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M U S I C A PE P Y S I A N A

‘Music is the thing of the world that I love most, and all the pleasure almost that I can now take’

Alana Mailes soprano Brandall Nelson tenor

Dionysios Kyropoulos bass Nicholas Bleisch & Henry Stoll violins

Helen Roche viola

Leo Tolkin viola da gamba James Bramley theorbo Morgan Buckley guitar Mie Ito harp & recorderDavid O’Shea organ

Sunday 15th June, 8:00pmMAGDALENE COLLEGE CHAPEL

PERFORMED BY

Music from the life and library of Samuel Pepys

!M U S I C A P E P Y S I A N A

Music from the life and library of Samuel Pepys

!!!!Henry Purcell The Fairy-Queen: Symphony while the swans come forward Dance for the fairies !Cesare Morelli To bee or not to bee !Francesco Corbetta Le tombeau sur la mort de Madame d’Orleans ! Pietro Reggio The Encrease David ! Traditional/Playford Parsons farewell; The Spanish Jeepsie ! Cesare Morelli Beauty retire !!Samuel Pepys Beauty retire ! Henry Purcell King Arthur : What power art thou? Sound a parley; Hornpipe !!!

Interval !!

!Henry Purcell King Arthur: Chaconne !Pietro Reggio Honour (She loves and she confesses too) !!Henry Purcell She loves and she confesses too !!John Weldon Take, o take those lips away ! Jean-Baptiste Lully Thésée: Revenez, Amours ! Henry Purcell Abdelazer: Air; Rondeau ! John Blow Voluntary !!Henry Purcell Voluntary ! Pelham Humfrey Lord I have sinn’d arranged by C. Morelli !Henry Purcell An Evening Hymn !!Henry Purcell Dido and Aeneas: The triumphing dance

!Introduction !Samuel Pepys (1633-1733), Member of Parliament, naval administrator and diarist, is known to many for his significant contribution to our current understanding of daily life in seventeenth-century England. The diary that he maintained from 1660-1669 contains a wealth of information about major historical figures and events from the period, as well as Pepys’ friendships, romantic entanglements, leisurely pastimes, and academic pursuits. Among Pepys’ interests and activities, music played a significant role, whether in the chamber, chapel, theatre or tavern. He wrote in 1666: ‘music is the thing of the world that I love most, and all the pleasure almost that I can now take’. Pepys was an amateur performer and composer, who studied the flageolet, lute, viol as well as singing. !In the 1670s when the celebrated guitarist Francesco Corbetta (1615-1681), during his employment in the court of Charles II, made playing the guitar a fashionable accomplishment, Pepys embraced this as his instrument of choice, and employed the Italian musician Cesare Morelli as his guitar teacher and domestic composer. Morelli apart from his own compositions he transcribed for bass voice and guitar several of Pepys’ favourite songs by contemporary composers including Pietro Reggio (1632-1685) and Jean-Baptiste Lully (1632-1687). !Pepys collected an impressive amount of practical and theoretical texts on music, particularly those published by John Playford (1623-1687). In his diary he recorded many of his experiences in hearing and making music in both domestic and public settings, and he often wrote in praise of the newer declamatory vocal styles, such as that in the compositions of Pelham Humphrey (1648-1674), and Henry Purcell (1659-1695), John Weldon (1676-1736). Pepys’ personal music collections are currently housed in Pepys Library at Magdalene College, and Defleo gratefully acknowledges their permission to use material from their collection for this performance. ! !!!!!!!!

