Blue Heron - Missa sine nomine ockeghem@600 - concert 11
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Blue
Heron
21 22 23RD
SEASON
SCOTT METCALFE, ARTISTIC DIRECTOR
ockeghem@600 — concert 11
Missa sine nomine
Friday & Saturday, March 18 & 19, 2022
BLU E H E R O N
Megan Chartrand & Kim Leeds, cantus
Corey Dalton Hart, Jason McStoots, Mark Sprinkle &
Sumner Thompson, tenor & contratenor
Paul Guttry & David McFerrin, bassus
Scott Metcalfe, harp & fiddle, artistic director
pre-concert talk
Sean Gallagher (New England Conservatory)
The musicians will be unmasked during the performance;
masks are required for all audience, staff, and volunteers.
All performers, staff, and volunteers are fully vaccinated.
A miniature in a series illustrating a collection of fifty chants royaux presented to the Puys de Rouen between 1519 and 1528.
The picture illustrates a poem by Nicole Levestu, winner of the 1523 competition, on the theme of a 36-voice motet by Ockeghem,
and shows nine singers reading a plainchant Gloria; the elderly singer with spectacles may be intended as a portrait of the composer.
(Paris, Bibliothèque nationale, MS fr. 1537, f. 58v)
ockeghem@600 — concert 11
Missa sine nomine
friday & saturday, march 18 & 19, 2022
first church in cambridge, congregational
O Maria, mater Christi
Heinrich Isaac (c. 1450-1517)
Ave maris stella MS JM ST
Jacob Obrecht (1457/8-1505)
Ung aultre l’a MC MS SM
Johannes Ockeghem (c. 1420-1497)
L’autre d’antan JM DM PG
Ockeghem
Missa sine nomine a 5: Kyrie – Gloria – Credo
Ockeghem
intermission
Credo a 4 KL JM ST PG
Ockeghem
Ma bouche rit et ma pensee pleure MC JM SM
Ockeghem
Quant j’ay au cueur KL ST SM
Antoine Busnoys (c. 1430-1492)
Salve regina
Ockeghem
Texts & translations
O Maria, mater Christi, virgo pia, O Mary, mother of Christ, holy virgin,
maestorum consolatrix, pauperum adjutrix, consoler of the sorrowful, helper of the poor,
perditorum restauratrix, lapsorumque pia restorer of the lost and merciful relief
relevatrix, of the fallen,
languentium curatrix, nostrae salutis adamatrix. cure of the infirm, great lover of our salvation:
Ave Domina, deitatis cellula, Hail, Lady, shelter of deity,
inter omnes virgines castissima, most chaste of all virgins:
te petimus nostra dele facinora, we beg you to remove our crimes,
quae es caelis altior, you who are higher than heaven,
terris latior, broader than the earth,
stellis purior, abysso profundior, purer than the stars, deeper than the abyss,
O Maria, cunctis sanctis es sanctior. O Mary, holier than all the saints.
O jucunda, tu es Aaron virgula fructifera O happy one, you are Aaron’s fruit-bearing rod,
quae fructum vitae, Christum, nobis protulit, which for us brought forth the fruit of life, Christ,
omnes virtutes omnium lapidum in se continens containing in it all the virtues of all precious stones
atque cunctarum herbarum vim retinens. and bearing the power of all herbs.
Ave sanctissima: Hail, most holy one:
dele peccamina, reprime noxia, remove sins, curb offenses,
sensus nostros visita et flagita, visit and exhort our senses,
ut gaudia possideamus caelica that we may possess heavenly joys
post carnis exsilium, O Maria. after our fleshly exile, O Mary.
Ave maris stella, Hail, star of the sea,
dei mater alma nurturing mother of God
atque semper virgo, and perpetual virgin,
felix celi porta. happy gate of heaven.
2
Rondeau royal Royal Rondeau
Ung aultre l’a, n’en querés plus, Another has it, seek it no more,
Car dorenavant je conclus for henceforth I resolve
De garder en tout temps mon droit. to protect my right at all times.
Chascun se garde en son endroit, Let each look out for himself,
Car bien peu me chault de surplus. for precious little do I care about the rest.
Je ne vueil pas estre forcluz I do not wish to be prevented
D’acorder ou faire reffuz, from agreeing or refusing,
Mais ce que voulez orendroit but as for what you want at present,
Ung aultre l’a, n’en querés plus, another has it, seek it no more,
Car dorenavant je conclus for henceforth I resolve
De garder en tout temps mon droit. to protect my right at all times.
Jamais en ce propos ne fuz Never in this matter has
Que mon vouloir fust si confuz my will been so thwarted
D’entendre a tout ce qu’il voudroit. from attending to all it would like.
De ce faire on me reprendroit, People would reproach me for doing this,
Congnoissant que seroit abuz. recognizing that it would be an abuse.
Ung aultre l’a, n’en querés plus … Another has it, seek it no more …
L’autre d’antan, l’autrier passa The other year, the other day, she passed by
Et en passant me transperça and, in passing, pierced me through
D’ung regart forgié a Millan, with a glance forged in Milan
Qui m’a mis en l’arriere ban, that knocked me into the rear ranks,
Tant malvais brassin me brassa. so rude a brew she brewed for me.
L’autre d’antan, l’autrier passa. The other year, the other day, she passed by.
Par tel façon me fricassa She made such a fricassee out of me
Que de ses gaiges me cassa; that she struck me from her payroll;
Mais, par Dieu, elle fist son dan. but, by God, she did her damage.
L’autre d’antan, l’autrier passa, The other year, the other day, she passed by
Et en passant me transperça and, in passing, pierced me through
D’ung regart forgié a Millan. with a glance forged in Milan.
Puis apres nostre amour cessa, And then our love ended,
Car onques puis qu’elle danssa, for ever since she did her dance,
L’autre d’antan, l’autre d’antan, the other year, the other year,
Je n’eu ne bon jour, ne bon an, I’ve had neither good day nor good year,
Tant de mal en moy amassa. so much ill has piled up on me.
L’autre d’antan, l’autrier passa … The other year, the other day, she passed by …
3Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy.
Gloria in excelsis deo, et in terra pax Glory to God in the highest, and on earth peace
hominibus bone voluntatis. Laudamus te. to all of good will. We praise you. We bless you.
Benedicimus te. Adoramus te. Glorificamus We adore you. We glorify you. We give thanks to
te. Gratias agimus tibi propter magnam you for your great glory. Lord God, heavenly king,
gloriam tuam. Domine deus, rex celestis, deus almighty God the Father. Lord Jesus Christ, only
pater omnipotens. Domine fili unigenite, Jesu begotten Son. Lord God, lamb of God, Son of
Christe. Domine deus, agnus dei, filius patris. the Father. Who takes away the sins of the world,
Qui tollis peccata mundi, miserere nobis. Qui have mercy on us. Who takes away the sins of the
tollis peccata mundi, suscipe deprecationem world, receive our prayer. Who sits at the right
nostram. Qui sedes ad dexteram patris, hand of the Father, have mercy on us. For you
miserere nobis. Quoniam tu solus sanctus, alone are holy, you alone are the Lord, the Most
tu solus dominus, tu solus altissimus, Jesu High, Jesus Christ, with the Holy Spirit in the
Christe, cum sancto spiritu in gloria dei patris. glory of God the Father.
