Measure for Measure

MEASURE FOR MEASURE: THE MUSIC OF SHAKESPEARE’S PLAYS

a concert by:

Ensemble Chaconne Peter H. Bloom, Renaissance Flute Carol Lewis, Viola da Gamba Olav Chris Henriksen, Renaissance Lute with guest artist Burcu Gulec, Mezzo-Soprano

Sunday, March 6, 2022 at 2:00 pm

Today’s concert is sponsored by Tom Bohannon, Connie and Terry Eshenour, Kathy Hill, and Barbara Gray.

THE REDEEMER CONCERT SERIES CONTINUES Friday, March 18 at 7:30 pm Please join us for our annual celebration of the birthday of one of the world’s greatest composers, Johann Sebastian Bach. One of Redeemer’s favorite traditions for over 25 years, the concert features Redeemer’s own talented musicians, including cellist Jonathan Fuller; Sarah Hawbecker and Sam Long on both organ and piano; a vocal ensemble from the Redeemer Choir; and the Carillon Ringers handbell choir. You’ll hear both familiar and lesser-known works, and the party will continue in Sims Atrium following the concert with birthday treats and the singing of “Happy birthday” to Herr Bach. The concert is free, and all are welcome!

MEASURE FOR MEASURE: THE MUSIC OF SHAKESPEARE’S PLAYS ENSEMBLE CHACONNE Peter H. Bloom, Renaissance Flute ~ Carol Lewis, Viola da Gamba ~ Olav Chris Henriksen, Renaissance Lute with guest artist Burcu Gulec mezzo-soprano I. A Year with Morley The Lord Souches Maske (1599) O Mistress Mine (Twelfth Night, 1599) La Volto (Henry V, 1599) It Was a Lover and His Lasse (As You Like It, 1599)

Thomas Morley (c.1557-1602) Morley Morley Morley

II. Hamlet (1600) Walsingham/How Should I Your True Love Know Bonny Sweet Robin Go from My Window/Tomorrow Is Saint Valentine’s Day

William Corkine (fl.1610-12)/Shake.

Anon.

Anon./Shakespeare

III. Songs from Sundry Plays Hark, Hark! The Lark (Cymbeline, 1609) Take, O Take Those Lips Away (Measure for Measure, 1604) The Willow Song (Othello, 1604) IV. Ballad Tunes Fortune My Foe (The Merry Wives of Windsor, 1600) Callino Casturame (Henry V) Greensleeves (The Merry Wives of Windsor, 1600)

Robert Johnson (c.1582-1633) Anon.

Anon.

Anon./John Dowland (1563-1626) Anon.

Anon.

V. The Winter’s Tale (1609) The Satyrs’ Dance Lawne as White as Driven Snow Whoope Doe Me No Harme Get You Hence Jog On

Robert Johnson Anon.

Richard Sumarte (17th century) Robert Johnson Richard Farnaby (c. 1594-?)

VI. The Tempest (1611)

Full Fathom Five The Tempest Where the Bee Sucks, There Suck I

Robert Johnson Anon.

Robert Johnson

VII. Macbeth (1606) The First Witches’ Dance (The Queen’s Masque, 1609) The Second Witches’ Dance (The Queen’s Masque, 1609) Come Away, Hecate (The Witch, 1616)

Robert Johnson Robert Johnson Robert Johnson

All are invited to a reception in Sims Atrium immediately following the concert.

Today’s reception is sponsored by John Garrigan.

Management by Americas Musicworks ~ www.americasmusicworks.com

PROGRAM NOTES

William Shakespeare (1564-1616) lived in a time when literary arts were at a peak and music enjoyed a golden age. His plays reflect the range of humanity, from the common to the sublime. This vision is evident in the music that Shakespeare used extensively, writing poems for new songs and using tunes that were already familiar. Although he gives many directions using music, no tunes or scores are included in the published plays, leaving us today with a few surviving pieces from period sources and a large collection of tunes popularly associated with the plays and dating from the following century. Ensemble Chaconne will focus on the tunes with settings dating from Shakespeare’s time.

Some of the most prominent Elizabethan and Jacobean composers wrote music for the Bard’s plays. In 1599, Thomas Morley contributed music to no less than three of the plays, publishing settings in The First Book of Consort Lessons (London 1599) and The First Book of Ayres (London 1600). This set includes “O mistress mine” (sung by Feste in Twelfth Night), the “La Volto” as called for in Henry V, and “It was a lover and his lasse”, originally sung by two pages in As You Like It, but published for solo voice by Morley.

