Josquin’s Playlist

CONVIVIUMMUSICUM

Program

Ave Maria … virgo serena à ! | Josquin des Prez (c.!"#$–!#%!)

Alma redemptoris Mater | Johannes Ockeghem (c.!"!$–!"&')

Il bianco e dolce cigno à ! | Jacob Arcadelt (c.!#$'–!#())Il bianco e dolce cigno à " | Orazio Vecchi (b.!##$–!($#)

Inviolata integra et casta es | Josquin

Salve regina à ! | Ockeghem

Ave Maria … virgo serena à # | Josquin/Anonymous

/ intermission /

Kyrie from Missa ut re mi fa sol la à # | Giovanni Pierluigi da Pale*rina (!#%#–!#&")Gloria

Agnus Dei from Missa L’homme arme super voces musicales | Josquin

Ave Maria … virgo serena à # | Ludwig Sen+ (c.!")(–c.!#),)

January !", #$!!, % pm | St. Paul’s Episcopal Church, BrooklineJanuary ##, #$!!, & pm | Cambridge Friends Meeting House

January #', #$!!, (:'$ pm | St. Stephen’s Church, Providence, RI

CONVIVIUM·MUSICUMMichael Barr!t, m"ic dire#or

Josquin’s Playlist

performerssoprano: Liz Hanna, Cynthia Linkas, Cindy Liu, Ruthie Miller, Dana Schlegelalto: Kate Gyllensvärd, Anne Kazlauskas, Anne Matthews, Sarah Spinella, Elizabeth Winterkorntenor: Evan Ingersoll, Ron Lacro, Logan McCarty, Myer Noreb$s: Chris Chase, Michael Dettelbach, Je- Kline, John Nesby

board of directors Cynthia Linkas, president | Ruthie Miller, tre!urer | Michael Dettelbach, clerkErik Bertrand, Evan Ingersoll, Ron Lacro, Anne Matthews, Dr. Ruth We!heimer

for more informationweb: www.convivium.org | phone: "#$-%&'-$(() | email: info@convivium.org

Notes to tonight’s programof the important features of composition, and Ockeghem delivers this in abundance.

For all the debt that Josquin owed to the previous generation, it is clear that the younger composer took the Franco-Flemish polyphonic tradition in new dire.ions: a far more pervasive use of imitation, repeti-tive rhythms, and, e/ecially in the motets, a musical phrase *ru.ure that is more con-ne.ed to the *ru.ure of the text. One can observe these trends in the two motets on tonight’s program, In%iol&a integra ! c$' e( and Ave Maria. Both motets em-ploy modi0ed Gregorian chant melodies as musical points of departure: Ave Maria uses fragments of chant melody as motivic material in all voices, while in In%iol&a the melody is a true cantus 0rmus, set as a canon at the 01h, and with a di-erent canonic lag time between the two canonic voices in each of the motet’s three parts.

Both these motets were widely dissemi-nated in the sixteenth century, as evidenced by the number of surviving copies from the period. Ave Maria, no doubt partly because of its relatively /arse texture and limited scoring, was particularly attra.ive for the sixteenth-century equivalent of arrange-ments. Tonight we present two additional versions of this celebrated work, as examples of two di-erent approaches to reworking a polyphonic model.

A sixteenth-century Bavarian manu-script source preserves Josquin’s Ave Ma-ria with two additional voices supplied by

Our concert tonight explores how compos-ers of the 01eenth and sixteenth centuries reconciled the traditions of the pa* with the ae*hetic demands of their own times, with the music of Josquin des Prez as a cen-tral, though not exclusive, focus. It was com-monly under*ood by mo* musicians of the early Renaissance that there was a small cadre of composers, mo* of whom were born in northern France and Flanders, who dominated the cra1 of polyphony. 2ere was clearly a notion of lineage among these composers, not lea* sugge*ed by the many laments by one or more composers on the death of colleagues from the previous gen-eration: Ockeghem for Binchois, Josquin for Ockeghem, and so on. However, ta*es also changed rather quickly: the composer and theori* Johannes Tin.oris, a contem-porary of Johannes Ockeghem, wrote that nothing composed forty years earlier was worth performing.

