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Quarterly
Fall 2007
Volume XV, Number 3
EMC
Remembers
In this issue, we mark the passing of Thomas and
Marcia Bailey, founding members of Early Music
Colorado, whose contributions were invaluable. Tom
and Marcia are survived by their children, Cheryl
Bailey, Clive Bailey, Alicia Bailey, Angela Bailey
Laubacher (Kevin and Claire), and Jocelyn Bailey
Esch (Brian and Jakob).
Online Guestbooks can be viewed at
www.Legacy.com.
Thomas E. Bailey
15 Sept 1929 ~ 27 Dec 2006
Outwardly reticent and soft-spoken, Tom's innovative
and exacting mind was anything but quiet. Curiosity could
be called Tom's religion, and he taught his children to
value passion and individuality over money and conformity. Exemplifying this approach, Tom left a successful
career in mechanical engineering with Martin Marietta at
the age of 55 to delve into harpsichord-building as his
vocation. Tom would build over 50 harpsichords, ever
refining harpsichord design and patenting an improved
harpsichord jack.
Tom's love for the mountains inspired many Bailey
family backpacking, camping, and picnic outings. He often
shared his enthusiasm with others, including extended family members, his Boy and Eagle Scout troops, friends of
the family, and visiting international students. He insisted
that the Bailey household conserve natural resources, long
before doing so was either popular or necessary.
Loving the outdoors and needing a place to think, Tom
became a talented long distance runner and held many
marathon records, particularly notable for his age group.
He founded The Rocky Mountain Sheepherders Running
Club. Inventive as always, Tom designed a handicap race
format which allowed all participants to cross the finish
line at roughly the same time.
An early interest in photography and documentation
led Tom to produce many beautiful, meaningful family
documents while he provided photography instruction for
his children. He and his wife Marcia traveled widely in
pursuit of their passions, and to participate in early keyboard music association conferences, live musical concerts,
and long-distance marathon events.
Having never met his own father, who died just prior
to his birth, Tom's most compelling desire was to be a
good and loving father. Playful and silly when his children
were young, Tom later expressed a deep and abiding love
for his family, indirectly but reliably. Even as he bravely
passed through Alzheimer's Disease, Tom's heart continued
to touch all with love, outshining even that once brilliant
mind. Tom's life expressed the possibility of living true to
one's principles and values, overcoming pain through
curiosity, and loving what one loves, quietly but fervently.
Marcia M. Bailey
24 Oct 1927 ~ 7 May 2007
Her early talent for the keyboard led Marcia from her
childhood home of Red Oak, Iowa to Lincoln, Nebraska, in
1944 to study music at the University of Nebraska (Sigma
Alpha Iota Professional Music Fraternity) and to Denver in
1945 to earn a Bachelor of Music degree from the Lamont
School of Music at the University of Denver in 1949. She
met University of Colorado Engineering School student
Tom Bailey, who studied piano with her at CU in 1950.
They were married in 1951 in Vineland, New Jersey and
moved to Queens, New York. Marcia continued private
piano studies in Manhattan with Dr. Clarence Adler and
David Poliakine and hosted her own weekly radio show on
WNET-NY.
She was active in keyboard music in the Denver area
from 1957-2006 as student, teacher and performer. In addition to advanced studies in piano in the Denver area with
Dr. Max Lanner, Johana Harris, and Larry Graham, she
studied harpsichord privately with Doris Ornstein at the
Aspen School of Music, with Sandra Soderlund at CU,
Brigitte Haudebourg at the Universtiy of Wyoming, and Ed
Parmentier at the University of Michigan. In 1992, she
See BAILEYS P. 2
Marcia consistently sustained and encouraged her family's
lifelong studies in music and dance, the arts and sciences.
She enthusiastically participated in family activities, such
as attending concert and theater events, art openings, indie
and international film houses, museums, libraries, accompanying talent shows, hosting vivid theme birthday parties,
opening her home to visiting international students, backpacking and showshoeing in the Colorado mountains, and
traveling to destinations near and far.
