The Toronto Consort presents The Way of the Pilgrim, Medieval Songs of Travel

Presents

February 12 & 13, 2016 Trinity-St. Paul’s Centre, Jeanne Lamon Hall 427 Bloor St. West, Toronto

¤HE WAY oƒ THE PILG|iM Medieval Songs of Travel Pieces marked with * are translated in the program.

Departure

O Virgo splendens * Stella splendens *

Llibre Vermell of Montserrat (c.1400) Llibre Vermell

Songs of the Crusades I Seigneurs sachiez * Li departirs * Dame einsi est *

Thibaut IV de Champagne (1201-1253) Chardon de Croisilles (fl.1220-1245) Thibaut de Champagne

Wandering Clerics: The Carmina Burana Fas et nefas ambulant * Clauso chronos Alte clamat Epicurus *

Joy on the Journey Bache bene *

Benediktbeuren MS, c. 1300 Benediktbeuren MS Benediktbeuren MS Benediktbeuren MS

INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium. CDs are also on sale in the Lobby.

The Last of the Minnesingers Es fuegt sich

Songs of the Crusades II

Jerusalem se plaint * Chanterai por mon coraige * Chevalier mult estes guariz *

Dances at the Shrine

Cuncti simus concanentes * Inperayritz de la ciutat joyosa Los set gotxs *

Oswald von Wolkenstein (c. 1377-1445) Huon de Saint-Quentin (fl. 1210-1230) Guiot de Dijon (late 12th c.)

Anonymous (13th century) Llibre Vermell Llibre Vermell Llibre Vermell

David Fallis, Artistic Director, tenor Michele DeBoer, soprano Ben Grossman, percussion, hurdy-gurdy Katherine Hill, soprano, nyckelharpa Paul Jenkins, tenor, medieval harp Terry McKenna, lute, bouzouki Alison Melville, recorder, flute John Pepper, bass Laura Pudwell, mezzo-soprano

CD Boutique

in the Gymnasium and Lobby during intermission

Check out The Toronto Consort’s 8 titles including the re-release of

¤HE WAY oƒ THE PILG|iM Single CD $20 Double CD $25

Board of Directors

Staff

Ann Posen, President John Ison, Treasurer Kim Condon, Secretary Chester Gryski Garth Laurie Trini Mitra 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; The Way of the Pilgrim: Medieval Songs of Travel; 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 In the Middle Ages, pilgrimages were undertaken for many reasons – as penance, to fulfill a promise made during illness or danger, to pray for healing, to see the world, to escape prison, or, as Chaucer suggests in his famous poem The Canterbury Tales, as a cure for spring fever.

But they always depended on the medieval desire to experience directly the sacred elements of life. Pilgrimage sites were located where miracles had occurred, or where sacred relics had been brought or discovered. Healthy competition among the sites ensured that a miraculous recovery or vision occurring at one particular location was made known as widely as possible in order to attract more pilgrims. Local merchants and the religious institutions themselves knew the value of this traffic.

The most sacred sites of all were of course in the Holy Land where the greatest miracles had occurred. The Middle East, however, was geographically too remote from most of Christian Europe to attract large numbers of pilgrims, but the idea of its sanctity played an important part in the motivations for the Crusades, that series of mostly futile attempts to recover sites in the Middle East, lasting from the late 11th century until the middle of the 13th.

Crusade songs, or chansons de croisade, fall into two main types; those which are exhortations to take up the cross, often reminding the listener of the day of judgment and of the sanctity of the Holy Land (Seigneurs, sachiez; Chevalier, mult estes guariz); and those which dwell on the pain of leaving loved ones, particularly a lady love (Dame einsi est; Li departirs). Jerusalem se plaint was written in response to a specific event: the retreat from Egypt in 1221 when a number of European prisoners remained in Muslim hands.

After the Holy Land, the most frequented destinations were Rome and Santiago de Compostela in northwestern Spain. Santiago, which was said to contain the bodily remains of St. James, was a popular destination for northern European pilgrims, in part because the Pyrenees were less forbidding than the Alps. En route to Santiago many secondary shrines could be visited including the abbey in Montserrat near Barcelona, where the Llibre Vermell was written in the 14th century. This “red book”, so called because of the crimson velvet binding it was given in the 19th century, contains theological treatises, a collection of accounts of the miracles attributed to the intercession of the Black Virgin of Montserrat, and a series of ten musical pieces intended for the pilgrims who wished to “sing and dance” during the time they spent within the abbey walls.

In our concert, to outline the pilgrim’s long journey from leaving home to arriving at the shrine, we begin the evening with the first two pieces in the Llibre Vermell, and end with three more of these wonderful true pilgrim songs.

The route to Santiago was well enough travelled to occasion a popular “pilgrim’s guide”, the earliest copy of which is found in the cathedral archival library in Santiago in a manuscript known as the Codex Calixtinus. The codex is a five-part compilation containing liturgies, accounts of miracles, a description of how the body of St. James was “translated” to Compostela, as well as the “Pilgrim’s Guide”. The guide describes towns and shrines that could be visited en route to Santiago, and includes such practical information as warnings about unsafe water and extortionist ferrymen, and recommendations of friendly towns and where good wine is to be had.

The last chapter is entitled “How Pilgrims of Saint James are to be Received”.

Pilgrims, whether rich or poor, returning from the abode of St. James or going there, ought to be charitably received and honoured by all peoples. For whoever will receive them and attend diligently to their lodging will have not only the blessed James, but also the true Lord Himself as guest. The Lord Himself said in His Gospel: “He that receives you receives me”.

Then follow cautionary tales of divine punishment visited on people or towns who were inhospitable to pilgrims, including one French village in which a thousand houses were burnt because two pilgrims had been refused accommodation. Clearly the attraction of pilgrimages, by which certain towns and churches profited so much, depended on the safety and hospitality of the towns en route.