Amen. Amen.
Credo in unum deum, patrem I believe in one God, the Father almighty,
omnipotentem, factorem celi et terre, maker of heaven and earth and of all things
visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord Jesus
unum dominum Jesum Christum, filium dei Christ, the only Son of God, eternally begotten
unigenitum: et ex patre natum ante omnia of the Father. God from God, Light from Light,
secula. Deum de deo, lumen de lumine, true God from true God. Begotten, not made;
deum verum de deo vero. Genitum non of one being with the Father, through whom all
factum, consubstantialem patri: per quem things are made. For us and for our salvation
omnia facta sunt. Qui propter nos homines he came down from Heaven. He was born of
et propter nostram salutem descendit de the Holy Spirit and the Virgin Mary, and was
celis. Et incarnatus est de spiritu sancto ex made man. He was crucified for our sake under
Maria virgine: et homo factus est. Crucifixus Pontius Pilate, died, and was buried. On the
etiam pro nobis sub Pontio Pilato: passus third day he rose again, in accordance with the
et sepultus est. Et resurrexit tertia die Scriptures. He ascended into heaven and is
secundum scripturas. Et ascendit in celum: seated at the right hand of the Father. He will
sedet ad dexteram patris. Et iterum venturus come again to judge both the living and the
est cum gloria judicare vivos et mortuos: cujus dead, and his kingdom shall have no end. And I
regni non erit finis. Et in spiritum sanctum believe in the Holy Spirit, the Lord, the giver of
dominum et vivificantem qui ex patre filioque life, who proceeds from the Father and the Son,
procedit. Qui cum patre et filio simul who with the Father and the Son
4adoratur et conglorificatur: qui locutus est is worshipped and glorified, who has spoken
per prophetas. Et unam sanctam catholicam through the prophets. And I believe in one holy,
et apostolicam ecclesiam. Confiteor unum catholic and apostolic church. I confess one
baptisma in remissionem peccatorum. Et baptism for the forgiveness of sins. And I await
expecto resurrectionem mortuorum, et vitam the resurrection of the dead, and the life of the
venturi seculi. Amen. world to come. Amen.
Ma bouche rit et ma pensée pleure, My mouth laughs and my thoughts weep,
Mon oeil s’esjoye et mon cueur mauldit l’eure my eye rejoices and my heart curses the hour
Qu’il eut le bien que sa sancté deschace when it enjoyed the good that destroys its health
Et le plaisir que la mort me pourchace and the pleasure that brings me death,
Sans resconfort qui m’aide ne sequeure. without comfort to aid or succor me.
Ha cueur pervers, faulsaire et mansongier, Ah, perverse, false, and lying heart,
Dictez comment avez ousé songier tell me how you ever dared to dream
Que de faulser ce qu’aviez promis. of breaking the promise you had made.
Puis qu’en ce point vous vous voulez venger, Since you will avenge yourself to this degree,
Pensez bien tost de ma vie abreger: think of soon cutting short my life:
Vivre ne puis ou point ou m’avez mis. I cannot live in the plight in which you’ve placed me.
Voustre pitié vieult doncques que je meure, Your pity, then, wants me to die,
Mays rigeur vieult que vivant je demeure; but harshness wants me to survive,
Ainsi meurs vif et en vivant trespasse. and so alive I die, and living pass away.
Pour celer le mal qui point ne se passe To hide the ill which has no end
Et pour couvrir le dueil ou je labeure, and to conceal the grief in which I struggle,
Ma bouche rit et ma pensee pleure … My mouth laughs and my thoughts weep …
5Quant j’ay au cueur aulcun contraire Whenever my heart is burdened by adversity
Et j’ay aulcunement affaire and I have not the slightest prospect
Qu’aulcun me viengne secourir, that anyone will come to succor me,
Il ne me fault que recourir I have only to turn
A vous, belle tres debonnaire. to you, most benevolent beauty.
Car vous estez mon doulx repaire For you are my sweet refuge,
Ou je me voys tousjours retraire to which I always retreat
Pour mon pouvre cueur resjouir in order to refresh my poor heart
Quant j’ay au cueur aulcun contraire whenever my heart is burdened by adversity
Et j’ay aulcunement affaire and I have not the slightest prospect
Qu’aulcun me viengne secourir. that anyone will come to succor me.
Nully ne m’en sauroit hors traire, No-one could draw me thence,
Veu qu’avez voulu parfaire since you have chosen to fulfill
La voulenté de mon desir; the will of my desire;
Pour ce vueil tousjours obeir thus I wish ever to obey
Et en toutes choses complaire. and in all things be pleasing.
Quant j’ay au cueur aulcun contraire … Whenever my heart is burdened by adversity …
Salve regina, mater misericordie, Hail queen, mother of mercy:
vita dulcedo et spes nostra, salve. life, sweetness, and our hope, hail!
Ad te clamamus exules filii Eve, To you we cry, exiled children of Eve;
ad te suspiramus gementes et flentes to you we sigh, weeping and wailing
in hac lacrimarum valle. in this vale of tears.
Eya ergo, advocata nostra, Come then, our advocate,
illos tuos misericordes oculos ad nos converte. turn your merciful eyes upon us,
Et Jesum benedictum fructum ventris tui and show us Jesus, the blessed fruit of your womb,
nobis post hoc exilium ostende, after this our exile,
O clemens, O pia, O dulcis virgo semper Maria. O merciful, O gentle, O sweet, Mary.
Translations from the French by Scott Metcalfe
6Sine nomine
J
OHANNES OCKEGHEM left us just four motets, about a dozen Masses, and two
dozen songs—an extraordinarily rich and diverse oeuvre, yet small enough that we are
able to present all of it in thirteen concert programs, while also including a fair amount
of music by other composers. (A few more works by Ockeghem are now lost and are
known to us only because they are mentioned by contemporary theorists or poets.) If one
were not engaged in a project to perform every surviving piece by the composer, even in such
a relatively small body of works there are a few that one might easily pass over or ignore. The
five-voice Missa sine nomine is one of these. It lacks an appealing name, omits two movements
of the usual five of a Mass Ordinary cycle, and is exceptionally short; the Credo is based on
an unpromisingly monotonous plainchant. Unenticing as normal concert fare, the Mass is at
the same time far too difficult to be useful as workaday service music. As always, however,
Ockeghem has more than a few surprises up his sleeve.
