From the Eton Choirbook to the Peterhouse Partbooks Friday, February 5, 2016 Wellesley Village Church Saturday, February 6, 2016 First Church in Cambridge, Congregational From the Eton Choirbook to the Peterhouse Partbooks

I.

Salve regina (I) MR TW SW / JA PD MN / JB AN AS / DM MB JM / PG SH JTW John Browne (fl. c. 1500)

II.

That was my woo AS JTW Robert Fayrfax (1464–1521)

Three rounds

Downbery down JM SB AN William Daggere (?)

Alone I leffe alone AS AN MB Doctor Cooper (?)

Hey nowe nowe JM AS AN Kempe (?)

Adew mes amours et mon desyre SW AN JM MB William Cornysh (d. 1523)

III.

Ve nobis miseris SB AS / JM AN / MB JB / DM PG / SH JTW John Mason (c. 1480-1548)

Intermission From the Eton Choirbook IV. Exultet in hac die MR TW SW / JA PD MN / AS JM / MB DM / PG SH JTW to the Peterhouse Partbooks Hugh Sturmy (early 16th century)

V.

Alas it is I MN JB PG Edmund Turges (b. c. 1450)

I am a joly foster JB DM SH Anonymous

Madame d’amours MR JM AS DM Anonymous

VI.

Ave Maria ancilla trinitatis MR TW SW / JA PD MN / SB AS / JM JB / PG SH DM Hugh Aston (c. 1485–1558)

Blue Heron Scott Metcalfe,director

treble Margot Rood, Teresa Wakim, Shari Alise Wilson mean Jennifer Ashe, Pamela Dellal, Martin Near tenor & contratenor Michael Barrett, Steven Bradshaw, Jonas Budris, Jason McStoots, Alexander Nishibun, Aaron Sheehan bass Paul Guttry, Steven Hrycelak, David McFerrin, John Taylor Ward

Pre-concert talk by Scott Metcalfe sponsored in part by The Cambridge Society for Early Music

Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. Blue Heron PO Box 372 Ashland MA 01721 • (617) 960-7956 • [email protected] • www.blueheronchoir.org From the Eton Choirbook to the Peterhouse Partbooks Sacred & secular music in England, c. 1500–1540

Sources

The sacred works on this program reveal a particularly must have sung. Furthermore, the surviving Eton English phenomenon, the votive antiphon, at the Choirbook is now missing more than half of its original zenith of its development—or rather, at two peaks contents, while the tenor partbook and part of the treble represented by two sources copied four decades apart. book of the Peterhouse set disappeared centuries ago, The first is the Eton Choirbook, an enormous collection and it is only through the astonishing creative efforts of antiphons and Magnificats copied at and for the of the English musicologist Nick Sandon that we are chapel at Eton College between around 1500 and 1504. able to sing this music today. In the case of Ave Maria Of the original 93 pieces in the Choirbook, 43 survive ancilla trinitatis by Hugh Aston, fully two-fifths of the intact. The second source is a set of partbooks copied five-voice polyphonic texture have been restored by in 1540 at Magdalen College, Oxford, for Canterbury Sandon in a brilliant feat of reimagination. Cathedral, which had recently been dissolved by Henry VIII as a monastic foundation and refounded as The votive antiphon a secular cathedral subject not to an abbot, a member of a religious order, but to a bishop and thus to Henry The votive antiphon was an extra-liturgical form, as head of the Church of England. These partbooks not part of the regular Divine Office but appended eventually found their way to Peterhouse, the oldest to it. Addressed most often to Mary, sometimes to and smallest of the Cambridge colleges, where they Jesus, very occasionally to another saint, in England reside today. Known as the Peterhouse partbooks, they it was typically sung after Vespers and Compline in contain 72 works: Masses, Magnificats, and antiphons. a separate evening devotion, perhaps by a group of singers gathered before an altar or image. The Marian Aside from Eton and Peterhouse, few sources antiphon (according to Frank Lloyd Harrison, the of English church music remain. A mere three eminent historian of music in medieval Britain) “was choirbooks (including Eton), four sets of partbooks the universal and characteristic expression of the (including Peterhouse), and one organ manuscript devotional fervour of the later Middle Ages.” The most transmit almost all of the music preserved from the popular texts were available to the non-scholastic period between the late fifteenth century and the public in prints such as the diglot Prymer or Book of Reformation in 1547. (Compare this paucity to, for Hours issued by Robert Redman; Redman’s 1537 example, the sixteen choirbooks once owned by a English version of the Salve regina is reproduced among single establishment, Magdalen College, in 1524.) The the translations in our program. At its simplest, a rest were deliberately destroyed after the Reformation votive antiphon might be monophonic or even spoken. or were simply lost to neglect or decay. Very likely The polyphonic works by Browne, Mason, and Aston there was once another grand book of music at Eton performed today represent the form at its most ornate. that contained all the polyphonic Masses the choir

4 John Browne Salve regina John Mason Ve nobis miseris

John Browne’s biography is shrouded in mystery, The Eton style, somewhat refined and simplified, for the name is too commonplace even to permit a is echoed in the Peterhouse repertoire of about a definitive identification, but he may have come from generation later. The music of John Mason, like Coventry and was clearly esteemed at Eton. Had Browne’s, was nearly lost. We know of only four the Eton Choirbook not survived, we would know works, all in the Peterhouse partbooks and thus nothing whatsoever of the 15 works by him that it now incomplete. Three of these are “for men” only, once contained, as they are found in no other extant compressing five active and melismatic parts for source. Aside from them, only a fragment of one voice adult males—low bass, bass-baritone, low tenor, and of another piece and three carols that may be by the two higher tenors—into a compass of just over two same man still exist, and six of his pieces originally octaves. Ve nobis miseris (like Quales sumus O miseri, in Eton are lost, their existence attested only by titles recorded on Volume 1 of our series of Music from the in the index. But in Eton, Browne’s music is accorded Peterhouse Partbooks) sets an otherwise unknown text pride of place: his eight-voice O Maria salvatoris in learned and highly rhetorical Latin; Mason’s music mater stands first in the book, and more works by him is eloquent and moving, managing the five overlapping were included than by any other composer. He left us parts with great skill while beautifully shaping the two settings of theSalve regina, the most popular of musical argument in parallel to that of the words. The all votive antiphon texts, which in England usually last sentence paraphrases Matthew 25:34, Jesus’s featured three stanzas of verse tropes inserted “delectable invitation” to enter the Kingdom of Heaven. between the acclamations “O clemens, O pia, O dulcis Maria.” The tropes expand upon the images Hugh Sturmy Exultet in hac die of the original text and offer an opportunity for a more extended devotion. Hallmarks of Browne and The much more compactExultet in hac die is the “Eton style” in general are: the overall compass addressed to St. Augustine of Canterbury, or as a of three octaves from bass to treble; the splendid late fifteenth-century English source has it, “Saynt and carefully calculated sonorities of the passages Austyn that brought crystendom in to Englond.” for the full five voices; the deployment of ever-varied It is one of only two pieces in the Peterhouse groupings of voices in sections of reduced texture; partbooks that might have been taken over from the the use of brief points of imitation—very freely repertoire of the dissolved Benedictine monastery treated and varied—as structural guideposts at into that of the refounded cathedral. (The other is new lines of text and new entries of voice-parts; the the anonymous Missa sine nomine we performed rhythmically complicated and highly melismatic on our series in the fall of 2014; the two works will melodies. In analysing Browne’s music, the scholar both appear on Volume 5.) In the Benedictine rite Fabrice Fitch emphasizes his “rhetorical efficiency” Exultet in hac die is the antiphon to the Magnificat or skill in using all the above-mentioned techniques at First Vespers on the feast of St. Augustine in late of texture, form, and counterpoint to heighten the May. The tenor of Sturmy’s charming setting sings “dramatic or rhetorical dimension” of his music. the plainchant melody in long notes throughout.

