2014-15 OPERATING GRANTS

30 T H SEASON

Monteverdi Songs of Love and War

SPacific MusicWorks

Saturday, 8 November 2014 at 8pmAlix Goolden Hall, Victoria Conservatory of Music

8pm Saturday 29 November 2014 ◆ Alix Goolden Hall

Accademia Hermans ItAlyVivaldi and his ImitatorsIn the eighteenth century, Antonio’s Vivaldi’s works were consistently fresh, wildly popular—and widely imitated. Sometimes it is unclear when a work is by the Venetian master or one of his admirers. You be the judge. Vivaldi’s followers included the great J.S. Bach and the ever popular anonymous.

8pm Saturday 7 mArcH 2015 ◆ oak bay United church

Kristian bezuidenhout fortepiano Mozart Piano Sonatas SoutH AfrICA/uK

Bezuidenhout’s interpretation of Mozart has caused a sensation at the world’s major early music festivals. Come and find out why. The reigning superstar of the fortepiano brings to the keyboard masterpieces of Mozart an unprecedented flair and freedom.

8pm Saturday 28 mArcH 2015 ◆ Alix Goolden Hall

Jeffrey Thompson tenor La rêveuse frANCeHenry Lawes: Songs of an English CavalierHenry Lawes lived through the troubled times of 17th-century England. He was acknowledged in his day as one of the finest composers for the voice. With his extended vocal ranges, expressive melodies, vibrant dissonances and the high poetic quality of his texts, Lawes is a subtle painter of the melancholy of his age.

8pm Saturday 25 ApriL 2015 ◆ Alix Goolden Hall

vocame GerMANyHildegard of Bingen: Songs and VisionsMystic, poet, saint, visionary, Doctor of the Church: Hildegard was many things, but perhaps above all she was a composer of inspired music. This internationally acclaimed ensemble transports audiences back to the 12th century and makes it possible to share Hildegard’s ecstasy.

2014–15 Concert Season

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SpeciAL eveNTS The Northwest baroque masterworks project

8pm Saturday 20 December 2014 ◆ Alix Goolden Hall

An exciting new collaboration with the EMSI, Early Music Vancouver, Pacific MusicWorks and the Portland Baroque Orchestra

pacific musicWorks portland baroque orchestraStephen Stubbs music director SeAttleBach: Christmas OratorioCelebrate the holiday season with a collection of North America’s most celebrated period instrumentalists and soloists in this festive performance of three of Bach’s six Christmas Oratorio Cantatas performed as they would have been in Leipzig in 1734.

3pm Sunday 15 FebrUArY 2015 ◆ Alix Goolden Hall

pacific baroque orchestravancouver cantata SingersAlexander Weimann music director VANCouVerHandel: TheodoraA collaboration with the EMSI, Early Music Vancouver and the Seattle Early Music Guild

Featuring some of Handel’s most glorious music, Theodora depicts the self-sacrificial love between a Christian virgin and a Roman imperial bodyguard. It serves as a timeless parable of spiritual resistance to tyranny and an indictment of persecution. Performed by 28 instrumentalists, 40 singers, and five international soloists.

Monteverdi Songs of Love and War

Catherine Webster, SopranoDanielle reutter-Harrah, Mezzo Soprano

reginald Mobley, CountertenorAaron Sheehan, tenor

ross Hauck, tenorDouglas Williams, Bass

tekla Cunningham, linda Melsted, Violins elisabeth reed, Baroque cello

Maxine eilander, Baroque harp and harpsichord Stephen Stubbs, Chitarrone and direction

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Hor che’l ciel e la terra e’l vento tace . . . . . . . . . . Monteverdi, Madrigali guerrieri, et amorosi (Venice, 1638)

Chiomo d’oro bel tesoro . . . . . . . . . . . . . . . Monteverdi, Concerto. Settimo libro de madrigali (Venice, 1619)

Gira il nemico insidioso Amore . . . . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Madrigali guerrieri, et amorosi

ego flos campi . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Seconda raccolta de sacri canti (Calvi, Venice, 1624)

Sonata terza . . . . . . . . . . . . . . . . . Dario Castello, Sonate Concertate in Stil Moderno, Libro II (Venice, 1629)

et e pur dunque vero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Scherzi musicali (Venice, 1632)

Augellin che la voce al canto spieghi . . . . . . . . . . . . . . . . . Monteverdi, Concerto. Settimo libro de madrigali

INterMISSIoN

lamento della Ninfa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Madrigali guerrieri, et amorosi

Sonata undecima . . . . . . . . . . . . . . . . . . . . . . . . . Dario Castello, Sonate Concertate in Stil Moderno, Libro II

ogni amante è guerrier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Madrigali guerrieri, et amorosi

l’eroica à 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea falconieri, Il libro primo (Naples, 1650)

Altri Canti di Marte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monteverdi, Madrigali guerrieri, et amorosi

Texts and Translations

SHor che’l ciel, e la terra

Hor che’ l ciel, e la terra e’ l vento taceE le fere e gli augelli il sonno affrena,Notte il carro stellato in giro mena,E nel suo letto il mar senz’onda giace.

Veglio, penso, ardo, piango, e chi mi sfaceSempre m’ è innanzi, per mia dolce pena.Guerra è il mio stato, d’ ira e di duol piena;E sol di lei pensando ho qualche pace.

Così suol d’una chiara fonte vivaMove’ l dolce e l’amaro, ond’ io mi pascoUna man sola mi risana e punge,E perchè’ l mio morir non giunga a riva,Mille volte il dì moro, e mille nasco,Tanto dalla salute mia son lunge.frANCeSCo PetrArCA (rIMe, ClXIV)

Chiome d’oro

Chiome d’oroBel tesoro,Tu mi leghi in mille modiSe t’annodi,Se ti snodi.

CandidettePerle elette,Se le rose che copriteDiscoprite,Mi ferite.

Vive stelleChe sì belleE sì vaghe risplendete,Se rideteM’ancidete.

Preziose,Amorose,Coralline labbra amate,Se parlateMi beate.

