Divine Songs connections and exchanges between secular song and sacred music, featuring the music of Johannes Ockeghem (c. 1420-1497)

Saturday, March 2, 2013 • 8 pm First Church in Cambridge, Congregational Divine Songs Connections and exchanges between secular song and sacred music, featuring the music of Johannes Ockeghem (c. 1420-1497)

Saturday, March 2, 2013 • 8 pm First Church in Cambridge, Congregational

Program

Ma maistresse MN JM SM

Missa Ma maistresse Blue Heron cantus Gloria Pamela Dellal, Martin Near contratenor Alius discantus super O rosa bella LJ SM Owen McIntosh, Jason McStoots tenor Fors seullement PD MN SM Mark Sprinkle, Sumner Thompson bassus Missa Fors seullement PD OM MS ST PG Paul Guttry, David McFerrin Credo Laura Jeppesen, & medieval fiddle Scott Metcalfe,director, & medieval fiddle Intermission• Pre-concert talk by Sean Gallagher (Boston University) sponsored in part by D’ung aultre amer / arr. (c. 1435-1511?) LJ SM The Cambridge Society for .

Presque transi OM JM DM Blue Heron PO Box 372 Missa Mi mi Ashland MA 01721 Sanctus (617) 960-7956 [email protected] De plus en plus / Gilles de Bins, dit Binchois (c. 1400-1460) MN LJ SM www.blueheronchoir.org

Missa De plus en plus This organization is funded in part by the Massachusetts Cultural Council, a state agency. Agnus dei

Title page: Illuminated opening from the Chigi Codex featuring the Kyrie of Ockeghem's Missa Ecce ancilla Domini. Divine Songs song melodies was meant to offer enlightening paral- the allegorical interpretation, would have originally lels to the listener; the poetic texts they evoked in the been intended for a Marian feast or for a Lady Chapel. memory, even if not sung, suggested metaphors by which humans might attempt to comprehend their Just the Kyrie and Gloria of theMissa Ma maistresse This concert concerns itself explicitly with a theme (this is true for all musicians but even more so for relationship to God. Aquinas had stressed the utility remain, although a complete cycle may once have that has run through many of Blue Heron’s programs singers, for whom the body is the only instrument), of metaphor in conveying divine truth, which might existed. Both movements draw liberally and audibly over the years: the profound interpenetration and but what is brought into being by that physical act can not be directly apprehendable by all: on the discantus and tenor of his . The bass interconnectedness of sacred and secular, of spiri- have a direct spiritual force. The actions of a human of the Kyrie quotes the entire tenor line of the first tual and corporeal, in the cultures of our past and body produce physical phenomena, sound waves, and It is befitting Holy Writ to put forward divine section of the song, while in the Gloria both the first of our present. I use the plural, cultures, in order to the effect of those physical phenomena on the body and spiritual truths by means of comparisons and second sections of the song’s discantus melody emphasize the diversity of understandings conceived and soul of a listener (including another musician par- with material things. For God provides for every- are quoted complete by the tenor. At the last moment, by individual human beings. I doubt that any two ticipating in the music-making) can be intense. thing according to the capacity of its nature.…It at the words “In gloria Dei patris, Amen,” the tenor re- people alive today experience or interpret the world is also befitting Holy Writ, which is proposed to prises the opening gesture of the song. Besides these all without distinction of persons…that spiritual in precisely the same way, and I am equally certain How this happens is entirely mysterious and perhaps direct and extended quotations, the song’s melodies truths be expounded by means of figures taken that the individuality of human beings is not a recent inexplicable, but a fifteenth-century European Chris- are absorbed into all the lines of the Mass. development. Late medieval Christendom may ap- tian musician, steeped in habits of allegory, meta- from corporeal things, in order that thereby even the simple who are unable by themselves to grasp pear relatively monolithic to us, but this impression is phor, and analogy, might have interpreted it thus: 2 A pioneer both in the development of the cyclical intellectual things may be able to understand it. surely a faulty one attributable to our remove of sev- All earthly phenomena correspond to heavenly ones. Mass (that is, a setting, unified by various means, of eral centuries, a lack of detailed evidence concerning The music we produce on earth is analogous to the the five movements of the Ordinary of the Mass) the innermost thoughts of all but a very few, and our divine music of the angels and the spheres. Not only The most obvious and most common analogy made and in the use of borrowed material, Ockeghem lamentable tendency to pass simplifying judgement does the Sanctus we sing offer a rapturous preview available by courtly love was between the unattain- composed thirteen extant cycles (three of which on groups of people we do not know very well, includ- of that sung by angelic choruses, but the love song able object of desire and Mary, and our concert opens survive in partial form): six are known to draw from ing our own ancestors. of a courtier to his lady may symbolize one sung by with an exquisite example, Johannes Ockeghem’s pre-existent secular songs and a seventh may well the believer to the Virgin Mary. As Andrew Kirk- virelai Ma maistresse. The poem merits a rubric like be based on a song that has been lost. Our program If I were to essentialize about our own culture for a man puts it in a recent book, “From the perspective that given by the Burgundian court chronicler and presents a complete, composite Mass Ordinary made moment, I might say that modern Americans tend to of a late medieval worldview permeated by patterns poet, , to his Dame sans per: “Dictier qui up of movements from four of them; each section of divide sacred and secular things into separate com- of religious allegory…potentially spiritual content se poeult adreschier soit a la vierge Marie ou pour the Mass is preceded by the song that inspired it. We un amant a sa dame” (“Poem that may be addressed partments: the soul in one box, the body in another. inhered already in the secular entity, awaiting, as it 3 also include a couple of instrumental renditions of Seldom, in the public sphere at least, do we recognize were, the appropriate context or mindset to activate either to the Virgin Mary or by a lover to his lady”). songs whose texts might easily be read as allegories: 1 that the two exist in one and the same place, indeed, its higher, spiritual meaning.” Although the idea was The text speaks of a lady “perfect in qualities, if ever Ockeghem’s countermelody to the tune of O rosa bella are the same thing (or anyway, that’s my feeling). But not completely new, fifteenth-century composers in- woman was, she alone whom rumor and fame hold to (“O beautiful rose, O my sweet soul / Do not let me if we have any cultural practice in which the connec- corporated secular melodies into sacred music with be without peer,” of the speaker’s urgent desire to see die, for courtesy’s sake!”), and Johannes Tinctoris’s tion or identity of the spiritual and the corporeal is much greater frequency and freedom than did their her and his hope for her pity. The song itself, written embellished version of Ockeghem’s D’ung aultre amer most manifest, it is perhaps music-making, and espe- predecessors, basing numerous Mass cycles and mo- as early as 1450 and perhaps the earliest we have from (“To love another my heart would demean itself”), a cially singing. The most abstract of all the arts, music tets on preexisting music drawn from songs, which Ockeghem, is one of his most bewitching creations, song which lent its melodies and presumed symbol- creates meaning out of sound and is able to shake were often incorporated into the new composition and its soaring melodies lend an air of enchantment ism to a number of and Masses, a Sanctus, and people to their core by means of the progression and in such a way as to be immediately recognizable to to his Mass based on it—a Mass that, according to one other song. combination of tones. Music-making is a physical act the listener. Far from violating propriety, the use of 2. Summa theologiae (Q. 1, art. 9), written 1265–74, quoted by Kirkman on p. 45 1. Andrew Kirkman, The Cultural Life of the Early Polyphonic Mass (Cambridge, 2010), p. 44 3. See Kirkman, p. 49.

