Playing with Fire Program by Peter Eramo

FOLGER CONSORT 2015/16 season of early music

PLAYING WITH FIRE Virtuoso Instrumental Music of the Renaissance MARCH 18-20

FOLGER SHAKESPEARE LIBRARY Michael Witmore, Director SENIOR DIRECTORS Daniel De Simone, Eric Weinmann Librarian Melody Fetske, Director of Finance and Administration Janet Alexander Griffin, Director of Public Programs Eric M. Johnson, Director of Digital Access Kathleen Lynch, Executive Director, Folger Institute Essence Newhoff, Director of Development Peggy Oâ&#x20AC;&#x2122;Brien, Director of Education DIVISION OF PUBLIC PROGRAMS Janet Alexander Griffin, Director of Public Programs/Artistic Producer Beth Emelson, Assistant Artistic Producer Emily Tartanella, Public Programs Assistant Maegan Clearwood, Public Programs Assistant Charles Flye, Production Manager Rebekah Sheffer, Assistant Technical Director Brandon Roe, Sound Engineer FOLGER CONSORT Jennifer Bowman, Manager PUBLIC RELATIONS/MARKETING Garland Scott, Head of External Affairs Peter Eramo, Events Publicity and Marketing Manager Esther French, Communications Associate Jane Pisano, Publications Consultant

BOARD OF GOVERNORS Louis R. Cohen, Chair Susan Sachs Goldman, Vice-Chair Roger Millay, Vice-Chair D. Jarrett Arp Simon Russell Beale The Lord Browne of Madingley Rebecca Bushnell Vinton Cerf Philip Deutch Peter Edwards Wyatt R. Haskell Deneen C. Howell Maxine Isaacs Edward R. Leahy May Liang Carol L. Ludwig Ken Ludwig Louisa Newlin Andrew J. Nussbaum Andrew Oliver Gail Kern Paster Stuart Rose Loren Rothschild James Shapiro Laura J. Yerkovich Ex Officio Michael Witmore

SPECIAL TO FOLGER CONSORT Robert Aubry Davis, Host, Pre-Concert Discussions Krohn Design, Graphic Design Barbara Shaw, Typesetting DOCENTS AND VOLUNTEERS are vitally important to our success. Heartfelt thanks to these generous donors of time and talent.

These concerts are presented in conjunction with the exhibition

Shakespeare, Life of an Icon, on display at the Folger Shakespeare Library January 20 through March 27.

THESE PERFORMANCES ARE GENEROUSLY SPONSORED BY ANDREA KASARSKY

FOLGER CONSORT Robert Eisenstein Christopher Kendall Artistic Directors

PLAYING WITH FIRE with David Douglass, Daniel Meyers, Mark Rimple, and Mary Springfels La Shymyze; La Doune Cella; La Bounette arranged by Thomas Mulliner Browning Elway Bevin Daphne anon. consort arrangement; Jacob van Eyck Sellinger’s Round, or The Beginning of the World printed by John Playford Passemezzo Antico La Spagna Fantasia Sexta La Spagna Recercada Segunda

The players; Diego Ortiz anon. Cancionero de Palaçio Francesco da Milano; Joanne Matelart Johannes Ghiselin Ortiz

La Disperata; La Gamba Divisions on Fraise et galliard Pass’e mezzo antico; Saltarello Tedescha Schiarazula Marazula

Vincenzo Ruffo Giovanni Bassano Giorgio Mainerio Mainerio Mainerio

INTERMISSION

Two Bransles Jacque Moderne Pavane Lesquercarde; La Rocque Galliard printed by Pierre Phalèse Pavan d’Espagne and divisions Michael Praetorius; Johann Schop Philov; Courant; Volte Praetorius O Mistresse Mine La Volta Christes Crosse Echo Alman Bonny Sweet Robin Stingo or The Oil of Barley Newcastle Moll Peatly Nonesuch Half Hannikin

Thomas Morley Morley Morley Francis Pilkington Thomas Simpson printed by Playford Playford Playford Playford Playford

Please hold applause until the end of sets, and turn off cellular phones and electronic devices. Please refrain from the use of photography or any type of recording device during these performances.

