University of Connecticut University of UC Title Fallback Connecticut

School of Fine ArtsMusic Department

Past Concerts

March 30, 2012

Sing We and Chant It – Music of Spring in Tudor England

St. Mark’s Episcopal Chapel

Synge we to thys mery cumpane à 3
Deo Gracias, Anglia à 3 (“Agincourt Carol”)
Salve radix à 4
In manus tuas I

Ah Robin, Gentle Robin à 3
Pastime with good company à 3

Archbishop Psalter’s Third Tune à 4
Verily, I say unto you à 4
Lamentations I à 5

In Sherwood Lived Stout Robin Hood

In Nomine I à 6

Though Amaryllis Daunce in Green à 5
Sing we and chant it
Anonymous carol, late 15th cent.
Anonymous carol, late 15th cent.

Richard Sampson? (d. 1554)
John Sheppard (ca. 1515–58)
William Cornysh (ca. 1468–1523)
Henry VIII (1491–1547)

Thomas Tallis (ca. 1505–85)
Tallis
Tallis

Robert Jones (fl. 1597–1615)

Alfonso Ferrabosco II (ca. 1575–1628)

William Byrd (ca. 1540–1623)
Thomas Morley (1557–1602)

 

November 10, 2011

Ties that Bind — Music of Homage and Renewal in the Renaissance and Baroque

von der Mehden Recital Hall

Sequence: Victimae paschali laudes
D’ung autre amer à 3
Victimae paschali laudes à 4
Kyrie I, Missa Cuiusvis toni à 4
Nymphes des bois à 5

- Intermission -

Christ lag in Todes Banden
Christ lag in Todesbanden à 4
Christ lag in Todesbaden, BWV 4
Sinfonia
    Versus I – Choral
    Versus II – Duett Sopran und Alt
    Versus III – Tenor
    Versus IV – Choral
    Versus V – Bassus
    Versus VI – Duett Tenor und Sopran
    Versus VII – Choral
Text by Wipo of Burgundy (d. ca. 1050)
Johannes Ockeghem (ca. 1410–1497)
Josquin des Prez (ca. 1450-1521)
Ockeghem
Josquin



Martin Luther (1483–1546)
Johann Walther (1496–1570)
J.S. Bach (1685–1750)









November 6, 7, & 14, 2010; March 9, 10, 11, & 20, 2011

Corpus Christi Mass at Quito Cathedral

As it might have been heard ca. 1700

Including newly-discovered villancicos in their modern première

The University of Connecticut Collegium Musicum completed a special project during the 2010–11 academic year. Angélica Durrell Godoy, SFA Music Class of 2011 and an Ecuadorian native, undertook a research project on music manuscripts discovered by her uncle, Mario Godoy. These manuscripts date from the seventeenth and early eighteenth centuries, and they are important witnesses to colonial musical and liturgical practices at Quito Cathedral as well as the Franciscan Convent of the Immaculate Conception in Ibarra, where they are currently housed. The ensemble performed this repertory in New Haven (Nov. 7), New London (March 20), and Willimantic (Nov. 14) in an effort to reconnect Latino citizens of these cities with their cultural heritage. The Collegium also traveled to Quito over Spring Break 2011 to perform a reconstruction, accomplished through Ms. Godoy’s archival work in Ecuador during the previous summer, of a mass for the feast of Corpus Christi as it might have been heard in Quito Cathedral ca. 1700. The reconstruction incorporated some of the newly discovered repertory, a group of villancicos—polyphonic songs in Spanish. As part of the documentation of this project, the ensemble recorded the seven villancicos that were part of the concert program on location in Ecuador.

View the Ecuador Tour Photo Gallery View The Tour Blog

Music before Mass on the Plaza Grande

1. Attencion a la Fragua amorosa à 5
2. Del buen Pastor à 4
3. La chacona me piden à 4 (1686)
4. Oigannos celebrar un Misterio Unico à 3
Anonymous
Anonymous
Manuel Blasco (fl. ca. 1685)
Cristóbal Galán (1625–1684)

 

Mass for the Feast of Corpus Christi

5. Asperges me à 4
6. Introit: Cibavit eos (plainchant)
7. Kyrie, Missa Saeculorum Amen à 4
8. Gloria, Missa Saeculorum Amen 

9. Collect: Deus qui nobis (plainchant)
10. Epistle: Fratres
11. Gradual: Oculi omnium (plainchant)
12. Alleluia V. Caro mea (plainchant)

Cristobal de Morales (ca. 1500-53)
Anonymous
Francisco Guerrero (1528-99)
Guerrero

Anonymous
Ego enim accepi
Anonymous
Anonymous

 

