Please share this email with friends who may be interested in our programs.

Houston Early Music presenting the world’s finest period ensembles and soloists … bringing to life music from the Middle Ages through the Renaissance to the Baroque and Classical periods. Experience with us early music played on original instruments, by musicians reviving performances of the past.

In this Newsletter: Concert Reminder:  Ensemble Caprice Complete program notes

This Friday: Fri., Mar. 5, 2010, 8:00PM Pre-concert talk at 7:15 p.m ENSEMBLE CAPRICE Music of Paradise and Hell Christ the King Lutheran Church 2353 Rice Blvd “Such dazzling virtuosity on the recorder leaves you in staggering daze! We wonder by which diabolical trick the flautists manage to articulate at such speed, with so much breath and energy.” Le Devoir – Canada See videos of Ensemble Caprice Houston Early Music presents Ensemble Caprice in Music of Paradise and Hell on March 5th at 8pm at Christ the King Lutheran Church, featuring a dazzling selection of 17th century works on recorders, viola da gamba, Baroque guitar and percussion. The performance coincides with the Society of Seventeenth-Century Music annual conference at Rice University’s Shepherd School of Music. Matthias Maute will give a pre-concert talk at 7:15 p.m. See complete Program Notes and Artist Biographies on our web site See information about the Society of Seventeenth-Century Music annual conference Venue Christ the King Lutheran Church, 2353 Rice Blvd., Houston, TX 77005 Limited free parking is available on the lot west of Christ the King Lutheran Church. Ample parking is available for $1.00 (credit card only) across the street at Rice University’s stadium parking lot on the southeast corner of Rice & Greenbriar. (Be sure to use the same credit card to enter and leave the parking lot.) Tickets Tickets are available online at and at the door: $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

Contact Houston Early Music P.O. Box 271193 Houston TX 77277-1193 Phone 713-432-1744 email info@HoustonEarlyMusic.org Web http://www.HoustonEarlyMusic.org

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance, the Texas Commission on the Arts, and the National Endowment for the Arts.

Please make sure that info@HoustonEarlyMusic.org is registered in your contacts list or with your spam filter to ensure that delivery will not be blocked. If you wish to modify or cancel your email subscription, please see the links at the bottom of this email. For new subscriptions visit http://www.houstonearlymusic.org/lists/

ENSEMBLE CAPRICE

Music of Paradise and Hell

Christ the King Lutheran Church
2353 Rice Blvd

Houston Early Music presents Ensemble Caprice in Music of Paradise and Hell on March 5^th at 8pm at Christ the King Lutheran Church, featuring a dazzling selection of 17^th century works on recorders, viola da gamba, Baroque guitar and percussion. The performance coincides with the Society of Seventeenth-Century Music annual conference at Rice University’s Shepherd School of Music.

“The co-artistic directors, Matthias Maute and Sophie Larivièreare, are simply phenomenal players, among the best in the world,” says Nancy Ellis, Houston Early Music artistic director. “Their virtuosity, along with that of the other ensemble musicians, has earned Caprice a much-deserved reputation as one of the top early music groups on the international scene.” The ensemble also includes such outstanding musicians as Susie Napper on viola da gamba, David Jacques on Baroque guitar, and percussionist Ziya Tabassian.

Originally founded in Germany, the now Montreal-based Ensemble Caprice aims for innovation as they head into their 20^th anniversary season. “We try to find Baroque music that does not sound Baroque,” says Maute, who plays the recorder and Baroque flute, and composes. “There is so much music in the 17^th and 18^th century that is off the beaten tracks, that it gives us great pleasure to throw these unusual styles – like Baroque gypsy music – into our program.”

Music of Paradise and Hell features music by such 17^th century legends as Andrea Falconieri, Francesco Turini, Marco Uccellini, Francesco Corbetta and Johann Heinrich Schmelzer. “We are all somewhere in between heaven and hell, and we like to present programs that relate to us as contemporaries,” says Maute. “Needless to say, the composers of the 17^th century had a lot to say on this subject.” Contrasts abound as well in considering the pairing of Andrea Falconieri and Johann Heinrich Schmelzer. “They never worked together, but when you witness the meeting of their music, it is as if John Lennon and Paul McCartney started joint song writing again,” says Maute. “It is ‘reality music,’ full of joy, conflict, dissonances, arguments, entertainment and sadness.”

Matthias Maute will give a pre-concert talk at 7:15 p.m.

Venue

Christ the King Lutheran Church, 2353 Rice Blvd., Houston, TX 77005

Limited free parking is available on the lot west of Christ the King Lutheran Church. Ample parking is available for $1.00 (credit card only) across the street at Rice University’s stadium parking lot on the southeast corner of Rice & Greenbriar.

Tickets

Purchase online

and at the door: $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

PROGRAM NOTES AND ARTIST BIOGRAPHIES

Program

La Suave Melodia (1650)    Andrea Falconieri (1585-1656)

L’Eroica (1650)

E tanto tempo hormai (1624)    Francesco Turini (ca. 1589-1656)

La Suave Melodia (1650)    Andrea Falconieri

Rinen, y pelean entre Berzebillo    Andrea Falconieri

con Satanasillo, y Caruf, y Pantul (1650)

Bayle de los dichos Diabolos (1650)

Battalla de Barabaso yerno de Satanas (1650)

Ciaccona di Paradiso, e dell’inferno (1657)  Anonymous (17th century)

Prélude et Passacaille                                           Francesco Corbetta (1615-1681)

Passacalli della vita (1657)    Anonymous (17th century)

Passaccalle (1650)      Andrea Falconieri

Folias echa para mi Senora Dona Tarolilla

de Carallenos (1650)

INTERMISSION

Balletto La Pastorella Johann Heinrich Schmelzer (ca.1623-1680)

Intrada-Pastorella-Hötzer seu Amener-Gavotta tedesca-

Gavotta styriaca-Gavotta anglica-Gavotta bavarica-Gavotta gallica

Sonata XIII (1659)      Johann Heinrich Schmelzer

Sonatina III (1662)

Aria sopra la Bergamasca (1642)    Marco Uccellini (ca.1603-1680)

Sonata seconda (1664)      Johann Heinrich Schmelzer

Serenata con altre arie (1661)     Johann Heinrich Schmelzer

Serenata-Arlecchino-Adagio-Allegro-Ciacona-Campanella e Lamento

PROGRAM NOTES

If art holds up a mirror to life, music too reflects the society that gave it birth. Since the daily life of people in the seventeenth century was drenched in religion, the belief in eternal life in paradise as opposed to painful torture in hell was ubiquitous. Everyone hoped to be gloriously resurrected in heaven but, at the same time, every sinner was afraid of being doomed to the dark caverns of hell. And who wouldn’t sin, at least from time to time?

Many paintings reflect this sharp juxtaposition between celestial bliss and the underworld. Therefore, it does not come as a surprise to us that music was meant to express the same dichotomy.

The Ciaccona di Paradiso, e dell’inferno, taken from an anonymous collection in Milan (1657) could not be more be clear on the issue. Both paradise and the inferno are depicted in a drastic naturalism that was designed to keep the flock of believers on the right path:

Paradise

O che bel star è star in Paradiso  O how fine it is to be in Paradise

Dove si vive sempr’in fest’e riso  Where one lives always in celebrating and laughter,

Vedendosi die Dio svelat’il viso  Seeing God with his face unveiled:

O chel bel star è star in Paradiso.  Oh how fine it is to be in Paradise.

Inferno

Ohimè ch’orribil star star, nell’inferno Alas, it is terrible to be in the Inferno

Ove si viv’in piant’e foco eterno           Where one lives in eternal weeping and fire

Senza veder mai Dio in sempiterno Without seeing God for all eternity :

Ahi,ahi,ch’orribil star giù nell’inferno. Ah, ah, it is terrible to be below in the inferno.

The composers of our program excel in bringing these extreme dimensions of life closer to us. The composer and lutenist Andrea Falconiero’s Battalla de Barabaso yerno de Satanas (Battle of Barrabas, Son-in-law of Satan)takes us into the heart of the conflict between good and evil. It is however surprising that, through the religious implications of the title of this piece, Falconiero was also making a political statement. During the Spanish reign in Naples, which was accompanied by upheavals and fierce resistance by the Italians, the Spanish invaders enjoyed operatic pieces which ridiculed the oppressed people of Naples. Falconiero, despite being of Italian descent, supported the Spanish and the devils were symbols of the insurgent Italians who despised their invaders. We can easily assume that battle pieces like his Battalla de Barabaso didn’ t help to ease the political tensions during his time.

