April: Good or Not? Discuss

We are approaching the end of April, which is either the ‘cruelest month’ (T. S. Eliot) or which is ‘in my mistress' face’ (Thomas Morley) or which makes us want to travel, according to Robert Browning: “Oh to be in England now that April’s there.” (I was thinking more along the lines of Belgium…) At any rate, it’s good news because the Central Texas summer isn’t here yet, but it’s bad news because the Central Texas summer could very well arrive tomorrow and last until October. Ugh. Let’s change the subject, eh?

In 2018, Maestro Daniel Johnson explained ensaladas, pieces that are also featured on our upcoming Alegría: The Spanish Renaissance program. See more videos on our Gallery page!

Rather than think about such things as weather’n’stuff that are out of our control (and that includes a lot of stuff!) let’s think about a nice salad, or ensalada, if you will. In our upcoming Alegría concert we will be performing a few ensaladas, which are unique pieces from Renaissance Spain composed by Mateo Flecha. These are little epics, illustrated with music in many different styles to fit the rapidly shifting texts; so it’s a little of this and little of that: a salad, prepared brilliantly by Señor Flecha. The most epic of these is La Justa (The Joust), a battle between good and evil, the light and the dark. Think of Dumbledore/Gandalf/Obi-Wan Kenobi on one side and several adversaries Who Shall Not Be Named on the other side.

Yet, there is much Alegría (joy) throughout! See the details below, including audio excerpts. Enjoy April while we have it!
—Danny

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Alegría: The Spanish Renaissance

Saturday, May 17, 2025, at  7:30 pm
&
Sunday, May 18, 2025, at 3:00 pm
Redeemer Presbyterian Church, 2111 Alexander Avenue

Hosted by Arts on Alexander on the campus of Redeemer Presbyterian Church, 
2111 Alexander Ave, Austin, TX 78722.
Visit the Arts on Alexander 2024-2025 events on the AoA website.

Admission $35 general; $30 seniors (60+); $5 students with ID
Tickets available in advance online or by cash, check, or credit card at the door.

For more information, email boxoffice@early-music.org.

Seriously? There are ensaladas on this concert?!?
Usually, if you want an ensalada, you go to a restaurant, not a concert, right?

Not so fast, my friend; these ensaladas are a treat for the ears and the spirit, but have nothing to do with the delectable edible! Like most salads, they are created from a little of this and little of that, but that’s where the similarity ends. Filled with drama, Biblical quotations, exhortations, lovely melodies, and lots of humor, the ensaladas are toe-tappers from beginning to end! They were extraordinarily popular in many of the Cathedrals of Renaissance Spain—and were even banned in a few!

For a less raucous and solemn contrast, our program will explore some of the glorious wealth of polyphonic sacred music from the cathedrals and monasteries of 16th-century Spain, a repertoire that has served as inspiration for fans of choral music everywhere, with selections by Cristóbal de Morales and Francisco Guerrero. The Agnus Dei from the Missa Mille Regretz, by Morales, is not only a beautiful way with which to end a mass, but it is also a fitting homage to Josquin des Prez, the famous composer who composed one of the most unique chansons in the Renaissance, Mille Regretz. To be fair, there are questions about who really composed the chanson, but there’s no doubt about its hauntingly beautiful effect.

Other pieces in the concert feature the viol consort, led by our guest artist, viola da gamba star Mary Springfels, guest percussionist Peter Maund, and 3 sackbut (early trombone) players, led by University of Texas trombone faculty Nathaniel Brickens.

Soloists and featured singers include Jenifer Thyssen, Gitanjali Mathur, Jenny Houghton, Cayla Cardiff, Jeffrey Jones-Ragona, David Lopez, Tim O’Brien, Ryland Angel, and many more.

Enjoy these audio teasers from our 2015 and 2018 performances:

¡Bailamos!

TEMP 2024-2025 Season: Reconnections

Taco Tuesday #116: Dutch Stroop-Tacos

Well, yes, we’re late, but last Tuesday was April Fool’s and we didn’t want to disrupt your day of tricky surrealism with straightforward loveliness! Now that we can proceed, let’s go to Belgium and the Netherlands. All the cool kids are! Yes, I’m looking at you, you!  

Outside the Amsterdam train station and in other parts of town (and all over the Netherlands), street vendors sell stroopwafels, a popular treat ever since the 18th century. They are as popular as, oh, I don’t know, let’s say… tacos!! So here we go with Dutch Sweet Tacos! Sweet Dutch Tacos? Dessert Tacos? 

In honor of this week’s theme, and in honor of a couple of memorable trips with EurailPass in hand, we visit the Lowlands. These days we would call this area the Netherlands, Belgium, and northern France: The demarcations were somewhat more fluid in the 16th and 17th centuries. The relatively tiny area of the Lowlands produced an inordinate number of skilled and creative composers and artists who influenced the fine arts in the rest of Europe for generations. 

Dutch Treat: The Golden Age in the Netherlands

April 2 & 3, 2016

We start with two versions of a beloved melody: Mijn hert altyt heeft verlanghen. From what is now northern Belgium, Pierre de la Rue likely had professional associations with Josquin des Prez from an early age. (He is the “Pierchon” mentioned in Josquin’s memorial to Ockeghem, Nymphes des bois.) As a member of the Grande chapelle of the Burgundian-Habsburg court, he traveled extensively as a singer and a composer, and was another of the highly important and influential Franco-Flemish composers of Josquin’s generation.

Texas Early Music Project · Mijn hert altyt heeft verlanghen

Mijn hert altyt heeft verlanghen (Pierre de la Rue, c.1460-1518)
Singers

My heart always has desire for you,
My most beloved.
My love for you has captured me,
All yours I want to be.

Before all the common world
No one who hears or sees it can be in any doubt:
You alone has my heart.

Therefore, fair love, do not let me down.

Texas Early Music Project · Mijn herteken heeft altyts verlanghen

Mijn herteken heeft altyts verlanghen (Benedictus Ducis, a.k.a. Benedictus Hertoghs, c.1492-1544)
Jenifer Thyssen, soloist, with Viol Concert

We follow with another version of the song, this time with instruments and a solo voice, by another composer from Antwerp, Benedictus Ducis.

My heart longs for you
Unceasingly,
my beloved;
You have my heart in thrall:

Let me be your vassal.

