ClevelandQuireRoss W. Duffin Artistic Director

England’s Phœnix:William Byrddivine music for choir

may 21 & 22, 2016akron & cleveland

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This is the final concert of Quire Cleveland’s 8th season. Founded in 2008, we hoped to fill a gap in the rich cultural community of Northeast Ohio, which had lacked an independent professional chorus for more than a decade. From the start, Quire has been embraced by audience and critics alike and, for that, we thank YOU!

It has been our privilege to sing for you from Cleveland Heights to Medina to Akron to Erie, PA. We are especially fortunate to sing in the glorious acoustics of Historic St. Peter’s, the Cathedral of St. John the Evangelist, and Trinity Cathedral in downtown Cleveland, as well as St. Bernard Catholic Church in downtown Akron, and many other inspiring venues.

In Quire Cleveland programs, you get to hear the earliest AND the latest in choral music! We’ve presented many world premieres of exquisite and fascinating music that has lain dormant for centuries, reconstructed and/or edited for Quire by our artistic director, Ross Duffin.

We’re excited to announce our 9th season in 2016–17*:September 30–October 1, 2016 Monteverdi: Mantuan MasterpiecesDecember 2–4, 2016 Carols for Quire from the Old & New Worlds (8th annual)April 9 & tba, 2017 St. Matthew Passion by Richard Davy (from the Eton Choirbook)*Dates & programs are subject to change. For the most up-to-date information, visit quirecleveland.org and join our emailing list.

In addition to coming to our concerts, we invite YOU to join in the Quire — sing in the shower; hum around the house; croon in the car; warble at work; yodel in the yard; belt at the bar; harmonize with humanity — and always keep a song in your heart!

Beverly SimmonsExecutive Director

PROGRAMEngland’s Phœnix: William Byrd (c.1540–1623)

May 21, 2016 May 22, 2016 St. Bernard Catholic Church, Akron Historic St. Peter Church, Cleveland

Please hold your applause until the end of each half.

Sing joyfully BL MS Add. 29372–7 (1616)

Ne irascaris — Civitas sancti tuiCantiones Sacræ I (1589)

Kyrie eleison from the Mass for Five VoicesPrinted without TP (c.1595)

Venite exultemusGradualia II (1607)

Exalt thyself, O GodWorcester Cathedral Library MS A 3.3

Gloria from the Mass for Five Voices

INTERMISSION

Credo from the Mass for Five Voices

In resurrectione tua Cantiones Sacræ I (1589)

Tollite portasGradualia I (1605)

Sanctus from the Mass for Five Voices

Hæc dicit DominusCantiones Sacræ II (1591)

Ave verum corpusGradualia I (1605)

Agnus dei from the Mass for Five Voices

QuireCleveland

Ross W. Duffin, Artistic Director

ABOUT QUIRE CLEVELAND

Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage.With highly-trained professional musicians — who collectively represent 500 years of choral singing — the ensemble has earned both popular and critical acclaim. Quire contributes to the artistic life of our community in unique ways, including collaborations with such organizations as the Cleveland Museum of Art, Cleveland Composers Guild, Music & Art at Trinity, CityMusic Cleveland, The Cleveland Foundation, WCLV, as well as Summit Choral Society and other choruses.Now in its eighth season, Quire Cleveland has presented more than 50 concerts and produced five CDs of music from the 12th to the 21st centuries. Artistic Director Ross W. Duffin creates unique editions for Quire, and plans programs that are appealing and accessible.In addition to live and recorded broadcasts on classical radio, Quire recordings have been included in the Oxford Recorded Anthology of Western Music (OUP) and Listening to Music (Schirmer). An education program, initiated in 2014, offers workshops and lectures.With concert videos posted on YouTube, Quire Cleveland’s reach has indeed been world-wide, attracting over 485,000 views from 208 countries.

Soprano: Margaret Carpenter Haigh, Katie Cross, Donna Fagerhaug, Angela Mitchell, Elena Mullins, Lisa Rainsong

Alto: Kerry McCarthy, John McElliott, Joseph Schlesinger, Beverly Simmons, Jay WhiteTenor: Evan Bescan, Kevin Foster, Peter Hampton, Bryan Munch, Corey Shotwell,

Tyler Skidmore, Brian WentzelBass: Ian Crane, José Gotera, Nicolas Haigh, Nathan Longnecker, Michael McKay,

Daniel Singer

Thank you so much for coming! Performing for you gives us joy in singing.