Born in Naples, Falconiero’s itinerant life took him him to Parma, Mantua, Florence and then to Modena, where he appears to have been married around 1620-21. However, he had already departed for Spain by the summer of 1621, leaving behind his wife, one song and some copies of his (lost) book on the Spanish guitar. After years of travelling in Spain and France, he was appointed lutenist at the royal chapel at Naples in 1639 and finally, in 1647, maestro di capella. Falconiero’s variations Folias echa para mi Senora Dona Tarolilla de Carallenos are a reference to the Spanish origin of the famous Follia bass.

Regardless of any political implications, the feeling of being part of a war between the good and evil, between God and the devil, prevailed in Falconiero’s compositions. Pieces like Rinen, y pelean entre Berzebillo con Satanasillo, y Caruf, y Pantul (Beelzebub and Satan bicker and fight, as well as Caruf and Pantul) and Baile de los dichos Diabolos (Dance of the aforesaid devils– Beelzebub, Satan, Caruf and Pantul) indicate how much the imagination of people in the mid-seventeenth century was caught by a belief in dimensions beyond our modern understanding of reality.

Contrary to his strong awareness of war in life (Falconiero dedicated his important collection of 1650 Il Primo Libro di Canzone to the Commander of the Navy!) the concept of love counterbalanced the fierce battle of demonic powers. Love, both in its religious and worldly form, contained a taste of paradise and was therefore considered divine.

When people in the seventeenth century listened to an instrumental version of a vocal piece, the usually well-known text served as an invisible subtitle. This principle can be found in Francesco Turini’s collection Libro primo di Francesco Turini, published in Venice in 1624, which indicates a remarkable sense of three-part writing, including a highly ornamented bass line for the cello competing in virtuosity with the two upper parts.

The piece E tanto tempo hormai is based on the famous story of La Monica, about a young woman who is fated to spend her life cloistered in a convent despite her longing for sensual love. We might conclude that being forced to live close to spiritual paradise didn’t necessarily provide a guarantee of happiness, which is another aspect of the eternal and complicated struggle between God and the devil….

Johann Heinrich Schmelzer (ca.1623-1680) was one of the most important composers of the German-speaking countries of the seventeeth century. Documents reveal that he performed as a violinist at the Viennese Court as early as 1649 and was promoted to become the Musical Director of the court orchestra in 1679. While Schmelzer had outstanding abilities as a violinist, this elevation to the most important musical position in the Hapsburg Empire was due mostly to his compositions, which were recognized to be the leading examples of their genre. Schmelzer’s collection of solo sonatas, Sonatae Unarum Fidium published in 1664, is considered to be among the most advanced because of its technical demands on the performer. Rising above fixed harmonic bass figures is a composition of variations of increasing virtuosity in the upper part, which could be described as a real “tour de force”.

Schmelzer’s balletti reveal his wit and ingenuity in implanting a message into music. The balletto La Pastorella takes us to the idyll of the countryside, which was believed to be a rustic model of the refined harmony to be found in paradise. After a musically depicted procession of the nobility to the countryside, the gavottes which follow contain a folkloristic spirit of various influences: Bavarian, English, Austrian and French.

The Serenata con altre arie concludes on a sad note: after the joys of the carnival and the wild dances of Arlecchino, the death bell tolls, interrupted twice by a lament. The Carnival must end because it is Ash Wednesday and the beginning of Lent. The struggle between good and evil will linger for ever…

We might say, that the text of the Passacalli della vita (Milan 1657), which we present in an instrumental version, resumes drastically this feeling of being caught in a difficult situation:

O, come t’inganni    O, how you deceive yourself

Se pensi che gl’anni   if you believe that the years

Non debban finire   must never end:

Bisogna morire.    you must die.

È un sogno la vita   Life is a dream

Che par si gradita    which appears so welcome,

È breve il gioire :    and joy is brief:

Bisogna morire.    you must die.

Matthias Maute

Ensemble Caprice is represented by Amanda Pond, Milford, CT

BIOGRAPHIES

Ensemble Caprice is renowned for its innovative interpretations of baroque music. Originally formed in Germany in 1989 and now based in Montreal, the ensemble continues to give concerts in Europe and has appeared at the Vlaanderen Festival in Bruges, Belgium, the Netwerk-Reihe of the Organisatie voor Oude Muziek in The Netherlands, the International Recorder Symposium in Stuttgart, the Recorder Festival in Stockstadt, and, more recently, the Internationale Händel-Festspiele in Göttingen. In 2005, Ensemble Caprice made its U.S. debut in the Boston Early Music Festival’s concert series and has subsequently appeared in many parts of the United States, with additional tours of Israel and Taiwan. In Canada, the ensemble has appeared at the Ottawa Chamber Music Festival, the Elora Festival, the Domaine Forget’s International Festival and has its own concert series at Redpath Hall in Montreal. Ensemble Caprice’s most recent CD, Gloria! Vivaldi’s Angels (Analekta) won Canada’s 2009 JUNO award in the category of Classical Album of the Year: Vocal or Choral Performance. The ensemble was also nominated for 2009 Echo Klassik awards in Germany for its CD Vivaldi and the Baroque Gypsies (Analekta) in two categories: Ensemble/Orchestra of the Year and Classics Without Borders.

Matthias Maute has achieved an international reputation as one of the finest recorder and baroque flute players of his generation and as a composer. In 1990, he won First Prize in the soloist category at the prestigious Early Music Competition in Bruges, Belgium. Matthias is also esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. The ensemble has appeared at several important venues in Europe, North America, Taiwan and Israel. In addition to his work with Ensemble Caprice, Matthias is invited to appear as a soloist at important festivals in Europe and the United States, as well as being a member of the baroque ensemble Rebel. In 2003 and 2005, he was the featured recorder virtuoso at the Boston Early Music Festival and he made his debut at New York City’s Lincoln Center in December 2008. His compositions hold an important place in the world of contemporary recorder music and are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. Matthias has made twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge and Atma Classique labels. He is a professor at McGill University in Montreal.

Sophie Larivière has been a member of Ensemble Caprice since 1997 and is the Artistic Co-Director. In this capacity, she helps to enrich the creative direction of the ensemble in its quest for musical discoveries that blend virtuosity with expressivity. With Ensemble Caprice, Sophie has appeared in numerous concerts, in particular in Israel (Tel Aviv and the Mediterranean Arts Festival), Europe (Vienna, Berlin, and Stuttgart), the United States (Los Angeles and the Boston Early Music Festival) and throughout Canada. An eloquent performer, Sophie is invited regularly to appear with such early music ensembles as the Arion Ensemble, the Opéra de Montréal, Le Studio de musique ancienne de Montréal, La Nouvele Sinfonie, the Theatre of Early Music, Rebel (New York), Les Violons du Roy (Quebec) the New York Collegium Musicum and Le Concert Spirituel (Paris). She has made recordings on the Analekta, Virgin Classics, Atma Classique, Antes Edition and Interdisc labels.

Susie Napper was awarded Quebec’s “Personality of the Year” Prix Opus in 2002. She is the founder and Artistic Director of the Montreal Baroque Festival. Having grown up in an artistic milieu in London, she then studied at the Juilliard School in New York and later at the Paris Conservatory. Since then, Susie has appeared with several internationally-known early music ensembles, such as the Philharmonia Baroque Orchestra, Stradivaria in France, the Studio de musique ancienne de Montréal, the Trinity Consort of Portland, Tafelmusik, Ensemble Caprice and the viola da gamba duo Les Voix Humaines. Her concert tours have taken her as far afield as China, Japan, New Zealand, India, the Middle East, Europe and North America. Susie’s recordings, which include most of the known repertoire for two viols, can be heard on the Harmonia Mundi, EMI, Erato, ADDA, CBC Records, Naxos, Analekta and ATMA Classique labels.

David Jacques was born in Saint-Georges de Beauce, Quebec in 1978 and has a  Doctorate in the interpretation of early music from the Université de Montréal.  He began his studies of classical guitar at the Cégep de Sainte-Foy, continuing at the Université Laval and later at the Quebec Conservatory. He has recorded more than 15 CDs on the XXI-21, ATMA and Analekta labels and collaborated on numerous other productions. His Pièces de guitarre de Mr Rémy Médard (Productions XX-21) won the Conseil Québécois de la Musique’s 2008 Prix Opus Disc of the Year award in the early music category. David has also published several arrangements for guitar for Les Productions d’OZ. Active both in Canada and internationally, he has performed over 2000 concerts in 30 countries on all five continents. He is currently Professor of Classical Guitar at the Université Laval and the Cégep de Sainte-Foy and is frequently invited to give master classes and workshops by other musical organizations.

