European Music from Before 1700: Claremont Concert Choir, Claremont Treble Singers & HMC Early Music Ensemble

The Claremont Concert Choir and Treble Singers of the Joint Music Program together with Harvey Mudd College’s Early Music Ensemble perform music of the European Middle Ages, Renaissance and Baroque periods with instruments of the time. Works include Hildegard, Machaut, Aleotti, Caccini, Monteverdi, and others.

Harvey Mudd College Early Music Ensemble

Bill Alves, director

J. Winthrop Aldrich; Bill Alves; Jovie Chen, Harvey Mudd ’25; Norah Pack, Harvey Mudd ’25; Devon Tao, Harvey Mudd ’25; Charlie Weismann, Harvey Mudd ’24

The Claremont Treble Singers

Charles W. Kamm, director
Jonathan Johnson, collaborative keyboardist/harpsichord
Lynn Burrows, cello

Soprano 1
Sam Clark, Scripps ’24; Carolina De Salvo, Scripps ’27; Stella Kazanjian, Scripps ’27; Olivia Purdie Leichsenring, Scripps ’27; Katherine Luire, Scripps ’27; Liz Young, Scripps ’27

Soprano 2
Charlotte Forman, Scripps ’27; Angela Jiang, Pitzer ’27; Ellery Kooman, Scripps ’27; Maya Malev, Scripps ’27; Norah Mannle, Claremont McKenna ’27; Rayne McNerney, Scripps ’26

Grace Cheug, Scripps ’27; Leilani Dacus, Scripps ’27; Annika Gauthier, Scripps ’26; Hannah McKie, Scripps ’26; Katelyn Ton, Scripps ’25

The Claremont Concert Choir

Charles W. Kamm, director
Jonathan Johnson, collaborative keyboardist/harpsichord

Larkin Barnard-Bahn, Scripps ’24; Charlotte Dennie, Pitzer ’26; Soleil Laurin, Scripps ’24; Julia Manese, Harvey Mudd ’26; Alex Mauer, Scripps ’24; Josie Nelson, Harvey Mudd ’25; Margot Rosenbaltt, Scripps ’24; Ally Samson, Scripps ’26; Georgia Tai, Harvey Mudd ’27; Selene Ye, Scripps ’27

Ellie Chang, Scripps ’24; Jo Erickson, Scripps ’27; Mia Kronson, Pitzer ’27; Miranda Lau, Harvey Mudd ’26; Alexis Levin, Pitzer ’27; Maggie Mongiello, Scripps ’26; Julia Ng, Scripps ’27; Ella Rasmussen, Scripps ’27; Jenasis Yarrell, Claremont McKenna ’24; Ella Young, Scripps ’24

Grant Ho, Pitzer ’24; Greyson Karis-Sconyers, Harvey Mudd ’26; Gemma Koch, Scripps ’25; Taylor Levinson, Harvey Mudd ’25

Aaron Galper, Harvey Mudd ’25; Rowan Gray, Claremont McKenna ’26; Alan Kapler, Harvey Mudd ’27; Cole Lameyer, Harvey Mudd ’25; Thomas Rose, Claremont McKenna ’27; Aidan Tu, Pitzer ’24; Samuel Winkler, Harvey Mudd ’27; Ruihan (Leo) Yu, Claremont McKenna ’26

Sunday, April 21, 2024, 7 p.m.
Garrison Theater
Scripps College Performing Arts Center

241 East 10th Street, Claremont, CA

A reproduced image of a painting with a text overlay, which reads "The Joint Music Program of Claremont McKenna, Harvey Mudd, Pitzer, and Scripps Colleges presents Music from Before 1700 by Hildegard, Machaut, Aleotti, Caccini, Monteverdi, and others." The painting, which appears in its style to be medieval or renaissance, is of three human figures in feminine clothing. The figure on the left is holding and looking at music notes; the one in the middle is playing a wind instrument and looking downward; and the one on the right is playing a string instrument and looking to their left.


