Blue heron Un Petrarchino cantato: Petrarch's Canzoniere in Song - Music Before 1800
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Bill Barclay
Artistic Director
blue heron
Un Petrarchino cantato:
Petrarch’s Canzoniere in Song
Blue Heron’s program is a musical valentine of 16th-century madrigals,
setting poetry by Francesco Petrarch. The moment the humanist
scholar beheld beautiful young Laura in 1327, he was lovestruck, his
obsession tormenting and inspiring him even after her death in 1348.
In turn, Petarch’s Canzoniere inspired intensely passionate music
three centuries later. Blue Heron’s eloquent singers perform madrigals
by Verdelot, Arcadelt, Willaert, de Rore, Wert, Marenzio, and others,
interspersed with readings of Petarch’s poetry.
Sophie Michaux, Kim Leeds, Jason McStoots, Aaron Sheehan,
Sumner Thompson, Paul Guttry
Jade Guerra & Alessandro Quarta, readers
Scott Metcalfe, artistic director
4.00pm
Sunday February 19, 2023
Corpus Christi Church,
529 W. 121st Street
4.00pm
Sunday February 26, 2023
Online
This program is supported, in part, by public funds from the New York City
Department of Cultural Affairs in partnership with the City Council.
Please turn off cell phones. Photography and recording are not permitted.
Music Before 1800 requires everyone who comes to any of our concerts to remain masked while indoors.
Un Petrarchino cantato
Petrarch’s Canzoniere in song Petrarch in Song
Giaches de Wert Voi ch’ ascoltate in rime sparse Francesco Petrarca was born on July 30, 1304, in Arezzo, the eldest son
(1535 – 96) of a notary who had been exiled from his native Florence. In 1312 the
Lasciar’ il velo family moved to Avignon, seat of the likewise exiled papacy. Francesco
Francesco de Layolle
received his early education in nearby Carpentras and then studied law
(1492 – c. 1540), with diminutions by
at the universities of Montpellier and Bologna. He lived for a while on his
Giovanni Camillo Maffei (fl. mid-16th c.)
inheritance but in 1330 entered the service of the Colonna family of Rome
Jacques Arcadelt Chiare fresche et dolci acque as a private chaplain, and from then on lived essentially as an independent
(?1507 – 1568) scholar and poet, protected by various patrons and making his residence
Adrian Willaert Quante volte diss’ io in turn in Vaucluse (near Avignon), Milan, Venice, Pavia, and Padua.
(c. 1490 – 1562) Petrarch gained greatest fame for a cycle of lyric poems, the Rerum
Arcadelt Solo et pensoso vulgarium fragmenta (“fragments of things in the vulgar tongue”),
known in Italian as the Rime sparse (“scattered rhymes”) or simply the
Luca Marenzio Solo et pensoso
Canzoniere. He composed the 366 poems of the Canzoniere over many
(1553 / 4 – 99)
years, from the early 1330s until the mid-1350s or so, compiling them
Philippe Verdelot Italia mia into a sequence by about 1359 and continuing to work on a definitive
(c. 1480 / 5 – ?1530 / 32) version until his death in 1374. The motivating event of the cycle took
place, according to Petrarch, “in my youth, in the year of our Lord 1327, on
the sixth day of April, in the church of St. Clare in Avignon.” It was Good
Leonardus Barré Oimè ’l bel viso, oimè ’l soave sguardo Friday, the anniversary of Christ’s crucifixion. Surrounded by congregants
(fl. mid-16th c.) mourning the death of the incarnate Lord, Petrarch beheld a lovely young
Matteo Rampollini Che debb’ io far? woman, Laura, and was instantly pierced through by love at once carnal
(1497 – c. 1553) and spiritual. His love for Laura—whom he never met—would obsess,
torment, and inspire him until her death in 1348 and beyond, for the rest
Costanzo Festa Datemi pace, o duri miei pensieri
of Petrarch’s life, shaping his work and the very meaning of his existence.
