Ockeghem@600 | Concert 8 Cuiusvis toni A mass on whatever tone you please

Thursday, October 11, 2018 St. Cecilia Parish, Boston

Saturday, October 13, 2018 First Church in Cambridge, Congregational Ockeghem@600 | Concert 7 Missa Cuiusvis toni A Mass on whatever A somewhat older composer was Okenheim, also a Belgian, who is tone you please said to have excelled everyone in this cantus skill [of writing canons]. Indeed, he Margot Rood During his lifetime, Anonymous (Chigi Codex) is known to have composed a certain Martin Near was esteemed as one of the greatest Ave rosa speciosa / Beata mater • mr om jm sr dm pg chatering song in 36 voices. We tenor & contratenor musicians in Europe, perhaps the very have not seen it. He was certainly Owen McIntosh greatest. Writing in the 1470s, the theorist admirable in invention and keenness Jason McStoots Johannes Ockeghem (c. 1420-1497) Johannes Tinctoris placed him at the head of skill. He also loved the catholica Missa Cuiusvis toni Stefan Reed in song, that is, songs composed Sumner Tompson of a select group of modern composers so that they could be sung in many on mi, re & ut whose works “exhale such sweetness that Gloria on ut bassus ways according to the will of the Gloria & on mi Paul Gutry in my opinion they are to be considered singers, yet so that the relationship David McFerrin most suitable, not only for men and heroes, of the harmony and the consonances but even for the immortal gods.” But would be observed no less… Scot Metcalfe intermission within a generation his star had fallen and director & harp Tis Okenheim composed a Missa his music, at once astonishingly complex ad omnem Tonum (for so he called and enchantingly sensuous, had come to Ockeghem it), although it is to be sung upon seem unpleasingly learned, overfull of Se vostre cuer eslongne moy a tort • MN ST SM three solmisation syllables only, compositional artifce. Most of his works corresponding to the three species Anonymous (Leuven chansonnier) had completely disappeared from view; of fourth. No clef is placed at the Escu d’ennuy • om dm pg the handful that remained known to a few beginning, but only a circle with a question mark indicating either a Anonymous (Leuven chansonnier) savants were those whose incomparable line or a space. We decided to present Donnez l’aumosne, chiere dame • mr om jm pg technical virtuosity might still command one Kyrie, so to speak, of this Mass, Ockeghem respect, if not love. so that the reader may see that the tenor can begin on ut, re, or mi. S’elle m’amera / Petite Camusecte • MN OM SR DM SM Ockeghem@600 is Blue Heron’s long-term projec to perform Heinrich Glarean, writing in the middle the complete works of Johannes of the sixteenth century, relegated Heinrich Glarean, Dodecachordon Ockeghem Ockeghem in a series of concert Ockeghem (whom he knew as Okenheim, (Basel, 1547), bk. 3, ch. XX, p. 454 Missa Cuiusvis toni programs presented between 2015 and 2021. Professor Sean just one of the many versions of the on mi Te passage requires some explanation. Agnus dei on mi Galagher joins Blue Heron as composer’s name that may be found in Agnus dei on ut adviser for the entire projec. early sources) to the status of a footnote First Glarean refers to Ockeghem’s skill to his ecstatic treatment of Josquin, the at writing canons, mentioning a 36-voice Pre-concert talk in Cambridge by Sean Galagher (New England anointed master of the next generation. canon which he has not seen. (Indeed, no Conservatory of Music). Glarean was nevertheless able to put his such piece is known to exist, although fnger on the key to understanding the a motet for 36 voices is praised in the Missa Cuiusvis toni, one of the few works Déploration composed by Guillaume Blue Heron is funded in part by the Massachusets Cultural Council, a state agency. that preserved something of Ockeghem’s Crétin not long afer Ockeghem’s death.) reputation ffy years afer his death. He tells us that Ockeghem loved a type Blue Heron 950 Watertown St., Suite 8, Wes Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 of music called a catholikon which might A fourth-species is a scale segment of four So the Missa Cuiusvis toni is a piece of music built on the ffh degree of the scale, which be sung in various ways (modi). (As an notes; there are three species of fourth designed to work in three diferent “keys” is extremely common in the modes on ut example he provides the song Prenez sur which are distinguished by their internal built on the tones ut, re, or mi, using three or re, is impossible in the mode on mi, for moy, a three-voice canon at the upper structure of whole tones and semitone. (In diferent scales. Yes, three! Here is one way in mi the ffh above the ffh is diminished: fourth in which each part sings in a this instance “tone” means melodic interval, in which 15th-century harmony is richer that is, if your fnal mi is the note E, its ffh diferent mode.) Ten he describes the Tinctoris’s frst defnition.) Fifeenth- than later systems. Te harmonic system degree is the note B, and the ffh above that Missa ad omnem Tonum or “Mass on any century musicians conceived these scale with which we are familiar uses basically is F natural, making a diminished ffh. As tone”Lthe Mass transmited in two late paterns in terms of the solmisation syllables two modes, major and minor, so labelled a result, a cadence progressing from a triad 15th-century sources as Missa Cuiusvis ut-re-mi-fa-sol-la, the ancestors of our do- according to the type of third in the scale. on the ffh degree to a sonority on the fnal toni or “Mass on whatever tone you please.” re-mi. Note that these syllables are not But before the seventeenth century music cannot be writen in a “mass on any tone” linked to a specifc pitch or note, but rather could be writen in three distinct modes and never occurs in the Missa Cuiusvis Now, tonus or tone is one of those musical tell you where the lone semitone occurs (at least) which are characterized not just toni. One consequence of this and other terms with a confusingly large number in the six-note patern: mi-fa is always a by the variety of the third degree, but by restrictions placed upon the harmony is of meanings. According to Tinctoris semitone; the other steps are whole tones. the intervallic patern of the whole scale, that the music, because it must function (Terminorum musicae difnitorium, c. Ascending from ut one sings the four notes including the possibility of a semitone in three drastically diferent modes, does 1494), “Tonus has four meanings. It may ut-re-mi-fa following the interval patern above the fnal, where both major and not conform to the norms of any one of signify coniunctio [a melodic interval of a tone-tone-semitone, constituting the frst minor scales have a whole tone. It is easiest those modes, but inhabits its own strange second], discordantia [a harmonic discord species of fourth (C-D-E-F, for example, to think of the three possible modes in worldLand yet Ockeghem, as he so ofen of a second], intonatio [i.e. the beginning of or G-A-B-C); the second species, starting which the Missa Cuiusvis toni might be does, manages to create music of arresting a melody], or tropus [a manner of singing, from re, is re-mi-fa-sol in the patern tone- sung as scales built on C, D, or E, using only beauty while surmounting the most i.e. one of the modes].” Glarean makes semitone-tone (e.g. D-E-F-G); and the the white notes of the piano. difcult technical challenges. Just one it clear that he has the third meaning third, from mi, mi-fa-sol-la, semitone-tone- astonishing feature of the mass is that it in mind, which Tinctoris subsequently tone (e.g. E-F-G-A). According to Glarean, A word of caution: this is not “transposition” sounds so uterly diferent in each mode clarifes: “Tonus est cantus intonatio: Tone although Ockeghem’s Mass bears the title in the modern sense, in which a piece that the uninitiated listener might never is the beginning of a song.” So the “tone” “on any tone,” it should be sung on three is moved from one key to another, like realise that she is hearing the same music, that establishes how the Missa cuiusvis tones only: “the tenor can begin on ut, re, or C major to G major, changing the note transformed by modal transposition. toni will be sung is the frst note of the mi.” In fact, all four parts of the Kyrie start names while maintaining the structure song. Glarean specifes that he is referring on the same note, and the tenor also ends of the scale and the harmonies. In this It is perhaps not surprising that the Missa the frst note of the tenor partLthe part on the same note, which is the fnal or home case the note names and pitches are Cuiusvis toni, apparently an experiment traditionally regarded as the primary sonority of the pieceLin modern terms, its unspecifed and, in fact, irrelevant: what without precedent, seems not to have determinant of the mode of a polyphonic “key.” And as far as Glarean was concerned, changes is the patern of intervals in the inspired any imitations. piece. Finally, Glarean notes that not every the three fnals ut, re, and mi were the only scale above the fnal. starting note is possible, but that the tone possible fnals for a piece of music: “Every must be chosen from the three tones sung song ends either on re or on mi or on ut,” he A “Cuiusvis toni” scheme imposes severe Ave rosa speciosa to the solmisation syllables ut, re, and mi, says elsewhere in his book. technical constraints. Some harmonies corresponding to the lowest note of each that are possible in one mode are not We open the concert with an anonymous of the three fourth-species. possible in another. For example, a triad work transmited only in the so-called

