t : ' . | . - - .

o v , ) o [ i i .
/n 1[c.ion cv (on.c o{ )o[ii.v[[, 1n.icv ^v.i.













ov, )o[ii.
An LIeclion Yeai Conceil of IoIilicaIIv Inspiied Music
Saluidav Decenlei 11, 2OO4
Sainl Ignalius of Anlioch
8 IM

LIegil eun Doninus
Caspai Ieinandez (157O-1623)
Ioi lhe Ciand Lnliance of lhe 13
lh
Viceiov of Mexico inlo IuelIa in 1612

Kviie/CIoiia Missa Pni|ippus Rcx Hispaniac
ailoIone de Lscoledo (c.151O-1563)
In honoi of King IhiIip II of Spain

Oui coIis ausonian
NicoIas Conleil (c.1495-c.156O)
Ioi lhe Tiealv of oIogna, signed in 1538 lv ChaiIes V, Iope CIenenl VII, and a nunlei of
IlaIian iuIeis

IuliIale Deo
CiisllaI de MoiaIes (c.15OO-1553)
In connenoialion of lhe Tiealv of Nice, signed in 1538 lv ChaiIes V and Iiancis I.

Auiea nunc landen
Iacol Vael (1529-1567)
Ioi lhe coionalion of MaxiniIian II al Iiankfuil in Novenlei, 1564

1ncni..ion

Sanclus/Agnus Dei Missa Pni|ipppus Rcx Hispaniac
Lscoledo

VigiIale
WiIIian vid (1543-1623)
Iion Can|icncs sacrac 1589, a lhinIv veiIed depiclion of iecusanl Ronan CalhoIic Iife in
Refoinalion LngIand

O Loid, nake lhv seivanl LIizalelh
vid
In piaise of Oueen LIizalelh I

Viigo Iiudenlissina
Heiniich Isaac (c.145O-1517)
Ioi lhe neeling of lhe Reichslag al Konslanz in 15O8
t : ' . | . - - .

Jnhn Brad!cv - DIrcctnr



]cnanna Caoi|i. Saran Ga||cg|u. Kinocr|u |aocr
Scpranc
|cuis Ca|tanc. Virginia Kauccff. ]au Rczcndaa|
A||c
Tinc|nu 8cc|. S|cpncn Snatcr. Pni|ip Tanoa|is
Tcncr
|ri|-Pc|cr Mcr|cnscn. |duard li||is
8ass







oIvhvnnia is a snaII ensenlIe of seIecl singeis speciaIizing in nusic
conposed lelveen 145O and 165O. Duiing len veais of peifoining, lhe
ensenlIe has anassed a vasl and videIv vaiied iepeiloiie piinaiiIv
cenleied on lhe expIoialion of lhe nagnificenl scaied iepeiloiv fion lhe couils
and calhediaIs of lhe ienaissance voiId. Conposeis fealuied in pasl conceils
incIude WiIIian vid, Thonas TaIIis, Roleil Iavifax, Iohn Taveinei, Thonas
CiecquiIIon, Iohannes Ockeghen, NicoIas Conleil, Iacol Oliechl, OiIandus
Lassus, Heiniich Isaac, Iacol Vael, Ciovanni IieiIuigi da IaIesliina, Conslanzo
Ioila, CIaudio Monleveidi, CiisllaI de MoiaIes, Tons Luis de Vicloiia,
Iiancisco Cueiieio and AIonso Lolo. The singeis aie diavn fion sone of lhe
finesl piofessionaI choiis in Nev Yoik, incIuding Sainl Thonas, HoIv AposlIes
and Sainl Ignalius of Anlioch. In addilion lo liadilionaI piogians, IoIvhvnnia
aIso peifoins ieconsliuclions of Iiluigies lo shovcase gieal voiks in lheii
oiiginaI conlexls. The ensenlIe vas in iesidence al Sainl Iohns in lhe ViIIage
fion 1994 unliI lhev veie naned ensenlIe in iesidence al Sainl Ignalius of
Anlioch in Seplenlei of 2OO3.

)

)ovvn ^oc.
| natc cncscn ucu rcua| Majcs|u |c uncn |c dcdica|c |nis |i|||c ucr| cf nusic. sucn as
i| is. fcr if | and a|| ninc ac| undcr |nc prc|cc|icn cf ucur Majcs|us uings. una| an
audaci|u i| ucu|d oc fcr nc |c p|acc undcr |nc prc|cc|icn and pa|rcnagc cf anc|ncr
nusic | natc orcugn| fcr|n. cspccia||u sincc i| is ccnccrncd ui|n na|cria| in praisc cf |nc
Hcusc cf Aus|ria. Tncrcfcrc | prau ucur Majcs|u |c dcign |c acccp| |nis |i|||c ucr|. sucn
as i| is in |nc spiri| in unicn i| is cffcrcd. and |c |ccp nc gracicus|u in ucur fatcr.
]acco Vac|
Our election is over. As the country reels from a divisive campaign, and as we ruminate on the fact that we
are going to have to bear another four years of the present administration, we can at least hold onto the
knowledge that our democratic process gives us the right to overthrow the government after only four
years. In the 16
th
century, you were stuck for life.

The kings and emperors of the 16
th
century had indefinite terms of office but they also had to deal with
the Reformation, battles over land and lineage, and the interference of the Church in the person of
various meddling pontiffs, not to mention their own internal intrigues and sexual misbehavior that would
make Whitewater and Monica Lewinsky seem like a spring stroll along the Seine (or Rhein or Arno). The
resolution of each political conflict was celebrated with great pomp and ceremony requiring the
participation of large groups of musicians. Court composers were commissioned to compose glorious, if
undeserved, tributes to Europes Renaissance monarchs on the occasions of treaties and coronations,
as well as on other festive occasions.

