Newberry Consort - A Sound Strategy, Inc.

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Newberry Consort - A Sound Strategy, Inc.
The
Newberry Consort
Ellen
& David
Douglass
DavidHargis
Douglass
& Ellen
Hargis, co-directors
Co-directors
2012-2013
2014–2015
David Douglass, medieval &
Renaissance strings
Tom Zajac, medieval & Renaissance
winds, percussion
Shira Kammen, medieval &
Renaissance strings
Mark Rimple, lute & gittern
DavidStillman,
Douglass,
Baroque violin
Daniel
Renaissance
winds
Ellen Hargis, soprano
Leighann Daihl,Ellen
Baroque
flute&
Hargis
PaulLaura
Hecht,
spoken
word
Pinto,
sopranos
David Schrader,
harpsichord
Angela
Young Smucker
, alto
Craig Trompeter,
Baroque
‘cello&
Matthew
Dean
Corey Shotwell, tenors
Eric Miranda, bass
2
The Howard Mayer Brown
Memorial Concert
Newberry Library, Case MS. 54.1, f. 10r
Friday,
January
Friday,
March25,
20,8pm
8pm
Ruggles
RugglesHall
Hall
The
TheNewberry
NewberryLibrary
Libary
Chicago
Saturday, January 26, 8pm
The Logan
Center
for the
Saturday,
March
21,Arts
8pm
University
of Chicago
Logan
Center for
the Arts
Park
UniversityHyde
of Chicago
Hyde Park
Sunday, January 27, 3pm
Lutkin
Sunday, March
22,Hall
3pm
Northwestern
University
Alice Millar
Chapel
Evanston
Northwestern University
Evanston
Music
from
My
Heart’s
in the
the World of
Highlands:
Copernicus
Songs
and Poems of
Polish Cultural Treasures
Robbie
Burns
The
Newberry Consort
Pod
Dyrekcj
ą & Ellen Hargis, co-directors
David
Douglass
Ellen Hargis i Davida Douglassa
2012-2013
2014–2015
Wykonawcy:
David Douglass, średniowieczne i
renesansowe instrumenty smyczkowe
Tom Zajac, średniowieczne i
renesansowe instrumenty dęte
drewniane, perkusja
Shira Kammen, średniowieczne i
renesansowe instrumenty smyczkowe
David Douglass, Baroque violin
Mark Rimple, lutnia i giterna
Ellen Hargis, soprano
Daniel Stillman, renesansowe
Leighann Daihl, Baroque flute
instrumenty dęte drewniane
Paul Hecht, spoken word
ści:
David Schrader,Wokali
harpsichord
Ellen
Hargis,
sopran
Craig Trompeter, Baroque ‘cello
Laura Pinto, sopran
Angela Young Smucker, alt
Matthew Dean, tenor
Corey Shotwell, tenor
Eric Miranda, bas
The Howard Mayer Brown
Memorial Concert
Newberry Library, Case MS. 54.1, f. 10r
Friday,
January
25,20:00
8pm
Piątek,
20 marca,
2015,
Ruggles
RugglesHall
Hall
The
TheNewberry
NewberryLibrary
Libary
Chicago
Saturday, January 26, 8pm
The
Logan
the20:00
Arts
Sobota,
21Center
marca, for
2015,
University
of Chicago
Logan
Center for
the Arts
Park
UniversityHyde
of Chicago
Hyde Park
Sunday, January 27, 3pm
Hall
Niedziela, 22 marca, Lutkin
2015, 15:00
Northwestern
University
Alice Millar
Chapel
Evanston
Northwestern University
Evanston
Muzyka
My Heart’sczasów
in the
Kopernika
Highlands: ńskich
Skarby
polskiejof
Songskultury
and Poems
Robbie Burns
3
From the directors
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 HargisDavid Douglass
4
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 Douglass
Kierownicy artystyczni The Newberry Consort
5
Music from the World of Copernicus
Polish Cultural Treasures
Medieval Music
Two chants in praise of Saint Stanisław:
Gaude, Mater Polonia and Ortus de Polonia texts attributed to Wincenty z Kielczy
music: Anonymous (13th century)
Probleumata enigmatum Petrus Wilhelmi de Grudencz (1392–after 1452)
Prefulcitam expolitam Petrus
Presulem ephebeatum Petrus
Probitate eminenrem/Ploditando exararæ Petrus
Gloria untexted ballade
Cracovia civitas Ave Mater, O Maria Alleluia instruments Mikołaj z Radomia (fl. early 15th century)
Mikołaj
Anon.