Missa sine nomine
The Kyrie, Gloria, and Credo that constitute the so-called They appear to constitute a Missa brevis (short mass)
Missa sine nomine a 5 are uniquely transmitted in the or de feria (for a weekday), but where other examples of
Chigi Codex, copied a few years after Ockeghem’s those genres tend to be rather plain and unambitious,
death in the Low Countries. The three movements are this one is far from simple.
not particularly related beyond all three being based The Kyrie and Gloria each consist of just one section.
on Mass plainchants in the fourth mode (one of the The Kyrie is so short that eight of its thrice-threefold
Phrygian modes on E, using a scale with a semitone petitions occupy just one measure, while the ninth
above the final or “tonic” note), extremely compact, and is extended to three, a miniature version of the final
scored for five voices in five distinct ranges—though melismatic drive to the cadence found in virtually every
not exactly the same ranges in any two movements. piece by Ockeghem. Almost every petition—and thus
7every measure—features a different combination of five-voice Credo ends there, however. Here the chant
voices, eight variations in all: first the top two, then material is distributed among all four voices in an
the top four, then the second, fourth, and fifth, and so energetic and colorful setting which lasts about as
on. Quotations of the plainchant jump from voice to long as all three movements of the Missa sine nomine
voice; the contrapuntal motion is very fast, the har- put together.
monies changing on almost every minim or half note
(that is, twice per beat); the rhythms are complicated:
it all makes for a dizzyingly complicated minute (or
Songs & motets
less) of music. We fill out our program with songs and motets by
The Gloria is similarly brief, about thirty-five mea- Ockeghem and his younger contemporaries Antoine
sures, and again, segments of the plainchant are heard Busnoys, Heinrich Isaac, and Jacob Obrecht. Isaac’s
now in one voice, now in another, as the texture shifts O Maria, mater Christi, is an expansive setting of a
between various combinations of voices. But the overall paraliturgical text in the haunting Phrygian mode (like
impression is much simpler and lighter. The words are Ockeghem’s Mass and Credo), featuring a wide range
set syllabically almost everywhere. An arresting moment of meters and tempos determined by proportional
of homophony towards the middle of the movement, at relationships. Obrecht’s brief Ave maris stella places
the words “Suscipe deprecationem nostram,” is one of the melody of the hymn (you may recognize it from
just three passages deploying all five voices; the other the well-known setting in Claudio Monteverdi’s 1610
two underline the words “Jesu Christe” and “In gloria Vespers) in the lowest of its three voices.
dei patris, Amen” at the end. The three songs by Ockeghem could not be more
In the Credo, the tenor presents a version of the different from each other. The rollicking L’autre d’antan,
familiar Credo I, intoning the text on the notes A and classified by the theorist Johannes Tinctoris as a “bucolic
G in an almost undifferentiated stream of semibreves song,” is a great jumble of metaphor, nicely conveying
and minims (whole notes and half notes). A glance at the topsy-turvy confusion of a man still head-over-heels
the manuscript reveals at once the nature of the tenor in love with a woman who has dumped him. He can’t
part. (See illustration opposite.) Is the composer being even figure out exactly when it all started, babbling
witty? It’s as if he is portraying a bored priest at some over and over again “The other year, the other day ….”
Mass to which no-one is listening, droning along heed- Ung aultre l’a is one of several political polemics set
lessly, barely paying attention to the rhythm or syntax by Ockeghem, referring opaquely to some sort of
of the text, while around him the other four singers dispute which no-one can now identify. The music is
engage in melodic and harmonic play. Finally, at the perplexingly sweet, the two principal voices singing in
words “Et vitam venturi seculi, amen,” the celebrant unhurried rapture above a busy lower contratenor part,
seems to wake up and join in the fun. here played on harp. What makes this rondeau “royal,”
as it is described by a rubric in one of its two sources,
Credo sine nomine is anyone’s guess. In the heartbreaking Ma bouche rit et
ma pensee pleure, another piece in the Phrygian mode,
The chant Credo I is also the basis of a four-voice cantus and tenor trade melodic motifs back and forth
independent Credo which is uniquely transmitted in against a largely independent contratenor (in our
an early sixteenth-century Sistine Chapel manuscript, performance played on fiddle).
but is possibly identical to the “Patrem de village” by The remaining item, Busnoys’s Quant j’ay au cueur, is
Ockeghem that was copied at St. Donatian’s, Bruges, surely one of the most beautiful songs of the fifteenth
in 1475. Any similarity between this Credo and the century. Its text, addressing a benevolent lady who offers
8The tenor and bass parts for the first part of the Credo of the Missa sine nomine a 5
(Biblioteca Apostolica Vaticana, MS Chigi C VIII 234, f. lvii).
consolation and a sweet refuge in times of trouble, might superius alludes audibly to the chant’s opening melody
easily be transferred from its overtly courtly setting sustained in long notes. Just as the duet approaches its
to serve by analogy as a prayer to the Lady of Ladies, first real cadence, the bass enters, closely followed by
Queen of Heaven and mother of mercy. the tenor, which sings what appears to be the cantus
firmus, just as one would expect, but this turns out
Salve regina to be a false flag. It is in fact the bass that carries the
cantus firmus, lightly decorated, throughout the entire
Okeghem’s Salve regina disguises its plainchant cantus length of this most evocative and plangent setting of
firmus, the well-known Marian antiphon, with a strategy the imploring text.
of misdirected expectation. The motet opens, as tenor — Scott Metcalfe
motets so often do, with a duet of high voices, and the
9Who was Johannes Ockeghem?
Johannes Ockeghem was born in Saint Ghislain, well-remunerated post of treasurer at the royal
near the city of Mons in the county of Hainaut collegiate church of Saint Martin. A friend and
(now in Belgium) around 1420. He first enters colleague of the greatest musicians of the previous
the historical record in 1443 as a vicaire-chanteur generation, Guillaume Du Fay and Gilles de Bins
at the church of Our Lady in Antwerp, a modest (usually known by the sobriquet Binchois), he was
appointment appropriate to a young professional esteemed by his contemporaries and successors
singer. By 1446 he had become one of seven sing- as a master beyond compare, enormously skilled
ers in the chapel of Charles I, duke of Bourbon, as both singer and composer, as well as virtuous,
and in 1451 he joined the musical establishment generous, and kind.
of Charles VII, king of France. He served the Writing in 1477, the theorist Johannes Tinctoris
French royal court as premier chapelain for the placed him at the head of an exalted company of
rest of his career, mainly residing in Tours in the modern composers:
Loire Valley, where he held the prestigious and
Detail of a panoramic view of Tours around 1625 showing the basilica of Saint Martin from the north.
(C. Visscher, copper engraving, c. 1625, La fort ancienne et noble ville de Tours appellée le jardin de la France: Musée de la
Société archéologique de Touraine, Tours; Société archéologique de Touraine)
10…at this present time, not to mention a relatively small output for one of the greatest
innumerable singers of the most beautiful composers of all time. Perhaps no composer other
diction, there flourish, whether by the effect than Bach has equalled Ockeghem in contrapun-
of some celestial influence or by the force tal skill, and the two men are also equally able
of assiduous practice, countless composers, to invest their work with meaning at every level,
among them Johannes Ockeghem, Johannes from the smallest surface detail to the deepest,
Regis, Antoine Busnoys, Firminus Caron, largest-scale, awe-inspiringly complex structure,
and Guillaume Faugues, who glory in in music that is at once intensely sensuous and
having studied this divine art under John rigorously intellectual, of extraordinary beauty
Dunstaple, Gilles Binchois, and Guillaume and rhythmic vitality. Ockeghem’s music has the
Du Fay, recently deceased. Nearly all the miraculous effect of taking hold of and altering our
works of these men exhale such sweetness sense of time, and to do so Ockeghem uses means
that in my opinion they are to be considered both melodic and rhythmic (pitch and duration,
most suitable, not only for men and heroes, the basic elements of music). His counterpoint
but even for the immortal gods, Indeed, I spins out long-limbed, supple, and simply gorgeous
never hear them, I never study them, with- melodies whose relationship to one another is not
out coming away more refreshed and wiser. obvious — there are few unanimous cadences and
few immediately noticeable points of imitation,
Ockeghem died on February 6, 1497. His passing although many subtle instances occur, often almost
was mourned by numerous musicians and poets. hidden within the texture of the music. His rhythm,
The most famous lament on his death is Nymphes too, is complex and varied, oftentimes obscuring
des bois by the Burgundian court chronicler and poet the music’s organization into regular metrical
Jean Molinet, set to music by Josquin Desprez — an units of two or three. Captivating at first hearing,
act of homage that Ockeghem had previously ren- Ockeghem’s music rewards the closest possible
dered Binchois with Mort, tu as navré de ton dart. study and repeated listening.
