presents

Trio MediaevalAnna Maria Friman Linn Andrea Fuglseth Torunn Østrem Ossum

Sunday, March 25, 2007, 7 pm Herbst Theatre

P R O G R A M

Please disregard the program listed in the program book; this is the correct program for tonight’s performance.

Anon. Sainte Marie Viergene (Godric) England, 12th C. Crist and Sainte Marie (Godric) Sainte Nicholas (Godric) Anon. Three-voiceconductus: England, 13th C. Flos Regalis Beata Viscera Quem Trina PolluitAnon. Lauda Italy, 13th C. Laude Novella Solo: Torunn Østrem OssumSungji Hong (b. 1973) Kyrie and Gloria from“MissaLumendeLumine”(2002)*Anon. Lauda Italy, 13th C. Benedicti e llaudati Solo: Linn Andrea FuglsethGavin Bryars Ave regina gloriosa (Lauda VII) (2003)*

I N T E R M I S S I O N

Anon. Three-voiceconductus: England, 13th C. Salve Mater misericordie Salve Virgo VirginumAnon. Two-voicemotetwithdrone England, 13th C. Dou way Robyn/Sancta MaterAnon. Lauda: Italy, 13th C. Venite a Laudare Solo: Anna Maria FrimanAndrew Smith (b. 1970) Quam Pulchera es (2006)* Regina caeli (2002)* Ave maris stella (2004)*Anon. Lauda:Italy, 13th C. Oi me lassoSungji Hong Agnus Dei from“MissaLumendeLumine”(2002)*

* written for Trio Mediaeval

RepresentedbyHerbertBarrettManagement,5058thAve.,Suite601;NewYork,NY10018,(212)245-3530

TrioMediaevalrecordsforECMRecords.

This performance is made possible in part through the generous support of the Barbro Osher Pro Suecia Foundation.

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ARTIST PROFILES This is Trio Mediaeval’s second appearance with San Francisco Performances. Their debut was on April 14, 2005.

Trio Mediaeval

The brilliant young Scandinavian sopra-nos of Trio Mediaeval specialize in a diverse repertoire that features polyphonic medieval music from England and France, contem-porary works written for the ensemble, and traditional Norwegian ballads and songs. Founded in Oslo in 1997, Trio Mediaeval developed its unique repertory during in-tense periods of work at the Hilliard Summer Festivals in England and Germany between 1998 and 2000, and subsequently with Linda Hirst and John Potter. “Singing doesn’t get more unnervingly beautiful,” wrote Joshua Kosman of the San Francisco Chronicle, who declared their San Francisco debut “among the musical highlights of the year.” He add-ed, “To hear the group’s note-perfect coun-terpoint—as pristine and inviting as clean, white linens—is to be astonished at what the human voice is capable of.”

At the outset of the 2005–06 season, Trio Me-diaeval’s highly anticipated third release, Stella Maris, was released on ECM Records. The new album features 12th- and 13th-century music from England and France, as well as the world premiere recording of Missa Lumen de Lumine by the 30-year-old Korean composer Sungji Hong. The trio delights in performing new music and collaborates with a multitude of con-temporary composers, including Gavin Bryars, Piers Hellawell, Roger Marsh, Ivan Moody, Paul Robinson, Gonzalo Macías, Markus Ludwig, Thoma Simaku, Oleh Harkavyy, Bjørn Kruse and Andrew Smith. In March 2005, the trio premiered Shelter in Cologne, Germany. This joint production of Bang on a Can composers Michael Gordon, Julia Wolf and David Lang, German new music ensemble musikFabrik and Ridge Theater, received its U.S. premiere in November 2005 at the Brooklyn Academy of Music. The Trio’s other tour highlights included performances in New York’s Carnegie Hall and Brooklyn Academy of Music, Washington DC’s Kennedy Center for the Performing Arts, as well as debuts in Denver, Kansas City, Los Angeles, Philadelphia, Pittsburgh and St. Louis. Inter-nationally, the Trio performed at major venues and festivals in Antwerp, Tampere, Venice, and of course, Oslo.

Trio Mediaeval made its United States de-but in June 2003, performing two sold-out

concerts at New Haven’s International Festi-val of Arts and Ideas. Their first tour of the US followed in February 2004 with concerts in Boston, Chicago, New York and Washing-ton DC’s National Cathedral. Their return in 2004–05 brought them back to New York, as well as to San Francisco Performances, Spivey Hall, universities of Michigan and Vermont, and a taping for NPR’s St. Paul Sunday.