In Shakespeare’s day, there were, as now, plenty of popular tunes. Both text and melodies of these pieces were so familiar that musicians used them as the basis for sets of variations, and poets would write new verses, often based upon news of the day, publishing them as broadside ballad sheets with instructions on which tune should be used to fit the verse foot. Shakespeare took advantage of this: in Ophelia’s mad scene in Hamlet, she quotes several ballad tunes.

Ensemble Chaconne will perform the openings of the original ballads, followed by period variations and, finally, Shakespeare’s poems. In the piece “Robin”, Shakespeare’s fragment is the only surviving text.

From many of the plays, only a single memorable song has survived. “Hark, hark! the lark”, “Take, O take those lips away” and “The Willow Song” are all such timeless tunes. Following Morley, Robert Johnson became the most important musical contributor to Shakespeare’s plays, and several of the anonymous settings may be his, as well.

Johnson was a lutenist and composer to James I, and his dramatic musical style, with a touch of the macabre, suits Shakespeare’s plays well.

Throughout the plays, Shakespeare refers to ballad tunes in passing. His audience was familiar with the songs and their stories, and they serve as shortcuts in conveying various ideas and circumstances. Bystanders taunted prisoners who were being led to the gallows by singing “Fortune my Foe.” This song is mentioned by Sir John Falstaff in The Merry Wives of Windsor (the lute part is by John Dowland). “Callino Casturame” is an Irish/English ballad quoted in Henry V. “Greensleeves”, the most famous ballad tune, is mentioned twice in The Merry Wives of Windsor; this tune was known in both duple and triple meters. It’s largely forgotten that the title refers to ladies of ill repute, recognized by their green sleeves.

Several pieces of music from The Winter’s Tale have survived, largely because the roguish character Autolycus peddles broadside ballads.

While the songs from The Tempest were clearly written for the play, the story behind the music for Macbeth is very different. In productions following Shakespeare’s death, three pieces by Robert Johnson, originally from other masques and plays, were incorporated into this play. They are the first and second “Witches’ Dance”, from Ben Jonson’s The Queen’s Masque (1609), and “Come away, Hecate”, from Middleton’s The Witch (1616). In these pieces, we can see the beginnings of further developments in music for Shakespeare’s plays beyond the playwright’s age.

- Olav Chris Henriksen THE INSTRUMENTS Flute in C4 by Boaz Berney after Bassano Flute in G4 by Boaz Berney after Schnitzer Flute in C5 by R.O. Shaw after 16th century models Ten-course lute by Michael Lowe, Oxford 1979, after Tieffenbrucker Bass viola da gamba by Guy Derat, Paris 1989, after Jaye Tenor viola da gamba by Guy Derat, Paris, after Rose

ABOUT ENSEMBLE CHACONNE Founded in 1985, Ensemble Chaconne is dedicated to vivid, historically informed performance of renaissance and baroque music on period instruments. The group concertizes widely, with tours in the United States and abroad.

Ensemble Chaconne has performed at The National Gallery in London, Atlanta’s famed Spivey Hall, the venerable Edison Theatre in Saint Louis, The Bach Festival Society of Winter Park Florida, The Yale Center for British Art, the Royal Shakespeare Company’s residency at Davidson College, Boston’s acclaimed Jordan Hall, and the National Gallery of Canada in Ottawa, among others.

One of Ensemble Chaconne’s signature concerts is Measure for Measure: The Music of Shakespeare’s Plays, praised by The Portland Press Herald as “the perfect Elizabethan evening.” The ensemble has given more than 75 performances of the Shakespeare concert across the United States. The group’s CD of the same name (on the Americas Musicworks label) has been hailed for “vitality and character…style and verve" (MusicWeb International) and called “pleasingly evocative, as close a glimpse of the musical pleasures accorded Shakespeare’s audiences as we are apt to experience” (Bostonia Magazine).

Peter H. Bloom, flute, whose playing has been called “a revelation for unforced sweetness and strength” (The Boston Globe), performs in North America, Europe, and the Far East; is featured on 48 recordings; is contributing editor for Noteworthy Sheet Music; and is a winner of the American Musicological Society’s Noah Greenberg Award for “distinguished contribution to the study and performance of early music.” His career spans chamber music from the renaissance to the 21st century, and he is a noted jazz artist. He concertizes with distinguished groups including Ensemble Aubade, The Henning Ensemble, FiLmprov, The Modernistics, and The Aardvark Jazz Orchestra (49th season). His performances on historical flutes include Animusic Portugal, The New York Flute Club, The Metropolitan Museum, the American Musical Instrument Society, and the Museum of Fine Arts Boston, to name a few.