It is common knowledge—

No one who hears or sees it can be in any doubt:
That my heart is yours alone:

Therefore, I beg you, forget me not.

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Texas Early Music Project · Wij comen hier gelopen

Wij comen hier gelopen (Anonymous; Duytsch musyck boeck, Petrus Phalesius, 1572; Antwerp)
Viol Consort

The anonymous piece that follows, Wij comen hier gelopen, is in the same rustic vein as the next piece; though they both sound a little bit like country songs, they both have some nifty imitation and offbeat sections that accentuate the skill of their composers

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Texas Early Music Project · Bransle Dit le Bourguignon

Bransle Dit le Bourguignon (Anonymous; Harmonice Musices Odhecaton; Venecia, 1501)
Instruments

The bransle Dit le Bourguignon(“Called the Burgundian”) was an anonymous dance that was popular enough to be included in the Harmonice Musices Odhecaton, published in Venice. Thst was a really big deal!

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Texas Early Music Project · Nu dobbert mijn Liefje op de Ree

Nu dobbert mijn Liefje op de Ree (Constantijn Huygens, 1596-1687; poem G.A. Bredero, 1585-1618) 
arr. D Johnson, 2016
Cayla Cardiff, soloist
With Meredith Ruduski & Stephanie Prewitt

Rarely do we know the names of both the poet and composer of works during this time period, but it is true of our final song of this Taco. Gerbrand Adriaenszoon Bredero was an Amsterdam-born poet and playwright in the Dutch Golden Age. Constantijn Huygens was born in The Hague and was famous as both a poet and composer. The picturesque poetry with its constant references to Greek mythology calls for variation in the accompanying instruments.

Now my Love is floating on the ship, on the restless, rising waves,
On the grand and spacious sea that he, alas! must now go sail.
Sail away, as winds prevail, always think, where e’er you be, on she who loves you.

Oh, had I two eyes like the Sun, that I could survey the whole world,
Or if I could, dear one, follow thee, I would be by thee constantly.
But if it can’t be bodily—For honor doth forbid me that—My soul shall never love deny.

And though I lack Daedalus’s art, who could carry his love through the air,
I’ll guide you with my truest love, my favor and my pleasure merry.
Were I but free from fleshly bonds, my spirit then would go with you
Where now my thoughts do wander.

If I had Medea’s witchcraft, I would be Aeolus on his peaks:
I would put a spell on him that not one little wind would escape him.
There would burst a strong gust from his sack; I would send it into the sails to tighten them,
I would do it with ease.

The wind, the water, and the tide, twinkling stars in their fixed poles:
There became my highest good, my life, my light, my counselor;
O good-hearted God, most famous, O ruler of heaven and earth,
Guard my dear Ceyx.

Alcyone your sweet bride weeps; the heart wants to tear her from sadness.
Because it thunders, storms, and blows your little turtle-dove knows only sorrow.
O Ceyx! O Ceyx! Worthy man!
What heart-pain happens to your little wife, who cannot be away from you.

Now my Love is floating on the ship, on the restless, rising waves,
On the grand and spacious sea that he, alas! must now go sail.
Sail away, as winds prevail, always think, where e’er you be, on she who loves you.

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I would really like a stroopwafel about now; maybe I’ll just have a taco! The edible kind, I mean. 

Hey what are you up to on Saturday, April 26 at 7:30pm? You might recall that we had an event last year called “TEMP on Tap” where we took early music to the streets and featured a few select TEMP singers and instrumentalists at a local pub for some bawdy songs, drinking songs, and singalongs! It was such a good time, we decided to bring it back! It's gonna be a grand ol' time, rated R, and it’s free to attend with a suggested donation of $20. See HERE for more details!

Thanks for your support, again!  We will be back in approximately exactly two weeks with a brand-spankin’ new Taco for you!  As always, stay safe, stay sane! We’re trying to help.  

Adrienne has some big news for you! See below! 

Danny

Taco Tuesday #115: Sephardic Tacos

Well, yes, we’re late, but only a little bit; besides, last week was Amplify and we thought we should leave you be on Tuesday in order to rest up for Wednesday! And wow, did you ever come through! Thank you! 

So I thought we should listen to something completely different for this edition of Musical Tacos! These pieces were plucked from concerts between 2009-2012! 

The Exiled: Songs of the Sephardim

February 7, 2009
and

Siren Song: Sephardic Songs of Fantasy and Love

May 6 & 7, 2011
and

Noches, Noches: Sephardic Songs of Love & Life

October 20 & 21, 2012

Sephardic music bears many of the aspects of ‘world music’, ‘folk music’, and maybe even art song and pop. Though our interpretations tend to be strongly Westernized, we do make use of Arabic rhythmic and melodic modes. Since the provenance of Sephardic music stretches some 600 years, it is not strictly ‘early music’, but it is music that we, an early music group, love to research, arrange, and perform.

(Arrangements and polyphony by D Johnson except as noted)

Texas Early Music Project · La serena (Salónica & Egypt)

La serena (Salónica & Egypt) 
Stephanie Prewitt, soloist

This is one of the most popular Sephardic songs with many musical and poetic variants, most of which contain both surrealistic and erotic verses.

At the sea is a tower,
In the tower is a window,
There sits a girl
Who sings to the sailors.

If the sea were made of milk,
And the boats made of cinnamon,
I would stain myself completely
To save my banner.

If the sea were made of milk,
I would become a fisherman,
I would fish for my sorrows
With little words of love.

Give me your hand, my dove,
To bring me up to your nest.
It is a curse to sleep alone,
I come to sleep with you.

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Texas Early Music Project · Una matica de ruda (Turkey)

Texas Early Music Project · Una matica de ruda (Bosnia)

Una matica de ruda (Turkey) – 
Larisa Montanaro, soloist

Una matica de ruda (Bosnia) – 
Gitanjali Mathur, soloist

Another of the oldest and most popular texts is Una matica de ruda, the Sephardic version of the early Renaissance Spanish ballad La guirinalda de las rosas, and it survives today as a popular wedding song with a wide diversity of tunes. No matter which century adopts the song, the theme remains the same: the rue twig will deflect the evil eye and will therefore bring luck to the newlyweds. We present two versions, one dating from several centuries ago and a second one from 19th or 20th century Bosnia.

 “A sprig of rue, a flowering sprig;
A young man gave it to me,
One who is in love with me.”