Josquin grew up in the shadow of Jo-hannes Ockeghem, and it is hard to imagine the technical achievements of Josquin with-out the compositional models of the older ma*er. Tonight we perform two motets by Ockeghem, both Marian antiphons, and both built on cantus 0rmi derived from Gregorian chant melodies. In Alma redemp-tor) M&er, Ockeghem places an embel-lished version of the chant melody in the altus, while in Salve regina it is in the bass. 2ese are both unusual choices, since mo* commonly it is the tenor which literally holds the pre-exi*ing melody. Tin.oris cited “varietas,” or melodic variety, as one

an anonymous composer. 2is expanded version is both an homage to Josquin and an e-ort to bring his *yle up to date. By the later sixteenth century the language of Josquin’s generation, while *ill highly re-/e.ed, was generally considered passe. 2e two added parts provide a more thoroughly imitative texture, more rhythmic intere*, and richer overall sound, mo* notably in the use of the major third in 0nal cadences.

A more rhapsodic treatment of Josquin’s motet is by Ludwig Sen+. Sen+ preserves motivic material and general archite.ural design, but gives himself license to explore new dimensions, both temporally and con-trapuntally. A particularly clever twi* is his employment of the very opening motive (it-self taken from the original chant material) as a cantus 0rmus that pervades the motet.

Our only foray into secular music to-night is a pair of pieces that demon*rate the dual trends of homage and *yli*ic updating. Jacques Arcadelt was one of the mo* celebrated of the early madrigali*s; his setting of Il bianco e dolce cigno became one of the be*-known works in what was then a relatively new genre. Orazio Vecchi preserves Arcadelt’s musical material in a surprisingly audible, even self-conscious way. 2e juxtaposition of pre-exi*ing and new material serves to both honor Arc-adelt’s work and emphasize its outdated ae*hetic. Arcadelt’s setting echoes time and again in Vecchi’s version, only to be sub-sumed by more modern musical sensibilities.

Cantus 0rmi come from many sources: Gregorian chant, secular melodies, occa-sionally sog!ti cav&i (solfege syllables based on a name or phrase). A more unusual can-tus 0rmus is found in Pale*rina’s M)sa ut re mi fa sol la, where the composer employs an ascending hexachord as the backbone of the entire setting. 2e hexachord is to Medieval and Renaissance music what the scale is to music of later centuries, and was also a teaching tool for learning how to sing plainchant. It was thus, to Renaissance ears, a kind of Urmelodie, and one of the mo* fundamental musical *ru.ures of the period.

Josquin inherited from the Ockeghem generation a penchant for challenging him-self with complex musical puzzles, and one famous example is his M)sa L’homme armé super %oces m"icales. 2ere are two main pre-exi*ing conditions: 0r*, the use of the well-worn “L’homme armé” tune as a cantus 0rmus, and second, the deployment of this tune on re/e.ive degrees of the hexachord (hence “super voces musicales,” or “upon musical tones”).

Tonight we perform the tripartite Ag-nus Dei from this mass setting. Its mo* celebrated part is a.ually the shorte*, the second Agnus Dei, since it is in fa. a triple mensuration canon. Imagine three people singing the same tune at three di-erent tempos and having it all work out, and you will have some idea of Josquin’s remarkable compositional feat!

! "

TranslationsAve MariaHail Mary, full of grace,2e Lord is with thee, serene Virgin.Hail, thou whose Conception,Full of great joy,Fills heaven and earthWith new gladness.Hail, thou whose NativityBecame our great celebration,As the light-bearing Morning Staranticipates the true Sun.Hail, faithful humility,Fruitful without man,Whose AnnunciationWas our salvation.Hail, true virginity,Immaculate cha*ity,Whose Puri0cationWas our cleansing.Hail, glorious oneIn all angelic virtures,Whose AssumptionWas our glori0cation.O Mother of God,Remember me. Amen.

Alma redemptoris materLoving Mother of the Redeemer, who remains the gate by which we mortals enter heaven,and *ar of the sea, help your fallen people who *rive to rise:You who gave birth, amazing nature, to your sacred Creator:Virgin prior and following, taking from the mouth of Gabriel that Hail! have mercy on our sins.

Il bianco e dolce cigno2e white and sweet swandies singing, and I, weeping, reach the end of my life.Strange and di-erent fate, that he dies disconsolateand I die a blessed death,which in dying 0lls me full of joy and desire.If in dying, were I to feel no other pain,I would be content to die a thousand deaths a day.

