celebrating the 26th

Celebrating the 26th Bloomington Early Music Festival

With great anticipation, Bloomington Early Music, the IU Historical Performance Institute (HPI), and Early Music America (EMA) welcome you to the 26th annual Bloomington Early Music Festival, a celebration that highlights the extraordinary talent of legendary and emerging artists in the field of historical performance. With all events free and open to the public, this year’s Festival commences with two concerts at the fourth annual international conference, “Historical Performance: Theory, Practice and Interdisciplinarity,” presented by the HPI and convened by its director, Dana Marsh.

Two Emerging Artists Showcase events presented by Early Music America feature a selection of emerging artists in North America: Aperi Animam, a vocal ensemble from Milwaukee, WI; Joyce Chen, harpsichord, from Princeton; NJ, Vincent Lauzer, recorder, from Montréal, Canada; and Rezonance Baroque Ensemble, from Toronto, Canada. The annual EMA Young Performers Festival offers a series of five concerts over three days by some of the leading early music training programs in North America.

The annual treat continues as we anticipate the return of IU alumnus fortepianist Byron Schenkman, who celebrates the 200th anniversary of Clara Schumann’s birth with a collaborative performance by talented students and alumni of the HPI. Keeping the IU connection alive, the Festival and the Lute Society of America look forward to a solo performance by one of Bloomington’s international artists, IU professor and lutenist Nigel North. The annual concert in the Monroe County Courthouse rotunda will be performed by local ensemble Las Aves, and follows their recent international debut in Ecuador at the Festival Internacional de Música Sacra de Quito. The finale of the Festival offers Bloomington audiences a truly unique opportunity to experience a significant historical moment in

BLOOMINGTON EARLY MUSICblemf.org | [email protected] | facebook.com/blemf

P.O . Box 734 | Bloomington, IN 47402

the Americas with a semi-staged performance of La púrpura de la rosa (The Blood of the Rose). The Instrument Petting Zoo, for early music enthusiasts of all ages, will be presented at the Bloomington Farmer’s Market. As always, we deeply appreciate and thank our donors and partners who have supported us so generously through the years and look forward to seeing you at many of this year’s events!

With best wishes from the Bloomington Early Music Board:

Alain Barker (President), Paulina Francisco (General Manager) Mollie Abels, Aaron Cain, Alison Calhoun, Adam Dillon, Micah Fleming, Sally Gaskill, Dana Marsh, Reynaldo Patiño, Stanley Ritchie, Erica Rubis, and Shelley Taylor.

OUR FESTIVAL PARTNERS

The Historical Performance Institute at the IU Jacobs School of Music

Now approaching its 40th anniversary year in 2020, the Historical Performance Institute and department aim to provide students at the Indiana University Jacobs School of Music with the highest standard of instrumental and vocal training in historically informed performance, along with a secure grounding in its academic fundamentals. As a growing research institution, the HPI convenes an annual international conference, and has accordingly founded an annual, peer-reviewed journal, Historical Performance, through Indiana University Press. Numerous alumni of the program have won recognition and acclaim as leading performers, teachers, and entrepreneurs in the field.

Early Music America

Early Music America is a North American community of people who find joy, meaning, and purpose in creating, studying, and experiencing music that originated prior to the 20th century. For more than 30 years, EMA has enriched the field of early music

The Festival Participants

Our heartfelt thanks to the 100 artists, who offer their talents to provide us with a banquet of memorable performances.

Alejandro AcostaChris AlbaneseMatt AntalChristopher ArmijoDušan Balarin Austin BareShannon BarryBlake BeckemeyerTristan BestMatt BickettKasia Bielak-HoopsPaul BorgÉlodie BouchardRuby BrallierAdam BregmanKelsey BurnhamOlivia Castor

Vania ChanJoyce ChenAnastasia ChinKeith CollinsSarah CranorMark CudekTeresa DeskurAdam DillonIsabelle Douailly-BackmanMark EdwardsKevin FlynnPaulina FranciscoKia Marie FrankJamie GallupeQuinn GalyanAdam Knight GilbertJennifer Grokowsky

by developing and supporting interest in the music of the past, and the breadth of EMA’s membership - including professional performers, educators, ensembles, presenters, instrument makers, amateur musicians, philanthropists, and many more – has made it an important advocate for early music throughout North America. Through its network of members, its print and online publications, and grant-making activities, EMA supports the performance and study of early music, and promotes public understanding of its potential impact on people and communities from coast-to-coast. Now in its fourth decade, with staff and board that represent the depth and breadth of the field, EMA continues its commitment to advance, articulate, and advocate for the essential and joyful experience of early music and to ensure that all people and communities have access to learning, performing and enjoying early music.

Zachary HainesAbby Hakel-GarciaColin HanMikayla HarrisDeme HellwigGabe HenneburyColton HodgeSeung Ah HongPaul HwangJennifer Jakubowski Jennifer Ellis KampaniJae Hwan KimPoppy KipferAmanda KitikHank KnoxErin KoolmanDaniel KoplitzJessica KorotkinJoseph KrohlowDanur KvilhaugVincent LauzerEmma LiPeter LimAlexandria LindersAnna MaberryLeo MarquesBrian McNultyNatalie MealeyDavid MoralesCarey MorrowSam MulloolyMarie Nadeau-TremblayErika Nielsen

Nigel NorthRezan Onen-LapointeXaiPavlos PapaefthymiouÉlise ParadisReynaldo PatiñoDavid PodgorskiChristopher PriceKarin Cuellar RendonKailey RichardsAiden RidleyTomas RidleyAiden RohwerWillem RohwerRachelle RomeroByron SchenkmanNick SchrantzAnnemarie Schubert Sarig SelaSarah ShodjaElizabeth SmithNell SnaidasRose SproatLuka StafanovicGregório TaniguchiJulian TrippellCameron Welke Crawford WileyJackie WillisMara YaffeeJason YoshidaStephanie Zimmerman

BIOGRAPHIES

For biographies of the festival musicians, please visit our website: blemf.org, or link to this QR code using your mobile device.