Ziya Tabassian Ziya began playing the tombak at the age of eleven. He began his formal training in Iran, pursuing his studies with Master Tehrani’s method. In Canada, he studied classical percussion with Julien Grégoire  at the University of Montreal and later returned to Iran to continue his training with M. Bahman Rajabi. Ziya is an active member of Constantinople, which he co-founded with his brother Kiya Tabassian.In addition to Ensemble Caprice he has collaborated with the Kronos Quartet, the Nouvel Ensemble Moderne, En Chordais, and the Studio de musique ancienne de Montreal. His solo CD, entitled Tombak was recently released on the Ambiances Magnétiques label.

Please share this email with friends who may be interested in our programs.

Houston Early Music presenting the world’s finest period ensembles and soloists … bringing to life music from the Middle Ages through the Renaissance to the Baroque and Classical periods. Experience with us early music played on original instruments, by musicians reviving performances of the past.

In this Newsletter: Next concert:  Ensemble Caprice Concert reminders via email only Purchase tickets for remainder of season online

Next Concert: Fri., Mar. 5, 2010, 8:00PM Pre-concert talk at 7:15 p.m ENSEMBLE CAPRICE Music of Paradise and Hell Christ the King Lutheran Church 2353 Rice Blvd “Such dazzling virtuosity on the recorder leaves you in staggering daze! We wonder by which diabolical trick the flautists manage to articulate at such speed, with so much breath and energy.” Le Devoir – Canada See videos of Ensemble Caprice Houston Early Music presents Ensemble Caprice in Music of Paradise and Hell on March 5th at 8pm at Christ the King Lutheran Church, featuring a dazzling selection of 17th century works on recorders, viola da gamba, Baroque guitar and percussion. The performance coincides with the Society of Seventeenth-Century Music annual conference at Rice University’s Shepherd School of Music. “The co-artistic directors, Matthias Maute and Sophie Larivièreare, are simply phenomenal players, among the best in the world,” says Nancy Ellis, Houston Early Music artistic director. “Their virtuosity, along with that of the other ensemble musicians, has earned Caprice a much-deserved reputation as one of the top early music groups on the international scene.” The ensemble also includes such outstanding musicians as Susie Napper on viola da gamba, David Jacques on Baroque guitar, and percussionist Ziya Tabassian. Originally founded in Germany, the now Montreal-based Ensemble Caprice aims for innovation as they head into their 20th anniversary season. “We try to find Baroque music that does not sound Baroque,” says Maute, who plays the recorder and Baroque flute, and composes. “There is so much music in the 17th and 18th century that is off the beaten tracks, that it gives us great pleasure to throw these unusual styles – like Baroque gypsy music – into our program.” Music of Paradise and Hell features music by such 17th century legends as Andrea Falconieri, Francesco Turini, Marco Uccellini, Francesco Corbetta and Johann Heinrich Schmelzer. “We are all somewhere in between heaven and hell, and we like to present programs that relate to us as contemporaries,” says Maute. “Needless to say, the composers of the 17th century had a lot to say on this subject.” Contrasts abound as well in considering the pairing of Andrea Falconieri and Johann Heinrich Schmelzer. “They never worked together, but when you witness the meeting of their music, it is as if John Lennon and Paul McCartney started joint song writing again,” says Maute. “It is ‘reality music,’ full of joy, conflict, dissonances, arguments, entertainment and sadness.” Caprice’s most recent CD, Gloria! Vivaldi’s Angels, (Analekta) has won Canada’s prestigious 2009 JUNO award in the category of Classical Album of the Year: Vocal or Choral Performance. “It’s been an honor to win the JUNO,” says Maute. “We can definitely book the year 2009 as our most successful year.” Matthias Maute will give a pre-concert talk at 7:15 p.m. Venue Christ the King Lutheran Church, 2353 Rice Blvd., Houston, TX 77005 Limited free parking is available on the lot west of Christ the King Lutheran Church. Ample parking is available for $1.00 (credit card only) across the street at Rice University’s stadium parking lot on the southeast corner of Rice & Greenbriar. Tickets Tickets are available online at www.HoustonEarlyMusic.org and at the door: $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15. Click to purchase tickets online

NOTE NOTE NOTE This season we will send our concert reminders via email only. We will not be mailing postcards. Please be sure your current email address is on our list. Click to subscribe to our email list If you have friends interested in our programs, please be sure they also know of this change and ask them to join the list. If you don’t use email, please let us know by phone 713-432-1744 or mail at Houston Early Music, P.O. Box 271193, Houston, TX 77277-1193. We will accommodate your needs.

Houston Early Music Online Ticket Service Houston Early Music is pleased to announce that you can now purchase tickets to our performances online, using major credit cards. Click to purchase tickets to future concerts

Contact Houston Early Music P.O. Box 271193 Houston TX 77277-1193 Phone 713-432-1744 email info@HoustonEarlyMusic.org Web http://www.HoustonEarlyMusic.org

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance, the Texas Commission on the Arts, and the National Endowment for the Arts.

Please make sure that info@HoustonEarlyMusic.org is registered in your contacts list or with your spam filter to ensure that delivery will not be blocked. If you wish to modify or cancel your email subscription, please see the links at the bottom of this email. For new subscriptions visit http://www.houstonearlymusic.org/lists/

HOUSTON EARLY MUSIC

P. O. Box 271193

Houston, TX 77277-1193

HoustonEarlyMusic.org

Media contact:

Susan Love Fitts, 936-597-8825

susanlovefitts@consolidated.net

Houston Early Music presents Baroque innovators, Ensemble Caprice

Music of Paradise and Hell, March 5, 2010

HOUSTON, TX— January 12, 2010 – Houston Early Music presents Ensemble Caprice in Music of Paradise and Hell on March 5^th at 8pm at Christ the King Lutheran Church, featuring a dazzling selection of 17^th century works on recorders, viola da gamba, Baroque guitar and percussion. The performance coincides with the Society of Seventeenth-Century Music annual conference at Rice University’s Shepherd School of Music.

“The co-artistic directors, Matthias Maute and Sophie Larivièreare, are simply phenomenal players, among the best in the world,” says Nancy Ellis, Houston Early Music artistic director. “Their virtuosity, along with that of the other ensemble musicians, has earned Caprice a much-deserved reputation as one of the top early music groups on the international scene.” The ensemble also includes such outstanding musicians as Susie Napper on viola da gamba, David Jacques on Baroque guitar, and percussionist Ziya Tabassian.

Originally founded in Germany, the now Montreal-based Ensemble Caprice aims for innovation as they head into their 20^th anniversary season. “We try to find Baroque music that does not sound Baroque,” says Maute, who plays the recorder and Baroque flute, and composes. “There is so much music in the 17^th and 18^th century that is off the beaten tracks, that it gives us great pleasure to throw these unusual styles – like Baroque gypsy music – into our program.”

Music of Paradise and Hell features music by such 17^th century legends as Andrea Falconieri, Francesco Turini, Marco Uccellini, Francesco Corbetta and Johann Heinrich Schmelzer. “We are all somewhere in between heaven and hell, and we like to present programs that relate to us as contemporaries,” says Maute. “Needless to say, the composers of the 17^th century had a lot to say on this subject.” Contrasts abound as well in considering the pairing of Andrea Falconieri and Johann Heinrich Schmelzer. “They never worked together, but when you witness the meeting of their music, it is as if John Lennon and Paul McCartney started joint song writing again,” says Maute. “It is ‘reality music,’ full of joy, conflict, dissonances, arguments, entertainment and sadness.”

Caprice’s most recent CD, Gloria! Vivaldi’s Angels, (Analekta) has won Canada’s prestigious 2009 JUNO award in the category of Classical Album of the Year: Vocal or Choral Performance. “It’s been an honor to win the JUNO,” says Maute. “We can definitely book the year 2009 as our most successful year.”

Matthias Maute will give a pre-concert talk at 7:15 p.m.

