Newberry Consort - A Sound Strategy...

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The Newberry ConsortDavid Douglass & Ellen Hargis, co-directors

2012-2013

Friday, January 25, 8pmRuggles Hall

The Newberry Library

Saturday, January 26, 8pmThe Logan Center for the Arts

University of ChicagoHyde Park

Sunday, January 27, 3pmLutkin Hall

Northwestern UniversityEvanston

David Douglass, Baroque violinEllen Hargis, soprano

Leighann Daihl, Baroque flutePaul Hecht, spoken word

David Schrader, harpsichordCraig Trompeter, Baroque ‘cello

My Heart’s in the Highlands: Songs and Poems of Robbie Burns

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The Howard Mayer Brown Memorial Concert

2014–2015Ellen Hargis & David DouglassCo-directors

Friday, March 20, 8pmRuggles Hall

The Newberry Libary Chicago

Saturday, March 21, 8pmLogan Center for the Arts


Sunday, March 22, 3pmAlice Millar Chapel


Music from the World of CopernicusPolish Cultural Treasures

David Douglass, medieval & Renaissance strings

Tom Zajac, medieval & Renaissance winds, percussion

Shira Kammen, medieval & Renaissance strings

Mark Rimple, lute & gittern Daniel Stillman, Renaissance winds

Ellen Hargis & Laura Pinto, sopranos

Angela Young Smucker , alto Matthew Dean &

Corey Shotwell, tenors Eric Miranda, bass

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2012-2013











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2014–2015Pod Dyrekcją Ellen Hargis i Davida Douglassa

Wykonawcy: David Douglass, średniowieczne i renesansowe instrumenty smyczkowe

Tom Zajac, średniowieczne i renesansowe instrumenty dęte

drewniane, perkusjaShira Kammen, średniowieczne i

renesansowe instrumenty smyczkoweMark Rimple, lutnia i giternaDaniel Stillman, renesansowe

instrumenty dęte drewniane

Wokaliści:Ellen Hargis, sopranLaura Pinto, sopran

Angela Young Smucker, altMatthew Dean, tenor

Corey Shotwell, tenorEric Miranda, bas

Piątek, 20 marca, 2015, 20:00Ruggles Hall

The Newberry Libary Chicago

Sobota, 21 marca, 2015, 20:00Logan Center for the Arts


Niedziela, 22 marca, 2015, 15:00 Alice Millar Chapel

Northwestern University Evanston

Muzyka czasów KopernikańskichSkarby kultury polskiej

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With great pleasure we welcome back Tom Zajac to help direct another program of Polish music from the 15th and 16th centuries. Tom’s research into one of the great European musical traditions has yielded more treasures for us to explore with our quartet of multi-instrumentals and ensemble of six glorious voices.

In other news, we are thrilled to announce the release of Música Celestial, our live recording of music from the Mexico City convent of the Encarnación. If you missed this concert last year, now you can hear it on CD. Discs are for sale at the concert, and you can also order from our website. And mark your calendars for April 2016, when we will mount a new Mexican convent project featuring the Vespers music of Juan de Lienas.

You won’t want to miss our final concert of the 2014–2015 season, Mr. Dowland’s Midnight. Our consort of voices and viols will be joined by legendary lutenist Paul O’Dette to bring you the darkest and sassiest blues of Elizabeth’s England.

As always, it is our great pleasure and honor to bring this repertoire to our Chicago audience. This weekend, join us in enjoying the collaboration of Tom Zajac, native Chicagoan, Polish-American world citizen, and musician extraordinaire.

Ellen Hargis David Douglass

From the directors

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Od kierownictwa

Z wielką radością witamy ponownie w naszym gronie Toma Zajaca, który pomógł nam w przygotowaniu kolejnego programu polskiej muzyki z XV i XVI wieku. Dzięki jego badaniom nad materiałami źródłowymi tej niezwykle bogatej europejskiej tradycji muzycznej zostały odnalezione kolejne skarby, które mogą dziś wykonać nasi muzycy ¬– szóstka fenomenalnych śpiewaków i kwartet multiinstrumentalistów.

Mamy również wielką przyjemność poinformować o naszym nowym wydawnictwie płytowym – jest nim Música Celestial, zapis koncertu w klasztorze Encarnación w Mexico City. Jeśli nie mieliście Państwo okazji wysłuchać go na żywo, teraz dostępny jest na płycie CD. Album można będzie nabyć na koncertach; dostępny jest również w sprzedaży za pośrednictwem naszej strony internetowej. Już teraz zapraszamy także na nasz nowy koncert w meksykańskim klasztorze, planowany na kwiecień 2016 roku; na jego program złożą się Nieszpory Juana de Lienasa.

Polecamy także Państwu koncert kończący nasz sezon 2014–2015, Mr. Dowland’s Midnight (Północ pana Dowlanda). Najbardziej nostalgiczne i mroczne utwory okresu elżbietańskiego wykona dla Was nasz zespół wiolistów, a specjalnym gościem koncertu będzie legendarny wirtuoz lutni, Paul O’Dette.

Jak zawsze, czujemy się ogromnie zaszczyceni, mogąc zaprezentować ten repertuar chicagowskiej publiczności. Mamy nadzieję, że wraz z nami także Państwo znajdą wielką przyjemność w słuchaniu programu, który przygotowaliśmy dla Was we współpracy z Tomem Zajacem, rodowitym synem Chicago, polsko-amerykańskim obywatelem świata i fantastycznym muzykiem!

Ellen Hargis i David DouglassKierownicy artystyczni The Newberry Consort

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Music from the World of CopernicusPolish Cultural Treasures

Medieval Music

Two chants in praise of Saint Stanisław: texts attributed to Wincenty z KielczyGaude, Mater Polonia and Ortus de Polonia music: Anonymous (13th century)

Probleumata enigmatum Petrus Wilhelmi de Grudencz (1392–after 1452)Prefulcitam expolitam PetrusPresulem ephebeatum PetrusProbitate eminenrem/Ploditando exararæ Petrus

Gloria Mikołaj z Radomia (fl. early 15th century)untexted ballade instruments MikołajCracovia civitas Anon.Ave Mater, O Maria Anon.Alleluia Mikołaj

intermission

Renaissance Music

Ortus de Polonia Jerzy Liban (1464–c.1546)Już zima smutna Anon. from Martin Łaski’s Of the Tree of Life

Kryste, dniu naszej światłości Wacław z Szamotuł (c.1520– c.1560)Ego sum pastor bonus Wacław Alleluja, Chwalcie Pana Wacław

Accede nuntia instruments Anon.Wesel się Polska corona instruments Mikołaj z Krakowa (fl. mid 16th century) Kolenda instruments Anon.

Date sicerum merentibus Mikołaj z Krakowa

Psalm 108: Paratum cor meum music: Mikołaj Gamółka (c.1535–1591) Psalm 117: Laudate Dominum, omnes gentes poetic translations: Psalm 29: Afferte Domino, filii Dei Jan Kochanowski (1530–1584)

Cossacks’ Dance Anon. (17th- century source) Hayducki Mikolał z KrakowaTaniec Wołoski Anon. (Vietoris Codex) Hungarian Dance Anon. (Sopron Virginal Book)

Song of the Zebrzydowski Rebels Anon. (1606)

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Muzyka czasów KopernikańskichSkarby kultury polskiej

Muzyka średniowieczna

Dwie pieśni ku czci św. Stanisława: Tekst przypisywany Wincentemu z KielczyGaude, Mater Polonia i Ortus de Polonia muzyka: Anonim z XIII wieku

Probleumata enigmatum Petrus Wilhelmi de Grudencz (1392–po 1452)Prefulcitam expolitam PetrusPresulem ephebeatum Petrus Probitate eminenrem/Ploditando exararae Petrus

Gloria Mikołaj z Radomia (tworzył w I poł. XV w.)Ballada (instrumentalna) Mikołaj z RadomiaCracovia civitas Anonim Ave Mater, O Maria AnonimAlleluia Mikołaj z Radomia

antrakt

Muzyka czasów Renesansu

Ortus de Polonia Jerzy Liban (1464–ok.1546)Już zima smutna minęła Anonimowa kompozycja z tekstem z dialogu

Marcina Łaskiego „Drzewo żywota”

Kryste, dniu naszej światłości Wacław z Szamotuł (ok.1520–ok.1560)Ego sum pastor bonus Wacław z SzamotułAlleluja, Chwalcie Pana Wacław z Szamotuł

Accede nuntia (kompozycja instrumentalna) AnonimWesel się Polska korona (instrumentalna) Mikołaj z Krakowa (tworzył w poł. XVI w.)Kolęda (kompozycja instrumentalna) Anonim

