22ND Blue Heron 20 SEASON21 Le grant retthorique april 17, 2021

blue heron Kim Leeds The new forms and perfect amorous lays Owen McIntosh of Guillaume de Machaut (c. 1300-1377) Jason McStoots Sophie Michaux Margot Rood Le lay de plour: Qui bien aimme a tart oublie Aaron Sheehan Sumner Thompson Ce qui soustient moy (rondeau) Charles Weaver, lute Riches d’amour, mendians d’amie (ballade) Scott Metcalfe, fiddle & harp artistic director Je voy le bon tens (instrumental) Scott Metcalfe Anonymous recording venue Mors sui se je ne vous voy (virelai) Church of the Redeemer, Chestnut Hill, MA March 14-15, 2021 Honte, paour, doubtance de meffaire (ballade) Georgetown Presbyterian Church, Hont paur (instrumental) Washington, D C Anonymous — Faenza codex March 13, 2021 Sierra Brooks, Loyalton, CA Cinc, un, treze, wit, nuef d’amour fine (rondeau) March 20, 2021 Adeu mon cuer (instrumental) Anonymous Sans cuer, dolens, de vous departiray (rondeau) Biauté parfaite (ballade) Text by Machaut Music by Antonello da Caserta, fl. late 14th century

Honte, paour, doubtance de meffaire Machaut MS A, f. 466v 22ND Blue Heron 20 SEASON21 Le grant retthorique

sets, scenery & décor Paul Guttry Sets adapted from illustrations in Machaut manuscripts pre-concert talk Anne Stone Graduate Center, City University of New York audio recording (boston) Joel Gordon video recording (boston) Kathy Wittman, Ball Square Films Assisted by Elektra Tzannos Newman & Hannah Jope audio & video recording (washington) Mark Willey & Tim Madden audio & video recording (california) O. McIntosh Studio editing Joel Gordon (audio) & Kathy Wittman (video) thanks Dan Schenk Sierra Brooks Home Owners’ Association

Concert filming supported in part by the Newton Cultural Council.

Nature presents her children Meaning, Rhetoric, and Music to Guillaume de Machaut Machaut MS A, f. Er Comment Nature, voulant orendroit plus How Nature, wishing henceforth more than que onques mes reveler et faire essaucier les ever to reveal and glorify the good things biens et honneurs qui sont en Amours, vient a and honors which belong to Love, comes to Guillem de Machaut et li ordene et encharge Guillaume de Machaut and orders and charges illustrations a faire sur ce nouveaux dis amoureux et him to compose new poems on this subject, Machaut MS A: li baille pour li conseillier et aidier a ce and, to counsel and aid him in doing so, pres- Paris, Bibliothèque nationale, fonds français 1584 faire trois de ses enfans, c’est assavoir Sens, ents him with three of her children, who are Meaning, Rhetoric, and Music. Machaut MS C: Retorique, et Musique. Paris, Bibliothèque nationale, fonds français 1586 Machaut, Prologue, I

2 22ND Blue Heron 20 SEASON21 Le grant retthorique

Apres vint maistre Guillaume de Then came master Guillaume de Machault, le grant retthorique de nouvelle Machault, the great rhetorician of the new forme, qui commencha toutes tailles school, who originated all manner of new nouvelles, et les parfais lays d’amours. forms, and perfect amorous lays.

Les regles de la Seconde Rettorique, early 15th century

Machaut’s life Guillaume de Machaut first enters the historical sometime before November 9, 1377, when his position record in a few ecclesiastical documents from 1330-33 at the Cathedral of Reims passed to another. in which he is described variously as a clerk, almoner, While Machaut’s life is sparsely documented, his notary, and secretary to the king of Bohemia, Jean works are richly transmitted in a unique series of six of Luxembourg. Machaut probably worked as Jean’s “complete works” manuscripts produced between c. 1350 secretary, travelling all over Europe, until the king’s and 1390, mostly under the author’s supervision, several heroic if foolhardy death at the battle of Crécy on abundantly illuminated. The manuscripts contain more August 26, 1346. (He insisted on being led into battle, than fifteen long narrative poems or dits; a collection although he was by then completely blind.) After Crécy, of lyric poetry known as the Loange des dames or Praise Machaut seems to have served a number of other emi- of Ladies which contains some 280 poems not set to nent nobles, a confusing number of whom are named music; and a music section which eventually comprised either Jean or Charles: his patrons included the king of 19 lays, 23 motets, a setting of the Mass, a hocket, 42 Bohemia’s daughter, Bonne of Luxembourg; her hus- ballades, 22 rondeaux, and 33 virelais. The order in band Jean, duke of Normandy, who became King Jean which all this was to appear was carefully specified by II of France; their son Charles, the future King Charles the composer, as a manuscript compiled at the very end V; Charles’s brothers, Jean, duke of Berry, and Philip of his life tells us: “Vesci l’ordenance que G. de Machau the Bold, duke of Burgundy; Pierre de Lusignan, king vuet qu’il ait en son livre”: “This is the order which G. of Cyprus; King Charles of Navarre, and others. de Machaut wishes to have in his book.” Machaut lived through the Black Death, which Machaut wrote a new “Prologue” to this book, laying peaked in France in the years 1348-50, killing 30-60% out his ethical and artistic creed: Whatever joy or grief of the European population, including about half of is served you by Fortune as she blindly turns her wheel Paris’s 100,000 inhabitants. By 1360 or so Machaut round and round, one must not give into Despair. seems to have taken up residence in Reims, where Suffering is inevitable in human life, but one can find he had held a benefice at the Cathedral since 1338. joy in acceptance and in Hope, and even the darkest (A ­benefice was an ecclesiastical appointment offering a emotions can be channeled, through Hope, into con- salary without requirement of service in return: a literal solation and joyful expression in music, for “Music is a sinecure, sine cura or free of pastoral duties.) He died way of knowing/ which wishes us to laugh and sing and dance.”

3 Le grant retthorique | April 17, 2021 The anonymous author of the early 15th-century from the surviving sources (which do, admittedly, poetry treatise Les regles de la Seconde Rettorique favor Machaut, on account of all those complete works informs us that Machaut, “the great rhetorician of collections). Machaut inherited a number of musi- the new school,” building on the foundation laid by cal-poetic forms from the 13th century, shaping them Philippe de Vitry, “originated all manner of new forms, into classic, “perfect” patterns—the formes fixes—that and perfect amorous lays.” (A “rhetorician” here is to be would be used until the end of the 15th. His Remede de broadly understood as one who persuades both intel- Fortune, a long narrative poem or dit with seven lyric lect and emotion through words, music, and perfor- insertions, is a sort of catalogue of forms, arranged mance.) Although the story, a suspiciously neat one, from oldest to newest: lay, complainte, chant royal (all was written down about a generation after Machaut’s monophonic), baladelle, ballade, virelai, rondeau. death, it seems broadly accurate, as far as one can tell