O viridissima virga
Hildegard von Bingen
(c. 1098-1179)

O viridissima virga, ave, que in ventoso flabro
   sciscitationis sanctorum prodisti.

Cum venit tempus quod tu floruisti in ramis tuis;
   ave, ave sit tibi, quia calor solis in te sudavit
   sicut odor balsami.

Nam in te floruit pulcher flos qui odorem dedit
   omnibus aromatibus que arida errant.

Et illa apparuerunt omnia in viriditate plena.

Nunc autem laus sit altissimo.
Hail, o greenest branch, sprung forth in the airy
   breezes of the prayers of saints.

So the time has come that your sprays have
   flourished; hail, hail to you, because the heat of
   the sun has radiated from you like the aroma of balm.

For the beautiful flower sprang from you which gave
   all parched perfumes their aroma.

And they have radiated anew in their full freshness.

Now let there be praise to the highest.

Alleluia – Alle psallite

(Montpellier Codex, mid 13th cent.)
Psallite cum...concrepando psallite cum
Corde voto Deo toto psallite cum
Praise with...the strumming psaltery,
With your wholly devoted heart, praise.

Messe de Nostre Dame: Kyrie
Guillaume Machaut
(c. 1300-1377)
Kyrie eleison
Christe eleison
Kyrie eleison
Lord have mercy
Christ have mercy
Lord have mercy

Two Dances
   Pavane “Die Schlacht”
   Galliard “Mein Herz ist verwundt”
Tielman Susato
(c. 1515- after 1570)
Tielman Susato was a Dutch musician who played a variety of wind instruments in civic bands of the region, but he is best known for his business venture in music publishing. His publications were some of the most popular in Europe during this early period, and he often included his own works of instrumental dances, part songs, and sacred music. Dances of the period were usually in pairs, with a slower duple-meter “pavane” followed by a quick triple-meter “galliard.” Unlike most of these dances, this one has a special title meaning “The Battle” followed by a galliard whose title means “My Heart is Wounded.” Like most instrumental part music of the period, the instruments were not specified and could be chosen from any similar families of instruments of various sizes, such as recorders.

De los álamos vengo madre
Juan Vásquez
(c. 1500-c. 1560)

De los álamos vengo, madre,
de ver cómo los menea el aire.

De los álamos de Sevilla,
de ver a mi linda amiga,
de ver cómo los menea el aire.

De los álamos vengo, madre,
der ver cómo los menea el aire.
I come from the poplars, mother,
from seeing the breezes stir them.

From the poplars of Seville,
from seeing my sweet love,
from seeing the breezes stir them.

I come from the poplars, mother,
from seeing the breezes stir them.

Fyez vous y si vous voulés
Clément Janequin
(c. 1485-1558)
Clément Janequin was a French composer best known for his development of the form known as the Parisian chanson. These were popular tunes arranged in tight chordal harmonies and were often adapted as instrumental dances. This piece is based on Janequin’s chanson “Fyez vous y si vous voulés,” a popular song with deceptively complex rhythms and whose humorous text advises a young man not to pursue a beauty out of his league.

Mille regretz
Josquin des Prez
(c. 1450-1521)
Mille regretz de vous abandonner
Et d'eslonger vostre fache amoureuse,
Jay si grand dueil et paine douloureuse,
Quon me verra brief mes jours definer.
A thousand regrets at deserting you
and leaving behind your loving face,
I feel so much sadness and such painful distress,
that it seems to me my days will soon dwindle away.

