THE FLORIDA STATE UNIVERSITY College of Music presents
FSU
Early Music Ensemble
Emily Eubanks and Rachel Shapiro, Directors with Nathan Davis, Guest Composer
Tuesday, November 5, 2024
5:00 p.m. | Dohnányi Recital Hall
PROGRAM
Stingo, or, Oil of Barley
John Playford from The Dancing Master (1650) (1623–1686)
The greedy Hawk with sudden sight of lure
William Byrd from Songs of sundrie natures (1589) (1540–1623)
Allison Rollins, Madison Drace, Timothy Yu
Madison Roths, and Rachel Shapiro, recorder
Shall I come, sweet love, to thee?
Thomas Campion from Third Book of Ayres (1617) (1567–1629)
Galliarde No. 2
Pierre Attaingnant from Pariser Tanzbook (1530) (c. 1494–1551)
Allison Rollins, Timothy Yu
Rachel Shapiro, and Alejandro Valdivia, recorder
Sanctus
Hans Leo Hassler from Missa Dixit Maria (1599) (1564–1612)
Gloria patri et Filio, Z. 105 (1677–80)
Kylie Painter, soprano; Carter Houston, baritone K. D. Ward, baritone; Logan Williams, baritone
Sam Green, organ
Henry Purcell (1659–1695)
Sonata in G major, QV2 Anh 28
Johann Joachim Quantz I. Andante (1697–1773) IV. Vivace
Rachael Lawson, flute; Steven Stamer, oboe; Turner Sperry, cello Cristian Dirkhising, harpsichord
April is in my mistress’ face
Haley Burgh, soprano; Anielya Wells-Miller, soprano
Jacob Parker, tenor; Logan Kenison, baritone Cristian Dirkhising, harpsichord
Thomas Morley (1557–1602)
Stabat mater dolorosa
Giovanni Battista Pergolesi from Stabat mater (1736) (1710–1736)
Mary-Bradley Knighton, soprano; Kate Bishop, mezzo-soprano
Sam Green, organ
Cujus animam gementem from Stabat Mater
How beautiful are the feet of them
Georg Frideric Handel from Messiah (1685–1759)
Jasmine Merriweather, soprano
Maya Johnson, violin; Cristian Dirkhising, harpsichord
Sonata in C major, Op. 1, No 12
William Corbett
I. Adagio (1680–1748)
II. Largo
IV. Allegro
Jean-Luc Cataquet and Maya Johnson, violin; Wayne Pearcy, trumpet
Cristian Dirkhising, harpsichord
Theatrum Chemicum Floridum
Sarah Eyerly, Adept
Madison Drace, soprano; Ariel Rodriguez, soprano
Rachel Shapiro, soprano recorder; Emily Eubanks, alto recorder
Ana Uribe Law, violin; Maya Johnson, viola; Thu Vo, cello
Adam Ravain, keyboard; Nicholas Montoya, percussion
Guilherme Rodrigues, conductor
Nathan Davis (b. 1980)
NOTES ON THE PROGRAM
Davis: Theatrum Chemicum Floridum
Theatrum Chemicum Floridum (fake Latin for “Chemical Theater of Florida”) is a work of musical alchemy. More specifically, it enacts the psychological transformations that Carl Jung described in Psychology and Alchemy, Mysterium Coniunctionis, and elsewhere as foundational to the practice of alchemy. Jung immersed himself in esoteric knowledge (including of alchemy, tarot, and UFOs) as a means of understanding the psychological processes that he believed to structure human experience. Whether or not you take alchemy (or Jung) at face value, there is something powerful, even transcendent, about a centuries-long intellectual tradition of struggle towards a secret, unknowable truth; and in Jung’s understanding, the struggle was the point.
Theatrum Chemicum Floridum incorporates improvisation, text recitation, theatrical elements, and a hodgepodge of old European styles, including most prominently fugue and chaconne. It is broadly structured in three movements; the colors worn by the performer serving as the alchemical Adept signal when the movements change. The first two colors, black and white, correspond to the first phases of the alchemical Magnum Opus, the Great Work of achieving the philosopher’s stone. But then the Work is itself transmuted into something completely unexpected (except for you, if you’re reading this before the concert): a luscious and vivacious greenness, portrayed by a rhythmically complex setting of Andrew Marvell’s famous poem “The Garden”.
