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Home , Baude Cordier, Juventas, Magnus Liber, Missa prolationum, Sequentia (music group)

CAPTURING MUSIC Writing and Singing Music in the THOMAS FORREST KELLY Morton B. Knafel Professor of Music, Harvard University BLUE HERON Scot Metcalfe, direcor SATURDAY NOVEMBER 15, 2014 3 PM & 8 PM Firs Church in Cambridge, Congregational PROGRAM PART 2 at 8 pm Povre secors / Gaude chorus (, early 14th century) BG MB JM Capturing Music Diex qui porroit / En grant dolour (Montpellier Codex) Writing and Singing Music in the Middle Ages JM BG Aucun ont trouvé / Lonc tans (Montpellier Codex) Tomas Forres Kelly Morton B. Knafel Professor of Music, Harvard University JM MB ST Blue Heron Scot Metcalfe, direcor Garrit gallus / In nova fert (, 1314-18) IH MN SM (c. 1300-1377): Biauté qui toutes autres pere PART I at 3 pm OM JM MB Io son un pellegrin (14th century) Introit Ad te levavi OM ST soloist MB (f. 1380s): En atendant, Esperance conforte Introit Resurrexi OM CW SM soloist PT Baude Cordier (f. c. 1400): Belle, bonne, sage, plaisant et gente Alleluya Pascha nostrum MN CW SM soloist PG (c. 1420-1497): , Missa prolationum Hymn Ut queant laxis MN IH JM MB

Leoninus (f. 1180s-1200): Alleluya Pascha nostrum soloist JM Perotinus (f. c. 1200): Alleluya Pascha nostrum soloists MB & ST (Alleluya) / OM & JM (Pascha nostrum) Michael Barret, Brian Giebler, Paul Gutry, Ian Howell, Clausula Latus est (Magnus organi) Owen McIntosh, Jason McStoots, Martin Near, Mark Sprinkle, soloist MS Sumner Tompson, Paul Max Tipton, voices Immolata paschali victima (Magnus liber organi) Charles Weaver, & voice MS JM Scot Metcalfe, director, harp & fddle Sumer is icumen in / Perspice Christicola (c. 1250) MS JM BG MB PG PT Blue Heron is funded in part by the Massachusets Cultural Council, a sate agency.

Blue Heron PO Box 372 Ashland MA 01721 (617) 960-7956 [email protected] www.blueheronchoir.org Q&A session with Tomas Kelly & Scot Metcalfe at 7 PM Capturing Music: notes on performance practice

ecording and performing a program PLAINCHANT must be shaven not to abolition but to a neat curl”). PRONUNCIATION like Capturing Music challenges an described a sort of ornament or Rensemble to fnd its way, in the course Our selections draw from the central Gregorian nuance called a liquescent: “Notes, in fact, become Up until the twentieth century, Latin was of just over an hour’s worth of music, from a repertory as codifed under Carolingian rule liquescent in many places afer the manner of leters, pronounced basically like the vernacular tongue style of singing suitable to plainchant around and writen down all over Europe, perhaps most so that the passing from one note to another in a and sounded quite diferent from place to place the year 900 through Notre Dame organa from famously at the monastery of St. Gall in what is smooth manner does not appear to have a stopping across Europe. Erasmus (a relatively late witness) around 1200, thirteenth-century polytextual now Switzerland. Te St. Gall manuscripts are place.” He adds that the use of liquescence is subject describes how the French used their peculiar “u” , fourteenth-century songs in both writen in neumes that do not specify pitch but to the taste of the singer: “If you should wish in Latin and modifed its accentuation to suit French and Italian, and the music do convey what seems to be a lot of information to perform the note more fully, not making it a their own proclivities; Germans confused “b” of the late fourteenth century, into the sweet about nuances of performance. Virtually all of liquescent, no harm is done; in fact, it is ofen more and “p”; Spaniards were unable to distinguish new style of the early ffeenth and beyond to the precise meaning of this information is lost to pleasing. Indeed, you should do everything that between “b” and “v.” When the French the intoxicating of Ockeghem’s us, and (as Professor Kelly explains in the book), we have said neither too seldom nor too constantly, ambassador addressed the Emperor Maximilian Missa prolationum. Just about every question of the notation that replaced neumes prioritized but with good judgement” (Micrologus, c. 1026- in Latin at a banquet, the Italians thought he was performance practice is raised along the way: the specifcation of pitch over the representation 8). A later writer points out that, of course, you speaking French. Te German who replied was number of performers, pitch, tuning system, of nuance. But the great variety of the neumes can really only learn these things by example, not even less comprehensible, and a Danish orator scoring, pronunciation (of Latin and French, and their elegant and diverse shapes do suggest from notation: “A song, however, is not fully learnt might as well have been speaking Scots, for all over centuries of change, as well as some a varied, perhaps highly ornamented manner through these signs, nor is anyone able to learn it Erasmus could understand. To this regional Italian and even thirteenth-century English), of performance, which must have difered beter by using them, but it is necessary that it be variety, this program adds nearly six centuries and, for the songs at least, the possible wonderfully from place to place. In the ninth heard from another person, and learnt by long of evolution in the vernacular. We have chosen participation of instruments#not to mention century a monk from St. Gall named Notker practice” (Anonymous, Summa musice, c. 1200). a fairly conservative medieval French Latin subtle questions of style. In preparing the Balbulus wrote to another monk named Lantbert, pronunciation for the plainchant, locating it music we have atempted to internalize what explaining the meaning of leters that might be In the absence of medieval singers to teach us by more or less in , with the organa by Masters we know about medieval performance#this, added above the neumes, calling for a number of long practice, we have drawn inspiration from Leoninus and Perotinus of Notre-Dame de Paris too, varies considerably from the