PROGRAM: 2022 Bloomington Early Music Festival: Celebrating Women in Early Music

E A R LY M U S I C
�ursdays at 8pm
harmoniaearlymusic.org

Welcome to the
As we come together, following more time apart than we could have
imagined, all of us at Bloomington Early Music are especially excited
to share this year’s festival with you.
Experiencing music together—whether playing, singing, or listening—
makes community happen. Through music, we connect in delight and
sorrow, witness great beauty, feel another’s pain, excitement, or tran-
quility. Our 2022 festival extends that connection hundreds of years
into the past, to women who lived over the course of nine centuries
and across four continents. These women faced challenges and found
joys surprisingly similar to what many experience today, even as the
societies in which they lived seem foreign and distant to us now. Then
as now, women have been overlooked, their achievements and influ-
ence ignored or covered over, and their paths to success filled with ob-
stacles. And their joys—of family, friendship, love, religious devotion,
and intellectual and artistic endeavors—are also mirrored, if somewhat
altered, in women’s lives today.
The music that fills our festival showcases these experiences, and shows
that despite many challenges, women did in fact achieve and influence,
create and perform; that they were present and even sometimes pow-
erful throughout this long period. History may have forgotten, but
their music remembers. Our hope is to inspire our whole community
through the power of this music and the perseverance that it represents.
We at Bloomington Early Music are enormously grateful for the sup-
port you have shown us over the many years since our first festival
nearly thirty years ago, but most especially for helping us to persevere
over the past two years. On behalf of our entire board, thank you. It
is, then, a special honor and a great thrill to present to you BLEMF
2022—with as much to hear, do, and enjoy as we could pack into a
week. Let the music begin!
Suzanne Ryan Melamed
BLEM Board President
2022 bloomington
early music festival!
3

Thank you!
PRE-CONCERT DISCUSSIONS SPONSOR VIRTUAL CONCERT SERIES SPONSOR
Bloomington Early Music
is thankful for the support of the following businesses, foundations,
and organizations for making this year’s festival possible.
WORKSHOP SERIES SPONSOR MEDIA SPONSOR
4

Celebrating Women in Early Music
BLEMF 2022 is dedicated to celebrating women in early music,
highlighting the presence, influence, and artistry of women across
nine centuries of musical culture and music-making. From the
convents of the medieval period through the salons of the early
19th century, women participated in music as composers, per-
formers, poets, patrons, and listeners; from positions of political,
religious, and social power; in front of audiences and behind the
scenes. Our festival gives such women the stage—those long-re-
membered and those only recently rediscovered—to bring the
music they made in their time to our audiences today.
in-person concerts
All in-person concert venues are handicap-accesible. Pre-concert
discussions and performances take place in the same venue
and will be livestreamed.
Program notes and texts & translations
are available at www.blemf.org
virtual concerts
Enjoy virtual concerts from the comfort of your home, or join us at
the Downtown Branch of the Monroe Public Library for a screening
at the release time on the festival schedule.
All virtual concerts will be available for viewing through
SATURDAY, JUNE 4TH.
workshops
With the exception of tavern hopping through time,
workshops are designed for children and the young at heart.
Children under the age of 9 must be accompanied by an adult.
PO Box 734 | Bloomington, IN 47402
www.blemf.org
5

Our History & Mission
Established in 1992 by renowned violin pedagogue Stanley Ritchie and
his associates, Bloomington Early Music began as an inspiring commu-
nity concert series under the name Early Music Associates. Soon after,
a group of enterprising students from Indiana University’s Early Music
Institute—now the Historical Performance Institute (HPI)—joined
this community effort to establish the Bloomington Early Music Fes-
tival. Over the next three decades, our organization has brought to
south central Indiana some of the world’s most significant performers
of music of the medieval period through the early nineteenth century,
many of whom have deep artistic roots in this region. BLEM partners
with national and local organizations to better serve diverse commu-
nity, sponsors local ensembles and educational outreach, and collabo-
rates with the HPI, the IU Latin American Music Center, and leading
music scholars at IU’s Jacobs School of Music. BLEM aims to enrich,
educate, and inspire audiences and performers through our support of
emerging talent, promotion of music that is global and multicultural,
and commitment to societal engagement through music.
___________________________________
Board of Directors 2021-2022
Suzanne Ryan Melamed, President
Javier Léon, Vice President
Paul Borg, Treasurer
Thomas Schaller, Secretary
Carolann Buff Tomas Lozáno
J. Peter Burkholder Ingrid Matthews
Aaron Cain Dana Marsh (ex-officio)
Oscar Cañizares Devon Nelson
Helen Ford Lynn Schwartzberg
Julia Lawson (on leave)
Travis Whaley, Manager of Finance & Administration
Colin Knapp, Manager of Marketing, Publicity & Development
6

Remembering Robert DeVoe (1938-2021)
With deep gratitude for his years of service to the Bloomington community,
we celebrate and honor Bob DeVoe at this year’s Bloomington Early Music
Festival. Bob was a member of the Bloomington Early Music board of direc-
tors for more than a decade and provided enormous wisdom, expertise, and
encouragement to the organization. With his charm, thoughtful manner, pa-
tience, and encyclopedic knowledge, he helped forge a through-line of stabili-
ty as the festival explored different programming ideas and partnerships. Ever
a champion of a broadening of scope, Bob was a strong supporter of diversity
in programming and was thrilled when women composers and performers
were showcased. He would have been enthralled by this year’s lineup.
Bob was part of a group of individuals who largely underwrote the growth
of programming in early music in this amazing town, at a time in which the
festival was still young. Upon moving to Bloomington to pursue his career
as a faculty member in the Indiana University School of Optometry in the
1990s, Bob befriended a group of opera lovers who had an enviable tradition
of gathering at one their houses for a post-performance celebration. Included
in the group were George Van Arsdale and Gordon Hershey, both of whom
would, like Bob, become members of BLEM’s board of directors. And the
three of them were friends with long-time board chair Mary Tilton, who in
her inimitable way, kept them all in order!
A little-known fact about Bob: Not only was he an enthusiast for all things
Apple and a staunch member of SMUG, the Serious MacIntosh Users Group
(which led to many discussions on best practices,) but he was a drummer,
with experience as a member of the Bloomington Community Band. Who
would have guessed that the urbane, thoughtful, ever-supportive long time
board member had such a passion? But then… on the rare occasion in meet-
ings, Bob’s equilibrium would break to reveal a passionate debater, with im-
pressive dexterity, virtuosity, and wit. Perhaps the drummer was more present
than we realized?
We will miss Bob, his passion for early music, his generosity, his phenomenal
grasp of numbers, and so much more, as we remember him during the 2022
Bloomington Early Music Festival.
Alain Barker
Executive Director, 1994-2004
Board President, 2015-2021
7

Festival Schedule
At-A-Glance
Sunday, May 22
Opening Night!
8pm | Concert
FAR Center for Contemporary Arts
505 W 4th St.
Bloomington Bach
Cantata Project
J.S. Bach, “Es ist gut, dass ich
hingehe” BWV 108
Mid-concert talk:
Daniel R. Melamed
_________________
Monday, May 23
12pm | Virtual Concert
Screening at the Monroe County
Library | Downtown Branch, 2A
Musica Secreta
Mother, Sister, Daughter
Pre-concert discussion:
Laurie Stras & Carolann Buff
2pm | Workshop
Monroe County Courthouse
100 W Kirkwood Ave
Dancing on the Square
Forgotten Clefs
Leonora d’Este’s Ferrara
Sarah Schilling, Kelsey Schilling
& Liza Malamut
7:15pm | Pre-concert Discussion
Alexander Lingas & Dana Marsh
8pm | Concert
The Mill
642 N Madison St
Cappella Romana
Hymns of Kassianí
_________________
Tuesday, May 24
Bach Collegium
San Diego
Muses of Parnassus
Ruben Valenzuela & Roseen Giles
2pm | Workshop
Lotus Education & Arts
Foundation Firebay
105 S Rogers Street
Sword Fighting &
Other Theatrical
Wonders
scan for
mobile version
8

Le Concert de la Reine
Gloriosa
Chloé de Guillebon & Marcie Ray
Keith Collins, Tim Macdonald
& Devon Nelson
8pm | Concert
Hopscotch Coffee B-Line Café
235 W Dodds St
Isshallyn
Farewell Forever
to the Music of the Harp
Wednesday, May 25
It’s FAR Away Day!
All in-person events at
505 W 4th St.
The Telling
Unsung Heroine
Clare Norburn & Elizabeth K.
Hebbard
2pm | Workshop
Tunics, Tassels & Tiaras
5pm | Film Screening
The Telling
Unsung Heroine
(on the big screen!)
Pre-screening discussion and Q&A:
Elizabeth K. Hebbard
Paula Maust & Giovanni Zanovello
8pm | Concert
Musica Spira
An Extraordinary Innovation
_________________
Thursday, May 26
Rebecca Cypess
Salonnières at the Keyboard
Rebecca Cypess & Travis Whaley
2pm | Workshop
The Lilly Library
1200 E 7th St.
Making Music Books
Westeinde Winds
The Quest for the Female Musi-
cian of the Past
Pre-concert talk: Rachel Becker
9