Date sicerum merentibus Mikołaj z Krakowa

Psalm 108: Paratum cor meum muzyka: Mikołaj Gomółka (ok.1535–1591)Psalm 117: Laudate Dominum, omnes gentes psalmy w poetyckim przekładzie Psalm 29: Afferte Domino, filii Dei Jana Kochanowskiego (1530–1584)

Taniec kozacki Anonim (źródło z XVII w.)Hajducki Mikołaj z KrakowaTaniec Wołoski Anonim (z Vietoris Codex)Taniec węgierski Anonim (z księgi Wirginał z Sopron)

Pieśń rokoszan Zebrzydowskiego Anonim (1606)

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Program notes by Tom Zajac

Historical Background

From the 15th through early-17th centuries, Poland was one of the richest and most powerful countries in Europe. It was also geographically large, the largest it’s been before or ever since. It encompassed an area which included present day Lithuania and Latvia and large portions of what is now the Ukraine, Belarus, Czech Republic, Slovakia, and Germany. Through a combination of fortuitous events and favorable economic and political conditions, Poland reached the height of its powers by the middle of the 16th century. As the population of Western Europe grew, Poland became its breadbasket, providing wheat and other agricultural products. A long-standing alliance with Lithuania dating from the end of the 14th century culminated in the Polish-Lithuanian Commonwealth of 1569. This Commonwealth benefited from an early form of parliamentary government that gave the landed gentry, some 10% of the population, unprecedented civil liberties and political influence. Religious tolerance was consciously cultivated, thus largely avoiding the internecine wars that plagued much of the rest of the continent.

As the middle class prospered, patronage of the arts increased and Poland looked westward, particularly to Germany and then to Italy for its cultural influence. In the fields of architecture, sculpture and painting in particular, this influence was pervasive. Kraków, the capital city at the time was, by all appearances, an Italian city. The Jagiellonian University, founded there in 1364, attracted students from all over Europe. By the second half of the 15th century 40% of the student body were foreigners from as far away as Spain and England. Perhaps its most illustrious student was the astronomer, Nicolas Copernicus. Humanism, another Italian import, was pervasive in Polish poetry, philosophy and letters, having been spearheaded by the great poet and Latinist Jan Kochanowski.

Poland’s cultural ascendancy was reflected also in its music. Unfortunately, relatively little of the untold riches, whether in manuscript or print, survived the ravages of the many wars and social upheavals in the intervening years. Even the leading composers of the day are each scantily represented by only one or two sources. Enough survives, however, to give a vibrant picture of the musical life of Kraków and other musical centers.

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Medieval Music

We begin the first half of tonight’s program with two chants that are rather well known to Polish audiences, Gaude Mater Polonia and Ortus de Polonia. The texts honor Saint Stanisław, the patron saint of Poland. We hear this second chant later in the program as the tenor of a four-part setting by German-born Jerzy Liban (1464–1546), an early Renaissance theorist and composer.

The next set focuses on the work of a little-known but fascinating composer, Petrus Wilhelmi de Grudencz (1392–after 1452), Petrus like Liban was not Polish-born, but was an honorary native son as he studied and probably taught at the Jagiellonian University for many years and then worked across central Europe at various appointments. He was a master of a variety of the genres of the day and is known for his penchant for signing his pieces with an acrostic, wherein the first five words of the text would begin with the letters PETRVS. This practice made it fairly easy for the scholar, Jaromir Cerny, to do the groundbreaking work in identifying Grudencz’s works in the 1970s.

We ask you to pay special attention to the bitextual motet Probitate Eminentem/Ploditando Exarare, which could be discribed as something of a roast of Petrus’ contemporary monk Martin Ritter. When each line of text is heard separately they sound very much like a tribute to Ritter, but when the two texts combine and overlap they are transformed into a humorous list of his worst possible attributes. We know from a contemporary document that Ritter had somewhat of a drinking problem. When the abbot sent him out on an errand one evening and he came back inebriated, he got into a fight with the abbot. Having the false impression that he stabbed the abbot, Ritter ran down the hallway, crashed through a window and fell to his own death.

In this medieval half of the program we also hear five works from the Krasiński manuscript, named for the Krasiński Library in Warsaw where it is housed. This source contains all the works of Poland’s most important composer of the early 15th century, Mikołai z Radomia (fl. c.1430). We hear his Gloria, written in the style of Europe’s most famous contemporary composer Johannes Ciconia, and a short and wonderfully pungent untexted ballade. We follow this with two anonymous works, the popular laude, Ave Mater, O Maria, which appeared in several sources throughout continental Europe, and the beautiful motet Cracovia civitas, written in honor of the great city on the Vistula. Although unattributed, it is thought by some to be by Mikołai as well. We conclude with one more work by Mikołai, a brief but glorious Alleluia based on the tenor of a Dufay chanson.

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Renaissance Music

The works of the polyphonist, Wacław z Szamotuł (c.1524–1560), survive mainly in German sources. Like many Polish composers of his day, Wacław was multi-talented. Besides being a composer, he was also a poet—he published a number of Latin panegyrics celebrating events in the royal family—and worked as a secretary to governors and aristocrats. He died young, probably while in his mid-30s, which led a contemporary writer to claim: “If the Gods had let him live longer, the Poles would have no need to envy the Italians their Palestrina, Lappi and Viadana.”

Among what does survive from the 16th century, at least regarding instrumental music, the Jan of Lublin Organ Book (c.1540) takes pride of place. This manuscript contains some 300 sacred, secular, and didactic works, making it the largest surviving collection of keyboard music in Renaissance Europe and a vast repository of repertories including dances, fantasies, songs and motets. Written in German organ tablature and owned and perhaps compiled by the organist Jan z Lublina, it includes pieces by such western notables as Senfl, Josquin, Sermisy, and Jannequin, as well as a large number of Polish pieces, both anonymous and attributed. The instrumental ensemble plays a set of three untexted works, but many pieces in this collection have been reunited by modern scholars with their texts, either literary or scriptural. By way of an example, we hear a work by Mikołaj z Krakowa, his beautiful setting of Date sicerum merentibus, with a text from chapter 31 of the Book of Proverbs. Mikołaj has a number of pieces in the tablature book, but nothing is really known about him except that his name appears as an organist in the Kraków court records. In this motet the keyboard ornaments have been stripped away so as to make the piece more appropriate for vocal ensemble.

Mikołaj Gomołka (c.1535–1609?) is known only from his printed collection of the 150 psalms, Melodiae na Psałterz polski (1580), which sets to music the idiomatic vernacular translations from the Latin, done by the great 16th-century poet Jan Kochanowski (1530–1584). This collection proved tremendously popular, for it made the psalms accessible to the rising merchant class, who sang and played from the book as a form of home entertainment. In his early years Gomołka held a position in the court musical establishment, but later in his life he returned to his hometown Sandomierz, got married and eventually become head of the town council.

A large number of Polish dances survives in the Lublin Organ Book as well as many other keyboard and lute sources, but we’ve chosen to be rather more adventuresome by exploring the connection between

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Poland and its surrounding neighbors, thus emphasizing the exotic sounds of Eastern Europe. The Cossacks’ Dance from a Ukrainian source and the Taniec Wołoski (Wallachian Dance) from Romania both share a melodic twist that is often associated with Klezmer and other Eastern European Jewish music. Hayducki refers to the legendary brigands who fought against the Turks and, when that threat was diminished, turned their attention toward fighting against greedy landowners, thus becoming the Robin Hoods of their day. The piece makes for a very nice bagpipe solo. And finally we play for you a lusty Hungarian dance from an unlikely source, the Sopron Virginal Book. The virginal, a soft keyboard instrument, seems to be a surprisingly dainty instrument for such a piece.

An early 17th-century work at the conclusion of our program shows strong influence from the Venetian style of the Gabrielis and their contemporaries. This six-voiced anonymous Song of the Zebrzydowski Rebels shows a masterful hand at quick meter changes in the service of emotive expression. The text is bloody to the extreme and, although none too subtle, it expresses well the passions of a most passionate people.

