November 11 & 12, 2016

2016-2017 Season Sponsor

Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West With sincere appreciation and gratitude salutes Vivian E. Pilar for her leadership and her support of this production together with choreography by Jeannette Lajeunesse Zingg and the students of the School of Atelier Ballet

Be a part of our next CD Recording!

The Consort will be heading into the studio to record The Italian Queen of For your generous support, you will receive the following benefits:

Amount You will receive

$10 – $124 advance access to purchase the new CD when it is released in the Fall of 2017

$125 – $499 a copy of the new CD

$500 or more two copies of the new CD

All project donors will receive a tax receipt and will be listed in the house programs for our 2017-18 season Join us in the gymnasium to offer your support today! ¤HE ITALIAN QuEEN oƒ F|a NCE Pieces marked with an asterisk are translated in the program.

Music at Court Bienheureux qui se peut dire* Pierre Bonnet (fl.1580-1600) Bransles de village arr. (1571-1621) Voulez-vous donc toujours, madame* Pierre Bonnet Puisque vivre en servitude* Jehan Chardavoine (1538-c.1580) & Pierre Sandrin (c.1490-c.1560)

In praise of the Valois Ton nom que mon vers dira* Pierre Cléreau (fl.1539-1570) Gravi pene in amor* (c.1507-1568) Voici la saison plaisante* Guillaume Costeley (c.1530-1606)

Poetry à l’antique La brunelette violette* (c.1530-1600) Comment pensez-vous que je vive* Claude Le Jeune Excerpts from Ballet comique de la Royne Lambert de Beaulieu (fl.1559-1590) des Sereines* & Jacques Salmon (fl.1571-1586) Réponse de la voute dorée* La Musique des Tritons* La Première Entrée

INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium.

The Divine Orlando Dessus le marché d’Arras* (c.1490-1562) & (c.1530-1594) La nuit froide et sombre Orlande de Lassus Spesso in poveri alberghi* Orlande de Lassus Un jeune moine* Orlande de Lassus

Les voix de ville I O combien est heureuse* Pierre Certon (c.1510-1572) & Adrian LeRoy (c.1520-1598) L’ennuy qui me tourmente* arr. from Chardavoine & LeRoy La seconde Fantaisie Grégoire Brayssing (fl.1547-1560) O ma dame pers-je mon temps?* arr. LeRoy Mignonne allons voir* arr. from Chardavoine

Les voix de ville II Avril l’honneur arr. from Chardavoine & Fuyons tous d’amour le jeu* & Jean d’Estrée (early 16th c. – 1576) Mon seul bien* arr. from Chardavoine Tonight’s Performers are: Staff & Administration

The Toronto Consort David Fallis, Artistic Director Michelle Knight, Managing Director Adam Thomas Smith, Marketing Director Michele DeBoer, soprano Nellie Austin, Bookkeeper David Fallis, tenor, percussion Kiran Hacker, Graphic Designer Yara Jakymiw, Season Brochure Graphic Designer Ben Grossman, hurdy-gurdy, percussion Martin Reis, Derek Haukenfreres Katherine Hill, soprano, bass & Ruth Denton, Box Office Peter Smurlick, Database Consultant Paul Jenkins, tenor, Gordon Baker, Stage Manager Terry McKenna, , Cecilia Booth, Front of House, Volunteer Coordinator Gordon Peck, Technical Director Alison Melville, recorder Sam Elliott, Intermissions & Receptions John Pepper, bass Margaret Matian, CD Sales and Event Assistant Heather Engli, Touring Laura Pudwell, mezzo-soprano Board of Directors

Ann Posen, President John Ison, Treasurer Kim Condon, Secretary Harry Deeg Chester Gryski Featuring students from Garth Laurie the School of Atelier Ballet Trini Mitra Sara Morgan Tiffany Grace Tobias Jeannette Lajeunesse Zingg, Choreographer Heather Turnbull Michael Legouffe, Costumes Manon Enns-Lapointe, Dancer Follow us on Facebook! Laura Harris, Dancer 427 Bloor Street West, Toronto ON M5S 1X7 Rebecca Moranis, Dancer Box Office 416-964-6337 Eleonora Tomilin, Dancer Admin 416-966-1045 | [email protected] TorontoConsort.org Thank You

The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.

Corporate & Community Supporters

Foundation Supporters

The J.P. Bickell Foundation, The Lloyd Carr-Harris Foundation, The McLean Foundation, The Keith Foundation at the Strategic Charitable Giving Foundation, The F.K. Morrow Foundation, The Catherine & Maxwell Meighen Foundation, The Ed Mirvish Family Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation

Special Thanks

Many thanks to Luke Arnason, Jane Couchman, Greig Dunn, Antonio Ricci, Guillaume Bernardi, and Anne-Louise Lanteigne for their help with research and translations. Many thanks to our team of over 100 volunteers who provide ushering, event hosting and administrative support. Program Notes