“My dear daughter,
Do not throw yourself into ruin;
There is more value to a bad husband
Than to a new love.”

“A bad husband, my mother:
There is no greater curse;
A new love, my mother,
Is like the apple and the lime.”

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Texas Early Music Project · 08 La prima vez (Turkey, Balkans)

La prima vez (Turkey, Balkans)
Daniel Johnson, soloist

The first time I saw you
I fell in love with your eyes.
From that moment I loved you:
I will love you to the grave.

Come close, my beloved,
Salvation of my life,
Speak to me and reveal
The secrets of your life.

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Texas Early Music Project · Rahelica baila

Rahelica baila 
Instrumental

Rahelica baila is based on a simple children’s song and we have added some polyphony and improvisations to add to the fun!

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There! We hope you liked that – there will be more!! 

Thanks for your support, again! We will be back in approximately exactly two weeks with a brand-spankin’ new Taco for you! 

As always, stay safe, stay sane! We’re trying to help.  

Danny

Taco Tuesday #114: My Love is Like a Crispy, Crunchy Taco

Hi, y’all! It’s been two weeks–it’s time for some Musical Tacos! 
Or, as Robert Burns might have said if he spoke Scots Gaelic, “Tha an t-àm ann airson Tacos Ciùil!”

Yes, our Celtic concert is coming up soon, so here’s a little preview for our most recent Celtic concert, in 2022. You can absorb all of these and not spoil your appetite: None of these will be performed at this year’s concert!  As before, my primary sources for these evocative, romantic, and sometimes scandalous ballads have remained constant over the last thirty years. Orpheus Caledonius: Or, A Collection of Scots Songs set to musick by W. Thomson is a collection of 100 songs published by William Thomson in London in 1725 and 1733. Thomson grew up in Edinburgh and as the son of a professional musician, he was surrounded by characteristic Scots songs. His nostalgia for the songs of his youth compelled him to collect and publish some of the more fashionable and popular ones. The Scots Musical Museum, originally intended as a collection of all the existing Scots songs, contains 600 ballads in six volumes published between 1787 and 1803 by James Johnson (c. 1750–1811) with no small assistance from Robert Burns (1759–1796). Most of the poems are anonymous, but Burns contributed more than 150 poems and curated or edited many others.

Celtic Crossings

February 12 & 13, 2022

Texas Early Music Project · The Banks of Devon

The Banks of the Devon 🙞 Poem by Robert Burns (1759–1796); Tune: T’hannerach dhon na chri; 
The Scots Musical Museum II: 157, 1788; arr. D. Johnson 1999, 2021
Jenifer Thyssen, soloist

According to the poet, “These verses, were composed on a charming girl, a Miss Charlotte Hamilton, who is now married to James M’Kitrick Adair, Esq., physician. She is sister to my worthy friend Gavin Hamilton, of Mauchline, and was born on the banks of Ayr…she was at the time I wrote the lines, residing at Herveyston, in Clackmannanshire, on the romantic banks of the little river Devon. I first heard the air from a lady in Inverness and got the notes taken down for this work.” [The Book of Scottish Song, ed. Alexander Whitelaw, p. 209.]

How pleasant the banks of the clear-winding Devon,
⁠With green-spreading bushes, and flowers blooming fair!
But the bonniest flower on the banks of the Devon
⁠Was once a sweet bud on the braes of the Ayr.
Mild be the sun on this sweet blushing flower,
⁠In the gay rosy morn, as it bathes in the dew;
And gentle the fall of the soft vernal shower,
⁠That steals on the evening each leaf to renew!

O spare the dear blossom, ye orient breezes,
⁠With chill hoary wing as ye usher the dawn!
And far be thou distant, thou reptile, that seizes
⁠The verdure and pride of the garden and lawn!
Let Bourbon exult in her gay gilded lilies,
⁠And England triumphant display her proud rose;
A fairer than either adorns the green valleys
Where Devon, sweet Devon, meandering flows.

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Texas Early Music Project · Mary Scott, Queen of Yarrow

Mary Scott, Queen of Yarrow 🙞 Caledonian Pocket Companion, James Oswald, 1745; arr. T. Honey
Therese Honey, harp

Mary Scott, Queen of Yarrow appears in several 18th-century sources; the vocal version in The Scots Musical Museum is quite similar to the version Therese Honey will play from James Oswald’s Caledonian Pocket Companion.

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Texas Early Music Project · Wae is my heart

Wae is my heart 🙞 Poem attrib. to Robert Burns; Scots Musical Museum V: 476, 1796; 
arr. D. Johnson, 1996, 2022
Cayla Cardiff, soloist

The tune to this piece is thought to be a combination of the two older melodies, Will ye go to Flanders and Gala Water. The lyrics to this piece are now attributed to Burns, but there is still a question mark over his involvement. The extent of Burns’s involvement in fragmentary songs which he recovered is often unknown. The poetry of this song, however, is universally acknowledged as beautiful.

Wae is my heart, and the tear’s in my e’e;
Lang, lang joy’s been a stranger to me:
Forsaken and friendless my burden I bear,
And the sweet voice o’ pity ne’er sounds in my ear.

Love, thou hast pleasures, and deep hae I loved;
Love thou hast sorrows, and sair hae I proved:
But this bruised heart that now bleeds in my breast,
I can feel by its throbbings will soon be at rest.

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Texas Early Music Project · I wish you would marry me now

I wish you would marry me now 🙞 A Collection of Scots Reels or Country Dances, Robert Bremner, 1757;
arr. D Johnson, 2019, 2022
Instrumental

This lively reel (also known as George Carnegie’s Strathspey, Inverara Rant, Marry Me Now, The Proposal) was first printed in Robert Bremner’s 1757 anthology. Its popularity is confirmed by other early printings, including the (James) Gillespie Manuscript of Perth (1768).