Now that heaven, earth, and wind are silentAnd slumber enthralls the beasts and birds,Night leads her starry chariot aboutAnd in her bed, the sea lies waveless .

I wake, I think, I burn, I weep, for her whose faceIs ever before me, to my sweet pain .War is my condition, full of both anger and grief,And only by thinking of her do I find some peace .

Thus, from a single clear living springCome both the sweet and bitter on which I feed,A single hand both heals and wounds me,And since my torment has no end,A thousand times a day I die, a thousand times I am reborn, so far am I from my salvation!

tresses of goldBeautiful treasureyou bind me in a thousand waysWhether you are knottedor loosened .

WhitestMost perfect pearls (teeth)If the roses which cover you,reveal you,I am wounded .

Bright stars (eyes)Which so beautifullyAnd so gracefully shineIf you laugh,you kill me .

Precious,Amorous,Beloved lips of coral,If you speak,you bless me .

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O bel nodoPer cui godo!O soave uscir di vita!O graditaMia ferita!

Gira il nemico

Gira il nemico insidioso AmoreLa rocca del mio core.Su presto, ch’egli qui poco lontano,Armi alla mano!

Nol lasciamo accostar, ch’egli non sagliaSulla fiacca muraglia,Ma facciam fuor una sortita bella;Butta la sella!

Armi false non son, ch’ei s’avvicinaCol grosso la Cortina.Su presto, ch’egli qui poco discosto,Tutti al suo posto!

Vuol degl’occhi attaccar il baloardo,Con impeto gagliardo.Su presto, ch’egli qui senz’alcun fallo,Tutti a cavallo!

Non è più tempo, ohimè, ch’egli ad un tratto, Del cor padron s’ è fatto.A gambe, a salvo chi si può salvareAll’andare!

Cor mio, non val fuggir, sei morto e servoD’un tiranno protervo,Che’ l vincitor, che già dentro alla piazza,Grida: “Foco, ammazza!”GIulIo StrozzI

o beautiful knotsWhich delight me!o sweet exit from this life!o how I enjoyMy wounds!

The enemy, insidious love, encirclesThe fortress of my heart .Quickly, act, for he is not far from here,take up arms!

Don’t allow him to approach, nor leaponto the weak rampart,But rather let us sally forth boldly,Saddle the horses!

Those are not fake weapons, he is nearingThe gate with his forces .Quickly, act, for he is not distant,everyone to his post!

He wants to attack the bastion of my eyesWith an impetuous charge .Quickly, act, for he is here and no mistake,everyone to his horse!

There is no more time, alas, for at a strokeHe has become the master of my heart .to foot, save yourselves if you can, fly!

My heart, you cannot flee, you are deadAnd the servant of an arrogant tyrant,for the conqueror, already inside the court,Cries: “fire, slaughter!”

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Ego flos campi

Ego flos campi et lilium convallium.Sicut lilium inter spinas, sic amica mea inter filias. Sicut malus inter ligna silvarum, sic dilectus meus inter filios. Sub umbra illius que desideraveram sedi et fructus eius dulcis gutturi meo.SoNG of SoNGS 2:1-3

Et è pur dunque vero

Et è pur dunque vero,Dishumanato cor, anima cruda,Che cangiando pensieroE di fede e d'amor tu resti ignuda.D'haver tradito me datti pur vanto,Che la cetera mia rivolgo in pianto.

È questo il guiderdoneDe l'amorose mie tante fatiche?Così mi fa ragione,Il vostro reo destin, stelle nemiche.Ma se' l tuo cor è d'ogni fe' ribelle,Lidia, la colpa è tua non delle stelle.

Beverò, sfortunato,Gl'assassinati miei torbidi pianti,E sempre addolorato A tutti gl'altri abbandonati amanti,E scolpirò sul marmo alla mia fede:Sciocco è quel cor ch' in bella donna crede.

Povero di conforto,Mendico di speranza, andrò ramingo;E senza salma o porto,Fra tempeste vivrò mesto e solingo.Né havrò la morte di precipitii a schivo Perchè non può morir chi non è vivo.

Il numero de gli anni Ch'al sol di tue bellezze io fui di neve,Il colmo degl'affanniChe non mi diero mai,

I am the rose of Sharon, and the lily of the valleys .As the lily among thorns, so is my love among the daughters .As the apple tree among the trees of the wood, so is my beloved among the sons . I sat down under his shadow with great delight, and his fruit was sweet to my taste .trANSlAtIoN: KING JAMeS VerSIoN

Is it then really trueDehumanized heart, cruel soul,That you have changed your thoughtsAnd of loyalty and love you are denuded?That to have betrayed me you boast?So that my lyre dissolves in tears?

Is this the rewardfor all my amorous efforts?Is this the resultof a cruel destiny, enemy stars?But if your heart now rebels against all faith, lidia, the fault is yours and not the stars!

I will drink, wretch,to my own assassination with a torrent of tears,And always lamenting,Will toast all the other abandoned loversAnd I will carve into marble my conviction:Blind is that heartWhich believes in a beautiful woman!

Impoverished of comfort,Beggared of hope, I will roam:And without body or portAmidst the tempests I will live sad and alone .Nor having any fear for death,Because he cannot die who does not live!

The number of years during which, under the sun of your beauty, I was the snow,The sum of sufferingWhich never gives me

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mai riposo breve:Insegneranno a mormorar i ventiLe tue perfidie o cruda e i miei tormenti.

Vivi, vivi col cor di giaccio,E l' inconstanza tua l'aure diffidi;Stringi, stringi il tuo ben in braccioE del mio mal con lui trionfa e ridi;Ed ambi in union dolce graditaFabricate il sepolcro alla mia vita.

Abissi, abissi, udite, uditeDi mia disperation gli ultimi accenti,Da poi che son forniteLe mie gioie e gl'amor e i miei contenti.Tanto è' l mio mal che nominar io voglioEmulo del inferno il mio cordoglio.

