The

 Food  of  Love:  Songs  for  Shakespeare  

The  Baltimore  Consort  
 
As  You  Like  It  
 
Kemp’s  Jig                                              anon,  Cambridge  MS,  late  16th  c.  
It  was  a  Lover  and  his  Lass                    Thomas  Morley,  First  Booke  of  Ayres,  1600  
 
Twelfth  Night  
O  Mistresse  Mine                                            Morley,  Consort  Lessons,  1599  
Peg  a  Ramsey                      Playford,  The  English  Dancing  Master,  1651  
Farewell,  dear  love                                      Robert  Jones,  First  Book  of  Songs,  1600  
The  Buffens  (Les  Buffons)                      Jean  d’Estrée  Tiers  livre  de  danseries,  1559  
 
Romeo  and  Juliet  
When  Griping  Grief                        Richard  Edward,  1525-­‐1566  
Lady  Carey’s  Dump                anon.,  Marsh  Lutebook,  16th  c.  
Complain  my  lute               anon.,  broadside  ballad,  16th  c.  
Heart’s  Ease  (The  Honeysuckle)            Anthony  Holborne,  Pavans,  Galliards,  and  Almains….1599  
 
Henry  IV,  Part  II  &  A  Winter’s  Tale  
Queen’s  Goodnight                                       Thomas  Robinson,  1560-­‐1620  
Fancy                                  John  Dowland,  1563-­‐1626  
The Carman’s Whistle                                    anon,  broadside  ballad,  c.  1600                            
Whoope,  do  me  no  harm/Jog  on                                  anon.,  late  16th  c.  
-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐  INTERMISSION  -­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐  
 
Hamlet  
King  of  Denmark’s  Galliard                  John  Dowland  
Tarleton’s  Riserrectione                                    anon.,  late  16th  c.  
Gravedigger  song  (“In  Youth  When  I  Did  Love”)                              anon.,  late  16th  c.  
Tarleton’s  Riserrectione                                    .anon.,  late  16th  c.  
Bonny  sweet  robin                              Matthew  Holmes  MSS,  c.  1588-­‐97  
Tarleton’s  Jig                                        anon.,  late  16th  c  
 
The  Tempest  
Greensleeves                anon.,  16th  c.,  and  John Johnson c.1545 -1594  
Where  the  bee  sucks                Robert  Johnson,  c.  1583-­‐1634  
Loth  to  depart                                        John  Dowland  
Full  fathom  five                                            Robert  Johnson  
 
Merry  Wives  of  Windsor  &  Othello  
Fortune  my  foe                                anon.,  The  Dallis  Lute  book,  1585  
Willow  Song                                  anon.,  The  Lodge  Lute  Book,  c.1559  
 
Midsummer  Night’s  Dream  
Fairie  Rownde                                              Holborne,  Pavans,  Galliards,  and  Almains….1599  
The  Mad,  Merry  Pranks  of  Robin  Goodfellow                  The  Roxburghe  Ballads,  Ben  Johnson,  1625  
 The  Baltimore  Consort  
Mary  Anne  Ballard  –  treble  and  bass  viols  
Mark  Cudek  –  cittern  and  bass  viol  
Larry  Lipkis  –  bass  viol,  recorder,  krummhorn,  gemshorn  
Ronn  McFarlane  –  lute  
Mindy  Rosenfeld  –  flutes,  fifes,  bagpipes,  krummhorn  
Danielle  Svonavec  –  soprano  
 
Founded in 1980 to perform the instrumental music of Shakespeare’s time, the Baltimore Consort has
explored early English, Scottish, and French popular music, focusing on the relationship between folk and
art song and dance. Their interest in early music of English/Scottish heritage has also led them to delve into
the rich trove of traditional music preserved in North America. Recordings on the Dorian label have earned
them recognition as Top Classical-Crossover Artist of the Year (Billboard), as well as rave reviews elsewhere.
Besides touring in the U.S. and abroad, they often perform on such syndicated radio broadcasts as St. Paul
Sunday, Performance Today, Harmonia and the CBC’s OnStage.