5 Hugh Aston Ave Maria ancilla trinitatis two manuscripts. TheFayrfax MS (so called for the arms of the composer Robert Fayrfax on the title The last work on the program is by Hugh Aston, a page and the several works ascribed to him therein) favorite composer of Blue Heron’s since we sang his contains music mostly by composers at the court of Ave Maria dive matris Anne on our very first concert Henry VII and dates from c. 1505. We sample two in October 1999. Among the many marvelous and serious songs, That was my woo by Fayrfax and Alas, individual voices of the Peterhouse composers, it is I by Edmund Turges (or possibly Fayrfax, for it Aston stands out for the emotional immediacy of is also ascribed to him). The texts of both are seven- his music, which seems to me to go directly to one’s line stanzas of the form rhyme royal, ababbcc, in an heart. In Ave Maria ancilla trinitatis each “Ave Maria” ostentatiously ornate style often called “aureate.” is granted a unique character, yet all feel direct and The other songs come fromHenry VIII’s MS of c. personal. After all the salutations, an added text (by 1510-20, which, although not actually owned by Aston himself?) addresses the Blessed Virgin on Henry VIII, contains 34 pieces ascribed to him and behalf of a single speaker, marvellously embodied seems to represent a courtly repertory, lighter in tone here by a dozen singers, seeking her intercession than that of the Fayrfax MS, from the early years of “at the hour of my death,” before the music finally Henry’s reign. It cannot be said that Henry’s are the spills over into bars and bars of ecstatic vocalising best works in the volume. Instead we have chosen a in one of the most luxuriantly extended melismatic trio of elaborate, virtuosic, and frankly odd rounds Amens imaginable. Ave Maria ancilla trinitatis by characters named Daggere, Cooper, and Kempe; is fairly lengthy, but the music is so varied and so Adew mes amours by William Cornysh; a rollicking beautifully paced that the passage of time goes and mildly obscene “foster” (“forester”) song; and almost unremarked. Like Browne’s, Aston’s lines the lovely, anonymous Madame d’amours. are rhythmically complicated and melismatic, if somewhat less gothically intricate than those of the The text ofAdew mes amours is in late medieval earlier composer. And Aston is every bit Browne’s Anglo-French, still a court language in England. It at “rhetorical efficiency”: like Browne (and Mason), looks rather barbarous and likely would sound so, too, Aston uses texture to articulate the structure of his were we able to hear it spoken by Henry’s courtiers. text and has a wonderful way of guiding the listener The spelling makes it clear that these Englishmen along a long journey to a satisfying end, by means pronounced the French words more or less as if they of harmony, melody, and counterpoint. were English. (Perhaps things have not changed so much.) The syntax ofMadame d’amours, although Secular songs in English apart from its first line, is perplexingly difficult to sort out; the “translation” given below is If we have very few early Tudor sources of sacred offered without confidence that it is exactly correct, polyphony, the situation for secular song is even although probably it comes close. Like many courtly more dire, for a mere three manuscripts transmit French texts of the fifteenth century, bothMadame virtually all that we know of the repertory, fewer d’amours and That was my woo might be read as than 150 songs. Our selections are drawn from addressed to “my lady” or to Our Lady.

6 Vocal scoring and voice types The Tenor is so called, because it was commonly in Motets the ditti-part or The five-voice scoring of pre-Reformation English Plain-song…or (if you will) becaus polyphony employs four basic voice types: treble neither ascending to any high or (sung by a boy with a specially trained higher strained note, nor descending very low, voice), mean (sung by a boy with an ordinary voice), it continueth in one ordinari tenor of the tenor, and bass. Tenor parts are further divided voice and therefore may be sung by an into tenor and contratenor, the latter a part written indifferent [that is, average] voice. “against the tenor” and originally in the same range. The Countertenor orContratenor , is so Beginning around the 1520s English contratenor called, becaus it answereth the Tenor, parts tended to lie slightly higher than the tenor. though commonly in higher keyz [clefs]: On the continent this bifurcation happened and therefore is fittest for a man of a sweet * somewhat earlier: the higher part was called a shrill voice. Which part though it have contratenor altus, a “high part written against the little melodi by itself…yet in Harmoni it hath the greatest grace specially when it is tenor,” eventually to be known simply as altus. A sung with a right voice: which is too rare. contratenor was not a man singing in falsetto (like the modern “countertenor”) but a high tenor. The Mean is so called, because it is a middling or mean high part, between the An anonymous early Jacobean document describes Countertenor, (the highest part of a man) these five voice types succinctly: and the Treble (the highest part of a boy or woman) and therefore may bee sung by Nature has disposed all voices, both of a mean voice. men and children, into five kinds, viz: Basses (being the lowest or greatest The Treble is so called, because his notes voices), Tenors being neither so low or so ar placed (for the most part) in the third great, Countertenors (being less low and Septenari [i.e. the highest of the three more high than tenors) of which three octaves of the normal composite range of kinds all men’s voices consist. Then of human voices], or the Treble cliefs: and is children’s voices there are two kinds, viz. to be sung with a high cleere sweete voice. Meane voices (which are higher than men’s voices) and Treble voices, which Although not so well documented for earlier eras, are the highest kind of Children’s voices. the division of male voices into five types dates back to well before the Reformation. An entry in Charles Butler provides more detail (and some the early sixteenth-century Household Book of fanciful etymology) in The principles of musik the Earl of Northumberland, for example, divides (1636): the “Gentillmen and childeryn of the chapell” as The Base is so called, becaus it is thebasis follows: “Gentillmen of the chapell viij viz ij Basses or foundation of the Song, unto which * “Shrill” meant high or bright and did not carry the negative connotations it has now. The word might describe the sound all the other Partes bee set: and it is to be of a lark or a trumpet, as in “the shrill-gorg’d Larke” (King Lear sung with a deepe, ful, and pleasing Voice. IV.vi.58) or “the shrill Trumpe” (Othello III.iii.351).

