CIM/CWRU Joint Music Program

Wednesday, December
October 5, 7, 2016
2016

La Fonteinne amoureuse
CWRU Medieval
Carlos Salzedo Ensemble
(1885–1961) Tango
Ross W. Duffin, director
Grace Cross & Grace Roepke, harp
with CWRU Early Music Singers,
Paul
ElenaHindemith (1895–1963)
Mullins, director from Sonate für Harfe
Sehr langsam
Grace Cross

Program
Carlos Salzedo Chanson dans la nuit

Grace Cross & Grace Roepke

Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77)
Caroline Lizotte (b. 1969) from Suite Galactique, op. 39
Early Music Singers Exosphère
Grace Roepke
directed by Elena Mullins

Pierre Beauchant (1885–1961) Triptic Dance

Douce dame Machaut
Grace Cross & Grace Roepke
Nathan Dougherty, voice
Sylvius Leopold Weiss
with Medieval (1687–1750)
Ensemble from Lute Sonata no. 48 in F-sharp minor
(arr. for guitar by A. Poxon) I. Allemande
Lucas Saboya (b. 1980) from Suite Ernestina
I. Costurera
Quarte estampie royale Anonymous
II. De Algún Modo (Manuscrit du Roy)
Buddy
AllisonJohnson
Monroe, (1915-1977)
vielle • Karin Cuellar,Since
rebecI Fell for You
(arr. for guitar by A. Poxon)
Laura Osterlund, recorder • Margaret Carpenter Haigh, harp
Andy Poxon, guitar

Agustín Barrios (1885–1944) Vals, op. 8, no. 4

Comment qu’a moy lonteinne Machaut
J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005
Margaret Carpenter Haigh, voice IV. Allegro assai
with ensemble
Heitor Villa-Lobos (1887–1959) Etude no. 7

Year Yoon, guitar

Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on
(continued on reverse)
canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston Gift of Mrs. J. D. Cameron
Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.
Series sponsors
Centennial loan on view in gallery 208 through November 1..
CIM/CWRU Joint Machaut
Music Program
Quant Theseus/Ne quier veoir
Margaret Carpenter Haigh, Nathan Dougherty, voices
Wednesday, October 5, 2016
Allison Monroe, Karin Cuellar, vielles

Carlos Salzedo (1885–1961) Tango

Hoquetus David Machaut
CIM/CWRU Joint Music Program
Grace Cross & Grace Roepke, harp
Allison Monroe, Karin Cuellar, vielles
Laura Osterlund, douçaine
Wednesday,
Paul Hindemith October
(1895–1963) 7, 2015 from Sonate für Harfe
Sehr langsam
Grace Cross
Par maintes foys Jean Vaillant (fl. 1360–90)
Carlos Salzedo
Wolfgang Amadeus Mozart (1756–1791) Chanson dans laNo.
String Quartet nuit23 in F major, K. 590
Margaret Carpenter Haigh, voice I. Allegro moderato
Grace Cross & Grace Roepke
II. Andante
Laura Osterlund, recorder • Karin Cuellar, vielle(Allegretto)
Caroline
Rebecca Lizotte (b. 1969)
Benjamin from Suite
and Yu Ming Ma, violins; Galactique,
Mark op.Sarah
Liu, viola; 39 Miller, cello
Exosphère
Grace Roepke
Leoš Janáček (1854–1928) String Quartet No. 1, “Kreutzer Sonata”
Hé, tres doulz roussignol Borlet (fl. 1380–1400?)
I. Adagio con moto
Pierre
MargaretBeauchant (1885–1961)
Carpenter Triptic Dance
Haigh, Nathan Dougherty, voices
II. Con moto
Laura Osterlund, recorder
Grace Cross & Grace Roepke • Allison Monroe, vielle
Carter Coleman and Colin Laursen, violins; Chloé Thominet, viola;
David Olson, cello
Sylvius Leopold Weiss (1687–1750) from Lute Sonata no. 48 in F-sharp minor
(arr.
Quant for guitar by A. Poxon) I. Allemande
Bedřichje suy mis
Smetana (1824–1884) Machaut
String Quartet No. 1 in E minor, JB 1:105
Lucas Saboya (b. 1980) from Suitevivo
I. Allegro Ernestina
appassionato
Daniel Fridley, voice I. Costurera
II. Allegro moderato a la Polka
with ensemble II. De Algún Modo
The Belka Quartet
Buddy
BeatriceJohnson
Hsieh(1915-1977) Since I Fell
and Charles Gleason, violins; for YouGeise, viola;
Matthew
(arr. for guitar by A. Poxon)
Daniel Blumhard, cello
Dit
Andy dePoxon,
la Fonteinne
guitar amoureuse Machaut (translation by R. Barton
Palmer)
Agustín Barrios (1885–1944) Vals, op. 8, no. 4
Margaret Carpenter Haigh, Nathan Dougherty, Daniel Fridley, voices,
J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005
with ensemble
IV. Allegro assai
Heitor Villa-Lobos (1887–1959) Etude no. 7