Inviolata integra et casta esO Mary, inviolate, whole and cha*e,you are the shining gate of heaven.O kind mother, deare* to Chri*,accept our faithful hymns of praise.To you our hearts and lips cry out:may our souls and bodies be pure.2rough your prayers’ sweet soundsgrant us forgiveness for ever.O kindly one, O 3ueen, O Mary,you alone remain inviolate.

Salve reginaHail Holy 3ueen, Mother of mercy[Hail] our life, our sweetness and our hope!To thee do we cry, poor banished chidren of Eve,To thee do we send up our sighs,Mourning and weeping in this valley of tears.

Turn, then, o mo* gracious advocate,2ine eyes of mercy and a1er this our exile Show unto us the blessed fruit of thy womb, Jesus. O clement, o loving, o sweet Virgin Mary.

! "

About the ArtistsFounded and run by its singers, Convivium Musicum has been dedicated to concerts of upli1ing beauty since !&)'. Praised by a li*ener: “It was an enchanting experience

— I am in*antly calmed when you sing,” Convivium is well-known for performances of Renaissance choral music that shimmer with precision, 0ne intonation, rhythmic accuracy, and lively attention to text. Over the pa* two decades we have o-ered rarely-heard gems alongside *irring ma*erworks. As we enter our fourth season with Music Dire.or Michael Barrett, our programs continue to be informed by careful research and scholarship, and our performances devoted to bringing to life the complex and profound emotional texture of this repertoire. Early Music America has acclaimed our performance as “the kind of transforming experience that concert junkies are always seeking.” 2is is what Convivium *rives for in every concert program.

Music dire.or Michael Barrett is a.ive in the Bo*on area as a professional musi-cian and teacher. As a singer he has collaborated with the Bo*on Camerata, Huelgas Ensemble, Blue Heron, the Netherlands Bach Society, L’Académie, Seven Times Salt, and Exsultemus, and has performed in several operas produced by the Bo*on Early Music Fe*ival. Mr. Barrett also dire.s the professional vocal ensemble Sprezzatura, and he serves on the advisory board of L’Académie, an ensemble for Baroque music. Mr. Barrett has worked as a condu.or and music theory teacher at Harvard University. He is a faculty member of IMC, a New York-based company for music curriculum and in*ru.ion, and has served as a workshop leader for professional development courses. He also maintains a *udio for private in*ru.ion in voice, piano, and music theory. Mr. Barrett earned an AB in music from Harvard University, an MM in choir condu.ing from Indiana University Jacobs School of Music, and Fir* Phase Diploma in Baroque and Classical singing from the Royal Conservatory in 2e Hague. In the fall of %$!$ he began do.oral *udies in choral condu.ing at Bo*on University.

Kyrie eleisonLord have mercy.Chri* have mercy.Lord have mercy.

Gloria in excelsis DeoGlory to God in the highe*,and on earth peace to people of good will.We praise you,we bless you,we adore you,we glorify you,we give you thanks for your great glory,Lord God, heavenly King,O God, almighty Father.Lord Jesus Chri*, Only-begotten Son,Lord God, Lamb of God, Son of the Father,you take away the sins of the world, have mercy on us;you take away the sins of the world, receive our prayer.you are seated at the right hand of the Father, have mercy on us.For you alone are the Holy One, you alone are the Lord, you alone are the Mo* High,Jesus Chri*, with the Holy Spirit, in the glory of God the Father. Amen.

Agnus DeiLamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, grant us peace.

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AcknowledgmentsConvivium would like to thank the parish of St. John’s Episcopal Church,

Charle*own, for providing us a home for many years. We thank our concert ho*s: the parish of St. Paul’s Episcopal Church, Brookline; James Busby at St. Stephen’s, Providence; and members of the Cambridge Friends Meeting House. As always, we thank Evan Ingersoll for his elegant brochure and program design; “Doc” Davis for recording; Erik Bertrand for diligent webma*ery, and Sheila Beardslee Bosworth for publicity.

Convivium Musicum is a non-pro0t corporation largely supported by member-ship dues and tax-dedu.ible donations. Please join us in our e-ort to keep beautiful music accessible by considering a donation this season.

