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Hanacpachap cussicuinin .Anon., pub. Juan Pérez Bocanegra in 1631

Juan Pérez Bocanegra, a Spanish-born Franciscan priest, worked in Cuzco in
Peru in the early seventeenth century as a missionary. ’Hanacpachap
cussicuinin’, a processional hymn in the Quechua language by an anonymous
composer, was published in his Ritual in 1631. It is significant as it is the first
piece of harmonised choral music to be printed in the New World.


Ecce Virgo Concipiet . Cristóbal de Morales (c.1500–1553)
A communion antiphon for the fourth Sunday in Advent by Spanish composer,
Morales. Although Morales himself never travelled outside of Europe, his music
gained popularity in the Americas following his death.

Aufer a nobis . Francisco López Capillas (c.1605–1674)

Capillas was born in Mexico City to Spanish parents and became the first
Mexican-born composer of significance. He worked as a musician at Puebla
Cathedral before moving in 1648 to Mexico City where he was employed in
various capacities. In 1654 he was appointed organist and choirmaster at the
Cathedral, a post he held until his death. A prolific choral composer, his music
was so highly regarded that several volumes were taken to Spain and widely
disseminated. His motet, ‘Aufer a nobis’ is written in contemporary Spanish
Baroque style but in places the rhythms point to a native Mexican influence. It
was later used by López Capillas as the basis for one of his surviving masses.
so that worthy, we may sing you a song of glory. Cantate Domino . Taeggio (Late 16th/early 17th cent.)
Sancta Maria. ?Hernando ‘don’ Franco
Little is known of Giovanni Domenico Rognoni Taeggio life, but he probably lived This motet in Náhuatl language is preserved in the Valdés Codex. This in Milan, and was possibly a priest. He was organist in S Marco in 1605, and manuscript was discovered in 1931 in the mountain city of Cacalomacán and became maestro di cappella of S Sepolcro some time before 1619. He wrote for probably originated in a religious house in nearby Toluca. For many years it was both voices and instruments, as illustrated by this piece, which has two very thought that this piece was the work of Spanish composer Hernando Franco distinct choirs - one completely instrumental, the other much more vocal in style. (1532-1585), who was active in Guatemala and Mexico. It has been suggested, however, that the ‘Hernando don Franco’ on the music refers to an Amerindian composer who may have taken his sponsor’s name at baptism, as was the custom (Grove Dictionary of Music and Musicians). Three Scots Songs . trad., arranged S.K. Hope (b. 1965)
Xicochi conetzintlé . Gaspar Fernandes (c.1565–1629)

