Notre Game graces Tallahassee Co-Cathedral
Before the FSU vs Florida State game
I Thank My God - Aaron McDermid
The Co-Cathedral of St. Thomas More choir on the occasion of Bishop William (Bill) A. Wack formally taking possession of the Co-Cathedral.
A.R.C - Personal Look at the Restorative Justice Process - Class 2
ADULT RELIGIOUS CATECHESIS (A.R.C)
A Very Personal Look at the Restorative Justice Process
Speakers: Kate and Deacon Andy Grosmaire and Julie and Michael McBride; moderated by Kelly McGrath, Esq., Exec. Dir. of the Florida Restorative Justice Association
Babysitting is FREE. Must RSVP with Rene Frydrychowski 850-345-0453
This panel will look at the story of two families – each of which lost a child when the son of one family killed the daughter of the other. Through the process of restorative justice, and the separate process of forgiveness, the two families were able to come together to begin to understand and to repair some of the damage caused that day. The panel will be moderated by Kelly McGrath who is an attorney, restorative justice facilitator, and friend of the families.
Speaker Bios:
Kate Grosmaire
Ms. Grosmaire is a Business Analyst with the Florida Department of Environmental Protection and is the author of Forgiving My Daughter's Killer: A true story of Loss, Faith, and Unexpected Grace.
Deacon Andy Grosmaire
Deacon Andy is assigned to the Co-Cathedral of St. Thomas More in Tallahassee Florida where he coordinates the RCIA program, teaches baptism classes, and provides marriage preparation for engaged couples. He was ordained in June 2013. He is also the Chief of Enforcement with the Office of Financial Regulation for non-depository financial institutions for the State of Florida.
In 2010, after their daughter Ann was shot and killed by her boyfriend, the Grosmaires successfully advocated for restorative justice to shape the plea agreement. Their story gained national prominence with an article in the New York Times Magazine. The Grosmaires continue to advocate restorative justice, having appeared on the TODAY Show and speaking at Southwest Georgia Technical Institute, Campbell Law School, and other venues. They are the co-founders of the Ann Grosmaire Be the Change Fund, a charitable fund to promote forgiveness and restorative justice practices under the Community Foundation of North Florida.
Missa Carolina à 24 (1675) by Philipus Jacobus Rittler
First modern performance presented in concert on period instruments by the FSU Early Music Ensembles and Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director. March 4, 1994 at the St. Thomas More Co-Cathedral, Tallahassee, Fl. Photos from dress rehearsal.
The Ensembles:
Cantores Musicæ Antiquæ (Concertino Group)
Rebecca Lister, soprano
Alice Tillotson, soprano
Patman Lester, countertenor
Shawn Bartels, tenor
Steven Zielke tenor
David Childs, bass
Cantores Musicæ Antiquæ (Ripieno Group)
Solfeig Fretheim, soprano
Janet Edwards, soprano
Brian Black, countertenor
Tim Watkins, tenor
James Lease, tenor
Jeffery Ames, bass
Instrumental Ensembles (Strings)
Karen Clarke, violin
Melissa Brewer, violin
Philip Chang, viola da gamba
Jennifer Bell, viola da gamba
Dennis Hutchison, viola da gamba
Natural trumpets:
Darin Obrecht
Julie Nease
Sackbuts:
Ben Pringle, tenor
Mike O'Connor, tenor
Angeleeta Sosnowski, bass sackbut
Continuo:
Charles E. Brewer, organ
Reeves Ely, regal
Mark Chambers, baroque cello
Kevin Lay, violone
Martha Bishop, bass viola da gamba
Jerry Cain, contrabass racket
Transcribed into modern notation by Charles E. Brewer
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Live! in Tallahassee - Jan 30th - Featuring the Tallahassee Seminole Club's Bowling Tournament
Tirsi morir volea à 7 by Andreas Gabrieli
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on April 16, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Sara Balduf and Courtney Malone, first sopranos
Sally Glover, Denise Karnes, Laura Moore, second sopranos
Brad Fugate, Bama Roberts, altos
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russell Blenis and Christopher Peterson, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
O Magnum Mysterium à 4 by Tomás Luis de Victoria
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on December 5, 1999, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Sara Balduf, Courtney Malone, and Lauren Waddel, first sopranos
Denise Karnes and Laura Moore, second sopranos
Brad Fugate, Kari Kistler, and Bama Roberts, altos
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russel Blenis and Christopher Peterson, basses
A Note on Pronunciation
Regarding the performance of Renaissance vocal music, the study of pronunciation, or phonology, has recently been added to the growing corpus of relevant issues. The most definitive source on Renaissance pronunciation is Singing Early Music, edited by Timothy J. McGee (Indiana University Press, 1996). The author of the chapter on Spanish Latin is Harold Copemani, and our performance reflects as accurately as possible the most recent knowledge of how Latin was pronounced when these works were performed in Spain at the time.