7 ij tenors aund iij Countertenors yoman or grome of as ours is, 3/3/2/2/3 from top to bottom. Eton the vestry j Childeryn of the chapell v viz ij Tribills College around 1500 also had relatively modest and iij Meanys.” numbers, normally 10-11 boy choristers who might be divided into trebles and means, and five As for our forces, since we are not bound by the old lay clerks (the professional adult male singers); ecclesiastical prohibition against men and women various scholars, fellows, or chaplains might be singing sacred music together, our treble parts are drafted in for larger works if they were trained in sung by women, rather than boys. Charles Butler polyphony. Grand collegiate foundations such as suggests the possibility in the passage quoted above, Magdalen College or cathedrals like Canterbury and indeed, no less a musician than William Byrd may have sung polyphonic music with larger forces. is known to have participated in liturgical music- Between 1500 and 1547 Magdalen College usually making with a mixed choir. The English Jesuit maintained a complement of 16 boys and 9 or 10 William Weston, visiting the Berkshire country men; the Canterbury staff list of 1540 includes 10 house of Richard Ford in 1586, described “a chapel, choristers and 12 men (13 counting the master of set aside for the celebration of the Church’s offices” the choristers), whom we might imagine to have and musical forces that included “an organ and divided themselves 5/5/4/4/4, if the entire choir other musical instruments and choristers, male ever sang polyphony together. I know of no evidence, and female, members of his household. During however, that connects a particular complement these days it was just as if we were celebrating an or distribution of forces to the performance of a uninterrupted Octave of some great feast. Mr Byrd, specific piece of music. the very famous English musician and organist, was among the company.” As always, we are immensely grateful to Nick Sandon for his matchless skill in restoring this wonderful While sixteenth-century English choirs employed music and allowing it to sound anew. A thorough boys on the “mean” line, on the continent parts in account by Sandon of the history of the Peterhouse this range were sung either by adult male falsettists partbooks and his restoration work may be found or by boys. Our mean is sung by one male falsettist in Volume 1 of Blue Heron’s CD series, Music from and two women. Contratenor, tenor, and bass lines the Peterhouse Partbooks, along with a recording of are sung by high, medium, and low mens’ voices, Aston’s Ave Maria ancilla trinitatis. Mason’s Ve nobis respectively. miseris and Sturmy’s Exultet in hac die will appear on In its size and distribution our ensemble very Volume 5, to be released next season. closely resembles the one pre-Reformation —Scott Metcalfe choir for which we have detailed evidence of the distribution of voices used in an actual performance, as opposed to a roster of the singers on staff. On one typical occasion in about 1518, this choir—that of the household chapel of the Earl of Northumberland—was divided very much

8 Texts & Translations

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

Virgo mater ecclesie, Virgin mother of the congregacion Eterna porta glorie, Gate of glory that never is donn Esto nobis refugium Be for us a reconciliacion Apud patrem et filium. Unto the father and the sonne.

O clemens. O mercyfull.

Virgo clemens, virgo pia, Virgin mercifull, virgin holy Virgo dulcis, O Maria, O swete virgin, o blessed Mary Exaudi preces omnium Heare theyr prayers gracyously Ad te pie clamancium. Whiche crye and call unto thee.

O pia. O holy.

Funde preces tuo nato Praye for us unto thy sonne, Crucifixo, vulnerato, Wounded and crucified for us all Et pro nobis flagellato, And sore turmented with flagellation Spinis puncto, felle potato. Crowned with thorne, & fedde with gall.

O dulcis Maria, salve. O swete Mary, [hayle].

This Prymer in Englyshe and in Laten (Robert Redman: London, 1537)

9 That was my woo is nowe my most gladness, That which was my woe That was my payne is nowe my joyus chaunce, chaunce fortune That was my ffeere is nowe my sykyrness, sykyrness security That was my grefe is now my alegeaunce. alegeaunce ease, relief Thus hath nowe grace enrychyd my plesaunce, Wherfor I am and shal be tyll I dye Your trewe servaunt with thought, hart and body.

Downbery down! Now am I exild my lady fro fro from And no cause gevyn therto: Wherfor to her I me complayn, hey now! Trustyng that dysdayn Sone shal be slayne sone soon And never more to remayne.

Alone I leffe, alone, leffe live And sore I sigh for one.

Hey nowe nowe! My love is lusty, plesant and demure That hath my hart in cure; As the hauke to the lure, So my hart to her I ensure, ensure make follow Hey nowe nowe, hey nowe! Glad to do her plesure And thus I wyll endure.

Adew mes amours et mon desyre, Farewell my love and my desire, Je vous depraunce de part amant; I take my leave from you as a lover; Et sy je vous a fayt deplesure, and if I have displeased you, Sy n’a pas saunce commandamant. It was not without being commanded. Pardon a moy tres humblement Pardon me, most humbly Je le demand; I beseech you; J’a my mon cure a servys loyalmant: I applied myself to faithful service: Elas! je bien perdieu ma payne. Alas! I have quite wasted the effort.