!Song texts !To bee or not to bee To be, or not to be, that’s the questionWhether t’be Nobler in the mind to suffer The Slings and Arrows of outrageous Fortune,Or to take Arms against a Sea of troubles,And by opposing end them? To die, to sleepNo more; and by a sleep, to say we end The Heart-ache, and the thousand Natural shocksThat Flesh is heir to? It’s a consummationDevoutly to be wished. To die, to sleep,To sleep, perchance to Dream; Aye, there’s the rub, For in that sleep of death, what dreams may come,When we have shuffled off this mortal coil, Must give us pause. There’s the respect That makes Calamity of so long life: For who would bear the Whips and Scorns of time,The Oppressour’s wrong, the proud man’s Contumelys, The pangs of despised Love, the Law’s delay,The insolence of Office, and the Spurns That patient merit of the unworthy takes,When he himself might his Quietus makeWith a bare Bodkin? Who would these Fardels bear,To groan and sweat under a weary life, But that the dread of something after death, That undiscovered Country, from whose bournNo Traveler returns, Puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of.Thus Conscience makes Cowards of us all,And thus the Native hue of ResolutionIs sicklied o’er, with the pale cast of Thought, And enterprises of great pith and moment, With this regard their Currents turn awry, And lose the name of Action. (Shakespeare, Hamlet) !The Encrease I thought, I’ll swear I could have loved no more than I had done before, But you as easily might account till to the top of numbers you amount,

As cast up my love’s score,Ten thousand millions was the sun;Millions of endless millions are to come. (Abraham Cowley) !David (Awake, my lyre) Awake, awake my lyre,And tell thy silent master’s humble tale,In sounds that may prevail;Sounds that gentle thoughts inspire,Though so exalted she and I so lowly be, Tell her such different notes make all thy Harmonie, Hark, how the strings awake, And though the moving hand approach not near, Themselves with awfull fear, A Kind of numerous trembling make,Now all thy forces try,Now all thy charms apply, Revenge upon her ear the conquests of her eye. !Beauty retire Beauty retire, thou dost my pity move Believe my pity and then trust my love.At first I thought her by our Prophet sent, As a reward for Valour’s toils, More worth than all my father’s spoils, But now she is become my punishment. But thou art just O Pow’r divine; With new and painful arts of studied war I break the hearts of half the world, And she breaks mine! (Abraham Cowley) !King Arthur: What power art thou Cold Genius: What power art thou, who from below Hast made me rise unwillingly and slow From beds of everlasting snow? See’st thou not how stiff and wondrous old, Far unfit to bear the bitter cold, I can scarcely move or draw my breath? Let me, let me freeze again to death. (John Dryden) !King Arthur: Sound a Parley Cold Genius and Cupid: Sound a parley, ye fair, and surrender, Set yourselves and your lovers at ease.

He’s a grateful offenderWho pleasure dare seize: But the whining pretender Is sure to displease.Sound a parley, ye fair, and surrender. Since the fruit of desire is possessing, ‘Tis unmanly to sigh and complain. When we kneel for redressing, We move your disdain. Love was made for a blessing And not for a pain. (John Dryden) !She loves and she confesses too She loves and she confesses too, There’s then at last no more to do; The happy work’s entirely done, Enter the town which thou hast won; The fruits of conquest now begin, Lo, triumph, enter in. !What’s this, ye Gods? What can it be? Remains there still an enemy? Bold Honour stands up in the gate, And would yet capitulate. Have I o’ercome all real foes,And shall this phantom me oppose? Noisy nothing, stalking shade,By what witchcraft wert thou made, Thou empty cause of solid harms? But I shall find out counter charms, Thy airy devilship to removeFrom this circle here of love. Sure I shall rid myself of theeBy the night’s obscurity,And obscurer secrecy; Unlike to ev’ry other spright Thou attempt’st not men to affright Nor appear’st but in the light. (Abraham Cowley) Take, O take those lips away, That so sweetly were forsworn,