But we have these small requests:

• Please turn off cell phones and other noisemakers.

• Please refrain from photography and audio/video recording.

• If you’re suffering from a cough, DO help yourself to the cough drops available from the

ushers and DON’T sit near a microphone.

Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook, have gained international renown.

In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; the St. Matthew Passion by Richard Davy, which will be featured in Quire’s 2016–17 season; and A Performer’s Guide to Medieval Music. He has sung with Apollo’s Fire since its inception in 1992.

Guest Lecturer & Artist Kerry McCarthy is a musician and author known for her work on early English music. Her recent book about William Byrd (published by Oxford University Press in 2013) won the ASCAP Nicolas Slonimsky Award for musical biography of the year.It was celebrated and reviewed in the London Review of Books (“intelligent and affectionate biography”), the New York Review of Books (“Kerry McCarthy’s fine, thoughtful new book ... will now be the starting point for all enthusiasts for [Byrd’s] music”), and other journals of note.Kerry received a B.A. from Reed College and a Ph.D. from Stanford University. She spent eleven years as professor of music history at Duke University in North Carolina. In 2014, she returned to her home town of Portland, Oregon, where she enjoys a wonderful variety of singing gigs. Her current projects include a new book about the composer Thomas Tallis and a study of the motet in 16th-century England.

2016 / 17 8 t h s e a s o n

TickeTs on sale in augusT | DeTails aT www.lesdelices.org

ocT 15 & 16, 2016

songs Without Words

Jan 20, 2017

Mozart in Paris

MaRcH 11 & 12, 2017 Machaut’s Remede

de Fortune

aPRil 8 & 9, 2017

Fated Lovers

NOTES

William Byrd loved the sound of the human voice. He wrote in 1588 that “there is not any Musicke of Instruments whatsoever comparable to that which is made of the voyces of Men, where the voyces are good, and the same well sorted and ordered.” This concert offers a broad selection of Byrd’s vocal music: Latin and English, public and private, melancholy and joyful.

Byrd’s Mass for Five Voices is the golden thread running through our program. It is surprising that anyone was writing this kind of thing at all in Elizabethan England. Catholic worship was illegal there, punishable by heavy fines at best and gruesome execution at worst. Byrd knew the risks he was taking when he composed music for it. For many other Renaissance composers, writing masses was the bread and butter of everyday musical life. (We have a letter from the prolific Palestrina, reassuring one of his patrons that he could produce one every ten days.) Byrd took a different approach. He wrote only three masses, one each for three, four, and five voices. Unlike his European colleagues, he did not build them on pre-existing materials such as popular songs or chant melodies. He never even gave them names—or, if he did, the names have been long lost. He brought his own unique approach to each movement in the five-voice mass, from the beautifully quirky setting of the Creed to the emotional intensity of the Agnus Dei. In the 16th century, the Agnus was generally treated as a grand finale, a place to pile on extra voices and show off technical skill. Here it is a poignant appeal for mercy and peace, two things that were certainly needed in Byrd’s day.

Alongside his three masses, Byrd also wrote a large selection of music for different times and seasons of the church year. Tollite portas is a piece for Advent, a setting of the “Lift up your heads, O ye gates” so familiar from Handel’s Messiah. It offers some perfect examples of Byrd’s own principle, as reported by his loyal student Thomas Morley: “You must haue a care that when your matter signifieth ascending, high heauen, and such like, you make your musicke ascend: for it will be thought a great absurditie to talke of heauen and point downwarde to the earth.” Ave verum corpus, from the same collection of music, is a traditional rhyming prayer in honor of the Eucharist. Its elegant simplicity has made it one of Byrd’s best-known works. It is also unlike any other Latin motet he ever wrote. He borrowed its most arresting features from the secular French and English love songs that were so popular in sixteenth-century England: all the voices singing the same words at once, repeated pauses for rhetorical effect, and the whole final section repeated to get the point across. This is also where we find, in a moment of pious fervor (“O dulcis! O pie!”), the only exclamation marks Byrd ever put in print.