Mary  Anne  Ballard,  early  strings,  also  currently  plays  with  Galileo’s  Daughters,  Mr.  Jefferson’s  Musicians,  and  
Fleur  de  Lys.  Formerly,  she  directed  or  coached  early  music  at  the  Peabody  Conservatory,  Princeton  University,  
and   the   University   of   Pennsylvania,   where   she   founded   the   Collegium   Musicum   and   produced   medieval   music  
drama.  She  is  now  on  the  faculty  of  Oberlin’s   summer   Baroque   Performance   Institute.   A   resident   of   Indiana   and  
New   York   City,   she   music-­‐directed   the   Play   of   Daniel   for   75th   Anniversary   of   the   opening   of   The   Cloisters  
Museum  and  for  the  Twelfth  Night  Festival  at    Trinity  Wall  Street  Church  in  New  York.    
 
Mark  Cudek  is  Director  of  the  Early  Music  program  at  the  Peabody  Conservatory,  and  also  Artistic  Director  of  
the  Indianapolis  Early  Music  Festival.  In  recognition  of  his  work  as  Founder/Director  of  the  Peabody  
Renaissance  Ensemble  and  also  the  High  School  Early  Music  Program  at  the  Interlochen  Arts  Camp,  Mark  
received  from  Early  Music  America  the  2001  Thomas  Binkley  Award  and  the  2005  Award  for  Outstanding  
Contribution  to  Early  Music  Education.  He  has  regularly  performed  with  Apollo’s  Fire,  The  Catacoustic  Concort,  
and  Hesperus,  and,  in  his  youth,  worked  as  a  café  guitarist  in  the  Virgin  Islands.  Mark  is  the  2014  recipient  of  the  
Johns  Hopkins  University  Alumni  Association’s  Global  Achievement  Award.  

Larry  Lipkis  is  Composer-­‐in-­‐Residence  and  Director  of  Early  Music  at  Moravian  College  in  Bethlehem,  Pa.  He  
has   also   served   as   Director   of   Pinewoods   Early   Music   Week,   and   is   a   longtime   Music   Director   for   the  
Pennsylvania   Shakespeare   Festival.   His   cello   concerto,   Scaramouche,   appears   on   the   Koch   label,   and   his   bass  
trombone  concerto,  Harlequin,  was  premiered  by  the  Los  Angeles  Philharmonic  to  rave  reviews.  The  trilogy  was  
completed  when  his  bassoon  concerto,  Pierrot,  was  performed  by  the  Houston  Symphony.  Larry is on the Board
of Managers of the Bach Choir of Bethlehem, and often lectures on the topic of Bach and Rhetoric. He has
served as a faculty member at the NEH Bach Summer Scholar Institute in Leipzig in July 2012 and 2014.

Ronn   McFarlane  has   released   over   30   CDs   on   Dorian   and   Sono   Luminus,   including   solo   collections,   lute  
songs,  lute  duets,  music  for  flute  &  lute,  Elizabethan  lute  music  and  poetry,  the  complete  lute  music  of  Vivaldi,  
and   Baltimore   Consort   albums.   In   the   tradition   of   the   lutenist/composers   of   past   centuries,   Ronn   has   composed  
new  music  for  the  lute.  These  original  compositions  are  the  focus  of  his  solo  CD,  Indigo  Road,  which  received  a  
Grammy   Award   Nomination   in   2009.   The   CD   release,  One   Morning,   features   “Ayreheart,”   a   new   ensemble  
brought  together  to  perform  Ronn’s  new  music.  Visit  www.ronnmcfarlane.com.

Mindy  Rosenfeld,  a  founding  member  of  the  Baltimore  Consort  whose  playing  graced  our  first  decade,  is  also  
a   long-­‐time   member   of   San   Francisco’s   Philharmonia   Baroque   Orchestra.   Fluent   in   a   wide   range   of   musical  
styles,  she  plays  both  wooden  and  modern  flutes  in  addition  to  recorders,  whistles,  crumhorns,  and  early  harp.  
Mindy   actively   freelances   on   the   West   Coast   and   is   Principal   Flute   at   the   Mendocino   Music   Festival   in   her  
hometown.   The   mother   of   five   boys,   she   loves   dancing   and   tending   her   organic   garden   at   home   on   “The   Boy  
Farm”.  

