Programs
Native Son - Works by Vicente Lusitano and his contemporaries
Bi-racial composer Vicente Lusitano, referred to as a “pardo” (Portuguese for mulatto), is believed to have been born to a white father and a Black mother in Portugal sometime around 1522. He was ordained as a Catholic priest, spent time in Rome, and environs where he became a well-respected music teacher and accomplished theorist. Lusitano wrote a treatise on improvising counterpoint which is believed to be one of the most thorough and detailed methods but was consistently overlooked by musicologists. It was also not possible for Lusitano (given his ethnicity) to secure the support of a patron which made it quite difficult for him to achieve the status he envisioned for his career. At some point in 1556 he converted to Protestantism, ended up in Württemberg, got married and sought refuge with Christoph, Duke of Württemberg and that is the last we hear of him. We will explore his vocal works along with the composers he may have encountered along the way.
Living Dangerously! Strings on Fire in 17th Century Italy
Whether on the run from the law or a jealous husband, revolutionizing musical style or instrumental technique, composers in 17th century Italy lived on the edge and composed with heart on sleeve. The musicians of Abendmusik go out on a limb and relish the highs and lows of Rosenmüller, Uccellini, Castello, Bertali, Strozzi, Stradella, and more.
Claire Smith and Vita Wallace, violins; Dan McCarthy, tenor viola; Pat Neely, viola da gamba; Richard Kolb, theorbo and baroque lute.
In Nomine
Abendmusik traces the development of a popular polyphonic instrumental form in England called "In nomine" from the 16th century composer John Taverner, through restoration composer, Henry Purcell. Composers featured in this concert include, John Taverner, John Bull, Robert Parsons, Christopher Tye, Alfonso Ferrabosco, Orlando Gibbons, John Ward, John Jenkins, William Lawes, Henry Purcell, and more.
The Sacred and the Prophane - Early German Baroque
In 1517, Martin Luther, a young priest, nailed to the door of All Saints’ Church in Wittenberg, Germany a series of criticisms of the Catholic Church entitled, Ninety-Five Theses. Within weeks his critique of the church’s practices went “viral” and by 1518, his theses had reached the entire European continent – ushering in the Protestant Reformation and establishment of the German Evangelical Lutheran Church. The church became a prominent religious institution and within the framework of the service a number of musical compositions, based on devotional texts, were included under the heading of sub communione.
We are programming vocal works from this genre including compositions by Franz Tunder, Johann Rudolf Ahle, Leopoldus I, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Johann Christoph Bach, and more.
Derek Lee Ragin will join us as a guest soloist for this program.
Maister Byrd, "Sweetness, Repose and Recreation"
William Byrd was one of the most prolific composers during the Elizabethan and Jacobean periods. Byrd along with his contemporary Thomas Tallis were awarded a monopoly on publishing by Queen Elizabeth I and he did not disappoint. Byrd contributed to the Cantiones Sacrae and published his own collection, "Songs of Sundrie Natures,” "Psalmes, Songs, and Sonnets” and instrumental fantasies composed for viols. His compositions make up a robust collection of works which came to define the golden age in English music. We will present fantasias in 3, 4, 5, and 6 parts.
Lachrimae or Seaven Teares Figured in Seaven Passionate Pavans and several other dances by John Dowland Bacheler of Musicke
There is no doubt that one of the most popular melodies associated with the Elizabethan period is John Dowland’s setting of “Lachrimae” or “Flow My Teares.” The descending 4-note motive has, over time, come to symbolize sadness and melancholy and has been adopted by composers who flourished in the Renaissance period through the modern age. Dowland published his collection, “Lachrimae or Seaven Teares Figured in Seaven Passionate Pavans,” around 1605 when he was in the service of the King of Denmark, Christian IV. He dedicated the collection to Christian’s sister Anne who, upon her marriage to James I, became Queen of Scotland, England, and Ireland.
“The seven pavans that begin Lachrimæ are among the best-known and best-loved pieces of instrumental music written before the eighteenth century. Their serene beauty speaks for itself, yet they also raise many questions. Why are there seven of them? How are they related? Do they contain ideas borrowed from other composers? Were they intended to be performed as a cycle? What is the significance of the Latin titles? Do they [the titles] have any bearing on their musical character? How does the cycle exemplify the Elizabethan cult of melancholy?”
– Peter Holman, Dowland: Lachrimae (1604), Cambridge Music Handbooks, Cambridge University Press, Cambridge, 1999, p. 36.
