a mass in canterbury c. 1540 a mass prograM Loquebantur variis linguis Thomas Tallis (1505–85) in anterbury Introit: Benedicta sit sancta trinitas c Kyrie: Deus creator omnium Sarum plainchant

c. 1540 Gloria Robert Jones (first half of 16th century): Missa Spes nostra

Gradual: Benedictus es Alleluia: Benedictus es Sarum plainchant

Credo Blue Heron Jones: Missa Spes nostra Scott Metcalfe, director intermission Noël Bisson Ave Maria dive matris Anne Carol Schlaikjer Hugh Aston (c. 1487–1558)

Daniela Tošić Offertory: Benedictus sit deus pater Martin Near Sarum plainchant

Aaron Sheehan Sanctus Mark Sprinkle Agnus dei Jones: Missa Spes nostra Allen Combs Glenn Billingsley Communion: Benedicimus deum celi Sarum plainchant Paul Guttry Darrick Yee Libera nos, salva nos John Sheppard (c. 1515–59)

Sunday, November 13, 2005, at 3 p.m. Ite missa est First Church in Cambridge, Congregational Sarum plainchant

❧ Please hold your applause until the end of each half. Notes A Mass in Canterbury, c. 1540 by the priest, or they might simply remind us that the ornately melismatic style of late medieval Eng- Like the Magnificat, the Mass is full of supple this is a concert, albeit one whose form is adapted lish Catholicism. Alas for our hardworking scribe, melody and lustrous harmony. Drawing on the This program presents a polyphonic setting of from liturgy. the elaborate Latin repertoire he copied in such musical grammar and vocabulary Jones shared the Ordinary of the Mass—those items which are quantity was very shortly to be rendered obsolete with his contemporaries like Tallis and Taverner, sung invariably at every Mass: the Kyrie, Gloria, The concert opens with Tallis’s vivid evocation of by the progress of the Reformation in England, it is at the same time the unique creation of a Credo, Sanctus, and Agnus dei—amid the plain- the events recorded in the Acts of the Apostles: the promulgation of the new Book of Common mature composer with an unmistakeably distinct chant Propers which vary according to the season “And when the day of Pentecost was fully come, Prayer, and the promotion of simple homophony individual voice singing out to us from across a or feast being observed. The Ordinary is theMissa they were all with one accord in one place. And in the vernacular over Latin polyphony. The part- divide of more than four and a half centuries. The Spes nostra by Robert Jones, the Propers those for suddenly there came a sound from heaven as of books were shelved, and at some point later the same is true of Aston’sAve Maria dive matris Anne, Trinity Sunday from the English or Sarum rite. a rushing mighty wind, and it filled all the house tenor book went missing along with several pages a favorite of ours since our very first concert for (The first item of the Ordinary, the Kyrie, is also where they were sitting. And they were all filled of the treble. its gorgeous melodies and breathtaking sense of sung in plainchant, since Jones’s Mass, in keep- with the Holy Ghost, and began to speak with harmonic motion. ing with contemporary English practice, does not other tongues, as the Spirit gave them utterance” The Peterhouse partbooks contain thirty-nine include a Kyrie; the Kyrie chanted for Trinity is (Acts 2:1–3). In Tallis’s work, the tenor, the sixth unica (works surviving in one source only), as We conclude with the dazzling Libera nos, salva an elaborate troped version of the usual ninefold voice to enter, sings a slow-moving plainchant well as about a dozen other works whose concor- nos by the slightly younger composer John Shep- plea for mercy to God and Christ.) The liturgical melody (a cantus firmus) whose inexorable prog- dant sources are incomplete. As a consequence pard, in which six voices (pairs of trebles, means occasion was suggested by the cantus firmus that ress is barely discernible amidst the clamor of six of the missing tenor parts, virtually none of this or altos, and tenors) spin out their kaleidoscopi- underlies Jones’s Mass, the chant Spes nostra, an other voices which clash against each other rhyth- music is known today, including Jones’s Mass and cally intersecting lines above a slow-moving chant antiphon for Matins on Trinity Sunday. The chant mically and melodically, creating abundant false Aston’s Ave Maria dive matris Anne. In recent cantus firmus in the bass. melody is quoted in its entirety in the tenor in relations. years, however, the English musicologist Nick every movement, and its striking opening gesture, Sandon has been preparing brilliant and astonish- —Scott Metcalfe rising from the final of the mode (its home base) Jones’s Missa Spes nostra and Aston’s Ave Maria ingly idiomatic reconstructions of the incomplete through the triad above and up to the seventh dive matris Anne are both found uniquely in the Peterhouse music and publishing them in An- scale degree, is given to the treble at the beginning Peterhouse partbooks, a set of manuscripts copied tico Edition. Professor Sandon has devoted more of each movement. around 1540 that contain an extensive repertoire than three decades to the Peterhouse partbooks of sacred polyphony from the years just prior to and his dissertation is the standard work on the The program also includes a respond by Thomas the Reformation in England. The partbooks may topic. Since our first concert in October 1999 Blue Tallis, a short antiphon by John Sheppard, and have been prepared by a scribe at Magdalen Col- Heron has sung works by Aston, Taverner, Lud- an expansive votive antiphon by Hugh Aston. lege, Oxford, for use at Canterbury Cathedral, ford, and Jones in Sandon’s reconstructions. The Sheppard is another antiphon for Matins on which was dissolved in 1540 as a monastic institu- Trinity Sunday, while Tallis’s Loquebantur variis tion and refounded the following year as a secular As for Robert Jones himself, virtually nothing is linguis is for Pentecost and Aston’sAve Maria dive cathedral. The refounded Canterbury Cathedral known about his life except that he was a singer matris Anne for an unspecified Marian celebra- was staffed with a large and ambitious musical in the Royal Household Chapel from at least sum- tion. The Tallis is linked to the rest of the program establishment eager to sing the most challenging mer 1520 until about 1534. The Missa Spes nostra by its use of a chant cantus firmus, for the same polyphonic repertoire. This the anonymous scribe and a Magnificat (which Blue Heron performed technique structures both the Jones and the Shep- supplied in abundance. The partbooks contain 72 in January 2003) survive only in the Peterhouse pard; the Aston is transmitted in the same source works, including large-scale Marian antiphons partbooks; these works, plus the bass part of a as the Jones. These “extra” pieces might be felt to like Ave Maria dive matris Anne and long festal three-voice song, are all that remain to us of the replace the parts of the Mass chanted or intoned masses like the Missa Spes nostra, all written in work of a highly skilled and inspired composer.

