GabrieliPaul McCreeshConductor

Tuesday Evening, November 15, 2016 at 7:30St. Francis of Assisi Catholic ChurchAnn Arbor

16th Performance of the 138th Annual Season Choral/Vocal Series

The organ used in this evening’s performance is provided by the U-M School of Music, Theatre & Dance and Academy of Early Music.

In consideration of the artist and the audience, please refrain from the use of electronic devices during the performance.

The photography, sound recording, or videotaping of this performance is prohibited.

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P R O G R A M

A Venetian Coronation 1595

Giovanni Gabrieli, published 1593 Toccata del secondo tono

Introit: Benedicta sit sancta Trinitas Cesare Bendinelli, 1614Procession: Sonata No. 333

C. Bendinelli, 1614Arrival of the Doge: Toccata 26

Claudio Merulo, 1598Toccata quinta alla secondo tono

A. Gabrieli, 1587 Kyrie à 5

A. Gabrieli, 1587 Christe à 8

A. Gabrieli, 1587 Kyrie à 12

A. Gabrieli, 1587 Gloria à 16

Collect

Epistle G. Gabrieli, 1597Gradual: Canzona XIII à 12

Gospel

A. Gabrieli, 1593 Offertory: Intonazione settimo tono

G. Gabrieli, 1597Offertory: Deus qui beatum Marcum à 10

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Preface

A. Gabrieli, 1587 Sanctus and Benedictus à 12

C. Bendinelli, 1614 Elevation: Sarasinetta No. 2

G. Gabrieli, 1597Elevation: Sonata VI à 8 pian e forte

Pater noster

Agnus Dei

G. Gabrieli, 1593Communion: Intonazione quinto tono alla quarta bassa

A. Gabrieli, 1565 Communion: O sacrum convivium à 5

G. Gabrieli, 1597Communion: Canzona IX à 10

Post communion

Cesario GussagoDeo gratias: Sonata La Leona G. Gabrieli, 1597Recessional: Omnes gentes à 16

This evening’s program is performed without pause. Please hold your applause until the end of the program.

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A V E N E T I A N C O R O N AT I O N 1 5 9 5

Music and Ceremony at St. Mark’s The Basilica of St. Mark served a dual function as both private chapel of the Doge and principal church of the State, and as such figured prominently in Venetian political life. With its own distinctive liturgy, a minutely detailed ceremonial, sumptuous mosaic decoration, works of art, and magnificent music, the Basilica not only reflected vividly the worldly glories of the Serenissima Repubblica, but also served to illustrate a complex fusion of political and religious ideology. Differing ranks of feasts called for specific types of music: in particular, the formal appearance of the Doge at Mass and Vespers on 30 or so days each year required the exposition of the great golden altarpiece, the Pala d’oro, the presence of instrumentalists and the performance of elaborate music. Every few years a major event would demand yet more lavish celebration: the signing of a treaty, a naval victory, the end of a plague, the visit of a prince or ambassador, or the coronation of a Doge. These festivals are frequently described in Venetian histories and, even judged by Venetian standards of opulence, would be of quite stupendous extravagance. This performance recreates one such event, the Coronation Mass of Doge Marino Grimani celebrated on the morning of April 27, 1595.

The Venetian Coronation Rite Venice’s meritocratic form of government, and the role of the Doge as primus inter pares, led to a coronation ritual that differs substantially from most other European

rites. After a complex system of balloting by 41 senior statesmen, the election of a new Doge was heralded by the ringing of bells. If the choice proved popular, widespread rejoicing would often follow.

The official coronation ceremonies were tripartite. The Doge entered St. Mark’s where he received the Ducal banner and was presented to the people; he was then carried around the Piazza San Marco, throwing specially minted coins to the crowds, and finally he was crowned with the Ducal beretta on top of the Scala dei Giganti in the courtyard of the Ducal palace. These formalities, although performed in the presence of St. Mark’s clergy, were essentially secular and it was only with the actual Coronation Mass, celebrated in the Basilica the next morning, that the new Doge’s appointment was solemnized.