ninth to the efects, some of which are easy to interpret (C, the shapes of the neumes, the occasional use of and the motets of the Montpellier codex that ffeenth century#while infusing the music “cito vel celeriter,” quickly; T, “trahere vel tenere,” signifying leters like C and T, the meaning of follow on our concert. Te exception is Ut queant with our own creative energies, as we expect lengthen or hold) and some considerably more the words, the contours of the melodies, and our laxis, sung in an Italianate Latin that Guido of the singers of the past to have done. A few difcult (G, “Ut in guture gradatim garruletur experiences with later-day masters, especially Arezzo might have recognised. notes on some of our choices follow. genuine gratulatur,” “genuinely grants that the Benjamin Bagby and Katarina Livljanic (though note be gargled gradually in the throat”; R, I certainly would not hold them responsible for Our pronunciation of the French songs changes “Rectitudinem vel rasuram non abolitionis sed our performances!). subtly from century to century, refecting what crispationis rogitat,” “requires rectitude: the note we know about the sound of French from c. 1200

4 5 to c. 1400, and proceeds from the assumption that INSTRUMENTS AND VOICES TXTS & TANSLTIONS the declamation of lyric poetry demands a more formal, more artifcial diction than everyday Although the music on this program is primarily, Ad te levavi speech. As Eustache Deschamps put it in his if not exclusively, vocal, the question of L’art de dictier of 1392, “[poetry and music] are instrumental participation does arise once we Ad te levavi animam meam: Deus meus in te confdo: Unto thee do I lif up my soul: O my God, I trus in thee: so consonant with each other, that each one can enter the realm of motets and songs, from the non erubescam: neque irrideant me inimici mei, let me not be ashamed, nor let my enemies mock me. etenim universi qui te expecant, non confundentur. Indeed, let none that wait on thee be confounded. well be called music, as much for the sweetness thirteenth century onwards. I think I am not Vias tuas, Domine, demonsra mihi: et semitas tuas Show me thy ways, O Lord: and teach me thy of the melody as for that of the words that are all oversimplifying the situation much to say that edoce me. paths. pronounced and made distinct by the sweetness we really do not know how untexted lower lines of the voice and the opening of the mouth; and in polyphonic motets or songs were realised Resurrexi it is as if these two were married in a union of between 1200 and 1500, and we probably will not knowledge, through the melodies which are ever know. Some lines, such as the untexted tenor Resurrexi et adhuc tecum sum, aleluia. Posuisi I have risen and even now am with thee, alleluia. more ennobled and beter fting through the text melodies that underlie pieces like Diex qui porroit, super me manum tuam, aleluia. Mirabilis faca es Tou has laid thy hand upon me, alleluia. Ty scientia tua, aleluia. knowledge is become marvellous, alleluia. and the eloquence of the lyrics than they would Aucun ont trouvé or Garrit gallus, or the two lower Domine probasi me et cognovisi me: tu cognovisi Lord, thou has judged me and known me: thou be alone.” parts of Machaut’s Biauté qui toutes autres pere, are sessionem meam et resurrecionem meam. has known my siting down and my rising up. neither vocal nor idiomatically instrumental in Gloria Patri et Filio et Spiritui Sanco, sicut erat in Glory be to the Father and to the Son and to the character and can be equally well performed on principio et nunc et semper et in secula seculorum. Holy Spirit, as it was in the beginning, is now, Amen. and ever shall be, world without end. Amen. NUMBERS OF VOICES a medieval instrument as by a singer, who might choose to vocalise on a single syllable (although Liturgical plainchant, of course, was sung by there is no evidence I know of that suggests the Alleluya Pascha nosrum whoever was in the choir or schola cantorum. Our later solution). On the other hand, details of Aleluya. Pascha nosrum immolatus es Chrisus. Alleluia. Chris our Passover is sacrifced. schola is considerably smaller than the mass of Senleches’s En atendant make the combination of Aleluya. Alleluia. canons and clerics at Notre-Dame de Paris in plectrum lute and harp for the lower parts quite the late twelfh century, but somewhat larger persuasive (the contra’s second note, F sharp, is Ut queant laxis than the cathedral’s ensemble of six soloists sustained into the leading singer’s second note of who specialised in . On the highest F natural, but if the contra is played on lute, the Ut queant laxis resonare fbris So that your servants may freely sing feasts, such as Easter, the occasion on which the F sharp decays, making the clash bitersweet but Mira gesorum famuli tuorum, the wonders of your deeds, Alleluya Pascha nostrum was sung, all six soloists not obnoxious) and “Baude Cordier” may have Solve poluti labii reatum, remove the sain of guilt from their unclean lips, Sance Joannes. O Saint John. participated in the organa, presumably assigning been the professional alias of the Burgundian the one, two, or three virtuosic upper lines to court harpist (“cordier”) Baude Fresnel, who Nuntius celso veniens Olympo, A messenger from Heaven above, announcing single singers, the rest joining their voices to surely would have enjoyed performing his own Te patri magnum fore nasciturum, to your father that you, great one, will be born, Nomen et vitae seriem gerendae reveals in order your name sound the long notes of the plainchant tenor that songs. Ordine promit. and the course of your life. underlay the entire structure. Perotin’s Alleluya Pascha nostrum calls for two distinct pairs of #Scot Metcalfe Sit decus patri, genitaeque proli, Glory be to the Father and to the engendered Son, soloists, one lower, one higher. Et tibi compar utriusque virtus, and to you power equal to both, Spiritus semper, Deus unus, omni everlasing Spirit, one God, for every Temporis aevo. Amen. era of eternity. Amen.

