CH|iSTMAS
at the MºNASTE|y oƒ SANTA C|uZ guest director Žak Ozmo Pieces marked with * are translated in the program. All works are anonymous pieces of the 16th and 17th centuries found in manuscript at the Monastery of Santa Cruz. For further information, please see the program note below.
Presents
CH|iSTMAS
at the MºNASTE|y oƒ SANTA C|uZ With guest director and lutenist Žak Ozmo
December 11 – 13, 2015 Trinity-St. Paul’s Centre, Jeanne Lamon Hall 427 Bloor St. West, Toronto
Gagliarda Sá aqui turo zente pleta * Hay una Aquila divina * Terantela Bida de my bida * Brillando sus rayos * Cumbé En un portal derribado * INTERMISSION
Marisapoles Quarto Tom Pastores, tened, parad * Cubanco Setimo Tom Dizid me qual de los dos * De las batallas de amor * Pavana Primiero Tom Olá plimo Bacião *
Žak Ozmo, Guest Director & lutenist Michele DeBoer, soprano Ben Grossman, percussion Katherine Hill, soprano, viola da gamba Paul Jenkins, tenor, harpsichord, organ Terry McKenna, baroque guitar, theorbo Alison Melville, recorder, flute John Pepper, bass with special guests Jessica Wright, mezzo-soprano Christopher Verrette, violin
Artistic Director David Fallis is conducting the Toronto Consort’s popular Christmas program The Praetorius Christmas Vespers out west this December. Early Music Vancouver is the lead presenting organization, with the collaboration of the Portland Baroque Orchestra, the Early Music Guild of Seattle, and the Early Music Society of the Islands. Performances are in Portland (Trinity Episcopal Church, Dec. 17), Seattle (St. James Cathedral, Dec. 18), Victoria (Christ Church Cathedral, Dec. 19) and Vancouver (Chan Centre, Dec. 20). Tell your West Coast friends! And we wish David well on this wonderful project highlighting a Toronto Consort creation.
Take the Toronto Consort home with you!
HOLIDAY SPECIAL CONSORT CDs ON SALE: 3 for $50 ($20 each) Available at the CD Boutique in the Gymnasium and Lobby
Board of Directors
Staff
Ann Posen, President John Ison, Treasurer Kim Condon, Secretary Chester Gryski Garth Laurie Sara Morgan Heather Turnbull
David Fallis, Artistic Director Terry Raininger, Managing Director Michelle Knight, Director of Marketing Nellie Austin, Bookkeeper Kiran Hacker, Graphic Designer Yara Jakymiw, Season Brochure Graphic Designer Martin Reis & Derek Haukenfreres, Box Office Peter Smurlick, Database Consultant Sharon Adamson, Artistic Personnel Coordinator Gordon Baker, Stage Manager Cecilia Booth, Front of House, Volunteer Coordinator Gordon Peck, Technical Director Sam Elliott, Intermissions & Receptions Heather Engli, Touring
The Toronto Consort is Canada’s leading ensemble specializing in the music of the Middle Ages, Renaissance and early Baroque – roughly 1200 to 1675. Founded in 1972, the Toronto Consort is one of Canada’s first professional period-music ensembles. Over the past four decades, the Toronto Consort has continued to expand listeners’ appreciation through inventive programming that breathes life into period music. The Toronto Consort is heard frequently on Canadian and international radio and television and has appeared with the Toronto Symphony Orchestra and the Montreal Symphony Orchestra as well as the North German Radio Orchestra. Its many recordings include The Little Barley-Corne; Navidad: Christmas Music from Latin America and Spain; Praetorius Christmas Vespers; The Da Vinci Collection; The Queen: Music for Elizabeth I; the Juno-nominated Full Well She Sang; and All in a Garden Green (a double-CD re-release of Mariners and Milkmaids and O Lusty May). The ensemble has collaborated on a number of film and television projects including Atom Egoyan’s The Sweet Hereafter and two Showtime series, The Tudors and The Borgias.
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Program Notes The Monastery of Santa Cruz at Coimbra, Portugal, was the monastic house of the Augustinian order and one of the major centres of Portuguese music during the sixteenth and seventeenth centuries. The monastery’s residents included a number of talented musicians and composers who were highly educated and often from aristocratic backgrounds. The five-year period of novitiate featured mandatory musical training, and, as a result, the monastic community boasted singers, instrumentalists, music teachers, composers, and instrument makers. In addition to some large plainsong books, the monastery’s residents left behind them countless paper manuscripts, carelessly written and casually bound in parchment leaves. While rich illumination and ornamentation have throughout history been one of the chief reasons why music manuscripts and printed books survive, in this particular case the lack of artistic illustration may have saved these compositions from anticlerical theft and vandalism at the time of the dissolution of the monasteries in the nineteenth century. Other more lavish polyphonic books mentioned in various contemporary sources, for example, are all presumed lost or destroyed. Most of the surviving musical material from the Monastery of Santa Cruz is today held in the General Library of the University of Coimbra. Within these manuscripts, sacred and secular vocal pieces called villancicos and romances, mostly anonymous, by far outnumber any other works. The texts of both villancicos and romances are an excellent example of the cultural interchange that was a result of Portuguese discoveries and ministration. In terms of the language, they often include different combinations of Portuguese, Spanish, and Creole. Villancicos negrillos in particular, such as Sá aqui turo zente pleta and En un portal derribado, contain texts in an imitation of the Portuguese spoken by the black populations of Portugal and Brazil; the subject of such pieces is invariably the birth of baby Jesus, and the festivities, songs, and dances performed in his honour.