10 Ve nobis miseris, quia cum ad peccata commissa Woe to us wretches, for when we consider the sins that we inspicimus et supplicia intelligimus que pro his have committed and understand the torments that we pati debemus, non parvum timorem habemus. are doomed to suffer for them, we have no small fear. Quid ergo? Remanebimus quasi desperati? sine What then? Shall we remain as if without hope? consilio? sine adjutorio? without counsel? without help? Non! Sed ad te, fontem pietatis et misericordie, No! On the contrary, we run and hasten to thee, O Jesu Christe, currimus et festinamus, in quo jam Jesus Christ, fount of love and mercy in which tot et tantos peccatores absolutos vidimus et we have already seen and recognized so many agnoscimus. and great sinners absolved. Obsecramus te igitur, domine deus noster, da We therefore pray thee, O Lord our God, grant us nobis gratiam tuam, ut a vitiis et a morte anime thy grace, so that rising from sins and death of the resurgentes in virtutibus semper floreamus et in soul we may always abound in virtues and walk in soliditate fidei ambulemus, ut que sursum sunt firmness of faith, so that we may seek and be aware queramus et sapiamus, non que super terram. of the things that are above, not those on earth. Tibi gratias agimus, bone Jesu, pro inceptis in We give thee thanks, O good Jesus, for the gifts of nobis gratie tue donis, que deprecamur ut thy grace begun in us, which we beg that thou misericorditer perficias nosque in viam salutis wilt mercifully complete and guide us in the way dirigas. of salvation. Per tue claritatis virtutem purga animas nostras Through the strength of thy brightness make our a tenebris peccatorum, et per eandem virtutem souls clean of the darkness of sins, and through in die universalis resurrectione delicatam the same strength let our flesh arise to glory on the tuam invocationem gaudenter cum electis tuis dayt of the universal resurrection, so that in the audiamus te dicente, “Venite benedicti patris resurrection to come we with thy chosen people mei, percipite regnum quod vobis paratum est may joyfully hear thy delectable invitation as ab origine mundi.” Amen. thou sayest, “Come, ye blessed of my father, take possession of the kingdom that was prepared for you from the beginning of the world.” Amen.

Exultet in hac die fidelium ecclesia Let the church of the faithful rejoice on this day In qua angelis est leticia. on which the angels are joyful. Alleluya consonet plebs anglica. Let the English people together sing Alleluia. Augustinus en transivit Behold, Augustine has made the crossing Et cum Christo semper vivit. and lives with Christ for ever. Alleluya consonet plebs anglica. Let the English people together sing Alleluia. Jam beatus semper euge Now the blessed one hears, “Well done, Super pauca fidelissime. Thou most faithful over small things.” Alleluya consonet plebs anglica. Let the English people together sing Alleluia. Ave nostrum ave dulce desiderium: Hail, O thou our sweet desire: Pro servis tuis ora dominum. pray God on behalf of thy servants. Alleluya. Alleluia.

11 Alas, it is I that wote nott what to say wote know For why I stond as he that is abusyd; For why For the reason that Ther as I trusted I was late cast away, And no cause gevyn to be so refusyd; But pite it is that trust shulde be mysusyd Other by colour or by fals semblaunce; Either by outward appearance or False seeming Wher that is usyd can be no surance. surance assurance, confidence

I am a joly foster foster forester And have ben many a day, And foster will I be styll For shote ryght well I may. Wherfore shuld I hang up my bow Upon the grenwod bough? I cane bend and draw a bow And shot well enough: I am a joly foster. Wherfor shuld I hang up my horne Upon the grenwod tre? I can blow the deth of a dere As well as any that ever I see: I am a joly foster. Wherfor shuld I tye up my hownd Unto the grenwod spray? I can luge and make a sute luge throw something so that it lodges / sute pursuit As well as any in May: I am a joly foster.

Madame d’Amours, My Lady of Love, All tymes or ours at all times and hours From dole dolours from painful sorrows Ower Lord yow gy may Our Lord guide you, In all socours into every succor, Unto my pours unto my utmost powers, To be as yours that I be yours Untyll I dye. until I die. And make you sure And be assured No creatur that no other creature Shall me solur shall solace Nor yet retayne nor retain me, But to endure but I shall remain— Ye may be sure of this you may be sure— Whyls lyf endur while life endures, Loyall and playne. loyall and true.

12 Ave Maria, ancilla trinitatis humillima. Hail, Mary, most humble handmaid of the Trinity. Ave Maria, preelecta dei patris filia Hail, Mary, most exalted chosen daughter of sublimissima. God the Father. Ave Maria, sponsa spiritus sancti amabilissima. Hail, Mary, most loving bride of the Holy Spirit. Ave Maria, mater domini nostri Jesu Christi Hail, Mary, most worthy mother of our Lord dignissima. Jesus Christ. Ave Maria, soror angelorum pulcherrima. Hail, Mary, most comely sister of the angels. Ave Maria, promissa prophetarum Hail, Mary, most longed-for promise of the desideratissima. prophets. Ave Maria, regina patriarcharum gloriosissima. Hail, Mary, most glorious queen of the Ave Maria, magistra evangelistarum patriarchs. veracissima. Hail, Mary, most truthful lady of the evangelists. Ave Maria, doctrix apostolorum sapientissima. Hail, Mary, most wise teacher of the apostles. Ave Maria, confortatrix martyrum validissima. Hail, Mary, most potent comforter of martyrs. Ave Maria, fons et plenitudo confessorum Hail, Mary, sweetest fount and source of plenty suavissima. for confessors. Ave Maria, honor et festivitas virginum Hail, Mary, most joyful reward and object of jocundissima. celebration for virgins. Ave Maria, consolatrix vivorum et mortuorum Hail, Mary, most ready consoler of living and promptissima. dead. Mecum sis in omnibus tribulationibus et Be with me in all my troubles and perils with angustiis meis materna pietate, et in hora thy motherly affection, and in the hour of my mortis mee suscipe animam meam et offer death receive my soul and present it to thy illam dulcissimo filio tuo Jesu, cum omnibus most sweet son Jesus, together with all who qui se nostris commendaverunt orationibus. have commended themselves to our prayers. Amen. Amen.

— Translations from the Latin by Nick Sandon (except Salve regina)