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Texas Early Music Project · Frennett Hall

Frennett Hall 🙞 Anonymous poem and music; The Scots Musical Museum III: 286, 1790; 
arr. D. Johnson, 2019, 2022
Ryland Angel, Cayla Cardiff, & Joel Nesvadba, soloists

We have now arrived at the Game of Thrones portion of the Taco! Although this song is based on an historical event in 1630, it is undoubtedly romanticized a bit. Lady Frendraught (Elizabeth, a daughter of the 12th Earl of Sutherland) entices two young travelers to ease their journey by staying the night at Castle Frendraught (aka Frennet) of the Crichton family despite a feud between their two families. The travelers, Lord John of Huntly and Gordon of Rothiemay, consent based on Lady Frennet’s promises. Their room is set afire by night, with no survivors. It was never established that this was more than a ghastly accident, but the Gordons and Huntlys were passionately resentful. They took the quarrel to the Privy Council. According to Rosalind Mitchison’s A History of Scotland (1982), the Council “investigated repeatedly, tortured a servant or two for information, executed a hanger-on of no great social status, but failed to gain evidence against Crichton of Frendraught. Dissatisfied, a member of the Huntley clan let in broken men from the Highlands to ravage Crichton land, and for years the northeast was troubled by burnings, looting, and kidnappings.” In terms of feud, this wasn’t notably worse than much of what passed in Scotland; disappointingly enough, there were no dragons involved. The unknown melody, with elements of modal folk music, seems to be from a much earlier time than its 1790 publication.

When Frennet castle’s ivied wa’s thro’ yallow leaves were seen;
When birds forsook the sapless boughs, and bees the faded green;
Then Lady Frennet, vengeful Dame, did wander frae the ha’,
To the wild forest’s dewie gloom, among the leaves that fa’.

Her page, the swiftest of her train, had clumb a lofty tree,
Whase branches to the angry blast were soughing mournfullie: (soughing: sighing)
He turn’d his een towards the path that near the castle lay,
Where good Lord John and Rothemay were riding down the brae.

Swift darts the Eagle from the sky, when prey beneath is seen;
As quickly he forgot his hold and perch’d upon the green:
“O hie thee, hie thee! Lady gay, frae this dark wood awa’:
Some visitors of gallant mien are hasting to the ha’.”

Then round she row’d her silken plaid, her feet she did not spare,
Until she left the forest skirts alang bowshot and mair.
“O where, o where, my good Lord John, O tell me where you ride?
Within my castle wall this night I hope you mean to bide.

Kind nobles, will ye but alight, in yonder bow’r to stay?
Saft ease shall teach you to forget the harness of the way.”
“Forbear entreaty, gentle dame, how can we here remain?
Full well you ken your Husband dear was by our Father slain. (ken: know)

The thoughts of which with fell revenge your angry bosom swell:
Enrag’d, you’ve sworn that blood for blood should this black passion quell.”
“O fear not, fear not, good Lord John, that I will you betray,
Or sue requittal for a debt which Nature cannot pay.”

Bear witness, a’ ye pow’rs on high, ye lights that ’gin to shine,
This night shall prove the sacred cord that knits your faith and mine.
The Lady slee, with honey’d words, entic’d thir youths to stay: (slee: sly; thir: those)
But morning sun nere shone upon Lord John nor Rothemay.

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Ok! I hope your appetite has been whetted (?) for more! We’re so excited to share more Celtic music (and more Robert Burns poetry) with you at our Celtic Memories concert on February 22-23! Tickets are available now! Check out our Director’s Blog for more details.

We will be back in approximately exactly two weeks with a brand-spankin’ new Taco for you! As always, stay safe, stay sane! We’re trying to help.  

Danny

Taco Tuesday #113: Taco-mus Maximus

Hi, y’all! It’s been two weeks–it’s time for some Musical Tacos! 

Or, as Maximilian I might have said, “Es ist Zeit für Musikalische Tacos!”

Yes, we’re returning to last week’s concert from 2022. In case you missed the last Taco, here’s a short version of the back-story: “Maximilian I (1459-1519) is the primary subject. Learning about Max was enlightening, to say the least: He was King of the Romans from 1486 and Holy Roman Emperor from 1508 until his death, during a time of constantly shifting allegiances and with many enemies. Max is also known as an essentially modern, innovative ruler who carried out important reforms and promoted significant cultural achievements. He had notable influence on the development of the musical tradition in Austria and Germany; several historians credit Maximilian with playing the decisive role in making Vienna the music capital of Europe. He initiated the Habsburg tradition of supporting large-scale choirs, which he staffed with brilliant musicians like Paul Hofhaimer, Heinrich Isaac, and Ludwig Senfl. At least for our musical concerns, we can presume to say that there is much to praise about the Emperor.”

But he had kids who followed his traditions even while he was alive: Maximilian, the power of the Habsburgs in most of Europe by marrying Mary of Burgundy in 1477. They had two children who survived beyond infancy: Philip I of Castile (1478–1506), also known as Philip the Handsome, and Margaret of Austria (1480–1530). Philip was ruler of the Burgundian Netherlands and was the titular Duke of Burgundy from 1482 to 1506, as well as the first Habsburg King of Castile (as Philip I) for a brief time. Margaret was Governor of the Habsburg Netherlands from 1507 to 1515 and again from 1519 to 1530. Both of them were supporters of the arts, especially music.

Philip’s Burgundian chapel had some of the most distinguished musicians in Europe, including Pierre de la Rue, Alexander Agricola, and Josquin des Prez. Margaret made her home in Mechelen, halfway between Brussels and Antwerp. She was arguably the most accomplished musician of the Habsburg family as a singer, a fine keyboard player, and possibly a composer. Margaret possessed a rich library consisting mostly of missals, poetry, historical, and ethical treatises, which included the works of Christine de Pizan and the famous illuminated Très Riches Heures du duc de Berry. She possessed several chansonniers, songbooks, which contained works by Josquin des Prez, Johannes Ockeghem, Jacob Obrecht, and Pierre de la Rue, who was her favorite composer.

And now to some music.

When Max was Emperor:
Musical Splendor for the Holy Roman Court

October 8 & 9, 2022

Texas Early Music Project · Mater patris et filia

Mater patris et filia 🙞 Antoine Brumel (c. 1460–c. 1512–13?); A. Brumel: Collected Works, ed. B. Hudson,
Corpus mensurabilis musicae, Neuhausen nr. Stuttgart: American Institute of Musicology, vol. 5, pp. 63–64, 1969–72
Singers

Antoine Brumel was the most famous of the French-born composers of the Franco-Flemish school. He was one of the most celebrated singers of his day, with “a new style of singing: sweet, pleasant, devout, and beautiful” (Éloy d’Amerval, Le Livre de la deablerie, 1508). After working for Margaret’s husband (Philibert II, Duke of Savoy), Brumel was master of the choristers at Notre Dame from 1498–1501. This three-voice motet alternates close imitation polyphony with completely chordal sections to great effect and it was the basis for Josquin’s Missa Mater patris et filia. One of the more unique aspects of Brumel’s style is his repetitive technique, which can be heard in the “Maria, propter filiam…”

Mother of your father, and daughter,
Source of joy of women,
Wondrous star of the sea, hear our sighing.
Queen of the court of the heavenly vault,
Mother of mercy, in this valley of distress,
Mary, by means of your Son, bring us healing.
Good Jesus, Son of God, hear our prayers,
And by our prayers grant us healing. Amen.

