|Duo Seraphim||Juan Esquivel (c. 1563-c. 1614)|
Two seraphim cried out to one another and said: "Holy is the Lord of hosts. The whole earth is full of His glory." (Isaiah, vi, 3)
|Tiento de Registro Alto de 1° Tono||Francisco de Peraza (1564-1598)|
|Louise Lee, organ|
|Sancta et immaculata virgintas||Cristobal Morales (c. 1500-1553)|
Holy and spotless Maidenhood, I know not with what praises to exalt Thee: For He whom the heavens could not contain Thou didst bear in Thy womb. Blessed are Thou among women and Blessed is the fruit of Thy womb.
|Norma Meyer, Andrea Shotkin, Jennifer Edelman, Ron Boucher*, Margaret Broughall, Brent Chivers*, Tim Burr, Klaus Alt, Jon Westergaard|
|*Bass and great bass recorders, with Linda Lombardi, tenor recorder|
|Missa Sancta et Immaculata Virgintas||Francisco Guerrero (1528-1599)|
Kyrie: Lord have mercy, Christ have mercy, Lord have mercy.
|Part II||Gregory Garrett, Tenor and Vihuela|
|Passaua Amor||Louis Milan (c. 1500-c. 1561)|
V.1: Untouched love, I passed you one day, your eyes down, soft and modest. Behind you I passed without noticing.
|Fantasia #1||Louis Milan|
|Pavana #5||Louis Milan|
|Paseavase el Rey Moro||Louis de Narváez (1500-c. 1555)|
V.1: The Moorish King was strolling through the city of Granada; letters were sent unto him telling of Alham'a's fall. Alas my Alham'a!
|Part III||Randa Wouweha, Soprano|
|De Los Alamos Vengo, Madre
Setting for voice and vihuela
Miguel d'Fuenllana (c. 1500-c. 1579)
I have been by the poplars, Mother. I've seen how their branches sway in the breezes. By the poplar trees of Seville, I've seen my beautiful lover.
|De Los Alamos Vengo, Madre |
Setting for voice and piano
|Joaquin Rodrigo (b. 1901)|
|¿De Donde Venis, Amore?||Enriquez de Valderrabano (composed 1547)|
From where have you come, beloved? I know full well where you've been. From where, Lover? I have been a witness. I know just where you've been!
|¿De Donde Venis, Amore?||Joaquin Rodrigo|
|Layali Elouns |
Venetian Nights, a love song
|Fareed el Atrash (composed 1940)|
|Dezilde al Cavallero||Nicholas Gombert (c. 1490-c. 1560)|
Tell the knight not to lament, for I give him my faith -- may he not forsake it. Tell the handsome knight not to lament, for I give him my faith -- may he not forsake it.
|Diferencias sobre el canto del Caballero||Antonio de Cabezón (1510-1566)|
|Louise Lee, organ|
|Louise Lee, organ|
|Salve Regina||Tomás Luis de Victoria (1548-1611)|
Hail, Queen, mother of mercy: our life, sweetness, and our hope hail. To the do we cry, poor banished children of Eve. To the we send up our sighs, mourning and weeping in this valley of tears. Thurn then our Advocate, Thine eyes of mercy toward us; And after this our exile, show unto us Jesus, the blessed fruit of they womb. O kind: O loving: O sweet Virgin Mary.
|Verbum Caro Factum Est||Anonymous, possibly Mateo Flecha (c.1530-1604)|
The Word is made Flesh for the salvation of all. And the Virgin said unto Him: "Light of my life, my Son, what would I not do for You? Yet I have nothing on which to lay You down. O worldly riches! Will you not give some swaddling clothes to Jesus, born here among the animals, as you can see.