Many of Byrd’s most famous sacred works were not written for church at all. His Cantiones sacræ (“sacred songs”) were chamber music for connoisseurs, the same people who would have enjoyed evenings of playing the harpsichord or the viols in richly tapestried Elizabethan rooms. Ne irascaris, a substantial ten-minute motet, was perhaps the most famous of all these pieces. One musician in Byrd’s own day copied it out with the simple note “good songe.” Byrd treats the mournful text from Isaiah with solemnity and insistence. Even the major chords are quite sad. (The only musician who seems to have missed the point was one enthusiastic seventeenth-century English scribe who adapted this motet to the text Behold I bring you glad tidings.) Hæc dicit Dominus is another intense lament, with echoes of the older generation of music that Byrd would have known in his childhood.

Byrd also wrote some splendidly cheerful motets. Our concert includes two of the most enjoyable ones to sing. The Easter motet In resurrectione tua is one of his shortest works, taking up barely a minute and a half even with its exuberant alleluias. Venite exultemus has the distinction of being the very last Latin motet he ever published. He added it to the end of his final motet book as a sort of bonus track, an all-purpose song of rejoicing that fits any happy occasion. The musical language is shared with the madrigals of his day. If we ignore the words for a moment, it is easy to imagine nymphs and shepherds frolicking in some Arcadian scene.

Our program is completed by two of Byrd’s English anthems. One of them, Exalt thyself, was lost until the 1970s, when it was rediscovered in an obscure manuscript in the library of Worcester Cathedral. We owe this near-miss to the fact that Byrd generally did not publish his English church anthems in print. Unlike his other vocal works, they seem to have been the exclusive property of the Chapel Royal, the great cathedrals linked to it, and the guild of professional musicians who copied this music out by hand for their own use. One of the few anthems to make it successfully out of this narrow orbit was Sing joyfully, which was already a classic in its own day. It is also the only piece by Byrd which we know was performed on a very specific historical occasion: the baptism of King James’s infant daughter Mary in 1605. The little girl—the first royal baby born in England since the days of Henry VIII—was dressed in velvet and ermine for her christening. After the happy event, “there ffollowed a full Anthem (singe Joyfullye),” sung by the musicians of the Chapel Royal.

— Kerry McCarthyGuest Lecturer & Artist

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Tenor Evan Bescan holds a Bachelor of Music degree from Capital University in Columbus, Ohio, along with a Methodology Diploma from the Kodály Institute in Kecskemét, Hungary. He is currently a full-time elementary music teacher at Elyria Community Elementary School in Cleve-land and a chorister at the Cathedral of St.

John the Evangelist. Evan is also a consultant of the Freda Joyce Brint Foundation, using music to enhance learning and life in people with Alzheimer’s and dementia.

Soprano Margaret Carpenter Haigh was a Gates Cambridge Scholar at Clare College, Cambridge, where she completed the M.Mus. in Choral Studies. She has been featured on the Easter at King’s College Concert Series, was soloist in the Monteverdi Vespers alongside His Majestys Sagbutts and Cornetts, and co-founded

L’Académie du Roi Soleil with British organist and continuo player Nicolas Haigh. She has toured widely under Timothy Brown; performs with Apollo’s Fire and the South Dakota Chorale, in addition to Quire; and is currently undertaking her DMA in Historical Performance Practice at Case Western Reserve University. margaretcarpenter.com

Bass Ian Crane currently teaches music at Cuyahoga Falls High School, and spent five years as instructor of bagpipes at Edinboro University of Pennsylvania. He has performed at the Kennedy Center, Smithsonian Folklife Festival, Metropolitan Museum of Art, sung with Bobby McFerrin and Contrapunctus, and

performed as both vocalist and instrumentalist with Apollo’s Fire. Ian earned a bachelor’s degree in music education from Cleveland State and a master’s in con-ducting from Kent State. He resides in Lakewood with his wife, Tricia, and children, Phoebe and Alexander.