Stuart Hope was born in Berwick-on-Tweed and studied music at Edinburgh Gaspar Fernandes was a priest of Portuguese origin who worked in a musical University. He continues to live in Edinburgh, working as a teacher, accompanist, capacity in the cathedral of both Guatemala City and Puebla (Mexico). He wrote repetiteur and choral arranger. These settings of traditional Scots songs were over 250 festal chanzonetas and villancicos for the latter, one of which is Xicochi written in 1988 for Schola Cantorum of Edinburgh and first performed in his conetzintlé, a Christmas lullaby. The text is in Náhuatl, the language of the 1. The Flowers of the Forest
The melody of ‘The Flowers of the Forest’ is extremely old – an early source is the Skene Mandore Manuscripts (c. 1615–20). Jean Eliot’s poem set to the tune commemorates the defeat of James IV’s army at Flodden Field in 1513. In the setting we sing this evening, Alison Cockburn’s later words mark a more personal tragedy, the departure for London of a certain gentleman to whom she had a Traumgesichte . Dietrich Schnabel (b.1968)
"Traumgesichte" ("Dreamscapes") was written in 2009, and is dedicated to Annette Bachmann for her work in building up the Württemberg Recorder Orchestra. This piece shifts from one dream image to another, often with nightmare overtones. Things are never quite what they seem, and the piece I’ve felt all her favours and found her With flowers of the fairest, both pleasant takes the listener from one mood to another, never quite settling where you But now they are fled – fled far away. Short interval
3. Ae Fond Kiss
‘Ae fond Kiss’ was written by Robert Burns after the end of his association with ‘Clarinda’ – Mrs Agnes McLehose, an Edinburgh lady with whom he had a lengthy, if epistolary, affair. The poem, which was described by Sir Walter Scott as containing ‘'essence of a thousand love tales”, was published in Johnson’s Scots Musical Museum in 1792 to the air ‘Rory Dall’s Port’. The later, more familiar tune, used by Hope for his setting, is simple and, in the tradition of much Since the flowers of the forest are all wede Scottish music, uses a scale of just five notes (pentatonic scale) 2. O Whistle and I’ll Come Tae Ye
Deep in hert-wrung tears I’ll pledge thee, The wide vocal range of this melody indicates that it is probably an old tune. The Warring sighs and groans I’ll wage thee. words were written to it by Robert Burns for James Johnson’s Scots Musical Museum and appeared in its second volume in 1788. Stuart Hope’s setting 3. Fair thee weel, thou first and fairest, brings out the coquettishness of the words and adds a certain amount of Deep in hert-wrung tears I’ll pledge thee, Warring sighs and groans I’ll wage thee. Oh, whistle and I’ll come tae ye ma lad! Oh, whistle and I’ll come tae ye ma lad!, Tho’ faither and mither and a’ should gae mad, Oh, whistle and I’ll come tae ye ma lad! Concertino No 4 for Contrabass Recorder . Steve Marshall
But warily tent when ye come tae court me, And come nae unless the back-yett be a-jee Syne up the back stile, and let naebody see, 1. Introduction & Jig 2. Andante 3. Hip-Hop Steve Marshall is a composer based in the South of England, and he writes Oh whistle and I’ll come tae ye ma lad! prolifically for the recorder, especially for recorder orchestra. As an enthusiastic At kirk, or at market, when ere ye meet me, contra player, this was a piece that Steve just had to write! But this is no novelty Gang by me as though that ye cared na a flie, piece. The dialogue between soloist and ensemble is cunningly managed so that But steal me a blink o’ your bonnie black e’e, the contra remains centre-stage and audible throughout. There is some gentle music, but perhaps surprisingly many vigorous and exciting moments as well. Oh whistle and I’ll come tae ye ma lad! Woe worth the tyme. Anon.
Aye vow and protest that ye care na for me, This song is found in several Scottish manuscript sources, and in Cantus, Songs An’ whiles ye may lichtly my beauty a wee, and Fancies (Aberdeen, 1662, 1666, 1682), the first book of secular music to be But court na anither tho’ jokin’ ye be, For fear that she wile yer fancy frae me! Oh, whistle and I’ll come tae ye ma lad! Oh, whistle and I’ll come tae ye ma lad!, Tho’ faither and mither and a’ should gae mad, Oh, whistle and I’ll come tae ye ma lad! Depairte, depairte (The Lament of the Maister of Erskyn). Anon.
Cathures are:
This is the earliest poem that can be ascr bed to Alexander Scott (c.1525– Sopranos: Zsofia Utry, Alice Gee, Catharine Bates, Sarah Hepworth, Jane
c.1584) and purports to be the lament of the Master of Erskine, who was killed at Mallinson, Petra Vetter, Esther Daborn Altos: Moira Spence, Souraya Dyer,
Daisy Abbot, Victoria Bain, Catherine Reid, Lynne Moss Tenors: Paul Whitton,
Drummond Nichol, David Gee Basses: Richard Reid, Neil Parker, Geoff Boath
The Scottish Recorder Orchestra are:
Ed Friday (Leader), Trish Alexander, Ethel Allan, Johanna Babbs, Toni Bambridge, Anne Bellarby, Katherine Brierley, Alex Cant, Maggi Churchill, Fiona Clasen, Mabel Cooney, Margot Cruft, Joyce Dawson, Neil Eckford, David Ellis, O Lusty May . Anon.
Franzeska Ewart, Eileen Finlayson, Valerie Flook, Jill Ga braith, Catriona Musicologist Kenneth Elliott identifies this piece as ‘one of the earliest Scottish Graham, Marg Hall, Susan Hill, Graeme Jefferis, Eve Keepax, Jackie Kemp, part-songs and one of those that remained longest in favour’. Annemarie Klein, Amy Knighton, Gavin Lee, Nicole Lederle, Emma Lines, Jean MacDonald, Catherine Mackenzie, Frank Mackenzie, Jane Matthews, Ursula McKean, Kirsty Miller, Adrian Milne, Susan Morris, Rosemary Osmon, David Powell, Eileen Primrose, Amanda Quick, Marte Raymond, Maureen Richardson, Andy Sanwell, Maria Shaw, Andrew Short, Philip Smith, Antje Somerville, Josie Stansfield. Jill Taylor, Dorothy Thomas, Peter Wraith. Conductors
Katy Cooper is a Teaching Fellow at Glasgow University Music Department and has also taught at the universities of Aberdeen and Strathclyde, and at Glasgow Steiner School. Katy founded and continues to conduct award winning choir Glasgow Madrigirls, and Happy Voices children's choir based in Giffnock. Katy is Please join us after the concert for a glass of wine
a choral conducting tutor with singing organisation Sing for Pleasure. Katy sings with Sine Nomine and is senior choral scholar with Glasgow University Chapel Choir. She also sings with harmony folk-group 'Muldoon's Picnic' who perform and deliver workshops at festivals and folk clubs throughout the country. Katy has been Musical Director of Cathures since 2007. Eileen Silcocks was born in Bristol and has played recorder and ‘cello from the age of seven. She studied music in Wales, then recorder and early music in the Netherlands. Since then she has performed, taught and conducted in several countries, including Iceland, France and Germany. Currently, she conducts We would like to take this opportunity to extend our thanks to the Rector and several orchestras, including the Scottish Recorder Orchestra, Recorders congregation of St Bride's for hosting our concert tonight, Jean MacDonald for Incorporated, and the National Youth Training Recorder Orchestra. She teaches the programme and advertising artwork, the front of house team and to the many on many courses around Europe, including the Recorder Summer School, and people who have contributed behind the scenes – you are all appreciated! the Easter Early Music Course. She composes for recorder groups of various sizes, as well as performing with her recorder quintet, Flauti Animati Scotica.

Source: http://www.sro.org.uk/concerts/SRO_Cath2010.pdf