(c. 1485 / 90 – 1545)
Or so Petrarch tells us. It is not entirely certain that Laura actually existed,
Marenzio Ov’ è condotto il mio amoroso stile?
although on the whole the evidence suggests that she did. But the
Wert Mia benigna fortuna e ’l viver lieto subject of the Rime sparse is not really Laura, but Petrarch: his psychology,
Cipriano de Rore Vergine bella (stanza 10 & stanza ultima) his memories, his acute self-awareness and probing self-analysis, his
(1515 / 16 – 1565) transmutation of experience into verse, his poetic virtuosity. The sequence
of poems constructs a narrative fiction, a “conceit of temporal process” (in
the words of Roland Greene in his book Post-Petrarchism). The sequence
appears to narrate a trajectory through time, a curve of emotional history
2022 – 2023 CONCERT SPONSORS departing from the poet’s innamoramento and pointing towards his
Boston Camerata Nancy Hager release from desire and union with God upon his longed-for death, with
Juilliard 415 Roger & Whitney Bagnall Laura’s death the pivotal event dividing the Canzoniere into two sections
Les Délices Deborah Malamud traditionally labelled in vita and in morte. The temporal fiction derives
Tiburtina Ensemble Louise Basbas principally from Petrarch’s obsessive reconstruction of then and now:
poem after poem looks back from the now of the poet’s current emotional
Contributions to MUSIC BEFORE 1800, INC., a non-profit state to the then of prior experience, with both now and then slipping
organization, are tax-deductible as provided by law. backwards and forwards in time, while gradually advancing towards the
INFORMATION now of “shame … and repentance, and the clear knowledge that whatever
212.666.9266 • mb1800.org pleases in the world is a brief dream,” which is described by the first poem
and finds culminating expression in the last.
Blue Heron
Though he surely expected his verse to for Petrarch spread quickly in the musical
Blue Heron has been acclaimed by The Boston Globe as “one of the
be read aloud, Petrarch did not intend it world, inspiring an enormous number of Boston music community’s indispensables” and hailed by Alex Ross in
to be sung. There is one notable setting compositions setting his poetry, and the The New Yorker for its “expressive intensity.” The ensemble ranges over a
by his contemporary Jacopo da Bologna new technology of printing enabled the wide repertoire from plainchant to new music, with particular specialities
and one other by Guillaume Du Fay from dissemination of the repertoire all over in 15th-century Franco-Flemish polyphony and early 16th-century English
the 1420s, but for a century and a half the continent. sacred music, and is committed to vivid live performance informed by the
musicians turned to Petrarch only very
study of original source materials and historical performance practices.
occasionally; perhaps his poetry seemed Our program, entitled “A petrarchino
too complex and too serious to be in song,” should really bear an even Founded in 1999, Blue Heron presents a concert series in Cambridge,
successfully conveyed in music, which was more diminutive title, for in no way is it a Massachusetts, and has appeared at the Boston Early Music Festival;
bound to exert competing claims upon complete presentation of the Rime sparse. in New York City at Music Before 1800, The Cloisters (Metropolitan
a listener’s attention. Towards the end of It offers a small and rather haphazard Museum of Art), and the 92nd Street Y; at the Library of Congress, the
the 1400s a number of composers, notably selection of Petrarch set to music composed National Gallery of Art, and Dumbarton Oaks in Washington, D.C.;
Italians working in the circle of Isabella at the Berkeley Early Music Festival; at Yale University; in Chicago,
in Italy between roughly the mid-1520s and
d’Este in Mantua, began to set Petrarch’s Cleveland, Kansas City, Milwaukee, Montreal, Pittsburgh, Philadelphia,
the mid-1590s—scattered fragments from a
verse in a style known as the frottola, a Providence, St. Louis, San Luis Obispo, Seattle, and Vancouver; and in
simple vehicle for reciting text in song, huge repertoire of possible choices. Such a Cambridge and London, England. Blue Heron has been in residence at
most likely intended for performance by a tiny selection of poems obviously cannot do the Center for Early Music Studies at Boston University and at Boston
solo singer accompanied instrumentally. justice to the scope and complexity of the College, and has enjoyed collaborations with A Far Cry, Dark Horse
The frottola’s popularity was widespread, if entire cycle, any more than a tiny selection Consort, Les Délices, Parthenia, Piffaro, and Ensemble Plus Ultra.