FOLGER CONSORT

Engaging Washington-area audiences since 1977, Folger Consort is the early music ensemble-in-residence at the Folger Shakespeare Library. Founding Artistic Directors Robert Eisenstein and Christopher Kendall create programs that offer opportunities to discover and enjoy music from the Medieval, Renaissance, and Baroque periods. Whether presenting concerts in the ensemble’s intimate home, the Folger’s Elizabethan-styled theater, or the splendid reaches of Washington National Cathedral, the Folger Consort continues its tradition of bringing internationally noted guest artists to Washington, DC to join in its “early music chamber society.” Beyond its concert series, Folger Consort strives to deepen audiences’ understanding and appreciation of early music through seminars, discussions, recordings, radio programs, and unique collaborations with other programs of the Folger Shakespeare Library. Folger Consort has received five awards for Best Classical Chamber Ensemble by the Washington Area Music Awards. For more information, visit folger.edu/consort. Robert Eisenstein—bass viol—is a founding member and program director of the Folger Consort. In addition to his work with the Consort, he is the director of the Five College Early Music Program in Massachusetts, where he teaches music history, performs regularly on viola da gamba, violin, and medieval fiddle, and coordinates and directs student performances of medieval, Renaissance, and Baroque music. He is an active participant in Five College Medieval Studies and served as Music Director for the Five College Opera Project production of Francesca Caccini’s La Liberazione di Ruggiero. He has a particular interest in the use of computer technology in the service of music and enjoys teaching at Mount Holyoke College a course called Fun with Music and Technology. Mr. Eisenstein is the recipient of Early Music America's Thomas Binkley Award for outstanding achievement in performance and scholarship by the director of a college early music ensemble. Christopher Kendall—lute—is founder of the Folger Consort. He served from 2005-2015 as dean of the University of Michigan School of Music, Theatre & Dance, where he was responsible for establishing the University of Michigan Gershwin Initiative, for re-instituting international touring, for the funding and design of a $30M expansion/renovation of the music building, and for launching the interdisciplinary enterprise ArtsEngine and its national initiative a2ru (Alliance for the Arts at Research Universities). In Washington, DC, in addition to his work with Folger Consort, since 1975 he has been Artistic Director and conductor of the 21st Century Consort, new music ensemble-in-residence at the Smithsonian Institution. Mr. Kendall 4

served as Director of the University of Maryland School of Music from 1996 to 2005, and was Director of the Music Division and Tanglewood Institute of the Boston University School for the Arts from 1993 to 1996. Associate Conductor of the Seattle Symphony from 1987 to 1992, Mr. Kendall has guest conducted many orchestras and ensembles in repertoire from the 18th to the 21st centuries. His recordings can be heard on the Arabesque, ASV, Bard, Bridge, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