Her love of natural beauty, world cultures, and the arts
prompted 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 final
years, Marcia became the rock that steadied her beloved
husband as he bravely soldiered through terminal
Alzheimer's disease.
Marcia Bailey touched many lives. She was openminded, energetic, charismatic, funny, very intelligent and
emanated an immense joie de vivre. Her powerful conversational skills, empathy, and interest in people made her a
bright light at any gathering. She participated fully in all
parts of her life, and gave freely of her time, energy, love,
and passion. She had many friends and made new ones
wherever she went. Memories of her music will live on for
all who heard her play. More than anything else, Marcia
Bailey loved her husband and her family and was infinitely
proud of them all. She blessed each of them with the legacy of the love of music, art, discovery, and especially the
loving, adventurous and creative spirit that lives on in each
of them.
The Quarterly
Volume XV, Number 3, Fall 2007
Co-editors: Deborah Kauffman & Dan Seger
President
Vice President
Secretary
Treasurer
Members as large
EMC Board of Directors
Dan Seger
Deborah Kauffman
Melody English
Tamara Meredith
Rebecca Beshore, Mark Davenport
Leleand Hoover, Debra Throgmorton
Advisory Board
Jann 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 seeks
to foster community understanding and enjoyment of the rich variety of
music composed and performed prior to the 19th Century.
Please visit the website at www.EarlyMusicColorado.org or contact the
president at [email protected].
BAILEYS . . .
completed a Master of Music in Keyboard Performance
from the CU Music School (Pi Kappa Lambda National
Music Honor Society).
Marcia taught at Loretto Heights College and gave
private lessons to aspiring musicians of all ages, including
her children. She generously shared her accompaniment
and improvisation skills with church bell choirs, dancers,
and wedding guests, among many others. She often
appeared with the Denver Symphony, Community Arts
Symphony, Arapahoe Philharmonic, Jefferson Symphony,
DSO Chamber Orchestra, Evergreen Chamber Orchestra,
and with the Well-Tempered Trio for Young Audiences
Colorado. She was harpsichordist for early music ensembles Baroque Notion and Baroque Folke and was active in
the music programs of First Plymouth Congregational
Church and Temple Sinai. She was a member of Aeolian
Music Club, the Florence Taussig Piano Club, the
Wednesday Music Party, and the Steinway Club of Denver
(founded 1916).
Marcia and Tom Bailey pursued a strong mutual interest in early music by attending early music festivals in
Boston, Berkeley, and Bruges, and participated in two historical harpsichord tours of Europe. They were active in
the Midwest Historical Keyboard Society, the Southeast
Historical Keyboard Society, Early Music Colorado and
the Rocky Mountain Harpsichord Network. They frequently presented lecture/recitals demonstrating special qualities
of the harpsichord and the music written for it.
While acting as devoted companion and partner to her
husband and joining with him to raise their five children,
President’s Trope
Reaching the Elderly;
Finding Rewards
My performing group, the Boulder Renaissance Consort,
recently performed for the residents of Frasier Meadows
Retirement Community’s Health Care Center, a nursing-care
level facility in Boulder where my mother is now a long term
resident. I was, of course, gratified for the performance, because
my mother is no longer able to come to concerts in our usual
spaces.
But my personal satisfaction gave way quickly to a broader
feeling of shared community spirit when I pictured the others in
my mother’s new community whose age or disability prevents
their attendance at public venues. For some, their long, full,
and—in some cases—storied lives had taken them out into the
world as players for many years. Now the world must come to
them.
What better way to bring the world to them than through
music—early music at that? The instruments are acoustic, the
ensembles are often sized for intimacy, and the music comes
from distant times and places. The lengths of individual pieces
are generally ideal and program variety can easily run from the
See Reaching. . . p.7
2
very compact instrument. The
rackett is blown with a large
bassoon-like reed that is mounted in a protective pirouette. The
raw materials consist of a block
of maple, some brass tube
(from Ace Hardware) for the
reed staple, and some contrabassoon tube reed cane (see Ex.