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Texas Early Music Project · Tous les regretz (Brumel)

Tous les regretz 🙞 Antoine Brumel; Brussels, Album de Marguerite d’Austriche, Bibliothèque royale de Belgique,
B-BR MS 228, ff. 3v.–4r, 1515–1523
Cayla Cardiff, Ryland Angel, David Lopez, & Morgan Kramer

Tous les regretz is an extremely intimate homophonic chanson by Brumel for four voices. It demonstrates his repetition technique, one of the more unique aspects of his style. 

All the sadness that has ever been of this world,
Come to me, wherever I may be.
Take my heart in its deep grief
And cleave it so that my lady may see.

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Texas Early Music Project · Tous les regretz (de la Rue)

Tous les regretz 🙞 Pierre de la Rue (c. 1452–1518; poem by Henri Baude (1415-1490);
Harmonice Musices Odhecaton, vol. 2, no. 35, p. 26, 1502; Album de Marguerite d’Austriche, 
Brussels, Bibliothèque royale de Belgique, B-BR MS 228, ff. 3v.–4r, 1515–1523
Jenifer Thyssen & Ryland Angel, soloists
Mary Springfels & John Walters, bass violas da gamba

Pierre de la Rue, also known by his Flemish name Peter vander Straten and a multitude of other nicknames, was born in the early 1450s in Tournai, in the Hainault province of modern Belgium. He was the least peripatetic of our four composers and the only one who didn’t work in Italy. From 1492, he was a full member of the Confraternity of the Illustre Lieve Vrouwe in ’s-Hertogenbosch and he was a member of the musical establishment of the Grande chapelle of the Burgundian-Habsburg court of Holy Roman Emperor Maximilian. Did we mention that he was Margaret’s favorite composer? La Rue’s version of Tous les regretz, which does have a slightly different text from the one that Brumel set, is constructed similarly, employing imitation and mode shifting.

All remorses that torment the hearts,
Come to mine and settle in it
To shorten the rest of my life;
For I lost her, who was filled
With good habits and perfect qualities.

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Texas Early Music Project · Circumdederunt me gemitus mortis

Circumdederunt me gemitus mortis 🙞 Heinrich Isaac; Polyphonic Introit for Septuagesima Sunday
 München: Bayerische Staatsbibliothek, D-Mbs Mus. MS 39, ff. 89v–92r, c. 1510
Singers

Heinrich Isaac was in Konstanz in 1508 for the Reichstag there and part of his duties included providing music for the Imperial court chapel choir. While he was there, he received a commission from the Cathedral in Konstanz to set many of the Propers of the mass unique to the local liturgy. The result was the creation of the Choralis Constantinus, a huge anthology of over 450 chant-based polyphonic motets for the Proper of the Mass. After the deaths of both Maximilian and Isaac, Senfl, who had been Isaac’s pupil as a member of the Imperial court choir, gathered all the Isaac settings of the Proper and placed them into liturgical order for the church year. The motets remain some of the finest examples of chant-based Renaissance polyphony in existence. It was published in Nürnberg in three volumes in 1550–1555, more than thirty years after Isaac’s death. Among them is Circumdederunt me gemitus mortis, the Polyphonic Introit for Septuagesima Sunday: the ninth Sunday before Easter, the third before Ash Wednesday.

Introit:
The sorrows of death have assailed me,
The pains of hell have encompassed me:
And I called upon the Lord in my distress,
And from his holy temple he heard my voice.

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We will return soon to this concert, but in the next couple of Tacos we’ll prepare you for the upcoming Celtic concert on Feb. 22-23 (have you gotten your TICKETS yet?). The blog for that much loved concert (well, we love it!) is coming up at the end of the week. Check out our Director’s Blog here soon!

We are also less than a week away from our Midwinter Madrigal Sing! Let madrigals warm your wintery heart on Monday, Feb. 3 with special guest conductor Trevor Shaw from Inversion Ensemble sharing the podium with me. Come sing madrigals with other early music buffs. No experience required! More details HERE!

Stay safe, stay sane! We’re trying to help. 

Danny

Happy Birthday Robert Burns!

…A Month Belated

Portrait of Robert Burns by  Alexander Nasmyth, 1787, Scottish National Portrait Gallery.

I mean…we could have had our Celtic concert during his actual birthday week, but I’m afraid that would have interfered with the famous and fabulous Burns Night celebrations that some of you have, and that just wouldn’t do. We decided that giving you almost a whole month to recover from your haggis and Scotch whisky was the considerate and compassionate thing to do so that you could enjoy our concerts better without that pounding ache in the space between your ears. [Extra points: What movie is that phrase from? Hint: It has nothing to do with Scottish Ballads or Irish dances. That I recall, at least.]

At any rate, Burns contributed a lot of poems to this concert, either in whole or by doing some minor (sometimes major) editing of pre-existing poems. Speaking of Scottish poems, do you know the correct pronunciation of the word ‘poem’ in Scotland? It’s a keeper!

Speaking of keepers, TEMP’s Celtic concerts date back to my UT EME days and we’ve been doing a couple of these Scottish ballads since then. But you can read more about TEMP’s history with the ballads in the concert blurb below. I need to go find some pain relievers because I’ve got an empathy headache just thinking about you folks recovering from Burns Night.

See you at the concert, I hope!
—Danny

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Celtic Memories

Saturday, February 22, 2025, at  7:30 pm
&
Sunday, February 23, 2025, at 3:00 pm
Redeemer Presbyterian Church, 2111 Alexander Avenue

Hosted by Arts on Alexander on the campus of Redeemer Presbyterian Church, 
2111 Alexander Ave, Austin, TX 78722.
Visit the Arts on Alexander 2024-2025 events on the AoA website.