Augellin Augellin che la voce Al canto spieghi,Per pietà del mio duoloDeh, spargi l’ali a volo

Indi vanne a Madonna,Anzi al mi sole,E con dogliosi accentiDille queste parole:

O soave cagion d’aspri tormenti,Soffrirete voi sempreCh’ in pianto chi v’adoraSi distempre?

even a moment of repose;Will teach the winds to murmur your perfidies, o cruel one, And my torments .

live, live then with a heart of ice, And let your waywardness compete with the breezes; tightly embrace your lover in your arms And with him laugh and triumph at my suffering; And, as you enjoy the sweetness of your union, Know that you also build my tomb .

Abysses, listen!to the final sounds of my desperation,for they are all finished now:My joys and love and contentment .Such is my suffering that I would callHell itself an imitation of my pain .

little bird who raises your voiceIn song,for pity of my sorrow,Ah! Spread your wings to fly!

Thus fly to my lady,or should I say, my sun,And with doleful accents Speak these words to her:

o sweet cause of my bitter torments,Will you continue to allowThat he who adores you Must dissolve in his own tears?

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Lamento della Ninfa Non havea Febo ancoraRecato al mondo il dìCh’una donzella fuoraDel proprio albergo uscì.Sul palidetto voltoScorgease il suo dolor,Spesso gli venia scioltoUn gran sospir dal cor.Si calpestando fioriErrava hor qua hor là,I suoi perduti amoriCosì piangendo va:

“Amor” dicea: il cielMirando, il piè fermò.“Amor, dov’ è la fèChe’ l traditor giurò?Fa che ritorni il mioAmor com’ei pur fu,O tu m’ancidi ch’ ioNon mi tormenti più.”(Miserella! Ah più no, no,Tanto gel soffrir non può.)“Non vo’ più ch’ei sospiriSe non lontan da me;No, no ch’ei martiriPiù non dirammi affè.Perchè di lui mi struggoTutt’orgoglioso sta,Che sì, che sì, se’ l fuggoAncor mi pregherà.Se ciglio ha più serenoColei che’ l mio non è,Già non rinchiude in seno,Amor, sì bella fè.Nè mai sì dolci baci, mai,Da quella bocca havrai,Nè più soave—ah, taci,Taci, che troppo il sa.”

Si tra sdegnosi piantiSpargea le voci al ciel,Così ne’ cori amantiMesce amor fiamma e gel.ottAVIo rINuCCINI

Phoebus had not yetGiven daylight back to the worldWhen a maiden emergedfrom her house .on her pale faceHer sorrow could be seen,often she unleashedA great sigh from her heart .Crushing the flowers underfootShe strayed now here, now there,Her lost loveThus she bewailed:

“Amor” she said: lookingInto the heavens, standing still .“Amor, where is the faithfulnessThat the traitor swore?Make my love return to meAs he once was,or kill me, that I mayNo longer torment myself .”(Ah poor girl! No more, no more,She cannot bear such scorn .)“I don’t want him to sigh any moreunless he be far from me;No, nor his sufferingsBe recounted to me, I swear .Because I torture myself for his sakeHe is filled with pride, But yes, yes, if I would flee himHe would come begging me again .If she has a visage more beautiful Than mine, She! She!yet enclosed in her heart is notSuch a beautiful faithfulness as mine, Amor .Never again such sweet kisses, never,from that mouth shall you have,Nor ever the sweeter—ah, be silentBe silent, for you know it only too well .”

And so, amongst indignant tears,She sent her words to the heavens,Thus it is in lover’s hearts,love mingles fire and ice .

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Ogni amante è guerrier Ogni amante è guerrier: nel suo gran regnoHa ben Amor la sua milizia anch’egli.Quella fiorita età che’ l duro pondoPuò sostener de l’elmo e de lo scudoNegli assalti d’amor fa prove eccelse,Nè men scontio è veder tremula manoPer troppo età vibrar la spade e l’ hastaChe sentir sospirar canuto amante.

Ambo le notti gelide e sereneE l’amante e’ l guerrier traggon veggiando,Questi a salvar del capitan le tende, Questi a guardar l’amanti mura intento.Non mai di faticar cessa il soldato,Nè ripose già mai verace amante.Ambo sormonteran de’monti alpestriLe dure cime, ambo torrenti e fiumiTra piogge e nembi varcheran sicuri.Non del vasto ocean l’onde spumanti,Non d’Euro o d’Aquilon l’orribil fiatoFrenar potrà l’ impetuosi coriSe di solcar il mar desio gli sprona.Chi, se non quei che l’amorosa insegnaSegue o di Marte, al ciel notturno e foscoPuò la poggia soffrir, le nevi e’ l vento?Taccia pur dunque omai, lingua mendace,Di più chiamar otio e lascivia amore,Ch’amor affetto è sol di guerrier core.

Io che nell’otio nacqui è d’otio vissi,che, vago sol di riposata quiete,trappassava non pur l’ hore notturnema’ i giorni intieri ancor tra molli piume,è tra grat’ombre, d’ogni cura scarco,il fresco mi godea d’un’aura lievecol roco mormorar d’un picciol rivoche fea tenor degli augelletti al canto—io stesso, poi che generosa curadi bellissimo Amor mi punse il coreall’ hor che’ l guardo volsi al divin lumeche sfavillar vid’ io da quei belli occhie’ l suono udì che da rubini e perle mi giunse al cor d’Angelica favella,sprezzando gli agi di tranquilla vita,non pur chiuggo a i gran dì tra il sonno i lumi,ma ben sovente ancor e stelle e seracangiar vigile amante in Sol e in alba.

every lover is a warrior; in his great empirelove too has his militia .The flourishing age (youth), which can bearThe heavy weight of helmet and shieldAmidst the assaults of love, will prove its mettle .Nor is it less displeasing to see a hand, tremulous,Shaking a sword or lance,Than it is to hear the sighs of a gray-haired lover .