What does it all mean? Mostly, it’s a recognition that our physical and intellectual ancestors were the same confused strivers that we are. Within that, it’s a reflection of and on two intellectual traditions (that are really one tradition): that of the alchemists and that of Jung. And even further within that, it’s my personal and idiosyncratic synthesis of a variety of sources and influences, created for the pleasure of exercising my modest abilities in a new and strange direction. Of course, that’s just the story of art.
Theatrum Chemicum Floridum was composed for the FSU early music ensembles and is dedicated my dear friend Sarah Eyerly, who performs the role of the Adept.
– Nathan Davis
TEXTS AND TRANSLATIONS
“Sanctus”
Sanctus, Sanctus, Sanctus
Dominus Deus Sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.
“Gloria patri et Filio” Z. 105
Gloria patri et filio et sprirtui, spiritui sanctus sicut erat in principio et nunc et sempre et in secula seculorum, Amen
“Stabat mater dolorosa”
Stabat mater dolorosa juxta crucem lacrimosa, dum pendebat filius.
“Cujus animam gementem”
Cujus animam gementem
Contristatam ac dolentem
Pertransivit, pertransivit gladius.
Holy, Holy, Holy
The Lord God is holy The Lord God of Sabaoth. Heaven and earth are fully of your glory. Hosanna in the highest.
Glory to the Father and to the Son and to the Holy Spirit as it was in the beginning is now and ever shall be world without end, Amen.
The grieving mother stood weeping beside the cross, where her son was hanging.
Through her weeping soul compassionate and grieving a sword passed.
Theatrum Chemicum Floridum
SECTION 1.1
Begin in silence.
The Adept (dressed in black) rings their hand bell. At the moment of ringing, each performer (except the Adept and the conductor, if present) begins reciting one of the five ghost stories in Appendix 1.1. These stories may be chosen randomly, or according to each performer’s taste, or according to whatever means the ensemble wishes, and performers should make no attempts at rhythmic coordination. Performers should speak clearly in a manner and character of their choice, and additionally may loudly emphasize occasional colorful or characteristic words or clusters of words, for example:
“In the district around grew the yew trees from which the bows of the English archers at Crecy were cut.”
Each performer may recite the entirety of their story or only part of it, but they must confine themself to a single story. They may recite quickly or slowly, to their taste.
After the Adept rings their bell, they (or the conductor, if present) hold up one finger in a manner that is visible to the performers and that can be physically sustained without strain. The Adept’s (or conductor’s) finger gestures will govern the scale degrees available for improvisation in Section 1.2.
APPENDIX 1.1: Ghost Stories
Story 1 (Kentish Express, 1924):
The spirit of the Black Prince is said to haunt Hall Place, the 14th century mansion at Bexley Heath, where Lady Limerick resides. It is stated that the figure has been seen three times in recent years, always in black armour. Two of its visits were during the war, at periods when the national outlook was particularly grim, and the latest was a few weeks back.
Lady Limerick herself testifies to these ghostly apparitions; and she believes that the Prince is giving warning of impending danger to Britain.
“The last time I saw the ghost” said Lady Limerick, was on a Sunday evening. “The figure was standing by the fireplace in the morning room, and when I went in with a friend it glided away through the window into the garden. On the two previous occasions the ghost appeared in the dusk of evening. Sometimes there have been faint sounds of music, as if very sweet old-fashioned instruments were being played.”
Lady Limerick has declared that the vision did not frighten her, although it startled her for a moment. In a second it had disappeared. She has long resided in the mansion - “and I have said I would die in it,” she added.
It has been suggested that the ghost of the Black Prince has been attracted to the spot because it is associated with his wooing of his cousin Joan, the Fair Maid of Kent. The belief is that his body rested in Hall Place for a night when being taken to Canterbury for burial. Historic links and legends cluster thickly around the house and neighbourhood.
Hall Place is owned by Lady Limerick’s son-in-law, Mr. Cox Brady, an American millionaire, whose desire is that the famous building shall be preserved as a national treasure. In the district around grew the yew trees from which the bows of the English archers at Crecy were cut.