This concert is made possible, in part, by the support of the following organizations:

GAYLORD & DOROTHY DONNELLEY FOUNDATION

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Tło historyczne

W okresie od XV do początków XVII wieku Polska była jednym z najbogatszych i najpotężniejszych krajów w Europie. Jej terytorium było wyjątkowo rozległe — obszar państwa polskiego był wówczas większy niż kiedykolwiek wcześniej lub później. Obejmował on dzisiejsze terytorium Litwy i Łotwy oraz znaczą część Ukrainy, Białorusi, Czech, Słowacji i Niemiec. W połowie XVI stulecia za sprawą pomyślnych wydarzeń oraz zbiegających się z nimi w czasie korzystnych trendów politycznych i ekonomicznych Polska osiągnęła szczyt swojej potęgi. W miarę jak rozrastała się populacja Europy, Polska — dostarczająca zbóż i innych produktów rolnych — stała się spichlerzem kontynentu. Datujące się od końca XIV wieku przymierze z Litwą zaowocowało w 1569 Unią Lubelską, łączącą Koronę Królestwa Polskiego i Wielkie Księstwo Litewskie w jedno państwo — Rzeczpospolitą Obojga Narodów. W granicach tego wspólnego państwa funkcjonowała wczesna forma demokracji parlamentarnej, dzięki której szlachta, stanowiąca około 10% ogółu społeczeństwa, cieszyła się bezprecedensowymi prawami obywatelskimi i wpływami politycznymi. Tolerancja religijna była w Polsce świadomie praktykowana, co uchroniło kraj przed bratobójczymi wojnami, zalewającymi w owym czasie znaczną większość pozostałej części kontynentu.

Rozkwit klasy średniej zaowocował rozwojem patronatu artystycznego; Polska inspirowała się w tym względzie szczególnie Niemcami i Włochami, których wpływy kulturalne były szczególnie silne. Kraków, ówczesna stolica Polski, żywo przypominał wyglądem miasta Italii. Utworzony w Krakowie w 1364 Uniwersytet Jagielloński przyciągał studentów z całej Europy. U progu drugiej połowy XV wieku 40% studentów tej uczelni pochodziła z zagranicy — nawet z krajów tak odległych jak Hiszpania czy Anglia. Jednym z najznakomitszych wychowanków Uniwersytetu Jagiellońskiego był astronom Mikołaj Kopernik. Humanizm — również zaimportowany z Włoch — znajdował bogaty wyraz w poezji, filozofii i literaturze polskiej; jego najwybitniejszym orędownikiem był wielki poeta i znawca łaciny, Jan Kochanowski.

Ten dynamiczny wzrost znaczenia kulturalnego Polski znalazł odzwierciedlenie także w muzyce. Niestety, niewiele z jej nieprzebranego bogactwa przetrwało do naszych czasów w formie rękopisu czy druku: większość przepadła w pożodze

O programie — Tomasz Zając

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wojen i niepokojów społecznych następnych lat. Nawet dzieła najwybitniejszych kompozytorów epoki reprezentowane są bardzo skromnie, w jednym lub dwu źródłach. Na szczęście zachowało się dość z tych dzieł by dać nam obraz tętniącej życiem sceny muzycznej Krakowa i innych centrów kulturalnych.

Muzyka średniowieczna

W pierwszej części koncertu usłyszymy dwie pieśni doskonale znane polskiej publiczności: Gaude Mater Polonia i Ortus de Polonia. Oba teksty sławią patrona Polski, świętego Stanisława. Ten drugi utwór powróci w późniejszej części wieczoru: usłyszymy go ponownie jako partię tenorową w czterogłosowej kompozycji polifonicznej urodzonego w Niemczech Jerzego Libana (1464–1546), wczesnorenesansowego kompozytora i teoretyka.

Kolejna część wieczoru koncentruje się na twórczości mało znanego, a fascynującego kompozytora — Piotra z Grudziądza (znanego także pod łacińskim nazwiskiem Petrus Wilhelmi de Grudencz; 1392–po 1452). Podobnie jak Liban, Piotr z Grudziądza urodził się poza Polską, ale zasługuje na tytuł jej honorowego obywatela, gdyż studiował, a prawdopodobnie także przez wiele lat wykładał na Uniwersytecie Jagiellońskim — następnie zaś pracował i nauczał w różnych ośrodkach na terenie centralnej Europy. Piotr był mistrzem wielu gatunków muzycznych popularnych w jego czasach; znany jest ze swego upodobania do sygnowania utworów wokalnych akrostychem PETRVS, na który składały się litery pierwszych pięciu wersów. Ta praktyka pozwoliła badaczowi Jaromirowi Cernemu dokonać w latach 1970 pionierskiej pracy nad identyfikacją dzieł Piotra z Grudziądza.

Pragniemy zwrócić szczególną uwagę na podwójny motet Probitate Eminentem/Ploditando Exarare, w którym Piotr dobrodusznie dworuje sobie z mnicha Martina Ritterta, jednego ze swych współczesnych. Gdy słyszymy kolejne wersy motetu pojedynczo, brzmią one jak pochwała Rittera; kiedy jednak obydwa teksty łączą się i nakładają się na siebie, otrzymujemy komiczną listę jego najgorszych wad i przywar. Ze współczesnych źródeł wiadomo, że Ritter miał problem z alkoholem. Pewnego wieczora przełożony jego klasztoru wysłał go po sprawunki; Martin wrócił pijany i wdał się w przepychankę z opatem. Mylnie przekonany, że w trakcie awantury ugodził opata nożem, Ritter wybiegł z komnaty, wyskoczył przez okno rozbijając szybę i zabił się spadając z wysokości.

W części programu poświęconej muzyce średniowiecznej usłyszymy także pięć utworów pochodzących z tzw. Manuskryptu

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Krasińskich, nazwanego tak od warszawskiej Biblioteki Krasińskich, gdzie jest przechowywany. Źródło to zawiera wszystkie utwory najważniejszego polskiego kompozytora z początków XV stulecia, Mikołaja z Radomia (tworzył ok.1430). Usłyszymy jego Glorię, wzorowaną na kompozycjach najsławniejszego współczesnego mu twórcy europejskiego, Johannesa Ciconia, oraz krótką, ale pełną charakteru balladę instrumentalną. Kolejnymi utworami będą dwie kompozycje anonimowe: popularna pieśń pochwalna Ave Mater, O Maria, dostępna w kilku źródłach środkowoeuropejskich, oraz piękny motet Cracovia civitas, sławiący to piękne nadwiślańskie miasto. Mimo, że atrybucja ta nie jest potwierdzona, niektórzy przypisują Mikołajowi z Radomia także autorstwo tego utworu. Średniowieczną część koncertu zamyka kolejne dzieło Mikołaja, krótkie, ale przepiękne Alleluia, inspirowane partią tenorową z pieśni autorstwa Guillauma Dufay.

Muzyka renesansu

Dzieła polifonisty Wacława z Szamotuł (ok.1524–1560) zachowały się głównie w źródłach niemieckich. Jak wielu polskich kompozytorów swej epoki, Wacław był wszechstronnie utalentowany. Był nie tylko kompozytorem, ale i poetą— opublikował szereg łacińskich panegiryków, celebrujących wydarzenia z życia rodziny królewskiej; pracował również jako sekretarz arystokratów i dostojników państwowych. Zmarł młodo, prawdopodobnie jako trzydziestokilkulatek; współczesny pisarz lamentował, że: “gdyby losy pozwoliły mu żyć dłużej, z pewnością nie potrzebowaliby Polacy zazdrościć Włochom Palestriny, Lappiego, Viadany.”

Tabulatura organowa Jana z Lublina (ok.1540) zajmuje szczególne miejsce wśród zachowanych dzieł z wieku XVI, szczególnie jeśli chodzi o muzykę instrumentalną. Manuskrypt ten zwiera około 300 dzieł o charakterze sakralnym, świeckim i dydaktycznym; czyni to Tabulaturę największym zachowanym zbiorem europejskiej muzyki na instrument klawiszowe oraz ogromnym repozytorium innego repertuaru, w tym tańców, fantazji, pieśni i motetów. Tabulatura, zapisana według notacji niemieckiej i należąca (a może nawet zebrana) przez organistę Jana z Lublina, zawiera utwory autorstwa takich znakomitości europejskiego świata muzycznego jak Senfl, Josquin, Sermisy i Jannequin, jak również pokaźny zbiór kompozycji polskich autorów, zarówno anonimowych, jak i zidentyfikowanych. Zespół instrumentalny wykona trzy kompozycje bez słów pochodzące z tego zbioru; współczesnym badaczom udało się jednak odnaleźć teksty — literackie lub biblijne — do wielu utworów zawartych w tej kolekcji. Usłyszymy na przykład dzieło Mikołaja z Krakowa, który

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stworzył piękną muzykę do zaczerpniętego z rozdziału 31. Księgi Przysłów Date sicerum merentibus. Tabulatura Jana z Lublina zawiera wiele utworów autorstwa Mikołaja — ale nie wiemy o ich twórcy nic poza tym, że krakowskie dokumenty dworskie wymieniają jego nazwisko i identyfikują go jako organistę. W tym wykonaniu motetu pominięto ornamentację przewidzianą w wykonaniach organowych by uczynić utwór bardziej przystępny dla zespołu wokalnego.