O notte, o ciel
Maddalena Casulana
(c. 1544-c. 1590)
O notte O cielo O mar O piagge O monti
Che si spesso m'udite chiamar morte
O valli O selve O boschi O fiumi O fonti
Che sost'alla mia vita fide scorte
O fere snelle che con liete fronti
Errando andate con gioiosa sorte
O testimon de miei si duri accenti
Dat'audientia insieme a miei lamenti.
Oh night, oh sky, oh sea, oh shores, oh mountains,
You that so often hear me wish that I were dead,
Oh valleys, oh forests, oh woods, oh rivers, oh springs,
You that have been loyal companions to me during my life,
You agile beasts that wander contentedly through the woods and fields,
You who have heard me complain before,
Hearken to my sad laments.

De la bellezza le dovute lodi
Claudio Monteverdi

De la bellezza le dovute lodi
celebriam con lieto canto
e tu Ciprign'intanto
de tuoi prieghi altera godi.
Godi pur ch'alta vittoria
si prepara a meriti tuoi onde chiara ogi fra noi
splenderai per nuova gloria.

E' la bellezza un raggio
de la celeste luce
che quasi un Sol di Maggio
temprat'ardor n'adduce.
Quinci nel nostro core
nascono i fìor d'amore.

Chi di tal lume non splend'ornato
dirsi beato in van presume
che' vil tesoro son gemm'et oro
e valor cade contro beltade.

Ben sallo Alcide il forte
da duo begl'occhi vinto
quantunque avvinto
traesse il can da le tartaree porte
e sallo il Dio de l'arme
de l'ira e del furore
quando la Dea d'Amore
gl'impon che si disarme.

Ond'ei cangiato stile
mansueto ed humile
mirando il suo bel volto
la spada oblia fra belle braccio accolto.

Dunque a lei che di beltate
ottenne il pregio e'I vanto
quest'altere alme ben nate
concordi al nostro canto
guidano in queste valli
per far l'honor quest'amorosi balli.
Praise is rightfully due to beauty;
Let us celebrate in joyous song
While you, Cypris,
Proudly rejoice in those who praise you.
Rejoice, too, that a great triumph
Is prepared in your honor,
Which today will make you
Shine among us with new glory.

Beauty is a ray
Of celestial light,
That like the sun in May
Brings temperate warmth:
Thus in our hearts
Are born the flowers of love.

The one who is not adorned with that light’s splendor
In vain presumes to call himself blessed,
For precious gems and gold are a vile treasure,
And their value declines in the face of beauty.

By fortune Hercules the strong
Won by a pair of beauteous eyes,
Though he dragged the dog
In chains from the gates of Tartarus.
So too does the God of Weapons [Mars],
Of rage and of fury, know beauty's power,
When the Goddess of Love [Venus]
Forces him to disarm.

Then, changing his manner,
Meek and humble,
Gazing on her fair face,
His sword forgotten, he is welcomed into her arms.

Therefore, for one who has obtained
The prize and the glory of beauty,
Let these proud, high-born souls
Join in our songs
And lead through these valleys,
To honor her through these loving dances.
- translation by Charles W. Kamm

The Nightingale
(c. 1576-1623)
The Nightingale, the Organ of delight,
the nimble Lark, the Blackbird, and the Thrush,
and all the pretty quiristers of flight,
that chant their Music notes in ev'ry bush:
Let them no more contend who shall excel,
the Cuckoo is the bird that bears the bell.

T'amo mia vita
Vittoria Aleotti
(c. 1575-1620)
«T’amo, mia vita!»,
la mia cara vita dolcemente mi dice
e in questa sola sì soave parola
par che trasformi lietament’ il core
per farmene signore.
«T’amo, mia vita!»
O voce di dolcezza e di diletto!
Prendila tost’ Amore,
stampala nel mio petto,
spiri solo per lei l’anima mia.
- G. B. Guarini
“I love you, my life!”
says to me sweetly my beloved life,
and through this single sweet word
seems to merrily transform the heart
to elect me its master.
“I love you, my life!”
Ah, voice of sweetness and delight!
Catch it quickly, Love,
imprint it in my chest,
so that my soul may breathe only for her.

