrelsome, lazy, egotistical artist types with a drinking problem: ‘beat poets’ of the fourteenth century,’” in ’s great description. There’s a whole sequence of poems by Eustace Deschamps on these fumeurs, where the “smokiness” implies disgrun- tlement, irascibility, letting off steam — but also woolgathering and boasting, “hot air.” Our translation is by Sylvia Huot, who also created an alternative:

Grumpy grumbles grumpily In grumpy speculation. His thoughts are fogged by grumpiness. For it suits him well to gripe Until he gets his way….

The strangeness of this text is captured in Solage’s shadowy, unclear, low setting, filled with oozing chromaticism: as Peter Lefferts describes it, “matching a curious affect — witty brilliance and murky opacity — in the mediums of language and music.” Fresher air is found in the next set, when we move outdoors. ’s gor- geous “Pres du soloil” looks towards the next generation of composers, with a clearer tex- ture and a wonderfully spacious harmonic motion. Matteo was the magister capellae at the unfinished Milan Cathedral for the first decade of the fifteenth century, and then seems to have joined the retinue of Pietro Filargo. This theologian was Archbishop of Milan before becoming a Cardinal, and was elected Pope Alexander V in 1409, the year that three si- multaneous popes were elected. Matteo knew the works of Machaut well enough to quote both text and music of several of his pieces; through his connections to Filargo, he seems to have had access to a wide range of compositions, and contributed several contratenor parts to works by other composers. After a dance based on themes from Machaut’s Remede de Fortune, we include one of Machaut’s only rondeaux for four voices, the visionary “Rose, liz.” This rapturous work is followed by one where Nature is more violent, the virelai “Par maintes foys” by Jehan Vaillant. This is mentioned with Machaut in one of the first treatises on secular lyric, the Règles de la seconde rhétorique of 1411, where he is described as being a “master who runs a music school in Paris.” Some think that he was involved with the papal chapel at Avignon during the Great Schism, when the Pope moved to the south of , others that he was at the court of Jean Duc de Berry, best known for his très riche heures. Wher- ever he worked, whoever he was, this virelai he created was hugely popular, surviving in nine different sources. With our last set, we turn to various potent myths of music, love, and inspiration. The wonderfully-named Magister Grimace writes in a style very similar to that of Machaut, especially in his double-texted ballade “Se Zephirus” which (with its simultaneous decla- mations) looks back to the earlier traditions of -writing we explored in our first pro- gram. Pierre des Molins seems to have been part of the retinue of King Jean II of France when he was captive in England during the 1350s. His “De ce que fol pensé” was another extremely popular work, surviving in several sources and even in a tapestry, where a lady plays the harp as a servant holds the roll of music. Here it is heard in the elaborate two- part instrumental version that turns up in the Faenza codex. Perhaps the most subtilior of our pieces tonight is the anonymous setting of “Medée fu 13 en amer veritable,” where women of antiquity are called upon as (perhaps ambiguous?) models of faithfulness and true love. Here the three musical lines work almost like Elliot Carter’s music, with independent time-streams that only periodically intersect. Working on this piece is a fascinating exercise in how the mathematics of music become, in perfor- mance, a strangely flexible and almost jazz-like transformation of time. After another instrumental interlude — this one, an instrumental version of Machaut’s late virelai “Moult sui” — we come to a great dark gem of the Chantilly manuscript, the anonymous “Le mont Aön,” with its visionary text about the nine muses. After this sub- lime and extended meditation, we end our evening with a very different work by Grimace, the rousing virelai “Alarme, alarme.” — Robert Mealy

This music could not come to life without the help of several kind colleagues. We especially thank the scholar Anne Stone for her guidance on repertoire, and Jason Stoessel for his gener- osity in allowing us access to his editions of many of these pieces. And we owe a great debt to Grant Herreid for the loan of his gothic harp.

