E a r l y M u s i c C o l o r a d oE a r l y M u s i c C o l o r a d oQuarterly

Fall 2007 Volume XV, Number 3

EMCRemembers

In this issue, we mark the passing of Thomas andMarcia Bailey, founding members of Early MusicColorado, whose contributions were invaluable. Tomand Marcia are survived by their children, CherylBailey, Clive Bailey, Alicia Bailey, Angela BaileyLaubacher (Kevin and Claire), and Jocelyn BaileyEsch (Brian and Jakob).

Online Guestbooks can be viewed atwww.Legacy.com.

Thomas E. Bailey 15 Sept 1929 ~ 27 Dec 2006

Outwardly reticent and soft-spoken, Tom's innovativeand exacting mind was anything but quiet. Curiosity couldbe called Tom's religion, and he taught his children tovalue passion and individuality over money and conformi-ty. Exemplifying this approach, Tom left a successfulcareer in mechanical engineering with Martin Marietta atthe age of 55 to delve into harpsichord-building as hisvocation. Tom would build over 50 harpsichords, everrefining harpsichord design and patenting an improvedharpsichord jack.

Tom's love for the mountains inspired many Baileyfamily backpacking, camping, and picnic outings. He oftenshared his enthusiasm with others, including extended fam-ily members, his Boy and Eagle Scout troops, friends ofthe family, and visiting international students. He insistedthat the Bailey household conserve natural resources, longbefore doing so was either popular or necessary.

Loving the outdoors and needing a place to think, Tombecame a talented long distance runner and held manymarathon records, particularly notable for his age group.He founded The Rocky Mountain Sheepherders RunningClub. Inventive as always, Tom designed a handicap raceformat which allowed all participants to cross the finishline at roughly the same time.

An early interest in photography and documentationled Tom to produce many beautiful, meaningful familydocuments while he provided photography instruction forhis children. He and his wife Marcia traveled widely inpursuit of their passions, and to participate in early key-board music association conferences, live musical concerts,and long-distance marathon events.

Having never met his own father, who died just priorto his birth, Tom's most compelling desire was to be agood and loving father. Playful and silly when his childrenwere young, Tom later expressed a deep and abiding lovefor his family, indirectly but reliably. Even as he bravelypassed through Alzheimer's Disease, Tom's heart continuedto touch all with love, outshining even that once brilliantmind. Tom's life expressed the possibility of living true toone's principles and values, overcoming pain throughcuriosity, and loving what one loves, quietly but fervently.

Marcia M. Bailey24 Oct 1927 ~ 7 May 2007

Her early talent for the keyboard led Marcia from herchildhood home of Red Oak, Iowa to Lincoln, Nebraska, in1944 to study music at the University of Nebraska (SigmaAlpha Iota Professional Music Fraternity) and to Denver in1945 to earn a Bachelor of Music degree from the LamontSchool of Music at the University of Denver in 1949. Shemet University of Colorado Engineering School studentTom Bailey, who studied piano with her at CU in 1950.They were married in 1951 in Vineland, New Jersey andmoved to Queens, New York. Marcia continued privatepiano studies in Manhattan with Dr. Clarence Adler andDavid Poliakine and hosted her own weekly radio show onWNET-NY.

She was active in keyboard music in the Denver areafrom 1957-2006 as student, teacher and performer. In addi-tion to advanced studies in piano in the Denver area withDr. Max Lanner, Johana Harris, and Larry Graham, shestudied harpsichord privately with Doris Ornstein at theAspen School of Music, with Sandra Soderlund at CU,Brigitte Haudebourg at the Universtiy of Wyoming, and EdParmentier at the University of Michigan. In 1992, she

See BAILEYS P. 2

completed a Master of Music in Keyboard Performancefrom the CU Music School (Pi Kappa Lambda NationalMusic Honor Society).

Marcia taught at Loretto Heights College and gaveprivate lessons to aspiring musicians of all ages, includingher children. She generously shared her accompanimentand improvisation skills with church bell choirs, dancers,and wedding guests, among many others. She oftenappeared with the Denver Symphony, Community ArtsSymphony, Arapahoe Philharmonic, Jefferson Symphony,DSO Chamber Orchestra, Evergreen Chamber Orchestra,and with the Well-Tempered Trio for Young AudiencesColorado. She was harpsichordist for early music ensem-bles Baroque Notion and Baroque Folke and was active inthe music programs of First Plymouth CongregationalChurch and Temple Sinai. She was a member of AeolianMusic Club, the Florence Taussig Piano Club, theWednesday Music Party, and the Steinway Club of Denver(founded 1916).

Marcia and Tom Bailey pursued a strong mutual inter-est in early music by attending early music festivals inBoston, Berkeley, and Bruges, and participated in two his-torical harpsichord tours of Europe. They were active inthe Midwest Historical Keyboard Society, the SoutheastHistorical Keyboard Society, Early Music Colorado andthe Rocky Mountain Harpsichord Network. They frequent-ly presented lecture/recitals demonstrating special qualitiesof the harpsichord and the music written for it.

While acting as devoted companion and partner to herhusband and joining with him to raise their five children,

Marcia consistently sustained and encouraged her family'slifelong studies in music and dance, the arts and sciences.She enthusiastically participated in family activities, suchas attending concert and theater events, art openings, indieand international film houses, museums, libraries, accom-panying talent shows, hosting vivid theme birthday parties,opening her home to visiting international students, back-packing and showshoeing in the Colorado mountains, andtraveling to destinations near and far.