Let us know if you
enjoy the show!
Fill out our survey for a
chance to win one of three
$100 gift cards from
Morgenstern’s Books!
Alicia DePaolo & Devon Nelson
8pm | Concert
100 W Kirkwood Ave
MIRYAM
Livshi Oz
Tales of Biblical Heroines
Friday, May 27
Closing Day!
Schola Antiqua
Music in Secret
Naomi Gregory & Cesar Favila
2pm | Workshop
Monroe County Public Library
Downtown Branch
303 E Kirkwood Ave
What’s That Sound?
Making Early Music
5pm | Workshop (21+)
Cardinal Spirits
922 S Morton St.
Tavern Hopping
through Time
Sarah Cranor & Paul Borg
8pm | Concert
Trinity Episcopal Church
111 S Grant St.
Tonos del Sur
María del Pueblo
blemf.org/festival-survey
Paper copies also available
at festival venues.
10

Pre-Concert Discussions
BLEM presents educational and exploratory talks ahead of every con-
cert performance, both in-person and virtual. Performers are paired up
with leading music scholars in conversations about the music you are
about to hear, the people who helped create it, and why they love it.
Generously sponsored by
Morgenstern’s Books
Sunday, May 22
8pm (in-person) Bloomington Bach Cantata Project
Director Daniel R. Melamed, professor of musicology at Indiana
University (mid-concert talk)
___________________________________
Monday, May 23
12pm (virtual) Musica Secreta Director Laurie Stras & BLEM
board member and Carolann Buff, professor of choral musicology
at Indiana University
5pm (virtual) Forgotten Clefs Managing Director and mem-
ber Sarah Schilling, member Kelsey Schilling, & historical trombon-
ist Liza Malamut, adjunct professor at Indiana University
7:15pm (in-person) Cappella Romana Music Director and
Founder Alexander Lingas & Dana Marsh, Director of the Historical
Performance Institute, Indiana University
___________________________________
Tuesday, May 24
12pm (virtual) Bach Collegium San Diego Director
Ruben Valenzuela & musicologist Roseen Giles, professor of musi-
cology at Duke University
5pm (virtual) Le Concert de la Reine Director Chloé de
Guillebon & Marcie Ray, professor of musicology at Michigan State
University
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7:15pm (in-person) Isshallyn Director Keith Collins & member
Tim Macdonald, and BLEM board member Devon Nelson, adjunct
professor of musicology at Indiana University
___________________________________
Wednesday, May 25
12pm (virtual) The Telling’s singer, playwright and producer
Clare Norburn & Elizabeth K. Hebbard, professor of French and
Italian at Indiana University
5pm (in-person) Elizabeth K. Hebbard ahead of The Telling’s
film at FAR Center (live Q&A)
7:15pm (in-person) Musica Spira Co-director Paula Maust &
Giovanni Zanovello, professor of musicology at Indiana University
___________________________________
Thursday, May 26
12pm (virtual) Rebecca Cypess & BLEM manager Travis
Whaley, Ph.D. candidate in musicology at Indiana University
5pm (virtual) Rachel Becker, professor of musicology at Boise State
University, ahead of Westeinde Winds concert
7:15pm (in-person) MIRYAM Director Alicia DePaolo & Devon
Nelson, BLEM board member and adjunct professor of musicology
at Indiana University
___________________________________
Friday, May 27
12pm (virtual) Schola Antiqua Music Director Naomi
Gregory & Cesar Favila, professor of musicology at UCLA
7:15pm (in-person) Tonos del Sur Director Sarah Cranor &
Paul Borg, BLEM board treasurer and adjunct professor in the Latin
American Music Center, Indiana University
12

Educational Workshops
BLEM presents educational workshops every afternoon of Festival
Week, exploring questions about life in earlier times. With the excep-
tion of Tavern Hopping through Time, workshops are all
free of charge and designed for children and the young at heart. Chil-
dren under the age of 9 must be accompanied by an adult.
Generously sponsored by
The Community Foundation
Bloomington & Monroe County
Monday, May 23 | 2pm
Dancing on the Square
100 W Kirkwood Ave
Learn about wild Highland reels and elegant Georgian country danc-
ing in a rocking historical dance party on the Courthouse lawn. This
first of our fun festival workshops will teach you the trendy Gaelic
steps and genteel English figures you need to succeed in 18th-cen-
tury British society. What a way to start the week! (Partner not
needed).
___________________________________
Tuesday, May 24 | 2pm
Sword Fighting & Other Theatrical Wonders
Lotus Education & Arts Foundation Firebay
105 S Rogers Street
Learn how to wage combat without hurting a fly from a certified,
professional stage combat instructor! Be a Shakespearean actor for
a day! Enter life on the stage in Renaissance times and experience
the wonders of early theater—and take home your own (foam!)
sword to vanquish your foes!
Presented in partnership with Staged Bloomington
13

Wednesday, May 25 | 2pm
Tunics, Tassels & Tiaras
505 W 4th St.
Who wore what, when? And why did they wear that?? Learn about
historical clothing from as far back as the medieval times, how fash-
ion changed over time, and how kinds of dress helped to tell who
was who, where they were from and what they did for a living. And
use what you learn to make your own historical costumes!
___________________________________
Thursday, May 26 | 2pm
Making Music Books
The Lilly Library
1200 E 7th St.
See book-making technologies from hundreds of years ago—a print-
ing press, paper making, and marbling—right here at the Lilly Li-
brary. Join in to make your own paper, explore the library’s amazing
collection of historical music books, and learn to chant from one of
the Lilly’s antique antiphonals!
Presented in partnership with The Lilly Library and IU Corps
___________________________________
Friday, May 27 | 2pm
What’s That Sound? Making Early Music
Monroe County Public Library | Downtown Branch
303 E Kirkwood Ave.
How do instruments make sound? Why does the shape of an instru-
ment and how it’s built matter? And why do instruments sound dif-
ferent in different spaces? Learn about the acoustics of instruments,
how sound works in spaces of different shapes and sizes, and how
it all fit into the sounds of music hundreds of years ago. Build your
own instrument and make music with us!
Presented in partnership with the WonderLab Museum of
Science, Health & Technology
14

A Workshop for Grown-Ups!
Friday, May 27 | 5pm
Tavern Hopping through Time (21+ only; $15 fee)
Cardinal Spirits
922 S Morton St.
Eat, drink, and be merry while you learn about historical drink and
music-making, and how the two pastimes traveled together through
time. Festival Week is coming to a close-- make it over to Cardinal
Spirits to mix your own eighteenth century cocktails with mixologist
and musicologist Devon Nelson!
Your $15 ticket covers the cost of alcohol.
Presented in partnership with Cardinal Spirits
15

Bloomington BLOOMINGTON, IN
Bach Cantata Project
“Es ist euch gut, dass ich hingehe” BWV 108
Johann Sebastian Bach (1685-1750)
1. Dictum (bass)
2. Aria
3. Recitative
4. Dictum (chorus)
5. Aria
6. Chorale
___________________________________
Carolann Buff, music director
Daniel R. Melamed, lecturer
Howell Petty, soprano Esteban Hernández Parra, viola
Carolann Buff, alto Joanna Blendulf, cello
Blake Beckemeyer, tenor Philip Spray, violone
Steven Warnock, bass Anastasia Chin, organ
Natasha Keating, Jennifer
Kirby, oboe d'amore
Martie Perry, Abigail Hakel-Garcia,
Miranda Zirnbauer, Shelby Mass, violin
Libretto by Christiane Mariane von Ziegler (1695-1760)
Photo: BBCP/Steve Sobiech
Sunday, May 22 | 8pm | FAR Center
16

The Bloomington Bach Cantata Project, now completing its twelfth
season, brings together students, faculty, and professional artists
from around the region to present cantatas by J. S. Bach in perfor-
mances modeled on his own. Our performances use singers and in-
strumentalists deployed as Bach did in numbers and balance, and
are based on carefully considered musical texts representing specif-
ic versions heard under Bach’s direction. Our concerts offer a perfor-
mance of a cantata, a short talk about it, and a second performance
in which we hope audiences will hear new things. We are an affiliate
of Bloomington Early Music and a project of the IU Jacobs School
of Music’s Historical Performance and Musicology Departments. We
are grateful for the support of the Bloomington Arts Commission
and the generous contributions of individual donors.
Daniel R. Melamed, director
Lawrence Abernathy, concert manager
Margaret Eronimous, operations manager
Wendy Gillespie, founding director
Carolann Buff, music director, is assistant profes-
sor of music in choral conducting at the Indiana
University Jacobs School of Music, where she spe-
cializes in choral musicology; she previously taught
at Westminster Choir College of Rider University.
Her principal research interests include 14th- and
early 15th-century musical style. She is a founding
member of the internationally renowned medieval
trio Liber unUsualis; and has toured around the world with the Boston Cam-
erata, recorded with the Renaissance choir Cut Circle, and performed with
the women’s ensemble Tapestry.
Daniel R. Melamed, director of the Bloomington
Bach Cantata Project and lecturer, is professor of
musicology at the Indiana University Jacobs School
of Music, and has taught at Yale University, the
University of North Carolina at Chapel Hill, and
Columbia University. He is the author of several
17

This concert is generously sponsored by Paul Borg.
Tonight’s performance is given in memory of Frank Silberstein.
scan for
annotated
translation
www.bachcantatatexts.org/BWV108
books on the music of J. S. Bach, including Hearing Bach’s Passions and Listen-
ing to Bach: The Mass in B Minor and the Christmas Oratorio, both for general
readers. He currently serves as president of the American Bach Society.
18