1). Workshop drawings from
the Toronto consort series published in the 1970s provided the
basic dimensions and instructions for construction of a
Example 1
quint-bass rackett. The drawings were closely based on a surviving rackett in Leipzig,
with some scaling adjustments to bring the Renaissance
wind pitch (around A=465) down to A=440. The detailed
drawings were prepared by Herb Myers of Palo Alto,
California, an authority on the acoustics and design of
Renaissance wind instruments.
The body of the instrument was turned on a woodturning lathe, which is recognizably the same device as it
was 500 years ago, but now with electric power. In turning
the body and the pirouette, I allowed ornamental details to
deviate somewhat from
the drawings to add an
element of uniqueness and
creativity to the appearance (see Ex. 2). Most
modern makers of racketts
failed to copy the design
of the surviving instruExample 2
ments with any precision,
and also fail to copy the decorative details. A full digression into the failings of modern makers of Renaissance
wind instruments is a subject for another day. The deviations from design principles arise from some misplaced
notion that the old designs can be “improved” without having taken the time to grasp the logic in them; thus the simplified (uglified?) turnery of racketts by Moeck et al can
perhaps be explained by their desire to avoid the time and
expense of getting the machining just right.
Once the body has been
turned, the 9 bores are marked
out and drilled (see Ex. 3). The
drilling is done with the help
of the lathe to keep the bores
on line. Recesses are routed
Example 3
into the top and bottom of the
body to allow fitting of decorative wood end caps to hide
the bores. (Many modern racketts dispense with this nicety
and are fitted with brass end caps). The original surviving
Fall Festival
Returns to BPL
Early Music Colorado is pleased to present our 15th
Annual Fall Festival of Early Music, which returns to the
Boulder Public Library Auditorium, 1000 Canyon Blvd, on
Saturday and Sunday, September 29th and 30th, from
10:00 AM to 6:00 PM on Saturday, and 12:30 PM to 6:00
PM on Sunday. We have decided to return to the Boulder
Public Library after reviewing comments from participants
at last year’s festival. Please note that the Festival is being
held ONE MONTH EARILIER than usual, in order to
avoid sharing the library space with other events.
In addition to performances by local early music
groups, this year’s Festival will feature a special free concert by harpsichordist Shin-Ae Chun, on Saturday at 2:45.
Don’t miss William Adams’s demonstration of ancient
instruments at 2:30 on Sunday, and Tamara Meredith’s
presentation on historical flutes to finish up the day, at 5:30
Please scour your closets, basements, trunks, for items
to donate to the Jumble Sale to be held on Saturday.
Unfortunately we no longer accept vinyl records. In addition a silent auction will be held for some extra-special
items: a soprano krummhorn, tickets for a concert by the
Baroque Chamber Orchestra of Colorado, vouchers for
tickets to the Central City Opera, and more. Contributions
are tax-deductible. EMC requests 10% on the sale of consignment CDs, T-Shirts, or other salable items.
Questions, contact Rebecca, 303/422-1659, 303/3494301, [email protected].
Making a Rackett:
Renaissance Style
by William Adams
The recent interesting articles in the Quarterly have
inspired me to contribute this discussion of the construction from scratch of 2 Renaissance racketts in my home
workshop. One of the attractive things about “pre-industrial” musical instruments is that they can be made without
complex machinery or metal working, and so are possible
projects for home builders. Several companies supply kits
of carefully made pre-cut parts; this is especially true of
keyboard string instruments. Additionally, drawings of
instruments may be available from museums and elsewhere; the availability of these drawings sparked the origin
of this project.
The Renaissance rackett is a most ingenious instrument, in which the cylindrical bore runs up and down 9
times in a block of wood, with each section of the bore
alternately connected at the top and bottom of the cylindrical body. This arrangement creates a very deep pitch for a
3
racketts in Vienna and Leipzig are made of boxwood and
ivory. To allow the softer maple wood to stand up to the
moisture of playing, the eintire instrument was immersed
in polyurethane varnish for 3 days to preserve and seal the
wood. There is an amusing much-quoted story by Hawkins
from the 18th century about the destructive effect of water
ing been heard to general approbation, my next project was
to try and scale it up to create a great-bass instrument, an
octave deeper than a normal bass dulcian or shawm.