Twórczość Mikołaja Gomółki (ok.1535–1609?) znamy jedynie z wydanej drukiem kolekcji 150 psalmów, Melodiae na Psałterz polski (1580), będącej zbiorem muzycznych opracowań idiosynkratycznych przekładów z łaciny na język polski, dokonanych przez wielkiego XVI-wiecznego poetę Jana Kochanowskiego (1530–1584). Kolekcja ta cieszyła się niezwykłą popularnością, gdyż przybliżała psalmy członkom rosnącej w siłę klasy mieszczańskiej, której członkowie śpiewali je i grali na instrumentach w ramach domowych rozrywek. W młodości Gomółka był zatrudniony jako jeden z muzyków dworskich, ale potem powrócił do rodzinnego Sandomierza, ożenił się i w końcu został burmistrzem rady miejskiej.

W kolekcji Jana z Lublina zachowało się wiele tańców polskich i innych źródeł kompozycji organowych i utworów na lutnię; postanowiliśmy jednak pójść bardziej odważną ścieżką i zgłębić muzyczne powiązania pomiędzy Polską a sąsiednimi krajami, z naciskiem na egzotyczne brzmienia ze Wschodniej Europy. Zarówno w Tańcu kozackim, zaczerpniętym z ukraińskiego źródła, jak i w Tańcu wołoskim z Rumunii pobrzmiewają melodie często kojarzone z muzyką klezmerską i innymi rodzajami wschodnioeuropejskiej muzyki żydowskiej. Hajducki odnosi się do hajduków, legendarnych oddziałów walczących przeciw Turkom; gdy zagrożenie ich najazdu zostało zażegnane, hajducy zwrócili się przeciw chciwym właścicielom majątków ziemskich, stając się lokalnymi Robin Hoodami. Utwór ten doskonale nadaje się do wykonania na kobzie/dudach solo. Na koniec zagramy ognisty Taniec Węgierski, zaczerpnięty z nietypowego źródła — księgi Wirginal z Sopron. Wirginał — instrument klawiszowy o delikatnym tonie — wydaje się wyjątkowo mało odpowiednim instrumentem do wykonywania tego utworu.

Program zamkną utwory z początków XVII wieku; charakteryzuje je wyraźna inspiracja weneckim stylem Gabrielich i im współczesnych. Anonimowa sześciogłosowa Pieśń rokoszan Zebrzydowskiego wyróżnia się wielkim kunsztem w szybkich zmianach tempa, intensyfikujących ekspresję utworu. W tekście mowa o nadzwyczaj krwawych czynach, i choć wymowa tej pieśni nie jest bynajmniej szczególnie subtelna, znakomicie oddaje ona głębokie porywy dusz pełnych pasji buntowników.

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2015-2016 Season Preview!

Music of Johann Rosenmüller October 9–11, 2015

Le Roman de Fauvel with projected images

January 8–10, 2015

Juan de Lienas Vespers Back by popular demand, with newly-edited music from the Newberry Choirbooks

April 8–10, 2015

David Douglass & Miriam Scholz-Carlson, violin

Brandi Berry & Jakob Hansen, viola

Jeremy Ward, bass violinEllen Hargis, sopranoCharles Metz, organ/

harpsichord

David Douglass, medieval stringsEllen Hargis, voice

Debra Nagy, voice, harp, windsMark Rimple, plucked strings, voice

Christa Patton, harp, shawmThe Rookery [Matthew Dean,

Wain Parham, Keith Murphy, William Chin, Joseph Hubbard,

Joseph Labozetta]

Ellen Hargis, director, with a consort of

women’s voices, organ, viol, guitar, and bajón

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David Douglass

A founding member of The Newberry Consort, David Douglass has been a leading figure in the world of Early Music performance for over 30 years. His playing has been praised by The New York Times for its “eloquence” and “expressive virtuosity”, and through his groundbreaking work in the field of the early violin he has developed a historical technique which produces “a distinctively ‘Renaissance’ sound and style for the violin” (Fanfare). This exploration culminated in the founding of his ensemble, The King’s Noyse, a Renaissance violin band. As director of The King’s Noyse, and through his recreation of the improvisational repertory of the early violin band, he has received praise for his “enterprise and imagination” (Stereophile). Noted for his versatility, Mr. Douglass also frequently performs as a guest artist with many ensembles, playing the viola da gamba and medieval stringed instruments in addition to the violin. In 2007 Mr. Douglass was named Musician-in–Residence at the Newberry Library in Chicago, and director of the Newberry Consort, which he now co-directs with Ellen Hargis. Mr. Douglass is much in demand as a writer and lecturer on early violin history, technique and repertoire. He teaches historical performance at Northwestern’s Bienen School of Music and the University of Chicago. In June of 2006, he was honored to provide a keynote speech for the Early Music America convention on “The Early Music Entrepreneur.” Mr. Douglass has recorded extensively for harmonia mundi usa, Deutsche Harmonia Mundi, Virgin, Erato, BMG, Berlin Classics, and Auvidis/Astrée labels.

Newberry Consort co-director and soprano Ellen Hargis is one of America’s premier early music singers, specializing in repertoire ranging from ballads to opera and oratorio. She has worked with many of the foremost period music conductors of the world, including Andrew Parrott, Gustav Leonhardt, Daniel Harding, Paul Goodwin, John Scott, Monica Huggett, Jane Glover, Nicolas Kraemer, Harry Bickett, Simon Preston, Paul Hillier, Craig Smith, and Jeffery Thomas. She has performed with the St. Paul Chamber Orchestra, Virginia Symphony, Washington Choral Arts Society, Long Beach Opera, CBC Radio Orchestra, Freiburg Baroque Orchestra, Tragicomedia, the Mozartean Players, Fretwork, Seattle Baroque Orchestra, Emmanuel Music, and the Mark Morris Dance Group. Ms. Hargis has performed at many of the world’s leading festivals, including Adelaide (Australia), Utrecht (Holland), Resonanzen (Vienna), Berkeley (California), Tanglewood, the New Music America Festival, Festival Vancouver, and is a frequent guest at the

Artist biographies

EllenHargis

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Boston Early Music Festival. Her discography embraces repertoire from medieval to contemporary music. She has recently recorded Bach’s St. Matthew Passion, and the leading role of Aeglé in Lully’s Thésée and Conradi’s opera Ariadne, for CPO, both nominated for a Best Opera Grammy Award. She is featured on a dozen Harmonia Mundi recordings, including a critically acclaimed solo disc of music by Jacopo Peri, and in Arvo Pärt’s Berlin Mass with Theatre of Voices, as well as two recital discs with Paul O’Dette on Noyse Productions.

Matthew Dean, tenor, is a medievalist, cantor, and oratorio soloist, “setting the tone” (Pittsburgh Music Alliance) and earning notice for his “affecting lines” (Boston Classical Review) and as “an ideal Evangelist, with a light high effortless voice” (Herbert Burtis). As artist in residence at Rockefeller Chapel since 2005, he has been an advocate of new works by Sandstrom, Kyr, Kallembach, and MacMillan, and a soloist in Ramirez’ Misa Criolla and Rachmaninov’s Vespers, where his work “rang through with clarity and soul” (Chicago Classical Music). A founding member of Golosá Russian Choir, he has traveled folkways from Siberia to the Ravinia Festival. Dean draws on his academic background in medieval art in singing with Schola Antiqua of Chicago and the Newberry Consort. He sings regularly with Bella Voce, the Oriana Singers, and King Solomon’s Singers, and can be heard on the Naxos, Discantus, and Permelia labels. In 2014, he was a featured soloist at the Valparaiso Bach Institute. A nonprofit development leader, Matt heads the Sounds of Faith initiative for Harran Productions Foundation and co-directs The Rookery men’s choir.

Multi-instrumentalist and occasional vocalist Shira Kammen has spent well over half her life exploring the worlds of early and traditional music. A member for many years of the early music Ensembles Alcatraz and Project Ars Nova, and Medieval Strings, she has also worked with Sequentia, Hesperion XX, the Boston Camerata, the Balkan group Kitka, the King’s Noyse, the Newberry and Folger Consorts, the Oregon, California and San Francisco Shakespeare Festivals, and is the founder of Class V Music, an ensemble dedicated to providing music on river rafting trips. She has performed and taught in the United States, Canada, Mexico, Europe, Israel, Morocco, Latvia, Russia and Japan, and on the Colorado, Rogue, Green, Grande Ronde, East Carson and Klamath Rivers. Shira happily collaborated with singer/storyteller John Fleagle for fifteen years, and performs now with several groups: a medieval ensemble, Fortune’s Wheel: a new music group, Ephemeros; an eclectic ethnic band, Panacea; an English Country Dance band, Roguery,the early music ensembles Cançoniér and In Bocca al Lupo, as well as frequent collaborations with performers such as storyteller/harpist Patrick Ball, medieval music experts Margriet Tindemans and Anne Azema, and in many theatrical and dance

Matthew Dean

Shira Kammen

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productions. She has worked with students in many different settings, among them teaching summer music workshops in the woods, coaching students of early music at Yale University, Case Western Reserve University, University of Oregon, and working at specialized seminars at the Fondazione Cini in Venice, Italy, and the Scuola Cantorum Basiliensis in Switzerland.