AUGUST 14-20, 2022
IN VENUES THROUGHOUT NASHVILLE, INDIANA
7 Days of Classical Music Concerts & Events
FIND COMPLETE SCHEDULE, VENUES AND TICKETS AT
ChamberFestBrownCounty.com F d
FREE AND PAID EVENTS · DONATIONS WELCOMED
SUNDAY, AUGUST 14 · 7 PM
From Rameau to The Beatles
Guitar Duo
TUESDAY, AUGUST 16 · 7 PM
The Musics of Poetry
Poetry Reading
WEDNESDAY, AUGUST 17 · 7 PM
Clarinet Transformations
Chamber Music with Clarinet
THURSDAY, AUGUST 18 · 7 PM
Passion and Despair
Piano Quartet and Quintet
FRIDAY, AUGUST 19 · 7 PM
In Memory of a Great Artist:
the Tchaikovsky Trio
Piano Trio
SATURDAY, AUGUST 20 · 7 PM
Chamber Music Gala
Music for Strings
MONDAY, AUGUST 15 · 7 PM
Diverse Bizarrie
Early Music Duo
Rachell Wong, baroque violin
David Belkovski, harpsichord

Musica Secreta SOUTHAMPTON, ENGLAND
Mother, Sister, Daughter
Missa de Beata Virgine Anon (Verona 761, c. 1495)
Vespers of St Lucy Anon (Verona 759, c. 1480)
Orante Sancta Lucia
Lucia virgo quid a me petis
Per te Lucia virgo
Soror mea Lucia
Tanto pondere
Virgo Maria speciosissima Anon,
attr. Leonora d’Este (1515-1575)
Avés poinct veu Marguerite de Navarre (1492-1549)
la malheureuse
Aen mijn Suster Betken Martha Baerts (d. 1560)
Mater Christi cooperto capite Anon,
attr. Juan Anchieta (1462-1523)
Vespere autem sabbati Anon, attr. Leonora d’Este
First Vespers of St Clare Anon (Brussels 27766, c. 1560)
Iam sanctae Clarae
Mundi totius gloriam
Haec in paternis laribus puella
Sacra spirat infantia
Hanc et papa Gregorius fovit
Hymn: Concinat plebs fidelium
Duce caelesti numine
Monday, May 23 | 12pm | Virtual
20

Lauds and Second Vespers of St Clare Anon (Brussels 27766)
Post vitae Clarae terminum
Agnes ad agni nuptias
Sicut sorore previa
Honorat Christi dextera
Laudans laudare studeat
Hymn: En preclara virgo Clara
Salve sponsa Dei
___________________________________
Laurie Stras, director
Yvonne Eddy, Hannah Ely, Victoria Meteyard, sopranos
Victoria Couper, Katharine Hawnt, mezzo-sopranos
Caroline Trevor, alto
Kirsty Whatley, harp
Claire Williams, organ
Alison Kinder, bass viol
Film by David Lefeber
Ensemble direction by Claire Williams
Filmed at Stapleford Granary, Cambridgeshire,
26 March 2022.
photo: Nick Rutter
21

Musica Secreta is the most established female-voice early music
ensemble in the UK. For over thirty years, they have performed,
taught, and recorded music written by and for women from the
fifteenth to the seventeenth centuries. The musicians, all women,
have performed with major ensembles including the Tallis Scholars,
The Sixteen, Tenebrae, Magnificat, Siglo d’Oro, Ensemble Plus Ultra,
the BBC Singers, Joglaresa, and the Rose Consort. They have made
nine CDs, four of which are of music exclusively by historic wom-
en composers. Their pioneering research has been recognised by
awards from the Society for the Study of Early Modern Women and
the American Musicological Society. Their most recent recording,
From Darkness Into Light (Obsidian CD 719) was shortlisted for the
Gramophone Early Music Award, 2020.
Laurie Stras is Emeritus Professor of Music at the
University of Southampton and, until July 2022,
Research Professor of Music at the University of
Huddersfield. She is a regular contributor to print
and broadcast media and has published extensively
on women singers in early music and popular mu-
sic. Her 2018 monograph, Women and Music in
Sixteenth-Century Ferrara (Cambridge University
Press), was awarded the Otto Kinkeldey Prize from
the American Musicological Society in 2019.
Musica Secreta is supported by
The Leche Trust
Angel Early Music
Huddersfield University
Ambache Charitable Trust
The Ambache Charitable Trust is active
in raising the profile of women composers.
This concert is supported in part by Dolores Ryan
& Kevin Hainsworth, in memory of Donald P. Ryan.
22

Lilly Library Galleries are open:
Monday–Thursday 9:30 a.m.–6 p.m.
Friday 9:30 a.m.–5 p.m.
Saturday: 9:30 a.m.–4 p.m.
Weekly drop-in tour Fridays at 2 p.m.
All are welcome; no admission fee or access card required.
(812) 855-2452 · libraries.indiana.edu/lilly-library
23

Forgotten Clefs RICHMOND, VA

Leonora d’Este’s Ferrara
Canzona decimanona Gioseffo Guami (1542-1611)
Canzona decima Luzzasco Luzzaschi (c. 1545-1607)
Canzona vigesimaterza Claudio Merulo (1533-1604)
from Canzoni per Sonare (1608)
La Martinella Johannes Martini (c. 1440-1497/8)
from Casanatense Chansonnier (1490)
Regina caeli Laetare Cipriano de Rore (c. 1515-1565)
from Fantasie recercari contrapunti a tre voci (1551)
Angelus ad pastores ait Raffaella Aleotti (1570-1646)
Facta est cum angelo
from Sacrae cantiones (1593)
Felix namque Anon,
from Musica quinque vocum (1543) attrib. Leonora d’Este
(1515-1575)
Vive, vive Johannes Martini
La Parma pub. Pierre Phalèse (1583)
Le forze d’Hercole Anon (Royal app. 59–62)
El Dragone Anon (Royal app. 59–62)
La Comarina Anon (Munich Mus. MS 1503(h))
Galante Francesco Bendusi (died c. 1553)
Violla
Speranza
Non seul uno Johannes Martini
& BLOOMINGTON, IN
Monday, May 23 | 5pm | Virtual
24

Salve Sponsa (Dulcians/Sackbut) Anon,
Salve Sponsa (Recorders) attrib.Leonora d’Este
O salutoris
from Musica quinque vocum (1543)
Ave Maria Bartolomeo Tromboncino (c. 1470-1535)
from Laude, Libro secondo (1508)
Pass’e mezzo moderno Giorgio Mainerio (c. 1530s-1582)
___________________________________
Christopher Armijo, recorder, dulcian, drum
Keith Collins, recorder, shawm, dulcian
Adam Dillon, recorder, sackbut
Kelsey Schilling, recorder, dulcian, pipe & tabor
Sarah Schilling, recorder, shawm, dulcian
The Renaissance Wind Ensemble Forgotten Clefs was founded in
2014 to perform and promote Renaissance civic wind band music.
The group has been heard on the nationally syndicated program
“A Baroque Christmas in the New World” produced by Public Radio
International in partnership with Harmonia Early Music (WFIU
Bloomington, NPR). In 2015, Forgotten Clefs performed at “Histor-
25

ically Informed Performance in Higher Education” hosted by the
Smithsonian Chamber Music Society (Washington, DC) and in the
Young Performer’s Festival at the Boston Early Music Festival, rep-
resenting Indiana University’s Historical Performance Institute. For-
gotten Clefs has become a regular fixture of the NC HIP Festival in
Durham. Recent programs include “Prophecy | Nativity” (a Renais-
sance adaptation of Handel’s Messiah); “Reformation Reboot”, and
“Leonora d’Este’s Ferrara.” Forgotten Clefs’s annual educational
outreach program, “Shawms and Stories,” brings musical storytell-
ing to schools, libraries, and community centers in South-Central
Indiana with support from City of Bloomington Arts Commission
and the Indiana Arts Commission.
26

Dr. Brandt Finney
Dentist, Owner
2909 E. Buick Cadillac Blvd,
Bloomington, IN 47401
o 812.339.3427
Bloomdentist.com
John Hurlow
MANAGING PARTNER
FINANCIAL ADVISOR
jhurlow@hurlowwealth.com
hurlowwealth.com
3925 Hagan Street, Ste 300
Bloomington, IN 47401
812-333-4726
CPWA®, C(K)P®, AIF®
Hurlow Wealth Management Group, Inc. is a Registered
Investment Adviser. Advisory services are only offered
to clients or prospective clients where Hurlow Wealth
Management Group, Inc. and its representatives are
properly licensed or exempt from licensure.
27

CAPPELLA ROMana PORTLAND, OR
Hymns of Kassianí
I. Hymns for Vespers on Christmas Eve
Lamplighting Psalms, excerpt, Mode 2 Anon, MS Sinai 1255
«Κύριε ἐκέκραξα» “Lord, I have cried…”
(Ps 140 with refrains)
Stíchera Prosómoia MS Vienna Theo. gr.181
to the Melody “When You Appeared”
Other Prosómoia MS Ambr. A 139 sup.
to the Melody “An Angel Brought”
Doxastikón Idiomelon MS Grott. E.α.II
«Αὐγούστου μοναρχήσαντος»
“When Augustus reigned”
INTERMISSION
II. Hymns from the Triodion and Holy Week
Idiómelon for the Sunday MS Grott. E.α.5
of the Publican and the Pharisee
«Παντοκράτορ Κύριε» “Almighty Lord”
Ode 1 of the Tetraódion MS Grott. E.γ.ΙΙ
for Great and Holy Saturday
Idiómelon for Great and Holy Wednesday MS Grott. E.α.5
«Κύριε, ἡ ἐν πολλαῖς ἁμαρτίαις περιπεσοῦσα»
“Lord, the woman found in many sins”
Kalophonic sticheron after Attr. Meletios the Monk,
Kassía’s Hymn for Holy Wednesday MS Sinai gr. 1251
Monday, May 23 | 8pm | The Mill
28

