The Lost Music of Canterbury Music for several saints from the

FRIDAY, FEBRUARY 8, 2019 The Parish of All Saints, Ashmont

SATURDAY, FEBRUARY 9, 2019 First Church in Cambridge, Congregational The Lost Music of Canterbury In Memoriam Music for several saints from the Peterhouse partbooks Janet Haas (1464–1521) Thomas Ryan O Albane deo grate Sanford Sylvan (c. 1490–1545) Donald Wilkinson O Willelme pastor bone

Arthur Chamberlayne (b. 1470s?) Ave gratia plena Maria The Lost Music of Canterbury INTERMISSION Today‘s program explores music from one feature illuminations and other fancy Hugh Aston (c. 1485–1558) trimmings that added value beyond the O baptista vates Christi of the largest and most important extant sources of sacred English polyphony from musical contents.) He appears to have Nicholas Ludford (c. 1490-1557) before the Reformation, the Peterhouse been commissioned to supply Canterbury Salve regina partbooks—so called because they are Cathedral with a complete repertoire of now housed at Peterhouse, the oldest and polyphonic music. The monastic foun- smallest of the Cambridge colleges. The dation at Canterbury was dissolved by Pre-concert talk in Cambridge by Scott Metcalfe partbooks, which contain a large collec- Henry VIII in April 1540, one of nearly a tion of Masses, Magnificats, and votive dozen great monastic cathedrals dissolved antiphons, seem to have been copied at in the years 1539-40. Most were refounded Magdalen College, Oxford, in the lat- as secular (i.e. non-monastic) institutions ter years of the reign of Henry VIII, by which were subject not to an abbot—a Sonja DuToit Tengblad Michael Barrett the professional singer and music scribe member of a religious order—but to a

Brenna Wells Jason McStoots Blue Heron is funded in part by the Thomas Bull, just before Bull left Oxford bishop and thence to the king, who had Shari Alise Wilson tenor Massachusetts Cultural Council, declared himself head of the Church of a state agency. to take up a new position in the choir at treble Canterbury Cathedral. England. Monks sang mostly plainchant Paul Guttry and did not generally attempt virtuosic Jennifer Ashe David McFerrin Pamela Dellal Steven Hrycelak The Dorchester concert is supported in part Bull wrote down, within a very short time, polyphonic music, but the new founda- by a grant from the Boston Cultural Council, Martin Near bass a local agency which is funded by the Mass a great quantity of music in plain, care- tion cathedrals aspired to more pomp and mean Cultural Council, and administered by the fully checked, and highly legible copies circumstance and so they needed to hire a Mayor’s Office of Arts and Culture. Scott Metcalfe that were evidently intended to be used choir of professional singers and to recruit Philippe Gagné director BLUE HERON for liturgical performance, rather than for and train choirboys. By the late summer Mark Sprinkle 950 Watertown St.Suite 8 All works edited and completed by Nick West Newton, MA 02465 study or for presentation to a noble as a of 1540 Canterbury Cathedral had assem- contratenor (617) 960-7956 Sandon and published by Antico Edition [email protected] gift. (Presentation manuscripts normally bled a roster of ten “queresters” (choris- (RCM58, 106, 120, 133, and 138). www.blueheron.org

2 3 ters, “quire” being the normal sixteenth- and the Protestant reformers who came able fact…. I knowe a merchaunt man, scribed and catalogued for the first time in century spelling of the word), their master, to power upon the accession of his young whych shall at thys tyme be name- the middle of the 19th century, the tenor and twelve vicars-choral or professional son, Edward, took a dim view of such pop- lesse, that boughte the contentes of book had disappeared, along with several ish decorations as professional choirs and two noble lybraryes for .xl. shyllyn- singing-men. is listed first ges pryce, a shame it is to be spoken. pages of the treble. Now, of the 72 pieces in of the “vyccars,” Bull sixth. And in addi- the highly sophisticated Latin music they Thys stuffe hath he occupyed in the the set, 39 are transmitted uniquely, while tion to singers, the new choral establish- sang. All the elaborate polyphonic mu- stede of graye paper [wrapping-pa- another dozen or so are incomplete in ment needed to acquire an entire library of sic of late medieval English Catholicism per] by the space of more than these their other sources. The result is that some polyphonic repertory. This Bull supplied, became, at best, obsolete; at worst it was .x. yeares, & yet he hath store ynough fifty pieces of music—a significant portion bringing nearly 70 works with him from viewed as a gaudy ornament to a despica- for as many yeares to come. of what survives from pre-Reformation ble ritual. Many musical manuscripts were Oxford and adding several more to the The Preface, “Johan Bale to the Read- England—now lack their tenor, and some collection after arriving in Canterbury. lost and many destroyed, and if a manu- er,” The laboryouse Journey & serche of of these (including the works by Fayr- script escaped deliberate destruction by Johan Leylande for Englandes Antiqui- fax, Aston, and Ludford on this program) The music Bull copied includes works by zealots, it might yet be subjected to other tees (1549) are also missing all or part of their treble. the most famous masters of the early six- indignities: We are able to sing the Peterhouse music teenth century, such as Robert Fayrfax, Very few collections of church music sur- nowadays thanks to the extraordinarily John Taverner, and Thomas Tallis, and by Neither had we been offended for the losse of our lybraryes, beynge vived the upheaval. The main sources skilled recomposition of the missing parts less celebrated but nonetheless first-class so many in nombre, and in so deso- extant from the entire first half of the by the English musicologist Nick Sandon. composers such as Nicholas Ludford and late places for the more parte, yf the sixteenth century are a mere three choir- (Sandon also pieced together the story Hugh Aston, as well as a number of won- chiefe monumentes and moste no- books, four sets of partbooks, and one or- of the partbooks and their origins that I derful pieces by musicians whose careers table workes of our excellent wry- gan manuscript. (Compare this paucity to, have related here.) Sandon finished his are less well documented and who have ters, had been reserved.… But to for example, the sixteen choirbooks owned destroye all without consyderacyon, dissertation on the Peterhouse partbooks, been virtually forgotten for the simple is and wyll be unto Englande for ever, in 1524 by a single establishment, Mag- including recompositions of most of the reason that so little of their work survives: a moste horryble infamy amonge the dalen College, Oxford, not one of which missing parts, in 1983. In the years since Richard Pygott, John Mason, Robert Jones, grave senyours of other nacyons. A survives.) We do not know what happened he has revised and refined his work and Robert Hunt, and others. Several of these great nombre of them whych pur- to Bull’s five partbooks (one each for the issued it in Antico Edition, completing the men, like Arthur Chamberlayne, cannot chased those superstycyouse man- standard five parts of early sixteenth- syons [the former monasteries], re- entire, monumental project in 2015. be identified with certainty: Chamber- served of those librarye bokes, some century English polyphony: treble, mean, layne’s Ave gratia plena Maria is the only to serve theyr jakes [privies], some contratenor, tenor, and bass) after 1547, but Music for several saints known piece ascribed to him and the only to scoure theyr candelstyckes, and by the 1630s they may have made their way known candidate for identification with some to rubbe their bootes. Some to the library of Peterhouse, where they The splendid masses and antiphons copied the composer is a “Chamberleyn” docu- they solde to the grossers and sope- would survive yet another cataclysm of into the Peterhouse partbooks offer dra- mented as a chorister at Magdalen College sellers, & some they sent over see to destruction, that wrought by the Puritans matic support to the picture of late medi- the bokebynders, not in small nom- eval English Catholicism drawn by Eamon in 1485-6. bre, but at tymes whole shyppes full, in the 1640s. to the wonderynge of the foren na- Duffy in his 1992 bookThe Stripping of the The new choral institution at Canterbury cyons. Yea, the universytees of thys Or, rather, most of Bull’s five partbooks Altars. Duffy shows that lay Catholicism in would not last long. Henry died in 1547 realm, are not all clere in this detest- survived. By the time the books were de- English parishes was deeply-felt and thriv-