Eric Miranda’s singing career spans two decades and has included solo appearances at Orchestra Hall, at the Ravinia Festival, and in Millennium Park with the Grant Park Symphony Chorus. Sought after for his versatility and musicianship, Eric has appeared in concert with Newberry Consort, Callipygian Players, Bella Voce, Elgin Symphony, South Bend Chamber Orchestra, DePaul Community Chorus, and Chorus Angelorum. His regional opera credits include The Elixir of Love, Le Nozze di Figaro, Amahl and the Night Visitors, The Old Maid and the Thief, The Barber of Seville, the title role in the Chicago premiere of John Eaton’s Traveling with Gulliver, and, with Haymarket Opera Company, Dido and Aeneas, Le Jugement de Pan, Actéon, La Descente d’Orphée aux Enfers, and Don Quichotte auf der Hochzeit des Comacho. In 2014, Eric appeared in the inaugural concert of Bella Voce’s one-on-a-part ensemble, Bella Voce Camerata, featuring David Lang’s critically acclaimed Little Match Girl Passion, and Buxtehude’s Membra Jesu Nostri. Recent appearances include his debut as soloist with the Tower Chorale in Brahms’s Ein Deutches Requiem, a series of concerts with the Chicago Bach Ensemble under its new artistic director, baroque specialist Rubén Dubrovsky, and a return engagement with Bella Voce and Callypigian Players in performances of Messiah.

American soprano Laura Pinto has captured the attention of audiences in the U.S. and Canada for her exuberant stage presence, innate musicality, and thoughtful interpretations of vocal music in a wide range of styles. An early music specialist, this is Ms. Pinto’s debut with the Newberry Consort. On the operatic stage, Ms. Pinto recently made her debut as a principal artist with Sugar Creek Opera as Adele (Die Fledermaus). She has performed a variety of other roles, including Poppea (Agrippina, Handel), #1 [Princess] (Transformations, Susa), Gretel (Hänsel und Gretel), Phyllis (Iolanthe, Gilbert & Sullivan), Le Rossignol (L’enfant et les sortilèges, Ravel) and Maria (West Side Story). She received “special kudos” for her performance of Lauretta in Gianni Schicchi, in which her “beautiful arietta ‘O mio babbino caro’ was literally a showstopper” (Classical Voice of North Carolina). She has performed in productions of Dido and Aeneas with the McGill Chamber Orchestra and the Haymarket Opera Company, directed by renowned artists Daniel Taylor and Ellen Hargis, respectively. Ms. Pinto’s recital “Jewels of the Crown: Musical Gems from the Courts of 17th-Century Europe” with viola da gambist David Ellis was enthusiastically received in multiple performances throughout the Midwest.

Eric Miranda

Laura Pinto

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Lutenist and countertenor Mark Rimple has garnered critical notice for his interpretation of early music from national newspapers and journals including the Philadelphia Inquirer, The New York Times, the Chicago Tribune, The Washington Post, Early Music America, and Early Music (UK). He is a founding member of TREFOIL and a regular guest artist with the Newberry Consort and the Folger Consort, and has appeared with Piffaro, the Renaissance Band, the King’s Noyse, Ex Umbris (at the Clinton White House), New York’s Ensemble for Early Music, Mélomanie, Pomerium, Network for New Music, Cygnus Ensemble, and the GEMS production of The Play of Daniel. His original compositions incorporate early instruments and techniques; a Philadelphia area critic dubbed one of his choral works “nothing short of a masterpiece” and another said of the same that he “captivates with an obvious and complete understanding of early music structures.” He is currently at work recording his first solo composition CD, January: Songs and Chamber Music of Mark Rimple including works for archlute, countertenor, viola da gamba, and harpsichord. He is professor of music theory, composition, and history at West Chester University of PA.

Tenor Corey Shotwell, whose voice has been praised for its “light, sweet beauty” by the Bay Area Reporter, currently resides in Northeast Ohio and is a recent graduate of the Cleveland Institute of Music. In 2014, he premiered the role of the Evangelist in the first modern performance of C.P.E. Bach’s St. Luke Passion of 1775, and he performed the role of Alcidon with Chicago’s Haymarket Opera Company in Charpentier’s Le jugement de Pan. He received a scholarship from Early Music America to participate in the 2014 American Bach Soloists Academy in San Francisco. In 2013, he covered the role of Fernando in Handel’s Almira as part of the Boston Early Music Festival’s Young Artist Training Program. In Chicago, he performs with the Newberry Consort and Bella Voce. In Cleveland, he is a Young Artist Apprentice with Apollo’s Fire, and sings with Quire Cleveland and Opera Circle. www.coreyshotwell.com

Angela Young Smucker has received critical acclaim for her “rich, secure mezzo-soprano” (Chicago Tribune). Her performances in concert, stage, and chamber works have made her a highly valued artist. Highlights of the 2014–15 season include Bach’s St. Matthew Passion with the Chicago Chorale and Christmas Oratorio (Parts IV–VI) with the Bach Institute of Valparaiso University; recitals featuring the music of Abraham Lincoln’s lifetime, vocal music of Elliott Carter, and works of Haydn, Handel, and Porpora with cellist Craig Trompeter; Handel’s Messiah with the Indianapolis Chamber Orchestra as well as Chicago’s Bella Voce and Callipygian Players; and Charpentier’s Actéon with the Bach Collegium San Diego. Ms. Smucker has been recognized for her fine artistry in the repertoire of J. S. Bach: “Her discerning interpretation of the texts matched her

Mark Rimple

Corey Shotwell

Angela Young

Smucker

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creamy alto sonority and perceptive traversal of Bach’s serpentine vocal lines” (SanDiego.com). She was a Virginia Best Adams Master Class Fellow at the Carmel Bach Festival and has been a featured soloist with the Oregon Bach Festival, Chicago Symphony Orchestra, Bach Collegium San Diego, Leipzig Baroque Orchestra, Louisville Bach Society, and Bach Institute of Valparaiso University. www.mezzoangela.com

Daniel Stillman is a founding member and director of the Boston Shawm & Sackbut Ensemble, and has toured extensively with the Boston Camerata and Waverly Consort. A long-standing member of the trombone section of Boston Baroque orchestra, he has performed with many period-instrument orchestras on historical trombone, and has performed and recorded with such groups as the Gabrieli Consort, Taverner Players, Oltremontano, Folger Consort, Apollo’s Fire, Les Sonneurs de Montréal, and Dünya, playing a wide variety of early wind instrumemts. He can be heard on some two dozen recordings of music ranging from the Roman de Fauvel, to Mozart’s Requiem, to Unfold with the avant-garde rock ensemble Roger Miller’s Exquisite Corpse. Dan is a highly sought-after instructor of Renaissance wind instruments, and has served on the faculties of Wellesley College, Tufts University, the Five College Early Music Program, and the Longy School of Music, as well as summer workshops across the country.

Besides his work as a guest with the Newberry Consort, multi-instrumentalist, Tom Zajac is a regular member of the well-known Renaissance wind band Piffaro, and a frequent guest with the Folger Consort, Boston Camerata, Rose Ensemble and Texas Early Music Project. He can be heard on over 40 recordings of everything from medieval dances to 21st-century chamber music. He has performed with the Tallis Scholars to sold-out houses in Washington, DC; at the 5th Millennium Council in the East Room of the White House; and for the score of the Ric Burn’s documentary on the history of New York City. He also performs on santur, miskal, and zurna with the Boston-based Turkish ensemble, Dünya, with whom he traveled to Istanbul in 2010. In August 2011, he was invited by the Polish government to take part in a research visit to hear and meet Polish early music ensembles. Recent trips have taken him to Boliva with the Rose Ensemble and to Austria with Piffaro. Tom teaches at recorder and early music workshops throughout the US, is on the faculty of the Madison and Amherst Early Music Festivals, and directed the Medieval & Renaissance week of the San Francisco Early Music Society workshops from 2009 to 2013, as well as the early music ensembles at Wellesley College, near his home outside of Boston.