4 5 “ one of the most important Chigi Codex, a monumental manuscript all but the frst strophe. Our friend and early choral projects volume copied around 1500 in the colleague Fabrice Fitch, a musicologist of our time ” Burgundian Netherlands which is the and composer now living in Scotland, has EARLY MUSIC REVIEW (UK) principal extant of source of Ockeghem’s supplied the missing strophes so that we masses, as well as the motets of his may sing this marvellous rondeau in its THE LOST MUSIC OF CANTERBURY 5 CD SET contemporary Johannes Regis (c. 1425- complete form. MUSIC FROM THE PETERHOUSE PARTBOOKS Restored by Nick Sandon 1496). Tose who have atended earlier Escu d’ennuy and Donnez l’aumosne are concerts in our series Ockeghem@600 found uniquely in the Leuven Chansonnier, may well recall Regis as the composer of a small songbook, most likely copied in Clangat plebs, Lauda Syon, Celsitonantis the Loire Valley in the 1470s, that was ave genitrix, or O admirabile commercium, rediscovered in an auction in Brussels all motets for fve voices notable for their just four years ago and is now held by the irresistible forward momentum and Alamire Foundation in Leuven, Belgium. brilliant, sonorous harmony. (Blue Heron Te texts of both are striking, Escu d’ennuy has performed all but one of Regis’s motets for its heraldic imagery, Donnez l’aumosne that survive complete; the last will feature for its portrait of the lover as a pilgrim in an upcoming program in the series begging alms from his lady. Te later song and we plan to record them all along with lacks one short strophe, and again we are Ockeghem’s.) Te six-voice Ave rosa speciosa grateful to Fabrice Fitch for composing a has many features in common with motets most fting substitute. ascribed to Regis, including its multiple texts, innovative use of tenor cantus frmi S’elle m’amera / Petite camusecte reveals a (here there are two tenors in canon), and playful side of Ockeghem one might not The 5-CD boxed set The Lost Music of Canterbury: Music from the Peterhouse carefully calculated deployment of its have suspected from this most profound, Partbooks is the capstone of a landmark project of international musical significance which presents extraordinary music from the last generation of medieval Catholicism forces for the maximal efect in sonority serious, and skilled musician. Of course, in England. Judged by this music, Catholic culture remained vital and confident during and direction. It was surely writen by a Ockeghem’s wit, like Bach’s, is far from this turbulent period. composer who knew Regis’s music very casually constructed, but is rather the The fifth disc in the series was recognized with the well; many authors have wondered if it product of some very clever : Gramophone Award for Early Music 2018, making might be by Regis himself. note, for example, the imitative Blue Heron the first North American ensemble to have won relationships between the three lower the Early Music Award in the 41 years it has been given. voices, singing the slightly risqué text The set includes mostly world-premiere recordings and features masses by Nicholas Songs about Robin and Marion and their stroll Ludford, antiphons by Hugh Aston and Richard Pygott, the complete surviving works into the woods, or the way the uppermost of Robert Jones (an early 16th-century musician, not the lute-song composer of the Elizabethan era) and the gifted though previously completely unknown composers Te remainder of the program consists voice, singing the rondeau “S’elle m’amera,” Hugh Sturmy and Robert Hunt, and all but one of the surviving works of John Mason. of four songs. Te frst, Ockeghem’s Se derives much of its melodic material from The missing tenor parts (and, where needed, the treble parts) have been supplied by Nick Sandon, who has dedicated much of his professional life to the Peterhouse part- vostre cuer, survives in just two sources, that of the lower three. books, which were copied for Canterbury Cathedral in 1540 and are now named for the one without any text and the other lacking LScot Metcalfe college currently housing them, Peterhouse Cambridge.