The election of Marino Grimani (1532–1605) was welcomed with particular enthusiasm by revellers who ripped up stalls in the Piazza to fuel a huge bonfire. Grimani responded to this popular support by rewarding the populace with ample gifts of wine, bread, and money.

The Cappella MarcianaIn 1595 St. Mark’s maestro di cappella was Baldassare Donato, a sound administrator, if a somewhat insipid composer, who had spent his entire life in the Basilica’s service. Giovanni Gabrieli served as one of the organists, and composed much large-scale festival music. The Cappella Marciana comprised some 16 singers with an instrumental ensemble of cornets,

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sackbuts, and a few string players, often greatly augmented by freelance musicians. The Doge’s own piffari e trombone and retinue of fanfare-trumpeters were also present at major events, contemporary descriptions mentioning up to 24 trumpeters and drummers. In addition to the Basilica’s two famed organs it was customary to hire additional chamber organs. The introit was usually sung by the Cappella Marciana, but all other plainchant was sung by a separate body of clerics.

There were at least seven areas around the altar area from which musicians performed, including the two organ galleries and the pulpitum magnum cantorum or bigonzo by the screen. The division of forces into two, three, or four spacially separated vocal and instrumental “choirs” is one of the most characteristic features of Venetian sacred music. The musicians almost certainly faced inwards towards the altar and the Doge’s seat, the main aim being to tickle the ears of the dignitaries rather than fill the Basilica with washes of sound. Much of the music bears this out: even in the very grandest polychoral pieces there are still elements of chamber music in the interplay between voices and instruments.

The MusicIt is difficult to date so much of the Venetian repertoire, especially sacred music which was often published in large, retrospective, and sometimes posthumous collections. There is evidence that music remained in repertoire some decades after composition, stile antico polyphony rubbing shoulders with motets and concerti in a more up-to-date style.

The Kyrie, Gloria, and Sanctus are performed in settings by Andrea Gabrieli (c.1533–1585), Giovanni’s uncle and a previous organist at the Basilica. The four-choir Gloria may date from the Mass of the Japanese Princes in 1585, whilst the more expansive settings of Kyrie–Christe–Kyrie and Sanctus–Benedictus are a masterful blend of poised polyphony and the rich sonorities of three contrasted choirs. The Communion motet O sacrum convivium, probably the earliest work included, is altogether more intimate, at once restrained and ecstatic.

Giovanni Gabrieli’s compositions also feature prominently, including a brilliant setting of the collect for St. Mark, Deus qui beatum Marcum, in classic cori spezzati style. The festive motet Omnes Gentes, one of the few four-choir pieces written before the new century, is included as a final motet of praise. The text, from Psalm 46, refers in passing to the Ascension, but as this Psalm occurs in the office for all three major feasts of St. Mark, Venetians may well have viewed this work as suitable for any festival of state rejoicing. Giovanni Gabrieli’s canzonas and sonatas are a landmark in instrumental music: extensive, elaborately scored works of a wide expressive range. The canzona à 12 is a wonderfully cheerful work for three choirs of largely equal voices. Sonata VI à 8 pian e forte is altogether a more somber work, perfectly suited to the role of an elevation sonata after the consecration. Perhaps most surprising of all is the canzona à 10, predominantly for high instruments in which the two highest parts have solo sections consisting of the most elaborately written virtuosic divisions,

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prefiguring the later Venetian concerto. There is no extant Venetian trumpet

music, but judging from concordances between the few surviving sources of early trumpet music the repertoire seems to have been pan-European. The fanfares are taken from a contemporary tutor by the Italian trumpeter Cesare Bendinelli. Organ toccatas and intonations by both Gabrielis punctuate the service at various points. There are descriptions of both St. Mark’s organs playing together, but again no music survives. Following the widespread 16th-century practice of organ intabulation, Cesario Gussago’s Sonata “La Leona” has been transcribed for two organs. The chant is taken from a number of Venetian sources, including a 16th-century Gradual from the Basilica’s treasury.