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
O Care, Thou Wilt Despatch Me Pt. 1 & Hence Care, Thou Art Too Cruel Pt. 2 by Thomas Weelkes
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on December 3, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
April Fisk and Courtney Malone, first sopranos
Sara Balduf and Denise Karnes, second sopranos
Kari Kistler, Kathleen Phipps, and Laura Moore, altos
Adam Ackerman and Jeremy Skelton, first tenors
Jason Jewell and Matthew Roberson, baritones
Russell Blenis and Christopher Peterson, basses
In the interest of providing a more historically accurate performance of this music, the Cantores Musicæ Antiquæ have added the element of historical pronunciation. Our chief source for both earlier English and Anglo-Latin has been Timothy J. McGee's Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance (Indiana University Press, 1996).
The main differences between this pronunciation and our modern concept of Latin are fairly subtle. Many long [i] sounds (incipit), when contained in unstressed syllables, are pronounced short, as in the modern English dip. The [c] in civitas is pronounced as an [s], rather than the modern hard ch sound. Many long vowels are shortened: sunt, in, and inter are all pronounced with short vowels.
The pronunciation of sixteenth-century English can actually be compared to a common American conception of a modern Irish or Scottish brogue, with its many slight differences in vowel and consonant sounds. For instance, a most interesting feature of early English is the pronunciation of the words be, me, and the like, to rhyme with our modern day. In the madrigal Phyllis, I fain would die now, the [g] in give is pronounced with a [j] sound, because it precedes the letter [i]. There are other slight differences between modern and early pronunciation of English, and we hope you will enjoy listening for (and to!) them.
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Phillis I fain would die now à 7 by Thomas Morley
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on December 3, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
April Fisk and Courtney Malone, first sopranos
Sara Balduf and Denise Karnes, second sopranos
Kari Kistler, Kathleen Phipps, and Laura Moore, altos
Adam Ackerman and Jeremy Skelton, first tenors
Jason Jewell and Matthew Roberson, baritones
Russell Blenis and Christopher Peterson, basses
In the interest of providing a more historically accurate performance of this music, the Cantores Musicæ Antiquæ have added the element of historical pronunciation. Our chief source for both earlier English and Anglo-Latin has been Timothy J. McGee's Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance (Indiana University Press, 1996).
The main differences between this pronunciation and our modern concept of Latin are fairly subtle. Many long [i] sounds (incipit), when contained in unstressed syllables, are pronounced short, as in the modern English dip. The [c] in civitas is pronounced as an [s], rather than the modern hard ch sound. Many long vowels are shortened: sunt, in, and inter are all pronounced with short vowels.