And those eyes, the break of day, Lights that do mislead the morn, But my kisses bring again, bring again Seals of love but sealed in vain. (Shakespeare, Measure for measure)Thésée: Revenez, Amours Return, Graces, Why leave this place where we are out of harm?Beauty loses its sweetest charms as soon as you abandon it. Beautiful places where the pleasures followed my footsteps everywhere, What has become of your charms?How sad and lonely is such a charming abode!Alas! The Graces are not here, Without the Graces, nothing can please. (Philippe Quinault) !Lord I have sinn’d Lord! I have sinn’d, and the black Number swells to such a dismal Sum, that should my stony Heart, and Eyes,and this whole sinful Trunk a Flood become,and run to Tears, their Drops could not suffice to count my score, much less to pay; but thou, my God, hast Blood in store,and art the Patron of the Poor.!Yet since the Balsom of thy Blood, although it can, will do no good, unless the Wounds be cleans'd with Tears, before thou, in whose sweet, but pensive Face, Laughter could never steal a Place. Teach but my Heart and Eyes to melt away,and then one drop, one drop of Balsom will suffice. (Jeremiah Taylor) !An Evening Hymn Now, now that the sun hath veil’d his light And bid the world goodnight; To the soft bed my body I dispose,But where shall my soul repose? Dear, dear God, even in Thy arms, And can there be any so sweet security!Then to thy rest, O my soul!And singing, praise the mercy That prolongs thy days.Hallelujah! (William Fuller) !

!Performer biographies !Alana Mailes (soprano) is an MPhil student in Musicology at Clare College, Cambridge. She graduated with high distinction and honours from the University of California, Berkeley, in Music and Italian Studies. Prior to attending university, she studied piano and sang with Los Angeles Children’s Chorus, regularly performing with LA Opera and LA Philharmonic. At UC Berkeley, she was a soloist with several university and San Francisco Bay Area ensembles, and has participated in workshops at Dartington International Summer School, Early Music Vancouver, and Amherst Early Music. She currently sings with a number of Cambridge choirs, and recent solo projects include Satie’s Socrate and Susie Self ’s Spirit Wagon for the Clare College Music Society, and a recital for the Cambridge University Opera Society. Her studies are supported by the Cambridge Trusts, the English-Speaking Union, and the UC Berkeley Hertz Traveling Scholarship. !Brandall Nelson (tenor) was raised in South Jordan, Utah, as one of seven children. He graduated in political science at the top of his class from Brigham Young University with emphasis in international affairs. He loves learning outside of the classroom and has travelled to more than forty countries for language school, service opportunities, work, academic conferences, and adventure. Brandall is a member of Selwyn College and is an MPhil student in Public Policy. He currently sings with the Robinson Chapel Choir and has been a tenor soloist in multiple productions, including the Requiem Mass by Mozart. !Dionysios Kyropoulos (bass) read music at City University London and studied singing at the Guildhall School of Music and Drama with Robert Dean. He is currently studying for the MPhil in Music Studies at Clare College, University of Cambridge, funded by a scholarship from the Onassis Foundation and grants from the Leventis Foundation and the South Square Trust. His performance studies are funded by the Hellenic College Trust. He recently directed Monteverdi’s L’Orfeo and Handel’s Rodelinda, and some of his operatic roles include Uberto in Pergolesi’s La Serva Padrona, Plutone in Peri’s Euridice and Polyphemus in Handel’s Acis and Galatea. Dionysios has worked with Cambridge Handel Opera, Barefoot Opera, Lucid Arts, MidAmerica Productions, Riverside Opera and Longborough Festival Opera. He participated in the British Youth Opera 2011 Easter Workshops and their 2012 production of Smetana’s The Bartered Bride. !Nick Bleisch (violin) has studied violin since his school days, but only began Baroque violin a year ago, while finishing his undergraduate degree at Yale University. Since then, he has attended workshops with Tafelmusik, the Parley of Instruments and with