4 5 Texts  transLations Loquebantur Loquebantur variis linguis apostoli, The apostles were speaking in many tongues, Gloria Gloria in excelsis deo, et in terra pax Glory to God in the highest, and on earth variis linguis alleluia, magnalia dei. Alleluia. alleluia, of the great works of God. Alleluia. hominibus bone voluntatis. Laudamus peace to all of good will. We praise you. (respond for Repleti sunt omnes spiritu sancto, et All were filled with the Holy Spirit, and te. Benedicimus te. Adoramus te. We bless you. We adore you. We glorify first Vespers at ceperunt loqui magnalia dei. Alleluia. began to speak of the great works of God. Glorificamus te. Gratias agimus tibi you. We give thanks to you for your great Pentecost) Gloria patri et filio et spiritui sancto. Alleluia. propter magnam gloriam tuam. Domine glory. Lord God, heavenly king, almighty Alleluia. Glory be to the Father and to the Son and to deus, rex celestis, deus pater omnipotens. God the Father, Lord Jesus Christ, only the Holy Spirit. Alleluia. Domine fili unigenite, Jesu Christe. begotten Son, Lord God, lamb of God, Son Domine deus, agnus dei, filius patris. of the Father, Who takes away the sins of the Qui tollis peccata mundi, miserere world, have mercy on us. Who takes away Introit Benedicta sit sancta trinitas atque Blessed be the Holy Trinity and undivided nobis. Qui tollis peccata mundi, suscipe the sins of the world, receive our prayer. indivisa unitas: confitebimur ei quia fecit unity: we will give thanks to him, for he has deprecationem nostram. Qui sedes Who sits at the right hand of the Father, nobiscum misericordiam suam. shown us his mercy. ad dexteram Patris, miserere nobis. have mercy on us. For you alone are holy, Benedicamus patrem et filium: cum Let us bless the Father and the Son, and the Quoniam tu solus sanctus, tu solus you alone are the Lord, the Most High, Jesus sancto spiritu. Holy Spirit. dominus, tu solus altissimus, Jesu Christe, Christ, with the Holy Spirit in the glory of Gloria patri et filio et spiritui sancto: sicut Glory to the Father and the Son and the cum sancto spiritu in gloria dei patris. God the Father. erat in principio et nunc et semper et in Holy Spirit: as it was in the beginning, is Amen. Amen. secula seculorum. Amen. now, and ever shall be, for ever and ever. Amen. Gradual Benedictus es, domine, qui intueris Blessed art thou, Lord, who contemplate the abyssos et sedes super cherubin. abyss, and sit above the cherubim. Kyrie Deus creator omnium tu theos ymon O God, creator of all things, thou our Benedicite deum celi: quia fecit nobiscum Bless the God of heaven, for he has shown us nostri pie eleyson. merciful God, have mercy. misericordiam suam. his mercy. Tibi laudes conjubilantes regum rex Singing your praises, O Christ, king of kings, Christe oramus te eleyson. we pray to thee, have mercy. Laus virtus pax et imperium cui est Praise, power, peace, and dominion to him Alleluia Alleluia. Benedictus es, domine deus Alleluia. Blessed art thou, Lord God of our semper sine fine eleyson. who is forever without end: have mercy. patrum nostrorum: et laudabilis in secula. fathers, and worthy to be praised forever. Christe rex unice patris almi nate O Christ, sole king, born coeternal with the coeterne eleyson. kind father, have mercy. Qui perditum hominem salvasti de morte Thou who saved lost humanity, giving life Credo Credo in unum deum, patrem I believe in one God, the Father almighty, reddens vite eleyson. for death, have mercy. omnipotentem, factorem celi et terre, maker of heaven and earth and of all things Ne pereant pascue oves tue Jesu pastor Lest your pastured sheep should perish, visibilium omnium, et invisibilium. Et visible and invisible. And in one Lord bone eleyson. have mercy. in unum dominum Jesum Christum, Jesus Christ, the only Son of God, eternally Consolator spiritus supplices ymas te Consoler of suppliant spirits below, we filium dei unigenitum. Et ex patre natum begotten of the Father. God from God, exoramus eleyson. beseech thee, have mercy. ante omnia secula. Deum de deo, lumen Light from Light, true God from true God. Virtus nostra domine atque salus nostra Our strength, O Lord, and our salvation de lumine, deum verum de deo vero. Begotten, not made; of one being with the in eternum eleyson. in eternity, have mercy. Genitum non factum, consubstantialem Father, through whom all things are made. Summe Deus et une vite dona nobis Highest and only God, grant us life, the gift patri: per quem omnia facta sunt. Qui For us and for our salvation he came down tribue misertus nostrique tu digneris of compassion to those whom you favor: propter nos homines et propter nostram from Heaven. He was born of the Holy Spirit eleyson. have mercy. salutem descendit de celis. Et incarnatus and the Virgin Mary, and was made man.