While there were undoubtedly many unscrupulous hostellers and marauders on the roads, some people complained more that amongst the pilgrims there were people who were not really interested in any spiritual benefits of their journey, and were merely rowdy wayfarers who expected to be treated hospitably. This was a charge particularly laid against the goliards – wandering cleric-scholars who led a peripatetic lifestyle in Europe from the late 8th century to the mid 13th. Many goliard poems and songs were collected in a large 13th-century manuscript called the Benediktbeuren manuscript, more popularly referred to as the Carmina Burana.

Oswald von Wolkenstein was one of the last knightly poet-musicians of the German-speaking world known as minnesänger. Many of his songs deal with events from his life: Es fuegt sich is a long autobiographical song that tells of his many remarkable adventures, his travels and his loves.

The readings in tonight’s program are taken from the following: “Departure”: excerpt from a sermon of Richard Alkerton, 1406. “Songs of the Crusades I”: from The Life of St. Louis by Jean de Joinville, 1309. “Wandering Clerics”: from an anonymous commentary on The Rule of St. Benedict, 8th c. “Joy on the Journey”: from a sermon by William Thorpe, 1407. “Songs of the Crusades II”: from Evagatorium in Terrae Sanctae by Felix Faber, 1480 and The Life of St. Louis by Jean de Joinville, 1309. “Dancing at the Shrine”: from Libellus alter by Bishop Suger, 1144, and rubric from the Llibre Vermell, c.1400.

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

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

Thank You to all our wonderful Consort Volunteers!

The Toronto Consort Bios David Fallis has been a member of the Toronto Consort since 1979 and its Artistic Director since 1990. He has led the ensemble in many critically-acclaimed programs, including the Praetorius Christmas Vespers, The Play of Daniel, all three of Monteverdi’s operas in concert, Cavalli’s La Calisto and Carissimi’s Jephte, among many others. He has directed the group in its many recordings and tours, and has conceived and scripted many of their most popular programs, such as The Marco Polo Project, The Queen, and The Real Man of La Mancha. He is also one of Canada’s leading interpreters of operatic and choral-orchestral repertoire, especially from the Baroque and Classical periods. He is Music Director for Opera Atelier and has conducted major operatic works by Mozart, Monteverdi, Purcell and Handel in Toronto and on tour to Japan, Korea and Singapore. He has conducted for Luminato Festival, Houston Grand Opera, Cleveland Opera, Wolf Trap Theater, Utah Opera, Orchestra London, Symphony Nova Scotia, the Windsor Symphony, Festival Vancouver, the Singapore Festival, the Seoul Arts Centre (Korea), the Elora Festival, the Guelph Spring Festival and the Elmer Iseler Singers. He was the Historical Music Producer for two TV series, The Tudors and The Borgias.

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

The Toronto Consort Bios 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.

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 early-music 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…

The Toronto Consort Bios 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 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.

Grammy-nominated Laura Pudwell has a well-established international profile, with recent engagements in Paris, Salzburg, London, Houston, Boston and Vienna. She has sung with many leading orchestras and opera companies, including Tafelmusik, Les Violons du Roi, the Boston Early Music Festival, the Calgary Philharmonic Orchestra, Calgary Opera, Vancouver Opera, Opera Atelier, Symphony Nova Scotia and the Kitchener-Waterloo Symphony. Her range of repertoire is immense, ranging from Hildegard of Bingen, through a recording of Dido and the Sorceress in Purcell’s Dido and Aeneas under Hervé Niquet, to Prokofiev’s Alexander Nevsky, Elgar’s Dream of Gerontius, and evenings of Stephen Sondheim and Cole Porter. A native of Fort Erie, she lives in Waterloo with her husband and two children. www.knowlesarts.com

¤HE WAY oƒ THE PILG|iM Medieval Songs of Travel O virgo splendens O Virgin, shining brightly on this high serrated mountain, with splendid miracles all around, where the believers from everywhere ascend, ah, with your gentle loving eye behold those caught in the bonds of sin, that they not be vexed by the blows of hell but be called among the blessed by your prayer.

O Virgo Splendens hic in monte celso Miraculis serrato Fulgentibus ubique Quem fideles Conscendunt universi, Eya pietatis oculo placato, Cerne ligatos fune peccatorum Ne infernorum ictibus graventur Sed cum beatis tua prece vocentur.

Stella splendens Stella splendens in monte ut solis radium miraculis serrato, exaudi populum.

O star, shining like a ray of sun on the mountain miraculously cleft, hear your people.

Concurrunt universi gaudentes populi, divites et egeni, grandes et parvuli, ipsum ingrediuntur, ut cernunt oculi, et inde revertuntur graciis repleti.

Stella splendens…

From all around they come together, rejoicing, rich and poor, young and old, they assemble here to see with their own eyes, and return from it filled with grace.

O star…

Principes et magnates ex stirpe regia, saeculi potestates optenta venia peccaminum proclamant tundentes pectora.

Poplite flexo clamant hic: Ave Maria.

Stella splendens…

Rulers and magnates of royal lineage, the mighty of the world, having obtained indulgence for their sin, they cry out and beating their breast they kneel and cry thus: Ave Maria.

O star…

Prelati et barones, comites incliti, religiosi omnes atque presbyteri, milites, mercatores, cives, marinari burgenses, piscatores praemiantur ibi.

Stella splendens…

Prelates and barons, famous counts, all kinds of monks and priests, soldiers, merchants, citizens, sailors, burgers and fishermen are redeemed here.

O star…

Reginae, comitissae,illustres dominae, potentes et ancillae, juvenes, parvulae virgines et antiquae, pariter viduae conscendunt et hunc montem, et religiosae.

Stella splendens…

Queens, countesses, illustrious ladies, powerful and maidens, teenagers and girls, virgins, old women and widows equally, climb this mountain; so do nuns.