Few figures in the have provoked French writers of the time railed against what as much controversy among historians as they saw as innate Italian deception and cold- Catherine de Medici (1519-1589). Married at a bloodedness) and snobbery (she was, after all, young age to a French royal prince (who, being only a banker’s daughter – although solely on the second son of Francis I, was not expected her father Lorenzo de Medici’s side. One of to become king), she became queen consort of the ironies of the mostly French anti-Catherine France in 1547. With the sudden death of her sentiment is that her mother was Madeleine de husband Henri II in 1559, she spent the rest la Tour d’Auvergne, a niece of Francis I and of of her life trying to protect the fortunes of her pure laine French noble heritage). young children, especially the three boys who became Valois kings (Francis II, Charles IX and Thankfully, for this evening’s concert, we need Henri III). Throughout their reigns, Catherine, not dwell on Catherine’s political and religious as regent or queen mother, had a decisive role in policies, but can focus on the indisputable royal policy and activities. artistic legacy she created. As a daughter of the , she believed fervently in the These years were tumultuous and violent power of art to enhance a ruler’s status, and she ones in France, wracked as they were by the did not stint on commissioning and fostering wars between Catholics and , works of painting, sculpture, architecture, both sides riddled with factions with varying , dance, theatre, design and literature. She degrees of loyalty to the crown. Much of the is well known for extravagant spectacles known controversy around Catherine centres on the as “magnificences” combining music, dance, question of her policies and actions in these theatre and poetry. The most famous of these civil wars. Was she genuinely trying to make is one of the events surrounding the marriage peace, as might be suggested by her numerous of the Duc de Joyeuse (one of Henri III’s attempts at bringing the sides together, and “favourites”) and Marguerite de Lorraine in the treaties and edicts which resulted? Or was 1581, when the Ballet comique de la Royne was she a cynical manipulator of events, set only on first presented. This work is often considered the preserving her power, and deeply implicated in first true ballet, since it tells a story in singing such atrocities as the St. Bartholomew’s Day and dance, and is seen as a precursor of French massacre? Perhaps the lowest estimation of her baroque opera. We are so pleased to welcome comes from the influential nineteenth-century senior students from the School of Atelier Ballet historian Jules Michelet, who called her a to give us a taste of that evening, with original “maggot that came out of ’s tomb”. Recent choreography by Jeannette Lajeunesse Zingg. historians have tended to be more nuanced, many seeing her as understandably trying to Music was a constant feature of court life, and maintain the power of the throne, herself beset despite the Wars of Religion, mid-century by deeply-held misogyny (how could a woman French music flourished, represented by many be fit to exercise power?), xenophobia (many on tonight’s program, including Pierre Bonnet (a singer in Catherine’s employ), 1516. (There is a conference taking place this Adrian LeRoy (a leading publisher of courtly weekend at the University of Toronto marking music, and arranger of this music for lute and the quincentenary of the first publication of guitar), Guillaume Costeley (court organist, this immensely influential poem; some of the , and sometime music teacher for conference participants are with us tonight.) the ten-year-old sovereign Charles IX) and Catherine had a copy of Orlando in her library, Pierre Sandrin (singer and composer in the there was always significant Italian literary royal chapel). influence at Catherine’s court, and Ariosto, a friend of the Medici family, had written a brief We also present a group of pieces by Orlande tender ode in 1519 on hearing that Catherine, de Lassus, the most famous composer of his whose mother died in childbirth, had been fully time, adored by Charles IX. (Charles asked if orphaned by the death of Lorenzo de Medici Lassus would leave the Dukes of to less than a month later. come and work at the French court, but to no avail.) We know from letters that Charles was A single branch buds, and lo, particularly enamoured of Un jeune moine, I am distraught with hope and fear, a saucy popular song given contrapuntal Whether winter will let it grow, treatment by Lassus. Or blight it on the growing bier.

Catherine was a supporter of poets, including In exploring this little-heard French the renowned Pierre de Ronsard, who wrote Renaissance secular repertoire, we have been a number of the texts on tonight’s program. struck by a couple of noticeable characteristics. Catherine also encouraged the creation of One is the elegance of the rhythms in much the firstAcadémie de Poésie et de Musique in of this music. The revival of rhythmic subtlety which French poets and musicians explored was a preoccupation of French humanists, the humanist idea of vers mesurée à l’antique and compared to the wonderful sacred music (verse scanned like the ancients) which tried of the time, this music is full of rhythmic to apply rules of Greek and scansion to vitality, partly dictated by dance rhythms, French poetry and then set it to music, in the but also in purely vocal works. Rhythmic hopes of recreating the power of ancient Greek vivacity and the influence of dance on vocal music. The result, in the hands of a composer music would become quintessential features like Claude Le Jeune, is surprisingly supple of Baroque music. and satisfying. The influence ofvers mesurée à l’antique was extensive, as can be heard in the The second feature worth noting is the French vocal sections from the Ballet comique de la love of beautiful melodies. Whereas in much Royne, and the later setting of a poem by Jean Italian music of the time harmonic progressions de Sponde. are paramount and melodies are designed to fit with these progressions, in France it often seems We are also pleased to include two settings of that it is the melodies that remain constant, words from the Italian poet Ludovico Ariosto’s and different versions of the songs preserve the masterpiece Orlando furioso, first published in melody while changing the harmonies. This point of view helps explain the closes with a number of these wonderful wonderful collection of songs known as voix tunes, sometimes with original harmonies, de ville published by Jehan Chardavoine in sometimes with our own harmonizations. 1575 with only the melody, even though many of the songs had first appeared in — David Fallis three- or four-part settings. The evening

Choreographer’s Notes

“…Archimedes himself could not have better imagined geometric proportion than these princesses and ladies practised in ballet.” — Balthasar de Beaujoyeulx, 1581