A perfect amorous lay The most virtuosic form was the lay. 13th-century lays himself is put on trial for writing a poem that so slan- come in many guises; there are four in the Roman de ders women; the case against him is argued by a series Fauvel of the 1310s, all set to music and all likely the of allegorical personages who are ladies-in-waiting to work of Vitry, in which may be observed the tenden- the lady Bonneurté (Happiness). Guillaume’s blustery cies towards balance and regularization that Machaut and maladroit responses do little to aid his defense and was to carry further. Machaut composed 19 lays, most the judgement goes against him. Sentenced to render of them cast in 12 stanzas, each stanza unique in its three compensations—a lay, a virelai of three stanzas, metrical organization and rhyme scheme but for the and a ballade—he immediately concedes his terrible last, which normally recapitulates the pattern of the error and fault and sets to work at once on an “amorous first stanza. The music derives its organization from lay.” In some manuscripts the Lay de plour follows, in the poetry and, in Machaut’s lays, the argument of the which the grieving lady presents her case. (On this poem is propelled by a melody that unfolds from stanza program, the virelai Mors sui and the ballade Riches to stanza, moving through new harmonic areas, con- d’amour might be thought to represent the knight, the stantly varying, and culminating in the last stanza with ballade hinting at how the man might find a way for- a repeat of the music of the first at a higher pitch. ward by accepting his misfortunes humbly and happily, TheLay de plour (“Lay of weeping”) is a sort of recognizing that he has been granted the great honor appendix to a story told in two dits, the Judgement of of loving a lady—even if she hates him, while he adores the King of Bohemia and the Judgement of the King of her!) Navarre. In the first, the poet Guillaume overhears Most of Machaut’s lays, like the Lay de plour, are a conversation between a lady and a knight, each of monophonic. While one might devise an accompani- whom is suffering because of a lost lover—the lady’s ment—writing a tenor below the melody, for example, lover has died, while the knight’s has abandoned him according to its harmonic implications (which are for another. But whose situation is worse? Guillaume so strong and so varied that a drone accompaniment offers to bring the two disputants before his employer, seems out of the question)—there is no evidence that Jean, the king of Bohemia, who rules in favor of the Machaut wanted one. If anything, the little we know knight, on the grounds that corporal love dies with the about the forces he envisioned for monophonic songs body and so the lady is free to find a new lover, while suggests that a solo singer is the only thing needed, for the knight is condemned to torment as long as the in the Remede he emphasizes that the “danced song” object of his devotion lives. In the sequel, Guillaume known as a virelai was performed by one person alone.

4 Le grant retthorique | April 17, 2021 … pres de la tour vi un parc … next to the tower I saw a park Ou priaus ot et fontanelles, where there were meadows and little fountains, Dames, chevaliers, pucelles, in which ladies, knights, maidens, Et d’autres gens grant compaignie and a great company of other people, Moult joieuse et moult envoisie, most joyful and festive, Qui dansoient jolïement; were dancing happily; N’il n’avoient nul instrument, and there was no instrument to be seen, Ne menestrelz, fors chançonettes nor any minstrels, but simply songs— Deduisans, courtoyses, et nettes. delightful, courtly, and unadorned. Remede de Fortune, 3360-8

Nor, it must be said do Machaut’s lays need any- survive, although many illustrious poets followed thing more than one singer in order to work their spell. his example, including Eustache Deschamps, Jehan The argument of the text, the rhythms and rhymes of Froissart, Oton de Granson, Christine de Pizan, Alain the poetry, the constantly varying melody beguile the Chartier, and others. The virelai, ballade, and rondeau, listener into rapt attention. however, became the standard three forms in which The lay seems not to have had much of a musical French lyric poety and music was composed for genera- career after Machaut: only two settings with music tions to follow. All are strophic forms with a refrain.

“All manner of new forms”: the three formes fixes Machaut’s virelais are still dance-songs, and most of his The ballade, usually of three stanzas, sometimes with are monophonic; Mors sui is a monophonic song in the envoy, was (among the three formes fixes) the vehicle for earliest Machaut manuscript but a second part is found the most complex ideas and sentiments. Machaut wrote in all subsequent copies. Later 14th-century composers more ballades than any other form, leaving us over forty turned the virelai into a playfully complex polyphonic with music and around 200 without. Honte, paour is as form, though generally retaining the outdoor setting good an example of the ballade’s potential for complex- of the earlier dance-song. It then went out of fashion ity as any other: just try to predict, based on the begin- almost entirely by about 1400, to be briefly revived as a ning of the song, where the harmony will finally end up. one-stanza form by the generation of Okeghem. We conclude the evening with another ballade, the The rondeau, which would become by far the most marvellous Biauté parfaite, set to music towards the common forme fixe of the 15th century, in Machaut’s end of the 14th century by Anthonello da Caserta in day was intensely concentrated, each of its two halves the rhythmically and harmonically complex style later consisting of one line only, arranged in the rhyme dubbed the Ars subtilior, the “more subtle art.” Whether scheme ABaAabAB (where capital letters indicate the Anthonello’s music is really more subtle than Machaut’s repeated text of the refrain). The themes, too, tend to I would hesitate to say, but the song certainly conveys be tightly focussed on just one idea. Cinc, un, treze, wit, the desperate longing of the lover far from his lady, in a nuef encodes the name of the beloved, 5, 1, 13, 8, and 9 strange land and undone by desire. standing for E-A-N-H-J, i.e. Jehan. As Jehan is perhaps the most common French name of the century, it’s hard —Scott Metcalfe to guess to whom the poem refers.

5 Le grant retthorique | April 17, 2021 Love presents his children Sweet Thought, Pleasure, and Hope to Guillaume de Machaut Machaut MS A, f. Dr Comment Amours qui a ouy Nature vient a How Love, who heard Nature speak, comes to Guillaume de Machaut et li ameinne trois de ses Guillaume de Machaut and gives him three of his enfans, c’est assavoir Dous Penser, Plaisance, et children, who are Sweet Thought, Pleasure, and Esperance, pour li donner matere a faire ce que Hope, to give him material with which to do that Nature li a enchargié. which Nature has commanded him. Machaut, Prologue, II

6 Le grant retthorique | April 17, 2021 Puisque Nature Rethorique Since Nature offers me Me presente, Scens et Musique, Rhetoric, Meaning, and Music, Et li dieux d’Amours, qui mes sires and the God of Love, who is Est et des maus amoureus mires, my lord and the physician of amorous maladies, Vuet que j’aie Bonne Esperence, wishes me to have Good Hope, Dous Penser, et Douce Plaisence Sweet Thought, and Sweet Pleasure En faisant son tres dous service while I am acting in his very sweet service, Bonnement, sans penser a vice, honorably and without thought of vice, Et leur commande travillier and to work at their command Pour moy aidier et consillier as they help and advise me A faire dis et chansonnettes in making poems and songs Pleinnes d’onneur et d’amourettes, filled with honor and dalliances— Doubles hoques et plaisans lais, double hoquets and pleasant lays, Motés, rondiaus, et virelais motets, rondeaus, and virelays (Qu’on claimme chansons baladées), (which are called danced songs), Complaintes, balades entées, complaints, ballades with borrowed refrains— A l’onneur et a la loange in the honor and in praise De toutes dames, sans losange, of all ladies, without any lies, Et ne doy mie desvaloir and since I should in no way disdain Leur plaisant gracieus voloir, their pleasant, gracious will, Einsois y doy mon sentement therefore I should put into it Mettre et tout mon entendement, my feelings and all my understanding, Cuer, corps, pooir, et quanque j’ay. heart, body, powers, and whatever I have. … … Et s’on fait de triste matiere, And if sad things are the theme, Si est joieuse la maniere then the style of their treatment Dou fait, car ja bien ne fera is joyful, for the heart Ne gaiement ne chantera that is filled with sadness will never Li cuers qui est pleins de tristesce do well or sing joyfully Pour ce qu’il het et fuit léesce. since it hates and flees from happiness. Mais quant li cuers est plein de joie, But when the heart is full of joy, Il se delite et se resjoie it delights and rejoices En faisant son chant et son dit in composing its song and its poem En douce Plaisence … in sweet Pleasure …

Et Musique est une science And Music is a way of knowing Qui vuet qu’on rie et chante et dance. which wishes us to laugh and sing and dance.