– Intermission –

16. Tantum ergo sacramentum à 5
17. Offertory: Sacerdotes Domini (plainchant)
18. Sursum corda (plainchant)
19. Sanctus
20. Pater noster à 4
21. Agnus Dei
22. Postcommunion (plainchant)
T.L. de Victoria (1548-1611)
Anonymous
Anonymous
Missa Saeculorum Amen
Guerrero
Missa Saeculorum Amen
Anonymous

 

Music for the Corpus Christi Procession

23. Ese viril con pan à 3
24. Miren que se derrama à 3
25. Vamos al lugar à 3
26. Lauda Sion salvatorem à 8
Anonymous
Anonymous
Anonymous
T.L. de Victoria (1548-1611)

 

April 17, 2010

J.S. Bach and the German Choral Heritage
Storrs Congregational Church

The Gregorian Tradition and Luther’s Adaptations

Veni, creator spiritus
Komm, Gott Schöpfer, heiliger Geist
Veni creator spiritus à 4
Komm Gott Schöpfer à 4
Plainchant, 8th century
Martin Luther (1483–1546)
Michael Praetorius (ca. 1571–1621)
Johann Walther (1496–1570)

Bach’s Chorales and their Secular Models

The Latin Motet in the Seventeenth Century

Venite exsultemus Domino à 9 Praetorius und Wunden à 4

— Intermission—

The German Motet in the Seventeenth Century

Selig sind die Toten à 6 (SWV 281)
Ich weiß daß mein Erlöser lebt à 5
Heinrich Schütz (1585–1672)
J. Michael Bach (1648–1694)

Bach’s Stile Antico Style

Kyrie – Christe, du Lamm Gottes à 5
(BWV 233a)
J.S. Bach

Luther’s Most Famous Chorale

A Mighty Fortress / Ein’ feste Burg
Ein’ feste Burg à 8
Luther
Samuel Scheidt (1587–1654)

 

November 19, 2009

J.S. Bach’s Music
for Leipzig’s Churches and Collegium Musicum

von der Mehden Recital Hall

Orchestral Suite No. 3 in D Major, BWV 1068 (ca. 1725) J.S. Bach (1685–1750)

I. Ouverture

II. Air

III. Gavotte I & II

IV. Bourée

V. Gigue

Cantata 150,Nach dir, Herr, verlanget mich(ca. 1707) Bach

I. Sinfonia

II. Chorus: “Nach dir, Herr, verlanget mich”

III. Aria (Soprano): “Doch bin und bleibe ich vergnügt”

IV. Chorus: “Leite mich in deiner Wahrheit”

V. Aria (Trio): “Zedern müssen von den Winden”

VI. Chorus: “Meine Augen sehen stets zu dem Herrn”

VII. Chorus: “Meine Tage in den Leiden”

IntermissionCantata 147, Herz und Mund und Tat und Leben (1723) Bach

I. Chorus: “Herz und Mund und Tat und Leben”

II. Recitative (Tenor): “Gebenedeiter Mund!”

III. Aria (Alto): “Schäme dich, o Seele, nicht”

IV. Recitative (Bass): “Verstockung kann Gewaltige verblenden”

V. Aria (Soprano): “Bereite dir, Jesu, noch itzo die Bahn”

VI. Chorale: “Wohl mir, dass ich Jesum habe”

Second PartVII. Aria (Tenor): “Hilf, Jesu, hilf”

VIII. Recitative (Alto): “Der höchsten Allmacht Wunderhand”

IX. Aria (Bass): “Ich will von Jesu Wunden singen”

X. Chorale: “Jesus bleibet meine Freude”

 

April 18, 2008

Music in the Era of the Sun King

Storrs Congregational Church

Quatrième antienne d’O
Sommeil
from solo cantata La Bergère (1728)

Belle Philis, Auteint de lys
from Les Peines et plaisirs de l’amour (1672)

Danses, recitatif et ariette pour la bohémienne
from Les Fêtes vénitiennes (1710)

Venez, venez jeunes bergères
from Camille

Troisième Leçon de Ténèbres (excerpt)

Rondeau
from Suite des symphonies

Marche pour la cérémonie des Turcques
from Le Bourgeois gentilhomme

Je languis
Je languis (“correct” version)
from Le Bourgeois gentilhomme

Trio italien burlesque

Marche pour Nerée et les Dieux Marins
Rectitative: Je sors de l’empire de l’onde
Chorus: Cherchons à satisfaire les plus doux de nos voeux
from Céphale et Procris

Cor meum
from grand motet Quam dilecta

M.-A. Charpentier (1643–1704)
M. P. de Montéclair (1667–1737)