The ReconstructionThe sequence of music in this performance takes the form of a liturgical reconstruction, not only incorporating the texts and ceremonial procedures of the Venetian Rite, but also reflecting the musico-liturgical practices of the era. In northern Italy it was customary to suppress certain items of the liturgy in order to place greater emphasis on extra-liturgical music. Most often the official text was said by the celebrant in secreto at the High Altar. This practice was never sanctioned by the official (Roman) authorities, but in Venice, more than anywhere else, it allowed music to take an ever-increasing importance in services — at St. Mark’s there was even a rule allowing priests to be fined if they interrupted the music!

Certain points in the Mass were considered particularly suited to

musical elaboration with toccatas, motets, sonatas, and canzonas, especially the Gradual, Offertory, Elevation, Agnus Dei, Communion, Postcommunion, and Deo Gratias. It is not yet clear how much of the official text was spoken, sotto voce, under such music, and in any case there seems to have been considerable flexibility in practice. In Venice, the Agnus Dei was frequently omitted, and it is quite possible that almost all the chant items from the Preface onwards were covered by the multiplicity of musical substitutes. The Coronation Mass was celebrated with its own unusual and hybrid liturgy, that of a Mass of the Holy Trinity with the collect of the feast of St. Mark.

Venetian liturgical sources are always complex, and research is constantly developing. If some decisions regarding minor aspects of the reconstruction are conjectural, it is nonetheless based on a thorough interpretation of all the major Venetian sources. In any case such details are relatively unimportant — the reconstruction is of necessity speculative in terms of the actual music performed on that April morning over 400 years ago. More interesting is the possibility of recreating something greater than the sum of the individual pieces, and to put all the music into a richer, more colourful, and more dramatic perspective. We may have lost our ability to respond to religious and civic ritual so beloved of renaissance Venetians, but in reconstructing such events we can perhaps rediscover something of the artistic and spiritual riches of this great city at the zenith of her powers.

Program notes by Paul McCreesh.

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T E X T S A N D T R A N S L AT I O N S

Toccata

IntroitusBenedicta sit sancta Trinitas, atque indivisa unitas:confitebimur ei, quia fecit nobiscum misericordiam suam.

Benedicamus Patrem et Filium, cum Sancto Spiritu.

Benedicta sit sancta Trinitas…

Gloria Patri et Filio et Spiritui Sancto: sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.

Benedicta sit sancta Trinitas…

Procession

Arrival of the Doge

Toccata

Kyrie/Christe/KyrieKyrie eleison.Christe eleison. Kyrie eleison.

Toccata

IntroitBlessed be the Trinity, holy and undivided unity:Let us give thanks unto him for the mercy he hath done to us.

Let us bless the Father and the Son, with the Holy Spirit.

Blessed be the Trinity…

Glory be to the Father and to the Son and to the Holy Spirit:As it was in the beginning, is now, and ever shall be: world without end. Amen.

Blessed be the Trinity…

Procession

Arrival of the Doge

Toccata

Kyrie/Christe/KyrieLord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

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Gloria à 16 Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicamus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram

Patris, miserere nobis. Quoniam tu solus sanctus, Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, In gloria Dei Patris. Amen.

Oratio Dominus vobiscum.Et cum spiritu tuo.Oremus. Deus qui hunc diem glorioso beati Marci evangelisti tui martirio consecrasti, preasta quaesumus ipse apud te pro nobis existat praecipuus suffragator qui unigenite tui fieri meruit evangelicus praedicator. Per Dominum nostrum Jesum Christum filium tuum; qui tecum vivit et regnat eiusdem spiritus Sancti Deus,per omnia saecula saeculorum. Amen.