O star…

Cuncti ergo precantes sexus utriusque, mentes nostras mundantes oremus devote virginem gloriosam, matrem clementiae, in coelis gratiosam sentiamus vere.

Stella splendens…

Therefore, everybody, male and female, beseeching and cleansing our minds, let us devoutly pray that we may truly experience the glorious virgin, the clement mother, “full of grace” in heaven.

O star…

Seigneurs, sachiez Seigneurs, sachiez qui or ne s’en ira En cele terre ou Dex fu mors et vis, Et qui la crois d’outremer ne prendra A paines mès ira en paradis.

Qui a en soi pitié ne ramenbrance Au haut Seigneur doit querre sa venjance Et delivrer sa terre et son païs.

Lords, know that whoever does not go to the land where God died and lived, and does not take the cross overseas, hardly will he get into paradise.

Whoever has in himself pity or remembrance of the high Lord must wish for his vengeance and to deliver his land and country.

Tuit li mauvès demorront par deça, Qui n’aiment Deu, bien ne honor ne pris; Et chascuns dit: “Ma feme, que fera?

Je ne lairoie a nul fuer mes amis.”

Cil sont cheoit en trop fole atendance, Qu’il n’est amis fors que cil, sans doutance, Qui por nos fu en la vraie crois mis.

All the bad ones will remain here, those who love neither God nor good nor honour nor worth; and they will say, “My wife, what will she do?

I will quit my friends for no prize.”

These people are fallen into a vain worry, for without a doubt we have no friend except him who for us was put on the true cross.

Diex se lessa por nos en crois pener, Et nos dira au jor ou tuit vendront: “Vos qui ma crois m’aidastes a porter, Vos en irez la ou mi angle sont; La me verrez et ma mere Marie, Et vos par cui je n’oi onques aïe Descendrez tuit en enfer le partout.”

For us God let himself be tortured on a cross, and will say to us on the day when all shall come: “You who helped me carry my cross, you shall go to where my angels are; there you will see me and my mother Mary; and you from whom I never had any help, you will go down to the depths of hell.”

Chascuns cuide demorer toz haitiez Et que ja mès ne doie mal avoir; Ainsi les tient Anemis et pechiez Que il n’ont sens, hardement ne pooir.

Biax sire Diex, ostés leur tel pensee, Et nous metez en la vostre contree Si saintement que vos puissons veoir.

Everyone believes he will stay here happy and that he will never have any pain; thus do the Devil and sin hold them so that they have neither sense nor strength nor power.

Good lord God, free them from such thoughts, and put us in your country in such sanctity that we will be able to truly see you.

Douce dame, roïne coronee, Proiez por nos, Virge bien aüree, Et puis après ne nos puet meschoir.

Sweet lady, crowned queen, Pray for us, happy Virgin, and after that no evil can befall us.

Li departirs Li departirs de la douce contrée Ou la bele est m’a mis en grant tristor.

Lessier m’estuet la riens qu’ai plus amée Por Damedeu servir, mon criator, Et neporquant tous remaing en s’amour, Car tout li lès mon cuer et ma pensée; Se mes cors va servir Nostre Seignor, Por ce n’ai pas fine amor obliée.

Leaving the sweet country where my beautiful one is has put me in great sadness.

I must leave the one whom I have loved more than anything to serve Christ, my creator; and nevertheless I remain in love with her for I have left my heart and thoughts there; even though my body goes to serve our Lord for all that, I have not forgotten my gracious love.

Amors, ci a trop dure desevrée Quant il m’estuet partir de la meillor Qui onques fust ne qui jamès soit née, Tant a en li cortoisie et valor.

Nus ne s’en doit merveillier se je plor, Quant mes cors va fere sa destinée Et mes fins cuers s’est ja mis el retor, Qui sans fauser tent a ma dame et bée.

Love, it is too hard a separation when I must leave the best that ever was or ever will be born, so much there is in her of courtesy and worth.

None should marvel if I weep as my body goes to do its destiny, and my noble heart is already turning back, and without falsehood seeks my lady and sighs.

Douce dame, qui mes cuers pas n’oublie, Ne me volliez, por Deu, metre en oubli!

Ja mès nul jor ne ferai autre amie; Pour Dieu vous pri, ne faites autre ami; Mes, se je sai que vos gabez de mi, Ma mort n’iert pas entiere ne demie; Ne ja de moi ne ferez anemi, Se loiauté ne m’i est anemie.

Sweet lady, whom my heart does not forget, please, for the love of God, do not forget me.

The day will not come when I take another ladyfriend; I pray you by the love of God, not to take another friend.

But if I knew you mocked me, my death would be worth nothing at all.

But you will not become estranged from me if loyalty remains my friend.

Au departir, douce dame, vos pri Que ja por riens que losengiers vos die Ne m’oubliez, et je tout autresi Ja mès vers vos ne ferai vilenie.

In leaving, sweet lady, I pray that despite what the scandalmongers might tell you, do not forget me, and I on the other hand will never be unfaithful towards you.

Dame, einsi est Dame, einsi est qu’il m’en couvient aler Et departir de la douce contrée Ou tant ai max apris a endurer; Quant je vos lais, droiz est que je m’en hée.

Dex! por quoi fu la terre d’outremer, Qui tant amant avra fait dessevrer Dont puis ne fu l’amors reconfortée, Ne n’en porent lor joie ramembrer?

Lady, it is true that I must go and leave the sweet country where I learned so well how to endure my pains.

It is true that I hate leaving you.

God, why did you make the land overseas which has separated so many lovers who will not be able to be comforted by love, nor be able to recall their joy.

Biaus sire Dex, vers vos me sui ganchis: Tot lais pos vos ce que je tant amoie; Li guerredons en doit estre floris, Quant por vos pert et mon cuer et ma joie.

De vos servir sui toz prez et garnis; A vos me rent, biaus pere Jhesu Cris; Si bon seignor avoir je ne porroie: Cil qui vos sort ne puet estre traiz.