4 5 ing on the very eve of being officially -ex Llewellyn Harrison, the eminent histori- phe that English music suffered in the late his tenure at Cardinal College to be sung tinguished. The Peterhouse music proves an of music in medieval Britain) “was the 1540s and early 1550s, when a very highly as part of the daily devotion to St. William the same for “high culture” at Oxford and universal and characteristic expression of developed, confident and ambitious mu- which was prescribed in the founding stat- Canterbury as well. These are not the ar- the devotional fervour of the later Middle sical culture and the infrastructure that utes of the college. After Wolsey’s fall from tistic products of a religious culture that Ages.” The most popular texts were made sustained it were brought to an end virtu- grace with Henry VIII in 1529, followed by was decaying, losing its sense of purpose, available to pious lay-people in prints such ally overnight, and most of its works and his arrest and death in 1530, the antiphon’s or doubting the efficacy of its traditional as the diglot Prymer or Book of Hours is- much other evidence of its activity were text was revised and redirected to Christ rituals. Quite the contrary: bold, confi- sued by Robert Redman. (Redman’s deliberately destroyed.” and Henry; it appears in the Peterhouse dent, and technically demanding, these translation of the Salve regina is included partbooks as O Christe Jesu. Quite unlike works demonstrate that Catholic culture in the program.) Fayrfax’s O Albane deo grate addresses St. the other four works on the program, it is in England in the 1540s remained vigorous Alban, who was traditionally believed to “succinct, syllabic, and plain in style, lack- in its devotional practice and its artistic The structure of antiphons derives from have been beheaded in the Roman city ing any known English precedent,” ac- expression. the Angelic Salutation or “Hail Mary,” of Verulamium (modern St. Albans in cording to Dr. Sandon. one of the items that constituted the core Hertfordshire, some 20 miles northwest The characteristics of the style of the Pe- of all Catholics’ knowledge of their faith. of London) sometime during the third or Hugh Aston has been a favorite of ours terhouse repertoire include an overall Opening with a salutation (“Hail Mary, fourth century and was venerated as the ever since we sang his Ave Maria dive ma- compass of three octaves from bass to full of grace, the Lord is with thee”), it first recorded British Christian martyr. tris Anne on our first concerts in the fall of treble; rich, carefully calculated sonori- then praises the saint invoked (“blessed The antiphon was very likely composed 1999, and his three Marian antiphons in ties in passages for the full five voices; the art thou among women”), makes refer- for the Benedictine abbey of St. Alban, Peterhouse feature on the first disc in our deployment of various groupings of voic- ence to the savior Christ (“and blessed is with which Fayrfax maintained a connec- CD series. This is the first time we have es in sections of reduced texture; the use the fruit of thy womb Jesus”), and closes tion for many years in later life and where sung O baptista vates Christi, an antiphon of brief points of imitation—very freely with a prayer for intercession (“Holy Mary, he chose to be buried. The text was later to St. John, and we are delighted to be us- treated and varied—as structural guide- Mother of God, pray for us sinners now adapted as O Maria deo grata, presumably ing Sandon’s just-published revised recon- posts at new lines of text and new entries and in the hour of our death”). The rather in order to make the piece more generally struction. The text is otherwise unknown of voice-parts; and rhythmically compli- elegant, humanistic text of Chamber- useful, and it appears in that form in the and may well have been written for Aston’s cated and highly melismatic melodies. layne’s Ave gratia plena Maria embeds the Peterhouse partbooks. use—or by Aston himself? Like some oth- text of the Salutation in its first few lines, er texts set uniquely by Aston, it refers di- This program presents five examples of the subsequently quoting phrases from other O Willelme pastor bone combines an anti- rectly to the singers who raise their voices votive antiphon, an extra-liturgical form texts that would have been immediately phon for St. William, Archbishop of York to a heavenly intercessor. not part of the regular Divine Office but recognizable to the singers (“Spes nos- (d. 1154), with a matching stanza written appended to it. Addressed most often to tra, salve” and “ad te clamamus” from the as a prayer for Cardinal Thomas Wolsey, We conclude with Ludford’s magnificent Mary, sometimes to Jesus, very occasion- Salve regina, for example). As Sandon com- Archbishop of York in the early 16th cen- Salve regina, which, typically for an Eng- ally to another saint, in England it was typ- ments, “It may seem strange that virtually tury and the founder of Cardinal College, lish setting, includes three rhymed stanzas ically sung after Vespers and Compline in all knowledge can be lost of a composer Oxford, where Taverner served as informa- inserted between phrases at the end of the a separate evening devotion by a group of capable of creating such a characterful tor choristarum (instructor of the choir- antiphon. singers gathered before an altar or image. and well-crafted piece asAve gratia plena boys) between 1526 and 1530. Taverner —Scott Metcalfe The Marian antiphon (according to Frank Maria, but it is a reminder of the catastro- presumably composed the setting during

6 7 TEXTS & TRANSLATIONS O martyrum flos Anglorum, O flower of English martyrs, Nunc coheres angelorum, now co-heir of the angels, O Albane, deo grate, O Alban, pleasing to God, Michi posce veniam seek for me absolution from the offences Coram tua sanctitate be merciful to me thy humble servant A delictis quibus premor by which I am oppressed, Michi tuo servulo as I pray in the presence of thy holiness, Apud Christum mei memor and make Christ mindful of me Clemens esto supplicanti and help me as I beg Ut ejus per gratiam so that through his grace Et succurre deprecanti for pardon, Ut sic in hoc seculo so that in this world Illi digne deservire I can serve him here Possim hic et hinc transire and pass hence Christo possim militare I can be a soldier for Christ, Ad celestem patriam to the heavenly homeland, Ne a cultu deviare lest I be seen to stray from Ubi tecum gratulari where may I deserve to rejoice Videar justicie the observance of righteousness Merear et contemplari with thee and contemplate Isto mundo consummato when this world has been brought to an end Divinam presentiam. the divine presence. Et antiquo debellato and the ancient prince of malice Principe malicie. vanquished. Ora, martyr, pro me deum O martyr, beseech God for me, Ne me damnet tamquam reum lest on the last day he condemn me Te rectore teque duce Guided by thee and led by thee, In die novissimo; as one guilty; Regnum dei plenum luce let me be worthy to enter Sed mundatum a peccatis rather let him place me, Introire valeam the kingdom of God, filled with light Me collocet cum beatis washed clean of sins, with the blessed Ubi sanctam trinitatem where let me endlessly behold In regno clarissimo in the most illustrious kingdom Ejusdemque majestatem the Holy Trinity Sine fine videam. and the majesty of the same, Ubi cum sanctis congaudes, Where thou rejoicest with the saints, Dignas reddens deo laudes. offering fitting praises to God. Martyr pie, martyr bone, Dutiful martyr, brave martyr, Queso vite vane I beg, O holy Alban, Pie pater et patrone, faithful father and protector, Mundi fac me culpas flere make me weep for the sins Me juvare propera hasten to help me, Meque tecum congaudere, of the fleeting life of the world, Ut adversa me non ledant so that misfortune shall not harm me O sancte Albane. and make me rejoice with thee. Sed ut prosperis succedant but good fortune shall always follow Mihi semper prospera. upon good fortune for me, O Willelme, pastor bone, O William, good shepherd, Audi preces queso meas Hear my prayer, I plead, Cleri pater et patrone, father and defender of the clergy, Et clementer offer eas and mercifully bring them Mundi nobis in agone in the travail of the world Ante regem glorie before the King of Glory Confer opem, et depone bring help to us, and put away Pro quo mortem amplexatus. for whom thou didst embrace death, Vite sordes, et corone the depravity of life, and bestow Nunc refulges laureatus Now thou shinest brightly, Celestis da gaudia. the joys of a heavenly crown. Corona victorie. crowned with the bays of victory. Fundatorem specialem Watch over our particular founder, Gloriose martyr dei, O glorious martyr of God, Serva Thomam cardinalem, Thomas the cardinal, Miserere precor mei I beg thee to have pity of me, Et ecclesiam piorum and, as guardian, protect the church Peccatoris miseri. a miserable sinner. Tueare custos horum, of these faithful people, Roga fontem pietatis Entreat the fount of goodness Et utrumque fac vitalem and give them both the life-giving Ut me solvat a peccatis that he release me from sins Eterne vite premium. prize of everlasting life. Et a penis inferi. and from the punishments of hell. [Reconstruction of the original text of O Christe Jesu, pastor bone.] 8 9 Ave gratia plena Maria: tecum dominus. Hail, Mary, full of grace; the Lord is with thee. O baptista, vates Christi, O baptist, prophet of Christ, Partu laudes tibi ubique: in te thalamum Praise to thee everywhere for thy offspring; in Qui inter natos surrexisti Who hast arisen greatest puritatis effecit trinitas. thee the Trinity created a chamber of purity. Mulierum maximus, among those born of women, Sis pro nobis tua plebe whom we address in this shrine Tanti praedicta es honoris excellens Thou art foretold to be of such great honour, Quem pulsamus in hac ede with concordant voices, virtute, benedicta inter mulieres: pre-eminent in worth, blessed among women, Consonoris vocibus. be here for us, thy people. sicque tuus laudabitur fructus Jesus, in that thy Son Jesus will be extolled regum rex immortalis. as the immortal king of kings. Tu defende chorum istum Defend this choir Cujus caput es post Christum whose head and chief patron De te cecinere prophetae et dominum ex te Prophets sing of thee and the Lord who will be Et patronus optimus, thou art after Christ, nasciturum: laus nam tua erit indeficiens born of thee, for thy praise will be unfailing Cujus quoque membra sumus; and whose members we are; et corona virtutum perpetua. and thy crown of virtues everlasting. Ne nos ledat ire fumus lest the fume of anger harm us Adsit amor cordibus. let love attend our hearts. Tu mater es et nutrix piissimi servatoris, Thou art the mother and nurse of the most optima nostrae miseriae consolatrix: holy Saviour, O best comforter of our Nihil non cum deo vales Thou art nothing without God tibi nunquam desinemus dicere, ‘Spes distress; we shall never cease to call to Qui te inter tot mortales who singled thee out nostra, salve.’ thee, ‘Hail, our hope.’ Preelegit unicum among so many mortals Ut sis testis nostre spei, to be a witness to our hope, Et quod tuis sanctis indigemus precibus, And because we, cast down by misfortunes, Verus preco verbi dei, the true herald of the word of God, ad te clamamus assiduis calamitatibus have need of thy holy prayers, we cry Monstrans dei filium. pointing out the Son of God. obruti, O benignissima Maria: et hinc ad continually to thee, O most merciful Mary, te confugimus, spes nostra et adjutrix, and hence we appeal to thee, our hope and Mirus tui notat ortus Thy remarkable birth indicates nam qui te invocant hos non soles ipsa helper, for thou who art devoid of all sin Quod sis testis spei portus that thou art a witness to the haven of hope omnis criminis expers tuo solamine art unaccustomed to leave destitute of thy Ac precursor domini, and the forerunner of the Lord, destitutos relinquere. comfort those who call upon thee. Quando Gabriel nunciavit when Gabriel announced Atque patri assignavit and conveyed to the father Nihil est enim quod a charissimo filio There is indeed nothing that thou canst not Nomen sui filii. the name of his son. nequeas impetrare, et idcirco ad te obtain from thy most dear Son, and therefore clamamus jure, ‘Spes nostra, salve.’ we rightly cry to thee: ‘Hail, our hope.’ Mater curva senectute Bent with age, the mother Mire concepit virtute conceived with amazing vigour O summa, O pura, O super angelos omnes O thou most high and pure being, Impar onus utero. a burden unsuited to her womb. excellens creatura: laus, honor et decus excelling all the angels: praise, honour Dempta patris est loquela The speech of the father was withdrawn sempiternum tibi omnium mulierum and eternal glory to thee, jewel of all Cujus eras tu medela and thou wast his remedy gemma. women. Nato dei nuncio. being born as the messenger of God. Angelorum chori una cum sanctis reliquis The choirs of angels together with the rest Quem Maria in montana In the mountain Mary tuam admirantur sanctimoniam, cum of the saints marvel at thy sanctity, with Salutatum voce plena came to thy mother quibus nos quoque justissime clamamus whom we likewise together most justly Matrem tuam adiit, and greeted her aloud, singuli, ‘Spes nostra, salve.’ cry: ‘Hail, our hope.’ Adhuc matris clausus claustro at which point the child, Infans exultavit gaudio enclosed in the mother’s womb, Tantum quantum potuit. jumped with joy to his utmost.