Soprano Katie Cross is an avid musical collaborator, in performances ranging from chamber music to orchestral situations to professional a cappella singing. A gradu-ate of both the Oberlin Conservatory and Ithaca College with degrees in piano per-formance, she maintains teaching studios at the Oberlin Community Music School

and also the Outreach program at Baldwin-Wallace Conservatory. She also leads classes in early childhood music, group piano, and eurhythmics, and is music di-rector at the Oberlin Unitarian Universalist Fellowship.

Soprano Donna Fagerhaug holds a Master of Arts degree in Church Music from Trinity Lutheran Seminary and a Bachelor of Music from the Conservatory at Capital University, both in Columbus, Ohio. In addition to Quire, she sings with Apollo’s Singers and Contrapunctus, and is soprano soloist at Lakewood Congregational Church. Donna also works as a vocal coach in the Rocky River City Schools. She lives in Rocky River with her husband and three children.Kevin S. Foster, tenor, studied piano and voice at Ohio Wesleyan University and choral conducting at Bowling Green State University. His time is presently divided between his role as a stay-at-home dad and his musical endeavors as a composer, vocal coach, and occasional voiceover artist. He is in demand as an accompanist and as a tenor soloist; his gift for connecting with people of all ages has earned him respect as a conductor and clinician, as well. Composer of nearly 30 songs (many published through Santa Barbara Music), Kevin continually receives accolades from performers and audiences alike for his expressive, sensitive text settings. www.kevinsfoster.comJosé Gotera began singing at the age of 8 at St. Michael’s Choir School in Toronto. He completed degrees in Human Biology and Music History at the University of Toronto and sang with the Tafelmusik Chamber Choir. In Cleveland, José was an artist-in-residence with Cleveland Opera on Tour, and has also performed with Opera Circle, Opera per Tutti, and the West Shore Chorale. He completed an M.A. in Early Music from Case Western Reserve University. José can be heard on recent releases by Apollo’s Fire and Quire Cleveland. At present, he is a voice instructor at Cleveland State University.Nicolas Haigh is currently Associate Director of Music at Trinity Episcopal Cathedral in Cleveland, and a doctoral stu-dent in the Historical Performance Program at Case Western Reserve University. He has held organist positions at New College, Oxford, and York Minster. He was a stu-dent at the University of Cambridge, where he graduated with a degree in musicology and held the Sir William McKie Organ Scholarship at Clare College. A recipient of the Limpus Prize for the highest marks in the Fellowship examinations from the Royal

SINGERS BIOGRAPHIES

College of Organists, he has performed in the St Alban’s International Organ Festival. His teachers have included Malcolm Archer, Clive Driskill-Smith, James McVinnie, and Douglas Hollick.

Peter Hampton is the choral director at Lakewood High School, where he directs 7 choral ensembles, and teaches music his-tory and class piano. In addition to being a former member of Cantores Cleveland, he has performed with the choirs of Lakewood Congregational Church and the Cathedral of St. John the Evangelist. Peter has a bach-

elor degree in music education (vocal emphasis) from Otterbein University in Westerville, Ohio, where he studied voice with Robert Nims. His choral highlights in-clude singing in the US premiere of The Lord of the Rings Symphony with the Columbus Symphony Orchestra and

tours with choirs throughout Europe.Nathan Longnecker studied voice with Irvin Bushman and Deltrina Grimes and organ with Karl Stahl. In addition to Quire Cleveland, this past year he has sung with Apollo’s Fire, Bobby McFerrin, and Contrapunctus.John McElliott, countertenor, holds undergraduate degrees in voice and or-gan performance from the University of Akron. He spent a year abroad as a cho-ral scholar at Winchester Cathedral in the UK. John is a soloist/section leader at Trinity Episcopal Cathedral in Cleveland and sings with several choral ensembles

in Northeast Ohio, including Apollo’s Fire and the Trinity Chamber Singers. He is also president of Karen McFarlane Artists, Inc., where he manages concert careers for many of the world’s great concert organists and choirs. A versatile vocalist, he sings alto, tenor, and baritone parts in Quire and serves as the organization’s Secretary.