Her love of natural beauty, world cultures, and the artsprompted travels in Mexico, Europe, and North America.Supported by the strong love and devotion of her husband,Tom, she was a twenty-year cancer survivor. In her finalyears, Marcia became the rock that steadied her belovedhusband as he bravely soldiered through terminalAlzheimer's disease.

Marcia Bailey touched many lives. She was open-minded, energetic, charismatic, funny, very intelligent andemanated an immense joie de vivre. Her powerful conver-sational skills, empathy, and interest in people made her abright light at any gathering. She participated fully in allparts of her life, and gave freely of her time, energy, love,and passion. She had many friends and made new oneswherever she went. Memories of her music will live on forall who heard her play. More than anything else, MarciaBailey loved her husband and her family and was infinitelyproud of them all. She blessed each of them with the lega-cy of the love of music, art, discovery, and especially theloving, adventurous and creative spirit that lives on in eachof them.

The QuarterlyVolume XV, Number 3, Fall 2007

Co-editors: Deborah Kauffman & Dan Seger

EMC Board of DirectorsPresident Dan SegerVice President Deborah KauffmanSecretary Melody EnglishTreasurer Tamara MeredithMembers as large Rebecca Beshore, Mark Davenport

Leleand Hoover, Debra Throgmorton

Advisory BoardJann Benson, Joan Conlon, Leland Hoover,

Marie van der Heijde-Zomerdijk, Anne Marie Morgan

Early Music Colorado is a 501(c)(3) tax-exempt organization that seeksto foster community understanding and enjoyment of the rich variety ofmusic composed and performed prior to the 19th Century.Please visit the website at www.EarlyMusicColorado.org or contact the

president at President@EarlyMusicColorado.org.

BAILEYS . . .

My performing group, the Boulder Renaissance Consort,recently performed for the residents of Frasier MeadowsRetirement Community’s Health Care Center, a nursing-carelevel facility in Boulder where my mother is now a long termresident. I was, of course, gratified for the performance, becausemy mother is no longer able to come to concerts in our usualspaces.

But my personal satisfaction gave way quickly to a broaderfeeling of shared community spirit when I pictured the others inmy mother’s new community whose age or disability preventstheir attendance at public venues. For some, their long, full,and—in some cases—storied lives had taken them out into theworld as players for many years. Now the world must come tothem.

What better way to bring the world to them than throughmusic—early music at that? The instruments are acoustic, theensembles are often sized for intimacy, and the music comesfrom distant times and places. The lengths of individual piecesare generally ideal and program variety can easily run from the

President’s TropeReaching the Elderly;

Finding Rewards

See Reaching. . . p.72

Fall FestivalReturns to BPL

Early Music Colorado is pleased to present our 15th

Annual Fall Festival of Early Music, which returns to theBoulder Public Library Auditorium, 1000 Canyon Blvd, onSaturday and Sunday, September 29th and 30th, from10:00 AM to 6:00 PM on Saturday, and 12:30 PM to 6:00PM on Sunday. We have decided to return to the BoulderPublic Library after reviewing comments from participantsat last year’s festival. Please note that the Festival is beingheld ONE MONTH EARILIER than usual, in order toavoid sharing the library space with other events.

In addition to performances by local early musicgroups, this year’s Festival will feature a special free con-cert by harpsichordist Shin-Ae Chun, on Saturday at 2:45.

Don’t miss William Adams’s demonstration of ancientinstruments at 2:30 on Sunday, and Tamara Meredith’spresentation on historical flutes to finish up the day, at 5:30

Please scour your closets, basements, trunks, for itemsto donate to the Jumble Sale to be held on Saturday.Unfortunately we no longer accept vinyl records. In addi-tion a silent auction will be held for some extra-specialitems: a soprano krummhorn, tickets for a concert by theBaroque Chamber Orchestra of Colorado, vouchers fortickets to the Central City Opera, and more. Contributionsare tax-deductible. EMC requests 10% on the sale of con-signment CDs, T-Shirts, or other salable items.

Questions, contact Rebecca, 303/422-1659, 303/349-4301, nurseholiday@qwest.net.

Making a Rackett:Renaissance Style

by William AdamsThe recent interesting articles in the Quarterly have

inspired me to contribute this discussion of the construc-tion from scratch of 2 Renaissance racketts in my homeworkshop. One of the attractive things about “pre-industri-al” musical instruments is that they can be made withoutcomplex machinery or metal working, and so are possibleprojects for home builders. Several companies supply kitsof carefully made pre-cut parts; this is especially true ofkeyboard string instruments. Additionally, drawings ofinstruments may be available from museums and else-where; the availability of these drawings sparked the originof this project.

The Renaissance rackett is a most ingenious instru-ment, in which the cylindrical bore runs up and down 9times in a block of wood, with each section of the borealternately connected at the top and bottom of the cylindri-cal body. This arrangement creates a very deep pitch for a

Example 1

Example 2

Example 3

very compact instrument. Therackett is blown with a largebassoon-like reed that is mount-ed in a protective pirouette. Theraw materials consist of a blockof maple, some brass tube(from Ace Hardware) for thereed staple, and some contra-bassoon tube reed cane (see Ex.1). Workshop drawings fromthe Toronto consort series pub-lished in the 1970s provided thebasic dimensions and instruc-tions for construction of aquint-bass rackett. The draw-ings were closely based on a surviving rackett in Leipzig,with some scaling adjustments to bring the Renaissancewind pitch (around A=465) down to A=440. The detaileddrawings were prepared by Herb Myers of Palo Alto,California, an authority on the acoustics and design ofRenaissance wind instruments.