10 11 Natus heremum petisti; Born, thou didst seek the desert; Virgo mater ecclesie, Virgin mother of the congregacion Penitere docuisti through thy warnings Eterna porta glorie, Gate of glory that never is donn Homines per monita. thou didst teach men to repent. Esto nobis refugium Be for us a reconciliacion Esse putant te messiam They took thee for the Messiah Apud patrem et filium. Unto the father and the sonne. Quia docuisti viam because thou didst point out the way O clemens. O mercyfull. Qua itur ad celestia. by which one goes to heaven. Virgo clemens, virgo pia, Virgin mercifull, virgin holy Virgo dulcis, O Maria, O swete virgin, o blessed Mary Dixi, Non sum ego Christus Thou saidst, I am not the Christ Exaudi preces omnium Heare theyr prayers gracyously Sed ab illo quidem missus but am indeed sent from him Ad te pie clamancium. Whiche crye and call unto thee. Mundi in hanc miseriam; to the world in this distress; O pia. O holy. Post me certe veniet agnus after me will certainly come Funde preces tuo nato Praye for us unto thy sonne, Cujus ego non sum dignus the lamb whose shoe-lace Crucifixo, vulnerato, Wounded and crucified for us all Solvere corrigiam. I am unworthy to unloose. Et pro nobis flagellato, And sore turmented with flagellation Spinis puncto, felle potato. Crowned with thorne, & fedde with gall. Post hoc Christum baptizasti After this thou didst baptize Christ O dulcis Maria, salve. O swete Mary, [hayle]. Digitoque demonstrasti and didst point him out with thy finger In Jordano flumine. in the river Jordan. Patris vocem exaudisti Thou didst hear the voice of the Father Sanctum spiritumque vidisti and see the Holy Spirit All texts edited by Nick Sandon. Translations by Nick Sandon, except translation of Columbina specie. in the form of a dove. Salve regina from This Prymer in Englyshe and in Laten (Robert Redman: London, 1537). Jam cum tuo vivis Christo: Now thou livest with thy Christ: Choro sis defensor isto; be a protector to this choir; Fac per tua merita through thy merits make it Ut post hujus vite cursum that after the course of this life Te sequamur ubi sursum we may follow thee where on high Vehamur ad gaudia. let us be brought to joy Amen. Amen.

Salve regina, mater misericordie, vita Hayle, quene, mother of mercy, our dulcedo et spes nostra, salve. Ad lyfe, our swetenes, our hope, all hayle. te clamamus exules filii Eve. Ad te Unto thee do we crye, whyche are the suspiramus, gementes et flentes in hac banyshed chyldren of Eva. Unto thee lacrimarum valle. Eya ergo, advocata do we syghe, wepyng & waylyng in this nostra, illos tuos misericordes oculos vale of lamentacyon. Come of therefore, ad nos converte, et Jesum, benedictum our patronesse. Caste upon us those fructum ventris tui, nobis post hoc pytefull iyes of thyne. And after this our exilium ostende. banyshement, shewe unto us the blessed fruite of thy wombe Jesu.