Warrior and lover both spend the quiet cold nightsWithout sleep,This one protects the captain’s tents,The other intently guards the beloved’s walls,The warrior never ceases his laborsAnd the true lover never rests .Both scale the arduous summitsof rugged peaks, both cross torrents and riversWith firm steps amidst rain and storms .Neither the foaming waves of the vast ocean,Nor the terrible blasts of the east or north windsCan restrain their impetuous heartsIf the desire to cross the sea spurs them on .Who but they who follow the banner of loveor of War, in the dark and gloomy nightCould endure the rain, the snow, and the wind?let lying tongues be stillAnd never again call love lazy and wanton,for love is a passion of the warrior heart alone .

I, who was born in idleness and lived in idleness,Who desired nothing but restful ease,Spent not merely my nightsBut also entire days as well on my soft feather bed,And midst pleasing shades, free of all cares,enjoyed the refreshment of gentle breezesWith the gentle murmur of a little streamThat played the tenor to the soprano of the birds’ song—yet I, once the noble caresof most beauteous love pierced my heart,At the moment when I turned my gaze toward the divine light sparkling in those beautiful eyes,And heard the sound from rubies and pearls of that angelic voice which pierced my heart, I now despise the comforts of the tranquil lifeAnd no longer close my eyes to sleep in daylight, But now, often, this wakeful lover sees the stars and the night change into the sun and the dawn .

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Spesso carco di ferro all’ombra oscuraM’en vo sicur ove il desio mi spinge,E tante soffro ogni hor dure fatiche,Amoroso guerrier, ch’assai m’en greveMisura in un col valoroso HispanoTentar pugnando l’ostinato Belga,O pur la dove innunda i larghi campi L’Istro Real, cinto di ferro il busto,Seguir tra l’armi il chiaro e nobil sangueDi quel Gran Re ch’or su la Sacra TestaPosa il splendor del Diadema Augusto;Di quel Gran Re ch’alle Corone, ai Lauri,Alle spoglie, ai trionfi il ciel destina.O sempre glorioso, o sempre invitto,Segui felice e fortunato a pienoL’alte vittorie e gloriose imprese,Che forse un dì questa mia roca cetraRitornerà non vil nei tuoi gran pregiAll’ hor ch’al suon de l’armiCanterò le tue palme e i chiari allori.Quando l’ hostil furor depresso è domoDal tuo invitto valor, dal tuo gran senno,Udrà pien di spavento e di terroreL’Oriente sonar belliche squille,E sovra gran destrier di ferro adornoDi stupor muti i faretrati ScitiTra mille e mille cavaglier’ e duciCarco di spoglie, O gran Fernando Ernesto,S’ inchineranno alla tua invitta spada,Vinti cedendo le Corone e i Regni.

Ma per qual ampio Egeo spieghi le velesì dal porto lontano, ardito amante!Riedi, che meco il mio cortese amicoVeggio ch’a si gran corso, a sì gran volo,Di pallido timor dipinge il viso.

Riedi, ch’al nostr’ardir, ch’al nostro canto,ch’ora d’armi e d’amor confuso suona,scorger ben puote omai ch’Amor e Marteè quasi in cor gentil cortese affetto.ottAVIo rINuCCINI

often, armed in iron, at dead of nightI go with sure step wherever my desire drives me .And such hard labors do I constantly endureAs a warrior of love, that it would be less a burdento contest at once with the valorous SpaniardWhile attempting to battle the obstinate Belgian,or, where the regal Danube floods the broad fields,My breast girded in iron,to follow in arms the famous, noble scionof that great king who now upon his sacred headWears the splendor of the imperial diadem;of that great king for whom crowns, laurels,Spoils, and triumphs, are predestined by Heaven .o, ever glorious, ever unconquered one,May you pursue, full of happiness and good fortune .your exalted victories and glorious enterprises .Perhaps one day my poor lyreWill be found not unworthy to sing your great praisesWhen, to the sounds of battle,I shall sing of your victories and proud laurels .When the enemy’s rage has been vanquishedBy your invincible valor, by your great wisdom,The orient, full of fear and terror, shall hearThe shrill sounds of war,And, on a great steed adorned with chain mail,The quiver-bearing Scythians, struck dumb in awe,Will see you midst thousands of knights and captains, laden with spoils, o mighty fernando ernesto,And will bow down before your invincible sword,And yield their crowns and empires to you .

But on the wide Aegean sea you hoist your sailsso far from port, bold lover!return with me, for my noble friendI see, at so great a journey, so great a flight,your face becomes pale with fear .

return, so that our courage, our song,in which the sounds of love and war are intermingled,may clearly show that love and Marsare both courtly sentiments in a noble heart .

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eMSI SeASoN SPoNSorS

Altri canti di Marte

Altri canti di Marte e di sua schieraGli arditi assalti e l’ honorate imprese,Le sanguigne vittorie e le contese,I trionfi di Morte horrida e fera.

Io canto, Amor, di questa tua guerriera:eeee mortali offese,Com’un guardo mi vinse, un crin mi prese.Historia miserabile ma vera.

Due belli occhi fur l’armi onde traffittaGiacque, e di sangue invece amaro piantoSparse lunga stagion l’anima afflitta.

Tu per lo cui valor la palma e’ l vantoHebbe di me la mia nemica invitta,Se desti morte al cor, dà vita al canto.GIAN BAttIStA MArINo

let others speak of Mars and his brigade:The bold assaults and glorious deeds,The bloody victories and the contests,The triumphs of horrid, cruel death .

I sing, love, of your (female) warrior,How many mortal wounds I had to endure,How a glance conquered me, a tress ensnared me .A sad story, but true .

two beautiful eyes were the arms that pierced,And in the place of bitter tears, drew blood,Pouring forth for so long from my afflicted soul .

you, through whose valor the honor and glorytaken from me are given my invincible enemy,If you give death to my heart, give life to my song!