13 14 About the Artists

The vocal ensembleBlue Heron has been Founded in 1999, Blue Heron presents a concert acclaimed by The Boston Globe as “one of the Boston series in Cambridge, Massachusetts, and has music community’s indispensables” and hailed by appeared at the Boston Early Music Festival; in Alex Ross in The New Yorker for the “expressive New York City at Music Before 1800, The Cloisters intensity” of its interpretations. Combining a (Metropolitan Museum of Art), and the 92nd Street commitment to vivid live performance with the Y; at the Library of Congress and Dumbarton Oaks in study of original source materials and historical Washington, D.C., in California at Festival Mozaic performance practices, Blue Heron ranges over in San Luis Obispo and at the Berkeley Early Music a wide repertoire. Its specialities include 15th- Festival; in Seattle, St. Louis, Chicago, Cleveland, century English and Franco-Flemish polyphony, Milwaukee, Pittsburgh, and Philadelphia; and Spanish music between 1500 and 1600, and for a visit of His Holiness the Dalai Lama to the neglected early 16th-century English music, Massachusetts Institute of Technology. Blue Heron especially the unique repertory of the Peterhouse has been ensemble in residence at the Center for partbooks, copied c. 1540 for Canterbury Early Music Studies at Boston University and at Cathedral. The ensemble also regularly performs Boston College. In 2015 the ensemble embarked earlier music, and recently collaborated with A Far on a long-term project to perform the complete Cry in concerts featuring Gabriel Fauré’s Requiem works of Johannes Ockeghem (c. 1420-1497); and Le Cantiques des Cantiques for twelve voices by entitled Ockeghem@600, it will wind up in the Jean-Yves Daniel-Lesur, composed in 1952. 2020-21 season, just in time to commemorate the composer’s circa-600th birthday. Blue Heron’s first CD, featuring music by Guillaume Du Fay, was released in 2007. In 2010 the ensemble Mustering up “rock solid technique” and “the inaugurated a 5-CD series of Music from the kind of vocal velvet you don’t Peterhouse Partbooks, including many world premiere often hear in contemporary recordings of music by Hugh Aston, Robert Jones, music” (Boston Phoenix), Nicholas Ludford, John Mason, Robert Hunt, and soprano Jennifer Ashe has Richard Pygott,; four discs have been released to been praised for performances date and Volume 5 will follow in 2016. Blue Heron’s that are “pure bravura… recordings also include a CD of medieval plainchant riveting the audience with a and polyphony to accompany Thomas Forrest Kelly’s radiant and opulent voice” book Capturing Music: The Story of Notation and the (The Boston Globe). A strong live recording Christmas in Medieval England. Jessie advocate of new works, she has sung with Boston Ann Owens (University of California, Davis) and Musica Viva, Sound Icon, Fromm Festival, Boston Blue Heron have won the 2015 Noah Greenberg Microtonal Society, Harvard Group for New Award from the American Musicological Society; Music, New Music Brandeis, New Gallery Concert the prize will help fund the preparation and world Series, Guerilla Opera, Ludovico Ensemble, premiere recording of Cipriano de Rore’s complete and the Callithumpian Consort. She is a faculty first book of madrigals (1542). member of the Summer Institute for Contemporary

15 Performance Practice and sings with the Handel & recorded with Roomful of Haydn Society and Boston Baroque. Ashe degrees Teeth, The Choir of Trinity in voice and vocal pedagogy from the New England Wall Street, Spire, The Conservatory and the Hartt School of Music. Thirteen, Fuma Sacra, Opera Formerly on the faculties of the College of the Holy Philadelphia, Yale Choral Cross and Eastern Connecticut State University, Artists, and Apollo’s Fire. He she teaches for Music Together Arlington and the is a founding member of The Dana Hall School of Music in Wellesley and is the Crossing (Philadelphia), with Handel & Haydn teaching artist at the John F. upcoming collaborations Kennedy School in Jamaica Plain. with ICE, Quicksilver, The American Composers Orchestra, and PRISM Saxophone Quartet. Michael Barrett has collaborated with Earlier this season, Steven premiered David Lang’s the Boston Camerata, Huelgas Ensemble, Blue Lifespan, for three whistlers and a four billion- Heron, Vox Luminis, Netherlands Bach Society, year-old fossil, and gave over 300 performances. L’Académie, Seven Times Salt, and Exsultemus, In addition to his singing career, Steven is a and can be heard on the harmonia mundi and Blue dedicated visual artist. He contributed a large- Heron record labels. Mr. scale visual component to the premiere of Gavin Barrett directs Convivium Bryars’s The Fifth Century by The Crossing with Musicum, a chamber choir PRISM Saxophone Quartet, and his artwork for Renaissance music. has been featured at Gristle Gallery (New York), He has taught courses Arch Enemy Arts, Grindcore-House, Philamoca at Boston University and the (Philadelphia), Baker+Hesseldenz (Tucson), Cambridge Center for Adult and Stephen Romano Gallery (Brooklyn) in the Education and served as a exhibition Lexicon Infernali. choral director at Bridgewater State University. With his wife Anney he is co- Tenor Jonas Budris is a concert soloist, stage owner of The Green Room, a multi-purpose arts performer, and ensemble musician, engaging new studio in Union Square, Somerville, where he works, early music, and everything in between teaches voice, piano, and music theory. Mr. Barrett with equal passion. As a concert soloist, Mr. earned an AB in music from Harvard, an MM in Budris performs frequently with Boston Baroque choir conducting from Indiana University Jacobs and the Handel & Haydn School of Music, and a diploma in Baroque and Society, and he often sings Classical singing from the Royal Conservatory in their choruses as well. in The Hague, and he recently received a DMA in He sings in the weekly Bach choral conducting from Boston University. Cantata Series at Emmanuel Music, where he was named Steven Bradshaw has appeared as a soloist with a Lorraine Hunt Lieberson The Philadelphia Chamber Orchestra, Tempesta Fellow. He is also a core di Mare, Piffaro, Bang on a Can, Old City Baroque, member of the Skylark Vocal The Bach Collegium of Philadelphia, and Network Ensemble. On the opera stage, he has performed for New Music. He sings with Seraphic Fire and principal and supporting roles with numerous his sextet, Variant 6, and has performed and musical organizations, including Guerilla Opera