Machaut, Prologue, 115-37, 157-66, 199-200 Translation adapted from R. Barton Palmer

7 Le grant retthorique | April 17, 2021 Texts & translations

Le lay de plour The Lay of Weeping I I Qui bien aimme a tart oublie, She who loves well is slow to forget, Et cuers qui oublie a tart and a heart that forgets slowly Ressamble le feu qui art is like the burning fire Qui de legier n’esteint mie. that cannot easily be put out. Aussi qui ha maladie Likewise, she who suffers an illness Qui plaist envis se depart. that pleases, recovers unwillingly. En ce point, se Dieus me gart, In such a state, so help me God, Me tient Amours et maistrie. Love keeps and commands me. Quar plaisence si me lie For Pleasure has me so snared Que jamais l’amoureus dart that never will Love’s arrow N’iert hors trait a tiers n’a quart, be drawn out, not even a little, De mon cuer, quoy que nuls die, from my heart, whatever anyone might say, Car tant m’a fait compaignie for it has kept me company for so long Que c’est niant dou depart, that there’s no question of its leaving, Ne que jamais, par nul art, nor ever, by any art, Soit sa pointure garie. will its wound be healed. II II Qu’envis puet on desraciner For one can hardly uproot Un grant arbre sans demourer a large tree without leaving behind De la racine, some of its roots, Qu’on voit puis flourir et porter and then one sees it flowering and fruiting, Et ses branches croistre et geter its branches growing and spreading, En brief termine. after a short time. Certes einsi est il d’amer, Surely it’s the same with love, Car quant uns cuers se vuet enter for when a heart roots itself En amour fine, in noble love, Envis puet s’amour oublier; it can hardly forget its loved one, Einsois adés par ramembrer but rather through memory always A li s’encline. inclines toward him.

8 Le grant retthorique | April 17, 2021 III III Car l’iaue qui chiet desseure For the water that sinks down La racine qui demeure to the root that remains Fait rennverdir et florir makes it green again, flourishing Et porter fruit. and bearing fruit: Tout einsi mes cuers, qui pleure Just so, my heart, weeping Parfondement a toute heure, copiously at all hours, Acroistre mon souvenir makes my memory grow Fait jour et nuit. both day and night. Et c’est ce qui me deveure, And this is what devours me, C’est ce qui mon vis espleure, this is what bathes my face in tears; C’est ce pour quoi je soupir : this is the reason I sigh: A ce me duit to this I am driven Vraie Amour, qui me court seure, by True Love, which attacks me, Et Bonté, qui l’assaveure. and Goodness, which finds it savory. Qu’en moy ne puissent venir, Since they cannot enter me, Ce me destruit. this destroys me. IV IV Raisons et Droiture, Reason and Justice, Plaisence et Nature Pleasure and Nature, Font par leur pooir by their power make Toute creature every creature De volenté pure of pure will Tendre a mieus valoir, incline toward greater worthiness, Et je m’asseure and I am sure Que tant com je dure that as long as I endure Ne porray veoir I’ll never see Amour si seure, love so sure, Bonté si meure, goodness so mature, N’a tant de savoir. nor such wisdom. V V Aussi voit on clerement Thus one sees clearly Que li cuer qui loyaument that hearts which, loyally Et sans folour and without disorder, Aimment de treffine amour, love with most noble love, Cuident souvent often believe Qu’en milleur et en plus gent that they make their home Aient sejour, in the best and most noble person, Car plaisence et sa rigour for Pleasure and its rigor Ce leur aprent. teaches them this. Or say je certeinnement Now I know for certain Que mienne estoit ligement that my lover was, without doubt, La droite flour the very flower De ceaus qui ont plus d’onnour, of those who are most honored, Quar toute gent for all people Disoient communement, without exception, Et li millour, and indeed the best people, say Qu’il avoit toute valour that he was completely Entierement and entirely worthy.

9 Le grant retthorique | April 17, 2021 VI VI Et quant si bon ne millour ne plus cointe And since there’s none better or more genteel, N’est, ne si bel, ne d’onneur si acointe, more handsome, nor so familiar with honor, A droit jugier, to judge truly, Mervillier none Ne se doit should wonder Nulz, se ne vueil par l’amoureuse pointe if I don’t wish to be wounded again Nouvellement d’autre amour estre pointe. by the amorous dart of another love. Pour ce changier I do not wish Ne me quier, to change, Et j’ay droit. and I’m right. Qu’en mon cuer est si trefferme et si jointe For my love for him is so deeply implanted L’amour de li qu’estre n’en puet desjointe. in my heart that it cannot be removed; Car cuer entier for my entire heart, Qui trichier which knows Ne saroit no treachery, Par souvenir vuet que dou tout m’apointe through memory sees to it that I undertake Si qu’autre amour n’entrepreingne, n’acointe, never to begin a new love, or meet with one, Qu’autre acointier for to take up with another Empirier would do Me feroit. me harm. VII VII Dont le bon recort Thus the beautiful memory Que de li recort that recalls him to me Fait qu’a ce m’acort makes me determined Que ja ne soie en acort that I shall never agree D’avoir autre amy, to have another lover, Mais en desconfort but in distress, Sans nul reconfort with no relief, De tout mon effort with all my strength Vueil pleindre et plourer sa mort, I will lament and weep over his death, En disant einsi: saying this: Amis, mi confort, Lover, my comfort, Mi joieus deport, my joyful pleasure, Ma pais, mi ressort, my peace, my refuge, Et tuit mi amoureus sort and all my loving destiny Estoient en ty. were in you. Or ay un remort Now the memory De toy qui me mort of you gnaws at me Et point si tresfort and wounds me terribly, Que o toy sont tuit mi bien mort for with you all my good is dead Et ensevely. and buried.

10 Le grant retthorique | April 17, 2021 VIII VIII Dous amis, tant fort me dueil, Sweet love, I grieve so bitterly, Tant te plaint, my heart Tant te complaint mourns you so much, Le cuer de moy, laments you so much, Tant ay grief que, par ma foy, my grief is so great that, by my faith, Tout mal recueil, I reap every ill; Dont mi oueil thus my eyes Que souvent mueil, which are often wet, Et cuer estreint, and my anguished heart, Viaire pali et taint, my face, pale and tear-stained, Garni d’effroy wracked by troubles Et d’anoy and pain Sans esbanoy without comfort, Moustrent mon dueil. reveal my sorrow. Dous amis, seur ton sarcueil Sweet love, on your bier Sont mi plaint lie my laments Et mi complaint, and my complaints, La m’esbanoy, there I find pleasure, Par pensee la te voy there I see you in my thoughts Plus que ne sueil, more than elsewhere, La me vueil, there is where I wish to be, La sont mi vueil, there lie my desires, La mes cuers maint. there my heart remains. La mort pri que la me maint, I beg Death to lead me there, Car la m’ottroy, for there I offer myself, La, ce croy, there I believe De la mort doy I should pass Passer le sueil. the threshold of death. IX IX La souspire, There my heart sighs, La s’aire there it grows angry, Mes cuers qui tant a martyre my heart which suffers such martyrdom Et de mortel peinne and mortal pain Et tant de ire, and such rage Qu’a voir dire that, to tell the truth, Son mal ne porroit descrire its woe could not be decribed Creature humeinne. by any human creature. La se empire There it grows worse Tire a tire; moment by moment, La ne fait que fondre et frire; there it can only tremble and burst; La son dueil demeinne; there it reveals its grief; La sans rire there, without laughing, Se martire; it suffers; La se mourdrist, la desire there it kills itself, there it desires Qu’il ait mort procheinne. to meet death as soon as possible.

11 Le grant retthorique | April 17, 2021 X X Dous amis, tant ay grevence, Sweet love, my grief is so great, Tant ay grief souffrance, my suffering so terrible, Tant ay dueil, tant ay pesence I feel such pain and such affliction Quant jamais ne te verray, since I will never see you, Que doleur me point et lance for sorrow stabs and lances me De si mortel lance with such a deadly lance Au cuer qu’en desesperence in my heart, that in despair Pour toy mes jours fineray. for you I shall end my days. En toy estoit m’esperance In you was all my hope Toute et ma fiance, and all my trust, Ma joie, ma soustenance : my joy, my sustenance: Lassette! or perdu les ay. Unhappy one! now I’ve lost them. Bien pert a ma contenence It’s readily apparent in my bearing Et a ma loquence, and in my speech, Car maniere ne puissance for neither self-possession nor strength N’ay, tant me dueil et esmay. do I have, so much do I sorrow and grieve. XI XI A cuer pensis With heavy heart Regret et devis I mourn and recall Ton haut pris your great worth Que tant pris which I prized so much Einsi le couvient, as befitted it, Et vis a vis and face to face Te voy, ce m’est vis, I see you, it seems to me, Dous amis, sweet love, Et toudis and always De toy me souvient. I remember you. Mes esperis My soul Et mes paradis and my paradise Estient mis were placed Et assis and set En toy ; s’apartient in you, and so it is Que soit fenis that my heart Mes cuers et peris, is finished and done for, Qu’est chetis for it is wretched Et remis and brought low Quant vie le tient. as long as life clings to it.