Gloria à 16Glory to God on high. And on earth peace to men of good will. We praise Thee. We bless Thee. We adore Thee. We glorify Thee. We give thanks to Thee for Thy great glory, O Lord God, heavenly king, God the Father almighty. O Lord, the only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy on us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the

Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord. Thou alone art most high, Jesus Christ. With the Holy Ghost, In the glory of God the Father. Amen.

Collect The Lord be with you.And with thy spirit.Let us pray. God who has consecrated this day to the glorious martyrdom of blessed Mark the evangelist, grant, we pray, that he may stand before Thee for us as chief advocate, who was worthy to become the evangelist and preacher of your only Son. Through our Lord Jesus Christ thy Son, who livest and reignest with Thee and the Holy Spirit, one God, world without end. Amen.

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Epistulum Lectio Epistolae beati Pauli Apostoli ad Corinthios.Fratres, gaudete, perfecti estote,

exhortamini, idem sapite, pacem habete: et Deus pacis et dilectionis erit

vobiscum.Salutate in vicem in osculo sancto. Salutant vos omnes sancti.Gratia Domini nostri Jesu Christi et caritas Dei et communicationsancti Spirtus sit cum omnibus vobis. Amen.

Gradual: Canzona

Evangelium Dominus vobiscum. Et cum spiritu tuo.Sequentia sancti Evangelii secundum

Johannem.Gloria tibi Domine.

In illo tempore, dixit Jesus discipulis suis:cum venerit Paraclitus, quem ego mittam vobis a Patre,Spiritum veritatisqui a Patre procedit,ille testimonium perhibeat de me.Et vos testimonium perhibitis, quia ab initio mecum

estis.Haec locutus sum vobis, ut non scandalizemini.Absque synagogis facient vos.Sed venit hora, ut omnis qui interficit vos arbitretur obsequium se praestare Deo.Et haec facient vobis, quia non noverunt Patrem

neque me. Sed haec locutus sum vobis, ut, cum venerit hora eorum, remeniscamini quia ego dixit vobis.

Epistle A reading from the Epistle of Saint Paul to the Corinthians.Brethren, rejoice, be perfect, be of good

comfort, be of one mind, live in peace; and the God of love and peace shall be

with you. Greet one another with a holy kiss. All the saints salute you. The grace of the Lord Jesus Christ, and the love of God, and the fellowship of the Holy Spirit, be with you all. Amen.

Gradual: Canzona

Gospel The Lord be with you. And with thy spirit.Here begins the holy Gospel according to

John.Glory be to thee O Lord.

And in that time, Jesus said to his disciples: when the Comforter is come, whom I will send unto you from the Father, even the spirit of truth, which proceedeth from the Father, he shall testify of me. And ye shall bear witness, because ye have been with me from the

beginning. These things have spoken unto you, that ye should not be offended. They shall put you out of the synagogues: yea, the time cometh, that whosoever killeth you will think that he doeth God service. And these things will they do unto you, because they have not known the Father,

not me. But these things have I told you, that when the time shall come, ye may remember that I told you of them.

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Offertory: Intonazione

Offertorium Deus qui beatum Marcum evangelistam tuum evangelicae praedicationis gratia sublimasti:tribue, quaesumus, eius nos semper et eruditione proficereet oritione defendi. Alleluia.

Praefatio Per omnia saecula saeculorum. Amen.Dominus vobiscum. Et cum spiritu tuo.Sursum corda. Habemus ad Dominum.Gratias agamus Domino Deo nostro Dignum et justum est.Vere dignum et justum est, aequum et salutare, nos tibi semper, et ubique gratias agere: Domine sancta, pater omnipotens, aeterne Deus.Qui cum unigenito Filio tuo et Spiritu Sancto, unus es Deus, unus es Dominus;non in unius singularitate personae, sed in unius Trinitae substantiae.Quod enum de tua Gloria, revelante te, credimus, hoc de Filio tuo, hoc de Spiritu Sancto, sine differentia discretionis sentimus.Ut in confessione verae sempiternaeque

deitatis,et in personis proprietas, et in essentia unitas, et in majestate adoretur equalitas. Quam laudant Angeli, atque Archangeli, Cherubim quoque ac Seraphim:qui non cessant clamare quotidie una voce dicentes:

Offertory: Intonazione

Offertory O God who hast exalted Saint Mark thy evangelist by the grace of the reaching of thy gospel:Grant us, we beseech thee, that we may both profit by his teachingand ever be defended by his prayers. Alleluia.