Year Yoon, guitar

Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on
canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston Gift of Mrs. J. D. Cameron
Series sponsors:
Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.
Series sponsors
Centennial loan on view in gallery 208 through November 1..
Notes on the Program

Guillaume de Machaut is believed to have been though no less passionate song, the singer assures his
born in 1300 and educated near Reims. His surname lover that regardless of their separation, she is always in
identifies him as coming from the nearby town of his thoughts. Finally, in Quant je suy mis, the slow and
Machault. Machaut received an ecclesiastical education quiet intensity of the melody underscores the singer’s
and became a canon in 1337. He was employed as a elation after meeting with his lady.
secretary to John I, Count of Luxembourg and King
of Bohemia and traveled extensively with the king’s Quant Theseus/Ne quier veoir is a four-voice
court. Machaut was both a poet and composer. His ballade, another forme fixe with a refrain. Only the
output includes some 400 poems, a substantial upper two voices are texted, and each sings a different
number of which were set to music. The poetic style of French poem. The top voice sings of the adventures of
Machaut in the formes fixes was emulated by medieval Theseus, Hercules, and Jason while the second asserts
authors such as Jean Froissart and Geoffrey Chaucer. that he does not wish to experience the wonders of
A polyphonic setting by François Andrieu laments antiquity; they both, however, sing the same refrain
Machaut’s death in 1377. at the end of the chanson: “I see enough, when I see
my lady.” Musically, the ballade is highly complex.
Composed in Reims in the 1360s, Machaut’s La Each voice is independent, often moving in rapid
Messe de Nostre Dame for four voices is the first syncopations against the others.
stylistically cohesive setting of the Mass Ordinary. The
work was used as the memorial mass for the death of The two instrumental pieces on our program
his brother, and was popular enough to be performed showcase the virtuosity of instruments in different
even after Machaut’s death, perhaps even into the 15th families played together. Stringed instruments join
century. In the Kyrie, polyphonic settings of the text forces with woodwind and reed instruments, a common
alternate with monophonic renditions of the plainchant. practice during the Middle Ages that reflects the
In the polyphonic settings, the chant appears in “unequal” composition of polyphonic pieces. The
the slow-moving tenor voice in a series of repeated Quarte estampie royal is a dance that was copied down
rhythmic motives, a technique known as isorhythm; in middle of the 13th century (between 1255 and 1260)
the rhythmic motive grows longer in the “Christe” and and is included in the Manuscrit du Roi with over 600
longer still in the fourth and sixth “Kyries.” Machaut pieces by troubadours and trouvères. The work is
also gives contratenor voice an isorhythmic treatment constructed of melodically varied puncti alternating
beginning in the “Christe,” with a rhythmic pattern that with open (ouvert) and closed (clos) refrains. The term
covers half of each polyphonic section through the hoquetus, or hocket, comes from the French word
end of the piece. The upper two voices, meanwhile, are meaning to “hiccup.” The composition features closely
consistently more active than the lower, often moving alternating rhythm between the two upper voices
in rapid, syncopated passages. above a long-note cantus firmus.

The Medieval Ensemble’s program features three Par maintes foys, another virelai by Jean Vaillant,
virelai, one of the three Medieval formes fixes, or fixed and Borlet’s Hé, tres doulz roussignol both feature
forms, that governed French poetry in the 14th and 15th onomatopoeic texts that describe the songs of birds. In
centuries. True to the form, each of songs has a refrain Par maintes foys the skylark, goldfinch, starling, cuckoo,
wherein all of the voices can join in to sing familiar and nightingale sing their songs. The celebrated
words to a familiar tune. The word “virelai” comes from work was later set to German poetry (“Der mai mit
the old French word “virer,” or “to turn” or “to twist,” lieber zal”) by Oswald von Wolkenstein. Hé, tres doulz
highlighting its connection to dance. As such, all three roussignol is an entreaty to the nightingale and lark to
feature a regular pulse and dance rhythms. In Douce appeal to and melt the heart of the woman beloved.
dame—a fast-paced and lively chanson—the singer tells
a cruel lady that she alone has mastery over his heart. —Nathan Dougherty & Laura Osterlund
In Comment qu’à moy lonteinne, a somewhat slower
Song Texts and Translations

Kyrie
Kyrie eleison, Christe eleison, Kyrie eleison. Lord have mercy, Christ have mercy, Lord have mercy