4 5 Although mass cycles are nowadays sometimes re- Week. In the Credo the tenor sings the entire melody Haruyo Miyazaki, the first scholar to identify the par- Predictability is hardly the salient quality of Ock- 6 garded as sacrosanct wholes, such an attitude was of the song’s upper voice, plus some of the second ent song. The allegorical potential of the song within eghem’s music, however. His melodies spill forth in foreign to the fifteenth century, which, however voice’s melody from the B section. the Mass is also mysterious; might it, too, be thought ever-flowing streams; each voice pursues its own much it valued complete masses, considered it per- to refer to Christ’s suffering on the cross, “on the verge independent course within the contrapuntal texture, fectly seemly to extract and sing whatever was needed The songPresque transi expresses a desperate desire of death, a little less than dead, living in sorrow with- only occasionally imitating or even referring to the for the liturgy at hand. The numerous independent for death and an end to a painful and wearisome life. out receiving any comfort”? gestures of another line. Latterday writers have found mass movements by fifteenth-century composers It is in the Phrygian mode on E, the mode most alien it terribly challenging to account for Ockeghem’s mu- testify to the usefulness of single mass sections set to our sense of tonality, often used for laments, and For the Agnus dei we turn to the Missa De plus en plus, sic, which has been characterized as mystical, irratio- polyphonically. In any case, only the Kyrie and Glo- like most Phrygian pieces spends much of its time in based on a song not by Ockeghem but by one of the nal, cerebral, or arcane, beguiling the listener with (in ria of the Missa Ma maistresse survive, and the Credo tonal regions (C and G) that feel distant from E, so two most famous composers of the previous genera- Lawrence Bernstein’s memorable phrase) an “aesthet- of the Missa Fors seullement, another incomplete cycle, that its final cadences feel like a surprising collapse tion, . The song is celebrated both for ics of concealment.” But Tinctoris, in hisLiber de arte differs significantly in style, voice ranges, and voice from poignant yearning into bitter resignation. the extraordinary loveliness of its tune and for its ar- contrapuncti (Book of the Art of ) of 1477, designations from the Kyrie and Gloria which pre- restingly strange harmonies. Binchois’s songs betray a placed Ockeghem at the head of a list of composers cede it, suggesting that it may have been conceived That Ockeghem composed a Mass based onPresque marked fondness for ending in a place one would not whose works were filled with divine “sweetness”: independently. The complete Mass, if it ever existed, transi went long unrecognized in modern times, and predict, and this final is certainly one of his most -sur “might have been an amalgamation of rather diverse it may be that the scribes of the extant fifteenth cen- prising. (The waywardness of Binchois’s tonal strate- …at this present time, not to mention innumer- 4 able singers of the most beautiful diction, there movements.” tury sources were also unaware of the connection, gies inspired David Fallows to devise “The Binchois for they entitled it not Missa Presque transi but Missa Game”: I give you the beginning, or indeed most of flourish, whether by the effect of some celestial influence or by the force of assiduous practice, While Ma maistresse offers a classic example of Mar- Quarti toni or Missa My my, or nothing at all. Missa the song; you guess what the final will be.) The text of countless composers, among them Johannes ian analogy, Fors seullement presents the rather rarer Quarti toni means “mass in the fourth mode” (i.e., De plus en plus, though, is entirely unremarkable, ex- Ockeghem, , Antoine Busnoys, pressing in generic terms a yearning to see the absent case of a Christological application of a song, albeit Hypophrygian). As Ross Duffin has demonstrated, , and , who with potential Marian implications. Here a woman, Missa My my (or Mi mi) means exactly the same thing, beloved, the “sweet lady, noble and fair,” “she whom I glory in having studied this divine art under John overwhelmed by grief, speaks to a man she is “sure of for each mode could be referred to in shorthand by wish to obey in everything.” A Marian interpretation 5 Dunstable, Gilles Binchois, and Guillaume Du losing”: the song might be read allegorically as a sort means of a unique pair of solmisation syllables. We for the Mass seems inevitable. The way Ockeghem Fay, recently deceased. Nearly all the works of of Stabat mater, the 13th-century hymn that describes don’t know what Ockeghem called the work (no such handles the source song is also pretty straightforward: these men exhale such sweetness that in my opin- Mary weeping at the foot of the cross. (As so often thing as an autograph exists for fifteenth-century mu- the Missa De plus en plus treats the in ion they are to be considered most suitable, not with these songs, subsequent lines or stanzas do not sic), although the name My my may have originated the classic manner, with song tenor quoted in tenor only for men and heroes, but even for the immor- seem to fit the allegory so gracefully, for it does not with him. The relationship of song model to Mass in both strict and ornamented forms, often in longer tal gods, Indeed, I never hear them, I never study appear appropriate to speak of the Savior’s “rigeur”— is much less obvious here than in a standard cantus note values, sometimes proportionally transformed. them, without coming away more refreshed and hardness, implacability, pitilessness—nor of Mary firmus Mass, including the other three Masses repre- And Ockeghem deploys the song’s tenor melody in wiser. such a way as to make the final of the Mass move- cursing her loyalty to her son.) In this interpretation, sented on this program. There are no long, verbatim What did Tinctoris mean by sweetness? The word ments, in contrast to that of the song itself, completely the Missa Fors seullement refers directly to Christ’s quotations from the song’s melodies in the Mass’s fell so easily off fifteenth-century tongues that it is- ex predictable. The theorist Johannes Tinctoris consid- Passion and is most appropriately sung during Holy tenor or anywhere else, but material from all three tremely difficult to attribute any specific meaning to it, ered such predictability the norm, writing that “out of voices of the song permeates the Mass, as shown by but it may suggest suavity of melody, richness of har- fifty composed songs, there is scarcely one that does mony, or smoothness of counterpoint. Tinctoris also 4. According to Jaap van Benthem, in the preface to his recent edition of the work. not begin on that place in which it finishes” Liber( de singled out Ma maistresse as a model of varietas, which 5. The syllables indicate the solmisation of the species of fourth or fifth that constitutes the upper part of the mode’s natura et proprietate tonorum, 1476, ch. 19). octave range; in mode 4, Hypophrygian, this is the second species of fifth, from B mi down to E mi. Those interested should read Duffin’s article, “‘Mi chiamano Mimi…but my name is Quarti toni: solmization and Ockeghem’s famous 6. Haruyo Miyazaki, “New light on Ockeghem’s Missa ‘Mi-mi,’” Early Music xiii (1985): 367-75. Mass,” Early Music xxix (2001): 164-84.