Praetorius mentions in Syntagma Musicum II that he had
commissioned a great-bass rackett, which played down to
low CCC. Invoking the ghost of Praetorius, I took the
Toronto measurements and scaled them up by 3/2 to drop
the pitch by around a 5th. Educated guesswork was applied
to 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 for
any normal hands; some reorganization was required.
Again, some inspired guesswork was needed for this, as
well as a certain amount of tinkering and trial and error. I
copied the central feature of the Leipzig rackett —the
arrangement of multiple holes between the bores controlled
by each of the two hands, in order to get the “spacing”
between the 2 hands correct. This scaled up quite well. The
resulting instrument could be made somewhat smaller by
an inch or so, and a little thinner. My initial guess of the
scaling came out rather flat, and I needed to make rather
deep end caps and bore cross-cuts to get it up to pitch. The
result, however, does sound rather well.
What use is a rackett? On this Praetorius is our best
guide. He recommends its use to double or hold the bass in a large-ish
mixed consort, where the effect can
be similar to a deep organ pedal stop.
The famous painting of the Munich
Hofkapelle under Lassus shows a
rackett used in this capacity. Because
Praetorius mentions the “solemn
rackett” in Syntagma Musicum III, he
clearly does not regard the instrument
as a comical mistake. The rackett’s
relatively thin sound adds clarity and
Example 5
definition to the part. Certainly, the
novelty value of having deep sub-bass tones emerging
from an instrument around 1 foot high is part of the fun
(see Ex. 5).
build-up in racketts.
The pirouette was turned to shape and drilled out; long
decorative slots were then cut
in the side, a tedious operation
(see Ex. 4). This feature of the
instrument can be seen in the
drawings in Praetorius’
Syntagma Musicum II. In playing the instrument after its
completion, I discovered that,
in addition to protecting the
reed, the pirouette actually
helps to focus and augment the
sound, because it allows a very
relaxed style of embouchure.
To complete the instrument, the 9 bores are connected
by cross-cut channels across
the septums; cork plugs are
Example 4
fashioned to seal the resulting
u-bends. The reed was made according to the instructions
and the holes were drilled likewise. This took a steady
hand and careful aim with a power drill, as some of the
hole angles are extreme and takes a good sense of the bore
at which you are aiming. The full ingenuity of the old
makers can be seen in how they laid out the finger holes
and located them in the bores; some of the finger holes
branch into 3 or 4 seperate drillings under the surface of
the instrument, in order to get the intonation right and to
adjust the acoustic length of the instrument between the
holes governed by the 2 hands.
By some strange quirk, the drawings intended to produce a quint-bass rackett ended up coming out rather
sharp; the instrument was much nearer a quart-bass
(sounding a 4th lower than normal bass instruments), than
a quint-bass. Consultation with the designer by e-mail did
not resolve this mystery. In order to make a usable instrument, I cut the cross channels between the bores somewhat
deeper, to raise the pitch to make the instrument a genuine
quart-bass. Fortunately, this shortening of the instrument
did not affect the relationship between the finger-holes
enough to ruin the intonation. The instrument plays down
to GG below the bass clef. The “7 finger” note is CC, the
bottom note on the cello. While the rackett does not have
the flexibility, range, or chromatic notes of the equivalently
pitched trombone or stringed instrument, it is fun to have a
deep bass instrument you can carry around in your pocket.
With this instrument deemed a great success and hav-
See you at the Fall Festival
29 - 30 September 2007
Boulder Public Library
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 901831
Lassus: 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.
