tag:blogger.com,1999:blog-9713955012135776512024-03-12T19:27:40.959-04:00Musicians In OrdinaryJohn Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.comBlogger135125tag:blogger.com,1999:blog-971395501213577651.post-58411588988393734502017-10-04T11:59:00.002-04:002017-10-05T06:48:44.614-04:00<div style="text-align: center;">
<span style="font-size: large;">Mexican Baroque</span></div>
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A Concert for the Feast of St. Michael</div>
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Friday, September 29, 2017</div>
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8 p.m.</div>
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St. Basil’s Church </div>
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PROGRAM</div>
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Symphony in G Major <span class="Apple-tab-span" style="white-space: pre;"> </span>Ignacio Jerusalem (1707-1769)</div>
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(Allegro-Andante-Allegro)</div>
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Introitus: Benedicite Dominum <span class="Apple-tab-span" style="white-space: pre;"> </span>Plainchant</div>
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Kyrie <span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>Jerusalem </div>
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(Kyrie-Christe-Kyrie)</div>
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Gloria <span class="Apple-tab-span" style="white-space: pre;"> </span> Jerusalem</div>
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(Et in terra-Gratias agimus-Qui tollis-Quoniam-Cum sancto spiritu-Amen)</div>
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Graduale: Benedicite Dominum <span class="Apple-tab-span" style="white-space: pre;"> </span>Plainchant</div>
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Alleluia: Sancte Michael</div>
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Credo<span class="Apple-tab-span" style="white-space: pre;"> </span>Jerusalem </div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>(Patrem omnipotentem-Et incarnatus-Crucifixus-Et resurrexit)</div>
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Offertorium: Stetit Angelus <span class="Apple-tab-span" style="white-space: pre;"> </span>Plainchant</div>
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Sanctus <span class="Apple-tab-span" style="white-space: pre;"> </span>Jerusalem</div>
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Villancico: Que le diremos<span class="Apple-tab-span" style="white-space: pre;"> </span>Juan Frances de Iribarren (1699-1767)</div>
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Agnus Dei <span class="Apple-tab-span" style="white-space: pre;"> </span>Jerusalem</div>
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Communio: Benedicite omnes Angeli <span class="Apple-tab-span" style="white-space: pre;"> </span>Jerusalem</div>
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Villancico: El Dìa del Corpus <span class="Apple-tab-span" style="white-space: pre;"> </span>Anonymous (Bolivia, 18th century)</div>
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ALL DONATIONS COLLECTED AT TONIGHT’S CONCERT WILL GO TO MEXICAN EARTHQUAKE RELIEF. THANK YOU FOR YOUR GENEROSITY. </div>
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FOR MORE INFORMATION, PLEASE SPEAK TO ONE OF OUR STUDENT VOLUNTEERS.</div>
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A census of 1790 put the population of Mexico City at 113,000 souls, this at a time when Madrid the capital of the Spanish Empire, had perhaps 180,000 inhabitants. It should be no surprise, then, that the cathedral had the resources for such a musical extravaganza as you will hear tonight. </div>
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But it turns out that the composer of the Mass, born Ignazio Gerusalemme in Lecce, Italy, was not tempted to Mexico City by a job at the cathedral, but was recruited by the Administrator of the Royal Hospital of Indigenous Citizens, one Josef Cárdenas. The hospital was funded by receipts from the Coliseo, the top theatre in town, and Cárdenas thought the box office could be boosted by having better music. Once working at the theatre Jerusalem was soon contacted to compose villancicos, songs with Spanish sacred texts, for the students of the cathedral’s college, and when the Cathedral Chapter decided to fire their music director, Jerusalem applied for the job. His up-to-date style, though, was a bit much for some of the cathedral authorities and between that and some political struggles about the hiring of musicians and rivals he took some time to drag the cathedral’s music into the nascent Classical period. </div>
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Tonight’s Mass Ordinary (that is, the text heard at every Mass) setting was discovered in 1992 in the archives of the Archdiocese of Los Angeles. Musicologist Craig Russell attributed the setting to Jerusalem from its similarity to works known to be by him and prepared the edition we are performing from this evening. The Proper of the Mass is the plainchant for the Feast of St. Michael and All Angels, celebrated September 29th.<br />
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Prof. Russell also suggests that when the organ part drops out, and the organ has many bars of rests and some whole movements with no music at all, that the chordal accompaniment be taken by the harp and guitar, the instruments which accompanied in the theatre. We can be sure that those cathedral authorities mentioned above that were worried about Jerusalem’s innovations would have been grumpy about the plucked string contingent coming over from the theatre. They might have not been pleased with the vernacular villancicos either, though their incorporation into the Latin Mass is well documented, especially at Christmas. Que le diremos is tame enough but the villancico El Dìa del Corpus you will hear this evening in fact takes as its jumping off point the rhythm and chords of the chacona. This guitar dance was described as ‘irredeemably infectious lasciviousness’ by one disapproving church official in Spain. Indeed, Pedro Cerone, a 17th century music encyclopedist writes of the villancico –<br />
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There are some people so lacking in piety that they attend church but once a year, and miss all the Masses of Obligation, because they are too lazy to get up out of bed. But let it be known that there will be villancicos and there is no one more devout in the whole place, none more vigilant than these people, for there is no church, oratory, or shrine that they will not visit, nor do they mind getting up in the middle of the night in the freezing cold, just to hear them. </div>
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Well, it might be hard to sleep through the trumpets and drums and spritely strings of the Mass as well. </div>
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THE MUSICIANS IN ORDINARY ORCHESTRA</div>
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<i>First Violin</i></div>
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Christopher Verrette</div>
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Michelle Odorico</div>
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Elizabeth Loewen</div>
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<i>Second Violin</i></div>
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Patricia Ahern</div>
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Valerie Gordon</div>
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Rezan Onen Lapointe</div>
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<i>Cello</i></div>
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Felix Deak</div>
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Laura Jones</div>
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<i>Double Bass</i></div>
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Calum McLeod</div>
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<i>Bassoon</i></div>
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Neil Chen</div>
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<i>Continuo </i></div>
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Borys Medicky - <i>Organ</i></div>
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Julia Seager Scott - <i>Harp</i></div>
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John Edwards - <i>Guitar</i></div>
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<i>Trumpet</i></div>
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Norm Engel</div>
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Paul Sanvidotti</div>
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<i>Tympani and Percussion</i></div>
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Richard Moore</div>
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<i>Soloists</i> </div>
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Julia Morson <i>- Soprano</i></div>
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Rebecca Claborn<i> - Mezzo Soprano </i></div>
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Rob Kinar<i> - Tenor </i><br />
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Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices have been described as “winning performers of winning music.” A fixture on the Toronto early music scene for over 10 years. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania. </div>
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Christopher Verrette has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest, as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle, and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.</div>
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St. Michael’s Schola Cantorum is an auditioned ensemble drawn from students, staff, alumni/ae, faculty, and friends of USMC, and members of St. Basil’s parish choir. We sing three concerts per year, at Michaelmas, during Advent, and Lent. Michael O’Connor is the founding Director of St. Michael’s Schola Cantorum. He teaches in the college programs at St. Michael’s and also directs the St. Mike’s Singing Club. His academic scholarship and practical music-making overlap in the theory and practice of liturgical music.</div>
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<span style="font-size: x-small;">Concert photos by Sheila Eaton, USMC</span></div>
John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-34748647398762485442017-05-12T15:39:00.000-04:002017-05-12T15:44:43.756-04:00Short documentary on the Anne Boleyn Songbook project.<br />
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<iframe width="420" height="236" src="https://www.youtube.com/embed/HxhLs6cqarY" frameborder="0" allowfullscreen></iframe>John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-51536907228673642202017-05-12T15:36:00.001-04:002017-05-12T15:36:20.055-04:00Closet drama style read through and sing song of <a href="https://www.theguardian.com/stage/2016/nov/03/comus-review-milton-chastity-play-sam-wanamaker-playhouse-london-patrick-barlow-lucy-bailey">Comus by Milton</a>, featuring top academics, indolent musicians and one actor on Mar. 29, 2017. Click on the donate now link to help us bring it to the stage next year.<br />
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Dramatis Personae<br />
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<a href="https://en.wikipedia.org/wiki/Stephen_Orgel">Stephen Orgel</a> - Comus<br />
<a href="http://people.laps.yorku.ca/people.nsf/researcherprofile?readform&shortname=pent">Liz Pentland </a>- The Attendant Spirit<br />
<a href="http://www.rubyjoy.net/SITE/Welcome.html">Ruby Joy</a> - The Lady<br />
<a href="http://people.laps.yorku.ca/people.nsf/researcherprofile?readform&shortname=hcampbel">Heather Campbell</a> - Elder Brother<br />
<a href="http://www.pneumaensemble.com/home">Eleanor Verrette </a>- Younger Brother<br />
<a href="http://deannewilliams.com/">Deanne Williams</a> - Sabrina<br />
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All songs sung by Hallie Fishel with John Edwards playing lute and theorbo.<br />
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<br />John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com2tag:blogger.com,1999:blog-971395501213577651.post-36028484453866448782017-03-14T10:54:00.001-04:002017-03-14T10:54:22.463-04:00<div style="text-align: center;">
<b>The University of St. Michael’s College</b></div>
<div style="text-align: center;">
<b>in the University of Toronto presents</b></div>
<br />
<div style="text-align: center;">
<b><span style="font-size: large;">Star of the Sea</span></b></div>
<div style="text-align: center;">
A concert of music for Advent</div>
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<div style="text-align: center;">
Friday, December 9, 2016 - 7:30 p.m.</div>
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St. Basil’s Church</div>
<br />
<b>HOPE</b><br />
Rorate Caeli (Advent Prose) <span class="Apple-tab-span" style="white-space: pre;"> </span>Anonymous plainchant<br />
Irene Gaspar, Annemarie Sherlock, cantors<br />
St. Michael’s Schola Cantorum<br />
Worldes Blis <span class="Apple-tab-span" style="white-space: pre;"> </span>Goderic of Finchale (c. 1070–1170)<br />
Pneuma Ensemble<br />
My Soul Doth Long <span class="Apple-tab-span" style="white-space: pre;"> </span>William Leighton (c.1560–c. 1617)<br />
Hallie Fishel, soprano<br />
Musicians in Ordinary String Band<br />
Ríu, Ríu, Chíu <span class="Apple-tab-span" style="white-space: pre;"> </span>attrib. Mateo Flecha the Elder (+1553)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Jane Ubertino, Emily Sherlock, Robert Allair, soloists<br />
<br />
<b>GREETING</b><br />
Gabriel From Heaven Came <span class="Apple-tab-span" style="white-space: pre;"> </span>Anonymous, England (13th century)<br />
In Nomine a 4<span class="Apple-tab-span" style="white-space: pre;"> </span>Orlando Gibbons (1583–1625)<br />
Ego Flos Campi<span class="Apple-tab-span" style="white-space: pre;"> </span>Clemens Non Papa (c.1510–1555/6)<br />
Hanacpachap Cussicuinin <span class="Apple-tab-span" style="white-space: pre;"> </span>Anonymous, Peru (1631)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Tricia Postle, Hallie Fishel, soloists<br />
<br />
<b>EXPECTATION</b><br />
Tu Nimirum <span class="Apple-tab-span" style="white-space: pre;"> </span>Thomas Tallis (c.1505–1585)<br />
Fantasia a 4<span class="Apple-tab-span" style="white-space: pre;"> </span>William Byrd (c.1540–1623)<br />
Quant Voi La Flor Novele <span class="Apple-tab-span" style="white-space: pre;"> </span>Anonymous, France (13th century)<br />
Magnificat a 4 (SV 282)<span class="Apple-tab-span" style="white-space: pre;"> </span>Claudio Monteverdi (1567–1643)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Tricia Postle, cantor<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Hallie Fishel, soprano<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Christina Labriola, alto<br />
<br />
TRANSLATIONS<br />
<b>Rorate Caeli </b>(Advent Prose)<br />
Drop down dew, ye heavens, from above, and let the clouds rain the Just One.<br />
<br />
Be not angry, O Lord, neither remember iniquity forever: Behold the city of the holy one is become a wilderness: Zion is a wilderness, Jerusalem a desolation: the house of your holiness and of your glory, where our fathers praised you.<br />
<br />
We have sinned, and have become unclean, and we all fade as a leaf; and our iniquities, like the wind, have taken us away: you have hidden your face from us, and have crushed us in the hand of our iniquities.<br />
<br />
See, O Lord, the affliction of your people, and send the one who is to be sent: the Lamb, the ruler of the earth, from the rock of the desert to the mount of the daughter of Zion: that he himself will take away the yoke of our captivity.<br />
<br />
Be consoled, be consoled, O my people: for your salvation shall not delay: why are you consumed with grief, why is your pain renewed? I will save you; fear not, for I am the Lord your God, the Holy One of Israel, your redeemer.<br />
From Isaiah 45<br />
<br />
<b>Worldes Blis </b><br />
Worldly bliss lasts not a moment;<br />
it wanes and goes away anon.<br />
The longer that I know it,<br />
the less I find value thereon;<br />
for all it is mingled with care,<br />
with sorrows and with evil fare,<br />
and at the last poor and bare<br />
it leaves us, when it begins to be gone.<br />
All the bliss that is here and there<br />
encompasses at end weeps and moans.<br />
No good will be there unrequited,<br />
nor any evil will be unrepaid;<br />
when you lie, mortal, under the mould<br />
you shall have as you have wrought.<br />
Bethink you well therefore, I urge,<br />
and cleanse yourself of your misdeed,<br />
that he may help you at your need,<br />
he that so dearly has bought us, and to heaven’s bliss lead that ever lasts and fails not.<br />
Goderic of Finchale<br />
<br />
<b>My Soul Doth Long </b><br />
My soule doth long and shall depend,<br />
for ever on God ever living:<br />
God shall begin and make an end,<br />
that hath giv’n all, yet ever giving,<br />
<br />
I sigh and groane for to appeare,<br />
before his gratious mercy seate:<br />
As thirst’th, the heart for water cleare<br />
so long I for thy mercy great.<br />
<br />
I am quite tyred with my groanes,<br />
I faint under mine heavy loade:<br />
Of miseries breaking all my bones,<br />
laid on me justly by my God.<br />
<br />
O God the rocke of my whole strength<br />
Lord of mercy behould mine anguish<br />
O graunt me helpe and ease at length,<br />
I faint, I fall, I sigh, I languish.<br />
William Leighton<br />
<br />
<b>Ríu, Ríu, Chíu </b><br />
With a cry of “Ríu, ríu, chíu,” the kingfisher, God, kept the wolf from our Lamb.<br />
<br />
The rabid wolf wanted to bite her, but Almighty God knew how to defend her. <br />
He decided to make her impervious to sin, even original sin this Virgin did not have.<br />
<br />
This one who is born is the great king, , the patriarch Christ dressed in human flesh. He has redeemed us by making himself small; although he is infinite he made himself finite.<br />
<br />
Many prophecies told of his coming,<br />
And now in our days have we seen them fulfilled. God became man, on earth we behold him, and see man in heaven because he so willed.<br />
<br />
I saw thousands of angels singing, flying, making heavenly music, proclaiming to the shepherds: Glory in the heavens, and peace on earth for Jesus is born.<br />
<br />
He comes to give life to those who were dead, and to repair the fall of all. This Child is the light of the day, he is the Lamb of whom St. John the Baptist spoke.<br />
<br />
Mark well the truth of what you have heard, that God could not make her more a mother: he that is her father is today born of her, he of whom she is the child is called her son.<br />
<br />
<b>Gabriel From Heaven Came </b><br />
Translation from Latin:<br />
When the angel came secretly<br />
To the Virgin in her room,<br />
The maiden had dread<br />
Gently, he said: “Hail!<br />
Hail, Queen of virgins!<br />
The Lord of heaven and earth,<br />
You shall conceive and bear untouched<br />
Salvation for mankind.<br />
You have become the gate of heaven,<br />
A remedy for sins.”<br />
<br />
Translation from Middle English:<br />
Gabriel, from heaven’s king<br />
Sent to the maid sweet,<br />
Brought her blissful tidings,<br />
And fair he did her greet:<br />
“Hail be thou, full of grace aright,<br />
For God’s Son, this heaven’s light,<br />
For man’s love will man become<br />
and take flesh of thee, maiden bright,<br />
Mankind free for to make<br />
From sin and devil’s might.”<br />
<br />
<b>Ego Flos Campi</b><br />
I am the flower of the field, and the lily of the valleys. As the lily among thorns, so is my love among the daughters. As the apple tree among the trees of the woods, so is my beloved among the sons.<br />
I sat down under his shadow, whom I desired: and his fruit was sweet to my taste. He brought me to the banqueting house, and his intention toward me was love.<br />
Sustain me with raisins, refresh me with apples; for I am faint with love.<br />
A garden fountain, a well of living water, and flowing streams from Lebanon. <br />
Song of Songs 2:1–5; 4:15<br />
<br />
<b>Hanacpachap Cussicuinin </b><br />
Heaven’s joy!<br />
A thousand times shall we praise you.<br />
O tree bearing thrice-blessed fruit,<br />
O hope of humankind, helper of the weak, hear our prayer!<br />
<br />
Attend to our pleas, O column of ivory, Mother of God! Beautiful iris, yellow and white, receive this song we offer you;<br />
come to our assistance, show us the fruit of your womb!<br />
<br />
<b>Tu Nimirum </b><br />
By the purity and integrity of your mind undefiled you have certainly surpassed by far all other maidens, as many as have existed since the very beginning of the world, or ever shall exist until the world’s end. <br />
From the antiphon Salve intemerata virgo<br />
<br />
<b>Quant Voi La Flor Novele</b><br />
When I see the new flowers<br />
Blooming in the field,<br />
Then I sing a new song<br />
Of the virgin maid,<br />
Who with the milk of her breast<br />
Nursed the King,<br />
Who from her worthy, beautiful flesh<br />
Came to save us.<br />
<br />
Maiden worthy and pure<br />
In whom all goodness is purified,<br />
Who cures us from sin.<br />
Take care of me;<br />
Through your dear son assure me,<br />
By your promise,<br />
That in heaven with certain joy<br />
I will be rewarded.<br />
<br />
Holy lady Mary,<br />
Full of grace,<br />
Be ready to aid us,<br />
Do not forget us;<br />
That in this mortal life<br />
We merit reward,<br />
That in your company<br />
We will be able to arrive.<br />
<br />
Flower of mercy,<br />
Accord me to your son;<br />
Tune the string so well<br />
That it can never discord.<br />
The devil can’t apply himself<br />
To untuning me,<br />
So that I cannot by agreement<br />
Be returned to concord.<br />
<br />
Mary, sweet mother,<br />
You were never bitter;<br />
Daughter and mother of a King,<br />
You bore your Father.<br />
I pray you, most gentle Mother,<br />
Full of pity,<br />
That God who is our Father<br />
Cast us far from sin.<br />
<br />
<b>Magnificat </b><br />
1.<span class="Apple-tab-span" style="white-space: pre;"> </span>My soul proclaims the greatness of the Lord.<br />
2.<span class="Apple-tab-span" style="white-space: pre;"> </span>And my spirit rejoices in God my Saviour.<br />
3.<span class="Apple-tab-span" style="white-space: pre;"> </span>For he has looked with favour on his lowly servant. From this day all generations will call me blessed.<br />
4.<span class="Apple-tab-span" style="white-space: pre;"> </span>The Almighty has done great things for me, and holy is his Name.<br />
5.<span class="Apple-tab-span" style="white-space: pre;"> </span>And his mercy is on those who fear him, in every generation.<br />
6. He has shown the strength of his arm, he has scattered the proud in the imagination of their hearts.<br />
7.<span class="Apple-tab-span" style="white-space: pre;"> </span>He has cast down the mighty from their thrones, and has lifted up the lowly.<br />
8.<span class="Apple-tab-span" style="white-space: pre;"> </span>He has filled the hungry with good things, and the rich he has sent away empty.<br />
9.<span class="Apple-tab-span" style="white-space: pre;"> </span>He has come to the help of his servant Israel for he has remembered his promise of mercy.<br />
10.<span class="Apple-tab-span" style="white-space: pre;"> </span>As he spoke to our ancestors, to Abraham and his children for ever.<br />
11.<span class="Apple-tab-span" style="white-space: pre;"> </span>Glory be to the Father, and to the Son, and to the Holy Spirit.<br />
12.<span class="Apple-tab-span" style="white-space: pre;"> </span>As it was in the beginning, is now, and ever shall be, world without end. Amen.<br />
Luke 1:46–55<br />
<br />
THE SEASON OF ADVENT is bifocal: it looks forward to the end of time and the Second Coming (or advent) of Christ while also looking back at his first coming—as a baby in Bethlehem. It is a season of hope and expectation, sometimes very conscious of the need for consolation and redemption, sometimes just fixed on the grace and mercy of God. The music in tonight’s program covers all these emotions. The first group of pieces dwells on themes of hope and preparation—beginning with the ancient Advent prose, “Rorate caeli,” which sets a cluster of texts from the prophet Isaiah calling on the merciful one to answer in time of helpless need.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The hymns of Goderic of Finchale (c. 1070–1170) are the earliest English songs with extant melodies. Goderic was a successful and well-travelled merchant before becoming a hermit; his life and songs were chronicled by Reginald of Durham. His songs consist of a prayer to Mary, a prayer to St. Nicholas, a song on the death of his sister Burhcwen (who was also a hermit) and “Worldes Blis,” a meditation on the transience and frustration of earthly life.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>William Leighton seems to have commissioned several composers to set his poems to music, publishing the results in Tears and Lamentations of a Sorrowful Soul (1641)—including Byrd, Bull, Dowland, Gibbons, and John Milton the Elder. He also included eight of his own settings, one of which is included in tonight’s program: “My Soul Doth Long,” a poignant expression of spiritual thirst for liberation and forgiveness.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The first group ends with a Spanish villancico celebrating God’s preparation of Mary by preserving her from original sin. The anonymous text imagines God as the kingfisher on the river bank, calling out (“ríu! ríu! chíu!”) to protect the lamb (Mary) from a wolf (the devil). <br />
The second group of pieces places Mary at the centre. The anonymous thirteenth-century song, “Gabriel from heaven came,” tells the story of Mary’s angelic visitor in both Latin and English versions in the same thirteenth-century manuscript (BL Arundel 248). Which was the original, and which was the translation? We don’t know, but it’s the Latin version that is sung by Chaucer’s clerk Nicholas when he plays psaltery and sings in his chamber.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>In his Mass, Gloria Tibi Trinitas (1530), John Taverner used an antiphon for the feast of the Trinity as the subject, or cantus firmus, for the entire Mass, weaving the polyphonic choral voices around snippets of the chant as a structural device. The first time Taverner lets you hear the chant sung in its entirety is at the words “in nomine Domine” (“Blessed is he who comes in the name of the Lord”). Following his example, many English composers took the plainchant and used it over and over as a cantus firmus for chamber music—paying homage to Taverner by calling their consorts In Nomines after the passage in his Mass rather than the original plainchant. Gibbons’s “In Nomine” for four-part strings shows that the genre was still flourishing almost a century after Taverner’s Mass.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>It is not clear why Clemens Non Papa was called Clement “not the pope”: he lived for most of his life in Flanders, never travelled to Italy, and pope Clement VII died before any of the composer’s music was published. In 1550 Clemens was employed for a few months by a Marian confraternity in ’s-Hertogenbosch whose members revered Mary “sicut lilium inter spinas” (“as a lily among thorns”). In “Ego Flos Campi,” Clemens sets this phrase prominently in direct homophonic blocks contrasting with polyphonic entanglements all around, before moving on to highly fluid music for the water gardens and the flowing rivers of Lebanon. In its liturgical context, the text’s language of desire and intimacy is applied to the love between God and the Virgin Mary.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>“Hanacpachap Cussicuinin” appeared for the first time in the Ritual Formulario e Institución de Curas (Lima, Peru, 1631) and is the earliest known work of Peruvian polyphony. The text, in Quechua (the language of the Incas), joyfully celebrates Mary and her wondrous child. In tonight’s performance, the separate ensembles come together to bring this vibrant music to life.<br />
William Byrd had the top church music job at Queen Elizabeth’s court even though he was a “staunch papist,” and patronized by the recusant Petre and Paston families. These families were avid collectors of scores. The parts and a lute intabulation of Tallis’s “Tu Nimirum” are in the Paston manuscripts which include Latin motets apparently performed with viols or violins, as we do tonight. In this way, large choral pieces could be repurposed as sets of smaller pieces for domestic devotions.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Immediately following, we will hear a “Fantasia” by Byrd for the string band. In a method book, Thomas Morley describes the fantasia as the most important instrumental form: “The most principal and chiefest kind of music which is made without a ditty is the fantasy, that is, when a musician taketh a point at his pleasure, and wresteth and turneth it as he list.”<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>“Quant Voi La Flor Novele” is a Marian trouvère song, adapted from an anonymous pastoral (also in Old French), about a knight and a shepherdess, which may well have been a dance tune. Mary is often linked with the number five, including her symbol the five-petaled rose; it seems likely that the number of verses here reflects this. Verse four is particularly resonant for musicians.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The concert closes with a sumptuous setting by Monteverdi of the pregnant Mary’s song of praise (“Magnificat”). The even-numbered verses are set to a standard plainchant melody. In the odd-numbered verses, the composer conjures endless variations and combinations of the chant melody in two, three, and four parts, performed tonight with a combination of voices and strings.<br />
<br />
<b>The Musicians In Ordinary </b><br />
Soprano - Hallie Fishel<br />
Violin - Chris Verrette<br />
Viola - Matt Antal, Eleanor Verrette<br />
Bass Violin - Amanda Keesmaat<br />
Lutes and Theorbo-John Edwards<br />
<br />
<b>Pneuma Ensemble</b><br />
Vielle - Eleanor Verrette<br />
Gittern, Cittern - Gaven Dianda <br />
Voice, Percussion, Psaltery - Tricia Postle<br />
<br />
<b>St. Michael's Schola Cantorum</b><br />
Soprano<br />
Madeline Dawson, Hallie Fishel*, Mekhriban Mamedova, Sheila Mulrooney, Barbara North, Emily Sherlock*, Jane Ubertino*<br />
<br />
Alto<br />
Irene Chan, Cindy Dymond, Irene Gaspar*, Ana Iorgulescu, Christina Labriola*, Annemarie Sherlock*, Kathryn Zaleski-Cox<br />
<br />
Tenor<br />
Jeremy Hernandez-Lum Tong, Ben Kim, Edmund Lo, Reid Locklin, Antonio Manco<br />
<br />
Bass<br />
Robert Allair*, Eric Charron, Paul McGrath, Adrian Ross<br />
* = soloists<br />
<br />
<b>The Musicians In Ordinary </b><br />
Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, <b>The Musicians In Ordinary for the Lutes and Voices</b> dedicate themselves to the performance of early solo song and vocal chamber music. Soprano Hallie Fishel and lutenist John Edwards have been described as “winning performers of winning music.” A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.<br />
<br />
<b>Christopher Verrette </b>has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and collaborated with Sylvia Tyson on the companion recording to her novel, <i>Joyner’s Dream</i>. Chris was the sound of Mark Smeaton’s violin on the TV series <i>The Tudors</i>.<br />
<br />
<b>Matt Antal </b>was born and raised in Toronto. He attended Cardinal Carter Academy for the Arts where he began playing viola at age 13 under the tutelage of Jolanta Hickey and Angela Rudden. An all-round lover of music, he has played in numerous ensembles in genres ranging from jazz to hardcore metal. He holds both a bachelor’s degree from the University of Toronto, where he studied under Katharine Rapoport, and a master’s degree from the University of Victoria, where he was a student of Joanna Hood, both in viola performance. He is currently pursuing an advanced certificate in Baroque viola with Tafelmusik.<br />
<br />
<b>Eleanor Verrette</b> studied violin with Gretchen Paxson and Aisslinn Nosky, modern viola with Anna-Belle Marcotte at McGill University, where she graduated with a BMus in 2012, and Baroque viola with Pemi Paull. She now performs regularly on Renaissance and Baroque viola with The Musicians In Ordinary, on vielle and rebec with Toronto-based medieval group Pneuma Ensemble, and on plugged-in viola with Boston-area band Hadley and the Jackal. She is featured on recent album releases by acclaimed folk-rock artists Lakes of Canada and Corinna Rose and has also performed with Aradia Ensemble and Montréal singer-songwriter Ari Swan.<br />
<br />
Originally from Hamilton, <b>Amanda Keesmaat</b>,<b> </b>bass violin, obtained her Bachelor of Music from the University of Western Ontario and her Artist Diploma from McGill University. A vibrant presence in the Montreal early music community for more than 15 years, she has recorded and performed with prominent singers such as Matthew White, Daniel Taylor, Shannon Mercer, Donna Brown, Natalie Paulin, Susie Le Blanc and Marie-Nicole Lemieux, and renowned ensembles such as Arion Baroque Orchestra, La Nef, Les Idées Heureuses and Les Boréades. She appears regularly on concert series with Arion Baroque Orchestra, Clavecin en Concert, Studio Musique Ancienne de Montréal, La Nef and at festivals such as Montreal Baroque, Ottawa Chamber Music Festival, the Lameque Baroque Festival, and Vancouver Early Music Festival and Music and Beyond. As a founding member of Ensemble Les Voix Baroques and Skye Consort, she has performed across Canada. Amanda has recorded for ATMA discs, Early-Music.com, Fidelio, XXI, Analekta, ombú, CBC Radio and CBC Television, BRAVO, the NFB and Radio-Canada.<br />
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<b>Pneuma Ensemble </b>(from the Greek πνεῦμα, “breath,” “spirit,” or “soul”) formed when three Toronto musicians (Tricia Postle, Eleanor Verrette, Gaven Dianda) decided to explore their shared interest in medieval monophony, such as troubadour song and minnesang. Since their first concert in the spring of 2014, they have toured in Spain and the UK, and had residencies at the Banff Centre and at the Fairview Library in North York. For more about Pneuma Ensemble, visit pneumaensemble.com, or find us on Facebook.<br />
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<b>St. Michael’s Schola Cantorum </b>is an auditioned ensemble drawn from students, staff, alumni/ae, faculty, and friends of USMC, and members of St. Basil’s parish choir. We sing three concerts per year, at Michaelmas, during Advent, and Lent. Michael O’Connor is the founding Director of St. Michael’s Schola Cantorum. He teaches in the college programs at St. Michael’s and also directs the St. Mike’s Singing Club. His academic scholarship and practical music-making overlap in the theory and practice of liturgical music.<br />
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We would like to extend our sincere thanks to the following:<br />
Mike Schreiner for lute construction and maintenance<br />
Alexandra Guerson for the MIO website design<br />
Fr. John Reddy CSB for use of the chapel at the Flahiff Centre for rehearsal<br />
Fr. Chris Valka CSB for the use of St. Basil’s Church this evening<br />
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<br />John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-83419914740443079722016-09-28T14:09:00.000-04:002016-09-28T14:09:02.717-04:00<div style="text-align: center;">
<span style="font-size: large;"><b>The University of St. Michael’s College</b></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b>in the University of Toronto presents</b></span></div>
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<span style="font-size: large;"><b><br /></b></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b>Vivaldi, Gloria and other music </b></span></div>
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<span style="font-size: large;"><b>for the feast of St. Michael</b></span></div>
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<span style="font-size: large;"><b>Wednesday, September 28, 2016 - 7:30 p.m.</b></span></div>
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<span style="font-size: large;"><b>St. Basil’s Church </b></span></div>
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<b>Concerto Grosso in A, Op. 6, no. 11</b> <span class="Apple-tab-span" style="white-space: pre;"> </span>George Frideric Handel (1685–1759)</div>
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1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Andante larghetto e staccato</div>
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2.<span class="Apple-tab-span" style="white-space: pre;"> </span>Allegro </div>
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3.<span class="Apple-tab-span" style="white-space: pre;"> </span>Largo e staccato</div>
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4.<span class="Apple-tab-span" style="white-space: pre;"> </span>Andante</div>
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5.<span class="Apple-tab-span" style="white-space: pre;"> </span>Allegro</div>
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<b>O Pray for the Peace of Jerusalem<span class="Apple-tab-span" style="white-space: pre;"> </span></b>John Blow (1649–1708) - Hallie Fishel, soprano</div>
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<b>Kyrie Eleison<span class="Apple-tab-span" style="white-space: pre;"> </span></b>Anonymous plainchant (11th century) - Joel Allison, cantor</div>
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<b>Gloria in D, RV 589</b><span class="Apple-tab-span" style="white-space: pre;"> </span>Antonio Vivaldi (1678–1741)</div>
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1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Gloria in excelsis Deo</div>
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2.<span class="Apple-tab-span" style="white-space: pre;"> </span>Et in terra pax </div>
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3.<span class="Apple-tab-span" style="white-space: pre;"> </span>Laudamus te - Hallie Fishel and Laurel-Ann Finn, sopranos </div>
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4.<span class="Apple-tab-span" style="white-space: pre;"> </span>Gratias agimus tibi</div>
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5.<span class="Apple-tab-span" style="white-space: pre;"> </span>Propter magnam gloriam </div>
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6.<span class="Apple-tab-span" style="white-space: pre;"> </span>Domine Deus - Hallie Fishel, soprano </div>
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7.<span class="Apple-tab-span" style="white-space: pre;"> </span>Domine, Fili unigenite</div>
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8.<span class="Apple-tab-span" style="white-space: pre;"> </span>Domine Deus, Agnus Dei - Annemarie Sherlock, alto</div>
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9.<span class="Apple-tab-span" style="white-space: pre;"> </span>Qui tollis peccata mundi</div>
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10.<span class="Apple-tab-span" style="white-space: pre;"> </span>Qui sedes ad dexteram Patris - Christina Labriola, alto</div>
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11.<span class="Apple-tab-span" style="white-space: pre;"> </span>Quoniam tu solus sanctus </div>
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12.<span class="Apple-tab-span" style="white-space: pre;"> </span>Cum Sancto Spiritu </div>
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<b>NOTES</b></div>
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<i>“The best music-making in Venice is to be found in the orphanages for girls, consisting entirely of orphans, of illegitimate children, or of children from families unable to pay for their education. The state educates them at their expense and has some of them trained to be good musicians. It is therefore no wonder that they sing like angels, and play violin, flute, oboe, organ, cello, and bassoon, not even stopping at the largest instruments. Some forty girls perform at each concert. I assure you there is no more delightful sight than a pretty young nun wearing a white robe and a bouquet of pomegranate flowers in her hair, leading an orchestra with incomparable grace and the proper feeling.”</i></div>
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This description of the music at the <i>Conservatorio dell’Ospedale della Pietà</i>, where Vivaldi was Maestro di Concerti, is by Charles de Brosses, Count of Tournay. The concerts given by the young women of the <i>Pietà</i> were a major attraction on the Venice stop of the Grand Tour taken by European gentlemen of the eighteenth century.</div>
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Given the present popularity of the Gloria in D major, it is hard to imagine that Vivaldi’s church music was completely forgotten until well into the twentieth century. His sacred music, existing in manuscripts scattered throughout Europe, was largely composed and performed as part of his duties at the <i>Pietà</i> and this <i>Gloria</i> is no exception. De Brosses goes on to say that the <i>Pietà’s</i> string section was better than that of the Paris Opéra, so Vivaldi must have been a great teacher as well as violinist and composer.</div>
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John Blow was 11 years old at the Restoration of the English crown in 1660. The Chapel Royal choir had been disbanded when the Puritans took power (though Cromwell pinched the chapel organ and there is a record of him enjoying two boys singing Latin motets at his home in Hampton Court) so there were so few trained boy sopranos that they were forced to use “men’s feigned voices” (falsetto singers) as trebles. This stop gap was soon remedied as boys like Blow and Pelham Humphrey were educated in the French style which the restored king had grown accustomed to in his exile at the French court. Blow’s anthem is unusual in having a single soprano soloist; most such anthems use alternating sections of bass, tenor, and alto (in fact, high tenor, not “feigned voices”), soloists, with full choir. Perhaps the soldier St. Michael, whose feast we celebrate, will not mind us praying for peace tonight and hoping to dispense with his services.</div>
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When the young Handel was sent to Rome to absorb the Italian style he composed a French style overture, with the type of rhythms that stud Blow’s anthem, to be performed by an orchestra led by Arcangelo Corelli (the composer who perfected the <i>Concerto Grosso</i> form). After a disastrous read through, Corelli is supposed to have said “But, my dear Saxon, this is in the French style, which I do not understand.” Handel’s <i>Concerti Grossi</i> retain the Italianate alternation between a little <i>concertino</i> group and the big <i>ripieno</i> group; at the same time, he trusted the English subscribers to his London print of<i> Concerti Grossi</i> (1739) to be able to cope with French style overtures, or at least not to be as chauvinistic as Corelli was in pretending not to understand them.</div>
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<b>First Violin</b></div>
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Christopher Verrette, Michelle Odorico, Elizabeth Loewen</div>
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<b>Second Violin</b></div>
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Patricia Ahern, Valerie Gordon, Rezan Onen Lapointe</div>
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<b>Viola</b></div>
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Matt Antal, Eleanor Verrette</div>
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<b>Cello</b></div>
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Laura Jones, Felix Deak</div>
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<b>Double Bass</b></div>
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Calum McLeod</div>
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<b>Continuo </b></div>
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Philip Fournier, John Edwards</div>
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<b>Oboe</b></div>
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Gillian Howard</div>
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<b>Trumpet</b></div>
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Andras Molnar</div>
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<b>Soprano</b></div>
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Madeline Dawson, Laurel-Ann Finn, Hallie Fishel, Anna Lubinsky, Sheila Mulrooney, Barbara North, Emily Sherlock, Jane Ubertino</div>
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<b>Alto</b></div>
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Irene Chan, Cindy Dymond, Irene Gaspar, Ana Iorgulescu, Christina Labriola, Mekhriban Mamedova, Paula Owalabi, Annemarie Sherlock, Julia Warnes, Kathryn Zaleski-Cox</div>
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<b>Tenor</b></div>
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Jeremy Hernandez-Lum Tong, Rob Kinar, Edmund Lo, Reid Locklin, Antonio Manco</div>
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<b>Bass</b></div>
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Joel Allison, Eric Charron, Paul McGrath</div>
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<b>Rehearsal Pianist</b></div>
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Mekhriban Mamedova</div>
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Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, <b>The Musicians In Ordinary for the Lutes and Voices</b> dedicate themselves to the performance of early solo song and vocal chamber music. Soprano <b>Hallie Fishel </b>and lutenist <b>John Edwards</b> have been described as “winning performers of winning music.” A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania. </div>
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Tenor <b>Robert Kinar </b>studied in Montreal and at the University of California, Santa Cruz, where he completed a Master’s degree in Performance Practice. Since locating to Toronto, Robert has appeared with various groups in the region including the Guelph Symphony Orchestra, Toronto Masque Theatre, Tallis Choir, and the Elora Festival Singers. He recently sang the role of Evangelist for the Grand River Chorus’s performance of Bach’s St. John Passion, and the lead role for the premiere of Andrew Ager’s new opera Führerbunker. Robert has also enjoyed solo performances with Video Games Live and the Final Fantasy Distant Worlds tour. In his spare time he maintains a small vocal studio, works in the TV and Film industry, and is brushing up on his keyboard/continuo playing.</div>