Venue

Christ the King Lutheran Church, 2353 Rice Blvd., Houston, TX 77005

Limited free parking is available on the lot west of Christ the King Lutheran Church. Ample parking is available for $1.00 (credit card only) across the street at Rice University’s stadium parking lot on the southeast corner of Rice & Greenbriar.

Tickets

Tickets are available online at www.HoustonEarlyMusic.org and at the door: $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

For season subscription information and to learn more about Houston Early Music, visit www.HoustonEarlyMusic.org, e-mail info@HoustonEarlyMusic.org or call 713-432-1744.

###

What: Houston Early Music Presents Ensemble Caprice in Music of Paradise and Hell

When: Friday, March 5^th, 2010, at 8 pm

Where: Christ the King Lutheran Church, 2353 Rice Blvd, Houston, TX 77005

Tickets: 713-432-1744 or www.houstonearlymusic.org

ABOUT HOUSTON EARLY MUSIC

One of the nation’s oldest early music organizations, and as the city’s only presenting organization dedicated to covering the large historical span of early music in all of its forms, Houston Early Music epitomizes a movement that has swept the world of classical music. Officially incorporated in 1969, the nonprofit provides performance opportunities for up-and-coming and major early music artists from around the world in an annual concert series. A successful and growing educational outreach program introduces a future generation to a broad range of music. Houston Early Music is funded in part by grants from the City of Houston through Houston Arts Alliance and by Texas Commission on the Arts and The National Endowment for the Arts.

###

ATTACHED PHOTO:

Houston Early Music presents the Ensemble Caprice in Music of Paradise and Hell on Friday, March 5, 2010, at 8:00 pm, at Christ the King Lutheran Church, 2353 Rice Blvd in Houston. For more information, call 713-432-1744 or visit www.HoustonEarlyMusic.org.

Photo credit: Tobias Haynes

Media contact:

Susan Love Fitts, 936-597-8825

susanlovefitts@consolidated.net

From: richter@haus.org
Subj: Early Music workshops and concerts in Austin, coming up!

January and February can feel like a quiet time after all the holiday pandemonium has died down, but there are some musical events coming up in Austin to take note of!

Friday, January 29 – Harmonia Ariosa, a concert of Baroque music featuring Laurie Young Stevens, Manfredo Kraemer, Paul Leenhouts, Phoebe Carrai and a galaxy of other early music stars;  8pm, St Mary’s Cathedral in downtown Austin; more details at the Texas Early Music Project Website, http://www.early-music.org/ .

Saturday, February 6 – MidWinter Recorder Workshop by Paul Leenhouts;  9am-5pm at Triumphant Love Lutheran Church in Austin, $35 fee;  more details at the Austin ARS chapter Website, http://main.org/austinars .    (Download a flyer for this event.)

Saturday, February 13 – World Music Recorder and Percussion Workshops by Nina Stern and Peter Maund;  10am-3pm at First Presbyterian Church in Austin, $35 for entire workshop or $20 for one session; more details athttp://main.org/austinars .  (Download a flyer for these events.)

Same evening (Feb 13) – Wanderings, a concert by Nina Stern and Peter Maund;  8pm, First Presbyterian Church in Austin; more details at http://main.org/austinars .

To register for either workshop, reply to this email, or follow the directions on the ARS Website.

Please share this email with friends who may be interested in our programs.

Houston Early Music presenting the world’s finest period ensembles and soloists … bringing to life music from the Middle Ages through the Renaissance to the Baroque and Classical periods. Experience with us early music played on original instruments, by musicians reviving performances of the past.

Coming up on Sunday, Dec. 13 Houston Early Music and The Religion and the Arts Council, Christ Church Cathedral, present: THE ROSE ENSEMBLE Celebremos el Niño – A Mexican Baroque Christmas See program, notes, and song text See more information

Sun., Dec. 13, 2009, 5:00PM THE ROSE ENSEMBLE Celebremos el Niño – A Mexican Baroque Christmas Christ Church Cathedral 1117 Texas Ave. Pre-concert talk at 4:15PM Presented in association with the Arts Council, Christ Church Cathedral. Ample free parking is available in the Cathedral Parking Garage across San Jacinto Street (northbound) opposite the Cathedral. Houston Early Music presents The Rose Ensemble in Celebremos el Niño – A Mexican Baroque Christmas on Sunday, December 13 at 5:00 p.m., at Christ Church Cathedral as part an annual tradition, the Hispanic Heritage Series. The internationally known group brings a rare collection of early Mexican music, featuring over two centuries of festive Christmas dances, ballads and villancicos from the great cathedrals of Puebla and Mexico City. Celebremos el Niño – A Mexican Baroque Christmas provides a perfect example of the kind of far reaching programming that characterizes the Ensemble’s approach. “On a historical level, things can get really exciting. These composers saw Mexico as an open playing field. With fewer restrictions from the Catholic church, we see more compositional experimentation. We see the use of native dance rhythms in the liturgy to entice people to come to church. Seventeenth-century street and dance music became fashionable, even in high mass, during the Mexican Baroque era. Spanish composers used the vivid rhythms and energy of the xácara to drive forward the plots of operas and to introduce theatrical excitement into church music,” says Sramek. “Villancicos even depict the song and dance of African slaves in the Spanish colonies.” The group of ten singers and three instrumentalists tour nationally and internationally. “We are excited to bring this joyous program to Texas,” says Sramek. “We are always delighted to perform in a city such as Houston that has such a substantial early music scene.” Artistic director Jordan Sramek will present a pre-concert talk at 4:15 p.m. Tickets Tickets may be purchased through our new online ticket service. Click to Purchase Tickets Online Prices at the door are $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

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Contact Houston Early Music P.O. Box 271193 Houston TX 77277-1193 Phone 713-432-1744 email info@HoustonEarlyMusic.org Web http://www.HoustonEarlyMusic.org

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]]> http://www.houstonearlymusic.org/archives/778/feed 0 http://www.houstonearlymusic.org/archives/776 http://www.houstonearlymusic.org/archives/776#comments Fri, 04 Dec 2009 16:36:03 +0000 Webmaster http://www.houstonearlymusic.org/archives/776

In this note:

• Program
• Program notes
• About the Rose Ensemble
• Translations of song texts

Houston Early Music 

And 

The Religion and the Arts Council,

Christ Church Cathedral 
 

Present 
 

THE ROSE ENSEMBLE 
 
 

Celebremos el Niño:

Delights of the Mexican Baroque 

Jordan Sramek, Founder/Artistic Director 

Kathy Lee, Kim Sueoka, Carrie Shaw (soprano)

Lisa Drew, Linda Kachelmeier, Kristine Kautzman (alto)

Craig Lemming, Jordan Sramek (tenor)

Tim O’Brien (baritone, percussion) w Scott Sandersfeld (bass) 

with instrumentalists

Julie Elhard (viola da gamba) w Phillip Rukavina (vihuela da mano) w Ginna Watson (Baroque violin) 
 
 

5:00PM

Sunday, December 13, 2009

Christ Church Cathedral

1117 Texas Ave.  

4:15PM

Preconcert talk
 

Guests of Houston Early Music stay at the Crowne Plaza Hotel. 

Houston Early Music is funded in part by grants from the

City of Houston through Houston Arts Alliance,

Texas Commission on the Arts

and National Endowment for the Arts 
 
 

Program

MOTET: Deus in Adiutorium     Juan Gutiérrez de Padilla (ca. 1590-1664) 

VILLANCICO: *Atención, atención (1698)   Antonio de Salazar (ca. 1650-1715)

BAILE: Serenissima una noche     Fray Gerónimo Gonzáles (fl. 1600) 

XÁCARA: Los que fueren de buen gusto    Francisco de Vidales (d. 1702)

Instrumental setting of the popular tune La Spagna  Anonymous, 16^th century 

Gloria (from Missa Ego Flos Campi)     Juan Gutiérrez de Padilla 

ROMANCE: Hermoso amor (1671)    Juan García de Zéspedes (ca. 1619-1678)

DUO: **Risueña la aurora     Anonymous, Duran Choirbook (18^th century) 

NEGRILLA: A siolo flasiquiyo    Juan Gutiérrez de Padilla  

INTERMISSION 

DUO: Al dormir el sol       Sebastián Durón (1660-1716) 

¡Hombres, victoria, victoria!           Francisco Guerrero (1528-1599)  

NEGRO: Tarara tarara qui yo soy Anton   Antonio de Salazar

GALLEGO: Ay galeguiños     Fabián Ximeno Perez (ca. 1595-1654) 

GUARACHA: Convidando esta la noche   Juan García de Zéspedes  

*Recently transcribed by Craig Russell from a manuscript in the archives of the Catedral Metropolitana de México, this villancico (for the Virgin of Guadalupe) just received its modern-day premiere with The Rose Ensemble. 