Festival At a Glance

FRIDAY, MAY 17

8:00pm Sarig Sela, recorder JSOM Ford-Crawford Hall

SATURDAY, MAY 18

8:00pm Adam Gilbert, recorder & bagpipes JSOM Recital Hall Adam Bregman, sackbut & recorder Jason Yoshida, lute, guitar, & theorbo Jennifer Ellis Kampani, voice

SUNDAY, MAY 19

7:00pm Las Aves Monroe County Courthouse

TUESDAY, MAY 21

7:00pm Nigel North First Presbyterian Church

WEDNESDAY, MAY 22

10:00am Early Music Entrepreneurship Trinity Episcopal Church

12:30pm Workshop: Nigel North (Lute) Monroe Co. History Center

3:00pm Oberlin Baroque Trinity Episcopal Church

7:00pm Byron Schenkman and Friends JSOM Recital Hall

THURSDAY, MAY 23

10:00am Early Music Entrepreneurship Trinity Episcopal Church

12:30pm Workshop: Improvisation Monroe Co. History Center

3:00pm McGill Baroque Orchestra Trinity Episcopal Church

4:30pm USC Thornton Collegium Trinity Episcopal Church

7:00pm Emerging Artists Showcase 1 First Presbyterian Church Joyce Chen, harpsichord and Vincent Lauzer, recorder

Festival At a Glance

FRIDAY, MAY 24

12:30pm Workshop: VdGSA Monroe Co. History Center

3:00pm The Brandenburg Project Trinity Episcopal Church

4:30pm Peabody Renaissance Ens. Trinity Episcopal Church

7:00pm Emerging Artists Showcase 2 First Presbyterian Church Aperi Animam vocal ensemble and Rezonance Baroque

SATURDAY, MAY 25

10:00am Instrument Petting Zoo & Concerts City Hall Atrium

10:30am B-Town Quarry Morris Dancers City Hall Plaza

6:00pm Pre-concert talk by Paul Borg First Presbyterian Church Hall 7:00pm La púrpura de la rosa First Presbyterian Church

VISIT AND FOLLOW US

Bloomington Early Music (Early Music Associates, Inc.) is a registered 501(c)(3) not-for-profit organization whose mission is to support historically informed performance in Bloomington and South Central Indiana. In addition to producing the annual Bloomington Early Music Festival, the organization presents concerts in the community during the year, develops education projects, and supports partner organizations through fiscal sponsorship.

Please help us spread the word by joining our email list and following us on Facebook. We’d love to hear from you!

Would you like to support our efforts?

If you would like to join us in supporting our mission, please be sure to speak to a member of the board, or visit our website - blemf.org - for information on how to volunteer and contribute.

When you support

Early Music America through

membership or a donation, you

make all of this possible!

earlymusicamerica.org

It’s Your Organization.

Connect with EMA Today!

information engagement

advocacy performance

FAMILY-FRIENDLY EVENTS!

Instrument Petting Zoo and Concerts at The Farmers Market

Saturday, May 25, 10:00 a.m. - 12:00 p.m. Bloomington City Hall Atrium

Bloomington Quarry Morris DancersSaturday, May 25, 10:30 a.m. Bloomington City Hall Plaza

Please join us for these special family-friendly events!

“These academies are growing into a truly precious and unique

opportunity for emerging artists and teachers to come together in a nurturing but probing environ- ment. I don't know anywhere else where this happens in quite the same way.”

- Cornetto legend Bruce Dickey

Come see what Bruce is talking about!

Next program: INTERMEDIO Italian courtly entertainments in the 16th century, Nov. 20-30, 2019

LUNENBURG ACADEMY OF MUSIC PERFORMANCE Lunenburg, Nova Scotia, Canada | +1 (902) 634-8667 | lampns.ca

Presented in collaboration with Indiana University Historical Performance Institute’s

fourth-annual international conference: HISTORICAL PERFORMANCE: THEORY, PRACTICE, AND INTERDISCIPLINARITY

Sixteenth-Century Improvisation: Repetition, Variation, and Similarity

An evaluation of improvisation strategies in the diminution corpus illustrated with live performance examples.

Sarig Sela, recorder (Hebrew University of Jerusalem)

Friday, May 17 at 8:00 p.m. JSOM Ford-Crawford Hall

Division manuals proliferated during the sixteenth century, offering a useful means of acquiring ornamentation and improvisation skills. The manuals contain a pre-defined set of figurations (short melodic sequence fragments) to be integrated variously within known melodies, or a composition.

Drawing from these sources as well as improvisation transcriptions, this lecture-concert evaluates the approaches of three prominent sixteenth-century improvisers: Diego Ortiz (1510-1570), Giovanni Bassano (1558-1617), and Girolamo Dalla Casa (d.1601). The analyses focus on three strategic models: (1) “Plug & Play”—figurations are chosen and integrated “as-is” from the manual, (2) “Chunk and integrate”—this model assumes that the same figurations are “chunked” to sub-figurations in memory and then integrated in real time (inspired by Aurelio Virgiliano’s c.1600 rule of figuration morphology, and Miller’s 1956 Information Processing Framework for short-term-memory capacity), and (3) “Similarity”—the model assumes that there is some degree of adjustment that can occur in real time to a figuration stored in long-term memory (inspired by “rule-and-representation” theories which describe the brain as capable of changing symbolic data, driven by computational rules). Similarity is the affinity between the as-is manual figurations and figurations found in improvisation transcriptions.