Trio Mediaeval has performed throughout Europe, giving concerts and radio broad-casts in Austria, Belgium, Finland, Germany, Ireland, Norway, Spain, Sweden, the Neth-erlands and the UK—in such venues as the Oslo Concert House, the Vienna Konzer-thaus and Wigmore Hall.

The Trio’s first CD on ECM Records, Words of the Angel, immediately charted on Billboard’s Top 10 Bestsellers list and was the April 2002 Stereophile Recording of the Month. The second recording, Soir, dit-elle (2004), features Leonel Power’s Missa Alma Redemptoris Mater alongside works by Gavin Bryars, Andrew Smith and Ivan Moody, and met with similar critical and commercial suc-cess. Trio Mediaeval has just recorded their fourth album for ECM, which is scheduled for release in fall 2007.

Born in Gothenburg, Sweden, Anna Maria Friman studied with Thorbjørn Lindhjem at the Barratt Due Institute of Music in Oslo and with Linda Hirst at Trinity College of Music in London; she is currently doing a PhD at the University of York, where she is researching the modern performance of medieval music. She also teaches singing and coaches vocal en-sembles at the University. In Europe, Friman has given workshops in the UK, Sweden, Latvia and Finland. Her work in the US has included coaching and recording with the Girl Choristers of Washington National Cathedral. Her solo engagements include performances with Gavin

Bryars Ensemble, Red Byrd, the Norwegian So-loists’ Choir, NYYD Ensemble, Latvian Radio Choir, Collegium Vocale Gent and Ricercar Consort. She has been a jury member at the vo-cal ensemble competition at the Tampere Inter-national Choral Festival, Finland, since 2001.

Linn Andrea Fuglseth was born in Sand-efjord, Norway. She completed her Higher Diploma in singing at the Norwegian Acad-emy of Music in 1997, specializing in baroque interpretation, and writing a dissertation on “Restoration Mad Songs.” In 1994-95 she studied at the Guildhall School of Music and Drama in London, receiving a diploma in Advanced Solo Studies in Early Music. She has studied singing with Marit Isene, Barbro Marklund, Emma Kirkby and Mary Nich-ols. Fuglseth has been soloist with, amongst others, the Stavanger Symphony Orchestra, the Norwegian Baroque Orchestra and the Norwegian Soloists’ Choir. She founded Trio Mediaeval in October 1997. In addition to singing, she conducts a children’s choir in Oslo and writes arrangements of Norwegian folksongs for the Trio.

Torunn Østrem Ossum was born in Namsos, Norway. She was educated at the College of Early Childhood Education in Oslo, special-izing in music and drama. She studied sing-ing with Svein Bjørkøy at Rønningen County College in Oslo. She has wide experience as an ensemble singer and has performed with groups such as the Norwegian Soloists’ Choir, Nordic Voices, Con Spirito and Grex Vocalis conducted by Carl Høgset, where she also sings as a soloist. Ossum has been working as a vocal coach for the junior theater group Baermuda mini. Her experience working with children has been a great advantage for the trio’s work touring throughout Norway giving school concerts, engaged by the Nor-wegian Concert Institute.

Photo: C.F. Wesenberg

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Texts and Translations

Please hold your applause until the end of each set.Please turn pages quietly.

Sainte Marie Viergene (Godric)Crist and Sainte Marie (Godric)

Sainte Nicholas (Godric)

Anon.,England12thC.No program notes were provided for these works.

Sainte Marie Viergene

SainteMarieviergene,moderJesuCristesNazarene,onfoo,schild,help thin Godrich; onfange, bring heyliche with thee in Godesriche.

SainteMarie,Cristesbur,maidenesclenhad,moderesflur,dilieminsinne,rixinminmood;bringmetowinnewiththeselfeGod.

Crist and Sainte Marie

Kyrieleison.ChristeeleisonCristandSainteMarie swaon scamelme iledde, that ich on this erthe ne silde with mine bare footenitrede

Sainte Nicholas, Godes druth

SainteNicholaes,Godesdruth,tymbreusfaieresconehus.Atthiburth,atthibare,SainteNicholaes,bringuswelthare.

Saint Mary the Virgin

St.MarytheVirgin,motherofJesusChristtheNazarene,received,shield,helpthyGodrich;whenreceived,bring[him]honourablywiththeeintoGod’skingdom.