16 and Opera Boston. Recent roles include Henrik in around Boston as soloist with Emmanuel Music, A Little Night Music (Emmanuel Music), Garcin in the Handel & Haydn Society, the Boston Early No Exit (Guerilla Opera), Anfinomo in Il ritorno Music Festival, the Tanglewood Music Center, d’Ulisse in patria (Boston Baroque), Agenore in Il Cantata Singers, Boston Cecilia, Prism Opera, re pastore (Grand Harmonie), and Acis in Acis and Boston Revels, Collage, the Boston Modern Galatea (Blue Hill Bach Festival). Orchestra Project, and Intermezzo. Paul can be heard on all Blue Heron’s recordings, on discs of Pamela Dellal, mezzo-soprano, has enjoyed medieval music by Sequentia, Kurt Weill’s Johnny a distinguished career as an acclaimed soloist Johnson and French airs de cour with the Boston and recitalist. She has appeared in Symphony Camerata, and on Emmanuel Music’s Bach CDs. Hall, the Kennedy Center, Avery Fisher Hall, and the Royal Albert Hall, and premiered John Steven Hrycelak, bass, is equally at home as an Harbison’s chamber work operatic, concert, and ensemble performer. He The Seven Ages in New York, is a member of the Grammy-nominated Choir of San Francisco, Boston, and Trinity Wall Street, both as ensemble singer and London. With Sequentia Ms. soloist. Other ensembles include ekmeles, the New Dellal has recorded the music York Virtuoso Singers, Toby of Hildegard von Bingen Twining Music, Early Music and toured the US, Europe, New York, Vox, TENET, and Australia. Passionate Meridionalis, Seraphic Fire, about chamber music, early and the vocal jazz quintet music, and contemporary music, she performs West Side 5. He has also been frequently with Dinosaur Annex, Boston Musica a soloist with NYS Baroque, Viva, Ensemble Chaconne, Blue Heron, and the Pegasus, Publick Musick, Musicians of the Old Post Road. She has been the Mimesis Ensemble, a regular soloist in the Emmanuel Music Bach Musica Sacra, 4x4, the Waverly Consort, the Cantata series for over twenty-five years and has American Symphony Orchestra, Sacred Music performed almost all 200 of Bach’s extant sacred in a Sacred Space, Union Avenue Opera, and the cantatas. She has recorded for Arabesque, Artona, Collegiate Chorale. His performance in the role of BMG, CRI, Dorian, Meridian, and KOCH. She Monteverdi’s Seneca with Opera Omnia was hailed serves as faculty at the Boston Conservatory and at by The New York Times as having “a graceful bearing the Longy School of Music of Bard College. and depth.” He has traveled the US, Canada, and Europe singing in Frank London’s klezmer musical Bass-baritone Paul Guttry A Night in the Old Marketplace. Mr. Hrycelak has performed throughout has degrees from Indiana University and Yale the USA and internationally University, where he sang with the world-renowned with Sequentia, Chanticleer, Yale Whiffenpoofs. He is also a vocal coach and the Boston Camerata, and accompanist. New York’s Ensemble for Early Music. A founding Baritone David McFerrin has achieved critical member of Blue Heron, he acclaim in a wide variety of repertoire. On the opera has also appeared in and stage this season he sings three roles with Boston

17 Lyric Opera, including the Scott Metcalfe has gained Officer in Phillip Glass’s two- wide recognition as one of character drama In the Penal North America’s leading Colony. Past opera credits specialists in music from the include Santa Fe Opera, fifteenth through seventeenth Seattle Opera, Florida Grand centuries and beyond. Musical Opera, and the Rossini and artistic director of Blue Festival in Germany. Earlier Heron, he is also music director this fall Mr. McFerrin was a of New York City’s Green soloist on the Handel & Haydn Society’s California Mountain Project (Jolle Greenleaf, artistic director) tour, made his debut with the Vermont Symphony and has been guest director of TENET (New York), in Schubert’s Mass in G, and performed a program the Handel & Haydn Society (Boston), Emmanuel of Praetorius with New York’s early music ensemble Music (Boston), the Tudor Choir and Seattle TENET. Past concert highlights include a Carnegie Baroque, Pacific Baroque Orchestra (Vancouver, Hall debut with Gustavo Dudamel and the Israel BC), Quire Cleveland, the Dryden Ensemble Philharmonic, Monteverdi’s Vespers of 1610 at St. (Princeton, NJ), and Early Music America’s Young Mark’s Basilica in Venice, and appearances with Performers Festival Ensemble. Metcalfe also enjoys the Boston Pops. Mr. McFerrin has also performed a career as a baroque violinist, playing with Les at the Blossom, Caramoor, and Ravinia Festivals Délices (dir. Debra Nagy), Montreal Baroque (dir. and completed four summer residencies at the Eric Milnes), and other ensembles. He teaches vocal Marlboro Music Festival in Vermont. ensemble repertoire and performance practice at Boston University and is at work on a new edition of Jason McStoots has performed around the world the songs of Gilles Binchois. and the US with such groups as Boston Lyric Opera, Pacific MusicWorks, Les Délices, The Countertenor Martin Near enjoys a varied career Boston Camerata, TENET, San Juan Symphony, exploring his twin passions for early music and new Pablo Casals Festival, Tragicomedia, and the music. Mr. Near recently sang in the solo quartet Tanglewood Music Center. of Arvo Pärt’s Passio with the He has recently appeared as Boston Modern Orchestra Tabarco in Handel’s Almira Project, was the countertenor and Apollo in Monteverdi’s soloist in the premiere Orfeo with the Boston Early performance of Dominick Music Festival and he can DiOrio’s Stabat mater with be heard on BEMF’s 2015 Juventas New Music Ensemble, Grammy-winning recording sang the role of Hamor of Charpentier, their in Handel’s Jephtha with Grammy-nominated recording of Lully’s Pysché, Boston Cecilia, and was noted for his “fine work” and a disc of music by John Blow. Also a voice in Buxtehude’s Heut triumphieret Gottes Sohn with teacher and stage director, he teaches at Brandeis Boston Baroque. He sings regularly with Emmanuel University, where he recently restarted the opera Music, Boston Baroque, and the Handel & Haydn workshop project. Society. Mr. Near was Music Director of Exsultemus from 2009 to 2012.