Story 2 (Leeds Mercury, 1812):
The following marvellous narrative, communicated by the Ghost Seers, has produced a good deal of conversation in a part of this county, and may serve to astonish the credulous, amuse the sceptical, and occupy the speculative:
On Sunday evening the 28th ult. between seven and eight o’clock, Anthony Jackson, farmer, aged 45 years, and Martin Turner, the son of William Turner, farmer, aged 15 years, while engaged in inspecting their cattle, grazing on Havarah Park, near Ripley, part of the estate of Sir John Ingleby, Bart. were suddenly surprized by a most extraordinary appearance in the Park. Turner, whose attention was first drawn to this spectacle, said, “Look, Anthony, what a quantity of beast!” - “Beast,” cried Anthony, “Lord bless us! they are not beast, they are men!” By this time the body was in motion, and the spectators discovered that it was an army of soldiers, dressed in a white military uniform, and that in the centre stood a Personage of commanding aspect, clothed in scarlet. After performing a number of evolutions, the body began to march in perfect order to the summit of a hill, passing the spectators at a distance of about 100 yards. No sooner had the first body, which seemed to consist of several hundreds, and extended four deep, over an inclosure of thirty acres, attained the hill, then another assemblage of men, far more numerous than the former, dressed in dark-coloured clothes, arose and marched, without any apparent hostility, after the military spectres; at the top of the hill both the parties formed what the spectators called a L, and passing down the opposite side of the hill, disappeared. At this moment a volume of smoke, apparently like that vomitted by a park of artillery, spread over the plain, and was so impervious, as for nearly two minutes to hide the cattle from the view of Jackson and Turner, who hurried home with all possible expedition, and the effect upon their minds, even at this distance of time, is so strong, that they cannot mention the circumstances without visible emotion.
We have had the curiosity, and an idle curiosity perhaps it was, to collate the accounts of this strange vision, as given by the two spectators, and find them to agree in every part, with these exceptions: - The young man says, that as far as he could mark the progress of time while a scene so novel and alarming was passing before him, he thinks that from the appearance of the first body to the disappearance of the smoke, might be about five minutes; Jackson says it could not be less than a quarter of an hour, and that during all this time they were making to each other such observations as arose out of the spectacle. The junior spectator says he observed amongst the first body, arms glistening in the sun; the senior says it might be so; but that did not strike him, nor can he in thinking of it since, recall any such appearance to his recollection.
On this strange story we shall only observe, that the ground forming the scene of action is perfectly sound, and not likely to emit any of those exhalations which might arise from a swamp - that the narrators are both persons of character - that those who know them best, believe them most, and that they themselves are unquestionably convinced of the truth of their own narrative - that tradition records a scene somewhat similar, exhibited on Stockton Forest, about the breaking out of the present war - and that we shall be glad to receive any satisfactory elucidation of this Phantasmagoria.
Story 3 (London Courier and Evening Gazette, 1804):
Notwithstanding the sad catastrophe occasioned by the Hammersmith Ghost, another apparition has appeared. This nightly wanderer has chosen St. James’s Park for a place of rendezvous, where it has been regularly seen by the soldiers on guard for upwards of a week past, between the hours of one and two o’clock in the morning. A few nights ago, it was observed at a late hour by one of the Coldstream Regiment, whilst on duty, near the Royal Cockpit. The poor fellow is ready to swear he saw pass by him a woman without a head. The more he reflected, the more terrified he became, as he knew all the Park-gates had been fastened for some hours, and therefore could not suppose it to be some one who had got into the Park for the purpose of frightening him. The Soldier is sure it was not a person dressed up in a white sheet, because he could plainly discern the arms; and notwithstanding his great alarm, he observed that the shoulders of the Ghost were the highest parts of it; he therefore concluded, whatever it might be, that it had got no head. This man was considered one of the most resolute men the regiment. He was, however, taken ill immediately on his leaving guard, and the next day sent to the hospital, where he still remains. On Tuesday one of his comrades having heard of the affair, and having to take the same watch that night, was resolved to look out for the Ghost, and to speak to it; accordingly, at the usual time, her Ghostship paid him a visit. She appeared again without a head, and entered the Park from the end of Queen-street, near to the Royal Cockpit. This veteran, who had often braved a cannon-ball, was now panic-struck at a shadow. He described himself to