6 7 he regarded as the greatest virtue of polyphonic mu- ence, the nature of which was continually chang- Texts & Translations sic, specifying a number of contrapuntal techniques ing.” In Ma maistresse,you will hear shifts in con- whereby such variety could be achieved. trapuntal texture, with imitation deployed in ever-varied ways; variation in the speed at which The eighth and last rule is that variety must most Ma maistresse et ma plus grant amye, My lady and my greatest friend, accurately be sought for in all counterpoint for, the melody moves forward, now urgent, now lan- De mon desir la mortelle enemye, Mortal enemy of my desire, as Horace says in his Poetics, “One who sings to guidly suspended; and changes in tonal empha- Parfaicte en biens s’onques maiz le fut femme, Perfect in qualities, if ever woman was, the kithara is laughed at if he always wanders sis: note especially the way the harmonies in the Celle seule de qui court bruit et fame She alone whom rumor and fame hold over the same string.” second part of the piece create an entirely new D’estre sans per, ne vous verray je mye? To be without peer, will I never see you at all? mood. You will encounter many, many equally Wherefore, according to the opinion of Tullius persuasive exemplars of varietas throughout this Helas, de vous bien plaindre me devroie, Alas! well should I complain of you S’il ne vous plaist que brefvement vous voye, If it does not please you that I see you soon, [Cicero], as variety in the art of speaking most concert, of an ineffable sweetness, and I hope we M’amour, par qui d’aultre aymer n’ay puissance. My love, because of whom I am powerless to love another. delights the hearer, so also in music a diversity will all come away refreshed and wiser. of harmonies vehemently provokes the souls Car sans vous voir, en quelque part que soye, For when I do not see you, wherever it might be, of listeners into delight; hence the philosopher Finally, a brief mention of pronunciation: We [Aristotle], in hisEthics, does not hesitate to state Tout ce que voys me desplaist et ennoye, Everything I see displeases and vexes me, are experimenting with fifteenth-century pro- Ne jusqu’alors je n’auray souffisance. Nor until I see you will I be satisfied. that variety is a most pleasant thing and human nunciations of Latin (more like French) and of nature in need of it. French (rather more like Latin, with many more Incessamment mon dolent cueur larmye Ceaselessly my sorrowing heart weeps, Also, any composer or improviser…of the great- final consonants pronounced than is usual in the Doubtant qu’en vous pitié soit endormye. Fearing that in you pity might be asleep. est genius may achieve this diversity if he either modern spoken language). In the Latin works Que ja ne soit, ma tant amée dame; May that not be, my so-beloved lady! composes or improvises now by one quantity, the French vowels and consonants help to cre- Maiz s’ainsy est, si malheureux me clame But if so it is, I proclaim myself so unhappy now by another; now by one perfection [ca- ate a more specific and distinctive sound-world, Que plus ne quiers vivre heure ne demye. That I do not want to live one hour more, nor even one half. dence], now by another; now by one proportion perhaps akin to Ockeghem’s own (he was born [vertical interval], now by another; now by one in the French-speaking province of Hainault, not Ma maistresse et ma plus grant amye… My lady and my greatest friend… melodic interval [motive: coniunctio], now by an- far from Brussels, and spent most of his career in other; now with suspensions cum[ syncopis], now in France). In the French, the heightened Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. without; now with [imitation], now with- fuga diction adds clarity and precision, aids compre- out; now with pauses [rests], now without; now hension, and underlines certain commonplaces diminished [i.e. florid:contrapunctus diminutus], Gloria in excelsis deo, et in terra pax hominibus Glory to God in the highest, and on earth peace to all now plain [contrapunctus planus]. of fifteenth-century French poetry such as the juxtaposition (not actually found in the texts bone voluntatis. Laudamus te. Benedicimus te. of good will. We praise you. We bless you. We adore Adoramus te. Glorificamus te. Gratias agimus you. We glorify you. We give thanks to you for your Sean Gallagher interprets varietas as a “mode of sung this evening) of the verb “amer” (to love) tibi propter magnam gloriam tuam. Domine great glory. Lord God, heavenly king, almighty God with the adjective “amer” (bitter), which in this composing” in which “composers could work deus, rex celestis, deus pater omnipotens. Domine the Father. Lord Jesus Christ, only begotten Son. out a sequence of musical passages, each having pronunciation sound identical, the final R pro- fili unigenite, Jesu Christe. Domine deus, agnus Lord God, lamb of God, Son of the Father. Who its own localized sense of regularity and coher- nounced. dei, filius patris. Qui tollis peccata mundi, takes away the sins of the world, have mercy on us. miserere nobis. Qui tollis peccata mundi, suscipe Who takes away the sins of the world, receive our —Scott Metcalfe deprecationem nostram. Qui sedes ad dexteram prayer. Who sits at the right hand of the Father, patris, miserere nobis. Quoniam tu solus sanctus, have mercy on us. For you alone are holy, you alone tu solus dominus, tu solus altissimus, Jesu Christe, are the Lord, the Most High, Jesus Christ, with the cum sancto spiritu in gloria dei patris. Amen. Holy Spirit in the glory of God the Father. Amen.

8 9 Fors seullement l’atente que je meure Save only the expectation that I shall die, Presque transi, ung peu mains qu’estre mort, On the verge of death, a little less than dead, En mon las cueur nul espoir ne demeure no hope remains in my weary heart, Vivant en dueil sans avoir nul confort, living in sorrow without any comfort: Car mon malheur si tresfort me tourmente for my misery torments me so bitterly Veoir l’en me peut es liens de Fortune one sees me in the bonds of Fortune, Qui n’est douleur que par vous je ne sente that there is no grief that I do not feel on your account, Qui sans cesser pis qu’autre me fortune who without cease treats me worse than any other Pource que suis de vous perdre bien seure. for I am full sure of losing you. Et me combat de plus fort en plus fort. and wars against me harder and harder. Vostre rigeur tellement me court seure Your implacable pitilessness pursues me so surely Qu’en ce parti il fault que je m’asseure that in this situation I can only be sure Helas! je suis contre mon vueil en vie, Alas! I remain alive against my will, Dont je n’ay bien qui en rien me contente that I have nothing that comforts me at all Et si n’est riens dont tant j’aye d’envie and there is nothing I long for so much Que de povoir veoir ma fin bien prouchaine. as to see my end draw near. Fors seullement l’atente que je meure save only the expectation that I shall die; En mon las cueur nul espoir ne demeure no hope remains in my weary heart, Morir ne puis et tousjours m’y convie, Die I cannot, and yet always I seek to, Car mon malheur si tresfort me tourmente. for my misery torments me so bitterly. Et m’est bien tart que du tout je desvie and it is high time that I turn away from everything Mon desconfort toute seulle je pleure All alone I weep for my distress, A celle fin que soie hors de paine. towards that end where I shall be free of pain. En mauldisant sur ma foy a toute heure ever cursing, by my faith, Ma loyaulté qui tant me fait dolente my loyalty, which makes me suffer so. Il m’est advis que la mort me tient tort, It seems to me that Death does me wrong Las! que je suis de vivre mal contente Alas! how unhappy I am to remain alive Quant autrement elle ne fait son effort when otherwise she makes no effort Quant de par vous n’est riens qui me sequeure. when I receive nothing from you to succor me. De moy vengier de ma vie importune, to relieve me of my wearisome life, Fors seullement… Save only… Car je languis sans avoir joye aucune for I languish without any joy whatsoever Par mon malheur qui me dévoure et mort. because of the unhappiness that devours and gnaws at me.