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Canadian bass-baritone <b>Joel Allison </b>hails from the Ottawa valley and obtained his BMus in vocal performance from the University of Ottawa. He has relocated to Toronto to pursue a Diploma in Opera Performance from the University of Toronto under the tutelage of Daniel Taylor. Upcoming performances with the Opera Studio at the University of Toronto include Mr. Gobineau in The Medium by Gian Carlo Menotti, and John Shears in Paul Bunyan by Benjamin Britten. Recent engagements include the role of Adam in Haydn’s Creation with the Peterborough Singers; premiering a new song cycle by Andrew Ager at the University of Ottawa; the title role in Telemann’s Don Quixote with the Seventeen Voyces; the role of Aeneas in the University of Ottawa’s production of Purcell’s Dido and Aeneas; the bass soloist in Mozart’s Requiem for the Strings of St. John’s; and appearances as soloist with the Talisker Players for the past two seasons. Joel is an alumnus of the Ontario Youth Choir and the Tafelmusik Summer Baroque Institute. </div>
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<b>Christopher Verrette</b> has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest, as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle, and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.</div>
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<b>St. Michael’s Schola Cantorum</b> is an auditioned ensemble drawn from students, staff, alumni/ae, faculty, and friends of USMC, and members of St. Basil’s parish choir. We sing three concerts per year, at Michaelmas, during Advent, and Lent. Michael O’Connor is the founding Director of St. Michael’s Schola Cantorum. He teaches in the college programs at St. Michael’s and also directs the St. Mike’s Singing Club. His academic scholarship and practical music-making overlap in the theory and practice of liturgical music.</div>
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-42931644510813814972016-04-22T18:32:00.000-04:002016-07-28T07:31:18.995-04:00<div style="text-align: center;">
<span style="font-size: large;"><b>SWEET SWAN OF AVON</b></span></div>
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To the Memory of My Beloved the Author, Mr. William Shakespeare</div>
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<span style="font-size: x-large;"><b>Shakespeare’s Sorrows</b></span></div>
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8PM, Apr. 23, 2016 </div>
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Heliconian Hall,</div>
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35 Hazelton Ave. (near Bay Subway), Toronto</div>
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Single tickets at the door $30/$20 students & seniors</div>
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<i><b>Prelude </b> </i> Anon.<br />
Robert, Earl of Essex is thought to be the sitter in a picture by Hilliard known as ‘A Melancholy Youth’. We can be sure he was in a dump by the time his ill-conceived rebellion had failed spectacularly and he was sitting in the Tower awaiting his execution. It is in this situation he wrote the words set here by Dowland, invoking his muse at the beginning of a long poem. On the eve of his rebellion, Essex’s supporters paid to have <i>Richard II</i> performed at the Globe, so it seems appropriate to have Gaunt’s meditation on death before Essex’s lyric. Dowland’s book of music for five-part strings and lute called<i> Lachrimae or Seaven Teares </i>begins with ‘seven passionate pavans’ each starting with his ‘tear’ motif of four notes. <i>Antique</i> is a reworking of the song version you will hear later, itself a reworking of a lute solo.<br />
<b>Gaunt from <i>Richard II </i>I:3</b><br />
<b><i>From silent night </i> </b> John Dowland (1563-1626)<br />
<i><b>Lachrimae Antique </b></i> Dowland<br />
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The mad Ophelia’s speech as she hands out allusive flowers to the pitiful onlookers needs little introduction. We present Morley’s canzonette on the death of a young lady. The next pavan is titled ‘New Old Tears’.<br />
<b>Ophelia from <i>Hamlet</i> IV:5</b><br />
<b><i>O, griefe, even on the bud</i> </b> Thomas Morley (1558-1602)<br />
<b><i>Lachrimae Antique Novae</i> </b> Dowland<br />
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Hamlet’s admonishment of his mother when she suggests he end his mourning for his father needs little setup either. We comment musically with Dowland’s almost expressionistic song of melancholy and desperation and some ‘groaning tears’.<br />
<b>Hamlet from <i>Hamlet</i> I:2</b><br />
<b><i>In darknesse let me dwell</i> </b> Dowland<br />
<b><i>Lachrimae Gementes </i> </b> Dowland<br />
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We present speech where Ferdinand, who thinks he has lost his father in a shipwreck, hears Ariel sing <i>Full fathom five</i> set for the play by Robert Johnson. The text of <i>Come yee heavy states,</i> also thought to be a playsong, has so many images in common with <i>Full fathom five </i>that the latter would seem to have been influenced by the text Dowland sets. This pavan, marked out as ‘sad tears’, quotes the phrase which sets the words ‘tears a delightful thing’ in Dowland’s own song <i>I saw my lady weep </i>which you may have heard in our<i> Lives of Girls and Women</i> concert.<br />
<b>Ferdinand from <i>The Tempest </i>I:2</b><br />
<b><i>Come yee heavy states of night </i> </b> Dowland<br />
<b><i>Lachrimae Tristes</i> </b> Dowland<br />
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John Danyel, brother of the poet Samuel, titles this cycle of three songs <i>Mrs. M.E. Her Funeral Teares</i>. We surround the meditation on the meaning of tears and sighs with similar thoughts from plays, and finish the half with ‘forced tears’.<br />
<b>Duke from <i>Measure for Measure</i> III:1 </b><br />
<i><b>Greefe keep within </b></i> John Danyel (1564-c.1626)<br />
<b>Richard from <i>Henry VI Pt. III </i>II:1</b><br />
<i><b>Drop not myne eyes </b> </i> Danyel<br />
<b>The Queen from <i>Henry VI Pt. II</i> III:2</b><br />
<i><b>Have all our passions </b></i> Danyel<br />
<i><b>Lachrimae Coactae </b></i> Dowland<br />
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Intermission<br />
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<b>Preludium </b> Dowland<br />
The only <i>Lachrimae</i> pavan with a possessive in the title is ‘Lover’s tears’, heard in this set, which allows us to present the thoughts of melancholy lovers who have lost control of their thoughts and their tongues in Shakespeare’s sonnet and the poem set by Dowland.<br />
<i><b>Sonnet 85</b></i><br />
<i><b>Unquiet thoughts </b> </i> Dowland<br />
<i><b>Lachrimae Amantis </b> </i>Dowland<br />
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When we met Pericles, Prince of Tyre in the last program he was thanking the gods for his and his daughter’s delivery from the sea. Here the narrator Gower places him earlier in the ordeal which will lead him to a catatonic state of melancholy. Dowland’s famous Sorrow stay is arranged as a consort song, and we finish Dowland’s cycle of <i>Lachrimae</i> pavans with ‘true tears’.<br />
<b>Gower from <i>Pericles</i> IV:3</b><br />
<i><b>Sorrow come</b></i> Dowland, arr. William Wigthorpe<br />
<i><b>Lachrimae Verae</b> </i> Dowland<br />
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So we end our contemplations on the death of our friend Shakespeare with a sonnet, and the song that launched Dowland’s seven passionate pavans, and, as you will hear in the first notes of Holborne’s pavan, many more besides.<br />
<i><b>Sonnet 30</b></i><br />
<i><b>Lacrime – Flow my tears </b></i> Dowland<br />
<b><i>The Image of Melancholly</i> </b> Antony Holborne (d. 1602)<br />
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But Shakespeare remains our contemporary. In the manuscript of <i>Thomas More</i> there are large passages thought to be by Shakespeare. During Henry VIII’s reign apprentice boys gathered and started beating up and burning the houses of foreigners and refugees in London. Thomas More was sent with a troop to calm things down. Shakespeare puts these words into his mouth. Timor et Tremor is in a set of manuscripts with untexted lower parts (so played not sung) and a lute book owned by the Roman Catholic Paston family.<br />
<b>Thomas More in <i>Thomas More</i></b><br />
<i><b>Timor et tremor </b> </i> Orlando Lassus (1532-1594)<br />
Fear and terror have settled upon me;<br />
the shadows have invaded me.<br />
Have mercy on me, Lord; have mercy.<br />
Unto you I commend my spirit.<br />
<br />
Hear, O Lord, my prayer,<br />
for you are my refuge<br />
and my succour, all-powerful Lord<br />
and I invoke Thee: let me never be confounded.<br />
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The program was devised with the scholarship and expertise of<a href="http://deannewilliams.com/"> </a><b><a href="http://deannewilliams.com/">Prof. Deanne Williams.</a> </b><br />
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<b>The Musicians In Ordinary</b><br />
Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. <b>Soprano Hallie Fishel and lutenist John Edwards </b>have been described as ‘winning performers of winning music.’ A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.<br />
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<b>Seth Lerer </b>is Distinguished Professor of Literature at the University of California at San Diego. Well known for his scholarship and public lectures in the history of the English Language, he has also published widely on medieval and Renaissance English Literature, poetry, and Children's Literature. His books have won such awards as the Harry Levin Prize of the American Comparative Literature Association, the National Book Critics Circle Award, and the Truman Capote Prize in Criticism. His most recent book is <i><a href="http://www.press.uchicago.edu/ucp/books/book/chicago/P/bo15112940.html">Prospero's Son</a></i>, a memoir published by the University of Chicago Press. His current work on a book on music, myth, and lyric poetry in Shakespeare's last plays helped inspire our<i> Sweet Swan of Avon </i>series.<br />
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<b>Christopher Verrette</b> has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and collaborated with Sylvia Tyson on the companion recording to her novel, <i>Joyner’s Dream</i>. Chris was the sound of Mark Smeaton’s violin on the TV series The Tudors.<br />
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<b>Matt Antal </b>was born and raised in Toronto. He attended Cardinal Carter Academy for the Arts where he began playing viola at age 13 under the tutelage of Jolanta Hickey and Angela Rudden. An all-around lover of music, he has played in numerous ensembles in genres ranging from jazz to hardcore metal. He holds both a bachelor’s degree from the University of Toronto, where he studied under Katharine Rapoport, and a master’s degree from the University of Victoria, where he was a student of Joanna Hood, both in viola performance. He is currently pursuing an advanced certificate in Baroque viola with Tafelmusik.<br />
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<b>Eleanor Verrette</b> studied violin with Gretchen Paxson and Aisslinn Nosky, modern viola with Anna-Belle Marcotte at McGill University, where she graduated with a BMus. in 2012, and Baroque viola with Pemi Paull. She now performs regularly on Renaissance and Baroque viola with The Musicians In Ordinary, on vielle and rebec with Toronto-based medieval group Pneuma Ensemble, and on plugged-in viola with Boston-area band Hadley and the Jackal. She is featured on recent album releases by acclaimed folk-rock artists Lakes of Canada and Corinna Rose and has also performed with Aradia Ensemble and Montréal singer-songwriter Ari Swan.<br />
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<b>Stephen Marvin</b> is a writer, musician and craftsman living in Toronto. Since 1977 he has specialized in early music, performing with and leading many well known ensembles. He was principal violinist and violist with the Tafelmusik Orchestra and Chamber Players for 20 years, and now performs in about half of the season's programs. Stephen’s primary devotion to chamber music has inspired his participation in many ensembles, especially recitals and trio performances of late 18th century repertoire with fortepiano. Currently, he is the violist with the Lumiere Quartet. Stephen is represented on more than sixty CDs and other recordings, most notably with Sony. He also enjoys an international reputation as a bow-maker. For twenty-five years he has specialized in 17th and 18th century reproductions for early music specialists like himself, and has published articles and given lectures on the history and construction of old bows. He has recently begun making modern bows after examples by Tourte, Peccatte and others.<br />
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Originally from Hamilton<b>, Amanda Keesmaat,</b> bass violin, obtained her Bachelor of Music from the University of Western Ontario and her Artist Diploma from McGill University. A vibrant presence in the Montreal early music community for more than 15 years, she has recorded and performed with prominent singers such as Matthew White, Daniel Taylor, Shannon Mercer, Donna Brown, Natalie Paulin, Susie Le Blanc and Marie-Nicole Lemieux, and renowned ensembles such as Arion Baroque Orchestra, La Nef, Les Idées Heureuses and Les Boréades. She appears regularly on concert series with Arion Baroque Orchestra, Clavecin en Concert, Studio Musique Ancienne de Montréal, La Nef and at festivals such as Montreal Baroque, Ottawa Chamber Music Festival, the Lameque Baroque Festival, and Vancouver Early Music Festival and Music and Beyond. As a founding member of Ensemble Les Voix Baroques and Skye Consort, she has performed across Canada. Amanda has recorded for ATMA discs, Early-Music.com, Fidelio, XXI, Analekta, ombú, CBC Radio and CBC Television, BRAVO, the NFB and Radio-Canada.John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-28525398277438048612016-04-18T09:17:00.001-04:002016-04-22T21:51:54.532-04:00<div class="separator" style="clear: both; text-align: left;">
Here's the script from our Apr. 23rd <a href="http://www.musiciansinordinary.ca/">'Sweet Swan of Avon' season finale at Heliconian Hall. </a></div>
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8PM. Heliconian Hall, 35 Hazelton Ave. near Bay Subway</div>
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Hallie Fishel sings, John Edwards plays lute, Christopher Verrette leads the string band and Seth Lerer reads. </div>
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Single tickets at the door $30/$20 students & seniors</div>
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<i><br /></i>
<i><b>Shakespeare's Sorrows</b></i><br />
<i><br /></i>
<i>Prelude</i> – Anon.<br />
<i>Richard II</i> I:3<br />
Gaunt. Shorten my dayes thou canst with sudden sorow,<br />
And plucke nights from me, but not lend a morrow:<br />
Thou canst helpe time to furrow me with age,<br />
But stop no wrinkle in his pilgrimage:<br />
Thy word is currant with him, for my death,<br />
But dead, thy kingdome cannot buy my breath.<br />
<br />
Song by Dowland<br />
<i>From silent night, </i>true register of moanes,<br />
From saddest Soule consumde with deepest sinnes,<br />
From hart quite rent with sighes, and heavie groanes,<br />
My wayling Muse her wofull work begins.<br />
And to the world brings tunes of sad despaire,<br />
Sounding nought else but sorrow griefe and care.<br />
<i>Lachrimae Antique </i>– John Dowland<br />
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<tr><td class="tr-caption" style="text-align: center;">The text of the previous song is by Robert, Earl of Essex</td></tr>
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<i>Hamlet</i> IV:5<br />
Ophe. There's Fennell for you, and Columbines: ther's<br />
Rew for you, and heere's some for me. Wee may call it<br />
Herbe-Grace a Sundaies: Oh you must weare your Rew<br />
with a difference. There's a Daysie, I would give you<br />
some Violets, but they wither'd all when my Father dy-<br />
ed: They say, he made a good end;<br />
<br />
Song by Thomas Morley<br />
<i>O, griefe, even on the bud</i> that fairely flouered,<br />
The sun hath lowered,<br />
And ah that brest which Love durst never venture,<br />
Bold death did enter.<br />
Pitie O heavens that have my love in keeping,<br />
My cries and weeping.<br />
<i>Lachrimae Antique Novae</i> – Dowland<br />
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<i>Hamlet</i> I:2<br />
Ham. Seemes Madam? Nay, it is: I know not Seemes:<br />
'Tis not alone my Inky Cloake (good Mother)<br />
Nor Customary suites of solemne Blacke,<br />
Nor windy suspiration of forc'd breath,<br />
No, nor the fruitfull River in the Eye,<br />
Nor the dejected haviour of the Visage,<br />
Together with all Formes, Moods, shewes of Griefe,<br />
That can denote me truly. These indeed Seeme,<br />
For they are actions that a man might play:<br />
But I have that Within, which passeth show;<br />
These, but the Trappings, and the Suites of woe.<br />
<br />
Song by Dowland<br />
<i>In darknesse let me dwell </i>the ground shall sorrow be,<br />
The roofe Dispaire to barre all cheerfull light from mee,<br />
The wals of marble blacke that moistened still shall weepe,<br />
My musicke hellish jarring sounds to banish friendly sleepe.<br />
Thus wedded to my woes and bedded to my Tombe,<br />
O let me living die, till death, till death doe come<br />
In darknesse let me dwell.<br />
<i>Lachrimae Gementes </i>– Dowland<br />
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<i>The Tempest</i> I:2<br />
Fer. Where shold this Musick be? I'th aire, or th'earth?<br />
It sounds no more: and sure it waytes upon<br />
Some God 'oth' Iland, sitting on a banke,<br />
Weeping againe the King my Fathers wracke.<br />
This Musicke crept by me upon the waters,<br />
Allaying both their fury, and my passion<br />
With it's sweet ayre: thence I have follow'd it<br />
(Or it hath drawne me rather) but 'tis gone.<br />
No, it begins againe.<br />
<br />
Song by Dowland<br />
<i>Come yee heavy states of night,</i><br />
Doe my fathers spirit right,<br />
Soundings balefull let mee borrow,<br />
Burthening my song with sorrow,<br />
Come sorrow come hir eies that sings,<br />
By thee are turned into springs.<br />
<br />
Come you Virgins of the night,<br />
That in Dirges sad delight,<br />
Quier my Anthems, I doe borrow<br />
Gold nor pearle, but sounds of sorrow:<br />
Come sorrow come hir eies that sings,<br />
By thee are tourned into springs.<br />
<i>Lachrimae Tristes</i> – Dowland<br />
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<i>Measure for Measure</i> III:1<br />
Duke. Be absolute for death: either death or life<br />
Shall thereby be the sweeter. Reason thus with life:<br />
If I do loose thee, I do loose a thing<br />
That none but fooles would keepe: a breath thou art,<br />
Servile to all the skyie-influences<br />
That dost this habitation where thou keepst<br />
Hourely afflict: Meerely, thou art deaths foole,<br />
For him thou labourst by thy flight to shun,<br />
And yet runst toward him still.<br />
<br />
Song by John Danyel<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>The first part.</i><br />
<i>Greefe keep within</i> and scorne to shew but teares,<br />
Since Joy can weepe as well as thou :<br />
Disdaine to sigh for so can slender cares,<br />
Which but from Idle causes grow.<br />
Doe not looke forth unlesse thou didst know how <br />
To looke with thine owne face, and as thou art,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>And onely let my hart,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>That knowes more reason why,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Pyne, fret, consume, swell, burst and dye.<br />
<br />
<i>Henry VI Pt. III</i> II:1<br />
Rich. I cannot weepe: for all my bodies moysture<br />
Scarse serves to quench my Furnace-burning hart:<br />
Nor can my tongue unloade my hearts great burthen,<br />
For selfe-same winde that I should speake withall,<br />
Is kindling coales that fires all my brest,<br />
And burnes me up with flames, that tears would quench.<br />
To weepe, is to make lesse the depth of greefe:<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>The second part</i><br />
<i>Drop not myne eyes</i> nor Trickle downe so fast,<br />
For so you could doe oft before,<br />
In our sad farewells and sweet meetings past,<br />
And shall his death now have no more ?<br />
Can niggard sorrow yeld no other store : <br />
To shew the plentie of afflictions smart,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Then onely thou poore hart,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>That knowst more reason why,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Pyne, Fret, Consume, Swell, Burst and Dye.<br />
<br />
<i>Henry VI Pt. II </i>III:2<br />
Qu. Might liquid teares, or heart-offending groanes,<br />
Or blood-consuming sighes recall his Life;<br />
I would be blinde with weeping,<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>The third part</i><br />
<i>Have all our passions certaine proper vents, </i><br />
And sorrow none that is her owne ?<br />
But she must borow others complements,<br />
To make her inward feelings knowne ?<br />
Are Joyes delights and deathes compassion showne, <br />
With one lyke face and one lamenting part ?<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Then onely thou poore hart<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>That know'st more reason why,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Pyne, Fret, Consume, Swell, Burst and Dye.<br />
<i>Lachrimae Coactae</i> – Dowland<br />
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<br />
Intermission<br />
<br />
<i>Sonnet 85</i><br />
My toung-tide Muse in manners holds her still,<br />
While comments of your praise richly compil'd,<br />
Reserve their Character with goulden quill,<br />
And precious phrase by all the Muses fil'd.<br />
I thinke good thoughts, whilst other write good wordes,<br />
And like unlettered clarke still crie Amen,<br />
To every Himne that able spirit affords,<br />
In polisht forme of well refined pen.<br />
Hearing you praisd, I say 'tis so, 'tis true,<br />
And to the most of praise adde some-thing more,<br />
But that is in my thought, whose love to you<br />
(Though words come hind-most) holds his ranke before,<br />
Then others, for the breath of words respect,<br />
Me for my dombe thoughts, speaking in effect.<br />
<br />
Song by Dowland<br />
<i>Unquiet thoughts</i> your civill slaughter stint,<br />
And wrap your wrongs within a pensive heart:<br />
And you my tongue that makes my mouth a mint,<br />
And stamps my thoughts to coine them words by art,<br />
Be still: for if you ever do the like,<br />
Ile cut the string that makes the hammer strike.<br />
<br />
But what can stay my thoughts they may not start,<br />
Or put my tongue in durance for to die?<br />
When as these eyes, the keyes of mouth and hart,<br />
Open the locke where all my love doth lie;<br />
Ile seale them up within their lids for ever:<br />
So thoughts, and words, and looks shall die together.<br />
<br />
How shall I then gaze on my mistresse eyes?<br />
My thoghts must have som vent: else hart wil break.<br />
My tongue would rust as in my mouth it lies,<br />
If eyes and thoughts were free, and that not speake.<br />
Speake then, and tell the passions of desire;<br />
Which turns mine eies to floods, my thoghts to fire.<br />
<i>Lachrimae Amantis </i>– Dowland<br />
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<i>Pericles</i> IV:3<br />
Gow. And Pericles in sorrowe all devour'd,<br />
With sighes shot through, and biggest teares ore-showr'd.<br />
Leaves Tharsus, and againe imbarques, hee sweares<br />
Never to wash his face, nor cut his hayres:<br />
Hee put on sack-cloth, and to Sea he beares,<br />
A Tempest which his mortall vessell teares.<br />
And yet hee rydes it out,<br />
<br />
Song by Dowland<br />
<i>Sorrow come,</i> lend true repentant teares,<br />
To a woefull wretched wight,<br />
Hence dispair with thy tormenting feares:<br />
O doe not my poor heart affright,<br />
Pitty, help now or never,<br />
Mark me not to endlesse paine,<br />
Alack I am condempned ever,<br />
No hope, nor help there doth remain,<br />
But down, down, down, down I fall,<br />
Down and arise I never shall.<br />
<i>Lachrimae Verae</i> – Dowland<br />
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<br />
<i>Sonnet 30</i><br />
When to the Sessions of sweet silent thought,<br />
I summon up remembrance of things past,<br />
I sigh the lacke of many a thing I sought,<br />
And with old woes new waile my deare times waste:<br />
Then can I drowne an eye (un-us'd to flow)<br />
For precious friends hid in deaths dateles night,<br />
And weepe a fresh loves long since canceld woe,<br />
And mone th'expence of many a vannisht sight.<br />
Then can I greeve at greevances fore-gon,<br />
And heavily from woe to woe tell ore<br />
The sad account of fore-bemoned mone,<br />
Which I new pay as if not payd before.<br />
But if the while I thinke on thee (deare friend)<br />
All losses are restord, and sorrowes end.<br />
<br />
Song by Dowland<br />
<i>Lacrime</i><br />
<i>Flow my tears</i> fall from your springs,<br />
Exilded for ever: let mee mourne,<br />
Where nightes black bird hir sad infamy sings,<br />
There let mee live forlorne.<br />
<br />
Downe vaine lightes shine you no more,<br />
No nightes are dark enough for those<br />
That in dispaire their lost fortuns deplore,<br />
Light doth but shame disclose.<br />
<br />
Never may my woes be relieved,<br />
Since pittie is fled,<br />
And teares and sighes and grones my wearie dayes<br />
Of all joyes have deprived.<br />
<br />
From the highest spire of contentment<br />
My fortune is throwne,<br />
And feare and griefe and paine for my deserts<br />
Are my hopes since hope is gone.<br />
<br />
Harke you shadowes that in darkness dwell,<br />
Learne to contemne light<br />
Happie they that in hell<br />
Feele not the worlds despite.<br />
<i>The Image of Melancholly </i>– Antony Holborne<br />
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<br />
<i>Thomas More </i><br />
Moo…. youle put downe straingers<br />
kill them cutt their throts possesse their howses<br />
and leade the majestie of lawe in liom<br />
to slipp him lyke a hound; say nowe the king<br />
as he is clement, yf thoffendor moorne<br />
shoold so much com to short of your great trespas<br />
as but to banysh you, whether woold you go.<br />
what Country by the nature of your error<br />
shoold gyve you harber go you to ffraunc or flanders<br />
to any Jarman province, spane or portigall<br />
nay any where that not adheres to Ingland<br />
why you must needs be straingers. woold you be pleasd<br />
to find a nation of such barbarous temper<br />
that breaking out in hiddious violence<br />
woold not afoord you, an abode on earth<br />
whett their detested knyves against your throtes<br />
spurne you lyke doggs, and lyke as yf that god<br />
owed not nor made not you, nor that the elaments<br />
wer not all appropriat to your Comforts.<br />
but Charterd unto them, what woold you thinck<br />
to be thus usd, this is the straingers case<br />
all and this your montanish inhumanyty<br />
<br />
Motet by Orlando Lassus<br />
<i>Timor et tremor</i> venerunt super me,<br />
et caligo cecidit super me:<br />
miserere mei Domine,<br />
quoniam in te confidit anima mea.<br />
<br />
Exaudi Deus deprecationem meam<br />
quia refugium meum es<br />
tu adjutor fortis.<br />
Domine, invocavi te, non confundar.<br />
<br />
(Fear and terror have settled upon me;<br />
the shadows have invaded me.<br />
Have mercy on me, Lord; have mercy.<br />
Unto you I commend my spirit.<br />
<br />
Hear, O Lord, my prayer,<br />
for you are my refuge<br />
and my succour, all-powerful Lord<br />
and I invoke Thee: let me never be confounded.)<br />
<div>
<br /></div>
<br />John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-65049405581673277442016-03-19T10:15:00.000-04:002016-04-22T21:52:25.197-04:00<div style="text-align: center;">
<span style="font-size: large;">SWEET SWAN OF AVON</span></div>
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To the Memory of My Beloved the Author, Mr. William Shakespeare</div>
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<span style="font-size: large;"><b>Shakespeare’s Saints and Sinners</b></span></div>
<div style="text-align: center;">
Mar. 19, 2016 </div>
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Heliconian Hall, Toronto</div>
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‘How doth the city sit solitary’ exclaims Jeremiah at the beginning of his Lamentations. It’s not clear who sits solitary (sedet sola) in Holborne’s pavan. <i>Ecce Quam Bonum</i> are the first words of Ps. 133: ‘Behold, how good and how pleasant it is for brethren to dwell together in unity.’ Lord Rivers compares the self-sacrifice of the righteous fighters against tyranny to Jesus’s sacrifice. We reply with a snippet of Taverner’s Mass <i>Gloria Tibi Trinitas</i>. The plainsong melody of <i>Gloria Tibi Trinitas</i> is only heard at the words <i>‘In nomine Domini’</i> in the <i>Sanctus</i>. The tune became the subject for instrumental consorts for 150 years. Johnson puts the tune in the top voice of his version. <br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Sedet Sola</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Anthony Holborne (1545-1602)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Ecce Quam Bonum</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Holborne<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Lord Rivers from <i>Richard III</i> [III:1]<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In nomine Domini </i><span class="Apple-tab-span" style="white-space: pre;"> </span>John Taverner (ca. 1490-1545) – arr. Anon.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In Nomine</i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Robert Johnson (ca. 1500-1560)<br />
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There was little difference for the Jacobeans between the care of the soul and the care of the sick in mind. Timothy Bright, author of a<i> Treatise on Melancholy</i>, a book Shakespeare probably read, was both a physician and a divine, so would have been the ideal minister for the mind and soul of Lady Macbeth. We respond with a penitential text and another In Nomine, this time with the tune in the tenor.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The Doctor from <i>Macbeth</i> [V:1]<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Ne reminiscaris</i><span class="Apple-tab-span" style="white-space: pre;"> </span>John Wilbye (1574-1638)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Remember not, Lord, our offences, neither those of our fathers:<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>and do not wreak vengeance for our transgressions.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Spare, Lord, spare your people,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>whom you redeemed with your precious blood:<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>lest you be angry with us for ever.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In Nomine</i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Thomas Tallis (c. 1505-1585) <span class="Apple-tab-span" style="white-space: pre;"> </span><br />
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Campion’s meditation on ‘the light of the world’ is from his book of ayres ‘contayning divine and morall songs’ and has correspondences in this short exchange from <i>Henry VI Pt. II</i>. A Mr. Golder remarkably harmonizes the ‘minor’ key <i>In Nomine</i> into a major key.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>A man, then the King from <i>Henry VI Pt. II</i> [II:1]<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Author of light </i>Thomas Campion (1567-1620)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In Nomine</i><span class="Apple-tab-span" style="white-space: pre;"> </span>(Robert?) Golder (1510-1563)<br />
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Griffith describes the last hours of Cardinal Wolsey who himself conceded that he had not ‘served God as diligently as I have done the King.’ Dowland’s last songbook,<i> A Pilgrimes Solace</i>, contains several ‘divine and moral songs’ including this and the Thou Mighty God cycle. Baldwin ingeniously transforms the <i>In Nomine</i> with triple time figures.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Griffith from <i>Henry VIII</i> [IV:2]<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>If that a Sinners sighes</i> <span class="Apple-tab-span" style="white-space: pre;"> </span>John Dowland (1563-1626)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In Nomine</i><span class="Apple-tab-span" style="white-space: pre;"> </span>John Baldwin (d. 1615)<br />
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Bedford alludes to the Canticle of Simeon, sung at Evensong, in his speech. Simeon had been promised he’d see the Messiah before he died, and when He is revealed to him, Simeon exclaims ‘Lord, now lettest thou thy servant depart in peace.’ Or much more verbosely in this metrical paraphrase, set to one of the Old Church Tunes used for the Psalms and Canticles, and arranged by Allison. Dowland keeps the <i>In Nomine</i> tune going in the top voice of his curiously titled lute fantasy.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Bedford from Henry VI Pt. 1 [III:2]<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Nunc Dimittis<span class="Apple-tab-span" style="white-space: pre;"> </span>Richard Allison (c. 1560-c. 1610)<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Farwell<span class="Apple-tab-span" style="white-space: pre;"> </span>Dowland<br />
<br />
<i>Intermission</i><br />
<i><br /></i>
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Dowland’s intense three-part setting of a meditation on patience is framed by a speech from Lear, whose troubles parallel those of Job, and some less sympathetic characters from <i>The Merchant of Venice</i> and <i>Hamlet</i>. We have some dance music which alludes to In Nomine to lighten the mood. <span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Patiencia</i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Holborne<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Lear from <i>King Lear</i> [II:2]<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Thou mighty God</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Dowland<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Antonio from <i>Merchant of Venice</i> [IV:1]<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>When Davids life</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Dowland<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The Queen from <i>Hamlet</i> [III:4]<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>When the poore criple<span class="Apple-tab-span" style="white-space: pre;"> </span></i>Dowland<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i>In Nomine Pavan </i><i>& Galliard</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Nicholas Stroggers (fl. 1560-1575) arr. Anon.<br />
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What is one of the most famous passages in all of Shakespeare needs little set up. Campion’s song is from his ‘divine and morall’ collection of ayres again. Ward’s <i>In Nomine</i>, the latest we play, has virtuoso figures and looks forward even to Purcell’s version from the end of the 17th century.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Hamlet from <i>Hamlet</i> [I:2]<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>Never weather beaten saile</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Campion<br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>In Nomine</i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>John Ward (1571-1638)<br />
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Pericles, Prince of Tyre, thanks the divine for his and his daughter Marina’s delivery from trouble. Though <i>Pericles</i> was probably not written (and possibly not all by Shakespeare) till the reign of James, the audience would still be familiar with Elizabeth’s delivery from the Armada’s threat from the sea.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Pericles from <i>Pericles</i> [V:1]<br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>Benedicam Domino </i>Robert Johnson<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>I will bless the Lord at all times;<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>I will always declare his praise with my mouth.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>O Lord with all my heart…..<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>To praise His name wherever we go,<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>His praise shall continually be in my mouth.<br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>In Nomine<span style="white-space: pre;"> </span></i>William Byrd (1539/40-1623)<br />
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The illegitimate Edmund is lying in his report that Gloucester’s legitimate son is planning to kill him, but gives a plausible characterization on the opinion of parricides. That King David’s son Absalom had rebelled against him makes his defeat and death no less painful for the king.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Edmund from<i> King Lear</i> [2:1]<br />
<i><span class="Apple-tab-span" style="white-space: pre;"> </span>When David heard </i><span class="Apple-tab-span" style="white-space: pre;"> </span>Michael East (1580-1648)<br />
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<b>The Musicians In Ordinary</b><br />
Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. Soprano<b> Hallie Fishel</b> and lutenist <b>John Edwards </b>have been described as ‘winning performers of winning music.’ A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.<br />
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<b>David Klausner </b>taught at the University of Toronto in the Department of English and the Centre for Medieval Studies for 45 years until his retirement in 2012, specializing in early English drama and Welsh literature. He was a founding member of The Toronto Consort, with which he played for twenty years; he has been a regular teacher at early music workshops in Canada, the US, the UK, and Austria. His interests in early music and literature led to a study of historical pronunciation, and he now acts as pronunciation advisor to early music singers around the world. In addition to his continuing research for the project Records of Early English Drama, he performs widely in the Toronto area on bassoon, contrabassoon, and baroque bassoon.<br />
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Due to a scheduling problem Christopher Verrette is unable to join us for tonight’s performance, but will return on April 23rd. Thanks to Trish for standing in.<br />
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<b>Patricia Ahern</b> has a BA and BMus. from Northwestern University, MMus from Indiana University, and performer diploma from the Schola Cantorum in Basel, Switzerland. She has taught baroque violin at the Freiburg Conservatory and Oberlin’s Baroque Performance Institute, and given masterclasses at McGill, Wilfrid Laurier, York and Grand Valley State Universities, and the Universities of Windsor, Wisconsin and Toronto. She has concertized on five continents performing with Milwaukee Baroque, Ars Antigua, Chicago Opera Theater, Kingsbury Ensemble, Aradia, I Furiosi, Newberry Consort, Musica Pacifica, and the Carmel Bach Festival. Tricia has recorded for Sony, Naxos, and Analekta, and joined Tafelmusik in 2002.<br />
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<b>Matt Antal</b> was born and raised in Toronto. He attended Cardinal Carter Academy for the Arts where he began playing viola at age 13 under the tutelage of Jolanta Hickey and Angela Rudden. An all-around lover of music, he has played in numerous ensembles in genres ranging from jazz to hardcore metal. He holds both a bachelor’s degree from the University of Toronto, where he studied under Katharine Rapoport, and a master’s degree from the University of Victoria, where he was a student of Joanna Hood, both in viola performance. He is currently pursuing an advanced certificate in Baroque viola with Tafelmusik.<br />
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<b>Eleanor Verrette </b>studied violin with Gretchen Paxson and Aisslinn Nosky, modern viola with Anna-Belle Marcotte at McGill University, where she graduated with a BMus. in 2012, and Baroque viola with Pemi Paull. She now performs regularly on Renaissance and Baroque viola with The Musicians In Ordinary, on vielle and rebec with Toronto-based medieval group Pneuma Ensemble, and on plugged-in viola with Boston-area band Hadley and the Jackal. She is featured on recent album releases by acclaimed folk-rock artists Lakes of Canada and Corinna Rose and has also performed with Aradia Ensemble and Montréal singer-songwriter Ari Swan,<br />
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<b>Sheila Smyth </b>is a busy performer with many ensembles, baroque and modern, on violin, viola and treble viola da gamba. She is principal violist of both Nota Bene Baroque Players and Opera York, and a supernumerary violist for Tafelmusik. Sheila is a frequent guest soloist with the Toronto Continuo Collective and Scaramella, and has performed at various summer festivals and symposiums such as Luminato, Grand River Baroque, and the MidWest Early Keyboard Society Conference. She has been heard live in performance with the Emperor Quartet on CBC Radio 2 and CFMX Radio, and is a founding member of Musathena and the Cardinal Consort of Viols.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfL-klGgcQGjitMB91jH8udAhCA4lm5ktQd-Ne6aDCRSKkzP986XXiERyF699ZtGJA2OpygYwhncYm_7E0w9vNpMu9c6qqSCy2mOdP131EzWetNDflXFkQxrcCKN5csL2xbteKzUeftwKJ/s1600/03162016996.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfL-klGgcQGjitMB91jH8udAhCA4lm5ktQd-Ne6aDCRSKkzP986XXiERyF699ZtGJA2OpygYwhncYm_7E0w9vNpMu9c6qqSCy2mOdP131EzWetNDflXFkQxrcCKN5csL2xbteKzUeftwKJ/s320/03162016996.jpg" width="240" /></a></div>
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Originally from Hamilton, <b>Amanda Keesmaat</b>, bass violin, obtained her Bachelor of Music from the University of Western Ontario and her Artist Diploma from McGill University. A vibrant presence in the Montreal early music community for more than 15 years, she has recorded and performed with prominent singers such as Matthew White, Daniel Taylor, Shannon Mercer, Donna Brown, Natalie Paulin, Susie Le Blanc and Marie-Nicole Lemieux, and renowned ensembles such as Arion Baroque Orchestra, La Nef, Les Idées Heureuses and Les Boréades. She appears regularly on concert series with Arion Baroque Orchestra, Clavecin en Concert, Studio Musique Ancienne de Montréal, La Nef and at festivals such as Montreal Baroque, Ottawa Chamber Music Festival, the Lameque Baroque Festival, and Vancouver Early Music Festival and Music and Beyond. As a founding member of Ensemble Les Voix Baroques and Skye Consort, she has performed across Canada. Amanda has recorded for ATMA discs, Early-Music.com, Fidelio, XXI, Analekta, ombú, CBC Radio and CBC Television, BRAVO, the NFB and Radio-Canada.<br />
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-58397649745946687892016-03-18T09:45:00.001-04:002016-03-18T10:15:24.522-04:00<div align="center" class="MsoNormal" style="mso-line-height-alt: 5.0pt; text-align: center;">
<span lang="EN-CA" style="font-family: "libre baskerville"; font-size: 16.0pt;">The University of St. Michael’s
College<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "libre baskerville"; font-size: 16.0pt;">in the University of Toronto<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: 36.0pt;"><span style="font-size: x-large;">Byrd, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: x-large;">Mass for Four
Voices</span><o:p></o:p></i></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: large; mso-bidi-font-family: "Libre Baskerville";">with music by Dowland, Campion & others<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: large; mso-bidi-font-family: "Libre Baskerville";">for the Lenten Season<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: large; mso-bidi-font-family: "Libre Baskerville";">Friday, March 18, 2016<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: 20.0pt;"><span style="font-size: large;">7:30 p.m.</span><span style="font-size: 20pt;"><o:p></o:p></span></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEW056Gsk9wEU9FWnr2UFAqv1_cLlfsDJpl3zO_M6wlXKosUvKvghgeYYPDds6RC1uP64DxZxBmndBf0WIIfnY4QGWh7tWD0LI_jKV4oX_iOKYu6ffZVU_U9IsdyBD7EYgIUrNMX3Wm5aX/s1600/Lent+Concert+cover+pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEW056Gsk9wEU9FWnr2UFAqv1_cLlfsDJpl3zO_M6wlXKosUvKvghgeYYPDds6RC1uP64DxZxBmndBf0WIIfnY4QGWh7tWD0LI_jKV4oX_iOKYu6ffZVU_U9IsdyBD7EYgIUrNMX3Wm5aX/s320/Lent+Concert+cover+pic.jpg" width="221" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: large; mso-bidi-font-family: "Libre Baskerville";">St. Basil’s Church</span></b><i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: "libre baskerville"; font-size: 20.0pt;"><span style="font-size: large;"> </span></span></i><br />
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Program</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Preludium -</b> John Dowland (1563-1626) - <i>John
Edwards, lute</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Kyrie, Mass for Four Voices - </b>William Byrd
(c.1540–1623)</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>If that a sinner's sighs -</b> John Dowland -
<i>Soloists</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine - </b>Robert Johnson (c. 1500-1560)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Gloria, Mass for Four Voices -</b> William Byrd</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Author of Light - Thomas Campion (1567-1620)
- <i>Graham Robinson, Bass-baritone</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine - </b>(Robert?) Golder (1510-1563)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Credo, Mass for Four Voices - </b>William Byrd</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Never weather-beaten sail</b> - Thomas Campion -
<i>Soloists</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine </b>Thomas Tallis (c. 1505-1585)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Sanctus/Benedictus - </b>William Byrd</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine - </b>John Taverner (c. 1490-1545) -
<i>Hallie Fishel, Soprano</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine - </b>John Baldwin (d. 1615)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Agnus Dei, Mass for Four Voices - </b>William
Byrd</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Nunc Dimittis - </b>Richard Allison (c. 1560-c.