6 LOOK FOR IT ON AMAZON.COM OR WHEREVER YOU GET YOUR MUSIC TEXTS & TRNSLATIONS tenor i & ii Beata mater et innupta virgo, gloriosa regina Blessed mother and unwed virgin, glorious Ave rosa speciosa, Hail, beautiful rose, mundi, intercede pro nobis ad dominum. queen of the world, intercede for us with the ave Jesse virgula, hail, staf of Jesse, Alleluia. Lord. Alleluia. cuius fructus nostri luctus whose fruit loosened relaxavit vincula. the chains of our mourning. additional text in bass i & ii Ave cuius viscera Hail, whose womb Ave regina celorum, Hail, Queen of Heaven, contra mortis federa brought forth a son ave domina angelorum, hail, Lady of Angels, eduxerunt flium. against the law of death. pro nobis ad Dominum semper exora. pray to the Lord for us forever. Ave carens simili, Hail, O one lacking comparison, Ave virgo sanctissima. Hail, most holy virgin. mundo diu febili you restored joy Ora pro nobis ad flium. Pray for us to your son. reparasti gaudium. to the long-wretched world Ave virginum lucerna Hail, lamp of virgins, Sequence Ave mundi spes Maria, strophes 3-11, 13. Cantus frmus: Beata mater et innupta virgo (antiphon at Mass, per quam fulsit lux superna through whom the heavenly light shone Feast of the Purifcation of the BVM). Additional text: Ave regina celorum (Marian antiphon, Purifcation to his quos umbra tenuit. on these whom shadow holds. Wednesday of Holy Week). Ave virgo de qua nasci Hail, O virgin from whom et de cuius lacte pasci the king of heaven wished to be born, rex celorum voluit. and from whose milk he wished to be fed. Ave gemma celi luminarium. Hail, gem of the lamps of heaven. Ave sancti spiritus sacrarium. Hail, sanctuary of the Holy Ghost. Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, O quam mirabilis O, how wonderful have mercy. et quam laudabilis and how praiseworthy hec est virginitas is this virginity, In qua per spiritum Made through the Holy facta paraclitum Spirit, in which , et in terra pax Glory to God in the highest, and on earth fulsit fecunditas. shone fruitfulness. hominibus bone voluntatis. Laudamus te. peace to all of good will. We praise you. We O quam sancta, quam serena, O how holy, how serene, Benedicimus te. Adoramus te. Glorifcamus bless you. We adore you. We glorify you. quam benigna, quam amena how benefcient, how pleasant te. Gratias agimus tibi propter magnam We give thanks to you for your great glory. esse virgo creditur the virgin is to be believed, gloriam tuam. Domine deus, rex celestis, Lord God, heavenly king, almighty God the Per quam servitus fruitur Trough whom servitude is fnished, deus pater omnipotens. Domine fli Father. Lord Jesus Christ, only begoten Son. porta celi aperitur the gate of heaven opened, unigenite, Jesu Christe. Domine deus, agnus Lord God, lamb of God, Son of the Father. et libertas redditur. and liberty restored. dei, flius patris. Qui tollis peccata mundi, Who takes away the sins of the world, have O castitatis lilium, O, lily of chastity, miserere nobis. Qui tollis peccata mundi, mercy on us. Who takes away the sins of tuum precare flium pray to thy son, suscipe deprecationem nostram. Qui sedes the world, receive our prayer. Who sits at qui salus est humilium, who is the salvation of the humble, ad dexteram patris, miserere nobis. Quoniam the right hand of the Father, have mercy on Ne nos pro nostro vitio, Lest we through our fault, tu solus sanctus, tu solus dominus, tu solus us. For you alone are holy, you alone are the in febili judicio in the tearful judgment altissimus, Jesu Christe, cum sancto spiritu Lord, the Most High, Jesus Christ, with the subjiciat supplicio. sufer punishment. in gloria dei patris. Amen. Holy Spirit in the glory of God the Father. Sed nos tua sancta prece But through your holy prayer, Amen. mundans a peccati fece purifying from the dregs of sin, collocet in lucis domo. place us in a home of light. Amen dicat omnis homo. Let every man say Amen. Amen. Amen.