Credo in unum deum, patrem omnipotentem, I believe in one God, the Father almighty, maker of Presque transi… On the verge of death… factorem celi et terre, visibilium omnium et heaven and earth and of all things visible and invisibilium. Et in unum dominum Jesum invisible. And in one Lord Jesus Christ, the only Son Christum, filium dei unigenitum: et ex patre of God, eternally begotten of the Father. God from Sanctus, sanctus, sanctus, dominus deus sabaoth. Holy, Holy, Holy, Lord God of hosts. natum ante omnia secula. Deum de deo, lumen God, Light from Light, true God from true God. Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory. de lumine, deum verum de deo vero. Genitum non Begotten, not made; of one being with the Father, Osanna in excelsis. Hosanna in the highest. factum, consubstantialem patri: per quem omnia through whom all things are made. For us and for our Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the Lord. facta sunt. Qui propter nos homines et propter salvation he came down from Heaven. He was born of nostram salutem descendit de celis. Et incarnatus the Holy Spirit and the Virgin Mary, and was made Osanna in excelsis. Hosanna in the highest. est de spiritu sancto ex Maria virgine: et homo man. He was crucified for our sake under Pontius factus est. Crucifixus etiam pro nobis sub Pontio Pilate, died, and was buried. On the third day he rose Pilato: passus et sepultus est. Et resurrexit tertia again, in accordance with the Scriptures. He ascended die secundum scripturas. Et ascendit in celum: into heaven and is seated at the right hand of the sedet ad dexteram patris. Et iterum venturus est Father. He will come again to judge both the living cum gloria judicare vivos et mortuos: cujus regni and the dead, and his kingdom shall have no end. non erit finis. Et in spiritum sanctum dominum And I believe in the Holy Spirit, the Lord, the giver of et vivificantem qui ex patre filioque procedit. Qui life, who proceeds from the Father and the Son, who cum patre et filio simul adoratur et conglorificatur: with the Father and Son is worshipped and glorified, qui locutus est per prophetas. Et unam sanctam who has spoken through the prophets. And I believe in catholicam et apostolicam ecclesiam. Confiteor one holy, catholic and apostolic church. I confess one unum baptisma in remissionem peccatorum. Et baptism for the forgiveness of sins. And I await the exspecto resurrectionem mortuorum, et vitam resurrection of the dead, and the life of the world to venturi seculi. Amen. come. Amen.

