SFEMS PRESENTS Ciaramella 1517—German Music Before and After the Reformation Songs of love, lust, and devotion

NOVEMBER 17–19 2017 PALO ALTO | BERKELEY | SAN FRANCISCO 2 SFEMS PRESENTS 2

Ciaramella Adam and Rotem Gilbert, Directors

Adam Gilbert, , recorder, bagpipe; Rotem Gilbert, shawm, recorder, bagpipe; Malachai Komanoff Bandy, shawm, , hurdy-gurdy, bagpipe; Adam Bregman, , recorder, ; Aki Nishiguchi, shawm, recorder, cornamuse; Jason Yoshida, , guitar, percussion

1517: German Music Before and after the Reformation

Bransles double (1571–1621) Gavottes Praetorius

Maria salve virginum Conradus Rupsch der Singer (ca. 1475–1530) Hymnizemus regi altissimo Rupsch? Nun bitt wir den haÿligen gaÿst Rupsch

Annavasanna Conrad Paumann (ca. 1410–1473) Mater sancta dulcis Anna Anon. German, ca. 1500

Mit ganczem willen Paumann Mein traut geselle Anonymous Zart lieb Anonymous

Es taget vor dem Walde Ludwig Senfl (1486–1542) In Gottes Namen fahren wir Paul Hofhaimer (1459–1537) In Gottes Namen fahren wir Isaac In Gottes Namen fahren wir Finck

Ach, was will doch mein hertz Anon. Köln (ca. 1530) Ach, was will doch mein hertz (ca. 1450–1517) Nigra sum sed formosa Heinrich Finck (1445–1527)

Ach lieve Herr Gilbert, over 15th-c. Melody Ach reine zart Anonymous In feurs hitz Anonymous

Le Petit Rouen Adam K. Gilbert, over 15th-c. Tenor

INTERMISSION

16 SFEMS Dance Suite from Danserye Tielman Susato (ca. 1510–after 1570) ronde IV ronde VI/ Salterelle ronde IX

Preambel (ca. 1508–1563) Was wird es doch Ludwig Senfl (1486–1542) Variations over “Wil nieman singen” Melody after Ludwig Senfl

Variations over “Mein junges Leben hat ein Ende” Adam K. Gilbert Variations over Praetorius’ d’Espagne Gilbert Gaillarde Susato

Canarios Gaspar Sanz (1640–1710) Buffons/Volte Praetorius

Friday, November 17, 2017, 8:00 p.m. | First Presbyterian Church, Palo Alto Saturday, November 18, 2017, 7:30 p.m. | St. John’s Presbyterian Church, Berkeley Sunday, November 19, 2017, 4:00 p.m. | St. Mark’s Lutheran Church, San Francisco

Candlelight and Starlight with the Whole Noyse and special guest, percussionist Peter Maund Kick off your holiday season with our beloved candlelight con- cert! Bring the whole family for a festive, meaningful Christmas journey around the world and through the centuries, including a world premiere commissioned by SFBC.

Saturday, december 2, 4:00 Pm Sunday, december 3, 4:00 Pm calvary Presbyterian church, 855-4SF-BACH (855-473-2224) 2515 Fillmore St. (at Jackson), SF www.sfbach.org Tickets from $10, Kids are Free