Sixteenth-century Europe had no separation of Church and State, so there were no lines to blur. Our
current presidents crusade against a biblically proportioned plague of Evildoers would have been
perfectly appropriate. Every Renaissance prince claimed God on his or her side, and their publicized
excuses for military action generally concerned the various roles of God and Church in 16th-century
lifealthough the majority of conflicts also involved sex, land, and/or money. In fact, it is a defensible
point of view that the Church of that time was entirely about politics; that institution felt itself wholly
justified in acting in its own interest in the face of that pesky Martin Luther and his ever-growing group of
powerful supporters. Then there was Henry VIII and his English reformation, which was altogether about
political expediency, not to mention some new excitement in the royal bedchamber. All the monarchs, as
well as the Church, resorted to more or less ruthless, bloody lengths to preserve the status quo.

All of the pieces on tonights program were commissioned for such political purposes: in general
praise of a monarch or two, to commemorate a specific occasion, orin the case of Vigilateto send
a less-than-subtle message to recusant English Roman Catholics.

The political players of the 16
th
century used music and musicians to punctuate state occasions. Most
monarchs and popes traveled to treaty signings accompanied by a large retinue including a good portion
of their household. Charles V, for example, traveled with cook, servants, familiar furniture and a large
contingent of musiciansboth instrumentalists and the polyphonic singers of the chapel the Capilla
Flamenca. Much as American presidents would expect to enter a room to the stirring strains of Hail to
the Chief, princes would have music played to glorify their arrivals and exits. Rather than recycle a single
theme song, however, they would commission a new large-scale work for each occasion. The Viceroy
of Mexico, for example, entered the city of Puebla accompanied by Elegit eum Dominus.

The texts of political motets allude to specific treaties or events or, in some cases, simply praise the
people involved. In a rather surprising display of sucking up, for example, Isaac mentions the name of
Georgius, the Kapellmeister of Maximilian I, in the middle of Virgo prudentissima. The variety of texts
of pieces is extremely wide; that isnt surprising, since they were derived from a combination of
sources ranging from religious to classical to entirely original. Occasionally a motet might consist of a
single poem newly composed for a specific occasion. Often, however, motet texts were assembled
from any combination of the three. Vaets Aurea nunc tandem contains many references to classical
literature, and quotes an ode of Ovid virtually word for word.
Elegit eum Dominus

Gaspar Fernandez (b. Portugal, c.1570; d Peubla, Mexico 1629)

LIegil eun doninus
el exceIsun fecil iIIun
pei iegilus leiiae gIoiificavil eun
in conspeclu iegun el nonconfundelui.

He is lhe eIecl of lhe Loid,
and lhe Loid has nade hin gieal lefoie aII lhe
Kings of lhe Lailh. He is gIoiified in lhe sighl of
lhe King, He shaII nol le confounded.

Gaspar Fernandez, born in Portugal, was employed as organist of Guatemala cathedral in 1599.
In September 1606, he was hired at Puebla and remained there until 1629, for the last 6 years
with Juan Gutirrez de Padilla as his assistant. He was responsible for the largest surviving
collection of 17th-century secular music in the New World. Fernandez composed Elegit eum
Dominus for the visit to Puebla in 1612 of the newly appointed 13
th
Viceroy of Mexico, Diego
Fernandez de Cordoba, Marques de Guadalcazar. It was the first Latin-texted state motet written
in the New World. The text is paraphrased from the Pontificale Romanum, the respond for the
entrance of a visiting head of state. According to tradition, a ceremonial arch was erected and the
music was played and sung by musicians seated within the arch as the Viceroy and his
procession proceeded beneath it.


Missa Philipppus Rex Hispaniae

Bartolom de Escobedo (b. Zamora c 1510- d. Segovia(?) 1563)
Kyrie & Gloria


Kviie eIeison.
Chiisle eIeison
Kviie eIeison.

CIoiia in exceIsis Deo,
el in leiia pax honinilus lonae voIunlalis.
Laudanus le. enedicinus le. Adoianus le.
CIoiificanus le. Cialias aginus lili pioplei
nagnan gIoiian luan. Donine Deus,
Rex caeIeslis, Deus Ialei onnipolens.
Donine IiIi unigenile Iesu Chiisle.
Donine Deus, Agnus Dei, IiIius Ialiis,
qui loIIis peccala nundi,
niseieie nolis. Oui loIIis peccala nundi, suscipe
depiecalionen noslian.
Oui sedes ad dexleian Ialiis, niseieie nolis
quonian lu soIus sanclus. Tu soIus Doninus.
lu soIus aIlissinus.
Iesu Chiisle. Cun Sanclo Spiiilu,
in gIoiia Dei Ialiis. Anen.

Loid have neicv upon us
Chiisl have neicv upon us
Loid have neicv upon us

CIoiv lo Cod in lhe highesl
and peace lo nen of good viII.
We piaise Thee, ve lIess Thee, ve adoie Thee, ve
gIoiifv Thee. We give lhanks lo Thee foi
Thv gieal gIoiv. O Loid Cod
HeavenIv King, Cod lhe Ialhei AInighlv.
O Loid, lhe onIv-legollen Son, Iesus Chiisl.
O Loid Cod Lanl of Cod, Son of lhe Ialhei.
Thou vho lakesl avav lhe sins of lhe voiId,
have neicv on us. Thou vho lakesl avav lhe sins
of lhe voiId ieceive oui piavei.
Thou vho sillesl al lhe iighl hand of lhe Ialhei
ieceive oui piavei. Ioi Thou onIv ail hoIv.
Thou onIv ail lhe Loid. Thou onIv,
Iesus Chiisl ail nosl high, vilh lhe HoIv Chosl,
in lhe CIoiv of Cod lhe Ialhei. Anen.