10 11 De plus en plus se renouvelle, More and more is renewed— Blue Heron Ma doulce dame gente et belle, my sweet lady, noble and fair— Ma volenté de vous veir. my urge to see you: The vocal ensembleBlue Heron has been acclaimed Pamela Dellal, mezzo-so- Ce me fait le tres grant desir this creates in me the very strong desire by The Boston Globe as “one of the Boston music com- prano, is an acclaimed so- Que j’ay de vous ouir nouvelle. I have to hear news of you. munity’s indispensables” and hailed by Alex Ross in loist and recitalist whose The New Yorker for the “expressive intensity” of its singing has been praised Ne cuidiés pas que je recelle, Do not imagine that I am hiding, interpretations. Combining a commitment to vivid for her “exquisite vocal Comme a tous jours vous estes celle for at all times you are she live performance with the study of original source color,” “musical sensitiv- Que je vueil de tout obeir. whom I wish to obey in everything. materials and historical performance practices, Blue ity,” and “eloquent phras- Heron ranges over a wide and fascinating repertoire, ing.” She has been featured De plus en plus se renouvelle, More and more is renewed— including 15th-century English and Franco-Flemish in leading roles in operas Ma doulce dame gente et belle, my sweet lady, noble and fair— polyphony, Spanish music between 1500 and 1600, of Purcell, Mozart, Britten, Ma volente de vous veir. my urge to see you. and neglected early 16th-century English music, espe- and others. With Sequentia, Ms. Dellal has recorded cially the rich and unique repertory of the Peterhouse the music of Hildegard von Bingen and toured the Helas, se vous m’estes cruelle, Alas, if you are cruel to me, partbooks, copied c. 1540 for Canterbury Cathedral. US, Europe, and Australia. Passionate about cham- J’auroie au cuer angoisse telle I shall have such anguish of heart Blue Heron’s first CD, featuring music by Guillaume ber music, early music, and contemporary music, she Que je voudroie bien morir, that I should surely wish to die, Du Fay, was released in 2007. In 2010 the ensemble performs frequently with Dinosaur Annex, Boston Mais ce seroit sans desservir but would do so without failing to serve inaugurated a 5-CD series of Music from the Peterhouse Musica Viva, Ensemble Chaconne, Blue Heron, and En soustenant vostre querelle. by sustaining your cause. Partbooks; two discs have been released so far, of mu- the Musicians of the Old Post Road. She has been a sic by Hugh Aston, Robert Jones, Nicholas Ludford, regular soloist in the Emmanuel Music Bach Cantata De plus en plus… More and more… John Mason, and Richard Pygott, and volume three series for twenty-five years and has performed almost will be released next season. All the recordings have all 200 of Bach’s extant sacred cantatas. Recent ap- received international critical acclaim and the first pearances include the premiere of a new John Har- Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the world, Peterhouse CD made the Billboard charts. bison work, The Seven Ages, at Merkin Concert Hall Agnus Dei, qui tollis peccata mundi, miserere nobis. have mercy on us. in New York City, followed by performances in San Lamb of God, who takes away the sins of the world, Blue Heron presents subscription series in Boston Francisco, Boston and London. Agnus Dei, qui tollis peccata mundi, dona nobis and in New York City. The ensemble has appeared pacem. have mercy on us. Lamb of God, who takes away the sins of the world, at the Boston Early Music Festival; in New York City Paul Guttry, bass-bari- grant us peace. at The Cloisters, the 92nd Street Y, and Music Before tone, enjoys the variety 1800; at Dumbarton Oaks in Washington, D.C., at of opera, oratorio, and Festival Mozaic in San Luis Obispo, California, and a specialization in early at the Berkeley Early Music Festival. Last September music. A former member Translations from the French by Scott Metcalfe Blue Heron was appointed ensemble in residence at of Chanticleer, Paul has the new Center for Early Music Studies at Boston performed throughout University. Highlights of the 2012-13 season include the USA and internation- performances for the visit of His Holiness the Dalai ally with Sequentia, the Boston Camerata, and New Lama to the Massachusetts Institute of Technology in York’s Ensemble for Early Music. In Boston he has ap- October, an appearance at the new Shalin Liu Perfor- peared as soloist with Emmanuel Music, the Handel mance Center in Rockport, the presentation of North & Haydn Society, the Boston Early Music Festival, the American premieres of music from the Peterhouse Tanglewood Music Center, Cantata Singers, Boston partbooks by Ludford and Mason, and a collabora- Cecilia, Prism Opera, Intermezzo, Boston Revels, and tion with the consort Parthenia from New York. Collage. This summer he sang the role of Osmin in the 12 13 Connecticut Early Music Festival’s production of Mo- the American premiere of Blue Heron, Exsultemus, Emmanuel Music, Boston whose performances of ’s 1610 zart’s Die Entführung aus dem Serail and in the spring James MacMillan’s Clem- Baroque, the Handel & Haydn Society, Harvard Ba- Vespers and a “1640” Vespers of Metcalfe’s own devis- will appear as the Father in Britten’sThe Prodigal Son ency. Other upcoming en- roque, Tucson Chamber Artists, and Seraphic Fire. ing have been hailed by The New York Times as “quite with Intermezzo. In addition to Blue Heron’s discs, gagements include reprise simply terrific” and byThe Boston Globe as “stupen- Paul can be heard on recordings of performances of Aeneas in Tenor Jason McStoots dous.” Metcalfe has been a guest director of TENET by Sequentia, Kurt Weill’s Johnny Johnson and French Dido and Aeneas with Se- has performed around (New York), Emmanuel Music (Boston), the Tudor airs de cour with the Boston Camerata, and music of raphic Fire in Miami, and the world. Critics have Choir and Seattle Baroque, Pacific Baroque Orchestra Bach by Emmanuel Music. the Elder Son in Britten’s described him as “light (Vancouver, BC), Quire Cleveland, and the Dryden The Prodigal Son with In- and bluff, but neither Ensemble (Princeton, NJ), and he conducted Early termezzo Opera. Concert lightweight nor bland, Music America’s Young Performers Festival Ensem- Laura Jeppesen is a grad- highlights have included and with exemplary enuciation” and as having “a ble in its inaugural performance at the 2011 Boston uate of the Yale School of Monteverdi’s Vespers at St. silken tenor voice” and “sweet, appealing tone.” His Early Music Festival. Metcalfe also enjoys a career Music. She is the principal Mark’s Basilica in Venice, a Carnegie Hall debut with recent appearances include Bach’s Christmas Ora- as a baroque violinist and currently plays with Les violist of Boston Baroque Maestro Gustavo Dudamel and the Israel Philhar- torio and a Japanese tour of the St. Matthew Passion Délices (dir. Debra Nagy), Les Boréades (dir. Francis and gambist of the Boston monic, and performances with the Boston Pops. He under the direction of Joshua Rifkin, Monteverdi’s Colpron), L’Harmonie des Saisons (dir. Eric Milnes), Museum Trio, and plays in has also sung at the Blossom, Caramoor and Ravinia 1610 Vespers and The Return of Ulysses in Seattle under and other ensembles in Boston, Montreal, and else- many early music groups, Festivals, and completed two summer residencies at Stephen Stubbs, and Handel’s Acis and Galatea with where. He teaches vocal ensemble repertoire and including the Handel & the Marlboro Music Festival in Vermont. A resident the Boston Early Music Festival. He has appeared performance practice at Boston University and is co- Haydn Society, The Bos- of Boston, Mr. McFerrin sings regularly with the with such groups as Boston Lyric Opera, Pacific Mu- director (with Victor Coelho) of BU’s new Center for ton Early Music Festival Handel & Haydn Society and is bass section leader sicWorks, Boston Camerata, Handel Choir of Balti- Early Music Studies. In his spare time he is at work on Orchestra, Aston Magna, in the Trinity Church Choirs. more, New Haven Symphony, Tragicomedia, and the a new edition of the songs of Gilles Binchois (c. 1400- and the Carthage Consort. She has been a Woodrow Tanglewood Music Center, and in annual Monteverdi 1460). Metcalfe received a bachelor’s degree in 1985 Wilson Designate, a Fellow of Radcliffe’s Bunting In- Tenor Owen McIntosh performances by New York’s Green Mountain Proj- from Brown University, where he majored in biology stitute, and a Fulbright Scholar. In 2006 the Indepen- is the recipient of a mas- ect, directed by Scott Metcalfe. He can be heard on (perhaps uniquely in the early music world, he was dent Critics of New England nominated her for an ter’s degree from the New recordings with Blue Heron and Cut Circle, as well lead author of an article published in the Annals of IRNE award for the score she produced as music di- England Conservatory of as on the Grammy-nominated recording of Lully’s Botany), and in 2005 he completed a master’s degree rector of the American Repertory Theater’s staging of Music. Heralded by crit- Psyché and on recordings of Charpentier and John in historical performance practice at Harvard. Christopher Marlowe’sDido, Queen of Carthage. She ics as “stylistically impec- Blow with the Boston Early Music Festival on the has performed as soloist under conductors Christo- cable,” “he sings with vocal CPO label. Countertenor Martin pher Hogwood, Edo de Waart, Seiji Ozawa, Martin energy and rhythmic bite” Near began his profes- Pearlman, Grant Llewellyn, and Bernard Haitink. Her and his “strong yet sweet Scott Metcalfe has gained sional singing life at age extensive discography includes music for solo viola da tenor voice” produces the wide recognition as one of ten in the choir of men gamba, the gamba sonatas of J. S. Bach, Buxtehude’s “clearest lines and most North America’s leading and boys at Saint Thom- trio sonatas opus 1 and 2, Telemann’s Quartets, nuanced performances.” specialists in music from as Fifth Avenue in New and music of Marin Marais. She teaches at Boston Recent performances include the title role in Helios the fifteenth through sev- York City, advancing to University and Wellesley College. Early Opera’s production ofDavid et Jonathas by enteenth centuries and be- Head Chorister. He now Charpentier, Bach’s B Minor Mass with Tucson Cham- yond. Musical and artistic enjoys a varied career, ex- Praised by The New York Times for his “appealingly tex- ber Artists, the Evangelist in Telemann’sSt. Luke and director of Blue Heron ploring his twin passions tured sound,” baritone David McFerrin is building a St. John Passions, soloist in Opera Boston’s production since its founding in 1999, for early music and new critically acclaimed career across a variety of genres. of The Nose, and a Jordan Hall performance of Benja- he is also music director music. This past April Mr. Near sang in the Evange- This season he is a featured Emerging Artist with Bos- min Britten’sSerenade for Tenor and Horn. Mr. McIn- of New York City’s Green list quartet of Arvo Pärt’s Passio with Boston Modern ton Lyric Opera, appearing in Madama Butterfly and tosh is also a member of various ensembles, including Mountain Project (Jolle Greenleaf, artistic director), Orchestra Project, and together with soprano Margot