These words, written by the creator of the Palace near the Louvre, and we have some Ballet Comique de la Royne, refer to the knowledge of how it looked because an importance of geometric shapes in dances illustrated description was printed and of his time. The square signified the earth: distributed. the four compass points, the four seasons, and the four elements. The circle, infinite The audience viewed the spectacle from in its shape, was celestial. Spirals and chains above and on three sides, with the King were also to be seen in the Première entrée. and Catherine de Medici seated on a dais These figures were gracefully executed at one end. Scenery represented the Palace by highly trained noble ladies who were of Circe. The entertainment was hailed as a costumed as Naiads. new form and was called Ballet Comique to convey that dance and drama were combined Balthasar de Beaujoyeulx (originally to make a unified whole. Steps which are Baldassare de Belgioioso) came to performed in tonight’s excerpt are taken from as an esteemed violinist. He from Fabritio Caroso’s Il Ballerino, which was appointed valet to Catherine de Medici, came out in 1581, the same year in which who exercised great power during the the Ballet Comique de la Royne amazed its reigns of her sons, Charles IX and Henri noble audience. III. Both valet and mistress brought with them from Italy the tradition of ballet and — Jeannette Lajeunesse Zingg court entertainment as grand promotional spectacle. The most famous of all court ballets, which we celebrate tonight, took place in the Grand Hall of the Petit-Bourbon Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein

Since its founding in 1972, The Toronto The Toronto Consort has made recordings for Consort has become internationally recognized the CBC Collection, Berandol, SRI, Dorian, for its excellence in the performance of and currently Marquis Classics, with 10 CDs to medieval, renaissance and early baroque music. its credit, two of which have been nominated Led by Artistic Director David Fallis, nine of for Juno awards. The most recent recording Canada’s leading specialists have (Navidad) was released in 2012; in 2014, come together to form The Toronto Consort, the group re-released its popular Christmas whose members include both singers and recording The Little Barley-Corne. instrumentalists (lute, recorder, guitar, flute, early keyboards and percussion). Recently, the ensemble has been called upon to produce music for historical-drama TV series, Each year The Toronto Consort offers a including The Tudors, The Borgias and The subscription series in Toronto, presented in the Vikings, all produced by the cable network, beautiful acoustic of the recently-renovated 700- Showtime. The Toronto Consort recorded the seat Jeanne Lamon Hall, at the Trinity-St. Paul’s soundtrack for Atom Egoyan’s award-winning Centre in downtown Toronto. The ensemble filmThe Sweet Hereafter. also tours regularly, having been to Europe and Great Britain four times, and frequently across Canada and into the US. Jeannette Lajeunesse Zingg Co-Artistic Director, Opera Atelier

Canadian choreographer Jeannette Lajeunesse Zingg has performed and choreographed internationally for more than two decades. As a young dancer, she relocated to Paris, where she undertook in-depth studies of Baroque dancing from original source material. These studies were supplemented by intensive training in North America with Wendy Hilton and Sandra Caverly – experts in Baroque dancing and Bournonville technique respectively. She also studied 15th- and 16th-century dances with Ingrid Brainard and Charles Garth. Since then, Ms Zingg has choreographed and performed in more than 70 productions for Opera Atelier, which she founded in 1985 with her partner, Marshall Pynkoski.

Opera Atelier productions have been performed in Versailles, at the BBC Proms, Houston Grand Opera and the Glimmerglass Festival. Opera Atelier has also introduced period productions of Mozart to audiences in Japan, Singapore and Korea.

Ms Zingg has received numerous awards, including the prestigious Toronto Arts Award and the Opera Canada Ruby Award for outstanding achievement in the field of opera in Canada, in addition to having been named by TIME Magazine as one of Canada’s most influential artists in the field of . In 2013 Ms Zingg had her Salzburg Festival debut with Mozart’s Lucio Silla, and in 2015 she made her choreographic debut at La Scala in Milan.

Manon Enns-Lapointe Laura Harris Rebecca Moranis Eleonora Tomilin Dancer Dancer Dancer Dancer School of Atelier Ballet School of Atelier Ballet School of Atelier Ballet School of Atelier Ballet Bien heureux qui se peut dire

Bien heureux qui se peut dire Happy is the one who can speak Tout exempt de passion, totally free of passion, Et qui chez soy se retire and who withdraws to his own home Sans aucune ambition. without any ambition.

Voyla, voyla, la la la, That’s it, la la la, Comme l’on vit au village; the way they live in the village; Voyla, voyla, la la la, that’s it, la la la, L’on y vit comme cela. that’s how they live there.

Bien heureux qui au village, Happy is the one who in the village, Dans sa petite maison, in his little house, Mange d’un canard sauvage eats wild duck A la farce de l’oyson. with gosling stuffing.

Voyla, voyla, la la la… That’s it, la la la…

Bien heureux qui dans ses bornes Happy is the one who within his limits Jouist du contentement enjoys the contentment De voir ses bestes à cornes of seeing his beasts with horns Paistre avecques la jument. pasture with the mare.

Voyla, voyla, la la la… That’s it, la la la…

Voulez-vous donc toujours, madame

Voulez vous donc toujours, madame, Madam, do you always intend Faire résistance à l’Amour? to resist love? N’esteindrez vous jamais la flame Will you never douse the flame Qui me consomme nuit et jour? which burns me night and day?

Je souffre un si cruel martyre I suffer such a cruel martyrdom Pour acquérir vostre amitié; to obtain your friendship; Mais tant plus pour vous je soupire, but the more I sigh for you, Moins vous avez de moy pitié. the less you take pity on me.

Mais dittes moy, je vous supplie, But tell me, I beg of you, D’où vous vient cest empeschement? where does this reluctance come from? Qui vous faict ainsi de la vie Who makes you thus flee Fuir le doux contentement? from the sweet contentment of life? Craignez vous que la renommée Do you fear that your reputation Vous face un jour rougir le front? will one day make you blush? Vous ne sçauriez estre blasmée, You would never be blamed Faisant comme les autres font. for doing what everyone else does.

Puisque vivre en servitude

Puisque vivre en servitude Since to live in servitude Je devois triste et dolent, I would be sad and sorrowful, Bien heureux je me répute I consider myself most fortunate D’estre en lieu si excellent: to be in so fine a place: Mon mal est bien violent, my pain is very sharp, Mais amour l’ordonne ainsi, but love orders it so. Vueillez en avoir merci. Please have mercy on me.