Bartolom de Escobedo was born near Zamora. He studied at Salamanca and remained a singer
at the cathedral there until his appointment to the Cappella Sistina on August 23, 1536. Although
his colleagues in the choir universally admired his compositional skills, he had a reputation for
short-temperedness and poor control of his tongue. After a vesper service, he referred to fellow
singer Antonio Capello as an ass, and on another occasion called his colleague Leonardo Barr
a fat pig. His fines and punishments for these and other deeds are colorfully recorded in the
Diarii Sistini: He was also cited for wearing a short cassock, and was even excommunicated for
one day. He retired from the Papal chapel in 1554. On his return to Spain, he was granted a
benefice at Segovia. His relationship to the royal court is unclear, but he remained in close contact
with Rome, for whom he auditioned singers, and also communicated with fellow Spaniard
Cristbal de Morales. It is likely that the aforementioned connections, along with his benefice,
would have positioned him to compose for Philip II.

The Missa Philippus Rex Hispaniae was long thought to be lost to performance; it survives in a
single, badly deteriorated source in the Vatican Library. It has, however, recently been restored
using new technologies that allow faded and worn pages to be read. Although it would be a
delightful to believe that this was Phillips coronation mass, we have no report of an actual
ceremony in which Philip II was crowned. Philip already had control over a large amount of
territory when Charles V abdicated in 1555. In addition, he was in the Low Countries when the
crown of Spain passed to him, and he didnt visit his Iberian acquisition for another two years. The
mass was most likely written for a later unknown occasion.

The mass employs a technique called cavato sogetto, in which the solmisation syllables that
correspond to the vowel sounds of the phrase Philippus Rex Hispaniae are sung as a cantus firmus.
One of Josquins well known masses, Missa Hercule Dux Ferrariae, used the technique and it is likely
that Escobedo was familiar with both Josquin and the mass. It is an effective device: the tune is sung in
slow-moving, sustained notes, and it is frequently in a meter different from the polyphony that winds
around it like tendrils of wisteria. It is an adventurous work for its time. Escobedo employs a few avant-
gardes harmonic devices, some of which would have made Palestrina cringe.

Qui colis Ausoniam

Nicolas Gombert (b. Flanders c.1495; d. Tournai (?) c.1565)

Oui coIis Ausonian gIelae feIicis aialoi.
Oua acchia al Ceieiis nuneia sponle fIuunl.
qui lolies falis genuisli piessus iniquis
Oile aIio assidue
dun novus hoslis adesl.
Ione aias, accende focos pia lhuia cienalo.
Caudia vox Ivlui
coinua svslia sonenl.

Ieipeluun CIenens foedus
cun Caesaie pacis sanciil,
ul fessae feiiel open paliiae.
ifionlisque Dean Iani concIusil in aede.
TianquiIIo aeleinun iegenl ul haec Lalio
Ouan CaioIi sanlique Ialiis concoidia
Ouan lene nunc
Cenino lulus es inpeiio
You vho liII Ausonia, pIoughnan of lhe lIessed soiI.
vhal gifls fIov lv lhe viII of acchus and Ceies! You,
haid piessed lv opposing fales, have so oflen loine
fiuil. Ioi anolhei cvcIe piepaie vouiseIf,
vhiIe lheie is one heie vilh nev saciifices.
uiId aIlais, Iighl fiies luin hoIv incense.
Lel lhe voice of lhe Ivie,
lhe iesounding hoins sound oul lheii jov

CIenenl has seaIed and eveiIasling
liealv of peace vilh Caesai lhal he nav caiiv of lhe
iiches of lhe exhausled counliv. He has shul up lhe
goddess in lhe house of lvo-faces Ianus. Lel hin iuIe
foi evei as he does ovei Laliun al peace. Hov gieal is
lhe concoid of ChaiIes and lhe HoIv Ialhei!
Hov good il lhal vou aie nov
safe in lhe Iand undei lhe iuIe of lhe lvins.


Nicolas Gombert was born in southern Flanders in the last years of the 15
th
century. A number of
sources relate that he was a pupil of Josquin at Cond, and that he composed a dploration upon
his masters death. Imperial records show that Gombert worked as a singer in the Imperial Chapel
beginning in 1526 and was the chapels matre des enfants, the teacher of singing to the
choirboys, beginning in 1529. Gombert uniquely exploits the sonorities of low voices in the choir,
generally employing an exclusively downward expansion when the texture expands beyond four
voices, increasing only the number of lower tenor and bass parts. The effects are astounding. His
writing is dense but never muddy. He is unconcerned by the inevitable dissonances that result
from the collision of so many florid polyphonic lines, and in fact puts dissonance to dramatic use.
Gombert was held in high regard by his contemporaries, and his works were included in
anthologies produced by all of the major European printing houses.

Qui colis Ausoniam commemorates another signing by Charles V, this time the earlier Treaty of
Bologna, at which Clement VII was also a signer. The purpose of the treaty was to make peace
among a number of Italian nobles. This accord set the stage for Charles coronation as Holy
Roman Emperor at Bologna two years later, for which the Pope officiated.

Jubilate Deo omnes terra

Christobal de Morales (b.c.1500 Seville; d. Malaga 1553)

IuliIale Deo onnis leiia,
Canlala onnes, juliIale esl psaIile
Ouonian suadenla IauIo CaioIus el Iiansiscus
Iiincipes leiiae conveneiunl in unun
Ll pax de caeIo descendil

O feIix aelas, O feIix IauIe
O vos feIices Iiincipes,
qui chiisliano popuIo pacen liadidias
Vival IauIus,
Vival CaioIus,
Vival Iianciscus,
Vival sinuI el pacen nolis donenl in aeleinun.

Rejoice in lhe Loid aII ve Iands
Sing aII of vou, Rejoice and nake nusic,
since, peisuaded lv IauI, ChaiIes and Iiancis,
piinces of lhe voiId have ieached agieenenl,
and peace has descended fion heaven

O happv age, O happv IauI.
O ve happv piinces,
Who lo lhe Chiislian peopIe have iesloied peace.
Long Iive IauI!
Long Iive ChaiIes!
Long Iive Iiancis!
Long nav lhev aII Iive, and nav lhev give us
peace foi eleinilv.