short-lived. The madrigal proper was born of madrigals can accurately convey the
Blue Heron’s first CD, featuring music by Guillaume Du Fay, was
in Florence in the 1520s, the child of mostly immense richness of the Italian repertoire.
released in 2007. Between 2010 and 2017 the ensemble issued a 5-CD
northern composers who applied the idea But the program follows the temporal logic series of Music from the Peterhouse Partbooks, including many world
of polyphonic treatment of secular poetry, of the Canzoniere, from its opening address premiere recordings of works copied c. 1540 for Canterbury Cathedral
known to them in the guise of the French to “You who hear in scattered rhymes …” and restored by Nick Sandon. The fifth CD was awarded the 2018
chanson, to Italian verse. (you who hear, note, not read) through a Gramophone Classical Music Award for Early Music and the five discs
The year 1501 saw both the printing variety of emotional states experienced are now available as a set entitled The Lost Music of Canterbury. In 2015
of Ottaviano Petrucci’s Odhecaton, a by the poet while Laura still lived and into Professor Jessie Ann Owens and Blue Heron won the Noah Greenberg
landmark technical achievement in the the second section of a hundred or so Award from the American Musicological Society to support the world
early history of music printing, and the lyrics that follow her death; it includes a premiere recording of Cipriano de Rore’s I madrigali a cinque voci,
publication of Petrarch’s Canzoniere political polemic and lament, Italia mia, released in 2019. In 2015 Blue Heron also inaugurated Ockeghem@600,
edited by the Venetian Pietro Bembo. revealing other sides of Petrarch, statesman a multi-season project to perform the complete works of Johannes
The coincidence of these two events and patriot; and it concludes with the last Ockeghem (c. 1420 – 1497) which, although delayed by the pandemic,
set the stage for the development of will wind up in 2023, still more or less in time to commemorate the
stanza and congedo of Cipriano de Rore’s
the madrigal. Bembo’s edition of 1501 composer’s circa-600th birthday. A parallel project to record all of
complete setting of the canzone Vergine
was the first of more than 160 printed Ockeghem’s songs and motets bore its first fruits in 2019 with the
bella, the final poem of the Canzoniere, in release of Johannes Ockeghem: Complete Songs, Volume I, which was
over the next century; a pocket-sized
book of the Canzoniere—a petrarchino which Petrarch commends his soul to the named to the Bestenliste of the Preis der deutschen Schallplattenkritik.
or little Petrarch—became an essential care of the Blessed Virgin. Blue Heron’s recordings also include a CD of plainchant and polyphony
possession for anyone with cultural that accompanies Thomas Forrest Kelly’s book Capturing Music: The
aspirations (or pretensions). The vogue —SCOTT METCALFE Story of Notation, the live recording Christmas in Medieval England,
a compilation of medieval songs entitled A 14th-Century Salmagundi,
and a live recording of Guillaume de Machaut’s Remede de Fortune.
Chiare fresche et dolci acque
Canzoniere 126, stanza 1
text and translation Chiare fresche et dolci acque
ove le belle membra
Clear, cool, sweet waters,
where she who alone seems to me to be
pose colei che sola a me par donna, a lady would rest her lovely body;
gentil ramo ove piacque gentle branch with which it pleased her
(con sospir mi rimembra) (I sigh to remember it)
Voi ch’ ascoltate in rime sparse il suono a lei di fare al bel fianco colonna, to make a column for her lovely side;
Canzoniere 1 erba et fior che la gonna grass and flowers which her fine
Voi ch’ ascoltate in rime sparse il suono You who hear in scattered verses the sound leggiadra ricoverse gown covered
di quei sospiri ond’ io nudriva ’l core of those sighs with which I fed my heart co l’angelico seno, along with her angelic breast;
in sul mio primo giovenile errore in my first errant youthful days aere sacro sereno sacred, serene air
quand’ era in parte altr’ uom da quel when I was in part another man than who ove Amor co’ begli occhi il cor m’aperse: where Love with those fair eyes opened
ch’ i’ sono: I am today: date udienzia insieme my heart:
a le dolenti mie parole estreme. listen all of you together
del vario stil in ch’ io piango et ragiono, for the varying style in which I weep and speak to these my mournful last words.