6 7 est de spiritu sancto ex Maria virgine: et He was crucified for our sake under Pontius Osanna in excelsis. Hosanna in the highest. homo factus est. Crucifixus etiam pro Pilate, died, and was buried. On the third Benedictus qui venit in nomine domini. Blessed is he who comes in the name of the nobis sub Pontio Pilato: passus et sepultus day he rose again, in accordance with the Osanna in excelsis. Lord. Hosanna in the highest. est. Et resurrexit tertia die secundum Scriptures. He ascended into heaven and is scripturas. Et ascendit in celum: sedet seated at the right hand of the Father. He ad dexteram patris. Et iterum venturus will come again to judge both the living and Agnus dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins est cum gloria judicare vivos et mortuos: the dead, and his kingdom shall have no end. miserere nobis. of the world, have mercy on us. cujus regni non erit finis. Amen. Amen. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins miserere nobis. of the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins Ave Maria Ave Maria, Hail, Mary, dona nobis pacem. of the world, grant us peace. dive matris dive matris Anne filia unica. only daughter of Anne the holy mother. Anne Ave Maria, que peperisti puerum Hail, Mary, who brought forth a child virili sine semine. without the seed of man. Communion Benedicimus deum celi, et coram We bless the God of heaven, and before all Ave Maria, Jesum tuum filium Hail, Mary: you nourished your son Jesus omnibus viventibus confitebimur ei: quia living things we will give thanks to him, for lactasti sacro ubere. at your sacred breast. fecit nobiscum misericordiam suam. he has shown us his mercy. Ave Maria, ipsum alluisti tua super genua. Hail, Mary: you washed him upon your knee. Ave Maria, tres vidisti magos Hail, Mary: you saw three wise men offerentes munera. bringing gifts. Libera nos, Libera nos, salva nos, justifica nos, Free us, save us, justify us, Ave Maria, Egyptum fugiens petisti Hail, Mary: fleeing, you set out for Egypt, salva nos O beata trinitas. O blessed Trinity. angeli per monita. warned by the angel. (antiphon for Matins on Trinity Sunday) Ave Maria, quesisti tuam sobolem Hail, Mary: you sought your child magna cum mestitia. with great sorrow. Ave Maria, in templo reperisti Hail, Mary: you found him in the temple Ite missa est Ite missa est. Deo gratias. Go forth, it is finished. Thanks be to God. docentem evangelia. teaching the gospel. Conserva tuos famulos hec per tua merita, Preserve your servants through these your et perduc eos ad celos cum celesti gloria, merits, and lead them to the skies with psallentes et omnes hoc Ave Maria. heavenly glory, all singing this Ave Maria. Amen. Amen.