One must listen to these pieces in order to explain the repeated attempts of the Church officials to forbid monks from performing these works at nearby convents. Whether it was their ambiguous erotic imagery, their soulful and captivating melodies, or – and particularly in cases of villancicos negrillos – the wild rhythms and exotic harmonies brought to Portugal by the black slaves and free men and women arriving from the Brazilian and African colonies, these works certainly have about them much that would stir up the soul and weaken the flesh. Structurally, villancicos were initially composed of a refrain, followed by a verse twice repeated and a final repetition of the refrain (creating the overall structure ABBA). However, this form gradually became more complex with the addition of several other sections, reflected in the works in our program. Although there is some disagreement among scholars as to the exact structural difference between villancicos and romances in 17th-century Portugal, shorter and structurally simpler pieces on our program, such as De las batallas de amor and Dizid me qual de los dos, are labeled as romances in the original sources. It is interesting to note that sometimes it is difficult to make a distinction between secular and sacred villancicos and romances in the Coimbra collection because the same erotic imagery is used in both types of works. In sacred pieces, it is made to apply to divine love by the so-called a lo divino process, or the sacred parody. In our program this evening villancicos and romances are offset by some of the most popular dances that were a staple of Portuguese musical life in the 17th century. These were transcribed by Joseph Carneyro Tavares Lamacense in the early 18th century, and the dances, as well as the Fantasia Quarto Tom Italiana, are currently also held in the archives of the General Library of the University of Coimbra. Merry Christmas, and we hope you will enjoy the celebration! Žak Ozmo
Bios Thank You The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.
Corporate & Community Supporters
Žak Ozmo is a music director, lutenist, and scholar in historical performance, based in London, England. He is the founder-director of the period instrument ensemble L’Avventura London, and has been praised by the press for “excellent musicianship” and “an admirable understanding of Baroque performance conventions” (Gramophone). Žak’s performances with L’Avventura London have been featured on most major radio stations in Europe and North America, including live concert broadcasts on BBC Radio 3. He has led the group at major festivals across the United Kingdom (including the York Early Music Festival, Lufthansa Festival of Baroque Music, Spitalfields Festival, Ryedale Festival, Brighton Early Music Festival, and the Gregynog Festival) and various international performances. In 2014 Žak was invited to conduct L’Avventura London at the Queen’s Chapel, St. James’s Palace, and was joined by celebrated special guests, soprano Dame Emma Kirkby, countertenor Michael Chance, and the choir Chapelle du Roi, in a performance celebrating the 300th anniversary of the ascension of the British royal family to the throne. Žak is also increasingly in demand as a guest music director of opera companies, orchestras, and ensembles internationally. Upcoming and recent projects include musical direction of concert performances with Concerto Köln and the Irish Baroque Orchestra, as well as fully staged opera productions with Opera Memphis and Bury Court Opera.
Foundation Supporters The J.P. Bickell Foundation, The Lloyd Carr-Harris Foundation, The McLean Foundation, The Keith Foundation at the Strategic Charitable Giving Foundation, The F.K. Morrow Foundation, The Catherine & Maxwell Meighen Foundation and The Ed Mirvish Family Foundation
Salutes AL & JANE FOREST Thank you so much for your outstanding support for
CHRISTMAS AT THE MONASTERY OF SANTA CRUZ We couldn’t do it without you. On behalf of everyone at The Consort we sincerely thank you!
Hailed by Classical Music magazine as an “expert on early plucked instruments”, Žak has performed as a continuo player, chamber musician, and soloist across Europe, North America, and Asia on the archlute, theorbo, Renaissance lute, and Baroque guitar. His upcoming projects as a solo lutenist include a multipleCD solo recording of equally-tempered music by Vincenzo Galilei with Hyperion Records (volume 1 will be released in January 2016). Žak’s writings on historical performance practice have been translated into French, German, Spanish, and Korean. His current projects for publication include an edition of 18th-century lute concerti for A-R Editions, as well as an upcoming performing edition (with Vanessa L. Rogers and Berta Joncus) of Isaac Bickerstaffe’s 1762 opera Love in a Village, to be published by Bärenreiter in 2017. Further, he frequently presents his research at conferences in Europe and North America; recent presentations include those at the 16th Biennial International Conference on Baroque Music in Salzburg; the SECEM, the Universidade Nova de Lisboa; the British Society for Eighteenth-Century Studies; and the Annual Meeting of the American Musicological Society in Philadelphia, USA. Žak holds a doctorate in early music performance from the University of Southern California in Los Angeles, where he studied under James Tyler, and has completed postdoctoral studies in the same area from the Guildhall School of Music and Drama in London. www.zakozmo.com Special Thanks I would like to thank David Fallis for his invitation to come and work with the wonderful Toronto Consort, for his help in finalizing musical arrangements, song texts and translations and the rehearsal schedule. Special thanks to John Pepper for his excellent contribution to song text and translations. And, of course, many thanks to the Toronto Consort musicians and staff for their skill, artistry, and professionalism.