Vostre beauté sans pareille Your peerless beauty Ne doit prendre à desplaisir, must not take offence S’a l’aimer je m’appareille, if I am drawn to cherish it, Car on ne peult mieux choisir: for one could not choose better: Si j’ay par trop de desir, if I have too much desire, J’ay beaucoup de foy aussi, I have great faith as well. Vueillez en avoir merci. Please have mercy on me.

Vous seulle estes ma fortune, You are my sole destiny, Qui va mon bien mesurant, which decides my well-being. Si vous m’estes opportune, Should you be favourable to me, Peu me chaut du demeurant: the rest matters little. Sans vous je vis en mourant, Without you, I am more dead than alive, Et m’est le jour obscurci. and the day is darkness to me. Vueillez en avoir merci. Please have mercy on me.

Ce vous est peu de conqueste It would be a small conquest for you D’aller ma fin poursuivant; to bring about my end; Bien vous seroit plus honneste it would be more honourable for you Sauver le vostre servant: to spare your servant: Un qui pouroit en vivant one who could, by living, Votre nom rendre esclaircy, bring glory to your name. Veuillez en avoir mercy. Please have mercy on me. Mellin de Saint-Gelais

Ton nom que mon vers dira

Ton nom, que mon vers dira, Your name, of which my verse will speak, Tout le monde remplira will fill all the world De ta louange notoire: with your acknowledged praise: Un tas qui chantent de toy many who sing of you Ne sçavent si bien que moy don’t know as well as I Comme il faut sonner ta gloyre. how to sound your glory. Jupiter, ayant memoyre Jupiter, remembering D’une vieille destinée the ancient destiny Autrefoys déterminée determined long ago Par l’oracle de Themis, by the oracle of Themis,* A commandé que Florence has commanded that Florence, Dessous les loix de la France ruled by French law, Te courbe le chef soubmis. should bow its submissive head before you. Le comble de ton sçavoir The combination of your learning Et de tes vertus ensemble together with your virtues Dit que l’on ne sçauroit voir tells us that one will never see Rien que toy qui te resemble. anyone who is like you. Quelle Dame a la pratique What lady has skill De tant de mathématique? in so many branches of mathematics? Quelle Princesse entend mieux What princess understands better Du grand monde la peinture, the paintings of the wide world, Les chemins de la nature the ways of nature, Et la Musique des cieux? and the music of the heavens? Pierre de Ronsard (*Themis is the Greek goddess of justice)

Gravi pene in amor

Gravi pene in amor si provan molte, The severe pains of love are deeply felt, Di che provat’io n’ho la maggior parte, of which I have felt the greatest part, E quell’in danno mio si ben raccolte and which, to my cost, I know so well Ch’io ne posso ragionar come per arte. that I can speak of them with great skill. Pero s’io dico e s’ho dett’altre volte, So, if I say, or have said at other times, E quando in voce, e quando in vive carte, either in speaking or on the living page, Ch’un mal sia lieve, un’altro acerb’e fiero, that one pain is light, the other bitter and fierce, Date credenza al mio giuditio vero. give credence to my true judgment. Ludovico Ariosto

Voyci la saison plaisante

Voyci la saison plaisante, Here is the pleasant season, Florissante, full of flowers, Que le beau printemps conduit: which is brought by lovely spring; Voyci le soleil qui chasse here is the sun which chases away Froid et glace, cold and ice, Voyci l’esté qui le suit. here is the summer which follows. Voyci l’amoureux Zephyre Here is the amorous south wind Qui soupire which sighs Parmy les santes des fleurs: amongst the scents of flowers; Voyci Flora, sa mignonne, here is Flora, his little friend, Qui luy donne to whom he gives Un baiser tout plein d’odeurs. a kiss full of fragrances.

Voyci du saint mont Parnasse See from the sacred mount Parnassus L’umble race the humble race De Jupiter qui descend: of Jupiter descends : Voyci toute ceste pleine see the whole plain Desja pleine already full De son doux miel plus recent. of the newest sweet honey. Voyci des Nimphes cent mille See a hundred thousand nymphs A la file in a row Qui sortent des eaux et boys, who come from the waters and woods, Et chantent toutes ensemble, and sing all together, Ce me semble, it seems to me, Le noble sang des Valoys. of the noble blood of the Valois.

Dieu vous gard’, troupes gentilles, May God watch over you, gentle troupes, Dieu gard’ filles, may God watch over girls, Dieu vous gard’ toutes et tous: may God watch over both girls and boys : De grace, où vous allez, belles wherever you go, Immortelles, immortal beauties, S’il vous plait, dictes le nous. please speak to us of grace. Nous allons chassant discorde: We go chasing away discord : En concorde in concord Maintenant icy vivrons: we live here now: Nous l’offrons à ta vaillance, we offer this to your valour, Roy de France, King of France, Et Mars vaincu te livrons. and we deliver Mars to you defeated.

La brunelette violette

La brunelette violette reflorit The dusky violet blooms again, La belle peinte Primevere s’en vient, the beautifully-painted springtime approaches, Ramène fleurs que le Zephire nourrit, bringing flowers which the south wind feeds, Le parement de la nouvelle saizon. the decoration of the new season. O que je peusse de la joy’ Oh if only I could feel the joy du renouveau me sentir! of the new season! Je ne le puis, ne la voyant céle qui m’est I cannot, not seeing her who for me is Et toute joy’, et toute fleur, et Printans. all joy, all flower, and springtime.