St.Mary,Christ’sbed-chamber(virginalpurity,flowerofmothers),blotoutmysin,ruleinmyspirit,bringmetoblisswiththeveryGod.

Christ and Saint Mary

Kyrieleison,Christeeleison[Lord,havemercy;Christhavemercy].ChristandSt.Marythusbroughtmetothe[altar-]table,sothatIshouldnotbetreadonthisearthwithmybarefeet

Saint Nicholas, God’s Darling

St.Nicholas,God’sdarling,graciouslyprepareforusbeautifuldwellings.Bythemeritsofthybirth,bythemeritsofthybier,St.Nicholas,bringussafelythere.

Three-Voice Conductus:Flos Regalis

Beata VisceraQuem Trina Polluit

Anon.,England13thC.

Wars,thechurchandchangingtastesallcontributedtothede-structionofmedievalmanuscripts,especiallyinEngland,wherethepatternofsurvivalisextremelyfragmentary.Whatisleftisprobablyonlyasmallfractionofwhattherewas,andsomeofthemusicsur-vivedunderextraordinarycircumstances.

DevotiontotheVirginMary,thoughapan-Europeanphenom-enon,wasparticularlyintenseinEnglandthroughouttheMiddleAges.AlargeproportionofmedievalEnglishpolyphonyveneratestheVirgin;sheisinvokedasthe“starofthesea,”“gatewaytotheheavens,”“graciousqueenofheaven.”

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Flos Regalis The royal flower

Flosregalis Theroyalflowervirginalis thegloriousleaderchoriduxegregia ofthevirginalchorus,quamIesse whom,theysay,natamesse wasbornstripeconstatregia. fromJesse’sroyalstemRosafragrans,primulavernalis, Ofragrantrose,firstbudofspring,servostuosliberademalis. freethyservantsfromevils.Rextesalem TheKingadregalem hasledyoupureintroduxitthalamum intohisroyalchamber,flosdecoris Oflowerofeleganceethonoris andhonour,precellentisbalsamum. surpassingallfragrance.Tugloriespeculum, Youareamirrorofglory,solisumbraculum, shadeforthesun:dafamulisgaudium. grantjoytoyourservants.

Beata Viscera The blessed flesh

Beataviscera TheblessedfleshMarievirginis, OftheVirginMary,cuiusadubera Towhosefruitfulnesswasentrustedrexnominis; Thekingofmightynamevestesubaltera Beneathanothercloakvimcelansnuminis, Hidingthepowerofhisspirit,dictavitfedera HasenrichedtheconjuctionDeiethominis. OfGodandman.

Omiranovitas Onewwonder,etnovumgaudium, Anewjoy,matrisintegrita Themother’schastityprevailspostpuerperium. Afterchild-birth!

Populusgentium TheGentilepeoplesedensintenebris Seatedindarknesssurgitadgaudium Havearisentothejoyspartustamcelebris: Ofabirthsorenowned.Iudeatedium JudeaindarknessFovetinlatebris, Cherishesherweariness,corferensconscium Herheartbearingtheknowledgedelictifunebris. Ofherimpendingdoom.

Omira... Onewwonder...

Solem,quemlibere, Thevisioncannotbeartolook,Dumpurusoritur Howeverboldly,atthesuninauracernere Whenituncoveredarisesvisusnonpatitur, Intotheheavens;cernatalatere Butthewombofthechild-bearer,dumrepercutitur, Bywhichitiswhollycovered,alvuspuerpere, Cangazeunimpairedquatotusclauditur. Whenfromthesideitisreflected.

Omira... Onewwonder…

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Quem Trina Polluit Whom the threefold denial defiled

Quemtrinapolluit Whomearlierthethreefoldpriusnegatio, denialdefiled,peccatumdiluit hissinwassoftenedtrinaconfessio: byathreefoldconfession;quipurumabliut, hewhowashedhimpure,Petrumadmonuit chidedPeterveriiudicio. byajudgmentoftruth.

Apetradiceri, Thouwastsaidtocomefromarock,OPetre,rectius, OPeter,morerighteouslyeoquodceteris, thantheothers,infidefirmius; andinfaithmorefirm;millesustinuit hewhosustainedathousandpenasmartyrio. punishmentsinmartyrdom,Millesustinuit nowholdsathousandPalmasinpremio palmsinreward.

Postlapsumsteteris, Aftertheylapsedthoudidstholdfirm,etdimicaveris anddidfightcrucenobilius; bytheCrossmostgloriously;quisicpromeruit thusashegainedmeritnobisutmeruit forus,sodidhedeserveperfruigaudio. toenjoyeternaljoy.