The body of the instrument was turned on a wood-turning lathe, which is recognizably the same device as itwas 500 years ago, but now with electric power. In turningthe body and the pirouette, I allowed ornamental details to

deviate somewhat fromthe drawings to add anelement of uniqueness andcreativity to the appear-ance (see Ex. 2). Mostmodern makers of rackettsfailed to copy the designof the surviving instru-ments with any precision,

and also fail to copy the decorative details. A full digres-sion into the failings of modern makers of Renaissancewind instruments is a subject for another day. The devia-tions from design principles arise from some misplacednotion that the old designs can be “improved” without hav-ing taken the time to grasp the logic in them; thus the sim-plified (uglified?) turnery of racketts by Moeck et al canperhaps be explained by their desire to avoid the time andexpense of getting the machin-ing just right.

Once the body has beenturned, the 9 bores are markedout and drilled (see Ex. 3). Thedrilling is done with the helpof the lathe to keep the boreson line. Recesses are routedinto the top and bottom of thebody to allow fitting of decorative wood end caps to hidethe bores. (Many modern racketts dispense with this nicetyand are fitted with brass end caps). The original surviving

3

racketts in Vienna and Leipzig are made of boxwood andivory. To allow the softer maple wood to stand up to themoisture of playing, the eintire instrument was immersedin polyurethane varnish for 3 days to preserve and seal thewood. There is an amusing much-quoted story by Hawkins

from the 18th century about the destructive effect of waterbuild-up in racketts.

The pirouette was turned to shape and drilled out; longdecorative slots were then cutin the side, a tedious operation(see Ex. 4). This feature of theinstrument can be seen in thedrawings in Praetorius’Syntagma Musicum II. In play-ing the instrument after itscompletion, I discovered that,in addition to protecting thereed, the pirouette actuallyhelps to focus and augment thesound, because it allows a veryrelaxed style of embouchure.

To complete the instru-ment, the 9 bores are connectedby cross-cut channels acrossthe septums; cork plugs arefashioned to seal the resulting

u-bends. The reed was made according to the instructionsand the holes were drilled likewise. This took a steadyhand and careful aim with a power drill, as some of thehole angles are extreme and takes a good sense of the boreat which you are aiming. The full ingenuity of the oldmakers can be seen in how they laid out the finger holesand located them in the bores; some of the finger holesbranch into 3 or 4 seperate drillings under the surface ofthe instrument, in order to get the intonation right and toadjust the acoustic length of the instrument between theholes governed by the 2 hands.

By some strange quirk, the drawings intended to pro-duce a quint-bass rackett ended up coming out rathersharp; the instrument was much nearer a quart-bass(sounding a 4th lower than normal bass instruments), thana quint-bass. Consultation with the designer by e-mail didnot resolve this mystery. In order to make a usable instru-ment, I cut the cross channels between the bores somewhatdeeper, to raise the pitch to make the instrument a genuinequart-bass. Fortunately, this shortening of the instrumentdid not affect the relationship between the finger-holesenough to ruin the intonation. The instrument plays downto GG below the bass clef. The “7 finger” note is CC, thebottom note on the cello. While the rackett does not havethe flexibility, range, or chromatic notes of the equivalentlypitched trombone or stringed instrument, it is fun to have adeep bass instrument you can carry around in your pocket.

With this instrument deemed a great success and hav-

Example 4

ing been heard to general approbation, my next project wasto try and scale it up to create a great-bass instrument, anoctave deeper than a normal bass dulcian or shawm.Praetorius mentions in Syntagma Musicum II that he hadcommissioned a great-bass rackett, which played down tolow CCC. Invoking the ghost of Praetorius, I took theToronto measurements and scaled them up by 3/2 to dropthe pitch by around a 5th. Educated guesswork was appliedto choosing scaled-up bore and reed sizes.

The fingerhole pattern could not be scaled up exactly,because it would have made for an impossible stretch forany normal hands; some reorganization was required.Again, some inspired guesswork was needed for this, aswell as a certain amount of tinkering and trial and error. Icopied the central feature of the Leipzig rackett —thearrangement of multiple holes between the bores controlledby each of the two hands, in order to get the “spacing”between the 2 hands correct. This scaled up quite well. Theresulting instrument could be made somewhat smaller byan inch or so, and a little thinner. My initial guess of thescaling came out rather flat, and I needed to make ratherdeep end caps and bore cross-cuts to get it up to pitch. Theresult, however, does sound rather well.

What use is a rackett? On this Praetorius is our bestguide. He recommends its use to dou-ble or hold the bass in a large-ishmixed consort, where the effect canbe similar to a deep organ pedal stop.The famous painting of the MunichHofkapelle under Lassus shows arackett used in this capacity. BecausePraetorius mentions the “solemnrackett” in Syntagma Musicum III, heclearly does not regard the instrumentas a comical mistake. The rackett’srelatively thin sound adds clarity anddefinition to the part. Certainly, thenovelty value of having deep sub-bass tones emergingfrom an instrument around 1 foot high is part of the fun(see Ex. 5).