GUEST ARTISTS David Douglass—violin—has been a leading figure in the world of early music performance for more than 30 years. He is founder of The King’s Noyse, a Renaissance violin band. As director of The King’s Noyse, and through his recreation of the improvisational repertory of the early violin band, he has received praise for his “enterprise and imagination” (Stereophile). In 2007, Mr. Douglass was named Musician-in–Residence at the Newberry Library in Chicago and director of the Newberry Consort. Since that time he has carried on the Consort’s legacy of groundbreaking performances. Mr. Douglass is much in demand as a writer and lecturer on early violin history, technique, and repertoire. His chapters on the violin are published in Schirmer’s Performer’s Guides to Early Music, and his essays on the early violin can be found in Strings magazine. Mr. Douglass has recorded extensively for harmonia mundi usa, Deutsche Harmonia Mundi, Virgin, Erato, BMG, Berlin Classics, and Auvidis/Astrée labels. Daniel Meyers—recorder, flute, trombone, bagpipes, percussion—holds an MM in Early Music Performance from the Longy School of Music, where he studied recorder with Sonja Lindblad and Renaissance winds with Dan Stillman, and a BA degree in music and English literature from Whitman College, where he studied modern trombone with David Glenn. He spent two seasons as a musician with the Utah Shakespeare Festival and has been a performer at several early music venues in the UK and Ireland, where he received a Watson Fellowship for ethnomusicology studies. He performs regularly with the Boston-based 7 Hills Renaissance Wind Band, is a founding member of the English consort Seven Times Salt, and has performed with the Boston Shawm and Sackbut Ensemble, Schola Cantorum of Boston, and the Cambridge Revels. He also performs Irish traditional music on uilleann pipes, whistle, and flute; his piping was recently featured on the soundtrack of the award-winning documentary film Rooters: The Birth of Red Sox Nation. Mark Rimple—lute, tenor viol—is a founding member of TREFOIL and musical director of the Musica Humana Vocal Consort. He is a regular guest artist with the Newberry Consort and the Folger Consort and has appeared with Piffaro, the Renaissance Band, The King’s Noyse, Ex Umbris (at the Clinton White House), New York’s Ensemble for Early Music, Mélomanie, Pomerium, Network for New Music, Cygnus Ensemble, and the GEMS production of The Play of Daniel. He is a composer whose works incorporate early instruments and techniques; a Philadelphia-area critic dubbed one of his choral works “nothing short of a masterpiece” and another said of the same that he “captivates with an obvious and complete understanding of early music structures.” He is currently at work on a solo composition CD, January: Songs and Chamber Music of Mark Rimple, which

includes works for archlute, countertenor, viola da gamba, and harpsichord. His writings on the history of music theory have focused largely on the influence of Boethius on 14th to 17th century composers. Dr. Rimple is Professor of Music Theory and Composition at West Chester University of Pennsylvania. Mary Springfels—bass viol—is the founder and former director of the Newberry Consort. A veteran of the early music movement in America, she has performed and recorded extensively with such ensembles as the New York Pro Musica, the Waverly Consort, Concert Royal, Sequentia, Philharmonia Baroque Orchestra, the Seattle Baroque Orchestra, Music of the Baroque, Musica Sacra, the Marlborough Festival, the New York City Opera, and Chicago Opera Theater, where she served as an artistic advisor. She is much in demand as a teacher and player in summer festivals throughout the US, among them the San Francisco and Amherst early music festivals, the Conclave of the Viola da Gamba Society of America, the Pinewoods Early Music Week, and the Texas Toot. She has recently performed with the Sonoma Bach Festival, the Arizona Bach Festival, the Dallas Bach Festival, and Ars Lyrica of Houston.

NOTES Renaissance instrumental music is some of our favorite repertory to perform. Over the years when we have presented programs of this music (as well as the Playing With Fire recording), we have had a terrible time choosing repertory; everyone involved had wish lists of styles and specific pieces, and it was very difficult limiting ourselves to programs of reasonable duration. We had the same problem this time around. It is not surprising that such material would be popular with players, of course. Renaissance instrumental music simply is fun to play. There is a large amount of improvisation involved, we choose our own instrumentation, and there is an engaging cheerfulness and lack of pretension about most of this music. These things are part of the attraction of early music in general for many of us; we, as early music performers, for one reason or another, have the opportunity to put a good deal of ourselves into our performances, in ways that players of later repertories really cannot. With the current fashion in early music performance for greater and greater specialization, and narrower and narrower acceptance of what is historically “authentic” in performance practice, it is good to remember these informally enjoyable aspects of our chosen repertory—and to just have some fun. This time around, we include a number of the pieces from the recording, but also the opportunity to include some music we did not have a chance to record or perform during our previous Renaissance instrumental projects. And to remain in harmony with the Folger’s Wonder of Will year, we are including a few tunes mentioned by Shakespeare and a good bit of “groundling” music—tunes that one could have easily been heard in the theater in Shakespeare’s time. We will never know as much about the art of Renaissance instrumentalists as we do about the art of their vocal colleagues. There are many reasons for this. First, the old medieval musical hierarchy continued to hold authority in the Renaissance. The term musices, or musician, is reserved for the theorist, he who speculates on the harmony of God’s spheres and its resonance in the ratios and proportions of earthly music. Next below the theorist is the singer, who glorifies God’s name in song in church, chapel, or cathedral. At the bottom of the ladder is the lowly instrumentalist, whose sole purpose is to 6

