THE COLORADO COLLEGE MUSIC DEPARTMENT presents “Music in the Court and on the Green!” with The Colorado College Collegium Musicum Nancy Ekberg Tynan, director Frank Shelton, harpsichord and organ Special guest Jeremy Van Hoy on sackbut and The Colorado College Classical Guitar Ensemble Dale Miller, director Sunday, May 11, 2014 3:00 PM Packard Hall Please refrain from using electronic devices during the concert PROGRAM I. Medieval Song and Dance Lamento di Tristano et la Rotta Anonymous 14th century Italian Arr. Nancy Ekberg Tynan From the 12th through the 14th centuries these two dances were usually performed together as a “carole-espringale”. The Lamento is a “gliding” dance in triple meter with a very rich almost hypnotic feel to the melody which we perform with various duets and instrumentation. The La Rotta is an “after-dance” with a contrasting rhythm in duple meter, and is an example of an “espringale” or leaping/springing dance, also called a saltarello. II. English Courtly Love Songs Come Again John Dowland (1563-1628) Lord Willoughby William Byrd (1543-1623) O Mistres Myne W. Byrd Frank Shelton, harpsichord solo O Mistress Mine! W. Byrd Intrumental Ensembles Suite: Giles Farnaby Giles Farnaby’s Dreame (1563-1640) His Rest (Galliard) Tell Me, Daphne Pawles Wharfe Garrett Cry, Meaghan Berns, Nancy Ekberg Tynan, recorders Nicole Pey, mandolin The Three Ravens Thomas Ravenscroft (1582-1633) Maddie Miller, soprano The Three Ravens, an English folk ballad printed in Thomas Ravenscroft’s song book Melismata in 1611, comes most likely from an earlier story called “Twa Corbies”, which means “Two Crows”. It is one of the earliest, most popular and widespread ballads we have. In this story the ravens peruse the area for a meal only to discover a slain knight who is protected by his hawkes, hounds and a fallow Doe, who all prevent the ravens from taking their breakfast. The fallow doe, smaller than the red deer, and yellowish-brown in color, could represent the knight’s pregnant lover transformed into a doe like the white doe of other ballads and folklore. This song has been quite popular for years, being performed and recorded by Ewan MacColl, Joel Cohen, and Peter, Paul and Mary, among others. And yes, we are performing the entire ten verses to complete this sad ballad… There were three ravens sat on a tree, His hawkes they flie so eagerly, Downe a downe, hey downe hey downe, There’s no fowle dare him come nie. They were as black as they might be, With a downe, So downe there comes a fallow Doe, There were three ravens sat on a tree, As great with yong as she might goe. They were as black as they might be, With a downe derrie, derrie, She lifted up his bloudy hed, derrie downe, downe. And kist his wounds that were so red. The one of them said to his mate, She got him up upon her backe, Where shall we now our breakfast take? And carried him to earthen lake. Downe in yonder greene field, She buried him before the prime, There lies a knight slain under his shield. She was dead her selfe ere even-song time. His hounds they lie downe at his feete, God send every gentleman, So well they can their Master keepe. Such hawkes, such hounds, and such a Leman. Come, you pretty false-eyed wanton Thomas Campion (1567-1620) What if I speede? Robert Jones (1597-1615) Maddie Miller, soprano What if I speede where I least expected, What shall I say? Shall I lye? What if I miss where I most affected, What shall I do? Shall I dye? No! No! I’ll have at all, It’s as my game doth fall; If I keep my meaning close, I may speede howe’er it goes. For Time and I do mean to try What hope doth lye in youth. The minds that doubt are in and out, And women flout at truth. Fa la la la la la… These two pieces above come from a wonderful collection of Elizabethan Love Songs arranged by Frederick Keel in 1913. They represent music in the court and of course reveal the