8 9 Credo in unum deum, patrem I believe in one God, the Father almighty, Le demourant vous quite aussi le blasme, Tus others will not blame you, omnipotentem, factorem celi et terre, maker of heaven and earth and of all things Car evader ne puis a male mort] for I cannot escape a bad death visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord Jesus unum dominum Jesum Christum, flium dei Christ, the only Son of God, eternally Se vostre cuer eslongne moy a tort… If your heart wrongfully departs from me… unigenitum: et ex patre natum ante omnia begoten of the Father. God from God, Missing strophes by Fabrice Fitch. secula. Deum de deo, lumen de lumine, Light from Light, true God from true God. deum verum de deo vero. Genitum non Begoten, not made; of one being with the factum, consubstantialem patri: per quem Father, through whom all things are made. For Escu d’ennuy, semé de plours, Shield of afiction, strewn with tears, omnia facta sunt. Qui propter nos homines us and for our salvation he came down from Borde de saible et de feblesse, bordure of sable and feebleness, et propter nostram salutem descendit de Heaven. He was born of the Holy Spirit and Ung cueur pale de grant tristesse : a heart pale with great sadness: celis. Et incarnatus est de spiritu sancto ex the Virgin Mary, and was made man. He was Telz armes porte je Amours. such arms do I, Love, bear. Maria virgine: et homo factus est. Crucifxus crucifed for our sake under Pontius Pilate, etiam pro nobis sub Pontio Pilato: passus died, and was buried. On the third day he Timbre de piteuses clamours, Helm of piteous cries, et sepultus est. Et resurrexit tertia die rose again, in accordance with the Scriptures. Couronne d’amere aspresse, crown of biter asperity, secundum scripturas. Et ascendit in celum: He ascended into heaven and is seated at the Escu d’ennuy, semé de plours, Shield of afiction, strewn with tears, sedet ad dexteram patris. Et iterum venturus right hand of the Father. He will come again Borde de saible et de feblesse bordure of sable and feebleness est cum gloria judicare vivos et mortuos: to judge both the living and the dead, and his cujus regni non erit fnis. Et in spiritum kingdom shall have no end. And I believe in Ordonnez, las! m’avez tousjours, have you assigned me, alas! forever, sanctum dominum et vivifcantem qui ex the Holy Spirit, the Lord, the giver of life, who Ma tresbelle dame et maistresse. my most beautiful lady and mistress. patre flioque procedit. Qui cum patre et proceeds from the Father and the Son, who Criez harou ou quel destresse Cry for help in this distress flio simul adoratur et conglorifcatur: qui with the Father and Son is worshipped and Au langoreux plain de dolours. on the woeful plain of sufering! locutus est per prophetas. Et unam sanctam glorifed, who has spoken through the prophets. Escu d’ennuy, semé de plours… Shield of afiction, strewn with tears… catholicam et apostolicam ecclesiam. And I believe in one holy, catholic and Confteor unum baptisma in remissionem apostolic church. I confess one baptism for the Escu, semé, borde, saible, cueur, timbre, and couronne peccatorum. Et expecto resurrectionem forgiveness of sins. And I await the resurrection are heraldic terms. mortuorum, et vitam venturi seculi. of the dead, and the life of the world to come. Amen. Amen. Donnez l’aumosne, chiere dame, Give alms, dear lady, Au pouvre cueur requerant grace : to the poor heart seeking grace. Se vostre cuer eslongne moy a tort If your heart wrongfully departs from me Voustre charité, las! luy face May your charity, for pity’s sake, do him Et que de vous je n’ay plus [nul] confort and I receive no more comfort from you, Du bien pour Dieu et Noustre Dame. good, for the sake of God and Our Lady. Je prendray lors sur Dieu et sur mon ame then I will swear to God upon my soul Qu’en ce monde vous ne trouverés ame that in this world you’ll not fnd another soul Pelerin alant a sainct Jame A pilgrim going to Saint James Qui mains [que moy] vous voulsist faire tort. who wishes to do less harm to you than I. Est qu’ainsi passant se pourchace : is he, begging along the way: [Je cognoys bien que pour un faulx rapport I know well that on account of a false report [Accordez luy ce que reclame [Bestow upon him what he seeks Vous arrestez a ce cruel deport, you insist on this cruel separation, Pour garir l’ame pouvre et lasse.] to heal his poor, weary soul.] Mais derechief vous fais serment ma dame:] but once again I take an oath to you, my lady: Octroyez sans plus une dragme Grant without further delay a penny Se vostre cuer eslongne moy a tort If your heart wrongfully departs from me De voustre amour, helas! a ce, of your love, alas! to him, Et que de vous je n’ai plus nul confort and I receive no more comfort from you, Que pour vous prie en toute place : so that he pray for you everywhere: Je prendray lors sur Dieu et sur mon ame then I will swear to God upon my soul Ce vous sera merite a l’ame. this will win merit for your soul. [Que se pitié en vostre ame s’endort that if in your soul pity is asleep Donnez l’aumosne, chiere dame… Give alms, dear lady… Tiendray pour seur que ne soyons d’accort I will be sure that we are no longer united Et que bien tost perdray celle que j’ame. and that soon I will lose her whom I love. Missing strophe by Fabrice Fitch. 10 11 S’elle m’amera je ne scay, If she will love me I know not, ABOUT THE ARTISTS Mais je me mectray en essay but I shall make an atempt D’acquerir quelque peu sa grace. to gain, in some small measure, her favor. Force m’est que pars la je passe, I am forced to go that route: Ceste fois j’en feray l’essay. this time I shall atempt it. L’autre jour tant je m’avençay Te other day I advanced so far Que presque tout mon cuer lessay that I almost let my whole heart Aller sans que luy demandasse. go, without asking anything of her in return. S’elle m’amera je ne scay, If she will love me I know not, Mais je me mectray en essay but I shall make the efort D’acquerir quelque peu sa grace. to gain, in some small measure, her favor. Puis apres le cop m’en pensay Ten afer that try I thought to myself Que lonc temps a que ne cessay that for a long time I hadn’t stopped loving her, Ne ne fut que je ne l’amasse. nor did I ever not love her. Blue Heron has been acclaimed by Te in Montreal (September) and Vancouver Mais c’est ung jeu de passe-passe: But it’s a game of sleight of hand: Boston Globe as “one of the Boston music (March). Blue Heron has been in residence J’en suis comme je commençay. I’m right where I started! community’s indispensables” and hailed at the Center for Early Music Studies at S’elle m’amera je ne scay… If she will love me I know not… by Alex Ross in Te New Yorker for its Boston University and at Boston College, and “expressive intensity.” Commited to vivid live has enjoyed collaborations with A Far Cry, Petite camusecte, Litle snub-nose, performance informed by the study of original Dark Horse Consort, Les Délices, Parthenia, A la mort m’avez mis. you have brought me to death’s door. source materials and historical performance Pifaro, and Ensemble Plus Ultra. In 2015 the Robin et Marion Robin and Marion practices, the ensemble ranges over a wide ensemble embarked on Ockeghem@600, a S’en vont au bois joly, go of to the green wood, repertoire from plainchant to new music, with multi-season project to perform the complete Ilz s’en vont bras a bras, they go of arm and arm, particular specialities in 15th-century Franco- works of Johannes Ockeghem (c. 1420-1497) Ilz se sont endormis. they have fallen asleep. Flemish polyphony and early 16th-century and record all of his songs and motets. Volume Petite camusecte, Litle snub-nose, English sacred music. I of the songs will be released in the spring of A la mort m’avez mis. you have brought me to death’s door. 2019. Te project will wind up around 2021, Founded in 1999, Blue Heron presents a in time to commemorate the composer’s circa- concert series in Cambridge, Massachusets, 600th birthday. Sanctus, sanctus, sanctus, dominus deus sabaoth. Holy, Holy, Holy, Lord God of hosts. and has appeared at the Boston Early Music Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory. Festival; in New York City at Music Before Blue Heron’s frst CD, featuring music by Osanna in excelsis. Hosanna in the highest. 1800, Te Cloisters (Metropolitan Museum Guillaume Du Fay, was released in 2007. Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the Lord. of Art), and the 92nd Street Y; at the Library Between 2010 and 2017 the ensemble issued Osanna in excelsis. Hosanna in the highest. of Congress, the National Gallery of Art, a 5-CD series of Music fom the Peterhouse and Dumbarton Oaks in Washington, D.C.; Partbooks, including many world premiere Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the at the Berkeley Early Music Festival; at Yale recordings of works copied c. 1540 for miserere nobis. world, have mercy on us. University; and in Chicago, Cleveland, Kansas Canterbury Cathedral. Te ffh CD was Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the City, Milwaukee, Pitsburgh, Philadelphia, awarded the prestigious 2018 Gramophone miserere nobis. world, have mercy on us. Providence, St. Louis, San Luis Obispo, Classical Music Award for Early Music and Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the and Seatle. Te ensemble has performed the fve discs are now available as a 5-CD dona nobis pacem. world, grant us peace. in Cambridge and London, England, and set entitled Te Lost Music of Canterbury. in 2018-19 will make Canadian debuts Blue Heron’s recordings also include a CD Translations from the French by Scot Metcalfe. 12 13 of plainchant and polyphony to accompany Sequentia, Chanticleer, world premiere of Te Nefarious, Immoral, yet Festival (BEMF) for Tomas Forrest Kelly’s book Capturing Music: the Boston Camerata, and Highly Proftable Enterprise of Mr. Burke and Mr. their recording of works Te Story of Notation and the live recording New York’s Ensemble for Hare with Boston Lyric Opera, a debut with by Charpentier. His Christmas in Medieval England. Jessie Ann Early Music. A founding the Arion Baroque Orchestra in Montreal, solo recent stage appearances Owens (UC Davis) and Blue Heron won member of Blue Heron, he appearances with the Handel & Haydn Society, in period-style baroque the 2015 Noah Greenberg Award from the has also appeared in and and various programs with Blue Heron. opera with BEMF include American Musicological Society to support around Boston as soloist Le Jeu in Les plaisirs de a world premiere recording of Cipriano de with Emmanuel Music, Acclaimed as a “lovely, Versailles by Charpentier, Rore’s I madrigali a cinque voci (1542), to be the Handel & Haydn tender high tenor” by Te Apollo in Monteverdi’s released in fall 2019. Society, the Boston Early Music Festival, the New York Times, Owen Orfeo, and Eumete and Giove in Monteverdi’s Tanglewood Music Center, Cantata Singers, McIntosh enjoys a diverse Il ritorno d’Ulisse in patria. Other recent solo Music historian and Boston Cecilia, Prism Opera, Boston Revels, career of chamber music performances include Pedrillo in Mozart’s pianist Sean Gallagher Collage, the Boston Modern Orchestra Project, and solo performance Abduction fom the Seraglio, Bach’s Christmas (pre-concert speaker and Intermezzo. Paul can be heard on all Blue ranging from bluegrass to Oratorio and St. Mark Passion with Emmanuel and adviser for Blue Heron’s recordings, on discs of medieval music reggae, heavy metal to art Music, and Monteverdi’s Vespers of 1610 Heron’s Ockeghem@600 by Sequentia, Kurt Weill’s Johnny Johnson and song, and opera to oratorio. with the Green Mountain Project. He has project) joined the faculty French airs de cour with the Boston Camerata, A native of remote Northern California, appeared with Boston Lyric Opera, Pacifc of the New England and on Emmanuel Music’s Bach CDs. Mr. McIntosh has shared the stage with the MusicWorks, Boston Camerata, TENET, San Conservatory in 2013. country’s fnest ensembles, including Apollo’s Juan Symphony, Te Bach Ensemble, Pablo His research focuses Hailed for his “voice Fire, Blue Heron, Boston Baroque, Carmel Casals Festival, Early Music Guild of Seatle, on late medieval and in of seductive beauty” Bach Festival, Les Canards Chantants, New Tragicomedia, and the Tanglewood Music Italy, France and the Low Countries, with (Miami Herald), baritone Vintage Baroque, Staunton Music Festival, Center. He is a core member of Blue Heron particular emphasis on Johannes Ockeghem David McFerrin has TENET, Trident Ensemble, True Concord, and can be heard on all their recordings. With and his contemporaries. His book on the won critical acclaim in San Diego Bach Collegium, and the Grammy- BEMF, he appears on recordings of Lully’s 15th-century composer Johannes Regis a variety of repertoire. nominated Choir of Trinity Wall Street. Recent Psyché (nominated for a GRMMY), Handel’s was published by Brepols in 2010, and he is His opera credits include solo engagements include Mozart’s Die Acis and Galatea (as Damon), John Blow’s editor or co-editor of four further volumes, Santa Fe Opera, Seatle Zauberföte with Boston Baroque, Haydn’s Venus and Adonis (soloist), and Charpentier’s including Secular Renaissance Music: Forms and Opera, Florida Grand L’isola disabitata with the American Classical Actéon (as Orphée). Functions (Ashgate, 2013) and (with Tomas Opera, the Rossini Festival in Germany, and Orchestra, Monteverdi’s Vespers of 1610 F. Kelly) Te Century of Bach and Mozart: numerous appearances in and around Boston. with Apollo’s Fire and with Green Mountain Scot Metcalfe is widely Perspectives on Historiography, Composition, As concert soloist he has sung with the Project, Bach’s St. Mathew Passion with Grand recognized as one of Teory and Performance (Harvard, 2008). He Cleveland Orchestra, Israel Philharmonic, and Rapids Symphony, Il ritorno d’Ulisse in patria North America’s leading has taught at the University of North Carolina Boston Pops, and in recital at the Caramoor, with Opera Omnia and Boston Baroque, and specialists in music from at Chapel Hill, Harvard University (where Ravinia, and Marlboro Festivals. Recently the Evangelist in Bach’s St. John Passion with the ffeenth through the he was awarded the Phi Beta Kappa Prize for Mr. McFerrin was an Adams Fellow at the Tucson Chamber Artists. seventeenth centuries excellence in teaching), and Boston University. Carmel Bach Festival in California, debuted and beyond. From 2010 In 2007 he was Visiting Professor at Villa I with Boston Baroque (as Achilla in Handel’s Reviewers have praised Jason McStoots as to 2016 he was music Tati in Florence. He frequently presents pre- Giulio Cesare) and Apollo’s Fire in Cleveland, having an “alluring tenor voice” (ArtsFuse) director of New York City’s concert talks and lecture-recitals on a wide and performed with the Handel & Haydn and as “the consummate artist, wielding not Green Mountain Project (Jolle Greenleaf, range of topics. Society in Boston, New York, and California. just a sweet tone but also incredible technique artistic director), which he will lead again in He was also runner-up in the Oratorio Society and impeccable pronunciation” (Cleveland January 2019, and he has been guest director Bass-baritone Paul Gutry has performed of New York’s 2016 Lyndon Woodside Solo Plain Dealer). In 2015 he won a GRMMY of TENET (New York), the Handel & Haydn throughout the USA and internationally with Competition. Recent highlights include the award in Opera with the Boston Early Music Society (Boston), the Tudor Choir and