have got a locked jaw, and when he wanted to cry, “Who comes there,” he could not utter a word. Although he was tongue-tied, it does not appear, however, he was leg-tied; for on the Ghost seeming inclined to be better acquainted with him, he quitted his post, and ran with all possible speed to the guardroom, where he had scarce recited the dismal story to the Serjeant, before he fell into strong fits, and continued so ill afterwards, that he was taken to the hospital on Wednesday, where he is now confined to his bed. Another night this headless ghost held its midnight revels in an empty house behind the Armoury Room, and amused itself for some time in opening and shutting the windows; but what is most remarkable of all, the apparition called out as lustily for a light, as if it had got a boatswain’s head upon its shoulders. Having finished its pranks in the empty dwelling, the soldier who was a witness to this novel scene, observed this dreadful spectre to pass by him at the distance of 50 yards, and walked over the park paling as easy as he could step over a straw; it then proceeded towards the Canal, and vanished from his sight. There are several other stories current amongst the Coldstream Regiment respecting the nocturnal gambols of this Ghost, and it is said, that several soldiers, besides those already mentioned, have seen, whilst on duty, what they suppose a supernatural phantom, which has so affected them, that they were taken ill immediately, and sent to the hospital; but, be that as it may, it is an undoubted fact, that two sentinels have been sent there from the effects of fright, whatever may have been the real cause of it.
Story 4 (Peterborough Advertiser, 1900):
The little village of Holme has been thrown into a state of excitement by the reported antics of a mysterious object which has made its presence known in a spinney near the Parish Church. The district of Peterborough became celebrated for ghost stories during the past few years, and it was only a short time ago the district of Deeping St. James was reported to be visited by one of these extraordinary manifestations. The “Ghost” at Holme is said to have been seen by a half-a-dozen persons, whom it has followed through the spinney late at night, and although attempts have been made by more than one to “lay” it, they have been fruitless. Its first appearance was made known when a lady rushed into the house in a fainting condition, and shortly after a man was noiselessly followed for some distance, the “apparition” passing through a clap-gate without moving it. It was afterwards seen by a girl and two other men, whom it started considerably, and then disappeared. The object is black, and one who has seen it declares that it has on its head a tall hat.
The inhabitants of Aberystwyth have been greatly agitated by reports of the doings of a ghost, or a person masquerading as a ghost, on a lonely road in the neighbourhood. Some time ago two or three women were greatly frightened by a mysterious being who danced on the road in front of them, and after performing various acrobatic feats of a startling nature, such as leaping to the top of a fence twelve feet high, suddenly vanished into space. Subsequently the ghost is said to have been seen by several persons, and a day or two ago a young man ran into the town bleeding from the nose and bruised about the face and body. He was quite unable to account for his injuries beyond saying that he felt himself being knocked down and kicked, his assailant being invisible. Since this occurrence the road has been patrolled in the night time by the members of a military drill class. Needless to say, the ghost has not made its appearance during the time the road is thus under military supervision, but has proved as slim as the veritable De Wet, coming on the scene again as soon as the coast is clear.
SECTION 1.2
Performers finish reciting their stories (or parts of stories) with indeterminate timing and order. After reciting their stories, performers begin improvising as described herein. The Adept (or conductor) indicates the scale degrees available for improvisation by holding up sets of fingers, as follows:
1 finger: do
2 fingers: do, fa
3 fingers: do, fa, sol
4 fingers: do, re, fa, sol
5 fingers: do, re, fa, sol, la
6 fingers: do, re, mi, fa, sol, la
7 fingers: do, re, mi, fa, sol, la, ti
Performers may choose a key or keys idiomatic to their instruments or natural for their voices and are free to play or sing as they wish within the general style of early European music; however, they should avoid the material of Section 1.3. Singers may use the recipe in Appendix 1.2 as a text. Percussionists may play as they wish.
In general, the Adept (or conductor) should begin by holding up one finger and end by holding up seven, but the progression between these two states need not be linear, and the Adept (or conductor) may otherwise conduct the ensemble as they see fit. The ensemble should start quietly and end in loud disorder. Before the Adept (or conductor) cuts off the disorder, the keyboardist plays and sustains the chord indicated at the start of Section 1.3, after which the Adept (or conductor) cuts off the remainder of the ensemble, leaving the chord to emerge from the texture.