Robert Cambert (1628–1677)

André Campra (1660–1744)

Campra

François Couperin (1668–1733)

Jean-Joseph Mouret (1682–1738)

Jean-Baptiste Lully (1632–1687)

Lully
Lully

Cambert

E.C. Jacquet de la Guerre (1665–1729)

Jean-Philippe Rameau (1683–1764)

 

November 15, 2008

L’amour, la mort et la vie — Love and War in French Music of the Middle Ages and Renaissance

St. Thomas Aquinas Chapel

Hoquetus David, à 3
Rose, liz, printemps, verdure, à 4

Se la face ay pale, à 3
Il sera pour vous combatu
L’homme armé, à 3

Mille regretz, à 4
Pavane de Mille regretz, from Danserye
Un gai berger, à 4

L’amour, la mort et la vie, à 4
La guerre, à 4 Janequin
Pavane et Galliarde de la Bataille

Ma belle, si ton ame
Trenteuniesme fantasie sur Une jeune fillette
Trentedeuxiesme fantasie sur Une jeune fillette

Quand mon mari vient de dehors, à 4
Mon coeur se recommande à vous, à 4

Revecy venir du printans, à 5

Guillame de Machaut (ca. 1300–77)
Machaut

Guillaume Du Fay (ca. 1397–1474)
Robert Morton (ca. 1430–1479)

Josquin des Prez (ca. 1450–1521)
Tylman Susato, pub. (ca, 1510–70)
Thomas Crecquillon (ca. 1510–57)

Clément Janequin (ca. 1485–1558)

Pierre Phalèse, pub. (ca. 1510–76)

Gabriel Bataille (ca. 1575–1630)
Eustache du Caurroy (1549–1609)
du Caurroy

Orlande de Lassus (ca. 1532–94)
Formerly attributed to Lassus

Claude le Jeune (ca. 1528–1600)

 

November 10, 2007

Orpheus and Opera — A Celebration of Operatic Tradition

von der Mehden Recital Hall

A co-production of the Collegium Musicum and UConn Opera Theater

L’Orfeo (1607): Prologue; Acts II and IV Claudio Monteverdi (1567–1643)

 

April 11, 2007

His Majesty’s Music — Service and Masque Music for the English Royal Court, 1600–1750

St. Mark’s Episcopal Chapel

Sing Joyfully, à 6

Almain and Saraband, à 5
If All These Cupids Now Were Blind
It Was No Policy of Court
Galliard
Antimasque, à 5

Nolo mortem peccatoris, à 4
The Silver Swan, à 5
Wise Nature

Arise, O Lord, and Have Mercy, à 3
Lift Up Your Heads, à 6

Hear My Prayer O Lord, à 8, Z 15
O Pray for the Peace of Jerusalem

In nomine, à 7, Z 747
Trio Sonata in G minor (HWV 292) I, II
As Pants the Hart (HWV 251a and c)

William Byrd (ca. 1540–1623)

Nicholas Lanier (1588–1666)
A. Ferrabosco II (ca. 1575–1628)
Ferrabosco
Ferrabosco
Anonymous (ca. 1610)

Thomas Morley (ca. 1557–1602)
Orlando Gibbons (1583–1625)
William Lawes (1602–1645)

Thomas Tomkins (1572–1656)
Gibbons

Henry Purcell (1659–1695)
John Blow (1649–1708)

Purcell
G. F. Handel (1685–1759)
Handel

 

November 15, 2006

This Day Christ Was Borne

Musical Responses to Christmas in Medieval and Renaissance England

St. Mark’s Episcopal Chapel

Hodie Christus natus est
O nobilis nativitas – O mira dei – O decus virgineum – apparuit
O Maria stella maris – Jhesu fili summi patris – [pes] Salve Virgo virginum
Kyrie Rex Mariae
Credo (Old Hall Manuscript, No. 90)

Gabriel, fram heven–king
Ave Regina caelorum
What tidings bringest thou?
Ave maris stella
Gaude, Terra

Hodie nobis caelorum Rex
Green groweth the holly
Laudes Deo
Nunc dimittis

Lute Song: Balulalow (Ane Sang of the Birth of Christ)
Consort Song: Sweet was the Song the Virgin Sung
Christe redemptor omnium
Duo
Tarleton’s Jig
The Sprite’s Tune
Dances: Pavan & Galliard (101–2)

O magnum misterium
This Day Christ was Born (A Caroll for Christmas Day)

Anonymous (11th cent.)
Anonymous (13th cent.)
Anonymous (14th cent.)
Anonymous (late 14th cent.)
Anonymous (late 14th cent.)
Anonymous (late 14th cent.)