Michael McKay, baritone, is office manager in the Performing Arts, Music, and Film department at the Cleveland Museum of Art. Having studied voice with Noriko Paukert and organ with Margaret Scharf, he graduated summa cum laude with a bachelor of music from Cleveland State University. He has performed with

Apollo’s Fire, Old Stone Singers, St. Paul’s Episcopal Church Choir, and CWRU Early Music Singers, as well as in various Cleveland-area chamber ensembles. He

served as associate organist at the Cathedral of St. John the Evangelist from 1998 to 2012. He resides in Cleveland with his wife and two children.Soprano Angela Mitchell has performed with Cleveland Opera Theater, Opera in the Heights, Kingwood Summer Opera, Lonestar Lyric Opera, and the Moores Opera Center. Her recent operatic roles include Kate in Pirates of Penzance, Musetta in La bohème, Nannetta in Falstaff, Miss Wordsworth in Albert Herring, and Pauline in La vie parisienne. She is also a member of the Cleveland Orchestra Chorus. Angela holds an M.M. degree from the University of Houston and a B.M. from the University of Minnesota. She is Assistant Producer for WCLV Classical 104.9 ideastream©. angelamitchellsoprano.comElena Mullins is a soprano with wide-ranging musical interests. In the 2015 summer issue of Early Music America magazine, she was recognized as one of the country’s most promising young early music performers. She has sung with the Newberry Consort, Apollo’s Fire, Three Notch’d Road, Generation Harmonique, and Quire Cleveland. Elena is co-founder of Alkemie, an ensemble specializing in medieval music. She also sings at the Church of St. Catherine of Siena in New York. A voice student of Ellen Hargis, she holds a D.M.A. in Historical Performance Practice from CWRU and a B.A. in Musical Arts from the Eastman School of Music. An avid performer and teacher of ba-roque dance, this summer she joins the faculty of the Baroque Performance Institute at Oberlin as a dance instructor.Bryan Munch received his engineer-ing degree and M.B.A. from Case Western Reserve University, where he participated in many vocal groups in-cluding Early Music Singers. When he is not playing with his kids, he plays with data at Progressive Insurance.Soprano Lisa Rainsong’s musical life integrates composition, education, vocal performance, and natural history. She earned her Doctor of Musical Arts in composition from the Cleveland Institute of Music and is a member of CIM’s Music Theory faculty. A certified naturalist, Lisa has developed a music-based approach to teaching classes on bird song and insect song

identification and is in demand statewide as a speaker. In addition, she does field recording and research on “singing insects” — crickets and katydids — and in-service training for naturalists. listeninginnature.blogspot.com

Joseph Schlesinger, countertenor, be-gan his musical education playing prin-cipal trumpet in the Augustana College Symphony, where he completed a Bachelor of Arts in Finance and Asian Studies. After earning his Masters in Music from DePaul University, he received a Netherlands-America/Fulbright Fellowship to study

Baroque Music at the Royal Conservatory, The Hague. His repertoire includes baroque, opera, and contempo-rary repertoire. Upon returning to the United States, he is delighted to have joined Quire Cleveland, Apollo’s Fire, and Contrapunctus in Cleveland, Chicago’s Music of the Baroque, Seattle Pro Musica, and the Madison Bach Musicians.

Tenor Corey Shotwell is celebrated for his performance of 17th- and 18th-century music. He was praised for his Evangelist in J. S. Bach’s St. John Passion and another Bach Evangelist in the modern-era premiere of C. P. E. Bach’s St. Luke Passion of 1775. Operatic credits include Chicago’s Haymarket Opera Company and

the Boston Early Music Festival. He sings with Apollo’s Fire and Opera Circle, as well as Quire. Recent soloist engagements include appearances with the Newberry Consort, Bella Voce, Bach Collegium-Fort Wayne, and Chicago Bach Ensemble. A native of Michigan, he is a graduate of the Cleveland Institute of Music and Western Michigan University. coreyshotwell.com