12 13 ABOUT THE ARTISTS Mustering up “rock solid the harmonia mundi, Blue Heron, and Coro technique” and “the kind record labels. Michael has served as music di- of vocal velvet you don’t rector of Convivium Musicum since 2007. He often hear in contempo- also directs the Meridian Singers, a vocal en- rary music” (Boston Phoe- semble based at MIT. Michael is currently an nix), soprano Jennifer Assistant Professor at the Berklee College of Ashe has been praised Music, where he teaches conducting courses for performances that are for undergraduates. “pure bravura, riveting the audience with a radiant and opulent voice” Pamela Dellal, mezzo- (The Boston Globe). A strong advocate of new soprano, has enjoyed a Blue Heron has been acclaimed by The Bos- tions with A Far Cry, Dark Horse Consort, works, she has sung with Boston Musica Viva, distinguished career as ton Globe as “one of the Boston music com- Les Délices, Parthenia, Piffaro, and Ensemble Sound Icon, Fromm Festival, Boston Micro- an acclaimed soloist and munity’s indispensables” and hailed by Alex Plus Ultra. In 2015 the ensemble embarked on tonal Society, Harvard Group for New Music, recitalist. She has per- Ross in The New Yorker for its “expressive in- Ockeghem@600, a multi-season project to per- New Music Brandeis, New Gallery Concert formed in Symphony tensity.” Committed to vivid live performance form the complete works of Johannes Ockeg- Series, Guerilla Opera, Ludovico Ensemble, Hall, the Kennedy Cen- informed by the study of original source ma- hem (c. 1420-1497) and record all of his songs and the Callithumpian Consort. Recent proj- ter, Avery Fisher Hall, and terials and historical performance practices, and motets. Volume I of the songs will be re- ects include Boulez’s Le marteau sans maitre the Royal Albert Hall, and the ensemble ranges over a wide repertoire leased in the spring of 2019. The project will with Boston Musica Viva and Schoenberg’s premiered a chamber work by John Harbison from plainchant to new music, with particular wind up around 2021, in time to commemo- Pierrot lunaire with Ensemble Parallax. Ashe in New York, San Francisco, Boston, and Lon- specialities in 15th-century Franco-Flemish rate the composer’s circa-600th birthday. holds a DMA and an MM from the New Eng- don. With Sequentia, Dellal has recorded the polyphony and early 16th-century English land Conservatory and a BM from the Hartt music of Hildegard von Bingen and toured sacred music. Blue Heron’s first CD, featuring music by School of Music. Formerly on the faculties of the US, Europe, and Australia. Passionate Guillaume Du Fay, was released in 2007. Be- the College of the Holy Cross and Eastern about chamber music, early music, and con- Founded in 1999, Blue Heron presents a tween 2010 and 2017 the ensemble issued a Connecticut State University, she currently temporary music, she has appeared frequently concert series in Cambridge, Massachusetts, 5-CD series of Music from the Peterhouse Part- teaches voice, piano, and ukulele at the Dana with Dinosaur Annex, Boston Musica Viva, and has appeared at the Boston Early Music books, including many world premiere record- Hall School of Music in Wellesley and pre- Ensemble Chaconne, Blue Heron, and the Festival; in New York City at Music Before ings of works copied c. 1540 for Canterbury school music at Music Together Arlington. Musicians of the Old Post Road. She has 1800, The Cloisters (Metropolitan Museum Cathedral. The fifth CD was awarded the 2018 been a regular soloist in the Emmanuel Music of Art), and the 92nd Street Y; at the Library Gramophone Classical Music Award for Ear- Michael Barrett is a Bach Cantata series for over thirty years and of Congress, the National Gallery of Art, ly Music and the five discs are now available Boston-based conductor, has performed almost all 200 of Bach’s extant and Dumbarton Oaks in Washington, D.C.; as a boxed set entitled The Lost Music of Can- singer, multi-instrumen- sacred cantatas. She has recorded for Ara- at the Berkeley Early Music Festival; at Yale terbury. Blue Heron’s recordings also include talist, and teacher. He has besque, Artona, BMG, CRI, Dorian, Merid- University; and in Chicago, Cleveland, Kan- a CD of plainchant and polyphony to accom- performed with many ian, and KOCH. Dellal serves on the faculty sas City, Milwaukee, Pittsburgh, Philadelphia, pany Thomas Forrest Kelly’s bookCapturing professional early music at the Boston Conservatory at Berklee and at Providence, St. Louis, San Luis Obispo, and Music: The Story of Notation and the live re- ensembles, including Blue the Longy School of Music of Bard College. Seattle. The ensemble has performed in Cam- cording Christmas in Medieval England. Jessie Heron, the Boston Camer- bridge and London, England, and in 2018-19 Ann Owens (UC Davis) and Blue Heron ata, the Huelgas Ensemble, Tenor Philippe Gagné has received critical will make Canadian debuts in Montreal (Sep- won the 2015 Noah Greenberg Award from Vox Luminis, the Handel & Haydn Society, acclaim for his depth of expression, refined tember) and Vancouver (March). Blue Heron the American Musicological Society to sup- Boston Baroque, Nederlandse Bachverenig- musical sensitivity, vocal agility, and beauty has been in residence at the Center for Early port a world premiere recording of Cipriano ing (Netherlands Bach Society), L’Académie, of tone. He enjoys an international career spe- Music Studies at Boston University and at de Rore’s I madrigali a cinque voci (1542), to be Seven Times Salt, Schola Cantorum of Bos- cializing in baroque repertoire and has worked Boston College, and has enjoyed collabora- released in fall 2019. ton, and Exsultemus. He can be heard on with Tafelmusik, Les Violons du Roy, Arion

14 15 Baroque, the Calgary Phil- Blue Heron’s recordings, on discs of medieval soloist he has sung with Seraglio, Bach’s Christmas Oratorio and St. harmonic Orchestra, the music by Sequentia, Kurt Weill’s Johnny John- the Cleveland Orchestra, Mark Passion with Emmanuel Music, and Orchestre symphonique son and French airs de cour with the Boston Israel Philharmonic, and Monteverdi’s Vespers of 1610 with the Green de Québec, Apotheosis Camerata, and on Emmanuel Music’s Bach Boston Pops, and in recital Mountain Project. He has appeared with Bos- Orchestra, La Bande Mon- CDs. at the Caramoor, Ravinia, ton Lyric Opera, Pacific MusicWorks, Boston tréal Baroque, Le Palais and Marlboro Festivals. Camerata, TENET, San Juan Symphony, The Royal, and Mannheimer Steven Hrycelak, bass, Recently Mr. McFerrin Bach Ensemble, Pablo Casals Festival, Early Hofkapelle, under the di- is equally at home as an was an Adams Fellow at Music Guild of Seattle, Tragicomedia, and rection of Bernard Laba- operatic, concert, or en- the Carmel Bach Festival the Tanglewood Music Center. He is a core die, Eric Milnes, Ivars Taurins, Alexander Wei- semble performer. He is in California, debuted with Boston Baroque member of Blue Heron and can be heard on mann, Fabien Gabel, Christopher Jackson, an ensemble member and (as Achilla in Handel’s Giulio Cesare) and all their recordings. With BEMF, he appears Florian Heyerick, Hervé Niquet, and Chris- soloist in the Grammy- Apollo’s Fire in Cleveland, and performed on recordings of Lully’s Psyché (nominated for tophe Rousset. In 2014, Philippe was first nominated Choir of Trin- with the Handel & Haydn Society in Boston, a Grammy), Handel’s Acis and Galatea (as Da- prize tenor winner of the CBC Bruce Haynes ity Wall Street. Other en- New York, and California. He was also runner- mon), John Blow’s Venus and Adonis (soloist), International Vocal Competition and in 2016 sembles include ekmeles, up in the Oratorio Society of New York’s 2016 and Charpentier’s Actéon (as Orphée). he was among the musicians of L’Harmonie the New York Virtuoso Singers, Toby Twining Lyndon Woodside Solo Competition. Recent des Saisons to receive a 2016 JUNO Award for Music, Early Music New York, Vox, TENET, highlights include the world premiere of The Scott Metcalfe is wide- the CD Las Ciudades de Oro. Recent highlights Meridionalis, Seraphic Fire, and the vocal Nefarious, Immoral, yet Highly Profitable Enter- ly recognized as one of include recordings of Graupner cantatas with jazz quintet West Side 5. He has also been a prise of Mr. Burke and Mr. Hare with Boston North America’s leading Ex Tempore and Rameau’s Pigmalion with soloist with NYS Baroque, Pegasus, Publick Lyric Opera, a debut with the Arion Baroque specialists in music from Apotheosis Orchestra, a program of Rameau Musick, the Mimesis Ensemble, Musica Sa- Orchestra in Montreal, solo appearances with the fifteenth through the and Campra with Les Talens Lyriques in Paris cra, 4x4, the Waverly Consort, the American the Handel & Haydn Society, and various pro- seventeenth centuries and and Oslo, grands motets with Les Délices in Symphony Orchestra, Sacred Music in a Sa- grams with Blue Heron. beyond. From 2010 to 2016 Cleveland, concerts at the Cydonia Barocca cred Space, Union Avenue Opera, and the he was music director of Festival in Ghent, and title roles inAcis and Collegiate Chorale. His performance in the Reviewers have praised New York City’s Green Galatea and Charpentier’s Actéon in Montreal. role of Monteverdi’s Seneca with Opera Om- Jason McStoots as having Mountain Project (Jolle Greenleaf, artistic nia was hailed by The New York Times as having an “alluring tenor voice” director), which he led again in January 2019, Bass-baritone Paul Guttry “a graceful bearing and depth.” He has traveled (ArtsFuse) and as “the con- and he has been guest director of TENET has performed through- the US, Canada, and Europe singing in Frank summate artist, wielding (New York), the Handel & Haydn Society out the USA and interna- London’s klezmer musical A Night in the Old not just a sweet tone but (Boston), the Tudor Choir and Seattle -Ba tionally with Sequentia, Marketplace. Mr. Hrycelak received degrees also incredible technique roque, Pacific Baroque Orchestra (Vancouver, Chanticleer, the Boston from Indiana University and Yale University, and impeccable pronun- BC), Les Délices and Quire Cleveland, and Camerata, and New York’s where he sang with the world-renowned Yale ciation” (Cleveland Plain other ensembles. Metcalfe also enjoys a career Ensemble for Early Music. Whiffenpoofs. He is also a vocal coach and ac- Dealer). In 2015 he won a Grammy award in as a baroque violinist, currently playing with A founding member of companist. Opera with the Boston Early Music Festival Les Délices (dir. Debra Nagy), L’Harmonie Blue Heron, he has also (BEMF) for their recording of works by Char- des Saisons, and Montreal Baroque (dir. Eric appeared in and around Boston as soloist Hailed for his “voice of seductive beauty” pentier. His recent stage appearances in peri- Milnes). His scholarly activities include re- with Emmanuel Music, the Handel & Haydn (Miami Herald), baritone David McFerrin has od-style baroque opera with BEMF include search on the performance practice of English Society, the Boston Early Music Festival, the won critical acclaim in a variety of repertoire. Le Jeu in Les plaisirs de Versailles by Charpenti- vocal music in the 16th and 17th centuries, in- Tanglewood Music Center, Cantata Singers, His opera credits include Santa Fe Opera, Se- er, Apollo in Monteverdi’s Orfeo, and Eumete cluding two essays that will be published in Boston Cecilia, Prism Opera, Boston Revels, attle Opera, Florida Grand Opera, the Ros- and Giove in Monteverdi’s Il ritorno d’Ulisse a forthcoming collection, and he has edited Collage, the Boston Modern Orchestra Proj- sini Festival in Germany, and numerous ap- in patria. Other recent solo performances in- music by Francisco de Peñalosa for Antico ect, and Intermezzo. Paul can be heard on all pearances in and around Boston. As concert clude Pedrillo in Mozart’s Abduction from the Edition (UK) and songs from the recently