Good Lord God, I have turned to you; I have left behind for you so much which I loved.

The rewards must be great when for you I have lost both my heart and my joy.

To serve you I am fully ready and equipped; I give myself to you, good father Jesus Christ; such a good master I could not have elsewhere: he who serves you cannot be betrayed.

Bien doit mes cuers estre liez et dolenz: Dolens de ce que je part de ma dame Et liez de ce que je sui desirrans De servir Dieu cui est mes cors et m’ame: Iceste amors est trop fine et puissans; Par la covient venir les plus sachans; C’est li rubis, l’esmeraude et la jame Qui toz garist les vix pechiez puans.

My heart does well to be both happy and sad: sad that I am leaving my lady, and happy that I want to serve God who is my heart and soul.

This love of God is too fine and strong; the most wise are constrained to come to it; it is rubies, emeralds and gems, and cures all the old foul-smelling sins.

Dame des ciex, grans roine puissans, Au grant besoing me soiez secorans!

De vos amer puisse avoir droite flame!

Quant dame pert, dame me soit aidans!

Lady of heaven, great powerful queen, be merciful to my great need.

May I have the true flame of loving you.

When I lose one lady may another lady come to my aid!

Fas et nefas Fas et nefas ambulant pene passu pari prodigus non redimit vitium avari; virtus temperantia quadam singulari debet medium ad utrumque vitium caute contemplari.

Right and Wrong almost keep in step; the spendthrift cannot make up for the miser’s vice.

True virtue, by a singular display of restraint, must carefully consider the way of compromise between the vices I have mentioned.

Si legisse memoras ethicam Catonis, in qua scriptum legitur: “ambula cum bonis”, cum ad dandi gloriam animum disponis, supra cetera primum hoc considera, quis sit dignus donis.

If you can recall your reading of Cato’s Ethics, there you’ll have read: “Walk in the company of good men.”

When you set your mind to the glorious deed of giving, above all think first on this: who deserves the gift?

Dare non ut convenit non est a virtute, bonum est secundum quid, sed non absolute; digne dare poteris et mereri tute famam muneris, si me prius noveris intus et in cute.

Giving at the wrong moment isn’t exactly out of line with virtue; it’s good, but not perfect.

You can give to a worthy cause and safely earn a reputation for generosity so long as you know me inside and out.

Vultu licet hilari, verbo licet blando sis equalis omnibus; unum tamen mando: si vis recte gloriam promereri dando, primum videas granum inter paleas, cui des et quando.

You may smile and use kindly words, treat all as your equals; but one thing I bid you: if you want properly to merit glory by your gifts, first look for the grain among the chaff: when and to whom you give.

Si prudenter triticum paleis emundas, famam emis munere; sed caveto, dum das, largitatis oleum male non effundas. in te glorior: cum sim Codro Codrior, omnibus habundas.

If you carefully winnow out the grain from the chaff, your gifts will buy you fame.

But take care when you give not to spill the oil of generosity wastefully.

You’re the proof I shout about: you’ve got everything, while I’m poorer than a churchmouse.

Alte clamat Epicurus Alte clamat Epicurus: “venter satur est securus. venter deus meus erit. talem deum gula querit, cuius templum est coquina, in qua redolent divina.”

From afar, Epicurus bawls: “Happiness is a full belly.

The stomach shall be my deity according to the gullet’s dictates.

His temple is in the kitchen, the source of divine odours.”

Cutis eius semper plena velut uter et lagena; iungit prandium cum cena, unde pinguis rubet gena, et, si quando surgit vena, fortior est quam catena.

He always has a skinful, a bellyful and a flagonful.

Lunch links up with dinner.

His fat cheeks glow red and his most important blood-vessel (when inflated) is stronger than an iron cable.

Sic religionis cultus in ventre movet tumultus, rugit venter in agone, vinum pugnat cum medone; vita felix otiosa, circa ventrem operosa.

But the practice of the cult provokes acute dyspepsia, the belly creases up in agony when you mix your drinks.

The good life is easy but your stomach’s hard at work.

Venter inquit: “nichil curo preter me. sic me procuro, ut in pace in id ipsum molliter gerens me ipsum super potum, super escam dormiam et requiescam.”

The stomach replies: “I care for nobody but myself, and make quite sure that gently, for this end, the digestive juices act on food and drink, while I rest in peace.”

Bache bene venies Bache Bene venies gratus et optatus per quem noster animus fit letificatus Istud vinum bonum vinum vinum generosum reddit virum curialem probum animosum

Welcome dear pleasant Bacchus, by whom our heart is gladdened.

Such good noble wine makes a man courtly, honest and spirited.

Bachus forte superans pectora virorum in amorem concitat animos eorum Istud vinum…

Overcoming men’s breasts, Bacchus hurls their hearts into love.

Such good noble wine…

Bachus sepe visitans mulierum genus facit eas subditas tibi o tu venus Istud vinum…

Frequenting womankind, Bacchus subdues them to you, O Venus.

Such good noble wine…

Bachus venas penetrans calido liquore facit eas igneas veneris ardore Istud vinum…

Entering the veins with fiery liquid, Bacchus sets them ablaze with Venus’ flame.

Such good noble wine…

Bachus lenis leniens curas et dolores confert iocum gaudia risus et amores Istud vinum…

Gentle Bacchus, softening cares and griefs, bestows fun and games, love and laughter.

Such good noble wine…

Bachus mentem femine solet hic lenire cogit eam citius viro consentire Istud vinum…

Bacchus is wont to soften a woman’s mind in this regard; he coaxes her sooner to consort with a man.

Such good noble wine…

Aqua prorsus coitum nequit impetrare bachus illam facile solet expugnare Istud vinum…

Water can’t accomplish the union at all; Bacchus is wont to conquer her easily.