Randa Wouweha received a Bachelor's degree in music from Youngstown (Ohio) State University and a Master of Music from the Peabody Conservatory in Baltimore. She has considerable experience in opera and oratorio, has been heard in recital and chamber music performances, and has won several awards. Since moving to the Washington area, Ms. Rouweyha has won the Paul Robeson Vocal Competition and appeared as a soloist with Opera Americana, Opera Theatre of Northern Virginia, masterworks Chorus, the New Dominion Chorale, and other local groups. She presently sings in the Washington Opera Chorus and in February will perform the supporting role of Ruth Putnam in The Crucible with the Washington Opera.
Gregory Garrett is from Joliet, IL, where he studied trumpet and voice. He had full scholarships at the Meadowbrook School of Music, Oakland Conservatory, and the University of South Florida, including the Beverly Sills scholarship for operatic studies at the Roosevelt Conservatory. Greg toured the country with The Spurrlows before signing on with the Chicago Lyric Opera, from which he was drafted into the U.S. Army, where he continues as a member of The Army Chorus. With his interest in early music, he has studied the Lute, Vihuela, Cornetto and recorders. In the past seven years he has been a member of Musica Antiqua and currently a founding member of The Washington Cornett and Sackbutt Ensemble, peforming at the Maryland Renaissance Festival and other early music events in the DC area.
VIHUELA: A plucked instrument of the viol family on which the strings, made of gut, were generally arranged in six or seven courses, each paired in unison. It flourished mainly in Spain in the 15th and 16th centuries. Under the name of "viola," it was also known in Italy and Portugal. Originally the word was applied to various string instruments distinguished according to the method of playing them: vihuela de arco (with a bow); vihuela de pendola or penola (with a quill); vihuela de mano (with the hand). By the 16th century, however, the unqualified therm "vihuela" usually referred to the vihela de mano, also known as the vihuele comun. The intervals of tuning for which almost all surviving music was written are identical with those of the lute, but the body is closer in shape to that of the guitar. The vihuela was short lived and one guess is that much of its music was quite difficult to play, while the guitar was very simple to strum and was taking over among the common folk. Another might be that most of Europe was playing the lute and its music was very prolific.
|The AD HOC Singers|
|Louise Lee, Director|
|Klaus Alt||Bess Ballentine||Alyn Beauchamp|
|Ronald Boucher||Margaret Broughall||Tim Burr|
|Brent Chivers||Nancy Dixon||Jennifer Edelman|
|Hellen Gelband||Beth Kepp||Linda Lombardi|
|Norma Meyer||Carol Pierstorff||Laura Schneider|
|Andrea Shotkin||Jane Takeuchi||Jon Westergaard|
The Ad Hoc Singers, an amateur chamber chorus devoted to traditional choral literature from the fifteenth through the twentieth centuries, has been in existence under the direction of Louise Lee since 1975. They perform regularly at The Lyceum, Anderson House, churches and other locations throughout the area. Good sight readers interested in joining the group should call 703-538-2557 to set up an audition or speak with Ms. Lee after the concert.
Louise Lee is a graduate of Smith College and Indiana University, where she received a Master of Music degree in organ performance, studying with Oswald Ragatz. Ms. Lee performs most often as a piano accompanist. She is organist at Arlington Forest United Methodist Church. Ms. Lee has directed the Ad Hoc Singers since she founded the group in 1975.
We'd like to heartily thank Calvary United Methodist Church for the use of their sanctuary and facilities for this concert.
-Gregory GarrettBy the opening of the sixteenth century, a drastic change had occurred in the religious and cultural faces of Spain; the majority of the Muslim and Jewish populations had either been expelled, put to death, or urged or coerced into conversion to Christianity. The Alhambra, beautiful palace of the Moors in Granada, was taken and occupied in 1492 by the "Catholic Monarchs", Ferdinand and Isabella. Some felt that the Moors had become too commplacent in their luxurious surroundings and were not prepared to resist the conquerors. The Bencerrajes were one of several factions consisting of certain powerful Moorish families, whose infighting led to the weakening of Granada. The romance, or ballad, "Paseavase El Rey Moro" commemorates its passing.