Daniel Stillman

TomZajac

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Música Celestial from the Convent of the Encarnación, the Newberry Consort’s newest recording, features soprano Ellen Hargis directing an all-star ensemble of female musicians from across the globe. Enjoy the best of the Newberry Consort’s May 2014 performance of the ever-popular Celestial Sirens series, recorded in Chicago’s beautiful and historic St. Clement Church.

Buy Música Celestial at tonight’s concert: $15 Visit the ticket table at intermission or after the concert! Cash, check, or credit card accepted.

Online at tnc.tixato.com/buy: $20 (shipping included)Scroll to the bottom and select Música Celestial CD as your “ticket” and checkout.

r e c o r d e d l i v e

Músicaelestial

thenewberryconsort^

directed by Ellen Hargis

from the Convent of theEncarnación

Hot off the press!

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Texts & Translations

Gaude, mater Polonia, prole fæcunda nobili. Summi Regis magnalia laude frequenta vigili.

Cuius benigna gratia Stanislai Pontificis passionis insignia signis fulgent mirificis.

Hic certans pro iustitia, Regis non cedit furiæ: Stat pro plebis iniuria Christi miles in acie.

Ortus de Polonia, Stanislaus studia legit pueritia studiosa mente, Tandem Christi vernula sublimatus infula fit virtutum formula Domino favente. Alleluia.

Probleumata enigmatum typorum reclusorum velata stirpsque stemmatum ex Jesse manatorum.

Per ampla orbis spacia hinc laudes sint Marie que facta Dei gracia est genitrix Messie.

Produntur clare hodie et preterit figura, dum regem parit gloriæ Maria, nympha pura.

Per ampla orbis spacia…

Prefulcitam expolitam tropum per melodie, Dorotheam nazaream veneremur hodie.

Hec solamen et iuvamen prebet nam egentibus, impetrando largiendo veniam optantibus.

Rejoice, oh Mother Poland Rich in noble offspring, Mighty works of the greatest King. Worship with incessant praise.

By whose beneficent grace Bishop Stanislaw’s Marks of his passion. Shine with marvelous signs.

Here contending, for the sake of justice, He will not yield to the furor of a king: He stands for the injustice of the people Christian soldiers in their ranks.

Stanislaus, sprung from Poland, In childhood studiously read his studies. Elevated at last, as our native ornament of Christ, he Becomes the model of virtues, With the blessing of the Lord. Alleluia.

Mysterious are the problems Of intricate scriptures, And hidden are the roots Of Jesse’s descendants.

In the wide spaces of the world May praise be given to Mary, Who, through divine grace, Became the mother of the Messiah.

This world has brightened today, And its old form is passing by. Lo, Mary, a pure nymph, Bore the king of glory.

In the wide spaces of the world...

Let us praise today Dauntless and enlightened Dorothy, a Christian, With a melodious song.

Since she offers the needy Support and comfort, Receiving grace and bestowing it Upon those who crave it.

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Presulem ephebeatum Trabeatum, radiatum Venustemus sedulo Martinum, cum preconio,

Qui terrena parvipendens, Et ad alte se extendens, Mundo abrenunciat, In quo crebe militat.

O, Martine, olim mundi miles, Demum verna Christi Salvatoris pisticus, Stirpe tu Eugenius,

Claustrum citius mancipasti, In quo Christo clientasi Tua nusquam stigmata, Ignorans letalia,

Quam devote sistis rogans, Oblectamenta dire negans, Mundi simul hiis denegans Tue natum anime;

Quare calles poli isti Genti deneganti scisti Sertum quia capere. Ergo nos sis protegens,

Qui fuisti mire negans Fasce, perge timida, Atque nimis denegans Saporis fastidia.

Quia cluit mitem mos te, Mitem pro te venerantibus Christum roga ut ab hoste Tuemur protinus,

Hosque, de miseria, Duc ad celi culmina, Ubi eve sedulo Celi fruamur bravio. Amen.

Probitate Eminentem/Ploditando Exarare

text 1: Probitate eminentem triumphali recordio virum singulis placentem nunc propalare gestio Andream Ritter singularem fautorem cleri ethici datoremque liberalem doni non ecliptici.

text 2: Ploditando exarare tenello opto carmine Andream Ritter et commemorare vocum modulamine

To a youthful bishop Martin, Radiant and adorned with a mitre, Let us give our zealous praise.

Scourning the vanities of the earth, Reaching to higher matters, He renounced the world Where he had long served as a soldier.

O Martin, once a worldly warrior, Now you are a servant of Christ By the savior Truly enobled.

Early you founded the cloister Where you served Christ, Heedless of insults, Feerless of death,

How piously you prayed, Disdaining attire, And to the vanities of this world You did not turn your soul,

Against the people who Forsook the heavenly paths, You know how to seize your sword; Be thus our rock.

You, who resisted temptation And rejected an overly conceited Flair for making judgements, Give strength to us, the weak.

You were a man of a gentle nature Just as was Christ himself; Thus beg him to give those who worship you The grace to be safe from our foes.

Lead us out of misery To the heights of heaven Where we shall always revel In our heavenly rewards. Amen.

1. Famous for his righteousness, with a triumphant monument, a man agreeable to the great, Andreas Ritter, lo I shall praise him. The exceptional patron of the ethical clergy, the merciful giver of the matchless gift.

2. With a fair and dignified song I will sketch a portrait of Andreas Ritter and I will commemorate him with a melodious voice.

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Huius vite laudum mores in parte ponam brevius parcat quisque si errores se inserent secricius.

1: In sanctam vitam comitatur 2: Hic non advertit mulieres

1: et morum rectitudinem amplexatur 2: viventes incomposite sed puellas

1: veneratur iustorum sanctitudinem. 2: mente meras diligit theorice.

1: Hic cleorum est amator 2: Est persecutor rusticorum

1: honeste se regencium pius mitis procurator 2: turpe delirancium comes fidus

1: pauperum degencium Et in templo 2: honestorum Christum diligencium Raro manet

1: est devotus pro veniaque supplicat quando 2: in tebernis pro se et suis cogitans

1: bibit bonus potus verba non multiplicat. 2: lacrimatur pro eternis devote dum rogitans.

1: Non est lentus sed festinus divina ad 2: In bibendo comedendo

1: obsequia quando surgit fere primus 2: que observat temperaciam facta missa

1: videtur in ecclesia. 2: inorando facit excrescenciam.

1 & 2: Iste mite pertractavit auctorem huius operis da illi pacem et honorem omnipotens cum superis.

Gloria in excelsis Deo, et in terra pax hominibus bonæ voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex cælestis Deus Pater omnipotens. Domine fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis, qui tollis peccata mundi suscipe deprecationem nostram, qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus. Jesu Christe cum Sancto Spiritu in gloria Dei Patris. Amen.

His life and customs I will praise; forgive me if any errors creep mysteriously into it.

1. To the life of a saint he commited himself, 2. He did not turn to women

1. and chasity he embraced, 2. of loose morals, yet the girls of pure mind

1. the holiness of the righteous he worshipped, 2. he loved in mere theory.

1. The clergy, he loved; only the ones who led a 2. He persecuted simpletons subject to

1. blameless life; he the pious and gentle advocate 2. delirium, the faithful companion

1. of decent poor men. And in the temple 2. of the ones who adored Christ. Rarely did he visit

1. he was devoted and he begged for grace, 2. to the tavern; when thinking of himself and others

1. when drinking good drinks he did not multiply his words 2. he cried; he besought God for eternity.

1. He did not linger but in haste he was 2. over drinking while

1. to perform pious rites, upon rising 2. eating he practiced moderation,

1. he was the first to be seen in church. 2.right after the mass he prayed with concentration.

1 & 2. This one was handled mildly by the author of this work; Give him peace and honor, Almighty in heaven.

Glory to God in the highest and peace to men of good will. We praise thee. We bless thee. We adore thee. We glorify thee. We give thanks to thee for thy great glory. O Lord God, heavenly king God the father almighty. O Lord, the only begotten son, Jesus Christ. Lord God, Lamb of God, Son of the Father, Who takest away the sins of the world, have mercy upon us. Who takest away the sins of the world, receive our prayer. Who sits at the right hand of the Father, have mercy upon us. You alone are holy, you alone are Lord, You alone are most high. Jesus Christ with the Holy Spirit in the glory of God the Father. Amen.

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Ave Mater, O Maria pietatis tota pia sine te non erat via deploranti seculo.

Ave Mater, O Maria…

Gracia tu nobis data quem fidelis advocata celi tronus es prelata in eterno solio.

Ave Mater, O Maria...

Amen ultimo cantamus insignum quod per optamus quit quit vite postulamus in orationibus.