Cristbal de Morales first assignment was as Choirmaster of Avila cathedral from 1526. A year
later, he was assigned to the same position at Plasencia, where he remained until 1531. He was a
member of the Cappella Sistina from 1535-45. Returning to Spain in 1547, he worked first at
Seville and later, in 1551, at Malaga. He was the greatest Spanish composer until Victoria, a
generation later. de Morales composed a vast body of masses motets and magnificats, much of
which survives. He was fond of motets composed around a cantus firmus or, in the case of
Jubilate, around an ostinato, in which the opening phrase of the introit, Gaudeamus omnes in
Domino, soars repeatedly from within the polyphonic framework.

Jubilate Deo omnes terra was commissioned by Pope Paul III celebrate the signing of a treaty
between Charles V and Francis I. To say that Charles and Francis loathed each other would be an
understatement. These two Renaissance princes both felt they had legitimate rights to dynastic
possessions that had belonged to their mutual Burgundian ancestors, and neither was particularly
eager to make peace. The Pope, with self-interest at heart, orchestrated the signing in Nice in
1538. Paul III was primarily interested in protecting the churchs holdings from a damaging
occupation by either Charles and Frances rather unsavory forces. When Charles and Francis
went to war over an issue of succession in Milan, Paul decided to intervene and force a
reconciliation. Morales, a member of the Cappella Sistina, was charged with the composition of a
motet commemorating the treaty signing. The papal retinue arrived not only with the Cappella
Sistina but also a large group of instrumentalists, and we can presume that music punctuated the
ceremony at several points. The motet has survived much longer than the peace; within two years,
Charles and Francis were at it again. Interestingly, 1538 was also the year that Paul III
excommunicated Henry VIII, for the second and last time.


Aurea nunc tandem

Jacob Vaet ( b Kortrijk c.1529;d Vienna 1567)

Auiea nunc landen iuliIanli
sideie fuIgenl saecuIa sul
cIipeis MaxiniIane luis,
saecuIa niIIe nodis nuIlos
oplala pei annos. quae liipIex
capili danl diadena luo.

Nan novus invicla Iovis es,
denissus al aice Hecloi,
ul inpeiio iegna supeila
pienas. el lili vicliices
aquiIae sinl CIoiia cun sis nolus el Lois,
vicloi el Hespeiiis.

Nov al Iong Iasl lhe CoIden age shines foilh in a
iulicund slai undei voui lionze shieId, O
MaxiniIian, an age lhal has leen Ionged foi in a
lhousand vavs foi nanv veais,
an age lhal pIaces lhe liipIe
diaden in voui hand.

Ioi vou aie a nev luIvaik of Iupilei. You aie lhe
nev Hecloi senl fion lhe ciladeI lhal vou nav
piess upn upon pioud kingdons vilh voui iuIe,.
And lhal lhe eagIes of vicloiv nav le a gIoiv lo
vou. Ioi vou ceIelialed in Lasl and aie conqueioi
in lhe Wesl..

Jacob Vaet was born in Flanders and spent his youth as a choirboy in the Church of our Lady in
Kortrijk. When his voice changed, he was given a scholarship and entered the University in
Leuven. He is first mentioned on the payrolls of Charles Vs Capilla Flamenca in 1540, along
with another young student named Lassus. Vaets compositional style falls within the transition
between Gombert and Clemens non Papa, the latter of whom may have been his teacher, and
Lassus and Palestrina. Although Palestrina was roughly the same age as Vaet, he outlived him
by 30 years. By January of 1544, Vaet had been appointed chapel master to Charles nephew
the future Maximilan II, in who service he remained until his death in 1567.

Vaet enjoyed a close relationship with Maximilian and composed a large number of state motets
in honor of his patron. Aurea nunc tandem is perhaps one of the finest of these. It was
composed for Maximilian IIs coronation, in November of 1564. Vaet was interested in theories
of music, often employing them in new and unusual ways. A fine example of this is the a section
at the end of the prima pars, where Vaet wields an impressive cascade of seemingly random,
cascading cadential figures, each one flowing seamlessly into the next, that resolves only two
pages later finally at the end of the first section. He is equally adventurous with subdivisions,
scattering flurries of ornamental fast notes into the texture at several points. During his lifetime,
his reputation equaled that of Lassus, and records indicate a close relationship and musical
exchange between Vaet in Vienna and Lassus in Munich.

1ncni..ion

Sanctus/Benedictus Missa Philippus Rex Hispaniae

Escobedo

Sanclus, Sanclus, Sanclus,
Doninus Deus Salaolh.
IIeni sunl caeIi el leiia gIoiia lua.
Hosanna in exceIsis.
enediclus qui venil in nonine Donini.
Hosanna in exceIsis.

Agnus Dei qui loIIis peccala nundi,
niseieie nolis.
Agnus Dei qui loIIis peccala nundi,
dona nolis pacen.

HoIv, HoIv, HoIv,
Loid Cod of Hosls.
Heaven and Lailh aie fuII of voui CIoiv.
Hosanna in lhe highesl.
Iessed is he vho cones in lhe nane of lhe Loid.
Hosanna in lhe highesl.


Lanl of Cod, lhal lakesl avav lhe sins of lhe
voiId, have neicv on us.
Lanl of Cod, lhal lakesl avav lhe sins of lhe
voiId, gianl us lhv peace.
Vigilate

William Byrd (b. London 1543; d. Stondon Massey 1623

VigiIale nescilis enin quando Doninus donus
venial, seio an nedia nocle, an gaIIi canlu, an nane:
VigiIale eigo, ne cun veneiil iepenle, in venial vos
doinienles. Ouod aulen dico volis, onnilus dico:
VigiIale.

Walch ve lheiefoie foi vou knov nol vhen lhe
Ioid of lhe house conelh, al even, oi al
nidnighl, oi al lhe cock cioving, oi in lhe
noining: Walch lheiefoie, Iesl coning on a
sudden he find vou sIeeping. And vhal I sav lo
vou, I sav lo aII: Walch.