14 15 Seatle Baroque, Pacifc Baroque Orchestra Odyssey Opera under the artistic direction of World Symphony, Handel North America as a soloist with the Handel & (Vancouver, BC), and Quire Cleveland, and Gil Rose. Mr. Near maintains a parallel career & Haydn Society, Seraphic Haydn Society, Concerto Palatino, Tafelmusik, other ensembles. Metcalfe also enjoys a career in the pipe organ industry, providing services Fire, Lorelei Ensemble, A Apollo’s Fire, Les Boréades (Montreal), Les as a baroque violinist, currently playing with in organ pipe reconditioning and repair, Far Cry, Boston Modern Voix Baroques, Pacifc Baroque Orchestra, Les Délices (dir. Debra Nagy), L’Harmonie voicing, tonal fnishing, and tuning for Spencer Orchestra Project, Rhode the King’s Noyse, Mercury Baroque, and the des Saisons, and Montreal Baroque (dir. Organ Company of Waltham, and he has also Island Philharmonic, Blue symphony orchestras of Charlote, Memphis, Eric Milnes). His scholarly activities include been known to compose, arrange, and engrave Heron, Cape Symphony, and Phoenix. Recent highlights include research on the performance practice of using Finale. Bach Collegium San Diego, Monteverdi’s Vespers of 1610 and a new Vespers English vocal music in the 16th and 17th and Grand Harmonie, as of 1640 with the Green Mountain Project, centuries, including two essays that will be Originally from Glasgow, well as onstage with the Boston Early Music Buxtehude’s Membra Jesu Nostri with Les Voix published in a forthcoming collection, and Virginia, Stefan Reed is Festival, Monadnock Music, St. Petersburg Baroques and Houston’s Mercury Baroque, he has edited music by Francisco de Peñalosa currently based in Jamaica Opera, and Green Mountain Opera Festival. Mozart’s at St. Tomas Church in for Antico Edition (UK) and songs from the Plain, Massachusets Margot is a recipient of numerous awards, New York City, a tour of Japan with Joshua recently rediscovered Leuven chansonnier and is enjoying an active including the St. Botolph Emerging Artist Rifin and the Cambridge Concentus, a return for the Alamire Foundation (Belgium); he career in chamber music, Award, the Lorraine Hunt Lieberson to the Carmel Bach Festival, and Briten’s War is also at work on a new edition of the songs oratorio, and recording, Fellowship at Emmanuel Music, and third Requiem with the New England Philharmonic of Gilles Binchois (c. 1400-1460). Metcalfe with performances and place in Te American Prize competition in and several guest choruses. has taught at Harvard University, Boston projects in New England art song and oratorio. She has been invited for University, Boston Conservatory, and Oberlin and throughout the country. Mr. Reed has performances and masterclasses by composers Conservatory. He received a bachelor’s degree been characterized as an “intense, focused, lyric at Columbia University, the University of from Brown University (1985), where he tenor” (Miami Herald) and his performances Pennsylvania, McGill University, and Keene majored in biology, and a master’s degree in have been described as “dramatically expressive State College. She has recorded numerous historical performance practice from Harvard and technically impressive” (Boston Musical 20th- and 21st-century works for Albany (2005). Intelligencer). He performs regularly with Records, Sono Luminus, and New World Boston Baroque, Blue Heron, Conspirare, Records, most notably the leading role of Martin Near has been the Handel & Haydn Society, and Seraphic Emily Webb in Ned Rorem’s operatic rendering acclaimed for the “sweet Fire. Recent and upcoming solo engagements of Tornton Wilder’s Our Town. Margot holds limpidity” of his singing include performances with the Vermont degrees from the University of Michigan and (Te New York Times), Symphony Orchestra, Coro Allegro, the McGill University. with a “cool, beaming Handel & Haydn Society, Boston Baroque, and countertenor” commended Boston Cecilia. Mr. Reed spent two summers Praised for his “elegant for its “crystal clear… as a fellow at the Tanglewood Music Festival style” (Te Boston Globe), beautiful, blooming top and holds performance degrees from the New Sumner Tompson is notes” (New York Classical England Conservatory and George Mason highly sought afer as Review). He enjoys a varied career exploring University. both baritone and tenor. twin passions for early music and new music. His appearances on the Highlights of recent solo performances include Soprano Margot Rood, hailed for her operatic stage include roles a concert version of Machaut’s Remede de “luminosity and grace” by Te New York Times, in the Boston Early Music Fortune, created as a collaboration between performs a wide range of repertoire. Recent Festival’s productions of Blue Heron and Cleveland’s Les Délices and upcoming solo appearances include those Conradi’s Ariadne (2003) and Lully’s Psyché (Debra Nagy, director) and returning Blue with Philharmonia Baroque, New Jersey (2007) and several European tours with Heron’s season in 2019, and Richard Rodney Symphony, Cleveland Orchestra, Charlote Contemporary Opera Denmark as Orfeo in Bennet’s Ophelia (1987) with Boston’s Symphony, Boston Symphony Orchestra, New Monteverdi’s L’Orfeo. He has performed across