The procedures used for the analysis, the results, and the conclusions regarding sixteenth-century improvisation methodologies will be discussed and illustrated in live performance.

Presented in collaboration with Indiana University Historical Performance Institute’s

fourth-annual international conference: HISTORICAL PERFORMANCE: THEORY, PRACTICE, AND INTERDISCIPLINARITY

Grounds and AirsSaturday, May 18 at 8:00 p.m.

JSOM Recital Hall

Adam Knight Gilbert, recorder and bagpipesAdam Bregman, sackbut and recorderJason Yoshida, lute, guitar, and theorbo

Jennifer Ellis Kampani, voice

Quel sguardo sdegnosetto . . . . . . . . . . . . Claudio Monteverdi (1567-1643)CanariosFolle e ben . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tarquinio Merula (1595-1655)

Si dolce tormento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MonteverdiPassacagliaAria di passacaglia “Così mi disprezzate?” . . . . . Girolamo Frescobaldi (1583-1643)

Folias Aria “Se l’aura spira” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frescobaldi

O Solitude, my sweetest Choice! . . . . . . . . . . . . . Henry Purcell (1659-95)Greensleeves (Romanesca)No more shall meads be deck’d with flow’rs . . . .Nicholas Lanier (1588-1666)

Passamezzo Moderno/GaitaSentirete una canzonetta (La Girometta) . . . . . Tarquinio Merula (1595-1665)Aria “La scatola” . . . . . . . . . . . . . . . . .After Marco Ucellini (ca. 1603-1680)

BIOGRAPHIES


Las AvesSunday, May 19 at 7:00 p.m.

Monroe County Courthouse Rotunda

From Motetti a 5 voci (1614) . . . . . . . . . . Alessandro Grandi (1586-1630)

Ave Regina Caelorum

From Carlo Grat. MS (c. 1600-20) . . . . . . . . . . . . . . . . . . . . . . . . Carlo Grat. Ego dormio et cor meum vigilat

From Libro primo delle musiche (1618) . . . Francesca Caccini (1588-1640)

Maria dolce Maria---

From Partiturbuch Ludwig (1662) . . . . . . . . . Antonio Bertali (1605-1669) Sonata a 3 in A Minor

From Motetti con Sinfonie, libro I (1621) . . . . . . . . . . . . Alessandro Grandi Salve Regina

From Sonate a 1.2.3. (1641) . . . . . Giovanni Battista Fontana (1589-1630) Sonata sesta decima per tre violini

From Libro primo d’intavolatur . . . . . . . Giovanni Kapsberger (1580-1651)a di chitarrone (1604)

Toccata secondo arpeggiata

From Libro primo di mottetti passeggiati a una voce (1612) . . . Kapsberger Sancta Maria

---

Sonata concertate in stile moderno, . . . . . . . . Dario Castello (1602-1631)libro secondo (1644)

Sonata Duodecima

From Motteti a voce sola (1636) . . . . Giovanni Felice Sances (1600-1679) Stabat Mater

From Motetti a due, a tre, a quattro e cinque voci (1642) . . . . . . . . Sances Salve Regina

Ensemble Members

Paulina Francisco, sopranoGregório Taniguchi, tenor

Anna Maberry, Reynaldo Patiño, violinKevin Flynn, cello

Christopher Armijo, recorderAdam Dillon, sackbut

Carey Morrow, theorbo

BIOGRAPHIES


Co-Presented with The Lute Society of America

Nigel North, Lute Tuesday, May 21 at 7:00 p.m.

First Presbyterian Church

“Capriccio”Music for lute by

Sylvius Leopold Weiss (1687-1750)

Ouverture and Aria in C Major Ouverture, Sonata and Fuga in D Minor Fantasie, Concerto and Plainte in B Flat Major Tombeau sur la Mort de Mr Comte de Logy (1721)

- Intermission - Fantasie, Fuga and Capriccio in D major Fantasie and Fuga in C major Prelude in E flat major Tombeau sur la Mort de Mr Cajetan Baron d’Hartig (1719)

Born in London, England, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington (USA) since 1999. Previous positions included The Guildhall School of Music and Drama, London (1976-1996), Hochschule der Künste, Berlin (1993-1999) and the Royal Conservatory, Den Haag, (2006-2009).

Initially inspired at the age of seven by the early 60’s instrumental pop group “The Shadows”, Nigel studied classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was 15. Basically self-taught on the lute, he has been playing and teaching for nearly 50 years.

After hearing one of Nigel’s Bach recitals in London, Julian Bream recalled in 2002 “I remember going to a remarkable recital, one which I wish I had the ability to give: it was one of Nigel North’s Bach recitals, and I was bowled over by how masterful and how musical it was. A real musical experience, something you don’t always get from guitar and lute players and which, in general, is pretty rare.”

Recordings include a four CD boxed set “Bach on the Lute” (Linn Records), four CDs of the lute music of John Dowland (Naxos), and a new ongoing series of music by Sylvius Weiss (BGS) and Francesco da Milano (BGS).

CO-PRESENTED WITH THE LUTE SOCIETY OF AMERICA

A Workshop with Nigel NorthTuesday, May 22 at 12:30 p.m. Monroe County History Center

Join the Lute Society of America for an open masterclass with renowned lutenist and IU Historical Performance Institute faculty

Nigel North. Following the masterclass, LSA will host a brief meeting to establish a Midwest Regional Chapter.

Please join us for this special event!