Danielle Svonavec, soprano, is a graduate of the University of Notre Dame (BS in mathmatics, 1999, and
MM in Voice, 2003) where she now teaches voice. While still a student, she stepped in on short notice as
soloist for the Baltimore Consort’s nine-concert 1999 Christmas tour. Since then she has toured with the
Consort and appeared with the Smithsonian Chamber Players, Pomerium, the South Bend Chamber
Orchestra, and the South Bend Symphony. She currently serves as the Cantor for the nationally televised
mass at the Basilica of the Sacred Heart at Notre Dame, and recently began teaching Middle School music at
the Trinity School Greenlawn in South Bend. Danielle lives with her husband and three daughters on a farm
near Goshen, Indiana
  
A  note  about  our  instruments  
 
  The  Fairy  Queen  and  her  maides  daunced  about  the  garden,  singing  a  Song  of  six  parts,  
with   the   musick   of   an   exquisite   consort;   wherein   was   the   lute,   bandora,   base-­‐violl,   citterne,  
treble  viol  and  flute.  
—from  The  Honourable  Entertainment  at  Elvetham,  anon.,  1591.  
 
  The  “exquisite  consort”  that  entertained  Queen  Elizabeth  upon  her  visit  to  the  Earl  
of   Hertford   in   September   1591   was,   in   respect   to   the   specific   instruments   employed,   the  
exact   equivalent   of   the   Baltimore   Consort.   Referred   to   in   modern   times   as   a   “mixed”   or  
“broken”   consort,   this   band   enjoyed   popularity   in   the   Elizabethan   and   early   Jacobean  
periods.   Combining   the   sultry   viols,   the   ethereal   flute,   the   ‘sprightly   and   cheerful’   cittern,  
the   ‘deep’   bandora   and   the   ‘noble’   lute,   the   ensemble   is   capable   of   many   moods,   from   the  
joyful   to   the   melancholy.       The   Baltimore   Consort   will   not   be   using   a   bandora   in   tonight’s  
concert;   instead,   we   will   provide   additional   instrumental   color   by   including   bagpipes,  
recorders,  fifes,  krummhorns,  and  a  gemshorn.    
 
  Like   the   plays   for   which   it   often   provided   accompaniment,   Elizabethan   consort  
music,  “reflected  the  remarkable  synthesis  of  popular  taste  and  humanist  eloquence  which  
gave   vitality   to   the   Shakespearean   theatre”   in   appealing   “to   every   level   of   spectator,   from  
the   simplest   groundling   who   could   hum   along   with   his   favorite   ballad   tune   to   the   most  
sophisticated   gallant   who   could   take   delight   in   the   rich   harmony   and   embroidery  
surrounding   the   melody”   (from   Sydney   Beck’s   introduction   to   his   edition   of   Morley’s  
Consort  Lessons).  

A  note  about  music  in  Shakespeare’s  Plays  

There   are   hundreds   of   references   to   music   in   the   works   of   Shakespeare.     Shakespeare’s   music   can   be  
placed  into  three  general  categories.  
 
Incidental  Music:  The  individual  titles  of  incidental  music  in  Shakespeare’s  works  are  never  named  but  
the  directions  “music  here”,  “music  begins”,  “music  for  dancing”,  etc.  are  provided.    
 
Literary  References:  Shakespeare  refers  to  the  music,  music  theory,  and  instruments  of  the  time  within  
the  text  of  his  works.  A  humorous  example  is  found  in  the  names  of  the  musicians  whom  Peter  confronts  
in  Romeo  and  Juliet:    Hugh  Rebec,  Simon  Catling  and  James  Soundpost.      
 
Songs:   Specific   songs   are   included   for   performance   in   the   text   of   Shakespeare’s   plays.   Shakespeare  
authored   the   lyrics   to   some   of   these   songs   but   also   incorporated   popular   songs   known   to   his  
contemporary  audiences.  The  plays  did  not  include  notation  of  the  tunes  of  these  songs.    However,  we  
are  certain  that  Robert  Johnson’s  setting  for  Full  Fathom  Five  is  the  same  as  when  originally  performed  
in  The  Tempest.  Johnson  is  well  documented  as  Shakespeare’s  composer.  For  the  other  songs  that  you  
will  hear  tonight,  we  are  using  the  earliest  surviving  versions  –  both  published  and  from  manuscript  –  
which  are  contemporary  with  Shakespeare’s  productions.    These  include,  It  was  a  Lover  and  His  Lasse,  
When  Griping  Grief,  Where  the  Bee  Sucks,  Heart’s  Ease,  In  Youth  When  I  Did  Love,  Full  Fathon  Five,  Fortune  
My  Foe,  and  The  Willow  Song.  
 