16 17 rediscovered Leuven chansonnier for the Baroque, the Handel & second place in the American Prize Competi- as return to the Aspen Music Festival as a Fea- Alamire Foundation (Belgium); he is also at Haydn Society, and many tion’s art song and oratorio division. A cham- tured Artist with Seraphic Fire. work on a new edition of the songs of Gilles others, performed at festi- pion of modern music, Ms. Tengblad curated Binchois (c. 1400-1460). Metcalfe has taught vals in Bergen (Norway), the award-winning touring program Modern Austin-based singer, con- at Harvard University, Boston University, Bos- Vancouver, Edinburgh, Dickinson (www.moderndickinson.com), ductor, and pianistShari ton Conservatory, and Oberlin Conservatory. and Aldeburgh (UK), and launched the recital project BeatSong for so- Wilson performs a wide He received a bachelor’s degree from Brown worked as a soloist and prano and percussion, and premiered Shirish range of repertoire from University (1985), where he majored in biol- ensemble singer under Korde’s Questions for the Moon with members the Renaissance to the ogy, and a master’s degree in historical perfor- Seiji Ozawa, Christopher of the Silk Road Project. She sings with the 21st century. Demonstrat- mance practice from Harvard (2005). Hogwood, William Christie, Roger Nor- Grammy-winning ensemble Conspirare and ing great versatility and rington, John Nelson, Andrew Parrott, Grant the Lorelei Ensemble. stylistic sensitivity, she has Martin Near has been ac- Llewellyn, and Craig Smith. He has appeared collaborated with a num- claimed for the “sweet lim- as a soloist with Concerto Palatino and has Soprano Brenna Wells ber of ensembles, including Conspirare, Blue pidity” of his singing (The sung the Evangelist in Bach Passions with the is known for her varied Heron, Pegasus Early Music, Publick Musick, New York Times), with a Handel & Haydn Society, the Boulder Bach operatic and concert per- Santa Fe Desert Chorale, and the Handel & “cool, beaming counter- Festival, the Oriana Singers of Vermont, Sera- formances and has sung Haydn Society. She is a founding member tenor” commended for its phim Singers, Boston’s Chorus Pro Musica, and recorded with such of The Crossing, winner of a 2018 Grammy “crystal clear…beautiful, and the Andover Choral Society, among oth- ensembles as the Boston Award (Best Choral Performance) for Gavin blooming top notes” (New ers. Mr. Sprinkle was a member of the Cam- Early Music Festival, Blue Bryars’s The Fifth Century. Ms. Wilson made York Classical Review). bridge Bach Ensemble and a fellow of the Brit- Heron, Britten-Pears Ba- her New York City debut at Merkin Hall in a He enjoys a varied career exploring twin pas- ten-Pears School and has recorded for Dorian, roque Orchestra, Boston world-premiere performance as the soprano sions for early music and new music. High- Koch, Harmonia Mundi, Decca, Arabesque, Baroque, Opera Boston, Boston Modern soloist in Benjamin C.S. Boyle’s cantataTo lights of recent solo performances include a and Telarc. Orchestra Project, Yale Choral Artists, and One in Paradise. She has also made a mark on concert version of Machaut’s Remede de For- the Handel & Haydn Society. She has ap- the international scene at the Spoleto Festival tune, created as a collaboration between Blue Recent solo highlights for peared in many festivals worldwide, includ- (Italy), where she worked with Gian Carlo Heron and Cleveland’s Les Délices (Debra soprano Sonja DuToit ing the London Handel Festival, Aldeburgh Menotti inAmahl and the Night Visitors and Nagy, director) and returning to Blue Heron’s Tengblad include Mahler’s Festival, Connecticut Early Music Festival, The Saint of Bleecker Street. Her 2018-19 season season in 2019, and Richard Rodney Bennett’s 2nd Symphony with the Amherst Early Music Festival, BBC Proms, includes appearances with Conspirare, En- Ophelia (1987) with Boston’s Odyssey Opera Boston Philharmonic, Bar- and the Fondazione Giorgio Cini in Venice, semble VIII, Texas Early Music Project, Ars under the artistic direction of Gil Rose. Mr. ber’s Knoxville: Summer of Italy. Recent highlights include performances Longa Ensemble, Pegasus Early Music, Blue Near maintains a parallel career in the pipe 1915 with the Boston Land- with Vermont Symphony Orchestra, Sam- Heron, Texas Bach Festival, and Victoria Bach organ industry, providing services in organ marks Orchestra, Vivaldi’s mamish Symphony Orchestra, New World Festival, and she will premiere a work by Julia pipe reconditioning and repair, voicing, tonal Juditha triumphans (Abra Symphony, Cleveland Orchestra Miami, St. Wolfe with The Crossing and the New York finishing, and tuning for Spencer Organ Com- and Ozias), Monteverdi’s Il ritorno d’Ulisse in Cecilia Festival, Seraphic Fire, Brookings Har- Philharmonic at Lincoln Center. Ms. Wilson pany of Waltham, and he has also been known patria (La Fortuna and Giunone; Grammy- bor Friends Series, Vancouver Early Music teaches voice at St. Stephen’s Episcopal School to compose, arrange, and engrave using Finale. nominated recording with Linn Records) and Festival, Ensemble VIII, Pacific Musicworks, and is the organist at Crestview United Meth- Mozart’s Die Zauberflöte (First Lady) with and the Early Music Guild of Seattle. Brenna odist Church in Austin. This season she will Tenor Mark Sprinkle’s singing has been de- Boston Baroque; Bach’s St. John Passion with appears on the new recording of John Luther launch Corvidae Ensemble, a women’s ensem- scribed as “expressive,” “very rewarding,” “out- the Handel & Haydn Society, Knussen’s Sym- Adams’s Becoming Desert with the Seattle Sym- ble dedicated to exploring music and multi- standing,” “vivid,” and “supremely stylish.” He phony No. 2 with the Boston Modern Orches- phony Chorale and this season she will make media forms, spanning over four centuries of has collaborated with the Boston Early Music tra Project, and her Carnegie Hall and Lin- her debuts with Emerald City Music, Capella music, art, dance, and poetry. Festival, the Boston Camerata, the Mark Mor- coln Center debuts with the New York City Romana, and Music at 9th and Stewart, as well ris Dance Group, Emmanuel Music, Boston Chamber Orchestra. In 2014 she was awarded

18 19 20

ACKNOWLEDGEMENTS Blue Heron’s existence as a performing ensemble is made possible by the devotion, hard work, and financial support of a community of board members, staff, volunteers, donors, and concertgoers. Many thanks to all those who join us in creating, nurturing, and sustaining an organization dedicated to making the music of the 15th and 16th centuries come alive in the 21st.