12 Le grant retthorique | April 17, 2021 XII XII Amis, je fusse moult lie Lover, I would have been quite happy S’eusses cuer plus couart : if you had had a heart more cowardly: Mieus vausist a mon esgart that would have been worth more to me Que volenté si hardie. than a will so bold. Mais honneur, chevalerie, But honor, chivalry, Et tes renons qui s’espart and your renown, which spread Par le monde en mainte part throughout the world in many places, Ont fait de nous departie. have parted us. Ta mort tant me contralie Your death so troubles me Et tant de maus me repart, and brings such ills upon me, Amis, que li cuers me part, my love, that my heart leaves me, Mais einsois que je devie, but before I die, Humblement mes cuers supplie my heart humbly begs Au vray Dieu qu’il nous regart the true God to look upon us De si amoureux regart with such a loving glance Qu’en livre soiens de vie. that in a book we shall find life.

Hope explains the true arms of Love to the lover Remede de Fortune, Machaut MS C, f. 38

13 Le grant retthorique | April 17, 2021 Ce qui soustient moy, m’onneur et ma vie, That which sustains me, my honor, and my life, Aveuc Amours c’estés vous, douce dame. along with Love, is you, sweet lady. Long, pres, toudis serés, quoy que nuls die, Far or near, whatever anyone says, you will always be Ce qui soustient moy, m’onneur et ma vie. That which sustains me, my honor, and my life. Et quant je vif par vous, douce anemie, And since I live for you, sweet enemy, Qu’ains mieus que moy, bien dire doy, par m’ame: whom I love better than myself, I may well say, upon my soul: Ce qui soustient moy, m’onneur et ma vie That which sustains me, my honor, and my life, Aveuc Amours, c’estés vous, douce dame. along with Love, is you, sweet lady.

Riches d’amour et mendians d’amie, Rich in love and begging for a lover, Povres d’espoir et garnis de desir, poor in hope and well-furnished with desire, Pleins de dolour et diseteus d’aye, filled with pain and lacking help, Long de merci, familleus de merir, far from mercy, starving for favor, Nus de tout ce qui me puet resjoir stripped of all that might cheer me Sui pour amer et de mort en paour, am I for love, and in fear of death, Quant ma dame me het et je l’aour. since my lady hates me and I adore her. N’il n’est confors de ma grief maladie Nor is there any comfort for my grave malady Qui me peust de nulle part venir, that might come to me from anywhere, Car une amour s’est en mon cuer norrie for a love has been nurtured in my heart Dont je ne puis joir ne repentir, which I can neither rejoice in nor repent of, Ne vivre lié, ne morir ne garir, nor live happy, neither die nor heal, Ne bien avoir fors languir a dolour, nor have any good save languishing in pain, Quant ma dame me het et je l’aour. since my lady hates me and I adore her. Mais le voloir de si douce anemie But the wishes of such a sweet enemy Vueil humblement et liément souffrir, I will humbly and happily suffer, Car grant honnour m’est par li ottroie for great honor has been granted me by her Contre son gré, quant je l’aim et desir, against her will, since I love and desire her, Et s’Amour vuet que je doie fenir and if Love wills that I must die Pour li amer, ce sera mon millour, for love of her, that will be best for me, Quant ma dame me het et je l’aour. since my lady hates me and I adore her.

14 Le grant retthorique | April 17, 2021 Mors sui, se je ne vous voy, I am dead unless I see you, Dame d’onnour, honored lady, Car l’ardour for the ardor Qui ma dolour which my pain Acroist en moy increases in me M’ocira, si com je croy, will kill me, I am sure, Pour vostre amour. for love of you. Si ne say que faire doy, And so I don’t know what to do, Car riens de nulle part n’oy for I hear nothing anywhere Qui ma tristour to assuage Esteigne, ne mon anoy, my grief and my woe, Et bien say qu’onques mais n’oy and I know well that henceforth I shall have Tel ne gringnour. nothing but discontent. Car tant sueffre et tant recoy For I suffer so, and feel such Peinne et paour pain and fear Qu’adés plour that I am always weeping, Dont tels m’atour and so much do I keep myself Seuls en requoy alone in prayer Que je ne mengue ne ne boy that I neither eat nor drink Riens pour savour. anything out of relish. Mors sui, se je ne vous voy … I am dead unless I see you … Helas, si ne say pour quoy Alas, I do not know why Pité dort et Bonne Foy, Pity and Good Faith sleep, Car de mon plour for with my tears Desirs estanche sa soy Desire has slaked his thirst Et Souvenirs avec soy, and Memory with him, Qui sans sejour who without rest Me moustrent vo bel arroy, show me your fair array, Vostre valour, your valor, Vo doucour, your sweetness, Vo cointe atour, your elegant attire, Vo maintieng coy, your calm bearing, Et font qu’a vous tous m’ottroy and force me to grant everything to you Sans deshonnour. without dishonor. Mors sui, se je ne vous voy … I am dead unless I see you … Dame, pour ce me desvoy, Lady, for this reason I lose my way, Car quant en vous tous m’employ for when I devote myself entirely to you Et je n’ay tour and I have no chance Pour vous veoir, je y congnoy to see you, there I recognize Ma mort, s’en sui en tel ploy my death: thus I am in such a state Que sans retour that without recourse

15 Le grant retthorique | April 17, 2021 Mors sui, car moult bien percoy I am dead, for I very well perceive Que ma coulour, that I am losing my color, Ma vigour my vigor, Et ma baudour and my happiness, Pers, et cil troy and these three Font qu’a vous mon cuer envoy : make me send my heart to you: Plus n’ay de jour. no days remain to me. Mors sui, se je ne vous voy … I am dead unless I see you …

Honte, paour, doubtance de meffaire, Shame, fear, wariness of misdeed, Attemprance mettre en sa volenté, temperance placed upon her will, Large en refus et lente d’ottroy faire, generous in refusing and slow to grant favors, Raison, mesure, honneur et honnesté reason, measure, honor and honesty Doit en son cuer figurer, should be engraved in her heart— Et mesdisans seur toutes riens doubter fearing slanderers above all Et en tous fais estre amoureus couarde, and in every deed reticent in love— Qui de s’onneur vuet faire bonne garde. if she would guard her honor well. Saige en meintieng, au bien penre exemplaire, Wise in comportment, taking good as her example, Celer apoint s’amour et son secré, appropriately hiding her loves and her secrets, Simple d’atour et non voloir attraire modest in dress, not wishing to attract Pluseurs a li pour samblant d’amisté, many to her by apparent friendliness, Car c’est pour amanz tuer ; for this is how to discourage lovers; Foy, pais, amour et loyauté garder, keeping faith, peace, love and loyalty: Ce sont les poins que dame en son cuer garde these are the things that a lady keeps in her heart Qui de s’onneur vuet faire bonne garde. if she would guard her honor well. Car quant amour meint en cuer debonnaire, For when love rules in a heart that is noble, Juesne, gentil, de franchise paré, young, genteel, forthright, Plein de cuidier et de joieus affaire full of dreams and joyful affairs Et de desir par plaisance engendré, and desire engendered by pleasure, C’est trop fort a contrester, it is too strong to resist, Qu’il font souvent sens et mesure oultrer : for often these overcome sense and reason: Pource adés pense a ces poins et regarde so let her always think on and respect these points, Qui de s’onneur vuet faire bonne garde. if she would guard her honor well.