Anon.
Mikołaj
intermission
Renaissance Music
Ortus de Polonia Już zima smutna Jerzy Liban (1464–c.1546)
Anon. from Martin Łaski’s Of the Tree of Life
Kryste, dniu naszej światłości Ego sum pastor bonus Alleluja, Chwalcie Pana Accede nuntia Wesel się Polska corona
Kolenda instruments instruments instruments Date sicerum merentibus Wacław z Szamotuł (c.1520–­c.1560)
Wacław
Wacław
Anon.
Mikołaj z Krakowa (fl. mid 16th century)
Anon.
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 Hayducki
Taniec Wołoski
Hungarian Dance Song of the Zebrzydowski Rebels 6
Anon. (17th-­century source)
Mikolał z Krakowa
Anon. (Vietoris Codex)
Anon. (SopronVirginal Book)
Anon. (1606)
Muzyka czasów Kopernikańskich
Skarby kultury polskiej
Muzyka średniowieczna
Dwie pieśni ku czci św. Stanisława:
Gaude, Mater Polonia i Ortus de Polonia Tekst przypisywany Wincentemu z Kielczy
muzyka: Anonim z XIII wieku
Probleumata enigmatum
Petrus Wilhelmi de Grudencz (1392–po 1452)
Prefulcitam expolitam
Petrus
Presulem ephebeatum
Petrus
Probitate eminenrem/Ploditando exararae
Petrus
Gloria
Ballada (instrumentalna)
Cracovia civitas
Ave Mater, O Maria
Alleluia
Mikołaj z Radomia (tworzył w I poł. XV w.)
Mikołaj z Radomia
Anonim
Anonim
Mikołaj z Radomia
antrakt
Muzyka czasów Renesansu
Ortus de Polonia Już zima smutna minęła Kryste, dniu naszej światłości
Ego sum pastor bonus
Alleluja, Chwalcie Pana
Jerzy Liban (1464–ok.1546)
Anonimowa kompozycja z tekstem z dialogu
Marcina Łaskiego „Drzewo żywota”
Wacław z Szamotuł (ok.1520–ok.1560)
Wacław z Szamotuł
Wacław z Szamotuł
Accede nuntia (kompozycja instrumentalna)Anonim
Wesel 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
Hajducki
Taniec Wołoski Taniec węgierski
Pieśń rokoszan Zebrzydowskiego
Anonim (źródło z XVII w.)
Mikołaj z Krakowa
Anonim (z Vietoris Codex)
Anonim (z księgi Wirginał z Sopron)
Anonim (1606)
7
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.
8
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.
9
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.
10
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
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 SopronVirginal 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
11
O programie — Tomasz Zając
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.
12
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
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
13
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.”
14
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
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.
15
The
Newberry Consort
David Douglass & Ellen Hargis, co-directors
2012-2013
2015-2016
Season Preview!