6 )Paul the Deacon (c. 720-c. 799): 7 Vesers hymn to St John the Baptis Immolata paschali vicima mortis exicio. to the desrucion of death. Qui captivos semivivos To captives half-dead Te paschal vicim Immolata a supplicio from torment is sacrifced; paschali vicima vite donat he gives life let the soul be sacrifced: immoletur anima; et secum coronat and crowns them with himself let it be unleavened bread, sit azima, in celi solio. on the throne of heaven. sit expurgata, be purged, reparata renewed pos vetus zima afer the old leaven, Povre secors / Gaude chorus omnium prima. the frs salvation. Exit die tertia, Behold, on the third day TRIPLUM Poor help have I yet received ecce, Ionas intima Jonah emerges Povre secors ai encore recovré from my lady, whom I have served as she willed; ventris angusia. from the inward narrowness of the belly. A ma dame, que j’avoie servi a sa volonté; I’ve found no other reason why she should wrong me Fera Ioseph pessima Joseph having been devoured N’autre reison trovée n’a de moi grever, but that she wishes to be friend to one who can devorata gelima by a wretched beas, his sheaf Fors qu’el veut esre amie a tel, qui li puis doner. give her everything. Alas, she has refused me! adoratur faterna; is worshipped by his brothers’s sheaves; Las, si m’a refusé! But had there been any pity in her, pos tres infma afer three days Mes s’en li eus poin de pité, all my desire would have been fulflled. exit de ciserna. he emerges from the deep pit. Tot mon desir eusse achievé. Sighing, I told her that I would die for love of her. Ignea With faming Sosirant li dis que je morroie por li amer. She replied remota rumphea sword unsheathed Ele resondi that she would not give up the rich man clausra siderea he opens Que ne leroit le riche aler for one more worthy or more sensible. aperit parte latus the heavenly cloiser. May he, his side Por plus vailant ne por plus sené. Ten I began to think perforatus, pierced through, Lors commençai a penser, (but did not say it, in order not to anger her): ut fenesratus be, like a window, Mes ne li dis pas por li aïrer: Lady, were I the pains of love, celo sit meatus. our passage to heaven. Dame, se j’esoie li maus d’amer, Je vos reprendroie, voir; I would seize you, truly, Car dame, qui riens veut valoir for a lady who wants to earn any praise Sumer is icumen in / Persice Chrisicola Dire devroit: “Hé Dieus, a jor de mon aé ought to say, “O God, not one day of my life Ja mauvais m’amour n’avra, shall a bad man have my love, Summer has come: Sumer is icumen in, Ja n’i bet.” nor shall I chase one!” Lhude sing cuccu! sing loudly, cuckoo! Seed grows and meadow blooms Groweth sed and bloweth med DUPLUM And now the wood comes into leaf. And sringth the wde nu, Gaude, chorus omnium Rejoice, chorus of all Sing, cuckoo! Sing cuccu! Fidelium! the faithful! Ewe bleats afer lamb, Awe blete afer lomb, Rosa fagrans, lilium Te fragrant rose, the lily Cow lows afer calf, Lhouth afer calve cu, Convalium of the valley Bullock prances, sag farts. Buluc serteth, bucke verteth, Fert et ofert flium bears and ofers her son Sing merrily, cuckoo! Murie sing cuccu! Ac presentat proprium and today the virgin mother Cuckoo, cuckoo, Cuccu, cuccu, Tantum ofertorium presents her own well do you sing, cuckoo, Wel singes thu cuccu; Virgo mater hodie great ofering, nor do you ever cease now. Ne swik thu naver nu. Novum regem glorie a new king of glory, Deportans in gremium, carrying him in her womb, Observe, worshipper of Chris, Persice Chrisicola Quem Symeon manibus whom Simeon received such graciousness: que dignatio. In ulnis felicibus into his happy arms Te heavenly farmer, Celicus agricola Accipiens and blessed, on account of a defec in the vine, pro vitis vitio Benedixit inquiens: saying: not saring his Son, Filio “Nunc dimitis, Domine, servum tuum “Now, Lord, you send your servant away exposed him non parcens exposuit In pace, nunc et in perpetuum.” in peace, now and for evermore.” 8 9 Diex, qui porroit / En grant dolour Aucun ont trouvé / Lonc tans me sui tenu

TRIPLUM TRIPLUM Diex, qui porroit, quant il vodroit, sanz mal penser Oh God: he who could, whenever he would, Aucun ont trouvé par usage, Some have invented songs out of habit, a s’amie jouer et déporter without worry, play and disort with his love Mes a moi en doune ochoison but I am given incentive by et souvent parler pour raconter and talk ofen with her, seaking Amours, qui resbaudis mon courage, Love, who so flls my heart with joy entr’eus les maus qu’il ont pour bien amer, together of the sufering they endure for loving well, Si que m’esuet faire chançon, that I mus make a song, bien porroit et devroit grant joie mener. could and should indeed feel great joy. Car amer me fait dame bele et sage et de bon renon. for he makes me love a lady fair and wise and of good name. Mes mesdisans dessevrer But slandering tongues separate Et je, qui li ai fait houmage And I, who have sworn m’en font, qui me feront oublier. me from her, and will cause me to be forgoten. Pour li servir tout mon aage to serve her all my life Diex les puis touz agraventer! May God punish them all! De loial cuer sans penser trahison, with a loyal heart, without thought of betrayal, Maint duel amer endurer et sousirer I have had to sigh and endure much biter sorrow Chanterai, car de li tieng un si douz heritage, will sing, for from her I receive so sweet a gif m’ont fait pour leur gengler on account of their gossip, Que joie n’ai se de ce non: that I have no joy save for one: ne nus ne m’en puet conforter and none can comfort me C’es la pensée, que mon douz mal m’asouage, this is the thought that soothes my sweet pain fors la sadete blondete a vis cler. but the charming litle blond with the bright face. Et fait eserer garison, and gives hope for a cure. Ne pour quant suer moi puet clamer hausage