18 With a vibrant instrument and sensitive stage Fellowship at Emmanuel Music (2015). She is a presence, tenor Alexander Nishibun has been core member of Lorelei Ensemble, Boston’s 9-voice singled out as “a delight…capable of stealing the women’s ensemble specializing in early and new show with a gesture” (Portland Press Herald). music. Nishibun performs widely in the greater Boston area and collaborates with ensembles throughout Aaron Sheehan has established himself as one the US, singing with Vox Humana, Les Canards of the leading American tenors of his generation, Chantants, Cappella Clausura, the Handel & equally comfortable in Haydn Society, Kinnara oratorio and chamber music Ensemble, and the Skylark as on the opera stage; last Vocal Ensemble. He has year he won a Grammy Award appeared with the Portland (Best Opera Recording) for a Opera Young Artists disc of Charpentier with the Program and the Boston Boston Early Music Festival. Early Music Festival Young His singing has taken Artists Program, as well him to many festivals and as with the New England venues, including Tanglewood, Lincoln Center, Conservatory’s Carr Collegium and Boston the Metropolitan Museum of Art, Washington University in performances of Bach motets and a National Cathedral, and early music festivals 2014 undertaking of the B-Minor Mass in which he of Boston, San Francisco, Houston, Tucson, was a soloist. Nishibun is a staff tenor with Trinity Washington, and Madison, and he has performed Church, Boston, where he recently sang solo arias with the Green Mountain Project, Orpheus in Handel’s Messiah and Bach’s Magnificat. www. Chamber Orchestra, American Bach Soloists, alexandernishibun.com Handel and Haydn Society, Boston Baroque, North Carolina Symphony, Charlotte Symphony, Boston Margot Rood, hailed for her Cecilia, Pacific Chorale, Boston Early Music “luminosity and grace” by The Festival, Tempesta di Mare, Aston Magna Festival, New York Times, performs Washington National Cathedral, Bach Collegium a wide range of repertoire. San Diego, Tragicomedia, Folger Consort, Les Voix Recent solo engagements Baroques, and many other ensembles. include her Carnegie Hall debut in Shawn Jaeger’s Letters Praised for her “gorgeous, profoundly expressive Made with Gold, Golijov’s instrument” (Cleveland Plain Dealer) and voice of Three Songs with A Far Cry, “extraordinary suppleness and beauty” (The New Handel’s Messiah with Rhode Island Philharmonic York Times), soprano Teresa Wakim was First and Pärt’s Passio with Boston Modern Orchestra Prize Winner of the 2010 International Soloist Project. Recent stage performances include Competition for Early Music in Brunnenthal, Johanna in Sweeney Todd with St. Pete Opera and Austria, and a Lorraine Hunt Lieberson Fellow Emily Webb in Rorem’s Our Town with Monadnock at Emmanuel Music in Boston. Noted solo Music. Ms. Rood is the recipient of numerous engagements include Bach’s B Minor Mass, St. awards including the St. Botolph Emerging Artist John Passion, and Magnificat with the Amsterdam Award (2015) and the Lorraine Hunt Lieberson Baroque Orchestra, Bach’s Magnificat with

19 Wiener Akademie Orchester, Bach’s Wedding excellence in research and performance (2012), Cantata and Mendelssohn’s Hear My Prayer with the Yale School of Music Alumni Prize (2013), the the Cleveland Orchestra, Bach’s Missa Harriet Hale Wooley Scholarship for American Brevis with the San Francisco Symphony, Artists in Paris (2013), and the Carmel Bach Brahms’s Ein Deutsches Requiem with the Omaha Festival’s Virginia Best Adams Fellowship (2014). Symphony, Mozart’s Exsultate Jubilate with the New World Symphony, Soprano Shari Alise Wilson is among the new Handel’s Messiah with the generation of singers specializing in early and Charlotte, San Antonio, modern music. Recent and Tucson Symphonies, highlights include David Pamina in Mozart’s The Magic Lang’s Little Match Girl Flute with Apollo’s Fire, and a Passion with Sydney Skybetter title role in Handel’s Acis and & Associates and Ear Heart Galatea with Musica Angelica Music, Bach’s St. Matthew and the Boston Early Music Passion with Conspirare at Festival. A featured soloist on four Grammy- the Victoria Bach Festival, nominated recordings with the Boston Early Music Buxtehude’s Membra Jesu Festival and Seraphic Fire, she has also recorded Nostri with Pegasus Early Music and New York to critical acclaim with Blue Heron, the Handel & Baroque, a world premiere performance and Haydn Society, and Musik Ekklesia. recording of music by Gavin Bryars with Crossing Choir and Prism Quartet, and a world premiere John Taylor Ward’s performances have been performance of John Luther Adams’s Sila at Lincoln praised by The New York Times for their “impressive Center. Ms. Wilson made her New York City solo clarity and color” and “velvety suaveness” and debut at Merkin Hall in the world premiere of by The Washington Post for “finely calibrated Benjamin C. S. Boyle’s Cantata To One in Paradise precision and heart-rending expressivity.” Taylor and is an active ensemble singer, performing with has appeared as a principal the Grammy-award winning ensemble Conspirare, artist on five continents, Ensemble Crossing Choir, Santa Fe Desert Chorale, joining ensembles such as Les Spire Ensemble, Publick Musick, the Handel & Arts Florissants (as a laureate Haydn Society, Blue Heron, and Emmanuel Music. of the Jardin des Voix), She can be heard on Blue Heron’s discs of Nicholas Collegium Vocale Ghent, and Ludford’s Missa Regnum mundi and Missa Inclina the Boston Camerata. Other cor meum, Conspirare’s Grammy-award winning recent credits include several Sacred Spirit of Russia, and Kile Smith’s Vespers roles in the Boston Early with Crossing Choir and Piffaro. Music Festival’s cycle of Monteverdi operas and the premiere staging of a new opera for the Teatro Mayor of Bogotá, Colombia, with the ensemble L’Arpeggiata. Originally from Boone, NC, Taylor is a graduate of the Eastman School of Music and holds two advanced degrees from Yale University. He is a recipient of the Margot Fassler Award for

20 Acknowledgments Guarantor ($1,000 – $2,499) Anonymous (2) Blue Heron’s existence as a performing ensemble Peggy & Jim Bradley is made possible by the devotion, hard work, and John Paul Britton & Diane Britton financial support of a community of board members, John A. Carey staff, volunteers, donors, and concertgoers. We Daniel & Ann Donoghue offer our grateful thanks to all those who join us in Helen Donovan & Holly Nixholm creating, nurturing, and sustaining an organization Laurie J. Francis dedicated to making the music of the 15th and 16th John & Ellen Harris centuries come alive in the 21st. Robert J. Henry Arthur Hornig Our programs, postcards, season brochure, Mary Eliot Jackson advertisements, and CD booklets are designed Anne H. Matthews & Edward Fay, Jr. by Melanie Germond and Pete Goldlust. Erik Scott Metcalfe Bertrand maintains and rebuilt our website; the Susan S. Poverman site was originally built by Evan Ingersoll, who also Peter Belknap & Jennifer Snodgrass designed our programs for many years. Erin E. M. Thomas William J. Vaughan Thanks to the Cambridge Society for Early Music Michal Truelsen & Jody Wormhoudt for supporting the pre-concert talks. Nicholas H. Wright