Admission $35 general; $30 seniors (60+); $5 students with ID
Tickets available in advance online or by cash, check, or credit card at the door.

For more information, email boxoffice@early-music.org.

Scottish ballads from the 18th century have been a part of TEMP’s core repertoire for decades. With roots dating back to performances with the UT Early Music Ensemble in the mid-90s, TEMP presented Celtic concerts focused mostly on Scottish ballads in 2007, 2008, 2013, 2019, and 2022 and they were the subject of our only ‘studio’ recording, The Bonny Broom and Other Scottish Ballads, from 1999.

With musical sources dating from the 16th–18th centuries featuring poems by Robert Burns and a few other poets, both known and unknown, the concert will give wonderful insight into the culture that created this very popular and accessible music. Even the English held Scottish ballads in high esteem and our own Benjamin Franklin adored these songs and considered them the height of great art. Scottish ballads are renowned for their evocative, heartfelt, and humorous aspects, but also for their beautiful and expressive melodies.

Some of the songs provide a glimpse into historical or cultural events, such as The Bonny Earle of Murray and There’ll never be peace till Jamie comes hame. Others create immediately visceral emotions with strong connections to the land (The Birks of Invermay) and strong connections to the human condition (The Winter of Life). And there are plenty of love songs to go around, including Etrick Banks, And I’ll kiss thee yet, yet, and Ae Fond Kiss! There will also be stirring reels and other dance pieces from Ireland and Scotland as well, such as old favorites Muileann Dubh, The Reel of Tulloch, and more.

Click on the CD images below to listen to audio teasers!

TEMP’s singers for this concert are Jenifer Thyssen, Cayla Cardiff, Jenny Houghton, Page Stephens, Jeffrey Jones-Ragona, Ryland Angel, Holt Skinner, and Joel Nesvadba. Harpist Therese Honey will perform a solo or two and will be joined by TEMP core players Marcus McGuff (flute), Bruce Colson (violin), John Walters (mandolin), Héctor Torres (lutes and guitar), Carolyn Hagler (cello), and kantele player Viktoria Nizhnik from Karelia! Hey, people traveled a lot back in those days, too.

Music for the heart and soul and feet (dancing in your seats)
BYO haggis.

TEMP 2024-2025 Season: Reconnections

Taco Tuesday #112: Tacos to the MAX

Hi, y’all! Here we are, firmly ensconced in 2025, so I guess we’d better start making Musical Tacos for your low-cal delight! Making its first visit as provider of tacos, we have this concert from 2022, in which Maximilian I (1459-1519) is the primary subject. Learning about Max was enlightening, to say the least: He was King of the Romans from 1486 and Holy Roman Emperor from 1508 until his death, during a time of constantly shifting allegiances and with many enemies. Many terrible things were done in his name for the sake of the Empire. And yet, he is also known as an essentially modern, innovative ruler who carried out important reforms and promoted significant cultural achievements. He had notable influence on the development of the musical tradition in Austria and Germany; several historians credit Maximilian with playing the decisive role in making Vienna the music capital of Europe. Under his reign, the Habsburg musical culture reached its first high point and he had within his service some of the finest musicians in Europe. He initiated the Habsburg tradition of supporting large-scale choirs, which he staffed with brilliant musicians like Paul Hofhaimer, Heinrich Isaac, and Ludwig Senfl. At least for our musical concerns, we can presume to say that there is much to praise about the Emperor.

When Max was Emperor:
Musical Splendor for the Holy Roman Court

October 8 & 9, 2022

Texas Early Music Project · Im maien

Im Maien 🙞 Ludwig Senfl (c. 1486–1543); 
Ulm: Münster Bibliothek, D-Usch 235 (c) tenor partbook, ff. 31v–32v, late 16th c.–early 17th c.
Gil Zilkha, soloist, with viols, sackbuts, lutes, & vocal ensemble

Born in Basel, Ludwig Senfl joined the choir of the Hofkapelle (court chapel) of Emperor Maximilian I in Augsburg in 1496. Through the Hofkapelle, he studied composition with Heinrich Isaac, who was already an acclaimed master, hence the influences of Franco-Flemish techniques that appear in Senfl’s secular and sacred works. Here we have a set of songs, or lieder, that illustrate several of the techniques and styles in Senfl’s toolbox for lieder. In many of these songs, homophonic and polyphonic elements often mix without restraint, but the first, Im Maien, is a homophonic, or chordal, song that strikes one as a folksong, perhaps because of the rural setting in the text. It is also a tenorlied, meaning the melody is in the tenor voice, a very popular genre of the day. The songs with a tenor melody are often preexisting, familiar ones, which also lend to the folksong effect. 

In May one hears the roosters crow:
“Be glad, you beautiful brown-haired girl;
Help me sow the oats!”
“You are much dearer to me than the farmhand,
I shall give you your due.”
Ding, my dear, dong.
“I delight in you all around and completely,
When I come to you in friendship,
Behind the oven and all around.
Be glad, you beautiful brown-haired girl;
I am coming to you!”

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Texas Early Music Project · Innsbruck, ich muss dich lassen

Innsbruck, ich muss dich lassen 🙞 Heinrich Isaac (c. 1450–1517), Ein auszug guter alter und neuer Teutsche
Liedlein…, Georg Forster, ed., vol. 1, no. 36, Nürnberg, 1539
Jenny Houghton, Ryland Angel, & David Lopez, soloists, with Bruce Brogdon, lute
With viols, lutes, & vocal ensemble

After this raucous piece by Senfl, we have a beloved piece by Heinrich Isaac, who was Senfl’s primary composition teacher. Isaac ranks as one of the most eminent composers of his generation, along with Obrecht and Josquin. One of the first true musical cosmopolitans, Isaac combined German, French, and Italian elements in his musical vocabulary. Born about 1450 in Flanders, Isaac spent a good portion of his life away from his homeland, whether in the service of the Medici in Florence or later in the service of Emperor Maximilian I of the Holy Roman Empire.