Nevertheless, Love may claim supremacy over me MOTETUS Amours et moi tout mon vivant tenir en sa prison. and hold me in his prison all my life long, En grant dolour, In great pain, Ne ja pour ce ne penserai vers li mesrison; nor indeed shall I ever think ill of him for this. en grant paour, in great fear, Tant set soutilment assalir, He knows how to atack so subtly en grant trisour in great sadness k’encontre li defendre ne s’en puet on. that no one can defend himself agains him: et nuit et jour both night and day Force de cors ne plenté de lignage neither bodily srength nor noble lineage sui pour l’amour am I, for the love Ne vaut un bouton, is worth a buton. a la melour of the fnes woman, Et si li plais de raençon And if it pleases him to grant ransom et pour la four, the fower Rendre a son gré, sui pris et l’en fais gage on his terms, I am taken and pledge ce m’es avis, (so I believe) Mon cuer, que je met du tout en abandon. my heart, which I wholly abandon. de toutes celes du pais, of all the women in the land Si proi merci, car autre avantage Tus I pray for mercy, for I have no other resource, dont je parti, which I lef N’ai je ne pour moi nule autre raison. nor any other reason in my favor. quant la guerpi, when I parted from her, mat et esbahi. crushed and abashed. MOTETUS Ahy! mesdisans m’ont trahi, Ah! slanderers have betrayed me Lonc tans me sui tenu de chanter, For a long time I refrained from singing, qui m’ont fait maint grant ennui. and have caused me very great grief. Mes or ai raison de joie mener, but now I have reason to be joyous, Par eus de li eslongiés sui; Because of them I am apart from her; Car boune amour me fait désirer for true love makes me desire mes de vrai cuer li pri par Amours, but with a true heart I pray her, for Love’s sake, La miex ensegnie k’on puis en tout le mont trouver; the bes bred lady whom one can fnd in the whole que de mes dolours that she save me A li ne doit on nule autre comparer, world: none other can be compared with her. me face par tans secours. from my pains by her succour. Et quant j’aim dame si proisie And since I love so highly-prized a lady Bien sache que tous jours You should know that I will always Que grant deduit ai du penser, that I get great pleasure from the thought. son ami serai, be true to her, Je puis bien prouver que mout a savoureuse vie, I can indeed prove that he who loves well tant com je vivrai. so long as I live. Quoi que nus die, en bien amer. leads a mos delicious life, whatever anyone may say.

10 11 Garrit gallus / In nova fert Biauté qui toutes autres pere

TRIPLUM Biauté qui toutes autres pere, Beauty which is peer of all others, Garrit galus fendo dolorose, Te rooser [Frenchman] cries, lamenting sadly, Envers moy diverse et esrange, towards me inconsant and disant, luget quippe galorum concio, Indeed the whole assembly of roosers laments, Doucour fne a mon gous amere, exquisite sweetness, biter to my tase, que satrape traditur dolose, For they have been betrayed by the crafy satrap Corps digne de toute loange, body worthy of all praise, excubitus sedens ofcio. who was supposed to guard them. Simple vis a cuer d’aÿment, innocent countenance with heart of seel, Atque vulpes, tamquam visilio And the fox, like a thief in the night, Regart pour tuer un amant, a glance to kill a lover, in Belial vigens asucia, vigorous with the cunning of Belial, Semblant de joie et de resonse d’esmay joyful appearance and disressing reply de leonis consensu proprio reigns with the full consent M’ont a ce mis que pour amer mourray. have brought me to this, that for love I shall die. monarchisat, atat angaria. of the lion himself. Rursus, ecce, Jacob familia Behold how the family of Jacob Detri d’otri que moult compere, Delay in requiting, which coss dearly, Pharaone altero fugatur; once again fees another Pharaoh: Bel Acuel qui de moy se vange, Fair Welcome who takes revenge on me, non ut olim Iude vesigia no longer able to follow the path of the Jews Amour marrasre et non pas mere, Love, cruel and unnatural mother, subintrare potens, lacrimatur. as before, it weeps. Esoir qui de joie m’esrange, Hope which deprives me of joy, In deserto fame fagelatur, In the desert it is tortured by hunger, Povre secours, desir ardant, poor help, burning desire, adiutoris carens armatura, with no armor to help. Trise penser, cuer sousirant, sad thoughts, sighing heart, quamquam clamat, tamen soliatur, though they cry out yet they are robbed; Durté, desdaing, dangier et refus qu’ay harshness, disdain, danger, and the refusal I receive continuo fordan moritura, soon perhaps to die, M’ont a ce mis que pour amer mourray. have brought me to this, that for love I shall die. miserorum exulum vox dura! harsh is the voice of the wretched exiles, O Galorum garritus doloris, O painful cries of the roosers! Si vueil bien qu’a madame appere So I wish to make it clear to my lady cum leonis cecitas obscura Since the dark blindness of the lion Qu’ele ma joie en doulour change that she changes my joy to grief, faudi paret vulpis proditoris is subjec to the deceit of the treacherous fox, Et que sa bele face clere and that her fair radiant face eius fasus susinens erroris supporting his arrogance by encouraging sin, Me desruit, tant de meschief sange, desroys me, such misfortune do I feel, insurgito: alias labitur rise up! otherwise what is lef Et que je n’ay revel ne chant and that I have neither pleasure nor song, et labetur quod habes honoris, of your honor slips away and will continue to slip away. N’ainsi com je sueil plus ne chant nor do I sing as I used to, quod mox in facinus tardis With only slow avengers it will soon Pour ce qu’Amours, mi oeil et son corps gay for Love, my eyes, and her genteel person ultoribus itur. turn to villainy. M’ont a ce mis que pour amer mourray. have brought me to this, that for love I shall die.