Aure volanti
Francesca Caccini
(1587-after 1641)
Aure volanti, augei canori, fonti stillanti, grazie e
quinci d’intorno, fate piú chiar’ il sol, piú lieto il
Antri gelati, fulgido sole, erbosi prati, gigli e
quinci d’intorno, fate piú chiar’ il sol, piú lieto il

- Ferdinando Saracinelli
Wandering breezes, singing birds, gentle
   fountains, graces and loves,
All of these around make the sun brighter and the
   day happier.
Frozen caverns, glowing sunlight, grassy
   meadows, lilies and violets,
All of these around make the sun brighter and the
   day happier.

Lady Carey’s Dompe
(c. 1530)

Lady Carey’s Dompe comes from a manuscript in the British Museum that may have belonged to the court of Henry VIII. In 1528, his courtier and friend William Carey died, and this piece is assumed to have been written as a consolation for Carey’s wife, Mary Boleyn, who was queen Anne Boleyn’s sister and Henry VIII’s mistress. The manuscript does not list a composer or an instrument, although it was probably originally written for lute or virginal, a kind of harpsichord. “Dompe” is a 16th-century form with a repeating bass line or “ground” below a series of variations, and was perhaps associated with mourning, as in this case. Tonight’s version is for Irish harp and two tenor recorders.

Salamone Rossi
(c. 1570-1630)
An image of the lyrics written in the original language.
Bless the Lord, who is praised.
Praise be to the Lord, who is blessed for all eternity.

Erhöre mich
Heinrich Schütz
Erhöre mich, wenn ich rufe, Gott meiner
   Gerechtigkeit, der du mich tröstest in Angst,
   sei mir gnädig, und erhöre mein Gebet;

Vernimm mein Schreien, mein König und mein
Hear me when I call, O God of my righteousness:
   thou hast set me at liberty when I was in trouble;
   have mercy upon me, and hearken unto my

Hearken unto the voice of my calling, my King, and
   my God.
- Psalm 4:2 & 5:3a

Trio Sonata in G minor, op. 4 no. 2 “La Secca Soarda”
Giovanni Legrenzi
Legrenzi was a prominent Venetian composer of the middle Baroque period known for his sacred music but also his innovations in instrumental music, including the trio sonata. Despite its name, this form is for four instruments—two melody instruments (here recorder and violin), a chordal instrument (here the harpsichord), and a bass instrument (here the cello). The last two form one “part” called a basso continuo, which consists of both the bass line and improvised harmonies above it.

Mizmor l’toda
Salamone Rossi
An image of the lyrics written in the original language.
A Song of Thanksgiving.
Shout unto the Lord, all the earth.
Serve the Lord with gladness;
Come before his presence with singing.
Know that the Lord, he is God;
It is he who hath made us, and we are His,
His people, and the flock of his pasture.
Enter into His gates with thanksgiving,
And into his courts with praise;
Give thanks unto Him, and bless his name.
For the Lord is good; His mercy endures forever; And His faithfulness unto all generations.
- Psalm 100

Sumer is icumen in
(Harley MS, 1260s)
Sumer is icumen in
Lhude sing cuccu
Groweþ sed
and bloweþ med
and springþ þe wde nu
Sing cuccu

Awe bleteþ after lomb
lhouþ after calue cu
Bulluc sterteþ
bucke uerteþ
murie sing cuccu

Cuccu cuccu
Wel singes þu cuccu
ne swik þu nauer nu
Summer has arrived,
Loudly sing, cuckoo!
The seed is growing
And the meadow is blooming,
And the wood is coming into leaf now,
Sing, cuckoo!

The ewe is bleating after her lamb,
The cow is lowing after her calf;
The bullock is prancing,
The buck farting,
Sing merrily, cuckoo!