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SAll translations by Stephen Stubbs except as noted

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Programme Notes

SMonteverdi’s Songs of Love and War

In Claudio Monteverdi’s extraordinarily long composing career he led the way for the entire musical world from the renaissance to the Baroque, from the a cappella madrigal to the fully realized “madrigali concertanti” replete with continuo accompaniment and obbligato strings, and from the early court opera to the world’s first public operas in Venice . He published his eighth book of “madrigals” (Madrigali guerrieri, et amorosi… libro ottavo,) in Venice in 1638, when he was 71 years old, 19 years after the seventh book of madrigals was printed . Book eight holds a place of highest significance both for its contents and for its extensive preface . This preface serves as a kind of manifesto not only of his personal philosophy of composition, but for the aesthetic goals of modern music in his time .

Monteverdi’s explicit aim was for music to express the entire range of man’s passions . He came to believe that there was a particular element theretofore missing from the expressive range of music, and he determined to supply it . earlier composers, he believed, had realized only two of man’s three major passions: the soft and the moderate . A third passion, agitation, was too important to be overlooked, and he now intended to rectify the omission:

“I have reflected that the principal passions or affections of our mind are three, namely, anger, moderation and humility or supplication; so the best philosophers declare, and the very nature of our voice indicates this in having high, low and middle registers . The art of music also points clearly to these three in its terms “agitated,” “soft,” and “moderate” (concitato, molle, and temperato) . In all the works of earlier composers I have indeed found examples of the “soft” and the “moderate” but not of the “agitated,” a genus described by Plato in these words: “take that harmony that would fittingly imitate the utterances of a brave man who is engaged in warfare” . And since I was aware that it is contrasts which greatly move

our minds, and that this is the purpose which all good music should have—for this reason I have applied myself with no small diligence and toil to rediscover this genus .

“My development of this warlike genus has given me occasion to write certain madrigals that I have called guerrieri . And since the music played before great princes at their courts to please their delicate taste is of three kinds according to the method of performance, I have indicated these in my present work with the titles guerriera, amorosa, and rappresentativo .”

The phrase “contrasts which greatly move our minds” explains not only the title of the book, but also the organization of the collection and nearly each work within it . for this collection, Monteverdi chose poems with highly contrasted or conflicting emotions, often depicting the lover as warrior, or the internal state of war in the lover’s heart . The two contrasting emotions of the title—warlike and amorous— become the subheadings for the two halves of the book: Canti Guerrieri for the first and Canti Amorosi for the second . The two large works that open and close our programme are emblematic of each half in turn . Hor che’ l ciel, the quintessential canto guerriero, sets a magnificent sonnet by Petrarch which presents the opportunity for vivid musical contrasts: the night is serene with all of nature at peace, yet in the lover’s heart, war rages . The introduction to the Canti Amorosi is the setting of Marino’s poem Altri canti di Marte, in which the first line announces the poetic agenda: “let others sing of War, I sing of love” .

Hor che’l ciel e la terra . With this deeply expressive setting of Petrarch’s sonnet, Monteverdi simultaneously declares his aesthetic allegiance to the venerated 14th-century poet and also to the newest musical credo of limpid declamation . The piece begins with a hushed, almost motionless, depiction of the stillness of night… then erupts with the full force of Monteverdi’s new invention of musical warfare to depict the inner life of the harried lover .

Chiome d’oro . one of Monteverdi’s most perennially popular pieces, this charming duet for a pair of sopranos, set against a pair of violins, dances along above a jaunty walking bass until the two moments depicting the lovers death (in this genre, likely to be the “little death” of sexual climax), which are given an expansive and sensuous treatment .

Gira il nemico . Although this piece is in Monteverdi’s concitato (warlike) style, similar to that of Hor che’ l ciel and Ogni amante è guerrier, it is here used in a jocular context that harkens back to the 16th-century Neapolitan canzone villanesca, which was a musical emanation of the large phenomenon of street theatre known as commedia dell’arte .

Ego flos campi . This lovely setting of a text from the Song of Songs belongs to the same lineage as Nigra sum and Pulchra es from Monteverdi’s 1610 Vespers .

Sonata terza . Dario Castello, whose biography is almost a perfect blank, was known to have worked at San Marco during Monteverdi’s regime as maestro di cappella there . His plastic and expressive music is the closest instrumental idiom we have to Monteverdi’s exclusively vocal output .

Et e pur dunque vero . This piece is unique in its form, not only within Monteverdi’s works, but altogether . There are many pieces for solo voice with continuo which partake of the formal device here of strophic variation, where each succeeding strophe uses a given harmonic ground on which to build various melodic structures, but these are usually divided by a recurring ‘ritornello’, either for the continuo alone or with violins . The departure here is to vary the interludes for solo violin as much as the vocal strophes themselves—in a sense, the violin takes on its own narrative . It seems that Monteverdi’s thought was to have the violin assume the emotional state at the end of each strophe, and lead the way to the emotional state at the beginning of the next .

Augellin . like Chiome d’oro, Augellin begins with the foundation of an energetic walking bass line to support the delightful figurations for the two tenors and bass that together paint a picture of the delicate bird; then, to express the first-person message of the tortured lover, the music changes abruptly to an adagio outpouring of emotion .

Lamento della Ninfa . Amongst the various “staged” and “unstaged” compositions of Book eight,

the Lamento della Ninfa occupies a unique position . Although Monteverdi places it explicitly in the category of “genera rappresentativa,” its poetic origin is a modest canzonetta by rinuccini, which had previously been set by other composers as a simple strophic song . Monteverdi, however, saw the potential to create a voice of the narrator for three men’s voices, and to organize the scena as a scene-setting prologue for the narrator, followed by the nymph’s hyper-expressive (one could easily say operatic) lament of lost love and abandonment, and ending with a summation from the trio .

Sonata Undecima . Just as in Monteverdi’s duets for two sopranos or two tenors, Castello’s sonatas featuring two violins use the gamut of techniques from playful counterpoint to homophonic rhetoric to solo flights of fancy . Here, as in Monteverdi’s trios for two tenors and bass which feature so prominently in this programme, there is the addition of a third independent part for the bowed bass instrument .

Ogni amante è guerrier . The title “every lover is a Warrior” expresses succinctly the atmosphere not only of this piece, but of the whole collection . Beginning with a tenor duet like those that had dominated the seventh book in 1619, the centerpiece of this work is an extended monologue for bass . It is during this section that Monteverdi pays explicit homage to the dedicatee of Book eight—the new Holy roman emperor, ferdinand III .