SFEMS 17 n

2 Program Notes 2

The year 1517 ushered in the Protestant with In feuers hitz to suggest shared author- Reformation, marked the death of composer ship. Henricus Isaac, and saw the publication of Jo- hannes Reuchlin’s The Art of the Kabbalah, a The Glogauer Liederbuch was collected by work that profoundly influenced sacred and Martin von Rinkenberg, the Abbot of Żagań musical symbolism. Both before and after that in Silesia. Evidence suggests that Rinkenberg watershed year, German lands resounded with copied the manuscript himself, until he was dis- song and dance. Amidst all the tumult, Ger- abled by a stroke in 1482, close to the date of man musicians enjoyed reputations as some of the last watermark in the manuscript. Heinrich the finest composers and performers of the era. Finck’s Nigra sum sed formosa, a four-voice set- ting from the biblical Song of Songs, is one of the The Lochamer Liederbuch contains a trea- final compositions copied into the book. Finck sure trove of German melodies from the mid follows common German practice of setting the fifteenth century. This manuscript possibly re- to notes of equal value, with outer voices flects a Jewish musical culture, for it contains a paraphrasing the chant in florid imitation. Yiddish inscription in Hebrew letters, “For my most beloved Barbara.” The anonymous Mein Three monumental manuscripts— traut geselle is one of few three-voice settings in 3154 (“Kodex Leopold”), Leipzig 1494 (“Apel Lochamer, which contains mainly monophonic Kodex”), and Berlin 40021—preserve a wealth melodies, like the popular song of disillusioned of German music from around 1500, including love, Zart lieb wie süß. works by Henricus Isaac, Heinrich Finck, and the lesser known Conrad Rupsch der Singer, The second part of the Lochamer Liederbu- whose Nun bitt wir den haÿligen gaÿst and Maria ch includes the 31 organ intabulations of Con- salve virginum suggest that he could easily have rad Paumann’s Fundamentum organisandi. Born studied with either Isaac of Finck. Adjacent to blind, Paumann was one of the most respected Maria salve virginum, unattributed Hymnize- organists of his day, and his settings of German mus regi altissimo is so close to in style that we lieder like Mit ganczem willen provide insight think it is also likely by Rupsch. In Gottes Na- into the rich tradition of contrapuntal improvi- men fahern wir, one of the favorite chorale tunes sation in fifteenth-century . Paumann both before and after the Reformation, was set also composed florid versions of French chan- by Finck, Isaac, and Paul Hofhaimer, Isaac’s sons, albeit with corrupt titles. For example, colleague and friend and organist to Hapsburg the oddly named Annavasana actually sets the Emperor Maximilian I. French “En avois”. Almost all of the songs in our program The anonymous Zart lieb wie süß enjoyed are Tenorlieder, in which outer voices dress the special popularity, surviving in a three-voice main melody held in the Tenor voice. Isaac’s setting in the Schedel Liederbuch and in the Ach, was will doch bears striking resemblance to melody of a sacred Polish hymn. As a student an anonymous version that sounds suspicious- and doctor, Hartmann Schedel copied many ly like the handiwork of Ludwig Senfl, Isaac’s songs into this manuscript, with scribal er- most famous pupil. Senfl’s Was wird es doch rors that reveal gaps in his musical training. sets a beautiful soaring melody to a dark text, Schedel’s collection shares a number of songs perhaps appropriate in a song about hypocrisy, in common with the Glogauer Liederbuch. The in which sweet smiles hide evil glances. His Es anonymous In feuers hitz so brennet mein Herz taget vor dem Walde begins with the sound of a survives in the Glogauer Liederbuch with the , announcing that the lovers must part sacred contrafactum Mole gravati criminum. before daylight reveals their tryst: “The day is Ach rein zart shares enough traits in common breaking in the woods, the hares will be jump-