**Recently transcribed from a manuscript currently housed by the Bancroft Library and with an accompaniment composed by musicologist by Craig Russell, this Letra a duo para Navidades (Vernacular Christmas song for 2 voices) just received its modern-day premiere with The Rose Ensemble.

NOTES ON THE PROGRAM 

Seventeeth-century street and dance music became fashionable even in high society during the Mexican Baroque, as Spanish composers used the vivid rhythms and energy of thexácara to drive forward the plots of operas and to introduce theatrical excitement into church music.  Even in the Christmas villancicos by Juan Gutiérrez de Padilla and by his successor as maestro, Juan García de Zéspedes, the texts draw the listeners’ attention to the secular origins of the music: "On with the xácara!" and "Celebrate with the guaracha."  

The attitude of the church authorities to villancicos in the guise of a xácara, guaracha, or negrilla (villancicos depicting the song and dance of African slaves in the Spanish colonies) could almost be seen as "neutral" – while the dances were repeatedly condemned as excessively arousing.  Pedro Cerone, author of a famous 17th-century treatise, defended the villancicos:  "I would not like to say villancicos are bad thing, for they are received in all Spanish churches, and were it not for them, it would not be possible to reach the appropriate heights of solemn celebration. . . . There are some people so lacking in piety that they attend church but once a year, and miss all the Masses of Obligation, because they are too lazy to get up out of bed.  But let it be known that there will be villancicos, and there is no one more devout in the whole place, none more vigilant than these people, for there is no church, oratory or shrine that they will not visit, nor do they mind getting up in the middle of the night in the freezing cold, just to hear them."  

Juan Gutiérrez de Padilla was a Mexican of Spanish birth who served as chapel master at Puebla, Mexico from 1629 until his death.  Born in the Andalusian city of Málaga in 1590, Padilla imigrated to Mexico in 1622, where he served the community of Pueblo from that year to the time of his death in 1664.  Like virtually all composers of the time, Padilla received his earliest music training in the choir of his local cathedral and, like many others, he took on his first assignment as a cathedral maestro.  But early in his career, he chose to come to the Américas, committed to a place to live and work, and never looked back. In many ways, Padilla’s output is part of the musical legacy of Mexico rather than Spain. By the age of 23 he was already maestro of the Cathedral of Jerez, and three years later, of Cádiz Cathedral. By October of 1622 he was already at Puebla Cathedral as singer and co-maestro; in 1629 he was named full maestro, and began composing prolifically.  

Like his setting of the Gloria, much of Padilla’s Latin sacred music is scored for double-choir. The mass setting Ego flos campi is what is known as a "parody mass," meaning that the polyphony (structured harmony) is based upon and created by using melodic fragments and passages from a previously written motet (in this case, one entitled Ego flos campi).  Strangely, the original motet has not survived, but one thing is certain: Padilla takes considerable liberties with the liturgical Latin text, creating refrains that suggest almost a folk style filled with religious fervor (in the Gloria, notice how the second choir repeats bonae voluntatis - "Goodwill to all!" – again and again). 

Juan García de Zéspedes was appointed as soprano at Puebla Cathedral in 1630. When maestro Padilla refused to teach, Zéspedes took over much of this work.  In 1664 he succeeded maestro Padilla in an interim capacity. The title of maestro became permanent in 1670.  Although censured by the cathedral chapter more than once over disagreements as to his duties, Zéspedes had a long career ended by his paralysis late in life. 

Antonio de Salazar was born in Spain, but later moved to Mexico and became one of the most famous Mexican composers. He was chapel master of Puebla Cathedral and later at the Mexico City Cathedral.  Like Padilla, Salazar also composed several villancicos, negrillas  and canzonetas for feast days.  The Rose Ensemble is pleased to feature on this program Salazar’s Atención, Atención (a villancico for the Feast of the Virgin of Guadalupe), recently transcribed from a manuscript in the archives of the Catedral Metropolitana de México by California-based musicologist Craig H. Russell. 

Program notes by, Jordan Sramek, inspired in part by the research and writings of musicologists Robert Stephenson and Andrew Laurence-King.   
  

The Rose Ensemble

Founded in 1996 and based in Saint Paul, Minnesota, The Rose Ensemble reawakens the ancient with vocal music that strives to stir the emotions, challenge the mind and lift the spirit. With nine critically acclaimed recordings and a diverse selection of concert programs, the group has thrilled audiences across the United States and Europe with repertoire spanning 1,000 years and over 25 languages, including new research in European, Middle Eastern, Hawaiian and early American vocal traditions.  

The recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and a first-place winner in the sacred music category at the 2007 Tolosa International Choral Competition (Spain), the group’s concerts and recordings have been called “first class” (Neuss-Grevenbroicher Zeitung), “impassioned and brightly alive” (Choral Journal) and “engaging . .. satisfying” (Gramophone).  

The Rose Ensemble can be heard regularly on American Public Media and the European Broadcasting Union (most notably with annual Christmas broadcasts) and was recently featured in special live broadcasts on Radio France, Chicago Public Radio, Vermont Public Radio and National Public Radio’s Performance Today. 

Recent European appearances include La Fabbrica del Canto (Milan), Festival Musique en Morvan (Burgundy), Festival des Choeurs Laureats in Vaison (Provence) Festival d’Ile de France(Paris, France) and Festival de Musiques Anciennes (Tours, France). The group’s 2009-10 season will see approximately 75 more performances, including appearances in Italy and Germany, as well as several tours across the United States.

The Rose Ensemble’s latest recording, “Il Poverello,” is a diverse collection of medieval and Renaissance vocal and instrumental music for Saint Francis of Assisi.  
 

Texts and Translations 

Deus in adiutorium meum intende.   O God, come to my assistance!

Domine ad adiuvandum me festina.  Lord, make haste to help me!

Gloria Patri, et Filio, et Spiritui Sancto.   Glory to the Father, the Son, and Holy Spirit.

Sicut erat in principio, et nunc, et semper,  As it was in the beginning, is now and shall be forever,

et in saecula saeculorum. Amen.    world without end. Amen.

Alleluia.      Alleluia.  
 

Atención, Atención, Atención,    Attention, Attention, Attention!

que si copia la pluma la mano es de un Dios,  that if the pen writes, it is the hand of God that moves it.

Atención, Atención, Atención!    Attention, Attention, Attention!

que si copia la pluma la mano es de un Dios.  if the pen writes, the hand is that of God. 

La mano es de un Dios     It is the hand of God

la que quiso copiar el retrato mejor   that sought to capture the best likeness

Atención, Atención, Atención!    Attention, Attention, Attention 

El aparejó invisible se aparejó  de esta echura  He primed the invisible canvas, he prepared for this

aun antes que hubiera mundo ni que fuese  project even before there was a world or anything in it.

cosa alguna.  

El divujo fue en prophetas ya en enigmas   The sketch was in the prophecies, either in riddles

ya en figures     or in figures

el pintarse fue un instante en que se   and it was painted in the very instant in

consibe pura.      which it was conceived. 

El traslado fue inocultis en una manta que  Its transfer was in secret in a blanket

anuda a su cuello un indio pobre que por   tied round the neck of a poor Indian man

incapaz recusan     rejected as unfit. 

Dispone la en ademán las manos    He displays it in a gesture of his hands, together

altas y juntas de resevir siendo en quien  and upraised, receiving from He who wields the

allí el pinsel executa.    painter’s brush. 
 

Serenissima una noche    Calm was the night

mas que si fuera un infante    when the baby shone forth

en lo crespo de diciembre    like a star

quiso por dicha estrellarse.    in the cool of December. 

Ande el baile      Come to the dance,

y al sol que a nasido     and to the sun,

por dios verdadero    for the child of the true God is born.

oi todos le aclamen.     Today let us all acclaim Him. 
 