fra le vane speranze e ’l van dolore, amid vain hopes and vain suffering,
ove sia chi per prova intenda amore, where there is anyone who knows love
spero trovar pietà, non che perdono. through experience
I hope to find pity, not just pardon. Quante volte diss’ io
Canzoniere 126, stanza 4
Ma ben veggio or sì come al popol tutto But now I see clearly how I’ve been the talk
favola fui gran tempo, onde sovente of people all around for a long time, for which Quante volte diss’ io How often I did say
di me medesmo meco mi vergogno; I often feel ashamed for myself within me; allor, pien di spavento, then, full of awe,
“Costei per fermo nacque in paradiso!” “For certain she was born in Paradise!”
et del mio vaneggiar vergogna è ’l frutto, and shame is the fruit of my raving,
Così carco d’oblio And so her divine manner,
e ’l pentersi, e ’l conoscer chiaramente and repentance, and the clear knowledge
il divin portamento her face and words and sweet smile
che quanto piace al mondo è breve sogno. that whatever pleases in the world is a
e ’l volto e le parole e ’l dolce riso so filled me with forgetfulness
fleeting dream.
m’aveano, et sì diviso and so divided me
da l’imagine vera, from the true image
ch’ i’ dicea sospirando, that I kept saying, with a sigh,
“Qui come venn’ io o quando?” “How did I come here, and when?”—
Lasciar’ il velo o per sol’ o per ombra credendo esser in ciel, non là dov’ era. thinking I was in Heaven, not where I was.
Canzoniere 11 Da indi in qua mi piace Since then I have been so pleased
Lasciar’ il velo o per sol’ o per ombra, I have never seen you put aside your veil, quest’ erba sì ch’ altrove non ò pace. by this bank of grass that nowhere else do
donna, non vi vidd’io Lady, in sun or in shade, I find peace.
poi ch’in me conoscesti il gran desio since you learned of the great desire within me
ch’ogn’altra voglia dentr’al cor mi sgombra. that empties my heart of all other wishes.
Mentre portava i bei pensier celati As long as I kept concealed those fair thoughts Solo et pensoso i più deserti campi
c’hanno la mente desiando morta, that bring my heart death by desiring, Canzoniere 35
vidivi di pietate ornar ’l volto, I saw you adorn your face with pity,
ma poi ch’Amor di me vi fec’ acorta but ever since Love made you aware of me Solo et pensoso i più deserti campi Alone and deep in thought I measure out
fur’ i biondi capelli alhor velati your blond tresses have been veiled vo misurando a passi tardi et lenti, the most deserted fields with slow, halting steps,
e l’amoroso sguard’in se raccolto. and your lovely gaze kept to itself. et gli occhi porto per fuggire intenti and I keep my eyes intent, ready to flee
Quel che piu desiav’in voi m’e tolto; What I most desired in you is taken from me; ove vestigio human la rena stampi. wherever vestige of human footprint marks
si mi governa ’l velo, thus the veil rules me, the sand.
che per mia morte et al cald’et al gelo for to cause my death in both warm and icy Altro schermo non trovo che mi scampi I find no other defence to protect myself
de bei vostr’occhi il dolce lum’adombra. weather dal manifesto accorger de le genti, against the knowing glances of people,
it shades the sweet light of your fair eyes. perché negli atti d’alegrezza spenti for in my bearing all bereft of joy
di fuor si legge com’ io dentro avampi: one sees from outside how I burn within.
sì ch’ io mi credo omai che monti et piagge So now I think that mountains and plains
et fiumi et selve sappian di che tempre and rivers and woods know the temper
sia la mia vita, ch’ è celata altrui; of my life, which is concealed from others;
ma pur sì aspre vie nè sì selvagge and yet I can never find a path so harsh Che debb’ io far? che mi consigli, Amore?
cercar non so, ch’ Amor non venga sempre or so wild that Love does not always come along Canzoniere 268, stanza 1
ragionando con meco, et io con lui. speaking with me, and I with him.