Preface For ever and ever. Amen.The Lord be with you. And with thy spirit.Lift up your hearts. We lift them up to the Lord.Let us give thanks unto our Lord God It is meet and right to do so.It is very meet, right, and our bounden duty that we should at all times and in all places give thanks unto thee, O Lord, holy Father Almighty Everlasting God, who with the only-begotten Son and the Holy Spirit art one God, one Lord,not in the singularity of one person but in the Trinity of one substance. For what we believe of thy glory from thy revelation, this we believe of your Son and of the Holy Spirit, with no difference or distinction; So in confessing the true and everlasting

Deity, the individuality of the persons and their essential unity and their equal majesty is adored. This the Angels and Archangels, Cherubim and Seraphim praise, who unceasingly shout with one voice saying

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Sanctus Sanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

BenedictusBenedictus qui venit in nomine Domini.Hosanna in excelsis

Elevations

Pater NosterPer omnia saecula saeculorum. Amen.Oremus. Preceptis salutaribus moniti, et divini institutione formati, audemus dicere Pater noster, qui es in caelis, sanctificetur nomen tuum.Adveniat regnum tuum. Fiat voluntas tua, sicut in caelo, et in terra.Panem nostrum quotidianum da nobis hodie. Et dimitte nobis debita nostra, sicut et nos dimittibus debitoribus nostris. Et ne nos inducas in tentationem:sed libera nos a malo. Per omnia saecula saeculorum. Amen.Pax Domini sit semper vobiscum. Et cum spiritu tuo.

Agnus DeiAgnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi,dona nobis pacem.

Sanctus Holy, Holy, Holy Lord God of hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.

BenedictusBlessed is he who cometh in the name of the Lord. Hosanna in the highest.

Elevations

Pater NosterFor ever and ever. Amen.Let us pray. Admonished by saving precepts and following the divine institution, we are bold to say:Our Father, who art in heaven, hallowed be Thy name. Thy kingdom come. Thy will be done, on earth as it is in heaven. Give us this day our daily bread. And forgive us our trespasses as we forgive those that trespass against

us. And lead us not into temptation, but deliver us from evil. For ever and ever. Amen.The peace of the Lord be always with you. And with thy spirit.

Agnus DeiLamb of God, Thou that takest away the sins of the world, have mercy upon us.Lamb of God, Thou that takest away the sins of the world, have mercy upon us.Lamb of God, Thou that takest away the sins of the world, grant us peace.

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Communion: Intonazione

CommunioO sacrum convivium,in quo Christus sumitur,recolitur memoria passionis eius,mens impletur gratiaet futurae gloriae nobis pignus datur.Alleluia.

Communion: Canzona

Post communioDominus vobiscum. Et cum spiritu tuo.Oremus. Proficiat nobis ad salutem corporis et animae, Domine Deus noster, huius sacramenti susceptio: et sempiternae sanctae Trinitatis, eiusdemque indeviduae unitatis confessio. Per Dominum Jesum Christum Filium tuum, qui tecum vivit et regnatin unitate Spiritus Sancti, Deus:Per omnia saecula saeculorum. Amen.Dominus vobsicum. Et cum spiritu tuo.Ite missa est. Alleluia.