Such good noble wine…

Bachus numen faciens hominem iocundum reddit eum pariter doctum et facundum Istud vinum…

While the god Bacchus makes a person jolly, he renders him clever and eloquent as well.

Such good noble wine…

Bache deus inclite omnes hic astantes leti sumus munera tua prelibantes Istud vinum…

Bacchus, glorious god, we who stand here gladly pour the first draught that is your due.

Such good noble wine…

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

Jerusalem se plaint Jerusalem se plaint et li païs U dalmeldiex souffri mort bonement Que deça mer a poi de ses amis Ki de secors li facent mais nient.

S’il sovenist cascun del jugement Et del saint liu u il souffri torment Quant il pardon de sa mort fist Longis, Le descroisier fesissent mout envis; Car ki pour Dieu prent le crois purement, Il le renie au jor que il le rent, Et com Judas faura a paradis.

Jerusalem makes complaint, and the country where the Lord in his goodness suffered death complains that on this side of the sea there are few of his friends who render him any help at all.

If each one would think on the judgment, and the holy place where the Lord suffered torment when he pardoned Longinus* for his death, he would feel less like giving up the crusade; for whoever with a pure heart takes up the cross for God, he denies it the day he gives it up, and like Judas he forfeits paradise.

Notre pastour gardent mal leur berbis, Quant pour deniers cascuns al leu les vent; Mais li pechiés les a si tous souspris K’il ont mis Dieu en oubli pour l’argent Que devenront li riche garniment K’il aquierent assés vilainement Des faus loiers k’il ont des croixiés pris?

Sachiés de voir k’il en seront repris, Se loiautés et Dius et fois ne ment.

Retolu ont et Achre et Belleent Ce que cascuns avoit a Diu pramis.

Our shepherds watch over their flocks badly when for pennies they sell them to the wolf; but sins have so much overcome them that they forget God for the sake of money.

What will become of the great riches which they acquired so wickedly by false levies taken from the crusaders?

Know that in truth they will be taken back from them, if loyalty and God and faith do not lie.

They have taken from Acre and Bethlehem what each crusader promised to God.

En celui n’a mesure ne raison Ki de counoist, s’il n’aüe a vengier Ceuls ki pour Dieu sont dela em prison Et pour oster lor ames de dangier.

Puis c’on muert ci, on ne doit resoignier Paine n’anui, honte ne destorbier.

Pour Dieu est tout quan c’on fait en son non, Ki en rendra cascun tel guerredon Que cuers d’ome nel poroit esprisier; Car paradis en ara de loier, N’ainc pour si poi n’ot nus si riche don.

There is neither wisdom nor reason in anyone who knows these things if he does not help to avenge those who are in prison for God, and to remove their souls from danger.

Since we must die, we should not fear pain nor trouble, shame nor loss.

Everything is given to God which is done in his name, and he will give back to each such recompense as the heart of man cannot estimate; it is paradise he will gain as payment; never has anyone gained such a rich gift for so little.

* Acccording to legend, Longinus was the blind centurion who pierced Christ’s side with a lance at the crucifixion, was pardoned by Christ and cured of his blindness.

Chanterai por mon coraige Chanterai por mon corage Que je vueil reconforter, Car avec mon grant damage Ne quier morir ne foler, Quant de la terre sauvage Ne voi mes nul retorner Ou cil est qui rassoage Mes maus quant g’en oi parler.

I will sing to keep my courage up since I must comfort my heart for in my great distress I not to wish to die or go mad when from the savage land I see anybody return, where he has gone who soothes my heart when I hear him mentioned.

Dieus, quant crïeront outree, Sire aidiés au pelerin Por qui sui espoventee, Car felon sont Sarrazin.

God, when they shout “Quick march!”, O Lord, help the pilgrim for whose sake I tremble for treacherous are the Saracens.

Souffrerai en tel estage Tant quel voie rapasser.

Il est en pelerinage, Molt atent son retorner.

Car outre de mon lignage Ne quier achoison trover D’autrui face mariage: Molt est fous qu’en veut parler.

I shall be waiting in anguish until I see him come back.

He has gone off as a pilgrim.

In fear and trembling I will wait for him to come back, for in spite of my family I have not intention of marrying any other.

He who suggests this is mad.

Dieus, quant crïeront outré…

God, when they shout “Quick march!”…

De ce sui mout deceüe Quant ne fui au convoier.

Sa chemise qu’ot vestue M’envoia por embracier.

La nuit, quant s’amor m’argüe, La met avec moi couchier, Molt estroit a ma chair nue, Por mes malz assoagier.

What grieves me is that I did not go with him.

He sent me the shirt which he wore for me to hold in my arms.

At night, when love of him torments me, I take it to bed and hold it to my naked body, to ease my suffering.

Dieus, quant crïeront outré…

God, when they shout “Quick march!”…

Chevalier, mult estes guariz Chevalier, mult estes guariz, Quant Deu a vus fait sa clamur Des Turs e des Amoraviz, Ki li unt fait tels deshenors.

Cher a tort unt ses fieuz saiziz; Bien en devums aveir dolur, Cher la fud Deu primes servi E reconuu pur segnuur.

Ki ore irat od Loovis Ja mar d’enfern avrat pouur, Char s’alme en iert en pareïs Od les angles nostre Segnor.

Knights, you are well protected for God goes before you in the struggle against the Turks and Almoravides who do him such shame, for wrongly have they seized his fiefs.

We should be well pained for there was God first served, and recognized as Lord.

Whoever goes with Louis has nothing to fear of hell.

Certainly by this his soul will go to paradise where the angels of our Lord dwell.

Pris est Rohais, ben-le savez, Dunt crestiens sunt esmaiez, Les mustiers ars e desertez: Deus n’i est mais sacrifiez.

Chivalers, cher vus purpensez, Vus ki d’armes estes preisez; A celui voz cors presentez Ki pur vus fut en cruiz drecez.