Our heartfelt thanks to our family of donors:

Guarantor:Je* KlineRon Lacro & Jon Schum+omas & Cynthia LinkasMichael P. McDonaldRuth Susan We!heimer

Underwriter:Anne MatthewsRuthie MillerLuther & Iris MillerKaren O’Keefe

Grand Patron:+omas & Rebecca BarrettJohn & Harriet CareyDavid Hal!eadPhil & Solveig IngersollStephen D. Kennedy

PatronRobert & Jonathan CeelyGertrude Kazlauskas Chris & Mary Reaske Michel Truelson &

Jody Wormhoudt

Benefactor:Jocelyn M. Allen,

In Memory of Uncle Lou" Paquin

Robert CochranDavid GetzDavid KnudsenCheryl K. RyderAndrew Sigel

SponsorDavid Bliss & Judy UhlMay & Carl Daw Michael DettelbachDavid GetzJameson & Polly MarvinAtalanta Olito,Patty & Doug Woodlock

Friend:AnonymousVera Spohr Cohen Martha Davidson Nancy HaybergNancy Peacock

A Cappella Singers, www.theacappellasingers.org Andover Choral Society, www.andoverchoral.org The Apollo Club of Boston, www.apolloclub.org Arlington-Belmont Chorale, www.psarlington.org Back Bay Chorale, www.bbcboston.org Belmont Open Sings, www.powersmusic.org Boston Boy Choir, www.bostonboychoir.org The Boston Cecilia, www.bostoncecilia.org Boston Childrens Chorus,

www.bostonchildrenschorus.org Boston Choral Ensemble, www.BostonChoral.org Boston Early Music Festival, www.bemf.org Boston Gay Men's Chorus, www.bgmc.org Boston Saengerfest Men�’s Chorus:

www.saengerfest.org Braintree Choral Society, www.braintreesings.org Broadmoor Chamber Singers,

www.broadmoorsingers.org Brookline Chorus www.brooklinechorus.org Calliope; www.calliopemusic.org Cambridge Chamber Singers,

www.cambridgechambersingers.org. Cambridge Community Chorus,

www.cambridgechorus.org Cantata Singers, www.cantatasingers.org Cantemus Chamber Chorus, www.cantemus.org. Cantilena, www.cantilena.org Cappella Clausura, www.clausura.org Capriccio Chorus www.riversschoolconservatory.org Choral Art Society, www.choralartsociety.org Chorus pro Musica, www.choruspromusica.org Concord Chorus, www.concordchorus.org Concord Women's Chorus,

www.concordwomenschorus.org Convivium Musicum, www.convivium.org Coolidge Corner Community Chorus,

www.cccchorus.org Coro Allegro, www.coroallegro.org Coro Stella Maris, www.corostellamaris.org Dedham Choral Society: www.dedhamchoral.org Exsultemus, www.exsultemus.org Fine Arts Chorale, www.fineartschorale.org Golden Tones, www.goldentones.org Greater Boston Intergenerational Chorus,

www.bostonchorus.net Halalisa Singers, www.halalisa.org Handel & Haydn Society,

www.handelandhaydn.org Harvard Pro Musica, www.harvardpromusica.org Harvard-Radcliffe Choral Groups

www.fas.harvard.edu/~holchoir/

Heritage Chorale, www.heritagechorale.org Highland Glee Club, www.highlandgleeclub.com In Choro Novo, www.inchoronovo.com King's Chapel Concert Series, www.kings-chapel.org Koleinu, www.koleinu.org Lexington Pops Chorus,

www.LexingtonPopsChorus.org The Master Singers of Lexington,

www.themastersingers.org Masterworks Chorale, www.masterworkschorale.org Musica Sacra, www.musicasacra.org Mystic Chorale, www.mysticchorale.org Nashoba Valley Chorale, www.nashobachorale.org Neponset Choral Society, www.ncschorus.org. New England Classical Singers,

www.newenglandclassical.org Newton Choral Society www.newtonchoral.org Newton Community Chorus,

www.newtoncommunictychorus.org The Newton Singers,

www.geocities.com/newton_singers The Oriana Consort, www.theorianaconsort.org The Orpheus Singers www.orpheussingers.org PALS Children's Chorus,

www.palschildrenschorus.org Quincy Choral Society, www.quincychoral.org Paul Madore Chorale, www.paulmadorechorale.org Pilgrim Festival Chorus: www.pilgrimfestival.org Polymnia Choral Society, www.polymnia.org Reading Community Singers,