L’Eroica à 3 . Born in Naples, falconieri received his musical training in Parma and worked at the courts of Mantua (where he may have known Monteverdi) and florence . After travels in Spain and france he ended up in Genoa, until he was censured for “distracting the nuns with music” . He eventually returned to his home town, where he became maestro di cappella . His L’Eroica, from his one published volume of instrumental music, includes a wonderfully wayward ciaccona as its middle section .

Altri canti di Marte . This large-scale piece, designed by Monteverdi to introduce his Canti Amorosi, will serve for us as the farewell to this rich repertoire of striking contrasts, sensuous beauties, and stirring emotions . Next to the final operas, L’ incoronazione di Poppea and Il ritorno d’Ulisse in patria, this is Monteverdi’s final musical will and testament .

JoAN CoNloN AND StePHeN StuBBS

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The Artists

SMusical Director and lutenist Stephen Stubbs was born in Seattle, Washington, where he studied composition, piano and harpsichord at the university of Washington . In 1974 he moved to england to study lute with robert Spencer and then to Amsterdam for further study with toyohiko Satoh, and he soon became a mainstay of the burgeoning early music movement there, working with Alan Curtis on Italian opera in Italy, William Christie on french opera in france and various ensembles in england and Germany particularly the Hilliard ensemble .

After a 30-year career in europe, he returned to Seattle with the long-term goal of establishing a company devoted to the study and production of baroque opera . His first venture in this direction was the creation of the Accademia d’Amore, an annual summer institute for the training of pre-professional singers and musicians in baroque style and stagecraft, now housed at the Cornish College of the Arts .

In 2008 he established Pacific MusicWorks . The company’s inaugural presentation was a revival of South African artist William Kentridge’s acclaimed multimedia marionette staging of Claudio Monteverdi’s penultimate opera The Return of Ulysses in a co-production with the San francisco Museum of Modern Art . After a warmly received 2010 presentation of Monteverdi’s monumental 1610 Vespers at Seattle’s St . James Cathedral, PMW presented a full subscription season, opening with a programme based on the Song of Songs and ending with two triumphantly successful performances of Handel’s early masterpiece, The Triumph of Time (1707) .

Stephen is Senior Artist in residence and member of the faculty of the School of Music at the university of Washington . He has a busy calendar as a guest conductor, specializing in baroque opera and oratorio, and was recently awarded the Mayor's Arts Award for 'raising the Bar' in Seattle .

Soprano Catherine Webster is engaged regularly by many leading early music and chamber ensembles in North America . She has appeared as a soloist

with tafelmusik, tragicomedia, Theatre of Voices, Netherlands Bach Society, Apollo’s fire, American Baroque orchestra, Magnificat, Musica Angelica, el Mundo, four Nations ensemble, Studio de Musique Ancienne de Montréal, ensemble Masques, les Voix Baroques, early Music Vancouver, and at the Vancouver, Berkeley, Montreal and Boston early Music festivals .

Active also in contemporary music, she has appeared with The Kronos Quartet in terry riley’s Sun Rings and with Theatre of Voices and the los Angeles Philharmonic in John Adam’s Grand Pianola Music . She is a frequent collaborator with baroque opera directors Stephen Stubbs and Paul o’Dette, appearing under their direction in early Music Vancouver’s production for the 2013 festival Vancouver of Monteverdi’s l’Incoronazione di Poppea and the premiere of Mattheson’s Boris Goudenov for the Boston early Music festival . She has recorded for Harmonia Mundi, Naxos, Musica omnia, Analekta and Atma .

Catherine holds a Master in Music degree from the early Music Institute at Indiana university and has been a guest faculty member and artist for The San francisco early Music Society’s summer workshops and the Madison early Music festival .

Soprano Danielle Reutter-Harrah is a versatile performer with a particular enthusiasm for historically informed performance practice . She has been lauded for her “lovely” solo (San francisco Classical Voice) in her recent debut as a soloist with the San francisco Symphony Chorus in Mason Bates’ Mass Transmission . She appears frequently with the American Bach Soloists, most recently singing with “beauty and passion” (San francisco Classical Voice) in a rarely performed early version of Bach’s St Matthew Passion .

While she frequently interprets Handel, Bach, and Purcell, her repertoire also includes Brahms, Saint-Saëns, Stravinsky, Britten and Corigliano . She has appeared with the Baroque Chamber orchestra of Colorado, St . Martin’s Chamber Choir, the San francisco Bach Choir, the San Jose opera, and the American Bach Soloists, among others . Her stage roles

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include Dido in Dido and Aeneas, Giannetta in l’Elisir d’Amore, ruggiero in Alcina, and Maggie in Gift of the Magi . She has performed under numerous directors, among them Helmut rilling, Marin Alsop, Catherine Sailer, timothy Krueger, tan Dun, Michael tilson Thomas, Jeffrey Thomas, ragnar Bohlin and George Cleve .

originally from Portland, oregon, Danielle earned a Bachelor of Music degree from the lamont School of Music at the university of Denver, and a Master of Music degree from the San francisco Conservatory of Music . She has been a professional member of the San francisco Symphony Chorus since 2011 and is a founding member of the Bay Area’s liaison, an early music ensemble which features chamber music from the 17th and 18th centuries .

Countertenor Reginald Mobley fully intended to speak his art through watercolours and oil pastels until circumstance demanded that his own voice should speak for itself . Since reducing his visual colour palette to the black and white of a score, he has endeavoured to open a wider spectrum onstage .

Particularly noted for his “crystalline diction and pure, evenly produced tone” (Miami Herald), as well as “elaborate and inventive ornamentation” (South florida Classical review), reggie is rapidly making a name for himself as soloist in baroque, classical and modern repertoire . His natural and preferred habitat as a soloist is within the works of Bach, Charpentier, Handel and Purcell, as well as other known baroque period mainstays . Not to be undone by a strict diet of cantatas, odes, and oratorios, reggie finds himself equally comfortable in repertoire of later periods and genres, such as Haydn’s Theresienmesse, Mozart’s

Requiem, Bernstein’s Chichester Psalms and orff’s Carmina Burana. He has also performed the title role of Paris in the florida premiere of John eccles’ Judgment of Paris, under the direction of Anthony rooley and evelyn tubb .