Cinc, un, treze, wit, nuef d’amour fine Five, one, thirteen, eight, nine have ignited me M’ont espris sans definement, with noble love without end, Qu’Espoirs vuet que d’amer ne fine for Hope wishes me never to stop loving Cinc, un, treze, wit, nuef d’amour fine, five, one, thirteen, eight, nine with noble love, Si que plus que fins ors s’affine so that finer than fine gold Mes cuers pour amer finement. my heart is refined by loving finely. Cinc, un, treze, wit, nuef d’amour fine Five, one, thirteen, eight, nine have ignited me M’ont espris sans definement. with noble love without end.

5, 1, 13, 8, 9 = e, a, n, h, j: Jehan

16 Le grant retthorique | April 17, 2021 Sans cuer, dolens, de vous departiray Without a heart, grieving, I will part from you, Et sans avoir joie jusqu’au retour. not to feel any joy until I return. Puis que mon corps dou vostre a partir ay, Since my body must part from yours, Sans cuer, dolens, de vous departiray. without a heart, grieving, I will part from you. Mais je ne say de quele part iray, But I know not where I shall go, Pour ce que pleins de doleur et de plour, because, full of sorrow and tears, Sans cuer, dolens, de vous departiray without a heart, grieving, I will part from you, Et sans avoir joie jusqu’au retour. not to feel any joy until I return.

Biauté parfaite et bonté souvereinne, Perfect beauty and sovereign goodness, Grace sans per et doucour esmerée grace without peer and pure sweetness Me font languir en contrée lointeinne make me languish in a distant country, En desirant ma dame desirée. desiring my desired lady, Si ne puis pas avoir longue durée so that I cannot endure long Et ma dolour longuement endurer, nor long endure my pain, Puis que Desirs ne me laisse durer. for Desire will not allow me to survive. Car j’ay desir qui se traveille et peinne For I feel desire which labors and struggles De moy deffaire, et ma dame honnourée to undo me, and my honored lady Ne scet mie que j’aie si grief peinne knows nothing of the terrible pain I suffer Pour li que j’aim plus que nulle riens née, for her whom I love more than any woman ever born, Si que pour ce ma joie est si finée so that my joy is brought to an end Que riens ne puet mon cuer reconforter, since nothing can comfort my heart, Puis que Desirs ne me laisse durer. for Desire will not allow me to survive. Mais se celle qui de long m’est procheinne But if she who, though far away, is near to me Par souvenir et par douce pensée in memory and sweet thought Sceust pour voir qu’en loyauté certeinne truly knew that my heart, loyal and sure, La sert mes cuers en estrange contrée, serves her in a strange land, Ma joie en fust toute renouvelée. my joy would be completely renewed. Mais je voy bien qu’il me convient finer But I see well that it is best for me to die, Puis que Desirs ne me laisse durer. for Desire will not allow me to survive.

Texts by Guillaume de Machaut Translations by Scott Metcalfe

17 Le grant retthorique | April 17, 2021 photo: liz linder Blue Heron BLUE HERON has been acclaimed by The Boston Globe Blue Heron’s first CD, featuring music by Guillaume Du Fay, as “one of the Boston music community’s indispensables” and was released in 2007. Between 2010 and 2017 the ensemble hailed by Alex Ross in The New Yorker for its “expressive inten- issued a 5-CD series of Music from the Peterhouse Partbooks, sity.” The ensemble ranges over a wide repertoire from plain- including many world premiere recordings of works copied c. chant to new music, with particular specialities in 15th-century 1540 for Canterbury Cathedral and restored by Nick Sandon. Franco-Flemish polyphony and early 16th-century English The fifth CD was awarded the 2018 Gramophone Classi- sacred music, and is committed to vivid live performance in- cal Music Award for Early Music and the five discs are now formed by the study of original source materials and historical available as a set entitled The Lost Music of Canterbury. In 2015 performance practices. Professor Jessie Ann Owens and Blue Heron won the Noah Greenberg Award from the American Musicological Society Founded in 1999, Blue Heron presents a concert series in Cam- to support the world premiere recording of Cipriano de Rore’s bridge, Massachusetts, and has appeared at the Boston Early I madrigali a cinque voci, released in 2019. In 2015 Blue Heron Music Festival; in New York City at Music Before 1800, The also inaugurated Ockeghem@600, a multi-season project to Cloisters (Metropolitan Museum of Art), and the 92nd Street perform the complete works of Johannes Ockeghem (c. 1420- Y; at the Library of Congress, the National Gallery of Art, and 1497), which will wind up around 2022 in time to commem- Dumbarton Oaks in Washington, D.C.; at the Berkeley Early orate the composer’s circa-600th birthday. A parallel project Music Festival; at Yale University; in Chicago, Cleveland, Kan- to record all of Ockeghem’s songs and motets bore its first sas City, Milwaukee, Montreal, Pittsburgh, Philadelphia, Provi- fruits in 2019 with the release of Johannes Ockeghem: Complete dence, St. Louis, San Luis Obispo, Seattle, and Vancouver; and Songs, Volume I, which was named to the Bestenliste of the Preis in Cambridge and London, England. Blue Heron has been in der deutschen Schallplattenkritik. Blue Heron’s recordings also residence at the Center for Early Music Studies at Boston Uni- include a CD of plainchant and polyphony that accompanies versity and at Boston College, and has enjoyed collaborations Thomas Forrest Kelly’s bookCapturing Music: The Story of with A Far Cry, Dark Horse Consort, Les Délices, Parthenia, Notation, the live recording Christmas in Medieval England, Piffaro, and Ensemble Plus Ultra. and a compilation of medieval songs entitled A 14th-Century Salmagundi.