Example 5

From p. 6 . . .Adams, James Musica Reservata: Origins and Connotations

Discography:Lassus: Penitential Psalms. Henry’s Eight, conducted by Jonathan Brown. Hyperion

“Helios” 22056 (2 CDs)Lassus: Psalmi Davidis Pænitentiales. Collegium Vocale Gent, conducted by

Philippe Herreweghe. Harmonia Mundi 901831Lassus: Requiem & Propetiae Sibyllarum. Hilliard Ensemble. ECM 1658.Lasso: Propetiae Sibyllarum. Cantus Cölln, conducted by Konrad Junghanel. DHM

Baroque Esprit, BMGM 05472778542.Cipriano de Rore: Beati omnes, on Sacred & Secular Motets. Weser-Renaissance,

conducted by Manfred Cordes. CPO 999 506.

See you at the Fall Festival29 - 30 September 2007Boulder Public Library

4

Musica reservata is perhaps one of the least under-stood topics in the study of music from the Renaissance.By the end of the nineteenth century, music historians dis-covered the phrase musica reservata in contemporary dis-cussions of music, but it was not until the inclusion of theterm in the 1918 dissertation of Kurt Huber that it began toattract the attention of music researchers.1 The ambiguityof the term as used by period authors persists to the presenttime. Different definitions were offered by various authors,and different musical conventions were associated withmusica reservata. The disagreement among modern schol-ars as to the true nature of musica reservata parallels thatof writers of the period. This article will discuss the vari-ous sources of the term, together with the major argumentsrelated to its meaning and application.

Various period sources mention musica reservata, yetmost offer little explanation of its meaning. The earliestidentified use of the term was by the composer AdrienPetit Coclico in his treatise Compendium musices of 1551.In the following year, the title Musica Reservata wasassigned to a collection of Coclico’s psalm settings. Thenext record of the term is found in two letters written byGeorg Sigmund Seld to the Duke of Bavaria in 1555, inwhich Seld mentions musica reservata in connection to thecomposer Phillipe de Monte. Seld fails to offer any expla-nation of the term; his writings simply imply that musicareservata refers to some sort of newer style of composi-tion.2 Musician and theorist Nicola Vicentino used theterm in his 1557 treatise L’antica musica ridotta alla mod-erna prattica (Ancient Music Adapted to ModernPractice). Astronomer/musician Jean Taisnier also men-tioned the term in his 1559 treatise Astrologiae. Perhapsthe most descriptive, albeit general, use of the term was bySamuel Quickelberg, a humanist at the court of Albert V ofMunich, who mentioned musica reservata in the preface toa 1560 manuscript of Orlando di Lasso’s Psalmi DavidisPoenitentiales.

Research has uncovered three main concepts relatingto a definition of musica reservata: that it was a newand/or different style of music; that it was “reserved” for aprivate, cultured audience; and that it had as its primarygoal the explicit evocation of an emotional meaning of thetext. In a 1959 article, Claude Palisca employs the writingsof Taisnier to define three general elements of the musicareservata style: It is a new style of music; this music con-tains new usage of enharmonic and chromatic devices; andcomposers of such music employ techniques not in accor-

dance with convention of the time.3 Two composers whostand out among their peers with regard to chromatic andenharmonic music are Orlando di Lasso and NicolaVicentino. Lasso’s Prophetiae Sibyllarum contains 13movements all written in a highly chromatic style that canbe associated with the term musica reservata. Of theseworks, John Potter wrote:

[These] are among the finest expressions of aRenaissance musical ideal: an attempt to recover froman imagined past a fusion of rhetoric and chromati-cism, in which Lassus stretched the compositionalboundaries of his own time and laid down a challengeto performers of ours.4

As an example, the second movement, entitled SibyllaPersica,5 contains the following progression of harmoniesin its second half, beginning in measure 30: G-A-G-B-C-E-D-C-F-D-A-C-c-G-D-C-Bb-G-C-C-E-A-D-g-Bb-D-G,where capital letters denote major triads and lowercase let-ters denote minor triads (see Ex. 1). The harmony includeschromatic mediant relationships typically associated withmusic from the Romantic period, as well as an overall stylethat could be dubbed pan-triadic.

Musica Reservata:Origins and Connotations

By James AdamsDMA candidate in Trombone performance

University of Northern Colorado

Vicentino was the leading advocate of enharmonicmusic. While he looked to the genera of Ancient Greecetetrachords for inspiration, he further developed the ancienttheories of Boethius and devised his own system of enhar-monicism, using unequal semitones divided into microton-al pitches. Vicentino asserted that this allowed a composerto use thirds and sixths with perfect consonant intonation.6It is clear he never intended his music to be shocking orexcessively dissonant; indeed, Vicentino used words suchas “sweet and very suave” and “animate, happy” todescribe the affect of these microtonal intervals.7Vicentino wrote his musical theories and practices inexacting detail, describing his derivation of the microtonalintervals, their proper designation and classification, acomplete system of chromatic and microtonal instructioninvolving seven “hands” similar to the famous solemniza-tion hand of Guido d’Arezzo, and the complete specifica-tions of a keyboard instrument invented by Vicentinocalled the archicembalo (see Fig.1), which featured 36keys per octave to allow the proper just intonation per-formance of chromatic and enharmonic music according toVicentino’s tuning scheme (see Ex. 2).8

Ex. 1: Lasso, Sibylla Pesica, mm. 30–49.