Che debb’ io far? che mi consigli, Amore? What should I do? what do you counsel me,
Tempo è ben di morire, Love?
et ho tardato più ch’ i’ non vorrei. It is now time to die,
Italia mia Madonna è morta et ha seco il mio core, and I have put it off more than I would like.
Canzoniere 128, stanza 1 et volendol seguire My lady is dead and has with her my heart,
interromper convien quest’ anni rei, and wishing to follow it
Italia mia, ben che ’l parlar sia indarno O, my Italy, though words be useless perché mai veder lei I must interrupt these wretched years,
a le piaghe mortali to heal the mortal wounds di qua non spero, e l’aspettar m’ è noia; for I can never hope
che nel bel corpo tuo sì spesse veggio, I see all over your lovely body, poscia ch’ ogni mia gioia to see her here, and the waiting pains me;
piacemi almen che’ mei sospir’ sian quali I wish at least for my sighs to be one per lo suo dipartire in pianto è volta, since all my joy
spera ’l Tever’ et l’Arno with the hopes of the Tiber and the Arno ogni dolcezza di mia vita è tolta. is turned to tears by her departure,
e ’l Po, dove doglioso et grave hor seggio. and the Po, where I now sit, sad and grieving. all the sweetness in my life is taken away.
Rettor del cielo, io chieggio Ruler of Heaven, I beg
che la pietà che ti condusse in terra that the mercy which brought you down to earth
ti volga al tuo dilecto almo paese. turn you towards your beloved, holy land.
Vedi, Signor cortese, See, gracious Lord, Datemi pace, o duri miei pensieri!
di che lievi cagion’ che crudel guerra: what trivial reasons cause such cruel war, Canzoniere 274
e i cor’, che ’ndura et serra and those hearts hardened and closed
Marte superbo et fero, by fierce and haughty Mars— Datemi pace, o duri miei pensieri! Give me peace, O cruel thoughts of mine!
apri tu, padre, e ’ntenerisci et snoda; open them, Father, soften and unbind them; Non basta ben ch’ Amor, Fortuna e Morte Isn’t it enough that Love, Fortune, and Death
ivi fa’ che ’l tuo vero, and there let your truth, mi fanno guerra intorno e ’n su le porte, wage war around me and at the gates,
qual’ io mi sia, per la mia lingua s’oda.. whatever I myself may be, be heard from senza trovarmi dentro altri guerrieri? without finding other foes within?
my tongue.
Et tu, mio cor, ancor se’ pur qual eri? And you, my heart, are you still what you were?
disleal a me sol che fere scorte Disloyal only to me, giving shelter
vai ricercando et se’ fatto consorte to cruel spies and making yourself an ally
de miei nemici sì pronti e leggieri. of my enemies, so quick and ready.
Oimè il bel viso, oimè il soave sguardo
Canzoniere 267 In te i segreti suoi messaggi Amore, In you Love reveals his secret messages,
in te spiega Fortuna ogni sua pompa, in you Fortune displays her every pomp,
Oimè il bel viso, oimè il soave sguardo, Alas the beautiful face, alas the gentle glance,
et Morte la memoria di quel colpo and Death the memory of that blow
oimè il leggiadro portamento altero, alas the carefree, noble bearing,
oimè il parlar ch’ogni aspro ingegno et fero alas the way of speaking that made every harsh che l’avanzo di me convien che rompa, which must break whatever is left of me;
facevi umile ed ogni uom vil, gagliardo; and savage mind humble, and every base in te i vaghi pensieri s’arman d’errore, in you my restless thoughts arm themselves
man, valiant; perché d’ogni mio mal te solo incolpo. with error,
and so I blame my every ill on you alone.
et oimè il dolce riso, onde uscio ’l dardo and alas the sweet smile whence came forth
di che morte, altro bene omai non spero. the dart
Alma real, dignissima d’impero from which I now hope for death, and no
se non fossi fra noi scesa sì tardo: other good.