18 Le grant retthorique | April 17, 2021 Praised for her “rich, smooth mezzo Opera, Pacific MusicWorks, Boston Camerata, TENET, San soprano” (St. Louis Post), Kim Leeds Juan Symphony, The Bach Ensemble, Pablo Casals Festival, has been a soloist with the American Early Music Guild of Seattle, Tragicomedia, and the Tangle- Bach Soloists Academy, Bach wood Music Center. He is a core member of Blue Heron and Akademie Charlotte, Ad Astra can be heard on all their recordings. With BEMF, he appears Musical Festival, Bach Society of St. on recordings of Lully’s Psyché (nominated for a Grammy), Louis, and the Tafelmusik Baroque Handel’s Acis and Galatea (as Damon), John Blow’s Venus and Chamber Orchestra and Choir. She Adonis (soloist), and Charpentier’s Actéon (as Orphée). was a Virginia Best Adams Fellow at Carmel Bach Festival. As a choral Scott Metcalfe is widely recognized artist, Ms. Leeds has performed as one of North America’s leading abroad with the Weimar Bach Academy and Junges Stuttgart specialists in music from the fif- Bach Ensemble, and in the US with the Oregon Bach Festival, teenth through seventeenth centuries the Handel & Haydn Society, the Grammy-nominated True and beyond. Musical and artistic Concord (Tucson), and the Grammy-winning ensemble The director of Blue Heron since its Crossing (Philadelphia). In the Boston area, Ms. Leeds has founding in 1999, he was music appeared as a soloist with the Commonwealth Chorale, the director of New York City’s Green Cantata Singers, and Music at Marsh Chapel, and she can be Mountain Project from 2010-19, and heard on the 2017 Boston Modern Orchestra Project’s record- he has been guest director of ing of Jeremy Gill’s Before the Wresting Tides. TENET (New York), the Handel & Haydn Society (Boston), Emmanuel Music (Boston), the Described by The New York Times as Toronto Consort, The Tudor Choir and Seattle Baroque, a “lovely, tender high tenor” in one Pacific Baroque Orchestra (Vancouver, BC), Quire Cleveland, concert and “appropriately brash” in and the Dryden Ensemble (Princeton, NJ), in music ranging another, three-time Grammy from Machaut to Bach and Handel. Metcalfe also enjoys a nominee and Gramophone career as a baroque violinist, playing with Les Délices (dir. Deb- Award-winning tenor Owen ra Nagy), L’Harmonie des Saisons (dir. Eric Milnes), and other McIntosh is widely known for the ensembles. His scholarly activities include research on the color and creativity he brings to the performance practice of English vocal music in the 16th and stage. Recent solo engagements 17th centuries, including two studies that may finally be include Carmina Burana with the published next year in a long-forthcoming book, and he has Carmel Bach Festival, Monteverdi’s edited music by Francisco de Peñalosa for Antico Edition (UK) L’Orfeo with Apollo’s Fire, Bach’s St. John Passion with TEN- and songs from the recently rediscovered Leuven chansonnier ET, Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s for the Alamire Foundation (Belgium); a longterm project is a L’isola disabitata with the American Classical Orchestra, new edition of the songs of Gilles Binchois (c. 1400-1460). He Monteverdi’s Vespers of 1610 with the Green Mountain Project, has taught at Boston University and Harvard University and Bach’s St. Matthew Passion with the Grand Rapids Symphony served as director of the baroque orchestra at Oberlin Conser- and Monteverdi’s Il ritorno d’Ulisse in patria with Boston vatory, and in 2019-20 he was a visiting member of the faculty Baroque. of Music History at the New England Conservatory, where he continues to teach classes. He received a bachelor’s degree from Reviewers have praised Jason Brown University (1985), where he majored in biology, and a McStoots as having an “alluring master’s degree in historical performance practice from tenor voice” (ArtsFuse) and as “the ­Harvard (2005). consummate artist, wielding not just a sweet tone but also incredible Praised for her “warm, colorful technique and impeccable pronunci- mezzo” by Opera News, Sophie ation” (Cleveland Plain Dealer). In Michaux has become one of Boston’s 2015 he won a Grammy award in most versatile and compelling Opera with the Boston Early Music vocalists. Born in London and raised Festival (BEMF) for their recording in the French Alps, Sophie’s unique of works by Charpentier. His recent background informs her artistic stage appearances in period-style baroque opera with BEMF identity, making her feel at home in include Le Jeu in Les plaisirs de Versailles by Charpentier, an eclectic span of repertoire ranging Apollo in Monteverdi’s Orfeo, and Eumete and Giove in from grand opera to French cabaret Monteverdi’s Il ritorno d’Ulisse in patria. Other recent solo songs. Sophie’s recent engagements performances include Pedrillo in Mozart’s Abduction from the include solo recitals of Barbara Strozzi’s music at the Fondazi- Seraglio, Bach’s Christmas Oratorio and St. Mark Passion with one Cini in Venice, in Annecy (France), and in Boston. A Emmanuel Music, and Monteverdi’s Vespers of 1610 with the consummate singing actor, Sophie recently appeared as Ceres Green Mountain Project. He has appeared with Boston Lyric in the Boston Early Music Festival’s production of Michel de

19 Le grant retthorique | April 17, 2021 Lalande’s Les Fontaines de Versailles. With Lorelei Ensemble, Tenor Aaron Sheehan, recognized Boston’s groundbreaking professional women’s vocal ensemble, internationally as a leading interpret- she has been a featured soloist in numerous works from er of baroque repertoire, is equally at Renaissance polyphony to Björk. Sophie belongs to Beyond home on the concert platform and Artists, a coalition of artists who donate a percentage of their the opera stage. He made his concert fees to organizations they care about. Through this professional operatic debut with the performance, she supports The Ocean Clean Up. Boston Early Music Festival in the world premiere staging of Matthe- Margot Rood, hailed for her son’s Boris Gudenow, winning praise “colorful and vital” singing by The from Opera News for his “sinous and Washington Post, performs a wide supple” voice, and went on to further range of repertoire and is in demand roles with BEMF in Lully’s Psyché, Charpentier’s Actéon, as a soloist with conductors includ- Monteverdi’s Orfeo, Il ritorno d’Ulisse in patria, and L’incoro - ing Scott Metcalfe, Patrick Dupré nazione di Poppea, and Handel’s Acis and Galatea. He sang the Quigley, Beth Willer, Stephen title role in BEMF’s recording of Charpentier’s La Descente Stubbs, Harry Christophers, and d’Orphée aux Enfers, which won Best Opera Recording at the Franz Welser Möst. Particularly 2015 Grammy Awards. Aaron has appeared worldwide at recognized for her commitment to venues including the Tanglewood Festival, Lincoln Center, early music, Margot is frequently Concertgebouw, Théâtre des Champs-Élysées, Gran Teatro booked for Bach performances with the likes of Edinburgh’s Nacional del Perú, Beethoven Festival Warsaw, Boston Sym- Dunedin Consort, South Florida’s Enlightenment Festival, the phony Hall, Musikfestspiele Postdam Sanssouci, Royal Opera Handel & Haydn Society, Philharmonia Baroque Orchestra, at Versailles, Washington National Cathedral, and the early and Washington Bach Consort. Handel’s Messiah is a signature music festivals of Boston, San Francisco, Vancouver, Houston, piece which she has performed with Toronto’s Tafelmusik Tucson, Washington, DC, and Regensburg, Germany. He has Baroque Orchestra, TENET Vocal Artists, Seraphic Fire, Bach performed with Seattle Symphony, American Bach Soloists, Collegium San Diego, the Rhode Island Philharmonic, and the Handel & Haydn Society, Boston Early Music Festival, Boston New Jersey Symphony. Other appearances include Charlotte Baroque, Tafelmusik, Orquesta Sinfónica Nacional del Perú, Symphony Orchestra and concerts, tours, and recordings with Philharmonia Baroque, North Carolina Symphony, New York Blue Heron. Margot is a recent recipient of the St. Botolph Collegium, Orpheus Chamber Orchestra, Charlotte Sympho- Club Foundation’s Emerging Artist Award for her work in new ny, Musica Angelica, Charleston Bach Festival, Baltimore music, and she made her Carnegie Hall debut in the world Handel Choir, Les Voix Baroque, Pacific Chorale, Tempesta di premiere of Shawn Jaeger’s Letters Made with Gold. Recent solo Mare, Aston Magna Festival, Bach Collegium San Diego, appearances also include the Cleveland Orchestra (Stravinsky’s Pacific Music Works, Boston Museum Trio, Tragicomedia, and Threni), the Boston Symphony (Benjamin’s Dream of the Song), Concerto Palatino. He has sung with Blue Heron for twenty the New World Symphony (Reich’s The Desert Music), and A years and appears on many of the ensemble’s CDs, from its first Far Cry (Golijov’s Three Songs). Notable recording releases (music of Guillaume Du Fay) to its recent recording of songs include Blue Heron’s Ockeghem Songs, Vol. 1, solo roles in by Johannes Ockeghem and the digital release A 14th-Century Lalande’s Les Fontaines de Versailles and Charpentier’s Les Arts Salmagundi. Florissants with the Boston Early Music Festival (CPO), the role of Emily Webb on Monadnock Music’s recording of Ned Rorem’s O u r To w n (New World Records), and a solo recording with composer Heather Gilligan, Living in Light. She has recorded repertoire from the medieval era to the 21st century on the Coro, Albany Records, Blue Heron, BMOP Sound, Toccata Classics, and Sono Luminus labels, and can be heard on Blue Heron’s Music from the Peterhouse Partbooks Vol. 5, which won the Gramophone Classical Music Award for Early Music in 2018.