Blue Heron is extraordinarily fortunate to work with a slate of talented, skilled, and devoted designers, engineers, BLUE HERON videographers, and photographers. Our programs, printed publicity materials, and CDs are designed by Melanie Germond and Pete Goldlust. FlashPrint in Harvard Square has printed our programs for as long as we can The Twentieth Anniversary Campaign remember. Erik Bertrand built and maintains our website. Our concerts are recorded by Philip Davis (Cape Thomas Forrest Kelly, Honorary Chair Ann Recordings) or Joel Gordon. Joel is also the engineer for our CDs, working with our producer Eric Milnes. Kathy Wittman (Ball Square Films) is our videographer and Liz Linder is our photographer. Our debt to these wonderful people who have shaped our look and sound is impossible to overstate. Blue Heron2 is widely0 considered the leading Renaissance vocal ensemble in North America. Approaching our twentieth anniversary in 2019, we have more opportunity than ever before to reach expanded audiences at We are very grateful to the gracious hosts who offer their hospitality to musicians from out of town. This month we home and abroad, with vibrant performances grounded in a rare depth of scholarship. extend our gratitude to Ruth McKay and Don Campbell, Scott Allen Jarrett, Laura Jeppesen and Daniel Stepner, and Jaylyn Olivo and Dale Flecker. The new Twentieth Anniversary Campaign will help Blue Heron enter its third decade with enhanced capacity to be more creative than ever. Our generous Sustainers pledge four years of support at levels ranging Many thanks to our board and to all our dedicated volunteers for their help this evening and throughout the year. from $1,250 to $15,000 each year. For this, we offer our deepest thanks. We are honored and grateful to have so many generous donors.

DONATIONS RECEIVED SUSTAINERS Between February 4, 2018 and February 4, 2019

Dorrie Parini & Paul LaFerriere ARCHANGEL ($10,000 +) GUARANTOR ($1,250 – $2,499) Sponsors of Scott Metcalfe, Director | 2018 - 2021 Anonymous Anonymous Philip H. Davis Peggy & Jim Bradley Harry J. Silverman Anonymous John A. Carey Peggy & Jim Bradley Dorrie Parini & Paul LaFerriere Hope Hare Joan Margot Smith Peter Belknap & Paul Guttry Mary Briggs & Harry J. Silverman Mary Briggs & John Krzywicki Joan Margot Smith Jennifer Snodgrass William Lockeretz John Krzywicki Michael P. McDonald Andrew Sigel Philip H. Davis Mark Sprinkle Diane L. Droste ANGEL ($5,000 – $9,999) Michal Truelsen & Jody Wormhoudt Fred Franklin & Lois F. Wasoff Richard L. Schmeidler Kaaren Grimstad Anonymous Andrew Sigel Peter Belknap & Jennifer Snodgrass Michal Truelsen & PATRON ($600 – $1,249) Joda Wormhoudt Fred Franklin & Kaaren Grimstad Anonymous Paul Guttry Thom & Rebecca Barrett Prof Jessie Ann Owens John Paul Britton & Diane Britton Richard L. Schmeidler James Burr For more information about the Mark Sprinkle Katie and Paul Buttenwieser Twentieth Anniversary Campaign James Catterton & Lois Wasoff Charitable Gift Fund Elizabeth Davidson and how you can become a Sustainer, Damon & Julia Dimmick please contact Janet Stone, Administrator: BENEFACTOR ($2,500 – $4,999) Helen Donovan & Holly Nixholm [email protected] or (617) 960-7956. John A. Carey John F. Dooley Diane L. Droste Marie-Pierre & Michael Ellmann William & Elizabeth Metcalfe Robert J. Henry Mary Eliot Jackson, in Honor of Paul Guttry Christian & Michele Fisher Lucy Fichter BOARD OF DIRECTORS John Lemly & Catharine Melhorn Dorothy Gillerman Carol Fishman Peter Belknap, president Richard O'Connor & Julianne Lindsay Nancy Graham Andrea Golden Mary Briggs, treasurer Mastwood Charitable Foundation David Harrison Shirley Goldstein Richard Schmeidler, clerk Anne H. Matthews & Edward F. Fay, Jr. William L Harwood, in honor of Bill Metcalfe Michael Grossman, in honor of John Carey Philip H. Davis Amy & Brian McCreath Mary J. Hepburn William Miniscalco & Sarah Guilford Damon Dimmick Merrill Family Charitable Foundation, Inc. Richard F. Hoyt, Jr. Joan Stephens Hadly, in honor of David McFerrin Scott Metcalfe Susan Miron Thomas Hyde P R Hewitt Dorrie Parini Susan S. Poverman Louis Kampf & Jean Jackson The Choir of Church of our Redeemer, Lexington Harry Silverman Jennifer Farley Smith Tracy Powers Tom and Kathy Kates Mark Howland Laura Zoll Jerome & Janet Regier Joann Keesey Joseph Hunter & Esther Schlorholtz Robert B. Strassler Barry Kernfeld & Sally McMurry Jane Wegscheider Hyman GENERAL MANAGER Bettina Siewert & Douglas Teich David Kiaunis Mary Ellen Geer & Philip LaFollette John Yannis Erin E. M. Thomas Carole Friedman Barbara Lambert Debra & Ian Wallace, in honor of Paul Guttry Jo-Ann & Edgar Kuklowsky Catherine Liddell OFFICE ADMINISTRATOR John Yannis Penelope Lane Sudie Marcuse Janet Stone Rob & Mary Joan Leith James Martin SPONSOR ($300 – $599) Jackie Lenth Catherine R. Matthews, in honor of Laura Zoll DEVELOPMENT CONSULTANT Anonymous (3) Deborah Malamud & Neal Plotkin Terry McEnany & Margie Bride Carole Friedman Joseph Aieta, III Seanan Murphy Erin Doherty & David McFerrin Thomas N. Bisson, in memory of Margaretta Carroll Cindy & Peter Nebolsine Suzanne McGough VOLUNTEERS Bisson Robert Silberman & Nancy Netzer Karen Miller and Laurence Starn Julian Bullitt Katherine O'Loughlin Debra Nagy, in honor of Scott Metcalfe Gail Abbey Ian McGullam Martha S. Dassarma Stephen H. Owades Virginia Newes Darryl Abbey Thomas Nerkhorn Eastern Bank Charitable Foundation Beth Parkhurst, in memory of Cheryl M. Parkhurst Jaylyn Olivo & Dale Flecker, in honor of Paul Guttry Daryl Bichel John Nesby David R. Elliott Lee Ridgway Catherine & J. Daniel Powell Pam Borys Anna Nowogrodzki Laurie J. Francis Nancy & Ronald Rucker Robert & Kathy Rood Jill Brand Beth Parkhurst Jean & Alex Humez Cheryl K. Ryder Katy Roth Sue Delaney Christopher Petre Martha Maguire & Oleg Simanovsky Ann H. Stewart Jennifer Farley Smith & Sam Rubin Mary Jane Doherty Karen Prussing David Fillingham Brian Riggs Kenneth & Karen Near Judith Ogden Thomson Peter Rutenberg Shirley Fountain Samuel Rubin Harold I. & Frances G. Pratt Anne Umphrey Ronald V. Lacro & Jon P. Schum Matthew Gin Dan Schenk Amundi Pioneer Helping Others Program Alex Yannis Ann Besser Scott Pepper Greene Kristin Sexton Anne & John Shreffler Alexandra Hawley Susan Singer SUPPORTER ($125 – $299) FRIEND ($50 – $124) Polly S. Stevens Anne Kazlauskas Jennifer Farley Smith Anonymous Anonymous (6) Richard & Louise Sullivan Mary Kingsley Brooks Sullivan Julie Rohwein & Jonathan Aibel Andy & Margaret Ashe Ann Van Dyke Diana Larsen Charlotte Swartz Barbara Boles Jeffrey Del Papa & Susan Assmann Dr. Marsha Vannicelli Bob Loomis Erin E.M. Thomas Jill Brand & Thomas Nehrkorn Elaine V. Beilin & Robert H. Brown Jr. Jasmine Vasquez Hannah Loomis David Traugot Spyros Braoudakis Marie Brown Robert Vuichard Elena Loomis Sonia Wallenberg Linda Carroll Edward & Matilda Bruckner Binney & Bob Wells Ava Ziporyn Keith Ohmart & Helen Chen Wallace & Barbara Dailey Carol Wetmore, in memory of Joan Yannis Robert Cochran Margaret Darling Patricia Wild Nathaniel S. & Catherine E. Coolidge Martha W. Davidson Heather Wiley & Peter Renz Catherine Davin, in memory of Joe Davin Celia Devine T. Walley Williams III Carl & May Daw Charles & Sheila Donahue Nicholas H. Wright Pamela Dellal Robert Dulgarian Elizabeth Wylde Aaron Ellison Samuel Engel & Anne Freeh Engel Kathleen Fay & Glenn KnicKrehm Charles Felsenthal “ one of the most important early choral projects of our time ” EARLY MUSIC REVIEW (UK)