Anonymous (14th cent.)
Leonel Power (d. 1445)
Anonymous
John Dunstaple (c.1390–1453)
Anonymous

John Taverner (c.1490–1545)
Henry VIII (1491–1547)
Christopher Tye (c.1505–1572)
Thomas Tallis (c.1505–1585)

Anonymous (late 16th cent.)
Anonymous (late 16th cent.)
William Byrd (1543–1623)
[James?] Harding (d. 1626)
Anonymous (late 16th cent.)
Anonymous (late 16th cent.)
Anonymous (late 16th cent.)

Byrd
Byrd

 

April 6, 2006

Oltramontani Musicians and the Traditions of Venice, 1350–1600

von der Mehden Recital Hall

Venetian Traditions Before Music Printing

Ecco la primavera, à 2
O Venecie, mundi splendor / O Michael qui Stena, à 3

Petrucci’s Venice–Based Press and Northern Composers

Ave Maria…Virgo serena, à 4
Helas que poura devenir, à 4
Hors oires une chanson, à 5
Rompeltier, à 4
Dit le burguynon, à 4
Se gran festa me mostrasti, à 4

Adrian Willaert–Oltramontano in Venice

Dilexi, quoniam exaudiet, à 4
Passa la nave–Pioggia di lagrimar, à 6

Gabrieli and the Venetian Chori spezzati

Ego sum qui sum, à 8

Francesco Landini (ca. 1325–1397)
Johannes Ciconia (ca. 1370–1412)

Josquin des Prez (ca. 1450–1521)
Ferminus Caron (fl. 1460–1475)
Johannes de Stokem (ca. 1445–1487)
Anonymous
Anonymous
Bartolomeo Tromboncino (ca. 1470–1434)

Adrian Willaert (ca. 1490–1562)
Willaert

Giovanni Gabrieli (ca. 1554–1612)

 

December 3, 2005

L’oraculo del Fato

A Cantata by Francesco Gasparini (1661–1727)
after a Libretto by Pietro Pariati (1665–1733); presented to Elisabeth, Queen of Spain, ca. 1708

North Reading Room, Wilbur Cross Building

Madrigal: Moralità d’una perla, à 4

L’oraculo del Fato (excerpts)

Antonio Lotti (ca. 1667–1740)

Francesco Gasparini (1661–1727)

1. Sinfonia
2. Chorus: “Vaghe rose onde s’infiora”
3. Recitative (Diana, Endimion): “A me cingete il crine”
4. Aria (Diana): “È tormento, amor non è”
19. Recitative (Aurora, Fato, Cefalo, Endimion): “Tutto il mondo è mia reggia”
20. Aria (Cefalo): “Sol l’Aurora mi fa così bello”
21. Recitative (Diana, Aurora, Endimion, Cefalo, Fato): “Dica l’alba ove ha i templi”
22. Aria (Fato): “Succeda Cinzia al sole allor ch’ei parte”
27. Recitative (Diana, Fato, Endimion, Aurora): “In quel fonte, in quell rio”
28. Aria (Aurora): “Bell’augelletto, che vai scherzando”
29. Recitative (Fato, Endimion, Diana, Aurora, Cefalo): “Vana lusinga!”
30. Aria (Cefalo): “Qui ti scrivo, o nome amato”
31. Recitative (Endimion, Diana, Aurora): “Ed io pur qui vi segno”
32. Aria (Endimion, Cefalo, Aurora, Diana): “Sorgete in questo dì”
45. Recitative (Diana, Fato, Endimion): “Ma dimmi almen qual è il suo cielo”
46. Aria (Endimion): “Son chiare, son belle nel cielo le stelle”
47. Recitative (Diana, Fato, Aurora): “Ad Elisa se denno le nostre lodi”
48. Aria (Aurora): “Se non canti più per me”
49. Recitative (Cefalo, Fato): “A lei non andrà solo quel gentile usignuolo”
50. Aria (Endimion, Fato, Aurora, Cefalo): “Più di Cinzia Elisa è bella”
51. Recitative (Endimion): “Decise il Fato”
52. Aria (Endimion): “Se in voi scolpito avrete”
53. Recitative (Diana): “Udite, o selve, udite, o ninfe”
54. Aria (Diana): “Abbia Elisa in ogni core”
55. Recitative (Endimion, Aurora, Cefalo, Fato): “Già regna sul mio core”
56. Chorus: “Un nome più bello di quello d’Elisa il mondo non ha!”