 

"Los que fueren de buen gusto,   All those who have good taste, 
óiganme una xacarilla      listen to the nice new xácara 
que he de cantar en Belén."    I’m going to sing in Bethlehem.’ 
"¡Siempre el garbo y la voz!    ‘A jaunty style and voice are always needed, 
Yo la cantaré también ".     so I’ll sing it too.’ 
"¿Cómo qué, cómo qué?"    ‘What’s all this, what’s all this?’ 
"A que só me toca a mí,    ‘I’m the one to do it, 
y el porque yo me lo sé."    because I know how to.’  
"Cómo qué, cómo qué?"    ‘What’s all this, what’s all this?’ 
"Pues quitémonos de ruidos   ‘Come on, let’s stop shouting 
y cantemos a las tres. "     and let’s sing all three of us together.’ 
"Tres a tres y una a una,     ‘Three by three and one by one,

¡vaya, vaya de xácara, pues.    "on to the xácara, then!

‘

Coplas:       Stanzas: 

En el mesón de la luna     In the Moon Inn 
junto a la Puerta del Sol     next to the Gate of the Sun, 
del cielo de una doncella     a young girl brought down from heaven 
en tierra un lucero dió.     a star to us on earth. 
A ser galán de las almas     So as to become the suitor of souls 
el Verbo al hielo nació,     the Word of God was born to the freezing world,  
que lo tomó con fineza     which took him with grace  
pero con poco calor.     but with little warmth.

Sin duda el Jayán divino     Doubtless the divine Giant 
- ya naçe a morir de amor,    willed his birth that he might die of love, 
pues cuando se emboza el rostro    for when he hides his face 
me descubre el coraçón.     he opens up his heart to me. 
Por ser de la Trinidad    Being one of the Trinity 
vino por la redempçión.     he came down for our redemption. 
Metióse en Santa María,     He entered unto Holy Mary 
ya dado en San Salvador.    and so became our Holy Savior. 
"Tres a tres y una a una,     ‘Three by three and one by one, 
¡vaya, vaya de xácara, pues!"    on to the xácara, then!’

Metióse en cuna de nieve,    He settled into a snowy cradle, 
que no es nuevo en su afiçión   for there is nothing new, given his love, 
dexarse llevar del agua    in the spirit of God 
el espíritu de Dios.     being borne along by water. 
Al soberano Cupido     The sovereign Cupid was wounded 
desde que naçe le hirió     by the arrow from the moment of birth, 
la flecha, que en el desnudo   for a dart wounds flesh 
hiere más presto el harpón.    more readily when naked. 
A matar vi-vino a la muerte,    He came to slay death, 
picado de que el amor     spurred on by love’s 
le dió una herida mortal,     having dealt him a mortal blow, 
y fue porque le encarnó.     and ’twas because he was incarnated. 
Que no se caiga el portal     That the gates [of Bethlehem] did not fall down 
es un milagro de Dios.    is one of God’s miracles. 
Bien puede el Jayán haçer    Well may the Giant remark 
cuenta que ha naçido hoy.    that today he has been born. 
" Tres a tres y una a una,     ‘Three by three and one by one, 
¡vaya, vaya de xácara, pues! "   on to the xácara, then!’

Se anda perdonando vidas,    He goes about forgiving our lives, 
muy preçiado de león,     prized greatly as a lion, 
 
y le suele haçer llorar    yet tears are brought to his eyes 
el más pobre pecador.    by the poorest sinner. 
El naçer en la campaña    His birth on the battlefield 
es prueba de su valor,     is proof of his valor, 
y esperarle cuerpo a cuerpo   and to encounter him hand to hand 
es cosa de confesión.     is a matter for the confessional. 
El sangriento açero esgrime   Like Herod he wields a bloody blade, 
Herodes, que en su región    seeking, in the name of the Lord, 
contener mala conçiencia    to suppress evil thinking 
deseaba ver de Dios.     within his kingdom on earth. 
¡Bien haya la xacarilla     Hurrah for our little xácara 
y el padre que la engendró,    and for the father who begot it, 
y a las que también la cantan    and as for those who sing it, 
buenas Pascuas las dé Dios!    may God grant them a happy Christmas! 
" Tres a tres y una a una,‘    Three by three and one by one, 
¡vaya, vaya de xácara, pues! "    on to the xácara, then!’ 

Gloria in excelsis Deo:     Glory be to God on high:

Et in terra pax hominibus    And in earth peace,

bonae voluntatis.    goodwill towards all people.

Laudamus te, benedicimus te,    We praise thee, we bless thee,

adoramus te, glorificamus te,    we worship thee, we glorify thee,

gratias agimus tibi propter   we give thanks to thee

magnam gloriam tuam.     for thy great glory. 

Domine Deus Rex caelestis    O Lord God, heavenly King,

Deus Pater omnipotens,     God the Father almighty,

Domine Fili unigenite     O Lord the only-begotten Son

Iesu Christe.      Jesus Christ,

Domine Deus, Agnus Dei   O Lord God, Lamb of God,

Filius Patris     Son of the Father 

Qui tollis peccata mundi     That takest away the sins of the world

miserere nobis,      have mercy upon us.

qui tollis peccata mundi     Thou that takest away the sins of the world,

suscipe deprecationem nostram,    receive our prayer.

qui sedes ad dexteram Patris    Thou that sittest at the right hand of God the Father

miserere nobis.      have mercy upon us.

Quoniam tu solus sanctus,    For thou only art holy,

tu solus Dominus,     thou only art the Lord,

tu solus altissimus, Iesu Christe   thou only O Christ, art most high

miserere nobis     have mercy upon us

cum sancto spiritu     with the Holy Ghost

in gloria Dei Patris. Amen.   in the glory of God the Father. Amen. 
 

Hermoso amor que forxas    Beauteous love, you who forge

tus flechas de las paxas     your darts from straw,

temblando a mis rigores     trembling at my harshness,

ardiendote a tus ancias.     burning in your longing 

De que suerte zeñido     In what manner will you, held fast,

Podras vibrar las jaras     be able to let fly your arrows

si te apriçiona el yelo     if ice holds you prisoner and

y te nieua la escarcha     the frost snows upon you? 

Si no es que dan tus ojos    If not that your eyes send forth

Rayos que soles fraguan     beams that forge suns

quando te ven qual niño     when they see such a child as you

con las manos faxadas     with assaulted hands 

Mas ay que disparas     But oh you let fly

suspiros ardientes     ardent sights

que el pecho me abrasan     that burn my breast

Y con lagrimas tiernas     and with tender tears

Rindes las almas     you give back souls. 

Yngenioso artificio     Your clever device,

tuuo tu idea rara     your rare idea,

en humanas finezas     to redeem misfortunes

Por Redimir desgracias     through kind human acts. 
 

Risueña la aurora con claro arrebol   Smiling, the dawn with a clear red glow

Da señas festivas de un divino Sol.   Gives festive signs of a divine Sun. 

Rendidos aplausos los astros le den   Let the stars greet him with devoted applause

y a la Reina Aurora saluden tambien.   and hail the Queen of Dawn as well. 

La Aurora es María que ha parido hoy   The Dawn is Mary, who has given birth today;

al Sol de justicia a adorarle voy.    I am going to adore the Sun of Justice. 

Angelitos bellos cantad, pues cantad   Let beautiful cherubs softly sing

el Gloria in excelsis Deo consuavidad.   the Gloria in excelsis Deo. 

Los hombres devotos adoran y ven   Devout men adore him and see

que les ha venido el más rico bien.   that the finest gift has come to them. 

Repitan las aves movidas de amor   Repeat Mary’s praises inspired by love,

el ave María con dulce primor.    the “Ave Maria” with sweetness and grace.

A siolo flasiquiyo    ‘Ah, Mr. Francisco!’

¿que manda siol Thome?    ‘At your command, Mr. Tomás!’

¿tenemo tura trumenta     ‘Do we have all the instruments

templarita cum cunsielta?    tuned up together?’

Si siolo ven pote     ‘Yes sir, you could well

auisa bosa mise,      tell your lady

que sa lo moleno ya,    That the dark-skinned folk are about to appear,

cayendo de pularrisa     falling about with laughter

y muliendo pol bayla     and dying to start dancing.’

llamalo llamalo aplisa     ‘Call them out right away,

que a veniro lo branco ya,    for the White One has come now

y lo niño aspelandosa,    - the resplendent Child -

y se aleglala, ha ha ha ha,    and he will rejoice, ha ha ha ha!,

con lo zambamba, ha ha ha ha,    with the zambomba [friction drum], ha ha ha ha!,

con lo guacambe con lo cascave    with guacambe-dancing and bell-ringing.’