Laude Novella New Praise

Laudenovellasiacantata LetnewpraisebesungAl’altadonnaencoronata TotheLadycrownedonhigh.

Frescavergenedoncella, Freshyoungmaiden,Primofiorrosenovella, Firstflowerofthenewrose,Tutto’lmondoates’appela, Alltheworldcallsonyourhelp,Nellabonorfostinata. Youwereborningoodness.

Laudenovellasiacantata LetnewpraisebesungAl’altadonnaencoronata TotheLadycrownedonhigh.

LaudaLauda Novella

Anon.,Italy13thC.

(Laude Novella, Benedicti e llaudati and Venite a Laudare)

ThemonophonicmusicintheprogramisfromacollectionofLaude survivingina13th–centurymanuscriptfromCortona.Themusic may be older (the 13th century Franciscan poet JacoponedaTodi’sworkhasbeenassociatedwiththe laudesi),andconsistsofmonophonicspiritualsongs.Thesearenotliturgicalpieces:the

laudesiwhooriginallysungthembandedtogetherinconfraternities(notunliketheFranciscans)andwerenotusuallyassociatedwithaparticularchurch.Theytraveledfromplacetoplace,andthemorezealousmembersare reported tohavewhipped themselves intoapenitentialfrenzy.Theseoutpouringsofviolenthysteriawerepre-sumablyfollowedbyperiodsofquietreflectionsuchaswehearinthemusictoday.

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Fontese’d’aquasurgente, Youareaspringofflowingwater,MadredeDiovivente, MotherofthelivingGod;Tuse’lucedelagente, Youarethelightofthenations,Sovraliangeliexaltata. Raisedupabovetheangels.

Laudenovellasiacantata LetnewpraisebesungAl’altadonnaencoronata Totheladycrownedonhigh.

Pregot’avocatamia, Ibeseechyou,myadvocate,Kenemetienbonavia, Tokeepmeonagoodroad;Questanostracompania LetthiscompanyofoursSiatesemprecommendata. Alwaysbeunderyourwatchfulprotection.

Laudenovellasiacantata LetnewpraisebesungAl’altadonnaencoronata Totheladycrownedonhigh.

Kyrie and Gloria from “Missa Lumen de Lumine” (2002)

SungjiHongBorn1973,Korea

Trio Mediaeval’s sound world is at least fully “authentic” forSungjiHong’sMassLumen de Lumine,writtenfortheTrioin2002.Lumen de Lumine creates exquisite sonorities by exploringdiffer-entvocaltessiturasandtextures.TheopeningKyrieiscanonicandhighly embellished, seeming to take its departure in texture andmusicaltechnique—ifnotmusicalstyle—fromthemanylatemedi-evalsettingsoftheMassOrdinary,whichincludestheshortertexts(Kyrie, Sanctus, Agnus dei).

Hong’sKyrieisimitative,beginningwithalowtessiturathatex-pandsupwardstocreateawideexpanseofsound.Itismainlypoly-phonic—thetextureoperatesinalinearwayratherthaninblocksofsound—butthevoicescometogetherineachofthethreesectionsforthelastsyllables.Rhythmically,thismovementseemstolinkitbacktothears subtiliorofthelate14thcentury,whencomposersreveledinexploringthenewpossibilitiesopenedupbyever-moresophisticatednotations.Butwemightalsohearthisintricacyasareferencetotherhythmicinflectionsthatweinstinctivelyfeelmustoncehavebeenpresentbutarenowlostinourratherliteral,pres-ent-dayrealizationsofplainchant.

IntheGloria,themelodiclinesaremorechromaticallyinflectedandtherhythmsmoresubtlynuanced;thedeclamatorystyleattheopening soon becomes punctuated by enormous changes of tes-situraand texture.Thesecomplexpassagesare setoff(sometimesinterruptedby)homophonyinvarioustempiandmoods.

Theopeningisjubilant;themusicseemstobemovingforwardtoagloriouspoint ina three-octavepassageat“omnipotens”(al-

mighty).Here,Hongsetsamajor9thinadramaticstyletocreateasenseofopenspace,underlyingthewords“TusolusAltissimus.”EmphasisisalsocreatedneartheendoftheGloria, whenthewords“JesuChriste”aresungbyasolovoice.