MOTETUS In nova fert animus mutatas dicere formas: My mind is bent to tell of forms changed into new things: Io son un pellegrin draco nequam quem olim penitus that evil dragon, whom glorious Michael once conquered mirabili crucis potencia debelabit Michael inclitus, thoroughly by the miraculous power of the cross, Io son un pelegrin che vo cercando I am a pilgrim who goes seeking mox Absalon munitus gracia, now lives again, armed thanks to Absalom, Limosina, per Dio merce chiamando, alms, calling for mercy in God’s name, mox Ulixis gaudens facundia, now gloating with the eloquence of Ulysses, Et vo cantando con la voce bela, and I go singing with a lovely voice, mox lupinis dentibus armatus, now armed with the teeth of a wolf, Con dolce aseto et cola treça bionda. with sweet asec and golden tresses. sub Tersitis miles milicia, a soldier in the army of Tersites) Nonno se non bordone et la scarsela, Nothing have I save saf and satchel, rursus vivit in vulpem mutatus, he lives again changed into a fox. Et chiamo, et nonne chi mi risonda. and I call, and no one answers me. faudi cuius lumine privatus leo, Deprived of sight by the fox’s tail Et quando andare ala seconda, And jus when I think I’m on course, vulpe imperante paret. the lion, ruled by the fox, obeys. Vento contrario mi vien tempesando. a contrary wind comes and blows up a sorm. Oves suggit pulis saciatus. He sucks the blood of lambs, sated with chickens. Heu! suggere non cessat et aret ad nupcias Alas! he never sops sucking and thirss for a marriage, carnibus non caret. he does not lack for meat. Ve pulis mox, ve ceco leoni! Woe to the chickens, woe to the blind lion! coram Chriso tandem ve draconi. and fnally, before the face of Chris, woe to the dragon.

12 13 En atendant, Eserance conforte THOMAS FORREST KELLY is Morton B. Te vocal ensemble BLUE HERON has been Knafel Professor of Music at Harvard University, acclaimed by Te Boston Globe as “one of the En atendant, Eserance conforte While waiting, Hope comforts where he served as Chair Boston music community’s indispensables” L’omme qui vuolt avoir perfeccion: the man who seeks perfecion: of the Music Department and hailed by Alex Ross En atendant se deduc et deporte, while waiting, she amuses and entertains him, from 1999 to 2004. In 2005 in Te New Yorker for the En atendant li proumet guerredon, while waiting, she promises him reward, he was named a Harvard “expressive intensity” of its En atendant passe temps et sayson, while waiting, time and seasons pass, En atendant met en li sa fance: while waiting, he places his trus in her. College Professor in interpretations. Combining De toulz ces mets es servis a fayson From all these dishes is amply served recognition of his teaching a commitment to vivid Cilz qui ne sceit vivre sans Eserance. the man who cannot live without Hope. of undergraduates. Before live performance with the coming to Harvard he taught at Oberlin study of original source Eserance tient overte la porte, Hope holds open the door Conservatory (where he was the founding materials and historical Adont chascuns puet avoir guarison. through which each may fnd healing. director of the program in Historical Performance performance practice, Eserance es de si noble sorte Hope is of such noble make Que cilz ne doit prendre confusion that he who has her with him and served as acting Dean of the Conservatory), Blue Heron ranges over Qui l’a o soy, et sanz li ne puet on should never come to harm, and without her at the Five Colleges in Massachusets (where he a wide and fascinating repertoire, including Avoir loing temps de playsir habundance: one cannot long enjoy pleasure’s abundance: was the founding director of the Five College 15th-century English and Franco-Flemish Dont prendre assés puet consolacion from which he can take some consolation, Program), and at Wellesley College. polyphony, Spanish music between 1500 and Cilz qui ne sceit vivre sans Eserance. the man who cannot live without Hope. Kelly has also been a Visiting Scholar at King’s 1600, and neglected early 16th-century English College, Cambridge (1976-77) and a Professeur music, especially the rich and unique repertory Pour ce conoy et voy qu’ele m’ennorte Terefore I acknowledge and see that she exhorts me A li tenir, et j’ay cause et rayson to hold to her, and I have cause and reason, invité at the École Pratique des Hautes Études, of the Peterhouse partbooks, copied c. 1540 Quar ja schay bien que s’ele esoit morte for I know well that if she were dead Paris (1998). for Canterbury Cathedral. Blue Heron’s frst Pou y veroit le mien entencion. my intent would come to litle. Born in Greensboro, NC in 1943, Kelly CD, featuring music by , Dont je vos pris en ma conclusion Tus, in conclusion, I beg you atended Groton School and the University of was released in 2007. In 2010 the ensemble Que Bel Acueil priés pour m’alagance: to pray to Fair Welcome for my relief: North Carolina at Chapel Hill. Two years in inaugurated a 5-CD series of Music fom the En atendant suy [sanz] presoncion while waiting I am, without presumption, on a Fulbright grant allowed him to Peterhouse