Les oyzillons s’aparians drillet et vont The mating young birds circle about, Et le bocage réjouy retentit and the happy grove is full De mile voix dégouzillantes en l’air, of a thousand voices warbling in the air, Toute liess’ en amoureuze douceur. full of the pleasure of amorous sweetness. O que je peusse… Oh if only I could feel…

Le patoureau sa patourelle rejouit The shepherd pleases his shepherdess Flajoletant du flajolét sa chanson, playing his song on a pipe, Ele qui l’oit va le trouver de son gré, she who hears it goes looking for him willingly, En y alant quite quenouille et fuzeau. leaving behind distaff and spindle. O que je peusse… Oh if only I could feel…

Les amoureaus Cupidoneaus de toute pars The amorous little Cupids on all sides Volet épars, fléches et dars répandans: fly here and there, shooting arrows and darts : Toute la mer, toute la terr’ et les cieus, the whole sea, all the earth and heavens Tous animaus d’amour épris s’égayront. and animals are joyful, smitten with love. O que je peusse… Oh if only I could feel… Jean-Antoine de Baïf Comment pensez-vous que je vive

Comment pensés vous que je vive How do you think that I should live Esloigné de vostre beauté? away from your beauty? Tout ainsi qu’une ame captive Like a captive soul Au gouffre d’une obscurité, in the abyss of darkness, Qui n’attend tremblant à toute heure, who only waits trembling all day, Que le point qu’il faut qu’elle meure. until the time that it must die.

Je ne voy par tout que des ombres, I see only shadows everywhere; Je trouve mesme noirs les cieux: I find even the heavens to be black: Les jours luisans sont des nuits sombres, the shining days are somber nights, Les nuits des enfers à mes yeux: the nights are hell to my eyes: Les enfers mesme si funebres even hell so gloomy Sont beaux au pris de mes tenebres. is beautiful in the grip of my darkness.

Ce monde plein d’inquietude This world full of anxiety Qui flotte tout autour de moy, which floats around me Ne m’est rien qu’une solitude is nothing to me but a solitude Toute pleine de mon emoy. all full of my agitation. Mais vuide de la douce vie But, empty of the sweet life Que ceste absence m’a ravie, of which this absence has robbed me,

Je fonds comme fondroit la cire I melt as wax melts Aupres d’un brasier enflamé, next to a burning furnace; Et plus de vous je me retire, and the more I withdraw from you, Et plus je me sens allumé, the more I feel myself on fire. Mais ce feu tant plus il s’augmente, But this fire – the more it grows, Helas! tant plus il me tourmente. Alas! the more it torments me.

Je meurs il est certain, ma belle, I die, it is certain, my beautiful one, Et ce peu d’ame que je tiens, and this bit of a soul which I have Ce n’est que cette humeur fidelle is nothing but this faithful mood En laquelle je m’entretiens, in which I keep going; Le reste d’elle qui s’envolle the remainder which vanishes away Ne m’a laissé que la parole. has left me nothing but the word. Jean de Sponde

Excerpts from Ballet comique de la Royne Chanson des Sereines Song of the Sirens

Ocean pere chenu, Bearded father Ocean, Pere des Dieux reconnu, recognized father of the gods, Ja le vieil Triton attelle already the old Triton is hitching Son char qui va sans repos; his ever-moving chariot; Irons-nous sortant des flots shall we come out of the billows Où ce Triton nous appelle? whence this Triton calls us? Réponse de la voute dorée Answer from the gilded vault

Allez filles d’Achelois, Go, daughters of Achelous , Suivez Triton qui vous appelle, follow the Triton who calls you, A sa trompe accordez vos voix tune your voices to his horn Pour chanter d’un grand Roy to sing the immortal praise La louange immortelle. of a great king.

Jupiter n’est seul aux cieux, Jupiter is not alone in the heavens, La mer loge mille Dieux: the sea harbours a thousand gods: Un Roy seul en France habite, one king alone dwells in France, Henry, grand Roy des François. Henry, great king of the French. En peuple, en iustice, en loix In matters of the people, of justice, of laws, Rien aux autres Dieux ne quitte. he is no less than the other gods.

Allez filles d’Achelois… Go, daughters of Achelous…

La musique des Tritons Music of the Tritons

Allons compagnes fidèles, Let us go, faithful companions, Avec des feuilles nouvelles, with fresh leaves, De mauves blanches de fleurs, with white and mauve flowers Que chacune d’allégresse let each of us with joy Une couronne se tresse weave a crown Au chef parfumé d’odeurs. for his perfumed head.

INTERMISSION Join us in the Gymnasium for Delicious Harbord Bakery Snacks $1/$2 Freshly Brewed Coffee or Cider $2 Enjoy great conversation with friends old and new

Dessus le marché d’Arras

Dessus le marché d’Arras In the market of Arras, Myre li, mire, la bon bas, Mireli, mire, la bon bas, J’ay trouvé un Espagnart, I met a Spaniard, Sentin, senta sur la bon bas, Sentin, senta sur la bon bas, Myre li, mire, la bon bille, Myre li, mire, la bon bille, Myre li, mire, la bon bas. Myre li, mire, la bon bas. Il me dist, fille escouta, He said to me, listen girl, Myre li, mire, la bon bas, Mireli, mire, la bon bas, De l’argent on vous donra, You’ll get some money, Sentin, senta… Sentin, senta… Spesso in poveri alberghi

Spesso in poveri alberghi e in picciol tetti, Often in poor dwellings and little houses, Ne le calamitadi e nei disagi in calamities and troubles, Meglio s’aggiungon d’amicitia i petti, hearts join more closely in friendship Che fra richezze invidiose ed agi than among invidious riches and comforts De le piene d’insidie e di sospetti of regal courts and splendid palaces, Corti regali e splendidi palagi, full of plotting and suspicion, Ove la caritade e in tutto estinta, where kindness is altogether extinct, Ne si vede amicitia se non finta. and one sees no friendship other than feigned. Ludovico Ariosto

Un jeune moine

Un jeune moine est sorti du convent, A young monk walked out of the monastery, Il rencontra une nonnette au cors gent; he met a little nun with a sweet body; Lui aprint a demander, he went up to her to ask S’elle voloit brinbaler, if she wanted to do some bell-swinging Ou danser au petit pas. or dancing with little steps. Helas vrai Dieu, vous ne brinbaleres moine, Alas, good Lord, you will not swing, monk, Helas vrai Dieu, vous ne brinbaleres pas. alas, good Lord, you will not swing.