provide sounds to be danced to or otherwise enjoyed on this earth. Furthermore, the great musical forms of the Renaissance—the cyclical mass and the great motets—are purely vocal forms. The short dances and miniature instrumental pieces of Renaissance manuscripts and prints do not excite nearly as many modern scholars as do the far grander vocal forms. And finally, much of the excitement of Renaissance instrumental music does not survive in any written form; a large part of the Renaissance player’s art was his skill in improvisation. This emphasis on spontaneity in a musical style is hardly surprising. In most cultures, instrumental music depends on aural tradition and improvisation. Even in our own age of instrumental virtuosi with an established canon of acceptable great printed works, there are schools of playing, such as AfroAmerican music, that depend for their excitement and energy more on improvisation and other means of dissemination than they do musical notation. Our appreciation of these contemporary styles is immediate. Many of us listen to jazz with the familiarity and ease born of growing up and living with the style, and we find it natural to revel in the freedom of a soaring solo over the harmonies of a standard tune that we know well. It must have been the same for listeners in the Renaissance. The trick for modern players interested in recreating a little of the excitement and freedom of Renaissance improvisation is to learn how to achieve familiarity and ease in styles we did not grow up with but consciously set out to study. Fortunately, there are surviving clues. A certain number of surviving pieces, in various Renaissance styles, are obviously modeled on the kinds of things players would improvise, and we can learn a lot from these examples. And by the mid-16th century, players began to address the needs of students with printed manuals and tutors, often centered on the art of diminution or embellishment. These manuals also contain samples for the practice of learners. Because of the importance of improvisation to Renaissance playing, we wished to make it a theme of this program. But it is not the only theme. Much of the surviving Renaissance instrumental music is dance music, and there is plenty of that here as well. We did not wish to forget the little abstract instrumental gems printed in some quantity throughout the 16th century. We will not neglect virtuoso divisions suitable for our instruments— there will be some that were written out in the 16th and 17th centuries, and a couple we have devised ourselves. Finally, we did not wish to neglect the tantalizing glimpses available to us into the traditional and folk tunes of Renaissance culture. These tunes often became models for improvisation and even frameworks for the great structures of cyclical masses. What you will hear this evening is a combination of all these things: improvisation, great compositions, traditional tunes, and dance music, overlapping and combining in many ways. And of course, the clear and distinctive timbres of the instruments themselves—sometimes smoothly blending, sometimes contrasting sharply—are appealing. We hope it is as much fun to listen to as it is to play! We open with a group of English pieces, all based on pre-existing tunes. Thomas Mulliner (fl. 1550) was responsible for preserving the three tunes with which we start. Mulliner’s anthology of keyboard works includes arrangements of these songs, which certainly sound like folk tunes. Just for fun, we have extracted the tunes from their keyboard settings and used a variety of instruments to play them. The tune Browning, also known as The Leaves be Green, was set by several 16th- and early 17th-century English 7