Offertory Benedictus sit deus pater, unigenitusque Blessed be God the Father, and the only dei filius, sanctus quoque spiritus: quia begotten Son of God, and the Holy Spirit: for fecit nobiscum misericordiam suam. he has shown us his mercy.

Sanctus Sanctus, sanctus, sanctus, Holy, Holy, Holy, dominus deus sabaoth. Lord God of hosts. Pleni sunt celi et terra gloria tua. Heaven and earth are full of your glory.

8 9 biograpHies Blue Heron is an ensemble of eight to fifteen sing- singer with many ensembles across the country Haydn, the Boston Cecilia, Boston Revels, Prism the performance of new music and has been a ers specializing in Renaissance polyphony. Blue and locally, most regularly with the choir of the Opera, and Collage New Music. Paul can be heard soloist in numerous world premieres, including Heron combines a commitment to vivid live per- Church of the Advent and the Boston Camerata. on BMG recordings of medieval music with Se- a microtonal piece in 72-note equal temperament formance with knowledge of the latest research She earned a doctorate in musicology from Har- quentia, Erato recordings of the Boston Camerata, performed in Jordan Hall. He studies voice with into source material and historical performance vard University, and her scholarly focus is English and Koch International recordings of Bach with Mark St. Laurent. practice. The ensemble’s principal repertoire sacred music of the late fifteenth century. Noël Emmanuel Music. interests in the last few years have been late -fif and her family reside in Hamilton, New York, Carol Schlaikjer, soprano, received her vocal teenth-century Franco-Flemish polyphony, sacred where she is Associate Dean of the College at A violinist and conductor with a repertoire ex- training at the Music Conservatory in Cologne, and secular Spanish music between about 1500 Colgate University. tending from the fifteenth century through the Germany, and the Schola Cantorum in Basel, and 1575, and neglected early sixteenth-century eighteenth, Scott Metcalfe directs Blue Heron Switzerland. She lived for almost two decades in English music, especially the rich and unexplored Tenor Allen Combs is a native of Idaho Falls, Ida- and the Renaissance choir Convivium Musicum, Germany, where she was a frequent soloist for the repertory of the Peterhouse partbooks (c. 1540). ho, and received his education at the University and is concertmaster of the Trinity Consort in Lutheran Church radio broadcasts in Frankfurt Founded in 1999, Blue Heron presents its own se- of Idaho and the University of Lowell. In addi- Portland, Oregon. He has conducted Messiah in am Main. She has performed throughout Europe, ries of concerts in Boston and appears regularly at tion to his work with Blue Heron, Mr. Combs has Seattle, Bach’s St. John Passion in Princeton, and Australia and the U.S. as a concert and recording Monadnock Music in New Hampshire. This sea- performed with Schola Cantorum and Cappella Monteverdi’s Vespers and Handel’s Amadigi at Mo- artist, both as a soloist and as a member of vari- son the group will also sing concerts in New York Alamire. His recital repertoire embraces music nadnock Music in New Hampshire. Metcalfe was ous early music ensembles, including Sequentia’s and Vermont, participate in a conference on the from the Renaissance to the twentieth century a founding member of La Luna and of The King’s Vox Feminae and the Huelgas Ensemble. Carol is music of Luca Marenzio at Harvard, and appear at and includes the major song cycles of Schubert Noyse and appears on recordings on harmonia co-director of the Orpheus