14 15 Blue Heron’s 5-CD recording project: Rood was noted for producing “an ear-boggling array Handel & Haydn Society, the Boulder Bach Festival, Music from the Peterhouse Partbooks of close-harmony sonorities...seemingly generating the Oriana Singers of Vermont, Seraphim Singers, overtones and wave-interference patterns that not Boston’s Chorus Pro Musica, and the Andover Cho- even dogs could hear.” In November 2011 he was coun- ral Society, among others. This season he will appear LUE HERON is in the midst of a recording project of international musical significance: a five-disc seriesMusic of tertenor soloist in the premiere performance of Domi- in concerts with Exsultemus and as the tenor soloist from the Peterhouse Partbooks – a glorious collection of music from the golden age of English church music by the nick DiOrio’s Stabat mater with Juventas New Music in Bach’s Cantata 106 with Boston Baroque in Jordan Bgreatest composers working in England c. 1510-1540. The music for Volume III was recorded in October, for release next Ensemble. In March 2011 Mr. Near took the role of Hall. Mr. Sprinkle was a founding member of the season, while Volumes I and II have been hailed by critics at home and abroad: Hamor in Handel’s Jephtha with Boston Cecilia, and Cambridge Bach Ensemble and a fellow of the Brit- was noted for his “fine work” in Buxtehude’s Heut ten-Pears School and has recorded for Dorian, Koch, “Blue Heron…produces a spectacularly rich and accurate sound, with beautifully delineated articulation.…I was trans- triumphieret Gottes Sohn with Boston Baroque. He Harmonia Mundi, Decca, Arabesque, and Telarc. ported by the exquisite beauty of this Mass, and found myself sitting in semi-darkness luxuriating in the genius of Lud- also relishes ensemble work and sings regularly with ford’s intertwining vocal lines. Pygott’s enormous Salve regina, running in this recording to almost 23 minutes of intricate Emmanuel Music, Boston Baroque, and the Handel Sumner Thompson is polyphony…is given an equally intelligent and exquisitely unhurried performance. I cannot recommend this superb CD & Haydn Society. Mr. Near served as a producer for praised for his “elegant highly enough…” (D. James Ross, Early Music Review (UK), October 2012) Cut Circle’s CD, “De Orto and Josquin: Music in the style” Boston( Globe), and Sistine Chapel around 1490,” and as Music Director is one of today’s most The Peterhouse partbooks, copied in 1540 for Canterbury Cathedral, are the largest and most important extant source of Exsultemus from 2009 to 2012. sought-after tenors. His of pre-Reformation English sacred music, but the repertoire has gone unsung, unheard, and unregarded, largely on ac- appearances on the oper- count of the disappearance, centuries ago, of one of the five partbooks and a portion of another. For providing a remedy Tenor Mark Sprinkle’s atic stage include roles in to this situation we are indebted to the English musicologist Nick Sandon, retired from the University of Exeter, who has singing has been de- the Boston Early Music devoted the greatest part of his professional life to the Peterhouse music and by now has published brilliant and idiomatic scribed as “expressive,” Festival’s productions of reconstructions of nearly all of the incomplete music. Blue Heron has been involved with the Peterhouse repertoire since “very rewarding,” “out- Conradi’s Ariadne (2003) its founding in 1999 and is deeply steeped in the particularities of its richly melismatic style; the ensemble is thus ideally standing,” “vivid,” and and Lully’s Psyché (2007) suited to act as an ambassador on behalf of this wonderful music and Doctor Sandon, its devoted restorer, who has joined “supremely stylish.” He and several European tours with Contemporary Op- Blue Heron as an advisor in this undertaking. has collaborated with era Denmark as Orfeo in Monteverdi’s L’Orfeo. He the Boston Early Music has performed across North America as a soloist A set of five CDs will surely help restore the Peterhouse repertoire to the central position in music history and in concert Festival, the Boston Cam- with Concerto Palatino, Tafelmusik, Apollo’s Fire, Les life that it merits. This is an expensive and ambitious undertaking, and we thank those who have provided seed money in erata, the Mark Morris Boréades de Montréal, Les Voix Baroques, Pacific Ba- this early phase. Please consider providing a significant gift in support of our plans for a 5-CD Peterhouse set, which will Dance Group, Emmanuel Music, Boston Baroque, roque Orchestra, the King’s Noyse, Mercury Baroque, help expose more and more of this important repertoire to the world. Please contact John Yannis (jy@blueheronchoir. the Handel & Haydn Society, and many others, per- and the symphony orchestras of Charlotte, Memphis, org) to discuss plans for a special recording fund. formed at festivals in Bergen (Norway), Vancouver, and Phoenix. Recent highlights include Monteverdi’s Edinburgh, and Aldeburgh (UK), and worked as a so- Vespers of 1610 and the new Vespers of 1640 with the Blue Heron’s series of recordings of music from the Peterhouse Partbooks is made possible by our Peterhouse Partners, loist and ensemble singer with Seiji Ozawa, Christo- Green Mountain Project, Buxtehude’sMembra Jesu a leadership group of donors who pledge support for the complete 5-disc series, enabling Blue Heron to bring this ex- pher Hogwood, William Christie, Roger Norrington, Nostri with Les Voix Baroques and Houston’s Mercu- traordinary and neglected repertoire to a wider modern audience. We are deeply grateful for their vision, commitment, John Nelson, Andrew Parrott, Grant Llewellyn, and ry Baroque, Mozart’s at St. Thomas Church and generosity. Craig Smith. He has appeared as a soloist with Con- in New York City, a tour of Japan with Joshua Rifkin certo Palatino, with the Handel & Haydn Society in and the Cambridge Concentus, a return to the Car- Blue Heron’s Peterhouse Partners Bach’s St. Matthew Passion and Monteverdi’s 1610 Ves- mel Bach Festival, and Britten’sWar Requiem with the Peter Belknap & Jennifer Snodgrass Arthur Hornig Richard L. Schmeidler pers, and in concerts of Handel’s Chandos Anthems New England Philharmonic and several guest cho- Peggy & Jim Bradley Mary Eliot Jackson Harry J. Silverman with Christopher Hogwood in Jordan Hall. Mr. Sprin- ruses. John A. Carey Benjamin Krepp Rachael Solem kle has sung the Evangelist in BachPassions with the Choral Arts New England Anne H. Matthews Christopher Thorpe The Cricket Foundation Erin E. McCoy William J. Vaughan Philip H. Davis Scott Metcalfe Giovanna Vitelli Diane L. Droste William & Elizabeth Metcalfe Michal Truelsen Fred Franklin & Kaaren Grimstad Eiji Miki & Jane Hever & Jody Wormhoudt 16 To learn more about becoming a Peterhouse Partner, please contact Blue Heron at [email protected]. Acknowledgments BLUE HERON is much more than an ensemble Sue Ladr (Ladr Design) designed the postcard and of musicians. Only the devotion, hard work and fi- the program. Evan Ingersoll (Angstrom Images) built Supporter ($100 – $249) Charles A. Welch Board of Directors nancial support of a community of board members, our website and designed our programs for many Lorraine Adams Carol B. Wetmore John A. Yannis, president Julie Rohwein & Jonathan Aibel Alex Yannis Peter Belknap, treasurer staff, volunteers, donors, and concertgoers makes our years, Erik Bertrand maintains the website, Chris Anonymous (4) John Yannis Richard L. Schmeidler, clerk existence possible, and we offer most grateful thanks Clark (Cave Dog Studio) designed various publicity Andy & Margaret Ashe Daryl Bichel to all those who join us in this endeavor of creating, materials and our program covers, and Philip Davis Klaus Bibl Friend ($50 – $99) Philip H. Davis nurturing and sustaining an organization dedicated records our concerts. We are most fortunate to have Thomas Bisson Joseph Aieta, III Scott Metcalfe to making the music of the 15th and 16th centuries all this expertise on our side. Marilyn Boenau Anonymous Harry Silverman Spyros Braoudakis Jeffrey Del Papa General Manager come alive in the 21st. James Burr Thanks to The Cambridge Society for Early Music for & Susan Assmann John Yannis supporting the pre-concert talks. Susan Hockfield & Tom Byrne Edward & Matilda Bruckner Special thanks to the Center for Early Music Studies, Keith Ohmart & Helen Chen Edward & Gail Bucher Office Administrator Thomas Clark Boston University, which this year welcomes Blue Many thanks to all our volunteers for their help this Stephen Butts Gail Abbey evening and throughout the year. Robert Cochran Mary & Kenneth Carpenter Heron as resident ensemble, and to Michael Noone Nathaniel S. & Catherine E. Martha W. Davidson Office Assistant and the Department of Music at Boston College for We are honored and grateful to have so many gener- Coolidge Priscilla Drucker Jennifer Farley Smith Elizabeth Davidson inviting us to a residency for the third year. ous donors. Hope Ehn Marketing Assistant In Memory of Joe Davin Brenda & Monroe Engel Christopher A. Petre Elizabeth C. Davis Jim Fowle Donations from February 22, 2012, through February 22, 2013 Carl & May Daw Kate Gyllensvärd Administrative Consultant Pamela Dellal Ivan Hansen Carole Friedman Rosanne T. Dobbin Elaine Hubert & Bill Harwood Angel ($5,000 +) Sponsor ($250 – $499) Mary Eliot Jackson John H. Doherty Margot Honig Volunteers Anonymous Peter & Cindy Nebolsine Anonymous (2) John F. Dooley Louis Kampf Darryl Abbey The Cricket Foundation Joan Margot Smith Mr. & Mrs. Thomas A. Barrett Paula Douglas Jay Lane & Jean Monroe Daryl Bichel William & Elizabeth Metcalfe Christopher Thorpe Marie-Hélène Bernard Alan Durfee Penelope Lane Jaime Bonney Harry J. Silverman James Catterton & Lois Wasoff Sarah Gore & Charles Ruberto Jane Lewis Toni-Lee Capossela Patron ($500 – $999) Scott Clugstone Jane Wegscheider Hyman Catherine Liddell Luca Daniel Susan Cornwall & Nick Pappas Benefactor ($2,500 – $4,999) Anonymous (2) Ron Lacro & Jon Schum Tod Machover Sue Delaney Daniel Donoghue Peter Belknap & Jennifer Snodgrass John Paul & Diane Britton Paul LaFerriere Mary Lynn Ritchie David Fillingham Eastern Bank John A. Carey The Cambridge Society for Early & Dorrie Parini Katy Roth Michelle Gurel Charitable Foundation Philip H. Davis Music William Lockeretz Samuel Rubin Alexandra Hawley David R. Elliott Benjamin Krepp Aaron Ellison Nancy B. Mandel & Jennifer Farley Smith Walter Jonas Marie-Pierre & Michael Ellmann Massachusetts Cultural Council & Elizabeth Farnsworth Sarah M. Guilford Polly Scannell Anne Kazlauskas Michelle Gurel Erin E. McCoy David Halstead & William Miniscalco Aaron Sheehan & Adam Pearl Laura Keeler Richard O’Connor Scott Metcalfe Arthur Hornig Amy Mossman Polly Sutton Stevens Carrie Lin & Julianne Lindsay Katherine L. Rosenfield Mastwood Charitable Foundation Perry & Susan Neubauer Michael, Annlinnea & Judy Sharon Liu Andrew Manshel & Heidi Waleson Richard L. Schmeidler Michael P. McDonald James M. Paisner Terranova Erin McCoy James Martin Eiji Miki & Jane Hever Keith & Janet Polk Richard Turbet John Nesby Anne H. Matthews Susan S. Poverman Paul Rabin & Arlene Snyder Lloyd Van Lunen Shan Overton Guarantor ($1,000 – $2,499) James Meyer Cheryl K. Ryder Lee Ridgway & Margaret Wilson Kellie Pacheco Alfred Nash Patterson Foundation Mary Ellen Myhr Rachael Solem Susan Rowley Dr. Marsha Vannicelli Beth Parkhurst for the Choral Arts Tracy Powers William J. Vaughan Michael Scanlon Lee Warren Cheryl Ryder Peggy & Jim Bradley Katherine Raia Dr. Giovanna Vitelli Robert Silberman Heather Wiley Charlotte Swartz Diane L. Droste Ann Besser Scott Michal Truelsen & Nancy Netzer Martin & Phyllis Wilner Julie Shapiro Laurie Francis Andrew Sigel & Jody Wormhoudt Richard Silverman Charlotte B. Wilson Jennifer Farley Smith Fred Franklin & Kaaren Grimstad Robert B. Strassler Amy Stoffelmayr Linda C. Woodford Gerry Weisenberg John & Ellen Harris Martha Weisberg Tom & Valerie Stone Sonia Wallenberg Boston University College of Fine Arts musica Center for Early Music Studies presents sacra 2012–2013 “. . . uncommonly fresh and direct — March 3-5, 2013 April 11, 2013 almost like breaking news.” Mini-Course Concert —the boston globe