1610) - <i>Soloists</i></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine - </b>John Ward (1571-1638)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Ave Verum Corpus - </b>William Byrd</span><br />
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhifB2GP-bjPxDpo92DHEVnOdS62qw-wrxBWpdhZIljci_fgvB85ELGMiCs2uGCHOmGwuoNLl1160ZMsJEMlIEIrR4V_EdlLznN5_Wrdysf9yXWcs15n0WuB5KjkCfIcheAJtco4ez1sImK/s1600/byrd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhifB2GP-bjPxDpo92DHEVnOdS62qw-wrxBWpdhZIljci_fgvB85ELGMiCs2uGCHOmGwuoNLl1160ZMsJEMlIEIrR4V_EdlLznN5_Wrdysf9yXWcs15n0WuB5KjkCfIcheAJtco4ez1sImK/s320/byrd.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Refugee Sponsorship Campaign</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">All donations collected tonight will
support Syrian refugees in Canada. Initiated by the students of the University
of St. Michael’s College and supported by the President’s Office, our specific
campaign is designed to raise funds to sponsor a refugee family through the
Archdiocese of Toronto’s Office of Refugees. From September, we will provide a
family with a home on the campus. Your donations tonight will be directed to
their basic needs—clothing, baby necessities, English language classes, metro
passes. The campaign has been very successful so far, raising almost $9,000
towards the goal of $12,400. With your support, we are confident the goal can
be reached before the academic year comes to a close.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">If you prefer to donate by cheque, please
speak to one of the ushers after the concert.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">On behalf of those who will be helped by
your gift, the students of St. Michael’s thank you in advance for your
consideration and generosity.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-US"><b>The Musicians In Ordinary String Band</b></span> </span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Violin</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Chris Verrette </span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Viola</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Matt Antal</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Sheila Smyth</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Eleanor Verrette</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Bass Violin</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Amanda Keesmaat</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lute</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">John Edwards</span><br />
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>St Michael’s Schola Cantorum</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Soprano</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Laurel-Ann Finn</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hallie Fishel*</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Barbara North</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Emily Sherlock</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Jane Ubertino</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Mikhai-Louise Vasile</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Julia Warnes</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hope Aletheia Waterman</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Alto</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Vanessa Chan</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Cindy Dymond</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Charlotte Hodgkins*</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Paula Owolabi</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Annemarie Sherlock</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Katie Stokes</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Kathryn Zaleski-Cox</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Tenor</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Ben Kim*</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Edmund Lo</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Reid Locklin</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Patrick Michalski</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Michael Pirri</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hugo Tang</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Bass</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Robert Allair</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Scott Hoornaert</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Paul McGrath</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Graham Robinson*</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iI8hwR54y-XgayfcZhTFO2LJ0wwUShis7V_PVxRayFrNpxRhjXtVhi8j30FhvWVmuj6_9vW7-FGGGJX2SzNXxrjtYVSIVTaAxj4nf4zwvrSv6RHQpS0JGaldTcgLIM8qD2xxDOpRe98e/s1600/IMG_20160316_195424.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iI8hwR54y-XgayfcZhTFO2LJ0wwUShis7V_PVxRayFrNpxRhjXtVhi8j30FhvWVmuj6_9vW7-FGGGJX2SzNXxrjtYVSIVTaAxj4nf4zwvrSv6RHQpS0JGaldTcgLIM8qD2xxDOpRe98e/s320/IMG_20160316_195424.jpg" width="180" /></a></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Guest Director</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Christina Labriola</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">*= soloists</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Named after the singers and lutenists who
performed in the most intimate quarters of the Stuart monarchs’ palace, <b>The
Musicians In Ordinary for the Lutes and Voices</b> dedicate themselves to the
performance of early solo song and vocal chamber music. Soprano Hallie Fishel
and lutenist John Edwards have been described as “winning performers of winning
music.” A fixture on the Toronto early music scene for over ten years, in 2012
MIO became Ensemble in Residence at St. Michael’s College in the University of
Toronto. MIO have concertized across North America, and have performed to
scholarly and general audiences, lecturing regularly at universities and
museums, for the Shakespeare Society of America, the Renaissance Society of
America, Canadian Society for Renaissance Studies, Grinnell College, the
Kingston Opera Guild, and the Bata Shoe Museum, and the Universities of
Alberta, Toronto, California at San Diego, Syracuse, Trent, and York. They have
been Ensemble in Residence at Lafayette College, Easton, Pennsylvania.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Christopher Verrette</b> has been a member of
the violin section of Tafelmusik since 1993 and is a frequent soloist and
leader with the orchestra. He holds a Bachelor of Music and a Performer’s
Certificate from Indiana University. He contributed to the development of early
music in the American Midwest, as a founding member of the Chicago Baroque
Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis
Baroque Orchestra. He collaborates with many ensembles around North America,
performing music from seven centuries on violin, viola, rebec, vielle, and
viola d’amore. He was concertmaster in a recording of rarely heard classical
symphonies for an anthology by Indiana University Press and recently
collaborated with Sylvia Tyson on the companion recording to her novel,
Joyner’s Dream.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Charlotte Hodgkins,</b> mezzo-soprano, has
worked as a professional chorister for many ensembles, including Ottawa Bach
Choir, Elora Festival Singers, Theatre of Early Music, St. James Cathedral
Choir, and Soundstreams Canada. Charlotte is currently completing a BFA at York
University, studying with Stephanie Bogle. In 2014, the university awarded her
the Peggie Sampson Award for Early Music. Charlotte has sung as alto soloist
with the York University Concert Choir in such works as J. S. Bach's St. John
Passion, Mozart's Coronation Mass, C. P. E. Bach's Magnificat, and Rossini's
Petite Messe Solenelle. Charlotte continues her work as a professional
chorister, and plans to pursue choral conducting and historical performance at
the graduate level.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Ben Kim</b> is a composer and tenor Toronto.
Originally hailing from Geoje, South Korea, he grew up playing the piano. It
wasn't until in he joined a choir at the age of 20 that he started singing in
earnest. As a singer, he has performed with various amateur and professional
groups from the US and Canada. Currently, he is a member of St. James Cathedral
Choir. As a composer, his music has been appreciated and performed throughout
the world by many musicians and ensembles. Notably, his choral arrangement of a
Korean folk song called Hangangsu Taryeong - a “dissonant tone painting,” as
one reviewer put it - was performed in Disney Hall by LA Master Chorale. His
music is often described as eclectic or prismatic. He is published by Renforth
Music in Canada, and earthsongs in the US.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Graham Robinson</b> is a bass-baritone hailing
from Vancouver Island, British Columbia. Receiving his Bachelors of Music in
Voice at the University of Victoria, Graham was a much sought after soloist
during his time in B.C. Now based in Toronto, he has been featured with the
Elmer Iseler Singers, Tafelmusik, La Chapelle de Québec, the Elora Festival
Singers, the Nathaniel Dett Chorale as well as many others. Graham is a devoted
supporter and patron of aesthetics who strongly believes that creativity will
take us anywhere we want to go. “Putting one’s soul into any discipline is art.
It is in those times one learns to fly.” When not making music Graham further
extends his passion for the arts community through film and videography.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>St. Michael’s Schola Cantorum</b> is an
auditioned ensemble drawn from staff, faculty, alumni/ae, students, and friends
of USMC, and members of St. Basil’s parish choir. We sing three concerts per
year, at Michaelmas, and during Advent, and Lent. Michael O’Connor is the
founding Director of St. Michael’s Schola Cantorum. He teaches in the college
programs at St. Michael’s and also directs the St. Mike’s Singing Club. His
academic scholarship and practical music-making overlap in the theory and
practice of liturgical music.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Christina Labriola</b> is an alto, pianist, and
choral conductor, ever interested in the intersection of music and
spirituality. She earned a B.Mus. in piano at the University of Toronto, and
Master of Sacred Music in choral conducting from Emmanuel College, and is
currently a doctoral student at Regis College in the Toronto School of
Theology. She has sung and worked with a number of choral ensembles, including
the MacMillan Singers (2006–2010), and University of Toronto Women's Chorus as
Assistant Conductor (2012–2013). Involved in church music ministry, Christina
serves as music director at the Newman Centre and at St. Peter’s Catholic
Church, Toronto. She plans to continue in the world of academia along with a
varied musical career as church musician, conductor, teacher, choral singer,
accompanist, and performer. Christina is delighted to have been invited to be
the guest conductor for this evening’s concert.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Notes</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Towards the end of his career, William Byrd
was patronised by, and possibly just plain employed to provide music for secret
Masses for the recusant Petre family. He had stayed with the family over
Christmas in 1589 (Is this circumstantial evidence of a Christmas chapel music
gig?) and in the early 1590s, moved to a village near the Petres’ country home.
Though his three Mass settings were printed without a date, this is about the
time the Masses were published. As well as being undated, the title pages also
lack the name of the publisher, who perhaps wanted to keep his involvement on
the down low, and are in a small format, perhaps to make the partbooks easy to
conceal. Comparison of the Byrd Masses with their models show that rather than
being influenced by contemporary continental settings, they look back past the
English Reformation to Masses by Taverner and Tallis. Particular to Byrd,
though, is a sometimes almost madrigalian texture and attention to the text,
and the lack of repetition of words and phrases. Perhaps they needed to get a
move on in case the constable peeped in the chapel window. That said, Queen
Elizabeth asserted she would turn a blind eye to any ‘window into men’s souls’,
and Byrd implies in a letter to her top official that his Catholicism had been
tolerated when he was employed as composer for the Chapel Royal, the top church
music job in the land.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">The printed layout of the Dowland, Allison
and Campion tells us that they were published for private devotions. These
pieces are from books published in tabletop format, with the bass part upside
down from the soprano and perpendicular to the alto and tenor. Place the open
book in the middle of the table and the performers can crowd around the four
sides and read their several parts. Unlike Byrd, John Dowland was not very
serious about his conversion to Catholicism. His association with the
troublesome Earl of Essex probably counted against him more than his faith in
his failed attempt to get a job at the Elizabethan court. He stomped off to the
continent in a huff, but reports in a letter from Florence that he has heard of
a team of Jesuits being sent to England, and that he can get a gig at the Papal
court and do some further spying if needed. In fact, he ended up working for
James I. Campion published a songbook ‘Contayning divine and morall songs’ bound
with a book ‘on the light conceits of lovers’ in 1613 from which his two ayres
are taken. Books of Psalms like Allison’s, using metrical paraphrases of the
Psalms and canticles, were the main way for singing psalms in England from the
mid 16th century until well into the 18th. The Old Hundredth ‘All people that
on earth do dwell’, to a Genevan tune, is probably the most famous of this
repertoire. The setting of the Nunc dimittis paraphrase is from this psalter.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">For some reason, the snippet of chant Gloria
Tibi Trinitas, the antiphon for the first psalm for the feast of the Trinity in
‘Sarum’ usage (the chant used in England before the Reformation) became the
subject of a fascination quite out of proportion to the 30 seconds it
originally took up on one feast day at Vespers. John Taverner used the
plainchant as the subject, or ‘cantus firmus’ for a Mass, where the tune is
heard in its entirety first at the words ‘in nomine Domine’ in the Benedictus.
The lute part of the solo voice version you will hear is a straightforward
intabulation of the lower voice parts of this passage from the Mass from a
manuscript in the library of the Paston family, also recusants. Composers,
particularly for consorts of strings, took the plainchant and used it as a
subject for hundreds of In Nomines for well over a hundred years after Taverner
popped it into the texture of his Mass. The Petres and Pastons maintained a set
of ‘viols’ in their households (the word ‘viol’ and ‘violin’ were used
interchangeably in English at the time). All the pieces called In Nomine this
evening, then, have the tune somewhere in the texture.</span></div>
</div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Translations</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Kyrie</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lord, have mercy.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Christ, have mercy.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lord, have mercy.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Gloria</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Glory to God in the highest,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and on earth peace to people of good will.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">We praise you, we bless you, we adore you, we glorify you,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">we give you thanks for your great glory,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lord God, heavenly King, O God, almighty Father.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lord Jesus Christ, Only Begotten Son,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lord God, Lamb of God, Son of the Father,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">you take away the sins of the world, have mercy on us;</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">you take away the sins of the world, receive our prayer;</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">you are seated at the right hand of the Father, have mercy on us.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">For you alone are the Holy One, you alone are the Lord,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">you alone are the Most High, Jesus Christ, with the Holy Spirit,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">in the glory of God the Father. Amen.</span></div>
<div class="MsoNormal">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Credo</b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">I believe in one God, the Father almighty,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">maker of heaven and earth,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">of all things visible and invisible.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">I believe in one Lord Jesus Christ,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">the Only Begotten Son of God,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">born of the Father before all ages.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">God from God, Light from Light, true God from true God,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">begotten, not made, consubstantial with the Father;</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">through him all things were made.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">For us men and for our salvation he came down from heaven,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and by the Holy Spirit was incarnate of the Virgin Mary, and became man.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">For our sake he was crucified under Pontius Pilate,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">he suffered death and was buried,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and rose again on the third day in accordance with the Scriptures.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">He ascended into heaven and is seated at the right hand of the Father.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">He will come again in glory to judge the living and the dead</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and his kingdom will have no end.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">I believe in the Holy Spirit, the Lord, the giver of life,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">who proceeds from the Father and the Son,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">who with the Father and the Son is adored and glorified,</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">who has spoken through the prophets.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">I believe in one, holy, catholic and apostolic Church.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">I confess one baptism for the forgiveness of sins</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and I look forward to the resurrection of the dead</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">and the life of the world to come. Amen.</span></div>
<div class="MsoNormal">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Sanctus/Benedictus</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Holy, holy, holy Lord God of hosts,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Heaven and earth are full of your glory.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hosanna in the highest.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Blessed is he who comes in the name of the Lord.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hosanna in the highest.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>In Nomine</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">...in the name of the Lord.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Agnus Dei</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lamb of God, you take away the sins of the world: have mercy on us.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lamb of God, you take away the sins of the world: have mercy on us.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Lamb of God, you take away the sins of the world: grant us peace.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;"><b>Ave Verum Corpus</b></span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">Hail, true Body, born of the Virgin Mary,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">who having truly suffered,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">was sacrificed on the cross for mankind,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">whose pierced side flowed with blood:</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">May it be for us a foretaste [of the Heavenly banquet]</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">in the trial of death.</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">O sweet, O holy,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">O Jesus, son of Mary,</span></div>
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<span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif;">have mercy on me. Amen.</span></div>
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com1tag:blogger.com,1999:blog-971395501213577651.post-33130757305672740962016-02-12T08:54:00.004-05:002016-02-12T08:55:51.812-05:00<div style="text-align: center;">
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<b>SWEET SWAN OF AVON</b></div>
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To the Memory of My Beloved the Author, Mr. William Shakespeare</div>
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<span style="font-size: large;"><b>Shakespeare’s Lives of Girls and Women</b></span></div>
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8PM, Feb. 13, 2016 </div>
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Heliconian Hall, Toronto </div>
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<i><b><span class="Apple-tab-span" style="white-space: pre;"> </span>First of the Ladies Masque</b></i><span class="Apple-tab-span" style="white-space: pre;"> </span>Anon.<br />
Here we see Phebe attempt to set her suitor Silvius free and respond with an ayre where the poet assures his beloved that her beauty gives her not the power to decide who will be her vassal. The strings play Byrd’s variations on The Leaves be Green, the signature tune of the dedicatee of Danyel’s songbook, Miss Anne Green.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Phebe from <i>As You Like It</i> [III, 5]</b><br />
<b><span class="Apple-tab-span" style="white-space: pre;"> </span><i>Let not Cloris think </i> John Danyel (1564-c.1626)</b><br />
<b><span class="Apple-tab-span" style="white-space: pre;"> </span><i>The Leaves be Green</i> William Byrd (c.1540-1623) </b><br />
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Ophelia is perhaps, with Lady Macbeth, Shakespeare’s most famous female role, and we present one of her most famous speeches. Campion’s song – he wrote the texts and music – comments on her distressed state, and the violin plays one of the ballad tunes she sings in her madness, tunes associated with powerful men seducing young women.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Ophelia from <i>Hamlet</i> [III, 1]</b><br />
<b><i> My love hath vowd </i> Thomas Campion (1567-1620)</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Bonny Sweet Robin</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Anon.</b><br />
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In the Renaissance imagination the lute replaced the ancient lyre, and was thus the instrument for ‘lyrics’. Proteus recommends the ancient guise of lutenist/ poet/lover. Danyel’s love lyric is in fact a checklist of musical terms for his student Ms. Green. The manuscript lutebook of Margaret Board, a student of John Dowland, gives us the pavan ‘He and She Alone Together.’<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Proteus from<i> Two Gentlemen of Verona</i> [III, 2]<span class="Apple-tab-span" style="white-space: pre;"> </span></b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Like as the Lute delights </i><span class="Apple-tab-span" style="white-space: pre;"> </span>Danyel</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Solus cum Sola </i> John Dowland (1563-1626)</b><br />
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Hortensio has been acting as lute teacher to the irritable Katherina and has had a lute smashed over his head for his trouble. Campion’s heartstrings are all that have been broken by Corinna. A masque dance for the Ladies rounds out the set.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Hortensio from <i>Taming of the Shrew</i> [II, 1]</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>When to her lute Corinna sings</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Campion</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Second of the Ladies Masque<span class="Apple-tab-span" style="white-space: pre;"> </span></i> Anon. </b><br />
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The last stanza of this lesser known poem warns ladies against the hot sighs – or hot air – deployed by poets like that of Dowland’s song, which seem authentic enough to us. We present the ayre with the ‘viols’, as he tells us we might, and a tearful galliard (galliard means ‘gay thing’) from Holborne’s collection of dances ‘for viols or violons’. The two families were largely interchangeable in our period.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>From <i>A Lovers complaint</i></b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Go crystall teares</i> <span class="Apple-tab-span" style="white-space: pre;"> </span>Dowland</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Teares of the Muses </i>Antony Holborne (c.1545-1602)</b><br />
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The queens in the history plays have so much to weep about that it’s hard to choose just one. Dowland’s <i>Second Book of Songs</i>, which starts with this ayre and continues with sad song after sad song, is dedicated to Lucy, Countess of Bedford.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Queen Margaret from<i> Henry VI Part II</i> [III, 2]</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>I saw my Lady weepe </i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Dowland </b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Lady Lucies Masque </i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Anon. </b><br />
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Julia realizes she has acted rashly in tearing up a letter from her lover, which appears to have the sort of complaints the galliard song we couple with it has. We end the ‘first act’ with two pieces from Dowland’s collection of dances Lachrimae or Seaven Teares.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Julia from <i>Two Gentlemen of Verona</i> [I, 2]</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>If my complaints</i><span class="Apple-tab-span" style="white-space: pre;"> </span>Dowland</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Captaine Digori Pipers Galiard<span class="Apple-tab-span" style="white-space: pre;"> </span></i>Dowland</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Mistresse Nichols Almand </i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Dowland</b><br />
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Intermission<br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span><b><i>Paradizo </i><span class="Apple-tab-span" style="white-space: pre;"> </span>Holborne </b><br />
This pavan is titled The Countess of Pembrook’s Paradice in manuscript. Countess Mary Sidney, though a fine poet, is not the ‘real’ author of Shakespeare’s works as the conspiracists contend. Enobarbus speaks of Cleopatra’s agelessness; the ayre may be the Earl of Essex’s paean to Elizabeth’s and we hear a ‘very pretty’ galliard.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Enobarbus from <i>Antony and Cleopatra</i> [II, 2]</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Time stands still<span class="Apple-tab-span" style="white-space: pre;"> </span></i>Dowland</b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Muy linda</i><span class="Apple-tab-span" style="white-space: pre;"><i> </i> </span>Holborne</b><br />
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Time and aging became a preoccupation of poets as Elizabeth approached the end of her reign. John Danyel sets a poem by his brother Samuel, Shakespeare’s nearest peer as a sonneteer. We lighten the mood with another masque dance.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b><i>Sonnet XII</i></b><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>Tyme cruell tyme</i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Danyel </b><br />
<b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>Third of the Ladies Masque</i> <span class="Apple-tab-span" style="white-space: pre;"> </span>Anon. </b><br />
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In this sonnet Shakespeare has the thoughts of the tired lover travel to his beloved, his drooping eyelids opening wide. In the responding lyric set by Dowland, the lover’s eyes are not just open, but weep sad fountains as his imagination ranges from his beloved’s sound sleep to the snowy mountains and the rising and setting sun. The strings take up the tears conceit as they play Holborne’s Pavana Ploravit (Weeping Pavan) which quotes Dowland’s Lachrimae motif.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><i><b>Sonnet XXVII</b></i><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>Weepe you no more </i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Dowland</b><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>Pavana Ploravit</i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Holborne<i> </i></b><br />
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Juliet’s speech would appear to put her in the camp of the Coy Daphne text of this song, which discommends getting turned into a tree for your maidenhead like the nymph. Romeo’s report of Rosalind’s chastity would put her with the text of the contradictory ‘reply’ Chaste Daphne. Another masque dance follows.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Juliet from <i>Romeo and Juliet </i>[III, 2]</b><br />
<i><b><span class="Apple-tab-span" style="white-space: pre;"> </span>Coy Daphne fled <span class="Apple-tab-span" style="white-space: pre;"> </span>Danyel</b></i><br />
<b><span class="Apple-tab-span" style="white-space: pre;"> </span>Romeo from <i>Romeo and Juliet </i>[I, 1]</b><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>Chast Daphne fled </i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Danyel</b><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>The Kings Mistress</i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Anon<i>.</i></b><br />
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Troilus’s pearl is Helen of Troy. The text of East’s madrigal, ‘apt for voices or viols’, has a more standard Petrarchan set of pearly teeth and rosy cheeks.<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Troilus from <i>Troilus and Cressida </i>[II, 2]</b><br />
<b><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span><i>Dainty white pearle</i><span class="Apple-tab-span" style="font-style: italic; white-space: pre;"> </span>Michael East </b><br />
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<b>The Musicians In Ordinary</b><br />
Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. Soprano Hallie Fishel and lutenist John Edwards have been described as ‘winning performers of winning music.’ A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.<br />
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<b><a href="http://rubyjoy.net/SITE/Welcome.html">Ruby Joy</a></b> is a Canadian-American actress about to embark on her fifth season with the Stratford Festival. Since graduating from NYU Tisch School of the Arts, she has performed in theatre, film and TV. Selected theatre credits include Miranda in <i>The Tempest</i> (Theatre by the Bay), Mrs. Van Buren in <i>Intimate Apparel </i>(The Grand Theatre), Miss Casewell in <i>The Mousetrap </i>(Chemainus Theatre Festival), the Ghost of Christmas Past in <i>A Christmas Carol</i> (Theatre North West), and Helen in <i>Cymbeline</i>, Sorel Bliss in <i>Hay Fever</i> and the Princess of France in <i>Love’s Labour’s Lost </i>(Stratford Festival). This coming summer, she will play Susan Pevensie in <i>The Lion, the Witch and the Wardrobe </i>and Kate in <i>Shakespeare in Love</i>. She appeared as Chantel on CBC’s <i>Republic of Doyle</i>.<br />
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<b>Christopher Verrette</b> has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and collaborated with Sylvia Tyson on the companion recording to her novel, <i>Joyner’s Dream</i>. Chris was the sound of Mark Smeaton’s violin on the TV series<i> The Tudors</i>.<br />
The manuscript containing the anonymous masque dances heard tonight preserves only the tune and the bass. The inner parts for were composed for us by Christopher Verrette.<br />
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<b>Matt Antal </b>was born and raised in Toronto. He attended Cardinal Carter Academy for the Arts where he began playing viola at age 13 under the tutelage of Jolanta Hickey and Angela Rudden. An all-around lover a music, he has played in numerous ensembles in genres ranging from jazz to hardcore metal. He holds both a bachelor’s degree from the University of Toronto, where he studied under Katharine Rapoport, and a master’s degree from the University of Victoria, where he was a student of Joanna Hood, both in viola performance. He is currently pursuing an advanced certificate in Baroque viola with Tafelmusik.<br />
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<b>Stephen Marvin </b>is a writer, musician and craftsman living in Toronto. Since 1977 he has specialized in early music, performing with and leading many well known ensembles. He was principal violinist and violist with the Tafelmusik Orchestra and Chamber Players for 20 years, and now performs in about half of the season's programs. Stephen’s primary devotion to chamber music has inspired his participation in many ensembles, especially recitals and trio performances of late 18th century repertoire with fortepiano. Currently, he is the violist with the Lumiere Quartet. Stephen is represented on more than sixty CDs and other recordings, most notably with Sony. He also enjoys an international reputation as a bow-maker. For twenty-five years he has specialized in 17th and 18th century reproductions for early music specialists, like himself and has published articles and given lectures on the history and construction of old bows. He has recently begin making modern bows after examples by Tourte, Peccatte and others.<br />
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<b>Sheila Smyth </b>is a busy performer with many ensembles, baroque and modern, on violin, viola and treble viola da gamba. She is principal violist of both Nota Bene Baroque Players and Opera York, and a supernumerary violist for Tafelmusik. Sheila is a frequent guest soloist with the Toronto Continuo Collective and Scaramella, and has performed at various summer festivals and symposiums such as Luminato, Grand River Baroque, and the MidWest Early Keyboard Society Conference. She has been heard live in performance with the Emperor Quartet on CBC Radio 2 and CFMX Radio, and is a founding member of Musathena and the Cardinal Consort of Viols.<br />
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‘The tuneful <b>Laura Jones</b>’ (Barczablog) has been praised for performances on all three of her instruments: modern cello, historical cello, and viola da gamba. Her multi-faceted activities include cellist of the Windermere String Quartet, principal cellist of the Talisker Players, assistant principal of the Hamilton Philharmonic Orchestra, and principal cellist and gambist of Nota Bene Baroque Players. Recently she performed the solo viola da gamba part in George Benjamin’s Written on Skin with the Toronto Symphony, and has played to sold-out halls with Ensemble Ritmo Flamenco. She is represented on recordings by <i>The Golden Age of String Quartets</i>, with the Windermere String Quartet; <i>Serenade Française,</i> a CD of music by French composers recorded with her father, pianist Lawrence Jones; and Where Words and Music Meet: Talisker Players at Massey College.<br />
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-52258919160475816852016-02-11T09:42:00.001-05:002016-02-11T09:42:48.338-05:00<div class="separator" style="clear: both; text-align: left;">
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The first strain of the Teares of the Muses galliard from a rehearsal for our upcoming concert, the first of our Shakespeare anniversary shows. Chris Verrette, violin, Matt Antal, Steve Marvin and Sheila Smyth, violas and Laura Jones, bass violin. </div>
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<b>SWEET SWAN OF AVON</b></div>
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To the Memory of My Beloved the Author, Mr. William Shakespeare</div>
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This season we commemorate the 400th anniversary of the death of Shakespeare in a special series of concerts. Each program will have readings in pronunciation of the time from the plays and poems of he who Ben Jonson praised as the Swan of Avon with ayres, motets and madrigals ‘apt for voices or viols’, consort music played by our violin band led by Christopher Verrette, and lute solos.<br />
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8PM, Feb. 13th 2016<br />
<b>SHAKESPEARE’S LIVES OF GIRLS & WOMEN</b><br />
Heliconian Hall, 35 Hazelton Ave. near Bay Subway<br />
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Running the gamut from the naughty to the tragic, the young women in the plays are never far from a lute. (Ophelia carries one; Katharina breaks one over her tutor’s head.) Love, loss and often justifiable haughtiness of the older women (in the great ladies and in the lute songs praising Elizabeth) are all considered by the playwright and in the poems set by Dowland, John Danyel, Campion and others. With dance music by Holborne, Johnson et al., actress <a href="http://rubyjoy.net/SITE/Welcome.html">Ruby Joy </a>reads.<br />
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Single tickets at the door $30/$20 students & seniors<br />
<br />John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-43771478087496626822016-01-01T19:30:00.003-05:002016-01-01T19:44:16.171-05:00<!--[if gte mso 9]><xml>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>A New Year’s Day Concert</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b>Jan. 1&2, 2016</b></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>Heliconian Hall</b></span><br />
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Sonata Op. 1, No. 12 Arcangelo Corelli (1653-1713)<br />
<i>Grave – Largo e puntato – Grave – Allegro</i><br />
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Costume di grandi Barbara Strozzi (1619-1677)<br />
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Sonata Violino e Basso Op. 1, No. 2 Francesco Maria Veracini (1690-1768)<br />
<i>Preludio – Alemanda, Larghetto – Siciliana, Cantabile – Grave – Aria, Allegro </i><br />
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Pièces en F Gaspard Le Roux (c.1660-c.1707)<br />
<i>Prelude – Allemande Grave – Courante – Chacone</i><br />
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Sonata Violoncello e Basso Op. 1, No. 6<span style="mso-tab-count: 1;"> </span>Benedetto Marcello (1686-1739)<br />
<i>Adagio – Allegro – Grave – Allegro</i><br />
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Intermission<br />
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Sonata a Violino solo Op. 1, No. 13 George Frederic Handel (1685-1759)<br />
<i>Afetuoso – Allegro – Larghetto – Allegro</i><br />
<i><br /></i>
Sonata da Camera Op. 1, No. 12 – <i>Folia</i> Antonio Vivaldi (1678-1741)<br />
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Serenata Con Violini – Hor che Apollo Strozzi </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqNmneKZ30yPjr1Y2UWitDyJwI1YWycdRXhRozh0WJEzxamleg5UnNPmrNJdBaeiQNUWfFQclcL8yHZlKc9LY0m5xvFA66wgxA9RmEbljo_d5mY1FkpI7dzKCvbNdC39wqFliBdt_dUwH/s1600/IMG_20151230_154401.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqNmneKZ30yPjr1Y2UWitDyJwI1YWycdRXhRozh0WJEzxamleg5UnNPmrNJdBaeiQNUWfFQclcL8yHZlKc9LY0m5xvFA66wgxA9RmEbljo_d5mY1FkpI7dzKCvbNdC39wqFliBdt_dUwH/s320/IMG_20151230_154401.jpg" width="320" /></div>
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<span lang="EN-US" style="color: black;"><br /></span></div>
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<b><span lang="EN-US">The Musicians In Ordinary</span></b></div>
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<span lang="EN-US" style="font-family: Cambria;">Named after the singers and
lutenists who performed in the most intimate quarters of the Stuart monarchs’
palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves
to the performance of early solo song and vocal chamber music. <b>Soprano Hallie Fishel</b> and <b>lutenist John Edwards</b> have been
described as ‘winning performers of winning music.’ A fixture on the Toronto
early music scene for over 10 years, in 2012 MIO became Ensemble in Residence
at St. Michael’s College in the University of Toronto. They have concertized
across North America and lecture regularly at universities and museums.