Ockeghem left us about two dozen French
songs, just over a dozen Masses, and four motets,
Ockeghem – or Okeghem?
Our composer’s given name was Jehan or Jean; Italian, German, and other languages, and it may
Johannes in Latin or other non-French contexts. be found spelled in a bewildering variety of ways in
The surname suggests that his family originated contemporary manuscripts: Okeghem, Ockeghem,
in the town of Okegem on the Dendre in East Okegheem, Ockegheem, Okeghen, Okeghan,
Flanders, about 35 miles to the north of Mons. But Okenghem, Ockenheim, Okekam, Obekhan,
Hainaut was culturally and linguistically French, Obergan, Hockeghen, Hoquegan, Hocquergan,
and Jehan most likely grew up speaking French as Hoiquergan, Holreghan, Okegus…. A 19th-century
his first tongue. His Flemish family name was a historian of Tours, Eugène Giraudet, reproduced
source of endless confusion to speakers of French, a presumed autograph signature in his book Les
11artistes tourangeaux but failed to indicate the source, 8th and 9th, 1480, which Okeghem signed in his
which remains unknown. capacity as canon and treasurer of the collegiate
chapel of Saint-Martin of Tours, in the absence
and in the name of his colleague Geoffroy Chyron,
the college’s chambrier or chamberlain, responsible
for its finances.
Eugène Giraudet, Les artistes tourangeaux (Tours, 1885),
p. 312
Modern scholarship has generally accepted
the authenticity of the signature, but disagreed
about exactly what it said. One might well read the
signature in Giraudet’s facsimile as “J Oekeghem,”
but some scholars have argued that what appears
Paris, Bibliothèque nationale, MS fr. 2904, f. 28
to be an e is in fact an unusually formed c. This
line of reasoning has led to the general acceptance
of “Ockeghem,” despite the fact that the spelling
“Okeghem” is the one by far most frequently found
in contemporary documents from the French
court (where the composer worked) and the Papal
chancelery (where numerous documents survive
that deal with benefices assigned to him), as well as
in song sources from central France. On the other Paris, Bibliothèque nationale, MS fr. 2904, f. 29
hand, the spelling with c is lent some support by
the Chigi Codex. Copied in the Low Countries According to Fiala’s interpretation, the first
not many years after the composer’s death, the component of the signature is a capital O crossed by
manuscript is the single most important source a capital J; the O itself is formed from two strokes,
of his Masses and the unique copy of four of the righthand one of which is also the stem of a
them. Here ten out of thirteen ascriptions above lower-case d. (The loop to the left is an ornament
individual works spell the name “Ockeghem”; one to the stroke which underlines the signature itself,
reads “Ockegem” But two read “Okeghem” and and has no alphabetical meaning.) The combined
the index, added later by a Spanish scribe, gives J-d-O is followed by the letter e, then “keghem”:
“Okeghem” fifteen times. thus, “J de Okeghem.” Voilà!
There the matter rested until very recently, Okeghem@600, anyone?
when David Fiala, a scholar at the Centre d’études
supérieures de la Renaissance at the University of
To see the signatures in their original context and read
Tours, located two documents in the Department David Fiala’s article on the subject:
of Manuscripts at the Bibliothèque nationale de www.blueheron.org/learn-more/ockeghem/
France. They are a pair of receipts, dated July ockeghem-or-okeghem/
12The music of Johannes Ockeghem
Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Masses,
three partial Mass cycles, an independent Credo, and an incomplete Requiem.
SONGS
Aultre Venus Ma bouche rit ¿Qu’es mi vida preguntays?
Baisiés moi Ma maistresse (by Johannes Cornago, with
D’un autre amer Mort tu as navré two replacement contraten-
Fors seullement contre ce Alius discantus super ors by Ockeghem)
Fors seullement l’actente O rosa bella S’elle m’amera /
Il ne m’en chault Permanent vierge Petite camusette
Je n’ay dueil (two versions) Prenez sur moi Se vostre cuer
La despourveue Presque transi Tant fuz gentement
L’autre d’antan Quant de vous Ung aultre l’a
Les desleaux
MOTETS MASSES & MASS MOVEMENTS
Alma redemptoris mater Missa Au travail suis Kyrie, Gloria & Credo Fors
Ave Maria Missa Caput seullement
Intemerata dei mater Missa Cuiusvis toni Kyrie & Gloria Ma maistresse
Salve regina Missa De plus en plus Kyrie, Gloria & Credo sine
Missa Ecce ancilla nomine a 5
Missa L’homme armé Credo sine nomine
Missa Mi mi
Missa Prolacionum Requiem (incomplete)
Missa quinti toni a 3
Ockeghem@600
Ockeghem@600 is a multi-year project to perform of Ockeghem’s birth in circa 1420 (or perhaps a
the complete works of Johannes Ockeghem, one year or two later).
of the very greatest composers of the Western Besides concerts, the undertaking includes a
tradition, in thirteen programs over the course of significant component of research into the many
seven seasons. Inaugurated in the spring of 2015, questions of fifteenth-century performance practice
and somewhat delayed by the Covid-19 pandemic, which remain unsolved puzzles — questions as basic
Ockeghem@600 will wind up in 2023, still more or as pitch level, voice types, and scoring. By the end
less in time to commemorate the 600th anniversary we hope and expect to have a better understanding
13of such issues. We will also have created a new entire fifteenth-century repertoire. Succeeding our
complete edition of the music of Ockeghem — all series of recordings of music from the Peterhouse
of his songs, motets, and masses — scrupulously partbooks (now available in a 5-CD boxed set
based on the original sources and rigorously tested entitled), a new series of five CDs is in the works,
in practice. including a 2-CD set of all of Ockeghem’s songs
Along the way we will also explore music of and a disc of motets by Ockeghem and Regis.
Ockeghem’s predecessors (Du Fay, Binchois, et al.), Joining Blue Heron as adviser for Ockeghem@600
contemporaries (Regis, Busnoys, et al.), and followers is Professor Sean Gallagher of the New England
( Josquin, Obrecht, Agricola, Isaac, et al.), develop- Conservatory, one of the world’s leading experts on
ing and sharing with our audiences a sense of the the music of Ockeghem and his contemporaries.