The pronunciation of sixteenth-century English can actually be compared to a common American conception of a modern Irish or Scottish brogue, with its many slight differences in vowel and consonant sounds. For instance, a most interesting feature of early English is the pronunciation of the words be, me, and the like, to rhyme with our modern day. In the madrigal Phyllis, I fain would die now, the [g] in give is pronounced with a [j] sound, because it precedes the letter [i]. There are other slight differences between modern and early pronunciation of English, and we hope you will enjoy listening for (and to!) them.
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Missa pro defunctis cum quatuor vocibus (Requiem Mass) by Orlando di Lasso
Live performance by the men of Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director. April 17, 1994, St. Thomas More Co-Cathedral, Tallahassee, Fl.
Members of the ensemble:
Patman Lester and Steven Zielke, countertenors
Shawn Bartels and Timothy Watkins, tenors,
David Childs and Jeffery Ames, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Non vedi o sacr' Apollo à 5 by Andreas Gabrieli
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on April 16, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Sara Balduf and Courtney Malone, first sopranos
Sally Glover, Denise Karnes, Laura Moore, second sopranos
Brad Fugate, Bama Roberts, altos
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russell Blenis and Christopher Peterson, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Madrigalian Passsions: What have the Gods? by Thomas Vautor
Live, unconducted performance by Cantores Musicæ Antiquæ, prepared by Anthony Rooley and presented at St. John's Episcopal Church, Tallahassee, Fl on April 15, 2007.
Members of the ensemble:
Mary Kelsay and Lyndsey Thornton, sopranos
Ray Chenez, Tim Galloway, Reginald Mobley altos
Greg Decker and Sean Linfors, tenors
Jason Hobratschk and Micheal Murphy, basses
Jeffery Kite-Powell, director
Cantores Musicæ Antiquæ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Lieto Godea à 8 by Giovanni Gabrieli
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on April 16, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Sara Balduf and Courtney Malone, first sopranos
Sally Glover, Denise Karnes, Laura Moore, second sopranos
Brad Fugate, Bama Roberts, altos
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russell Blenis and Christopher Peterson, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Crucifixus à 4 by Claudio Monteverdi
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on April 16, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Brad Fugate, countertenor
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russell Blenis and Christopher Peterson, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Sweet Honey-Sucking Bees à 5 (Pt. 1) & Yet Sweet, Take Heed à 5 (Pt 2) by John Wilbye
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on December 3, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
April Fisk and Courtney Malone, first sopranos
Sara Balduf and Denise Karnes, second sopranos
Kari Kistler, Kathleen Phipps, and Laura Moore, altos
Adam Ackerman and Jeremy Skelton, first tenors
Jason Jewell and Matthew Roberson, baritones
Russell Blenis and Christopher Peterson, basses
In the interest of providing a more historically accurate performance of this music, the Cantores Musicæ Antiquæ have added the element of historical pronunciation. Our chief source for both earlier English and Anglo-Latin has been Timothy J. McGee's Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance (Indiana University Press, 1996).
The main differences between this pronunciation and our modern concept of Latin are fairly subtle. Many long [i] sounds (incipit), when contained in unstressed syllables, are pronounced short, as in the modern English dip. The [c] in civitas is pronounced as an [s], rather than the modern hard ch sound. Many long vowels are shortened: sunt, in, and inter are all pronounced with short vowels.
The pronunciation of sixteenth-century English can actually be compared to a common American conception of a modern Irish or Scottish brogue, with its many slight differences in vowel and consonant sounds. For instance, a most interesting feature of early English is the pronunciation of the words be, me, and the like, to rhyme with our modern day. In the madrigal Phyllis, I fain would die now, the [g] in give is pronounced with a [j] sound, because it precedes the letter [i]. There are other slight differences between modern and early pronunciation of English, and we hope you will enjoy listening for (and to!) them.
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
A.R.C - Restorative Justice: A Conversation on Being Forgiven - Class 6
A Conversation on Being Forgiven,
Presenters: Ken Cofield and Dale Recinella, J.D.