Partbooks. Tree discs have been Cilz qui ne sceit vivre sans Eserance. the man who cannot live without Hope. study organ at the Schola Cantorum in Paris released so far, of music by Hugh Aston, Robert and the Royal Academy of Music. His graduate Jones, Nicholas Ludford, John Mason, and Belle, bonne, sage study was at Harvard (A. M. 1970, PhD 1973). Richard Pygot; volume 4 will be released in He is a Chevalier de l’Ordre des Arts April 2015 and volume 5 in 2016. Blue Heron Bele, bonne, sage, plaisant et gente, Fair, good, wise, pleasing, and noble lady, et Letres of the French Republic and a Fellow has also recorded a CD of music from c. 800- A ce jour cy que l’an se renouvele on this day when the year begins anew of the American Academy of Arts and Sciences 1400 to accompany the book Capturing Music: Vous fais le don d’une nouvele I make you the gif of a new song Dedens mon cuer qui a vous se presente. within my heart, which presents itself to you. and of the American Academy in Rome. He Te Story of Notation by Tomas Forrest Kelly, has held awards from the National Endowment and the ensemble is featured in Tod Machover’s De recepvoir ce don ne soyés lente, Do not be slow to accept this gif, for the Humanities and the American Council Vocal Vibrations, an installation that premiered at Je vous suppli, ma doulce damoysele, I beg you, my sweet young lady) of Learned Societies. His book Te Beneventan Le Laboratoire Paris from March to September Bele, bonne, sage, plaisant et gente, fair, good, wise, pleasing, and noble) Chant (Cambridge, 1989) was awarded the Oto 2014 and opened at Le Laboratoire Cambridge A ce jour cy que l’an se renouvele. on this day when the year begins anew. Kinkeldey Award of the American Musicological on 31. All of Blue Heron’s recordings Car tant vous aim que aileurs n’ay mon entente, For so do I love you that I have no intentions elsewhere, Society for the most distinguished work of have received international critical acclaim and Et sy scay que vous eses seule cele and I know that you alone are she musicological scholarship of 1989. He received volume 1 in the Peterhouse partbooks series Qui fame avés que chascun vous appele whose renown is that everyone calls you a Distinguished Alumnus Award from the made the Billboard charts. Flour de beauté sur toutes excelente. the fower of beauty, excellent above all. University of North Carolina at Chapel Hill in Blue Heron has appeared at the Boston Bele, bonne, sage, plaisant et gente… Fair, good, wise, pleasing, and noble lady… 2005. He is an honorary citizen of the city of Early Music Festival; in New York City at Te Benevento (Italy). Cloisters, the 92nd Street Y, and Music Before ) Translations by Scot Metcalfe, Tomas Forres Kelly, and Lawrence Rosenwald. 14 15 1800; at Dumbarton Oaks in Washington, Hailed as a “faultless high Collage, the Boston Modern Orchestra Project, vocal energy and rhythmic bite” and his “strong D.C., at Festival Mozaic in San Luis Obispo, tenor” (Seatle Times) with and Intermezzo. Paul can be heard on all Blue yet sweet tenor voice” produces the “clearest lines California, and at the Berkeley Early Music “gleaming tones” (South Heron’s recordings, on discs of by and most nuanced performances.” Recent solo Festival. In September 2012, Blue Heron took Florida Classical Review), Sequentia, Kurt Weill’s Johnny Johnson and French engagements include the St. Mathew Passion up a new position as ensemble in residence tenor Brian Giebler is active airs de cour with the , and on with Grand Rapids Symphony, Il ritorno d’Ulisse at the new Center for Early Music Studies at nationwide as both a soloist Emmanuel Music’s Bach CDs. in patria with Opera Omnia and , Boston University. Highlights of the 2013-14 and chamber musician. Brian and the Evangelist in Bach’s St. John Passion with season included a return to Te Cloisters and recently appeared as a soloist Praised by the New York Tucson Chamber Artists. Mr. McIntosh is also debut appearances at the Library of Congress, at in Rachmaninof’s All-Night Daily News for his “rich a core member of the vocal chamber ensembles Yale University, and in Seatle, Kansas City, and Vigil with the Handel Choir of Baltimore, where voice, capable of great Blue Heron, New Vintage Baroque, Gamut, Cleveland. In 2014-15 the ensemble inaugurates he was praised for his “great elegance of tone dramatic force” and San Tucson Chamber Artists, TENET, and Trinity a long-term project to perform the complete and phrasing” (Baltimore Sun). Other recent solo Francisco Classical Voice for Wall Street. works of Johannes Ockeghem and tours to New engagements include Bach’s St. Mathew Passion the “heart at the core of his York, St. Louis, Chicago, and Milwaukee. with Conspirare, Bach’s St. John Passion with soulful sound,” Ian Howell Described by critics as “a gifed young tenor with Tucson Chamber Artists, Mozart’s with has brought his warm and wonderful comedic talents” and an “alluring Michael Barret has collaborated with the Boston the Saganaw Bay Symphony Orchestra, Bach’s seamless tone to performances with Florentine tenor voice,” Jason McStoots