CONCERT PROGRAMS
predecessors & contemporaries
1 Ockeghem & Binchois: Missa De plus en plus
2 The Five: Ockeghem, Regis, Busnoys, Faugues & Caron
early masses
3 L’homme armé
4 Ecce ancilla domini
5 Caput
masses based on songs
6 Ma maistresse & Au travail suis
7 Fors seullement
speculative music
8 Cuiusvis toni
9 Prolacionum
freely composed masses
10 Missa quinti toni
11 Missa sine nomine
last things & legacies
12 Requiem
13 Missa Mi mi
14Ockeghem’s life & times
Ockeghem Music & other arts History
1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of
b. c. 1397, Bersele, near Brussels Burgundy; succeeded by John the
• Gilles de Bins, dit Binchois Fearless
b. c. 1400, ?Mons • 1409 Pope Alexander VI elected:
• Rogier van der Weyden there are now three popes
b. c. 1400, Tournai
• c. 1410 Jean, duke of Berry,
commissions Très riches heures,
illustrated by Limbourg brothers
c. 1412-16
1410 • Johannes Ciconia d. 1412 • 1414-18 Council of Constance
• October 25, 1415
Battle of Agincourt
• 1419 d. John the Fearless,
duke of Burgundy; succeeded by
Philip the Good
1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. • 1422 Charles VII becomes
in Saint Ghislain, near Mons, Waudru, Mons, 1419-23 King of France
County of Hainaut, diocese of • Johannes Regis b. c. 1425
Cambrai
• Jean Fouquet b. 1420 (d. 1481)
1430 • Binchois at Burgundian court • 1431 Joan of Arc burned at the
by at least January 1431 stake in Rouen by the English;
• Antoine Busnoys b. c. 1430-35 Henry VI of England crowned
king of France in Notre-Dame
• Christine de Pizan d. c. 1430 de Paris
• Alain Chartier d. 1430 • 1435 Treaty of Arras
• François Villon b. c. 1430 between France and Burgundy
• Jean Molinet b. c. 1435 • 1436 armies of Charles VII
• 1436 Santa Maria del Fiore reclaim Paris
(Florence) completed with
dome engineered by Filippo
Brunelleschi; Du Fay composes
Nuper rosarum flores for
consecration
1440 • 1443-44 earliest documentation: • Jan van Eyck • 1449 French reconquer
vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy
Lady, Antwerp • 1440s earliest cyclic Masses,
• 1446-8 first of seven singers in composed in England, reach the
the chapel of Charles I, duke of continent via Flanders: Missa
Bourbon Caput, Missa Veterem hominem,
etc.
• 1444 Cosimo de’ Medici founds
Laurentian Library in Florence
• 1448 Pope Nicholas V founds
Vatican Library
15Ockeghem Music & other arts History
1450 • c. 1450 first extant compositions: • February 1453 Binchois retires • 1453 end of Hundred Years War
Ma maistresse, Missa Caput from Burgundian court and moves between France and England
• by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the
chapel of Charles VII; lives in • Heinrich Isaac b. c. 1450 Ottoman Turks
Tours until his death • Alexander Agricola b. c. 1450,
• 1452 encounters Guillaume Du Fay Ghent
at meeting between French royal • John Dunstaple d. 1453
court and ducal court of Savoy
• Josquin Desprez
• by 1454 appointed first chaplain b. c. 1450–55, ?near Saint
of French royal chapel Quentin
• January 1, 1454 presents the king • Jacob Obrecht
with “a book of song”; receives b. c. 1457-8, Ghent
a New Year’s gift of four ells of
cloth in return • Leonardo da Vinci
b.1452 (died 1519)
• 1455 meets Du Fay again
• 1455 Johannes Gutenberg
• January 1, 1459 gives the king “a completes printing of the Bible
very richly illuminated song” and in Mainz
receives a New Year’s gift in return
• 1459 named treasurer of the
collegiate church of St. Martin
in Tours
1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII;
dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI
• 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good,
• June 1462 travels to Cambrai d. June 18, 1464, in Brussels duke of Burgundy; succeeded by
• Charles d’Orléans Charles the Bold
• February-March 1464 travels
to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the
Fay; ordained as a priest on this • Donatello d. 1466 Bold and Margaret of York
occasion? • 1465-7 Busnoys composes In
• c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem
in Tours
• 1467/8 Missa L’homme armé
copied in Bruges
1470 • 1470 travels to Spain on one or • Du Fay • 1477 d. Charles the Bold,
two diplomatic missions; writes d. November 27, 1474, duke of Burgundy; Burgundy
substitute contras for Cornago’s in Cambrai absorbed into the French crown
Qu’es mi vida preguntays • 1478 William Caxton
• lament for Du Fay (lost) publishes first printed copy
• 1475/6 Missa Mi mi of the Canterbury Tales
copied in Bruges (written late 14th century)
• 1476/7 Missa cuiusvis toni
copied in Bruges
1480 • All of Ockeghem’s surviving • 1483 d. Louis XI;
music composed by c. 1480? succeeded by Charles VIII
• August 1484 travels to Damme
and Bruges; banquet in his honor
at St. Donatian, Bruges
• 1488 travels to Paris
1490 • d. February 6, 1497, • Busnoys d. 1492
presumably in Tours • Regis d. c. 1496 ?Soignies
16Blue Heron
BLUE HERON HAS BEEN ACCLAIMED by The Boston Globe as “one
of the Boston music community’s indispensables” and hailed by Alex Ross
in The New Yorker for its “expressive intensity.” The ensemble ranges over a
wide repertoire from plainchant to new music, with particular specialties
in 15th-century Franco-Flemish polyphony and early 16th-century English
sacred music, and is committed to vivid live performance informed by the
study of original source materials and historical performance practices.
Founded in 1999, Blue Heron presents a concert Horse Consort, Les Délices, Parthenia, Piffaro,
series in Cambridge, Massachusetts, and has and Ensemble Plus Ultra.
appeared at the Boston Early Music Festival; Blue Heron’s first CD, featuring music by
in New York City at Music Before 1800, The Guillaume Du Fay, was released in 2007. Between
Cloisters (Metropolitan Museum of Art), and 2010 and 2017 the ensemble issued a 5-CD series
the 92nd Street Y; at the Library of Congress, the of Music from the Peterhouse Partbooks, including
National Gallery of Art, and Dumbarton Oaks in many world premiere recordings of works copied
Washington, D.C.; at the Berkeley Early Music c. 1540 for Canterbury Cathedral and restored
Festival; at Yale University; in Chicago, Cleveland, by Nick Sandon. The fifth CD was awarded the
Kansas City, Milwaukee, Montreal, Pittsburgh, 2018 Gramophone Classical Music Award for
Philadelphia, Providence, St. Louis, San Luis Early Music and the five discs are now available
Obispo, Seattle, and Vancouver; and in Cambridge as a set entitled The Lost Music of Canterbury.
and London, England. Blue Heron has been in In 2015 Professor Jessie Ann Owens and Blue
residence at the Center for Early Music Studies Heron won the Noah Greenberg Award from the
at Boston University and at Boston College, and American Musicological Society to support the
has enjoyed collaborations with A Far Cry, Dark world premiere recording of Cipriano de Rore’s
18photo: liz linder
I madrigali a cinque voci, released in 2019. In 2015 of Johannes Ockeghem: Complete Songs, Volume I,
Blue Heron also inaugurated Ockeghem@600, a which was named to the Bestenliste of the Preis
multi-season project to perform the complete der deutschen Schallplattenkritik. Blue Heron’s
works of Johannes Ockeghem (c. 1420-1497) which, recordings also include a CD of plainchant and
although delayed by the pandemic, will wind up polyphony that accompanies Thomas Forrest
in 2023, still more or less in time to commemorate Kelly’s book Capturing Music: The Story of Notation,
the composer’s circa-600th birthday. A parallel the live recording Christmas in Medieval England,
project to record all of Ockeghem’s songs and and a compilation of medieval songs entitled A
motets bore its first fruits in 2019 with the release 14th-Century Salmagundi.