Institutions where MIO have performed range from the scholarly to those for a
more general public and include the Shakespeare Society of America, the
Renaissance Society of America, the Shakespeare Association of America, Grinnell
College, the Universities of Alberta, Toronto and at California at San Diego, the
Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe
Museum. They have been Ensemble in Residence at Lafayette College in Easton,
Pennsylvania.</span><span lang="EN-US" style="font-family: Cambria;"> </span><!--EndFragment--></div>
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<span style="font-family: Cambria;"><b>Christopher Verrette </b>has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest, as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle, and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.</span><br />
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<span style="font-family: Cambria;"><b>Patricia Ahern</b> has a BA and BMus from Northwestern University, MMus from Indiana University, and performer diploma from the Schola Cantorum in Basel, Switzerland. She has taught baroque violin at the Freiburg Conservatory and Oberlin’s Baroque Performance Institute, and given masterclasses at McGill, Wilfrid Laurier, York and Grand Valley State Universities, and the Universities of Windsor, Wisconsin and Toronto. She has concertized on five continents performing with Milwaukee Baroque, Ars Antigua, Chicago Opera Theater, Kingsbury Ensemble, Aradia, I Furiosi, Newberry Consort, Musica Pacifica, and the Carmel Bach Festival. Tricia has recorded for Sony, Naxos, and Analekta, and joined Tafelmusik in 2002.</span><br />
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<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;"><b>Borys Medicky </b>has appeared as solo harpsichordist and continuo player in the United States, Canada, and Europe. Resident in Toronto, Canada, he is active as a freelance performer, having appeared with major ensembles in Toronto and beyond. He enjoys co-directing (with lutenist Lucas Harris) the Toronto Continuo Collective, an all-continuo ensemble dedicated to fostering an increased interest in the stylish basso continuo accompaniment of seventeenth-century vocal and instrumental music. From 2006-2014 he was the artistic director of the Kitchener-based Nota Bene Baroque Players. He serves as organist of the Fifth Church of Christ, Scientist in Toronto. In addition he builds harpsichords and carries out harpsichord maintenance duties for institutions and private clients in the Greater Toronto area.</span><br />
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<span style="font-family: Cambria;"><span lang="EN-US"></span></span><br />
<span style="font-family: Cambria;">‘The tuneful<b> Laura Jones</b>’ (Barczablog) has been praised for performances on all three of her instruments: modern cello, historical cello, and viola da gamba. Her multi-faceted activities include cellist of the Windermere String Quartet, principal cellist of the Talisker Players, assistant principal of the Hamilton Philharmonic Orchestra, and principal cellist/gambist of Nota Bene Baroque Players. Recently she performed the solo viola da gamba part in George Benjamin’s Written on Skin with the Toronto Symphony, and has played to sold-out halls with Ensemble Ritmo Flamenco. She is represented on recordings by The Golden Age of String Quartets, with the Windermere String Quartet; Serenade Française, a CD of music by French composers recorded with her father, pianist Lawrence Jones; and Where Words and Music Meet: Talisker Players at Massey College.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Program Notes<o:p></o:p></span></b></div>
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<span lang="EN-US">Today, in order to greet the first of the year, we bring you a concert
made up largely of music from the first published works of composers, printed
as their Opus 1’s. Of Corelli’s Op. 1 the amateur musician and critic Roger
North wrote ‘Then came over Corelly's first consort that cleared the ground of
all other sorts of musick whatsoever.’ Corelli’s first sonatas were originally
printed in 1681 in Rome where he worked for the top Cardinal bishops. The
scoring as designated in the Roman partbooks was ‘<i style="mso-bidi-font-style: normal;">violino primo, violino secondo, organo’</i> and ‘<i style="mso-bidi-font-style: normal;">violone o arclileuto;’ </i>but in the decades they remained popular
every bass and chordal instrument then used was listed on a partbook somewhere
where the sonatas were printed, from Naples to London. The title page of John
Walsh’s London edition of the early 18th century gives ‘violoncello’ as the
melodic bass and says the ‘through bass’ is for ‘ye organ, harpsichord or
archlute.’ In Bologna the archlute is a theorbo (which you hear today).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US">In publishing a collection of trio sonatas as his first opus, Vivaldi
imitates Corelli in musical style and choice of scoring. A number of Corelli’s
collections have a ‘ground bass’ as their last piece, and indeed, his sonata we
play today, the last in Op. 1, has a descending ostinato as its ‘<i style="mso-bidi-font-style: normal;">Largo e puntado’ </i>movement. Vivaldi gives
us a virtuoso set of variations on the <i style="mso-bidi-font-style: normal;">Folia
</i>bass at the end of his debut. The <i style="mso-bidi-font-style: normal;">Folia
</i>chord changes are first seen in the E-Z guitar books of the early 17th century
and the charactaristic strumming pattern (strum-STRUMMM-a-strum-strum) can
still be heard in Vivaldi’s and beyond. The string licks are all his own
though. <o:p></o:p></span></div>
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<span lang="EN-US">Handel had worked with Corelli in Rome before settling in London. His
Op. 1 sonatas for a variety of solo instruments were printed at Amsterdam in
the 1720s, but the sonata you hear today, probably composed near the end of his
life, was only numbered as part of that opus by the 19th century cataloguer of
his works. In this, as in the Veracini sonata, you can hear the first
harbingers of the Rococo style, as well as the virtuosity needed to get ‘bums
on seats’ in the new musical world where royal patrons were in decline and
concert goers paid for tickets. Veracini also worked in London in the 1730s and
40s. <o:p></o:p></span></div>
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<span lang="EN-US">Like Handel’s Op. 1, No. 13, whether or not Marcello’s book of ‘cello
sonatas can be called Op. 1 is in doubt, since when they were printed in London
in 1732 they were called Op. 2. Marcello combined composing and performing with
a career in the law and the Venetian government, serving on the Council of 40. <o:p></o:p></span></div>
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<span lang="EN-US">Gaspard le Roux is a man who <i style="mso-bidi-font-style: normal;">does</i>
need an introduction, but almost nothing is known of his life except that he
taught harpsichord in Paris. We can be sure that his stylistically very French <i style="mso-bidi-font-style: normal;">Pièces de Clavecin </i>of 1705 is his Op. 1 as
it is the only publication he left. <o:p></o:p></span></div>
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<span lang="EN-US">Almost no composers attempt
the Cantata form as their first publishing foray, but we bring, we think, a
first with the great Barbara Strozzi’s <i>Serenata
</i>from her Op. 8. In this piece Strozzi could be said to have arrived at the
Cantata form, where recitatives and arias are split from one another and
instruments provide ritornellos and obbligatos. What a Happy New Form. And a
Happy New Year.</span><!--EndFragment-->
</span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span lang="EN-US"><b><br /></b></span></span></div>
<span style="font-family: Cambria;"><b>Translations</b></span><br />
<span style="font-family: Cambria;"><b>Costume di Grandi<span class="Apple-tab-span" style="white-space: pre;"> </span></b> </span><br />
<span style="font-family: Cambria;"><b>The Customs of the Great</b></span><br />
<span style="font-family: Cambria;">Enjoy them then leave them:</span><br />
<span style="font-family: Cambria;">thus inconstant and false</span><br />
<span style="font-family: Cambria;">lovers are accustomed to treat</span><br />
<span style="font-family: Cambria;">what they hold most dear.</span><br />
<span style="font-family: Cambria;">Thus he who lies most, </span><br />
<span style="font-family: Cambria;">hopes for most praise.</span><br />
<span style="font-family: Cambria;">He cheats and enjoys.</span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">With thieving commands</span><br />
<span style="font-family: Cambria;"> they rob one’s pleasure. </span><br />
<span style="font-family: Cambria;">Despise and enjoy – </span><br />
<span style="font-family: Cambria;">thus is the custom of the great. </span><br />
<span style="font-family: Cambria;">Thus who steals </span><br />
<span style="font-family: Cambria;">hopes for more praise. </span><br />
<span style="font-family: Cambria;">He cheats and enjoys.</span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">The great and wise one </span><br />
<span style="font-family: Cambria;">is never well-advised </span><br />
<span style="font-family: Cambria;">to enjoy and then speak well</span><br />
<span style="font-family: Cambria;"> of the love he has enjoyed. </span><br />
<span style="font-family: Cambria;">Thus he who censures </span><br />
<span style="font-family: Cambria;">hopes for more praise.</span><br />
<span style="font-family: Cambria;">He cheats and enjoys.</span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;"><b>Serenata Con Violini</b></span><br />
<span style="font-family: Cambria;"><b>Hor che Apollo </b></span><br />
<span style="font-family: Cambria;">Now that Thetis rests against Apollo's breast </span><br />
<span style="font-family: Cambria;">and my sun is in sleep's lap, </span><br />
<span style="font-family: Cambria;">now that I suffer thinking of him, </span><br />
<span style="font-family: Cambria;">on whom I may not rest my eyes, </span><br />
<span style="font-family: Cambria;">In this refuge, to relieve my pain, </span><br />
<span style="font-family: Cambria;">I come crying in love and alone. </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">Yes, Filli, this heart </span><br />
<span style="font-family: Cambria;">that dies of love, </span><br />
<span style="font-family: Cambria;">comes in supplication, </span><br />
<span style="font-family: Cambria;">in love with your beautiful eyes. </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">See my foot so heavily shackled </span><br />
<span style="font-family: Cambria;">my brightest star, </span><br />
<span style="font-family: Cambria;">and if my suffering hurts you so, </span><br />
<span style="font-family: Cambria;">be less cruel – or if not, less beautiful; </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">if less cruel were the suffering of my slavery, </span><br />
<span style="font-family: Cambria;">I would know you loved me </span><br />
<span style="font-family: Cambria;">and if you were less beautiful, I could elude these bonds. </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">See with how many thorns my heart </span><br />
<span style="font-family: Cambria;">you pierce, red rose, </span><br />
<span style="font-family: Cambria;">and when you scorn my misfortune </span><br />
<span style="font-family: Cambria;">be less fierce or less fair; </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">but vent yourselves, </span><br />
<span style="font-family: Cambria;">be liberated, sighs of mine, </span><br />
<span style="font-family: Cambria;">for I realize now </span><br />
<span style="font-family: Cambria;">that I am mocked by Filli even as she sleeps. </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">She laughs without a doubt at my disquiet </span><br />
<span style="font-family: Cambria;">and ignores the pleading of my lament. </span><br />
<span style="font-family: Cambria;">I should therefore leave without consolation; </span><br />
<span style="font-family: Cambria;">if alive you do not love me, </span><br />
<span style="font-family: Cambria;">dead you will see me. </span><br />
<span style="font-family: Cambria;"><br /></span>
<span style="font-family: Cambria;">While to another place my steps do take me, </span><br />
<span style="font-family: Cambria;">I leave you in sweet forgetfulness, </span><br />
<span style="font-family: Cambria;">I am leaving Filli, my soul, </span><br />
<span style="font-family: Cambria;">may this be the last goodbye.</span><br />
<span lang="EN-US"><span style="font-family: Cambria;"><span lang="EN-US"></span></span></span><br />
<br />
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<span lang="EN-US" style="font-family: Cambria;"><span lang="EN-US"><br /></span></span></div>
<div style="text-align: left;">
<span lang="EN-US" style="font-family: Cambria;"><span lang="EN-US"><br /></span></span></div>
John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-37116884818879815132015-11-27T11:55:00.004-05:002015-11-27T11:57:41.947-05:00<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
Principal’s Music Series at St. Michael’s College<o:p></o:p></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">The
Musicians In Ordinary <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">for
the Lutes and Voices<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">SONGS
OF SOLOMON<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Fr.
Madden Auditorium, Carr Hall <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">University
of St. Michael’s College<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">November
27, 2015<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Lecture
7:30 p.m., Concert 8 p.m.<o:p></o:p></span></b></div>
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<div class="MsoNormal" style="line-height: 150%; tab-stops: right 333.15pt;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 11.0pt; font-variant: small-caps; line-height: 150%; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Salamone Rossi </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 11.0pt; line-height: 150%; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>(c.1570-c.1630)<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sinfonia Quinta
from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Shir hamma’a lot.
‘Ashrei kol yere ‘adonai: Ps. 128 <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">‘Al naharot bavel: Ps. 137 <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Sonata Duodecima sopra la Bergamasca from<i style="mso-bidi-font-style: normal;"> Il Quarto Libro di Varie Sonate</i></span><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sinfonia Nona from
<i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Lamna<u>ts</u>ea.h
‘al haggittit: Ps. 8 <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Shir hamma’a lot. ‘Ashrei kol yere ‘adonai: Ps. 128<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sonata Prima detta
La Moderna from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie
Sonate</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Gagliarda settima
detta L’Herba from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di
Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Correnta settima from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie Sonate</i> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sinfonia Ottava
from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Mizmor letoda: Ps. 100(99)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sinfonia Sesta
from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Sonata sopra l’aria di Ruggiero<i style="mso-bidi-font-style: normal;"> </i>from <i style="mso-bidi-font-style: normal;">Il Terzo Libro di Varie
Sonate</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Sonata Sesta in
dialogo detta La Viena from <i style="mso-bidi-font-style: normal;">Il Terzo
Libro di Varie Sonate<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">‘Elohim hashivenu:
Ps. 80:4, 8, 20<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Mizmor le’asaf. ‘Elohim ni<u>ts</u>av: Ps 82<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt;">Sonata Decima sopra l’aria
Romanesca</span><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">
from<i style="mso-bidi-font-style: normal;"> Il Quarto Libro di Varie Sonate</i></span><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">Shir hamma’a lot.
B</span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">eshuv
‘adonai</span><span lang="EN-US" style="font-size: 10.0pt;"> Ps. 126 <o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">The Musicians In Ordinary</span></b></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Named after the singers and lutenists who performed in the most
intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for
the Lutes and Voices dedicate themselves to the performance of early solo song
and vocal chamber music. <b style="mso-bidi-font-weight: normal;">Soprano Hallie
Fishel</b> and <b style="mso-bidi-font-weight: normal;">lutenist John Edwards</b>
have been described as “winning performers of winning music.” A fixture on the
Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in
Residence at St. Michael’s College in the University of Toronto. They have
concertized across North America and lecture regularly at universities and
museums. Institutions where MIO have performed range from the scholarly to
those for a more general public and include the Shakespeare Society of America,
the Renaissance Society of America, the Shakespeare Association of America,
Grinnell College, the Universities of Alberta, Toronto and at California at San
Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the
Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in
Easton, Pennsylvania. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Praised for her ‘mellifluous yet clear’ singing (James Young, Music in
Victoria), mezzo-soprano <b style="mso-bidi-font-weight: normal;">Rebecca Claborn</b>
has performed with a wide array of ensembles and conductors throughout North
America. A graduate of the University of New Hampshire and the University of
Alberta, Rebecca also studied at the University of Toronto, the Victoria
Conservatory of Music, the Tafelmusik Baroque Summer Institute, and the Franz
Schubert Institut in Austria. She has been a featured soloist with Edmonton’s
Richard Eaton Singers, the Alberta Baroque Ensemble, the Victoria Baroque
Players, the Ottawa Bach Choir, the Victoria Choral Society, the University of
New Hampshire Concert Choir, the Pacific Baroque Orchestra, and the Theatre of
Early Music, appearing on their recent releases on the Analekta label: <i style="mso-bidi-font-style: normal;">The Heart’s Refuge</i> (2014) and <i style="mso-bidi-font-style: normal;">The Vale of Tears</i> (2015). <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Ben Kim</span></b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> is a composer
and tenor based in Toronto. Originally hailing from Geoje, South Korea, he grew
up playing the piano. It wasn’t until he joined a choir at the age of 20 that
he started singing in earnest. As a singer, he has performed with various
amateur and professional groups from the US and Canada. Currently, he is a
member of St. James Cathedral Choir. As a composer, his music has been
appreciated and performed throughout the world by many musicians and ensembles.
Notably, his choral arrangement of a Korean folk song called <i style="mso-bidi-font-style: normal;">Hangangsu Taryeong</i> – a “dissonant tone
painting,” as one reviewer put it – was performed in Disney Hall by LA Master
Chorale. His music is often described as eclectic or prismatic. He is published
by Renforth Music in Canada, and earthsongs in the US.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Graham Robinson </span></b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">is a bass-baritone
hailing from Vancouver Island, British Columbia. Receiving his Bachelors of
Music in Voice at the University of Victoria, Graham was a much sought after
soloist during his time in B.C. Now based in Toronto, he has been featured with
the Elmer Iseler Singers, Tafelmusik, La Chapelle de Québec, the Elora Festival
Singers, the Nathaniel Dett Chorale as well as many others. Graham is a devoted
supporter and patron of aesthetics who strongly believes that creativity will take
us anywhere we want to go. ‘Putting one’s soul into any discipline is art. It
is in those times one learns to fly.’ When not making music Graham further
extends his passion for the arts community through film and videography.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Bass-Baritone<b style="mso-bidi-font-weight: normal;"> Joel Allison</b>
is currently pursuing an Opera Diploma at the University of Toronto under the
tutelage of Daniel Taylor. He is a core member of the Tafelmusik Chamber Choir,
and also performs with the Theatre of Early Music and is the bass lead at
Trinity St. Paul's United Church. He has appeared as a soloist with many
Canadian Ensembles including, the Peterbourgh Singers, Talisker Players, and
Seventeen Voyces Chamber Choir. Joel performs regularly in both opera and
concert. Roles include; the title role in the opera <i style="mso-bidi-font-style: normal;">Don Quixote</i> by George Telemann, Lepporello in Mozart's <i style="mso-bidi-font-style: normal;">Don Giovanni</i>, Don Alfonso and Guglielmo
in Mozart's <i style="mso-bidi-font-style: normal;">Cosi Fan Tutte</i>, Aeneas in
Purcell's <i style="mso-bidi-font-style: normal;">Dido and Aeneas</i>. Upcoming
performances include the role of John Shears in <i style="mso-bidi-font-style: normal;">Paul Bunyan</i> by Benjamin Britten at the University of Toronto. Joel
has a BMus in Vocal Performance from the University of Ottawa.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Christopher Verrette</span></b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> has been a
member of the violin section of Tafelmusik since 1993 and is a frequent soloist
and leader with the orchestra. He holds a Bachelor of Music and a Performer’s
Certificate from Indiana University. He contributed to the development of early
music in the American Midwest, as a founding member of the Chicago Baroque Ensemble
and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque
Orchestra. He collaborates with many ensembles around North America, performing
music from seven centuries on violin, viola, rebec, vielle, and viola d’amore.
He was concertmaster in a recording of rarely heard classical symphonies for an
anthology by Indiana University Press and recently collaborated with Sylvia
Tyson on the companion recording to her novel, <i style="mso-bidi-font-style: normal;">Joyner’s Dream</i>.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Patricia Ahern</span></b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> has a BA and
BMus from Northwestern University, MMus from Indiana University, and performer
diploma from the Schola Cantorum in Basel, Switzerland. She has taught baroque
violin at the Freiburg Conservatory and Oberlin’s Baroque Performance
Institute, and given masterclasses at McGill, Wilfrid Laurier, York and Grand
Valley State Universities, and the Universities of Windsor, Wisconsin and
Toronto. She has concertized on five continents performing with Milwaukee
Baroque, Ars Antigua, Chicago Opera Theater, Kingsbury Ensemble, Aradia, I
Furiosi, Newberry Consort, Musica Pacifica, and the Carmel Bach Festival.
Tricia has recorded for Sony, Naxos, and Analekta, and joined Tafelmusik in
2002.<o:p></o:p></span></div>
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<b style="text-align: center;"><span lang="EN-US" style="font-family: "cambria"; font-size: 10pt;">Alexandra Guerson </span></b><span lang="EN-US" style="font-family: "cambria"; font-size: 10pt; text-align: center;">is a lecturer at the International Foundation Program, at New College, University of Toronto where she teaches world history. She received her PhD from the University of Toronto, defending a dissertation entitled <i>Coping with Crises: Christian-Jewish relations in Catalonia and Aragon, 1380-1391</i>. She has won major research grants from the Federal, Ontario and Quebec governments and her research has been published in journals such as <i>Jewish History</i> and <i>Sefarad</i>. Her new research project, a collaboration with Dana Wessell Lightfoot, deals with Jewish women in Catalonia in the aftermath of anti-Jewish violence in 1391 and is funded by a SSHRC Insight grant.</span></div>
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<span style="font-family: "cambria"; font-size: x-small;"><b>Notes</b></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;">Rossi had already published seven books
of madrigals and other Italian vocal music and four books of instrumental music
when he saw his collection of Hebrew music for three to eight voices with the
proud title <i style="mso-bidi-font-style: normal;">Hashirim asher liSholomo, </i>‘Songs
of Solomon’, through the presses in Venice in 1622-3. This book (which actually
contains no texts from the Song of Solomon) is the first collection of
polyphonic Hebrew music, but it is much more than that. The copious prefatory
material includes a discussion of whether concerted, measured ‘art’ music had a
place in the synagogue in an ‘opinion’ by Rabbi Leon Modena and responses
thereto. So, since it seems to have still been a matter of contention, whether
the <i style="mso-bidi-font-style: normal;">Songs</i> were heard in synagogue,
study hall or private homes is not known. Perhaps the private synagogue, of the
type prominent Jews of the time maintained, in the household of the dedicatee
and Rossi’s patron, Moses Sullam, was the scene for the performance of these
pieces. Perhaps they were heard as sacred chamber music in other rooms. But, though
tonight you hear only Psalm settings, prayers with congregational and cantorial
responses are included, perhaps less suited for public performance or private
devotion. Would women have been heard singing upper parts in the synagogue?
Castrati? Boys? Did Rossi’s sister, a successful early opera singer, take part?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;">Beside Sullam, Rossi’s main patron was
the Duke of Mantua, at whose court<span style="mso-spacerun: yes;">
</span>he worked as a violin player and possibly as a singer. The dance floor
had been the violin’s main haunt for most of the 16<sup>th</sup> century and
indeed, even before the violin’s development, Gugliemo Hebreo della Viola had
been Marchesa of Mantua, Isabella d’Este’s dance master. Though you will hear
some of Rossi’s dance music, you will also hear, especially in the sonatas <i style="mso-bidi-font-style: normal;">Moderna </i>and <i style="mso-bidi-font-style: normal;">Viena, </i>the violin being emancipated from the dance. Rossi specifies
‘chitarrone (more often called ‘theorbo’) ‘or other similar instrument’ as the
bass. Sonatas for two violins and a bass, through Corelli to Handel and beyond,
have their antecedents in Rossi’s books of instrumental music. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;">Rossi went for many years without a pay
raise at the ducal court and it has been suggested this might have been
prejudice at work. He seems to have been from a fairly successful merchant
family, though, and used his court connections to obtain licenses and patronage
for his family’s business, so perhaps he didn’t need the money. His sister, ‘Madama
Europa’ as she was known, didn’t encounter any obstacles in her spectacular
career as a court and early opera singer and Rossi was exempted from wearing
the badge marking him out as a Jew. He is last heard of in Venice in 1628,
putting another publication through the presses. It’s unknown if he stayed on
quietly in Venice, or went back to Mantua and died in 1630 in the destruction
of the Jewish ghetto when Imperial troops invaded, or perished in the plague
that ensued. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;">In the typically hyperbolic commendatory
poetry in the prefaces to the <i style="mso-bidi-font-style: normal;">Songs <span style="mso-spacerun: yes;"> </span></i>Rossi is compared, not to Orpheus,
as musicians usually are in such places, but to King David, author of the
psalms who also ‘danced before the Lord with all his might.’ I wonder if he
danced a galliard, a correnta or one of our ground basses. <o:p></o:p></span></div>
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<span style="font-size: x-small;">Translations</span><br />
<span style="font-size: x-small;"><b>Shir hamma’a lot. ‘Ashrei kol yere ‘adonai: Ps. 128</b></span><br />
<span style="font-size: x-small;">A song of degrees. Blessed are all who fear the Lord: they walk in His ways. The labour of your hands will you eat; blessed will you be and all will be well with you. Your wife will be like a fertile vine in the recesses of your house; your sons will be like olive shoots around your table. Thus, indeed, will the man be blessed who fears the Lord. May the Lord bless you out of Zion, and may you see the good of Jerusalem, all the days of your life. May you see the sons of your sons; peace unto Israel!</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>‘Al naharot bavel: Ps. 137</b></span><br />
<span style="font-size: x-small;">By the rivers of Babylon, there we sat and wept remembering Zion. On willows in its midst we hung our lyres, for there we were asked by our captors and by our oppressors to make merry: ‘sing us a song of Zion.’ How can we sing the song of the Lord in a foreign land? If I forget you, Jerusalem, let my right hand forget itself. Let my tongue stick to its palate if I do not remember you, if I do not raise Jerusalem to the summit of my joy. Remember, Lord, the sons of Edom, in the day of Jerusalem; they said ‘raze it, raze it to its foundations!’ Daughter of Babylon to be ravaged, blessed be he who repays you in the coin you paid us. Blessed be he who grasps and smashes your babes against the rocks.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Lamnatsea.h ‘al haggittit: Ps. 8</b></span><br />
<span style="font-size: x-small;">For the chief musician, on the gittit; a psalm of David. Lord, our Lord, how mighty is your name throughout the earth, for You placed Your glory over the heavens. From the mouth of babes and sucklings You ordained the strength, because of Your enemies. to stop the adversary and the avenger. When I see Your heavens, the work of Your fingers, the moon and stars that You established, what is man that You should remember him and a mortal that You should care for him? You placed him a little below the angels; with honour and esteem You adorn him. You made him rule over the works of Your hands; everything You set under his feet: sheep and oxen, all these, as well as beasts of the field; birds of the skies and fish of the sea; whatever crosses the path of the seas. Lord, our Lord. how mighty is Your name throughout all the earth!</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Shir hamma’a lot. ‘Ashrei kol yere ‘adonai: Ps. 128</b></span><br />
<span style="font-size: x-small;">A song of degrees. Blessed are all who fear the Lord: they walk in His ways. The labour of your hands will you eat; blessed will you be and all will be well with you. Your wife will be like a fertile vine in the recesses of your house; your sons will be like olive shoots around your table. Thus, indeed, will the man be blessed who fears the Lord. May the Lord bless you out of Zion, and may you see the good of Jerusalem, all the days of your life. May you see the sons of your sons; peace unto Israel!</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Mizmor letoda: Ps. 100 (99)</b></span><br />
<span style="font-size: x-small;">A psalm for thanksgiving Cheer the Lord all the earth. Worship the Lord with Joy; come before him in song. Know that the Lord is God; He made us, and not we, His people and the flock of His pasture. Come into His gates with thanksgiving, into His courts with praise; thank Him, bless His name, for the Lord is good, everlasting his mercy and for all generations is His faith.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>‘Elohim hashivenu: Ps. 80:4, 8, 20</b></span><br />
<span style="font-size: x-small;">God, restore us; brighten your face and we shall be saved. God of hosts, restore us; brighten your face and we shall be saved. Lord God of hosts, restore us; brighten your face and we shall be saved.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Mizmor le’asaf. ‘Elohim nitsav: Ps 82</b></span><br />
<span style="font-size: x-small;">A psalm of Asaph. God stands in the congregation of the godly; among the Gods will He judge. How long will you judge wrongly and the wicked favour? Selah. Judge the needy and the orphaned; to the poor and the destitute be just. Release the needy and deprived; from the hand of the wicked save them. They neither know or understand, in darkness they walk; down come all the foundations of the earth. I said: ‘gods you are. and the songs of the Highest One, all of you. Yet as men you will die and as one of the rulers you will fall.’ Rise, God, judge the earth, for you own the nations.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Shir hamma’a lot. Beshuv ‘adonai Ps. 126</b></span><br />
<span style="font-size: x-small;">A song of degrees. When led by the Lord to return to Zion, we were like dreamers. Then our mouth filled with laughter and our tongues with song: then we said among the nations: ‘great things did the Lord do for them.’ Great things did the Lord do for us; we were happy. Return us, Lord, from our captivity, like streams in the Negev. Those who sow in tears, in song will reap. He who goes about weeping, holding a bag of seed, will come back singing, holding his sheaves. </span></div>
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-78000674794187772672015-10-30T10:05:00.002-04:002015-10-30T10:05:34.245-04:00<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
Principal’s Music Series at St. Michael’s College<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">The
Musicians In Ordinary <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">for
the Lutes and Voices<o:p></o:p></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">PROPHETIAE
SIBYLLARUM<o:p></o:p></span></b></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Fr.
Madden Auditorium, Carr Hall <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">St.
Michael’s College<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Oct.
