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Past Concerts

 

 

The Collegium Musicum at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut (December 2006)


November 10, 2007

Orpheus and Opera — A Celebration of Operatic Tradition

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

Sing Joyfully, à 6 William Byrd (ca. 1540–1623)

Almain and Saraband, à 5 Nicholas Lanier (1588–1666)
If All These Cupids Now Were Blind A. Ferrabosco II (ca. 1575–1628)
It Was No Policy of Court Ferrabosco
Galliard Ferrabosco
Antimasque, à 5 Anonymous (ca. 1610)

Nolo mortem peccatoris, à 4 Thomas Morley (ca. 1557–1602)
The Silver Swan, à 5 Orlando Gibbons (1583–1625)
Wise Nature William Lawes (1602–1645)

Arise, O Lord, and Have Mercy, à 3 Thomas Tomkins (1572–1656)
Lift Up Your Heads, à 6 Gibbons

Hear My Prayer O Lord, à 8, Z 15 Henry Purcell (1659–1695)
O Pray for the Peace of Jerusalem John Blow (1649–1708)

In nomine, à 7, Z 747 Purcell
Trio Sonata in G minor (HWV 292) I, II G. F. Handel (1685–1759)
As Pants the Hart (HWV 251a and c) Handel

November 15, 2006

This Day Christ Was Borne

Musical Responses to Christmas in Medieval and Renaissance England

Hodie Christus natus est Anonymous (11th cent.)
O nobilis nativitas – O mira dei – O decus virgineum – apparuit Anonymous (13th cent.)
O Maria stella maris – Jhesu fili summi patris – [pes] Anonymous (14th cent.)
Salve Virgo virginum Anonymous (late 14th cent.)
Kyrie Rex Mariae Anonymous (late 14th cent.)
Credo (Old Hall Manuscript, No. 90) Anonymous (late 14th cent.)

Gabriel, fram heven–king Anonymous (14th cent.)
Ave Regina caelorum Leonel Power (d. 1445)
What tidings bringest thou? Anonymous
Ave maris stella John Dunstaple (c.1390–1453)
Gaude, Terra Anonymous

Hodie nobis caelorum Rex John Taverner (c.1490–1545)
Green groweth the holly Henry VIII (1491–1547)
Laudes Deo Christopher Tye (c.1505–1572)
Nunc dimittis Thomas Tallis (c.1505–1585)

Lute Song: Balulalow (Ane Sang of the Birth of Christ) Anonymous (late 16th cent.)
Consort Song: Sweet was the Song the Virgin Sung Anonymous (late 16th cent.)
Christe redemptor omnium William Byrd (1543–1623)
Duo [James?] Harding (d. 1626)
Tarleton's Jig Anonymous (late 16th cent.)
The Sprite's Tune Anonymous (late 16th cent.)
Dances: Pavan & Galliard (101–2) Anonymous (late 16th cent.)

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

April 6, 2006

Oltramontani Musicians and the Traditions of Venice, 1350–1600

Venetian Traditions Before Music Printing

Ecco la primavera, à 2 Francesco Landini (ca. 1325–1397)
O Venecie, mundi splendor / O Michael qui Stena, à 3 Johannes Ciconia (ca. 1370–1412)

Petrucci’s Venice–Based Press and Northern Composers

Ave Maria…Virgo serena, à 4 Josquin des Prez (ca. 1450–1521)
Helas que poura devenir, à 4 Ferminus Caron (fl. 1460–1475)
Hors oires une chanson, à 5 Johannes de Stokem (ca. 1445–1487)
Rompeltier, à 4 Anonymous
Dit le burguynon, à 4 Anonymous
Se gran festa me mostrasti, à 4 Bartolomeo Tromboncino (ca. 1470–1434)

Adrian Willaert–Oltramontano in Venice

Dilexi, quoniam exaudiet, à 4 Adrian Willaert (ca. 1490–1562)
Passa la nave–Pioggia di lagrimar, à 6 Willaert

Gabrieli and the Venetian Chori spezzati

Ego sum qui sum, à 8 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

Madrigal: Moralità d’una perla, à 4 Antonio Lotti (ca. 1667–1740)