18 SFEMS ing shortly, wake up Käterlein, you are mine.” arrangements of popular dances in his Danserye Parallels to this aubade or morning song range remain some of the greatest hits of from Shakespeare’s Romeo and Juliet and the music. Their unusual compositional style prob- Everly Brothers hit, Wake Up, Little Susie. Our ably originated in Susato’s desire to make the variations over Wil niemand singen are inspired music fit on a variety of wind consorts. We have by Senfl, for this charming little folk song sur- been unable to resist playing these dances on vives only because he set it to polyphony. . Our pipes are based on paintings by Pieter Breughel and Albrecht Dürer. Our small Dance played an especially important role bagpipes are based on engravings from Michael in Renaissance society. The basse danse earned Praetorius’ Syntagma musicum, an illustrated its name from its low gliding step that cultivat- dictionary of musical instruments. Their cy- ed a sense of effortless ease. The manuscript of lindrical bores create a sweeter buzzing sound, Marguerite of Austria preserves many of these earning them the moniker “hummelchen” (“lit- dance melodies on black parchment with gold tle bumble bee”). staves and silver notes. Despite its popularity, the only surviving polyphonic setting of Le pe- Praetorius left a large body of sacred compo- tit rouen survives is found in a German manu- sitions for magnificent court choirs in Wolfen- script from the sixteenth century. Our version büttel and Dresden. Yet he is remembered most adds polyphonic voices in a range of fifteenth- for Terpsichore, his toe-tapping compendium century styles—fauxbourdon, florid parallel of Renaissance dances that open and close our tenths, ostinato patterns, and as a simple chord- program. His Pavane d’Espaigne inspires our al dance—a short history of fifteenth-century set of variations over this Spanish ground. We counterpoint in one song. also add variations to Mein junges Leben hat ein Ende, one of the great moral songs of the Dutch Born in Cologne, Tielman Susato earned Reform tradition. Outlining major and minor his reputation in as a successful instru- scales, its melody echoes a text that bids farewell mentalist, music publisher, and composer. His to both joys and sorrows. —Adam Knight Gilbert

2 About Ciaramella 2

Praised for performing intricate fifteenth- Directed by Adam and Rotem Gilbert, century counterpoint “with the ease of jazz from the Program at USC Thorn- musicians improvising on a theme,” Ciara- ton School of Music in Los Angeles, the en- mella brings to life medieval and early Re- semble performs at major festivals throughout naissance music from historical events and the United States, , and Germany. Perfor- manuscripts. Its members are united by the mances have included the Cleveland Museum conviction that every composition conceals a of Art, Bloomington Early Music Festival, rich story waiting to be unlocked through his- Oberlin’s Baroque Performance Institute, the torical research and speculative performance. Society of America, the American Musi- Founded on a core of winds—shawm, sack- cological Society in Seattle, and on early music but, recorder, organ, and voice—Ciaramella series in Cleveland, San Francisco, San Diego, takes its name from the Italian shawm and Houston, Arizona, Early Music in Columbus, from a fifteenth-century song about a beauti- Salt Lake City, Seattle’s Early Music Guild, ful girl whose clothes are full of holes. When the Connecticut Early Music Festival, Am- she opens her mouth, she knocks men flat. (continued on next page)