members of the Academy of Ancient Music with the Cambridge Collegium Musicum. Nick is currently the studying for an MPhil in musicology as the Yale Henry fellow. He specializes in Medieval manuscript production and will continue on for a PhD next year. Nick’s hobbies and guilty pleasures include mountain climbing in New England and performing in Gilbert and Sullivan operas. !Henry Stoll (violin) is an American violinist and musicologist, currently pursuing an MPhil in Music as a member of Clare Hall. As a violinist, he has performed extensively in venues such as Alice Tully Hall and Carnegie Hall, and can be seen with rapper Jay-Z in an Emmy award-winning music video for Super Bowl XLIV. Henry also performs in Europe, appearing in venues throughout France, Italy, and Spain. At Cambridge, he is a member of the Cambridge University Chamber Orchestra, Baroque Ensemble, Collegium Musicum, and Emmanuel College Music Society. !Helen Roche (viola) took up the violin at the age of three, and the viola at seventeen. From 2004-2012, Helen studied Classics at Gonville & Caius College, Cambridge, where she was an Instrumental and Choral Scholar; she is now a Research Fellow at Lucy Cavendish College. Helen specialises in period performance, studying with Margaret Faultless, and performing professionally with ensembles such as Devon Baroque, Chesterton Baroque and St. John’s Sinfonia. She has participated in side-by-side schemes with the Academy of Ancient Music, and is a former award-holder of the European Union Baroque Orchestra Development Trust. !Leo Tolkin (viola da gamba) was born in Los Angeles, California, and is currently studying viol at the Guildhall School of Music and Drama in London. !James Bramley (theorbo) performs throughout the UK and abroad on the lute, theorbo and Baroque guitar, as a soloist and accompanist, in ensembles and as a continuo player. He is currently continuing his studies with William Carter and David Miller at the Guildhall School of Music and Drama in London. Recent performances include Cavalli’s La Calisto with Hampstead Garden Opera and Musica Poetica London, and Daniel Purcell’s The Judgement of Paris at St John’s Smith Square with Spiritato and Julian Perkins. James has also given recitals and concerts at the Wigmore Hall, the Foundling Museum, St Martin-in-the-Fields, The Lute Society and the London Handel Festival. He has also directed numerous educational projects and workshops for all ages. !Morgan Buckley (guitar) Morgan Buckley is a PhD candidate at the Faculty of Music and member of Magdalene College. After unparalleled competition successes in Ireland and being placed first in his college (DIT) for his BMus, Morgan began his studies at the Royal College of Music (London) for his Master of Music in 2011 (graduated 2013

with distinction). During his first year, Morgan was awarded a Fellowship of Trinity College (London) for performance, was named a prizewinner at the Ivor Mairants Guitar Award and won the Royal College of Music Guitar Prize. This success prompted an invitation from the International Guitar Foundation to perform at the prestigious Bath Guitar Festival and to be selected for the RCM ‘Rising Star’ series at Cadogan Hall. Morgan’s research in Cambridge investigates the nature of the performer’s creative agency to the collaborative compositional process, under the supervision of Prof. Ian Cross and Dr. John Hopkins. This year Morgan gave a lecture-recital at the International Guitar Research Centre Symposium and was kindly selected for a Lincoln Award for Instrumental Performance by Magdalene College. !Mie Ito (harp) was born in Kobe, Japan, and started her musical journey on the piano at the age of three. She studied singing and organ at the Tokyo College of Music and graduated with a distinction. She also took part in masterclasses with Emma Kirkby, Agnes Mellon, and Evelyn Tubb. Mie was one of the organists at Maita Church, Yokohama from 2000 to 2010. In 2011 she moved to London to study Baroque harp with Andrew Lawrence-King at the Guildhall School of Music and Drama. She is supported by the Worshipful Guild of Freemen and the Christopher Kite Memorial Fund. Highlights of her career have been performances at Handel Festival, the Cobbe Collection, King’s College Chapel, Cambridge and at the Wallace Collection. She has also performed with a Baroque ensemble for BBC Radio 3. !David O’Shea (organ) studied at the DIT Conservatory of Music in Dublin, graduating with a first-class honours BMus in Musicology. A versatile keyboard player, he is in demand as a pianist, organist and harpsichordist. He is continuo player with the Dublin-based Baroque ensemble Respicio, and also works regularly with groups such as the Orchestra of St Cecilia and Dublin Baroque Players. As a conductor he was musical director of the early opera ensemble Opera Antiqua and also directed the Beechwood Schola Cantorum and the Dublin Gay Men’s Chorus. David is currently a student on the MMus in Choral Studies programme at the University of Cambridge, and maintains a busy and varied performance schedule at home and abroad. !!!!!!!!!

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