Cuckoo, cuckoo,
You sing well, cuckoo,
Never stop now

Tonight’s program features a variety of music from the European Middle Ages, Renaissance, and early Baroque eras of music history. First in the program you will hear chant by the earliest named European composer—Hildegard von Bingen, a Christian mystic, nun, writer, and composer—as well as early polyphony (part music), including part of a Mass composed at Reims before 1365 by Guillaume Machaut. The Early Music Ensemble brings us into the Renaissance with two dances by Tielman Susato. We then perform a number of pieces of secular vocal polyphony, including a Spanish villancico, French chansons, and Italian and English madrigals. Pieces from the early Baroque era include a chorus from an early opera, La Liberazione di Ruggiero dall’isola d’Alcina, by Francesca Caccini, Psalm settings by a Jewish and a Lutheran composer, and an Italian trio sonata. We close the concert by returning to the Middle Ages to all welcome in summer.

The Harvey Mudd College Early Music Ensemble is a group that performs European music of the Middle Ages, Renaissance, and Baroque periods on instruments of the time.

Bill Alves is a composer, musician, and Miller Professor of Humanities at Harvey Mudd College. His recordings include The Terrain of Possibilities, Imbal-Imbalan, Mystic Canyon, and Guitars and Gamelan, and his work with computer animation is collected by the Kinetica Video Library as Celestial Dance. He is the author of Music of the Peoples of the World (3rd edition from Cengage/Schirmer) and coauthor of Lou Harrison: American Musical Maverick (Indiana University Press). He was a Fulbright Senior Scholar in Indonesia, where he taught and studied gamelan music, and he is now director of the American Gamelan Ensemble at the Claremont Colleges. He is co-director of MicroFest, the Southern California festival of microtonal music.

The Claremont Concert Choir and the Claremont Treble Singers are the choirs of the Joint Music Program of Claremont McKenna, Harvey Mudd, Pitzer, and Scripps Colleges. The Joint Music Program choirs were established with the Concert Choir in 1963 as a combination of the Scripps College Glee Club and the then Claremont Men’s College Stag Chorus. The Concert Choir has performed with the Atlanta Symphony, the Santa Monica Symphony, the Utah Symphony, the Orange County Symphony, and the Los Angeles Chamber Orchestra, as well as its regular series with the Claremont Concert Orchestra. The Treble Singers is a newer offering of the Joint Music Program, reflecting the changing demographics of the constituent colleges. The choral program is a member of the Pacific Southwest Intercollegiate Choral Association.

Charles W. Kamm is the director of the choirs of the Joint Music Program of Claremont McKenna, Harvey Mudd, Pitzer, and Scripps Colleges. He is an associate professor in the music faculty at Scripps College, where he teaches music history, core humanities courses, and conducting. From 1996-2002, Charles served as visiting professor of choral conducting at Vassar College. He taught at the University of Massachusetts Boston from 1993-1996, concurrently holding a conducting fellowship at Harvard University. Kamm has led both amateur and professional ensembles in the United States, Europe, and China, and has prepared choirs for Finnish National Radio and for the Classical Music Festival in Eisenstadt, Austria. He has held a Fulbright Fellowship, studying conducting at the Sibelius Academy in Helsinki and performing and researching Finnish choral music. Kamm received the Bachelor of Arts from Earlham College, the Master of Music from Michigan State University, the Doctor of Musical Arts from Yale University, and has also studied in Vienna, Austria.

Keyboardist Jonathan Johnson is the collaborative choral accompanist for the Joint Music Program of Claremont McKenna, Harvey Mudd, Pitzer, and Scripps Colleges. He holds a master’s degree from the USC Thornton School of Music. Jonathan also works as an accompanist at Chaffey College and freelances as a musical theater pianist and keyboardist.

Thank you

The choirs especially appreciate the work of Joint Music Program Coordinator, Gregory Jackson, and Scripps College Performing Arts Center Technical Director, Cameron Mostoufi, and his team.

HMC is deeply grateful for the generous support that created The Ken Stevens ’61 Founding Class Concert Series.

Skip footer and return to header
Skip footer and return to header