Early Music America Young Performers Festival

Oberlin Baroque

Wednesday, May 22 at 3:00 p.m. Trinity Episcopal Church

Sonata Prima . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dario Castello (1602-1631)

Peter Lim, recorder Luka Stefanovic, cello Matt Bickett, organ

Fantasie à 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Byrd (1539/40- 1623)

Ruby Brallier, Nick Schrantz,

Luka Stefanovic, and Leo Marques, viols

Passacaglia in D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johann Caspar Kerll(1627-1693)

Natalie Mealey, harpsichord

Sonata in G, QV 2:35 . . . . . . . . . . . . . . . . . . . . . . . . Johann Joachim Quantz (1697-1773)

Allegro ma non troppo Cantabile Allegro

Kelsey Burnham, flute Annemarie Schubert, violin Nick Schrantz, viol Natalie Mealey, harpsichord

Sonata in E, BWV 1034 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.S. Bach(1685-1750)

Andante Allegro

Kelsey Burnham, flute Matt Bickett, harpsichord

Concert No. 44, “Tombeau Les Regrets” . . . . . . Jean de Sainte-Colombe(c. 1640 – 1700)

Tombeau Appel de Charon Les Pleurs Joye des Elizées

Ruby Brallier and Nick Schrantz, viols

Deuxième recreation de musique, Op. 8 . . . . . . . . . . . Jean-Marie Leclair(1697-1764)

Sarabande Badinage Chaconne

Abby Hakel-Garcia, Annemarie Schubert, violinsKelsey Burnham, flute Peter Lim, recorder

Ruby Brallier, viol Luka Stefanovic, celloMark Edwards, harpsichord and direction

BIOGRAPHIES


517 North Charles Street, 2nd FloorBaltimore, MD 21202

(410) 539-0043 • [email protected]

Carolyn FoulkesL U T H I E R

BAROQUE STRINGINSTRUMENTS & BOWSBEMF 2019, Table 27, Empire Ballroom

PERRIN & ASSOCIATES FINE VIOLINS

go.oberlin.edu/bpi

48th anniversary year

OberlinBaroque Performance Institute

kenneth slowik, artistic directorwith the Oberlin Baroque Ensemble and distinguished faculty

june 16-29, 2019music of the enemies of louis xiv

DA

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PR

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HISTORICAL PERFORMANCE INSTITUTE AT JACOBS

An interdisciplinary approach to the highest standards in performance.

ALL 2020 ADMISSIONS

Application Deadlines Nov. 1, 2019 - UndergraduateDec. 1, 2019 - Graduate

2020 Audition DatesJan. 17 & 18 | Feb. 7 & 8 | Mar. 6 & 7

FACULTY

Dana Marsh, HPI director and voiceJoanna Blendulf, viola da gamba and celloHsuan Chang, fortepiano and harpsichordC. Keith Collins, dulcian and bassoonCléa Galhano, recorderEric Hoeprich, clarinetDawn Kalis, harpsichordKris Kwapis, trumpet and cornettoNigel North, luteMeg Owens, oboe Linda Pearse, tromboneStanley Ritchie, violin and violaRichard Seraphinoff, hornColin St. Martin, traversoElisabeth Wright, harpsichord and fortepiano

Phone: 812-855-4088 Email: [email protected]

JACOBS SCHOOL OF MUSICIndiana University Bloomington

music.indiana.edu/early-musicfacebook.com/JSoMHPI

“On behalf of the students and faculty of the HPI, we extend a warm welcome to Early Music America and the many talented musicians who will be with us for the historic, 2019 Bloomington Early Music Festival!”

— Dana Marsh, Director

Byron Schenkman and Friends

Wednesday, May 22 at 7:00 p.m.

JSOM Recital Hall

Celebrating Clara Schumann September 13, 1819 - May 20, 1896

Sarah Cranor, violinAnna Maberry, violinSeung Ah Hong, cello

Kevin Flynn, celloAnastasia Chin, fortepiano

Byron Schenkman, fortepiano

Three Romances for Violin and Piano, Op. 22

Nocturne in F, Op. 6, No. 2 for Piano Solo

Romance in A-Flat for Cello and Piano, from Op. 7

Waltz in E-Flat Major for Piano, Four Hands

Trio in G Minor, Op. 17

Allegro moderato Scherzo Andante Allegretto

Byron Schenkman, believes in the power of music to bring people together for healing and joy. By the time Byron went to their first music camp at the age of eleven, they knew that playing chamber music would be an important part of their life’s work. They have since been a founding member of several ensembles, including the Seattle Baroque Orchestra which they codirected until 2013. They currently direct the chamber music series Byron Schenkman & Friends at Seattle’s Benaroya Hall.

In addition to performing live on piano, harpsichord, and fortepiano, Byron can be heard on more than forty CDs, including recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music,” Byron was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly, and their piano playing has been described in The New York Times as “sparkling,” “elegant,” and “insightful.”

Byron is graduate of the New England Conservatory and received their Master’s Degree and a Performer’s Certificate in harpsichord from Indiana University, where they were a student of Elisabeth Wright. For more information about Byron, visit www.byronschenkman.com.

CO-PRESENTED WITH EARLY MUSIC AMERICA

What can you do with Greensleeves?A GROUND BASS JAM SESSION WITH ADAM GILBERT

Thursday, May 23 at 12:30 p.m. Monroe County History Center

Anyone can improvise over the four-chord progression of the Romanesca pattern at the heart of the famous Greensleeves melody. In less than an hour, Adam Gilbert will have you playing or singing over Greensleeves in Renaissance and Baroque styles. It’s fun, exciting, and no one has yet been injured in the process. Bring your instrument or voice to join in the slightly scary but oh so exiting fun!