composers. Here we perform it in a wonderfully intricate fantasy by Elway Bevin (ca. 1555-1638). The next two pieces are definitely from the “pop” world of early 17th-century England. Daphne is an unforgettable folk tune; we play it here in an early 17th-century English consort song version we have arranged for our players. We follow that setting with divisions on the tune by Jacob van Eyck (ca. 1590-1657), a recorder player paid by the town of Utrecht to play his tunes from the bell tower for the amusement of passers-by. Sellinger’s Round, or The Beginning of the World, is a country dance mentioned by Shakespeare. Country dances and broadside ballads are inextricably linked. The country dances published during the 17th century in a rapid succession of editions by John Playford (1623-1686) were danced, played, and whistled by country and city people alike, and they were just as popular at court. And tellingly, in Playford’s editions, the melodies are often called by the name of the latest crudely printed broadside ballad sung to the tune. The ballads themselves, on all sorts of topics, were printed without any music for the most part, usually just the instruction to “sing to the tune of….” So it is often difficult to sort it all out! But whatever their origins, borrowings, and re-uses, the dance tunes popular in London in the 17th century are among the most engaging and delightful of all English melodies. We will come back to this “groundling” music at the end of the program; we have chosen a variety of tunes, in styles suitable for well-to-do amateurs, moonlighting court virtuosos, theater pit bands, and vulgar balladeers. The 16th century saw the development in many directions of instrumental styles and virtuosity. As early as the 15th century, musicians would improvise counterpoint around a slow-moving tenor or tune. By the mid16th century, players improvised upon a group of basses, or simple chord progressions. We have decided to focus on one of them, the Passemezzo Antico (there is another bass called the Passemezzo Moderno). We owe a lot of our understanding of the technique and style of these improvisations to Diego Ortiz (ca. 1510-1570), a Spanish viol player working in Rome. He included divisions on the Passemezzo Antico as well as other standard progressions in his Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones published in 1553. This very valuable treatise on extemporaneous playing starts with a veritable cookbook of ways to ornament any interval or cadence. Ortiz then demonstrates, with very well-written examples, how to write or improvise a part over an oldfashioned tenor, how to ornament a madrigal or chanson, and how to make pieces on the standard chord progressions. His examples assume a developed technique on the part of the performer, especially when one considers that the viol was hardly 50 years old when Ortiz published his manual. We will do some of our own improvisations on the Passemezzo Antico in Ortiz’s style, and include one of his examples as well. La Spagna is an older 15th-century tenor used by players as a basis for dance improvisations. We include here one of the earliest written-out settings of the tune from a Spanish source which gives the flavor of what players were capable of making up on the spot. The Fantasia by Francesco da Milano (1497-1543) is an example of one of the main types of instrumental music to develop in the 16th century, known variously as fantasia, recercada, ricercare, and so on. These pieces are not dances, or even dance-inspired in most cases, and so represent the beginnings of a real abstract instrumental style separate from both dance and vocal beginnings. We continue this group with a wonderful, virtuoistic La Spagna by Johannes Ghiselin (fl. 1491-1507), one of the great stars in the constellation of 15th-century singer/composers. Next we return to what is probably Ortiz’s catchiest example of music on a ground bass, on another popular bass progression— in fact, this one is the Passemezzo Moderno. 9