Regal soul, most worthy of empire Ov’ è condotto il mio amoroso stile?
had you not descended among us so late: Canzoniere 332, stanza 3
per voi conven ch’io arda e ’n voi respire, for you I must burn and in you breathe, Ov’ è condotto il mio amoroso stile? Where has it been led, my amorous style?
ch’i pur fui vostro; et se di voi son privo for I have been only yours; and if I am A parlar d’ira, a ragionar di morte. To speak of wrath, to talk of death.
via men d’ogni sventura altra mi dole. deprived of you U’ son i versi, u’ son giunte le rime, Where are the verses, where are the rhymes
all other misfortune pains me much less. che gentil cor udia pensoso e lieto? a noble heart used to hear, thoughtful and
Di speranza m’empieste et di desire With hope you filled me, and with desire, Ov’ è ’l favoleggiar d’amor le notti? happy?
quand’ io partì’ dal sommo piacer vivo; when I took leave of my highest pleasure, Hor non parl’ io, nè penso altro che pianto. Where is the pleasant talk of love at night?
ma ’l vento ne portava le parole. still living; Now I speak and think of nothing but weeping.
but the wind carried away the words.Mia benigna fortuna
Canzoniere 332, stanzas 1 – 2
MUSIC BEFORE 1800
Mia benigna fortuna e ’l viver lieto, My kindly fortune and my life, so happy,
i chiari giorni et le tranquille notti, the bright days and the tranquil nights, ADMINISTRATION BOARD OF DIRECTORS VOLUNTEERS
e i soavi sospiri e ’l dolce stile the gentle sighs and the sweet style Bill Barclay Jane Alden Paul Arents
che solea risonar in versi e ’n rime, that used to resound in my verses and rhymes,
Artistic Director Robert Anderson Paul Arkava
volti subitamente in doglia e ’n pianto suddenly turned to grief and weeping,
odiar vita mi fanno et bramar morte. make me hate life and yearn for death. Robby Meese Louise Basbas Maria Asteinza
Administrative Director Bruce Garetz Pamela Bayless
Crudele acerba inesorabil Morte, Cruel, bitter, inexorable Death, Stuart Wolferman Nancy Hager Maurie Brooks
cagion mi dai di mai non esser lieto you give me reason never to be happy, Publicist, Unfinished Side Susan Hellauer Patricia Costa
ma di menar tutta mia vita in pianto but to live all my life in weeping,
Hannah Yates Stephen Jacobs Patricia Cunningham
e i giorni oscuri e le dogliose notti; in dark days and sorrowful nights;
Jane O’Wyatt Gerald McGee Caroline Fairey
i miei gravi sospir non vanno in rime, my heavy sighs do not fit into rhymes,
e ’l mio duro martir vince ogni stile. and my harsh torment defeats all style. Graphic Designers Katherine Moore Michael Honigberg
Robert Anderson Maya Lewis
ADVISORY BOARD
Anderson Sound Recording Cathryn Michelini
George Basbas
Nayib Altareb Mike O’Connor
Vergine bella Joan S. Faber
Stage Manager Eleanor Tejirian
Canzoniere 366, stanza 10 & congedo Judith McGuire
Tatiana Daubek Susan Wool
Wendy Powers
Vergine humana et nemica d’orgoglio, Virgin so kind and enemy of pride, Videographer, Hudson
Nancy Tooney
del comune principio amor t’induca: may love of our common origin move you: View Productions
miserere d’un cor contrito humile, have mercy on a contrite and humble heart, Barbara E. Morgan
che se poca mortal terra caduca for if I have loved a frail bit of mortal earth Bookkeeper
amar con sì mirabil fede soglio, with such marvelous faith,
che devrò far di te, cosa gentile? what should I do with you, a noble thing?
Se dal mio stato assai misero et vile If from my wretched and vile state
per le tue man’ resurgo, I rise up at your hands,
Vergine, i’ sacro et purgo Virgin, in your name
al tuo nome et pensieri e ’ngegno et stile, I purge and consecrate my thoughts and wit
la lingua e ’l cor, le lagrime e i sospiri. and style,
Scorgimi al miglior guado, my tongue and heart, my tears and sighs.
et prendi in grado i cangiati desiri. Lead me to the better passage
and accept my changed desires.