5

The second definition of musica reservata refers tomusic that was literally “reserved” for a private and highlyeducated audience. This hypothesis is logical: If musicareservata employed unconventional techniques and newuses of chromaticism, it would be better suited to perform-ance before an audience with a higher cultural understand-ing than before a wider public. As an example, Lasso’sPsalmi Davidis Poenitentiales9 were completed in 1560,yet were not published for the public until 1584. Prior tothat, they were reserved strictly for the use of Albrecht Vof Bavaria.10 Vicentino divided music using the three gen-era of music into two main categories according to theirintended audiences: The first category employs the diaton-ic genus, and is intended for public consumption and “ordi-nary ears.”11 The second category is “chromatic andenharmonic music … fittingly reserved [reservata] … forthe benefit of trained ears” at private performances for thenoble and aristocratic strata of society.12

lates that “the modern relationship between music and textas we know it in all dramatic music has its origin in thenew attitude of the Renaissance composer.”16

Mentions of musica reservata in period documentsassociate it with specific composers, including Orlando diLasso, Adrian Petit Coclico, Cipriano di Rore, NicolaVicentino, Vicenzo Ruffo, Clemens non Papa, Phillipe deMonte, and Cornelius Canis. Frequently-mentioned worksdesignated by period authors as musica reservata includeLasso’s Psalmi Davidis Poenitentiales, Sacrae lections expropheta Job, and Prophetiae Sibyllarum; Coclico’s collec-tion of psalm settings entitled Musica Reservata; Rore’smotet Beati omnes,17 and the 1556 madrigal collection ofRuffo.

Musica reservata remains a subject that is only partial-ly understood. Perhaps best stating the problem, BernhardMeier wrote “A precise definition of musica reservataprobably never existed;”18 Lowinsky added, “This much iscertain: the concept musica reservata is no unified one.”19

With such sparse occurrence of the term in writings fromthe Renaissance, it is difficult to ascertain how significantof a genre it was, and how well it may have been under-stood by musicians and scholars of the time. The truescope of musica reservata’s influence may never beknown, but information already unearthed emphasizes theadvanced, expressive, and perhaps eclectic style of themusic. As composers sought to convey textual messagesthrough the powerful medium of music, did a specific, uni-fied genre develop, or is the concept of musica reservatasimply a label applied by various theorists to music thatmay or may not differ from other unlabeled music? Onlyfurther discovery can provide hope of clarification.

Ex 2: Vicentino’s versions of the three genera of tetrachordsemployed in some of the music of Ancient Greece. The dots inthe chromatic tetrachord represent microtones.

Fig. 1: Reconstruction of an archicembalo. Note the two levels ofblack keys on each manual.

Finally, some scholars define musica reservata asmusic whose primary goal is the explicit evocation of emo-tional, and often literal, meaning of the text. This definitionis derived from Quickelberg’s description of the music ofOrlando di Lasso. Quickelberg links the definition of musi-ca reservata to the meaning of the music’s text “inexpressing the power of the different human emotions andin suggesting the textual content as vividly as if you saw itrepresented before your very eyes.”13 Láng states thatthere was a “profound longing” on the part of Renaissancemusicians for the meaning of the text to be properlyexpressed with feeling and emotion, “a desire for a trulyRenaissance-like, balanced, expressive style.”14 BeverlyDavis adds, “musica reservata as it was then understood[was] a principle of pictorial description of poetry throughmusic, which was to lead to the concept of tone painting inseventeenth century music.”15 Lowinsky further extrapo-

--NOTES--1 Kurt Huber, Ivo De Vento (Ca. 1540-1575) (Lindenburg im Allgau: Buch- u.

Kunstdruckerei J.Adolph Schwarz, 1918).2 Henry William Kaufmann, The Life and Works of Nicola Vicentino, 1511-C.1576 ([n.p.]:

American Institute of Musicology, 1966), 191.3 Claude V. Palisca, “A Clarification Of ‘Musica Reservata’ In Jean Taisnier’s ‘Astrologiae,’

1559,” Acta Musicologica 31/3-4 (1959), 148.4 John Potter, notes to The Hilliard Ensemble, Lassus (1993), CD, ECM Records ECM 1658.5 Orlando di Lasso, Prophetiae Sibyllarum, Sämtliche Werke Neue Reihe, vol. 21, ed.

Reinhold Schlötterer (Kassel: Bärenreiter, 1990), 5-8. 6 Kaufmann, 117.7 Kaufmann, 148.8 For a more thorough description and analysis of Vicentino’s treatise, see Kaufmann’s The

Life and Works of Nicola Vicentino, 1511-C.1576 ([n.p.]: American Institute ofMusicology, 1966).

9 Orlando di Lasso, Die Sieben Busspsalmen Mit Der Motette Laudes Domini, Orlando DiLasso Sämtliche Werke Neue Reihe, vol. 26, ed. Horst Leuchtmann (Kassel:Bärenreiter, 1995), 3-24.

10 Lowinsky, 92.11 Kaufmann, 207.12 Ibid., 207.13 Lowinsky, 92.14 Láng, 58.15 Beverly Jeanne Davis, “Antoine De Bertrand: A View into the Aesthetics of Music in

Sixteenth Century France,” The Journal of Aesthetics and Art Criticism 21/2 (1962),192.

16 Edward E. Lowinsky, “Music in the Culture of the Renaissance,” Journal of the Historyof Ideas 15/4 (1954), 539.

17 For a detailed analysis of this motet, refer to Lowinsky, Music in the Culture of theRenaissance and Other Essays, 638-42.

18 Bernhard Meier, “The Music Reservata of Adrianus Petit Coclico and its Relationship toJosquin, Musical Disciplina 10 (1056), 16.