Scholz-Carlson, violin
Saturday, January
8pm&
Brandi 26,
Berry
The LoganJakob
CenterHansen,
for the Arts
viola
University
of
Chicago
Jeremy Ward, bass violin
Hyde
Park
Ellen Hargis,
soprano
Charles Metz, organ/
Sunday, January
27, 3pm
harpsichord
Lutkin Hall
Northwestern University
Evanston
David Douglass, medieval strings
Ellen Hargis, voice
Debra Nagy, voice, harp, winds
Mark Rimple, plucked strings, voice
Christa Patton, harp, shawm
The Rookery [Matthew Dean,
Wain Parham, Keith Murphy,
William Chin, Joseph Hubbard,
Joseph Labozetta]
David Douglass, Baroque violin
Ellen Hargis, soprano
Ellen
Hargis,
director,
Leighann
Daihl,
Baroque
flute
with
a
consort
of
Paul Hecht, spoken word
women’s
voices,
organ,
David Schrader, harpsichord
viol, guitar,
and bajón
Craig Trompeter,
Baroque
‘cello
16
The Howard Mayer Brown
Memorial Concert
Music of Johann
Rosenmüller
October 9–11, 2015
Newberry Library, Case MS. 54.1, f. 10r
Friday, January 25, 8pm
Ruggles Hall
The
Newberry
David
Douglass
& Library
Miriam
Le Roman de Fauvel
with projected images
January 8–10, 2015
My Heart’s in the
Juan de Lienas Vespers
Back
by popular demand, with newly-edited music
Highlands:
from the Newberry Choirbooks
April
8–10,and
2015 Poems of
Songs
Robbie Burns
Artist biographies
A founding member of The Newberry Consort, David Douglass David
has been a leading figure in the world of Early Music performance
Douglass
for over 30 years. His playing has been praised by The NewYork 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.
Ellen
Newberry Consort co-director and soprano Ellen Hargis is one
of America’s premier early music singers, specializing in repertoire Hargis
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
17
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 Matthew Dean, tenor, is a medievalist, cantor, and oratorio soloist,
Dean “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.
18
Shira Multi-instrumentalist and occasional vocalist Shira Kammen
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
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 Eric
solo appearances at Orchestra Hall, at the Ravinia Festival, and in
Miranda
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 NightVisitors,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 oneon-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
Laura
audiences in the U.S. and Canada for her exuberant stage presence, Pinto
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” (ClassicalVoice 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.
19
Mark Lutenist and countertenor Mark Rimple has garnered critical
Rimple notice for his interpretation of early music from national newspapers
and journals including the Philadelphia Inquirer,The NewYork Times,
the Chicago Tribune,TheWashington 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.
Corey Tenor Corey Shotwell, whose voice has been praised for its
Shotwell “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
20
Angela Angela Young Smucker has received critical acclaim for her
Young “rich, secure mezzo-soprano” (Chicago Tribune). Her performances
Smucker 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
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 Daniel
Shawm & Sackbut Ensemble, and has toured extensively with the
Stillman
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, multiTom
instrumentalist, Tom Zajac is a regular member of the well-known Zajac
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 Bostonbased 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.
21
Hot off the press!
the
newberry
^
consort
directed by Ellen Hargis
Música
elestial
from the
Convent of theEncarnación
r e c or ded
l i v e
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.
22
Texts & Translations
Gaude, mater Polonia,
prole fæcunda nobili.
Summi Regis magnalia
laude frequenta vigili.
Rejoice, oh Mother Poland
Rich in noble offspring,
Mighty works of the greatest King.
Worship with incessant praise.
Cuius benigna gratia
Stanislai Pontificis
passionis insignia
signis fulgent mirificis.
By whose beneficent grace
Bishop Stanislaw’s
Marks of his passion.
Shine with marvelous signs.
Hic certans pro iustitia,
Regis non cedit furiæ:
Stat pro plebis iniuria
Christi miles in acie.
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.
Ortus de Polonia, Stanislaus
studia legit pueritia studiosa mente,
Tandem Christi vernula sublimatus infula
fit virtutum formula Domino favente.
Alleluia.
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.
Probleumata enigmatum
typorum reclusorum velata
stirpsque stemmatum
ex Jesse manatorum.
Mysterious are the problems
Of intricate scriptures,
And hidden are the roots
Of Jesse’s descendants.
Per ampla orbis spacia
hinc laudes sint Marie
que facta Dei gracia
est genitrix Messie.
In the wide spaces of the world
May praise be given to Mary,
Who, through divine grace,
Became the mother of the Messiah.
Produntur clare hodie
et preterit figura,
dum regem parit gloriæ
Maria, nympha pura.
This world has brightened today,
And its old form is passing by.
Lo, Mary, a pure nymph,
Bore the king of glory.
Per ampla orbis spacia…
In the wide spaces of the world...
Prefulcitam expolitam
tropum per melodie,
Dorotheam nazaream
veneremur hodie.
Let us praise today
Dauntless and enlightened
Dorothy, a Christian,
With a melodious song.