A longtime member of the twice Grammy-nominated Miami-based professional vocal ensemble Seraphic fire, reggie has also performed with other ensembles in the uS and abroad, such as the Dartmouth Handel Society, Apollo’s fire, Vox early Music, Portland Baroque orchestra, North Carolina Baroque ensemble, ensemble VIII, San Antonio Symphony, early Music Vancouver, Symphony Nova Scotia and the oregon Bach festival .

Not limited to conventional countertenor repertoire, he has performed in several musical theatre productions, including the title role in rupert Holmes’ Mystery of Edwin Drood, and Jacey Squires in Meredith Willson’s The Music Man . He has also performed in many cabaret shows and sets of jazz standards and torch songs in jazz clubs in and around tokyo, Japan .

reggie studied voice at the university of florida with Jean ronald lafond, and florida State university with roy Delp .

Ross Hauck, tenor, is a resident of Issaquah, Washington . Hailed by the Seattle times as “almost superhuman in musical effect”, Mr . Hauck maintains a busy and eclectic career, often specializing in both early and new music . This past year he made concert debuts with the Phoenix Symphony, the oregon Symphony, Grand rapids Symphony, orchestra Kentucky, the lincoln Symphony, and the Chautaqua festivals in Boulder, Co and upstate New york .

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other debuts included appearances with les Voix Baroques de Montréal and “Celtic Crossings” countryside concerts with Apollo’s fire in Cleveland . recently, he released two recordings: Messiah with Apollo’s fire (Avie), and the world premiere of composer lori laitman’s oratorio Vedem (Naxos) . recent opera credits include multiple performances of the role of tamino in The Magic Flute, most recently with Apollo’s fire in Cleveland, but also with the Atlanta Ballet . ross has sung roles with tacoma opera, Sacramento opera, Indianapolis opera, and the Aspen Music festival, where he sang Almaviva in The Barber of Seville . He also originated and recorded the role of Bonario in the world premiere opera Volpone by American composer John Musto, commissioned by Wolf trap opera Company, where he also sang the title role in the North American premiere of rameau’s Dardanus, ernesto in Don Pasquale, and lippo fiorentino in Street Scene . He has also collaborated with American composer libby larsen singing the title role in her opera Dreaming Blue .

As a concert artist, ross is a regular with the Seattle Symphony, and has also sung with the National Symphony, the Chicago Symphony and the tanglewood Symphony . A frequent performer of sacred music, he is in demand for oratorio work . In the past few seasons, he has sung Handel’s Messiah with Apollo’s fire (the Cleveland Baroque orchestra), Portland Baroque orchestra, Seattle Baroque, Dallas Bach Society, Helena Symphony, Portland Chamber orchestra, and orchestra Kentucky .

He is a distinguished alumnus of DePauw university (Bachelor of Music), and Cincinnati College-Conservatory of Music (Master of Music and Artist Diploma) .

tenor Aaron Sheehan has established himself as a first-rate singer in many styles . His voice is heard regularly in the united States, South America, and europe, and he is equally comfortable in repertoire ranging from oratorio and chamber music, to the opera stage .

His singing has taken him to many festivals and venues including tanglewood, lincoln Center, the Metropolitan Museum of Art, Washington National Cathedral, the early music festivals of Boston, San francisco, Vancouver, Houston, tucson, Washington DC, and Madison, as well as the regensburg tage Alter Musik .

Known especially for his Baroque interpretations, his voice has been described by the Boston Globe as “superb: his tone classy, clear, and refined, encompassing fluid lyricism and ringing force” and the Washington Post praised his “polished, lovely tone” .

In the concert world, Aaron has made a name as a first rate interpreter of the oratorios and cantatas of Bach and Handel . The San Diego Classical Voice said, “tenor Aaron Sheehan performed the role of evangelist, and sang with assured vocal and linguistic fluency, tasked with telling the audience the story while imparting its drama . In this regard, he was superb .” He has appeared in concert with orpheus Chamber orchestra, American Bach Soloists, Handel and Haydn Society, Boston Baroque, North Carolina Symphony, New york Collegium, Charlotte Symphony, Boston Cecilia, Charleston Bach festival, Baltimore Handel Choir, les Voix Baroque, Pacific Chorale, Boston early Music festival, tempesta di Mare, Aston Magna festival, Bach Collegium San Diego, Washington National Cathedral,

Pacific Music Works, Boston Museum trio, Magnificat, tragicomedia, the folger Consort, and Concerto Palatino .

on the opera stage, Aaron made his professional debut in 2005 as Ivan, in the Boston early Music festivals world premiere staging of Mattheson’s Boris Gudenow, a role in which opera News praised his voice as “sinous and supple” . He has since worked with the company in leading roles such as l’Amour and Apollon in lully’s Psyché, Actéon in Charpentier’s Actéon, and as Acis in Handel’s Acis and Galatea . He also has worked on the opera stage with American opera Theater and Intermezzo Chamber opera in leading roles of operas by Cavalli, Handel, Weill, and Satie . Aaron also continues to work extensively in the chamber music world . He has sung with Theater of Voices, Blue Heron Choir, tenet, fortune’s Wheel, la Donna Musicale, folger Consort, Newberry Consort, Dünya, The rose ensemble, and the Pro Arte Singers .

He has appeared on many recordings, including the Grammy-nominated operas Thésée and Psyché of lully, recorded with BeMf on the CPo label .

A native of Minnesota, Aaron holds a Bachelor of Arts from luther College and a Master of Music in early voice performance from Indiana university . He is currently on the voice faculties of Boston university, Wellesley College and towson university .