Ki ore irat od Loovis…

Rohais is taken, as well you know, and the Christians are discomforted.

The churches are burnt and ruined; God is no longer worshipped there.

Therefore knights, think on this, you who have taken up arms: present your body to him who for your sake hung on a cross.

Whoever goes with Louis…

Alum conquere Moïsès, Ki gist el munt de Sinaï; A Saragins nel laisum mais, Ne la verge dunt il partid La Roge mer tut ad un fais, Quant le grant pople le seguit; E Pharaon revint apres: Il e li suon furent perit.

Ki ore irat od Loovis…

Let us win back Moses who lodged on Mount Sinai.

Let us not leave to the Saracens either him nor the rod with which he parted the Red Sea in one stroke when all the people followed him; and Pharoah coming after perished with all his forces.

Whoever goes with Louis…

Cuncti simus concanentes Cuncti simus concanentes: Ave Maria.

Let us all sing together: Hail Mary.

Virgo sola existente en affuit angelus, Gabriel est appellatus atque missus celitus Clara facieque dixit: Ave Maria.

When the Virgin was alone, lo, an angel appeared, Gabriel was his name and he was sent from Heaven.

With a shining face he said: Hail Mary.

Clara facieque dixit: audite karissimi.

En concipies Maria: Ave Maria.

With a shining face he said, (listen my dear ones) You will conceive, Mary. Hail Mary.

En concipies Maria: audite karissimi.

Pariesque Filium: Ave Maria.

You will conceive, Mary. (Listen my dear ones.)

You will bear a son. Hail Mary.

Pariesque Filium: audite karissimi.

Vocabis eum Jhesum: Ave Maria.

You will bear a son. (Listen my dear ones.)

You will call him Jesus. Hail Mary.

Los set gotxs recomptarem Los set gotxs recomptarem et devotament xantant humilment saludarem la dolรงa verge maria.

Ave maria gracia plena dominus tecum virgo serena.

I shall speak and devoutly sing of the seven joys; humbly shall I praise the gentle Virgin Mary.

Hail Mary, full of grace, the Lord is with thee, virgin pure.

Verge for anans del part pura e sens falliment en lo part e pres lo part sens negun corrumpiment. lo fill de deus verge pia de vos nasque uerament.

Virgin were you before the birth, pure and free from sin; in that birth and since that birth, you remain without stain.

The son of God, O holy virgin, was born of you in truth.

Verge tres reys dorient cavalcan ab gran coratge ab lestrella precedent vengren al vostre bitatge offerint vos de gradatge aur et mirre et encenc.

Virgin, three kings from the Orient rode forth with great courage, and following the star they came to your home offering you as gifts gold, myrrh and frankincense.

Verge stant dolorosa per la mort del fill molt car romangues tota ioyosa can lo vist resuscitar. a uos mare piadosa primer se volch demostrar.

Virgin, who stood grieving over the death of your dear son, you became so joyful when you saw him rise again.

To you, reverent mother, he first revealed himself.

Verge lo quint alegratge quen agues del fill molt car estant almunt dolivatge al cell lon vehes puyar. on aurem tots alegratge si per nos vos plau pregar.

Virgin, the fifth joy which you knew from your adored son was on the Mount of Olives when you saw him rise into heaven.

We shall all be filled with joy if you deign to pray for us.

Verge quan foren complits los dies de pentacosta ab vos eren aunits los apostols et de costa sobretots sens nuylla costa devalla l’espirit sant.

Virgin, when the days of Pentecost were complete, and around you were gathered the apostles, miraculously on everyone in all fullness the Holy Spirit descended.

Verge‘l derrer algratge quen agues en aquest mon vostre fill ab gran coratge vos munta al sel pregon on sots tots temps coronada regina perpetual.

Virgin, the last joy you had on this earth was when your mighty son raised you up to heaven where forever crowned as queen eternally you reign.

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

IN CONVERSATION

BEN GROSSMAN Ben Grossman first joined the Toronto Consort as a guest artist in 1997. Ben is a busy musician: improviser, studio musician, composer, noise-maker and audio artist.

TC: When did you get into music?

BG: It was the summer of 1347, as I recall... actually music was all around my house since I was tiny. I have photos of me at my mother’s old Gibson guitar when I was 4 or 5. I never really stopped.

TC: How about early music?

BG: Well, I had always loved Bach, for instance, but I think my first awareness of “early music” per se might have been records of David Munrow and Thomas Binkley. I really got hooked with recordings of medieval Spanish music by Sinfonye and Ensemble Alcatraz from the late 80s and early 90s.

TC: What was your first “professional” performance?

BG: Probably in one of my early, long-forgotten post-punk bands in a smoky bar on Queen street.

TC: When did you join the Toronto Consort?

BG: As it happens, I believe that my first concert with the group was The Way of the Pilgrim in, I think 1997 or so. I think I was a “guest” for that one. I didn’t get my Toronto Consort Secret Decoder Ring™ for a couple of years after that.

TC: Do you have a memorable performance or moment?

BG: With the Consort? There have been too many to recount! I do, however, recall moments of musical revelation for me during performances of Monteverdi, especially.

And as I’m a big fan of contemporary music, I’m always excited when the Consort gets to work on a new work by a Canadian composer, for example.

TC: What do you like to do before a show to get ready?

Tune! Tune again! Tuning is such sweet sorrow.

TC: What do you like to do after a show?

BG: After packing up, what I’d like to do is have a drink with the rest of the Consort!

Alas, that rarely happens as I often have to drive home to Guelph.

TC: What is your favourite recording at the moment?/ or if you prefer: Of all time?

BG: Right now I can’t seem to listen to anything other than Ethiopian music. The saxophonist Getachew Mekurya is certainly at the top of my list these days.

TC: What are you reading these days? or Have you seen a film lately you would like to recommend?

