Performance Tuesday, March 5, 2013 | 7:30 PM

Studio de musique ancienne de Montréal

Orlando's Tears...

Weill Recital Hall
I Fagiolini has had to cancel its US tour, including the group’s Carnegie Hall concert, due to a scheduling conflict resulting from a personnel change within the ensemble.

Delighting audiences for more than three decades, the Studio de musique ancienne de Montréal continues to reveal the vitality, sensuality, and emotional depth of early music. Specializing in works from the Baroque and Renaissance, the gifted group produces a wide range of tonal colors suited to whatever is being performed, entering fully into the spirit of the music with lively and spontaneous-sounding performances. The ensemble makes its Carnegie Hall debut with a program of works by Palestrina and di Lasso, two of the most prolific and versatile composers of the late Renaissance.

This concert is part of Salon Encores.


  • Studio de musique ancienne de Montréal
    Christopher Jackson, Conductor


  • ORLANDO DI LASSO "Omnes de Saba venient"
  • ORLANDO DI LASSO "Osculetur me osculo"
  • PALESTRINA “Laudate pueri Dominum”
  • ORLANDO DI LASSO Lagrime di San Pietro


  • Studio de musique ancienne de Montréal

    The Studio de musique ancienne de Montréal has established a reputation as Montreal's finest early music vocal ensemble. Composed of 10 to 13 singers chosen for the remarkable clarity and purity of their voices, the Studio was founded in 1974 by organist and harpsichordist Christopher Jackson.

    Delighting audiences for close to four decades, the Studio has brought more than 800 Renaissance and Baroque masterpieces before the public, and continues to reveal and share the vitality, sensuality, and emotional depth of early music. The ensemble's concert series has been a highlight of Montreal's cultural life for 35 years and ranks as an integral part of the city's lively Baroque scene.

    Flowering from Montreal's early music scene in the early 1970s, the Studio was a pioneer ensemble in the North American period music movement. The Studio's members boast impeccable pedigree and collaborate with some of the world's finest period music instrument specialists.

    The Studio has toured Mexico, France, Spain, and Luxembourg, and has often appeared at the Festival International de Musique in Sarrebourg. Through frequent concert collaborations with many well-known early music instrumental ensembles-including Skip Sempé's Capriccio Stravagante Renaissance Orchestra-the Studio has partnered with many renowned artists, such as Jordi Savall, Ton Koopman, Dame Emma Kirkby, Guillemette Laurens, Suzie LeBlanc, and Daniel Taylor.

    The Studio has made 15 widely acclaimed recordings, several of which are on the ATMA Classique label, including Arvo Pärt: Stabat Mater and Rise, O my soul. The Studio's recording Heavenly Spheres on CBC Records won ADISQ's Félix Award, and its Palestrina recording won the CHOC du Monde de la Musique. In January 2012, the Conseil québécois de la musique awarded an Opus Prize to the Studio's Lagrime di San Pietro recording.

    Christopher Jackson

    Organist, harpsichordist, conductor, artistic director, teacher, mentor, Renaissance man-Christopher Jackson's accomplishments are so numerous that it is difficult to choose a single word to describe him and the impact of his work.

    A pioneer of Montreal's fertile early music scene, Mr. Jackson was among the first to present period music to audiences in the early 1970s. He founded the world-renowned Studio de musique ancienne de Montréal in 1974, hitting a nerve with music lovers in that city. His reputation extends well beyond national borders; Mr. Jackson has been invited to conduct several prestigious ensembles in France, Belgium, and Spain. In 1998, he led a tour of Monteverdi's Orfeo across France.

    A leader in the academic world, Mr. Jackson was appointed dean of Concordia University's Faculty of Fine Arts in 1994, a post he retired in 2005. He was also granted an honorary doctorate by Laurentian University (Sudbury, Ontario) in 1999 in recognition of his contribution to the world of music. Ever the pioneer, Mr. Jackson was one of the key minds behind an unprecedented partnership between Concordia's Engineering and Fine Arts departments. The result is the state-of-the-art Integrated Engineering, Computer Science, and Visual Arts Complex, which opened in downtown Montreal in 2005.

    He has recently become the director of Concordia's Grey Nuns Project, a long-term initiative that will transform a heritage building-the Mother House of the Grey Nuns Order-into a gathering place for Concordia's artistic community. When completed, the project will have created the first totally integrated arts school in North America.

    For all his entrepreneurial initiative in the academic world, Mr. Jackson never strays far from his musical career and continues to create unique, beautiful concert programs and recordings with Studio de musique ancienne de Montréal. Mr. Jackson's role as ancient music detective is one that he has assumed for years, searching libraries and working with music historians and musicologists to revive previously unknown or unedited works.

    More Info


Orlando's Lagrime di San Pietro (Il Magnanimo Pietro)
Studio de musique ancienne de Montréal
Atma Classique

At a Glance

It is virtually impossible to succinctly characterize Lasso's work as a whole. His mastery and the range of his capabilities were so great that his music is still only half understood. Unlike Palestrina's music, Lasso's does not virtually sing itself, for it lacks the transparency of texture and grace so important to the Roman composer. But Lasso's compositions gain thereby in energy and "rugged power" (according to musicologist Gustave Reese). If one characteristic feature should be emphasized more than any other, it is that he derived his inspiration chiefly from the words he set, allowing them to generate most of the musical details in his works. More than any of the other great composers of the late-16th century except the virtuoso madrigalists, Lasso understood that the words were to be master of the music.

—Howard M. Brown (Music in the Renaissance, 1976)
Program Notes
This performance is part of Early Music in Weill Recital Hall.