www.readingcommunitysingers.org Revels, www.revels.org Schola Amicorum, www.uvboston.org (Schola) Seraphim Singers, www.seraphimsingers.org Sharing A New Song, www.sharinganewsong.org Somerville Community Chorus,

www.somervillechorus.com. The Spectrum Singers, www.spectrumsingers.org Stämbandet, www.stämbandet.org Stow Festival Chorus & Orchestra,

www.soundsofstow.com Treble Chorus of New England,

www.treblechorus.com Voices Rising, www.voicesrising.org Wakefield Choral Society,

www.wakefieldchoralsociety.org Wellesley Choral Society,

www.WellesleyChoralSociety.org Youth pro Musica, www.youthpromusica.org Zamir Chorale of Boston, www.zamir.org

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L!"#$" CD Hugh A% on: & ree Marian AntiphonsBlue Heron’s second CD presents superb music by

three English composers of the early !"th century: Hugh A# on, Robert Jones, and John Mason. Blue Heron’s

recording uses brilliantly idiomatic recon# ru$ ions by Nick Sandon, and includes world premiere recordings

of three works. Now available through our website!

A “!ota"#e $eco$%&!g of '()(” *“…!y se"se of A# o"’s vo$ce owes !%c& to B'%e He(o"’s $!ag$"at$ve (ea'$zat$o" of &$s

sco(es. ) (o%g& a" a((ay of $"te(*(et$ve c&o$ces – + "e g(a,at$o"s of ,y"a!$cs; *%"ge"t ,$- $o"; te''$"g co"t(a# s of et&e(ea' a", ea(t&'y t$!.(es; te!*os t&at a(e !o(e '%# y

t&a" 'a"g%$,; a way of *(o*e''$"g a *&(ase towa(, a goa' – t&e !%s$c ta/es o" "a((at$ve !o!e"t%!, $ts !oo,s ,oveta$'$"g w$t& t&e t&e!e of t&e text.

It $s goo, to fee' a &$"t of t%(.%'e"ce, of !o(ta' fea(, $" *e(fo(!a"ces s%c& as B'%e He(o"’s ...; w$t& t&at q%$ve( of *ass$o", t&e !%s$c $"0 $(es eve" g(eate( awe.”

A!ex Ross | ! e New Yo"#e", Dece"#e$ %&, '&%&

S%&'' M('%)*+( · M,-.% D./(%'&/01!1–01!! -()-&2

www.'()e*e+o,c*o-+.o+g

group photo: Liz Linder

background: Steve Cadman

S!"./0!1, M!/23 45, 6744 · 8 9:

M!s"c of To#ás L!"s $e V"% o&"a ($. '('')A 34og4a5 of 56s7c 8y V7$ o47a a9: ot;e4 S3a97s; co53ose4s to co55e5o4ate t;e <11t; a997ve4sa4y of t;e 5a# e4’s :eat;, feat6479g t;e s7x-vo7ce M&ssa +$o %ef,!- &s of !"1=.

F74# C;64c; 79 Ca5847:ge, Co9g4egat7o9a> · !! Ga4:e9 St.

S!"./0!1, M!/23 45, 6744 · 8 9:

M!s"c of To#ás L!"s $e V"% o&"a ($. '('')A 34og4a5 of 56s7c 8y V7$ o47a a9: ot;e4 S3a97s; co53ose4s to co55e5o4ate t;e <11t; a997ve4sa4y of t;e 5a# e4’s :eat;, feat6479g t;e s7x-vo7ce

F74# C;64c; 79 Ca5847:ge, Co9g4egat7o9a> · !! Ga4:e9 St.

offi ce@blueheronchoir.org · (617) 960-7956Blue Heron, 45 Ash Street, Auburndale, MA 02466

Music for Voices and Viols by Byrd, Gibbons, and Tomkins

Acclaimed vocal ensemble Exsultemus is joined by an all-star consort of violas da gamba to explore the !ne

and varied body of music for voices and viols by some of England’s greatest composers.

Saturday, January !" at #pm at University Lutheran Church in Cambridge

Sunday, January $% at $pm at First Lutheran Church of Boston

Save the Dates!March ": Handel’s Tra le !amme

April #$: Music of Monteverdi & D’IndiaMay #% & #&: Music of Orlande de Lassus

“!" " bre#h$king m%ic … and Exsultem%

did a magni&cent job bringing it to life.”