Olav Chris Henriksen has been acclaimed in Europe and North America as a soloist and ensemble player on lute, theorbo and early guitars. He has performed and recorded with the Boston Camerata, Handel & Haydn Society, Boston Baroque, Chanticleer, Waverly Consort, Emmanuel Music and other renowned ensembles. He performs and lectures frequently at the Museum of Fine Arts Boston, and has lectured at Harvard University; Lincoln Center Institute; Musikkhögskolen, Oslo; and elsewhere. His solo recordings are Guitar of the North (Centaur) and La Guitarre Royalle: French Baroque and Classical Guitar Music (Museum Music); he has also recorded for Nonesuch, Erato, Pro Musica, Telarc and Decca. He teaches at Boston Conservatory and University of Southern Maine. The Boston Herald praised his playing, saying, “Henriksen was able to dazzle with his virtuosity.”

Carol Lewis has been called a “zestful and passionate champion” of the viola da gamba. A former student of Jordi Savall, she holds a soloist diploma from the Schola Cantorum Basiliensis (Basel, Switzerland). Ms. Lewis has given recitals in the United States and abroad, and has toured and recorded extensively with Hespèrion, the Boston Camerata, and Capriccio Stravagante. She has taught at Festival dei Saraceni (Pamparato, Italy), Milano Civica Scuola di Musica (Italy), New England Conservatory of Music, Amherst Early Music, and elsewhere, and has lectured at the Museum of Fine Arts Boston. She has recorded on Astrée, EMI, Lyrichord, Harmonia Mundi, Nonesuch, Erato, Atma Classique and Koch International. The Boston Herald called her playing “brilliantly florid,” and Centre Presse (Poitiers, France) admired her “technique and musicality, her breathtaking dexterity.”

Mezzo-soprano Burcu Gulec, guest artist, has performed in New York, Boston, Detroit, Seattle, and other U.S. locations, and throughout Turkey (in Ankara, Antalya, Kastamonu, and other cities). Acclaimed for charisma, versatility, and impressive vocal range, she has appeared with Grammy-nominated Mehmet Ali Sanlıkol, Robert Larabee, the early music/world music group Dünya, and other noted ensembles.

Management by Americas Musicworks, Rebecca DeLamotte, director Telephone: 617-776-8778 ~ Visit: www.americasmusicworks.com

SONG TEXTS: THE MUSIC OF SHAKESPEARE'S PLAYS I. A YEAR WITH MORLEY O Mistress Mine O mistress mine, where are you roaming?

O stay and hear, your true love's coming, That can sing both high and low: Trip no further, pretty sweeting; Journeys end in lovers meeting, Every wise man's son doth know.

What is love? 't is not hereafter; Present mirth hath present laughter; What's to come is still unsure.

In delay there lies no plenty; Then come kiss me, sweet and twenty, Youth's a stuff will not endure.

Twelfth Night, II, iii (Feste) It was a Lover and His Lasse It was a lover and his lasse, With a haye, with a hoe, and a haye nonnie no, That o're the green corne fields did passe In spring time, the onely pretty ring time, When Birds doe sing, hay ding a ding a ding, Sweete lovers love the spring.

Then prettie lovers take the time,...

For love is crowned with the prime,...

As You Like It, V, iii (Two pages) II. HAMLET Walsingham/ How Should I Your True Love Know As I went to Walsingham, To the shrine with speede, Met I with a jolly palmer, In a pilgrim's weede.

How should I your true love know From another one?

By his cockle hat and staff And his sandal shoon.

He is dead and gone, lady, He is dead and gone; At his head a grass-green turf, At his heels a stone.

White his shroud as the mountain snow, Larded with sweet flowers; Which bewept to the grave did go With true-love showers.

Hamlet, IV, v (Ophelia) Go From my Window/St. Valentine's Day Go from my window, love, go; Go from my window, my dear; The wind and the rain Will drive you back again; You cannot be lodged here.

Tomorrow is Saint Valentine's Day, All in the morning betime, And I a maid at your window, To be your Valentine.

Then up he rose and donn'd his clothes, And dupp'd the chamber-door; Let in the maid, that out a maid Never departed more.