Isaac’s best-known secular work may be Innsbruck, ich muss dich lassen, of which he made at least two versions. It is possible that the melody itself is not by Isaac, and only the setting is original. We present it in three styles; first, as a lute song with the original intabulation and then as a tenorlied, in which the two middle voices have the melody in imitation. The third verse is the original four-voice setting, which is mostly homophonic with the melody in the top voice with some imitative elements. According to Sara Schneider, “Emperor Maximilian is often credited with writing the verses that Isaac set to music. This may be apocryphal; but Maximilian was known to write poetry, and these three simple stanzas can be seen as a summing up of his complicated life. Innsbruck and Tyrol had a special place in his heart, since Tyrol was the first territory he ruled as Landesfürst (territorial prince). Tyrolean mines at least partially alleviated his cash-strapped existence. He could also relax and unwind there with his favorite leisure activities: hunting and fishing. And knowing his fondness for the ladies, he probably comforted a heartbroken sweetheart with promises of eternal devotion every time he left town.”

Innsbruck, I must leave you,
For I am traveling the road to a foreign land there.
My joy is taken from me,
And knowing not how to get it back,
I will be in misery.

I am burdened with great sorrow,
That I alone do lament
To my dearest sweet love.
O my love, leave me not bereft
Of compassion in your heart
For I must part from you.

My comfort above all other women,
I remain yours forever,
Always faithful, in true honor.
And now, may God protect you,
Keep you in perfect virtue
Until I return.

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Texas Early Music Project · Quodlibet: Maria zart, von edler Art/ Maria, du bist Genaden voll

Quodlibet: Maria zart, von edler Art/ Maria, du bist Genaden voll 🙞 Ludwig Senfl; 
Rome: Biblioteca Apostolica Vaticana, V-CVbav Ms. Vat. Lat. 11953, ff. 45v.–47r, c. 1515–1530
Joel Nesvadba, soloist, with viols & lutes

Next we have a quodlibet! What’s that, you might wonder! The term is most frequently applied to a musical piece that takes several different tunes, usually tunes that are well known to their original audience, and mixes them together, usually in some clever contrapuntal way: it’s really a mash-up, one of favorite things! Maria zart, is a devotional song favored in the Tyrol; it was a popular tune that was set by several composers. In fact, Jacob Obrecht composed a four-voice mass based on the melody: Missa Maria zart, tentatively dated to around 1504. It requires more than an hour to perform, it is one of the longest polyphonic settings of the Mass Ordinary ever written, and is considered to be among Obrecht’s finest works. Thankfully, for our purposes Senfl’s setting is much shorter. The other tune in this quodlibet is performed on tenor viol, in long notes, like the sung text. The higher of the two bass viols and the treble viol both provide active countermelodies. 

Gentle Mary, of noble nature,
A rose without thorns;
By your power you have returned
What had been long lost through Adam’s fall.
You have been chosen by Saint Gabriel’s promise.
Help that my sin and guilt may not be avenged.
Procure my grace,
For there is no consolation without You.
Gain mercy for me at the end.
I pray to You: turn not away from me at my death.

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Texas Early Music Project · Das Geläut zu Speyer

Das Geläut zu Speyer 🙞 Ludwig Senfl; Zurich: Zentralbibliotek, CH-Zz Car.V.169d partbooks, 
ff. 63r–64r, 1552–1553
Tutti

Of all of Senfl’s various compositional techniques, text-painting is not one that he overused. In fact, the next piece for six parts might be his only example. The voices all have different texts in addition to imitating the sounds of ringing bells; the printing of all the texts would take up almost two pages of texts in these notes, and since the piece will be finished in about 110 seconds and you would not be able to read all the texts in that time, we decided to forego printing them. If you are curious, you can find them HERE.

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Now, you might be wondering what interested us in Max and his musicians in the first place. Well-known KMFA announcer and producer Sara Schneider wrote a book about Maximilian and his court, so we knew that would provide lots of inspiration for repertoire. Sara’s book, The Eagle and the Songbird, is available on Amazon and is also usually available for sale at TEMP concerts. I recommend it! 

So that’s it, our first Taco of 2025! We will come back to this concert soon; it has plenty of ingredients for another tasty taco. 

Hey, what are you up to in February? How about some TEMP to liven up your month? We’ve got our first TEMP-Oh Community Madrigal Sing on Monday, Feb. 3 with special guest conductor Trevor Shaw from Inversion Ensemble sharing the podium with me. Come sing madrigals with other early music buffs. No experience required! More details HERE!

We’ve also got our wonderful Celtic Memories concert coming up on Feb. 22-23. Scottish ballads from the 18th century have been a part of TEMP’s core repertoire since the late 90s. With musical sources dating from the 16th–18th centuries and poems coming from an exciting roster of known and unknown poets, featuring poems by Robert Burns, the concert will give wonderful insight into the people who created this very popular and accessible music. Irish instrumentals by Turlough O’Carolan and others complete the memory! Saturday, February 22 at 7:30pm and Sunday, February 23 at 3:00pm at Redeemer Presbyterian Church. Get tickets HERE!

Stay safe, stay sane! If you’re wondering, blue is my favorite color. 

Danny

Taco Tuesday #111: Festive Tacos

Hi, y’all! I was under the weather this last week, so we weren’t able to gather up the ingredients for a lovely and tasty Musical Taco for you, but here it is! This one, from 2023, and the previous Taco, from the 2022 An Early Christmas concert, will give you a nice sampling from TEMP’s last two holiday concerts without repeating anything that was on the 2024 edition. If you missed the 2024 concert, the video will be out soon. Well, sometime in the first quarter of 2025… Christmas in March!

Joy and Light: Delights of the Season

December 9 and 10, 2023

Texas Early Music Project · Il est né le divin enfant

Il est né le divin enfant 🙞 France, traditional, 18th century; arr. D. Johnson (2009; rev. 2023)
All

Il est né le divin enfant was first printed in the mid-19th century as an ancien air de chasse (old hunting song) and the text was first published twenty-five years later, in 1875–1876. Its rustic nature and hunting song background lends itself to a rather rowdy arrangement, with the instruments imitating bagpipes, hurdy-gurdies, and percussive rhythmic sounds. There’s a little chaos involved with all the wonderment! 

He is born the divine child; Play oboe, resonate bagpipe.
He is born the divine child, let’s all sing his accession.