4
dance with convention of the time.3 Two composers who
stand out among their peers with regard to chromatic and
enharmonic music are Orlando di Lasso and Nicola
Vicentino. Lasso’s Prophetiae Sibyllarum contains 13
movements all written in a highly chromatic style that can
be associated with the term musica reservata. Of these
works, John Potter wrote:
[These] are among the finest expressions of a
Renaissance musical ideal: an attempt to recover from
an imagined past a fusion of rhetoric and chromaticism, in which Lassus stretched the compositional
boundaries of his own time and laid down a challenge
to performers of ours.4
As an example, the second movement, entitled Sibylla
Persica,5 contains the following progression of harmonies
in its second half, beginning in measure 30: G-A-G-B-CE-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 letters denote minor triads (see Ex. 1). The harmony includes
chromatic mediant relationships typically associated with
music from the Romantic period, as well as an overall style
that could be dubbed pan-triadic.
Musica Reservata:
Origins and Connotations
By James Adams
DMA candidate in Trombone performance
University of Northern Colorado
Musica reservata is perhaps one of the least understood topics in the study of music from the Renaissance.
By the end of the nineteenth century, music historians discovered the phrase musica reservata in contemporary discussions of music, but it was not until the inclusion of the
term in the 1918 dissertation of Kurt Huber that it began to
attract the attention of music researchers.1 The ambiguity
of the term as used by period authors persists to the present
time. Different definitions were offered by various authors,
and different musical conventions were associated with
musica reservata. The disagreement among modern scholars as to the true nature of musica reservata parallels that
of writers of the period. This article will discuss the various sources of the term, together with the major arguments
related to its meaning and application.
Various period sources mention musica reservata, yet
most offer little explanation of its meaning. The earliest
identified use of the term was by the composer Adrien
Petit Coclico in his treatise Compendium musices of 1551.
In the following year, the title Musica Reservata was
assigned to a collection of Coclico’s psalm settings. The
next record of the term is found in two letters written by
Georg Sigmund Seld to the Duke of Bavaria in 1555, in
which Seld mentions musica reservata in connection to the
composer Phillipe de Monte. Seld fails to offer any explanation of the term; his writings simply imply that musica
reservata refers to some sort of newer style of composition.2 Musician and theorist Nicola Vicentino used the
term in his 1557 treatise L’antica musica ridotta alla moderna prattica (Ancient Music Adapted to Modern
Practice). Astronomer/musician Jean Taisnier also mentioned the term in his 1559 treatise Astrologiae. Perhaps
the most descriptive, albeit general, use of the term was by
Samuel Quickelberg, a humanist at the court of Albert V of
Munich, who mentioned musica reservata in the preface to
a 1560 manuscript of Orlando di Lasso’s Psalmi Davidis
Poenitentiales.
Research has uncovered three main concepts relating
to a definition of musica reservata: that it was a new
and/or different style of music; that it was “reserved” for a
private, cultured audience; and that it had as its primary
goal the explicit evocation of an emotional meaning of the
text. In a 1959 article, Claude Palisca employs the writings
of Taisnier to define three general elements of the musica
reservata style: It is a new style of music; this music contains new usage of enharmonic and chromatic devices; and
composers of such music employ techniques not in accor-
Vicentino was the leading advocate of enharmonic
music. While he looked to the genera of Ancient Greece
tetrachords for inspiration, he further developed the ancient
theories of Boethius and devised his own system of enharmonicism, using unequal semitones divided into microtonal pitches. Vicentino asserted that this allowed a composer
to use thirds and sixths with perfect consonant intonation.6
It is clear he never intended his music to be shocking or
excessively dissonant; indeed, Vicentino used words such
as “sweet and very suave” and “animate, happy” to
describe the affect of these microtonal intervals.7
Vicentino wrote his musical theories and practices in
exacting detail, describing his derivation of the microtonal
intervals, their proper designation and classification, a
complete system of chromatic and microtonal instruction
involving seven “hands” similar to the famous solemnization hand of Guido d’Arezzo, and the complete specifications of a keyboard instrument invented by Vicentino
called the archicembalo (see Fig.1), which featured 36
keys per octave to allow the proper just intonation performance of chromatic and enharmonic music according to
Vicentino’s tuning scheme (see Ex. 2).8
Ex. 1: Lasso, Sibylla Pesica, mm. 30–49.