He moine, moine, qu’appeles brinbaler? Hey monk, what does “bell-swinging” mean? Ma jeune dame, baiser et acoller, My young lady, kissing and embracing En nostre religion in our religion Brinbaler nous apellons, we call “bell-swinging”, Cors a cors nus en deux draps. body to body naked under two sheets. Helas vrai Dieu… Alas, good Lord…

He moine, moine, que diront vos abez? Hey monk, what will your abbots say? Il sont deceus tous et sont trè bien gabez; They are all deceived and well made fun of; En lieu de bien entonner instead of intoning a chant Vous faites les litz branler, you make the beds dance: La rigle ne l’entend pas. the rule does not pay attention. Helas vrai Dieu… Alas, good Lord…

O combien est heureuse

O combien est heureuse O how blissful La peine de celer is the pain of hiding Une flamme amoureuse, an amorous flame Qui deux cœurs fait brûler, which sets two hearts aflame, Quand chacun d’eux s’attend when each of them expects D’être bientôt content. to be happy soon.

Las, on veut que je taise Alas, they want me to silence Mon apparent désir, my obvious desire, En feignant qu’il me plaise pretending that it pleases me Nouvel ami choisir: to choose a new lover : Mais forte affection but strong affection N’a point de fiction. knows no deception. Si mon feu sans fumée If my fire without smoke Est évident et chaud, is evident and hot, Étant de vous aimée, being loved by you, Du reste ne m’en chaut: I don’t care about anything else: Soit mon mal vu de tous, let my pain be seen by all, Et seul senti de vous. and felt by you alone.

Hélas, qu’il fût possible Alas, if only it were possible Que puisses être moi, for you to be me, Pour voir s’il m’est pénible to know how sharp Le mal que j’ai pour toi: is the pain I suffer for you : Tu prendrais grande pitié you would take great pity De ma ferme amitié. on my constant love.

De vous seul je confesse By you alone, I must confess, Que mon coeur est transi: has my heart been pierced: Si j’étais grande princesse, if I were a great princess, Je dirais tout ainsi: I would say it this way: Si le vôtre ainsi fait, if your heart feels as mine, Montrez-le par effet. show it by your deeds. Mellin de Saint-Gelais

L’ennui qui me tourmente

L’ennui qui me tourmente The grief which torments me Est tel que sans secours is such that without aid Espoir n’ai ni attente I have neither hope, nor the expectation De prolonger mes jours, of prolonging my days, Et si n’ai confiance and if I cannot count D’avoir aucun confort, on any solace, Toute mon espérance all my hope Gît en la seule mort. lies in death alone.

Mort, des autres fuie, O death, shunned by others, Attendue de moi, expected by me, Venez rendre finie come and put an end Ma peine et mon émoi: to my pain and distress: Plus propre à la vengeance more apt for avenging D’une grande cruauté, a great cruelty, Vous serez recompense you will be the reward De foi et loyauté. for faithfulness and loyalty.

Ne veuillez, mort, contraindre Let not death command Que soient clos ses beaux yeux, that her lovely eyes be closed, Ni leur lueur éteindre : nor their brightness extinguished: Attendez que sois d’eux wait till they should Vu mort, et mis en terre, see my death and burial, Et sur ma tombe lu and have read on my tomb Qu’en leur cruelle guerre that in their warlike cruelty Fus par eux abattu. I was struck down by them. Alors par aventure, Then by chance, Émus de mes malheurs, moved by my troubles, Dessus ma sépulture over my tomb Répandront quelques pleurs, they will shed some tears, Et ma fosse arrosée and my grave will be bathed De leurs larmes sera, with their tears, Mais plus tôt que rosée though more quickly than dew Ce deuil se passera. this mourning will pass.

Et bien qu’il fût durable, And even if it should last, Qu’en sera le propos what would be the point Plus ou moins agréable more or less pleasing À ma cendre et mes os? for my ashes and bones? Et m’en sera rendue Would my celestial half Ma céleste moitié, be returned to me? Nenni trop tard venue Nay, too late Sera cette pitié. would such pity come.

O ma dame pers-je mon temps

O ma dame pers-je mon temps, O my lady, do I waste my time, voulez-vous que me retire: do you want me to withdraw: O ma dame pers-je mon temps, O my lady, do I waste my time, ou si j’aurai ce que j’atens? or shall I have that which I await?