Vocal Performance Boston University in a lecture-demonstration on and Britten. Mr. Combs has given world pre- mundi, ATMA, Dorian, Wildboar, and elsewhere. Laboratory, which holds workshops for young Morales’s Lamentation setting Et postquam est. mieres at the Lowell New Music Festival and with He holds a bachelor’s degree from Brown Univer- singers on the South Shore. She also teaches voice Composers in Red Sneakers. He also performs sity, where he majored in biology, and recently in after-school programs in local high schools Baritone Glenn Billingsley has sung leading roles frequently at Phillips Academy, Andover, where completed a master’s in historical performance and at her private voice studio. with the Chautauqua, Santa Fe, Lake George and he is a member of the voice faculty. Currently a practice at Harvard. New York City Opera National companies. He soloist and cantor at the Church of the Advent, Aaron Sheehan, tenor, is now enjoying his fifth has appeared in the Spoleto and Madeira Bach Mr. Combs has served as music director of the Countertenor Martin Near has been a profes- season singing with Blue Heron. He hasalso Festivals, toured the United States, South America, Andover Choral Society since 1990. He is also the sional singer since age nine, working his way up performed with Theater of Voices, the Handel and Europe with the Waverly Consort, and has vocal director for the Composers’ Conference and to Head Chorister at Saint Thomas Fifth Avenue & Haydn Society, Fortune’s Wheel, and Liber been a member of New York’s Ensemble for Early Chamber Music Center at Wellesley College and in New York City, and currently sings with Blue unUsualis. Last fall he sang the title role in the Music, the Clarion Concert Society, the Bach Aria music director for the New England Dance En- Heron and with the choir of the Church of the Harvard Early Music Society’s production of Group, New York’s Musica Sacra and numerous semble. Advent. He studied composition at New England Monteverdi’s Orfeo, and last June he appeared as other choral organizations. A longtime member Conservatory of Music with Michael Gandolfi. Ivan in the Boston Early Music Festival produc- of the Choir of the Church of the Advent, he is a Bass-baritone Paul Guttry enjoys a varied career On a grant from the American Composers Fo- tion of Mattheson’s Boris Goudenow. He keeps founding member of Boston’s Blue Heron Renais- including opera, oratorio, and chamber music. rum Boston, Mr. Near served as composer and an active teaching schedule with students from sance Choir. Glenn helps his wife, soprano and He recently played the Mother in Weill’s 7 Deadly music director of the one act operaSix Characters Brown University and New England Conserva- voice teacher Monique Phinney, to support their Sins with Intermezzo and Balthasar in Schumann’s in Search of an Opera for Project ARIA (AIDS tory’s Extension School. two teenage children, Lisa and Ken, in his role as Genoveva with Emmanuel Music. Paul has sung Response by Independent Artists), which was MIT’s Director of Arts Development. with the medieval music ensemble Sequentia and given five performances at Roxbury Community Tenor Mark Sprinkle enjoys an active and varied Noël Bisson, a co-founder of Blue Heron Renais- is a former member of Chanticleer. In Boston he College, Arlington Street Church, and the Boston career as a soloist and ensemble singer in rep- sance Choir, has sung as soloist and ensemble has performed with Emmanuel Music, Handel & Center for the Arts. Mr. Near is an advocate of ertoire ranging from the 14th to the 18th centu-