Adult Religious Catechesis
Ken Cofield and Dale Recinella met in prison. Ken was serving life, and Dale a spiritual advisor. Although Ken did not receive the death penalty, which he missed by a single vote, when he received his life sentence, a relative of the victim of the crime screamed at Ken that she wished that he had been sentenced to death. Ken was incarcerated for 27 years. Upon his release from prison, Ken received a surprising letter from that relative. Ken and Dale will discuss some of their shared experiences, what that letter contained and how the contents of that letter has affected Ken’s life.
BIOS:
Ken Cofield
Mr. Cofield is a former offender who was incarcerated for 27 years. During part of that time he was a mentee of Dale Recinella. He was released from the Department of Corrections November 17, 2009. He works for A Healing Ministry in Jacksonville. He and his wife do prison ministry under Save a Man Ministry. They minister to those incarcerated and those on parole and probation.
Dale S. Recinella, J.D.
Mr. Recinella, author of several books and articles on the death penalty, has served for twenty-five years as a spiritual counselor and Catholic Correctional Chaplain in Florida’s prisons. In 1998 he began ministering cell-to-cell to the approximately 400 men on Florida’s death row and the approximately 2000 men in Florida’s long-term solitary confinement. For 14 years, he and his wife, Susan, have ministered as a team during executions: he serving as a spiritual advisor to the condemned and she serving as a lay minister to the condemned’s family and loved ones. They also minister to the families and loved ones of murder victims.
Mr. Recinella, who received a Masters in Theological Studies (M.T.S.) summa cum laude from Ave Maria University’s Institute for Pastoral Theology (2009) and law degree magna cum laude from Notre Dame University Law School (1976), is a licensed Florida lawyer and has taught international law/business ethics in Europe, at the undergraduate and graduate levels, at St. John’s University at the Vatican (Oratorio) and at Temple University in Rome. He has been a columnist for The Tallahassee Democrat and The Florida Catholic. He has presented a weekly two-hour program for the faith and character-based dorm at Union Correctional Institution (Raiford). Among his many awards, Mr. Recinella was named “Prison Volunteer of the Year” by the State of Florida Prison Chaplains for his work on death row and solitary confinement at Union Correctional Institution in 2000 and at Florida State Prison in 2013; received the “2001 Humanitarian Award” from the Franciscan Alumni Association; and received the “2011 Law and Spirituality Award” from the Catholic Lawyers Guild of the Diocese of St. Augustine. He has appeared frequently on worldwide Vatican Radio and extensively addresses audiences nationally and in Europe.
Bishop Parkes presented Dale Recinella the Papal Pro Ecclesia et Pontifice Cross award at St. Thomas More Co-Cathedral on February 17, 2016 at the annual Red Mass of the Holy Spirit.
Angel dal terzo ciel à 5 by Andreas Gabrieli
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on April 16, 2000, at St. Thomas More Co-Cathedral, Tallahassee, Florida
Members of the ensemble:
Sara Balduf and Courtney Malone, first sopranos
Sally Glover, Denise Karnes, Laura Moore, second sopranos
Brad Fugate, Bama Roberts, altos
Adam Ackerman and Jeremy Skelton, first tenors
John Deal and Matthew Roberson, second tenors
Russell Blenis and Christopher Peterson, basses
CANTORES MUSICÆ ANTIQUÆ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
Best of Tallahassee
The FULL VERSION of FSView's Best of Tallahassee roundtable discussion.
Laudate pueri by Claudio Monteverdi
Live performance by Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director, on November 24, 1996 at St. Thomas More Co-Cathedral, Tallahassee, Fl.
Members of the ensemble:
Joanna Carter and Lori Seitz, sopranos
Bama Roberts, alto
Kevin King and Charles Witmer, tenors
Todd Henry and Daniel Marcotte, baritones
Thomas Barnes, bass
Cantores Musicæ Antiquæ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).