O Lord, Make thy servant Elizabeth

Byrd

O Loid, Make lhv seivanl LIizalelh oui Oueen,
lo iejoice in lhe slienglh: give hei hei heails desiie
and denv nol lhe iequesl if hei Iips:
lul pievenl hei vilh lhine eveiIasling lIessing,
and give hei a Iong Iife , even foi evei and evei.
Anen

William Byrd remains one of the most famous composers of the late English Renaissance. His
works brought the modernity the Italian Style to English Church music, and they are used
frequently to this day. It would be safe to say that an anthem by Byrd is likely sung every Sunday
somewhere in the world. Byrd was born in London and spent his early years as a Chorister in the
Chapel Royal, where he became a student of the great Thomas Tallis. In 1563, he was appointed
organist at Lincoln cathedral. Byrd returned to the Chapel Royal in 1572 and remained there until
his retirement. Byrd and Tallis together were granted a monopoly on the printing of church music
in England by Elizabeth in 1575. The first of their editions, the Cantiones of 1576, contained works
by both composers. It was not entirely successful, and Byrd would not publish a complete body of
work until the Cantiones Sacra of 1588. Byrd remained a faithful Catholic all his life, putting him in
jeopardy in a Protestant nation. His contributions were valued enough that the crown looked the
other way, allowing him full freedom to work as a musician. He retired to Essex, joining an enclave
of quietly practicing Roman Catholics, where he spent his last years. It was there that he
composed his three masses and the exquisite Gradualia, a collection of mass propers for the
entire church year. His faith never wavered, and his last will and testament bore the wish "that he
may live and dye a true and perfect member of the Holy Catholike Churche withoute which I
beleeve there is noe salvacon for me".

Vigilate comes from the volume of Cantiones Sacrae published in 1589. Byrds contribution in this year
is somber, and not a little bit disturbing. Byrd set texts of his own choosing, and seemingly selected
those that were thinly veiled commentaries on the life of recusant Catholics. The speculation that these
texts carried politically charged messages is not new. Nearly 100 years ago the musicologist H. B.
Collins surmised that In fact several of the Cantiones Sacrae [of 1589] appear to contain allusion to
events of which Byrd had been a witness. Although Byrd was treated with tolerance, many others
were not. The laws against recusancy began to be enforced in the late 1570s, and those who had
supported, housed or smuggled Jesuits into England were forced into deep hiding, imprisoned, or even
executed. The words of Marks Gospel sent the message, Be on your guard.

A perfect example of Byrds balancing act is the lovely and very Protestant English-language
prayer to Elizabeth I. Byrd obviously enjoyed an affectionate relationship with her, as her favors to
him indicate. He was comfortable in composing in styles suitable for either denomination, although
he was dismissed from his job at Lincoln, presumably because his organ playing was extravagant
enough to lead to accusations of Popery. O Lord, make they servant Elizabeth is an early work,
possibly dating from the early years of Elizabeths reign, the period that produced some of Byrds
greatest English anthems.

Virgo prudentissima

Heinrich Isaac (b. Flanders c1450; d. Florence 1520)

Viigo piudenlissina, quae pia gaudia nundo alluIil,
ul sphaeias onnes lianscendil
el aslia sul nilidis pedilus iadiis,
el Iuce choiusca Iiquil,
el oidinilus ian ciicunsepla novenas
lei liilus alque ieiaichiis excepla.
Supieni anle Dei facien sleleial, paliona ieoiun.
Dicile qui coIilis spIendenlia cuInina OIinpi:
Spiiiluun piocuies, AichangIi el AngeIi
el aIne Viilulesque Thioni vos Iiincipun,
el agnina sancla, vosque Ioleslales,
el lu Doninalio caeIi fIannanles Cheiulin,
veilo Seiaphinque cieali,
an vos Iaeliliae lanlus peifudeiil unquan sensus,
ul aeleini Malien vidisse lonanlis consessun.
CaeIo, leiiaque, naiique polenlen Reginan,
cuius nunen nodo spiiilus onnis
el genus hunanun neiilo veneialoi adoial


Vos, MichaeI, CaliieI, RaphaeI leslanui
ad auies iIIius ul caslas fundelis vola piecesque
pio sacio Inpeiio, pio Caesaie MaxiniIiano.
Del Viigo onnipolens hosles supeiaie
naIignos: ieslilual popuIis pacen
leiiisque saIulen.
Hoc lili devola Cainen Ceoigius aile oidinal Augusli
Canloi Recloique CapeIIae.
Ausliiacae piaesuI iegione, seduIous onni,
se in lua connendal sludio pia gaudia nalei.
Iiaecipuun lanen esl IIIi
Ouo assunpla fuisli
Ouo lu puIchia ul Iuna nicas eIecla es,
el ul soI.

Tcncr can|us firnus:
Viigo piudenlissina, quo piogiedeiis
quasi auioia vaIde ieuliIans` IiIia Sion.

Tola Ioinosa el suavis es:
puIchia ul Iuna, eIecla ul soI.

When lhe nosl vise Viigin, vho lioughl hoIv jov lo lhe voiId
passed levond aII spheies
and Iefl lhe slais lenealh he gIislening feel
in gIeaning iadianl Iighl
she vas suiiounded lv lhe ninefoId Ranks
and ieceived lv lhe nine Hieiaichies.
lhe piolecloi of sinneis, she slood lefoie lhe face of lhe
AInighlv Cod. You vho inhalil lhe dazzIing heighls of Heaven.
Leadeis of lhe SpiiiluaI hosl, AngeIs and AichangeIs
lounlifuI Viilues, and vou Thiones of IiincipaIilies,
hoIv ainies, Ioveis,
Doninions of Heaven, fieiv Cheiulin,
and Seiaphin ciealed fion lhe Woid, sav vhelhei
such a feeIing of jov of lhe Molhei of lhe eveiIasling AInighlv.
She is lhe Oueen, poveifuI in heaven, on Iand and sea:
vhose najeslv eveiv spiiil and eveiv hunan leing
iighlIv piaises and adoies.