16 17 WHO WAS JOHANNES OCKEGHEM? uses means both melodic and rhythmic (pitch His rhythm, too, is complex and varied, and duration, the basic elements of music). ofentimes obscuring the music’s organization His counterpoint spins out long-limbed, into regular metrical units of two or three. Johannes Ockeghem was born in Saint Caron, and Guillaume Faugues, who supple, and simply gorgeous melodies whose Captivating at frst hearing, Ockeghem’s music Ghislain, near the city of Mons in the county relationship to one another is not obviousL rewards the closest possible study and repeated glory in having studied this divine art there are few unanimous cadences and few listening. of Hainaut (now in Belgium) around 1420. under John Dunstable, Gilles Binchois, He frst enters the historical record in 1443 as immediately noticeable points of imitation, and Guillaume Du Fay, recently a vicaire-chanteur at the church of Our Lady in although many subtle instances occur, ofen LScot Metcalfe Antwerp, a modest appointment appropriate deceased. Nearly all the works of these almost hidden within the texture of the music. to a young professional singer. By 1446 he had men exhale such sweetness that in my become one of seven singers in the chapel of opinion they are to be considered most Charles I, duke of Bourbon, and in 1451 he suitable, not only for men and heroes, joined the musical establishment of Charles but even for the immortal gods, Indeed, THE MUSIC OF JOHANNES OCKEGHEM VII, king of France. He served the French I never hear them, I never study them, royal court as premier chapelain for the rest of his career, mainly residing in Tours in the without coming away more refreshed and wiser. Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Loire Valley, where he held the prestigious Masses, three partial Mass cycles, an independent Credo, and an incomplete Requiem. and well-remunerated post of treasurer at the royal collegiate church of Saint Martin. A Ockeghem died on February 6, 1497. His SONGS passing was mourned by numerous musicians friend and colleague of the greatest musicians Aultre Venus Ma bouche rit ¿Qu’es mi vida preguntays? of the previous generation, Guillaume Du and poets. Te most famous lament on his death is Nymphes des bois, by the Burgundian court Baisiés moi Ma maistresse by Johannes Cornago, with Fay and Gilles de Bins (usually known by the D’un autre amer Mort tu as navré added voice by Ockeghem sobriquet Binchois), he was esteemed by his chronicler and poet Jean Molinet, later set to music by Josquin DesprezLan act of homage Fors seullement contre ce Alius discantus super O rosa bella S’elle m’amera / Petite camusete contemporaries and successors as a master Fors seullement l’actente Permanent vierge Se vostre cuer beyond compare, enormously skilled as both that Ockeghem had previously rendered Binchois with Mort, tu as navré de ton dart. Il ne m’en chault Prenez sur moi Tant fuz gentement singer and composer, as well as virtuous, Je n’ay dueil (two versions) Presque transi Ung aultre l’a generous, and kind. Ockeghem lef us about two dozen French La despourveue Quant de vous songs, just over a dozen Masses, and four motets, L’autre d’antan Writing in 1477, the theorist Johannes Les desleaux Tinctoris placed him at the head of an exalted a relatively small output for one of the greatest company of modern composers: composers of all time. Perhaps no composer other than Bach has equalled Ockeghem in MOTETS MASSES …at this present time, not to mention contrapuntal skill, and the two men are also equally astonishingly able to invest their work Alma redemptoris mater Missa Au travail suis Kyrie, Gloria & Credo innumerable singers of the most with meaning at every level, from the smallest Ave Maria Missa Caput Fors seullement beautiful diction, there fourish, surface detail to the deepest, largest-scale, awe- Intemerata dei mater Missa Cuiusvis toni Kyrie & Gloria Ma maistresse whether by the efect of some celestial inspiringly complex structure, in music that Salve regina Missa De plus en plus Kyrie, Gloria & Credo sine infuence or by the force of assiduous is at once intensely sensuous and rigorously Missa Ecce ancilla nomine a 5 practice, countless composers, among intellectual, of extraordinary beauty and Missa L’homme armé Credo sine nomine them Johannes Ockeghem, Johannes rhythmic vitality. Ockeghem’s music has the Missa Mi mi miraculous efect of taking hold of and altering Missa quinti toni a 3 Requiem (incomplete) Regis, Antoine Busnoys, Firminus our sense of time, and to do so Ockeghem