19 Lowinsky, Secret Chromatic Art in the Netherlands Motet, 109.See also: Discography on p. 4.

6

CALENDAR [CONT’D]. . .Thur/Fri/Sat, 8, 9, 10 November. Gregorian Chant Workshop. Instructor: Pascale Duhamel, Ph.D, LMS musicology, Gregorian Chant specialist trained at Centre de Musique Médiévale de Paris.

Thursday, 8 November, 7:00–10:00 p.m. Workshop I: Basic Notation. Topics: History; Performance style; Notation and Reading; Friday, 9 November, 7:00–10:00 p.m. Workshop II: Singing the Mass. Topics: Movements of the Proper; Movements of the

Ordinary; Saturday, 10 November, 10:00 a.m.–1:00 p.m. Workshop III: Enhancing the Mass. Topics: Tropes; Polyphony.

Hosted by the St. Mary Music Department. St. Mary’s Catholic Church, 6853 S. Prince St., Littleton. Workshop is free. “Good-will”offering taken at each workshop. Registration: 303 283 4735, or mloucks@stmarylittlet.org.

Sat/Sun, 10, 11 November. Baroque Chamber Orchestra of Colorado. 17th Century Treasures II. Baroque trumpeter Kathryn JamesAdduci joins BCOC in a new program of unexpected gems from the world of the early Baroque.

Saturday, 10 November, 7:30 p.m. St. Elizabeth’s Church, 1060 St. Francis Way, Auraria Campus, Denver;Sunday, 11 November, 4:00 p.m. First United Methodist Church, 1421 Spruce, Boulder.Tickets: $20/$17 over 62 and students over 15/ $5 children under 14. Inquiries: 303 889 1012 or www.bcocolorado.org.

Saturday, 17 November, 7:30 p.m. Boulder Baroque (presenters of the Boulder Bach Festival). Inaugural Boulder Baroque concert ofBaroque composers, other than Bach. The Boulder Bach Festival Chorus joins the orchestra for excerpts from Handel’s Messiah, PartIII. First United Methodist Church, 1421 Spruce, Boulder.

DECEMBERSaturday, 1 December, 7:30 p.m. Trio Mediæval. CU Artist Series. Macky Auditorium, CU, Boulder. Tickets/Inquiries: www.cucon-certs.org.Sunday, 9 December, 4:00 p.m. Boulder Renaissance Consort. Christmas Concert. Part of this program celebrates, in Medieval &Renaissance song and text, the Christmas Cast of Characters from the Archangel’s annunciation through the arrival of the Wise Men.Trinity Lutheran Church, 2200 Broadway, Boulder. Tickets: $15/$12 seniors, students/$5 12 & under. Inquiries: 303 939 8950.Thur/Fri/Sun, 13, 14, 16 December. Ars Nova Singers. innerLight: Christmas with Ars Nova. A Colorado holiday tradition with angelicsongs of the season from across the centuries.

Thursday, 13 December, 7:30 p.m. St. John’s Episcopal Church, 1419 Pine St., Boulder;Friday, 14 December, 7:30 p.m. St. Elizabeth’s Church, 1060 St. Francis Way, Auraria Campus, Denver;Sunday, 16 December, 2:30 p.m. St. John’s Episcopal Church, 1419 Pine St., Boulder.Tickets: $20/ $16 60+/ $12 student. Inquiries: 303 499 3165 or www.arsnovasingers.org.

Saturday, 15 December, 7:30 p.m.; Sunday, 16 December, 4:00 p.m. Boulder Chorale, Chamber Chorale, & Women’s Chorale andKutandara Marimba Ensemble. Make We Joy: Songs of the Season. A joyous presentation in song that includes music and texts fromthe Renaissance in original and contemporary settings. First United Methodist Church, 1421 Spruce, Boulder. Tickets: $15/$12 sen-iors, students 13-22/$5 12 & under. Inquiries: 303 554 7692, or www.boulderchorale.org, click on “Concerts”.Sunday, 16 December, 3:00 p.m. Messiah Sing-Along and Caroling with the Greeley Chorale. Monfort Concert Hall, Union ColonyCivic Center,701 Tenth Avenue, Greeley. Inqiries and Tickets 970 356 5000.Sun/Thur/Fri, 16, 20, 21 December. St. Martin’s Chamber Choir. Christmas with St. Martin’s. From Renaissance motets to Victoriancarols to Modern arrangements, the choir explores the more unusual side of Yuletide musical fare. Join us for this enchanting concertthat has become a Denver holiday tradition!

Sunday, 16 December, 7:30 p.m. St. Elizabeth’s Church, 1060 St. Francis Way, Auraria Campus, Denver;Thursday, 20 December, 7:30 p.m. Broomfield Auditorium, 3 Community Park Rd., Broomfield;Friday, 21 December, 7:30 p.m. St. John’s Episcopal Cathedral, 1350 Washington, Denver.Tickets: $20/$17 senior/$5 Student. Inquiries: 303 298 1970 or info@stmartinschamberchoir.org.

Saturday, 22 December, 7:00 p.m.; Sunday, 23 December, 2:00 p.m and 7:00 p.m. Boulder Messiah chorale and Orchestra.Community Sing-along of Handel’s Messiah. St. John’s Episcopal Church, 1419 Pine St., Boulder. A few loaner copies of the Schirmeredition available on site. Tickets: $15 at the door. Inquiries: www.messiahsingalong.org.