Many thanks to our board and to all our volunteers Patron ($500 – $999) for their help this evening and throughout the year. Anonymous Thom & Rebecca Barrett We are honored and grateful to have so many H. Franklin & Betsy Bunn generous donors. Katie and Paul Buttenwieser The Cambridge Society for Early Music Donations Received Elizabeth C. Davis between February 1, 2015 and February 1, 2016 David R. Elliott Joel Gordon Archangel ($10,000 +) Eiji Miki & Jane Hever Harry J. Silverman Richard O'Connor & Julianne Lindsay William Lockeretz Angel ($5,000 +) Mastwood Charitable Foundation Anonymous Michael P. McDonald Philip H. Davis Susan Miron Fred Franklin & Kaaren Grimstad Ann Besser Scott William & Elizabeth Metcalfe Andrew Sigel Rachael Solem Benefactor ($2,500 – $4,999) John Yannis Peggy Badenhausen & Tom Kelly Diane L. Droste Sponsor ($250 – $499) Mary Briggs & John Krzywicki John Adams Cindy & Peter Nebolsine Anonymous (2) Richard L. Schmeidler Daryl Bichel Joan Margot Smith Barbara Boles James Catterton & Lois Wasoff Charitable Gift Fund Elizabeth Davidson

21 Catherine Davin, in memory of Joe Davin Charles & Sheila Donahue Pamela Dellal Alan Durfee John F. Dooley Nicole Faulkner Marie-Pierre & Michael Ellmann Judy & Henry Feldman Samuel Engel & Anne Freeh Engel Carol Fishman Aaron Ellison & Elizabeth Farnsworth GE Foundation Jean Fuller Farrington Constance & Donald Goldstein Kathleen Fay & Glenn KnicKrehm Nancy Graham Paul Guttry Michelle Gurel Hope Hare Terrie Harman Lydia Knutson & Fred Langenegger David Harrison Deborah Malamud & Neal Plotkin Margot Dennes Honig Kenneth & Karen Near Jean & Alex Humez Paul LaFerriere & Dorrie Parini Isabella Stewart Gardner Museum Tracy Powers Stone & Paul Jasie Tom Regan Tom and Kathy Kates Michael Scanlon Joann Keesey Ronald V. Lacro & Jon P. Schum David Kiaunis Robert Schuneman Kip & Kally Kumler Martha Maguire & Oleg Simanovsky Jackie Lenth Keith & Catherine Stevenson Karin Levy Robert B. Strassler Tod Machover Judith Ogden Thomson James Martin Susan Pettee & Michael Wise Amy Meltzer & Philip McArthur Laura Zoll Owen McIntosh Jim Meyer Supporter ($100 – $249) Amy Mossman Gail & Darryl Abbey Virginia Newes Joseph Aieta, III Richard Odermatt Alan Amos & Chris Toy Stephen H. Owades Anonymous (2) David Pitt Margaret & Charles Ashe Katherine Raia Pamela Bartter Rosemary Reiss Thomas N. Bisson William Hobbie & Virginia Rogers Marilyn Boenau Jennifer Farley Smith & Sam Rubin Nanu Brates & Sandy Reismann Nancy & Ronald Rucker Susan Hockfield & Tom Byrne Dr. David L. Sills Carnegie Corporation of New York An Sokolovska Mary & Kenneth Carpenter Polly S. Stevens C.C. Cave & Peter Rothstein Suzanne Teich Robert Cochran Dr. E. K. Thomas Nathaniel S. & Catherine E. Coolidge Anne Umphrey Corning Incorporated Foundation Martha Weisberg Mark Davis Chris Whent Lynda Ceremsak & F. George Davitt Linda C. Woodford Carl & May Daw Elizabeth Wylde Winifred Dick Alex Yannis

22 Friend ($50 – $99) Board of Directors Julie Rohwein & Jonathan Aibel John Yannis, president Anonymous Mary Briggs, treasurer Jeffrey Del Papa & Susan Assmann Richard Schmeidler, clerk Noël Bisson Peter Belknap Joan Boorstein Scott Metcalfe Jill Brand & Thomas Nehrkorn Harry Silverman Edward & Matilda Bruckner Jennifer Farley Smith Linda Clark John & Cindy Coldren William Cooke General Manager Martha W. Davidson John Yannis Rita S. Edmunds Katherine Ellis Office Administrator Brenda & Monroe Engel Gail Abbey Lorinda Gayle Steve Grathwohl Ivan Hansen Intern Joseph Hunter & Esther Schlorholtz Holly Druckman Anne Huntington & Lorna Cohen Carole Friedman & Gail Koplow Penelope Lane Volunteers Rob & Mary Joan Leith Darryl Abbey Catherine Liddell Meg Abbey Erin Doherty & David McFerrin Daryl Bichel Beverly Woodward & Paul Monsky Jaime Bonney Perry & Susan Neubauer Dan & Sheila Clawson Beth Parkhurst Sue Delaney Brad Peloquin David Fillingham Dr. Joseph Pesce Alexandra Hawley Christopher Petre Anne Kazlauskas Sue Robinson Mary Kingsley Allen Rossiter Bob, Hannah and Elena Loomis Joan Doyle Roth John Nesby Katy Roth Beth Parkhurst Stuart Schaffner Christopher Petre Lari Smith Samuel Rubin Annlinnea & Michael Terranova Alan Seoighe Richard Turbet Susan Singer Dr. Marsha Vannicelli Jennifer Farley Smith Binney & Bob Wells Charlotte Swartz Martin & Phyllis Wilner Sonia Wallenberg Bernard Ziomkiewicz Jane Yannis

23 Scott Metcalfe Music Director

musical magic — Susan Miron, The Boston Musical Intelligencer 2015–16 SUBSCRIPTION SERIES OCT. 17 Missa L’homme armé — Ockeghem@600, concert 3 DEC. 18–19 Christmas in Medieval England FEB. 6 From the Eton Choirbook to the Peterhouse Partbooks APR. 2 Cantores y ministriles: Music from Seville from The Golden Age with Dark Horse Consort NON-SUBSCRIPTION CONCERTS DEC. 20 Christmas in Medieval England • Providence JAN. 29 Devotion — with A Far Cry • Old South Church, Boston FEB. 5 Eton Choirbook / Peterhouse Partbooks • Wellesley APR. 29 Songs About Hope: Esperance and Amors – MAY 1 in 14th-century songs • Boston area Subscription concerts at 8:00 pm at First Church in Cambridge, Congregational, 11 Garden St. Visit our website for details on subscription concerts and also to learn about our other events. OUR LATEST CD RELEASES Graphic Design Melanie Germond PhotosMusic OF BLUE fromHERON & theSCOTT MPeterhouseETCALFE Liz Linder Coming in October: Program Content © 2016 Blue Heron Renaissance Choir, Inc. Christmas in Medieval England CoverPartbooks, image Detail of painting vol. of4 Eton Chapel by Canaletto, c. 1754 “As on previous featuring releases, the singing live record- is both precise and ings made in fl uid, immaculate Cambridge and alive” in 2013. — Alex Ross, The New Yorker

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