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UMS Concert Program, March 28, 1992: The Waverly Consort --

UMS Concert Program, March 28, 1992: The Waverly Consort --  image UMS Concert Program, March 28, 1992: The Waverly Consort --  image UMS Concert Program, March 28, 1992: The Waverly Consort --  image UMS Concert Program, March 28, 1992: The Waverly Consort --  image
Day
28
Month
March
Year
1992
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University Musical Society
OCR Text

Season: 113th
Concert: Thirty-fourth
Rackham Auditorium, Ann Arbor, Michigan

UNIVERSITY MUSICAL SOCIETY
CONSOTCC
Michael Jaffee, Director
Tamara Crout and Rita Lilly, Sopranos
Larry Lipnik, Countertenor, tenor viol, recorder
Timothy Evans and John Olund, Tenors
Joel Frederiksen, Bass-baritone
Kay Jaffee, Recorder, harp, gemshorn, psaltery
Michael Jaffee, Vihuela, oud
Rosamund Morley, viols, vielle, kemenc,e
Tom Zajac, Sacbut, shawm, recorder, flute, panpipes
Saturday Evening, March 28, 1992, at 8:00 Rackham Auditorium, Ann Arbor, Michigan
The Year 1492 Spanish Music in the Age of Discovery
In 1492, three momentous events changed forever Spain, the Mediterranean region, and indeed, the world. On New Year's night, the splendid Moorish palace of the Alhambra, symbol of the centuries-old struggle for domination in the Iberian peninsula, was handed over to the conquering Christians. Soon after, King Ferdinand and Queen Isabella entered Granada in triumph. On March 31, the "Catholic Kings" issued an edict ordering all Jews to accept conversion or leave Spain. And finally, on August 3rd, just before sunrise, Christopher Columbus set sail on his first voyage and tin October 12th planted the Spanish flag on the shores of the New World.
But as events led Spain toward internal unity and imperial expansion, its music still mirrored the bright patch-quilt of diversity that had uniquely colored the Iberian peninsula. This program explores, through music, the cultural cross-currents around and following 1492 that have contributed to the vibrant and endlessly fascinating national character we identify as "Spanish": Moorish-influenced villancicos and romances recounting the fall of Granada; elegant Christian court and chapel music from the reigns of Ferdinand and Isabella; and songs of the outcast Sefardim, sung in new lands and preserving to this day the lore and language of their original home.
This concert is presented in conjunction with the University of Michigan's Jean and Samuel Frankel Center for Judaic Studies and Hillel Foundation.
The University Musical Society expresses thanks to David Crawford, U-M Professor of Musicol-ogy, and Judith Laikin Elkin, Project Director for "Jews and The Encounter with the New World 14921992," the speakers for tonight's Philips Pre-concert Presentation; the lectures were funded in part by a grant from the National Endowment for the Humanities.
Thirty-fourth Concert of the 113th Season
Twenty-first Annual Choice Series
Spanish Music in the Age of Columbus
Part One -Circa 1492 I Eve of Discovery: Three Anonymous Songs
Ayo visto lo mappamundi (Naples, late 15th century) -Men's voices and instruments Viva el gran re Don Fernando (On the fall of Granada; Rome, 1492) -Ensemble Pase el agoa (Spanish, late 15th century) -Ensemble
II Evocations of Moorish Spain
The Conflict Francisco de la Torre (I 1483-1504): Por los campos de los moros; Pascua d'Espfritu
Santo -Voices and instruments
Miguel de Fuenllana (d after 1568): De antequera sale el Moro (after Cristobal de Morales) -Timothy Evans and Ensemble
The Fa!! of Granada Juan del Encina (1468-cl 530): Levanta, Pascual -Larry Lipnik, Timothy Evans, and
Ensemble Anonymous ("The Palace Songbook"): Tres moricas m'enamoran -Men's voices and
instruments
Juan del Encina: Una sanosa porffa; Qu'es de ti, desconsolado -Tamara Crout and Ensemble
Arab'Andalusian Music B'tayhi -M'saddar (Mode: Az'zaidan) -Instruments
INTERMISSION
III Music & Musicians at the Courts of Ferdinand and Isabella
Pedro de Escobar (cl465-after 1535): Clamabat autem mulier Cananea -Voices Johannes Urreda (I late 15th century): Nunca fue pena mayor -Rita Lilly, John
Olund, and instruments