has performed Camerata, , Blue Heron, Vox Magnifcat with Seraphic Fire, and his Carnegie Opera, New York City Opera, Opera London, and around the world and the Luminis, Netherlands Bach Hall solo debut singing Haydn’s Missa Sancti most major North American baroque orchestras. US. He garnered critical Society, L’Académie, Seven Nicolai under the auspices of Anton Armstrong Especially sought afer in the works of Bach accolades for his recent Times Salt, and Exsultemus. and the New York City Chamber Orchestra. and Handel, Mr. Howell has recorded for the performances with Les He can be heard on the Currently based in New York City, he is a member American Bach Soloists, Warner Classics, Rhino, Délices: the Cleveland Plain harmonia mundi and Blue of the Grammy-nominated Choir of Trinity Wall and Gothic labels. His debut solo CD, 1685 and Dealer described his singing as “exquisite” and Heron record labels. Mr. Street. With “one of the purest tenor voices” the Art of Ian Howell with Te American Bach said that he “easily flled the room with a sound Barret directs Convivium (DramaIntheHood) “that would make anyone Soloists features repertory by Domenico Scarlati, both rich and dulcet, commanding ears with what Musicum, a chamber choir melt” (BroadwayWorld), Brian recently received J.S. Bach, and G.F. Handel. He can also be heard one suspected was one-tenth of his potential. for , and much critical acclaim as Marius in a regional with the all male chamber choir Chanticleer on Beyond that, he was a fne actor, rounding out this fall serves as guest director of Cantilena, production of Les Misérables. one DVD and eight CDs, including the Grammy heartfelt performances with meaningful gestures a women’s chorus in Arlington. He has taught Award-winning Lamentations and Praises and and facial expressions.” McStoots has appeared courses in conducting, music history, and music Bass-baritone Paul Gutry the Grammy-nominated Our American Journey. with such groups as Boston Lyric Opera, Pacifc theory at Boston University and the Cambridge has performed throughout Mr. Howell teaches vocal pedagogy at the New MusicWorks, Boston Camerata, TENET, San Juan Center for Adult Education, and served as a choral the USA and internationally Conservatory of Music in Boston, where Symphony, Pablo Casals Festival, Tragicomedia, director at Bridgewater State University. With his with Sequentia, Chanticleer, he is completing a Doctor of Musical Arts degree. and the Tanglewood Music Center. He has wife Anney he is co-owner of Te Green Room, the Boston Camerata, and recently appeared as Tabarco in Handel’s Almira a multi-purpose arts studio in Union Square, New York’s Ensemble for A native of remote Northern and in Monteverdi’s Orfeo with the Boston Somerville, where he teaches voice, piano, and Early Music. A founding California, Owen McIntosh Early Music Festival and can be heard on their . Mr. Barret earned an AB in music member of Blue Heron, he has enjoyed a career of Grammy-nominated recording of Lully’s Pysché from Harvard, an MM in choir conducting has also appeared in and diverse musical endeavors and newly released discs of music of Charpentier from Indiana University Jacobs School of Music, around Boston as soloist from bluegrass to reggae, and John Blow. Also a voice teacher and stage and a diploma in Baroque and Classical singing with Emmanuel Music, the Handel & Haydn heavy metal to art song, and director, he teaches at Brandeis University, from the Royal Conservatory in Te Hague. He is Society, the Boston Early Music Festival, the opera to oratorio. Heralded where he recently restarted the dormant opera currently working on his doctoral dissertation in Tanglewood Music Center, Cantata Singers, by critics as “stylistically workshop project. choral conducting at Boston University. Boston Cecilia, Prism Opera, Boston Revels, impeccable,” he “sings with

16 17 Scot Metcalfe has gained that not even dogs could hear.” He was the Praised for his “elegant soloist with Conspirare (Austin), Bach Collegium wide recognition as one of countertenor soloist in the premiere performance style” (Te Boston Globe), San Diego, TENET, Ars Lyrica (Houston), New North America’s leading of Dominick DiOrio’s Stabat mater with Juventas Sumner Tompson is one Trinity Baroque (Atlanta), and the Oregon specialists in music from New Music Ensemble, sang the role of Hamor of today’s most sought-afer Bach Festival, and is the baritone soloist on the the ffeenth through in Handel’s Jephtha with Boston Cecilia, and tenors. His appearances on 2012 Grammy-nominated recording of Brahms’s seventeenth centuries and was noted for his “fne work” in Buxtehude’s Heut the operatic stage include Requiem with Seraphic Fire (Miami). Recent beyond. Musical and artistic triumphieret Gotes Sohn with Boston Baroque. roles in the Boston Early engagements include Briten’s War Requiem, director of Blue Heron, he He sings regularly with Emmanuel Music, Music Festival’s productions of Conradi’s Ariadne Monteverdi’s Vespers of 1610, Bloch’s Sacred is also music director of Boston Baroque, and the Handel & Haydn (2003) and Lully’s