ADDITIONAL BIOGRAPHIES


baroqueindy

music2019-2020season

When Indiana Was YoungSeptember 13, 14, 15

Ticket to Ride: A Musical Journey through Baroque Italy and GermanyOctober 6, 7

Bach B Minor Mass with the Indianapolis Symphonic ChoirOctober 27

Handel’s MessiahDecember 8

London TriosJanuary 19

Mix Tape: Audience selected favorites from Naxos releasesMarch 1, 2

Bach in the SubwaysMarch

IIBC Laureate Series: Vivaldi’s Four Seasons, Augusta McKay Lodge, ViolinApril 19

Indianapolis International Baroque CompetitionJuly 12

Barthold Kuijken, Artistic Director

indybaroque.org

Jackson Maberry

Maker of earlystringed instruments

in the modeof the Ancient Masters

jacksonmaberryviolins808.205.5222

[email protected]

Opera • COnCerts • exhibitiOnJune 9-16, 2019 in bOstOn, Ma

Join us for GraMMY-winning opera, celebrated concerts, our world-famous exhibition, and so much more!

OrDer tODaY! 617-661-1812 | beMF.org

Opera • COnCerts • exhibitiOnJune 9-16, 2019 in bOstOn, Ma

Join us for GraMMY-winning opera, celebrated concerts, our world-famous exhibition, and so much more!

OrDer tODaY! 617-661-1812 | beMF.org

Boson Early Music FesivalPaul O’Dette & Stephen Stubbs, Artistic Directors

Coming This Fall…

2019/20Our 30th Anniversary

Season!

Featuring Concerts with Philippe Jaroussky,

Jordi Savall, The Tallis Scholars, and more!


McGill Baroque Orchestra

Thursday, May 23 at 3:00 p.m. Trinity Episcopal Church

Curiose e moderne inventioni

Sonata V a sei . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heinrich Ignaz Franz Biber Sonatae tam aris quam aulis servientes, (1644-1704)Salzburg 1676

Sonata seconda, . . . . . . . . . . . . . . . . . . . . Giovanni Antonio Pandolfi Meali La Cesta Op. 3 No. 2 1660 (1624-1670)

Capriccio Stravagante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carlo Farina Paduanen, Gagliarden, Couranten, (c.1600-c.1640)französischen Arien, Ander Theil, Dresden, 1627

Sonata II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jean-Baptiste Barrière Sonates pour le violoncelle.., (1707-1747)Livre III, Paris, c. 1739

Adagio Allegro Aria Giga

La morte di Lucretia . . . . . . . . . . . . . . . . . . . Michel Pignolet de Montéclair Cantates à une et à deux voix avec simphonie, (1667-1737)Troisième livre, Paris, 1728 Presto Recitativo, Ferma, ferma Tarquinio il passo Aria, largo et affettuoso, Dove vai crudo spietato? Recitativo, Ma folle! E che va neggi Aria, vivace, Corraggio miei spirti Recitativo, Di mortale sudor già tinto Adagio, Assistete mi, oh Dei! Recitativo, Cosi morì Lucretia Aria, Trionfò ben che morta

La Choisy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michel Corrette XIV concerto comique, Paris, 1741 (1707-1795)

Allegro Adagio Allegro

McGill Baroque Orchestra

Hank Knox, directorÉlodie Bouchard, soprano

Baroque violinKarin Cuellar Rendon Isabelle Douailly-Backman

Marie Nadeau-Tremblay Élise Paradis

Baroque violaKarin Cuellar Rendon Isabelle Douailly-Backman

Violoncelle baroque / Baroque ‘celloJessica Korotkin

Viola da gambaTristan Best

Baroque oboeAmanda Kitik

Natural HornChristopher Price

HarpsichordPoppy Kipfer Hank Knox

BIOGRAPHIES



USC Thornton Collegium Workshop

Thursday, May 23 at 4:30 p.m. Trinity Episcopal Church

Dedans la mer: Music from the Shores of England and France

The interwoven histories of England and France in the fifteenth and sixteenth centuries profoundly affected their poetry and music. This concert will feature music from the Ritson, Fayrfax and Henry VIII manuscripts in England, and from the Loire Valley chansonniers in France, featuring anonymous unica from the recently discovered Leuven Chansonnier. The repertory will span music from The Hundred Years’ War to shortly after the Wars of the Roses. Settings of poems by King Henry VIII and by Duke Charles d’Orléans, who was a prisoner in England for twenty five years and composed verse in French and English, will play a special part in our concert.

Ar ne kuth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anonymous (ca. 1225)Edi beo du . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anonymous (early 13th c.)Mirie it is . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anonymous (early 13th c.)

Dedans la mer . . . .Anonymous, attr. Robert Morton (ca. 1430-ca. 1480) or Firmin Caron (fl. ca. 1460-75)Ave Regina Caelorum . . . . . . . . . . . . . . . . . . . . . . .Walter Frye (ca. 1460-74)Se mon flageolet joli . . . . . . . . . . . . . Anonymous, Escorial B (ca. 1460-74)

Oublie, oublie . . . . . . . . . Anonymous, Leuven Chansonnier (ca. 1470-75)Donnez l’aumosne . . . . . . . . . . . . . . . . . .Anonymous, Leuven Chansonnier

This day day daws . . . . . . . . . Anonymous, Fayrfax Manuscript (ca. 1500)Blow thy horn, hunter . . . . . . . . . . . . . . . . . . . William Cornysh (1465-1523)

Madame d’amours . . . . . . Anonymous, Henry VIII Manuscript (ca. 1518)Tant que vivray . . . . . . . . . . . . . . . . . . . Claudin de Sermisy (ca. 1490-1562)

Adieu, mes amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .William CornyshHelas, madame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry VIII (1491-1547)Passamezzo Passtime with good company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry VIII

Ensemble

Adam Knight Gilbert, director, windsAdam Bregman, winds, voice

Rachelle Romero, soprano Jae Hwan Kim, countertenor

David Morales, tenorZachary Haines, bass

Jason Yoshida, luteAlejandro Acosta, lute

Paul Hwang, vielle

CO-PRESENTED WITH THE VIOLA DA GAMBA SOCIETY OF AMERICA

Consort Reading SessionFriday, May 24 at 12:30 p.m.