Il dì s’appressa et non pote esser lunge, The day draws near and cannot be far off,
sì corre il tempo et vola, for time so runs and flies,
Vergine unica et sola, one and only Virgin,
e ’l cor or conscientia or morte punge. and now conscience, now death pierces
Raccomandami al tuo Figluol, verace my heart.
homo et verace Dio, Commend me to your Son, true
ch’accolga ’l mio spirto ultimo in pace. man and true God,
that He accept my final breath in peace.
– TRANSLATIONS BY SCOTT METCALFEConcerts 2022 | 2023
IN NYC
FRIDAY
Anima Sola
Passionate Music for Voice & Viols
NOVEMBER 18
at 8pm LAURA HEIMES, SOPRANO
JOHN MARK ROZENDAAL, VIOL
CORPUS CHRISTI CATHOLIC CHURCH | 529 W. 121ST ST., NYC
It Is Time to Die
Fantasies & Madrigals by Giovanni
SUNDAY
APRIL 2
Coprario, Jacobean Master of Music at 4pm
BRENT WISSICK & DAVID MORRIS,
VIOLS
VOCAL SEXTET
CORPUS CHRISTI CATHOLIC CHURCH | 529 W. 121st ST., NYC
SATURDAY
Old & New Works
MAY 6
at 8pm
TICKETS $40 / $25 / $10
for Recorders &Viols
with Farallon Recorder Quartet
LETITIA BERLIN, FRANCES BLAKER,
MIYO AOKI & VICKI BOECKMAN
THE CHURCH OF SAINT LUKE IN THE FIELDS | 487 HUDSON ST., NYC
parthenia.orgBoson Early Music Fesival Paul O’Dette & Stephen Stubbs, Artistic Directors
2223
n FRIDAY, DECEMBER 9, 2022 | 8PM
THE TALLIS SCHOLARS
Peter Phillips, director
n FRIDAY, FEBRUARY 10, 2023 | 8PM
BACH COLLEGIUM JAPAN
SEASON RODERICK WILLIAMS, baritone
Masaaki Suzuki, director & harpsichord
n FRIDAY, OCTOBER 28, 2022 | 8PM
n FRIDAY, MARCH 10, 2023 | 8PM
PHILIPPE JAROUSSKY QUICKSILVER
Robert Mealy & Julie Andrijeski, directors
& ENSEMBLE ARTASERSE
n FRIDAY, MARCH 25, 2023 | 8PM
n FRIDAY, NOVEMBER 4, 2022 | 8PM CHIAROSCURO QUARTET
VOX LUMINIS
Lionel Meunier, director
n SATURDAY, APRIL 22, 2023 | 8PM
ENSEMBLE CASTOR
MIREILLE LEBEL, mezzo-soprano
n SATURDAY, NOVEMBER 26, 2022 | 8PM Rodolfo Richter, leader
n SUNDAY, NOVEMBER 27, 2022 | 3PM
BEMF CHAMBER OPERA SERIES
&
n FRIDAY, APRIL 28, 2023 | 8PM
Lully Idylle sur la Paix STILE ANTICO
Charpentier La Fête de Rueil
Paul O’Dette & Stephen Stubbs,
LEARN MORE AT
Musical Directors
Gilbert Blin, Stage Director
BEMF.org
Robert Mealy, Concertmaster
Melinda Sullivan, ChoreographerMUSIC BEFORE 1800 thanks all the contributors whose continuing financial
support enables it to present the best in today’s early music.
FEBRUARY 10, 2022 –FEBRUARY 10, 2023
UNDERWRITERS
Pamela & David Kolb – in memory of Robert & Helen Britton
The Henry & Lucy Moses Fund, Inc.