Psyché (2007) and several Service, the title role in Mozart’s Don Giovanni, New York City’s Green Mountain Project (Jolle Society. Mr. Near has also worked as a recording European tours with Contemporary Opera the Station Master in Paul Crabtree’s Te Ghost Greenleaf, artistic director), and has conducted producer and was Music Director of Exsultemus Denmark as Orfeo in Monteverdi’s L’Orfeo. He Train, and all of Bach’s motets with the Bach the Handel & Haydn Society, TENET, Emmanuel from 2009 to 2012. has performed across North America as a soloist Collegium Japan. Mr. Tipton is a graduate of Yale Music, the Tudor Choir and Seatle Baroque, with Concerto Palatino, Tafelmusik, Apollo’s University’s Institute of Sacred Music, where he Pacifc Baroque Orchestra, Quire Cleveland, Tenor Mark Sprinkle’s Fire, Les Boréades de Montréal, Les Voix was mentored by tenor James Taylor, and of the and Early Music America’s Young Performers singing has been described Baroques, Pacifc Baroque Orchestra, the King’s University of Michigan School of Music, where hs Festival Ensemble. Metcalfe also enjoys a career as “expressive,” “very Noyse, Baroque, and the symphony studied with George Shirley and Lureta Bybee. as a baroque violinist, playing with with Les rewarding,” “outstanding,” orchestras of Charlote, Memphis, and Phoenix. In 2012 Mr. Tipton was made a Lorraine Hunt- Délices (dir. Debra Nagy) and other ensembles. “vivid,” and “supremely Recent highlights include Monteverdi’s Vespers Lieberson Fellow at Emmanuel Music. He teaches vocal ensemble repertoire and stylish.” He has collaborated of 1610 and a new Vespers of 1640 with the Green performance practice at Boston University and is with the Boston Early Mountain Project, Buxtehude’s Membra Jesu Nostri Charles Weaver performs on early plucked-string at work on a new edition of the songs of Gilles Music Festival, the Boston with Les Voix Baroques and Houston’s Mercury instruments as a recitalist Binchois (c. 1400-1460). Metcalfe received an Camerata, the Mark Morris Baroque, Mozart’s Requiem at St. Tomas Church and as an accompanist. AB from Brown University, where he majored Dance Group, Emmanuel Music, Boston Baroque, in New York City, a tour of Japan with Joshua Chamber music appearances in biology, and an AM in historical performance the Handel & Haydn Society, and many others, Rifin and the Cambridge Concentus, a return include Early Music New practice from Harvard. performed at festivals in Bergen (Norway), to the Carmel Bach Festival, and Briten’s War York, Hesperus, Pifaro, Vancouver, Edinburgh, and Aldeburgh (UK), Requiem with the New England Philharmonic and Parthenia, Chamber Music Countertenor Martin Near began his professional and worked as a soloist and ensemble singer several guest choruses. Society of Lincoln Center, singing life at age ten in under Seiji Ozawa, Christopher Hogwood, the Folger Consort, TENET, the choir of men and boys William Christie, Roger Norrington, John Described by Te Atlanta Journal-Constitution as ARTEK, and Musica Pacifca. He is on the faculty at Saint Tomas Fifh Nelson, Andrew Parrot, Grant Llewellyn, and a dignifed and beautiful singer, bass-baritone of the Juilliard School, the City University of Avenue in New York Craig Smith. He has appeared as a soloist with Paul Max Tipton enjoys an active career in New York Graduate Center, and the New York City, advancing to Head Concerto Palatino and has sung the Evangelist in opera, oratorio, and chamber music. Mr. Tipton’s Continuo Collective, an ensemble of players Chorister. He now enjoys Bach Passions with the Handel & Haydn Society, repertoire ranges from Schütz and Monteverdi and singers exploring the poetic and musical a varied career exploring the Boulder Bach Festival, the Oriana Singers to Briten and Bolcom, with antecedents of opera in semester-length workshop his twin passions for early of Vermont, Seraphim Singers, Boston’s Chorus his interpretations of Bach’s productions. He has taught at the Lute Society music and new music. Mr. Near recently sang Pro Musica, and the Andover Choral Society, passions being acclaimed in of America Summer Workshop in Vancouver, in the solo quartet of Arvo Pärt’s Passio with among others. Mr. Sprinkle was a member of the particular for their strength British Columbia, the Western Wind Workshop the Boston Modern Orchestra Project, and Cambridge Bach Ensemble and a fellow of the and sensitivity. He has in ensemble singing, and the Yale Baroque Opera together with soprano Margot Rood was noted Briten-Pears School and has recorded for Dorian, recently appeared with the Project. He is also assistant director of the St. for producing “an ear-boggling array of close- Koch, Harmonia Mundi, Decca, Arabesque, and symphonies of San Antonio, Grand Rapids, Mary’s Student Schola program in Norwalk, CT, harmony sonorities...seemingly generating Telarc. Lincoln, and Stamford CT, with the Orchestra of teaching and renaissance music overtones and wave-interference paterns St. Luke’s, and with the New York Philharmonic theory to children. as part of their frst Bach Festival. He has been a 18 19