By Gis and by Saint Charity, Alack, and fie for shame!

Young men will do't, if they come to't, By cock, they are to blame.

Quoth she, before you tumbled me, You promised me to wed.

"So would I ha' done, by yonder sun, An thou hadst not come to my bed."

Hamlet, IV, v (Ophelia) III. SONGS FROM SUNDRY PLAYS Hark! Hark! The Lark Hark! Hark! The lark at heav'ns gate sings, And Phoebus 'gins to rise...

The winking Mary-buds begin To ope their golden eyes; With ev'rything that pretty is, My lady sweet, arise.

Cymbeline, II, iii (Cloten)

Take, O Take Those Lips Away Take, O take those lips away That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn; But my kisses bring again, Seals of love though seal'd in vain.

Hide, o hide those hills of snow, That thy frozen bosom bares; On whose tops the pinks that grow Are yet of those that April wears; But first set my poor heart free, Bound in those icy chains by thee.

Measure for Measure, IV, i (Boy) The Willow Song The poor soul sat sighing by a sycamore tree, Sing all a green willow; Her hand on her bosom, her head on her knee, Sing willow, willow, willow must be my garland.

The fresh streams ran by her, and murmur'd her moans, ...

Her salt tears fell from her, and soften'd the stones...

Let nobody blame him; his scorn I approve...

He was born to be false, and I to die for love...

I call'd my love false love; but what said he then?...

If I court moe women, you'll couch with moe men...

Othello, IV, iii (Desdemona) IV. BALLAD TUNES Fortune my Foe Fortune my foe, why dost thou frown on me?

And will thy favours never better be?

Wilt thou, I say, for ever breed my pain?

And wilt thou not restore my joys again?

No man alive can Fortunes spight withstand, With wisdom, skill, or mighty strength of hand; In midst of mirth she bringeth bitter moan, And woe to me that hath her hatred known.

If wisdoms eyes blind Fortune had but seen, Then had my Love, my Love for ever been; Then, love, farewel, though Fortune favour thee, No Fortune frail shall ever conquer me.

Greensleeves Alas, my love, ye do me wrong, To cast me off discurteously; And I have loved you so long, Delighting in your companie.

Greensleeves was all my joy, Greensleeves was my delight; Greensleeves was my heart of gold, And who but Ladie Greensleeves.

I have been readie at your hand, To grant what ever your would crave.

I have both waged life and land, Your love and good will for to have.

I bought thee kerchers to thy head, That were wrought fine and gallantly; I kept thee both at boord and bed, Which cost my purse well favoredly, Thou couldst desire no earthly thing, But stil thou hadst it readily; Thy musicke still to play and sing, And yet thou wouldst not love me.

And who did pay for all this geare, That thou didst spend when pleased thee?

Even I that am rejected here, And thou disdainst to love me.

Greensleeves now farewel adue, God I pray to prosper thee; For I am still thy lover true, come once again and love me.

V. THE WINTER'S TALE Lawne as White as Driven Snow Lawne as white as driven snow, Cypresse black as e're was Crow, Gloves as sweet as damaske roses, Maskes for faces and for noses, Bugle braceletts, necklace amber, Perfumes for a ladyes Chamber, Golden Coyfes and stomachers For my Ladds for my Ladds to give their Dears, Pinns and Pokings sticks of steele, what Maids lack from head to heele.

Come buy of mee come; come buy, come buy; buy Ladds or else your Lasses cry: come buy.

The Winter's Tale, IV, iv (Autolycus)

Two Maids Wooing a Man [Autolycus] Get you hence, for I must go Where it fits not you to know, [Dorcas] Whither? [Mopsa] O, whither?

[D] Whither?

[M] It befits thy oath full well, Thou to me thy secrets tell; [D] Me too, let me go thither.

[M] Or thou goest to grange, or mill; [D] If to either, thou dost ill.

[A] Neither. [D] What neither? [A] Neither.

[D] Thou hast sworn my love to be; [M] Thou hast sworn it more to me: Then whither goest? say whither?

The Winter's Tale, IV, iv (Autolycus) Jog On/Hanskin Jog on, jog on, the footpath way, and merrily hent the stile-a: A merry heart goes all the day, Your sad tires in a mile-a.

Cast care away, let sorrow cease, A fig for melancholy; Let's laugh and sing, or, if you please, We'll frolic with sweet Dolly.

Your paltry money-bags of gold, What need have we to stare for?