BG: David Graeber’s Debt: the First 5000 Years is an extraordinary book that is far more interesting and wide-ranging than its title suggests! I haven’t finished yet, but I’m already looking forward to reading it again. Run, don’t walk, to your nearest bookstore, as they say.

As for films, I’ll take Jacques Tati, Hitchcock, and Fellini, please. But Carol Reed’s The Third Man probably tops the list.

TC: If you are not listening to/playing early music, what do you like to listen to/play?

BG: I also play contemporary, improvised, and experimental music and am involved in sound art and installation work. Never a dull moment.

TC: The Toronto Consort is not your only gig – where else can we find you around town? or Where can we find you next outside of The Consort?

BG: [I guess this depends on when this will be published]. Like any musician, I’ve always got things on the go. I do try to keep the news current via Twitter @ben_grossman and my mailing list available through www.macrophone.org. But I do a terrible job, to be honest.

TC: Just how many instruments do you own? Can you name them?

BG: I own far too many: it’s one of the hazards of being a percussionist, and occasional sound designer. I could name them, but they’d never come when called, so why bother?

TC: Do you have a special favourite?

BG: Well, I don’t want to make the other instruments jealous, but I’m sure it’s no secret that my hurdy-gurdy (vielle à roue) is nearest and dearest to me, both for early and for contemporary music. It’s an occasionally cruel mistress, but I never cease to find new sounds with it.

We reached our $20,000 goal!

Our 2015 Holiday Matching Campaign sponsored by Greig Dunn Late in 2015, Toronto Consort patron and supporter Greig Dunn made an extraordinary financial pledge. Wishing to inspire others to give too, he offered to match any gifts made to the Consort, up to a campaign total of $10,000.

We are thrilled to report to you that we reached our campaign target in the final days of December. Over one hundred generous donors responded to Greig Dunn’s matching pledge, donating a total of $10,000. Greig in turn matched these gifts, raising a total of $20,000 towards the Consort’s operations!

Thank you to the many generous donors who responded to this special matching challenge – and thank you Greig – we can’t do it without you!

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.

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 Michael Disney Jean Edwards Elizabeth Ganiatsos Dinah Hoyle & Earl Rosen Eva & Doug Green George Hathaway Jill Humphries D. Kee Grace & Henry Klaassen Robert & Michelle Knight Marion Lane & Bill Irvine Eric A. Lipka Mary Ella Magill Lynda Newmarch Prof. E.M. Orsten Carol Percy Paul & Elaine Pudwell Harold Shepherd Barbara Tangney Janet Walker Janet Wood

($5,000 and above)

($2,500 - $4,999) Fred & Ursula Franklin Tiit Kodar, in memory of Jean Kodar

($1,000 - $2,499) C. Bergeron Marie Campbell Jane Couchman & Bill Found David Fallis Kevin Finora Chester & Camilla Gryski A. L. Guthrie Glen Hutzel William & Hiroko Keith Gerhard & Louise Klaassen Oleg Kuzin, in memory of Betty Kuzin Dr. Margaret Ann Mackay Ann F. Posen Terry Raininger & Eric Parker Ted Sharp Heather Turnbull Guy Upjohn Heather Walsh Jane Witherspoon & Brian Stewart Berta Zaccardi & Craig Robertson Anonymous (4)

($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 Kim Condon & Jonathan Barrentine Michael & Honor de Pencier Annette DeBoer 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 Lawrence Herman Pauline S. Hill Jerry Hogan Anya Humphrey Marion Lane & Bill Irvine William Karner George & Kathryn Kawasaki Lisa Marie Krause Lois Kunkel & John Olthuis Ken Lawday Michael Lerner Dr. Theresa Liem Hallett & Karen Llewellyn Margaret Magee Christina Mahler & Jeanne Lamon Pat & Howard Malone Alina Matus Kathleen McMorrow Alec & Joyce Monro Margaret & Reid Morden Sara Morgan & Daniel Philpott Elizabeth Mowat Stephen J. Munro

Toronto Consort Donors 2015-16 Ed & Cynthia Nowina Toby & Martine O’Brien Selma Odom Christopher Palin Susanne Palmer & Wayne Drewry Valdis 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 Edward J. Thompson Ross Tilley Patricia & Alasdair Urquhart 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 Cheri & Gregory Barnett Guyszi S. Berki Sheila Campbell

Philippa Campsie & Norman Ball Connie Catalfamo Priscilla Chong Colleen Clark Thomas & Elizabeth Cohen Nancy Conn Douglas Crowe David & Liz Currie Helen Davies Stephanie de Bruijn Beatrice de Montmollin Colin Dobell Judy Dora Lee Emerson Carol Farkas Joyce Ford Frank & Donna Lynne Fraser Brydon Gombay JosĂŠ Gotera, in memory of Consuelo Gotera John & Jane Grant Ulla Habekost Sylvia Hamilton Richard & Marie Hands Derek & Susan Hayes Gerry & George Helleiner Avril N. Hill Deborah Holdsworth Gail Houston Cheryl L. Huber Marguerite Hunt Susanna Jacob Nancy Jacobi J. & J. Jimenez Elisabeth Jocz Ludwig W. Kalchauser Ann Karner David Keenleyside John & Betty Jean Klassen Natalie Kuzmich Anne-Louise Lanteigne Claire Lavigna

Edward & Margaret Lyons David Robertson & Eva MacDonald Duncan MacKenzie B. Lesley Mann Gloria Marsh Hugh & Lou Mason Lynne Massey Anne McConnell & Ross Hirning Gary McIntosh in honour of Ross Tilley Matthew & Moira McQueen Sean Miller Paul Muther & Ulla Dagert Paul Nash Derry Neufeld Lorna Novosel G.D. Olds R.M.H. Pinkerton Jean Poldosky Anne-Marie Prendiville & John Gillies David Ptolemy Tim Reid Jason Roberts David Robertson & Eva MacDonald 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 Carol Vine Mary Vise Elaine Waddington