30th, 2015<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Lecture
7:30PM, Concert 8PM<o:p></o:p></span></b></div>
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<br />
Prophetiae Sibyllarum Orlando Lassus (1532-1594)<br />
Ricercars for Lute Melchior Neusidler (1531-1590)<br />
<br />
Prologue<br />
I. Sibylla Persica<br />
II. Sibylla Libyca<br />
<br />
Ricercar Terzo from Il secondo libro<br />
<br />
III. Sibylla Delphica<br />
IV. Sibylla Cimmeria<br />
<br />
Ricercar Quarto Il primo libro<br />
<br />
V. Sibylla Samia<br />
VI. Sibylla Cumana<br />
<br />
Ricercar Primo from Il secondo libro<br />
<br />
VII. Sibylla Hellespontica<br />
VIII. Sibylla Phrygia<br />
<br />
Ricercar Secondo from Il secondo libro<br />
<br />
IX. Sibylla Europaea<br />
X. Sibylla Tyburtina<br />
<br />
Ricercar Quarto from Il secondo libro<br />
<br />
XI. Sibylla Erythreaea<br />
XII. Sibylla Agrippa<br />
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<br />
The Musicians In Ordinary<br />
Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. Soprano Hallie Fishel and lutenist John Edwards have been described as ‘winning performers of winning music’. A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.<br />
<br />
Praised for her ‘mellifluous yet clear’ singing [James Young, Music in Victoria], mezzo-soprano Rebecca Claborn has performed with a wide array of ensembles and conductors throughout North America. A graduate of the University of New Hampshire and the University of Alberta, Rebecca also studied at the University of Toronto, the Victoria Conservatory of Music, the Tafelmusik Baroque Summer Institute, and the Franz Schubert Institut in Austria. She has been a featured soloist with Edmonton’s Richard Eaton Singers, the Alberta Baroque Ensemble, the Victoria Baroque Players, the Ottawa Bach Choir, the Victoria Choral Society, the University of New Hampshire Concert Choir, the Pacific Baroque Orchestra, and the Theatre of Early Music, appearing on their recent releases on the Analekta label: The Heart’s Refuge (2014) and The Vale of Tears (2015).<br />
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<br />
Ben Kim is a composer and tenor Toronto. Originally hailing from Geoje, South Korea, he grew up playing the piano. It wasn't until in he joined a choir at the age of 20 that he started singing in earnest. As a singer, he has performed with various amateur and professional groups from the US and Canada. Currently, he is a member of St. James Cathedral Choir. As a composer, his music has been appreciated and performed throughout the world by many musicians and ensembles. Notably, his choral arrangement of a Korean folk song called Hangangsu Taryeong -- a "dissonant tone painting," as one reviewer put it -- was performed in Disney Hall by LA Master Chorale. His music is often described as eclectic or prismatic. He is published by Renforth Music in Canada, and earthsongs in the US.<br />
<br />
Sean Nix has over 13 years of experience as a professional chorister in Southern Ontario, the United States and the United Kingdom. He is an experienced section-lead and soloist with perfect pitch, low range (B two octaves below middle C), and boasts paramount sight-reading skills. He currently serves as Bass Section Lead at St. Thomas’s Anglican Church, and sings regularly at The Oratory of St. Philip Neri, with Holy Blossom Temple Choir and with Lachan Jewish Chamber Choir, all in Toronto. Aside from music, Sean is a full-time Professor and Program Coordinator in the Transportation Engineering at Mohawk College in Hamilton. He holds a Bachelor of Urban and Regional Planning and Master of Engineering in Civil Engineering, both from Ryerson University. He is a Registered Professional Planner in Ontario.<br />
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<br />
Program Notes<br />
Two times six ‘Modulating chromatic songs’ the introduction to Lassus’s music promises us.<br />
<br />
At a first look at the original partbooks of this music, no doubt prepared as a very special presentation, ones breath is taken away by the sheer beauty of the decorative initial letters depicting the ancient Greek and Roman oracles and all that gold leaf. Once one has got over that a musician will notice that the music uses all seven of the clefs then in use. Modern singers read in two clefs, treble and bass, but different numbers in the ‘cantus’ part are notated in treble, soprano and alto clefs and the other parts are similarly various. Does this mean that Lassus wants different sybylls sung by different singers? Probably not. Notation conventions of the time mean that certain combinations of high clefs (treble for the top part, the now rare tenor or obsolete baritone clef for the bass) would transpose down a fourth. Less commonly used, and less clear about the distance to transpose, were combinations of low clefs which means to transpose up. By this means Lassus avoids using what then would have been extreme keys and accidental sharps and flats in his ‘chromatic songs’. A Renaissance singer’s skill set included transposing everything four notes down, but less so getting his head around accidental D flats.<br />
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<br />
Perhaps also Lassus is making a little puzzle for the recipient of the fancy manuscript to decipher from the introduction, pointing to the ‘secret music’ aspect of the work. Sometimes characterized as ‘motets’, that is to say, music most commonly used in church to replace bits of the Mass or Vespers liturgy, the texts, though in Latin, and style of the music wouldn’t seem to to fit into liturgical use. We therefore perform these pieces tonight with one singer on a part, rather than as choral music as it might more commonly be heard in our century. This heightens the ‘madrigalesque’ tricks Lassus employs with textures, text setting and word painting; ‘Solo’ sings the soprano alone, the other voices dropping out.<br />
<br />
From the time that Dante was guided through Hell and Purgatory by the Roman poet Virgil, and as the Renaissance gathered steam, artists became desperate to claim all things Greek and Roman. Michelangelo popped a few of the Sibylls in among the Old Testament prophets on the Sistine Chapel ceiling. The lyre was elided in the Renaissance with the lute and famous lutenists were given honor as ‘the new Orpheus’ in almost every commendatory verse at the time.<br />
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<br />
Melchior Neusidler worked for a short time at the Imperial court (He got fired for eating meat in Lent.) sent lute pieces to Lassus’s patron the Duke of Bavaria but was mostly patronized by the extremely rich and music mad Fugger family in Augsburg. (They had become rich by lending money to the Habsburgs to secure the title Holy Roman Emperor.) Neusidler has left more lute music than any other German of the Renaissance, though much of it is in the difficult to decipher German tablature. Perhaps to escape an outbreak of the plague he visited Venice, the capital of music publishing, and had some of his works printed in Italian tablature. The Ricercars you hear tonight also appear in a French (letters instead of numbers) tablature anthology of the 1570s, but the editor had copied all of the numerous errors from the Italian print and added some new ones.<br />
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<br />
PROPHETIAE SIBYLLARUM<br />
Modulating songs which you hear with a chromatic tenor,<br />
these are they in which our twice-six sibyls once<br />
sang with fearless mouth the secrets of salvation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijNKPGOB3j-TZ85prtPDF82ebQbkB4RRvUSWIDjRzsddVeWSVZ-ghuxnfkkZ7PaYtVy4af7Ql14SJnp-hVzguqLeiUVmIVq0KygAHRwVhHjsaAg09NMS1LEtqYilwfX78krVRfUfrw1ENC/s1600/Pers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijNKPGOB3j-TZ85prtPDF82ebQbkB4RRvUSWIDjRzsddVeWSVZ-ghuxnfkkZ7PaYtVy4af7Ql14SJnp-hVzguqLeiUVmIVq0KygAHRwVhHjsaAg09NMS1LEtqYilwfX78krVRfUfrw1ENC/s320/Pers.jpg" width="261" /></a></div>
<br />
I. PERSICA<br />
The son of a virgin mother shall sit on a crook-backed ass,<br />
the joyful prince, the only one who can rightly bring<br />
salvation to the fallen; but it will happen in those days that<br />
many shall tell many prophecies of great labor.<br />
But it is enough for the oracles to bring forth with a single word:<br />
That great God shall be born of a chaste virgin.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lu75SJ3OkHxtWgBHZGHMH3SHaG2fXneI5-etkQRcrUf1W4rrhAWULyYhFsjGX9FslaRJlYR6WWk48OhxfvQTgTFOiFRfFZczt6k9uAlMRySZbso3dSNk6qcpIXufEKvEUVHk3pAwnUss/s1600/Lib.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lu75SJ3OkHxtWgBHZGHMH3SHaG2fXneI5-etkQRcrUf1W4rrhAWULyYhFsjGX9FslaRJlYR6WWk48OhxfvQTgTFOiFRfFZczt6k9uAlMRySZbso3dSNk6qcpIXufEKvEUVHk3pAwnUss/s320/Lib.jpg" width="238" /></a></div>
<br />
II. LIBYCA<br />
Behold the days will come, at which time the immortal prince,<br />
sowing abundant crops, shall take away their crimes from men,<br />
whose synagogue will shine with new light;<br />
he alone shall open the soiled lips of the accused,<br />
he shall be just to all; let the king, holy, living for all ages,<br />
recline his limbs in the bosom of the queen of the world.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3GcQphp5pNCKNDv_LOo8vL8ww_N7hoA0D_GgZJgeK57k_bsKwisjNOEDDFFtwVBDpI0EM8tJSmum8mSPTKdHdgcVfg7747uJS_2-OCFDplWEwnRw6rzmX4mTKg59ADuqewIdJ4SITA5L-/s1600/Delph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3GcQphp5pNCKNDv_LOo8vL8ww_N7hoA0D_GgZJgeK57k_bsKwisjNOEDDFFtwVBDpI0EM8tJSmum8mSPTKdHdgcVfg7747uJS_2-OCFDplWEwnRw6rzmX4mTKg59ADuqewIdJ4SITA5L-/s320/Delph.jpg" width="226" /></a></div>
<br />
III. DELPHICA<br />
He shall not come slowly (but this work must be held with<br />
quiet thought), he who will ever store this in a mindful heart,<br />
why his prophets may announce great joys of this<br />
exalted one, who shall come forth conceived from the<br />
virginal womb without taint of man. This conquers all<br />
the works of nature: yet he has done this who governs all things.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMN-aZ9bwiJgoQf01HymY_4cNxePONVDbnKES6GUIElYB3dpnUUjq-Cl2FVOu7c3F5NvwmE7BfEAIaiU5QEX4G3UpAX0QaIaQJozF8rGaVynVy5_p46FYJPMtdMvegiMKM_W8B0909Q9g/s1600/Cym.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMN-aZ9bwiJgoQf01HymY_4cNxePONVDbnKES6GUIElYB3dpnUUjq-Cl2FVOu7c3F5NvwmE7BfEAIaiU5QEX4G3UpAX0QaIaQJozF8rGaVynVy5_p46FYJPMtdMvegiMKM_W8B0909Q9g/s320/Cym.jpg" width="243" /></a></div>
<br />
IV. CIMMERIA<br />
In her tender years, distinguished with beauty, in honor<br />
the holy virgin will feed the king of the eternal host<br />
with her milk; through whom all things will rejoice<br />
with uplifted heart, and in the east will shine<br />
a marvelous star: Magi bringing their gifts with praise<br />
shall present to the child myrrh, gold, Sabaean frankincense.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnUXFfnRa-U1YoQ__XKD7i6gHNhUfPBS7Ehs-WM8_t-na9kDwi1hbQm0cw2heQNLUCOvRKAuMwLl0KsrLS7y377zhgsNbje6aj0h7weGpHhZzCDKdu8HY1DL35SywnV3D_4PqyFMO9UW9S/s1600/Sam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnUXFfnRa-U1YoQ__XKD7i6gHNhUfPBS7Ehs-WM8_t-na9kDwi1hbQm0cw2heQNLUCOvRKAuMwLl0KsrLS7y377zhgsNbje6aj0h7weGpHhZzCDKdu8HY1DL35SywnV3D_4PqyFMO9UW9S/s320/Sam.jpg" width="249" /></a></div>
<br />
V. SAMIA<br />
Behold, the joyful day which shall lift the black darkness<br />
will soon come and unravel the knotty writings of the prophets<br />
of the Judean tribe, as the people's songs tell.<br />
They shall be able to touch this glorious ruler of the living,<br />
whom an unstained virgin will nurture at a human breast.<br />
This the heavens promise, this the glowing stars show.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpSOpYmkY2Nj5qordr3Dr3HRjrJVCnXNsbtkFZPHKvP-CNbECrWH1iwlwczzqE5NNNuU0MY77LJExnFCorR_fUqmm8dYO01pDsHfMCRJr7KeFfVo7FWGArJHq1BKi8P8ceGnjTMYGbfyYs/s1600/Cum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpSOpYmkY2Nj5qordr3Dr3HRjrJVCnXNsbtkFZPHKvP-CNbECrWH1iwlwczzqE5NNNuU0MY77LJExnFCorR_fUqmm8dYO01pDsHfMCRJr7KeFfVo7FWGArJHq1BKi8P8ceGnjTMYGbfyYs/s320/Cum.jpg" width="225" /></a></div>
<br />
VI. CUMANA<br />
Now my most recent words shall remain certain and true,<br />
because they were the last oracles of the king to come,<br />
Who, coming for the whole world with peace, shall be pleased,<br />
as he intended, to be clothed fitly in our flesh,<br />
humble in all things. He shall choose a chaste maiden for his<br />
mother; she shall exceed all others in beauty.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaS1brxr5lhAJviG3vl-JzBBgsS_zkPy9RMK-qSGevLhj4n0rmggfEHjc3Q4nqyaEx9Qk5HCTQjN9LmGytBSMkfoPrnX1Rl7gIjHzc6aXyL42vNWbc8uDCj1OqsgY9vsxjWCFpZPsIftv/s1600/Hell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaS1brxr5lhAJviG3vl-JzBBgsS_zkPy9RMK-qSGevLhj4n0rmggfEHjc3Q4nqyaEx9Qk5HCTQjN9LmGytBSMkfoPrnX1Rl7gIjHzc6aXyL42vNWbc8uDCj1OqsgY9vsxjWCFpZPsIftv/s320/Hell.jpg" width="227" /></a></div>
<br />
VII. HELLESPONTICA<br />
Once while I was reflecting, I saw him adorn a maiden<br />
with great honor (because she kept herself chaste);<br />
She seemed worthy through his gift and divine authority<br />
to give birth to a glorious offspring with great splendor:<br />
the beautiful and true child of the highest Thunderer,<br />
who would rule the world with peaceful authority<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3akV8pecTE6tzEQrUEi-HsokDXNevvS74nrApx0kJmWXQmKbi0onF8fACpD8YwEJFSr9UpRavOjcAQaKin-OA8JcRCf9TZP2pBgygGxNBZiXuUtgkbxu0-D2gkCe87EPOq_k5VGe5qt3F/s1600/Phry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3akV8pecTE6tzEQrUEi-HsokDXNevvS74nrApx0kJmWXQmKbi0onF8fACpD8YwEJFSr9UpRavOjcAQaKin-OA8JcRCf9TZP2pBgygGxNBZiXuUtgkbxu0-D2gkCe87EPOq_k5VGe5qt3F/s320/Phry.jpg" width="243" /></a></div>
<br />
VIII. PHRYGIA<br />
I myself saw the high God wishing to punish<br />
the stupid men of the earth and the blind heart of the rebel.<br />
And because crimes shall thus fill our skin,<br />
God himself wished to send from heaven into the body<br />
of a virgin his son, which the angel shall announce to the fostering mother,<br />
so that he may raise the wretches from the uncleanness they have contracted.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4xkuwenGAEgVQ8eEvWiLhyphenhyphenW4u5pXTcJTfZQOjATEqPhAb07GoYL6oUSuoLF2zcVRVah-9SrVbqgXoqzL0_JhOTw1BriYeo1Zwx-ksvrMy9B2jsBlJ8ID49xaDQwjMCVivIfpVw-gZFvDb/s1600/Eur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4xkuwenGAEgVQ8eEvWiLhyphenhyphenW4u5pXTcJTfZQOjATEqPhAb07GoYL6oUSuoLF2zcVRVah-9SrVbqgXoqzL0_JhOTw1BriYeo1Zwx-ksvrMy9B2jsBlJ8ID49xaDQwjMCVivIfpVw-gZFvDb/s320/Eur.jpg" width="228" /></a></div>
<br />
IX. EUROPAEA<br />
From the body of a virgin shall come forth the pure<br />
word eternal, who shall cross valleys and high mountains.<br />
He, willingly sent even from starry Olympus,<br />
will be sent into the world a pauper, who shall rule all creation<br />
with silent power. Thus I believe and shall acknowledge in my heart:<br />
He is the child of both divine and human seed.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-zvlOkd4g3HbWu_ae4YXFj_zh39rB6lF07hANFMvFNr1_d0ZWI2SEvWDVISTbBA8nNPXrKx01GNN8RFZKXLS4k3MCkNhqpfEy1Wlt6OKZU5qcOIw2obBDvOLOlNWsZe7KDZ_z1AGZbvI/s1600/Tib.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-zvlOkd4g3HbWu_ae4YXFj_zh39rB6lF07hANFMvFNr1_d0ZWI2SEvWDVISTbBA8nNPXrKx01GNN8RFZKXLS4k3MCkNhqpfEy1Wlt6OKZU5qcOIw2obBDvOLOlNWsZe7KDZ_z1AGZbvI/s320/Tib.jpg" width="237" /></a></div>
<br />
X. TYBURTINA<br />
The truthful God himself gave me these gifts of prophecy,<br />
that I might proclaim in song the holy virgin<br />
who shall conceive in Nazareth's bounds<br />
that God whom Bethlehem's lands shall see in the flesh.<br />
O most happy mother, worthy of Heaven,<br />
who shall nurse such a child from her holy breast.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPthdojBLdPkVUALbdi7rw9qgzcSEhIYBMmmWOmFSzT3iVxmyntoj1PNlUH5yLEW6Oh3vkh4miIK5yLlxLYo6kODWxSlK68sN4LTb7wBI8JHCm1wVR3F2OmsvPR1p_WMAzuR1l3lVYX3m3/s1600/Ery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPthdojBLdPkVUALbdi7rw9qgzcSEhIYBMmmWOmFSzT3iVxmyntoj1PNlUH5yLEW6Oh3vkh4miIK5yLlxLYo6kODWxSlK68sN4LTb7wBI8JHCm1wVR3F2OmsvPR1p_WMAzuR1l3lVYX3m3/s320/Ery.jpg" width="217" /></a></div>
<br />
XI. ERYTHRAEA<br />
I behold the son of God, who sent himself from on high,<br />
when the joyful days shall bring the last times.<br />
He whom the comely virgin shall bear from the Hebrew lineage,<br />
he who shall suffer much on earth from his tender years on,<br />
he shall nevertheless be here a great seer in godly prophecy,<br />
the son of a virgin mother, truthful and of a wise heart.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepBrj4uDXxCVl3Z_MWvYeP8dtYmlHXsn63BGHMjtIdqkuZvKWN95zUVNzefebIl-QJGNICa9UsnNons_i2twWxKfWgTNDZRXal3pDZIGf3qMkxIqaJNJxU1HznMIBwxo-aOONQsmGcMew/s1600/Agr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepBrj4uDXxCVl3Z_MWvYeP8dtYmlHXsn63BGHMjtIdqkuZvKWN95zUVNzefebIl-QJGNICa9UsnNons_i2twWxKfWgTNDZRXal3pDZIGf3qMkxIqaJNJxU1HznMIBwxo-aOONQsmGcMew/s320/Agr.jpg" width="217" /></a></div>
<br />
XII. AGRIPPA<br />
The highest and dearest shall be born in the flesh the son<br />
of the true virgin, and the holy word shall fill the womb<br />
of the maiden through the pure intention of the nurturing spirit;<br />
although contemptible to many, he, for love of our salvation,<br />
will censure the sins committed by our guilt;John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-3264918263236786142015-09-29T08:18:00.003-04:002015-09-29T08:18:58.692-04:00<div>
View or download the St. Michael's College Michaelmas Concert program. </div>
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-33760047384163108852015-09-24T19:02:00.003-04:002015-09-24T21:52:09.380-04:00<div class="">
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<span style="font-family: Georgia, 'Times New Roman', serif;">The Principal’s Music Series at St. Michael’s College</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Musicians In Ordinary for the Lutes and Voices</span></div>
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<b>MUSIC FROM THE ANNE BOLEYN SONGBOOK</b></div>
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Fr. Madden Auditorium, Carr Hall, St. Michael’s College</div>
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Sep. 25th, 2015</div>
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Lecture 7:30PM, Concert 8PM</div>
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<span style="font-family: Georgia, Times New Roman, serif;">Jouyssance vous donneray Claudin de Sermisy (c.1490-1562)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">In illo tempore accesserunt Jean Mouton (c.1459-1522)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">La Magdalena, Basse danse P.B./ Pierre Blondeau? (fl.1520-1530s)<br class="" />(Tourdion)/(Recoupe)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Gabrielem archangelum Anon.<br class="" />Pavane (Bel Fiore)/Sauterelle/ Blondeau?<br class="" />Galliard (Romanesca)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Alma redemptoris Mater Jacob Obrecht (1457/8-1505)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">La Roque/Galliard Blondeau?</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">O genitrix gloriosa Loyset Compère (c.1445-1518)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Gentilz Galans Anon.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje0L-riRwEIOaJcZKPo8DGUjuOqGBEeVjVJ1jbt1K7v04DAznBP5ZBYTU_5ypn1V4iUpqBm9BgS3l4U4OO_7J6mRpUeAQXjYX1rdb1iqHcSeWhsOZ4BbO_Xtep5u3mGNg_87g41yNjF7fS/s1600/l_bi181+page1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje0L-riRwEIOaJcZKPo8DGUjuOqGBEeVjVJ1jbt1K7v04DAznBP5ZBYTU_5ypn1V4iUpqBm9BgS3l4U4OO_7J6mRpUeAQXjYX1rdb1iqHcSeWhsOZ4BbO_Xtep5u3mGNg_87g41yNjF7fS/s320/l_bi181+page1.png" width="320" /></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Prelude/Secoures moy/ Claudin/Blondeau?<br class="" />Tant que vivray/Jouissance</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Ave Maria Josquin des Prez (c.1450-1521)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Pavane P.B./Sanserre, Basse dance/ Blondeau?<br class="" />Branle gay</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Sicut lilium inter spinas Antoine Brumel (c.1460-1512/3)<br class="" /> </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Please turn off your cell phones. No photos or recording please.</span></div>
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<br class="" /><b>The Musicians In Ordinary</b><br class="" />Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. Soprano <b>Hallie Fishel </b>and lutenist<b> John Edwards </b>have been described as ‘winning performers of winning music’. A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL3JsUjJ_qY2dzS5uniK78OhalVhVZU-3N_F9mSktOklFoEHO-l1QIv2wn10wH9EiS-ygOrz7qRtGYfEBeQwVnvkMU9nrp0wT-yeZBoky0wSXpZmErKOL670XYENFumWPrezhmdo2JUMbu/s1600/IMG_0015.jpg" imageanchor="1" style="font-family: Georgia, 'Times New Roman', serif; margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL3JsUjJ_qY2dzS5uniK78OhalVhVZU-3N_F9mSktOklFoEHO-l1QIv2wn10wH9EiS-ygOrz7qRtGYfEBeQwVnvkMU9nrp0wT-yeZBoky0wSXpZmErKOL670XYENFumWPrezhmdo2JUMbu/s320/IMG_0015.jpg" width="320" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Elisabeth Hetherington</b> has performed as the soprano soloist Orpheus Choir, the Talisker Players, Toronto Masque Theatre, the Toronto Chamber Choir and the Elixir Baroque Ensemble. Last season she made her Opera Atelier début in their production of <i>Alcina</i>, and in 2012 played Countess Rosina in the Canadian premiere of Darius Milhaud's <i>La Mère Coupable</i> with the Summer Opera Lyric Theatre. In December 2010 she made her solo début with the Toronto Symphony Orchestra under the baton of Alain Trudel singing the role of Tilly in Howard Blake’s <i>The Bear.</i> She continues her education toward a Master's of Early Music Voice Performance degree at the Conservatorium van Amsterdam.<br class="" /><br class="" />An oboist by profession,<b> Gillian Howard</b> also enjoys singing Early Music. She is a member of Schola Magdalena, a group of women dedicated to the performance of medieval vocal music, and has sung with the Gallery Choir at the Church of St. Mary Magdalene for longer than she can remember. In the past, she has performed with Aradia Ensemble and Studio Sixteen. Gillian holds Masters degrees in Historical Performance and in Musicology from the University of Toronto.<br class="" /><br class="" />Winnipeg born mezzo soprano Laura McAlpine has been acclaimed for her ‘mellifluous singing and flashes of wit’ (Opera Canada), an ‘impressive voice that jumps off the stage’ (Classical 96.3 FM), and an ‘expressive voice with fine artistic sensibility’ (Whole Note Magazine). Laura was the alto soloist in the North American premiere of Krystof Maratka’s <i>VABENI</i>, for choir and orchestra with Peter Oundjian and the Toronto Symphony Orchestra. In 2014, she sang in the world premiere of Christopher Mayo’s <i>Under Dark Water</i>, with Esprit Orchestra under the direction of Alex Pauk. Laura has also been a soloist with Victoria Symphony Orchestra and conductor Alain Trudel. Upcoming performances include, alto soloist in Handel’s <i>Messiah</i>, with the Elmer Iseler Singers, and<i> Spirit Dreaming</i> (Ravel’s <i>Chanson Madécasses</i>, and Sculthorpe’s<i> Island Dreaming)</i>, with Talisker Players.<br class="" /><br class="" />Christopher Jääskeläinen is a tenor, violinist, and recording engineer, originally from Sault Ste Marie, Ontario. He has been a member of the Kammermusik String Quartette, the St. James Singers, the Evestrum World Music Ensemble, the Goulais River Rats, and was also a TTC busker for two years. The Sault Symphony Orchestra has featured Chris as a soloist, both as a vocalist and a violinist. He was a choir lead with the Church of St. Timothy from 2004-2011, and a member of The Nathaniel Dett Chorale since 2004 and sings at the Anglican Cathedral of St. James.<br class="" /><br class="" />Graham Robinson is a bass-baritone hailing from Vancouver Island, British Columbia. Receiving his Bachelors of Music in Voice at the University of Victoria, Graham was a much sought after soloist during his time in B.C. Now based in Toronto, he has been featured with the Elmer Iseler Singers, Tafelmusik, La Chapelle de Québec, the Elora Festival Singers, the Nathaniel Dett Chorale as well as many others. Graham is a devoted supporter and patron of aesthetics who strongly believes that creativity will take us anywhere we want to go. ‘Putting one’s soul into any discipline is art. It is in those times one learns to fly.’ When not making music Graham further extends his passion for the arts community through film and videography.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcHUSqF2hpPh7l3DSm5eq8e1-WlC_BQd-f_k8gwVohBJMur3UAMF3CyTzy1NbUO_Otqm4rKTvG5NVYsVQC8sVvmSVE4kxuATW96yny61kTW2P7wWckaMLSwVwvyOpkRtic0_3HoI8pCCV/s1600/IMG_0014.jpg" imageanchor="1" style="font-family: Georgia, 'Times New Roman', serif; margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcHUSqF2hpPh7l3DSm5eq8e1-WlC_BQd-f_k8gwVohBJMur3UAMF3CyTzy1NbUO_Otqm4rKTvG5NVYsVQC8sVvmSVE4kxuATW96yny61kTW2P7wWckaMLSwVwvyOpkRtic0_3HoI8pCCV/s320/IMG_0014.jpg" width="320" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Program Notes</b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">It would seem to be a great irony of the ‘historically informed performance movement’ that in trying to find just what voices and instruments were used in the early modern period it’s been discovered that they were much more open minded about switching, mixing and matching than we are. The title pages of printed books of Masses and motets tell that we can play them on viols if we like. ‘Viols’ might mean violins. ‘Viola’ might mean a lute. Lutes accompanied motets and Mass movements, and played them as solos. Was it a free for all back then?<br /><br class="" />We know that if we were hearing <i>Autumn Leaves </i>at a big dinner club in New York in the 1940s that in the big band there’d be a number of saxes in various sizes, a couple of trumpets and trombones, a piano, drums and bass and maybe a guitar. The sax players might double on flute, but rarely and as a special effect. There might be a clarinet, but not usually. If we went to a smaller club later for some after-hours cocktails the be-boppers would be an alto or tenor sax and/or a trumpet, piano, bass drums and maybe a guitar. French horn and a tuba may be heard on Miles Davis’s<i> Birth of the Cool </i>in the late 50s, but we wouldn’t hear them in a 40s club. So the scoring of a jazz standard in a given period is not specific, yet not just whoever turns up with a horn, and differs according to context.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7ZCmPXsuHJ0SOP3UKIbO01D-J7j4Rb7FOIhwD_Z2lTAXLQaG04M0Vgc48Wo5WRR6YSkLD0NOCzcMYDpe039EZeHUv1Jl_CEAzm2swTu1FBUUDKWUbbbSmVyLSI39tAVrDTpHjOSRGSbG/s1600/Charlie_Parker%252C_Tommy_Potter%252C_Miles_Davis%252C_Duke_Jordan%252C_Max_Roach_%2528Gottlieb_06851%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7ZCmPXsuHJ0SOP3UKIbO01D-J7j4Rb7FOIhwD_Z2lTAXLQaG04M0Vgc48Wo5WRR6YSkLD0NOCzcMYDpe039EZeHUv1Jl_CEAzm2swTu1FBUUDKWUbbbSmVyLSI39tAVrDTpHjOSRGSbG/s320/Charlie_Parker%252C_Tommy_Potter%252C_Miles_Davis%252C_Duke_Jordan%252C_Max_Roach_%2528Gottlieb_06851%2529.jpg" width="320" /></a></span></div>
<span style="font-family: Georgia, Times New Roman, serif;">The manuscript from which we perform music tonight would appear, from its contents, to be almost all church music, and so to be sung by a choir made up of men and boys. But its layout and the attractive decorations of initial letters show it is clearly not for the same purpose as the workaday candle wax and coffee stained partbooks of the men of a chapel choir. In this manuscript these motets, written to be inserted or replace parts of the liturgy, are for private chamber devotions. <br class="" /><div style="text-align: center;">
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The manuscript is associated with the youth of the French princess Marguerite of Alençon and seems to have been given by her to Anne Boleyn when the young English girl was her lady in waiting, a common placement for courtly training for a well placed young woman at the time. Anne’s name and her diplomat father’s motto appear on one of the pages. The songbook’s contents seem to be tailored for the spiritual education of a young lady, with a large number of texts about the Virgin Mary, and emphasizing motherhood. (O genitrix gloriosa and Gabrielem Archangelum.) What teenage girl doesn’t like a love song? The manuscript includes several settings from the Song of Solomon, usually interpreted as adoration of the Virgin Mary. (We sing Sicut lilium), Even the drinking song Gentilz Galans (possibly added later) has a sacred and a feminine connection as the long suffering hostess is about to be stiffed for the bill with a Credo, both an IOU and a part of the Mass. Given Anne’s later effect on the marriage of Henry VIII and Catherine of Aragon we couldn’t resist the ‘let no man put asunder’ text. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgghxPjzL5Fz9A0oj8AdI110-faOZ_sJ1wG7wENzBUxvf3fy6n2eCMJF7Oo7jyrLPlOcF81j5g52IWGRPVjihJCd4Rhg_7Kq1j5qj8uiiIp98nwZabU6YnpWGZDzxs6Y3P7z1F-BsVa2N29/s1600/AB+Sig.jpg" imageanchor="1" style="font-family: Georgia, 'Times New Roman', serif; margin-left: 1em; margin-right: 1em;"><img border="0" height="108" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgghxPjzL5Fz9A0oj8AdI110-faOZ_sJ1wG7wENzBUxvf3fy6n2eCMJF7Oo7jyrLPlOcF81j5g52IWGRPVjihJCd4Rhg_7Kq1j5qj8uiiIp98nwZabU6YnpWGZDzxs6Y3P7z1F-BsVa2N29/s320/AB+Sig.jpg" width="320" /></a></div>
<span style="font-family: Georgia, Times New Roman, serif;">‘Make us a lute that is two steps higher than the viola you made for us, which we find a little low for our voice.’ Isabella d’Este ordered her instrument maker about the same time as this manuscript. To transpose up we use a little high-pitched lute like that being played by Mary Magdalene on the cover (The jar of ointment beside her is her emblem.). When one puts ones fingers in the same place as on a big lute, hey presto the music goes up to where women in a courtly living room might sing.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Translations</b></span></div>
<span style="font-family: Georgia, Times New Roman, serif;">Jouyssance vous donneray<br class="" />I will give you joy, my beloved,<br class="" />and will lead you where your hopes incline.<br class="" />While living, I will not leave you;<br class="" />and still, when I am dead,<br class="" />the spirit will have remembrance.<br class="" /><br class="" />If about me you have doubts,<br class="" />for you I have no less:<br class="" />love should make you understand it.<br class="" />But if it grieves you to be so, soothe your transfixed heart;<br class="" />all who can wait come to the point.<br class="" /><br class="" />In illo tempore accesserunt<br class="" />The Pharisees also came unto him, tempting him, and saying unto him,<br class="" />Is it lawful for a man to put away his wife for every cause?<br class="" />And he answered and said unto them, Have ye not read, </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">that he which made them at the beginning made them male and female,<br class="" />And said, For this cause shall a man leave father and mother,<br class="" />and shall cleave to his wife: and they twain shall be one flesh?<br class="" />Wherefore they are no more twain, but one flesh.<br class="" />What therefore God hath joined together, let not man put asunder.<br class="" /><br class="" />Gabrielem archangelum</span></div>
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<span class=""><span style="font-family: Georgia, Times New Roman, serif;">We know the archangel Gabriel addressed you by divine knowledge, </span></span></div>
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<span class=""><span style="font-family: Georgia, Times New Roman, serif;">we discuss how your womb was impregnated by the Holy Spirit. </span></span></div>
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<span class=""><span style="font-family: Georgia, Times New Roman, serif;">Shame on the unfortunate Jew who said Christ was born from the seed of Joseph.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="">Glory be to the Father and to the Son and to the Holy Ghost.</span><span class=""><br class="" /></span><br class="" />Alma redemptoris Mater<br class="" />Loving Mother of the Redeemer, who remains the gate by which we mortals enter heaven,<br class="" />and star of the sea, help your fallen people who strive to rise:<br class="" />You who gave birth, amazing nature, to your sacred Creator:<br class="" />Virgin prior and following, taking from the mouth of Gabriel that Hail! have mercy on our sins.<br class="" /><br class="" />O genitrix gloriosa<br class="" />O glorious Parent, splendid Mother of God,be with child, without detriment to your virginity; and thus you shall be blessed, ever-virgin Mary.<br class="" /> <br class="" />Gentilz Galans<br class="" />Dear gallant companions of the grape<br class="" />Let us drink the same amount in the evening<br class="" />and in the morning as a hundred drunkards/penny and Ho!<br class="" />To our hostess, let us not give money<br class="" />but an IOU/credo.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Ave Maria<br class="" />Hail Mary, full of grace,<br class="" />the Lord is with you, serene Virgin.<br class="" />Hail you whose conception,<br class="" />full of solemn joy,<br class="" />fills heaven and earth<br class="" />with new happiness.<br class="" />Hail you whose birth<br class="" />was our solemn celebration,<br class="" />like Lucifer the Eastern star<br class="" />foretelling the rising of the true Sun.<br class="" /><br class="" />Hail blessed humility,<br class="" />fruitful without man,<br class="" />you whose annunciation<br class="" />has been our salvation.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br class="" />Hail true virginity,<br class="" />immaculate chastity,</span></div>
<span style="font-family: Georgia, Times New Roman, serif;">whose purification<br class="" />has been our cleansing.<br class="" />Hail you most glorious among all<br class="" />angelic virtues,<br class="" />she whose assumption<br class="" />has been our glorification.<br class="" /><br class="" />O Mother of God,<br class="" />remember me.<br class="" />Amen</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br class="" />Sicut lilium inter spinas<br class="" />As the lily among thorns,<br class="" />so is my love among the daughters.<br class="" />As the apple tree among the<br class="" />trees of the woods, so is my beloved<br class="" />among the sons.<br class="" />I sat down under his shadow, whom I desired:<br class="" />and his fruit was sweet to my taste.</span></div>
John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-77032179519022285182015-09-14T13:35:00.001-04:002015-09-14T13:36:44.520-04:00<div>
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<span lang="EN-US" style="font-family: "Academy Engraved LET"; font-size: 18.0pt; mso-bidi-font-size: 12.0pt;">In
Stile Moderno<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Academy Engraved LET"; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: Arial;">May. 2, 2015, 8PM<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Academy Engraved LET"; font-size: 14.0pt; mso-bidi-font-family: Arial;">Heliconian Hall, Toronto</span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><b><span lang="EN-US">In Stile Moderno</span></b></span><br />
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Lamento d’Arianna<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US"><span style="mso-tab-count: 1;"> </span>Claudio
Monteverdi (1567-1643) with<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Sonata decima sopra l’aria
Romanesca<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Salamone Rossi (ca.