10 11 UPcominG events ries. He has appeared as a soloist with Concerto Palatino and with the Handel & Haydn Society The World of Guillaume Du Fay (c. 1397–1474) under Grant Llewellyn and Christopher Hog- Chansons, motets, and mass movements by one of the greatest composers of the fifteenth century, wood, and sang in the Boston Early Music Fes- including chansons for a few voices and motets for the full ensemble. Mack Ramsey joins the vocal tival productions of Rossi’s Orfeo, Lully’s Thesée ensemble on slide trumpet, Scott Metcalfe on the vielle. and Conradi’s Ariadne. In May 2005 he sang the Sunday, March 5, 2006, at 3 p.m. Evangelist in Bach’sSt. John Passion with the An- Pre-concert talk at 2:15 by Sean Gallagher, Harvard University dover Choral Society. He worked for many years First Church in Cambridge, Congregational with Emmanuel Music and can be heard on their recordings of the motets of Heinrich Schütz and the St. John Passion. He is on the voice faculties Listening to the music of Guillaume Du Fay of Philips Exeter Academy, Salem State College An introduction to the repertoire of our March 5 concert (history, performance practice, listening and Boston College. guide, and more) with Scott Metcalfe. Participants are invited to attend our dress rehearsal in the afternoon. Mezzo-soprano Daniela Tošić, a native of Bel- Saturday, March 4, 10 a.m. – 12:30 p.m. grade, Yugoslavia, toured with the Belgrade-based EnlightenNext Boston, 38 Cameron Avenue, Cambridge (free parking in lot) ensemble Renaissance throughout the former Yugoslavia. In the Boston area she has worked with Ensemble P.A.N., Revels, Balmus, and La Spring 2006 fundraiser Donna Musicale, and has premiered several new Madrigals by Luca Marenzio works. She is a founding member of Tapestry, Food, drinks, conversation, and music by a brilliant sixteenth-century madrigalist—all to benefit the acclaimed vocal ensemble that records with Blue Heron. Telarc International and MDG and tours wide- Saturday, April 29, 5:00 pm – 7:30 pm ly throughout the US and abroad. She is also a The French Library, 53 Marlborough Street, Boston founding member of the medieval-world fusion ensemble HourGlass. Visit our website! Darrick Yee has performed with a wide variety of buy tickets · sign up for our mailing lists (email & post) · learn more about our concert programs vocal ensembles in the Boston area. He received check our touring schedule of concerts in New York City, Burlington, Vermont, & other major his bachelor’s degree in East Asian Studies and metropolitan centers · learn more about the artists · get directions & figure out where to park master’s degree in Education from Harvard Uni- www.blueheronchoir.org versity, where he sang with the Glee Club, the University Choir, the Krokodiloes, and the Col- legium Musicum. He currently works for the Mas- Contact us sachusetts Department of Education and sings in Blue Heron Renaissance Choir the ensembles Cut Circle, the Boston Secession, PO Box 381595 and the King’s Chapel Choir. Cambridge, MA 02238