New York City Department of Cultural Affairs, in partnership with the City Council
The Russell Oberlin Foundation
TRUSTEES Lauren Ishida Peter Boysen
George Basbas Barbara & Rodney Myrvaagnes Karin Brookes
Louise Basbas Myrna Nachman Beverly Brooks
Bruce Britton & Andrea Stomberg Stephen Paschke Jackeline Figueroa
The Gladys Krieble Delmas Deborah & Jim Purdon – Ruth Helfrich
Foundation in honor of James H. Litton Olivia Hewitt
Stephen Jacobs & Nancy Walker Rev. Raymond M. Rafferty Cynthia Howland
Nancy Hager Paula Rand David Lerner & Lorren Ested
Jeremy Rhizor Leila Lieberman
GUARANTORS Raymond Riordan Vincent McGee
Roger & Whitney Bagnall Patsy Rogers Terry Pierce
Deborah Malamud Paul Ross & Faina Riftina – Ardal Powell
Gerald & Eleanor McGee in honor of Lisa Terry Mary Sherman
Wendy Powers & Edmund Hollander Christopher Rothko & Lori Cohen Wendy Steiner
Burton Singer Emery Snyder Susan Swan
Ruth Steinberg, MD Harvey U
SUSTAINING CONTRIBUTORS Andrea Taras & Tony Elitcher
Robert E. Anderson Susan Wool
Gwendolyn Toth
Peter L. & Joan S. Faber – in
Noreen & Edward Zimmerman FRIENDS
memory of Anne Eisenberg
Naomi Allen
Bruce Garetz SPONSORS Marilyn Anderson
Hans & Melina Gesell Anonymous Barbara Appel
Eleanor Magid Pam Bayless Scott Bass
Thomas Martin & Gretchen Wold Margery Daley & Lewis White Claudia Citkovitz
Judith & Raymond McGuire Laura Delano & Bob Celli – Martin & Janet Cohen
Karen McLaughlin & Mark Schubin in memory of Georgia Delano Henry & Naoko Grossberg
Robert Mealy – in honor of Kathleen Fay & Glenn KnicKrehm Alan Guma
Louise Basbas Robert Gunhouse & Jean Crichton Kathleen Hill
Celia Merzbacher & Alex Nitkiewicz Mary Ann Johnson
Valerie Horst & Benjamin Peck
– in memory of Ann & Eugen James Kurtz & Judith Green
Imogen Howe
Merzbacher Arthur Leonard
Jamshid Javid
Katherine Moore Lorraine Matys
Peter Alan Klein
Gene Murrow & Anne Lowenthal Sandra Miller
Howard Levy
– in honor of Louise Basbas Deborah Mintz
Alaire Lowry
Kenneth Ritchie Kathleen Murray
Barbara Morgan
Nancy Tooney Maria Pitaro
Salli Zimmerman Pamela Morton
Diana Powers
Michael Zumoff & Judith Anne Wink Beverly O’Connor
William Ryall
Marjam Parhizkar
Otto Sonntag
BENEFACTORS Lisa Terry
Katherine Parry
Anonymous 2 Marian Warden Henry Pinkham
The Bagby Foundation John Yannis Barbara Reissman
for the Musical Arts Dr. James Q. Robinson
Norma Cote PATRONS Cynthia Sanford
Kristine & Joseph Delfausse Jane Alden Bill Sawyer
Jane Furth Nancy Banks Gloria Stanich
Rev. Peter Andrew Heasley Sheila Berke David Starr
Susan Hellauer Alexander Blachly Sedgwick Ward
Ravenna Hekon Joyce Bodig Lawrence ZukofOur 48th season
2022 – 2023
WE’LL BE THERE: AMERICAN SPIRITUALS
Boston Camerata
October 2
BACH: THE ARNSTADT CONNECTION
Vox Luminis
October 23
THE SPLENDORS OF DRESDEN
Juilliard415
December 11
AMINTA E FILLIDE
Twelfth Night
January 15
WINDS OF CHANGE
Les Délices
February 5
PETRARCH’S CANZONIERE IN SONG
Blue Heron
February 19
CANONS OF BEAUTY: JOSQUIN & MOUTON
Cappella Pratensis
April 16
CELESTIAL BEAUTY: HILDEGARD OF BINGEN
Tiburtina Ensemble
May 7
All concerts are Sundays at 4.00pm at Corpus Christi Church
Streams launch the Sunday following the performance.
More information can be found at MB1800.orgYou can also read