APPENDIX 1.2: Pear Recipe from Anonymous Late 14th- or Early 15th-Century Tuscan Cookbook
Togli pere fresche e mettile in acqua a mollare; e, gittata quella acqua, polle a bullire in altra acqua con sale et oglio, e poca cipolla a soffriggere con spezie e zaffarano in poca acqua, e poni a cocere: e quando saranno cotte, menestra un poco di spezie in scutelle. E similmente puoi fare in poco di latte d’amandole senza oglio e senza cipolle, ponendo un poco di zuccaro e un poco di sale.
SECTION 1.3
Section 1.3 is notated as a traditional musical score. It presents material referenced and developed later in the work, first as disconnected fragments, then as a simple dance for recorders, then as a three-voice fugue for strings. Towards the end, some of this material is juxtaposed in moments of clashing dissonance.
SECTION 1.4
Section 1.3 ends abruptly with clashing dissonance. After a brief caesura, performers start improvising as described below. The Adept (or conductor) may conduct the ensemble as they see fit, but the improvisation should generally begin loud and confident and end quiet, sparse, and in the lower registers of all instruments and voices.
Recorders: Mostly in G Dorian, mostly on the material of mm. 25-50 of Section 1.3 (though rhythmically ad libitum), either the main tune or its accompaniments.
Percussion: Ad libitum, but irregular in rhythm.
Organ: Ad libitum on the material of Section 1.3, mostly in F major or G Dorian.
Singers: Each singer recites one of the three poems in Appendix 1.4 in a style and at a pace of their choice.
Strings: Mostly in E major, mostly on the fugue subject of Section 1.3 (though rhythmically ad libitum).
After the texture thins, the Adept (or conductor) signals an end to the improvisation, then recites these words of the last of Ezra Pound’s Cantos: “A little light, like a rushlight / to lead back to splendour.” The Adept rings their bell, concluding Section 1.
Here occurs a pause akin to a movement break, during which the Adept dons a garment of white.
In Tenebris
Thomas Hardy
Wintertime nighs;
But my bereavement-pain
It cannot bring again: Twice no one dies.
Flower-petals flee; But, since it once hath been, No more that severing scene Can harrow me.
Birds faint in dread: I shall not lose old strength
In the lone frost’s black length: Strength long since fled!
Leaves freeze to dun;
But friends can not turn cold
This season as of old
For him with none.
Tempests may scath; But love can not make smart
Again this year his heart
Who no heart hath.
Black is night’s cope; But death will not appal
One who, past doubtings all, Waits in unhope.
APPENDIX 1.4: Three Poems
Cuchulain Comforted
William Butler Yeats
A man that had six mortal wounds, a man Violent and famous, strode among the dead; Eyes stared out of the branches and were gone.
Then certain Shrouds that muttered head to head Came and were gone. He leant upon a tree
As though to meditate on wounds and blood.
A Shroud that seemed to have authority Among those bird-like things came, and let fall A bundle of linen. Shrouds by two and three
Came creeping up because the man was still. And thereupon that linen-carrier said: ‘Your life can grow much sweeter if you will
‘Obey our ancient rule and make a shroud; Mainly because of what we only know The rattle of those arms makes us afraid.
‘We thread the needles’ eyes, and all we do All must together do.’ That done, the man Took up the nearest and began to sew.
‘Now must we sing and sing the best we can, But first you must be told our character: Convicted cowards all, by kindred slain
‘Or driven from home and left to die in fear.’ They sang, but had nor human tunes nor words, Though all was done in common as before;
They had changed their throats and had the throats of birds.
Grief
Elizabeth Barrett Browning
I tell you, hopeless grief is passionless; That only men incredulous of despair, Half-taught in anguish, through the midnight air Beat upward to God’s throne in loud access Of shrieking and reproach. Full desertness, In souls as countries, lieth silent-bare Under the blanching, vertical eye-glare Of the absolute heavens. Deep-hearted man, express Grief for thy dead in silence like to death— Most like a monumental statue set In everlasting watch and moveless woe Till itself crumble to the dust beneath.