Las que c’est une grand’ peine, Alas it is a great sorrow, quand l’esperance incertaine when uncertain hope tient la personne en suspens holds one suspended entre plaisir & martyre: between pleasure and agony: O ma dame… O my lady…

Je luy ay dit ma pensée I told her my intentions, dont elle semble offensée, by which she seemed offended, et ses beaux yeux malcontens, and those lovely eyes unhappy, qui devant me souloient rire: which used to laugh before me: O ma dame… O my lady…

Celle à qui amour je porte She for whom I bear love est parfaitte en toute sorte is perfect in every way, de corps, d’esprit, et de sens: in body, spirit, and mind: de coeur, je n’en sçay que dire. in heart, I don’t know what to say! O ma dame… O my lady…

Mignonne allons voir

Mignonne, allons voir si la rose Sweetheart, let us see if the rose Qui ce matin avoit desclose that only this morning revealed Sa robe de pourpre au soleil, its scarlet dress to the sun A poinct perdu, ceste vesprée, has lost, this evening, Le lys de sa robe pourprée, the blush of its deep red dress Et son teint au vostre pareil. and its colour, so like yours. Las, voyés comme en peu d’espace, Alas! See how rapidly, Mignonne, elle a dessus la place, sweetheart, she has let Hélas, ses beautez laissé ! her beauty fall all over the place! Ha vrayement marastre nature, Nature is truly a cruel stepmother Puis qu’une telle fleur ne dure, when such a flower only lasts Que du matin jusques au soir! from dawn to dusk!

Donc, si vous me croyez, mignonne: So if you trust me, sweetheart, Tandis que vostre age fleuronne while your age flowers En sa plus verte nouveauté, in its greenest newness, Cueillés, cueillés vostre jeunesse, gather, gather your youth. Comme à ceste fleur, la vieillesse Age will tarnish your beauty Fera ternir vostre beauté. as it has faded this flower. Pierre de Ronsard

Avril l’honneur

Avril l’honneur et des bois, April, pride of both the woods Et des mois, and the months, Avril la douce espérance, April, the sweet hope Des fruicts qui sous le coton of fruits which under the down Du bouton, of the bud Nourrissent leur jeune enfance. nourish their youthfulness.

Avril l’honneur des prez verds, April, pride of the green fields, Jaulnes, pers, yellow, blue, Qui d’une humeur bigarée who in a mix-and-match mood, Esmaillant de mille fleurs, enamels with a thousand flowers De couleurs and colours Leur parure diaprée. their many-coloured finery.

Avril l’honneur verdissant, April, pride verdant, Florissant, blossoming, Sur les tresses blondelettes, on the little blonde tresses De madame et de son sein of my lady and of her breast Toujours plein always full De mille et mille fleurettes. of thousands and thousands of flowers.

Le gentil rossignolet The gentle nightingale, Oiselet, little bird, Par toy chante soubs l’ombraige, through you sings beneath the branches, Faisant chacun de l’ouir making all who hear him Resjouir, rejoice Au doux chant de son ramaige. at the sweet song of his warbling.

Bref tu as ô gentil mois, In short, you have, O gentle month, Doux, courtois, sweet, refined, Grace sur terre et sur l’onde, charm over the earth and sea, Et semble qu’à ton retour and it seems that at your return Vient l’amour, love comes Et la beauté naistre au monde. and beauty is born on earth. Rémy Belleau Fuyons tous d’amour le jeu

Fuyons tous d’amour le jeu Let us all flee from love Comme le feu. as from fire. Aime qui voudra les dames, Those who want to can love women, Serve qui voudra les femmes, those who want to can serve women, Quant à moy je m’en ay cure, as for me, I pay them no attention Ny les procure: nor seek them out: Jamais on n’y gaigne rien, one never gains anything by it, Je le voy bien. I see that well. Fuyons tous… Let us all flee…

Une femme d’avantage Even more, a woman A le cœur leger volage, has a light flighty heart Auquel n’y a de constance in which there is neither constancy Ny d’assurance, nor assurance, Ne plus ne moins qu’a le vent neither more nor less than the wind Le plus souvent. so very often. Fuyons tous… Let us all flee…

Tant que vous aurez pecune As long as you have money Ne vous sera importune: she will not be standoffish : Mais si pecune s’estrange, but if you and money become estranged, Elle se change; she changes; Hors du nombre serez mis you will not be counted De ses amis. among her friends. Fuyons tous… Let us all flee…

Bref, pour cinq sols de liesse, In short, for five cents of pleasure, Cinq cens escus de tristesse; five hundred dollars of sorrow; L’on voit estre en amourettes one sees this in lovers Les plus parfaictes. the most perfect. Pour estre constant et fort To be constant and strong L’on prend la mort. one must die. Fuyons tous… Let us all flee…

Mon seul bien

L’amant The lover Mon seul bien voicy l’heure My only good, now it’s time De jouyr à loisir, to take pleasure at our leisure, Car ta longue demeure because your long delay Me vient à desplaisir; is starting to annoy me; Sus donc passons la nuict, let’s go now, and spend the night En l’amoureux desduit. in amorous pastimes. A coup ne laissons point Let us definitely not miss Perdre ceste avencture; the chance for this adventure; Seulement ayons cure let us only make sure De parvenir au poinct. to come to the point. L’amie The friend Un homme ne desire Men only want Que d’avoir son plaisir; to take their own pleasure; Au lieu de l’esconduire instead of ushering them out Nous nous laissons saisir: we let ourselves be taken in: Le plaisir dure peu, Pleasure lasts only a moment, Tel sera vostre feu. and your flame will be just the same. Au moins soyez secret, At the very least, be discreet Si vous aimez ma vie: as you love my life: Lors de ma fleur ravie, then even with my flower ravished J’auray moins de regret. I will have less regret.

L’amant The lover Mignonne, n’ayez doubte My sweet, have no doubt De moy, car tout mon sang about me, for all my blood Sortira goutte à goutte, will leave drop by drop Paravant de mon flanc, from my side before Que lon me puisse veoir one would ever see me Faillir à mon devoir: fail in my duty: Reiterons encor’ let’s do it again, Ceste double meslee this double melee Qui rend l’ame affollee, which makes the soul go wild Plus que de nul thresor. more than any other treasure.