1570-1630)<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Quel sguardo sdegnosetto<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Ohimè se tanto amate<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Sonata sopra l’aria di
Ruggiero<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Parlo, misero, o tacio?<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Maladetto s'ia l'aspetto<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Monteverdi<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">L’Amata Aurelia<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US">Andrea Falconieri (ca.1585-1656)<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">La Desiderata<o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">La Bella Marchesetta <o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<span lang="EN-US" style="line-height: 200%;">Intermission<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<span lang="EN-US" style="line-height: 200%;"><span style="mso-tab-count: 1;"><span class="Apple-style-span" style="font-family: Times;"><i><span lang="EN-US" style="line-height: 32px;"></span></i></span></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"></span></span></i></div>
<div class="MsoNormal" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US"><o:p></o:p></span></span></i></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBpDcrxcPc_ViG2ZFrljp4S7HgzoRJZx5l8mDOgkLKhbUEsj-EC7Ad6oqQSub9VNESyabBaCH2JAPBfejG1ba1Ok_OS1mKszDs3tl0kgoZQ9LMnGGD2FaWNHaxSEvY2SMOo9N05CGwZJH/s1600/11144910_10153173073830708_1383478580178994040_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBpDcrxcPc_ViG2ZFrljp4S7HgzoRJZx5l8mDOgkLKhbUEsj-EC7Ad6oqQSub9VNESyabBaCH2JAPBfejG1ba1Ok_OS1mKszDs3tl0kgoZQ9LMnGGD2FaWNHaxSEvY2SMOo9N05CGwZJH/s1600/11144910_10153173073830708_1383478580178994040_n.jpg" height="240" style="cursor: move;" width="320" /></a></span></i></div>
<br />
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Ed è pur dunque vero<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Monteverdi</span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Sonata prima detta La Moderna<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Gagliarda settima detta L’Herba<o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Correnta settima<o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Brando secondo<o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Brando terzo<o:p></o:p></span></i></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Anima del cor mio<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Si dolce e’l tormento<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Sonata in dialogo detta La
Viena<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Tirsi mio, caro Tirsi<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Sonata duodecima sopra la
Bergamasca<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;">Rossi<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET';">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Eri già tutta mia <span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US">Monteverdi
with <o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="line-height: 200%;">Bergamasca<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="line-height: 200%;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 200%;">
<i><span lang="EN-US" style="line-height: 200%;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span lang="EN-US" style="line-height: 200%;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
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<i><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Program
Notes<o:p></o:p></span></span></b></i></div>
<i>
</i><br />
<div class="MsoNormal">
<i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">It’s hard to exaggerate the importance
of the Mantuan court as a centre of innovation in the Renaissance and Baroque
eras. It may be the place where the violin was invented; Isabella d’Este, Marchesa
of Mantua in the early 1500s, wanted Apollo’s stringed instruments, rather than
Pan’s winds, to accompany her dancing. She was also a great patron of Italian
solo lute song, as opposed to the four or five part madrigal, the early
composers of which were often Netherlandish.<o:p></o:p></span></span></i></div>
<i>
</i>
<br />
<div class="MsoNormal">
<i><br /></i></div>
<i>
</i>
<div class="MsoNormal">
<i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">It’s hard to tell, though, whether her
great-grandson Duke Vincenzo Gonzaga, was more interested in music or lady
singers. Vincenzo chased the famous singer Adriana Basile from one end of Italy
to the other. There still exist books of poetry which were Basile’s, with
guitar chord symbols, but no melody, providing, thus, a tantalizing glimpse of
her repertoire. Perhaps the songs we present by Monteverdi this evening were
sung by her, though some are from later sources. The excerpt from <i style="mso-bidi-font-style: normal;">Si</i> <i style="mso-bidi-font-style: normal;">dolce
e’l tormento </i>below shows guitar chord symbols of the type found in her books
above the staff, and a figured bass part for the theorbo, or chitarrone as it
was sometimes called, or spinet.</span></span></i></div>
<i>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiamNhtw7cu4-u3AOao1lpXFkkmWtu8IR_cbT8jQ-u3Kxteid-B5WNSwOH3HssUQT2EpuOIVAM7sOjLM3Y2niQkYc5C-LrzroXYvFPIb01EJ0SMB3mdKPDcHo91TL6hrYymyyw3GkH83Q2E/s1600/Si+Dolce+Line.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiamNhtw7cu4-u3AOao1lpXFkkmWtu8IR_cbT8jQ-u3Kxteid-B5WNSwOH3HssUQT2EpuOIVAM7sOjLM3Y2niQkYc5C-LrzroXYvFPIb01EJ0SMB3mdKPDcHo91TL6hrYymyyw3GkH83Q2E/s1600/Si+Dolce+Line.jpg" height="113" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US">But most publications of vocal music in
Italy around 1600 were madrigals, usually for five voices. In 1600 Rossi
published his <i style="mso-bidi-font-style: normal;">Primo Libro </i>which, it
says on the title page, offers ‘madrigals for singing with the chitarrone, with
its tablature opposite the soprano.’ The very dense chitarrone part is not much
like the parts that could be improvised from the basses of, say, Caccini’s ‘new
music’, published a year later, but instead resemble the keyboard
accompaniments Luzzaschi provides in his music for the <i style="mso-bidi-font-style: normal;">Concerto delle donne, </i>the three virtuose employed at Ferrara. <o:p></o:p></span></span></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmPxY8EHcD2u0PLfFmIwGIr8E3_Nu4pN_XChsyYaC_V6M6zyDlAWB8iUBXSJtaaS00VIaoUyCJZls91jYR4rrUx17MCXCDdgX4X3z9C4dphCmqy7QFDf5GMHn3fZHDzBJ_7Wnj4a3Iaer/s1600/Rossi+Madrigals+TP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmPxY8EHcD2u0PLfFmIwGIr8E3_Nu4pN_XChsyYaC_V6M6zyDlAWB8iUBXSJtaaS00VIaoUyCJZls91jYR4rrUx17MCXCDdgX4X3z9C4dphCmqy7QFDf5GMHn3fZHDzBJ_7Wnj4a3Iaer/s1600/Rossi+Madrigals+TP.jpg" height="320" width="231" /></a></div>
<br />
<div class="MsoNormal">
<span lang="EN-US">The musical world was turning, then,
from a five part texture to one of one or two or three high voices supported by
a chitarrone or other chordal bass instrument. Rossi innovates again in
instrumental music, publishing, in 1607, his <i style="mso-bidi-font-style: normal;">Il primo libro delle sinfonie e gagliarde a tre, quatro, & a cinque
voci </i>for ‘two violins (he actually says <i style="mso-bidi-font-style: normal;">‘viole’
</i>but the music is in violin range) or two cornetti, and a chitarrone or
other chordal instrument’. Even the 5-part dances, though, are marked ‘for 5,
or for 3 if you please’ in case you want to leave out the two violas. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The dance floor had been the violin’s
main haunt for most of the 16<sup>th</sup> century and indeed, even before the
violin’s development, Gugliemo Hebreo della Viola had been Isabella d’Este’s
dance master. Though you will hear some of Rossi’s dance music, you will also
hear, especially in the sonatas <i style="mso-bidi-font-style: normal;">Moderna </i>and
<i style="mso-bidi-font-style: normal;">Viena, </i>the violin being emancipated
from the dance. The sonata for two violins and a bass has, through Corelli to
Handel and beyond its antecedents in Rossi’s books. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi76b5dPlUIGBah1KSjx0R0d0bxCQ9CL3Vf7ELcegHRV8xnZI_FYo2RVUyVP3DA84Hl9B2aVHhdQd2U7Lf3Go53G7V2NjksQrFMtdjCQzUtfX1GbzkBoGFvLYZQ7o3it6B9r0CXr1JZga_a/s1600/Primo+Libro+tp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi76b5dPlUIGBah1KSjx0R0d0bxCQ9CL3Vf7ELcegHRV8xnZI_FYo2RVUyVP3DA84Hl9B2aVHhdQd2U7Lf3Go53G7V2NjksQrFMtdjCQzUtfX1GbzkBoGFvLYZQ7o3it6B9r0CXr1JZga_a/s1600/Primo+Libro+tp.jpg" height="320" width="217" /></a></div>
<br />
<div class="MsoNormal">
<span lang="EN-US">Like Isabella’s dance master Gugliemo,
Rossi, too, was Jewish. He went for many years without a pay raise at the ducal
court and it has been suggested this might have been prejudice at work. He
seems to have been from a fairly successful merchant family, though, and used
his court connections to obtain licenses and patronage for his family’s
business. So perhaps he didn’t need the money. His sister, ‘Madama Europa’ as
she was known, didn’t encounter any obstacles in her spectacular career as a
court and early opera singer. Rossi is last heard of in Venice in 1628, putting
a publication through the presses. It’s unknown if he stayed on quietly in
Venice, went back to Mantua and died in 1630 in the destruction of the Jewish
ghetto when Imperial troops invaded, or in the plague that ensued. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Monteverdi published his <i style="mso-bidi-font-style: normal;">Quinto Libro di Madrigali </i>in 1605, and
some of the madrigals therein have a continuo part which allows two high voices
to come out of the texture in the new baroque style. Perhaps he was following
Rossi’s lead of publishing madrigals with some accompaniments. In 1608
Monteverdi’s opera <i style="mso-bidi-font-style: normal;">L’Arianna </i>was
performed for Duke Vincenzo’s wedding. Only the <i style="mso-bidi-font-style: normal;">Lamento </i>has survived. We know the original was punctuated by a
chorus of fishermen, but we have interpolated Rossi’s variations on the <i style="mso-bidi-font-style: normal;">Romanesca </i>bass as a ritornello, as might
have been done in the early 17<sup>th</sup> century. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US">Falconieri was fed up with
his lute job at Parma. After trousering his pre-paycheque in 1614, he seems to
have run away to Mantua; a letter from the composer to the Duke specifies who
is to sing some enclosed duets. A book of his instrumental music was published
in Naples in 1650. Among the mostly Spanish titles (Naples was then a Spanish
kingdom) are some Italian ones which have the more old fashioned two violins
and continuo scoring, without a separate bass part. </span></span><br />
<div class="MsoNormal">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><!--EndFragment--><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
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</span></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">Lamento
d’Arianna </span></b><span lang="EN-CA">- Rinuccini<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Let me die, Let me die!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Whom would you wish to comfort me<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In such a hard fate,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In such a great suffering?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Let me die!</span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><o:p><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"></span></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv75ijElVBs2_i9t69JhmQeFNUQzwhBXfd_4fbscsMKIbCD9s9lvb9uO-y7eRjfsfKPC0eMnPq7dZZwHrs14GOhOLolDDFAqhSt9XIQCvCXysaRzyIyWMvafrQdY-VyKBSRY6G7rUDUnap/s1600/oqcnwo41iea3wgaa8cfb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv75ijElVBs2_i9t69JhmQeFNUQzwhBXfd_4fbscsMKIbCD9s9lvb9uO-y7eRjfsfKPC0eMnPq7dZZwHrs14GOhOLolDDFAqhSt9XIQCvCXysaRzyIyWMvafrQdY-VyKBSRY6G7rUDUnap/s1600/oqcnwo41iea3wgaa8cfb.jpg" height="213" width="320" /></a></span></div>
<br />
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O Theseus, my Theseus! <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For I want to call on you, since you are mine.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Though, alas, cruel man, you flee from my
sight. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Turn back my Theseus, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Oh God, turn back and look once more upon her <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Who abandoned her country and her kingdom for
your sake.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And who now on these shores, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">A prey to pitiless wild beasts, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Will leave her bare bones!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O Theseus, my Theseus!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If you knew, Oh God, alas the torment<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Of miserable Ariadne, Perhaps, in remorse,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Even now you would turn back your prow<span style="mso-spacerun: yes;"> </span>to shore. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But with gentle breezes you go happily on,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">While I remain, weeping, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Athens prepares you greet you with joyful
festivities,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">While I remain, weeping, a prey to the wild
beats of these lonely shores. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Both your aged parents will embrace you with
joy<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But I will see you no more, O mother, O<span style="mso-spacerun: yes;"> </span>my father. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Where, where is the faith you so often swore to
me?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Is this how you restore me to my ancestor’s
ancient throne? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Are these the crowns with which you adorn my
hair?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Are these the sceptres, are these the jewels
and the gold?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To leave me<span style="mso-spacerun: yes;"> </span>abandoned, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To be torn by and devoured by wild beasts?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Ah, Theseus, O my Theseus, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Will you leave me to die and weep in vain
crying for help, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Poor wretched Ariadne, who gave you her trust,
glory and life?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Oh! you don’t even reply!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To my lament his ears are as deaf as a
serpent’s!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O, storms, O hurricanes, O Gales<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Push him down beneath the waves! <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Hurry sea-monsters and whales<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Fill the bottomless deep with his foul limbs.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">What am I saying? Why an I raving? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alas! Wretch that I am, what do I want?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O Theseus, O my Theseus,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">It was not I who uttered those savage words.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My grief spoke, my anguish spoke,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My tongue spoke, yes, but not my heart.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Unhappy woman, I still give way <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To my betrayed hope, and still<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">After so much scorn, the fires of love are not
quenched!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O death, now extinguish the worthless flames!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O mother, O father, O proud homes of the
ancient kingdom where my golden cradle rested. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O servants, O faithful friends (Ah unworthy
fate)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">See where wicked fate has led me. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">See the grief I have inherited from my love, my
trust and his deceit.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">One who loves too well and trusts too much such
a fate endures.</span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><o:p><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ZWMLZ1XItn17uwzcVNCB5ZW_KMx6es8JAwoZm3ZZMg58JGKxQvSIIGkTFLa76NOqWt59u0xLVQ8jzVbIPLwukRw1A0yA5xsy4_GjGuclEu7j8dkSSyrS71klx4yA8jkBgnW5J4TmxAnL/s1600/bacchus_ariadne_titian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ZWMLZ1XItn17uwzcVNCB5ZW_KMx6es8JAwoZm3ZZMg58JGKxQvSIIGkTFLa76NOqWt59u0xLVQ8jzVbIPLwukRw1A0yA5xsy4_GjGuclEu7j8dkSSyrS71klx4yA8jkBgnW5J4TmxAnL/s1600/bacchus_ariadne_titian.jpg" height="293" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't worry. There was a happy ending. </td></tr>
</tbody></table>
</span></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Quel
sguardo sdegnosetto<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">That scornful little glance<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">gleaming and threatening –<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that poisonous dart -<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Shoots out and strikes my heart.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Charms that have set me on fire,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and have divided me.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Wound me with a glance<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Heal me with laughter!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Eyes be armed<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">with roughest rigor<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">pour on my heart<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a cloudburst of sparks!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But let not the lips be late<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">in reviving my corpse;<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">let that glance wound me<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">but that laughter heal me.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To arms sweet eyes!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I prepare my breast for you:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">take joy in wounding me<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">until I faint.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For if by your darts<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I remain conquered,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Wound me with those glances!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But heal me with<span style="mso-spacerun: yes;"> </span>that laughter.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">Ohimè
se tanto</span></b><span lang="EN-CA"> – Guarini<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alas, if you love so much<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To hear me say ‘alas!’ then why do you make<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Him who says ‘alas!’ die?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If I die, you’ll only hear <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">A single languid and sorrowful ‘alas!’<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But if you want my heart, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For me to have life from you and you from me, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">You’ll have sweet ‘alasses’ by the thousand. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">Parlo
misero</span></b><span lang="EN-CA"> – Guarini<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Poor me! Should I speak or keep silent? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If I keep silent, what relief will my dying
have? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If I speak, what pardon will my burning have? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Keep silent, for, at times, a closed flame <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Is well understood by the one who ignites it. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Pity speaks in me, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Beauty speaks in her;<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And that beautiful face says to the cruel
heart:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">‘Who can behold me and not languish from love?’
<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Anima
del cor mio <o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Soul of my heart, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Now that you’re leaving me, wretched woman that
I am,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If you allow me some relief from my suffering,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Don’t prevent me at least from following you<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">With my sighs only,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If only to remember you,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For in so much pain and in such burning anguish<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Will I live from love, as an example of true
faith. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">Tirsi
mio </span></b><span lang="EN-CA">– Guarini<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My Tirsi, dear Tirsi,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Are you deserting me again? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Thus you leave me to my death? Won’t you help
me? <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Don’t refuse me, at least, some last kisses. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">One sword alone will, indeed, wound two hearts;<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The wound of your Phyllis<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Will, indeed, shed your blood. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Tirsi, at one time a name so sweet and dear<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">That I used never to appeal to it in vain,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Assist me, your Phyllis,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For, as you see, by ruthless fate<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Am I led to a cruel and wicked death. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Maledetto
s’ia l’aspetto<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Cursed be the looks<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that have set my heart on fire.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alas! unhappy me, for I suffer <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">cruel torment and will surely die,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">nor can any but you ease my suffering.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Cursed be the looks <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that have set my heart on fire.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Cursed be the arrow<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that has wounded me, of which I'll die.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">She wills it so,<span style="mso-spacerun: yes;"> </span>my sun,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">she wills it,<span style="mso-spacerun: yes;"> </span>who despises me with all her might.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">What shall I do?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Cursed be the arrow<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that has wounded me, of which I'll die.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The pitiless lady, death to me,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">who dealt this blow would have it so.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">She makes light of my ardour,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">wishes me to suffer pain and death.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Here I'll die this grievous day.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The pitiless lady, death to me,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">who dealt this blow would have it so.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Ed è
pur dunque vero<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Then is it true indeed,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Inhuman heart, cruel soul, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">That in changing your mind<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">You have become devoid of both faith and love.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">You may well boast of having betrayed me,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For I turn my kithara to weeping.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Is this the reward<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For all my loving labours?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Thus I am confirmed in<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">You malevolent destiny, hostile stars.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But if your heart refuses all constancy,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Lydia, the fault is yours, and not the stars’.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In my misfortune, I shall drink of<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My morbid, turgid tears,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And, ever grief-stricken,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To all other forsaken lovers<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And to my constancy, I will sculpt in marble:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">‘Foolish is the heart that believes in a
beautiful woman.’<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Poor in comforts,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Begging for hope, I will go wandering:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">With nothing to burden me, nor any home.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Amid tempests I will live sad and solitary.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I will not need to avoid death from precipices,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For he cannot die who cannot live.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The number of years <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">When I was snow to the sun of your beauty,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Those heights of anguish<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Which never gave me the slightest repose,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Have taught the winds to murmur<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Your perfidies, O cruel one, and my torments.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Live, live with your heart of ice, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And let your inconstancy mistrust the breezes,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Clasp, clasp your love in your arms,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And rejoice with him at my misery, and laugh:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And both of you, in sweet and pleasant union,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Build the sepulchre of my life.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Abysses, abysses, hear, hear,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The final words of my despair,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Now that all is gone,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My joys and love and my pleasures.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">So great is my misfortune that I can say<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My grief can rival hell.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Si
dolce e’il tormento<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">So sweet is the torment <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that lies in my heart,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that I live happily <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">because of its cruel beauty.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">May beauty's fury <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">grow wide in the sky<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">without compassion; <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">for my devotion shall hold <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">like a rock against <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">pride's unrelenting wave.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">False hope, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">keep me wandering!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">let no peace <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">nor pleasure befall me!<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Evil woman, whom I adore, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">deny me the rest<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that compassion would give; <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">amidst infinite pain, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">amidst broken hopes <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">shall survive my devotion.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">There is no rest for me <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">in the warmth or the cold.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Only in heaven <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">shall I find rest.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If the deadly strike <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">of an arrow injured my heart,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I shall heal still, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and change my destiny,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">death's very heart<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">with the same arrow.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If the frigid heart <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that stole mine <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">never has felt<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">love's ardour;<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">if the cruel beauty <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that charmed my soul<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">denies me compassion, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">may she die one day<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">by me pained, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">repenting, languishing.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Eri
gia tutta mia<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Once you were all mine<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">This soul and this heart<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">What new bonds of love <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">turn you away from me?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O beauty, o valour<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O miraculous constancy<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Where are you now?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Once you were all mine <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Now you are no longer,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Ah, you are no longer mine.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">These fair eyes only to me<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">once were turned smiling,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For me these golden tresses <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Unfurled in the wind.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O fleeting joys, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O steadfast heart, where are you?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Once you were all mine …<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The joys of my face,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Alas, you no longer look upon.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">My song and my smile<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Have changed into torments.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O despondent sighs, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O vanished compassion,<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Where are you now?<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Once you were all mine …<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; font-size: 10pt;">
<br /></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; font-size: 10pt;">
<br /></div>
<div class="MsoNormal" style="font-family: 'Academy Engraved LET'; font-size: 10pt;">
<br /></div>
<!--EndFragment--><span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; font-size: 10pt;"> <o:p></o:p></span><br />
<!--EndFragment--></i><br />
<!--EndFragment-->John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-65696467999795770412015-03-16T10:00:00.000-04:002015-03-16T10:05:28.661-04:00Mass for St. Patrick - Monteverdi & Grandi<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span lang="EN-CA"></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt; text-align: center;">
<span class="Apple-style-span" style="font-family: Perpetua;"><span class="Apple-style-span" style="font-variant: small-caps;">The University of St Michael’s College </span></span><span class="Apple-style-span" style="font-family: Perpetua; font-variant: small-caps;">in the University of Toronto</span></div>
<div class="MsoNormal" style="margin-bottom: 6pt; text-align: center;">
<span class="Apple-style-span" style="font-family: Perpetua;"><span class="Apple-style-span" style="font-variant: small-caps;"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt; text-align: center;">
<span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: Perpetua;"><span class="Apple-style-span" style="font-variant: small-caps;">In honour of </span></span><span class="Apple-style-span" style="font-family: Perpetua; font-variant: small-caps;">St Patrick</span></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QAZ6Du63r7QoohxBwxD3xxTTwMRRjz2FdWzPn7Y9BEHuemFh-nldJ_IEEMOk67Wi6y2xnzIWXMQj4UXkTdK0gywjv8LHarByGLY39lZl5KWfpXss1_lRvxC6BrQugecFPZmMIntinYJf/s1600/patrick_shamrock_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QAZ6Du63r7QoohxBwxD3xxTTwMRRjz2FdWzPn7Y9BEHuemFh-nldJ_IEEMOk67Wi6y2xnzIWXMQj4UXkTdK0gywjv8LHarByGLY39lZl5KWfpXss1_lRvxC6BrQugecFPZmMIntinYJf/s1600/patrick_shamrock_0.jpg" height="320" width="244" /></a></div>
<br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-variant: small-caps;">
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</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Monday, March 16th, 2015<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">7.30pm </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua; line-height: 115%;">St Basil’s Church</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large; font-variant: small-caps;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large; font-variant: small-caps;">Program<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Introit:
Sonata Decima Quinta à 4<span style="mso-tab-count: 1;"> </span>Dario
Castello (c.1590–c.1658)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Messa
da Cappella à Quattro Voci, Kyrie<span style="mso-tab-count: 1;"> </span>Claudio
Monteverdi (1567–1643)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Gloria
in excelsis<span style="mso-tab-count: 1;"> </span>Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Gradual:
Sonata Ottava a Due Violini <span style="mso-tab-count: 1;"> </span>Giovanni
Battista Fontana (c.1580–c.1630)<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;">Sequence:
Justus germinabit<span style="mso-tab-count: 1;"> </span>Alessandro
Grandi (1586–1630)<br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;">Hallie Fishel, Soprano<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Credo<span style="mso-tab-count: 1;"> </span>Monteverdi
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 2.0pt; margin-left: 17.85pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: right 347.3pt; text-indent: -17.85pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-CA" style="font-family: Perpetua;">Credo in unum Deum<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 2.0pt; margin-left: 17.85pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: right 347.3pt; text-indent: -17.85pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-CA" style="font-family: Perpetua;">Crucifixus<span style="mso-tab-count: 1;"> </span><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;">Hallie Fishel, Soprano,</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Christopher Mayell & Christopher
Jääskeläinen, Tenors, <br />
Christian McConnell, Bass</span></i><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 2.0pt; margin-left: 17.85pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: right 347.3pt; text-indent: -17.85pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: Perpetua;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-CA" style="font-family: Perpetua;">Et resurrexit <span style="mso-tab-count: 1;"> </span><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;">Hallie Fishel & Mikhai Vergara, Sopranos</span></i><span lang="EN-US" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 2.0pt; margin-left: 17.85pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: right 347.3pt; text-indent: -17.85pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-CA" style="font-family: Perpetua;">Et iterum <span style="mso-tab-count: 1;"> </span><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Christopher
Mayell & Christopher Jääskeläinen, Tenors, Christian McConnell, Bass</span></i><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 2.0pt; margin-left: 17.85pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: right 347.3pt; text-indent: -17.85pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-CA" style="font-family: Perpetua;">Et in Spiritum Sanctum<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; tab-stops: right 347.3pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;">Offertorium: Ecce
sacerdos magnus<span style="mso-tab-count: 1;"> </span>Grandi<br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;">Hallie Fishel, Soprano</span></i><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Sanctus<span style="mso-tab-count: 1;"> </span>Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;">Elevation
motet: Memoriam fecit mirabilium<span style="mso-tab-count: 1;"> </span>Grandi<br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;">Hallie Fishel, Soprano</span></i><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Benedictus<span style="mso-tab-count: 1;"> </span>Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Passacalio
from Op. 22<span style="mso-tab-count: 1;"> </span>Biagio
<span style="mso-bidi-font-style: italic;">Marini</span> (1594–1663)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Agnus
Dei<span style="mso-tab-count: 1;"> </span>Monteverdi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; tab-stops: right 347.3pt;">
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Perpetua; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOUCHdr2mAAsgwuVp_kLm9FaNJUxBnNoYjL-mlgjpF5GLCPq4Eks6EjjOPfYBksVQk494OIZ1FyKl_BDAwLAlMcxcfPdiNOgA5ylPnjsrmWdP1AGQ-LA4p57pA0Y2G5_wppybLZLQFGj8/s1600/20150315_210514.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOUCHdr2mAAsgwuVp_kLm9FaNJUxBnNoYjL-mlgjpF5GLCPq4Eks6EjjOPfYBksVQk494OIZ1FyKl_BDAwLAlMcxcfPdiNOgA5ylPnjsrmWdP1AGQ-LA4p57pA0Y2G5_wppybLZLQFGj8/s1600/20150315_210514.jpg" height="240" width="320" /></a></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: Perpetua; font-variant: small-caps;"><b>Today is
the eve of the feast of St. Patrick</b></span><span lang="EN-US" style="font-family: Perpetua;"><b>.</b> Devotion to Patrick, “Apostle of Ireland,” has never
been confined to Irish shores. By the seventh century, devotion had spread
throughout France, Italy, and Germany and it has flourished ever since. The
early modern period saw renewed interest in Patrick’s life and writings. </span><span lang="EN-CA" style="font-family: Perpetua;">The standard medieval life was published in English translation
in 1625 (without the infancy miracles and cursing incidents!). The first
edition of Patrick’s letters was published in 1656. The feast of St Patrick was
included in the Roman breviary in 1631and in the Roman calendar of 1632. </span><span lang="EN-US" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: Perpetua;">In 17th-century Northern Italy, it
was quite normal on feast days for the Mass to be celebrated with suitable
motets replacing the usual chanted antiphons. Our concert includes two such
motets, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Justus
germinabit</span></i><span lang="EN-US" style="font-family: Perpetua;"> and </span><i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Ecce sacerdos
magnus. </span></i><span lang="EN-CA" style="font-family: Perpetua;">A third motet, <i style="mso-bidi-font-style: normal;">Memoriam fecit mirabilium</i>, draws on several texts from the Feast of
Corpus Christi. Placed between the <i style="mso-bidi-font-style: normal;">Sanctus
</i>and <i style="mso-bidi-font-style: normal;">Benedictus, </i>it serves as an
Elevation motet. It was also common for instrumental sonatas to be played during
the liturgy—often in a chromatic style, to depict the mystery of the change of
the substance of the bread and wine. During these substitutions, the priest
would quietly say the text of the suppressed parts of the Proper of the Mass,
at least theoretically.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">A congregation lucky enough to attend a big North Italian
church in the early 17th century would have an hour’s worth of c<i style="mso-bidi-font-style: normal;">oncertato </i>music (music “for the consort”
of instruments and solo voices). Indeed, by the 18th century, lucky
parishioners may have heard a entire violin concerto in place of the
post-communion prayer. But this was far from being merely a “concert”: in the
words of the governors of Santa Maria Maggiore in Bergamo in 1630, the
intention was to “draw the people in and lift them up to devotion.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIb7QGIboDnS-VgisKrquPYY9-6SCG7qUp0Uj4CIIn4P4QLNUpUzHrA5x2972h3jx1cuxojsBwlmIRPt_WOdRQEkWJpBPTgVM6Cv_QTU7cY1tuP-dAhPtxdOL1PCEwt3GMgX6y5DiY-8gD/s1600/Untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIb7QGIboDnS-VgisKrquPYY9-6SCG7qUp0Uj4CIIn4P4QLNUpUzHrA5x2972h3jx1cuxojsBwlmIRPt_WOdRQEkWJpBPTgVM6Cv_QTU7cY1tuP-dAhPtxdOL1PCEwt3GMgX6y5DiY-8gD/s1600/Untitled.jpg" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOssWZ8ui5quAEJtFKomAd3CB8ivk1_JmC_-lIwPwEed1DTSANEzRZEZUzlTVHiFJO_N7oz0rYgd3KaU32I3pg3iVqrsxk6ayMu0rkDhaXrZSq4oYshmkieUj7Ioe3WIgtlZHEZoyw1QzC/s1600/Untitled2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOssWZ8ui5quAEJtFKomAd3CB8ivk1_JmC_-lIwPwEed1DTSANEzRZEZUzlTVHiFJO_N7oz0rYgd3KaU32I3pg3iVqrsxk6ayMu0rkDhaXrZSq4oYshmkieUj7Ioe3WIgtlZHEZoyw1QzC/s1600/Untitled2.jpg" height="320" width="243" /></span></a></div>
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Monteverdi’s <i style="mso-bidi-font-style: normal;">Messa
da Cappella à Quattro Voci</i> was published in his <i style="mso-bidi-font-style: normal;">Selva Morale e Spirituale </i>of 1641, a collection that also contains vespers
psalms, office hymns, motets, and even a couple of Italian madrigals on
spiritual subjects—most in the new Baroque style with and without instruments.
The Mass, by contrast, is in the <i style="mso-bidi-font-style: normal;">stile
antico</i>, the old style: Monteverdi was keen to demonstrate that, while he
was a composer in the forefront of the <span style="mso-bidi-font-weight: bold;">avant</span>-<span style="mso-bidi-font-weight: bold;">garde</span>, he was still capable of writing
glorious music in the tradition of Palestrina. The Mass is marked “da capella,”<i style="mso-bidi-font-style: normal;"> </i>which we usually take to mean
unaccompanied. However, Monteverdi provides a figured bass part in the continuo
part-book, and organ accompaniment to <i style="mso-bidi-font-style: normal;">da
capella </i>choral music seems to have been common. In the middle of the <i style="mso-bidi-font-style: normal;">Credo</i>,<i style="mso-bidi-font-style: normal;"> </i>Monteverdi directs: “Here you can sing the <i style="mso-bidi-font-style: normal;">concertato</i> <i style="mso-bidi-font-style: normal;">Crucifixus/Et
resurrexit/Et Iterum </i>if you please,” and he provides alternative settings
of those texts for one singer on a part, with and without instruments. Thus the
<i style="mso-bidi-font-style: normal;">Credo</i> setting is both ancient and
modern.<o:p></o:p></span></div>
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua; line-height: 115%;">All
three soprano motets are by Alessandro Grandi. Grandi came to Venice in 1617 to
sing under Monteverdi. By 1620 he was Monteverdi’s <i style="mso-bidi-font-style: normal;">vice maestro di capella</i>. In 1627 he took a position as <i style="mso-bidi-font-style: normal;">maestro di capella</i> at the basilica of
Santa Maria Maggiore in Bergamo. Tragically, soon after, he and his family were
victims of an outbreak of the plague; Grandi died in his mid-40s. Dario
Castello worked at St. Mark’s throughout the first decades of the 17th century
and boasts on the title page of his prints that held the position of </span><i><span lang="EN-US" style="font-family: Perpetua; line-height: 115%;">Capo di
Compagnia de Instrumenti</span></i><span lang="EN-US" style="font-family: Perpetua; line-height: 115%;">.
Giovanni Battista Fontana worked in Rome and Padua, but his sonatas were
printed by his son in Venice in 1641. Biagio Marini was Europe’s top violinist when
he worked briefly at St. Mark’s in Venice, in recognition of which he received
a singer’s salary of 60 ducats a year, rather than a violinist’s mere 15 ducats
(or perhaps he sang as well). But even this was not enough to retain his
services: he was soon tempted away to Northern Europe by deep-pocketed German
aristocrats</span></span><br />
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<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; tab-stops: right 347.3pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><o:p>
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</o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Kyrie
eleison</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Perpetua; font-size: large;">Lord, have
mercy. <br />
Christ, have mercy. <br />
Lord, have mercy.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Perpetua; font-size: large;"><b>Gloria in exclesis Deo</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">G<span style="mso-bidi-font-weight: bold;">lory to God in the highest,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">and on
earth peace to people of good will.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">We praise
you, we bless you, we adore you, we glorify you, we give you thanks for your
great glory, Lord God, heavenly King, O God, almighty Father.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Lord Jesus
Christ, Only Begotten Son,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Lord God,
Lamb of God, Son of the Father, you take away the sins of the world, have mercy
on us; you take away the sins of the world, receive our prayer;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">you are
seated at the right hand of the Father, have mercy on us.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">For you
alone are the Holy One,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">you alone
are the Lord,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">you alone
are the Most High,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Jesus
Christ, with the Holy Spirit,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">in the
glory of God the Father. Amen.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOXJM9n4UFBzio87_Lk6sAETjipSLaPvSusDOOMiH0dcDx_lZtIZKXcG1JBUbKfq6x-rsZ2ooipyZ1eYsRMhg9Mgcdcf53FhX-740Weu43ZtjA1lIjwuQqxPXd5g5YcxtuBH4xzC_64vS/s1600/Untitled3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOXJM9n4UFBzio87_Lk6sAETjipSLaPvSusDOOMiH0dcDx_lZtIZKXcG1JBUbKfq6x-rsZ2ooipyZ1eYsRMhg9Mgcdcf53FhX-740Weu43ZtjA1lIjwuQqxPXd5g5YcxtuBH4xzC_64vS/s1600/Untitled3.jpg" height="320" width="216" /></span></a></div>
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Justus
germinabit</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">The righteous shall grow as the lily,
and flourish forever before the Lord.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">This is he who knew righteousness,
and saw great wonders, and made his prayer unto the Most High, and he is
numbered among the saints.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He loved not his life in the world
and attained unto the kingdom of heaven.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Credo</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">I <span style="mso-bidi-font-weight: bold;">believe in one God, the Father almighty,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">maker of
heaven and earth,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">of all
things visible and invisible.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">I believe
in one Lord Jesus Christ,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">the Only
Begotten Son of God,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">born of the
Father before all ages.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">God from
God, Light from Light,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">true God
from true God, begotten, not made, consubstantial with the Father;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">through him
all things were made.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">For us men
and for our salvation<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">he came
down from heaven, and by the Holy Spirit was incarnate of the Virgin Mary, and
became man.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Crucifixus</b><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">For our
sake he was crucified under Pontius Pilate, he suffered death and was buried.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Et
resurrexit</b><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He rose
again on the third day<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">in
accordance with the Scriptures.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He ascended
into heaven and is seated at the right hand of the Father.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Et iterum </b><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He will
come again in glory<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">to judge
the living and the dead<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">and his
kingdom will have no end.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Et in
Spiritum Sanctum</b><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">I believe
in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father
and the Son, who with the Father and the Son is adored and glorified, who has
spoken through the prophets. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">I believe
in one, holy, catholic and apostolic Church. I confess one Baptism for the
forgiveness of sins and I look forward to the resurrection of the dead<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;">and the
life of the world to come. Amen.</span><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikn8Z8COTaOqepFeuEz8WKexPGNqSlvkyoD9085tRO9mpWXny61rhAcnlYpw4uNyly_KkTQ0NQ5eRqhfGyaLceWS2eMaEsPoaNW8OFHs6M6AaUUvaPNJZZjkUUF4ibGxGNjvnp1TWtgRwI/s1600/Untitled4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikn8Z8COTaOqepFeuEz8WKexPGNqSlvkyoD9085tRO9mpWXny61rhAcnlYpw4uNyly_KkTQ0NQ5eRqhfGyaLceWS2eMaEsPoaNW8OFHs6M6AaUUvaPNJZZjkUUF4ibGxGNjvnp1TWtgRwI/s1600/Untitled4.jpg" height="96" width="320" /></span></a></div>
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Ecce
sacerdos magnus</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Behold a great priest, Patrick, who
in his days was pleasing to God, and was found just. In the time of wrath he
was made a reconciliation. None was found like unto him, who kept the law of
the Most High.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Sanctus</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">H<span style="mso-bidi-font-weight: bold;">oly, Holy, Holy Lord God of hosts.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Heaven and
earth are full of your glory.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Hosanna in
the highest.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;"><b>Memoriam
fecit mirabilium</b></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Perpetua;"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He has remembered his wonderful works;
being a merciful and gracious Lord, he has given food to those who fear him. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">He fed us with the finest wheat: and
with honey out of the rock he satisfied us.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">This is the bread which has come down
from heaven; who eats this bread will live forever. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Behold the Lamb of God who takes away
the sins of the world. O saving Victim, who open wide the gate of heaven; our
foes press hard on every side: give us strength, bestow your aid.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;">O sacred banquet in which Christ is
received, the memory of his passion is renewed, the mind is filled with grace,
and a pledge of future glory to us is given.<o:p></o:p></span><br />
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuNtPuXL1DHAPWpmof7LcG9DN49X8foGiPxFP_RIILCOXRkJpZEHLzeRaaYeh4E2JBqgUrZWxihTScLIvelfibzwbkOBBWr8eGbFDh0JFeSuhAGjT5cRvIJhxe8WG2ZMFc2__4r06eJVd/s1600/St+P.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuNtPuXL1DHAPWpmof7LcG9DN49X8foGiPxFP_RIILCOXRkJpZEHLzeRaaYeh4E2JBqgUrZWxihTScLIvelfibzwbkOBBWr8eGbFDh0JFeSuhAGjT5cRvIJhxe8WG2ZMFc2__4r06eJVd/s1600/St+P.jpg" height="320" width="304" /></span></a></div>
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Benedictus</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-CA" style="font-family: Perpetua;">Blessed is
he who comes in the name of the Lord. Hosanna in the highest</span><span lang="EN-US" style="font-family: Perpetua;">.</span><span lang="EN-CA" style="font-family: Perpetua;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><b>Agnus
Dei</b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Perpetua; font-size: large;">Lamb of God,
who take away the sins of the world, have mercy on us. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Perpetua; font-size: large;">Lamb of God,
who take away the sins of the world, have mercy on us. <o:p></o:p></span></div>
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: Perpetua; line-height: 115%;">Lamb of God, who
take away the sins of the world, grant us peace</span><span lang="EN-US" style="font-family: Perpetua; line-height: 115%;">.</span></span><br />
<div>
<span lang="EN-US" style="font-family: Perpetua; font-size: large; line-height: 115%;"><br /></span></div>
<div>
<span lang="EN-US" style="font-family: Perpetua; font-size: large; line-height: 115%;">
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<div class="Section1">
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<span lang="EN-US" style="font-family: Perpetua; line-height: 115%;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;">The Musicians In Ordinary</span></b></span></div>
</div>
<span lang="EN-US" style="font-family: Perpetua; font-size: large; line-height: 115%;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: Perpetua; line-height: 115%;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Named after the singers and lutenists
who performed in the most intimate quarters of the Stuart monarchs’ palace, The
Musicians In Ordinary for the Lutes and Voices dedicate themselves to the
performance of early solo song and vocal chamber music. <b style="mso-bidi-font-weight: normal;">Soprano Hallie Fishel</b> and <b style="mso-bidi-font-weight: normal;">lutenist
John Edwards</b> have been described as “winning performers of winning music.”
A fixture on the Toronto early music scene for over ten years, in 2012 MIO
became Ensemble in Residence at St Michael’s College in the University of Toronto.
MIO have concertized across North America, and have performed to scholarly and
general audiences, lecturing regularly at universities and museums, for the
Shakespeare Society of America, the Renaissance Society of America, Canadian
Society for Renaissance Studies, Grinnell College, the Kingston Opera Guild,
and the Bata Shoe Museum, and the Universities of Alberta, Toronto, California
at San Diego, Syracuse, Trent, and York. They have been Ensemble in Residence
at Lafayette College, Easton, Pennsylvania. <o:p></o:p></span></span><br />
<span lang="EN-US" style="font-family: Perpetua; line-height: 115%;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><br /></span></span></div>
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<div style="text-align: center;">
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;"><br /></span></b>
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Christopher
Verrette</span></b><span lang="EN-CA" style="font-family: Perpetua;"> has been a member of the violin
section of Tafelmusik since 1993 and is a frequent soloist and leader with the
orchestra. He holds a Bachelor of Music and a Performer’s Certificate from
Indiana University. He contributed to the development of early music in the
American Midwest, as a founding member of the Chicago Baroque Ensemble and
Ensemble Voltaire, and as a guest director with the Indianapolis Baroque
Orchestra. He collaborates with many ensembles around North America, performing
music from seven centuries on violin, viola, rebec, vielle, and viola d’amore.
