Program Notes for Ciaramella in A Piper’s Noel

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Program, Notes, and Artist Biographies for A Piper’s Noël

December 13th, 2010


Adam Gilbert, Rotem Gilbert, Doug Milliken; recorder, shawm, bagpipes

Greg Ingles, Erik Schmalz; slide trumpet, sackbut, recorder


Dylan Hostetter, counter tenor; N. Lincoln Hanks; tenor

Joel Nesvadba, baritone; Jinyoung Jang, bass

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RICHARD EGARR: Concert program and notes


The Supreme Lesson -Bach’s Wohltemperirte Clavier…1722

clip_image002The Well-tempered Clavier, Or Preludes, and Fugues through all the Tones and Semi-tones, both with the major third or Ut, Re, Mi, and with the minor third or Re, Mi, Fa. For the use and practice of young musicians who desire to learn, as well as for the particular diversion of those who are already skilled in this study; made and composed by Johann Sebastian Bach, Kapellmeister for the time being to the Duke of Anhalt-Cöthen and director of his chamber music, Anno Domini 1722.

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Rossignols vous chantez                                             Julie Pinel
Air sérieux avec accompagnement de flûtes                   (fl. 1710–1737)
from Nouveau recueil d’airs sérieux et à boire, 1737
Porquoy le berger qui m’engage                                Pinel    
Brunette à deux dessus
Boccages frais                                                               Pinel    
Brunette à deux dessus
Violin Sonata II in D major                                         Elisabeth Jacquet de la Guerre
Sonates pour le viollon, 1707                                          (1665-1729)
Echos indiscrets, taisez vous                                       Pinel   
Air sérieux
Bergères, voulez vous m’en croire,                              Mlle. Herault     
Chansonnette from Recueil d’airs sérieux et à boire   
C. Ballard, printer, 1702
Scène Pastorale                                                             Pinel
Trio Sonata in D major                                                 Jacquet de la Guerre
from ms., c.1695
Grave-Vivace e Presto-adagio-Allegro-Adagio-Allegro-Aria Afectuoso
Psalm VI: Domine in furore tuo arguas me               Antonia Bembo
Aux plus heureux Amants                                           Mlle. ***           
Air à boire from Recueil d’airs sérieux et à boire        
C. Ballard, printer, 1696


Lydia Knutson, soprano
Aaron Sheehan, tenor
Na’ama Lion, baroque flute
Laura Gulley, violin
Ruth McKay, harpsichord
Laury Gutierrez, viola da gamba, director




In the 17th and 18th centuries, the French air was considered a popular genre, intended for immediate consumption. Highly regarded composers such as Jean-Baptiste Lully and François Couperin, along with their amateur contemporaries, wrote airs exploring the full gamut of human emotions. Whether expressing unrequited love, coyness, lust, drunkenness, sorrow or despair, the air was employed as an emotive vehicle much like the pop tunes of today. French airs are of particular interest to the modern listener because they represent urban music that was separate from the sophisticated taste and etiquette associated with lofty court entertainment.

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Concert: LUCIDARIUM, 4 May 2008


Houston Early Music              

When:   4:00 p.m.
Sunday, May 4, 2008

Where:    First Unitarian Universalist Church 5200 Fannin                                                                                                                          

Tickets:  713-432-1744                  




Houston Early Music will present the acclaimed Italian ensemble Lucidarium in a performance of La Istoria de Purim: Music and Poetry of the Jews of Renaissance Italy on Sunday, May 4.  The program, which won the European Association for Jewish Culture award for musical creation in 2004, is a reconstruction of the soundscape that would have accompanied a typical Northern Jewish Italian family through the liturgical year and life cycle. It combines sung poetry in Giudeo-Italian, Yiddish and Hebrew, traditional liturgical and paraliturgical music, and the lively songs and dances that would have been used to celebrate life’s transitions. The performance will be at First Unitarian Universalist Church, 5200 Fannin, at 4:00 p.m.