SFEMS 19 herst Early Music Festival, Renaissance and University of Southern California’s Thornton Baroque Society of Pittsburgh and the Early School of Music. He received his PhD at Case Music Society of the Islands in Victoria, BC. Western Reserve University and taught musi- In 2007 they gave their New York debut at cology for two years at Stanford University. He Music Before 1800 and performed at the Tage was the recipient of the 2008 Noah Greenberg Alter Musik Festival in . Recently Award and co-recipient of the 2014 Thomas the group has performed for Early Music Ha- Binkley Award with his wife Rotem, with waii, and has created a program for Mission whom he directs the ensemble Ciaramella. He San Antonio and Mission Santa Barbara, CA. has performed on recorder, shawm, bagpipes, Ciaramella has designed programs for the Da and other historical woodwinds for years with Camera Society music series “Chamber Music groups including Ensemble for Early Music, in Historic Sites” in Los Angeles, and for the Piffaro, and the Waverly Consort. His research Getty Museum in Los Angeles in coordination includes Renaissance improvisation, composi- with specific exhibits. tion, and symbolism, music and rhetoric, bag- pipes and , and performance practice. Ciaramella released its debut CD Sacred He teaches and performs in the US, Israel, Eu- and Secular Music from Renaissance Germany rope, and Brazil. for Naxos (2006) and Treasures of Burgundy for Yarlung Records (2009). Their recent CD Rotem Gilbert is a native of Haifa, Israel Dances on Movable Ground has earned five stars and a founding member of Ciaramella, an en- in 2014 on the British magazine Early Music semble specializing in music of the 15th and Today, and was picked as Editor’s Choice. In 16th centuries. Ciaramella has performed their review, leading British early music per- throughout the United States, in Belgium, former and scholar Jeremy Barlow lauded its Germany, and Israel, and released a CD on the “expressive fluidity and rhythmic vitality.” Toc- Naxos Label, and two recordings with Yarlung cata listed Ciaramella’s recent CD as Album of Records. Their recent CD Dances on Mov- the Month. “...when these extremely talented able Ground has earned 5 stars by the British musicians begin to play, their liveliness and magazine Early Music Today and was picked freshness is almost palpable. This is not just the Editor’s Choice, lauded for its “expressive dance music; at its best, this is living music, fluidity and rhythmic vitality.” She was a mem- current, non-academic, and certainly not old. ber of Piffaro (1996–2007), and has appeared Dance music was there from the beginning. with many early music ensembles in the United And when it is played like this, the sounds States and in . After studies on recorder of 300 years ago sound as if they were made at Mannes College of Music, she earned her only yesterday.” (Robert Strobl, Toccata-Alte solo diploma from the Scuola Civica di Musica Musik aktuell) In 2014 Ciaramella performed of where she studied with Pedro Memels- a concert of seventeenth-century music in the dorff. She earned her doctorate in Early Music Dutch exhibit at New York’s Metropolitan Mu- performance practice at Case Western Reserve seum of Art, connecting music to paintings of University. She is Associate Professor of musi- Breughel, Vermeer and Rembrandt. The group cology and Early Music USC Thornton School has also performed at the Santa Barbara Mu- of Music. Rotem received the 2012 Dean’s seum of Art, LACMA as well as at the Berkeley Award for Excellence in Teaching at USC and is and Houston Early Music Festivals. the joint recipient (with Adam Gilbert) of Early Music America’s 2014 Thomas Binkley Award Ciaramella is proudly based in Los Ange- for “outstanding achievement in performance les. For more information on the group visit and scholarship by the director of a university www.ciaramella.org. or college early music ensemble.” Rotem can be heard on the Deutsche Grammophon’s Archiv, Adam Knight Gilbert is Associate Profes- Passacaille, Musica Americana, Dorian, Naxos sor and Director of the Early Music Program at and Yarlung labels.