Anonymous ("The Palace Songbook"): Ay, Santa Maria -Rita Lilly and instruments Alonso Mudarra (cl510-1580): Fantasia en la manera de Ludovico -Solo vihuela Francisco de la Torre: La Alta ("La Spagna") -Instruments Juan del Encina: Oy comamos y bebamos -Ensemble
INTERMISSION
Part Two -Legacies
IV Spanish Church Music in the Old and New Worlds -Voices Martin de Rivafrecha (c! 1528): Salva regina
Francisco Guerrero (1528-1599): Ave virgo sanctissima Tomas Luis de Victoria (1548-1611): Salve regina
V Exodus and Diaspora: Judeo-Spanish Songs
El paso del Mar Rojo ("Crossing the Red Sea") -Joel Frederiksen and Ensemble Las hermanas reina y cautiva ("The Sisters, Queen and Captive") -Tamara Crout,
Rita Lilly, and instruments
El sueno de la hija ("The Daughter's Dream") -Ensemble Ah, el novio no quere dinero -Ensemble
En busca del padre ("The Father-Quest") -John Olund and instruments Morena me llaman -Ensemble
About the Artists
The Waverly Consort celebrates its 28th anniversary during this 1991-92 season. One of America's premier ensembles, the group pioneered a now bur?geoning revival of "early" musical styles through its tours of the Far East, North and South America, appearances at major festi?vals, including the Casals Festival, Hong Kong Festival, and Madeira Bach Festival, and in its recordings, workshops, and televi?sion broadcasts. The ensemble -six singers and four instrumentalists playing a wide vari?ety of historical instruments -specializes in a wide-ranging repertoire of music from the twelfththrough the mid-eighteenth centu?ries.
The ensemble tours nationally each season and has an impressive discography on the CBS Masterworks label. The Waverly Consort has been the subject of several half-hour CBS network television specials on the prize-winning "Camera Three" program, has participated in three Christmas presentations on NBC-TV's "Today Show" and a special Christmas appearance on "CBS Sunday Morning" with Charles Kuralt, four programs of Elizabethan music for PBS in conjunction with the BBC-produced Shakespeare series, a special edition of the "Dick Cavett Show," and the CBS-TV special "I, Leonardo," de?voted to the life and art of Leonardo da Vinci. In addition to its concert programs, The Waverly Consort has presented, both in New York and on tour, three highly success?ful, fully costumed stage productions combin?ing poetry, music, and visual art: Las Ctmtigas de Santa Maria, a selection of medieval music and verse from the famous collection of Marian songs compiled by Spain's thirteenth-century "Learned King," Alfonso X; Le Roman de Fauvel, based on the fourteenth-century allegorical satire of political and ec?clesiastical institutions of the late Middle Ages; and The Christmas Story, a musical drama relating the events of Christmas through excerpts from manuscripts of the Middle Ages and early Renaissance. In cele?bration of its 25th anniversary season, The
Waverly Consort premiered its production of II Ritomo d'Ulisse in Patria, one of the major operas of Claudio Monteverdi.
This season, The Waverly Consort sa?lutes the Columbian Quincentenary with the program heard this evening, "The Year 1492: Spanish Music in the Age of Discovery." To further salute the momentous Quincentenary, the ensemble has just completed the musical score to a sixty-minute film on Columbus and the music of his era, which is scheduled to be released also as a CD.
The Waverly Consort was organized in 1964 at New York University, where Michael and Kay Jaffee encouraged a small group of fellow graduate students in musicology to join them in some performances of Medieval and Renaissance music. Taking its name from Waverly Place (which runs by NYU's Wash?ington Square campus), the group made its highly acclaimed public debut at Carnegie Recital Hall on April 23, 1966.
The Waverly Consort returns this eve?ning for its third Ann Arbor concert.
The Waverly Consort appears by arrangement with Shaw Concerts, Inc., New York City. Program research for Music in the Age of Columbus: Kay Jaffee. The University Musical Society is a member of Chamber Music America.
Activities of the UMS are supported by the Michigan Council for Arts and Cultural Affairs and the Na?tional Endowment for the Arts.

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