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    MUSIC

    Canciones, Danzas y Diferencias-- Spanish songs, dances & variations from the 16th-18th centuries

    Presented by at Loring-Greenough House

    April 1, 2012


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    Canciones, Danzas y Diferencias--  Spanish songs, dances & variations from the 16th-18th centuries

    Sunday April 1, at 3:00 p.m.,Pentimento (Olav Chris Henriksen, vihuela & guitars and Eric Haas, recorders & flutes) will present a program of Spanish songs, dances, fantasias and variations from the 16th-18th centuries.

    The first half of the program will include the beautiful chanson Doulce memoire, on a text said to have been written by François I of France during his captivity in Madrid in an elaborate setting by Diego Ortiz; a fantasia, pavana & gallarda by Luys Milan for vihuela solo (an ancestor of the modern guitar); settings of the hauntingly beautiful Paseabase el rey moro (the lament of the King of the Moors as he surveyed the devastated city of Granada); a fantasia and villancico for Renaissance guitar (a small instrument similar to a ukelele), and two settings by Antonio de Cabezón (an ornamented version of a Crecquillon chanson 'Prenez pitie' and 'Diferencias' (variations) on an Italian pavan (owing to Cabezón's arrangement, the tune became known throughout Europe as the 'Spanish Pavan'!)

    The second half of the program opens with an elaborate set of diminutions on Palestrina's madrigal 'Vestiva i colli' by Bartolomeo de Selma y Salverdo, a Neapolitan bassoonist (the kingdom of Naples was under Spanish rule for most of the 16th-18th centuries); a lively set of Canarios for baroque guitar solo by Gaspar Sanz; songs by José Marin, Francisco Correa de Arauxo and Juan Hidalgo (including an operatic mad scene); guitar music from the Santiago de Murcias manuscripts from Mexico and Peru, and concludes with an anonymous set of variations on 'La Folias de Espagne' from a Spanish manuscript of about 1731.
    Meet the Eric and Chris at afternoon tea following the program.

    Pentimento (Italian, repentance). In painting, an underlying image (an earlier painting or drawing) that shows through as the topmost layer of paint becomes transparent with age. These ghostly images reveal the artist’s original concept or intent. In a similar manner, Pentimento strives to make visible the underlying melodies of the highly decorated repertoire.

    Eric Haas studied recorder with John Tyson and baroque flute with Sandra Miller. He has taught at New England Conservatory, Tufts University and Wheaton College, as well as numerous early music workshops, including Pinewoods, Amherst Early Music, the Long Island Recorder Festival and the Mideast Workshop. Mr. Haas has performed on both recorder and early flutes with Emmanuel Music, the Ocean State Chamber Orchestra, La Sonnerie and now Pentimento. He served for many years as Music Director of the Boston Recorder Society and is on the staff of the von Huene Workshop, Inc.

    Olav Chris Henriksen, acclaimed throughout Europe and North America as a soloist on lute, theorbo and early guitars, is also a much sought-after ensemble player, performing & recording with the Boston Camerata, Handel and Haydn Society, Waverly Consort, Boston Baroque, Four Nations Ensemble, Les Idées Heureuses, and Chanticleer, among others. Recent performances include Handel’s Ariodante with Emmanuel Music, as well as an appearance at the 2007 Spokane Bach Festival, and concerts with the Boston Camerata at the Théâtre de la Ville (Paris) and the “Octobre en Normandie” festival. Mr. Henriksen’s solo recording, La Guitarre Royalle: French Baroque and Classical Guitar Music, on the Museum Music label, was released in October 2000; he has also recorded for Centaur, Nonesuch, Erato, Simax, Telarc and Decca. He performs frequently at the Music of Fine Arts, Boston, in recitals and lecture-demonstrations from the Museum’s own collection. He has lectured at Harvard University, Cambridge; Nelson Atkins Museum, Kansas City, Musikkhögskolen, Oslo; Aston Magna Academy, Rutgers University; and Lincoln Center Institute, New York. He teaches at the Boston Conservatory and the University of Southern Maine. The Boston Herald praised his playing, saying, “Henriksen was able to dazzle with his virtuosity in the fantastical figurations of John Dowland’s solo Fantasy for lute and Kapsberger’s similarly brilliant Toccata prima.”


    The Sunday Afternoon at the ‘Greenough House series recreates the atmosphere of 18th and 19th century “musical afternoons” in the 1760 Loring-Greenough House, twice monthly, October to May. Tickets are available at the door: donation $15 ($10 seniors, students and JPTC members). Space is limited; reservations are suggested—call 617-524-3158 or email lghouseconcerts@aim.com.

    Built in 1760, the Loring-Greenough House, a local landmark listed on the Massachusetts and National Registers of Historic Places, is located at 12 South Street (at the Civil War Monument) in Jamaica Plain, MA. It is owned and managed by the non-profit Jamaica Plain Tuesday Club, Inc. as a historic house museum and site for art and music presentations. The Loring-Greenough House is wheelchair accessible. For more information on the Loring-Greenough House, see www.loring-greenough.org.

    For reservations or directions, call (617)524-3158, or email lghouseconcerts@aim.com.

    Upcoming concerts in this series:
    Sunday, April 22: Quilisma Consort: A Renaissance instrumental ensemble–French Secular music
    Sunday, May 6: Jeremy Quick Duo. Jazz Guitar and vocal


    Loring-Greenough House

    12 South Street (Jamaica Plain)
    Boston, MA 02130

    Full map and directions

    Admission Info:

    $15 ($10 students & seniors)


    General Day and Time Info:

    3:00 p.m.


    Phone: 617-524-3158


    Accessibility Information:


    Official Website


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