19Praised for her “light, fleet Professor Sean Gallagher of
soprano” voice and “soaring, the New England
diamantine high notes” Conservatory, our preconcert
(Opera News), Grammy- and speaker and musicological
Juno-nominated soprano advisor for Ockeghem@600,
Megan Chartrand feels is a music historian and
equally at home singing early pianist whose research
music, art song, chamber focuses on music and culture
music and concert repertoire. in Italy, France, and the Low
Notable solo performances Countries during the “long
include Dalila in Handel’s fifteenth century” (ca.
Samson with the American 1380–1520). He has pub-
Classical Orchestra and Mozart’s Requiem with True lished articles on an array of subjects and is the author or
Concord, both in Alice Tully Hall at Lincoln Center. She editor of five books. Active as a pianist, he regularly
has also sung Mozart’s Requiem with the Santa Fe Desert presents lecture/recitals on a variety of topics that span
Chorale alongside Susan Graham; Bach’s St. Matthew much of the history of Western music. He is the recipient
and St. John Passions at the Staunton Music Festival; of a Ryskamp Fellowship from the American Council of
Handel’s Crudel tiranno Amor with The Alberta Baroque Learned Societies and the Phi Beta Kappa Prize at
Ensemble; Kurt Weil’s Seven Deadly Sins at the Kuhmo Harvard for excellence in teaching, and is the first music
Chamber Music Festival in Finland, and Mozart’s historian to be inducted into Johns Hopkins University’s
Exsultate, jubilate with Tucson’s St. Andrew’s Bach Society of Scholars. He has worked closely with leading
Society. Megan sings frequently with many of the most vocal ensembles, including Blue Heron and The Clerks
prestigious ensembles in North America including Le (dir. Edward Wickham), for whose recording Johannes
Studio de Musique Ancienne de Montréal, The Church Regis: Opera omnia he served as advisor. He is currently
of St. Andrew & St. Paul (Montréal), La Chapelle de editing the chansons of Firminus Caron, to be published
Québec, The Choir of Trinity Wall Street, The Clarion in the series Corpus Mensurabilis Musicae. He serves on
Music Society, The American Classical Orchestra, True the editorial boards of the series Ars nova: nuova collana
Concord, The Santa Fe Desert Chorale, Yale Choral (published by Libreria Musicale Italiana) and I Codici di
Artists, Seraphic Fire, Blue Heron, the Handel & Haydn Trento (published by Istituto Italiano per la Storia della
Society, and Ensemble Origo. Megan graduated with a Musica).
Masters of Music specializing in early music, oratorio,
and chamber ensemble performance from the Yale
University Institute of Sacred Music and Yale School of
Music, where she studied with James Taylor. She also
holds a Bachelor of Music from the University of Alberta,
where she studied with Jolaine Kerley.
20Bass-baritone Paul Guttry Praised for her “rich, smooth
has performed throughout mezzo soprano” (St. Louis
the USA and internationally Post), Kim Leeds has
with Sequentia, Chanticleer, appeared as a soloist with
the Boston Camerata, and Bach Akademie Charlotte,
New York’s Ensemble for Ad Astra Musical Festival,
Early Music. A founding Back Bay Chorale, American
member of Blue Heron, he Bach Soloists Academy,
has also appeared in and Handel Society of
around Boston as soloist Dartmouth, Les Délices,
with Emmanuel Music, the Bach Society of St. Louis,
Handel & Haydn Society, Tafelmusik, and the Oregon
the Boston Early Music Festival, the Tanglewood Music Bach Festival. As a choral artist, Ms. Leeds has performed
Center, Cantata Singers, Boston Cecilia, Prism Opera, with the Weimar Bach Academy, the Junges Stuttgart
Boston Revels, Collage, the Boston Modern Orchestra Bach Ensemble, and the Handel & Haydn Society as well
Project, and Intermezzo. Paul can be heard on all of Blue as the Grammy-nominated ensembles True Concord and
Heron’s recordings and on discs of medieval music by Seraphic Fire. In recent years, Ms. Leeds has garnered
Sequentia. multiple accolades including winning the Tafelmusik
Vocal Competition in 2016, being selected as a Virginia
Corey Dalton Hart, tenor, Best Adams Fellow at the 2017 Carmel Bach Festival, and
is an active performer of working with Philippe Herreweghe as a Britten-Pears
opera, oratorio, and song Young Artist in a Bach cantata program in 2019.
repertoire as well as an eager
chamber musician. With a Hailed for his “voice of
passion for American song, seductive beauty” (Miami
he is a regular recitalist along Herald), baritone David
the east coast and has McFerrin has won critical
premiered new works in acclaim in a variety of
both New York City and repertoire. His opera credits
Boston. Corey’s opera credits include Santa Fe Opera,
include works by Mozart, Seattle Opera, Florida
Bizet, Ravel, and Knussen. On the concert stage, he has Grand Opera, the Rossini
been a featured soloist with the American Symphony Festival in Germany, and
Orchestra, the Albany Symphony, the Bard Baroque numerous appearances with
Ensemble, and The Orchestra Now. As a chamber Boston Lyric Opera and
musician, Corey performs with the Boston Baroque other local companies. As concert soloist he has sung with
Ensemble, Renaissance Men, The Ashmont Bach Project, the Cleveland Orchestra, Israel Philharmonic, Handel
the VOCES8 Scholars Program, and the renowned choir and Haydn Society, Apollo’s Fire, and Boston Pops. He
at the Church of the Advent. Corey holds degrees from was runner-up in the Oratorio Society of New York’s
Furman University and the Bard College Conservatory of 2016 Lyndon Woodside Solo Competition, the premier
Music and is currently working on his Doctor of Musical US contest for this repertoire. He has performed
Arts degree in vocal performance and pedagogy from the chamber music and in recital at the Caramoor, Ravinia,
New England Conservatory of Music. and Marlboro Festivals. David has performed regularly
with Blue Heron since 2011.