Vincenzo Ruffo (ca. 1508-1587) published his Capricci in Musica in 1564, and it is an unusual collection of instrumental pieces. Ruffo’s general procedure was to take a well-known dance tune or a part from a madrigal or chanson and weave a quasi-improvisatory web of counterpoint around it. Our two examples are great fun to play and highly energetic. La Gamba is another favorite Renaissance bass progression, which later became known as La Folia and remained popular well into the 18th century. Giovanni Bassano (ca. 1561-1617) was a Venetian wind player and composer. He has been identified as the cornetto player in Veronese’s famous painting of the Wedding at Cana. As a “very young man” in 1576, he was appointed one of the six wind players directly under the authority of the doge, the “pifferi dei doge.” He may also have been the “Zanetto” who was a boy chorister at San Marco. He became the head of the instrumental ensemble at the basilica in 1601, and held that post until his death. Like most Renaissance instrumentalists, Bassano’s stock in trade was improvisation, often based on ornamenting the lines of polyphonic compositions. In 1585 he printed an instruction book and examples of embellished pieces, including our selection: Clemens’ popular song Frais et galliard. Although the flashy divisions on Clemens’ song are very much in the Italian mode, the chanson itself is a wonderful example of the best of Parisian chanson in the first half of the 16th century: light, fresh, and lively. Social dancing was a pervasive pursuit in 16th-century Europe, and many dances were popular in most countries, so the dances sprinkled throughout this program are really all cut from the same cloth. From the 1520s to the end of the century, publishers brought forth copious amounts of ensemble dance music. Of course, professional musicians probably had no use for printed collections. They knew how to play in this style, knew the tunes, and were undoubtedly capable of making up their own arrangements. The prints we do have were likely intended for amateurs and contain simple arrangements of standard dances that were certainly performed with much embellishment by the real pros. The collection of dances by Giorgio Mainerio (ca. 1535-1582) is no exception. Most of the dances, including the Pass’e mezzo antico and Saltarello, are types that were current for much of the century and changed little from earlier prints. Mainerio also included a few more outlandish dances like the Schiarazula Marazula in his book, with very simple accompaniments that may point to a more popular origin. The dances performed after intermission from the collections of Jacques Moderne (ca. 1500-1560), an Italian who became a major music publisher in Lyon, and Pierre Phalèse, who lived and published in Antwerp, are also typical. In many cases, the printed scores need to be taken only as frameworks for varied and embellished performance. If one has any familiarity at all with late Renaissance and early Baroque music, it will be with the works of the great theorist and composer Michael Praetorius (1571-1621). This is not surprising; he wrote more than 1,000 works based on Protestant hymns and the Latin liturgy of the Lutheran church. In addition, his collection of dances, Terpsichore, is an invaluable source of information about the French dance music of the time. Syntagma Musicum, a theoretical work of his last years, tells us much about instrumental practice in the early Baroque. With Praetorius’ arrangement of the famous Pavan d’Espagne, we include the divisions for it by German string player Johann Schop, some of the earliest printed music for virtuoso violin. Thomas Morley (ca. 1557-1606) was a pupil of the the great William Byrd. He was a Gentleman of the Chapel Royal, a composer, theorist, writer, and 10

publisher. Morley was one of the most interesting and important musical figures in Elizabethan England, and his music of all sorts has frequently been performed at these concerts. Morley was historically-informed, and his Christes Crosse is certainly in the Renaissance tradition of difficult mensuration puzzles. It comes from his great theoretical treatise, A Plaine and Easie Introduction to Practicall Musicke, which was published in 1597. This book is set in the form of a dialogue between Philomathes, embarrassed by the fact that he cannot hold a part in social singing, and Master Gnorimus, who agrees to instruct Philomathes in the art of singing, descanting, and composition, from the ground up. The whole book is delightfully readable, and it is probably still the best explanation of late Renaissance theory around. Christes Crosse is one of the examples in the book, in this case intended to demonstrate the use of metrical proportions. It certainly does that: just about every possible subdivision of the beat is present here, resulting in 6 against 4, 5 against 3, 7 against 8, and other decidedly difficult rhythms. We include one more lute duo by Morley’s contemporary Francis Pilkington (ca. 1565-1638) here. Pilkington was also a “singing man” who worked at Chester Cathedral for most of his life. The tune Bonny Sweet Robin is mentioned by Ophelia in Hamlet. There are many musical sources, but only two lines of text survive. We perform the wonderful early 17th-century four-part setting by Thomas Simpson (15821628), an English composer who worked in Germany. We can think of no better way to round out the program than returning to the rich and delightful collection of tunes printed by John Playford. —Robert Eisenstein

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