5
lates that “the modern relationship between music and text
as we know it in all dramatic music has its origin in the
new attitude of the Renaissance composer.”16
Mentions of musica reservata in period documents
associate it with specific composers, including Orlando di
Lasso, Adrian Petit Coclico, Cipriano di Rore, Nicola
Vicentino, Vicenzo Ruffo, Clemens non Papa, Phillipe de
Monte, and Cornelius Canis. Frequently-mentioned works
designated by period authors as musica reservata include
Lasso’s Psalmi Davidis Poenitentiales, Sacrae lections ex
propheta Job, and Prophetiae Sibyllarum; Coclico’s collection of psalm settings entitled Musica Reservata; Rore’s
motet Beati omnes,17 and the 1556 madrigal collection of
Ruffo.
Musica reservata remains a subject that is only partially understood. Perhaps best stating the problem, Bernhard
Meier wrote “A precise definition of musica reservata
probably never existed;”18 Lowinsky added, “This much is
certain: the concept musica reservata is no unified one.”19
With such sparse occurrence of the term in writings from
the Renaissance, it is difficult to ascertain how significant
of a genre it was, and how well it may have been understood by musicians and scholars of the time. The true
scope of musica reservata’s influence may never be
known, but information already unearthed emphasizes the
advanced, expressive, and perhaps eclectic style of the
music. As composers sought to convey textual messages
through the powerful medium of music, did a specific, unified genre develop, or is the concept of musica reservata
simply a label applied by various theorists to music that
may or may not differ from other unlabeled music? Only
further discovery can provide hope of clarification.
Ex 2: Vicentino’s versions of the three genera of tetrachords
employed in some of the music of Ancient Greece. The dots in
the chromatic tetrachord represent microtones.
The second definition of musica reservata refers to
music that was literally “reserved” for a private and highly
educated audience. This hypothesis is logical: If musica
reservata employed unconventional techniques and new
uses of chromaticism, it would be better suited to performance before an audience with a higher cultural understanding than before a wider public. As an example, Lasso’s
Psalmi Davidis Poenitentiales9 were completed in 1560,
yet were not published for the public until 1584. Prior to
that, they were reserved strictly for the use of Albrecht V
of Bavaria.10 Vicentino divided music using the three genera of music into two main categories according to their
intended audiences: The first category employs the diatonic genus, and is intended for public consumption and “ordinary ears.”11 The second category is “chromatic and
enharmonic music … fittingly reserved [reservata] … for
the benefit of trained ears” at private performances for the
noble and aristocratic strata of society.12
--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 of
Musicology, 1966).
9 Orlando di Lasso, Die Sieben Busspsalmen Mit Der Motette Laudes Domini, Orlando Di
Lasso 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 History
of Ideas 15/4 (1954), 539.
17 For a detailed analysis of this motet, refer to Lowinsky, Music in the Culture of the
Renaissance and Other Essays, 638-42.
18 Bernhard Meier, “The Music Reservata of Adrianus Petit Coclico and its Relationship to
Josquin, Musical Disciplina 10 (1056), 16.
19 Lowinsky, Secret Chromatic Art in the Netherlands Motet, 109.
See also: Discography on p. 4.
Fig. 1: Reconstruction of an archicembalo. Note the two levels of
black keys on each manual.
Finally, some scholars define musica reservata as
music whose primary goal is the explicit evocation of emotional, and often literal, meaning of the text. This definition
is derived from Quickelberg’s description of the music of
Orlando di Lasso. Quickelberg links the definition of musica reservata to the meaning of the music’s text “in
expressing the power of the different human emotions and
in suggesting the textual content as vividly as if you saw it
represented before your very eyes.”13 Láng states that
there was a “profound longing” on the part of Renaissance
musicians for the meaning of the text to be properly
expressed with feeling and emotion, “a desire for a truly
Renaissance-like, balanced, expressive style.”14 Beverly
Davis adds, “musica reservata as it was then understood
[was] a principle of pictorial description of poetry through
music, which was to lead to the concept of tone painting in
seventeenth century music.”15 Lowinsky further extrapo6
Renaissance Consort was assured of a spot and the staff had
ample time to talk with the residents about coming events.