20 Le grant retthorique | April 17, 2021 Praised for his “elegant style” (The Charles Weaver is on the faculty of Boston Globe), Sumner Thompson is the Juilliard School, where he teaches highly sought after as both baritone historical plucked instruments and and tenor. His appearances on the Baroque music theory. He was music operatic stage have included roles in director for Cavalli’s La Calisto with the Boston Early Music Festival’s New York’s Dell’Arte Opera in productions of Conradi’s Ariadne summer 2017, when The Observer (2003) and Lully’s Psyché (2007) and remarked on “the superb baroque several European tours with Con- band led by Charles Weaver … it temporary Opera Denmark as Orfeo was amazing to hear what warm and in Monteverdi’s L’Orfeo. He has varied sounds he coaxed from the performed across North America as a soloist with the Handel ensemble.” He has served as assistant conductor for Juilliard & Haydn Society, Concerto Palatino, Tafelmusik, Apollo’s Fire, Opera and has accompanied operas with the Yale Baroque Les Boréades (Montreal), Les Voix Baroques, Pacific Baroque Opera Project and the Boston Early Music Festival. As an Orchestra, the King’s Noyse, Mercury Baroque, and the orchestral musician, he has performed with the New York symphony orchestras of Charlotte, Memphis, and Phoenix. Philharmonic, the Philadelphia Orchestra, and the Virginia Recent highlights include Monteverdi’s Vespers of 1610 and a Symphony. His chamber appearances have included Quicksil- new Vespers of 1640 with the Green Mountain Project, Buxte- ver, Piffaro, Chamber Music Society of Lincoln Center, the hude’s Membra Jesu Nostri with Les Voix Baroques and Folger Consort, Apollo’s Fire, Blue Heron, Musica Pacifica, and Houston’s Mercury Baroque, Mozart’s Requiem at St. Thomas others. He also works with the New York Continuo Collective, Church in New York City, a tour of Japan with Joshua Rifkin an ensemble that mounts workshop productions of seven- and the Cambridge Concentus, a return to the Carmel Bach teenth-century vocal music. He has taught at the Lute Society Festival, and Britten’s War Requiem with the New England of America Summer Workshop, the International Baroque Philharmonic and several guest choruses. Institute at Longy, and the Madison Early Music Festival, and is the schola director at St. Mary’s Church in Norwalk, Con- necticut. He is currently pursuing a doctoral degree in music theory at the City University of New York.

21 Le grant retthorique | April 17, 2021 Acknowledgments Blue Heron’s existence is made possible only with John Kramer. FlashPrint in Harvard Square through the devotion, hard work, and financial prints our programs — and we look forward ea- support of a large community of musicians, staff, gerly to the day they are printed once again. Erik board members, volunteers, donors, and concert- Bertrand built our website and keeps it func- goers. Never has this been more true than in this tioning properly. Liz Linder is our photographer. extraordinary season of 2021–22. Many thanks to Our concerts are recorded by Philip Davis (Cape all those who join us in creating, nurturing, and Ann Recordings) or Joel Gordon. Joel is also the sustaining an organization dedicated to mak- engineer for our CDs, working with our producer ing the music of the past come alive in the 21st Eric Milnes. Kathy Wittman (Ball Square Films) ­century. is our videographer. In 2020–21 Joel and Kathy We are extraordinarily fortunate to work with a have stepped up to produce all of our events for slate of talented, skilled, and devoted designers, remote broadcast. Our debt to these wonderful engineers, videographers, and photographers. people who have shaped our look and sound is Our programs, printed publicity materials, and impossible to overstate. CDs were designed by Melanie Germond for Many thanks to our board and to all our dedicat- years, until she retired from the business last year; ed volunteers for their help in person, this eve- we are now very happy to have a new relationship ning, and always.

artistic director board of directors musician representative Scott Metcalfe officers Sonja DuToit Tengblad executive director Peter Belknap, President young artist representative Kathleen Brittan Paul LaFerriere, Treasurer Matthew Williamson Lois Wasoff, Clerk operations manager directors Janet Stone Mary Briggs technical assistant Philip H. Davis for live broadcasts Damon Dimmick Kate Salfelder Dorrie Parini Richard L. Schmeidler Harry J. Silverman Jennifer Farley Smith Laura Zoll

volunteers Darryl & Gail Abbey Shirley Fountain Thomas Nehrkorn Samuel Rubin Charlotte Swartz Daryl Bichel Matthew Gin John Nesby Cheryl Ryder Erin E. M. Thomas Pam Borys Pepper Greene Anna Nowogrodzki Kate Salfelder David Traugot Jill Brand Alexandra Hawley Beth Parkhurst Dan Schenk Sonia Wallenberg Sue Delaney Anne Kazlauskas Christopher Petre Kristin Sexton Mary Jane Doherty Mary Catherine Kingsley Susie Phoenix Susan Singer Holly Druckman Diana Larsen Karen Prussing Jennifer Farley Smith David Fillingham Ian McGullam Brian Riggs Brooks Sullivan

22 Le grant retthorique | April 17, 2021 2020–21 Musician Sponsorships Peter Belknap & Jennifer Snodgrass, sponsors of Steven Hrycelak & Sumner Thompson Peggy & Jim Bradley, sponsors of Pamela Dellal Andrew Gangolf, sponsor of Paul Guttry Dorrie Parini & Paul LaFerriere, sponsors of David McFerrin & Martin Near John Regier, sponsor of S o n j a D uTo i t Te n g b l a d Susan Sargent, sponsor of Jason McStoots Joan Margot Smith, sponsor of Sophie Michaux, Mark Sprinkle & Teresa Wakim Lois Wasoff, sponsor of Owen McIntosh & Margot Rood

Donations Received between January 21, 2020 & January 21, 2021 *In-kind donations

Archangel ($10,000 +) Anonymous Dorrie Parini & Paul LaFerriere Mark Sprinkle John A. Carey Harry J. Silverman Philip H. Davis Joan Margot Smith

Angel ($5,000 – $9,999) Anonymous (2) Erin E. M. Thomas Peter Belknap & Jennifer Snodgrass Michal Truelsen & Jody Wormhoudt

Benefactor ($2,500 – $4,999) Anonymous Paul Guttry Andrew Sigel Peggy & Jim Bradley Mary Briggs & John Krzywicki Lois Wasoff Diane L. Droste Stephen Moody & Helen Kraus

Guarantor ($1,250 – $2,499) John Paul Britton & Diane Britton Catherine & J. Daniel Powell Judith Ogden Thomson John Lemly & Catharine Melhorn Ronald V. Lacro & Jon P. Schum Prof. Jessie Ann Owens Ann Besser Scott

Patron ($600 – $1249) Anonymous (4) Hope Hare, in memory of Virginia Newes Amy & Brian McCreath Thom & Rebecca Barrett Robert J. Henry John Regier Philip H. Davis Eiji Miki & Jane Hever Marilyn M. Sanguinet, in honor of Helen Donovan & Holly Nixholm Jean & Alex Humez Kathleen Brittan John F. Dooley Mary Eliot Jackson James Sargent Alan Durfee Barry Kernfeld & Sally McMurry Robert B. Strassler Aaron Ellison & Flossie Chua Richard O’Connor & Julianne Lindsay Anne Umphrey Marie-Pierre & Michael Ellmann Mastwood Charitable Foundation Andrew Gangolf Anne H. Matthews & Edward F. Fay, Jr.