Si siñolo Thome     ‘Yes, Mr. Tomás,

repicamo lo rrabe     we’ll strum the rebec

ya la panderetiyo Anton     and Antón jingling the tambourine,

baylalemo lo neglo al son.    all we black people will dance to their sounds.’ 

Responsion:

Tumbucutu cutu cutu    Toomboocootoo…

y toquemo pasito querito    and let’s play gently, softly,

no pantemo a lo niño sesu.    lest we disturb baby Jesus. 

Turu neglo de Guinea     All of us, blacks from Guinea,

que venimo combirara     have come and we’ll invite

A detla e su criara,     Andrea and her maid,

munglave con su liblea     and Mongrave in his livery.

y pluque lo branco vea     And so that the White One may see

quere branco nos selvimo    we love white, we’ll dress

con vayal de un tamo plimo    in fine, fleecy white cotton

y haleme a lo niño bu.     and give the babe a bit of a scare. 

De merico y silujano     Let Miguel dress up quickly

se vista Mi[n]guel aplisa     as a doctor-surgeon,

pues nos culase su clisa     so the knife in his hand

las helilas con su mano     may heal our wounds.

bayle el canario y viyano     Dance the canario and the villano,

mas no pase pol deltas    but don’t step behind

de mula que da lasas     a mule that kicks out,

de toro que dira mu.     nor a bull that goes moo. 

Antoniyo con su sayo     Antonio, wearing the smock

que tluxo re pueltorrico     he brought from Puerto Rico,

Saldra vestiro re mico     will come out dressed as a monkey,

y Miguel de papangayo     and Miguel as a parrot.

Y quando yegue adorayo    And when he goes up to adore

al niño le dira asi t    he babe he’ll say to him:

si tu yo lamo pol mi    ‘if you cry for me,

yo me aleglamo pol tu.     I’ll be made happy by you.’ 
 

Al dormir el sol, en la cuna del alva con arrullos  When the sun sleeps in the cradle of dawn,

con halagos con olores le mezen le aplauden  with cooing, soothing words and sweet scents

le cantan los Angeles puros los zefiros gratos  do the pure Angels, the pleasant breezes,

las fertiles flores las liquidas fuentes   the plentiful flowers, liquid fountains,

las rapidas aves las debiles auras.    the swift birds, the airy currents rock Him,

Y todos humildes dizen aIuna voz   praise Him, and sing to Him in humbled unison:

roro rororo dormid, dormid niño Dios.    roro rororo, sleep, sleep Divine Child. 

Los Angeles puros con dulze canzion   The pure Angels with dulcet strains

la cuna le mezen al dormido amor.   gently rock Love asleep in his cradle.

No le disperteis, no, no pues su amante voz  Hush! Wake him not, no; and the

el aire repite con leve rumor    sweet-voiced breeze reports in hushed tone:

roro rororo dormid, dormid niño Dios.   roro, rororo, sleep, sleep, Divine Child. 

Los zefiros gratos con huella    The agreeable zephyrs do nimbly trip

veloz moviendo las plantas no pisan la flor.  amidst grasses without treading the bloom.

No le disperteis, no, no pues su acorde union  Hush! Wake him not, no; and their harmonious

se inflama y entona con tierno fabor   congress with passion and tender sentiment intone:

roro rororo dormid, dormid niño Dios.     roro, rororo, sleep, sleep, Divine Child. 

Las fertiles flores con salvas de olor   The bountiful blossoms exhale volleys of

perfumes exalan en suave prision.   perfume from petaled prison.

No le disperteis, no, no pues su inspiracion  Hush! Wake him not, no; their aromatic

el catre le mullen cantando una voz.   breathiness fluffs up his crib, and sings with one voice:

roro rororo dormid, dormid niño Dios.   roro, rororo, sleep, sleep, Divine Child.

¡Hombres, victoria, victoria!    Victory, men! 
que contra todo el infierno    The crying of a tender child 
el llorar de un niño tierno asegura   assures our glory against all of Hell.

nuestra gloria. 
 
El sobresalto y la guerra nasçió de nuestra  Terror and war were born of our fall

ayda y agora Dios nos combida    and God prophesies to us 
con gloria y paz en la tierra.   glory and peace on earth. 
 
Vida y alegre Victoria    Life and joyous victory 
nos da apesar del infierno,    He gives us in spite of Hell. 
el llorar de un niño.     The crying of a tender child. 
 

Tarara tarara qui yo soy Anton   Tada, tada, I am Anthony,

ninglito li nacimiento    black by birth,

qui lo canto lo mas y mijo    and I sing loud and clear. 

Yo soy Anton molinela     I am Anthony the Moor

y ese niño qui nacio     and the newborn child,

hijo es li unos lablalola     son of working folk,

li tula mi estimacion.     has all my esteem. 

Pul eso mi sonajiya     And thus with my rattle,

cascabela y atambo     my bells, and my tambourine,

voy a bayla yo a Belena,     I shall go to Bethlehem

pultilica y camalon     to dance the Puerto Rico and the Cameroun. 

Milalo quantu pastola     Just look at all those shepherds

buscando a la niño Dios,    searching for the God-child,

van curriendo a las pultale    they run to the stable

pala daye la adolacion.     to offer their adoration. 

La sagala chilubina     The youthful cherubs,

vistila li risplandor,     splendidly attired,

las conta sus viyancica,     sing out their carols

gluria cun compas y son.     with good rhythm and fine sounds. 
 

Ay ay galeguiños, ay ay que lo veyo   Oh, Galician folk, Oh, I see him,

mas ay que lo miro     Oh, I look at him,

ay que lo veyo en un pesebriño     Oh, I see him in a manger.

Ay ay o filo de Deus, ay ay que a la terra vino  Oh, the Son of God, Oh, He came to earth,

ay ay que lo veyo, mas ay que lo miro   Oh, I see him, Oh, I look at him,

ay que lo veyo en un portaliño   Oh, I see him in his little cradle. 

Ay soen gantiñas [gaitiñas]e dai mil boltiñas  O let the bagpipes sound

ay tocai las flautiñas     and the pipes play

tambem los pandeiros     as well as the tambourines,

ay ay que face pucheros     for he smiles

por mis amoriños.     as I cuddle him. 
 

Convidando está  la noche    Night-time was an invitation

aquí de músicas varias     for various bands

Al recién nacido infante     to sing tender, joyful hymns

canten tiernas alabanzas     to the new-born babe. 

¡Ay, que me abraso, ay! divino dueño, ay!  Ah, how I burn, divine master,

en la hermosura, ay! de tus ojuelos, ¡ay!   in the beauty of your little eyes!

¡Ay, cómo llueven, ay! ciento luceros, ay!  Ah, how a hundred stars pour down

rayos de gloria, ay! rayos de fuego, ¡ay!   rays of glory, rays of fire!

¡Ay, que la gloria, ay! del portaliño, ay!   Ah, how the glory of the little gate [of Bethlehem]

ya viste rayos, ay! si arroja hielos, ¡ay!   is bathed in sunlight even as it shoots out icy shafts!

¡Ay, que su madre, ay! como en su espero, ay!  Ah, how his mother, as if in hope,

mira en su lucencia, ay! sus crecimientos, ¡ay!  watches him grow in the light he creates! 

Alegres cuando festivas     Whereupon some lovely, festive girls

unas hermosas zagales     intoned novel

Con novedad entonaron     comic interludes as

juguetes por la guaracha.     the guaracha was being danced. 

¡En la guaracha, ay! le festinemos, ay!   Let us toast the child with our guaracha

mientras el niño, ay! se rinde al sueño, ¡ay!  while he goes to sleep!

¡Toquen y bailen, ay! porque tenemos, ay!   Let them play and dance, because we have

fuego en la nieve, ay! nieve en el fuego, ¡ay!  fire in the snow, snow in the fire!

¡Pero el chicote, ay! a un mismo tiempo, ay!  But the little fellow at one and the same time

llora y se ríe, ay! qué dos extremos, ¡ay!   cries and laughs, what two extremes!

¡Paz a los hombres, ay! dan de los cielos, ay!  Peace from heaven to all men is given;

a Dios las gracias, ay! porque callemos, ¡ay!  et all give thanks to God, that we now may be silent!  
 

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Houston Early Music presenting the world’s finest period ensembles and soloists … bringing to life music from the Middle Ages through the Renaissance to the Baroque and Classical periods. Experience with us early music played on original instruments, by musicians reviving performances of the past.