Bass-baritone Douglas Williams has appeared this year in two landmark new opera productions from two of the world’s most celebrated director-choreographers: as Polyphemus in Handel’s Acis and Galatea in Mozart’s orchestration with Mark Morris at lincoln Center, conducted by Nicolas McGegan, and as Caronte in Monteverdi’s Orfeo with Sasha Waltz at the Dutch National opera, conducted by Pablo Heras-Casado . Both productions will tour this season taking Mr . Williams to the Grand Théâtre luxembourg, Kansas City Kauffman Center and the Bergen festival, Baden-Baden festspiehaus, and Berlin Staatsoper . other highlights of the season include Handel’s Agrippina with Boston Baroque, Pergolesi’s La Serva Padrona with the Boston early Music festival, and an appearance with James levine and the Metropolitan opera Chamber ensemble at Carnegie Hall in Charles Wuorinen’s It Happens Like This, a piece that Mr . Williams premiered in 2011 .

Tekla Cunningham, baroque violin, viola and viola d’amore, leads an active and varied musical life . At home in Seattle, she is orchestra Director and

concertmaster of Pacific MusicWorks, and plays an active role at the university of Washington where PMW is ensemble-in-residence . She directs the Whidbey Island Music festival, a summer concert series now entering its tenth season, producing and presenting vibrant period-instrument performances of repertoire ranging from Monteverdi to Stephen foster, and plays regularly as concertmaster and principal player with the American Bach Soloists in California . Her concert performances have earned glowing praise from reviewers and have been described as “ravishingly beautiful” and “stellar” .

from 2006 to 2013 tekla was principal second violin with Seattle Baroque orchestra & Soloists . She has appeared as concertmaster/leader or soloist with the American Bach Soloists, Baroque Chamber orchestra of Colorado, Seattle Baroque orchestra, and Musica Angelica (los Angeles) and has played with Apollo’s fire, los Angeles opera, Philharmonia Baroque orchestra, and at the Carmel Bach, San luis obispo Mozart festival, Indianapolis, Savannah and Bloomington festivals . She received her musical training at Johns Hopkins university and Peabody Conservatory, Hochschule für Musik und Darstellende Kunst in Vienna, and at the San francisco Conservatory of Music where she completed a Master’s degree with Ian Swenson . She teaches Suzuki violin in both German and english and is on the early music faculty of Cornish College for the Arts . tekla plays on a violin made by Sanctus Seraphim in Venice, 1746 .

The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, europe and Japan . She has appeared as soloist, member, and leader of many outstanding ensembles including tafelmusik Baroque orchestra, freiburg Baroque orchestra, Portland Baroque orchestra, Seattle Baroque orchestra, Pacific Baroque orchestra, and Pacific Music Works .

linda is the featured soloist in tafelmusik’s tV documentary, DVD and CD “le Mozart Noir,” where she musically incarnates the remarkable 18th-century virtuoso and adventurer, the Chevalier de Saint-Georges . An active chamber musician, linda has appeared on many series including early Music Vancouver, Gallery Concerts, Primavera Concerts, Bloomington early Music festival, the Calgary Symphony’s Italian Music festival, folia, toronto Music Garden, Quadra Island Discovery Chamber Music festival, and tactus .

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linda was a member of tafelmusik from 1992 to 2004, Music Director of Nota Bene Baroque orchestra from 2005 to 2009, a regular guest leader and soloist of the Kitchener-Waterloo Symphony orchestra’s “Baroque and Beyond” series, and taught violin at the university of Waterloo . Back in Seattle since 2010, she formed the Salish Sea Players, a group dedicated to performing chamber music in retirement and nursing facilities and directs Seattle’s community Baroque orchestra, the New Baroque orchestra . linda performs on a Nicolo Amati violin from 1670 .

Elisabeth Reed, viola da gamba and violoncello, is Co-director of the Baroque ensemble at the San francisco Conservatory of Music where she also teaches baroque ‘cello and viola da gamba . A member of the American Bach Soloists, Voices of Music, and Wildcat Viols, she has also appeared with the Seattle, Portland, and Philharmonia Baroque orchestras, and at the Boston early Music festival, the Berkeley early Music festival and the San luis obispo Mozart festival .

A graduate of the North Carolina School of the Arts, the oberlin Conservatory, the eastman School of Music, and Indiana university’s early Music Institute, she can be heard on the Virgin Classics, focus, and Magnatune recording labels . She also teaches baroque ‘cello and viola da gamba at the university of California at Berkeley . Summer teaching has included the American Bach Soloists Academy and the Viola da Gamba Society National Conclave . She is a Guild-certified practitioner of the feldenkrais

Method of Awareness Through Movement, with a focus on working with musicians and performers .

Maxine Eilander, harp and harpsichord, has appeared as a soloist with leading ensembles throughout the world including teatro lirico, tafelmusik, tragicomedia, The toronto Consort, les Voix Humaines, and the Seattle Baroque orchestra . She plays a range of specialized early harps: the Italian triple strung harp, the Spanish cross-strung harp, the German ‘Davidsharfe’, the Welsh triple harp for which Handel wrote his harp concerto, and the classical single action pedal harp . Her most recent recording “Handel’s Harp” (AtMA, 2009), features Handel’s complete obbligato music for harp, and includes his famous harp concerto . She has also recorded the same work with tafelmusik (“A Baroque feast”, Analekta, 2002) . other notable recordings include William lawes’ Harp Consorts (AtMA, 2008), a recording of Italian music for harp and baroque guitar with duo partner Stephen Stubbs entitled “Sonata al Pizzico” (AtMA 2004), “teatro lirico” (eCM, 2006), “¡Ay que si!”, Spanish 17th-century music with les Voix Humaines (AtMA, 2002), Scarlatti’s oratorio Agar et Ismaele Esiliati with Seattle Baroque (Centaur, 2003), Monteverdi’s Vespro della Beata Vergine, with tragicomedia (AtMA, 2002), and the Grammy-nominated Conradi’s Ariadne for the Boston early Music festival (CPo, 2005) . Maxine is also the Managing Director of Pacific MusicWorks .

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