18 19 OCKEGHEM’S LIFE & TIMES Ockeghem Music & other arts Hisory 1450 • c. 1450 frst extant compositions: • February 1453 Binchois retires • 1453 end of Hundred Years War Ma maistresse, Missa Caput from Burgundian court and moves between France and England Ockeghem Music & other arts Hisory • by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the chapel of Charles VII; lives in • Heinrich Isaac b. c. 1450 Otoman Turks 1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of Tours until his death b. c. 1397, Bersele, near Brussels Burgundy; succeeded by John • Alexander Agricola b. c. 1450, • 1452 encounters Guillaume Du Fay Ghent • Gilles de Bins, dit Binchois the Fearless at meeting between French royal • John Dunstaple d. 1453 b. c. 1400, ?Mons • 1409 Pope Alexander VI elected: court and ducal court of Savoy • Rogier van der Weyden there are now three popes • Josquin Desprez • by 1454 appointed frst chaplain b. c. 1450–55, ?near Saint Quentin b. c. 1400, Tournai of French royal chapel • c. 1410 Jean, duke of Berry, • Jacob Obrecht • January 1, 1454 presents the king b. c. 1457-8, Ghent commissions Très riches heures, with “a book of song”; receives illustrated by Limbourg brothers a New Year’s gif of four ells of • Leonardo da Vinci c. 1412-16 cloth in return b.1452 (died 1519) • 1455 meets Du Fay again • 1455 Johannes Gutenberg completes printing of the Bible 1410 • Johannes Ciconia d. 1412 • 1414-18 Council of Constance • January 1, 1459 gives the king “a in Mainz • October 25, 1415 very richly illuminated song” and Batle of Agincourt receives a New Year’s gif in return • 1419 d. John the Fearless, • 1459 named treasurer of the duke of Burgundy; succeeded by collegiate church of St. Martin Philip the Good in Tours

1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. Waudru, • 1422 Charles VII becomes 1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII; in Saint Ghislain, near Mons, Mons, 1419-23 King of France dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI County of Hainaut, diocese of • Johannes Regis b. c. 1425 • 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good, Cambrai • Jean Fouquet b. 1420 (d. 1481) • June 1462 travels to Cambrai d. June 18, 1464, in Brussels duke of Burgundy; succeeded by Charles the Bold • February-March 1464 travels • Charles d’Orléans to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the 1430 • Binchois at Burgundian court • 1431 Joan of Arc burned at the Bold and Margaret of York by at least January 1431 stake in Rouen by the English; Fay; ordained as a priest on this • Donatello d. 1466 occasion? • Antoine Busnoys b. c. 1430-35 Henry VI of England crowned • 1465-7 Busnoys composes In king of France in Notre-Dame • c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem • Christine de Pizan d. c. 1430 de Paris in Tours • Alain Chartier d. 1430 • 1435 Treaty of Arras • 1467/8 Missa L’homme armé • François Villon b. c. 1430 between France and Burgundy copied in Bruges • Jean Molinet b. c. 1435 • 1436 armies of Charles VII • 1436 Santa Maria del Fiore reclaim Paris 1470 • 1470 travels to Spain on 1 or 2 • Du Fay • 1477 d. Charles the Bold, (Florence) completed with diplomatic embassies (adds 4th d. November 27, 1474, duke of Burgundy; Burgundy dome engineered by Filippo voice to Cornago’s Qu’es mi vida in Cambrai absorbed into the French crown Brunelleschi; Du Fay composes preguntays) • 1478 William Caxton Nuper rosarum fores for • lament for Du Fay (lost) publishes frst printed copy consecration of the Canterbury Tales • 1475/6 Missa Mi mi th copied in Bruges (writen late 14 century) 1440 • 1443-44 earliest documentation: • Jan van Eyck • 1449 French reconquer • 1476/7 Missa cuius vis toni vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy copied in Bruges Lady, Antwerp • 1440s earliest cyclic Masses, • 1446-8 frst of seven singers in composed in England, reach the the chapel of Charles I, duke of continent via Flanders: Missa 1480 • All of Ockeghem’s surviving • 1483 d. Louis XI; Bourbon Caput, Missa Veterem hominem, etc. music composed by c. 1480? succeeded by Charles VIII • 1444 Cosimo de’ Medici founds • August 1484 travels to Damme Laurentian Library in Florence and Bruges; banquet in his honor at St. Donatian, Bruges • 1448 Pope Nicholas V founds Vatican Library • 1488 travels to Paris

1490 • d. February 6, 1497, • Busnoys d. 1492 presumably in Tours • Regis d. c. 1496 ?Soignies