L’amie The friend Ha dure est ceste alarme, Ah this excitement is hard Or’est il adoucy, but it is sweet, Helas sans quelque charme alas without some delight Je ne serois icy; I would not be here; Au fort le mal est doux, at its peak, the pain is lovely Apres deux ou trois coups. after two or three thrusts. Or sus donc mon cousin, So on we go my cousin, Passons ainsi nostre aage, let us spend our time thus, Mesprisans le langage scorning the talk De ce peuple mutin. of mischievous people.

Thank You Harbord Bakery You make Toronto Consort intermissions delicious! Making and baking good things since 1945. 115 Harbord St. (w. of Spadina) 416-922-5767 harbordbakery.ca Toronto Consort Donors 2016-17

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Horn John Crozier Anonymous (1) Natalie Kuzmich Bill Schultz S. Davidson Anne-Louise Lanteigne Charlotte Sharkey Hans De Groot Claire Lavigna Jill Shefrin Brenda Ellenwood Ken Lawday Elizabeth Stewart George & Kittie Fells Kenneth & Mary Lund Richard Sumner Margaret Furneaux Norma Lundberg Brian Taylor Constance Gardner Edward & Margaret Lyons Ella Taylor-Walsh Barbara Habib Duncan MacKenzie Dana Tenny Christopher Harris Listing includes donations B. Lesley Mann Mary Thomas Nagel & Mary Shenstone received up to October 15, Gloria Marsh Ross Tilley Elke Heidemann & Elsa Miller 2016. Please let us know if Hugh & Lou Mason Roger Townshend Gail Houston we have missed you or made Lynne Massey William Toye Marie Howes-Clark an error. Call 416-966-1045.

We are are looking out for your safety! St. John Ambulance York Region (Division #0548 York Central) is working together with The Toronto Consort to provide you with superior first aid coverage, delivered with care and class. To become a volunteer, to register for first aid/CPR courses, or to purchase first aid kits and supplies, please call 905-773-3394, or visit us at www.sja-yorkregion.org In Conversation with Alison Melville

TC – When did you get into that played concerts one summer in prisons and music? reform schools in southwestern Ontario, which was an eye-opening, sometimes disturbing, and always AM – I started playing the interesting experience. A real lesson in carrying on recorder when I was 8, in an no matter what, and in seeing that in every audience, after-school class in London, there are people who are very moved by music. UK. When my mother and I moved back to Canada, a (2) I played a concert in Finland this summer which private teacher was found involved an improvised, bird-inspired duet between – Isabel Smaller – who also an acrobat and me. I played from the balcony and got me started with consort she moved up and down a rope suspended from the playing. ceiling; it was an extraordinary collaboration and a lot of fun! TC – How about early music? (3) And speaking of birds, at the long-term care AM – Since I played the recorder, early music was facility Wellesley Central Place, I played short solo just part of my regular musical world from the programs in a room which had a wonderful glass- get-go! It’s usually more surprising to people that a walled aviary. Several tiny finches lived in it. For recorder player would play modern-era “art” music, some reason, whenever I played all of which there’s a considerable amount for the the finches would line up together along a perch, sit instrument. silently, and appear to listen. With other sizes/types of flutes, they’d sing along or ignore it. TC – What was your first “professional” performance? TC – What do you like to do before a show to get ready? After a show? AM – I’d think the first time I played for an audience who paid for admission was when I was AM – I don’t particularly have any particular pre- about 16. It was a large Renaissance ensemble concert routine, and the amount of warming-up concert, and Garry Crighton and David Klausner depends on which instruments I have to play, and played there too. My first official gig as a member of how many. Afterwards it’s nice to hang out with the Musician’s Union was a CBC radio recording I colleagues/friends over a refreshing adult beverage, did when I was 20. if we’re feeling up for that.

TC – When did you join The Toronto Consort? TC – Where can we find you next, outside of The Consort? AM – To be honest, I don’t remember when I joined the Consort! It’s been a while. I was a guest in a few AM – I’ll be in the USA next week playing Purcell concerts before being asked to join. and Händel, and then back for a couple of concerts with harpist Julia Seager-Scott. The public concert TC – Do you have a memorable performance or is on November 30 (Heliconian Hall, 7:30 pm) – moment? Scottish, Irish, and Italian 18th-century music for Baroque and Scottish traditional , recorders AM – There are many memorable moments for and traverso. which I’m very grateful. To mention just a few: (1) When I was in university I was part of a group APOLLO & DAPHNE A Baroque dramatic cantata by George Frideric Handel ENOCH ARDEN A Romantic melodrama by Alfred, Lord Tennyson and Richard Strauss love & loss

Enoch Turner Schoolhouse, 106 Trinity St. 17 – 19 November 2016 torontomasquetheatre.com 416-410-4561

LIVE 16/17 EMOTION The Toronto Consort is a Proud Member of A GRAND TOUR OF ITALY Violinist and guest director, Rodolfo Richter

Dec 1 – 4 Jeanne Lamon Hall, Trinity-St. Paul’s Centre bloorstculturecorridor.com (416) 964-6337 tafelmusik.org

Dec 9 & 10 at 8pm | Dec 11 at 3:30pm

TICKETS STARTING AT $ The Middle Ages produced some of the most 27 serene and heartfelt of all time. Join us for a yuletide celebration of powerful sights and sounds from this era. Tickets on sale now Box Office: 416-964-6337 or at torontoconsort.org

Trinity-St Paul’s Centre, Jeanne Lamon Hall, 427 Bloor Street West Generously supported by Al and Jane Forest