Deo gratias

RecessionalOmnes gentes plaudite manibus:jubilate Deo in voce exultationis.Quoniam Dominus excelsus, terribilis, rex magnus super omnem terram.Subjecit populos nobis et gentes sub pedibus nostris.Elegit nobis hereditatem suam, speciem Jacob quem dilexit.Ascendit Dominus in jubilo,et Dominus in voce tubae. Alleluia.

Communion: Intonazione

CommunionO sacred feastin which Christ is taken,the memory of his passion is renewed,the mind is filled with grace,and a promise of future glory is given us.Alleluia.

Communion: Canzona

Post communionThe Lord be with you. And with thy spirit.Let us pray. May the receiving of this sacrament and the confession of the eternal Holy Trinity and its undivided unity be of benefit for the salvation of our bodies and souls, O Lord our God.Through our Lord Jesus Christ Thy son, who livest and reignest,one God, world without end. For ever and ever. Amen.The Lord be with you. And with thy spirit.Go, the mass is ended. Alleluia.

Deo gratias

RecessionalO clap your hands, all ye people;shout unto God with the voice of triumph.For the Lord most high is terrible; he is a great King over all the earth. He will subdue the people under us, and the nations under our feet. He shall choose our inheritance for us, the excellency of Jacob whom he loved. God is gone up with a merry noise, the Lord with the sound of a trumpet. Alleluia.

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A R T I S T S

Paul McCreesh is the founder and artistic director of the Gabrieli Consort & Players, which he established in 1982 and with whom he has toured worldwide and made many award-winning recordings. Mr. McCreesh is well-known for the energy and passion that he brings to his music-making, and is especially enthusiastic about working with young musicians and broadening access to classical music; he works regularly with youth orchestras and choirs and is active in building new educational initiatives whenever possible.

Mr. McCreesh has guest conducted many of the major orchestras and choirs across the globe, including most recently the Leipzig Gewandhaus, Bergen Philharmonic, Royal Northern Sinfonia, Tokyo Metropolitan Symphony, Hong Kong Philharmonic, Sydney Symphony, Verbier Festival orchestras, and Berlin Konzerthausorchester, whom he returns to this season to conduct Berlioz's Grande Messe des Morts. He also enjoys regular and ongoing collaborations with Saint Paul and Basel Chamber Orchestras, and will conduct choral projects with both orchestras in 2016–17, the latter at Menuhin Festival Gstaad.

From 2013–16 he was principal conductor and artistic adviser of the Gulbenkian Orchestra (Lisbon), with whom he conducted a wide range of music from the classical period through to the 19th and 20th century, focusing in particular on symphonic repertoire, oratorio, and opera in concert, working closely with the world-renowned Gulbenkian Choir. In 2016–17, Mr. McCreesh returns to the orchestra twice to conduct Elgar’s The Dream of Gerontius and a program of Satie, Saint-Saëns, and Beethoven featuring Gautier Capuçon.

Mr. McCreesh has established a strong reputation in the opera house and has conducted productions at the Teatro Real Madrid, Royal Danish Opera, Opera Comique, Vlaamse Opera, and at the Verbier Festival. In 2015–16 he conducted Britten’s A Midsummer Night’s Dream at Bergen Opera, and returned to Vlaamse Opera for a production of Idomeneo.

In 2011 Mr. McCreesh launched his own record label, Winged Lion, in collaboration with the Gabrieli Consort & Players, Signum Classics, and the Wratislavia Cantans Festival, where he was artistic director between 2006 and 2012. They have made seven recordings to date, most recently of Handel’s L’Allegro, il Penseroso ed il Moderato, released in 2015. Other highlights include Britten’s War Requiem (BBC Music Magazine Award 2014), Mendelssohn’s Elijah (Diapason d’Or Award 2013), Berlioz’s gargantuan Grande Messe des Morts (BBC Award 2012), and a reworking of his earlier Gabrieli disc, A New Venetian Coronation 1595 (Gramophone Award 2013). The Winged Lion recordings build on his large catalogue of recordings with Deutsche Grammophon, which includes the Gramophone Award-winning Haydn’s Creation.