Beverly Simmons is a mezzo-soprano, graphic designer, and Executive Director of Quire Cleveland. She earned a doctorate in early music at Stanford University, before moving to Cleveland in 1978. Her career has included stints as a CWRU music professor, WCLV radio an-

nouncer, international artist manager, concert produc-er, and mother of two. She founded the CWRU Early Music Singers and has sung with Apollo’s Fire, as well as with the Cleveland Opera Chorus, St. Paul’s Episcopal Church, and Temple Tifereth-Israel. Bev is also half of the cabaret duo, Rent-a-Yenta.Daniel Singer is Director of Music at University School in Hunting Valley, Director of the Contem-

porary Youth Orchestra Chorus, and Assistant Director of the Cleveland Orchestra Youth Chorus. An active guest conductor and clinician, he recently di-rected the OMEA District VI Junior Honor Choir. From 2003 to 2009, he worked as a performer, music director, and teacher in the Chicago area, sang with the Chicago Symphony Chorus, and was a vo-calist and arranger with the Lakeside Singers. Daniel has a B.M. in Music Education from Northwestern University and an M.M. in Choral Conducting from Michigan State University.Tyler Skidmore, tenor, is an active music educator and performer. Teaching now at the same high school he attend-ed, Tyler attempts to share the joys and challenges of choral music with the stu-dents at Medina High School. He holds a bachelor’s degree in music education from Mount Vernon Nazarene University and a master’s in voice performance from Kent State University. Tyler has performed with other area choral ensembles, including Opera Cleveland, The Cleveland Orchestra Chorus and Chamber Chorus, and Apollo’s Singers of Apollo’s Fire.Tenor Brian Wentzel is an organist, singer, and composer. Since 2006 he has been Director of Music at First Lutheran Church in Lorain, Ohio. He maintains an active performance schedule, playing recitals, leading hymn festivals, and sing-ing in professional choirs in the Cleveland area. He composes and arranges extensive-ly for his congregation, and is published by Augsburg Fortress and Hope Publishing. Brian has degrees in mathematics, organ performance, and sacred mu-sic, and holds the Fellowship certification from the American Guild of Organists.Countertenor Jay White sang 8 seasons with the internationally acclaimed ensem-ble Chanticleer, recording 14 albums and garnering two Grammy Awards. As an in-terpreter of medieval, Renaissance, and ba-roque repertoire, he has appeared at festivals worldwide and has been featured on nation-al and international radio. Trained at Indiana University’s Early Music Institute and the University of Maryland, he taught at the University of Delaware and DePauw University. Jay is now Associate Professor of Voice at Kent State University.

TEXTS & TRANSLATIONS

1. Sing joyfully unto God our strength; sing loud unto the God of Jacob! 2. Take the song, and bring forth the timbrel, the pleasant harp, and the viol. 3. Blow the trumpet in the new moon, even in the time appointed, and at our feast day. 4. For this is a statute for Israel, and a law of the God of Jacob.

— Psalm 81: 1–4

Ne irascaris Domine, satis, et ne ultra memineris iniquitatis nostræ. Ecce, respice populus tuus omnes nos.Civitas sancti tui, facta est deserta. Sion deserta facta est. Jerusalem desolata est. — Isaiah 64: 9–10

Kyrie eleison. Christe eleison. Kyrie eleison.

Venite exultemus Domino: jubilemus Deo salutari nostro, præoccupemus faciem eius in confessione, et in Psalmis jubilemus ei. Amen. — Psalm 94 [95]: 1–2

6. Exalt thyself, O God, above the heav’ns, and let thy glory be upon the earth. 9. Awake, my tongue, awake viol and harp, I will awake right early. 10. I will praise thee, O Lord, among the people, and I will sing unto thee among the nations. 11. For thy mercy is great unto the heav’ns, and thy truth unto the clouds. — Psalm 57: 6, 9–11

Gloria in excelsis Deo. et in terra pax hominibus bonæ voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratiam agimus tibi propter magnam gloriam tuam. Domine Deus, Rex cœlestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. To solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory be to God on high, and in earth peace, good will towards men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord, the onlybegotten Son, Jesu Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen.

Be not very angry, O Lord, and remember no longer our iniquity: behold, see we are all thy people. The city of thy sanctuary is become a desert, Sion is made a desert, Jerusalem is desolate.

— Douay-Rheims Bible (1610)

Lord, have mercy upon us; Christ, have mercy upon us. Lord, have mercy upon us.

O come, let us sing unto the Lord: let us heartily rejoice in the strength of our salvation.Let us come before his presence with thanksgiving,and show ourself glad in him with psalms. Amen. — Great Bible (1539)

Credo in unum Deum, Patrem omnipotentem, factorem cœli et terræ, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia sæcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de cœlis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et Homo factus est. Crucifixus etiam pro nobis; sub Pontio Pilato passus, et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in cœlum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos: cujus regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi sæculi. Amen.