Reaching . . .spirited to the serene.

From a performer’s standpoint, the audience can presentsome unpredictability—the one from the memory care unit whowhistles, the one whose foot tapping defies conventional rhyth-mic notation—but the sincerity of appreciation shown in theireyes is unmistakable. Conversations afterward may seem unrelat-ed, but something in the musical experience may have tapped awell of memories for an individual that would otherwise havebeen unreached. Relevant connections may be unavailable, butthe experience no less meaningful. Some may simply delight inmeeting new people. And with still others, their appreciationmay be totally internal with no visible sign of engagement. Wesimply trust that we’ve added pleasure to their day.

I know that Frasier Meadows publishes and posts monthlycalendars for residents and their loved ones. This suggests theimportance of communicating with the director of activities earlyon. Through talking to the director early, the Boulder

Renaissance Consort was assured of a spot and the staff hadample time to talk with the residents about coming events.There is a personal side as well. On several occasions I haveseen on the calendar that friends or acquaintances were perform-ing, and I could plan my visit with Mother to hear them and con-nect.

EMC supports your engagements with our seniors throughthe Phyllis Beshore Davis Memorial Fund. This fund was estab-lished in memory of the mother of our long-time member,Rebecca Beshore. Its purpose is to support this kind of outreach.Rebecca (nurseholiday@qwest.net) has more details, should yoube interested.

If your ensemble has a performance coming up, please con-sider holding a “dress rehearsal” at an elder care residence nearwhere you live. The same holds true for groups who may nothave a performance scheduled, but have been developing addi-tions to their repertoires—as well as for those who just love toshare their music with others to brighten their lives.

7

PO Box 19078Boulder, CO 80308-2078

RETURN SERVICE REQUESTED

Non-Profit Org.U.S. Postage

PaidBoulder, COPermit #30

h t t p : / / w w w . e a r l y m u s i c c o l o r a d o . o r gCALENDAR

SEPTEMBERFri/Sat/Sun, 14, 15, 16 September. Baroque Chamber Orchestra of Colorado. Festive Bach And Handel. With soprano, ElizabethWeigle and oboist Debra Nagy.

Friday, 14 September, 7:30 p.m. St. John’s Episcopal Cathedral, 1350 Washington, Denver;Saturday, 15 September, 7:30 p.m. Bethany Lutheran Church, 4500 E. Hampden Ave., Cherry Hills Village;Sunday, 16 September, 4:00 p.m. First United Methodist Church, 1421 Spruce, Boulder.Tickets: $20/$17 over 62 and students over 15/ $5 children under 14. Inquiries: 303 889 1012, or www.bcocolorado.org.

Tuesday, 18 September, 8:00 p.m. Grand Canonical Ensemble in a UNC Faculty Concert of Early music. Tamara Meredith: flauto tra-verso, Debra Throgmorton: harpsichord, Sara Heimbecker: cello, Deborah Kauffman: soprano. Milne Auditorium, Kepler Hall, 8thAvenue at 17th Street, Greeley. Free. Inquiries: 970 351 2993.

OCTOBERFri/Sun, 5, 7 October, 7:30 p.m. St. Martin’s Chamber Choir. Masters of the German Baroque: Buxtehude Tercentenary. Music bycomposers who influenced, or were influenced by, Buxtehude, as well as his own Missa Brevis. Both concerts at 7:30 p.m. at St.Elizabeth’s Church, 1060 St. Francis Way, Auraria Campus, Denver. Tickets: $20/$17 senior/$5 Student. Inquiries: 303 298 1970, orinfo@stmartinschamberchoir.org.Sunday, 14 October, 3:00 p.m. Ensemble Amuse presents a selection of sonatas and canzonas from the 17th and 18th centuries,spanning the baroque era, on recorders, cello, cornetto, harpsichord and organ. First Christian Church, 16 E. Platte Ave, ColoradoSprings. Free-will offering. Inquiries: 719 475 8078.Fri/Sat, 19, 20 October. Ars Nova Singers. innerSong: Madrigals and Mystery. Music from an Italian Court, 1607. Choral works byGesualdo and Luzzaschi.

Friday, 19 October, 7:30 p.m. St. John’s Episcopal Church, 1419 Pine St., Boulder;Saturday, 20 October, 7:30 p.m. St. Elizabeth’s Church, 1060 St. Francis Way, Auraria Campus, Denver.Tickets: $20/ $16 60+/ $12 student. Inquiries: 303 499 3165, or www.arsnovasingers.org.

Sat/Sun, 20, 21 October. Denver Bach Society. Mass in B minor, J. S. Bach. The Boulder Bach Festival and Denver’s Canto Deocollaborate for the DBS in two performances of Bach’s powerful work.

Saturday, 20 October, 7:30 p.m. Christ Episcopal Church, 2950 S. University Boulevard, Denver;Sunday, 21 October, 3:00 p.m. Cherry Hills Community Church, 3900 Grace Boulevard, Highlands Ranch.Tickets: $25/$12 under 12, students, groups of 10+; at the door or www.denverbachsociety.org Inquiries: 303 893 4869.

NOVEMBERSat/Sun, 3, 4 November. Boulder Chamber Chorale presents Reincarnations: songs of Transformation. Program includesRenaissance composers as well as modern composers whose works are based on early music.