Bios A native of Toronto, soprano Michele DeBoer enjoys a busy performing career in Toronto and surrounding areas. With an affinity for Early Music, she has sung with groups including Tafelmusik, Opera Atelier, Toronto Masque Theatre, Aradia, Les Voix Baroques, Baroque Music Beside the Grange and La Chapelle de Québec. Locally, Michele has appeared as a guest soloist with the Toronto Chamber Choir, Etobicoke Centennial Choir, Grand River Chorus, Durham College Community Choir, Soundstreams Canada and the Tallis Choir. Michele enjoys teaching voice, conducting two choirs at Our Lady of Sorrows Church and spending time with her husband, Esteban, and their two daughters. Ben Grossman is a busy musician: improviser, studio musician, composer, noise-maker and audio artist. He works in many fields, having played on over 100 CDs, soundtracks for film and television, sound design for theatre, installations, work designed for radio transmission, and live performances spanning early medieval music to experimental sound art. Ben’s tools of choice are electronics, percussion, and, especially, the hurdygurdy (vielle à roue), a contemporary electro-acoustic string instrument with roots in the European middle ages. He studied the instrument in Europe (with Valentin Clastrier, Matthias Loibner and Maxou Heintzen) and has also studied Turkish music in Istanbul. www.macrophone.org Singer Katherine Hill first developed a love for old European text and music here in her native Toronto. With support from the Canada Council for the Arts she was able to study in Europe, where she lived for several years, performing and recording with groups such as the sequentia ensemble for medieval music, Ensemble Elyma (Gabriel Garrido), Scivias and Collegium Vocale Gent, appearing in concerts, radio broadcasts and at festivals throughout Europe, Australia, and Asia. From 2003 to 2008, Katherine sang the role of Humilitas in Scivias’ (Berlin) staged production of Hildegard von Bingen’s Ordo Virtutum; her interest in music from medieval women’s communities has led to her developing and directing her own projects in Amsterdam, Toronto and Calgary. Here in Toronto, Katherine performs regularly with the Toronto Consort, Ensemble Polaris, Toronto Masque Theatre, Scaramella and many other early, traditional and new music groups. In 2010, she completed an M.A. in Medieval Studies at the University of Toronto's world-renowned Centre for Medieval Studies, and in 2012, with the support of the Canada Council for the Arts, Katherine received a diploma from the Eric Sahlström Institute in Sweden, where she studied the nyckelharpa (a Swedish keyed fiddle with origins in the middle ages) and Swedish traditional music and dance. Katherine is the Director of Music at St Bartholomew's Anglican Church, an Anglo-Catholic parish in Regent Park, Toronto.
Bios Paul Jenkins cultivates an eclectic musical career as a keyboardist and tenor. A member of the Toronto Consort since 1990, he also performs regularly with the Aradia Ensemble, and has appeared with some of Canada’s leading baroque and earlymusic groups, including Tafelmusik, Opera Atelier, Ensemble Anonymus and La Nef. Guest appearances include Apollo’s Fire, the Cleveland Baroque Orchestra, the Windsor, Kitchener-Waterloo and Toronto Symphony Orchestras, Orchestra London, the Toronto Chamber Choir, Esprit Orchestra, I Furiosi, Toronto Masque Theatre, and many music festivals. Paul also enjoys touring, recording and giving recitals. Terry McKenna enjoys performing a wide range of musical styles on period and modern lutes and guitars. He’s been with the Toronto Consort for more than 20 years now (!) and also plays with Ensemble Polaris and the Toronto Masque Theatre as well as guest appearances with I Furiosi, Musica Franca and Opera Atelier, among others. In addition to historical-based repertoire, Terry welcomes opportunities to perform contemporary scores by composers such as James Rolfe, Omar Daniel, Peter Hannan, John Beckwith and Harry Freedman. Terry has participated on many recordings and broadcasts and finally did his own feature project, Throw the House Out of the Windowe (and Other Damn Fine Dance Tunes) on the Marquis Classics label. Another one is in the works – stay tuned! Terry gets great satisfaction from teaching guitar and lute at Wilfrid Laurier University. He also enjoys composing and performing music for his wife Susan Kennedy’s youth-theatre project Playmakers! (www.play.makers.ca). Terry lives in Stratford, Ontario (where he performs with the Stratford Festival) with Susan and their four children, two dogs, three cats, 1 frog, 1 turtle, 2 cute new anoles and 3 goldfish… Toronto-born Alison Melville began her musical life by playing the recorder in a school classroom in London (UK). Her subsequent career on historical flutes of many kinds has taken her across North America and to New Zealand, Iceland, Japan and Europe. Besides making music with the Toronto Consort, she is a member of Ensemble Polaris and Artistic Director of the Bird Project, appears regularly with Tafelmusik, and collaborates in many other varied artistic endeavours. Some personal career highlights include playing for The Tudors, CBC-TV’s The Friendly Giant, and Atom Egoyan’s The Sweet Hereafter; solo shows in inner-city London (UK) schools; shows in sunny southern Spain; and, oh yes, a summer of concerts in Ontario prisons. Alison has been heard on CBC/R-C, BBC, RNZ, NPR, Iceland’s RUV, and on over 55 CDs including five critically acclaimed solo recordings. She taught for many years at the Oberlin Conservatory of Music, is currently on faculty at the University of Toronto and Wilfrid Laurier University, and also teaches music appreciation classes for the Royal Conservatory of Music and Ryerson University’s Life Institute. Tales of musical adventure can be read at calliopessister.com. www.alisonmelville.com