Tickets !art at ju! $"#!

Tickets and detailed program and venue information at

www.exsultemus.orgor call !"#-$$!-%&'$

“ Convivium M#icum’s ‘Laments of $e Queen of Car$age,’ … provided $e kind of transforming experience $% concert junkies are always seeking. &e 'r( chord s) $e tone of $e concert—absolutely to-g)her and in tune. A gre% (art, and it only got b)ter ! $e choir sang s)tings of Dido’s l!t words ! she sums up her life—a concert $% w! !ton"hing in its accuracy while being delightfu*y varied and inventive in its presen+tion.”

—Mary Maarbjerg, Early M"ic America, Fall %$$#

CONVIVIUM·MUSICUM! " # $ % & # % % ' ( ) $ * * ) ( ! ' + , * $ !

dido’s lament& !"#$% &'()* +, F%-.*!-F/$&)(# *!&0!($%( c. 1233–1433

recorded live in concert

L!"#$" CD!

Convivium is proud to announce the release of its second CD of live concert recordings. Dido’s Lament features settings of Dido’s la* words (from the Aeneid, book IV) by Willaert, de Orto, and others—performed in the concert reviewed above—together with Marian motets by Mouton and Josquin, and a sele.ion of settings, by Sweelinck and Goudimel, of tunes and text from the French-language Genevan Psalter. 2is recording is not available in *ores—purchase your copy here today!

B-./ 01 23245-6 789-:7! Con-vivium’s ;r! CD, which sold out la! Fall, is now back in print! Featuring motets on the Song of Songs by Guerrero, Viv-anco, Vi<oria, and Ceballos, plus other music by composers from Spain and the New World. Recorded live in concert, with =ecial gue! appearances by +e Bo!on Shawm & Sackbut Ensemble, this CD captures Convivium’s deeply informed and emotionally intense in-terpretation of the Spanish repertoire —don’t miss it!

*)it www.convivium.org!Both CDs are now available through our re-designed website. Learn more about the group and our music, join our mailing li!, and see programs pa! and future, all online!

!""um #$%um &'ents ('e )n*rts + ,-r of o. /u01, 2o3 v4 56ep, w, 787d 9 (e e0 of o. :;<; =>?.@ w> Jo3 w, firA BoCht $ tDEFr + <GHI, to sJ7 o. Kve of LM+g NeOPQn* m$% R( ST o(1 4d R( o. UVen*s. Jo3’s en($i>m, WVX-8?, YZr8=, Rt, 4d [u0l's m$% \B]y Qw $ (^Ch o. Sr\eA days, 4_ Jve )n8nu` to aAbn 4d +cde $ (^Ch (e ySrs. He =rv` > o. firA &'eent wFn (e foup +)rghij + <GG:, 4d e0.+ky /A1` (e Wlm9% cdn (9 oe' + p?""um to (P qay.C?""um Js flo.PFr sX$e of (e Wvo8?, tu^Lty, 4d Jrj vrk of wl ns m$%i4s 4r xy0s, zt n w> Jo3 w, s{n n wl, 4d we f9e|}y WVXi ('e Zr/rm4*s to h~.

! " # $ % & ' () )In !#)) England and Spain fought one of the mo* famous naval battles in European hi*ory. 2eir two powerful monarchs – Elizabeth I and Philip II – 0lled their courts with some of the 0ne* music of the period. 2is Spring, Convivium will o-er sele.ions from the repertoire of both na-tions, including works by Byrd, Morley, Vi.oria, and Guerrero.

April ,-, . pm · St. John’s Ep"copal Church, Jamaica Plain (abbrevi%ed preview concert) May #(, > pm · Trinity Lutheran Church, Worce!er May #), $ pm · St. Paul’s Episcopal Church, Brookline May &#, > pm · Cambridge Friends Meeting HouseMay &&, ( pm · Grace Episcopal Church, Salem

!EMFJoin us for a Fringe concert at the Bo*on Early Music Fe*ival, Saturday, June !), %$!! (time TBD) at the Church of St. John the Evangeli*, ,# Bowdoin St. (Beacon Hill), Bo*on.

CONVIVIUM·MUSICUM·4566