Toronto Consort Donors 2015-16 Sharon Walker Paula Wilson Andrea Whitehead Angie Wong Anne Wong Peter & Sharon Wong Beverley Wybrow Judith Zoltai Anonymous (3)

Friend

($50 - $99) Sandra Alston Ruth Baillie Leonie Bedford Stephen Bishop Chris Brownhill Rose Marie Cira Amy Colson Ruth Comfort Sue Cousland John Crozier

S. Davidson Hans De Groot Brenda Ellenwood George & Kittie Fells Margaret Furneaux Constance Gardner Elke Heidemann & Elsa Miller Gail Houston Marie Howes-Clark Prof. Alexandra F. Johnston Andrea Kinch Tiiu Klein Norma Lundberg Gillian Meecham Darryl Nakamoto Barbara Obrai Grace Olds Katherine V. Paterson Marion Pope Mary Richardson Molly Robbins Marion Scott Arthur Smith

Roberta Smith Janet Stern Marilyn Isaac Stewart Mrs. Penelope Sullivan Jackie Taschereau Kaspers Tuters Catherine Ukas Lorna Van Bergen Elaine Waddington Mary Jane Warner Carol B. Watson Brenda Watts John & June Wevers Susan Q. Wilson Perry Wong Bob Zarichansky Anonymous (1)

Listing includes donations received up to January 30, 2016. Please let us know if we have missed you or made an error. Call 416-966-1045.

The Toronto Consort Board of Directors wishes to thank our patrons and supporters for coming out and making our Way of the Pilgrim CD Launch and Fundraiser, held on January 18 at Heliconian Hall, a successful event.

We would like to extend our special thanks to our silent auction donors: Canadian Opera Company, Ensemble Polaris, Factory Theatre, Jane Forest, Camilla Gryski, Japanese Paper Place, Alison Melville, Marquis Classics, Opera Atelier, Eric Parker, Martin Reis, Royal Conservatory of Music, Sony Centre, Colin Savage, Scaramella, Toronto Masque Theatre, Theatre Passe Muraille and Tafelmusik Baroque Orchestra and Chamber Choir

Thank you to event sponsors Steamwhistle Brewery and Pelee Island Winery

The Royal Conservatory of Music and The Toronto Consort present in partnership

The Grand Tour 1608

A Music Appreciation Course

Instructor: Toronto Consort ensemble member Katherine Hill

April 5 to 26, 2016

Tuesdays, 10am to Noon The Royal Conservatory of Music 273 Bloor St W, Toronto

rcmusic.ca | TorontoConsort.org or Call: 416-408-2825 Promo Code for 10% off: CONSORT

Alliance Franรงaise de Toronto presents in partnership with The Toronto Consort, Gardiner Museum and Istituto Italiano di Cultura di Toronto

Lecture: Portrait of Monteverdi

by Toronto Consort Artistic Director

David Fallis

Wed April 27, 7pm | FREE Alliance Franรงaise de Toronto

Spadina Theatre, 24 Spadina Rd., Toronto English Language

alliance-francaise.ca | TorontoConsort.org or Call: 416-922-2014

The Toronto Consort is a Proud Member of

You’re invited!

Pre-Concert Talks Please join us before concerts this fall for engaging talks with special guests.

BEºWULF

featuring Benjamin Bagby

March 11 & 12 Guest Speaker: Prof. David Klausner, University of Toronto

MONTEVERDI VESPERS May 6 – 8

Guest Speaker: David Fallis, Artistic Director, The Toronto Consort

bloorstculturecorridor.com

Gymnasium, Trinity-St. Paul’s Centre FREE WITH TICKET PURCHASE

presents

Beowulf: The Lecture By

Benjamin Bagby

Sun, March 13, 2pm Alliance Française

24 Spadina Rd., Toronto Tickets: $40 416-966-1045 | TorontoConsort.org

The lecture and Q&A will be followed by a Reception

Cash Bar Complimentary nibbles Go behind the scenes to learn about Benjamin Bagby’s one-man international hit show BEOWULF, premiering in Toronto on March 11 & 12 at 8pm, presented by The Toronto Consort at Trinity-St. Paul’s Centre Event proceeds support The Toronto Consort Charitable Registration No. 10525 5152 RR0001

A Passage to India: A TMT Salon Baroque Orchestra

THE BEST OF

We explore the creation of our latest masque, The Man Who Married Himself with an evening of conversation, music, refreshments and wine.

MOZART

Featuring: Symphony no. 40, Eine kleine Nachtmusik, and more!

DIRECTOR & VIOLINIST

MIRA GLODEANU

Feb 25-28

SEASON PRESENTING SPONSOR

Trinity-St. Paul’s Centre, Jeanne Lamon Hall

416.964.6337 tafelmusik.org

The Atrium at 21 Shaftesbury Avenue, Summerhill Subway Monday, 29 February 2016, 7:30 pm torontomasquetheatre.com 416-410-4561

IN OUR COMMUNITY

presents

BEºWULF featuring Benjamin Bagby

March 11 & 12, 2016 Medieval performer Benjamin Bagby (Sequentia) has taken the world by storm with his performances of one of the great epics of the European bardic tradition, the battle between the hero Beowulf and the monster Grendel. Don’t miss the chance to experience this teller of tales, in Toronto for the first time.

90 Minutes | No Intermission | Projected Surtitles

THE BEOWULF DVD Benjamin Bagby’s legendary performance of the Anglo-Saxon epic Beowulf, recorded live in Helsingborg, Sweden (January, 2006), will be on sale at the concerts. Visit TorontoConsort.org to read the Beowulf synopsis and learn more about Benjamin Bagby.

presents

MºNTEVE|dI VESPE|s May 6 & 7, 8pm & May 8, 3:30pm Generously supported by Vivian E. Pilar

BOX OFFICE: 416 964-6337 TORONTOCONSORT.ORG