Monroe County History Center

Join viola da gambist and IU Historical Performance Institute faculty Joanna Blendulf for a consort playing session.


Early Music AmericaEmerging Artists Showcase

Thursday, May 23 at 7:00 p.m. First Presbyterian Church

Joyce Chen, harpsichord

Con tutti gli affetti e l’immaginazione: a potpourri of 17th-century Italian harpsichord music

Toccata terza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Girolamo Frescobaldi from Toccate e Partite d’intavolatura (1583-1643) di cimbalo, libro (1615) Capriccio Sopra il Cucho . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frescobaldi from Il primo libro di capricci fatti sopra diversi soggetti, et arie in partiture (1624)Cento Partite sopra Passcaglia (1637) . . . . . . . . . . . . . . . . . . . . Frescobaldi

Toccata Settima . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michelangelo Rossi from Toccate e correnti (1602-1656) d’intavolatura d’organo e cembalo (1657)

Ciaccona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bernado Storace from Selva di varie compositioni (1637-1707) d’intavolatura per cimbalo ed organo (1664)

Excerpts from Rossignolo (1677) . . . . . . . . . . . . . . . . . Alessandro Poglietti (d. 1683)

Toccata Ricercar per Il Rossignol Sincopatione del Ricercar Capriccio per Io Rossignol Sopra’l Ricercar Imitatione del medesimo Uccello

BIOGRAPHIES


Vincent Lauzer, recorderFlauto dolce solo

Laura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jacob van Eyck(ca.1590-1657)

Boffons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .J. van Eyck

Fantaisia in F Major (orig. D Major), TWV 40:8 . . . . Georg Philipp Telemann (1681-1767) Alla francese Presto

Partita in C Minor (orig. A Minor), BWV 1013 . . . . . . . . . . . . . . . . J. S. Bach(1685-1750)

Allemande Sarabande Bourrée anglaise

Pavane Lacryme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .J. van Eyck

Engels Nachtegaeltje . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .J. van Eyck

Fantaisia in B Minor, TWV 40:2 i . . . . . . . . . . . . . . . . . . . . . . . G. P. Telemann

Largo-Vivace-Largo-Vivace Allegro

L’arte dell’arco : Variations on a Gavotte by Corelli (excerpts) . . . .Giuseppe Tartini (1692-1770)

- - -

Sonata in A Minor, TWV41:a4 . . . . . . . . . . . . . . . . . . . . . . . . . G. P. Telemann for recorder and continuo

Andante Allegro Andante Presto

up to 500 guests | free parking | industrial chic | additional amenitiesVenue

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catering for all occasionsOne World Cateringavailable at your venue or One World at Woolery Mill

One World Catering and One World at Woolery Mill areproud to support the Bloomington Early Music Festival

and our local arts community


The Brandenburg ProjectCommunity Music School of Ann Arbor

Friday, May 24 at 3:00 p.m. Trinity Episcopal Church

Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051 . . . . . . J.S. Bach (1685-1750)

Double Cello Concerto in G minor, RV 531 . . . . . . . . . . . . . . Antonio Vivaldi

(1678-1741)

Stabat Mater . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giovanni Battista Pergolesi (1710-1736)

Stabat Mater Fac ut ardeat cor meum Quando corpus morietur

Concerto No. 4 in F Major, Op. 8, RV 297 “L’Inverno” (Winter) . . . . Vivaldi from The Four Seasons

Ensemble Members

Kasia Bielak-Hoops, coachMakayla Harris, violin, viola

Emma Li, violin, harpsichord, voicePavlos Papaefthymiou, Aiden Ridley, Julian Trippell, violin

Alden Rohwer, violin, viola, voiceRose Sproat, viola

Gabe Hennebury, cello, gamba, harpsichordAlexandria Linders, cello

Tomas Ridley, cello, gambaWillem Rohwer, bass

BIOGRAPHIES



The Peabody Renaissance Chamber Ensemble

Friday, May 24 at 4:30 p.m. Trinity Episcopal Church

This afternoon’s program consists of sets from three recent concert themes: A Vanished World, Iberian music of three cultures; The World of Leonardo, to commemorate the 500th anniversary of the death of the artist/inventor/musician; and The French Connection, which was initially curated for a performance at the French Embassy in Santo Domingo and seeks to show connections of French music with Spain.

A Vanished World

Tanto son da Groriosa (CSM 48) . . . Court of Alfonso X “el Sabio”(1221–1284) Como poden per sas culpas (CSM 166) Santa María, strela do día (CSM 100) Kûrsi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Traditional Arab/Andalusian

(transcribed by Tom Zajac)

Una hija tiene el rey . . . . . . . . . . . . . . . . . . . . . . . . . . . .Traditional, SephardicCuando el rey Nimrod

The World of Leonardo

Calata ala Spagnuola . . . . . . . . . . . . . . . . . . Joan Ambrosio Dalza (fl.1508) Ben venga Maggio . . . . . . . . . . . . . . . . . . Anon. Florentine Carnival SongEl Grillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josquin des Prez (1450–1521)

Recercar . . . . . . . . . . . . . . . . . . . Marco ‘dall Aquila (ca.1480–after 1538) Puer natus est . . . . . . . . . . . . . . . . . . . . . . . . Heinrich Isaac (ca.1450–1517)De tous biens plaine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josquin des Prez