Join Abendmusik as it explores the music from this collection, addresses the questions about its provenance and place music history, and Dowland’s relationship with Denmark and England, which appears to have been more than just an artistic one.

Roman Rarities
After the disaster of the sack of Rome in 1527 the Popes were intent on seeing the city rebuilt in every sense. They and competing wealthy families bestowed lavish patronage, so that Rome in the 16th and 17th centuries became a major cultural capital. Countless artists came from all over Europe, examples being the painters Ribera from Spain and Poussin and Lorrain from France; the work of the Neapolitan sculptor and architect Bernini, primarily associated with Rome, is the epitome of baroque art. Musicians working there who composed instrumental ensemble music include Palestrina, Cavalieri, Gregorio Allegri, Leoni, Frescobaldi, Alessandro Scarlatti, Stradella, Kapsperger, Colista, and Corelli.
Join Abendmusik for a program that reflects the contributions of artists who built the rich cultural center worthy as a destination for a Roman holiday.
Music from the Kroměřiž Archive
Some of the most popular, original and striking of all 5-part music is that of Heinrich Schmelzer, Biber, and Biber's colleague Pavel Vejvanovský. The greatest source of their works in
Guest: John Mark Rozendaal, viola da gamba
Kammermusik for Abendmusik
Works by German composers David Funck, Theodor Schwartzkopf, Johann Michael Nicolai, Cyriacus Wilche, Paul Hainlein, Johann Wilhelm Furchhiem, and Johann Rosenmüller.
Guest: Adam Young, viola da gamba
Veni, vidi, vici Venetia!
An exploration of the Italian composers who were well-known for cultivating the canzona form including, Giovanni Gabrieli, Claudio Merulo, Giovanni Priuli, Francesco Usper, Biagio Marini, G. B. Riccio, Giovanni Picchi, Dario Castello, Massimiliano Neri, and Francesco Cavalli.
Guest: Rosamund Morley, viola da gamba; Dongsok Shin,
Lawes and Jenkyns Guard Thy Rest* Part II
The Age of the Industrial
*Ezra Pound, Canto LXXXI
Kammermusik for Abendmusik
Works by German composers including, David Funck, Theodor Schwartzkopf, Johann Michael Nicolai Johann Hermann Schein, William Brade, Johann Sommer, John Dowland, and Samuel Scheidt.
GEMS Midtown Concert Series
"De Gouden Eeuw" - The Golden Age or the consequences of Dutch Persistence
The “Gouden Eeuw” or Golden Age in the Low Countries during the 17th century was a period in which commerce, education, and the arts and sciences experienced major growth. Abendmusik focuses on the music published in the Netherlands by Dutch and foreign composers who flourished in the Netherlands during this prolific period including, Nicolaus à Kempis, Philippe van Wichel, Johannes Schop, Johann Schenck, Carolus Hacquart, and Peter Philips.
Additional Artists: Adam Young, viola da gamba; Jason
Oh Susanne!
Guillaume Guéroult’s (1507-1569) poem, “Susanne un jour” was first set as a chanson by Didier Lupi Second (c.1520-after 1559) and later by Orlando
Lawes and Jenkyns Guard Thy Rest*
The Age of the Industrial
Guest Artist: Mary Springfels, viola da gamba
*Ezra Pound, Canto LXXXI
Italians in Vienna
The rage for Italian music led many northern European courts to import Italian musicians during the course of the 17th century. The first to do this on a large scale was King Zygmunt III of Poland in about 1600, bringing 23 Italians north to form the core of his royal chapel. The classic example, however, is the court of the Holy Roman Emperor in Vienna, where from 1619 Giovanni Priuli, Giovanni Valentini, Orazio Benevoli, Marco Antonio Ferro, Francesco Turini, Pietro Andrea Ziani, Giovanni Battista Buonamente, Antonio Draghi, Alessandro Poglietti, and Antonio Bertali were prominent, even if Monteverdi could not be lured north. They provided music for lavish productions of opera and ballet as well as for the church and chamber. Lewis Baratz (harpsichord) joins the ensemble for this program.
He Nailed It!