Saturday, 3 November, 7:30 p.m. First United Methodist Church, 1421 Spruce, Boulder;Sunday, 4 November, 4:00 p.m. Trinity Lutheran Church, 301 E, Stuart St., Ft. Collins.Tickets: $15/$12 seniors, students 13-22/$5 12 & under. Inquiries: 303 554 7692, or www.boulderchorale.org, click on “Concerts”.

See CALENDAR, P. 78

Early Music ColoradoPO Box 19078, Boulder, CO 80308-2078

303-494 6669 www.EarlyMusicColorado.org

Dear EMC Supporter,

We are coming to you this fall to ask you to make a commitment to EarlyMusic by joining or renewing your membership in Early Music Colorado. Asthis letter goes to press, we are working on exciting programs for the com-ing season:

• Fall Festival of Early Music returns to the Boulder Public Library,but at a new date, Saturday, September 29 and Sunday, September30. In addition to a menu of short concerts by local early musicgroups, we will be featuring special concerts and demonstrationsthroughout the day. • We are working to schedule a special Holiday Concert TBA.• A Taste of Early Music will be held in February (watch for date),to feature wine, hors d’œuvres, and a special performance by theGrand Canonical Ensemble, featuring Tamara Meredith (Baroqueflute), Sara Heimbecker (cello), and Debra Throgmorton (harpsi-chord).• The May Faire will return to bring food, drink, and lively entertain-ment to the Berkeley Community Church.

In addition, the generous support of our members allows us to bring touringperformers to the Front Range, often at short notice. In the recent past, wehave been able to showcase the Texas group Istanpitta, Paris-based harpsi-chordist Jory Vinikour, and London gamba virtuoso Alison Crum. This is atremendous achievement for an organization that relies on an all-volunteerstaff and individual membership support. Because showcasing touring per-formers greatly increases our costs, we are counting on our members tohelp us spread the word about our fine concert series. Your financial supportis also critical to our survival as an organization. Please show your supportfor the arts with a generous donation.

No other arts organization in Colorado focuses on early music performanceand educational experiences. And, no other arts organization does so muchwith so little! Our all-volunteer staff sees that every dollar directly benefitsour community through our artistic and cultural programs. Your support willhelp us continue our other important programs:

• EMC Concert Alerts – Our popular and rapidly growing email reminderservice of local early music events, and it is free!• EMC Concert Calendar – A free community concert calendar for earlymusic events available at www.EarlyMusicColorado.org. • EMC Master Classes & Workshops – Professional, student, and ama-teur musicians in our community have the opportunity to learn from themasters through Master Classes and Workshops. Recent workshops featured

international artists Alison Crum (viola da gamba) and Roy Marks(recorder), as well as Netherlands recorder orchestra expert, Norber Kunst.

• EMC Website –The Internet is the most cost effective method to reachthe most people in our community with current information about eventsand services. Check out our website at www.EarlyMusicColorado.org andsee what is happening with early music in Colorado!• EMC Quarterly – Our quarterly newsletter, delivered to your mailbox,is packed with information on current events, a concert calendar, andexciting articles about the music and artists we love.• EMC Artist Roster and Teacher Roster – This free referral servicebrings together early music artists/ensembles and presenters, teachersand students.• EMC Membership Directory – Looking to join with a music ensemble orjust want to meet others with a similar interest? Our membership direc-tory is a key resource for tapping into the early music community.

If you believe the quality of your life has improved through early music, andwant to ensure these programs continue to benefit your family, your com-munity, and future generations, please renew today.

EMC has formalized a donor program consisting of seven membership lev-els, based on your choice of financial commitment to the arts of Colorado.The names of each level are the historical names of the notes in earlymusic; the greater your contribution, the longer the note. Hold the longestnote you can in this time of cutbacks to the arts!

Whatever level you choose, your membership donation is greatly appreciat-ed! Do your part to make Colorado a flourishing center for the arts, renewnow!

Yours in the arts,Dan Seger, presidentDeborah Kauffman, vice presidentMelody English, secretary

Please join or renew your membership toEarly Music Colorado to help support the2007-2008 season of concert and educa-tional programs.

Early Music ColoradoPO Box 19078

Boulder, CO 80308-2078(303) 494 6669

www.EarlyMusicColorado.org

Yes, I want to joinor renew my membership!!!

Your donations to Early Music Colorado are tax deductible! EMC is a 501-c3 non-profitorganization. Annual membership runs from Sep 1 2007 to Aug 31, 2008.

Hold the longest note you can!

Donation/Membership

Level Special Benefits

_$1000 and up MAXIMAFree Tickets to EMC’s Taste of EarlyMusic

+ lower level benefits

_ $500 - $999 LONGAEMC T-shirt *

+ lower level benefits

_ $250-$499 BREVISEMC Note Cards

+ lower level benefits

_ $100-$249 SEMIBREVISEMC Poster

+ lower level benefits_ $50 - $99 MINIM EMC Logo Magnet

_ $30SEMIMINIM – Individual

Donor/Member_ $20 FUSA – Student/Senior

NOTE: Please fill in all spaces so we can make corrections and update your informa-tion, even if it hasn’t changed.

Name ___________________________

Address _________________________City, ST, ZIP ____________________

E-mail __________________________ Phone _________________________

_ I am an early-music performing artist; add me to the EMC Artist Roster!_ I am an early-music teacher; add me to the EMC Teacher Roster!_ I play/sing ___________________________________________________

Additional Information ______________________________________________

Make your check payable to Early Music Colorado and send to the address above

Thank you for your generous donation/membership!