You ve invoke, MichaeI, CaliieI and RaphaeI,
lo poui upon hei chasle eais oui piaveis and enliealies
foi lhe sacied enpiie and foi MaxiniIian lhe Lnpeioi.
Mav lhe aII-poveifuI Viigin gianl lhal he conquei
his vicked enenies, and iesloie peace lo lhe nalions
and safelv lo lhe Iand.
Wilh failhfuI Ceoigius, lhe Lnpeiois Iiecenloi
and KapeIIneislei, ieheaises lhis anlhen foi vou.
Ausliias piolecloi, diIigenl in eveivlhing,
eaineslIv connends hinseIf, Molhei, lo voui lendei jovs,
The highesl pIace, hovevei, leIongs lo Hin
lv vhon vou veie laken up,
lhiough vhon vou shine, leaulifuI as lhe noon
and aie as exceIIenl as lhe sun.

Tcncr can|us firnus.
Viigin nosl vise, vheie aie vou going,
gIoving liighlIv Iike lhe davn` Daughlei of Zion!

WhoIIv faii and sveel vou aie,
leaulifuI as lhe noon, exceIIenl as lhe Sun

We know little of Isaacs early history. The first record is a 1484 account of his passage through
Innsbruck on his way to Florence to work for Lorenzo the Magnificent. While under Lorenzos employ,
he became a member of the Cantori di San Giovanni, the group supplying polyphony for cathedral
and other local churches in Florence. Even the Cantori, not surprisingly, was an institution funded and
controlled by the Medici. Lorenzo died in 1492, and the Medici lost power in 1497. In that year, Isaac
departed Florence to become court composer to Maximilian I. He remained with the Emperor as a
functionary at the cathedral in Vienna until he retired in 1514 and moved back to Florence, where he
died in 1517. He left an enormous wealth of surviving works outnumbering those of many of his
contemporaries. Isaac was equally comfortable composing sacred and secular works, and he had an
astounding ability to adapt to the musical requirements of the cultural or spiritual environment in which
he found himself. Isaacs most important body of work is the Choralis Constantinus. It contains over
300 settings of the Mass properthe music specific to individual feasts and ferias. It is the largest
single body of religious music since the 12
th
Century Magnus Liber of Lonin and Protin. It was not
to be matched until William Byrd published his Gradualia in 1605.

Virgo Prudentissima was composed for the meeting of the Reichstag in 1508, where the electors of
the Holy Roman Empire gathered to acknowledge Maximilian I as Emperor. It was not a coronation
per se, but it was nonetheless a magnificent ceremony. The motet is composed on a grand scale, with
duets and trios contrasted with a spacious 6-voice texture, and continuity is provided by a cantus
firmus containing the melody and text of the Magnificat antiphon for the First Vespers of the Feast of
the Assumption. That Chant is first quoted in the opening lines in the Soprano duet, both directly and
in variation and then reappears within the choral texture in the tutti sections. The text of the motet, by
the humanist Vadian, invokes the Virgin for divine intercession for the wellbeing of the Emperor. With
portentous symbolism, the words of the motet joins the text of the antiphon towards the end of the
piece at the words electa est. The last part of the motet employs one of the most skillful musical puns
in renaissance literature: the words ut sol, literally translated as the sun, are sung at intervals of a
fiftha homonymic construal of the solfege tones ut and sol.

John Bradley
iovvnic.
John Bradley, Tenor & Artistic Director, was born and educated in the Midwest, holding degrees
from Kalamazoo College, Western Michigan University and Case Western Reserve University. He
also spent one postgraduate year at Mannes College of Music. He has played many roles in the world
of historically informed performance, ranging from directing and costuming to dance and of course
singing. He has been involved with fully staged productions of Carl Heinrich Graun's Montezuma with
the Arcadia Players, Purcell's King Arthur with the Boston Early Music Festival, G.F. Handel's Alcina
with Ex-Machina in Minneapolis and Handel's Dueling Sopranos with Julianne Baird and Beverly
Hoch with the Philadelphia Classical Orchestra. As a singer, his credits have included Monteverdi's
1610 Vespers with Artek, Bach's Saint John Passion with Artek as well as with the New Jersey Bach
Festival and frequent performances at the Amherst Early Music Festival. One of John's favorite gigs
was as a baroque "chorus boy" in a tour of Purcell's Dido and Aeneas with AEM, in which he was a
singer as well as a featured dancer. John has enjoyed learning from some of the greatest artists in
the field of early music and is currently a student of Drew Minter. His first and last love is small
ensemble singing combined with research into the synthesis of music and liturgy. He has recreated
several liturgical reconstructions, including masses and vespers from Pre-Reformation England, 16th
Century Spain and Imperial Germany. He has been the director of Polyhymnia since 1994. John and
his partner Charles live in a 19th Century building "with a lot of potential" in Jersey City with their two
over-fed cats, Moses and Abraham.

Timothy J. Beck, Tenor, is a well-traveled chorister from Oriskany, NY who received his Music and
English Literature degrees from Vassar College. He has worked in groups all over the country,
including the San Francisco Chamber singers, and San Francisco Symphony Chorus, Philharmonia
Baroque, The Esoterics in Seattle, the New York Chamber Singers, I Cantori, and Cappella
Oratoriana. He was a teaching assistant and conductor while working toward his Masters under Bruce
Brown and James DePriest in Portland , Oregon. He has also done research and musical analysis for
Helmuth Rilling, Vance George, William Appling and Denis Keene. As executive director of Voices of
Ascension in 2001, he guided the group to its highest-selling concert in the group's history and a
standing-room only performance at the Caramoor Music festival. When not singing with Polyhymnia,
Timothy leads a vocal chamber octet focusing primarily on lesser-known scared works throughout the
vast scope of choral repertoire. This is Timothy's first season with Polyhymnia.