 

April 17, 2005

J.S. Bach’s Musical Exegesis — Two Cantatas by the Late Baroque Master

Storrs Congregational Church

Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106

I. Sinfonia
II. Chorus: Gottes Zeit ist die allerbeste Zeit
III. Ach, Herr, lehre uns bedenken / Bestelle dein Haus
IV. Chorus, Soprano: Es ist der alte Bund / Ja komm, Herr Jesu, komm
V. In deine Hände / Heute wirst du mit mir
VI. Chorus: Glorie, Lob, Ehr’ und Herrlichkeit

Wär’ Gott nicht mit uns diese Zeit, BWV 14

I. Chorus: Wär Gott nicht mit uns diese Zeit
II. Aria: Unser Stärke heisst zu schwach
III. Recitative: Ja, hätt es Gott nur zugegeben
IV. Aria: Gott, bei deinem starken Schützen
V. Chorale: Gott Lob und Dank, der nicht zugab

 

December 4, 2004

Sys Willekomen Heire Kerst

Musical Responses to Christmas in German–Speaking Lands, 1400–1700

Sys willekomen Heire Kerst, à 3
Gratulemur Cristicole, à 3

Puer natus est nobis, à 4
Carmen in sol, à 4

A solis ortu cardine
Christum wir sollen loben schon, à 4
A solis ortu cardine, à 5

Gelobet seist du, Jesu Christ, à 4
Psallite unigenito, à 4
Es ist ein Ros entsprungen, à 4

In dulci jubilo, à 2, à 4
Der Engel sprach zu den Hirten (SWV 395), à 7

Johann Barba? (fl. ca. 1395)
Johannes Brassart (ca. 1400–ca. 1455)

Heinrich Isaac (ca. 1455–1517)
Paul Hofhaimer (1459–1537)

Plainsong
Balthasar Resinarius (ca. 1485–1544)
Michael Praetorius (1571–1621)

Johann Walther (1496–1570)
Praetorius
Praetorius

Praetorius
Heinrich Schütz (1585–1672)

 

April 17, 2004

The Final Four

Master Composers of the Renaissance: Palestrina, Victoria, Byrd, and Lassus

Kyrie, Missa Papae Marcelli, à 6
Sicut cervus, à 4
Pange lingua gloriosi, à 4
Gloria, Missa Gaudeamus, à 6
Agnus Dei, Mass for Four Voices

In nomine, à 4
Fantasia, à 3 [I]
Fantasia, à 3 [II]
Galliard, à 6
La nuict froide et sombre, à 4
Matona mia cara, à 4
Alma real, à 5
Magnificat Alma real, à 5
Audite nova, à 4

G. P. da Palestrina (c. 1525–1594)
Palestrina
T. L. de Victoria (c. 1548–1611)
Victoria
William Byrd (1543–1623)

Byrd
Byrd
Byrd
Byrd
Orlande de Lassus (c. 1532–1594)
Lassus
Cipriano de Rore (1516–1565)
Lassus
Lassus

 

December 2, 2003

Paisible Demaine — Music in Paris, 1532–1572

Christmas Vespers as it might have been heard at Notre Dame of Paris, ca. 1560

Versicle and Response: Deus in adjutorium
5 Antiphons and Psalms
Chapter reading
Responsory setting: Verbum caro factum est, à 5
Hymn: Christe redemptor omnium
Versicle and Response: Crastina die delebitur
Magnificat Antiphon: O virgo virginum
Magnificat secundi toni, à 4
Antiphon: Ave Maria, gratia plena
Inviolata, integra, et casta, à 5
Benedicamus Domino

Chansons diverses

Les cris de Paris, à 4 (abridged)
Jouissance vous donneray, à 4
Jouissance vous donneray, à 2
Basse danse sur “Jouissance vous donneray”

Il est bel et bon, à 4
Trut avant il faut boire, à 3
Un doux regard, à 4
Frère Thibault, sejourné gros et gras, à 4
Doulce mémoire, à 4
Ainsi qu’on oit le cerf bruire, à 4
Paisible demaine, à 5

Plainchant
Plainchant
Plainchant (solo)
J. Maillard (fl. 1538–1570)
Plainchant, fauxbourdon
Plainchant
Plainchant
C. de Sermisy (ca. 1490–1562)
Plainchant
Maillard
Plainchant

C. Janequin (ca. 1485–after 1558)
Sermisy
A. Gardane (1509–1569)
Recorded by T. Arbeau (1520–1595), arr. Bruce Bellingham

P. Passereau (fl. 1509–1547)
J. Richafort (ca. 1480–after1547)
Meigret (1508–1568)
P. Certon (ca. 1510–1572)
P. Sandrin (ca. 1490–after 1560)
C. Goudimel (ca. 1515–1572)
Orlande de Lassus (ca. 1532–1594)