Alexander Lingas, music director and founder
Spyridon Antonopoulos
John Michael Boyer
Kristen Buhler
Daniel Burnett
David Krueger
Mark Powell
Photini Downie Robinson
Catherine van der Salm
David Stutz
Nadia Tarnawsky
Performing editions by Ioannis Arvanitis
29

The professional vocal ensemble Cappella Romana and its GRAM-
MY-nominated recording label Cappella Records are dedicated to
combining passion with scholarship in its exploration of the musical
traditions of the Christian East and West, with emphasis on early
and contemporary music. Its performances “like jeweled light flood-
ing the space” (Los Angeles Times), Cappella Romana is known es-
pecially for its presentations and recordings of medieval Byzantine
chant, Greek and Russian Orthodox choral works, and other sacred
music that expresses the historic traditions of a unified Christian in-
heritance. Founded in 1991, Cappella Romana has a special com-
mitment to mastering the Slavic and Byzantine musical repertories
in their original languages, thereby making accessible to the gen-
eral public two great musical traditions that are little known in the
West. Critics have consistently praised Cappella Romana for its un-
usual and innovative programming, including numerous world and
American premieres. The ensemble has presented annual concert
series in Portland, Oregon, Seattle, Washington, and San Francisco,
California, in addition to touring nationally and internationally, most
recently to the Utrecht Early Music Festival, Netherlands, the largest
early music festival in the world, where it performed its Lost Voices
of Hagia Sophia program before a sold-out house of 1,500 vacci-
nated audience members. Other recent appearances abroad have
included venues in Hungary, Serbia, Germany, Belgium, Greece, and
the UK. Cappella Records has released more than 25 recordings,
including its chart-topping Lost Voices of Hagia Sophia (44 weeks
on Billboard), Hymns of Kassianí, featuring the earliest music in the
world we have by a female composer, and The Saint Tikhon Choir’s
GRAMMY-nominated recording of Benedict Sheehan’s Liturgy.
Alexander Lingas, Music Director and Founder of Cappella Romana, is a
Professor of Music at City, University of London, and a Research Fellow of
the Institute for Orthodox Christian Studies, Cambridge. He completed his
doctorate on Sunday matins in the rite of Hagia Sophia at the University of
British Columbia and then, with the support of a SSHRC postdoctoral fel-
lowship, moved to Oxfordshire to study theology with Metropolitan Kallistos
Ware. His present work embraces not only historical study but also ethnog-
raphy and performance. His awards include Fulbright and Onassis grants for
30

musical studies in Greece with cantor Lycourgos
Angelopoulos, the British Academy’s Thank-Of-
fering to Britain Fellowship, research leave sup-
ported by the Stavros Niarchos Foundation, and
the St. Romanos the Melodist medallion of the
National Forum for Greek Orthodox Church
Musicians (USA). In 2018 His All-Holiness, Bar-
tholomew I, Archbishop of Constantinople-New
Rome and Ecumenical Patriarch, bestowed on
him the title of Archon Mousikodidaskalos.
This concert is supported in part by Jean Person.
31

Bach Collegium San Diego
Muses of Parnassus
Lagrime mie Barbara Strozzi (1619-1677)
Sonata Prima Op. 16 no. 1 Isabella Leonarda (1620-1704)
Regina caeli laetare Francesca Caccini (1587-1641)
Sonata duodecima a violino solo Op. 16 Isabella Leonarda
Ciaconna Bernardo Storace (1637-1707)
Serenata for Soprano: Barbara Strozzi
Hor che Apollo (from Arie Op. 8)
___________________________________
Jennifer Ellis Kampani, soprano
Andrew McIntosh, Susan Feldman, violin
Heather Vorwerck, cello, viola da gamba
Alejandro Jenné, theorbo, jarana
Ruben Valenzuela, organ, harpsichord, director
Photo: Gary Payne Photography
SAN DIEGO, CA
Tuesday, May 24 | 12pm | Virtual
32

Bach Collegium San Diego engages audiences with accessible, his-
torically informed performances and educational programs featur-
ing repertoire from the Renaissance, Baroque, and early Classical
eras. Founded in 2003 by Artistic Director Ruben Valenzuela, Bach
Collegium San Diego diversifies musical offerings in the San Diego
community, and presents a wide variety of historically significant
works. The organization engages many of the country’s finest sing-
ers and instrumentalists to bring world-class music to the greater
San Diego area. Bach Collegium San Diego’s excellent programming
and exemplary talent have made it one of the premier early music
ensembles on the West Coast and one of the most dynamic ensem-
bles in the United States.
Ruben Valenzuela, conductor, keyboardist,
and musicologist, is the Founder and Artistic
Director of the Bach Collegium San Diego
(BCSD). His performances have been de-
scribed as ‘dramatic’ and ‘vibrant’ and ‘able
to unlock the true power of Baroque music’
(SanDiegoStory.com). Under Valenzuela’s
leadership, BCSD has achieved local, nation-
al, and international acclaim, through highly
charged virtuosic performances of iconic rep-
ertoire, in addition to lesser-known works. As a musicologist, Valenzuela has
undertaken research at the Centro Nacional de Investigación, Documentación e
Información Musical, Carlos Chavez (CENEDIM, Mexico City), and has also
engaged in research at the Archivo del Cabildo of Mexico City Cathedral fo-
cusing on the basso continuo in Novo-Hispanic music. In 2016, he presented
a paper titled: Mexican Religious Iconography (Angels musicians and the Basso
Continuo in Mexico City Cathedral) for the inaugural Historical Performance
Institute of the Jacobs School of Music, Indiana University. Valenzuela holds
a PhD in Musicology from Claremont Graduate University.
GRAMMY-nominated soprano Jennifer Ellis Kampani is one of today’s
leading interpreters of the Baroque repertoire. She has performed with the
Richmond Symphony, Washington Bach Consort, Bach Choir of Bethlehem,
and New York Collegium. Her international career has included appearances
with American Bach Soloists, Baroque Band, Portland Baroque Orchestra,
Seattle Baroque Orchestra, Opera Lafayette, Apollo’s Fire, Musica Angelica,
33

Boston Camerata, Bach Sinfonia, Magnificat, and
the Washington Catherdral Choral Society. Kam-
pani has been heard in many concert series and fes-
tivals including Le Flaneries Musicales de Reims in
France, Aston Magna, Da Camera Society, Hous-
ton Early Music, Staunton Music Festival, Music
Before 1800, Carmel Bach, and the Berkeley and
Boston Early Music Festivals. Ms Kampani has re-
corded What Artemesia Heard, Kingdoms of Castille
(GRAMMY nomination in 2012), Salir el Amor del Mundo, and Passion and
Lament for Dorian, Villancicos y Cantatas and The Essential Giuliani for Koch,
the complete works of Chiara Cozzolani (Gramophone editors’ pick, August
2002) for Musica Omnia, and Carissimi Motets for Hungaroton.
JUNE 9 - 26
at the Waldron Auditorium
PAY WHAT YOU WILL
Find tickets at cardinalstage.org | (812) 336 -9300
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& Stephen Trask
34

Gloriosa
Prologue de la Sainte Cécile H.415a Marc-Antoine Charpentier
(1643-1704)
Allemanda Gravis pro organo Henry Dumont (1610-1684)
De Santa Caecilia
Cantantibus organis
Est secretum
Virgo Gloriosa
Pavana
Symphonia
Allemanda
Susanne Elisabeth Jacquet de la Guerre
(1665-1729)
In Nativitem Domini canticum H.416 Marc-Antoine Charpentier
Symphonie de la Nuit
Sola vivebat in antris
(Magdalena lugens) H.343
___________________________________
Chloé de Guillebon, harpsichord, organ, artistic director
Alexandre Ducène, Martin Jantzen, treble viols
Jehanne Amzal, soprano
Sacha Levy, bass viol

BASEL, SWITZERLAND
is a BLEMF Emerging Artist Ensemble.
Tuesday, May 24 | 5pm | Virtual
36

Le Concert de la Reine brings forgotten masterpieces of the Ba-
roque era back to light through the ideal pairing of voice and viol
de gamba. A popular instrument in its time, the viol displays an im-
pressive, almost human-like timbre with a range of color and dy-
namics that beautifully complements the most intimate expressions
of the voice. Le Concert de la Reine centers their performances on
works of 17th-century French and English composers that highlight
strong poetic identity, particularly Henry Dumont, Matthew Locke,
Marc-Antoire Charpentier, and Marin Marais, in order to showcase
this remarkable repertoire. The “queen” in the ensemble’s name
refers to both Marie-Thérèse d’Autriche, spouse of Louis XIV, for
whom Dumont served as harpsichordist and “Master of the Queen’s
Music,” and Catherine of Braganza, spouse of Charles II, for whom
Locke served as royal composer and chapel organist. On the oc-
casion of her Masters recital in October 2020, Chloé de Guillebon
joined with fellow alumni of the Schola Cantorum Basiliensis to form
Le Concert de la Reine, as much a product of their excitment for this
repertoire as their desire to continue playing music together.
37

Winner of first prize at the international harpsichord competitions of Pesaro
(2017) and Vilnius (2020), Chloé de Guillebon is a young French harpsi-
chord player and organist quickly making a name for herself across Europe.
Laureate of the Fondation Royaumont between 2014 and 2020, and Lau-
reate of Jeunes Talents in 2020 and 2021, Chloé studied in Trossingen with
Marieke Spaans, in Munich with Christine Schornsheim, and in Basel where
she obtained her Generalbass Master with Jörg Andreas Bötticher. In addi-
tion to serving as artistic director of Le
Concert de la Reine, Chloé currently
performs solo recitals and on continuo
with many young ensembles through-
out Europe, works as an accompanist
at the Schola Cantorum Basiliensis,
and studies with Béatrice Martin in
CRR de Paris.
ALL THE PLACES LIFE CAN GO.
www.brookdale.com
38