The French Connection

Repicavan . . . . . . . . . . . . . . . . . . . . . . . . . . Jakob van Eyck (ca.1590–1657)Yo soy la locura . . . . . . . . . . . . . . . . . . . . . . . . . Henry Le Bailly (1585-1637)Passa meze (improvisation) . . . . . . . . after Adrian LeRoy (ca.1520-1598)

Amys souffres . . . . . . . . . . . . . . . . . . . . . Pierre Attaingnant (1494–1552)/ Antonio Gardane (1509–1569)

Tant que vivray . . . . . . . . . . . . . . . . . . . . Claudin de Sermisy (1490–1562)Glosa sobre la misma canción . . .Sermisy/Miguel de Fuenllana (1500–1579)Tordion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pierre Attaingnant

Ensemble Members

Mark Cudek, director, percussion, guitarOlivia Castor, harp

Teresa Deskur, recorders, sopranoJamie Gallupe, bass viol, soprano

Colton Hodge, bass violSarah Shodja, recorders

Cameron Welke, luteMara Yaffee, soprano

Stephanie Zimmerman, vielle, violin, tenor viol

BIOGRAPHIES


Early Music AmericaEmerging Artists Showcase

Friday, May 24 at 7:00 p.m. First Presbyterian Church

Aperi AnimamLibera nos: Music on Tribulation and Salvation

A meditative concert of Renaissance choral music recounting the Jewish exile to Babylon

When practicing Catholicism was punishable by imprisonment or death in Elizabethan England, Catholic composers sought refuge in and drew inspiration from scriptural texts on the Babylonian captivity, comparing themselves to the exiled Israelites. This program of sacred music recounts their stories—that of the Israelites, the English Catholics, and all of those who have suffered from persecution and intolerance. It evokes the transition from suffering to deliverance, both physically and spiritually, and compels us to reflect upon our faults and wrongdoings and turn toward betterment and righteousness. This program is dedicated to the Jewish, Muslim, and Christian peoples across the world who have been massacred in mass shootings, recently in Pittsburgh this past October; Christchurch, New Zealand in March; and Sri Lanka in April. May they rest in peace.

The Lamentations of Jeremiah I + II . . . . . . . . . . . . . . . . . . . . Thomas Tallis (c. 1505-1585)

Emendemus in melius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Byrd (c. 1540-1623)

Manus tuae fecerunt me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert White (c. 1538-1574)

Miserere nostri Domine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas Tallis

Haec dicit Dominus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Byrd

Suscepimus Deus / Justitia / Magnus Dominus

Ensemble Members

Deme Hellwig, sopranoXai, soprano

Elizabeth Smith, sopranoJennifer Grokowsky, soprano

Jennifer Jakubowski, mezzo-sopranoJackie Willis, mezzo-soprano

Austin Bare, tenorDaniel Koplitz, baritoneCrawford Wiley, tenor

Colin Han, bass-baritoneJoseph Krohlow, baritone

Sam Mullooly, baritone

Rezonance Baroque EnsembleHandel’s Heroines

Tonight’s program features a variety of well-known and obscure arias from Handel’s operas that explore the musical settings for fierce, expressive, and sometimes flawed female characters. The arias are interspersed with selections of Handel’s equally exciting instrumental sonatas and suites.

Alcina, HWV 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Frederic Handel(1685-1759)

Morgana “Tornami a vagheggiar”

Harpsichord Suite No. 3 in D minor, HWV 428

Präludium

BIOGRAPHIES


Orlando, HWV 31

Angelica “Non potrà dirmi ingrata”

Giulio Cesare, HWV 17

Cleopatra “Piangerò, la sorte mia”

Berenice, HWV 38

Andante Larghetto

Alcina, HWV 34

Alcina, “Ah, Ruggiero crudel” - “Ombre Pallide”

Trio Sonata in E minor, Op. 5, No. 3, HWV 398

Andante Larghetto Allegro Sarabande Allemande Rondeau Gavotte

Giulio Cesare, HWV 17

Cleopatra, “Da Tempeste”

Ensemble Members

Vania Chan, sopranoRezan Onen-Lapointe, violin

Kailey Richards, violin Matt Antal, violaErika Nielsen, cello David Podgorski, harpsichord

BIOGRAPHIES


Co-Presented with the IU Latin American Music Center and Historical Performance Institute

Selections from

La Púrpura de la Rosa(Lima 1701)

by Tomás de Torrejón y Velasco with songs and dances from

Spain and the New World

Directed by Nell Snaidas and Sarah Cranor

Saturday, May 25

Pre-Concert Talk by Paul Borg: 6:00 p.m. | First Presbyterican Church Hall

Performance: 7:00 p.m. | First Presbyterian Church

Prelude: Pastoreta Ychepe Flauta . . . . . . . . . . . . . . . . . . . . . . Anonymousattr. Martin Schmid: ed. Piotr Nawrot

La Púrpura de la Rosa: Fiesta Cantada The setting is a forest where Venus enjoys the sport of hunting.

“Al bosque, al bosque, monteros” (To the woods, to the woods, hunters!) Flora, Cintia, Clori, Libia The attendants of Venus rush onstage expressing their distress: Venus is being chased by an angry wild boar, who has been wounded by an errant arrow!

“¡Ay infelice!”(Oh, unhappy!) Venus, Adonis Adonis answers the cries of Venus, and saves her from the wild boar. Learning her identity, he explains that the incestuous circumstances of his conception have made him renounce love, so that he is compelled to flee from her.

Folias echa para mi Señora Doña . . . . . . . . . . . . . . . . . Andrea FalconieriTarolilla de CarallenosFolias Gallegas by Santiago de Murcia . . . . . . . . . . . . . Arr. Grant Herreid

“¿Sabras, Celfa, responder a una duda?” . . . . . . . . . . Arr. Christa Patton(Can you answer me a riddle, Celfa?) Chato, Celfa The peasants Chato and Celfa have a little chat about marriage.