Bios A native of Annapolis, Maryland, John Pepper sang for many years with Festival Singers of Canada, Tapestry Singers, The Gents, the Tafelmusik Chamber Choir, Elora Festival Singers and the Toronto Chamber Choir. He has recorded extensively with most of those organizations and with Canadian Brass, and has taken part in recordings and premières of music by John Beckwith, R. Murray Schafer, Harry Somers, Christopher Butterfield and Arvo Pärt. His work in music theatre includes Huron Country Playhouse, Comus Music Theatre, Rainbow Stage Theatre, Opera Atelier and the Sunshine Festival. John has been a member of the Toronto Consort since 1990. Christopher Verrette has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University and has contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire (Indianapolis), and as a guest director with the Indianapolis Baroque Orchestra and the Bloomington Early Music Festival Orchestra. He collaborates with many other North American ensembles, and can be heard in Toronto with the Musicians in Ordinary and The Toronto Consort. He has also participated in crossover recordings with Terry McKenna and Sylvia Tyson and in soundtracks for film and television. Based in Toronto, Jessica Wright is a mezzo soprano with a vested interest in the performance and study of early music and historical performance practices. Jessica has been fortunate to have performed with many early music ensembles as both a chorister and a soloist, including Tafelmusik, the Theatre of Early Music, Toronto Masque Theatre, and Opera Atelier. She has sung as a soloist in performances of Bach cantatas with the Theatre of Early Music, the Toronto Chamber Choir and the Talisker Players, as well as in performances of major concert works including Mozart’s Requiem, Handel’s Messiah, the Vivaldi Gloria, and the Duruflé Requiem. Operatic performances include the role of the Sorceress in Purcell’s Dido and Aeneas, Amor in Cavalli’s Gli Amori d’Apollo e di Dafne, and Bradamante in Handel’s Alcina. Highlights of the upcoming season include concert performances of the Monteverdi Vespers of 1610 with the Toronto Consort, as well as Bach’s St. John Passion with the Talisker Players on Good Friday at Trinity-St. Paul’s Centre. Jessica is a recent graduate of the University of Toronto, where she studied voice under the tutelage of Jean MacPhail.
CH|iSTMAS
at the MºNASTE|y oƒ SANTA C|uZ Sá aqui turo zente pleta Sá aqui turo zente pleta Turo zente de Guiné. Tambor flauta y cassaeta Y carcave na sua pé, Vamos o fazer huns fessa O menino Manué.
We are the black people, The black people of Guinea. With drum, flute, and castanets, And rattles on our feet, We will celebrate The feast of the boy Emmanuel.
Canta Bacião, Canta tu Thomé, Canta Flanciquia, Canta Caterija, Canta tu Flunando, Canta tu Resnando, Oya, oya!
Sing, Bacião, Sing out, Thomé, Sing out, Flanciquia, Sing, Caterija, Sing out, Flunando, Sing out, Resnando. Listen, listen!
Turo neglo hare cantá, Ha cantamo e bayamo Que forro ficamo. Ha tanhemo y cantamo, Ha frugamo e tanhemo, Ha tocamo pander, Ha flauta y carcavé, Ha dizemo que biba Biba mia siola y biba Zuzé.
We blacks can sing, We sing and dance Because we are free. We play and sing, We dance and play, We play the tambourine, The flute, and the rattles. We cheer and say: "Long live our Lady and Joseph!"
Anda tu Flancico, Borimo esse pé, Biba esse menino Que mia Deuza. Biba Manué.
And you Flancico, Shake your foot and dance. Hail the child Who is God. Hail Emmanuel.
Nacemo de huns may donzera Huns Rey que mia Deuza hé, Qu’hade forra zente pleta Pleta que cativo hé Dar sua bida por ella Que sá amigo até moré.
Born of a young girl Is the King who is my God, And for the black people That are captive And for all his friends He will give his life.
Hay una aquila divina Hay una aquila divina, Pisa la region del cielo. Pues sabe Gil qu'esse buelo, Hasta al sol mismo en camina. Pues quieren buelo atrevido Provar del sol los rigores. Tubo con el sol amores Y va buscarle por nido, Ni los peligros rezela De tan alto atrevimiento. No, qu'es de Juan el intento Y es dios el sol a quien buela. O que bien buela, Juan, En las alas del sol, Al sol se aserca.
There is a divine eagle, It is in the region of heaven. St. Gil knows that he is flying Directly toward the sun. With this daring flight he wants To prove the severities of the sun. He loves the sun And wants to take it to his nest. He doesn’t even suspect the dangers Because he has so much nerve. No, the audacity is John's, And it's God, the sun, to which he flies. How well he flies, John, On the wings of the sun, To the sun he moves closer.
Qu’hurtar os quiere el alba Los rayos negros Para quedars' estrella.
The dawn wants to steal The dark rays To become a star.
Lograd nova buena dichosa tierra, El sol de las almas de lux inmensa.
Attain the new good blessed land, The sun of the souls of immense light.
Bida de my bida Bida de my bida, Quien sin bos se queda, No es razon que cante, Mas que solo endechas.
Life of my life, You have left me bereft, And I have no reason to sing, But only to lament.
Ai Jesus que se parte y me dexa Llorando de auzencia Mi querido Amor. Ai Jesus que se parte y me dexa Llorando de auzencia Sin bida, sin sol.
Ah, Jesus, he departs and leaves me Crying of absence, My dear Love. Ah, Jesus, he departs and leaves me Crying of absence, Without life, without sun.
Ai Jesus, que su partida Me causa tanto dolor, Que nel punto que se parte Se me parte el coraçon.
Ah, Jesus, that his departure Causes me so much pain, That at the point that he leaves My heart breaks.