He was concertmaster in a recording of rarely heard classical symphonies for an
anthology by Indiana University Press and recently collaborated with Sylvia
Tyson on the companion recording to her novel, <i style="mso-bidi-font-style: normal;">Joyner’s Dream</i>.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">St
Michael’s Schola Cantorum </span></b><span lang="EN-CA" style="font-family: Perpetua;">is an auditioned
ensemble drawn from staff, faculty, alumni/ae, students, and friends of USMC,
and members of St Basil’s parish choir. We sing three concerts per year, at
Michaelmas, and during Advent, and Lent. <b style="mso-bidi-font-weight: normal;">Michael
O’Connor</b> is the founding Director of St Michael’s Schola Cantorum. He
teaches in the college programs at St Michael’s and also directs the St Mike’s Singing
Club. His academic scholarship and practical music-making overlap in the theory
and practice of liturgical music.<o:p></o:p></span></span><br />
<span lang="EN-CA" style="font-family: Perpetua; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: center;">
<span lang="EN-CA" style="font-family: Perpetua;"><span class="Apple-style-span" style="font-size: large; line-height: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQ65n2fnad_brO1y6hfJcTytVnX0XPvpM0uEeQIjhV5NcO51DEMW8iNJrCFONOVT1OVRbi2fh9gtZUXoH1MmdLslFv-hR6EvN4ed4I9Td6qA8u1yqlxi9hbjoavxkkxezRaFA8XYaO17f/s1600/image-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQ65n2fnad_brO1y6hfJcTytVnX0XPvpM0uEeQIjhV5NcO51DEMW8iNJrCFONOVT1OVRbi2fh9gtZUXoH1MmdLslFv-hR6EvN4ed4I9Td6qA8u1yqlxi9hbjoavxkkxezRaFA8XYaO17f/s1600/image-3.jpg" height="180" width="320" /></a></span></span></div>
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-variant: small-caps;"><br /></span></b>
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-variant: small-caps;">The Musicians In Ordinary</span></b></span></div>
<div class="Section2">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Violin<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Christopher Verrette<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Violin<br />
</span></b><span lang="EN-US" style="font-family: Perpetua;">Patricia
Ahern</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Perpetua;">Viola<br />
</span></b><span lang="EN-US" style="font-family: Perpetua;">Emily Eng<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Violoncello<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Laura Jones</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Organ<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Borys Medicky<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Theorbo<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">John Edwards<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
</div>
<div class="Section4">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua; font-size: large; font-variant: small-caps;">St Michael’s Schola Cantorum</span></b></div>
</div>
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<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Soprano<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Kara Dymond<br />
Laurel-Ann Finn <br />
Hallie Fishel<br />
Barbara North<br />
Annemarie Sherlock<br />
Emily Sherlock<br />
Mikhai Vergara<br />
Hope Aletheia Waterman</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Alto<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Irene Chan<br />
Cindy Dymond<br />
Irene Gaspar<br />
Ana Iorgulescu<br />
Christopher Jääskeläinen*<br />
Mekhriban Mamedova<br />
Paula Owalabi</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Tenor<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Mark Gamez<br />
Andrew Helmers <br />
Reid Locklin<br />
Antonio Manco<br />
Christopher Mayell<br />
Michael Pirri<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span class="Apple-style-span" style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Perpetua;">Bass<br />
</span></b><span lang="EN-CA" style="font-family: Perpetua;">Robert Allair<br />
Eric Charron<br />
Scott Hoornaert<br />
Christian McConnell<br />
Paul McGrath<br />
Eli White</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span class="Apple-style-span" style="font-size: large; line-height: 18px;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<b><span lang="EN-CA" style="font-family: Perpetua; font-size: large;">Rehearsal Pianist</span></b><br />
<span lang="EN-CA" style="font-family: Perpetua;"><span class="Apple-style-span" style="font-size: large;">Mekhriban Mamedova</span><o:p></o:p></span></div>
<div>
<span lang="EN-CA" style="font-family: Perpetua;"><br /></span></div>
<b></b></span><b></b><br />
<!--EndFragment--><br />
<!--EndFragment--></div>
John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-71448076469381361062015-03-06T23:03:00.001-05:002015-03-07T12:38:25.856-05:00<!--[if gte mso 9]><xml>
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<span lang="EN-US" style="font-family: "Academy Engraved LET"; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Mar. 7, 2015, 8PM<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';">Heliconian Hall, Toronto</span></div>
<span lang="EN-US" style="font-family: 'Academy Engraved LET';">
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggvqnJ10UMNhXrtoab-8fVpkKJaSFYccImv1H9YmYiRP_nw60UwqzZIAd6b64K68VktQR0ZrkMptVIFgDeNTSoxQvt-q4f0VohyAUVJMjA8Qx1jynqHdJM3BKV3H-E8bc6QlaM-gu4OdLt/s1600/donne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggvqnJ10UMNhXrtoab-8fVpkKJaSFYccImv1H9YmYiRP_nw60UwqzZIAd6b64K68VktQR0ZrkMptVIFgDeNTSoxQvt-q4f0VohyAUVJMjA8Qx1jynqHdJM3BKV3H-E8bc6QlaM-gu4OdLt/s1600/donne.jpg" height="320" width="290" /></a></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">John Donne
on Love & Death<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">An Epithalamion, or Mariage Song on the Lady
Elizabeth, and Count Palatine </span></i></span><span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; line-height: 28px;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">being married on St.
Valentines Day</span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>John
Donne (1572-1631)</span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Come away, come sweet love</span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>John
Dowland (1563-1626)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">The Lady Elyza: her masque</span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Robert
Johnson (c1583-c1634)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><br /></span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">When Laura smiles <span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Philip
Rosseter (1567-1623)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Solus cum Sola<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Sweet stay awhile<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Delyght Pavan<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>John
Johnson (c1545-94)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Deare, if you change<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Delyght Gallyard<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Johnson<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Cleare or cloudie</span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Nowe to bed<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Anon.
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
<div class="MsoNormal" style="font-size: 14pt;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Time stands still<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 150%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">My Hart is Surely Sett<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Anon.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Faine would I wed<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Campion<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Greensleeves <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Anon./Francis
Cutting (c1550-1596)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="font-size: 14pt; line-height: 200%;">
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;">There is a Garden in her
face</span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Robert
Jones (1577-1617)</span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDAIWJVkwHcnxGGTCeAXhbbuvQWBpTAqR56RWed989stC5_SMLI6kUTAW96M_Fm6JBHsIQ7cP0y9ubBfgZ20ydsG3Ashxqv529I8nFbc4oQcMg34w6FDstrTPxGwGREF0gXGX-I2modsD/s1600/Portrait+of+a+Melancholy+Young+Man,+Isaac+Oliver,+c+1590-95.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDAIWJVkwHcnxGGTCeAXhbbuvQWBpTAqR56RWed989stC5_SMLI6kUTAW96M_Fm6JBHsIQ7cP0y9ubBfgZ20ydsG3Ashxqv529I8nFbc4oQcMg34w6FDstrTPxGwGREF0gXGX-I2modsD/s1600/Portrait+of+a+Melancholy+Young+Man,+Isaac+Oliver,+c+1590-95.jpg" height="320" width="211" /></a></div>
<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;"><br /></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;">Intermission<span style="mso-tab-count: 1;"> </span></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"><br /></span></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">A nocturnall upon S. Lucies Day, </span></i></span><span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; line-height: 28px;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10pt; line-height: 19px;">Being the shortest day</span></i><span lang="EN-US" style="font-size: 10pt; line-height: 19px;"><span style="mso-tab-count: 1;"> </span></span></span><span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt;">Donne</span></span><span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; line-height: 28px;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></span></div>
</div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Mourne, mourne<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Dowland<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Countesse of Bedfords
Galliard<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Henry Porter (1549-aft. 1605)<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGC2NepWaulBqf8oJolZ0kRc4qjATy8unQGOfX4uXNtsTFP8k7LRmXGskVlQ3m5Sqo7Bg9JQ9QI4gc2xZ11GYlOpFwFpAyLIdwl8LtgVXifjZ5xf5hot4X2gUAGNxyDUAeQ9aKxc5fwqay/s1600/640px-Possibly_Lucy,_Countess_of_Bedford_from_NPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGC2NepWaulBqf8oJolZ0kRc4qjATy8unQGOfX4uXNtsTFP8k7LRmXGskVlQ3m5Sqo7Bg9JQ9QI4gc2xZ11GYlOpFwFpAyLIdwl8LtgVXifjZ5xf5hot4X2gUAGNxyDUAeQ9aKxc5fwqay/s1600/640px-Possibly_Lucy,_Countess_of_Bedford_from_NPG.jpg" height="320" width="191" /></a></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">In darknesse let me dwell</span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Dowland
<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Pavana Ploravit<span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Anthony
Holborne (c1545-1602)<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Greefe keep within </span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>John
Danyel (1564-c1626)<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">A Doomp<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">E.E.?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;"><br /></span></i></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Drop not myne eyes</span></i><span lang="EN-US" style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Danyel<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;">Dump Philli<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Phillip
van Wilder? (c1500-53)</span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span class="Apple-style-span" style="line-height: 38px;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;">Have all our passions </span></i><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Danyel</span></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span class="Apple-style-span" style="line-height: 38px;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;"><br /></span></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span class="Apple-style-span" style="line-height: 38px;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 200%;">Guest Artist</span></span></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><span class="Apple-style-span" style="font-size: x-small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Seth Lerer</span></b><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> is Distinguished
Professor of Literature at the University of California at San Diego. Well
known for his scholarship and public lectures in the history of the English
Language, he has also published widely on medieval and Renaissance English
Literature, poetry, and Children's Literature. His books have won such awards
as the Harry Levin Prize of the American Comparative Literature Association,
the National Book Critics Circle Award, and the Truman Capote Prize in
Criticism. His most recent book is <i style="mso-bidi-font-style: normal;">Prospero's
Son</i>, a memoir published by the University of Chicago Press in 2013. He is
currently working on music, myth, and lyric poetry in Shakespeare's last plays.<o:p></o:p></span></span></span></div>
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</span><br />
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; font-size: x-small;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">‘I may be uninspiring, but I’ll be damned if I’m alien!’ British King
George V is supposed to have said in response to H.G. Wells’s criticism of the
royal lack of charisma and excess of Germanness at the onset of World War I
(‘...an alien and uninspiring court…’ said Wells). The charisma problem was all
George’s own, but we can pinpoint the source of the latter. <o:p></o:p></span></span></div>
<span class="Apple-style-span" style="font-family: 'Academy Engraved LET'; font-size: x-small;">
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">The first ‘British’ king, James VI of Scotland, inherited the English
Tudor crown and soon set about marrying off his children (an option not
available, obviously, to the Virgin Queen Elizabeth) to various continental
dynasties to cement his ‘prince of peace’ policy. James’s daughter, also
Elizabeth, was matched with various princes, but public opinion, and
particularly that of her brother Henry, Prince of Wales, settled on Frederick,
Elector Palatine, to whom she was married on St. Valentine’s Day, 1613.
Frederick and Elizabeth’s grandson of the House of Hanover came to the British
throne, not speaking a word of English, as George I. His
great-great-granddaughter Victoria still spoke German around the house but
eventually public opinion again, in World War I, forced George V to adopt the
last name Windsor and lose the German sounding ‘House of Saxe-Coburg and Gotha’
handle. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><br /></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihWtqByceh15ps0JEweOuXrH1CEYvjXgajIQKVQHI_itAtzCvqdxq7SSn0TaMVMHkJd74ZfkIglYatWoB7PiKhTt8CzUvF4uufzHRKdRTHCTNmODp2AfaPaf6IE5fZjyRRBx8E5vB04ZwZ/s1600/Frederick_V_King_of_Bohemia;_Elizabeth,_Queen_of_Bohemia+Cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihWtqByceh15ps0JEweOuXrH1CEYvjXgajIQKVQHI_itAtzCvqdxq7SSn0TaMVMHkJd74ZfkIglYatWoB7PiKhTt8CzUvF4uufzHRKdRTHCTNmODp2AfaPaf6IE5fZjyRRBx8E5vB04ZwZ/s1600/Frederick_V_King_of_Bohemia;_Elizabeth,_Queen_of_Bohemia+Cropped.jpg" height="207" width="320" /></a></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">The official commemorative poem of the 1613 Royal Wedding was by John
Donne, which you hear tonight read in the pronunciation of the time. Donne and
Campion, whose texts are heard here set by Jones (<i style="mso-bidi-font-style: normal;">There is a Garden</i>), Rosseter (<i style="mso-bidi-font-style: normal;">When
Laura Smiles</i>) and himself as well, seem to have competed as the official
court mouthpieces. Between the verses of Donne’s wedding poem we sing some love
songs of the period untouched by the cruel disdain of the harsh mistresses that
breaks the hearts of so many poets and songwriters in that age of melancholy,
along with some lute pieces the titles of which might allude to the delights of
new love. The first half of this concert may be the least miserable set of
songs it is possible to compile from Jacobean songbooks, especially with so
many drawn from Dowland, the official composer of Jacobethan melancholy. <o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">The Lady Elyza: her masque </span></i><span lang="EN-US" style="font-size: 10.0pt;">appears to be a dance taken from one of the
entertainments surrounding the wedding. These shows may have included all or
components of Shakespeare’s <i style="mso-bidi-font-style: normal;">The Tempest </i>(or
perhaps components of a wedding masque were interpolated into the play; it’s
not clear). Settings of Ariel’s songs by Robert Johnson survive.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Solus
cum Sola </i>(perhaps best translated as ‘He and She Alone Together’) and <i style="mso-bidi-font-style: normal;">Delyght </i>are pavans, slow duple time
dances which, it has been suggested, survive in a very dumbed down form as the
wedding march. The <i style="mso-bidi-font-style: normal;">Delyght Gallyard </i>is
the melodic and harmonic material of the pavan crammed into the gay, triple
time dance most popular at the time. (John Johnson is the father of Robert, the
composer of the masque dance and Shakespeare’s troupe.) The famous <i style="mso-bidi-font-style: normal;">Greensleeves </i>was, for the Jacobeans, the
chord progression, not the tune, and Campion’s <i style="mso-bidi-font-style: normal;">Faine would I wed </i>uses that ‘ground bass’ as well as the lute
pieces</span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Academy Engraved LET';"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0Um9Ga3EXjpPtuZuxcoZlBOKgGkEhE0XA553TpvnlOnr_o0Tek0NwRmE2bt7aZDAhHXdUkV5bE7F96RuowUpg0mot1TUV1SyKa3Ojq4eXIjDzYYe6RZ0fk0-uLE65CLsuZaYnvBnQgw3/s1600/Lucie+Acrostic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0Um9Ga3EXjpPtuZuxcoZlBOKgGkEhE0XA553TpvnlOnr_o0Tek0NwRmE2bt7aZDAhHXdUkV5bE7F96RuowUpg0mot1TUV1SyKa3Ojq4eXIjDzYYe6RZ0fk0-uLE65CLsuZaYnvBnQgw3/s1600/Lucie+Acrostic.jpg" height="320" width="266" /></a></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;">Historically-informed pronunciation is
the kind of thing that we could spend all night wrestling, wrangling and
arguing about, and still never know what the words of speech and song really
sounded like, in which respect it is like right hand lute technique. But by examining
poetry, song, and prose – looking for rhyming schemes, how sentences scan, and
the spellings of the words themselves – we can begin to gather some general ideas
about how English in the period from which we are performing tonight might well
have sounded in the listener's ear(e). For example, what we have come to regard
as ‘sight rhymes’ actually were not such at the time. The words ‘beare’ and
‘eare’ in the poem above really were pronounced with the same vowel sound.<span style="mso-spacerun: yes;"> </span>Furthermore, variations in spelling,
and thus pronunciation, from song to song and from poet to poet, suggest that
language was profoundly influenced by factors such as region and social status.</span><span lang="EN-US" style="font-size: 10.0pt;"> </span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10.0pt;">It has been
suggested </span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Donne’s </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">A nocturnall upon S. Lucies Day, Being the shortest day</span></i><span lang="EN-US" style="font-size: 10.0pt;"> was penned while Lucy Russell, the
Countess of Bedford was very ill, so that he could have a carefully wrought
tombeau ready if she did succumb. But even if it was not, she would still cast
a very long shadow over our concert this evening. Lucy surrounded herself with
artists working in the melancholy milieu we so associate with Elizabethan and
Jacobean literature and music: Donne, Samuel Danyel (brother of this evening’s
composer John) and of course, John Dowland. A poem on Lucie Bedford (look down
the first letter of each line) and Dowland’s lute<span style="mso-spacerun: yes;"> </span>from his <i style="mso-bidi-font-style: normal;">Second Book
of Songs </i>is on the previous page. <i style="mso-bidi-font-style: normal;">Mourne,
mourne </i>is one of the first five songs in the book, all of which make <i style="mso-bidi-font-style: normal;">Songs of Leonard Cohen </i>sound like
Pharrell Williams’s <i style="mso-bidi-font-style: normal;">Happy. </i>Did Lucy
choose to patronize artists working with darkness and melancholy or were these
artists, and their monuments of the melancholy movement, made to measure for
Lucy’s tastes? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10.0pt;">And very carefully
and densely wrought Donne’s poem is too. It claims that it is being written on
the feast day of St. Lucy, which, before a calendar adjustment, was the
shortest day of the year. Donne aludes to alchemy, medical theory, chemistry
and astrology in this poem. (Capricorn, the goat of the last verse, is in
conjunction with the sun at that time of the year.) In the second verse of <i style="mso-bidi-font-style: normal;">Deare, if you change </i>(from Dowland’s <i style="mso-bidi-font-style: normal;">First Book</i>) the anonymous poet
enumerates corruptions that will come to the </span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">four</span><span lang="EN-US" style="font-size: 10.0pt;"> incorruptible </span><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">elements (air, water, fire
and earth). In the <i style="mso-bidi-font-style: normal;">Nocturnall </i>Donne
uses this ‘science’, and especially the water of tears and the cold, dry earth<i style="mso-bidi-font-style: normal;"> </i>to demonstrate the special nothingness
he has become since his beloved’s death. Earth corresponds to the melancholy
humour. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10pt;">The Danyel songs presented this evening are a trilogy from his songbook of 1606, titled <i>Mrs M E her funeral tears for the death of her husband. </i>The sorrowful Mrs. M.E. has not been identified, but the poet (Samuel Danyel? John himself?) has her wondering whether, if tears can be present at joyful situations and those merely a bit sad, shouldn’t there be more now?<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10pt;">In January, in our series at St. Michael’s College in the University of Toronto, we presented a concert including the ‘passionate pavans’ of Dowland’s <i>Lachrimæ or seaven teares </i>for violins and regular comers to MIO concerts will have heard us perform Dowland’s <i>Flow my teares. </i>These pavans all begin with the four-note descending scale which became a musical emblem of melancholy and with which Holborne begins his <i>Pavana Ploravit</i> (i.e. ‘Weeping Pavan’).<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Academy Engraved LET';"><span lang="EN-US" style="font-size: 10pt;">In a scene from <i>Romeo and Juliet</i>, Peter the servant <span> </span>importunes the musicians after the discovery of the supposed death of Juliet: ‘O, musicians, …play me some merry dump, to comfort me.’ The Dump was a type of commemorative piece often based on a two-note ground bass such as those presented here. In an earlier, much shorter, version <i>Dump Phili</i> is called <i>Arthurs Dumpe </i>and it is possible that it began as a ‘Tombeau’ for Arthur Dewes by his colleague Philip van Wilder. Both were lutenists to Henry VIII but the later version has some more modern sounding variations. Perhaps later lutenists added their own divisions on the ground bass as it passed from manuscript to manuscript. Our other dump has ‘<i>A doomp E.E.’ </i>written at the end of it. Perhaps E.E. was the composer, perhaps the dedicatee.</span></span></div>
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</span>John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-54367063379495293632015-01-30T08:53:00.000-05:002015-01-30T08:58:12.008-05:00<br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>The Cure of Religious Melancholy</b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Music by John Dowland (1563-1626) </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Fr. Madden Auditorium, Carr Hall </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">St. Michael’s College</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Jan. 30th, 2015</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Lecture 7:30PM, Concert 8PM</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae antiquae</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>From silent night, true register of moanes </i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae antiquae novae</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>The Humble Suit of a Sinner</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae gementes</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>If that a Sinners sighes be Angels foode</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae tristes</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Thou mighty God-When Davids life-When the poore criple</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae coactae</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Where Sinne sore wounding</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae amantis</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>In this trembling shadow</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Lachrimae verae</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Sorrow Come</i> - arr. William Wigthorpe (c.1570-1610)</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>The Musicians In Ordinary</b></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Named after the singers and lutenists who performed in the most intimate quarters of the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices dedicate themselves to the performance of early solo song and vocal chamber music. Soprano Hallie Fishel and lutenist John Edwards have been described as ‘winning performers of winning music’. A fixture on the Toronto early music scene for over 10 years, in 2012 MIO became Ensemble in Residence at St. Michael’s College in the University of Toronto. They have concertized across North America and lecture regularly at universities and museums. Institutions where MIO have performed range from the scholarly to those for a more general public and include the Shakespeare Society of America, the Renaissance Society of America, the Shakespeare Association of America, Grinnell College, the Universities of Alberta, Toronto and at California at San Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in Easton, Pennsylvania. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Christopher Verrette </b>has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a BMus and a Performer’s Certificate from Indiana University and contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec,vielle and viola d’amore. He was concertmaster for a recording of rarely heard classical symphonies for an anthology by Indiana University Press and collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Eleanor Verrette </b>began her studies on violin in Toronto with Gretchen Paxson and Aisslinn Nosky, going on to study viola in Montréal with Pemi Paull and Anna-Belle Marcotte at McGill University. She graduated from McGill University in 2012 with a Bachelor's in viola performance. She appears regularly with the Musicians In Ordinary, and is featured on recent album releases by acclaimed folk-rock artists Lakes of Canada and Corinna Rose. She has also performed with Aradia Ensemble and Montréal singer-songwriter Ari Swan, and plays vielle as a founding member of the Pneuma Ensemble.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Stephen Marvin </b>is a writer, musician and craftsman living in Toronto. Since 1977, he has specialized in early music, performing with and leading many well known ensembles. Stephen has been a principal violinist and violist with Tafelmusik Orchestra for 20 years, but now performs in about half of their season's programs. Stephen’s primary devotion to chamber music has included many ensembles, especially recitals and trio performances of late eighteenth century repertoire with fortepiano. He is the violist with the Lumiere Quartet. Stephen plays on more than 60 recordings, most notably with Sony and enjoys an international reputation as a bow-maker. For 25 years he has specialized in 17th and 18th century reproductions for early music specialists, like himself. He has published articles and given lectures on the history and construction of old bows. More recently he has begun making modern bows after examples by Tourte, Peccatte and others.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Brandon Chui </b>is Assistant Principal Viola of the Kitchener-Waterloo Symphony Orchestra and a member of the Hamilton Philharmonic. Having held leading positions in the Verbier Festival Orchestra in Switzerland and the Schleswig-Holstein Festival Orchestra in Germany, he has also performed with the Canadian Opera Company, Tafelmusik and the Toronto Symphony Orchestra. He has worked with many of today's most celebrated conductors, such as Semyon Bychkov, Valery Gergiev, Philippe Herreweghe, Paavo Jarvi, Kurt Masur, Zubin Mehta and Esa-Pekka Salonen. Extensive touring has brought Brandon to such venues as Amsterdam's Concertgebouw, Berlin's Konzerthaus and Philharmonie, L.A.'s Walt Disney Hall, Lucerne's KKL, Zurich's Tonhalle and the opera houses of Genoa, Lyon and Versailles.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">As well as being a founding member of I Furiosi Baroque Ensemble, baroque cellist and viola da gambist<b> Felix Deak</b> showcases his career as a freelance musician with orchestras and chamber ensembles, including Toronto's Tafelmusik Baroque Orchestra, Toronto Symphony Orchestra, Les Voix Humaines and Opera Atelier. Felix instructs orchestral classes and private students in and around Toronto. He can be heard on CBC Radio Two in performances, and has made recordings for various labels at home and abroad. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Reverend<b> Lisa Wang </b>holds degrees from the State University of New York (BA), the University of Toronto (MA, MDiv), and the University of London (PhD). She has published in the areas of literature and theology, ecclesiology, and Biblical interpretation. She currently teaches at the Faculty of Divinity, Trinity College, and serves at the Anglican Church of St. Mary Magdelene, Toronto.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In his <i>Anatomy of Melancholy </i>(first published 1621) The Second Partition, (on the Cures of Melancholy), Section 2, Subsection 3, Member 1, the thorough Robert Burton treats of the efficacy of ‘Music of all Sorts, aptly applied.’ Let’s see what the windy Burton, who loved to express himself in quotes from Ancients and Moderns and everyone between, has to say. </span></div>
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<li><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Scaliger gives a reason of these effects, “because the spirits about the heart take in that trembling and dancing air into the body, and are moved together, and stirred up with it,” or else the mind, as some suppose harmonically composed, is roused up at the tunes of music. And 'tis not only men that are so affected, but almost all other creatures. </span></li>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Timothy Bright, whose 1586 book <i>A Treatise of Melancholy</i> Shakespeare may have read in his day job as the publisher’s proofreader, recommends only ‘such of that kind as most rejoyceth is to be sounded in melancholy ears’, but Burton and others acknowledge that dissonances as heard in Dowland’s mannerist music, will resonate or with the discordant troubled mind and as the music returns to consonance will ‘resolve’ the turbulent mind to consonance with it. And even the more temperate mind can enjoy melancholy music. He says:</span></div>
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<li><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Many men are melancholy by hearing music, but it is a pleasing melancholy that it causeth; and therefore to such as are discontent, in woe, fear, sorrow, or dejected, it is a most present remedy: it expels cares, alters their grieved minds, and easeth in an instant. </span></li>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The whole of the Third Partition of Burton’s <i>Anatomy</i> treats of Love Melancholy, and a large part of that is taken up with estrangement from God’s love, in the section on Religious Melancholy, which seems to have been a problem at the time. What we would call ‘psychologists’, physician-ministers, found it necessary to treat those driven mad by their certainty of their own damnation. Were they ill with melancholy or merely sorrowful for sin? ‘More needs she the divine than the physician’ says Lady Macbeth’s doctor. And the Cambridge theologian William Perkins wrote ‘When a man is without all hope of salvation, in his owne sense and apprehension it is not a distinct kind of trouble of mind, but the highest degree.’ </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">With his alternating acts of derring-do and retirements to sullen solitude in Wanstead Wood, Robert, Earl of Essex would probably be diagnosed as being on the bipolar spectrum today, but in his day he was recognized as a classic case of Melancholia. Our first ayre, <i>From Silent Night,</i> from Dowland’s last songbook <i>A Pilgrimes Solace</i>, has words by Essex, supposedly written as he awaited execution for his last act of derring-do, an attempted coup d’état. Dowland uses a unique scoring of treble and bass viol (the word ‘viol’ was often used for both families of instruments) and lute and has the ‘tune of sad despair’ sliding chromatically in half-steps up and down. In his how-to-compose book of 1597 Thomas Morley says, ‘When you would express a lamentable passion then you must use your motions proceeding by half notes…these accidental motions may fitly express the passions </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">of grief, weeping, sighs, sorrow, sobs and such like.’</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In 1596 John Dowland had been kicking around the continent of Europe in a series of unsatisfactory court jobs when he received a letter from his friend the courtier Sir Henry Noel. The letter urged him to hurry back to England as Sir Henry thought he had scored him a job at Queen Elizabeth’s court. When he got back though, Dowland found his patron Noel had died, and with him his job. Dowland dedicated to Noel a manuscript collection of penitential Psalms and hymns from the standard Psalter used in England at the time which appear at first glance to be standard settings of hymn tunes, but which have fidgety rhythms and fleeting dissonance that betray the composer. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And so, Dowland ended up back on the Continent working for Christian IV, King of Denmark where his routine seems to have been get an advance on his salary, sail back to England and get something published to keep him in the public eye, sail back and apologize for overstaying, repeat. On one such trip he had printed<i> Lachrimæ or seaven teares figured in seaven passionate pavans set foorth for the lute, viols, or violons, in five parts.</i> The seven pavans (the pavan was a slow dance in three repeated parts of eight measures each, but no one could have danced to these ones) which begin the collection start with has come to be called the <i>Lachrimae</i> motto. The piece which is called Lachrimae antiquae (Latin for Old Tears) is a re-writing of a pavan that was originally for lute solo which is found in almost all British sources of lute solos and many continental ones from the 1590s to the 1630s and beyond. This lute mega-hit had words written to it beginning ‘Flow my teares’ printed in 1600 in Dowland’s Second Book of Songs. Each of the Lachrimæ or seaven teares pavans takes the first few notes of the original as its point of departure and then wanders off, respectively through Old New Tears (<i>Lachrimae antiquae novae</i>), Sighing Tears (<i>Lachrimae gementes</i>), Sad Tears (<i>Lachrimae tristes</i>), Forced Tears (<i>Lachrimae coactae</i>), Lover’s Tears (<i>Lachrimae amantis</i>) and True Tears (<i>Lachrimae verae</i>). The <i>Lachrimæ or seaven teares</i> print was dedicated to the consort of the new English King James, Anne, who happened to be the sister of the King of Denmark. A job back home was not forthcoming however and Dowland was let go from the Danish court by civil servants fed up with his attendance record. (Christian was away at the time.) In 1612 the fore mentioned A Pilgrimes Solace was published, dedicated to his then employer, who was much too minor a nobleman for the greatest lutenist in Europe and the greatest songwriter in the English language (then, and, we would argue, still and ever). Probably Dowland’s grumpy preface to the book, which complains about ‘strange entertainment’ at court, and the ‘fellows who give their verdict of me behind my back’, shamed the Jacobean court into giving him a place as a lutenist there which had been empty for decades. It’s from<i> A Pilgrimes Solace</i> that most of the remaining ayres heard tonight are taken.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Timothy Bright, in his <i>Treatise of Melancholy</i>, gives us some symptoms. They will be ‘Given to weeping sometimes (if the melancholy be sanguine, they exceed in laughter) sighing, sobbing, lamentation, countenance demisse (downcast), and lowring, bashfulnesse, and blushing.’ The melancholy poet of<i> If that a sinner’s sighes</i> ticks many of those boxes. Dowland borrows the Italian madrigalists’ trick of writing a rest for the singer at the word ‘sigh’ to imitated the physical reaction of black bile (melancholy) expelling air from the body. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The composer borrows yet more Italianisms in the adventurous harmonies deployed in <i>Thou mighty God </i>and<i> In this trembling shadow</i>. In his <i>First Book of Songs </i>Dowland had proudly printed a rather lukewarm commendation by Luca Marenzio, a pioneer of the Mannerist Madrigalists who deployed dissonance to paint the pains of lovers. The most extreme of these composers was Gesualdo, a mad nobleman, and Dowland certainly rivals his expressionistic harmonies here. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Despair, it is held, is a sin. Dowland’s<i> Second Book of Songs</i> makes <i>Songs of Leonard Cohen </i>seem jaunty by comparison, both musically and in its verse. The third song of that book is for one voice and lute, and begins Sorrow stay. The manuscript consort song version you hear this evening gives a variant on the original text, which ends ‘Down, down down I fall/Down and arise I never shall.’ but for the religiously scrupulous the manuscript provides another more extensively rewritten text, which ends, through hope of Jesus’s intercession, with the singer ‘never falling’. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To finish, let’s hear from Burton again:</span></div>
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<li><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In a word, it (music) is so powerful a thing that it ravisheth the soul, regina sensuum, the queen of the senses, by sweet pleasure (which is a happy cure), and corporal tunes pacify our incorporeal soul, <i>sine ore loquens, dominatum in animam exercet</i>, and carries it beyond itself, helps, elevates, extends it.</span></li>
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-27278057786011640322014-12-31T17:29:00.000-05:002014-12-31T17:45:09.954-05:00<div style="text-align: center;">
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<b><span class="Apple-style-span" style="font-size: large;">A New Year’s Day Concert</span></b><br />
Heliconian Hall, 35 Hazelton Ave. Toronto<br />
Jan. 1, 2PM & Jan. 2, 8PM, 2015</div>
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Sonata Op. 1 No. 1 Arcangelo Corelli (1653-1713)<br />
<i>Grave – Allegro – Adagio – Allegro</i><br />
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Rorate Caeli from Concerti Sacri Op. 2 Alessandro Scarlatti (1660-1725)<br />
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Sonata Violino e Basso Alessandro Stradella (1632-1689)<br />
<i>Andante – Allegro – Adagio – Vivo – Adagio – Allegro</i><br />
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Sonata Prima from Sonatae Unarum Fidium Johann Schmelzer (c. 1620–1680)<br />
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Sinfonia à 2 Violini e Basso Stradella<br />
<i>Grave – Allegro – Andante – Allegro – Allegro</i><br />
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Intermission<br />
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Sonata 2:a Giovanni Zamboni (1664-1721?)<br />
<i>Alemanda – Current – Sarabanda, Largo – Giga</i><br />
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Serenata con Violini Scarlatti<br />
<i>Sinfonia – Recit – Aria, Largo – Recit – Ritornello & Aria – Recit – </i><br />
<i>Aria, Andante – Recit – Aria, Largo – Recit – Recit Accompagnato</i><br />
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Program Note<br />
Few composers have been as famous and influential in their own lifetimes as Arcangelo Corelli. His trio sonatas, solo sonatas and concerti grossi were the model for all composers who wrote in those Italianate forms. Corelli’s Opus 1 and 3 trio sonatas come with partbooks labeled ‘violino primo, violino secondo, organo’ and ‘violone o arcliliuto’ when printed in Rome. The archlute, then, is a substitute for the bowed bass, though the violone (what we would call a cello, but maybe a biggish one) and archlute book has the same figures above the notes as the organ part. Some latitude was used in the scoring in the bass as the sonatas spread across Europe. The title page of John Walsh’s London edition of the early 18th century says the ‘through bass’ is for ‘ye organ harpsichord or archlute.’ The archlute is a chordal instrument then.<br />
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The rather dissolute life of Alessandro Stradella would be best expressed, not in a short program note, but in an opera, which, indeed, it has been. At least two operas of the singing kind have been composed, but perhaps the soap variety would be even better. A minor nobleman, he moved to Rome to compose for Queen Christina of Sweden and the church. Some of the church’s money, though was found ‘resting in his bank account’. He fled to Venice where he was installed as music teacher to a nobleman’s mistress. She and Stradella ran off together and his former employer (the nobleman, not the church) had hitmen stab him to death in the piazza.<br />
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Schmelzer seems to have been a rather less excitable fellow. He worked all his life at the court of the Holy Roman Empire, where not only was Italian music on tap (the Neapolitan Giovanni Felice Sances was Schmelzer’s predecessor as Kappelmeister, and the list of musicians was full of Bertalis, Valentinis, Caldaras and Contis) but Italian was the main language spoken day-to day.<br />
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Printed in Lucca in 1718, the Sonate d’intavolatura di leuto Zamboni, a Roman who was lutenist at Pisa Cathedral, represents the swansong of Italian solo lute music, though the instrument continued to be used as a continuo instrument and as an obbligato instrument in operas and oratorios till the end of the baroque.<br />
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Alessandro Scarlatti was also a very prolific composer of cantatas both with just continuo and with other instruments a much under-performed genre considering what a large slice of so many composers’ works it comprises. Very often the cantata’s text is a description of the joys or sorrows (usually the sorrows) of an amorous shepherd, in the kind of perfect love only possible in the pastoral tradition. The pains of this shepherd are usually reported by another shepherd looking on. This all sounds terribly mannered to us today, but the pastoral tradition was used for centuries to demonstrate how perfect political entities might work, how the perfect host might behave, and, in the case of song, how the perfect lover might feel. Is it any less mannered than a present day hospital drama or cop show? Throughout the cantata we see Scarlatti deploy the tricks used by a composer of operatic ‘music-drama’, moving seamlessly between speech-like declamation and arioso passages in the recitatives as the emotions of the shepherd swirl. The arias, with their infectious melodies, each narrow the focus onto one ‘affect’ of the spurned lover.<br />