21Reviewers have praised Scott Metcalfe is widely
Jason McStoots as having recognized as one of North
an “alluring tenor voice” America’s leading specialists
(ArtsFuse) and as “the in music from the fifteenth
consummate artist, wielding through seventeenth
not just a sweet tone but also centuries and beyond.
incredible technique and Musical and artistic director
impeccable pronunciation” of Blue Heron since its
(Cleveland Plain Dealer). In founding in 1999, he was
2015 he won a Grammy music director of New York
award in Opera with the City’s Green Mountain
Boston Early Music Festival Project from 2010-19 and has
(BEMF) for their recording of works by Charpentier. His been guest director of TENET (New York), the Handel
recent stage appearances in period-style baroque opera & Haydn Society (Boston), Emmanuel Music (Boston),
with BEMF include Le Jeu in Les plaisirs de Versailles by the Toronto Consort, The Tudor Choir and Seattle
Charpentier, Apollo in Monteverdi’s Orfeo, and Eumete Baroque, Pacific Baroque Orchestra (Vancouver, BC),
and Giove in Monteverdi’s Il ritorno d’Ulisse in patria. Quire Cleveland, and the Dryden Ensemble (Princeton,
Other recent solo performances include Pedrillo in NJ), in music ranging from Machaut to Bach and Handel.
Mozart’s Abduction from the Seraglio, Bach’s Christmas He also enjoys a career as a baroque violinist, playing with
Oratorio and St. Mark Passion with Emmanuel Music, Les Délices (dir. Debra Nagy), L’Harmonie des Saisons
and Monteverdi’s Vespers of 1610 with the Green (dir. Eric Milnes), and other ensembles. Metcalfe’s
Mountain Project. He has appeared with Boston Lyric scholarly work centers on the performance practice of
Opera, Pacific MusicWorks, Boston Camerata, TENET, medieval and Renaissance vocal music, including two
San Juan Symphony, The Bach Ensemble, Pablo Casals studies in a long-forthcoming book on the Peterhouse
Festival, Early Music Guild of Seattle, Tragicomedia, and partbooks and upcoming articles in the Journal of the
the Tanglewood Music Center. He is a core member of Alamire Foundation. He has edited music by Francisco de
Blue Heron and can be heard on all their recordings. Peñalosa for Antico Edition (UK) and songs from the
With BEMF, he appears on recordings of Lully’s Psyché recently rediscovered Leuven chansonnier for the Alamire
(nominated for a Grammy), Handel’s Acis and Galatea (as Foundation (Belgium); a long-term project is a new
Damon), John Blow’s Venus and Adonis (soloist), and edition of the songs of Gilles Binchois (c. 1400-1460). He
Charpentier’s Actéon (as Orphée). has taught at Boston University and Harvard University,
served as director of the baroque orchestra at Oberlin
Conservatory, and been a visiting member of the faculty
of Music History at the New England Conservatory. He
received a bachelor’s degree from Brown University
(1985), where he majored in biology, and a master’s degree
in historical performance practice from Harvard (2005).
22Tenor Mark Sprinkle’s Praised for his “elegant style”
singing has been described (The Boston Globe), Sumner
as “expressive,” “very reward- Thompson is highly sought
ing,” “outstanding,” “vivid,” after as both baritone and
and “supremely stylish.” He tenor. His appearances on
has collaborated with the the operatic stage have
Boston Early Music Festival, included roles in the Boston
the Boston Camerata, the Early Music Festival’s
Mark Morris Dance Group, productions of Conradi’s
Emmanuel Music, Boston Ariadne (2003) and Lully’s
Baroque, the Handel & Psyché (2007) and several
Haydn Society, and many European tours with
others, performed at festivals in Bergen (Norway), Contemporary Opera Denmark as Orfeo in Monteverdi’s
Vancouver, Edinburgh, and Aldeburgh (UK), and worked L’Orfeo. He has performed across North America as a
as a soloist and ensemble singer under Seiji Ozawa, soloist with the Handel & Haydn Society, Concerto
Christopher Hogwood, William Christie, Roger Palatino, Tafelmusik, Apollo’s Fire, Les Boréades
Norrington, John Nelson, Andrew Parrott, Grant (Montreal), Les Voix Baroques, Pacific Baroque
Llewellyn, and Craig Smith. He has appeared as a soloist Orchestra, the King’s Noyse, TENET, Mercury Baroque,
with Concerto Palatino and has sung the Evangelist in and the symphony orchestras of Charlotte, Memphis, and
Bach Passions with the Handel & Haydn Society, the Phoenix. Highlights of the last several seasons include
Boulder Bach Festival, the Oriana Singers of Vermont, Monteverdi’s Vespers of 1610 and other programs with the
Seraphim Singers, Boston’s Chorus Pro Musica, and the Green Mountain Project (2010-20), a tour of Japan with
Andover Choral Society, among others. Mr. Sprinkle was Joshua Rifkin and Cambridge Concentus in the St.
a member of the Cambridge Bach Ensemble and a fellow Matthew Passion, repeat appearances at the Carmel Bach
of the Britten-Pears School and has recorded for Dorian, Festival, and performing as a soloist in Britten’s War
Koch, Harmonia Mundi, Decca, Arabesque, and Telarc. Requiem with the New England Philharmonic.
23Blue 25 Anniversary TH
Heron Campaign
September 2021 – September 2024
Laura Jeppesen & Daniel Stepner, Honorary Co-Chairs
SINCE ITS INCEPTION IN 1999, Blue Heron has earned recognition
as North America’s leading early music vocal ensemble. Now acclaimed
internationally, having won the 2018 Gramophone Classical Music Award for
Early Music and the 2020 Bestenliste (Quarterly Critics’ Choice) of the prestigious
Preis der deutschen Schallplattenkritik (German Record Critics’ Award), Blue
Heron looks to the future with confidence and excitement.
Buoyed by your generous support of our previous campaign, we are now launch-
ing our 25th Anniversary Campaign. This campaign has a goal of $400,000 and
reaffirms that Blue Heron’s mission and highest priority is live performance.