L’oraculo del Fato (excerpts) 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”
  5. Recitative (Aurora, Fato, Cefalo, Endimion): “Tutto il mondo è mia reggia”
  6. Aria (Cefalo): “Sol l’Aurora mi fa così bello”
  7. Recitative (Diana, Aurora, Endimion, Cefalo, Fato): “Dica l’alba ove ha i templi”
  8. Aria (Fato): “Succeda Cinzia al sole allor ch’ei parte”
  9. Recitative (Diana, Fato, Endimion, Aurora): “In quel fonte, in quell rio”
  10. Aria (Aurora): “Bell’augelletto, che vai scherzando”
  11. Recitative (Fato, Endimion, Diana, Aurora, Cefalo): “Vana lusinga!”
  12. Aria (Cefalo): “Qui ti scrivo, o nome amato”
  13. Recitative (Endimion, Diana, Aurora): “Ed io pur qui vi segno”
  14. Aria (Endimion, Cefalo, Aurora, Diana): “Sorgete in questo dì”
  1. Recitative (Diana, Fato, Endimion): “Ma dimmi almen qual è il suo cielo”
  2. Aria (Endimion): “Son chiare, son belle nel cielo le stelle”
  3. Recitative (Diana, Fato, Aurora): “Ad Elisa se denno le nostre lodi”
  4. Aria (Aurora): “Se non canti più per me”
  5. Recitative (Cefalo, Fato): “A lei non andrà solo quel gentile usignuolo”
  6. Aria (Endimion, Fato, Aurora, Cefalo): “Più di Cinzia Elisa è bella”
  7. Recitative (Endimion): “Decise il Fato”
  8. Aria (Endimion): “Se in voi scolpito avrete”
  9. Recitative (Diana): “Udite, o selve, udite, o ninfe”
  10. Aria (Diana): “Abbia Elisa in ogni core”
  11. Recitative (Endimion, Aurora, Cefalo, Fato): “Già regna sul mio core”
  12. 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

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

  1. Sinfonia
  2. Chorus: Gottes Zeit ist die allerbeste Zeit
  3. Ach, Herr, lehre uns bedenken / Bestelle dein Haus
  4. Chorus, Soprano: Es ist der alte Bund / Ja komm, Herr Jesu, komm
  5. In deine Hände / Heute wirst du mit mir
  6. Chorus: Glorie, Lob, Ehr’ und Herrlichkeit

Wär’ Gott nicht mit uns diese Zeit, BWV 14

  1. Chorus: Wär Gott nicht mit uns diese Zeit
  2. Aria: Unser Stärke heisst zu schwach
  3. Recitative: Ja, hätt es Gott nur zugegeben
  4. Aria: Gott, bei deinem starken Schützen
  5. 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 Johann Barba? (fl. ca. 1395)
Gratulemur Cristicole, à 3 Johannes Brassart (ca. 1400–ca. 1455)

Puer natus est nobis, à 4 Heinrich Isaac (ca. 1455–1517)
Carmen in sol, à 4 Paul Hofhaimer (1459–1537)

A solis ortu cardine Plainsong
Christum wir sollen loben schon, à 4 Balthasar Resinarius (ca. 1485–1544)
A solis ortu cardine, à 5 Michael Praetorius (1571–1621)

Gelobet seist du, Jesu Christ, à 4 Johann Walther (1496–1570)
Psallite unigenito, à 4 Praetorius
Es ist ein Ros entsprungen, à 4 Praetorius

In dulci jubilo, à 2, à 4 Praetorius
Der Engel sprach zu den Hirten (SWV 395), à 7 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 G. P. da Palestrina  (c. 1525–1594)
Sicut cervus, à 4 Palestrina
Pange lingua gloriosi, à 4 T. L. de Victoria (c. 1548–1611)
Gloria, Missa Gaudeamus, à 6 Victoria
Agnus Dei, Mass for Four Voices William Byrd (1543–1623)

In nomine, à 4 Byrd
Fantasia, à 3 [I] Byrd
Fantasia, à 3 [II] Byrd
Galliard, à 6 Byrd
La nuict froide et sombre, à 4 Orlande de Lassus (c. 1532–1594)
Matona mia cara, à 4 Lassus
Alma real, à 5 Cipriano de Rore (1516–1565)
Magnificat Alma real, à 5 Lassus
Audite nova, à 4 Lassus

December 1, 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 Plainchant
5 Antiphons and Psalms Plainchant
Chapter reading Plainchant (solo)
Responsory setting: Verbum caro factum est, à 5 J. Maillard (fl. 1538–1570)
Hymn: Christe redemptor omnium Plainchant, fauxbourdon
Versicle and Response: Crastina die delebitur Plainchant
Magnificat Antiphon: O virgo virginum Plainchant
Magnificat secundi toni, à 4 C. de Sermisy (ca. 1490–1562)
Antiphon: Ave Maria, gratia plena Plainchant
Inviolata, integra, et casta, à 5 Maillard
Benedicamus Domino Plainchant

Chansons diverses

Les cris de Paris, à 4 (abridged) C. Janequin (ca. 1485–after 1558)
Jouissance vous donneray, à 4 Sermisy
Jouissance vous donneray, à 2 A. Gardane (1509–1569)
Basse danse sur "Jouissance vous donneray" Recorded by T. Arbeau (1520–1595), arr. Bruce Bellingham
Il est bel et bon, à 4 P. Passereau (fl. 1509–1547)
Trut avant il faut boire, à 3 J. Richafort (ca. 1480–after1547)
Un doux regard, à 4 Meigret (1508–1568)
Frère Thibault, sejourné gros et gras, à 4 P. Certon (ca. 1510–1572)
Doulce mémoire, à 4 P. Sandrin (ca. 1490–after 1560)
Ainsi qu'on oit le cerf bruire, à 4 C. Goudimel (ca. 1515–1572)
Paisible demaine, à 5 Orlande de Lassus (ca. 1532–1594)