Battalla de Barabaso yerno de Satanas . . . . . . . . . . . . . . . . . . . Falconieri

“No puede Amor/Sí puede Amor”(Love cannot/Love can) Venus, Adonis, Celfa, Nymphs, and Shepherds discuss love in the garden of Venus.

“No puede pues…” . . . . . . . . . . . . . . . Arr. Christa Patton & Grant Herreid(Love cannot, since…) Amor, Venus, Adonis, Mars Mars, who is in love with Venus, is determined to kill Adonis. Amor, Venus and Adonis all try to protect each other from Mars’ wrath.

Passacalle from Il Primo Libro . . . . . . . . . . . . . . . . . . . . . . . . . . . . Falconieri

“Un Adonis ¡Ay de mí!”(Adonis, Woe is me) Venus, Mars, Chorus Venus is distraught to learn that Adonis has been mortally wounded by the wild boar. She calls upon the elements of nature for help. Mars cruelly describes the death of Adonis. Venus tells Mars he will never have her. She laments and faints. The chorus describes her on a bed of roses, whose thorns turn her coloring violet.

“Al villano, ¿ que le dan? La cebolla con el pan” . . . . . . Luis de Briçeño (1626)(What do they give to the peasant? Onion and bread) Arr. Grant Herreid

We gratefully acknowledge the scholarship of Louise K. Stein,

whose elegant and wonderfully informative edition of “La Púrpura de la Rosa” we are performing from this evening.

Cast

Paulina Francisco, Venus Gregório Taniguchi, AdonisShannon Barry, Mars/Libia Erin Koolman, Celfa/Cintia

Chris Albanese, AmorBlake Beckemeyer, Chato

Kia Marie Frank, Flora Rachelle Romero, Clori Quinn Galyan, Peasant

Instrumentalists

Sarah Cranor and Reynaldo Patiño, violinChris Armijo, recorderKeith Collins, dulcian

Kevin Flynn, celloDanur Kvilhaug, Baroque guitar

Dušan Balarin, theorboPaul Borg, harpsichord

Brian McNulty, percussion

BIOGRAPHIES


Our SupportersMany thanks to our friends in the Bloomington

community who support the rebuilding of Bloomington Early Music, an organization

committed to the presentation and support of historically informed performance in the region!

If you would like to join us in our endeavors, please be sure to speak to a member of the board,

or visit our website for information on how to contribute.

Sponsor $1,000+ (cash and in-kind)

City of Bloomington Early Music America Indiana University Jacobs School of Music Indiana University Historical Performance Institute JSoM Office of Entrepreneurship and Career Development IU Office of the Vice Provost of Research & the Arts and Humanities Council IU Latin American Music Center WFIU Public Radio Alain Barker and Liz Rosdeitcher Stanley Ritchie David and Marie Louise Smith

F E S T I V A LM A Y 1 8 - 2 7, 2 0 1 8

Producer $500-$999

Linda Handelsman Ted Jones Harlan Lewis and Doris Wittenberger Tina and Frank Silberstein Underwriter $250-$500

Marilyn KeiserCathleen CameronStephen & Jo Ellen Ham

Charlotte HessLynne T. MarshJohn & Lislott Richardson

Sustainer $100-$250

Karen Newman & Chris AllgowerDoris J. BurtonStine LevyEric T. MetzlerElliott OringDavid & Karen RohlfingEliot & Pamela SmithWendy Gillespie & Paul ElliottDonna & Richard WolfMary Ellen & Paul RothrockRaglind BinkleyRuth BoshkoffPeter Burkholder & Doug McKinneyLouis J. Calli

Jeanette ClausenJack DoskowMartha FitzgeraldDon & Sandra FreundSarah GaskillThomas GerberJulia Karin LawsonLeslie & Kathleen LenkowskyCathy & David MartinMaureen McClureMary P. RailingAmy E. ReifMartha WailesMary Wennerstrom

Supporter Up to $99

Steven HendricksWendy & Edward BernsteinThomas Gruenenfelder & Kay MuellerSamuel & Phyllis GuskinGretchen HorlacherMichael & Olga ImpeyRita LichtenbergChristine MatheuAnne & David Sampson

Henry & Celicia UpperMary Ellen BrownJanet HollowaySamuel Rosenberg & Jeffrey AnkromElisabeth B. WrightGates & Patricia AgnewMichael & Gwendolen WhiteJudith von Buchler

IN-KIND SUPPORT

In addition to our very generous performers and board members, a number of individuals have stepped forward to help with planning

and producing this year’s festival. We are deeply grateful to them.

In Kind Supporters: Phil Sloffer, Laurence Vesyoly,

Karin Brookes, Dina Bash, David Wood, Elisabeth Wright, Adam Knight Gilbert,

Joanna Blendulf, Leighann Daihl Ragusa, Gary Payne Photography

The Board and Directors of Early Music America,Jacobs School of Music Office of Communications,

IU Communications, our friends at WFIU Public Radio,The Herald Times, Monroe County History Center,

Marcia Veldman at the Bloomington Farmer’s Market,and the extraordinary Peter Jacobi!

Additional Project Supporters:

First Presbyterian Church, Trinity Episcopal Church, Monroe County Court House, Switchyard Brewing Co.,

Julian Morris Photography, Gregory Wang.

We also thank the many volunteers who areassisting with photography, video, and hosting at this year’s Festival!

blemf.org | [email protected] | facebook.com/blemf Bloomington Early Music | P.O . Box 734 | Bloomington, IN 47402

celebrating the 26th

Documents