With your support, we will build on our successes with the following goals:
Making our music more accessibleto a wider and more diverse audience
Sharing the expertise we have acquired by training the next generation
of musicians
Building upon our worldwide reach through our online presence and in
international festivals and other prestigious venues and platforms
Maintaining a regular schedule of CD releases
Fortifying our financial and administrative position for the long termWe gratefully acknowledge the following generous contributors:
Sponsor of Scott Metcalfe $60,000 or greater Pledged at $15,000+ per year for four years
Dorrie Parini & Paul LaFerriere
Recordings Sponsor $ 50,000 – $59,999 Pledged at $12,500+ per year for four years
Sponsor of a New CD: Ockeghem Songs Vol. 2 (fall 2022); Franco-Flemish Christmas (2023); Complete
Motets of Ockeghem & Regis (2024); Ars Subtilior with Les Délices (2025)
Philip H. Davis, In honor of Scott Metcalfe
Digital Distribution Sponsor $30,000 – $49,999 Pledged at $7,500+ per year for four years
Sponsor of Concert Filming (all technical services for producing virtual concerts)
Anonymous Diane Droste Joan Margot Smith
Young Artist Sponsor $15,000 – $29,999 Pledged at $3,750+ per year for four years
Sponsor of Young Artist Internship
Peter Belknap & Andrew Sigel Michal Truelsen &
Jennifer Snodgrass Harry J. Silverman Jody Wormhoudt
John A. Carey Lois Wasoff
New Music Sponsor $7,500 – $14,999 Pledged at $1,875+ per year for four years
Sponsor of Commissioned New Works
Martha J. Fleischman John Lemly & Catharine Melhorn, Deborah Malamud
in honor of David McFerrin Ann Besser Scott
Home Season Sponsor $5,000 – $7,499 Pledged at $1,250+ per year for four years
Anonymous Laurel Broughton Harold I. & Frances G. Pratt
Peggy & Jim Bradley Damon Dimmick Erin E.M. Thomas
Programming Sponsor U p to $5,000 TBD per year for four years
Anonymous Anne Freeh Engel & Jerome C. & Janet F. Regier
Peggy Badenhausen & Samuel Engel Richard Schmeidler
Thomas Forrest Kelly Carolyn Franklin, in honor of Jennifer Farley Smith &
Kenneth Bé Kathleen Brittan, a wonderful Sam Rubin, in memory of
Elaine V. Beilin & friend Beatrix, Eva, James, Joseph
Robert H Brown Jr. John E. Krzywicki & Mary Briggs Judith Thomson
David & Kathleen Brittan Susan Miron Heidi Waleson &
Diane & John Paul Britton Jaylyn Olivo & Dale Flecker, Andrew M. Manshel
James and Beverly Davies in honor of Paul Guttry Laura Zoll
All sponsorship levels are commensurate with our 2020 Strategic Plan goals. Copies of the Strategic Plan are
available upon request. For more information on participating in the Campaign, please contact Kathleen Brittan
at kathleen@blueheron.org or 978-395-1145.Blue
artistic director
Heron board of directors
Scott Metcalfe officers musician representative
executive director Peter Belknap, President Sonja DuToit Tengblad
Kathleen Brittan Paul LaFerriere, Treasurer young artist
Lois Wasoff, Clerk representative
adminstrative & directors Matthew Williamson
concert manager Flossie Chua
Sara DeLong Philip H. Davis
technical assistant Damon Dimmick
for live broadcasts Dorrie Parini
Kate Salfelder Harry J. Silverman
Laura Zoll
volunteers
Darryl & Gail Abbey Matthew Gin Beth Parkhurst Susan Singer
Daryl Bichel Pepper Greene Susie Phoenix Jennifer Farley Smith
Pam Borys Alexandra Hawley Christine Poff Robin Smith
Jill Brand Anne Kazlauskas Karen Prussing Brooks Sullivan
Arthur Comegno Mary Catherine Kingsley Brian Riggs Charlotte Swartz
Sue Delaney Diana Larsen Samuel Rubin Erin E. M. Thomas
Emma De Lisle Ian McGullam Cheryl Ryder David Traugot
Mary Jane Doherty Paul McLean Dan Schenk Sonia Wallenberg
Holly Druckman Thomas Nehrkorn Andrew Schulman
David Fillingham John Nesby Mary-Margaret Segraves
Shirley Fountain Anna Nowogrodzki Kristin Sexton
26Acknowledgments
BLUE HERON’S EXISTENCE is made possible Linder is our photographer. Our debt to these wonderful
through the devotion, hard work, and financial support people who have shaped our look and sound is impossible
of a large community of musicians, staff, board members, to overstate.
volunteers, donors, and concertgoers. Never has this been We are very grateful to the gracious hosts who offer their
more true than in the last year and a half. Many thanks to hospitality to musicians from out of town. This week
all those who join us in creating, nurturing, and sustain- we extend our gratitude to Laura Jeppesen and Daniel
ing an organization dedicated to making the music of the Stepner, and to Ruth McKay and Don Campbell.
past come alive in the 21st century.
Many thanks to our board and to all our dedicated volun-
We are extraordinarily fortunate to work with a slate of teers for their help in person, at this concert, and always.
talented, skilled, and devoted designers, engineers, videog-
raphers, and photographers. Our concerts are recorded We are honored and grateful to have so many generous
by Philip Davis (Cape Ann Recordings) or Joel Gordon. donors. Thank you!
Joel is the engineer for our CDs, and our producer is Eric
Milnes. Kathy Wittman (Ball Square Films) is our vid- The preparation of a new performing edition of the Missa
eographer, working with Joel to produce our concerts for sine nomine a 5 was greatly aided by Brett Kostrzewski’s
remote broadcast. Our programs, printed publicity mate- initial transcription from the manuscript source; Brett
rials, and CDs are designed by John Kramer. FlashPrint has made a similar invaluable contribution to most of the
in Harvard Square prints our programs. Erik Bertrand programs in Ockeghem@600.
built our website and keeps it functioning properly. Liz
27Donations Received between October 6, 2020 & January 25, 2022
Archangel ($10,000 +)
Anonymous (2) Philip H. Davis Harry J. Silverman
Cricket Foundation Dorrie Parini & Paul LaFerriere Joan Margot Smith
Angel ($5,000 – $9,999)
Laurel Broughton Harold I. & Frances G. Pratt Lois Wasoff
John A. Carey Stephen Moody & Helen Kraus
Elizabeth Metcalfe Michal Truelsen & Jody Wormhoudt
Benefactor ($2,500 – $4,999)
Anonymous (2) Diane L. Droste Catherine & J. Daniel Powell
Peggy Badenhausen & Martha J. Fleischman Andrew Sigel
Thomas Forrest Kelly Paul Guttry Mark Sprinkle
Peter Belknap & Jennifer Snodgrass John Krzywicki & Mary Briggs Erin E. M. Thomas
Peggy & Jim Bradley Richard O’Connor &
Damon & Julia Dimmick Julianne Lindsay
Guarantor ($1,250 – $2,499)
Anonymous (2) John Lemly & Catharine Melhorn, in Stuart C. Shaffner, in memory of
Katie & Paul Buttenwieser honor of David McFerrin Ann Schaffner
Helen Donovan & Holly Nixholm Deborah Malamud Robert B. Strassler
Aaron Ellison & Flossie Chua Keith Ohmart & Helen Chen Judith Ogden Thomson
Mary J. Hepburn Dr. Julie I. Rohwein &
Mary Eliot Jackson, in honor of Paul Jonathan A. Aibel
Guttry & Pamela Dellal Ann Besser Scott
Patron ($600 – $1249)
Anonymous (3) Robert J. Henry Prof. Jessie Ann Owens
Thom & Rebecca Barrett Jean & Alex Humez Julia Poirier
Kenneth Bé Elena Kaczorowski and Ira Shavel Marilyn M. Sanguinet, in honor of
John Paul Britton & Diane Britton Barry Kernfeld & Sally McMurry Kathleen Brittan
James Burr Ronald V. Lacro & Jon P. Schum Bettina Siewert & Douglas Teich
Martha S. Dassarma Mastwood Charitable Foundation Richard Silverman
John F. Dooley Anne H. Matthews & Ford Fay Jon Sutton & Fran Lewitter
Alan Durfee Amy & Brian McCreath Richard Tarrant
Mark Davis, in memory of Yolanda Michael P. McDonald Heidi Waleson &
Davis, a wonderful mother & Scott Metcalfe Andrew M. Manshel
musician Eiji Miki & Jane Hever Kathy Wittman
Marie-Pierre & Michael Ellmann Jaylyn Olivo & Dale Flecker, in honor
Joel Gordon of Paul Guttry
Hope Hare Richard & Julia Osborne
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