Douce dame jolie

Douce dame jolie, pour dieu ne pensés mie, que nulle ait Fair sweet lady, for God’s sake, do not think that any woman
signorie seur moy fors vous seulement. has mastery over me except you alone.
1. Qu’adès sans tricherie, chierie, vous ay et humblement, 1. For always without deceit I have cherished you, and
tous les jours de ma vie, servie, sans villain pensement. humbly served you all the days of my life, without any base
Helas! et je mendie d’esperance et d’aïe; dont ma joie est thought. Alas! I am bereft of hope and help; and so my joy
fenie, se pité ne vous en prent. is ended, unless you pity me.
Douce dame … Sweet lady …
2. Mais vo douce maistrie,maistrie, mon cuer si durement 2. But your sweet mastery masters my heart so harshly as to
qu’elle le contralie et lie en amour tellement. Qu’il n’a de torment it and bind it with love, so much so that it desires
riens envie fors d’estre en vo baillie; et se ne li ottrie vos nothing but to be in your power; and yet your heart grants
cuers nul aligement. it no relief.
Douce dame … Sweet lady …
3. Et quant ma maladie garie ne sera nullement, 3. And since my sickness will not be cured in any way,
sans vous, douce anemie, qui lie estes de mon tourment, save by you, sweet enemy, who are glad at my distress,
A jointes mains deprie vo cuer, then with my hands clasped I pray that your heart,
puis qu’il m’oublie, que temprement m’ocie, since it neglects me, may kill me soon,
car trop langui longuement. for I have languished too long.
Douce dame … Sweet lady …
 —Stephen Haynes

Comment qu’à moy lonteinne

Comment qu’à moy lonteinne, soiez, dame d’onnour, However far from me you may be, honored lady,
si m’estes vous procheinne par penser nuit et jour. yet you are close to me in my thoughts, night and day.
Car Souvenir me meinne, si qu’adès sans séjour For Memory guides me, so that always, without pause,
vo biauté souvereinne, vo gracieus atour, your sovereign beauty, your gracious bearing,
vo maniere certainne et vo fresche coulour your confident manner, and your fair complexion,
qui n’est pale ne veinne, vou toudis sans séjour. which is not pale or wan, are constantly before me.
Comment qu’à moy lonteinne … However far from me …
Dame, de grace pleinne, mais vo haute valour, Indeed, lady, full of grace, your great virtue,
vo bonté souvereinne et vo fine douçour your sovereign goodness, and your exquisite sweetness
en vostre dous demeinne m’ont si mis que m’amour, have put me so much in your power that my love,
sans pensée vilainne, meint en vous que j’aour. without any base thought, dwells in you, whom I adore.
Comment qu’à moy lonteinne … However far from me …
Mais Desirs qui se peinne d’acroistre mon labour But Desire, who strives to increase my affliction,
tenra mon cuer en peinne et de mort en paour, will keep my heart in torment and in fear of death,
se Diex l’eure m’ameinne qu’à vous, unless God hastens the hour
qui estes flour de toute flour mondeinne, when I may quickly return to you,
face tost mon retour. flower of all the flowers in the world.
Comment qu’à moy lonteinne … However far from me …
 —Stephen Haynes
Song Texts and Translations (continued)

Quant Theseus/Ne quier veoir

1. Quant Theseus, Hercules et Jason cercherent tout, 1. When Theseus, Hercules and Jason sought everywhere,
et terre et mer parfonde. both on land and the deep sea,
2. Pour accroistre leur pris et leur renon et pour veoir bien 2. to increase their fame and renown and to see the whole
tout l’estat dou monde. state of the world.
3. Moult furent dignes d’onnour. 3. They were worthy of great honor.
Mais quant je voy de biaute l’umble flour, But when I see the humble flower of beauty,
assevis sui de tout, si que, par m’ame, I am satisfied for everything, so that, by my soul,
Je voy asses, puis que je voy ma dame. I see enough, when I see my lady.

1. Ne quier veoir la biaute d’Absalon I do not wish to see the beauty of Absalom
ne de Ulixes le sens et la faconde. nor the wisdom and eloquence of Ulysses.
2. Ne esprouver la force de Sanson. 2. Nor to test the strength of Samson,
Ne regarder que Dalila le tonde. nor to see Delilah fleecing him.
3. Ne cure n’ay par nul tour des yeux Argus 3. Nor do I care at all for the eyes of Argus
ne de joie gringnour. Car pour plaisance or any greater joy. For with pleasure
et sans aide d’ame. and without the aid of anyone,
Je voy asses, puis que je voy ma dame. I see enough, when I see my lady