Hec solamen et iuvamen
prebet nam egentibus,
impetrando largiendo
veniam optantibus.
Since she offers the needy
Support and comfort,
Receiving grace and bestowing it
Upon those who crave it.
23
Presulem ephebeatum
Trabeatum, radiatum
Venustemus sedulo
Martinum, cum preconio,
To a youthful bishop Martin,
Radiant and adorned
with a mitre,
Let us give our zealous praise.
Qui terrena parvipendens,
Et ad alte se extendens,
Mundo abrenunciat,
In quo crebe militat.
Scourning the vanities of the earth,
Reaching to higher matters,
He renounced the world
Where he had long served as a soldier.
O, Martine, olim mundi miles,
Demum verna Christi
Salvatoris pisticus,
Stirpe tu Eugenius,
O Martin, once a worldly warrior,
Now you are a servant of Christ
By the savior
Truly enobled.
Claustrum citius mancipasti,
In quo Christo clientasi
Tua nusquam stigmata,
Ignorans letalia,
Early you founded the cloister
Where you served Christ,
Heedless of insults,
Feerless of death,
Quam devote sistis rogans,
Oblectamenta dire negans,
Mundi simul hiis denegans
Tue natum anime;
How piously you prayed,
Disdaining attire,
And to the vanities of this world
You did not turn your soul,
Quare calles poli isti
Genti deneganti scisti
Sertum quia capere.
Ergo nos sis protegens,
Against the people who
Forsook the heavenly paths,
You know how to seize your sword;
Be thus our rock.
Qui fuisti mire negans
Fasce, perge timida,
Atque nimis denegans
Saporis fastidia.
You, who resisted temptation
And rejected an overly conceited
Flair for making judgements,
Give strength to us, the weak.
Quia cluit mitem mos te,
Mitem pro te venerantibus
Christum roga ut ab hoste
Tuemur protinus,
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.
Hosque, de miseria,
Duc ad celi culmina,
Ubi eve sedulo
Celi fruamur bravio.
Amen.
Lead us out of misery
To the heights of heaven
Where we shall always revel
In our heavenly rewards.
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.
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.
text 2: Ploditando exarare tenello opto carmine
Andream Ritter et commemorare vocum
modulamine
2. With a fair and dignified song I will sketch
a portrait of Andreas Ritter and I will
commemorate him with a melodious voice.
24
Huius vite laudum mores in parte ponam brevius
parcat quisque si errores se inserent secricius.
His life and customs I will praise; forgive me if
any errors creep mysteriously into it.
1: In sanctam vitam comitatur
2: Hic non advertit mulieres
1. To the life of a saint he commited himself,
2. He did not turn to women
1: et morum rectitudinem amplexatur
2: viventes incomposite sed puellas
1. and chasity he embraced,
2. of loose morals, yet the girls of pure mind
1: veneratur iustorum sanctitudinem.
2: mente meras diligit theorice.
1. the holiness of the righteous he worshipped,
2. he loved in mere theory.
1: Hic cleorum est amator
2: Est persecutor rusticorum
1. The clergy, he loved; only the ones who led a
2. He persecuted simpletons subject to
1: honeste se regencium pius mitis procurator
2: turpe delirancium comes fidus
1. blameless life; he the pious and gentle advocate
2. delirium, the faithful companion
1: pauperum degencium Et in templo
2: honestorum Christum diligencium Raro manet
1. of decent poor men. And in the temple
2. of the ones who adored Christ. Rarely did he visit
1: est devotus pro veniaque supplicat quando
2: in tebernis pro se et suis cogitans
1. he was devoted and he begged for grace,
2. to the tavern; when thinking of himself and others
1: bibit bonus potus verba non multiplicat.
2: lacrimatur pro eternis devote dum rogitans.
1. when drinking good drinks he did not multiply his words
2. he cried; he besought God for eternity.
1: Non est lentus sed festinus divina ad
2: In bibendo comedendo
1. He did not linger but in haste he was
2. over drinking while
1: obsequia quando surgit fere primus
2: que observat temperaciam facta missa
1. to perform pious rites, upon rising
2. eating he practiced moderation,
1: videtur in ecclesia.