Gabrieli are world-renowned interpreters of great vocal and instrumental repertoire spanning from the renaissance to the present day. Formed as an early music ensemble by Paul McCreesh in 1982, Gabrieli has both outgrown and remained true to its original identity. Over 30 years, the ensemble’s repertoire has expanded beyond any expectation, but McCreesh’s ever-questioning spirit and expressive musicianship, together with a healthy degree of iconoclasm remain constant

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features and continue to be reflected in the ensemble’s dynamic performances. Their repertoire includes major works of the oratorio tradition, virtuosic a cappella programs of music from many centuries, and mold-breaking reconstructions of music for historical events.

Today, at the heart of Gabrieli’s activities is the development of a pioneering education initiative in Gabrieli Roar. This ambitious partnership with leading UK youth choirs has enabled Gabrieli to work extensively with teenagers from across the UK in intensive training programs focused on recording major works of the oratorio repertoire and performances for such prestigious promoters as the BBC Proms.

Gabrieli aims to create inspirational and thought-provoking performances that stand out from the crowd. It has long been renowned for its many award-winning recordings created during a 15-year

association with Deutsche Grammophon. In 2010, Paul McCreesh established his own record label, Winged Lion, which in its first year alone released four extremely diverse recordings, underlining Gabrieli’s versatility and the breadth of Paul McCreesh’s vision. The focal point of the Winged Lion catalogue is the series of spectacular large-scale oratorio recordings made in conjunction with the Wroclaw Philharmonic Choir with the kind support of the National Forum of Music, Wroclaw: Berlioz’s Grande Messe des Morts, Mendelssohn’s Elijah, and Britten’s War Requiem. The next recording in this series will be a large-scale version of Haydn’s The Seasons, recorded in June 2016 in Wroclaw’s impressive new concert hall. The most recent release on Winged Lion is Handel’s L’Allegro, il Penseroso ed il Moderato, Gabrieli’s first Handel recording in over a decade.

U M S A R C H I V E S

This evening’s concert marks the fourth UMS performances by Gabrieli and Paul McCreesh, following their UMS debuts in October 1997 at St. Francis of Assisi Catholic Church. Gabrieli and Mr. McCreesh most recently appeared at UMS in April 2003 in a performance of Bach’s St. John Passion at the Michigan Theater.

Photo (previous spread): St. Mark’s Cathedral and Doges Palace; photographer: Fred Bahurlet/EyeEm.

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G A B R I E L I

Paul McCreesh / Conductor

PlayersOliver Webber / Violin and ViolaJeremy West / Principal Cornet Conor Hastings / CornetDaniel Weitz / Cornet and TrumpetNicholas Perry / Tenor CornetAdrian Woodward / Cornet and TrumpetEmily White / Sackbut and TrumpetPhillip Dale / Sackbut and TrumpetTom Lees / Sackbut and TrumpetMartyn Sanderson / Sackbut and TrumpetAdrian France / Bass SackbutWilliam Lyons / DulcianJude Carlton / DrumJan Waterfield / OrganWilliam Whitehead / Organ

ConsortDavid Allsopp* / CountertenorDavid Clegg / CountertenorDavid Hurley* / CountertenorMatthew Beale / Tenor Richard Butler* / TenorGuy Cutting* / TenorRichard Bannan* / Baritone Jonathan Brown* / BaritoneRobert Davies* / BassWilliam Townend / Bass Dingle Yandell* / Bass

* Soloist

M AY W E A L S O R E C O M M E N D. . .

12/3–4 Handel’s Messiah2/3 Estonian Philharmonic Chamber Choir3/11 Beethoven’s Missa Solemnis

Tickets available at www.ums.org.

O N T H E E D U C AT I O N H O R I Z O N . . .

11/19 You Can Dance: Nora Chipaumire (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm)

Educational events are free and open to the public unless otherwise noted.