In resurrectione tua Domine, Alleluya, lætentur cœli, et exultet terra, Alleluya.

Tollite portas principes vestras, et elevamini portæ æternales, et introibit Rex gloriæ.Quis ascendet in montem Domini, aut quis stabit in loco santo ejus? innocens manibus et mundo corde, Alleluia.

— Psalm 23: 7, 3–4

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cœli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Hæc dicit Dominus, vox in excelsisaudita est Lamentationis, luctus et fletus, Rachæll plorantis filios suos, et nolentis consolari super eos quia non sunt.

Hæc dicit Dominus qui escat vox tua a ploratu, et ocui tui a lacrimis, quia est merces operi tuo, ait Dominus, et est spes in novissimis tuis, et revertentur filii ad terminos suos.

— Jeremiah 31: 15–17

I believe in one God the Father Almighty, Maker of heaven and earth, And of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, Begotten of his Father before all worlds, God of God, Light of Light, very God of very God, Begotten, not made, Being of one substance with the Father, By whom all things were made: Who for us men and for our salvation came down from heaven, And was incarnate by the Holy Ghost of the Virgin Mary, And was made man, And was crucified also for us under Pontius Pilate. He suffered and was buried, And the third day he rose again according to the Scriptures, And ascended into heaven, And sitteth on the right hand of the Father. And he shall come again with glory to judge both the quick and the dead: Whose kingdom shall have no end. And I believe in the Holy Ghost, The Lord and giver of life, Who proceedeth from the Father and the Son, Who with the Father and the Son together is worshipped and glorified, Who spake by the Prophets. And I believe one Catholick and Apostolick Church. I acknowledge one Baptism for the remission of sins. And I look for the Resurrection of the dead, And the Life of the world to come. Amen.

At thy resurrection, O Lord, alleluia, let the heavens give praise and the earth rejoice, alleluia.

Lift up your gates ye princes, and be ye lifted up, O eternal gates, and the King of glory shall enter in. Who shall ascend into the mount of our Lord? or who shall stand in his holy place? The innocent of hands, and of clean heart, alleluia.

— Douay-Rheims Bible (1610)

Holy, holy, holy, Lord God of Hosts, heaven and earth are full of thy glory; Hosanna in the highest. Blessed is he that cometh in the Name of the Lord; Hosanna in the highest.

Thus saith our Lord: A voice of lamentation is heard on high of the mourning, and weeping, of Rachel weeping for her children and refusing to be comforted for them, because they are not.Thus saith our Lord: Let thy voice cease from weeping, and thine eyes from tears, because there is a reward for their work, saith our Lord: and there is hope to thy last ends, and the children shall return to their borders.

— Douay-Rheims Bible (1610)

All hail, O true body, born of the blessed Virgin Mary: Which in anguish, to redeem us did suffer upon the cross, from whose side when pierced by spear there came forth blood: May we receive you at our last trial in death. O Sweet, O pious, O Jesus son of Mary, have mercy on us. Amen.

O Lamb of God that takes away the sins of the world, have mercy upon us. O Lamb of God that takes away the sins of the world, grant us peace.

Ave verum corpus, natum de Maria Virgine: Vere passum immolatum in cruce pro homine, cuius latus perforatum unda fluxit sanguine: Esto nobis prægustatum in mortis examine. O dulcis, O pie, O Jesu fili Mariæ, miserere mei. Amen.

Agnus dei, qui tollis peccata mundi, miserere nobis. Agnus dei, qui tollis peccata mundi, dona nobis pacem.

ORIGINAL MANUSCRIPTS ON DISPLAY

During our concert at St. Peter’s, the three “Blossom Partbooks” will be exhibited by Melissa Hubbard, Head of Special Collections at Case Western Reserve University. These are original music manuscripts, copied during Byrd’s lifetime, and containing two of the motets on our program, Ne irascaris Domine and In resurrectione tua (see the Cantus below). The manuscripts are the Cantus, Tenor (see cover below), and Bassus partbooks of an original set of six (the others now lost), donated to CWRU in 1938 by Mrs. Dudley Blossom. They were previously in the collection of 19th-century bibliophile, Henry Huth, with whose collection they were sold at auction by Sotheby’s in 1916 for £18; the imprint of that price is visible on the Tenor cover. Ross Duffin has published articles about the books, proposing that they were prepared around the time of the wedding of King James’s daughter, Princess Elizabeth, in 1613.