2: inorando facit excrescenciam.
1. he was the first to be seen in church.
2.right after the mass he prayed with concentration.
1 & 2: Iste mite pertractavit auctorem huius
operis da illi pacem et honorem omnipotens
cum superis.
1 & 2. This one was handled mildly by the
author of this work; Give him peace and honor,
Almighty in heaven.
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.
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.
25
Ave Mater, O Maria
pietatis tota pia
sine te non erat via
deploranti seculo.
Hail mother, oh Mary
of Godliness all Godly,
without you there is no way
out of this tearful world.
Ave Mater, O Maria…
Hail Mother, O Mary…
Gracia tu nobis data
quem fidelis advocata
celi tronus es prelata
in eterno solio.
Freely to us you are given
advocate how faithful!
you are placed before the throne of heaven
in the court of the eternal.
Ave Mater, O Maria...
Hail Mother, O Mary…
Amen ultimo cantamus
insignum quod per optamus
quit quit vite postulamus
in orationibus.
Amen, finally we sing
for we desire that which is extraordinary
what so ever we request in life
through our prayers.
Ave Mater, O Maria…
Hail Mother, O Mary…
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
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 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
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.
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
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.
Tu regine venustatem
Cuius vultus vetustatem
Nescit solam honestatem
Ut ver tendens ad estatem
Prefigurans maiestatem
Intueris puritatem
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
26
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
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.
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
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,
Collapsorum restaurator
Supplex oro et peccator
Esto nostri adamator
De letari patria
And of the fallen, Reviver,
I, a sinner, beseech you humbly,
To uphold us in our necessity,
Give joy to our nation.
Alleluia.
Alleluja.
Już zima smutna minęła
i deszcze ustały,
kwiatki na ziemi niepłodnej
już się ukazały.
Lo, the sorrowful winter is past
And the rain is over and gone.
Flowers already appear
On the barren earth.
A z wiosną wdzięczne płodne
lato między ludzi przyszło
i nasienie obiecane
po niewieście wyszło.
After spring, the delightful summer
Has come to mankind,
And the promised seed
Has come from woman.
Kryste, dniu naszej światłości,
Nocne odkrywasz ciemności,
Za światłość cię prawą znamy,
Gdy twej nauki słuchamy.
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.
27
Ego sum pastor bonus
et cognosco oves meas
et cognoscunt me meæ
Pono animam meam
pro ovibus meis, alleluia.
I am the good shepherd
And I know my sheep
and my sheep know me
I lay down my life
For my sheep. Alleluia.
Alleluja. Chwalcie Pana Boga wszechmocnego,
Narodowie wszytcy świata tego,
A wielbicie imię święte jego,
Ludzie wszytcy stanu wszelakiego. Alleluja.
Alleluia, Give glory to the Lord almighty,
All the nations of the world,
Glorify his holy name,
All classes of people, Alleluia.
Alleluja. Abowiem sie nad nami zjawiła
Miłość Pańska i wielce zmocniła,
Zmocniła się prawda święta jego,
A będzie trwać do czasu wiecznego. Alleluja.
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.
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.
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.
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!
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.
Ciebie, Panie, po wszytkim świecie, przed wszytkimi
Narody opowiadać będę rymy swymi,
Bo dobroć Twoja do nieba przestała,
A prawda glowę z obłoki zrównała.
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.
Psalm 117: Laudate Dominum, omnes gentes
Wszelki naród, wszelkie plemię,
Coście w krąg obsiedli ziemię,
Pana z chęcią wyznawazcie,
Jemu cześć i chwałę dajcie.
All the nations, all the people
Who inhabit this earthly realm
Praise the Lord and sing His glory
with heartfelt eagerness.
Abowiem nas umiłował,
Hojnie łaską swą darował,
A Jego prawda stateczna
Nie może być, jeno wieczna.
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.
28
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!
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 Głos Pański deszcze leje, głos Pański grom rolling thunder
srogi
Our Master’s voice makes heavens tremble down;
I okrutne pobudza na powietrzu trwogi;
Our Master’s power has the mighty oceans rolling
Pan na morzu podnosi strszne nawałności,
Our Master’s word reigns supremely over us.