Performing 15th-Century Songs from Virtuoso Music of 17th-Century Italy photo copyright © 2010 susan wilson (www.susanwilsonphoto.com) Saturday, March 9, 2013, 8:00 pm BALTIC INSPIRATIONS: Original Notation Il Furioso with Aldo Abreu Choral Music from Northern Europe. with Scott Metcalfe, Aaron Sheehan, Sean 855 Commonwealth Avenue, Concert Hall, From cold Baltic lands, the warmth of song in both Gallagher, Victor Coelho, Keith Polk and 8pm sacred celebration and everyday life. musica Music of Pärt, Tormis, Rautavaara, Stravinsky, Martin Near sacra Górecki, Gjeilo, Augustinas MARY BEEKMAN ARTISTIC DIRECTOR Saturday, May 11, 2013, 8:00 pm April 9-11, 2013 April 13-15, 2013 A NEW BIRTH OF FREEDOM: First Church Congregational Music Celebrating the 150th Anniversary of the Residency of Il Furioso Mini-Course 11 Garden Street Cambridge, Massachusetts Emancipation Proclamation and the Gettysburg (Victor Coelho and David Dolata, directors) The Medieval Singer’s Art: an Address. Music from the time of the Civil War MUSICA SACRA with Aldo Abreu Introduction to Liturgical Chant and P.O.Box 381336 and modern-day settings of the poetry of Walt Whitman Cambridge, MA 02238-1336 and Herman Melville. With special guest Jacqueline Vernacular and Latin Song (9th-13th April 9, 2013 www.musicasacra.org Schwab, the celebrated improvisational pianist of Ken centuries) 617 349-3400 Burns’ series “The Civil War.” Lecture Benjamin Bagby and Katarina Livljanić Editing the Music of Bellerofonte Castaldi, 1581-1649 David Dolata and Victor Coelho April 14, 2013 The Editorial Institute, 143 Bay State Road, Lecture 3:30-4:45pm The Silence of Medieval Singers Benjamin Bagby and Katarina Livljanić April 10, 2013 855 Commonwealth Avenue, Marshall Room, Lecture 2nd Floor, 1:30-3:00pm Historical Temperaments on Fretted Concerts and lectures are free and Instruments open to the public. For more David Dolata 808 Commonwealth Avenue, Room 281, information, please visit 5pm www.bu.edu/earlymusic. The Center for Early Music Studies at Boston University draws on a renowned faculty of scholars and performers, including its resident ensemble, Blue Heron, and supports a regular cycle of lectures, concerts, visiting artists, and workshops. Stay Connected20 bu.edu/cfa | facebook.com/BUArts | twitter.com/BUArts (#myCFA) CONVIVIUM·MUSICUM·    ·  

S  : M    S: M ic & M hem ics in  e Rena sance  e logic of mathematics and geometry played a signi cant role in the compositional process of composers, nowhere more in- geniously demon rated than in the works of Johannes Ockeghem. M , ,  J  (   )

We are delighted to announce that the men of Convivium will assi the Bo on Camerata in “…the chorus’s unyielding focus their performance of Guillaume de Machaut’s con antly caused this li ener to admire Messe de Notre Dame, on March  in Am- such extraordinary accomplishment…” her and March  in Cambridge; please see www.bo oncamerata.com for details. — David Patterson, Bo on M ical Inte igencer      .. the cathedral choir of men and boys Woodrow Bynum Director of Music