In this Newsletter: Next concert: Rose Ensemble, Sunday, Dec. 13, 2009, 5:00 p.m. Concert reminders via email only Purchase tickets for remainder of season online

Next Concert: Sun., Dec. 13, 2009, 5:00PM THE ROSE ENSEMBLE Celebremos el Niño – A Mexican Baroque Christmas Christ Church Cathedral 1117 Texas Ave. Pre-concert talk at 4:15PM Ample free parking is available in the Cathedral Parking Garage across San Jacinto Street (northbound) opposite the Cathedral. Houston Early Music presents The Rose Ensemble in Celebremos el Niño – A Mexican Baroque Christmas on Sunday, December 13 at 5:00 p.m., at Christ Church Cathedral as part an annual tradition, the Hispanic Heritage Series. The internationally known group brings a rare collection of early Mexican music, featuring over two centuries of festive Christmas dances, ballads and villancicos from the great cathedrals of Puebla and Mexico City. “This is remarkable music that is not heard that often,” says Nancy Ellis, artistic director of Houston Early Music. “We are delighted to bring The Rose Ensemble to Houston for the very first time.” Founded in 1996 by artistic director Jordan Sramek, The Rose Ensemble is a recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and a first-place winner in the sacred music category at the 2007 Tolosa International Choral Competition. The group specializes in bringing to audiences a repertoire that spans over 1,000 years in more than 25 languages. In addition, they are well-known for their research in Hawaiian, Swedish, Middle Eastern and American vocal traditions. “Why do what everyone else is doing?” asks Sramek. “We aim to explore the lesser-known areas of early music.” In addition to being known for their rich research, the Minneapolis-based group is also famous for its energetic performances. “We can be simultaneously scholarly and entertaining,” quips Sramek. “And we have had the good fortune to work with some of the best musicologists of our time who have created wonderful transcriptions for us.” Celebremos el Niño – A Mexican Baroque Christmas provides a perfect example of the kind of far reaching programming that characterizes the Ensemble’s approach. “On a historical level, things can get really exciting. These composers saw Mexico as an open playing field. With fewer restrictions from the Catholic church, we see more compositional experimentation. We see the use of native dance rhythms in the liturgy to entice people to come to church. Seventeenth-century street and dance music became fashionable, even in high mass, during the Mexican Baroque era. Spanish composers used the vivid rhythms and energy of the xácara to drive forward the plots of operas and to introduce theatrical excitement into church music,” says Sramek. “Villancicos even depict the song and dance of African slaves in the Spanish colonies.” The group of ten singers and three instrumentalists tour nationally and internationally. “We are excited to bring this joyous program to Texas,” says Sramek. “We are always delighted to perform in a city such as Houston that has such a substantial early music scene.” Artistic director Jordan Sramek will present a pre-concert talk at 4:15 p.m. Tickets Tickets may be purchased through our new online ticket service. Click to Purchase Tickets Online Prices at the door are $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

NOTE NOTE NOTE This season we will send our concert reminders via email only. We will not be mailing postcards. Please be sure your current email address is on our list. Click to subscribe to our email list If you have friends interested in our programs, please be sure they also know of this change and ask them to join the list. If you don’t use email, please let us know by phone 713-432-1744 or mail at Houston Early Music, P.O. Box 271193, Houston, TX 77277-1193. We will accommodate your needs.

Houston Early Music Online Ticket Service Houston Early Music is pleased to announce that you can now purchase tickets to our performances online, using major credit cards. Click to purchase tickets to future concerts

Contact Houston Early Music P.O. Box 271193 Houston TX 77277-1193 Phone 713-432-1744 email info@HoustonEarlyMusic.org Web http://www.HoustonEarlyMusic.org

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance, the Texas Commission on the Arts, and the National Endowment for the Arts.

Please make sure that info@HoustonEarlyMusic.org is registered in your contacts list or with your spam filter to ensure that delivery will not be blocked. If you wish to modify or cancel your email subscription, please see the links at the bottom of this email. For new subscriptions visit http://www.houstonearlymusic.org/lists/

HOUSTON EARLY MUSIC
P. O. Box 271193
Houston, TX 77277-1193

HoustonEarlyMusic.org

Media contact:

Susan Love Fitts, 936-597-8825

susanlovefitts@consolidated.net

Celebrate the Holidays in Mexican Baroque style with The Rose Ensemble

Houston Early Music’s Hispanic Heritage Series spotlights early music of the Americas

HOUSTON, TX— November 5, 2009 – Houston Early Music presents The Rose Ensemble in Celebremos el Niño – A Mexican Baroque Christmas on Sunday, December 13 at 5:00 p.m., at Christ Church Cathedral as part an annual tradition, the Hispanic Heritage Series. The internationally known group brings a rare collection of early Mexican music, featuring over two centuries of festive Christmas dances, ballads and villancicos from the great cathedrals of Puebla and Mexico City. “This is remarkable music that is not heard that often,” says Nancy Ellis, artistic director of Houston Early Music. “We are delighted to bring The Rose Ensemble to Houston for the very first time.”

Founded in 1996 by artistic director Jordan Sramek, The Rose Ensemble is a recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and a first-place winner in the sacred music category at the 2007 Tolosa International Choral Competition. The group specializes in bringing to audiences a repertoire that spans over 1,000 years in more than 25 languages. In addition, they are well-known for their research in Hawaiian, Swedish, Middle Eastern and American vocal traditions. “Why do what everyone else is doing?” asks Sramek. “We aim to explore the lesser-known areas of early music.” In addition to being known for their rich research, the Minneapolis-based group is also famous for its energetic performances. “We can be simultaneously scholarly and entertaining,” quips Sramek. “And we have had the good fortune to work with some of the best musicologists of our time who have created wonderful transcriptions for us.”

Celebremos el Niño – A Mexican Baroque Christmas provides a perfect example of the kind of far reaching programming that characterizes the Ensemble’s approach. “On a historical level, things can get really exciting. These composers saw Mexico as an open playing field. With fewer restrictions from the Catholic church, we see more compositional experimentation. We see the use of native dance rhythms in the liturgy to entice people to come to church. Seventeenth-century street and dance music became fashionable, even in high mass, during the Mexican Baroque era. Spanish composers used the vivid rhythms and energy of the xácara to drive forward the plots of operas and to introduce theatrical excitement into church music,” says Sramek. “Villancicos even depict the song and dance of African slaves in the Spanish colonies.”

The group of ten singers and three instrumentalists tour nationally and internationally. “We are excited to bring this joyous program to Texas,” says Sramek. “We are always delighted to perform in a city such as Houston that has such a substantial early music scene.”

What: Houston Early Music Presents The Rose Ensemble in Celebremos el Niño – A Mexican Baroque Christmas

When: Sunday, Dec. 13, 2009, 5:00 p.m. Artistic director Jordan Sramek will present a pre-concert talk at 4:15 p.m.

Venue

Christ Church Cathedral

1117 Texas Avenue

Houston, TX 77002

Parking: The Cathedral Garage can be accessed from San Jacinto (northbound).

Tickets

Prices at the door are $35 for general admission, $30 for seniors, and $10 for students (with student ID.) Free admission for children under 15.

For season subscription information and to learn more about Houston Early Music, visit www.HoustonEarlyMusic.org, e-mail info@HoustonEarlyMusic.org or call 713-432-1744.

ABOUT HOUSTON EARLY MUSIC

One of the nation’s oldest early music organizations, and as the city’s only presenting organization dedicated to covering the large historical span of early music in all of its forms, Houston Early Music epitomizes a movement that has swept the world of classical music. Officially incorporated in 1969, the nonprofit provides performance opportunities for up-and-coming and major early music artists from around the world in an annual concert series. A successful and growing educational outreach program introduces a future generation to a broad range of music. Houston Early Music is funded in part by grants from the City of Houston through Houston Arts Alliance and by Texas Commission on the Arts and The National Endowment for the Arts.

ABOUT THE HISPANIC HERITAGE SERIES

Recognizing the importance early Hispanic music has played in the heritage of the Southwest, Houston Early Music developed the Hispanic Heritage Series ten years ago to highlight the cultural achievements of the Americas during the 16^th – 18^th centuries. The organization’s leadership saw this as an opportunity to present what is truly the early music of this region, and these culturally rich programs quickly became an annual tradition on the Houston Early Music series.Media contact:

Susan Love Fitts, 936-597-8825

susanlovefitts@consolidated.net