BLUE HERON CDS ON SALE AT THIS CONCERT THE LOST MUSIC OF CANTERBURY 5 CD SET THE LOST MUSIC OF CANTERBURY MUSIC FROM THE PETERHOUSE PARTBOOKS | 5 CDs MUSIC FROM THE PETERHOUSE PARTBOOKS Restored by Nick Sandon

Blue Heron 5 CDs THE LOST MUSIC OF CANTERBURY Anonymous • Aston • Hunt • Jones • Ludford • Mason • Pygott • Sturmy Restored by Nick Sandon GUILLAUME DU FAY CHRISTMAS IN MEDIEVAL ENGLAND 8 VOLUME 1 VOLUME 3 HUGH ASTON • Ave Maria dive matris Anne JOHN MASON • Ave fuit prima salus ROBERT JONES • Magnificat Kyrie Cunctipotens genitor ASTON • Gaude virgo mater Christi NICHOLAS LUDFORD • Missa Inclina cor meum

96454 JOHN MASON • Quales sumus O miseri ASTON • Ave Maria ancilla trinitatis VOLUME 4 VOLUME 2 NICHOLAS LUDFORD • Ave cujus conceptio Kyrie Deus creator omnium

69818 NICHOLAS LUDFORD • Missa Regnum mundi Plainchant proper for the Feast of St Margaret ROBERT JONES • Missa Spes nostra The 5-CD boxed set The Lost Music of Canterbury:ROBERT Music HUNT • Stabatfrom mater the Peterhouse 6 RICHARD PYGOTT • Salve regina Partbooks is the capstone of a landmark project of international musical significance which presents extraordinary music from the last VOLUMEgeneration 5 of medieval Catholicism

HUGH STURMY • Exultet in hac die BHCD MUSIC FROM THE MUSIC FROM THE MUSIC FROM THE MUSIC FROM THE in England. Judged by this music, Catholic culture ROBERTremained HUNT vital • Ave and Maria confident mater dei during JOHN MASON • Ve nobis miseris PETERHOUSE PARTBOOKS PETERHOUSE PARTBOOKS PETERHOUSE PARTBOOKS PETERHOUSE PARTBOOKS this turbulent period. 10 BLUE HERON

Kyrie Orbis factor 0

VOL. 1 VOL. 2 VOL. 3 VOL. 4 8 BLUE HERON HERON BLUE INC. CHOIR, RENAISSANCE www.blueheron.org BHCD 1008 © 2018 TheScott fifth Metcalfe, disc director in the series wasANONYMOUS recognized • Missa sinewith nomine the Scott Metcalfe Gramophone Award for Early Music 2018, making Blue Heron the first North American ensemble to have won “one of the the Early Music Award in the 41 years it has been given. discoveries The set includes mostly world-premiere recordings and features masses by Nicholas Ludford, antiphons by Hugh Aston and Richard Pygott, the complete surviving works of the year” of Robert Jones (an early 16th-century musician, not the lute-song composer of the Eliz- Fabrice Fitch abethan era) and the gifted though previously completely unknown composers Hugh Gramophone Sturmy and Robert Hunt, and all but one of the surviving works of John Mason. The missing tenor parts (and, where needed, the treble parts) have been supplied by Nick Sandon, who has dedicated much of his professional life to the Peterhouse partbooks, which were copied for Canterbury Cathedral in 1540 and are now named for the col- MUSIC FROM THE PETERHOUSE PARTBOOKS lege currently housing them, Peterhouse Cambridge. VOL. 5 LOOK FOR IT ON AMAZON.COM OR WHEREVER YOU GET YOUR MUSIC BoBo onon EarlyEarly MusicMusic FeFe ivalival Jordiss Savall, director ss Handel’s Jephtha & Le Concert des Nations Tous les matins du monde FRIDAY, MARCH 8, 2019 AT 8:00PM n Sunday, FEBruary 24 | 7:30PM SUNDAY, MARCH 10, 2019 AT 3:00PM Sanders Theatre at Harvard University, Cambridge NEC’S JORDAN HALL

ALSO FEATURING ANN MCMAHON QUINTERO DASHON BURTON Benjamin alard, SONJA TENGBLAD harpsichord & organ NICHOLAS AVA PINE RANDALL WITH THE BOSTON BAROQUE ORCHESTRA AND CHORUS PHAN soprano SCOTTING J. S. Bach: The Traveller tenor Iphis countertenor MARTIN PEARLMAN, Jephtha Hamor CONDUCTOR n Friday, March 15 | 8PM TICKETS START AT $25! CALL 617.987.8600 OR VISIT First Lutheran Church, Boston BOSTONBAROQUE.ORG Savall Order tOday! www.BEMF.org | 617-661-1812

Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

October , November , Rachmaninoff, The Bells, with Verdi, Requiem, with New England Philharmonic Metropolitan Chorale Jordan Hall at NEC, Gainsborough St., Boston

March , , pm May , , pm Sunday, 2/24 • 3:00 pm Sunday, 3/24 • 7:30 pm Salieri, Requiem Menooi, The Unicorn, The Gorgon, Sanders Theatre, Cambridge Sanders Theatre, Cambridge Kuhnau, Magnificat and The Manticore; Thompson, Frostiana Bach Chaconne, from Partita No. 2 in D minor Martinů Madrigals for Violin and Viola String Trio in G major, Op. 9 No. 1 String Quartet No. 2, “Intimate Letters” Church of the Holy Name Second Church in Newton, Beethoven Janáček eeee Centre St., W. Roxbury ,, Highland St., W. Newton Brahms Piano Quartet No. 3 in C minor, Op. 60 Dvořák Piano Quartet No. 1 in D major, Op. 23 Winter 2019 Winter 617.349.0086 • www.bostonchambermusic.org www.CommonwealthChorale.com CONVIVIUM MUSICUM Michael Barrett, music director

and Songs their Offspring Composers have always taken familiar tunes as points of departure in the creation of polyphonic music. This program examines songs and the musical offerings inspired by them. Sat, Feb. 23, 7 pm: Cambridge Friends Meeting House, Cambridge Sun, Feb. 24, 4 pm: St. Paul’s Episcopal Church, Brookline Musica Nova Join Convivium as we follow music-making in Venice from the time of Adrian Willaert’s installation asmaestro di cappella at the Basilica of St. Mark to the last gasps of thestile antico. Sat, June 1, 8 pm: Trinity Lutheran Church, Worcester Joinus at our Sun, June 2, 4 pm: United Parish of Brookline, Brookline For tickets and season details, visit www.convivium.org Musical 28, 2019Fete April Season tickets $55/$30 Tickets $25/$15

THE GREAT BACH A BAROQUE BEETHOVEN CONCERTOS AND CHRISTMAS SYMPHONY NO. 5 CANTATAS Dec 13 + 16 Mar 8 + 10 Sep 28 + 30

BEETHOVEN MOZART + HAYDN PURCELL EMPEROR CONCERTO Jan 25 + 27 DIDO AND AENEAS Nov 9 + 11 Mar 29 + 31

HANDEL MESSIAH GLORIES OF THE MOZART REQUIEM Nov 30 + Dec 1 + 2 ITALIAN BAROQUE May 3 + 5 Feb 22 + 24

MASTERFULLY PERFORMED. PASSIONATELY SHARED.

