Events Calendar

Guest Recital: Les Délices and Blue Heron

Thursday, March 9, 2017 at 8:00pm to 10:00pm

David H. Stull Recital Hall 77 West College Street, Oberlin, OH 44074

A guest recital by Les Délices and Blue Heron. Performance at 8 PM.

This concert is preceded by a lecture in the Allen Art Building at 4:30 PM.

LECTURE: Guillaume de Machaut's First Collected-Works Manuscript (BnF, ms. fr. 1586)
March 9th, 4:30pm, Allen Art Building, Classroom 1

Dr. Domenic Leo, Adjunct Associate Professor at Duquesne University will present his talk Guillaume de Machaut's First Collected-Works Manuscript (BnF, ms. fr. 1586). Guillaume de Machaut was an important French poet and musician of the fourteenth-century. This talk will present the illuminated manuscripts he prepared to circulate his work. The talk is in conjunction with a performance of Machaut's music by Les Délices and Blue Heron.



I. Prologue, or How to Love well…                       Guillaume de Machaut


Ballade: Esperance qui m’asseure


II. In the Court of Love


Lai: Qui n’aroit (RF1)

Motet: Hareu, hareu! / Helas! ou sera pris confors /

Obediens usque ad mortem


III. Love Slays the Lover


Ballade: Gais et jolis (instrumental)

Complainte: Tieus rit au main (RF2)


IV. Lady Hope comes to the Lover’s aid


Chant royal: Joye, plaisance (RF3)

Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet

Baladelle: En amer a douce vie (RF4)


- Intermission -


V. Wrestling with Doubt


Bird song after Or sus, vous dormes trop (Anon.)

Ballade: Dame de qui toute ma joie vient (RF5)

Motet: Trop plus est bele que biauté / Biauté parée de valour /

Je ne sui mie certeins


VI. Dancing en plein air


Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy)

Virelai: Dis tans plus (Lescurel)

Virelai: Dame a vous sans retollir (RF6)


VII. Reunited with his Lady


Messe de Nostre Dame: Kyrie I

Estampies after Machaut (arr. Nagy)

Rondelet: Dame, mon cuer en vous remaint (RF7)


VIII. She loves me, She loves me not


Ballade: Biauté qui toutes autres pere

Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins



RF1-7 are songs from the Remede itself.

Martin Near, countertenor
Owen McIntosh, Jason McStoots, tenor
Debra Nagy, recorders, douçaines & harp
Scott Metcalfe, vielle & harp   Charles Weaver, lute & voice

Projections designed by Shawn Keener




Les Délices (pronounced Lay day-lease) explores the dramatic potential and emotional resonance of long-forgotten music. Founded by baroque oboist Debra Nagy in 2009, Les Délices has established a reputation for their unique programs that are “thematically concise, richly expressive, and featuring composers few people have heard of.” The New York Times added, “Concerts and recordings by Les Délices are journeys of discovery.” The group’s debut CD was named one of the “Top Ten Early Music Discoveries of 2009” (NPR’s Harmonia), and their performances have been called “a beguiling experience” (Cleveland Plain Dealer), “astonishing” (, and “first class” (Early Music America Magazine).

Les Délices made its New York debut before a sold-out audience at the Frick Collection in May 2010. Highlights from recent seasons included performances for Music Before 1800, Boston’s Isabella Stewart Gardner Museum, San Francisco Early Music Society, the Yale Collection of Musical Instruments, and at Columbia University’s Miller Theater. In addition to touring engagements, Les Délices presents its own annual four-concert series in Cleveland art galleries and at Plymouth Church in Shaker Heights, OH, where the group is Artist in Residence. Les Délices has been featured on WCPN, WCLV and WKSU in Ohio, WQXR in New York, NPR’s syndicated Harmonia and Sunday Baroque, and had their debut CD featured as part of the Audio-guide for a special exhibit at New York’s Metropolitan Museum of Art (Watteau, Music, and Theater). Les Délices eagerly anticipates the release of their 3rd CD, “Age of Indulgence,” in the fall of 2016.


The vocal ensemble Blue Heron has been acclaimed by The Boston Globe as “one of the Boston music community’s indispensables” and hailed by Alex Ross in The New Yorker for the “expressive intensity” of its interpretations. Combining a commitment to vivid live performance with the study of original source materials and historical performance practices, Blue Heron ranges over a wide repertoire, including 15th-century English and Franco-Flemish polyphony, Spanish music between 1500 and 1600, and neglected early 16th-century English music, especially the unique repertory of the Peterhouse partbooks, copied c. 1540 for Canterbury Cathedral. The ensemble also regularly performs earlier music, and recently collaborated with A Far Cry in concerts featuring Gabriel Fauré’s Requiem and Le Cantiques des Cantiques for twelve voices by Jean-Yves Daniel-Lesur, composed in 1952.

Blue Heron’s first CD, featuring music by Guillaume Du Fay, was released in 2007. In 2010 the ensemble inaugurated a 5-CD series of Music from the Peterhouse Partbooks, including many world premiere recordings of music by Hugh Aston, Robert Jones, Nicholas Ludford, John Mason, and Richard Pygott; four discs have been released to date, and the final volume will follow in 2017. Blue Heron’s recordings also include a CD of music to accompany the book Capturing Music: The Story of Notation by Thomas Forrest Kelly, which was published in November 2014 by W. W. Norton. Jessie Ann Owens (University of California, Davis) and Blue Heron have won the 2015 Noah Greenberg Award from the American Musicological Society; the prize will help fund the preparation and world premiere recording of Cipriano de Rore’s complete first book of madrigals (1542).

Event Type

Master Class


Academic, Historical Performance, Administrative, Conservatory of Music



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