Honoring Martin Luther and the 500th Anniversary of the Protestant Reformation
On October 31, 1517, Martin Luther, a young priest, nailed to the door of All Saints’ Church in Wittenberg, Germany a series of criticisms of the Catholic Church, entitled, Ninety-Five Theses. Within weeks his critique went ‘viral” in Germany and by 1518, his theses had reached the entire European continent – ushering in the Protestant Reformation. One hundred years later, Germany was entrenched in a war that would isolate regions politically, religiously and culturally for 30 years. Territories that adopted the Lutheran liturgy followed the service as it was outlined in the Kirchen-Ordungen and Martin Luther provided a Formula Missae in both Latin and German. However, the order of the service was set region by region and eventually, services were conducted in the vernacular. In the Mecklenburg Kirchen-Ordnung of 1650, the statement, Wenn die Predigt
Coprario's Music
Charles, Prince of Wales, considered music a major component of his household. He was a faithful supporter and employer of some of the most eminent English composers of the period including, Alfonso Ferrabosco, Thomas Lupo, Orlando Gibbons, and John Coprario, to name a few. Coprario was so respected by Charles that the household string ensemble bore his name, “Coprario’s Music.” Abendmusik presents the string compositions by the composers in this circle who defined this prolific musical period in English cultural history. Abendmusik will be joined in this program by Rosamund Morley, viola da gamba.
Italy and Iberia – A Blending of Styles
In the cultural sphere of the 16th and 17th centuries, all eyes were on Italy as the center of musical innovation. New harmonic theory along with the art of continuo practice, the introduction of monody and word painting, the art of improvisation or diminution, showcasing instruments in solo. There are Italian composers that come to mind who supported these new forms including, Frescobaldi, Zarlino, Caccini, Monteverdi and Spanish composers who spent time in Italy, most notably, Diego Ortiz who published his treatise on improvisation in Rome in 1553 to Bartolomeo de Selma y Salaverde, a bassoon player and composer who spent time in Venice where he published his Primo Libro Canzoni, Fantasie et Correnti da
The Consorts of William White and his Contemporaries
William White is one of the least well-known composers of anthems and consorts in Jacobean England. He is believed to be a contemporary of Orlando Gibbons, Thomas Tomkins, Thomas Ford, Giovanni Coprario, etc. We know that he was contracted to present at Queen Elizabeth’s funeral and is mentioned by Thomas Mace in “Musick’s Monument” (1676) as a composer of “very Great Eminency, and Worth.” While it is difficult to date his compositions, current scholarship is of the belief that they may have been composed around 1620. These fantasies and
Il vero modo di abbellire – “The True Way to Embellish”
Abendmusik presents Il
Music from the Kroměřiž Archive
Some of the most popular, original and striking of all 5-part music is that of Heinrich Schmelzer, Biber, and Biber's colleague Pavel Vejvanovský. The greatest source of their works in
Aus der Tiefe – "Out of the Depths"
Germany's Cultural Revolution as a consequence of the 30 Years War
“In no other period of its musical history has Germany given more cogent proof of its ability to adopt foreign ideas, in the sense of assimilating them, making them its own, reworking them, and finally refashioning its native inheritance by fusing the latter with what it had newly acquired.” Frederick Blume, “Deutschland,” Musik in Geschichte und Gegenwart.
With politics and religious ethics permeating every facet of life in Germany during the 30 Years War (1618 – 1648), Blume captures the essence of the times in his quote regarding the region’s quest to develop its own national musical style. This program takes a look at a few of the composers who flourished in the German regions, masterful artists who weaved the styles of the Italians, French, Spanish, Dutch, and English into their own, ultimately creating a unified German style and setting the stage for the next generation of German composers.
Includes works by:
Heinrich Schütz
Andreas Hammerschmidt
Samuel Scheidt
Kaiser Leopold I
Johann Rosenmüller
Johann Schop
Rosenmüller in Venice
One of the most talented and accomplished German
Includes works by:
Johann Rosenmüller
Francesco Cavalli
Giovanni Legrenzi
Biagio Marini
Pietro Andrea Ziani
The British Invasion
John Dowland, William Brade
Guests Artists:
Jaqueline Horner-Kwiatek, mezzo soprano, Donald Meineke, tenor, John Mark Rozendaal, viola da gamba.
Includes works by:
Thomas Simpson
William Brade
John Dowland
Peter Phillips
Johannes Schop
Samuel Scheidt
Johann Stephani (Steffens)
Benedict Greebe (Grep)
Poland's Golden Age
Around the year 1600 King Zygmunt III of Poland imported 23 Italian musicians to form the core of his royal chapel. Native Poles were also active, while large areas of present-day Poland were territorially German during this time with a flourishing musical culture, in cities such as Konigsberg, Silesia, and Breslau.
Includes works by:
Giovanni Valentini
Tarquinio Merula
Valentin Haussmann
Daniel Speer
Marcin Mielczewski
Adam Jarzebski