Ai Jesus…
Ah, Jesus…
En un portal derribado
18th Century PORTUGUESE LOVE SONGS L’Avventura London – Žak Ozmo $20 Available at the CD Boutique in the Gymnasium and Lobby
Brillando sus rayos Brillando sus rayos nasce El Sol dibino en la tierra, Que para alumbrar los hombres, Hizo de Belen su esfera. Ai que Sol, que Niño Entre ardores tiembla, Ai que linda aurora Sus luzes enseña.
Shining its rays, the divine sun Rises in the land, To illuminate men. It made Bethlehem its sphere. Oh how the Sun, how the Child Between warmths shivers, Oh what a beautiful dawn Shows its lights.
En un portal derribado Con mui grande regosijo, Se ha juntado mucha gente, A ver el Recen nacido.
In a run-down stable With so much joy, Many people gathered together To see the Newborn.
De las partes mas remotas, A Belen ha ocorrido, Diferencias de naciones, Para adorar a Dios niño.
From the most remote places, At Bethlehem it happened, Differences of nations, To adore baby Jesus.
Para se empesar la fiesta, Un español dió principio, Y tocando un instrumento, A questas razones dixo:
To start the festivity, A Spaniard began, And playing an instrument, Said these truths:
Esta noche entre pajas Parió la Reina, Qui ental creyera Q’un clavel ha nacid De una asucena?
Tonight amongst the hay The Queen gave birth. Who would have thought That a carnation Would be born of a lily?
Digalo ella que no hay gracia Ni dones que no los tenga.
She says that there is no grace Or gifts that he does not have.
Esta noche…
Tonight…
En Dezembre se ha buelto La primavera. Qui en tal creyera Una niña ha parido Y está donzella.
In December the spring Has returned. Who would have thought? A girl has given birth And she is a virgin.
INTERMISSION Join us in the Gymnasium for Delicious Harbord Bakery Snacks $1/$2 Freshly Brewed Coffee or Cider $2
Enjoy great conversation with friends old and new
Pastores, tened, parad Pastores, tened, parad No corais zagales, Qu'en en portal de Belen Miro al sol de humano trage.
Shepherds, hold it, stop. Don't join in singing, shepherds, The one who in the stable of Bethlehem Watches the sun in human clothes.
Parad, que para abrazavos Nesses luzidos cristales Estan produzindo soles De aquelos ojos los mares.
Stop so that we can hug you. In those shiny crystal eyes, Suns are being produced; From those eyes, the seas.
Amante y Dios, le publica Tanto padecido ultrage, Amante si, porque llora Y Dios si, porqu’es amante.
Lover and God, he reveals Such a suffered offence; Lover, yes, because he cries, And God, yes, because he is a lover.
Pero si es Dios, y si es sol, Amante en la tiera nasce A que le canten amores Conbidaremos las abes.
But if he is God, if he is sun, A lover on earth is born. To sing of his love We will invite the birds.
A Belen, abezilas cored y bolad. Porque nasce al yelo El sol del cielo De una aurora qu'es deidad. Sea buestro pico baliente pinzel. Copiareis un Dios niño, Un sol y un clavel.
To Bethlehem, birds, run and fly. For in the cold is born The sun of heaven From a dawn that is Deity. Be your beak a fine brush. You will copy a child God, A sun and a carnation.
A qu'hermoso qu'ha passado Y con qu'agrado De a quela esfera a quell prado Abezillas no temais Que la noche os embarace, Los quebros pues beis que nasce L'aurora y el sol que buscais Mas si suspensas que dais, De asombros y marabilas.
For him who has passed, how beautiful And with what graciousness, From that sphere to that meadow, Birds, do not fear That the night obstruct you, You overcome them because you see arise The dawn and the sun that you seek, But if astonished you show Amazements and wonders.
A Belen… Copiareis…
To Bethlehem… You will copy…
Dizid me qual de los dos Dizid me qual de los dos Por mas misterioso nombre Si alobar a Dios el hombre, Si Augustin flechar le Dios.
Tell me which of the two As much as a mysterious name If man praises God, If Saint Augustine throws an arrow to God.
Su ser quizo a gozar Por ser el hombre eden i bida Dio fuerça a la muerte en bida Y asy que bino a matar.
His being can rejoice Because he is the man of Eden and life, Gave strength to death in life It was like that he came to kill.
Luego el poder disfarçado Dio poder el que se ha muerto. Flaquesa de amor fuer cierto, En quien a Dios fue alabando. Trocado pues su perdon En Augustin hoy se ha hecho Si teniendo humano pecho Le flecha dibino amor
Soon after the power disguised Has given power to the one who died. Weakness of love was sure, On whom God was praising. He has changed then His forgiveness to Augustine today Having in his human chest The arrow of divine love.
Laurel fue de amor en suma Augustin acapues todo El fuego del cielo, sufre Fin que le consuma en el suelo. Augustin por tanto a bos Esta question no os asombre, Sy elobar a Dios el hombre Si Augustin flechar le Dios.
The "Laurel" was his love For Augustine who escapes all The fire of heaven, suffers The end that destroys him in earth. Augustine, then, to you This question I do not understand, Is man elevated to God If Augustine throws an arrow to God?
De las batallas de amor De la batallas de amor Aquiles sale triunfate Porque blinde a las coronas Con su beleza fatale.
From the battles of love Achilles comes out triumphant Because he shields the crowns With his fatal beauty.
Olá plimo Baciao Olá plimo Bacião, Levanta te neglobeça, Que vamo faze huns fessa. Vem cá neglo cansalão, Que manda bozo mecé? Que sou tlemendo com flio, Mas por logo a camyo Chamar zente da Guiné.