For more than four thousand years the prophets have promised us,
For more than four thousand years; We’ve been waiting for this happy time.
Refrain: He is born the divine child…

Ah! He is so beautiful, so charming! Ah! His grace is such perfection!
Ah! He is so beautiful, so charming! He is so sweet, the divine child!
Refrain: He is born the divine child…

O Jesus, o all powerful King, Such a little child you are,
O Jesus, o all powerful King, Rule completely over us.
Refrain: He is born the divine child…

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Texas Early Music Project · Balooloo, my lammie (2023)

Balooloo, my lammie 🙞 Scotland, traditional; 17th century; text by Carolina Nairne?, 1766–1845;
arr. D. Johnson (2007; rev. 2023)
Erin Calata, soloist & Marcus McGuff, traverso

I was introduced to this hypnotic lullaby, Balooloo, my lammie, by Jeffrey Jones-Ragona, as part of the “Celtic Christmas at the Cathedral” concerts in the early 2000s. His beautiful arrangement, along with the enchanting melody and evocative harmonies, enticed me to make a setting as well, incorporating a countermelody or two to accentuate the rocking motion of the cradle.

Balooloo, my lammie, balooloo my dear, sleep sweetly wee lammie; ain Minnie is here.
The King of Creation now lies on the hay, with Mary as mother, so prophets did say.

This day to you is born a wee Child, of Mary so meek, a maiden so mild.
That blessed Bairn so loving and kind, is lulled by sweet Mary in heart and mind.

And now shall Mary’s wee little Boy forever and aye be our hope and joy.
Eternal shall be His reign here on Earth, rejoice then, all nations, in His holy birth.

Sleep soundly, sweet Jesus, sleep soundly my dear, while Angels adore and watch Thee here.
God’s Angels and Shepherds, and kine in their stalls, and Wise Men and Joseph, Thy guardians all.

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Texas Early Music Project · Drive the cold winter away (2023)

Drive the cold winter away 🙞 England, traditional; arr. John Playford, 1623–c.1687,
The English Dancing Master (1651); arr. D. Johnson (2011; rev. 2023)
David Lopez, soloist

Drive the cold winter away (first known as When Phoebus did rest), was set and arranged by John Playford for his 1651 country dance primer, The English Dancing Master. Related versions of it are also found in the Samuel Pepys collection of broadsides under the title “A pleasant Countrey new ditty: Merrily shewing how to drive the cold winter away.” It has remained one of the more popular English ballads in its several incarnations.

All hayle to the days that merite more praise then all the rest of the year;
And welcome the nights, that double delights as well for the poor as the peer:
Good fortune attend each merry man’s friend that doth but the best that he may,
Forgetting old wrongs with Carrols and Songs to drive the cold winter away.

Thus none will allow of solitude now, but merrily greets the time,
To make it appeare of all the whole yeare that this is accounted the Prime,
December is seene apparel’d in greene and January, fresh as May,
Comes dancing along with a cup or a Song to drive the cold winter away.

This time of the yeare is spent in good cheare, kind neighbours together to meet;
To sit by the fire, with friendly desire, each other in love to greet:
Old grudges forgot are put in a pot, all sorrows aside they lay;
The old and the young doth carrol this Song, to drive the cold winter away.

When Christmas tide comes in like a Bride, with Holly and Ivy clad,
Twelve dayes in the yeare much mirth and good cheare in every household is had:The Countrey guise is then to devise some gambols of Christmas play;
Whereas the yong men do best that they can to drive the cold winter away.

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Texas Early Music Project · Azeremos una merenda

Azeremos una merenda 🙞 Sephardic (Adrianopolis, present-day Edirne, Türkiye); Antología de liturgia
Judeo-Española, ed. Isaac Levy, División de Cultura del Ministerio de Educación y Cultura, 1969, vol. 4;
arr. D. Johnson (2023)
Eric Johnson, Joel Nesvadba, David Lopez, & Morgan Kramer, soloists

The Ladino song, Azeremos una merenda, is a festive piece describing the preparation of a Chanukah feast for the final day of Chanukah, particularly the gathering of flour and oil to make burmuelos (also bimuelos or buñuelos), little doughnuts similar to beignets. If you’d like to join in the spirit of the holiday, a recipe for burmuelos can be found on Tori Avey’s website: https://toriavey.com/hanukkah-bunuelos.

Let us have a party!
–What time? –I will tell you.
My love, oh my!

One pours the oil from the jar, ten measures.
My love, oh my!

Another takes the flour from the sack, ten measures.
My love, oh my!

To make burmuelos during the days of Chanukah.
My love, oh my!

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Texas Early Music Project · Three Prayers

Three Prayers 🙞 based on Francisco de Peñalosa, c. 1470–1528; D. Johnson (2004, rev. 2022)
Page Stephens & Jenny Houghton, soloists

For our final Taco ingredient of 2024, we present our prayer for tolerance, peace, and understanding among all cultures with the hope of ushering joy and light in these turbulent times. In the Medieval and Renaissance tradition of borrowings and contrafactum, the prayer was created using texts taken from the Tanakh, the New Testament, and the Qur’an, each offering a similar message of peace among humanity. Tom Zajac arranged Francisco de Peñalosa’s beautiful 6-voiced Por las sierras de Madrid, which incorporates pre-existing folk tunes, modifying each musical line by small degrees to fit the style of each particular culture. In 2004, I created the choral version, which uses the idea of Tom’s arrangement, but which better utilizes the capabilities of our singers. It has been altered a few times over the years.

New Testament: Matthew 5:9
Blessed are the peacemakers:
For they shall be called the children of God.

Tanakh: Psalms 133:1
How good it is, and how pleasant,
When we dwell together in unity.

Qur’an: Surah 60: Ayat 7
It may be that Allah will implant
Love between you and those
With whom you have had enmity.

Joy and Light
Saturday, December 14, 2024 at 7:30pm at St. Martin’s Lutheran Church
Sunday, December 15, 2024 at 3:00pm at Redeemer Presbyterian Church

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So that’s it, our final Taco of 2024! We know it’s a little larger than usual, but, you know – it’s special! May you have a festive, safe, comforting holiday season. 

Hey, if you’re looking for something to watch with the family over the holidays, how about checking out the online video of our Paris City Limits concert from this past September? It was such a great concert—dig in! Bon Appétit!

WATCH PARIS CITY LIMITS
VIEW THE ONLINE PROGRAM

And stay tuned for our next concert, Celtic Memories, on February 23-23, 2025.

Stay safe, stay sane! If you’re wondering, blue is my favorite color. 

Danny