Ave Mater, O Maria…

Cracovia civitas, Te civium unitas Te cleri pluralitas Virorum maturitas Matronarum fecunditas Rerum ornat copia Te perfudunt clari fontes Vallo tegunt alti montes Hic pereunt omnes sontes Sumunt dona qui insontes Decoraris gracia

In te iacet corpus sacrum Stanislai patris patrum Hic thezaurus ingens fratrum Tu reluces ut theatrum Hic regina mater matrum Despiciens iam baratrum Hedwigis sumpsit gaudia

FIos militum strenuorum In te fulget cetus morum Hic reperit tristis chorum Hic fons manat mel amorum Carens felle odiorum Scema spernis viciorum Tu paris tripudia

Tu regine venustatem Cuius vultus vetustatem Nescit solam honestatem Ut ver tendens ad estatem Prefigurans maiestatem Intueris puritatem

Hail mother, oh Mary of Godliness all Godly, without you there is no way out of this tearful world.

Hail Mother, O Mary…

Freely to us you are given advocate how faithful! you are placed before the throne of heaven in the court of the eternal.


Amen, finally we sing for we desire that which is extraordinary what so ever we request in life through our prayers.


O, city of Krakow, the unity Of your inhabitants abundantly Serves as your adornment: A multitude of clergy, dignity of men, And matrons with a great many children; Riches in profusion. You are washed by clear springs, Guarded by shade-giving hills. The guilty will not escape retribution, The innocent will receive benefaction, Everyone will encounter compassion.

In your walls rest the holy remains Of Stanistaw; the monks Guard this relic like a treasure In a magnificent shrine. Here Jadwiga, mother of mothers, Nearing her last moments of life Takes great satisfaction.

The flower of knighthood, the scourge of enemies, Shines with courage at your gates; Chivalry rules everywhere. When you hear a chant of singers Sadness turns to soothing sweetness - Without hostility, without wickedness You will dance in innocence.

You look at the queen’s face, At her beauty, with admiring gaze; She does not know the vale of years, Glowing in the glory of truthfulness Like a spring that changes to summer; She gives a foretaste of grandeur

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Per clara pallacia Quam agmina puellarum Astant pulcre consertarum Si quis ferat cor amarum Et inspectet valde parum Tantam formam specierum Mox resumit cor sincerum Et intrant solacia Phebus stellis constipatur Duobus natis recreatur Wladislaus primus fatur Kazimirus alter datur Summus parens collaudatur Pater deo commendatur Et que luces Zophia

Consolentur corda mesta Quo abs prole sunt congesta Concrepemus leta festa Wladislai quo ex testa Nostro ewo nunc digesta Stirps preclara et honesta Futura solacia Rerum primus conservator Carismatum qui es dator Ens encium et plasmator

Collapsorum restaurator Supplex oro et peccator Esto nostri adamator De letari patria

Alleluia.

Już zima smutna minęła i deszcze ustały, kwiatki na ziemi niepłodnej już się ukazały.

A z wiosną wdzięczne płodne lato między ludzi przyszło i nasienie obiecane po niewieście wyszło.

Kryste, dniu naszej światłości, Nocne odkrywasz ciemności, Za światłość cię prawą znamy, Gdy twej nauki słuchamy.

And her purity shines in the world Among the court’s splendours. And the chambers of the queen Are filled with many a maiden; If you worry in your heart, One glance at the radiance Of their beauty will suffice To bring you delight. The stars surround Phoebe, Two sons console her: Both Władysław and Kazimierz, New servants of their creator, Commend to God their father And lend splendor to their mother In boundless elation.

Let the troubles, worries flee, And the old plight with no progeny. Let joy reign supreme at last, That because of Władysław We now have a successor, A future national celebrity Born in respectabilty. You who preserve the whole world, And lavish mercy on us all, Being of beings, Creator,

And of the fallen, Reviver, I, a sinner, beseech you humbly, To uphold us in our necessity, Give joy to our nation.

Alleluja.

Lo, the sorrowful winter is past And the rain is over and gone. Flowers already appear On the barren earth.

After spring, the delightful summer Has come to mankind, And the promised seed Has come from woman.

Christ, the day of our light, You uncover the darkness of night. By your righteous light we know you, when we listen to your teachings.

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Ego sum pastor bonus et cognosco oves meas et cognoscunt me meæ Pono animam meam pro ovibus meis, alleluia.

Alleluja. Chwalcie Pana Boga wszechmocnego, Narodowie wszytcy świata tego, A wielbicie imię święte jego, Ludzie wszytcy stanu wszelakiego. Alleluja.

Alleluja. Abowiem sie nad nami zjawiła Miłość Pańska i wielce zmocniła, Zmocniła się prawda święta jego, A będzie trwać do czasu wiecznego. Alleluja.

Date sicerum merentibus et vinum his, qui amaro sunt animo. Bibant et obliviscantur egestatis suæ et doloris, doloris sui non recordentur amplius. Aperi os tuum, aperi os tuum muto, et causis omnium filiorum, qui pertranseunt, Aperi os tuum qui pertrans eunt, decerne, quod iustum est et iudica inopem et pauperem.

Psalm 108: Paratum cor meum

Ochotną myśl, ochotne serce w sobie czuję Nowy psalm Panu swemu, nową pieśń gotuję. Powstań, uciecho, powstań, lutni moja, Ruszwa różanej zarze z jej pokoja!

Ciebie, Panie, po wszytkim świecie, przed wszytkimi Narody opowiadać będę rymy swymi, Bo dobroć Twoja do nieba przestała, A prawda glowę z obłoki zrównała.

Psalm 117: Laudate Dominum, omnes gentes

Wszelki naród, wszelkie plemię, Coście w krąg obsiedli ziemię, Pana z chęcią wyznawazcie, Jemu cześć i chwałę dajcie.

Abowiem nas umiłował, Hojnie łaską swą darował, A Jego prawda stateczna Nie może być, jeno wieczna.

I am the good shepherd And I know my sheep and my sheep know me I lay down my life For my sheep. Alleluia.

Alleluia, Give glory to the Lord almighty, All the nations of the world, Glorify his holy name, All classes of people, Alleluia.

Alleluia. For the Lord’s love appeared over us, And was greatly strengthened. His holy truth is strengthened And will last till time eternal. Alleluia.

Give strong drink to them that are sad, and wine to them that are grieved in mind. Let them drink and forget their want, and remember their sorrow no more. Open thy mouth for the dumb, and for the causes of all the children who pass. Open thy mouth decree that which is just and do justice for the needy and poor.

My spirit is eager and I want it in my heart To praise thee, Lord, with my musical art. O, raise, my lute, sing the song of faithful joy, And have your prayer fly above to rosy skies.

My Lord, your glory shall be praised in poet’s verses As the world is wide, by every human tribe Thy glory and mercy shines above us Thy truth lets our mortal heads to reach the sky.

All the nations, all the people Who inhabit this earthly realm Praise the Lord and sing His glory with heartfelt eagerness.

He blesses us with endless loving and sends His grace to our earthly kind His word upon us shines truthfully and forever the faithfulness of our Lord will always last.

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Psalm 29: Afferte Domino, filii Dei, afferte Domino

Nieście chwałę, mocarze, Panu mocniejszemu, Nieście chwałę, królowie, Królowi więtszemu; Jego ze wszech naświętsze imię wyznawajcie, Jemu w kościele świętym Jego się kłaniajcie!

Głos Pański deszcze leje, głos Pański grom srogi I okrutne pobudza na powietrzu trwogi; Pan na morzu podnosi strszne nawałności, Głos Pański welkiej władze I wielkiej możności.

Song of the Zebrzydowski Rebels

Kto nam chce skarby wydrzeć? Nie wydrze! Trwogi się bać? Nie bać! Więc mocy! Moc na moc, Kto wykroci? Chcą gwałtem? Nie ugrożą! Ale się srożą. Nic nie dbać, bronić, a skarbów chronić. Wygrają. Nie wygrają! Brońmy, nie chaj nas znają! Ich jest wiele. Bić, siec, bronić, a nieprzyjaciół gromić!

O ye mighty, give unto the Lord all strength and glory For His is the kingdom, the truth and holy right His most holy name shall be exalted by all people His holy Church bows down before his might.

The wrath of God comes down like rain and rolling thunder Our Master’s voice makes heavens tremble down; Our Master’s power has the mighty oceans rolling Our Master’s word reigns supremely over us.

Who wants to tear our treasures from us? He shall not do it! Are we to fear? Never fear! Such force! Might against might! Who will prevail? They crave violence? They shall not frighten us! Although they stand, implacable, We will do what we must to defend and protect our treasure! They will be victorious! They will not! Let us defend ourselves and show them what we are made of. Strike, cut, defend our cause. And smash the enemy!