TheCredoisprimarilycontrapuntalandunfoldsquicklybyin-troducingdifferentparts of the text in each voice imitatively, re-calling the 15th-century practice of “simultaneous” presentationoftexts—useful inanagewhereintricatepolyphonicwritingwasslowingdownthesingingoftheMassalmosttoastandstill.

TheEt incarnatus section formsa strikingcontrast to theAlle-gretto risolutoopeningandissetentirelyasaverysevereandslowsolo.IntheSanctus,subtlewordpaintingat“Plenisuntcaelietterra”standsouttothelistener.Here,thespacebetweenheavenandearthisdepictedbytwoofthevoicessingingatthelimitsoftheirranges.

TheAgnus Dei(later inthisprogram)is insimple,ratherstat-ichomophony that echoes elements of theGloria: the voices aremarked“bell-like”andsinginopen-soundingharmonies.Althoughthetextureoccasionallyopensoutintoimitation,themainimpres-sionisofspaceandacontemplativestillness.

Hong’smusic,complexandsubtle,alwaysremainsaccessible—partlybecause theever-changing texturesdirect listeners soeffec-tivelytowardswhatshereallywantsustohear,andpartlybecauseshe is constantly exploring different colors, images and timbres.SheseemstohaveabsorbedsoundworldsnotonlyfromhernativeKorea,butfromherexplorationsinelectro-acousticmusicwithitsspecialfocusontimbre.

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from mass ordinary Kyrie & Gloria Kyrie & Gloria

Kyrieeleison. Lord,havemercy.Christeeleison. Christ,havemercy.Kyrieeleison. Lord,havemercy.

GloriainexcelsisDeo. GlorybetoGodinthehighest.Etinterrapax AndonEarthpeaceHominibusbonævoluntatis. Tomenofgoodwill.

Laudamuste;benedicimuste; WepraiseThee;weblessThee;adoramuste;glorificamuste. weworshipThee;weglorifyThee.Gratiasagimustibi WegivethankstoTheeproptermagnamgloriamtuam. forThygreatglory.

DomineDeus,Rexcoelestis, OLordGod,HeavenlyKing,DeusPateromnipotens. GodtheFatherAlmighty.DominiFiliunigeniteJesuChriste. OLordJesusChrist,theonlybegottenson.DomineDeus,AgnusDei, LordGod,LambofGod,FiliusPatris. SonoftheFather.

Quitollispeccatamundi, Thouthattakestawaythesinsoftheworld,misererenobis. havemercyuponus.Quitollispeccatamundi, Thouthattakestawaythesinsoftheworld,suscipedeprecationemnostram. receiveourprayer.QuisedesaddextramPatris, ThouthatsittestattherighthandoftheFather,misererenobis. havemercyuponus.

QuoniamtusolusSanctus, Forthoualoneartholy,tusolusDominus, thoualonearttheLord,tusolusAltissimus,JesuChriste. thoualoneartthemosthigh,JesusChrist.CumSanctoSpiritu TogetherwiththeHolyGhostingloriaDeiPatris. inthegloryofGodtheFather.

Amen. Amen.

LaudaBenedicti e llaudati

Anon.,Italy13thC.

Please refer to the program note forLaudeNovellaon page 4.

Benedicti e Llaudati Blessed and PraisedBenedictiellaudatisempresiateatuttel’ore, SacredandblessedapostleswhoserveourLordsanctiapostolibeatiservidelnostrosegnore. blessedandpraisedshallyoubeateveryhour.

Sanctiapostoli,voilaudamo Holyapostles,wepraiseyoudeboncorenocteetdia, inthenightandinthedaytimeetavoiraccomandamo andweputourtrusttuttanostracompagnia. inyou.

Benedicti... Sacred...

Manteneten’entalvia Continuetomakethatwekepotiamperseverare mayperservere

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aservireedalaudare toserveandpraiseCristonostroredemptore. Christoursaviour.

Benedicti... Sacred...

Voichiamamperavocati Wecalluponyou,nocteedìognistascione, gloriousapostles,apostoliglorificati toguardusnightanddaypienidiconsolatione. thatwemaybefilledwithstrength.

Benedicti... Sacred...