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39

Isshallyn BLOOMINGTON, IN
Farewell Forever to the Music of the Harp
Tunes and Verse from the Life of Sìleas na Ceapaich
Fàilte na miosg
harp and fiddle versions: James Oswald
from Caledonian Pocket Companion (c.1760)
pipe version: Piobaireachd Society PS106
Untitled (Ceòl na Clàrsaich) Maclean-Clephane MS (1806)
Melody: Fàilte chlàrsaich
“Grant of Sheuglie’s Contest Betwixt his Simon Fraser
Violin, Pipe, and Harp”
from Airs and Melodies Peculiar to the Highlands of Scotland (1816)
Màiri nighean Dheorsa Simon Fraser
Far-fhuadach a clàrsair Angus Fraser MS (19th c.)
March for a beginner Joseph MacDonald
from Complete Theory of the Scots Highland Bagpipe (c. 1760)
Dastirum gu seinim pìob Angus MacKay MS
(1826-1840)
An oìnseach Angus Fraser MS
Fuadach nam fidhleiran
North Highland reels 13, 3, 4, 12 Patrick Macdonald
from Highland Vocal Airs (1783)
Siubhal Sheumas traditional melody
Och o ro u Patrick Macdonald
Sud air m’aigne fo ghruaim
Photo: BBCP/Steve Sobiech
Tuesday, May 24 | 8pm | Hopscotch
40

Féachain gléis Bunting MS (ca. 1792)
Cumha Iorla Wigton Daniel Dow
from A Collection of Ancient Scots Music (1776)
Cam Ye O’er Frae France Neil Gow
from A Second Collection of Strathspey Reels (1788)
var. T. Macdonald and J. Ward
Marbhrann air Bàs a Fir agus a h-Ighne Angus Fraser MS
Melody: Cumh’ airson a fir’s a leinibh le Sìlis Nic Raonaill
Cumh’ Easbig Earraghaal Daniel Dow
arr. K. Collins
Cumha Lachlainn Daill traditional Highland melody
Tha tighn’ fodham eirigh
____________________________________________________________
C. Keith Collins, harp and director
Olivia Phillips, voice
Tim Macdonald, fiddle
Jeremy Ward, cello
Peter Walker, pipes
41

The artistic triad of poet, reciter, and harper in Gaelic culture had
a long history dating to the Middle Ages. These practitioners were
considered aos eálaion, “people of art,” and had special status
within traditional Irish society. English writers critical of these pro-
fessions often complained that these “Isshallyn” (anglicized from
the Irish) thwarted attempts to control the Irish-speaking popu-
lation. Formed in 2015 by Keith Collins, Isshallyn has performed
concerts ranging from medieval Wales and the Robert ap Huw
harp manuscript, to Ireland’s famous harper/poet Turlough O’Ca-
rolan, and a concertized version of the medieval epic Irish story
“The Cattle Raid of Cooley.” Farewell Forever to the Music of the
Harp features rarely heard songs and tunes from the life of Scottish
Highland poet Sìleas na Ceapaich. Using historical models, printed
sources, and manuscript readings, Isshallyn awakens her poems
through their tunes and brings her remarkable life to a wider audi-
ence.
C. Keith Collins, director, is a multi-instrumentalist whose musical tastes
include medieval Welsh harp music, historical bassoon, and the traditional
music of his ancestral Appalachian homeland. He is a founding member of
Heartland Baroque, a chamber group that specializes in music of the early
1700’s. Keith can be heard playing recorder, curtal, and shawm with the Re-
naissance wind band Forgotten Clefs. He is keenly interested in the harping
traditions of Ireland, Scotland, and Wales; his Irish harp is a copy of the ca.
1600 ‘Castle Otway’ instrument and is strung with brass and silver strings.
He directs the group Isshallyn, which brings to life music from Ireland, Scot-
land, and Wales. Keith makes his home in Brown County, Indiana where he
is a volunteer at the Indiana Raptor Center, a wildlife hospital for injured and
orphaned birds of prey. He is adjunct lecturer at the Historical Performance
Institute of Indiana University’s Jacobs School of Music.
This concert is sponsored by Linda Handelsman.
42

The Telling LONDON, ENGLAND
Unsung Heroine
The Imagined Life and Love of Beatriz de Dia
Poz a sabermi ven e cres Raimbaut D’Aurenga
(troubadour, c. 1147–1173)
Estat ai en greu cossirier Text: Beatriz de Dia
Melody: Loncx temps ai avut cossiriers, Raimon de Miravel
Estampie roial no 7 Anon (France, 13th century)
Kalenda maia Raimbaut de Vaqueiras
Je chevauchoie l’autrier Moniot de Paris
(trouvère, 13th century)
Can vei la lauzetta mover Bernart de Ventadorn
(troubadour, 1135–1194)
Ce fu en mai Moniot d’Aras
(trouvère, 13th century)
Photo: Robert Piwko
Wednesday, May 25 | 5pm | FAR Center
44

Saltarello Anon (Tuscany, late 14th-early 15th century)
Un petit davant lo jor Text: La Duchesse de Lourainne
(trouvère, c. 1190–1225)
Music: Anon, arranged
and reconstructed by Leah Stuttard
from MS Paris, Bibliothèque de l’Arsenal, 5198
Amours, u trop tart me sui pris Blanche de Castille
(trouvère, 1188–1252)
Lanquan li jorn Jaufre Rudel
(troubadour, 12th century)
Reis glorios (Alba) Guiraut de Bornelh
A chantar m’er do so qu’ieu non volria Beatriz de Dia
___________________________________
Clare Norburn, soprano and playwright
Ariane Prüssner, mezzo
Giles Lewin, Vielle and bagpipes
Joy Smith, harp and percussion
Anna Demetriou, actor as Beatriz de Dia
Nicholas Renton, director
The Telling breaks new ground where new writing and early
music collide. They are also known for their special intimate per-
formances of carols, and medieval and renaissance music. They
have released three CDs via First Hand Records. Gardens of Delight
was selected for BBC Music Magazine’s Playlist, April 2019 and
Secret Life of Carols reached #25 in the Classical Charts, December
2019. The Vision and Unsung Heroine soundtrack CD received a
four-star review from BBC Music Magazine. During the 2020/2021
lockdowns, The Telling delivered online workshops for over a year
which participants described as a “lifeline”. They went on to receive

critical praise for their online arthouse films of plays with music:
Vision and Unsung Heroine. Vision was selected by The Guardian
as one of the Top 3 Online Summer Music Highlights. Love in the
Lockdown, their Zoom-based online play with music, won Best
Director at the SceneSaver Awards. The Telling’s most recent show,
I Spie (2021), tells the story of John Dowland and his brush with the
Elizabethan Secret Service, which they toured around the UK and
released on film in late 2021.
Clare Norburn is a singer, playwright, producer, freelance arts fundraiser
and artist mentor. She read music at Leeds University and singing at Lon-
don College of Music. As a playwright, she has developed a new genre of
concertplays for both her own group The
Telling and other ensembles. Her produc-
tions have toured UK festivals and LSO
St Luke’s, Bridgewater Hall and St John’s
Smith Square. As a singer, Norburn has
sung with many medieval ensembles in-
cluding Mediva, Eclipse and Vox Animae.
She has performed throughout the coun-
try including at The Purcell Room, The
Bridgewater Hall and at leading festivals.
Norburn co-founded Brighton Early Mu-
sic Festival. She stepped down in 2017 af-
ter 15 years to concentrate on writing and
singing. She is Artistic Director of Stroud
Green Festival. She has trained and men-
tored young ensembles for RADA, Handel
House, the Royal Academy of Music and
the Guildhall School of Music & Drama.
Originally from Chester, Anna Demetri-
ou began acting at The B-it Theatre Com-
pany at age eight. After being accepted to
LAMDA (London Academy of Music and Dramatic Art), Anna moved to
London to complete her training and graduated in 2016 with a degree in
Professional Acting. Six months later, Anna was cast as the lead role in the ac-
tion film Of Gods and Warriors followed by a supporting role in The Marine 6:
Close Quarters for WWE. She has since filmed the short film Room To Breathe
46

with actor Josh Herdman, mak-
ing Unsung Heroine Anna’s pro-
fessional theatre debut. Her voice
can be heard in various places, in-
cluding the lead voice in the video
game Bravo Team. She can also be
heard in Once Upon A Crime In
The West and Warzone: Flashpoint,
and most recently Horizon. She is
currently the UK voice of Sum-
dog.com.
Nicholas Renton comes from a
musical family and studied mime
in Paris with Jacques Lecoq. He
began directing for theatre, then
for television and films like The
Interrogation of John, BBC hit
Hamish Macbeth starring Robert
Carlyle, Far From the Madding
Crowd, Wives and Daughters, and
Uncle Adolf, Nigel Williams’ take
on Hitler’s affair with his niece.
The Russian Bride won FIPA Prix
D’Or in Biarritz. After making A
Room with a View for TV, Nick
went to Dublin to shoot an off-
beat romcom Little White Lie,
starring Elaine Cassidy and An-
drew Scott, and When Harvey Met
Bob with Domhnall Gleeson and
Ian Hart, the story of Bob Geldof
and Harvey Goldsmith bringing
LiveAid to Wembley. And later,
three stories in the BBC’s Muske-
teers. Nick has directed several of
Clare Norburn’s concertplays in-
cluding The Telling’s Empowered
Women Trilogy, Breaking the Rules
for The Marian Consort and Cre-
ating Carmen for Carmen Co.
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47