HANDELANDHAYDN.ORG 617.266.3605 in stile moderno 2018–2019 season Cambridge and Brattleboro

The Lily and the Rose: La Vesuviana: France and England Entwined Tracing the Sources of Agnes Coakley Cox, soprano Neapolitan Folk Music Nathaniel Cox, lute Agnes Coakley Cox, soprano Just in time for Valentine’s Day, Nathaniel Cox, cornetto & theorbo join us for a program of English Simon Martyn-Ellis, guitar and French continuo songs, Dan Meyers, winds & percussion Fabio Pirozzolo, percussion & voice celebrating the union of King Dan Meyers, Charles I and Henrietta Maria of In our spring program,winds percussion music of France—and many other lovers of 17th-century Naples meets the the past! With music by Lawes, living tradition of southern Italian Lanier, Moulinié, Boësset and folk music. Not to be missed! many anonymous composers.

Fri., Feb. 15, 7:30 pm at Sat., May 25, 7:30 pm at Friends Meeting at Cambridge, & Friends Meeting at Cambridge, & Sat., Feb. 16 in Brattleboro, VT Fri., May 24 in Brattleboro, VT boston’s new ensemble for music of the 17th century • www.instilemoderno.com MetrOpolitan 2018–2019 Season Chorale Be Inspired. Be Moved. Be Uplifted. LISA GRAHAM MUSIC DIRECTOR Messa da Requiem Holiday Pops 2018 Guiseppe Verdi with Keith Lockhart November 11, 2:00 p.m. December 1–16 Jordan Hall, Boston The Chorale joins the Boston Pops Jefferson in Paris • November 3 & 4 on their national Holiday Tour Reveals musicians who thrilled Parisian audiences and the music-loving Thomas Jefferson.

The Creative Impulse The Unicorn, the Gorgon, Christmas with the Bach Family • Dec. 15 & 16 Lisa Graham Bach family works for the holiday season, featuring and the Manticore J. C. F. Bach’s rarely-performed Die Kindheit Jesu. March 10, 3:00 p.m. Gian Carlo Menotti All Saint’s Parish, Brookline Mozart’s Viennese Circle • March 15 & 16 A Medieval Bestiary Gems by Mozart and the composer friends he gathered R. Murray Schafer around him — Haydn, Dittersdorf, and Vanhal. For more information, and to May 4, 8:00 p.m. receive our season brochure, Stars in Their Eyes • May 2 & 4 First Church, Cambridge visit www.OldPostRoad.org Discovers cutting-edge scientist-musicians and or call (781) 466-6694. rarely-heard Baroque music inspired by gazing at the sky. For tickets and information, visit metropolitanchorale.org

Join us for special event outside the box! Musica sacra’s A Cabaret Fundraiser 2018-19 Season 2018–2019 season! october 20, 2018, 7:00 pm *note time www.musicasacra.org Divine Encounters 617-349-3400 concerts 8pm, November 3, Eliot Church, Newton a baroque christmas Jennifer Lester, 3pm, November 4, First Church, Cambridge all performances on saturdays at: Music Director With Heinrich Christensen, Organ first church congregational december 15, 2018, 7:00 pm *note time

photo copyright © 2017 holbrook robinson 11 garden street stories in song cambridge, massachusetts A Seraphim Christmas Choral Settings of Tales Familiar and New 4pm, December 22, Church of Our Saviour, Brookline march 16, 2019, 8:00 pm voices from the village Women’s Perspectives Musica sacra P.O.Box 381336 Folksongs from Around the World 8pm, March 1, St. Cecilia, Boston cambridge, Ma may 11, 2019, 8:00 pm 3pm, March 3, First Church, Cambridge 02238-1336 With Heinrich Christensen, Organ mary beekman artistic director “. . . uncommonly fresh and direct — Season Highlights almost like breaking news.” 4pm, April 7, Trinity Episcopal Church, Concord MA —the boston globe

special event November 3 & 4, 2018 Mystical Numbers Musica sacra joins the cape symphony for the 8pm, May 11, Eliot Church, Newton With Heinrich Christensen, Organ mozart Requiem www.capesymphony.org for tickets & info for this event Tickets $25 / $18 students & seniors www.seraphimsingers.org

18-19 half page ad.indd 1 8/21/18 21:23

MusicaSacraAd2018-19Season.indd 1 9/11/18 9:06 AM Spectrum Season ad half copy_Layout 1 8/7/18 9:05 AM Page 1

Scott Metcalfe, director Announcing The Spectrum Singers’ 39th Concert Season!

November 17, 2018 “marvelous...profoundly evocative without theatrics” the boston globe Music of the (German) Night A diverse and compelling program of rich choral masterworks by Rheinberger, Brahms, Schubert, Reger, Schumann, Zimmerman, all celebrating evening, nighttime, and the emotions stirred therein. March 2, 2019 Be Glad Then, America! A Rich Cornucopia of American Choral Music from Billings to Bernstein Leonard Bernstein: Chichester Psalms; Irving Fine: The Hour-Glass Plus Colonial era shape-note hymns and works by William Billings, Carol Barnett, Steven Foster, Charles Ives, more! May 18, 2019 Haydn Choral Masterworks The second of three presentations of the late Haydn Mass settings. This season hear the the upbeat and highly dramatic Theresienmesse from 1799, and the brilliant and festive Te Deum in C written in 1800 for Empress Marie Therese. Full orchestra and renowned soloists! CELEBRATING OUR 20TH SEASON 2018–19 FIRST CHURCH IN CAMBRIDGE, CONGREGATIONAL 11 GARDEN STREET (next to the Sheraton Commander) All concerts 8:00 PM Saturday evening at First Church Congregational, 11 Garden Street, Cambridge Subscribe now! Tickets and more information @ www.spectrumsingers.org OCTOBER 13 DECEMBER 21 & 22 FEBRUARY 9 MARCH 9 APRIL 26 & 27 MISSA CHRISTMAS IN THE LOST MUSIC MISSA GUILLAUME CUIUSVIS TONI 15TH-CENTURY OF CANTERBURY PROLATIONUM DE MACHAUT’S OCKEGHEM@600* FRANCE & Music from the OCKEGHEM@600* REMEDE concert 8 BURGUNDY Peterhouse Partbooks concert 9 DE FORTUNE * OCKEGHEM@600 is Blue Heron’s pathbreaking 13-concert project to perform the complete works of Johannes Ockeghem, across six seasons. Trinity Church in the City of Boston ADDITIONAL OCTOBER 11 DECEMBER 1 DEC. 23 & MARCH 10 FEBRUARY 8 BACK BAY WELLESLEY PROVIDENCE DORCHESTER CONCERTS St. Cecilia Parish St. Andrew’s Episcopal S. Stephen’s Church All Saints—Ashmont St. Andrew’s Singer Series Charles Wood (617) 960-7956 BLUEHERON.ORG Sunday, February 10 St. Mark Passion 2 p.m., 4th floor of Parish House Good Friday, April 19 Tickets: $20, 18 and younger free 5:30 p.m., Church trinitychurchconcerts.org Tickets: $20 trinitychurchconcerts.org The St. Andrew’s Singers Series continues with Katherine The St. Mark Passion, a large-scale work Growdon, former staff singer at Trinity, who is also a for soloists, choir and organ, traces Jesus’ regular performer with the Handel + Haydn Society. She final days from The Last Supper to the will be accompanied by the Arneis String Quartet and Crucifixion. As with the Passions of J.S. pianist Linda Osborn. Featuring the densely romantic Il Bach, hymns are interspersed throughout Tramonto of Resphigi, based on Shelley’s poem ‘The Sun- the narrative to draw the audience into set’, Debussy’s Chansons de Bilitis, “San Francisco Night the action. Presented by the La Farge of Dutilleux”, and Samuel Barber’s ‘Dover Beach’. Ensemble.

Trinity Church Boston•206 Clarendon St., Boston, MA 02116 colophon Graphic Design: Melanie Germond All photos of Blue Heron & Scott Metcalfe: Liz Linder Program Content: © 2019 Blue Heron Renaissance Choir, Inc. Front cover image: St. John the Baptist (detail). Bute Book of Hours (England, c.1500-20).