unending turmoil of love. Response: un triste cœur (Response: a sad heart) Thomas Crecquillon (1505-1557) Garrett Cry, Nancy Ekberg Tynan, Nicole Pey, Meaghan Berns, Robert Meller During the first half of the 16th century very little instrumental ensemble music was written, so consequently ensembles tended to play more vocal pieces and dances. Thomas Crecquillon, a leading Franco-Flemish composer of this period, wrote 192 chansons, which are French polyphonic songs of the late Middle Ages and Renaissance, one of which we play today. Although his texts may be limited in moods, his music is extremely varied, very expressive in his use of frequent suspensions, and polished in part-writing, all of which make his chansons a pleasure to play and hear. We hope this chanson pulls at your heartstrings as it does ours, even without words. III. Concerto in E Major Antonio Vivaldi Allegro (1678-1741) Largo transposed and arr. Dale Miller Allegro This concerto was originally a mandolin concerto in C major. Dale has transposed it into a quartet for guitars in the key of E major. IV. German Instrumental Dances Dance Suite Christoph Deemantius #7 (1567-1643) Meaghan Berns, tenor recorder, ornamented solo #8 Isaac Radner, violin, ornamented solo #10 Garrett Cry, soprano recorder, ornamented solo #15 Nicole Pey, mandolin, ornamented solo V. Guitar Ensemble Duet in G Major Ferdinando Caruli (1770-1841) La Caccia Wolfgang Amadeus Mozart Allegro gioioso (1756-1791) From La Musica Nocturna, Di Madrid, Op. 30, No. 6 Luigi Boccherini Allegro vivo (1743-1805) This piece was used as a theme in the sound track from the movie Master and Commander, which is based on Patrick O’Brien’s novels. No Barricades Oscar Lopez (b. 1943) Arr. Dale Miller This charming Latin bossa nova piece, arranged for guitar quartet by Dale, uses the percussive qualities of classical guitars under the catchy melody. VI. Hungarian Music Suite Béla Bartók Folk Song I (1881-1945) Folk Song II Arr. David Goldstein Folk Song III Variation on a theme of Bartók Gerhard Maasz Thema (1906-1984) Variation I Variation II Variation III Variation IV Gerhard Maasz, born in Hamburg, Germany, directed and conducted the Württembergi National Orchestra, now called the Stuggart Philarmoniker, from 1938-1944. He wrote very diverse pieces for choirs, strings, recorders and keyboards. Maasz composed Flauto a Sei using a Bartók theme with four lively and haunting variations, which we have diversely set for our mixed ensemble. VII. Bourrées on The Greene! Bourrée #8 Michael Praetorius Bourrée #9 (1571-1621) Bourrée #8 Jeremy Van Hoy, special guest on sackbut, the precursor to the trombone! Members of the Collegium Musicum Classical Guitar Ensemble Nancy Ekberg Tynan*, director, recorders Dale Miller*, director Meaghan Berns, recorders Neil Hesse Garrett Cry, recorders Minqi Liu Frank Shelton*, harpsichord and organ Robert Adler Robert Meller, cello Vanessa Rivas Isaac Radner, violin Yiqiao Bao, recorder Maddie Miller, soprano, tambourine Boyce Drummond*, recorders Jeremy Van Horn*, sackbut *Colorado College Faculty member Special Thanks Stormy Burns, Music Department Coordinator Andrew Pope, Music Department Paraprofessional Tom Mauch, for pronunciation of Middle English Gina Abendroth, program production Dan Fosha*, for leading me to Maddie Miller and coaching her on her vocal pieces Upcoming in the Colorado College Music Department Join us for our Summer Season Friend-Raiser Opening Event! Extasis Tango Quartet Evan Orman, bandoneon; Claude Sim, violin Michael Tilley, piano; Susan Cahill, double bass Nicholas Jones & Diana Cruz, tango dancers Tuesday, June 10 5:30pm ~ Wine & hors d’oeuvres; 6:15pm ~ Concert Cornerstone Arts Center Main Space $25 general public, $20 festival donors Bring one new festival friend for free; $5 additional friends Tickets available at the Worner Campus Center or call 719-389-6552 .