Johanna Cabili, Soprano was born in the Philippines and completed her basic training at the
University of the Philippines. A Fulbright Fellowship brought her to the Manhattan School of Music for
graduate studies, while subsequent grants form the Italian and Spanish governments assured further
studies with Enza Ferrari and Miguel Zanetti. She is an alumna of the Tanglewood Music Center, with
the Reina Elena cursos de Verano in Santander, Spain (under Teresa Breganza), the Aspen Music
Festival and da Capo Opera's summer program. Johanna made her concert debut with the Philippine
Philharmonic Orchestra under the baton of Piero Gamba in Hayden's The Creation. As a concert
soloist, Johanna has performed in key cities throughout the US, China, Korea and Italy, appearing in
repertoire ranging from Pergolesi's Stabat Mater (conducted by Rugiero Barberi) to premieres with the
Asian Composer's League and the Absolute Ensemble and Kristjan Jarvi in New York. Johanna has
appeared in recital at the Granada International Music festival, and the Ateneo de Madrid in Spain, at
the 1998 Lisbon World Expo, in numerous outreach concerts all over her native Philippines, at the
Trinity concert series in New York and the series in Papua New Guinea, Washington DC and Corpus
Christi, Texas.

Louis Calvano, Countertenor, has sung with some of New York's leading choirs, including St.
Thomas Church Choir of Men and Boys, The Cathedral of St. John the Divine, and St. Ignatius of
Antioch. He was invited to sing with the choristers of St. Paul's Cathedral of London during their New
York City stop on their tour of North America. He has also produced several concerts to benefit the
soup kitchen at St Ignatius of Antioch in New York City, most notably singing the alto solo in
Pergolesi's Stabat Mater. He is a student of Jeffrey Dooley. When not singing, he is a doctor of
chiropractic medicine in practice in Manhattan. Lou has been a member of the ensemble since 2002.

Sarah Jamison Gallogly, Soprano, joined Polyhymnia in 2004. She originally trained as a dancer
and performed as a teenager with the Chautauqua Ballet Company, the Chautauqua Festival Ballet
and the Maryland Ballet, as well as in several children's concerts with the Philadelphia Orchestra. She
studied voice, piano and 'cello at Indiana University Bloomington, where she earned a degree in
English and Religious Studies. She has sung with the Philadelphia Choral Arts Society, recorded with
the Saint Louis Chamber Chorus and sung and danced in La Purpura de la Rosa directed by Andrew
Lawrence King at the Amherst Early Music Festival, where she studied baroque dance with Dorothy
Olsson and Kaspar Mainz. She is currently a member of the New York Continuo Collective and the
Columbia Collegium Musicum, and she is a student of Beverly Myers. She is also the managing editor
of Lantern Books, where her musical propensities are shamelessly encouraged. This is Sarahs first
concert with Polyhymnia.

Virginia Kaycoff, Alto, an East Village denizen and native Manhattanite, became a singing member of
Polyhymnia following her initiation as an instrumentalist in Francisco Guerrero's Visperes de Reyes. A player
of viols and other early bowed instruments, she has studied in programs and/or master classes with Weiland
Kuijken, Sarah Cunningham, Martha McGaughey, Paolo Pandolfo and other amazing player-teachers. As a
member of the early music trio Choraulos, she sings and plays Medieval and Renaissance bowed and blown
instruments, and she has also participated in Music Under New York and performed with such ensembles as
I Giulari di Piazza and the Ivory Consort. In addition, she is a founding member of the New York Continuo
Collective. Virginia has sung as an alto with various groups in the New York area, including (currently) the
Renaissance Street Singers and the choir of Central Presbyterian Church. She has learned much by singing
with Polyhymnia and treasures her time as a participant. When not playing music she is a medical writer and
editor. Virginia has been a member of the ensemble since 2001.

Kimberly Labor, Soprano, discovered her love for early music at the University of California, Santa
Barbara, singing with Cappella Cordina under Alejandro Planchart. She sang also with the USCB
Chamber Choir and the Santa Barbara Choral Society, as well as with several church choirs, during
her 10 years in the sunny state. She can be heard on a CD, The Latin Mass, by the Santa Barbara
Quire of Voices, a 20-voice a cappella ensemble under Nathan Kreitezer that still performs regularly
in that city. Moving eastward, Kimberly sang for 5 years with the Alice Millar Chapel Choir at
Northwestern University in Evanston under Stephen Alltop. She also sang in Evanston with the Saint
Luke's Singers and the Bach Week Festival Chorus under Richard Webster. In the summer of 2001,
she spent five weeks singing daily evensong with the Christ Church Cathedral choir in Oxford,
England. Continuing her trajectory back east, during the 2003-2004 church year, she sang with the
parish choir of Saint Michael's Episcopal Church in New York under Barbara Bruns and Nicholas
White. She is a fluent French speaker and coached the Apollo Chorus of Chicago in diction for the
Weber/Berlioz Le Freyschutz for their Ravinia performance in 2003 under Christoph Eschenbach.
Kimberly has a BA in history from UCLA and an MA in English from Teacher's College, Columbia
University. This is Kim's first concert with Polyhymnia.

Erik-Peter Mortensen, Baritone. First of his family to be born in the United States, Erik-Peter hails
from New York and is a fourth-generation professional musician. At the age of nine, he began his
professional singing career with the Men and Boys Choir of the Church of the Transfiguration and the
Children's Choruses of both the Metropolitan and the City Opera. Driven by his exposure and passion
for early music, Erik-Peter went on to pursue a Bachelor of Music degree at Columbia University.
While still a sophomore there, he founded and directed the New York Madrigal Singers, who later
went on to produce two CD's, appear on local radio and television shows and receive two positive
reviews in the New York Times. Erik-Peter has amassed considerable experience both in directing
and in singing in vocal chamber ensembles throughout the Tri-State area. He is currently a member of
the choir of Saint Ignatius of Antioch. As an emerging recording engineer, he hopes to establish a
record label to expressively capture and promote a cappella repertoire as a living legacy of western
culture. Erik-Peter has been a member of Polyhymnia since 1998.