14 THANK YOU TENET is very grateful for the love and support we receive from our friends and fans alike, and we wish to thank the following for their generous contributions to ensure our continued success:

$10,000+ Marilyn Brus Martha Fleischman Jay Crane Fan Fox and Leslie R. Samuels Foundation Kurt Ebrahim Claude Ghez Bruce Garetz Florence Gould Foundation William and Helen Garrison New York State Council on the Arts Nancy Grilikhes Dorothy Haase $5,000+ Susan Hannah Philip H. Davis Joseph and Gloria Latona Google, Inc. Ursula Lee Hank Heijink and Jolle Greenleaf Arthur Leonard New York City Department of Cultural Affairs Carol Maclennan $1,000+ Jean Louis and Ellen Maserati Paul Buttenwieser Karen McLaughlin ConEdison Sharon Moore Maura Fitzpatrick Richard Penn Gregory Gilmartin Will Phan William and Jane Greenlaw Marion Rosen The Arthur and Mae Orvis Foundation Margo Schab Stephen R. Paschke Elizabeth Schneewind Lianna Levine Reisner Marion and Ronald Stein James Rosenfield Naemi Stilman Christopher Rothko and Laurie Cohen up to $100 Jennifer Shotwell Joanne Ahola $250+ Martha Bixler Qais Al-Awqati Arnold Bloch Luthien Brackett Jesse Blumberg Shawn Buessing Todd Breitbart Jim Clarke Kelvin Chan Betsy Cornwall Wallace and Barbara Dailey Dan and Sidnie Crawford Katherine Ellis Jeffrey Feltman and Mary Draper John Gray Barbara Friedland and Josiah Gluck Sheila Hafter Gray Arno Greenleaf Kenneth Grinspoon William G. Lycan Martha Guth Deborah Mintz John H. Harris Lois A. and Richard A. Pace Jessica Honigberg Dr. and Mrs. Robert Schmalz Lawrence LaFevre Richard Steinman and Deborah Swiderski Andrew Lenton Jeffrey Weiss John Lord Michelle Whitehead Liza Malamut Robert Meditz $100+ Tollie Miller Anonymous Pamela Mosley Marc Aubort Vera Pavone Sarah Bramwell Tina Pepe 15 Razoo Foundation Edmee Reit Erik Ryding Stephen Sands Arthur Shippee Mary Sivak Susan Ward Elena Williamson Contributions from July 1, 2015 to January 28, 2016. We apologize for any omissions or errors to this list.

TENET would like to thank Mark Pacoe and St. Malachy’s–The Actors’ Chapel for gra- ciously hosting us for our season opener! We would also like to thank Martin Kaminer and his family for providing rehearsal space and an opportunity to perform this program. Lastly, we wish to thank Angels’ Share Wines and Red Hook Winery for their generous donations to support TENET.

BOARD OF DIRECTORS BOARD OF ADVISORS Maura Fitzpatrick, president Martha Fleischman Lianna Levine Reisner, treasurer Giuseppe Gerbino Leah L. Schmalz, secretary Leslie Ogan Nevin Brown Margo Schab Jim Clarke Philip H. Davis

TENET’s 2015-2016 concerts are made This program is supported, in possible, in part, by the New York State part, by public funds from the Council on the Arts with the support of New York City Department of Governor Andrew Cuomo and the New Cultural Affairs in partnership York State Legislature. with the city council.

TENET is grateful to ConEdison for TENET is proud and grateful to have their generous support of our 2015-2016 received their first grant from the Fan Fox concert series. and Leslie R. Samuels Foundation for the 2015-2016 season. 16 2015-2016 Series

The Sounds of Time: Songs of the Trouvères 10.9.15 | 7:00pm | St Malachy’s–The Actors’ Chapel Music of the Ars Subtilior 2.5.16 |7:00pm | St Luke in the Fields Music of the Burgundians 5.20.16 | 7:00pm | Saint Peter’s Church

Praetorius: A Weihnachts Celebration 12.12.15 | 7:00pm | Holy Trinity Lutheran Church

TENEbrae: Buxtehude’s Membra Jesu Nostri 2.27.16 | 7:00pm | Holy Trinity Lutheran Church

Claudio Monteverdi’s of War and Love 4.16.16 | 7:30pm | Society for Ethical Culture

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