20 21 HOW DID OCKEGHEM SPELL HIS NAME? OCKEGHEM@600

Jehan de Ockeghem was born around 1420 in the and Jehan very likely grew up speaking French Ockeghem@600 is a multi-year project to OCKEGHEM@600 | 2015;2021 small town of Saint Ghislain, near Mons, in the as his frst tongue. By the mid-1440s he was perform the complete works of Johannes Most programs are organized around a seting county of Hainaut and in the diocese of Cambrai. living and working in France, and from about Ockeghem, one of the very greatest composers of the mass, but all will also include motets Saint Ghislain lies in modern-day Belgium, about 1450 until his death in 1497 he was a member of of the Western tradition, in thirteen programs and songs by Ockeghem and other composers: 50 miles southwest of Brussels and less than ten the chapel of the the king of France and lived in over the course of seven seasons. Inaugurated in Binchois, Du Fay, Regis, Busnoys, Josquin, the spring of 2015, Ockeghem@600 will wind miles from the present312 border with France.LES ARTISTESTours,TOURANGEAUX in the Loire Valley. Obrecht, and others. up in 2020-21, just in time to commemorate Te county of HainautObligis or Hainaultou Obligys was (Nicolas), a Te Flemishm- brodeur, familyparoisse nameSaint- was a source of the 600th anniversary of Ockeghem’s birth in lordship within the HolyVineent, Romanil Tours Empire(1531), withavait endlessrpouse confusionJehanne toPreze, speakersfille ofde Fench, Italian, circa 1420. 2014-15 | Predecessors & contemporaries its capital at Mons Jehan (BergenPreze, in Flemish);maitre des theoeu German,vres de maconuerie and other languages,de la ville de and it may be 1. Ockeghem & Binchois: Missa De plus en plus Tours. name comes from the river Haine. Hainaut found spelled in a bewildering variety of ways in Besides concerts, the undertaking requires 2. Te Five: Ockeghem, Regis, Busnoys, comprised what is now the Belgian province contemporary sources: Ockeghem, Okeghem, and will include a signifcant component of Odin (sire Girard), TIl' brodeur des rois Louis XII et Fran- Faugues & Caron of Hainaut and part eoisof the)H. Frenchparoisse départementNotre - DameOkegheem,de I'Ecrignolle, Ockegheem,it Tours, Okeghen,est Okeghan, research into the many questions of ffeenth- of Nord, and includedeire thedans citiesI'nrventaire of Charleroi,des archivesOkenghem,d'Arnhoise, Ockenheim,en t498l'ten Okekam, Obekhan, century performance practice which remain to the east of Mons, and, to the southwest, unsolved puzzlesLquestions as basic as pitch 2015-16 | Early masses I 1504 eorume ayant recu plusieursObergan,payements Hockeghen,de Hoquegan,celte ville Hocquergan, Valenciennes and thepour diocesandivers seattravaux of Cambrai,de son art.Hoiquergan, Holreghan, Okegus. Eugène level, voice types, and scoring. By the end we 3. L’homme armé both in later-day France. In 1420 the county Giraudet, in Les artistes tourangeaux (Tours, expect to have a beter understanding of such Nons avons rencontre e~alement un grand nombre de fois was ruled by Jacqueline, daughter of duke 1885), reproduces a presumed autograph issues. We will also have created a new complete 2016-17 | Early masses II Wilhelm II of Bavaria-Straubing,Ie nom de eet artistebut in 1432dans lessignatureregistres ondes p.deliberations 312, but failsmu- to indicate the edition of the music of OckeghemLall of his it was ceded to the Duchynicipales.mr of BurgundyiI fig-ure underit titre source,fie conseiller whichet ispair otherwisede la ville. unknown and is songs, motets, and massesLscrupulously 4. Ecce ancilla domini Philip the Good; in 1477,Dans uponnne assernhleethe death oftenue nowIe 7 apparentlyavril 15z3. lost.sons Nevertheless,Ia presi- modern based on the original sources and rigorously 5. Caput Charles the Bold, itdeuce passedde toJacques the Habsburgsde Beanne, scholarshiphailli de Touraine, has generallydans lehut accepted the tested in practice. with the rest of the Burgundiand'aviser aux Netherlands.mesures de sureteauthenticityit adopter ofponr the la signature,defense de in part due to 2017-18 | Masses based on songs Ia ville, Girard Odin s'eugage,the detail unusualcurieux, formationit fournir of thejus- c, which could Along the way we will also explore music of Te composer’s givenqu'au nameno.ubre was Jehande (orsoixaute Jean), ouvriersbe takenhrodeurs for an e;(I). such an oddity, as Jaap van Ockeghem’s predecessors (Du Fay, Binchois, 6. Ma maistresse & Au travail suis normally given~n as Johannes~531, in Latinii, enrich or otherit de s~~Benthemh.rod~ries has Iewripoeleten, on“mightdais enplead against any et al.), contemporaries (Regis, Busnoys, et al.), 7. Fors seulement non-French contexts.- toile Ted surnameor et d arjreut,suggests doublethat suggestiona l'interieur ofde a satiu nineteenth-centuryblanc, noir atempt and followers (Josquin, Obrecht, Agricola, his family originatedet in[auue the townet decore of Okegemde fleurs on de[at]lis forgery.”et de salnrnandres Te signature,; ce dais assuming it is Isaac, et al.), developing and sharing with our 2018-19 | Speculative music { the Dendre, IIlessI{ than. ~~ 35 milesdestine to ilthela northreception in indeedde la genuine,nouvelle establishesreioe Eleonore that, at least on audiences a sense of the entire ffeenth-century 8. Cuiusvis toni East"4~"d Flanders.,ll1'l"'t,''lf'',\ulriehe, But during the laterdont MiddleI'eutree Ages, soleullelle"'n'eutthis one occasion,lieu thequ'au composermois spelled his last repertoire. Succeeding our series of recordings 9. Prolationum Hainaut1f"" \ wasI culturallyd'oeloLre and linguistically1532. French, name OCKEGHEM. of music from the Peterhouse partbooks (now available in a 5-CD boxed set entitled), a new 2019-20 | Freely composed masses J ;( Ockeghem (Jehan de). premier chapelain, chantre de la series of fve CDs is in the works, including a chapelle de Louis XI et de Charles VIII, tresorier de Saint, 2-CD set of all of Ockeghem’s songs and a disc 10. Missa quinti toni of motets by Ockeghem and Regis. 11.

Joining Blue Heron as adviser for 2020-21 | Last things & legacies Ockeghem@600 is Professor Sean Gallagher of the New England Conservatory, one of 12. Requiem Marlin. Peu de noms ont <'Ie aussi defigures que eelui de c; the world’s leading experts on the music of 13. Missa Mi mi grand musicieu et chanteur; ainsi, on l'a appeJe tour it tour Ockeghem and his contemporaries.

22 23 (1) Papier journal ordioaire des deliberations ot assembJees f.'lites ell l'ostel et maison de la communite de la ville et cite de Tours, tome XV. BLUE HERON CDS ON SALE AT THIS CONCERT

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