Musica Spira WASHINGTON, DC
An Extraordinary Innovation
Virtuosic Women in the Italian Courts
Le Tre Grazie a Venere Barbara Strozzi (1619-1677)
Lagrime Mie
Si come crescon Claudio Monteverdi (1567-1643)
Il mio martir
Qual si può dir
Quel sguardo sdegnosetto
Fa non meno Francesca Caccini (1587-after 1641)
O bei pensieri
Qui si può
from La liberazione di Ruggiero (1625)
Io veggio i campi
Occhi del pianto mio Luzzasco Luzzaschi (1545-1607)
T’amo mia vita
Troppo ben può
Fan Battaglia Luigi Rossi (c.1597-1653)
___________________________________
Paula Maust, harpsichord and artistic co-director
Grace Srinivasan, soprano and artistic co-director
Julie Bosworth, soprano
Crossley Hawn, soprano
Wednesday, May 25 | 8pm | FAR Center
48

Musica Spira (Music Breathes) brings the underrepresented stories
of early modern female musicians to life through thought-provoking
programs that shed light on women’s multifaceted contributions to
music history and advocate for the continued empowerment and
recognition of women in all times and places. Co-directors Grace
Srinivasan and Dr. Paula Maust combine scholarly research with in-
novative musical programming to create concert themes that “draw
musical traditions of the past and present into renewed conversa-
tions about the importance of life and values” (The Wilson Center).
Founded in 2016 and based in the Baltimore, MD-Washington, D.C.
area, Musica Spira’s recent programs include “The Ugly Virtuo-
sa,” “The Women Who Took the Stage,” and “Shattering the Glass
Ceiling.” They have performed on concert series at the Walters Art
Museum, the University of Maryland, Baltimore County, the Pio-
neer Valley Early Music Day in Massachusetts, St. Luke’s Episcopal
Church in Lebanon, PA, St. Anne’s Episcopal Church in Annapolis,
and the Society of Historically Informed Performance series in Bos-
ton. This year includes a performance of “The Ugly Virtuosa” at the
In the Stacks series at the Peabody Institute as well as performanc-
es throughout the region of programs inspired by Marie-Françoise
Çertain’s Parisian salon and Italy’s first professional women singers.
Praised for combining “great power with masterful subtlety,” Paula Maust is
a performer, scholar, and educator dedicated to fusing research and creative
practice to amplify underrepresented voices. As a harpsichordist and organist,
she codirects Musica Spira, curating provocative programs connecting ba-
roque music to contemporary issues. She performs extensively as a chamber
musician with ensembles including Washing-
ton Bach Consort, Folger Consort, and Han-
del Choir of Baltimore. She also conducts early
modern opera from the keyboard, most recently
directing scenes at the Peabody Conservatory.
Paula is the creator of expandingthemusicthe-
orycanon.com, an internationally-acclaimed
OER collection of music theory examples by
women and people of color. A print antholo-
gy based on the project is under contract with
SUNY Press, and she has articles published in
49

Women & Music and the Journal of the International Alliance for Women in
Music. Paula is an Assistant Professor of Music Theory at Peabody, where she
earned degrees in harpsichord (DMA ‘19, MM ‘16).
Praised for her “beautiful vocalism” and engaging
presence, soprano Grace Srinivasan has established
herself in the Baltimore-Washington area as a per-
former of a wide spectrum of repertoire ranging from
the Renaissance to contemporary compositions.
Grace is a graduate of Peabody Conservatory and the
George Washington University, and has toured inter-
nationally with the Peabody Renaissance Ensemble
and GWU Singers. A Washington, D.C. area native,
Grace sings professionally as a cantor and soprano at
St. Stephen Martyr Catholic Church, as a soprano at
Washington National Cathedral, and with the choir
at Temple Sinai. She has sung with groups through-
out the region including the Washington Bach Consort, Chantry, and Cathe-
dra. Grace also serves as music director at Chesapeake Shakespeare Company.
In September 2014 she appeared in the PBS docudrama Enemy of the Reich
as Noor Inayat Khan.
Musica Spira is a BLEMF Emerging Artist Ensemble.
This concert is generously sponsored by Cathleen Cameron.
50

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51

NEW BRUNSWICK, NJ
Rebecca Cypess
Salonnières at the Keyboard
Sonata II in G major Marie-Emanuelle Bayon
from Six sonates pour le clavecin ou le piano forte (1745–1825)
(London, c. 1765–1770)
Andante affectuoso
Allegro
Sonata in A major Marianna Martines
from Raccolta musicale per il cembalo solo (1744–1812)
(Nürnberg, 1765)
Allegro
Adagio
Tempo di minuetto
Sonata IV in G minor Anne-Louise Boyvin
from Recueil de sonates d’Hardancourt Brillon de Jouy
(c. 1770–1775) (1744–1824)
Andante con espressione
Rondo-Allegro
Concerto in G major, Fk. 40 Wilhelm Friedemann Bach
(1740, rev. c. 1775) (1710–1784)
Allegro non troppo
Andante
Vivace
Sonata VIII in G major Thomas Arne
from VIII Sonatas or Lessons for the Harpsichord (1710–1778)
(London, 1756)
“The following Plain Minuet is not Mr. Arne’s; but (at the request
of a Lady) he compos’d the bass, and variations that follow.”
___________________________________
Thursday, May 26 | 12pm | Virtual
52

Rebecca Cypess, keyboards
Sound/video engineer: Loren Stata
Producer: Elly Toyoda
Filmed at Nicholas Music Center,
Mason Gross Performing Arts Center, Rutgers University,
13 March 2022.
Historical keyboardist and musicologist Rebecca Cypess is Associate
Dean for Academic Affairs and Associate Professor of Music at Ma-
son Gross School of the Arts, Rutgers University. Cypess is founder
and director of the Raritan Players (https://raritanplayers.org), which
explores little known composers and performance practices of the
seventeenth and eighteenth centuries, especially those associated
with women. The group has released three recordings on the Acis
label: In Sara Levy’s Salon (2017), Sisters, Face to Face: The Bach Leg-
acy in Women’s Hands (2019), and In the Salon of Madame Brillon:
Music and Friendship in Benjamin Franklin’s Paris (2021), all to crit-
ical acclaim. Cypess was the recipient of the 2018 Noah Greenberg
Award from the American Musicological Society for contributions to
historical performance. The program “Salonnières at the Keyboard”
is based on her book Women and Musical Salons in the Enlighten-
ment, published in 2022 by the University of Chicago Press.
53

WestEinde Winds THE HAGUE, NETHERLANDS
The Quest for the Female Musician of the Past
Wind Quintett op. 56 No. 1 in B-Dur Franz Danzi
Allegretto (1763-1826)
Andante con moto
Menuetto Allegretto
Allegretto
Trio No. 2 op 42 François-René
for flute, clarinet and bassoon Gebauer
Allegro fieramento (1773-1845)
Rondo polacca
Wind Quintet No. 1 in Bb Major Giuseppe Maria Cambini
Allegretto Maestoso (1746 -1825)
Larghetto Cantabile
Rondo, Allegretto Grazioso
___________________________________
Kristen Huebner, Historical flute
Paulina Gómez, Historical oboe
Angélica Meza, Historical clarinet
Nina Daigremont, Natural horn
Soledad Brondino, Historical bassoon
Thursday, May 26 | 5pm | Virtual
54

Joined together in their mutual love for chamber music, the Neth-
erlands-based Westeinde Winds comprises five women passionate
about the performance of historical music on period instruments.
After years of playing with some of the top historically-informed en-
sembles of Europe and realizing their desire to play in a more inti-
mate setting, the Westeinde Winds were born. The woodwind quin-
tet enjoyed its own birth around the end of the 18th century, using
heavier materials and multiple keys to compete with the ever-rising
sound demands in the orchestra. Westeinde Winds are dedicated to
playing on models of these historical instruments to seek insight into
how this music was performed and share this knowledge with future
listeners and music makers to come.
Westeinde Winds is a BLEMF Emerging Artist Ensemble.
55

Miryam BOSTON, MA
Livshi Oz (Clothe yourself in Strength)
Tales of Biblical Heroines
Judith (1708) Élisabeth Claude Jacquet de La Guerre
Symphonie (1665-1729)
Récitatif- Tandis que de la faim
Air- La seule victoire
Récitatif- Enfoncez le trait qui la blesse Judith
Symphonie: Sommeil
Récitatif- C’en est fait
Récitatif Mesuré- Judith implore encor
Air- Le coup est achevé
Récitatif- Courez, courez, Judith
Chaconne from Suite in D minor (1707)
Esther (1708) Élisabeth Claude Jacquet de La Guerre
Récitatif- Par la souveraine sagesse
Air- Ah! Quelle affreuse image
Récitatif- De vôtre époux, Esther
Air- Venez, bannissez ces allarmes
Récitatif- Ainsi devant son maître
Air- Souvent la verité timide
Sonata no. 3 in F major (1707)
Grave
Presto-Adagio
Presto
Aria
Adagio
Thursday, May 26 | 8pm | Courthouse
56