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!
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!
29
Special thanks to our donors...
Donations from the 2013–2014 season
and the current season
MEDICI CIRCLE
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Grasinski
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31
The
Newberry Consort
David Douglass & Ellen Hargis, co-directors
TheNewberry
NewberryConsort
Consortpresents
presentshistorically
historicallyinformed
informedprograms
programs
About the The
earlymusic,
music,often
oftendrawn
drawnfrom
fromthe
thecollections
collectionsatatthe
theNewberry
Newberry
ensemble ofofearly
Library,
through
an
annual
concert
series
in
Chicago,
national
Library, through an annual concert series in Chicago, national and
and
international
touring,
residencies
at colleges
universities,
international
touring,
residencies
at colleges
andand
universities
and
and
recordings.
The
Newberry
Consort
was
founded
in 1986
recordings. The Newberry Consort was founded in 1986
andand
has
has offered an annual concert series continuously since 1988. The
offered an annual concert series continuously since 1988. The
ensemble incorporated as an independent non-profit organization
incorporated
an been
independent
non-profit organization
inensemble
2009. Since
2001, we as
have
ensemble-in-residence
at the
in
2009.
Since
2001,
we
have
been
ensemble-in-residence
at The
University of Chicago, and since 2008, at Northwestern University.
University
of Chicago,
since
at Northwestern
University.
The
Newberry
Consort and
is the
only2008,
musical
ensemble in Chicago
The Newberry
Consort
is the Medieval
only musical
in Chicago
of international
stature
presenting
and ensemble
Renaissance
vocal
of international
presenting
Medieval
and Renaissance
vocal
and
instrumentalstature
repertoire.
Working
with international
scholars
and
as well as
local musicians,
andwith
by incorporating
multiandartists
instrumental
repertoire.
Working
international scholars
media
components
(such
projected and
supertitles
and images)
when
and artists
as well as
localasmusicians,
by incorporating
multiappropriate,
we
present
historically
informed
performances
in
an
media components (such as projected supertitles and images) when
accessible,
entertaining
format.
appropriate, we present historically informed performances in an
accessible, entertaining format.
Board of Ellen Hargis, President
Fred Bates
James
Fackenthal,
Secretary
David Douglass
Directors
EllenZecher,
Hargis,Treasurer
President
David
Douglass
Board of Carla
James
McDaniel
James
McDaniel
Directors James Fackenthal, Secretary
Charles
Metz
Carla Zecher, Treasurer
Stephanie
Photakis
Joan Pantsios
Eric
Alison
Potter
EricMalmquist,
Malmquist, Concert Series Alison
Potter
Concert
Series
Manager
Amy
Ripepi
Manager
Amy Ripepi
Sarah Kruske,
Intern
Friends of
The Consort
2032
Susanfrom
Rozendaal
Lillian
delalso
Pilar
The
Consort
gratefully acknowledges support
these individuals
and
organizations:
David Schrader and
Kayleigh Dudevoir
Patrick
CesarAustin,
FavilaLLP:
Sidley
Lucía
Mier Donnell
y Terán Romero:
bono legal services
translation
Jan Silverstein
Sue pro
Imrem
Grayson Media, Garry Grasinski &
Drew Edward Davies:
Shawn
Ed Keener
Plamondon: video production David Spadafora
musical assistance
CeciliaRecording,
Lo
Airwave
John McCortney: Laura
FredStratford
Liese: artist hosting
engineering
TheWalsh
Saints, Volunteers for the
Matt
Paulaudio
Nicholson
Lisa Drew (Websites for a Song):
Performing Arts
Jeremy
Ward Library
Kenweb
Perlow
master
The Newberry
and Jim
Zartman
IsabelleSimmons,
Rozendaal
Beverly
Ωort∞simo design: Kathy
The Logan
Center
for the Arts
brochure & program design
Alice Millar Chapel
Riva Feshbach: grant writing
WFMT
The Newberry
Consort
www.newberryconsort.org
Karen
Owen: bookkeeping
WTTW Chicago Public Television
60 W. Walton St.
Chicago, IL 60610
[email protected]
312.890.2553

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