(617) 924-7501 · [email protected]

12 13 anowledgments Many thanks to our donors, without whose generous support our concerts could not take place. Donations from November 1, 2004 through November 6, 2005

Angel Supporter Anonymous Mira Bartok Cynthia Schlaikjer Joan Campbell Lisa Cuklanz Benefactor Bruce & Martha Davidson John & Diane Britton Catherine & Joe Davin †Elizabeth Davidson Elizabeth A. Falsey Eiji Miki & Jane Hever Mildred & Malcolm Freiberg Theresa Neilsen-Steinhardt †Cynthia Gonzales Richard Schmeidler Dianne Haley Ivan J. Hansen Patron Jane W. Hyman Peggy Badenhausen & Tom Kelly Denise Konicek Thomas Bisson Alan & Judith Kotok Paul Guttry Catherine Liddell David P. Halstead Sudie Marcuse Lydia H. Knutson & Fred Langenegger June Matthews Michael McDonald Julie F. McConchie William & Elizabeth Metcalfe Judy Morrison Cindy & Peter Nebolsine Om Shanthi Ellen Powers Ken Pierce Board Of Directors Richard & Janet Post Cynthia Schlaikjer, president Sponsor Nancy E. Reid Cheryl Ryder, treasurer Anonymous (2) Julie Rohwein & Jonathan Aibel David Halstead,clerk Elizabeth Davidson Aaron Sheehan Marilyn Boenau May & Carl Daw Starbucks Matching Gifts Program Arthur Hornig John F. Dooley Polly S. Stevens Scott Metcalfe Kathleen Fay Marie Stroud Richard Schmeidler David Hawthorne †MaryAnn & Roman Szporluk John Yannis Deborah Jones & Alfred Mendoza Cill & Carl Triebs Robert M. Kowalik Nikolas von Huene Benjamin Krepp Ruth J. Wales †Carol Lorber Emily Walhout Anne H. Matthews †Barbara & Christoph Wolff Ruthie Miller Linda C. Woodford Jessie Ann Owens Alex Yannis Sue Poverman Kathy Rosenfield Friend Katy Roth Roy Bercaw Andrew Sigel Nancy A. Ferretti Mimi Sprinkle Cynthia Gilles Michael & Annlinnea Terranova Gloria M. Jackson Michal Truelsen & Jody Wormhoudt Verizon Foundation †In memory of Carroll Bisson John & Jo Ellen Yannis program design: Evan Ingersoll, empict multimedia

14 15 “These singers are all very good… couldn’t have been more beautiful.” – Goldberg Magazine

period vocal ensemble

O Rex Orbis The Rhymed Office of Charlemagne A recreation of a Vespers service celebrating the elevation of Charlemagne to the sainthood featuring politically-charged chants and polyphony from the Aachen Cathedral

Fri. Feb. 24 at 8pm • First Lutheran Church of Boston Sun. Feb. 26 at 4pm • Cochran Chapel at Phillips Academy Andover

New World Cathedrals Music in Mexico & Guatemala Free community outreach concerts featuring treasures from the archives of Mexico City, Puebla, Oaxaca, and Guatamala by Guerrero, Victoria, López Capillas, Padilla & Franco

Fri. Jun. 2 at 8pm • First Lutheran Church of Boston Sat. Jun. 3 at 5pm • Spontaneous Celebrations, Jamaica Plain Sun. Jun. 4 at 4pm • Corpus Christi Parish, Lawrence

857-998-0219 • www.exsultemus.org

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