‫ן‬ָ‫מ‬ ְ‫ח‬ ַ
‫ר‬ָ‫ה‬ ‫ב‬ ָ‫א‬ ‫ֶׁש‬‫פ‬ֶ‫נ‬ ‫יד‬ ִ
‫ד‬ְ‫י‬
‫ְך‬ ָ‫ת‬ָ‫ֲב‬‫ה‬ ַ‫א‬ ‫ַת‬‫ל‬‫חֹו‬ ‫ׁי‬ ִ
‫ש‬ ְ‫ַפ‬‫נ‬
Yedid Nefesh (2021) Alicia DePaolo
Yedid nefesh, av harachaman
Nafshi cholat ahavatakh
B’harot lo noam zivakh
Higaleh na
Ta’ir eretz mi’k’vodakh
___________________________________
Alicia DePaolo, soprano and director
Marika Holmqvist, baroque violin
Shirley Hunt, viola da gamba
Dylan Sauerwald, harpsichord
MIRYAM was founded in 2016 by Alicia DePaolo and Ari Nieh in
order to bring Jewish early music to New England audiences. Since
then, our music has reached communities across the country and
worldwide, from Jerusalem, to Amsterdam, to Montreal. Our en-
semble members are critically acclaimed performers and scholars of
renaissance and baroque music who have a passion for connecting
with audiences. Many of our programs bring well-loved compos-
ers such as Monteverdi, Bach, and Schütz into Jewish spaces, other
houses of faith, and concert halls, celebrating the Jewish texts upon
which their compositions are based and opening a fruitful inter-re-
ligious dialogue. Other programs highlight Jewish composers, such
as Salamone Rossi and Abraham Caceres and feature music from
baroque Jewish communities ranging from Amsterdam, to Mantua,
to Bayonne. In every space we enter, we set the intention of cele-
brating the beauty and richness of intersecting identities and musi-
cal languages.
‫ְָך‬‫ו‬‫ִי‬‫ז‬ ‫ַם‬‫ע‬ֹ‫נ‬ ‫ָּה‬‫ל‬ ‫אֹות‬ ְ
‫ר‬ַ‫ּה‬ ְ‫ב‬
‫ָא‬‫נ‬ ‫ֵה‬‫ל‬ָּ‫ג‬ ִ‫ה‬
‫ְך‬ָ‫ּבֹוד‬ ְ‫כ‬ ִ
‫מ‬ ‫ץ‬ ֶ
‫ר‬ ֶ‫א‬ ‫יר‬ ִ
‫ּא‬ ָ‫ת‬
57

Alicia DePaolo, soprano, has received critical acclaim for her “perfect com-
bination of clarity and warmth” (Harmonia Early Music). A specialist in his-
torical performance, she has appeared as a soloist, chamber musician, and
ensemble singer with Tafelmusik, American Bach Soloists, Amherst Early
Music, Ensemble Musica Humana, Crescendo Baroque Orchestra, Gotham
Early Music Scene, Washington Bach Consort, and the choir of the National
Cathedral. Also active in oratorio and early opera, she has played the roles
of “The Israelite Man” in Handel’s Judas Mac-
cabeus, “Fatime” in Rameau’s Les Indes Galan-
tes, “Castitas” in Hildegard von Bingen’s Ordo
Virtutum, “La Nymphe des Tuileries” in Lully’s
Alceste, and the title role in Lidarti’s Esther. As
the co-founder and director of MIRYAM, Ms.
DePaolo is dedicated to bringing Jewish ba-
roque music to new audiences. She has been fea-
tured in Times of Israel and Washington Jewish
Week for her work, and in 2019 she produced
the East Coast premiere of Lidarti’s Esther, a re-
cently-rediscovered Hebrew-language oratorio.
During the Covid-19 lockdown, she recorded
and produced an online recital of art songs by Israeli composers and a virtual
performance of Bach’s BWV 199 as a meditation for the weeks leading up to
the Days of Awe. Ms. DePaolo holds a master’s degree in Early Music Vocal
Performance from Indiana University, a master’s degree in Jewish Education
and Jewish Studies from Hebrew College, and a bachelor’s degree from Smith
College. She is currently based in the DC area, where she also works as a can-
torial soloist and Jewish educator.
MIRYAM is a BLEMF Emerging Artist Ensemble.
This concert is sponsored by Suzanne Ryan Melamed & Daniel R.
Melamed, in memory of Judith Tamar Melamed.
This concert is also supported in part by Jack Doskow.
58

THE 56th INDIANAPOLIS EARLY MUSIC FESTIVAL
2022 Summer Concert Series at the Indiana History Center
(Live and in-Person as well as Live-Streamed)
Friday, June 24, 7:30 PM
Chatham Baroque returns to IEM with
“The Three Violins”
Saturday, June 25, 11:00 AM
FREE Family Concert by
the Baltimore Consort
Sunday, June 26, 2:30 PM
The Baltimore Consort with author,
Marjorie Sandor, and countertenor,
José Lemos, present music for Joan the
Mad in “The Secret Music at Tordesillas”
Friday, July 8, 7:30 PM
IEM Debut! Arwen Myers, soprano, and
John Lenti, lutes, present English, French,
and Italian songs of the 17th century
Sunday, July 10, 2:30 PM
IEM Debut! Sherezade Panthaki,
soprano, and Reginald Mobley,
counter tenor, with the
Indianapolis Baroque Orchestra
Friday, July 22, 7:30 PM
IEM Debut! Early Music Access, directed
by David McCormick, with actors from
IRT present “Murder in Messina”
Sunday, July 24, 2:30 PM
Indianapolis Early Music and IndyBa-
roque present the Second Indianapolis
International Baroque Competition
www.IEMusic.org 317-537-2458
317-537-2458

Schola Antiqua CHICAGO, IL
Music in Secret
Sounds of the Medieval and Early Modern Convent
Ave Sanctissima Maria Anon (Venice, 1543)
from Musica quinque vocum motteta materna lingua vocata
Missus est Gabriel MS 1911.142b (late 13th c.)
Non auferetur
Matins Responsory chants for the feast of the Annunciation from
the Art Institute of Chicago, Mrs. William E. Kelley Collection
Sicut lilium inter spinas Anon (Venice, 1543)
from Musica quinque vocum motteta materna lingua vocata
Ave generosa Hildegard von Bingen (1098-1179)
Toccata in F Ercole Pasquini (c.1560-1608/19)
Sancta et immaculata virginitas Raffaella Aleotti
Ego flos campi (c.1560-after 1646)
from Sacrae cantiones (Venice, 1593)
La Organistina Bella in Echo Adriano Banchieri (1568-1634)
from Canzoni alla francese, libro secondo (Venice, 1596)
Amo Christum Lucrezia Vizzana (1590-1662)
from Componimenti Musicali (Venice, 1623)
Vulnerasti cor meum Alba Tressina (c.1590- after 1638)
from Sacri Fiori, libro quarto. Venice, 1622
Emily Price, soloist
Friday, May 27 | 12pm | Virtual
60

Maria Magdalena et altera Maria MS 1911.142b
Matins Responsory chant for Easter Monday from the Art Institute
of Chicago, Mrs. William E. Kelley Collection
Maria Magdalena et altera Maria Sulpitia Cesis
Cantate domino canticum novum (1577- after 1619)
from Motetti spirituali. Modena, 1619
___________________________________
Michael Alan Anderson, artistic director
Naomi Gregory, guest director and organist
Cora Swenson Lee, viola da gamba
Stephanie Culica, singer
Hannah Dixon McConnell, singer
Jennifer Haworth, singer
Laura Lynch, singer
Emily Price, singer
Stephanie Schoenhofer, singer
Alessandra Visconti, singer
Schola Antiqua is a Chicago-based professional early music collec-
tive, which prepares and performs insightful programs of pre-mod-
ern music. A group that executes ancient repertories with “sensi-
tivity and style” (Early Music America), Schola Antiqua takes pride
in providing the highest standards of performance, balanced by
research on historical musics from the European Renaissance and
earlier. Founded in 2000, the organization has received invitations
to perform from an array of institutions, including the Metropolitan
Museum of Art in New York, the Art Institute of Chicago, the Mor-
gan Library & Museum, the Newberry Library, plus other festivals,
universities, and concert series across the country. The ensemble is
currently Artist-in-Residence at the Lumen Christi Institute. In 2012,
Schola Antiqua received the Noah Greenberg Award from the Amer-
ican Musicological Society for outstanding contributions to histori-
cal performing practice. Its connections to the academic community
61

can be seen in collaborations with scholars from around the United
States. It has further provided live and recorded music in connec-
tion with major art exhibitions. Schola Antiqua has released four
commercial CDs on the Naxos of America and Discantus labels. The
ensemble was nominated for “Best Classical Group” of 2020 by the
Chicago Reader.
Naomi Gregory is in rare
company internationally for
her achievements as an or-
ganist and historical musicol-
ogist. She performs widely as
an organist and harpsichord-
ist, working with period en-
sembles including Incantare,
Pegasus Early Music, Publick
Musick, and, as guest direc-
tor, Schola Antiqua. She is
Lecturer in Music in the Ar-
thur Satz Department of Music at the University of Rochester and Director
of Music for the First Baptist Church in Penfield, NY. Naomi holds a Ph.D.
degree in musicology, and a D.M.A. degree in organ performance and liter-
ature, from Eastman School of Music, as well as M.A. and M.Phil. degrees
in music and musicology from the University of Cambridge, UK. She has
also served as a graduate instructor of early music and continuo assistant for
Eastman’s Collegium Musicum.
62

www.sarahjslover.com
Real life,
beautifully...