Sponsor ($300 – $599) Anonymous (4) Steven Atlas, in honor of Carole Friedman Keith Ohmart & Helen Chen Gail & Darryl Abbey Jill Brand & Thomas Nehrkorn Martha S. Dassarma Joseph Aieta, III Marie Brown Elizabeth Davidson

23 Le grant retthorique | April 17, 2021 Mark Davis, in memory of Yolanda Davis Penelope Lane Cheryl K. Ryder Lynda Ceremsak & F. George Davitt Rob & Mary Joan Leith Martha Maguire & Oleg Simanovsky Pamela Dellal Theodore Macdonald Jennifer Farley Smith & Sam Rubin Nicole Faulkner Deborah Malamud & Neal Plotkin Tracy Vietze, in memory of David Vietze Carole Friedman James Martin Debra & Ian Wallace, in honor of Bernard Fuller William McLaughlin Paul Guttry Anne & Walter Gamble Scott Metcalfe Michael Wise & Susan Pettee Mary J. Hepburn Kenneth & Karen Near Kathy Wittman Richard F. Hoyt, Jr. Perry & Susan Neubauer Elizabeth Wylde Thomas Hyde Tracy Powers John Yannis Katy Isaacs Harold I. & Frances G. Pratt Laura Zoll

Supporter ($125 – $299) Anonymous (18) Monica Gerber Beth Parkhurst, in memory of Anonymous, in honor of Leon Lydia Dorothy Gillerman Cheryl M. Parkhurst Friedman Andrea Golden Joyce & John Penniston Dorothy Africa Nancy L. Graham Mike Prokosch Debra K.S. Anderson Joan Stephens Hadly, in honor of Virginia Raguin, in honor of Christopher Valerie Arsenault, in honor of Ellen Aitken David McFerrin John Chieffo Jeffrey Del Papa & Susan Assmann Terrie Harman & Tom McCarron Prof. G.R. Rastall, in honor of Prof. Nick Sandon Katrina Avery & Tom Doeppner William L. Harwood, in honor of Tom Regan Peggy Badenhausen & Tom Kelly Bill Metcalfe Lee Ridgway Lois Banta Chad Heilig Robert & Kathy Rood Kenneth Bé P. R. Hewitt Nancy & Ronald Rucker Suzanne Berger Evan Ingersoll Dr. Rob Russell Katharine C. Black, in memory of Jean E. Jackson, in memory of Louis Kampf Patricia Gross Hollander Stone & Paul Jasie James & Evelyn Ryan Barbara Boles Linda Jeffries Kate Salfelder Kathleen & David Brittan David Kiaunis Franklin Schlerman David C. Brown Elise Landau Linda & Jeff Sheldon Julian Bullitt William Leitch Richard Silverman James Burr Jackie Lenth Simmons/Duffin Charitable Fund, in honor of Guillaume Du Fay Judith Campos Fla Lewis Clea Simon & Jon Garelick Ian Capps Peter J. Martin & Elizabeth F. Ryder Catherine Sluder Joseph Connors Jameson & Polly Marvin Sue Speno Nathaniel S. & Catherine E. Coolidge June Matthews Richard Tarrant Carolyn Davies, in honor of Paul Guttry Erin Doherty & David McFerrin Dr. E. K. Thomas Elizabeth C. Davis Lisa Meyer, in memory of Jane P. Ambrose Katherine Ware Carl & May Daw Susan Miron Charles Weitz & Isabel Chiu Celia & Philip Devine Jan Mokros Heather Wiley & Peter Renz Damon & Julia Dimmick Kyra Montagu Susan & Tom Wilkes Daniel & Ann Donoghue Debra Nagy, in honor of Scott Metcalfe Martin & Phyllis Wilner Lila Farrar Cindy & Peter Nebolsine Amy Woodward & Len Weiser-Varon Kathleen M. Fay & Glenn KnicKrehm Jeffrey Nicolich Ann Woodward Carol L. Fishman Glenn Orlic Nicholas H. Wright Adam & Brenda Flynn Monika Otter Carolyn Franklin

Friend ($50 – $124) Anonymous (22) Jerry Ackerman The Alchemy Foundation Gregory Abbe Judith Albee Alan Amos & Chris Toy

24 Le grant retthorique | April 17, 2021 Marcia Anderson Theodore Marriner Hammett Irving Rockwood Will & Nancy Ayton David & Fay Hannon Andrea B. Rogers James Beck Constance Harrington, in honor of William Hobbie & Virginia Rogers Stephanie Berk, in memory of Sue Poverman Pamela Dellal Vanessa Rood, in honor of Margot Rood Thomas N. Bisson Arnie Harris, in honor of Michael Barrett, Katy Roth Pam Dellal, Paul Guttry, David McFerrin, Sarah Bixler Jason McStoots, & Martin Near William Ryall Emily Blatt, in honor of Laura Zoll Wesley Hartwell Janet Saad Carol Blumenthal Nancy Hastings Miles & Mary Holt Michael Scanlon John Bolcer Hastings Polly Scannell David Bor Christopher Heigham Richard L. Schmeidler Rhys Bowen Joseph Hunter & Esther Schlorholtz Daphne Schneider Edward & Matilda Bruckner Robert B. Jenness Peter Schulz Kathleen Cahill Jeannette Jones Thomas & Martha Schweitzer Jean Capizzi, in memory of Dorothy Bogusz Tom & Kathy Kates Elizabeth Seitz Linda Carroll Mary Lee Kennedy, in honor of Paul Guttry Liam Seward Kevin Cattrell & Margaret Wald Sybil Lea Kevy Thomas & Sarah Shelburne John Clark Tom & Kathy Kurz Alison Shoemaker, in honor of Pamela Dellal Elise Cleva Anne Ladd Anne Shumway Robert Cochran Mary Ellen Geer & Philip LaFollette Silverman Whitfield Family Marvin Emery Collins Barbara Lambert David (Wuf ) Skinner Debora Compton & Paul Barbone Tom L aw Mark H. Slotkin David Cooke J. Matthew Lennon Polly S. Stevens Nicki Croghan Bruce Lipsey Ann H. Stewart Wallace & Barbara Dailey Liz Loveland Mary A. Stokey James Davies Robert & Elizabeth Low John C. Sullivan Mary Davis, in honor of Lynn Jonathan Sutton Logan Alexander Rose Andrew Manshel & Heidi Waleson Bettina Siewert & Douglas Teich Mari & John Doherty Megan Marshall John Thier Charles & Sheila Donahue Linda McJannet James Tsugawa Rita S. Edmunds Honey Meconi, in memory of Ann Van Dyke, in memory of Nancy Gluck Samuel Engel & Anne Freeh Engel Mary Lewis Meconi Mark & Janelle Walhout Thomas R. Engel J. Millard Sonia Wallenberg Phyllis Eweu David Miller & Jane Wiley Frank E. Warren Jean Fuller Farrington Steve & Mary Lou Miller Kimberly Wass Judy & Henry Feldman Seanan Murphy Elana Messer Weil & Shawn Weil Philip R. Frowery Robert Silberman Binney & Bob Wells Robert Gamble Shan Overton Richard White Judith Gervais & Robert Luby Rand & Sally Peabody Ania G. Wieckowski Edward S. Ginsberg Julia Poirier Zachary Wilder Nancy Goodyear Cheryl Poole Lloyd Van Lunen & Margaret Wilson Tim & Betsy Groves Muzafar Qazilbash Linda M. Wolk, in memory of Jim Haber & Susan Larson Louis R. Quartararo William P. Wolk

Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency.

950 Watertown Street, Suite 8 West Newton MA 02465 (617) 960-7956 john kramer design john [email protected] | www.blueheron.org Blue Heron 23RD SEASON

21SCOTT METCALFE,22 ARTISTIC DIRECTOR concerts in cambridge & online Oct. 15-16 — Ockeghem@600 Missa Quinti toni Dec. 17-18 — christmas in BarOque germany with Dark Horse Consort FeB. 11-12 — un petrarchinO cantatO mar. 18-19 — Ockeghem@600 Missa Sine nomine a 5 apr. 22-23 — many VOices Obrecht, Daniel-Lesur, Sanlıkol www.blueheron.org Seize the Moment! A Musical Treasure Trove 2020-21 virtual concert series revealing lost musical gems from across countries and continents Seven all-new concerts/events with live Zoom receptions! For tickets and info, visit www.OldPostRoad.org

Bo on Early Music Fe ival s s