In paradisum à 6 by Juan Esquivel Barahona
Live performance by Cantores Musicæ Antiquæ, directed by Jeffery Kite-Powell on April 2, 1995 at St. Thomas More Co-Cathedral, Tallahassee, Fl
May angels escort you into paradise,
on your arrival may martyrs receive you
and lead you into the Holy city, Jerusalem.
May the chorus of angels adopt you,
and with Lazarus, formally among the poor,
may you have eternal rest.
Members of the ensemble:
Solveig Fretheim, Rebecca Lister, Alice Tillotson sopranos
David Walker, countertenor
David LaJeunesse, Andrew Laverenz, Timothy Watkins, tenors
Jeffery Ames, Thomas Barnes, Ray Hardman basses
Cantores Musicæ Antiquæ [Singers of Early Music] was formed in the fall of 1989 with the intent to perform music from 1200-1650 in a historically informed manner. The group consists of eight to twelve singers, often one on a part, and includes undergraduates, masters, and doctoral students. Some students are voice majors, while others study music education, choral conducting, theory, or musicology.
After our inaugural concert, my friend and colleague, Douglass Seaton, sent a letter to Dean Bob Glidden praising the ensemble, as seen in this excerpt:
There is no question that this was by far the best early-music performance I have heard since I came to Florida State. Indeed, it was perhaps one of the best three or four musical experiences I have had in Tallahassee, and having recently been to England and heard some of the finest early-music choirs in the world, I would have to say that the Cantores Musicæ Antiquæ last night were as fine as any of them.
Following our performance at the Florida American Choral Directors Association at Rollins College, Winter Park, in 1994, the Director of Choral Activities at the University of Miami (Jo-Michael Scheibe), and the Artistic Director of the Miami Bach Society (Donald Oglesby) co-wrote the following lines to Dean Jon Piersol about our performance:
It was truly an outstanding performance of the highest professional caliber, worthy of comparison to groups like the Tallis Scholars. The standing ovation accorded the group by the members of ACDA testifies to the strength of the ensemble's performance. We [. . . ] hope you can make it possible for these singers to be heard on recording and in concert throughout the nation. They bring credit to the choral music activities of FSU and our state.
Indeed, the ensemble is often referred to as Tallahassee's Tallis Scholars, one of England's premiere vocal ensembles. Our local newspaper, the Tallahassee Democrat, has referred to the group as FSU's heavenly Renaissance choir.
Two full-length concerts per year are common for this group of singers, and they have performed for the American Musicological Society regional conventions in Lafayette, La., Tuscaloosa, Al, Tallahassee, Palm Beach, and New Orleans (twice), the National Theory Society convention, the national convention of the Society for Seventeenth-Century Music, the International Fanny Mendelssohn Hensel Conference, the International conference on John Eccles and His Contemporaries: English Theatre and Music in London circa 1700, and for the opening of the exhibition from the Victoria & Albert Museum at the Norton Museum of Art in West Palm Beach; twice they were broadcast on National Public Radio's Millennium of Music.
Many of the singers from earlier years are currently professors, performers, or administrators at colleges and universities around the country and abroad, including (those of which I am aware) Alabama, Arkansas, Connecticut, Florida, Indiana, Kentucky, North Carolina, Oklahoma, Pennsylvania, South Carolina, Tennessee, New York, Wisconsin, Australia, Iceland, and Norway.
JEFFERY KITE-POWELL, professor emeritus of The Florida State University College of Music and director of the Early Music Program (1984-2013), edited and contributed to A Performer's Guide to Renaissance Music (IUP, 2007), edited and translated Michael Praetorius's Syntagma Musicum III (OUP, 2004), and edited the second edition of A Performer's Guide to Seventeenth-Century Music (IUP, 2012). He served as president of Early Music America (1998-2001) and was awarded the Thomas Binkley Award for Outstanding Achievement by a Collegium Director (2003). On his retirement, colleagues and former students from across the country contributed to a book entitled Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012).