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Before the recital began, Doug Goodhart
warmed up on the park bench outside
Harkness Chapel, where the event took place.

However, there is just one park bench, and
many participants played in the recital, so
other people that wanted to warm up had to
find alternate locations.  Craig Allen chose
the free-form sculpture a little ways away.

Sterling Price chose the lawn,

and Garald Farnham
chose the picnic bench.

The program began with a bit of Anglican chant
retexted to suit the occasion by Gail Gillispie, who
taught the Renaissance Music Theory course.

The first solo performer was Doug Goodhart,
playing Ricercar no. 2 by Marco dall’Aquila
and a Fantasia (Ness #7) by Francesco da Milano.

Next Came Travis Carey with
Passamezzo alla Bolognese and a Saltarello,
both by Giovanni Maria da Crema.

Garald Farnham, accompanying
Debra Nagy in Robert Johnson’s
Tell Me Dearest (MP3, 1.2 MB) and
Dowland’s If My Complaints.

Bill Thatcher and Elizabeth Todd played
A Dump, a treble-ground duet by John
Johnson from Elizabethan England.

Betsy Small:  Tarleton’s Resurrection,
by John Dowland, dedicated to her new
Richard Fletcher lute and her late father.

Bob Temkin on Baroque lute:
Allemande and Bourée by S. L. Weiss.

Arnold Gessel did one of his usual
humorous ballads, self accompanied
on 19th c. guitar.  This time it was
Miss Otis Regrets. (MP3, 1.64 MB)

Edward Martin’s Lute Basics class played
and sang a traditional canon, Rose, Red.

Kenneth Bé:  Francesco da Milano, Fantasia
(a composite of Ness #28, 30 and 40).

Sean Smith accompanied Amy
Bartram in a 15th century chanson
by Agricola or Josquin.

And then Sean accompanied
Robin Snyder in J’ay pris amours
by Binchois or possibly Ghizeghem.

Craig Allen played La Roque, a bassedanse
from the Attaingnant collection, and then
sang a folk ballad, Early One Evening.

Jocelyn Nelson soloed on Renaissance
guitar with Bouffons and Conte clare,
from Guillaume Morlaye’s Premier Livre.

A trio followed, with Elizabeth Brown on
Baroque guitar and Jocelyn on Renaissance
guitar accompanying Amy Bartam singing an
anonymous song from the Bottegari Lute Book.

Elizabeth Brown:  two lute solos,
a Toccata by Joachim van den Hove
and a setting of a Sweelinck song.

Daniel Shoskes, a late starter but quick
learner on the Baroque lute, gave a nice
rendition of an Allemand, unattributed in a
Vienna MS, but perhaps by S. L. Weiss.
(MP3, 3.3 MB)

The next duet was a Gabrieli Canzona,
edited by Bob Clair and played by him
and Phillip Rukavina.

Some Air Balloon Fun, anyone?  An anonymous
18th-century ballad; Jineen Heiman,
self-accompanied on Renaissance guitar,
with lute back-up by David Nelson.

Next, David Nelson by himself followed, with
Almain #1 from an obscure MS (a.k.a. Ticket to Ride).

Jim Stimson on gittern:  Carver Blanchard’s
arrangement of Personent Hodie, played by memory.

Sterling Price,
Presto.
Video of this performance on You-Tube.

Magnus Andersson:  Philips Dump,
presumably by Philip van Wilder.
Video of this performance on You-Tube.

A quartet of bass lutes, a.k.a. Pluto's Luters,
rendered (rended?) a motet by Palestrina, originally
written for two tenor and two bass voices.

The Perse-phones pretended to tune up, with
disastrously cacophonous results, since some of
them have no experience at all as lutenists.

They then proceeded to perform a very nice four-part vocal
version of Fine Knacks for Ladies to the text, “plink, plink,
plink, plink, twang.”  The quartet consisted of Marlene
Johnshoy, Elizabeth Todd, Esther Erb and Amy Bartram.

And finally, Lord Willoughby got a rousing
Welcome Home by the Ballad Class.
(MP3, 448 KB)