When little or nothing soon is told, And we have the less to care for.

The Winter's Tale, IV, iii (Autolycus) VI. THE TEMPEST Full Fathom Five Full fathom five thy father lies, Of his bones are coral made: Those are pearls that were his eyes, Nothing of him that doth fade, But doth suffer a sea change Into something rich and strange: Sea nymphs hourly ring his knell,

Hark now I hear them, Ding, dong, bell.

The Tempest, I, ii (Ariel) Where the Bee Sucks Where the bee sucks, there suck I, In a cowslip's bell I lie, There I couch when owls do cry, On the bat's back I do fly After summer merrily.

Merrily, merrily shall I live now, Under the blossom that hangs on the bough.

The Tempest, V, I (Ariel) VII. MACBETH Come Away, Hecate [Spirit] Come away, Hecate, oh come away!

[Hecate] I come with all the speed I may.

Where's Stadlin? [S] Here. [H] Where's Puckle?

[Puckle] Here. And Hoppo too, and Hellwain too; we lack but you. Come away, make up the count.

[H] I will but 'noint, and then I mount.

[Malkin] There's one comes down to fetch his dues, A kiss, a coll, a sip of blood; And why thou stay'st so long, I muse, since the air's so sweet and good.

[H] Oh, art thou come? What news, what news?

[M] All goes well to our delight: Either come or else refuse, refuse.

[H] Now I'm furnish'd for the flight.

Now I go, and now I fly, Malkin my sweet sprite and I; Oh what a dainty pleasure is this to ride in the air when the moon shines fair; And feast and sing, and toy and kiss Over woods, high rocks and mountains, Over seas, our mistress' fountains; Over steeples, towers and turrets, We fly by night, 'mongst troops of spirits.

No ring of bells to our ears sounds, No howls of wolves, nor yelps of hounds; No, not the noise of water's breach, Nor cannon's throat our height can reach.

The Redeemer Concert Series enriches lives through memorable musical experiences.

The Redeemer Concert Series is supported by the following donors who comprise the “Friends of Music.”

We appreciate their generosity and invite others to join us. Donations are accepted at any time of the year.

Simply make your check payable to “Lutheran Church of the Redeemer” and designate your gift for “Friends of Music.”

Donations received between January 1, 2019 and March 6, 2022

Anonymous In memory of loved ones In memory of Jerry Christman In honor of Peggy Thompson In memory of Mom and Dad In memory of Wanda Britt Beverly Alden Pam Amy-Cupp In memory of Bob Cupp Eli Arnold In memory of Jack Strauss Liz Bair In honor of Redeemer Choirs, David Hansen and Sarah Hawbecker In memory of Jean and Betty Mori, Ben Rish, Lib Rudisill Carol and Mike Bell Organ Anniversary Concert Sponsors In honor of the Worship Ministry Team David Besherse In memory of Joe Troutman Michael Boeckl and Gail Sutton Tom Bohannon In memory of Helene Bohannon Ensemble Chaconne Concert Sponsor Edwin Brigham In memory of Elizabeth Brigham Sheila Brock In memory of Charles Klotz Mary Brown In memory of Sam and June Brown Wayne Burdette In honor of Lance Lanier Volunteer – Friends of Music Cliff Burt In honor of Sarah Hawbecker In memory of Garland and Juanita Burt

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Jonathan Fesperman In honor of Fran Thrailkill Brigitte Fessele In honor of Maria and Frank Kolack Marihope Flatt In memory of Lorela Wilkins Annette and Mike Forster Heidi and Peter Franetovich In honor of my mom, Trudy Tribbett Hans W. Friedrichsen In memory of Carol Friedrichsen Sarah Hawbecker and William Fuller In memory of Ned Hawbecker John Garrigan In honor of Mom In memory of Aunt Marie Volunteer – Friends of Music Ensemble Chaconne Reception Sponsor Bob Gibeling Volunteer – Friends of Music Dr. James Gibson In memory of Jessye Norman Becky Gilbert In honor of Fran Thrailkill Martha and John Glisson Barbara Gray In memory of Robert Gray and Joe Troutman Ensemble Chaconne Concert Sponsor Lily, Miriam, Jeff and Kristen Guthrie In honor of Sarah Hawbecker Stephanie Hart Susan Hawbecker In honor of Jonathan Fuller and Sarah Hawbecker Leta and Mark Helsel Organ Anniversary Concert Sponsors

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