Act one begins

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Beck Center for the Arts

ACKNOWLEDGMENTSQuire Cleveland is grateful to St. Bernard Parish, Fr. Dan Reed, Pastor; and to Historic St. Peter Church, Fr. Robert Kropac, Pastor, for hosting Quire Cleveland. We also wish to thank our generous donors:

Magister $2,500+Cuyahoga Arts & CultureOhio Arts CouncilSimmons/Duffin Family Fund

of the Dayton Foundation

Cantus $1,000–$2,499Janet Curry & Richard RoddaJohn McElliottElva RustGerald P. Weinstein

Altus $500–$999Arthur V. N. BrooksShannon CanavinDr. Alan Rocke & Cristine RomSarah Steiner

Tenor $250–$499John & Laura Bertsch Becky Bynum & Phil Calabrese GE FoundationJim & Jenny MeilE. William PodojilLarry Rosche & Judy Semroc

Bassus $100–$249AnonymousEdward AlixBonnie BakerJoanne BlazekLloyd Max Bunker & Anthony Bianchi Terry BoyarskyMary R. Bynum & J. Philip CalabreseLucy Chamberlain Drs. Virginia & Matthew CollingsDr. Roman & Dr. Diana DalePeter & Ann Gerhart David & Loraine Hammack

Richard & Bernice JefferisUrsula KorneitchoukAlexander Kuszewski Brenda LoganDr. & Mrs. Stephen Mahoney Geraldine McElliottJean M. Minnick

in honor of Donna FagerhaugRussell OberlinElizabeth & David RothenbergDiane & Lewis SchwartzMr. & Mrs. William E. SpatzKathryn WestlakeContratenor up to $99Anonymous (5)Christa AckerDavid C. CarverLucy ChamberlainAnne CookGayle CrawfordRuth E. FenskeBruce GrasserMaureen & Francis GreiciusByron & Elizabeth HaysDonald J. JacksonGale & Jim JacobsohnLou KeimEric & Sue KischSarah & Michael KnoblauchClayton KoppesDorothy LungmusArlene & J. Adin Mann, Jr.Michael Miller Nancy M. MillerPaula Mindes & George GilliamCarolyn & Perry PeskinJoanne Poderis

Gay & Quentin QuereauJane RichmondLinda RoyerWilma SalisburyCynthia SeamanRev. Dianne ShireyDean & Judith SieckShirley SimmonsDaniel & Andrew Singer-SordsRichard SnyderKent & Nancy SpelmanSarah SteinerNancy Stemmer & Laura SimsNancy TuttleBancroft TwaddellMary WarrenRichard WeberKathryn WeiseEdith YergerDoreen A. ZiskaThanks also to the English-Speaking Union Cleveland chapter; The Hermit Club; Loganberry Books; 104.9 WCLV; 90.3 WCPN; WKSU 89.7; Melissa Hubbard; Summit Choral Society; Ωort∞simo design; Micrologus Music Press; Spunmonkey Design; Beth Segal Photography.The Ohio Arts Council helped fund this program with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.England’s Phœnix: William Byrd is supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.

Board of DirectorsRichard Rodda, ph.d., President

Fr. Robert Kropac, Community Outreach John McElliott, Secretary

Gerald P. Weinstein, ph.d., cpa, TreasurerRoss W. Duffin, d.m.a., Artistic Director

Beverly Simmons, d.m.a., Executive Director

Box Office Manager: Ann Levin

Recording Engineer: Thomas Knab

c Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization.

Donors listed from the 2014–15 and current seasons. Please let us know of any errors or omissions in attribution.

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*Carols for Quire Volume 3

*Madrigalian Motetsfrom Jacobean England

*Carols for QuireVolume 2

The Land of HarmonyAmerican Choral Gems

CD Sale: $10 each or 2 for $15Take Quire home with you!

*includes music by William Byrd