Founded in 1991, Lucidarium specializes in medieval and early Renaissance music with a special emphasis on unknown or little-known repertoires. The combination of meticulous preparation and creativity, which has opened up new perspectives in historical performance practice, has brought both popular and critical acclaim to the ensemble.  Lucidarium has toured extensively throughout Europe and North America and has performed in most of the important European early music festivals, including: Festival van Oude Muziek (Utrecht,) Festival Divina Musica Musica e Poesia a San Maurizio (Milan) and Freunde alter Musik Basel. Recently the ensemble won an unprecedented second EAJC award, as well as a grant from the Rothschild Foundation, for the creation and recording of Ain neues Lid, a project dedicated to the music of the German-speaking Jews from the 16th century.

There will be a preconcert talk at 3:00 p.m. by Avery Gosfield, Co-director of Lucidarium.

Tickets are $30 for general admission, $25 for seniors, $10 for students, under 15 free. Tickets may be purchased at the door or by calling 713-432-1744. 

Houston Early Music is funded in part by grants from the City of Houston

through Houston Arts Alliance.



Gloria Moretti: voice

Viva Biancaluna Biffi: voice, viola d’arco

Enrico Fink: voice, narrator

Avery Gosfield: recorder, pipe and tabor

Marco Ferrari: recorder, dulcian, shawm, double flute

Francis Biggi: viola da mano, viola da penna, cetra, colascione

Massimiliano Dragoni: hammer dulcimer, percussion


Prayer for the Removal of the Torah from the Ark (En Kamokha/Shema Israel)

Les Caterines / La Cara Cossa (La Folia)

Dos lid fun der sreyfe in Venedig


All Creatures in Heaven and on Earth (Kol Berue)


Buovo d’Antona

Moresca (sull’ Aria d’ottava)

Ishena at ani geor venodad

Tu dormi, io veglio e vo perdendo i passi

Tu dormi, io veglio a la tempesta e vento

Pass’e mezo a la bolognesa    

Saltarello a la bolognesa


Songs for the Celebration of Purim

   La Cansonetta di Purim

   La Istoria de Purim io ve racconto Moresca (sull’ Aria d’ottava)

   Meghillat Esther                 

Songs for the Celebration of Passover

    Ma Nishtana/Avadim Hainu


    Fuggi, fuggi, fuggi (Il Ballo di Mantova)               


    Khad Gadya / Un Caprett


    Khad Gadya, Khad Gadya                           

BALTIMORE CONSORT: Biographies of the Performers

Founded in 1980 to perform the instrumental music of Shakespeare’s time, the Baltimore Consort has explored early English, Scottish, and French popular music, focusing on the relationship between folk and art song and dance. Their interest in early music of English/Scottish heritage has also led them to delve into the rich trove of traditional music preserved in North America. Recordings on the Dorian label have earned them recognition as Top Classical-Crossover Artist of the Year (Billboard), as well as rave reviews elsewhere. Besides touring in the U.S. and abroad, they often perform on such syndicated radio broadcasts as St. Paul Sunday, Performance Today, Harmonia and the CBC’s OnStage. They have also enjoyed many teaching residencies at K-12 schools, as well as at the Madison Early Music Festival and other university engagements. Continue reading

Baltimore Consort: Program Notes

Notes on the Program

Today’s concert takes us on a musical journey through the fascinating intercultural history of late 15th century Spain. For nearly eight centuries, Muslims and Christians lived together on the Iberian Peninsula through alternating periods of peace and conflict. There were large Jewish communities in the Christian kingdoms of Castille, Aragon, and Navarre, as well as in the Moorish caliphates of al’Andalus. Paintings from the court of Alfonso X depict Christian, Jewish, and Arabic musicians playing together. Continue reading

BALTIMORE CONSORT Program Selections


Morena me llaman Anonymous Sephardic
Avrix me galanica Anonymous Sephardic

La Spagna Anonymous 15th c.
Recercada La Spagna (Trattado de Glosas, 1553) Diego Ortiz
Danza Alta (Cancionero de Palacio, ca.1505) Francisco de la Torre

¿Qu’es de ti, desconsolado? (Cancionero de Palacio) Juan del Encina (1468-1529)
Levanta, Pascual (Cancionero de Palacio) Encina
Ora baila tú (Cancionero de Palacio) Anonymous
Calabaça, No sé, buen amor (Cancionero de Palacio) Anonymous

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