There is a personal side as well. On several occasions I have
seen on the calendar that friends or acquaintances were performing, and I could plan my visit with Mother to hear them and connect.
EMC supports your engagements with our seniors through
the Phyllis Beshore Davis Memorial Fund. This fund was established in memory of the mother of our long-time member,
Rebecca Beshore. Its purpose is to support this kind of outreach.
Rebecca ([email protected]) has more details, should you
be interested.
If your ensemble has a performance coming up, please consider holding a “dress rehearsal” at an elder care residence near
where you live. The same holds true for groups who may not
have a performance scheduled, but have been developing additions to their repertoires—as well as for those who just love to
share their music with others to brighten their lives.
Reaching . . .
spirited to the serene.
From a performer’s standpoint, the audience can present
some unpredictability—the one from the memory care unit who
whistles, the one whose foot tapping defies conventional rhythmic notation—but the sincerity of appreciation shown in their
eyes is unmistakable. Conversations afterward may seem unrelated, but something in the musical experience may have tapped a
well of memories for an individual that would otherwise have
been unreached. Relevant connections may be unavailable, but
the experience no less meaningful. Some may simply delight in
meeting new people. And with still others, their appreciation
may be totally internal with no visible sign of engagement. We
simply trust that we’ve added pleasure to their day.
I know that Frasier Meadows publishes and posts monthly
calendars for residents and their loved ones. This suggests the
importance of communicating with the director of activities early
on. Through talking to the director early, the Boulder
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 [email protected].
Sat/Sun, 10, 11 November. Baroque Chamber Orchestra of Colorado. 17th Century Treasures II. Baroque trumpeter Kathryn James
Adduci 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 of
Baroque composers, other than Bach. The Boulder Bach Festival Chorus joins the orchestra for excerpts from Handel’s Messiah, Part
III. First United Methodist Church, 1421 Spruce, Boulder.
DECEMBER
Saturday, 1 December, 7:30 p.m. Trio Mediæval. CU Artist Series. Macky Auditorium, CU, Boulder. Tickets/Inquiries: www.cuconcerts.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 angelic
songs 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 and
Kutandara Marimba Ensemble. Make We Joy: Songs of the Season. A joyous presentation in song that includes music and texts from
the Renaissance in original and contemporary settings. First United Methodist Church, 1421 Spruce, Boulder. Tickets: $15/$12 seniors, 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 Colony
Civic 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 Victorian
carols to Modern arrangements, the choir explores the more unusual side of Yuletide musical fare. Join us for this enchanting concert
that 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 [email protected].
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 Schirmer
edition available on site. Tickets: $15 at the door. Inquiries: www.messiahsingalong.org.
7
Non-Profit Org.
U.S. Postage
Paid
Boulder, CO
Permit #30
PO Box 19078
Boulder, CO 80308-2078
RETURN SERVICE REQUESTED
http://www.earlymusiccolorado.org
CALENDAR
SEPTEMBER
Fri/Sat/Sun, 14, 15, 16 September. Baroque Chamber Orchestra of Colorado. Festive Bach And Handel. With soprano, Elizabeth
Weigle 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 traverso, Debra Throgmorton: harpsichord, Sara Heimbecker: cello, Deborah Kauffman: soprano. Milne Auditorium, Kepler Hall, 8th
Avenue at 17th Street, Greeley. Free. Inquiries: 970 351 2993.
OCTOBER
Fri/Sun, 5, 7 October, 7:30 p.m. St. Martin’s Chamber Choir. Masters of the German Baroque: Buxtehude Tercentenary. Music by
composers 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, or
[email protected].
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, Colorado
Springs. 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 by
Gesualdo 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 Deo
collaborate 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.