Hello, cousin Baciao, Lift your little black head, We are going to have a party. Come her, black "cansalão", What does your excellency order? I am shivering with cold, But I will be on my way To call the people from Guinea.
Gulungá, gulungá, gulungué Trincá co a mão boli co a pé.
Gulungá, gulungá, gulungué, Clap with the hand, move with the foot.
Za turo pleto sá zunto Comese logo furia, Canta tu tanbé Luzia, Y tu Gonçaro tanbem Aqui sá Flancico Qui quele cantá. Aqui sá Thomé Que quele bayá. Aqui sá Zurião Que sabe fugá.
Already the black people are near. Begin soon, Furia, Sing also, Luzia, And you too, Gonçaro. Here is Flancico, Who is singing. Here is Thomé, Who is dancing. Here is Zurião, Who knows "fugá".
Trincá…
Clap…
Eu quer leva huns piões Para minino frugá, Eu tanbé uns cosa quente Para minino papa.
I want to take some spinning tops For the little one to play. I will also take something warm For the little one to eat.
Hé beza sua mão gulungá, Beza sua pé gulungué, Qu'esse nozo Deuzo hé.
Kiss his hand, gulungá, Kiss his foot, gulungé, That this is our God.
Gulungá, gulungá, gulungué Trincá co a mão boli co a pé, Qu'esse nozo Deuzo hé, Y conpleto Santo Thomé.
Gulungá, gulungá, gulungué, Clap with the hand, move with the foot, That this is our God, And complete St. Thomas.
Gulungá…
Gulungá…
Thank You
to all our wonderful Consort Volunteers!
I decided to start up a madrigal choir at my high school and when I went to Western University, I joined the Early Music Studio as my ensemble because I was very interested in the repertoire and because I wanted to get away from choral singing and develop my own individuality. We did many ‘Toronto Consort’ type collaborations with various instrument and voice groupings. TC: What was your first ‘professional’ performance? MD: I’ll never forget, as a member of the Toronto Children’s Chorus, standing in the balcony of Roy Thompson Hall and singing the first verse of Once in Royal David’s City a cappella with a single candle. I was sick to my stomach with nerves, but it was a magical experience and didn’t scare me off performing! TC: When did you join The Toronto Consort? MD: I started filling in for Katherine Hill while she was living and working a lot in Europe. At some point, they must have decided that it might be handy to have two sopranos and it was a dream come true when I was asked to become a member in 2005. TC: Do you have a memorable performance or moment? MD: Singing the Praetorius Christmas Vespers has been a favourite of mine, and The Play of Daniel was a particularly inspiring production. It was truly transformative. TC: What do you like to do before a show to get ready? MD: I like to make sure I eat a good meal. I don’t like singing hungry. TC: What do you like to do after a show?
IN CONVERSATION
MD: If I’m lucky, my husband is still up when I get home and he will listen to me talk over a glass of wine.
Michele DeBoer
TC: What is your favourite recording of all time?
Soprano Michele DeBoer joined the Toronto Consort ensemble in the 2005-06 season. A Toronto native, Michele has a busy singing career, teaches voice, conducts two choirs at Our Lady of Sorrows Church and is raising two daughters with her husband, Esteban. TC: When did you get into music? MD: From the very beginning - when I was 3 my family went on a holiday over Christmas, and I was recorded singing the songs for the Christmas concert. The recording was played along with the kids singing live! I guess I wasn’t shy about singing out loud even then. TC: How about early music? MD: My older sister studied lute at the University of Toronto. Terry McKenna was her teacher and she was a student with Katherine Hill! She used to get me to sing lute songs so she could practice.
MD: I would probably have to choose Glenn Gould’s Goldberg Variations. I grew up listening to my older brother playing the piano at a very high level. He practiced a lot and the sound of solo piano is the soundtrack to my childhood. I’ve always loved this recording. TC: What are you reading these days? MD: I’m making my way through the Harry Potter books for the second time – this time I am reading them aloud to my 2 daughters. TC: If you are not listening to early music, what do you like to listen to? MD: I’m a big fan of my brother’s band, 480East, which plays smooth jazz. TC: The Toronto Consort is not your only gig - where else can we find you around town? MD: I’ve been singing with Tafelmusik for 18 years –we’re gearing up for Messiah next week at Koerner Hall. I wear many other musical hats as well. I recently conducted a Massed Children’s/ youth choir in the Kingsway for the annual Out of the Cold benefit concert, accompanied the school Masses at my daughters’ school and provided voice lessons for 76 senior vocal students at the regional arts program at Cawthra Park Secondary School.
Holiday Matching Campaign Your gift will be matched dollar-for-dollar Make a donation to the Toronto Consort before December 31st, and your gift will be equally matched by Consort patron Greig Dunn, up to a campaign total of $10,000. “Together we can make a difference.”
Toronto Consort Donors 2015-16 Gold Renaissance Circle
Renaissance Circle
Ann H. Atkinson Greig Dunn & Robert MacLennan Jane & Al Forest Estate of Patricia Hosack John & Maire Percy Vivian E. Pilar Joan E. Robinson
Monica Armour J. Douglas Bodley Kim Condon & Jonathan Barrentine Nancy Conn Stephen & Linda Cook Jayne & Ted Dawson Jean Edwards Elizabeth Ganiatsos Eva & Doug Green Dinah Hoyle & Earl Rosen D. Kee Grace & Henry Klaassen Michelle & Robert Knight Marion Lane & Bill Irvine Eric A. Lipka Mary Ella Magill Lynda Newmarch Prof. E.M. Orsten Carol Percy Paul & Elaine Pudwell Ted Sharp Harold Shepherd Barbara Tangney Edward J. Thompson Janet Walker Janet Wood Anonymous (1)
($5,000 and above)
($2,500 - $4,999) Fred & Ursula Franklin Tiit Kodar, in memory of Jean Kodar Catherine Pepper
($1,000 - $2,499)
SOUND ADVICE ® Classical Music Tours & Vision Travel Solutions Travel with
Rick Phillips to classical music events in Europe and long weekends of great classical concerts in the U.S.