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MEDICI CIRCLEFrederick N. Bates &

Ellen BenjaminCaryn L. JacobsThomas V. MacCrackenJames R. McDaniel &

Kevin HochbergCharles MetzEmilysue PinnellAmy Ripepi & Garry

Grasinski

TROUVÈRES: $1,000–$2,499

Howard E. & Moira B. Buhse

Gwyn FriendCamillo & Arlene GhironRichard & Mary L. Gray Lori Hargis-Johnson James B. Salla Ralph & Lynne Schatz Jeanie SherwoodDaniel & Ruth Shoskes Obie & Peter Szidon James N. &

Katherine W. Zartman Anonymous

TROUBADOURS: $500–$999

Mrs. L. W. AlbertsJulie & Roger Baskes

Charitable TrustCharles E. &

Helen L. Bidwell Marilyn R. Drury-Katillo Carol Avery Haber

Duncan G. & Beth A. Harris

Richard A. Jamerson & Susan Rozendaal

James & Sarah Klock Linda Kroning Helen MarlboroughKaren Webb Owen Joan Pantsios Dr. Diana RobinCarol H. Schneider Dennis Siebold &

Susan Berchiolli Jan SilversteinRussell H. &

Marlene B. TuttleMr. & Mrs. John D.

Van PeltFrank & Elaine Winters

MEISTERSINGERS: $250–$499

Beth Gilford & John R. Allen

Carla F. & R. Stephen Berry

Evelyn BosenbergJames & Frances Brown Sonia Csaszar Lynn B. Donaldson Pam Feibig &

Douglas DowKaren K. Evans Jim & Donna Fackenthal Michael H. FooteBeverly Hammel Stanley Howell &

Sally F. Jones

David Mayernik Margaret Mottier John O’Toole Barry Owens &

Jane E. VeaSusan Phelan Kitty Picken Greg & Rachel Barton

PineDeborah Malamud &

Neal PlotkinWilliam V. Porter H. Colin Slim Susan TaylorRussell W. Wagner

MINNESINGERS: $100–$249

John W. BerryDavid & Margaret B.

BevingtonLinda & Gary

BlumenshineBasil Booton Norman P. Boyer Lisa Bronson Georgia Brown &

Sten HansenRichard H. Brown &

Lloyd BarberRoland Buck Patricia Buisseret M. Blouke Carus Robert B. ClarkeLydia Goodwin Cochrane Richard & Nan ConserLaura Tilly &

Derek Cottier

Special thanks to our donors...Donations from the 2013–2014 season and the current season

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J. Patrick Donnell Albert Ettinger &

Susan LanninHannah Frisch Frances X. Gates Mary Gifford Louise & James Glasser James A. Glazier Nelson Hammond Edwin F. Hanlon Anne Heider &

Steve WarnerMary HessJames E. & Ina M. Heup David L. HowelttSue ImremGeorge Jones Theodore C. Karp &

Judith S. KarpJoan KimballKarl and Marie Kroeger Ralph & Carol Lerner Mark & Kathleen

LundbergJohn MacDonald &

Sarah RigdonMarilyn MarrinsonCliff Maurer &

Renee ZamboHelen McDonaldBozena McIees Andrew & Kathleen

McKennaBarbara McKenna Anne Marie Miles Avis & James Moeller Ellen Morrison Kathy & Alan MuirheadRenate Muller Paul NagelDebra Nagy Timothy Lyon &

Sharon Nelson

Gladys M. & James T. Nutt

Robert & Otilia Osterlund

Judith R. PhillipsJoseph T. Pudlo Nina Rasmussen Ernest T. Rossiello Paul Saenger Mark Shuldiner Beverly Simmons &

Ross W. DuffinCharles & Joan Staples Evelyn StatsingerMarjorie StinespringDavid TermanMelanie H Tomasz Elisabeth Trumpler Eric WeimerProfessor Jack &

Maria WeinerRobert Williams John Winemiller &

Robert HindeRobert WolbergCarla Zecher Anonymous,

in honor of Marlene & Russ Tuttle

Anonymous

BARDS: $50–$99Barbara & Ted AsnerKaren Christianson &

Robert BionazMark & Linda Devaun John Farwick Lenore GlanzPaul HechtFrances Kostarelos Caitlin Larkin Mark & Kathleen

Lundberg

Cecile Margulies Mary McCauley Andrew & Kathleen

McKenna Daniel A. Medrea Eiji Miki Vreni Naess Louise ParkinCarol Patterson,

in memory of Paul Patterson

Jay Peterson John Mark Rozendaal Aaron Sheehan Albert & Grace SowaBruce TammenLois M. Warnke Sarah G. Wenzel Anonymous

MINSTRELS: up to $49Carole Aston Kate Atkins-Trimnell Jack Becque Cheryl Bensman-Rowe Karen A. Crotty Kayleigh Dudevoir Paul L. Furnas Gail Gillispie Mary Ann Grannemann Natalie Colas Grant Mark Kausch Paul Kleinaitis Ray & Alma Kuby Daniel Madrea Sylvie Romanowski David Schrader Nell Snaidas Andrius Tamulis &

Beata PawlikowskiCecelia Tomaszkiewicz Paul Von Hoff David B. Wade Mel Zaloudek

We want to thank our patrons properly for their support. Please let us know of any errors or omissions in attribution.

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The Newberry Consort presents historically informed programs of early music, often drawn from the collections at the Newberry Library, through an annual concert series in Chicago, national and international touring, residencies at colleges and universities and recordings. The Newberry Consort was founded in 1986 and has offered an annual concert series continuously since 1988. The ensemble incorporated as an independent non-profit organization in 2009. Since 2001, we have been ensemble-in-residence at The University of Chicago, and since 2008, at Northwestern University.

The Newberry Consort is the only musical ensemble in Chicago of international stature presenting Medieval and Renaissance vocal and instrumental repertoire. Working with international scholars and artists as well as local musicians, and by incorporating multi-media components (such as projected supertitles and images) when appropriate, we present historically informed performances in an accessible, entertaining format.


Ellen Hargis, PresidentJames Fackenthal, SecretaryCarla Zecher, TreasurerEric Malmquist, Concert Series Manager

David DouglassJames McDanielStephanie PhotakisAlison PotterAmy Ripepi

Lillian del PilarKayleigh DudevoirCesar FavilaSue ImremShawn KeenerCecilia LoPaul NicholsonKen PerlowIsabelle Rozendaal

About the ensemble

Board of Directors

Friends ofThe Consort

Susan RozendaalDavid Schrader and

Patrick DonnellJan SilversteinDavid SpadaforaLaura StratfordMatt WalshJeremy WardKathy and Jim Zartman

The Newberry Consort 60 W. Walton St. Chicago, IL 60610

[email protected] 312.890.2553

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The Newberry Consort presents historically informed programs of early music, often drawn from the collections at the Newberry Library, through an annual concert series in Chicago, national and international touring, residencies at colleges and universities, and recordings. The Newberry Consort was founded in 1986 and has offered an annual concert series continuously since 1988. The ensemble incorporated as an independent non-profit organization in 2009. Since 2001, we have been ensemble-in-residence at the University of Chicago, and since 2008, at Northwestern University. The Newberry Consort is the only musical ensemble in Chicago of international stature presenting Medieval and Renaissance vocal and instrumental repertoire. Working with international scholars and artists as well as local musicians, and by incorporating multi-media components (such as projected supertitles and images) when appropriate, we present historically informed performances in an accessible, entertaining format.

The Consort also gratefully acknowledges support from these individuals and organizations:

Sidley Austin, LLP: pro bono legal services

Grayson Media, Garry Grasinski & Ed Plamondon: video production

Airwave Recording, John McCortney: audio engineering

Lisa Drew (Websites for a Song): web master

Beverly Simmons, Ωort∞simo design: brochure & program design

Riva Feshbach: grant writingKaren Owen: bookkeeping

Lucía Mier y Terán Romero: translation

Drew Edward Davies: musical assistance

Fred Liese: artist hostingThe Saints, Volunteers for the

Performing ArtsThe Newberry LibraryThe Logan Center for the ArtsAlice Millar Chapel WFMTWTTW Chicago Public Television

Ellen Hargis, PresidentJames Fackenthal, SecretaryCarla Zecher, Treasurer

Eric Malmquist, Concert Series ManagerSarah Kruske, Intern

Fred BatesDavid DouglassJames McDanielCharles MetzJoan PantsiosAlison PotterAmy Ripepi

Board ofDirectors

Newberry Consort - A Sound Strategy...

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Transcript of Newberry Consort - A Sound Strategy...