Ave regina gloriosa (Lauda VII) (2003)

GavinBryarsBorn1943,Yorkshire,England

Ave Regina Gloriosa (Lauda VII) Hail, glorious queen

Ave,reginagloriosa, Hail,gloriousqueen,plenad’ogneconsolança. fullofallconsolation.Ave,pulcramargarita, Hail,beautifulpearl,splendidaluceclarita; clearshininglight;frescarosaetaulorita, freshroseandfragrance,nostrogaudioetalegrança. ourjoyanddelight.Ave,reginagloriosa, Hail,gloriousqueen,plenad’ogneconsolança. fullofallconsolation.Ave,reginaadorata, Hail,adoredqueen,virgenemadrebeata; blessedvirginmother;poikefostisalutata, sinceyoureceivedyoursalutationmadrese’degranpietança. youhavebeenourmotherofgreatholiness.Ave,reginagloriosa, Hail,gloriousqueen,plenad’ogneconsolança. fullofallconsolation.Ave,portodesalute; Hail,gatewayofsalvation;kibent’amatul’aiute; youhelpwhoeverlovesyouwell;guardanedifarcadute, savehimfromfallingintoerror,tràicifordedubitança. andkeepusfreefromdoubtingthoughts.

Ave,reginagloriosa, Hail,gloriousqueen,plenad’ogneconsolança. fullofallconsolation.

OntheCDWords of the Angel,TrioMediaevalsangthreeanony-mous solo laude which may have dated from the 12th century.TheseweresettingsofdevotionalMarianpoemsexpressingasenti-mentwhichreachedbacktothedawnofChristianmusic,andwerecomposedinasimpleverse-and-refrainformthatisprobablymucholderstill.GavinBryarshassetthesametexts(and25further laude texts),extrapolatingontheanonymousoriginals,sometimesaddinglinesandtexturesbutretainingtheancientoutlines.

Thecomposer,interactingwithboththemedievalparadigmandthelivingsopranovoice,hasreferredtothechallengeofwritingassomething“soexposed,sonakedandunadorned,whereIcannothidebehind, say, a skillfullyorchestratedaccompaniment—likeapainterwhohashithertohadtheluxuryofpaintingmassivecan-vaseswithdenseoils,beingobligedtoworkinpenandink,inblackandwhite,onasimplepieceofpaper,likeaZenartistrefusingthepossibilityofrevisionorcorrection.”

I n T e r m I s s I o n

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Three-voice conductus:Salve Mater misericordie

Salve Virgo Virginum

Anon.,England13thC.

No notes were provided for these works.

Salve Mater Misericordie Hail, Mother of Mercy

Salvematermisericordie Hail,MotherofMercy, Stellamarisdecusecclesie StaroftheOceanand Portaviacelestiscurie Highestgloryofthechurch; Mundisalusetdatrixvenie. Youarethegatewayofthecourtofheaven, Thesalvationoftheworldandthegiverofpardon. Queportastiregemjustitie YouwhoboretheKingofRighteousness Miromodononnostraserie Inmiraculousmanner,notfromourlineage; Misererehuiusfamilie Havemercyonthisfamily,Etamalisservanoshodie. Andkeepussafefromevilthisday.

Salve Virgo Virginum Hail, maid of maidens

Salvevirgovirginum Hail,maidofmaidens,Parensgenitoris, Motherofthecreator;Salvelumenluminum, Hail,lightoflights,Radiussplendoris. Beamofshiningbrightness;Salveflosconvallium, Hail,flowerofthevalleys,Stillaveriroris, Dropofpuredew,Nostraspesinte. Ourhopeisinyou.

Salvevirgoregia Hail,royalmaiden,Portasalutaris, Gateofsalvation,Verivirinescia, Whoneverknewaman,Quiadecumparis. BecauseyougavebirthtoGod.Avequiadeica Hailtoyou,becauseyouwerefruitfulProlefecundatis, Withadivineoffspring;Nostraspesinte Ourhopeisinyou.

Avenostrespei Hail,finalpointofourhopeFinisetsalutis, Andoursalvation;Aveperquamrei Hailtoyou,theonethroughwhomLetanturcumtutis. Theaccusedrejoicewiththesaved;Avespeciei Hail,modelofDecusetsalutis, beautyandsalvation;Nostraspesinte. Ourhopeisinyou.

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Two-voice motet with droneDou way Robyn/Sancta Mater

Anon.,England13thC.

Dou Way Robyn/Sancta Mater Hush, Robin/Holy Mother of Grace

Sanctamatergratiae,stellaclaritatis Holymotherofgrace,starofbrightness,visitanoshodieplenapietatis. visitustoday,fullofcompassion.

Veni,venaveniaemoxincarceratis, Comesoon,channelofpardon,tothoseinprison,solamenangustiae,fonssuavitatis. asasolaceofmisery,asourceofsweetness.