Salzburg – Winter 2016 Chicago – Spring 2016 Small tour groups of music lovers and like-minded people soundadvice1.com or contact the tour manager jane.clemens@visiontravel.ca Ontario Reg. No: 50008498 and 50008499
C. Bergeron Marie Campbell Jane Couchman & Bill Found David Fallis Kevin Finora Chester & Camilla Gryski A. L. Guthrie Glen Hutzel William and Hiroko Keith Gerhard & Louise Klaassen Oleg Kuzin, in memory of Betty Kuzin Dr. Margaret Ann Mackay Richard C. Martin Ann F. Posen Terry Raininger & Eric Parker Heather Turnbull Guy Upjohn Heather Walsh Jane Witherspoon & Brian Stewart Berta Zaccardi & Craig Robertson Anonymous (3)
($500 - $999)
Benefactor
($200 - $499) Lewis W. Abbott Margaret Ackerman Donald E. Altman James & Penny Arthur Nellie Austin Edward & Jocelyn Badovinac David & Anne Bailey Helen Barron
Helen G. & Harry Bowler Joan Breukelman Marion Breukelman Miret Michael Clase Michael & Honor de Pencier Annette DeBoer Michael Disney Neil Dobbs & Susan Girard Carol Dorman Richard Earls Angela Emmett Katalin Gallyas Dr. Hartley Garfield David & Helena Garlin Joan Mary & David Gilbert Carol & Peter Gould Ian & Joan Guenther Daniel C. Hardie, In memory of Nena Hardie George Hathaway Pauline S. Hill Jerry Hogan Anya Humphrey Jill Humphries Marion Lane & Bill Irvine George & Kathryn Kawasaki Lisa Marie Krause Ken Lawday Michael Lerner Dr. Theresa Liem Hallett & Karen Llewellyn Margaret Magee Pat & Howard Malone Alina Matus Kathleen McMorrow Alec & Joyce Monro Margaret & Reid Morden Sara Morgan & Daniel Philpott Stephen J. Munro Ed & Cynthia Nowina Toby & Martine O’Brien Selma Odom
Toronto Consort Donors 2015-16 Christopher Palin Susanne Palmer & Wayne Drewry Valadis Petersons Ruth Pincoe & David Peebles Margaret Proctor David Ptolemy Georgia Quartaro Brenda Rolfe Joan Rosenfield Robert & Dorothy Ross C. Schuh & M. Horn Judy Skinner Donald Smith Lee Smith & Lyle Burton B. Stalbecker-Pountney Paul & Lynne Stott Karen Teasdale Martha Ter Kuile Ross Tilley Carol Turner Ilze Valdmanis Gisela Van Steen & the late Mark Van Steen Catherine & Gary Vivian Imogene Walker Laurie White Morden Yolles Shaunie & Brian Young Anonymous (1)
Patron
($100 - $199) Ellen Anderson Dr. Philip Anisman Guyszi S. Berki Sheila Campbell Philippa Campsie & Norman Ball Connie Catalfamo Priscilla Chong Coleen Clark Thomas & Elizabeth Cohen
Douglas Crowe David & Liz Currie Helen Davies Stephanie de Bruijn Beatrice de Montmollin Colin Dobell Judy Dora Carol Farkas Joyce Ford Frank & Donna Lynne Fraser Brydon Gombay JosĂŠ Gotera, in memeory of Consuelo Gotera John & Jane Grant Ulla Habekost Richard & Marie Hands Derek & Susan Hayes Gerry & George Helleiner Avril N. Hill Deborah Holdsworth Gail Houston Marguerite Hunt Susanna Jacob Nancy Jacobi J. & J. Jimenez Elisabeth Jocz Ludwig W. Kalchauser Ann Karner William Karner David Keenleyside John & Betty Jean Klassen Natalie Kuzmich Edward & Margaret Lyons David Robertson & Eva MacDonald Duncan MacKenzie Christina Mahler & Jeanne Lamon B. Lesley Mann Gloria Marsh Hugh & Lou Mason Lynne Massey Anne McConnell & Ross Hirning Matthew & Moira McQueen
Sean Miller Elizabeth Mowat Paul Muther & Ulla Dagert Paul Nash Derry Neufeld Lorna Novosel G.D. Olds R.M.H. Pinkerton Jean Poldosky Anne-Marie Prendiville & John Gillies Tim Reid Jason Roberts Elaine Rolfe Bruce Ross Joanne & Walter Ross Janet Rubinoff David Saunders Cathy Schell Erik Schryer Bill Schultz Arthur Smith Elizabeth Stewart Brian Taylor Ella Taylor-Walsh Dana Tenny Mary Thomas Nagel Roger Townshend William Toye Patricia & Alasdair Urquhart Carol Vine Mary Vise Elaine Waddington Sharon Walker Paula Wilson Judy Wells Angie Wong Anne Wong Peter & Sharon Wong Beverley Wybrow Anonymous (3)
Toronto Consort Donors 2015-16 Friend
($50 - $99) Ruth Baillie Stephen Bishop Michael Brothers Chris Brownhill Ann Elizabeth Carson Rose Marie Cira Amy Colson Ruth Comfort Sue Cousland John Crozier S. Davidson Hans De Groot Brenda Ellenwood David & Elizabeth Erskine Jan Fortune Margaret Furneaux
Constance Gardner Marie Howes-Clark Moria Hutchinson Alexandra Johnston Andrea Kinch Tiiu Klein Norma Lundberg Gillian Meecham Darryl Nakamoto S. O’Connor Barbara Obrai Katherine V. Paterson Marion Pope Anne Power Coleen A. Quinn Cathy Richardson Molly Robbins Roberta Smith Janet Stern
Penelope Sullivan Jackie Taschereau Barry Tinnish Kaspers Tuters Catherine Ukas Mary Jane Warner Neil Dobbs Brenda Watts Nora Wilson Susan Q. Wilson Perry Wong Bob Zarichansky Judith Zoltai
Listing includes donations received up to November 27, 2015. Please let us know if we have missed you or made an error. Call 416 966-1045.