OldPostRoad.org mozart “A cleverly conceived and impeccably presented group of artists” –Classical Voice of New England 2012-2013 Season

Musical Delights with & Viol The Parisian Classical Salon Requiemand Duo Maresienne joins the ensemble for a Elegant and effervescent chamber works by zesty German Baroque program. Gossec, Pleyel, and Anne Louise Brillon de Jouy. Oct. 26, 8 pm, Christ Church, Cambridge March 1, 8 pm, First Parish of Sudbury Oct. 27, 8 pm, First Parish, Wayland March 2, 8 pm, Emmanuel Church, Boston Solemn Vespers A Festive Christmas from Germany In Celebration of Spring Joyous sounds of the season, including arias by Sweet and uplifting works by Boismortier, Pepusch, 12 march 2013 7pm Bach, a suite by Werner, and a Christmas can- Oswald, and an arrangement from Vivaldi’s tata by Graupner. With soprano Kristen Watson “Four Seasons.” With soprano Kristen Watson Jennifer Aylmer Vivien Shotwell Nigel Smith Nicholas Phan Dec. 8, 3 pm, Emmanuel Church, Boston April 26, 8 pm, Worcester Hist. Museum Soprano Mezzo-Soprano Baritone Te n o r Dec. 9, 4 pm, First Unitarian, Worcester April 27, 8 pm, Emmanuel Church, Boston The Cathedral of All Saints 62 South Swan Street Albany, New York 12210 www.thecathedralofallsaints.org More information and special offers are available at Tickets online at mozart.brownpapertickets.com 1-800-838-3006 Event #273929 www.OldPostRoad.org, or by calling 781.466.6694. Venice half_Venice half 1/24/13 8:39 AM Page 1

John Harbison EMMANUEL The Cambridge Society for Early Music MUSIC Chamber Music by Candlelight Baroque Treasures of Venice the great A dashing string quartet and a superb harpsichordist evoke the golden age of Venice – rare gems and old favorites, 1600-1800. gatsby April 11–15 Sarah Darling, & viola 2013 Jesse Irons, violin Opera in concert Jason Fisher, viola Carlisle – Weston Michael Unterman, cello Ryan Turner, conductor Salem – Ipswich Byron Schenkman, Pre-Concert Talk by John Harbison and Cambridge Robert Kirzinger at 2 PM Sarah Darling

Boston premiere of the opera based on F. Scott Fitzgerald’s classic novel. Composer John Harbison presents a soundscape evoking the Roaring Twenties Sunday, May 12, 2013 while reflecting the story’s dark underlying themes of 3:00 PM romantic obsession, corruption, betrayal and murder. Jesse Irons Jason Fisher Michael Unterman Byron Schenkman Jordan Hall at For tickets and more information www.gatsbyinboston.com | 617.536.3356 New England Conservatory, Boston call 617-489-2062 or visit www.csem.org

SS Fiesta half page_SS 12-13 Program half 2/15/13 7:48 AM Page 1

2012 - 2013 SEASON 2012–2013 Concert Series Tenth Anniversary Season

Shannon Canavin, Artistic Director

Exquisite voices… The Glorious Revolution Exhilarating performances. Music from the English and French Courts of James II

John W. Ehrlich, Music Director Tue. March 5 at 7:30pm • First Lutheran Church of Boston

March 23, 2013, 8:00pm Shannon Canavin, Shari Alise Wilson, Gerrod Pagenkopf & Charles Blandy, voices Marika Holmqvist & Katharina Radlberger, Emily Rideout, viola • Velleda Miragias, cello Andrus Madsen, harpsichord Fiesta Latina! Secular and Sacred, Vibrant and Night Games of Siena Varied Vocal Works from Latin America A Comedy by Orazio Vecchi

Music by Piazzolla, Villa-Lobos, and Ginastera, Sat. May 18 at 8pm • University Lutheran Church, Cambridge Sun. May 19 at 3pm • First Lutheran Church of Boston with guest soprano Kristen Watson and an ensemble of eight cellos. Special Guest Artists: Tango Dancers Shannon Canavin, Shari Alise Wilson, Matthew Anderson, Fernanda Ghi and Guillermo Merlo “Exsultemus…are to be commended Owen McIntosh, Paul Guttry, voices for assembling a group of topnotch All concerts at First Church Congregational, 11 Garden St., Cambridge Tickets: $35, $25, $15; $5 off for students & seniors musicians to perform this important Tickets, details, more information: www.spectrumsingers.org music.” – Boston Musical Intelligencer 857-998-0219 • www.exsultemus.org

After the concert take home a Night Song GRAB ‘n GO SUnDAE PARTY KIT Ready to go ice cream sundaes for 5 people A Divine Time Out 1 qt ice cream • hot fudge • whipped cream • 2 dry toppings Bask in the beauty of Renaissance • bowls •spoons •napkins • ice cream scoop polyphony, Gregorian chant, and introspective modal improvisations by jazz instrumentalists. Over 50 flavOrs Ice Cream Cakes • Frozen Yogurt • Tofutti • Sorbet HOMEMADE ICE CREAM CATERED SUNDAE PARTIES • CELEBRATIONS Every Sunday at 7 PM November through April open ‘til 11:00pm First Church in Cambridge www.lizzysicecream.com ICE CREAM PARLOR & PARTY ROOM: 367 Moody St Waltham • 781.893.6677 TAKE OUT: 29 Church St • Harvard Square • 617.354.2911 www.nightsong.org ICE CREAM PARLOR: 1498 Highland Ave • Needham • 781.455.1498 On Sale Today

Blue Heron’s first CD, featuring music of , including three iso-rhythmic motets, two hymns, the Sanctus “Papale,” and a selection of . Also available through our website, and through CD Baby: www.cdbaby.com. …glorious performances with incandescent singing … a triumph for an American ensemble in a field long dominated by Europeans. Craig Zeichner | Early Music America, Fall 2007

This debut marks Blue Heron as a leading new actor in the field of early , both for studying the sources and bringing them to life.… Altogether, this is one of the finest Dufay collections to come out in recent years… J. F. Weber | Fanfare, September/October 2007

The most attractive aspect of this recital is its feeling of immediacy and freshness.… For me, the high points are the Sanctus Papale, for which it is very welcome to have such a confident and poised rendition; and some of the later songs, for example Malheureux cuer, que veux tu faire, and the cheeky Puisque vous estez campieur… More, please.

ARTSBOSTON_QUARTERPAGEV(B+W).pdf Fabrice Fitch 1 | 6/9/09Goldberg ,09:47 August/September 2007

e Boston Musical Intelligencer

the go-to online journal for a focused calendar, reviews, and articles by musicians and music academics about in greater Boston CLASSICAL- SCENE. COM colophon Robert D. Levin, editor cover image: Stained glass at Canterbury Bettina A. Norton, executive editor Cathedral, courtesy Wikimedia Commons. F. Lee Eiseman, publisher

,+ concerts listed background image: our current-favorite ,+ reviews image of fan vaulting is Steve Cadman's , hits/day photo of the Peterborough Retrochoir, Creative Commons license.

“One of the year’s ten best” Text is set in Adobe Arno Pro, oston hoenix ( ) titles in Hypatia Sans Pro. program design by Sue Ladr recommended by Alex Ross program content copyright ©2013 Blue in e ƒew „orker Heron Renaissance Choir, Inc.