Shakespeare’s Neighbors


The Cantabile Renaissance Band invites you to spend an evening with Thomas Morley, William Shakespeare, and others

Performances

Sunday, March 25, 2012 at 7pm

At Gallery 263, 263 Pearl St., Cambridge, MA. Suggested donation, $10.

Parking

On-street parking is usually available, and on Sundays the Residents Only parking is not in effect. If you do have trouble finding a spot, use the lot at Trader Joe's on Magazine St. and Memorial Drive.

Public Transportation

Take the Red Line to Central Square and walk down Pearl St. about half a mile to the Gallery.

Or take the #47 bus and tell the driver to let you off at Putnam St.

Sunday, March 18, 3pm

At the home of Vera Meyer, 521 Fellsway East, Malden, MA. The concert will be followed by a pot luck supper.

Parking

There is ample on-street parking.

Public Transportation.

Vera's house is just over a mile from the Malden Center Orange Line station.

Program history

The inspiration for this program came when I googled the unfamiliar name of the speaker in most of Deep Lamenting: Amintas. I discovered that The Aminta by Tasso was a play that would have been known to Morley and his audience whose hero might well have had many of the emotions expressed in the Canzonets to three voyces.

I also read the wikipedia entry on Thomas Morley, which states that for some time, Morley lived in the same "parish" as Shakespeare, and they may well have known each other.

I've long thought that musicians who sing pay insufficient attention to the words (and that literary scholars who study songs pay little or no attention to the music). This concert is an attempt to rectify this situation, with respect to a very exciting period in both literature and music.

Morley, Tasso, Sidney, and Shakespeare

The English home of the late sixteenth century had access to unprecedented amounts of professionally written entertainment for performance by amateurs. This concert will draw on four of those resources:

  • Morley's Canzonets to 3 Voyces, which we will be singing in its entirety, was published in 1593.
  • Shakespeare's plays were being published in quarto. We will use some of Romeo and Juliet which was first performed in 1595, and was published in quarto in 1597.
  • Tasso's Aminta was printed in London in 1591.
  • Philip Sidney died in 1586. His works were circulated in manuscript and in unauthorized printings until his sister finally produced a more or less complete publication in 1598.

The music will be interspersed with readings from the poems and plays, to give you a look at the intimate performances for family and friends that might have taken place in the homes of the Elizabethan families who went to the theater and heard polyphonic music in church.

The Program

The first half of the program is a love story between an coquettish woman and a young man infatuated with the idea of being in love.

  • Joy, joy doth so arise
  • Reading, Sidney: 'O fair, o sweet, when I do look on thee'
  • Hold out my heart
  • Reading, Sidney: 'My true love hath my heart and I have his'
  • Good morrow, faire Ladies of the May
  • Whither away so fast
  • Do you not know
  • Reading from Romeo and Juliet: 'Gallop apace, you fiery-footed steeds'
  • Where art thou wanton?
  • What ayles my darling?
  • Reading from Romeo and Juliet: 'If I profane...'
  • Say deere will you not have me
  • Blow, shepherds blow

After intermission, we explore a more tormented love affair, in both Tasso's Aminta (all the readings are from this) and the Morley.

  • See, see mine own sweet jewel
  • Reading: 'I lived you see...'
  • Cruel, you pull away too soon
  • Reading: 'From then onward desire...'
  • Ladie those eyes
  • Reading: 'Others follow love's delights'
  • Deep Lamenting
  • Farewell disdainfull
  • Reading: 'I see that stones and waves...'
  • O flye not
  • Reading: 'I am content...'
  • Thirsis
  • Now must I dye
  • Lady if I through griefe
  • Reading: 'I would rather lead off'
  • Cease mine eyes
  • Arise, get up my dear
  • Reading: 'I do not know if the deep pain'
  • Love learns by laughing

The Performers

Laura Conrad, Director, Altus part
is the director of The Cantabile Consort and Editor in Chief of Serpent Publications, which publishes Renaissance music on the internet, including the complete Canzonets to three voyces. She has studied recorder with John Tyson, serpent with Bernard Fourtet, and voice with Anne Kazlauskas.
Anne Kazlauskas Cantus part
is a 1978 Ithaca College voice graduate, studied there with Sharmal Schrock and later in Boston with Ellen Hargis and other early music specialists. A church singer and keyboardist for over 30 years, she now concentrates on early European, traditional Scottish, English West Gallery and American shape note music. Regularly heard with Convivium Musicum, West Gallery Quire and Norumbega Harmony, she has also appeared with A Joyful Noyse, Hence Care!, on recitals, roots music festivals, MIT concerts and several Organ Historical Society national conventions. She has recorded for New World Records and various independent labels.
John Maloney, Bassus part
Jonathan Gilbert, Reader, March 18
Kristin Gilbert, Reader, March 18
Jean Monroe, Reader, March 25
Ishmael Stefanov, Reader, March 25,
studied violin, winds and voice, and played with school and community orchestras, bands and choirs. Following graduation from engineering school, he discovered the world of Morris and contra dancing. He plays with the Black Jokers Morris Team and the West Gallery Quire, and sings in Norumbega Harmony.

Publicity

If you want to help publicize this concert, email a pointer to this page to anyone you think might be interested, or post it to any mailing list where it's on topic.

We have flyers in several forms, to take when you go somewhere where people might be interested, or to post on public bulletin boards, particularly in the neighborhood of one of our locations:

  • Basic flyer for Cambridge performance: it's prettier in color, but will work in black and white, too.
  • Basic flyer for Malden performance: it's prettier in color, but will work in black and white, too.
  • Flyer with program on the back, more for handing out than for posting.
  • Flyer with both performances , for printing on a duplexing printer.
  • 4-up flyer. If you want to carry a stack of the Cambridge flyer in your pocket and hand them to anyone you meet, print these and cut them into quarter-pages.
  • 4-up flyer. If you want to carry a stack of the Malden flyer in your pocket and hand them to anyone you meet, print these and cut them into quarter-pages.
  • 4-up Malden flyer. If you want to carry a stack of the Malden flyer in your pocket and hand them to anyone you meet, print these and cut them into quarter-pages.
  • 4-up duplexing flyer. If you have a duplexing printer, you can print this and have quarter-page flyers in your pocket with both performances on them.

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