Thank You Harbord Bakery You make Toronto Consort intermissions delicious! Making and baking good things since 1945. 115 Harbord St. (w. of Spadina) 416-922-5767 harbordbakery.ca
St. John Ambulance York Region (Division #0548 York Central) is working together with The Toronto Consort to provide you with superior first aid coverage, delivered with care and class.
We are are looking out for your safety! To become a volunteer, to register for first aid/CPR courses, or to purchase first aid kits and supplies, please call (905)773-3394, or visit us at www.sja-yorkregion.org.
The Royal Conservatory of Music and The Toronto Consort present in partnership
OPEN HOUSE
Musical Wanderers, 1000-1450 A Music Appreciation Course
A Royal Conservatory of Music and Toronto Consort presentation in partnership
Jan 12 to Feb 2, 2016
Consort ensemble member Katherine Hill & Guests invite you to learn about the music and instruments of the medieval, renaissance and early baroque periods.
Instructor: Toronto Consort ensemble member Katherine Hill
Tuesdays, 10am to Noon The Royal Conservatory of Music, 273 Bloor St W, Toronto
Monday, January 4, 2016 5:30 to 7:30 pm FREE The Royal Conservatory of Music, 273 Bloor Street West
rcmusic.ca | TorontoConsort.org or Call: 416-408-2825 Promo Code for 10% off: CONSORT
You’re invited! Pre-Concert Talks Please join us before concerts this fall for engaging talks with special guests.
The Toronto Consort is a Proud Member of
THE WAY oƒ THE PILGRiM February 12 & 13 (7 pm) Guest Speaker: Katherine Hill, Toronto Consort ensemble member
START LEARNING PORTUGUESE TODAY
BEºWULF
featuring Benjamin Bagby
438 University Ave., 14th floor – suite 14 Toronto, ON (St. Patrick Station)
March 11 & 12 Guest Speaker: Prof. David Klausner, University of Toronto
Gymnasium, Trinity-St. Paul’s Centre FREE WITH TICKET PURCHASE
bloorstculturecorridor.com
416 217 0981 / 416 706 2443 camoestoronto.com
Camões Toronto offers the opportunity to learn European and Brazilian Portuguese through courses that are planned and focus on oral proficiency which are divided into six levels according to the European Framework. All courses are taught by highly qualified European and Brazilian native speakers. Camões Toronto offers: • • •
a complete range of group or one-toone courses in Portuguese; qualified native European and Brazilian Portuguese speaking instructors; cultural events.
H A I S S A E MOERNER H LL @K TORO
NTO’S
LUJA HALLE
HANDEL MESSIAH
Dec 16-19 @7:30pm 416.408.0208
SELLS OUT EVERY YEAR
H EVE
The Mummers’ Masque By Dean Burry Move over Handel! Watch out Scrooge! Enjoy a glass of grog and and experience this Christmas mix of opera, Celtic music, step dancing and storytelling.
NT!
ALSO: SING-ALONG MESSIAH Massey Hall Dec 20 @2pm
416.872.4255
MESSIAH CONCERTS SPONSOR & SEASON PRESENTING SPONSOR
Baroque Orchestra and Chamber Choir
tafelmusik.org
Enoch Turner Schoolhouse, 106 Trinity Street, near the Distillery District 17-19 December 2015, 8 p.m. torontomasquetheatre.com 416-410-4561
RCM_TConsort_program_B&W_Dec15.qxp_Layout 1 2015-11-26 5:08 PM Page 1 IN OUR COMMUNITY
I FURIOSI Baroque Ensemble presents
THE TALLIS SCHOLARS SUN., DEC. 13, 2015 3PM KOERNER HALL
“The rock stars of Renaissance vocal music” (The New York Times)
UNREQUITED Saturday, January 9, 2016 8pm Calvin Presbyterian Church 26 Delisle Ave, Toronto
www.ifuriosi.com
TICKETS ON SALE NOW! 416.408.0208
www.performance.rcmusic.ca 273 BLOOR STREET WEST (BLOOR & AVENUE RD.) TORONTO
presents
¤HE WAY oƒ THE PILG|iM February 12 & 13, 2016
BOX OFFICE: 416 964-6337 TORONTOCONSORT.ORG
presents
BEºWULF featuring Benjamin Bagby
March 11 & 12, 2016