Tonos del Sur BLOOMINGTON, IN
María del Pueblo
Archivo Musical de Chiquitos Santa Ana y San Rafael, Bolivia
La Salve para Virgen Anónimo, ed. Piotr Nawrot
Archivo Histórico de la Arquidiócesis de Durango, México
Tempestad del Mar David Perez (1711-1778)
ed. Drew Edward Davies
Recife, Brasil
Oh Pulchra Est (Divertimento Harmônico) Luís Álvarez Pinto
Beata Virgo (c. 1713- c. 1789)
Codex Trujillo del Perú
Dos danzas instrumentales
Catedral de Bogotá, Colombia
Nuestra Señora del Topo José Cascante II (fl.c. 1680-1702)
Interludio de órgano
Anastasia Chin, organ
Divida madre: ¿Podrás sin ternura? Santiago Billoni
Blake Beckemeyer, tenor (c. 1700- c. 1763)
Interludio de guitarra
Danur Kvilhaug, soloist
Puebla, México
Folias Gallegas Santiago de Murcia (1673-1739)
arr. Grant Herreid
Friday, May 27 | 8pm | Trinity Episcopal Church
64

Archivo Musical de Chiquitos Santa Ana y San Rafael, Bolivia
Tupãsy María Anónimo, ed. Piotr Nawrot
Shannon Beckemeyer, Soprano
Concepción, Bolivia
from Sonata in A Major Domenico Zipoli (1688-1726)
Sarah Cranor, violin
Catedral de Bogotá, Colombia
Salve Regina José Cascante I (f. 1648-1676)
Magnificat Santiago Billoni
Lima, Perú
Hanacpachap Cussicuinin Anónimo
compilado por Juan Pérez Bocanegra (1631)
___________________________________
Sarah Elizabeth Cranor, director, violin
Shannon Beckemeyer, soprano
James Walton, alto
Blake Beckemeyer, tenor
Alejandro Gómez Guillén, bass, violin, percussion
Kevin Flynn, cello
Danur Kvilhaug, theorbo, guitar
Anastasia Chin, organ
Tonos del Sur comprises a rotating roster of historically-informed
musicians who are passionate about sharing music from the Ameri-
cas during colonization, especially lesser-known music in indigenous
languages and by indigenous and anonymous composers. Tonos be-
gan as the Latin American Ensemble, a course offered by the Latin
American Music Center at IU’s Jacobs School of Music, and is now
an emerging professional ensemble performing across Indiana. Par-
ticularly interested in championing the recently published complete
65

remaining works of Santiago Billoni, chapelmaster at the Durango
Cathedral, Mexico, Tonos looks forward to expanding project-based
collaborations that span geographical and interdisciplinary areas,
especially those that address colonization and its relationship to
music.
Sarah Cranor is passionate about the freedom of sonic possibilities in both
historical and contemporary music. Sarah directs Tonos del Sur, is Con-
certmaster/Principal Second Violin with the Midland-Odessa Symphony, a
member of the Permian Basin and Chasqui string quartets, and performs
with baroque ensembles across the greater Midwest region. Collaborative
highlights include Tonos del Sur at the Berkeley Early Music Festival, co-di-
rection of La Púrpura de la Rosa with Nell Snaidas, the Indianapolis Ba-
roque Orchestra, Charlotte BachAkademie, Bourbon Baroque, and Sphere
Ensemble. Recently released recordings include “The Colorful Telemann”
with Indianapolis Baroque Orchestra for NAXOS Music, “Fair and Prince-
ly Branches: Music for the Jacobean Princes” with Renaissance violin band
The Queen’s Rebels, and Kurt Vonnegut’s Requiem with Voces Novae. Sarah
holds a DM from Indiana University, where she studied with Stanley Ritchie,
Grigory Kalinovsky, and Mimi Zweig. Her research focuses on the music of
Santiago Billoni, chapelmaster at the Durango Cathedral, Mexico.
Tonos del Sur is a BLEMF Emerging Artist Ensemble.
66

This concert is sponsored by the Latin American Music Center of the
Jacobs School of Music, Indiana University.
1. Strozzi, Bernardo. (c. 1630). The Viola de Gamba Player, portrait of
Barbara Strozzi.
2. Gentileschi, Artemisia. (c. 1629). Esther before Ahasuerus.
3. de Troy, François. (c. 1700). Portrait of Elisabeth Jacquet de la Guerre.
4. Vasari, Giorgio. (c. 1554). Judith and Holofernes.
5. Anon. (date unknown). Saint Kassiane the Poetess.
6. Graff, Anton (1786). Portrait of Sara Itzig Levy.
7. Vestner, Andreas. (1733). Medal presented to Christiane Mariane von
Ziegler upon being named Poet Laureate.
8. Veneto, Bartolomeo (c. 1520). Idealized Portrait of a Courtesan as Flora,
traditionally assumed to be Lucrezia Borgia.
9. Solomon, Simeon. (1894). Leonora d’Este.
10. Cabrera, Miguel. (1763). De español e india, Mestizo.
11. Fuseli, Henry. (c. 1799). Laying Nude and Pianist.
12. Jan Steen (c. 1660). The Dancing Lesson.
13. Andrea Solari (c. 1510). The Lute Player.
festival collage | images & credits
All images are in the public domain
and are details of larger works.
___________________________________
67

Polyphony Society
ANGEL ($2,500+)
Paul Borg
Libby DeVoe
BENEFACTOR ($1,000-$2,499)
Cathleen Cameron
Linda Handelsman
Suzanne Ryan Melamed
& Dan Melamed
Tina Silberstein
Stanley Ritchie
PRODUCER ($500-$999)
Thomas G. Albright
Alain Barker & Liz Rosdeitcher
J. Peter Burkholder
& Doug McKinney
Jack Doskow & Jean Person
John Halstead
Stephen & Jo Ham
David H. Smith
Margaret Steiner
PATRON ($250-$499)
Carolann Buff
& Johanna Frymoyer
Aaron Cain
& Joanna Blendulf
Bob & Libby DeVoe
Don & Sandra Freund
James Glazier
Charlotte Hess
Indiana Legal Services
Julia Lawson
Lynne Marsh
Dana Marsh
Eric T. Metzler
Crystal Olry
Debra Pekin
Martie Perry
Meitus Gelbert Rose LLP
Dolores Ryan
& Kevin Hainsworth
Thomas Schaller
& Julia Bentley
Lynn Schwartzberg
Leah Shopkow
Richard & Donna Wolf
2021-2022 Donors
We are grateful to our 2021-2022 BLEM Donors, and to all
who have generously supported BLEM over the years. The list on
these pages reflect gives made after April 15, 2021 in support of
our 2022 festival.
The Polyphony Society is a group of early music lovers whose gifts
assure that Bloomington Early Music provides the highest level of
artistic quality during its annual festival.
68

SUPPORTER ($100-$249)
Jeffery Ankrom
Wendy Berman
Raglind Binkley
Doris Burton
Jeanette Clausen
Jack Doskow & Jean Person
Martha Fitzgerald
Helen Ford
Thomas Gerber
Lenore Hatfield
Mary Ann Hart
Ellen Jacquart
Javier Léon & Molly Burke
Stine Levy
Ingrid Matthews
Richard Mattsson
John McDowell
Samuel Motter
Val Nolan
Devon Nelson
Elliott Oring
Mary Peralta Railing
John P. & Lislott Richardson
Eliot & Pamela Smith
Helena Walsh
Noel Wilkins
& Richard Mattsson
Giovanni Zanovello
FRIEND (up to $99)
Anonymous
Hayden & Byron Bangert
Wendy & Edward Bernstein
Ingrid Beery
Ruth Boshkoff
Mary Ellen Brown
Oscar Cañizares
& Sandra Santos
Lee Casebere
Nancy Chadburn
Cheryl Engberg
Virgil Ford
Patricia & Michael Gleeson
Thomas & Kay Gruenenfelder
Christopher Harmon
Alice Heikens
Michael and Olga Impey
Jack Ketcham
Ronald Kovener
Leslie & Kate Lenkowsky
Katherine Nielsen
Oana Panaite
Katherine Pastel
Debra Pekin
John Sloboda
Matthew Stonecipher
& David Starkey
Mary Wennerstrom
John Whikehart
Elisabeth Wright
69

Our Thanks for Your Support
Bloomington Early Music began in this community, and flourishes because
of this community. We are grateful this year most especially for friends and
neighbors who support our work as we rebuild after the pandemic, expand
our offerings, and seek to better serve our wider community.
Our efforts to extend our welcome were helped by a number of organizations
that spread the word about our festival, especially to women and girls: Big
Brothers Big Sisters of South Central Indiana, the Boys & Girls Club of
Bloomington, Girl’s Inc., My Sister’s Closet, Middle Way House, Blooming-
ton Chamber Singers, the USA International Harp Competition, all organi-
zations with ads in this program book, and all local businesses that displayed
posters and gave out brochures.
We are grateful for Hopscotch Coffee & Café, Monroe County Public Li-
brary, Lilly Library, and the City of Bloomington for providing space free of
charge.
Thank you to our friends at The Herald Times, The Ryder, the Indiana Daily
Student, and WFIU, especially to Connie Shakalis, Elizabeth Frickey, Alexis
Lindenmayer, and Alex Chambers.
And most of all, we thank those who have offered their time, expertise, and
support to help create the festival we are celebrating this week, most especially
Sam Motter, Scott Witzke, Payton Whaley, Papageno, and Dan Melamed.
Did you enjoy
the festival?
Fill out our survey for a
chance to win one of three
$100 gift cards
from
Morgenstern’s Books!
blemf.org/festival-survey
paper copies also available
70

849 S Auto Mall Rd Bloomington, IN
Mon-Sat 8:30 am - 9:00 pm
Sun 11:00 am - 7:00 pm
(812) 676-7323
Rick Morgenstern
Co-owner
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Co-owner
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at morgensternbooks.com
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PROGRAM: 2022 Bloomington Early Music Festival: Celebrating Women in Early Music

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