Par maintes foys

1, 4. Par maintes foys ay oy recorder 1, 4. The air is often filled
du rosignol la douce melodie. with the nightingale’s sweet song.
Mais ne s’i veult le cucu acorder, The cuckoo will never join in,
ains veult chanter contre ly par envie: but instead sings enviously
“Cucu, cucu, cucu” toute sa vie. “Cuckoo cuckoo” all his life.
Car il veult bien a son chant descourder. He wished to bring discord with his song.
et pourtant dit le reusignol et crie: So much so that the nightingale cries:
“Je vos comant qu’on le tue et ocie: “I command that you be slain.
Tue, tue, tue, tue, oci, oci, oci, fi de li, fi de li, fi de li, fi. Slain, slain, slain, Killed, killed, killed. Fie, fie upon you.
oci, oci, oci, du cucu qui d’amours veult parler.” Fie on the cuckoo who wishes to speak of love.”
2. Si vous suppli, ma tres douce alouette 2. I entreat you, my dear skylark,
que voz voulles dire vostre chanson: to sing your song thus:
“Lire, lire, lire, lire, lirelon; que dit Dieu, Dieu” Lire, lire, lire, lire, liron; as God says, as God tells you.
Il est tamps, il est tamps que le roussinolet Now it is time for the nightingale’s
die sa chansounette: “Oci, oci, oci, little ditty: Slain, slain, slain,
oci seront qui nos vont guerroyant.” they are slain, who would make war on you.
3. Assembles vos; prenes la cardinette, 3. Flock together; bring forth the goldfinch
faites chanter la calle et le sanson, and make him and the starling call out.
tues, bates cucu pile bisson! Kill the cuckoo and silence his song.
Il est pris, pris, il est pris, pris. He is taken,
Or soit dist il mort, mort, soit mis a mort, mort. let him be killed in sweet springtime
Or aloms seurement an joliver nos qu’et cullir la mosette; let the hawk be praised.
ami, ami, toudis seray le dieux d’amours priant. Praise too the god of love.
Song Texts and Translations (continued)

He, tres doulz roussignol

1, 5. He, tres doulz roussignol joly que dit occy, occy, occy, 1. 5. O, most lovely nightingale, singing oci, oci, oci,
je te deprie que sans detry voissés a ma dame jolie Please go at once, I beg you, to my fair lady,
et dy de par moy et affye que ocy, ocy, ocy and assure her from me that oci, oci, oci she will kill me
m’a se son dur cuer n’amoulie. unless her cold heart melts.
2. Alouette que vas voulant 2. Skylark, what do you think you’re doing
si tres haut et cler chantant douce chançon, singing so high and clear,
lire, lire, lire, liron, tout voletant. lire, lire lire liron?
3. A ma dame seras errant 3. To my lady begone,
or li va tantost disant par ma chançon lire, lire lire, liron, now go and sing to her my song, lire lire lire liron,
que mon cuer va sentant. that my heart is feeling.
4. He, dame, puis qu’il est ainsy quen vo merci, merci, merci 4. O lady, since it is thus, since your mercy, mercy, mercy
ay mis ma vie je vous supli de mon povre cuer directs my life, I plead with you, from the bottom of my
que m’en die que vous tenes en vo baillie poor heart over which you rule
que merci, merci, merci ay és mercy ma vostre aye. to have mercy, mercy, mercy to grant me your merciful aid.
Tenor: Roussignoulet du bois, Tenor: Nightingale of the woods,
dounes au vilain le mal et puis la mort. give the villain the business and then kill him.

Quant je suy mis

1. Quant je suy mis au retour de veoir ma dame, 1. When I have returned from seeing my lady,
Il n’est peinne ne dolour que j’aie, par m’ame. what I feel is neither pain nor sorrow—cross my heart.
Dieux! c’est drois que je l’aim, sans blame, de loial amour. God! It is right that I love her, blamelessly, and with loyal love.
2. Sa biauté, sa grant douçour d’amoureuse flame, 2. Her beauty, her extreme sweetness—
par souvenir, the mere memory of them enthralls me,
nuit et jour m’esprent et enflame. and inflames me night and day.
Dieux! c’est drois … God! It is right …
3. Et quant sa haute valour 3. And since my true heart
mon fin cuer entame, is filled with her esteemed greatness,
servir la vueil sans folour penser ne diffame. I shall serve her without wanton or dishonorable thoughts.

Dieux! c’est drois … God! It is right …

 —MarieStella Pâris

CWRU Early Music Singers CWRU Medieval Ensemble

Elena Mullins, director Ross W. Duffin, director
Triplum: Alyssa Stachowiak, Betsy Kaufman, Margaret Carpenter Haigh, soprano & harp
Gail West, Julie Denker, Nathan Dougherty, tenor
Rebekah Wadsworth Daniel Fridley, bass
Motetus: Charlotte Newman, Elena Mullins,
Katherine Thompson, Naomi Columna Allison Monroe, vielle & harp
Karin Cuellar Rendon, vielle & rebec
Contratenor: Aaron Manela, Nathan Dougherty
Laura Osterlund, recorder & douçaine
Tenor: Brian Schultis, Daniel Fridley,
Matthew Stachowiak