20 SFEMS A native of Los Angeles, Malachai Kom- Timm and Allen Vogel. She has devoted much anoff Bandy has amassed a professional per- of her study at USC to performing new music formance record on some twenty instruments and early music. Aki’s passion for early music spanning over 800 years of music history. He has led her to study performance practice and graduated cum laude with Distinction in Re- period instruments including baroque , search and Creative Work from Rice University’s shawm, and recorder with Adam Gilbert, Shepherd School of Music with Rotem Gilbert and Paul Sherman. She has and music history degrees. Over the past few performed with early music groups including years, Malachai has performed as a violist da Ciaramella, Musica Angelica, Bach Collegium gamba and violonist with The Orpheon Con- San Diego, Harmonia Baroque Players and sort, Ars Lyrica Houston, and Ciaramella. He California Bach Society. She was also awarded is a featured soloist in Bear McCreary’s score a scholarship to attend the American Bach to the film 10 Cloverfield Lane (2016) and Soloists Academy and Vancouver Early Music Emmy-winning title theme for the STARZ Festival where she studied baroque oboe with television series DaVinci’s Demons. After com- Deborah Nagy and has also performed at the pleting a Wagoner Fellowship-funded individ- Berkeley Early Music Festival and the Boston ual course of viola da gamba and organologi- Early Music Festival. cal study with José Vázquez in Austria, , and Switzerland, Malachai began graduate Praised by Mark Swed as “eloquent and studies in Historical Musicology as a Provost serious,” Jason Yoshida specializes in solo and Fellow at the USC Thornton School of Mu- continuo performance on and historical sic in 2015. He is currently creating the first guitars. He has performed with Les Surprises comprehensive aural catalog of the Orpheon Baroques, Angeles Consort, Con Gioia, Co- Foundation’s fifty historical violas da gamba rona Del Mar Baroque Festival Orchestra, (Duino, Italy) with the support of a Presser and the Los Angeles Chamber Orchestra. Yo- Graduate Award (2016). His present scholarly shida accompanied Placido Domingo in the interests include topics pertaining to viola da Los Angeles Opera’s production of Handel’s gamba technique, repertoire, instrument de- Tamerlano. He has played continuo in opera sign, and iconography. productions at UCSB and USC, Hawaii Per- forming Arts Festival, Bach Collegium San Adam Bregman (sackbut) plays historical Diego and the Hawaii Early Music Society. He from every era, with special inter- has performed and recorded with Ciaramella est in medieval, Renaissance and early baroque at the Berkeley Early Music Festival, Metro- music. He is a member of the early brass en- politan Museum of Art, Houston Early Music semble Oltremontano (Belgium). He performs Festival, Getty Museum, Da Camera Society, regularly in Europe and the United States with and in Hawaii, Arizona and San Diego. Yo- ensembles including Piffaro, the Renaissance shida received international recognition for his Band (US), the Huelgas Ensemble (Belgium), CD Mozart Encomium, featuring the world His Majesty’s Sagbutts and (Eng- premiere recording of Christian Gottlieb land), B’Rock Baroque Orchestra (Belgium), Scheidler’s virtuosic “Variations on a theme Capella Cracoviensis (Poland) and, more by Mozart” for baroque lute. Yoshida can be recently, Ciaramella (LA). In August 2016, heard on Ciaramella’s CD Dances on Movable Adam began a PhD in musicology at the Uni- Grounds and recordings released by Radio versity of Southern California. Bremen and Yale University Press. Yoshida received a Bachelor of Music from UC Santa Aki Nishiguchi is an active performer and Barbara, a Master of Music in , educator in the Los Angeles area. She complet- and a Doctor of Musical Arts in early music ed a Doctorate of Musical Arts in oboe perfor- from the USC Thornton School of Music. He mance at the University of Southern Califor- is currently on the faculty of the early music nia where she studied with David Weiss, Joel department at USC. ■

SFEMS 21 PICK THREE OR MORE CONCERTS AND SAVE 15 – 25% Create your own mini-series and take advantage of these outstanding benefits: Priority Seating / Advanced Copies of Program Notes (via email) /Ticket Exchange (call the box office for details 510-528-1725)

October 20/21/22, 2017 Ensemble Handel and His World—Music by Purcell, Handel, and Telemann November 17/18/19, 2017 Ciaramella 1517—German Music Before and After the Reformation January 5/6/7, 2018 Vajra Voices with Shira Kammen and Kit Higginson Winter’s Glad Song—A Medieval & Celebration February 2/3/4, 2018 Agave Baroque with Reginald Mobley Peace in Our Time—Music of the Thirty Years War March 2/3/4, 2018 Les Délices Age of Indulgence—Music from the Eve of an Aesthetic Revolution April 6/7/8, 2018 Wildcat The Magnifick Consort of Four Parts—Fantasies, Suites and Sonatas for Viol Quartet

SPECIAL EVENT: May 4/5/6, 2018 Hana Blažíková, soprano and Bruce Dickey, cornetto Breathtaking—A Cornetto and a Voice Intertwined

THE SAN FRANCISCO EARLY MUSIC SOCIETY P.O. Box 27495, San Francisco, CA 94127 www.sfems.org 510-528-1725