Recordare,materChristi,quamamaretuflevisti; Remember,motherofChrist,howbitterlythoudidstweep;juxtacrucemtustetisti,suspirandovisotristi thoudidststandbesidethecrosssighingatthesadsight.

O,Maria,flosregalis,interomnesnullatalis; OMary,royalflower,amongallwomennonesuch,Tuonatospecialisnostraecarnisparcemalis inthysonunequalled,forgivethesinsofourflesh.

O,quamcordesupplicilocutafuisti, O,withhowhumbleaheartthoudidstspeakGabrielisnunciicumverbacepisti. whenthoudidstreceivethewordsofGabrielthemessenger.

’EnancillaDomini’,properedixisti; ’BeholdthehandmaidoftheLord’,thoudidstquicklysay;vernumvivigaudiiposthocperperisti. thereafterthoudidstbearthespringtimeoflivingjoy.

Gaude,digna,tambenignacaelisolio; Rejoice,worthylady,sogracious,inthethroneofheaven;tuosnatos,morbostratos,reddefilio. restorethychildren,broughtlowbyvice,totheSon.

Douway,Robyn,thechildwileweepe; Stopit,Robin,thechildwillweep;douwayRobyn. stopit,Robin.

Dou way Robynissomethingofacuriosity.Theostinatophrasethatunderpinsthetoppartiswritteninthevoiceofawoman:sheistellinghermantobequiet,orhewillwakethechild.Perhapsthislittlegroundcomesfromalullabyorapopularsong;atanyrate,almostnothingcomparativeisfoundanywhereelseinthepolyphonicrepertoire.ThisostinatovoicehasanEnglishtextandtheupperpartaLatintext.

Asstated,wars,thechurchandchangingtastesallcontributedtothedestructionofmedievalmanuscripts,especiallyinEngland

wherethepatternofsurvivalisextremelyfragmentary.Whatisleftisprobablyonlyasmallproportionofwhattherewas.

Dou Way Robyn/Sancta Mater, a13thcenturyEnglishmotet,fits into thisMariantradition ina recognizablebutuniquewayin that theMarianLatinhymn sungby theuppervocalpart iscombinedwithasecularEnglishtenor.Thetenorcarriesashortphrase(fromafolksongperhaps),thattranslatesas“HushRobin,thebabywillcry…”

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Lauda:Venite a Laudare

Anon.,Italy13thC.

Please refer to the program note for LaudeNovella on page 4.

Venite a Laudare Come and praise

Venitealaudare, Comeandpraise,Peramorecantare SingwithloveL’amorosavergeneMaria. OfthelovingVirginMary.

Mariagloriosabiata Mary,glorious,blessed,Sempresi’moltolaudata, Mayyoubealwayspraised;Preghiamkenesi’avocata IpraythatyoumaybemyadvocateAltuofiliolvirgopia. ToyourSon,oholymaid.

Venitealaudare, Comeandpraise,Peramorecantare SingwithloveL’amorosavergeneMaria. OfthelovingVirginMary.

Pietosareginasovrana, CompassionatesovereignQueen,Confortalamentech’evana, Comfortthemindwhichisbarrenandempty;Grandemedicinakesana, Greatmedicinewhichbringshealing,Aiutanepertuacortisia. Givehelpthroughyourgraciouskindness.

Venitealaudare, Comeandpraise,Peramorecantare SingwithloveL’amorosavergeneMaria. OfthelovingVirginMary.

Vigorosapotentebiata, Fulloflifeandstrength,blessedlady,Perteequestalaudecantata, Foryouthissongofpraiseissung;Tuse’lanostraavocata, Youareouradvocate,Lapiufedelkemaisia. Themostfaithfultherecouldeverbe.

Venitealaudare, Comeandpraise,Peramorecantare SingwithloveL’amorosavergeneMaria. OfthelovingVirginMary.

11

Quam Pulchera es (2006)Regina caeli (2002)

Ave maris stella (2004)

AndrewSmithBorn1970,Liverpool,England

Quam Pulchera es, Regina caeliandAve maris stellaarethreeofasetofsixMarianpieceswrittenbyAndrewSmithattherequestofTrioMediaeval.ThetwoAvepiecesconsistofgentlydissonantharmonies

withinadistinctlymodern,modalcontext.Regina caelipresentstheoriginalGregorianchantantiphoninasettingwherethecontrastbe-tweentheoldandthenewismorepronounced.