Touch it; the marble eyelids are not wet: If it could weep, it could arise and go.
2.1
Section 2.1 is notated as a traditional musical score. It is the core of Theatrum Chemicum Floridum and functions in a manner similar to that of the development section of a sonata form: it deepens and complicates ideas already presented more directly and prepares for an arrival at... something. It also contains the work’s most extended and explicit alchemical content, quoting extensively from Theatrum Chemicum Britannicum, a 17th-century compilation of English alchemical literature.
SECTION 2.2
The Adept rings their bell, concluding Section 2.
Here occurs a second pause akin to a movement break. The Adept destroys a garment of red! The Adept then dons a garment of green.
SECTION 3.1
Section 3.1 is notated as a traditional musical score. It is a loose chaconne: a work built on a repeated theme and a set of related harmonic progressions. It is also a setting of Andrew Marvell’s poem “The Garden”, which contains these wond’rous lines:
No white nor red was ever seen So am’rous as this lovely green.
Both white and red were traditional alchemical colors. Green was not. What might it mean for an alchemical Adept to speak these lines?
SECTION
Immediately (in the manner of a downbeat following the last two “greens”), each performer begins reciting one of the three magic spells in Appendix 3.2 in a loud whisper. Performers may choose their spells randomly, or according to their taste, and should not attempt to coordinate with each other after starting. The Adept allows this to proceed as long as they deem appropriate, then rings their bell, concluding the work.
APPENDIX 3.2: Three Magic Spells from the Key of Solomon, as translated by Samuel Liddell MacGregor Mathers
1. HOW TO KNOW WHO HAS COMMITTED A THEFT (do not speak title). Take a Sieve and suspend it by a piece of cord wherewith a man has been hung, which should be fastened round the circumference of the rim. Within the rim write with blood in the four divisions thereof the characters given in Figure 4. After this take a basin of brass perfectly clean which thou shalt fill with water from a fountain, and having pronounced these words: DIES MIES YES-CHET BENE DONE FET DONNIMA METEMAUZ, make the sieve spin round with thy left hand, and at the same time turn with thy right hand the water in the basin in a contrary direction, by stirring it with a twig of green laurel. When the water becometh still and the sieve no longer whirls, gaze fixedly into the water, and thou shalt see the form of him who hath committed the theft; and in order that thou mayest the more easily recognize him, thou shalt mark him in some part of his face with the Magical Sword of Art; for that sign which thou shalt have cut therewith in the water, shall be really found thereafter upon his own person.
2. TO HINDER A SPORTSMAN FROM KILLING ANY GAME (do not speak title). Take a stick of green elder, from the two ends of which thou shalt clean out the pith. In each end place a strip of parchment of hare-skin, having written thereon with the blood of a black hen the following character and word. (See Figure 7.) Having made two of these slips, place one in each end of the stick and close the apertures up with pith, afterwards on a Friday in the month of February thou shalt fumigate the aforesaid stick with suitable incense thrice in the air, and having taken it thence thou shalt bury it in the earth under an elder tree. Afterwards thou shalt expose it in the pathway by which the Sportsman will pass, and once he has passed by it, he need not hope to kill any game during that day. If thou shalt wish a second time to lay a spell upon him in like manner, thou needest but to expose the stick again in his path but take care to bury it again in the earth under an elder-tree, so as to be able to take it from thence each time that thou shalt have need of it; and to take it up each time as soon as the sportsman shall have passed.
3. HOW TO MAKE THE MAGIC GARTERS (do not speak title). Take enough of the skin of a stag to make two hollow tubular Garters, but before stitching them up thou shalt write on the side of the skin which was next the flesh the words and characters shown in Figure 8, with the blood of a hare killed on the 25th of June, and having filled the said Garters with green mugwort gathered also on the 25th of June before sunrise, thou shalt put in the two ends of each the eye of the fish called barbel; and when thou shalt wish to use them thou shalt get up before sunrise and wash them in a brook of running water, and place them one on each leg above the knee. After this thou shalt take a short rod of holm-oak cut on the same 25th of June, turn in the direction thou wishest to go, write upon the ground the name of the place, and commencing thy journey thou wilt find it accomplished in a few days and without fatigue.