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Translations<br />
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Motet: Aria Rorate Caeli</div>
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Scatter your dew heavens, Let the sweet dew fall in drops.</div>
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Let the day be joyful and happy, let the sun grow bright without fog, illuminate the whole world.<br />
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Sinfonia </div>
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Recit - As the sun hastened toward its beloved Western horizon, his chariot star, the lazy Arcturus, was already with glittering flames turning to the sea. As the star’s glimmer dispersed the still night, revealing it as one of the most beautiful, the white Goddess arose, blushing and radiant from her pastoral bed with gleaming rays in her cheeks, and Love showed what secret flames she hid for the shepherd. It was the time when the year rejuvenates itself through the bosom of the flowers, instilling joy in the heart; when the lonely Daliso, leaning his weary side at the foot of a stone from which flowed a babbling silver spring, vented his tears and sighs, mingling them with the waves. He remained alone with his silent troubles. And from his cheeks cruel Love pitifully wiped the pearl-like tears, distilled from the sorrow of his heart. Finally, exhausted, his limbs entwined in the grass, tortured with love and gaze fixed heavenwards, sobbing, he unburdened his torment to the breezes and the wind thus:</div>
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Aria: Dark shadows that hide the glimmer of light from me, even if you should be the faithful friends of sorrow all that I now desire is that you weep for my tears.</div>
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Recit: Curilla, my soul, joy of my afflictions, if you go, I will die, my love. Ah! weep for me, my friendly stars. I ask you to shield me from these harsh tidings.</div>
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Ritornello & Aria: Fresh hoar frost so compassionate, revive these roses, kiss the tips of the flowers. Ah! fallen and pale, you turn into little tears to weep at my sorrow!</div>
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Recit: Faithful but senseless plants, who stayed the flight of the winged singer, you take from the earth only drops of bitterness because of the sorrow that is killing me, and now that Curilla has gone, you weep with me for my lost love. When her beautiful face beamed with happiness and laughter, we were transported to Paradise.<br />
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Aria: Beloved idol, tormentor of my heart, if only this harsh occurrence would betray my love. I suffer the sorrows, I hide the pains of our separation, O my love.</div>
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Recit: But you - sad eyes - tell me, what will you do when you are deprived of her radiant beauty? Ah! unhappy Daliso, know your destiny. Know that it is Love’s desire to burn in flames of grief and for the heart to bleed!</div>
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Aria-Largo: Beautiful waves, mercifully refreshing these meadows, you listen and are saddened by my mournful murmurings. Ah! you are weeping for my tears.</div>
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Recit: Curilla, my soul, ah! come and weep with me. Oh my beauty, adored light of my eyes, now I despair of all hope. But go happily wherever you are guided, my Curilla, and if spiteful fortune should take you far, it shall be far only from my eyes, not from my heart, my darling; and even if I feel the pain, I will delight in your happiness and desire only to set my love in your heart as a remembrance of me. Go, go happily, my heart. As the faithful lover I will accompany you for ever with my grief. Curilla, my soul. Curilla, farewell ...</div>
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Accompagniato: Daliso wished to say more but suddenly, from immense sorrow, he fell unconscious; and Love cried for him.</div>
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Guests:<br />
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<br />
Christopher Verrette has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University. He contributed to the development of early music in the American Midwest, as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with many ensembles around North America, performing music from seven centuries on violin, viola, rebec, vielle, and viola d’amore. He was concertmaster in a recording of rarely heard classical symphonies for an anthology by Indiana University Press and recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.<br />
<br />
Patricia Ahern has a BA and BMus from Northwestern University, MMus from Indiana University, and performer diploma from the Schola Cantorum in Basel, Switzerland. She taught baroque violin at the Freiburg Conservatory and Oberlin’s Baroque Performance Institute, and has given masterclasses at McGill, Wilfrid Laurier, York and Grand Valley State Universities, and the Universities of Windsor, Wisconsin and Toronto. She has concertized on five continents and performed with Milwaukee Baroque, Ars Antigua, Chicago Opera Theater, Kingsbury Ensemble, Aradia, I Furiosi, Newberry Consort, Musica Pacifica, and the Carmel Bach Festival. Tricia has recorded for Sony, Naxos, and Analekta, and joined Tafelmusik in 2002.<br />
<br />
Borys Medicky has appeared as solo harpsichordist and continuo player in the United States, Canada, and Europe. Resident in Toronto, Canada, he is active as a freelance performer, having appeared with major ensembles in Toronto and beyond. He enjoys co-directing (with lutenist Lucas Harris) the Toronto Continuo Collective, an all-continuo ensemble dedicated to fostering an increased interest in the stylish basso continuo accompaniment of seventeenth-century vocal and instrumental music. From 2006-2014 he was the artistic director of the Kitchener-based Nota Bene Baroque Players. He serves as organist of the Fifth Church of Christ, Scientist in Toronto. In addition he builds harpsichords and carries out harpsichord maintenance duties for institutions and private clients in the Greater Toronto area.<br />
<br />
As well as being a founding member of I Furiosi Baroque Ensemble, baroque cellist and viola da gambist Felix Deak showcases his career with orchestras and chamber ensembles, including Toronto's Tafelmusik Baroque Orchestra, Montreal based Les Voix Humaines, and Opera Atelier. Felix teaches music in the TDSB and instructs private students in and around Toronto. He can be heard on CBC Radio Two in performances, and has made recordings for various labels at home and abroad.<br />
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-27460256423775042152014-11-14T23:04:00.001-05:002014-11-14T23:07:26.025-05:00New, Very Elegant Songs and Dances<!--[if gte mso 9]><xml>
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<div align="center" class="MsoNormal" style="text-align: center;">
<b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US" style="font-family: "Academy Engraved LET"; font-size: 18.0pt; mso-bidi-font-size: 12.0pt;">New,
Very Elegant Songs and Dances</span></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center;">
<b><span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Nov. 15, 2014, 8PM</span></b></div>
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<b><span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Heliconian Hall, Toronto</span></b></div>
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</b>
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<b><span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: Arial;">John Edwards - Lutes</span></b><br />
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Petite fantasie
dessus l'accord du Leut<span style="mso-tab-count: 1;"> </span>Adrian
Le Roy (c. 1520-1598)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Pavane est il
conclud/Gaillarde est <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">il conclud/Passameze<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Fantasie<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Albert
de Rippe (c.1500-51)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Benedicta, a
Six/Secunda pars,<span style="mso-tab-count: 1;"> </span>Josquin
de Prez (d.1521)/Rippe<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Per illud ave/Tertia
pars, Nunc mater<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Les commandemens
de Dieu/Jubilate <span style="mso-tab-count: 1;"> </span>Genevan
Psalter, arr. Le Roy<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Deo omnis/Nunc
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Preambulo Secundo<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Giulio
Cesare Barbetta (1540-1603) <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Ungay Bergier<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Thomas
Crecquillon/Barbetta<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">BonJour mon Ceur<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Orlando
Lassus/Sixt Kargel (d. c. 1594)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Madonna mia pieta<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Lasso/Kargel<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US" style="line-height: 150%;">Passamezo Zorzy/Il suo salterello<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Kargel</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif; font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt;">Intermission<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Sanserre, Basse dance/Pavane
P.B./<span style="mso-tab-count: 1;"> </span>Pierre
Blondeau? (fl. 1520s)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Gaillarde/Branle gay<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">La Magdalena,
Basse danse P.B./<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Blondeau?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">(Tourdion)/(Recoupe)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;"><o:p><br /></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Prelude<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Blondeau?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Secoures moy<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Claudin
de Sermisy/Blondeau?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Tant que vivray<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Sermisy/Blondeau?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Jouissance<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Sermisy/Blondeau?<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Pavane la
Milanoise/Gaillarde/<span style="mso-tab-count: 1;"> </span>Guillaume
Morlaye (c. 1510-c. 1558)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Gaillarde piemontoise/Gaillarde<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaErbWCSnx3gpygbEByHt3X1ZiCR85tVyqIdNBFLISB0A1oXbCnRJIxjLXHCbufd3WEpx9_zAiCNGH_3wXUisJgouhDbx-boeeyv-T9UmEfAhyHgseACmF6RXKOZXTYuk-sSZ1_kuVRWa/s1600/Morlaye+Gall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaErbWCSnx3gpygbEByHt3X1ZiCR85tVyqIdNBFLISB0A1oXbCnRJIxjLXHCbufd3WEpx9_zAiCNGH_3wXUisJgouhDbx-boeeyv-T9UmEfAhyHgseACmF6RXKOZXTYuk-sSZ1_kuVRWa/s1600/Morlaye+Gall.jpg" height="237" width="320" /></span></a></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<br />
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Fantasia<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Jean
Paul Paladin (fl. 1540-1560)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Anchor che col
partir<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Cipriano
di Rore/Paladin<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Premier Branle de
bourgogne/Second<span style="mso-tab-count: 1;"> </span>Le
Roy<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">branle/Tiers
branle/Quatreyesme branle<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="mso-tab-count: 1;">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Program Note<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">In the 18<sup>th</sup> century Johann Matheson joked ‘if a lute player
lives to be 80 he has surely spent 60 years tuning’. Adrian Le Roy, a lutenist
at the French court, makes this joke 175 years earlier with the <i style="mso-bidi-font-style: normal;">Fantasie</i> with which we begin. Beside his
court job Le Roy formed a publishing house with Ballard, printing chansons, and
from 1551, several books of lute and guitar music and a lute method surviving
only in a contemporary English translation. The decorated repeats of the <i style="mso-bidi-font-style: normal;">Pavane</i> and <i style="mso-bidi-font-style: normal;">Gaillarde</i> that Le Roy gives us are marked ‘<i style="mso-bidi-font-style: normal;">plus diminuée</i>’ or in the English version of the Passameze, ‘more
shorter’. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Albert de Rippe, born Alberto da Ripa, was another Royal lutenist, who
came from the lute-mad territory of the Marchesa of Mantua, Isabella d’Este. At
the end of the dense polyphony of the first part of his heavily decorated
version of Josquin’s six-voice motet he realizes the lute can’t compete with a
choir imitating the Archangel Gabriel saluting the Virgin Mary, so dazzles with
a flurry of notes rather than full throats. Josquin thins out to two voices for
the second part and brings all the voices back at the end of the third. After
this Le Roy’s busy versions of tunes from the Genevan Psalter, in use by French
Protestants and still in the hymnbook today, seem like pop music. Le Roy sticks
close to the chords of their first harmonizer Claude Goudimel, but puts the
Psalm tune in the top voice and avoids decorating it in the main, keeping the
‘more shorter’ notes in the other parts.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYWMrZVWzjsiWu7xqntpXRjEuTApATvV-XfFcqdVqDbuok3J1Hjt4mk80rptl5t6ptNdPDpC3WABiQlamnybnvrSlOQppoR46MeivQHuDFfFgUXAwS1m6liNv4_7cQGvINt3oLyJGxCVKw/s1600/1024px-Pieter_Bruegel_the_Elder_-_The_Peasant_Dance_-_WGA3499.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYWMrZVWzjsiWu7xqntpXRjEuTApATvV-XfFcqdVqDbuok3J1Hjt4mk80rptl5t6ptNdPDpC3WABiQlamnybnvrSlOQppoR46MeivQHuDFfFgUXAwS1m6liNv4_7cQGvINt3oLyJGxCVKw/s1600/1024px-Pieter_Bruegel_the_Elder_-_The_Peasant_Dance_-_WGA3499.jpg" height="218" width="320" /></a></div>
<br />
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Pierre Attaingnant published a book of dances in 1521, the first
printed lute music in France. Many of the dances are by a ‘P.B.’, probably
Pierre Blondeau, a lutenist active at the time who may have been his editor.
The book contains some of the new <i style="mso-bidi-font-style: normal;">Pavanes</i>
and <i style="mso-bidi-font-style: normal;">Gaillardes</i>, but also many <i style="mso-bidi-font-style: normal;">Basse Danses</i>, an older dance form which
are audibly more ‘medieval’ sounding with their uneven phrase lengths and less
tonal melodies and harmonies. In 1529 Attaingnant printed a book of chansons
arranged for one voice and lute from 4 voice part originals and, overleaf from
each song, lute alone. The <i style="mso-bidi-font-style: normal;">Branles</i>
are formalized versions of rustic dances but not so domesticated as to have the
phrases ironed out into squares.</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtoeRwLayNft5WDylaEIJ63dxmI7b4Vy9MtyQNKSY_S7adNrFjtq5148bhTYiUvAHIWQHtZdMVpbwMuRnSUS603syMxL1O4IZmGWm7V4wrI6fbodJvzUBIQIvJ10egNdDKS_bwTMgooBfz/s1600/Mary+Magdalene+Playing+the+Lute.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtoeRwLayNft5WDylaEIJ63dxmI7b4Vy9MtyQNKSY_S7adNrFjtq5148bhTYiUvAHIWQHtZdMVpbwMuRnSUS603syMxL1O4IZmGWm7V4wrI6fbodJvzUBIQIvJ10egNdDKS_bwTMgooBfz/s1600/Mary+Magdalene+Playing+the+Lute.jpg" height="320" width="240" /></a></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Morlaye was another publisher/lutenist and we can never be sure if he
is editor or composer of the music in his books. The fantasy by Paladin (the
Milanese Giovanni Paolo Paladino, publishing in Lyon) is unattributed in one of
Morlaye’s books. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><o:p><br /></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGHZUZ-itPmWsauh-3z-I8gsfDJhJrY-8oQoKUFu7OXls61-W3Rctkp3-Q6eMOC6KeZzR5oONoBXnN1tbJOb4IUTGsbLxnfzoC5qO0dtihpyJoIhYYHDvayByrhaJayC8nHwr7VoobgY5/s1600/_50861397_011047051-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGHZUZ-itPmWsauh-3z-I8gsfDJhJrY-8oQoKUFu7OXls61-W3Rctkp3-Q6eMOC6KeZzR5oONoBXnN1tbJOb4IUTGsbLxnfzoC5qO0dtihpyJoIhYYHDvayByrhaJayC8nHwr7VoobgY5/s1600/_50861397_011047051-1.jpg" /></a></div>
<br />
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Pity Nicholas Sarkozy. You can still see him on YouTube saying ‘it’s
nice to be here in Germany’ while visiting the French Region of Alsace, the
capital of which is Strasbourg, where Barbetta and Kargel’s books were printed
back when it was in Germany. Even the French President can’t keep straight what
country it’s in.</span></div>
<!--EndFragment-->John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-17233199177508873642014-10-23T20:57:00.000-04:002014-11-14T23:12:57.999-05:00Motets with Symphonies<!--[if !mso]>
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<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
Principal’s Music Series at St. Michael’s College</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;"><o:p> </o:p></span></b></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 18.0pt; mso-bidi-font-size: 12.0pt;">Sing Praise
Upon the Lute and Viol<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">The Musicians
In Ordinary for the Lutes <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">and Voices<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">present<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 18.0pt; mso-bidi-font-size: 12.0pt;">Motets with
Symphonies</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc9uPaLorywrp1mzT3tJQ9dM3z1zwzVz5qARoOl8iq4D6h-ZfR8W2_EUXz4y2TcymMoStOaeX4BbO_G3-oDZFspfsfzwsCUNFawozxuBoTilY6hGWRUnR9ratjOJrieVXzGrcWBNkH0zib/s1600/Mot+con+sinf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc9uPaLorywrp1mzT3tJQ9dM3z1zwzVz5qARoOl8iq4D6h-ZfR8W2_EUXz4y2TcymMoStOaeX4BbO_G3-oDZFspfsfzwsCUNFawozxuBoTilY6hGWRUnR9ratjOJrieVXzGrcWBNkH0zib/s1600/Mot+con+sinf.jpg" height="270" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Fr. Madden
Auditorium, Carr Hall <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">St. Michael’s
College<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Oct. 24, 2014<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Lecture
7:30PM, Concert 8PM</span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Sinfonia
Terzo Tuono from Op. 22<span style="mso-tab-count: 1;"> </span>Biagio
Marini (1594-1663)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Stabat
Mater<span style="mso-tab-count: 1;"> </span>Giovanni
Felice Sances (c.1600-1679) <o:p></o:p></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Sonata Prima <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Giovanni
Batista Fontana (d. c. 1630)<o:p></o:p></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Preludio
2do<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Giovanni
Girolamo Kapsberger (d. 1651)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Vocem jucunditatis<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Alessandro
Grandi (c.1580-1630)<o:p></o:p></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Canzon Seconda<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Giovanni
Gabrieli (1557-1617)<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Preludio
3zo<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Kapsberger
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">O Quam tu pulchra <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Grandi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Canzon Quarta<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Gabrieli
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">O vos omnes <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Grandi<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Canzona II from Op. 8<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Marini<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Sinfonia
Quinto Tuono from Op. 22<span style="mso-tab-count: 1;"> </span>Marini<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">Confitebor tibi ala francese<span style="mso-tab-count: 1;"> </span>Claudio
Monteverdi (1567-1643)<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Musicians In Ordinary<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Named
after the singers and lutenists who performed in the most intimate quarters of
the Stuart monarchs’ palace, The Musicians In Ordinary for the Lutes and Voices
dedicate themselves to the performance of early solo song and vocal chamber
music. <b style="mso-bidi-font-weight: normal;">Soprano Hallie Fishel</b> and <b style="mso-bidi-font-weight: normal;">lutenist John Edwards</b> have been
described as ‘winning performers of winning music’. A fixture on the Toronto
early music scene for over 10 years, in 2012 MIO became Ensemble in Residence
at St. Michael’s College in the University of Toronto. They have concertized
across North America and lecture regularly at universities and museums.
Institutions where MIO have performed range from the scholarly to those for a
more general public and include the Shakespeare Society of America, the
Renaissance Society of America, the Shakespeare Association of America,
Grinnell College, the Universities of Alberta, Toronto and at California at San
Diego, the Kingston Opera Guild, Syracuse, Trent and York Universities and the
Bata Shoe Museum. They have been Ensemble in Residence at Lafayette College in
Easton, Pennsylvania. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01cX2byt5ITaH95E2xG4KHALLgZH4UbGeoF7TuJXLEyUOkaflX_aYCtVY8w5AuL5snfZ0YrvLQUlnLjxGD357AUGQMEneLrn-_x0ERXjSPjv65jNf_yBSasatcrTYH0zVU2KRxZUwV_xl/s1600/IMG_20141023_142721.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01cX2byt5ITaH95E2xG4KHALLgZH4UbGeoF7TuJXLEyUOkaflX_aYCtVY8w5AuL5snfZ0YrvLQUlnLjxGD357AUGQMEneLrn-_x0ERXjSPjv65jNf_yBSasatcrTYH0zVU2KRxZUwV_xl/s1600/IMG_20141023_142721.jpg" height="225" width="400" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;">Christopher Verrette</b> has been a member of the
violin section of Tafelmusik since 1993 and is a frequent soloist and leader
with the orchestra. He holds a BMus and a Performer’s Certificate from Indiana
University and contributed to the development of early music in the American
Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble
Voltaire, and as a guest director with the Indianapolis Baroque Orchestra. He
collaborates with many ensembles around North America, performing music from
seven centuries on violin, viola, rebec,vielle and viola d’amore. He was
concertmaster for a recording of rarely heard classical symphonies for an anthology
by Indiana University Press and collaborated with Sylvia Tyson on the companion
recording to her novel, <i style="mso-bidi-font-style: normal;">Joyner’s Dream</i>.</span></div>
<div class="MsoNormal">
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<div class="Section1">
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><span style="position: relative; top: 7pt;">Patricia Ahern</span></b><span style="position: relative; top: 7pt;"><span style="mso-spacerun: yes;"> </span>has a BA and BMus from Northwestern University, MMus from
Indiana University, and performer diploma from the Schola Cantorum in Basel, Switzerland.
She taught baroque violin at the Freiburg Conservatory and Oberlin’s Baroque
Performance Institute, and has given masterclasses at McGill, Wilfrid Laurier,
York and Grand Valley State Universities, and the Universities of Windsor,
Wisconsin and Toronto. She has concertized on five continents and performed
with Milwaukee Baroque, Ars Antigua, Chicago Opera Theater, Kingsbury Ensemble,
Aradia, I Furiosi, Newberry Consort, Musica Pacifica, and the Carmel Bach
Festival. Tricia has recorded for Sony, Naxos, and Analekta, and joined
Tafelmusik in 2002.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; position: relative; top: 7pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="position: relative; top: 7pt;"><o:p> </o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivJwLqeRZgrT9PtX8EyeJAOmE1WWBQM70LuQBDHApJQZUlVTGZc92ONm1ohfiM5LEKOSaluWn-GEym7kpvfqxsitWLfxWmxsHgP6y-bYmbBdfZRRgCsXJfkS8Gw2ZofY1BpaBJzwpdjDP/s1600/IMG_20141023_142641.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivJwLqeRZgrT9PtX8EyeJAOmE1WWBQM70LuQBDHApJQZUlVTGZc92ONm1ohfiM5LEKOSaluWn-GEym7kpvfqxsitWLfxWmxsHgP6y-bYmbBdfZRRgCsXJfkS8Gw2ZofY1BpaBJzwpdjDP/s1600/IMG_20141023_142641.jpg" height="400" width="225" /></a></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;">Eleanor Verrette </b>began her studies on violin
in Toronto with Gretchen Paxson and Aisslinn Nosky, going on to study viola in
Montréal with Pemi Paull and Anna-Belle Marcotte at McGill University. She graduated
from McGill University in 2012 with a Bachelor's in viola performance.<span style="mso-spacerun: yes;"> </span>She appears regularly with the
Musicians In Ordinary, and is featured on recent album releases by acclaimed
folk-rock artists Lakes of Canada and Corinna Rose. She has also performed with
Aradia Ensemble and Montréal singer-songwriter Ari Swan, and plays vielle as a
founding member of the Pneuma Ensemble.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><o:p> </o:p></b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYzi9zTgPR0deBkjzsBElAwQaScATuu6z3FgOgZqJAT4Y6jPuDfJT2_gEadhj6vgU2H2IoECrfIjlIYrWc_pxn_YQVVO-3lhwFF8C60V2bNUUyrL6001r6j3MWc_ckHTpp39kqey6a8IC0/s1600/IMG_20141023_142656.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYzi9zTgPR0deBkjzsBElAwQaScATuu6z3FgOgZqJAT4Y6jPuDfJT2_gEadhj6vgU2H2IoECrfIjlIYrWc_pxn_YQVVO-3lhwFF8C60V2bNUUyrL6001r6j3MWc_ckHTpp39kqey6a8IC0/s1600/IMG_20141023_142656.jpg" height="225" width="400" /></a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;">Kerri McGonigle</b> is the Artistic Director of
the Academy Concert Series. Recipient of the Margarita Heron Pine String Prize
and the Beryl Barns Graduate Scholarship, Kerri graduated with a Master of
Music degree in cello performance from the University of Alberta. While
studying in Paris, she won Premier Prix with unanimous distinction in
violoncello and chamber music from the Gennevilliers Conservatory. Having
completed an Advanced Certificate in Baroque Performance with Tafelmusik
through the University of Toronto, Kerri is based in Toronto and performs
regularly as a soloist, recitalist, chamber musician and orchestral cellist.
Kerri spends her days running after and cuddling her beautiful 16-month old
son, practicing cello while he naps – thankfully he is a great sleeper!</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
</div>
<br />
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</span></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">In
1620 Monteverdi wrote to his opera librettist explaining why he couldn’t
possibly get away to Mantua. Apart from his duties at St. Mark’s Church,
Venice…<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 14.2pt; margin-right: 14.2pt; margin-top: 0cm;">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">‘there is the Most Illustrious Primicerius, for whom
every Wednesday, Friday and Sunday, I make music in a certain oratory of his,
to which half the nobility come.’<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">This
‘Primericus’ was Marc’Antonio Cornaro, from a family that included doges,
queens and cardinals. Between him and the ‘half the nobility’, had Monteverdi
applied to the Toronto Arts Council for these exclusive performances he would
not have been ticking the boxes to obtain extra points for promoting art music
in ‘at-risk neighbourhoods.’ <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">In
1628 the governing council of the Church of Santa Maria Maggiore in Bologna,
where Alessandro Grandi, formerly Monteverdi’s second-in-command at St. Mark’s,
was now maestro di capella, issued a memo that tells a different story.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 14.2pt; margin-right: 14.2pt; margin-top: 0cm;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 14.2pt; margin-right: 14.2pt; margin-top: 0cm;">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">‘Since in winter Vespers of feasts are sung at a
time when few can attend, the majority still being at dinner, music is made to
an empty church; the deputies propose that winter services should be put
forward half or three-quarters of an hour to give the nobility and the
townsfolk time to be able to come; it would be a good thing if the whole of
Vespers were sung, with some motet to draw the people in and uplift them to
devotion, particularly as so much is spent on the music that it ought to be of
profit to all.’<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">The
governing council seems to have been eager, then, to disseminate the spiritual
benefits to be reaped from listening to music. However, upon his arrival at his
new gig Grandi did an inventory of Santa Maria’s music library which has
survived. Though they liked Grandi’s music enough to hire him, the library is
full of Palestrina generation ‘<i style="mso-bidi-font-style: normal;">da
capella’</i> music rather than the new small scale and drama driven baroque
style with and without instruments. Did Santa Maria engage Grandi to update
their music program or were Grandi’s books of motets for one to three voices ‘<i style="mso-bidi-font-style: normal;">con sinfonie</i>’ composed more for and
consumed more by the great and the good at their ‘certain oratories’? Or
perhaps both as the great and good on the church council wanted to give to the
townsfolk the spiritual thrills and chills that the baroque style shared with
opera and which they had access to. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;">The
peripatetic Biagio Marini did much to spread the baroque style north of the
Alps on his constant search for a better job. He worked as a bass singer and
violinist under Monteverdi at St. Mark’s for a time and much of his music was
printed in Venice. We insert one of his <i style="mso-bidi-font-style: normal;">Sinfonie</i>
as a ritornello into Sances’s <i style="mso-bidi-font-style: normal;">Stabat
Mater</i>, also published in Venice. Marini may have studied violin with
Giovanni Battista Fontana whose sonatas were also published there after his
death. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: normal;">Monteverdi’s
<i>Confitebor tibi ala francese </i>has at
the top the suggestion ‘for five voices, or if you like, with four violins,
leaving the soprano voice solo’, which we do this evenin</span>g. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br clear="ALL" style="mso-break-type: section-break; page-break-before: auto;" /></span>
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Translations <o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWmA3tUXvF3wZIgnJieVHFmw7ayTsLJLTSdk4KojT4rlZFreZXmsEQhvElVJqjomt2WWbDZZf5wGqqEbQ1e10wqbKRsjCVK3Dz-IlKgm-TbMCYVBE-RM1RIv3-MNfCwFkkeKOM90w801c/s1600/Untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWmA3tUXvF3wZIgnJieVHFmw7ayTsLJLTSdk4KojT4rlZFreZXmsEQhvElVJqjomt2WWbDZZf5wGqqEbQ1e10wqbKRsjCVK3Dz-IlKgm-TbMCYVBE-RM1RIv3-MNfCwFkkeKOM90w801c/s1600/Untitled.jpg" height="150" width="400" /></span></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Pianto della Madona – Stabat
mater<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
sorrowful Mother stood<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">beside
the cross weeping<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">while
her Son hung there.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">She
whose grieving soul,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">compassionate
and sorrowful,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a
sword pierced through.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O
how sad and afflicted<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">was
that blessed<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Mother
of the Only-begotten!<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">She
who mourned and grieved<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and
trembled to see<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the
punishment of her glorious Son.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Who
is the man who would not weep,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">if
he beheld the Mother of Christ<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">in
such suffering?<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Who
could not feel sorrow,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">contemplating
the devoted Mother<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">suffering
with her Son?<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">For
the sins of His people<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">she
saw Jesus in torment<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and
subjected to scourging.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">She
beheld her sweet Son<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">dying
forsaken<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as
He gave up His spirit.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O
Mother, fount of love,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">make
me feel the force of sorrow,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that
I may mourn with you.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Make
my heart on fire<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">with
love of Christ God,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that
I may please Him.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Holy
Mother, grant this:<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">fix
the wounds of the Crucified<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">firmly
in my heart.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Your
wounded Son,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">who
deigned to suffer so much for me:<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">share
with me His punishment.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Make
me truly to weep with you,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">sorrowing
with the Crucified,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">for
as long as I live.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To
stand with you beside the Cross,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and
willingly share <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">in
your mourning, this I desire.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Virgin
of Virgins most renowned,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">do
not be bitter to me now.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Make
me mourn with you.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Make
me bear the death of Christ,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">make
me a sharer in His passion,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and
recall His wounds.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Make
me wounded with His wounds,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">inebriated
by this cross,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">for
the sake of your Son’s love.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Inflamed
and kindled<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">by
you, Virgin, may I be defended<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">in
the day of judgment.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Let
me be protected by the cross,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">safeguarded
by the death of Christ,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and
nurtured by His grace.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">When
my body dies,<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">grant
that my soul may be given<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the
glory of paradise. Amen.<b style="mso-bidi-font-weight: normal;"> <o:p></o:p></b></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Vocem jucunditatis<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Declare
it with the voice of joy, and make it known, alleluia.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
Lord hath delivered His people, alleluia.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Christ
has ascended on high. He has led captivity captive. He has given gifts to
mankind, alleluia.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;">O Quam tu pulchra es </b><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O
how beautiful you are, my love, my dove, my pretty one. Your eyes are like a
doves. Your hair is like a flock of goats.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Your
teeth are like a flock of ewes ready for shearing. Come from Lebanon, come my
love, my dove, my pretty one. O how beautiful you are, come. Arise my bride,
arise my delight, arise my immaculate one. Arise and come, for I am sick with
love.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;">O vos omnes</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">O
all ye that pass by the way, look and see if there be any sorrow like to my
sorrow. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Be
astonished, O ye heavens, at this; and ye gates thereof be very desolate.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Hear,
O heavens, and give ear, O earth, and be astonished because of this. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I
reared children, but they have rebelled against me, those I fed with manna in
the wilderness, they gave me gall for my food, and the water of salvation I
have given them, they, however, in my thirst, they gave me vinegar to drink. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Take
heed, therefore, and see if there be any sorrow like to my sorrow.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Hear,
O heavens, and give ear, O earth, and be amazed at this. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">As
for the sons I exalted them, but they have rebelled against me. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I
have opened the sea before them, and they have opened my side with a spear.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I
scourged the Egyptian side on their account, and they scourged me and handed me
over. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Take
heed, therefore, and see if there be any sorrow like to my sorrow.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Confitebor tibi Domine<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I
will praise thee, O Lord, with my whole heart; in the council of the just: and
in the congregation. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Great
are the works of the Lord: sought out according to all his wills. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">His
work is praise and magnificence: and his justice continueth for ever and ever. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He
hath made a remembrance of his wonderful works, being a merciful and gracious
Lord:<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He
hath given food to them that fear him. He will be mindful for ever of his
covenant:<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He
will shew forth to his people the power of his works. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">That
he may give them the inheritance of the Gentiles: the works of his hands are
truth and judgment. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">All
his commandments are faithful: confirmed for ever and ever, made in truth and
equity. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He
hath sent redemption to his people: he hath commanded his covenant for ever.
Holy and terrible is his name: <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
fear of the Lord is the beginning of wisdom. A good understanding to all that
do it: his praise continueth for ever and ever.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Glory
be to the Father, and to the Son, and to the Holy Spirit.<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">As
it was in the beginning, is now and ever shall be, world without end. Amen.</span><span class="Apple-style-span" style="font-size: x-small;"><o:p></o:p></span></div>
<!--EndFragment--><br />
<!--EndFragment-->John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0tag:blogger.com,1999:blog-971395501213577651.post-14201011695257026132014-09-11T09:39:00.003-04:002014-09-11T09:40:56.716-04:00<br />
<div style="text-align: center;">
<b><span class="Apple-style-span" style="font-size: large;">Heliconian Hall Series </span></b></div>
Heliconian Hall<br />
35 Hazelton Ave. (near Bay Subway)<br />
Tickets at the door $30/$20 students & seniors<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOU5Rum5Fosvjouf-Pt3tokeWPA3-2DBWLCk_oFg38SW_pgdQ5eF-5Cpvdr1NVCMBkZTixMZbzu37dranELGsfamC2gokRnWXa9CntSqb9RnAxl5fNsPZnobC9rYvZcer1M0lRVLjvsuK/s1600/Musicians_310811+(8).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOU5Rum5Fosvjouf-Pt3tokeWPA3-2DBWLCk_oFg38SW_pgdQ5eF-5Cpvdr1NVCMBkZTixMZbzu37dranELGsfamC2gokRnWXa9CntSqb9RnAxl5fNsPZnobC9rYvZcer1M0lRVLjvsuK/s1600/Musicians_310811+(8).JPG" height="213" width="320" /></a></div>
<br />
For over a decade Hallie Fishel, soprano, and John Edwards, lutes and guitars, have brought Toronto very elegant songs which, though old, will be ‘new’ to many listeners. In some cases works from our raids of original prints and manuscripts which have lain on library shelves for centuries have been given their North American debut by us.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5s1L35-TwKL2q9R1NOiWTqlQlAGRXrdWp_NlBKXtm3pQXnujSAcXGYKTE-7Osre8Gr_armwr8FSeTyJRQudE9lRGZpVqLuM5vDeLfBhFn0Zc3BZsC1k0dsUMiS3IV0axIWJ8YBjtQDLES/s1600/f1.highres.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5s1L35-TwKL2q9R1NOiWTqlQlAGRXrdWp_NlBKXtm3pQXnujSAcXGYKTE-7Osre8Gr_armwr8FSeTyJRQudE9lRGZpVqLuM5vDeLfBhFn0Zc3BZsC1k0dsUMiS3IV0axIWJ8YBjtQDLES/s1600/f1.highres.jpeg" height="320" width="202" /></a></div>
<br />
Nov. 15, 2014 at 8PM<br />
<b>New, Very Elegant Songs and Dances</b><br />
French solo lute music (and some by Italian immigrants) of the 16th century played by John Edwards. As well as music published in Paris from the royal lutenists Albert de Rippe (the Mantuan Alberto da Ripa) and the homegrown Guillaume Morlaye you will hear the European union of lute music from Lyon (Jean-Paul Paladin/Paladino) and the now French, then German city of Strasbourg where Sixtus Kargel published his collection of dances and songs arranged for the lute Novae, elegantissimae, Gallicae, item et Italicae cantilenae, Mutetæ & Passomezo, adiunctis suis Saltarellis…<br />
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Jan. 1, 2015 at 2PM & 2, 2015 at 8PM<br />
<b>A New Year’s Day Concert</b><br />
After all the pre-Christmas Messiahs and A Baroque Christmas programs, you will have a week off so you will be ready for our annual concert of High Baroque music with Hallie Fishel, soprano and John Edwards on archlute, with Christopher Verrette and Patricia Ahern, Baroque violins and Borys Medicky, harpsichord. The only new year’s alternative to Strauss waltzes.<br />
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Mar. 7, 2015 at 8PM<br />
<b>Donne on Love and Death </b><br />
John Donne’s poem An Epithalamion, or Marriage Song On the Lady Elizabeth and Count Palatine Being Married on St. Valentine’s Day and his A Nocturnal upon St. Lucy's Day read by scholar and author Seth Lerer with songs by Campion, Dowland and others sung by Hallie Fishel with John Edwards on Renaissance lutes. Music and sweet poetry will be demonstrated to be in such steadfast agreement that it will not be doubted that ‘One god is god of both, as poets feign.’<br />
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May 2, 2015 at 8PM<br />
<b>In Stile Moderno</b><br />
Claudio Monteverdi has been called ‘the creator of modern music’ and Salamone Rossi has been credited with the invention of the trio sonata. We present the then avant garde music of Monteverdi and Rossi and their contemporaries at the court of the Dukes of Mantua. Hallie Fishel sings and John Edwards plays theorbo and lute, with Christopher Verrette and Patricia Ahern playing Renaissance violins.<br />
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John Edwardshttp://www.blogger.com/profile/12333988533048508861noreply@blogger.com0