Quam Pulchera es Behold, you are beautiful

Quampulchraes,amicamea, Behold,youarebeautiful,mylove,Quampulchra,quampulchraes Beholdyouarebeautiful!Oculituicolumbarumpervelamentuum. Youreyesaredovesbehindyourveil.Quampulchrisuntamorestui,soror,measponsa Howsweetisyourlove,mysister,mybride!Quampulchrisunt,melioressunt,amorestuivino Howmuchbetterisyourlovethanwine,Etodorunguentorumtuorumsuperomniaaromata. Andthefragranceofyouroilsthananyspice!

Antequamaspiretdies,etfestinentumbrae,vadam, Untilthedaybreathesandtheshadowsflee,Vadamadmontemmyrrhaeetadcollemturis IwillhiemetothemountainofmyrrhTotapulchraes,amicamea, AndthehilloffrankincenseEtmaculanonestinte. Youareallfair,mylove,Quampulchra,quampulchraes. Thereisnoflawinyou.

Regina Caeli O Queen of heaven

Reginacaeli,laetare,alleluia: OQueenofheavenrejoice!alleluia:Quiaquemmeruistiportare,alleluia, ForHewhomthoudidstmerittobear,alleluia,Resurrexitsicutdixit,alleluia. Hatharisenashesaid,alleluia.OrapronobisDeum,alleluia. PrayforustoGod,alleluia.

Ave Maris Stella Hail, O Star of the sea

Avemarisstella, Hail,OStarofthesea,DeiMateralma, blessedMotherofGod,atquesemperVirgo, everaVirgin,felixcaeliporta. happygatetoheaven.

Solvevinculareis, Loosentheprisoners’chains,proferlumencaecis: bringlighttotheblind,malanostrapelle, driveawayoursinsbonacunctaposce. anddemandallthatisgood.

Vitampraestapuram, Manifestyourlifeofpurity,iterparatutum, andprepareasafejourneyforus,utvidentesJesum that,seeingJesus,sempercollaetemur. wemayrejoicewithyouforever.

SitlausDeoPatri, PraisebetoGodtheFather,summoChristodecus andgloryinthehighesttoChrist,SpirituiSancto, withtheholySpirit,tribushonorunus.Amen. onehonourtotheTrinity.Amen.

12

Lauda:Oi me lasso

Anon.,Italy13thC.

No notes were provided for this work.

Oi me lasso Alas, I am weary

Oimelasso Alas,Iamweary,Efreddolomiocore Myheartiscold;Kenonsospiro HaveInosighsleftTantoperamore Forsuchgreatlove,Ketunonmorisse? Tostopyoufromdying?

Moriredovaresti, Itisyou,mysoul,thatshouldhavedied,Falsosconoscente, False,ungrateful,Villano,cieco,pigro Boorish,blind,lazyEnegligente, andcareless;Keperamornonvivifervente Whoevenforsuchlovewillnotliveardently,Sikelanguisce. Sothatyouwitheraway. Oimelasso… Alas,Iamweary...

Perirepotaresti, Youcouldhavedied,mysoul,Sinonse’defeso IfyouhadnotbeendefendedDalgrandeamorJesu BythegreatloveofJesus,Dacuise’ateso: Whowaitsforyou;Volteabracciareestaencrocedesteso Hewantstoembraceyou,andisstretchedoutonthecross,Eparturisce. Andisingreattravail.

Oimelasso… Alas,Iamweary...

Transmotisci,cuore Reformyourself,myheart,Eva’gridando Gooutshouting,Epureamoreamorando, Andlovingwithpurelove;Kenol’aipuramenteamato Becauseyouhavenotlovedhimpurely,Vadolorando Hegoesgrieving,Eparturisce. Andisingreattravail.

Oimelasso… Alas,Iamweary...

Agnus Dei from “Missa Lumen de Lumine” (2002)

SungjiHong

Please see program note for Kyrie and Gloria from “Missa Lumen de Lumine” on page 5.

Agnus Dei (Ordinary Mass text) Lamb of God

AgnusDei, LambofGod,Quitollispeccatamundi, Thouthattakestawaythesinsoftheworld,misererenobis. havemercyuponus.

AgnusDei, LambofGod,Quitollispeccatamundi, Thouthattakestawaythesinsoftheworld,donanobispacem. grantuspeace.

Editions of the medieval songs by Nicky Losseff.

Program notes provided by Trio Mediaeval.