Jay Rozendaal, Countertenor, has sung regularly with the choirs of St. Thomas, Fifth Avenue, and
Church of the Holy Apostles. Before coming to New York to attend General Theological Seminary he
sang with the choirs of St. Paul's, Seattle and St Thomas Medina (Washington), and was pianist and
assistant conductor at the Seattle Opera. In the Seattle area he performed regularly as pianist in
chamber, recital and concert engagements including the San Juan Chamber Music Festival, the
Cascade Symphony and the Bellevue Philharmonic. He has also served on the music staff at San
Francisco Opera, Dallas Opera, Santa Fe Opera, and Houston Grand Opera, and in the opera
departments of the Cleveland Institute of Music and University of Akron. He holds a B.Mus. from
Westminster Choir College, and a M.M. from the Cleveland Institute of Music where he studied with
Vitya Vronsky Babin. He participated in the school's inaugural Art Song Festivals, studying with artists
such as Elly Ameling, Hakan Hagegard, Dalton Baldwin, and Warren Jones. Ordained a priest
in January of 2003, he is currently Assistant Director of the Center for Christian Spirituality at General
Theological Seminary, and a Priest Associate at Polyhymnia's home, St. Ignatius of Antioch Church.
Jay has been a member of the ensemble since 2003.

Stephen Shaver, Tenor, came to New York in fall 2004 after spending the previous five years in
Atlanta, where he received a BA in Chemistry from Emory University. During college he was part of
the Emory Concert Choir, and Master Singers, and performed with the former at the American Choral
Directors' Association national convention in New York in 2003. He also sang with the Atlanta Choral
Artists, the Dekalb Choral Guild and the choir of Saint Bartholomew's Episcopal Church. As a tenor
soloist he has enjoyed performing in works ranging form Schumann's Dichterliebe to Stainer's
Crucifixion to Monteverdi's Magnificat a6. When he isn't singing he likes reading about liturgics,
rooting for the Texas Rangers, and wandering around Manhattan. Steven is a first year Master of
Divinity student at the General Theological Seminary. This is his first concert with Polyhymnia.

Philip Tambakis, Tenor, This is Philips first season with Polyhymnia. After his graduation from the
SUNY Purchase music program, Philip found himself singing in other local vocal groups, namely, The
St. Cecilia Chorus under David Randolph, The Oratorio Society under Lyndon Woodside, and The
Grace Congregational Church Choir, directed by Dr. John L. Motley. Presently, most of his time is
spent commuting between his teaching position in the Mamaroneck school system and continuing his
own education with various private instructors of vocal technique, martial arts, and Mandarin
Chinese.

Edward H. Willis, Bass, was born in 1960 in Saint Charles, Illinois. He spent his childhood and was
schooled in Portage, Indiana. His first experience in vocal performance was gained at Portage High
School as a member of the swing choir and a cast member in musicals. At Indiana University, in
Bloomington, he earned a degree in Germanic Literature, spending his senior year at the University of
Hamburg in Germany. Both in Bloomington and in Hamburg, Edward pursued his interest in choral
music, and had the opportunity to work with Margaret Hillis and Jrgen Jrgens. In 1984, Edward
enrolled at New York University, where he later earned a Master's degree in Comparative Literature.
Before joining Polyhymnia, he spent many years in the bass sections of the Oratorio Society of New
York and the Stonewall Chorale. Today, Edward edits the Germanic Literatures sections of the
International Bibliography of Books and Articles on the Modern Languages and Literatures, which is
published by the Modern Language Association of America. In addition to occasional freelance
translation work, he enjoys singing each Sunday morning in the choir at the Church of the Holy
Apostles in Chelsea. Edward has been a member of Polyhymnia since September 2000.
s . : : . ' : | - '


The Ia i i s h o f
S a i nl I g na l i us o f Anl i o c h
The Re v . H. Ca vI o i d Hi l c hc o c k I i . , Re c l o i
Do ugI a s Ke i I i l z , Oi ga ni s l a nd Cho i i na s l e i

Da v i d S huI e i
The Chui c h o f Sa i nl Luk e i n l he I i e I ds

I a ne s Mi ddI e l o n

Io I v pho nv . c o n
Vo c a I Ai e a Ne l vo i k
La i I v Mus i c Ane i i c a







IR OCR AM LDI T OR
Vi i g i ni a Ka v c o f f

TRANSLATI ONS
Ca I v i n Ro e de i




OAR D OI DI R L C T OR S

Scoll MacDougaII
Ieg Muiphv
Tolv Nevnan
Nancv Teppei

t.:-
~:|-:'
MI CHALL . CLHL MD & ILIILRY T. CARUSO
|n Mcncrian Dcan X ]cnnscn
SCOTT MACDOUCALL
MARCARLT MURIHY
|n Mcncrian |na |uz 8us|cs

~ - : '
KLVI N RLI LLY
IUDI TH WI NK & MI CHALL ZUMOII

t . : -
STLVLN LLDRLDCL
RUCL IULTON
CLORCL MCNAI R
NANCY IASLLY
LI NDA RADANO & DAVI D SHULLR

s . : - :
KATHRYN KARI II DLS & DAVI D ROWN


If vou aie inleiesled in leconing a suppoilei of IoIvhvnnia pIease speak lo lhe
House Managei aflei lonighls peifoinance.

IoIvhvnnia is a lax-exenpl 5O1 (C) 3 oiganizalion and aII conliilulions aie lax
deduclalIe lo fuIIesl exlenl aIIoved lv Iav.



)[cv.c ]oin v. {o ov v.oninv .on.c.:

/n 1nv[i.nnvn /ovv
The Music of Ielei IhiIips (1561-1628)
Saluidav Maich 5, 2OO5
Sainl Ignalius of Anlioch
NYC

^i..v 1vo {[o. .vni v
!v.o (vc (..)2^))
Molels fion Nctus c| insignc cpus nusicun ( 1558)
Saluidav Iune 11, 2OO5
8 IM
Sainl Ignalius of Anlioch
NYC
Saluidav Iune 18, 2OO5
12 Noon
Lindsev ChapeI
oslon MA


Ioi noie infoinalion:
917.838.4636
vvv.poIvhvnnia-nvc.oig