NOVEMBER
Sat/Sun, 3, 4 November. Boulder Chamber Chorale presents Reincarnations: songs of Transformation. Program includes
Renaissance 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. 7
8
Dear EMC Supporter,
Early Music Colorado
PO Box 19078, Boulder, CO 80308-2078
303-494 6669 www.EarlyMusicColorado.org
We are coming to you this fall to ask you to make a commitment to Early
Music by joining or renewing your membership in Early Music Colorado. As
this letter goes to press, we are working on exciting programs for the coming season:
• Fall Festival of Early Music returns to the Boulder Public Library,
but at a new date, Saturday, September 29 and Sunday, September
30. In addition to a menu of short concerts by local early music
groups, we will be featuring special concerts and demonstrations
throughout 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 the
Grand Canonical Ensemble, featuring Tamara Meredith (Baroque
flute), Sara Heimbecker (cello), and Debra Throgmorton (harpsichord).
• The May Faire will return to bring food, drink, and lively entertainment to the Berkeley Community Church.
In addition, the generous support of our members allows us to bring touring
performers to the Front Range, often at short notice. In the recent past, we
have been able to showcase the Texas group Istanpitta, Paris-based harpsichordist Jory Vinikour, and London gamba virtuoso Alison Crum. This is a
tremendous achievement for an organization that relies on an all-volunteer
staff and individual membership support. Because showcasing touring performers greatly increases our costs, we are counting on our members to
help us spread the word about our fine concert series. Your financial support
is also critical to our survival as an organization. Please show your support
for the arts with a generous donation.
No other arts organization in Colorado focuses on early music performance
and educational experiences. And, no other arts organization does so much
with so little! Our all-volunteer staff sees that every dollar directly benefits
our community through our artistic and cultural programs. Your support will
help us continue our other important programs:
• EMC Concert Alerts – Our popular and rapidly growing email reminder
service of local early music events, and it is free!
• EMC Concert Calendar – A free community concert calendar for early
music events available at www.EarlyMusicColorado.org.
• EMC Master Classes & Workshops – Professional, student, and amateur musicians in our community have the opportunity to learn from the
masters 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 reach
the most people in our community with current information about events
and services. Check out our website at www.EarlyMusicColorado.org and
see 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, and
exciting articles about the music and artists we love.
• EMC Artist Roster and Teacher Roster – This free referral service
brings together early music artists/ensembles and presenters, teachers
and students.
• EMC Membership Directory – Looking to join with a music ensemble or
just want to meet others with a similar interest? Our membership directory is a key resource for tapping into the early music community.
If you believe the quality of your life has improved through early music, and
want to ensure these programs continue to benefit your family, your community, and future generations, please renew today.
EMC has formalized a donor program consisting of seven membership levels, 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 early
music; the greater your contribution, the longer the note. Hold the longest
note you can in this time of cutbacks to the arts!
Whatever level you choose, your membership donation is greatly appreciated! Do your part to make Colorado a flourishing center for the arts, renew
now!
Yours in the arts,
Dan Seger, president
Deborah Kauffman, vice president
Melody English, secretary
Please join or renew your membership to
Early Music Colorado to help support the
2007-2008 season of concert and educational programs.
Early Music Colorado
PO Box 19078
Boulder, CO 80308-2078
(303) 494 6669
www.EarlyMusicColorado.org
Yes, I want to join
or renew my membership!!!
Your donations to Early Music Colorado are tax deductible! EMC is a 501-c3 non-profit
organization. Annual membership runs from Sep 1 2007 to Aug 31, 2008.
Donation/
Membership
Hold the longest note you can!
Level
_$1000 and up
MAXIMA
_ $500 - $999
LONGA
_ $250-$499
BREVIS
_ $100-$249
SEMIBREVIS
_ $50 - $99
_ $30
_ $20
MINIM
SEMIMINIM – Individual
Donor/Member
FUSA – Student/Senior
Special Benefits
Free Tickets to EMC’s Taste of Early
Music
+ lower level benefits
EMC T-shirt *
+ lower level benefits
EMC Note Cards
+ lower level benefits
EMC Poster
+ lower level benefits
EMC Logo Magnet
NOTE: Please fill in all spaces so we can make corrections and update your information, 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!