 
 Program  notes  
 
As  You  Like  It  
 
Will   Kemp   (or   Kempe)   was   one   of   the   great   clowns   in   Shakespeare’s   troupe   and  
played   Touchstone   in   As   you   Like   It.       He   is   also   famous   for   his   “Nine   Day   Wonder,”   in   which  
he   danced   all   the   way   from   London   to   Norwich,   a   distance   of   about   a   hundred   miles.    
Kemp’s  Jig  may  have  been  written  to  commemorate  that  spectacle,  which  drew  multitudes  
of  spectators.      
In  Act  V,  Touchstone  requests  that  two  pages  sing  a  love  song  as  he  prepares  to  woo  
Audrey,  a  country  wench.    The  pages  respond  with  one  of  the  most  beloved  songs  from  the  
entire  Shakespeare  canon,  It  was  a  Lover  and  his  Lass,  after  which  Touchstone  promptly  
berates  them  for  their  unmusical  rendition.  This  is  one  of  only  a  few  songs  from  the  plays  
that  survive  in  their  original  settings.      
 
Twelfth  Night  
 
  Our  music  in  this  set  comes  chiefly  from  Act  II,  iii,  in  which  the  well-­‐oiled  Sir  Toby  Belch  
and   Sir   Andrew   Aguecheek   conspire   with   Feste   the   Clown   and   Maria   to   humiliate   Olivia’s  
officious   steward   Malvolio.   Andrew,   despite   the   late   hour,   calls   on   Feste   to   sing   a   love   song,  
O  Mistress  Mine.    Our  version  tonight  is  not  the  song  itself,  but  rather  the  beautiful  consort  
setting  by  Thomas  Morley.    
  A   few   lines   late,   Sir   Toby   Belch   remarks,   “My   lady’s   a   Catayan,   we   are   politicians.  
Malvolio’s   a   Peg-­‐a-­‐Ramsey,   and   three   merry   men   be   we.”   (A   Peg-­‐a-­‐Ramsey   is   a   term   of  
contempt,  taken  from  a  character  in  a  folk  ballad.)    
  Shortly   thereafter,   Malvolio   enters   and   peremptorily   requests   that   Sir   Toby   lower   his  
voice   and   behave   properly.     Toby   responds   by   loudly   singing   Farewell   Dear   Love,  
alternating  verses  with  Feste.    
  The  Buffens  (The  Clowns)  is  the  English  title  for  “Les  Bouffons,”  a  French  dance  that  
crossed   the   channel   into   England.     The   tune   is   not   referenced   in   the   play,   but   we’ve  
programmed   it   here   as   a   tribute   to   Feste   and   the   two   prominent   Shakespearean   clowns  
represented  in  this  program—Will  Kemp  and  Richard  Tarleton.  
 
Romeo  and  Juliet  
 
  The   scene   between   the   Capulet’s   servant   Peter   and   the   musicians   following   Juliet’s  
feigned  death  in  Act  IV  creates  an  odd  moment  of  comic  relief.    Peter  sings,  “When  Griping  
Grief  the  heart  doth  wound,  And  doleful  dumps  the  mind  express,  Then   music   with   her   silver  
sound  With  speedy  help  doth  lend  redress.”    Shakespeare  actually  lifted  this  beautiful  stanza  
from  Richard  Edwards’  The  Paradyse  of  Dayntey  Devices,  and  Edward’s  song  When  Griping  
Grief  is  among  the  most  poignant  in  all  of  Shakespeare.      
  A  “dump”  is  by  definition  doleful—it  is  a  melancholy,  mournful  air-­‐-­‐-­‐and  often  contains  
a   gently   rocking   two-­‐chord   accompaniment   that   invites   solace   and   quiet   contemplation.    
Lady  Carey’s  Dump  is  among  the  most  famous  in  this  genre.    
  When   Peter  first   hears   the   news   of   Juliet’s   supposed   death,   he   calls  for  the  musicians  to  
play   Heart’s   Ease   because  “my   heart   is   full   of   woe.”     The   ballad  Complain   My   Lute,   sung   to  
the  tune  of  Heart’s  Ease,  contains  that  line  at  the  end  of  the  first  verse.  But  there  is  a  second,  
more   cheerful,   tune   with   the   name   “Heart’s   Ease.”   This   version,   also   known   as   The  
Honeysuckle,  exists  as  an  alman—a  stately  dance  in  duple  meter-­‐-­‐  by  Anthony  Holborne    
  
Henry  IV,  part  2  and  Winter’s  Tale  
 
  A   single   line   by   the   loveable   rogue   Falstaff   in   Act   III   of   Henry   IV,   part   2   provides   us   with  
the   first   three   pieces   of   our   set:   “….the   whores   called   him   mandrake:   he   came   ever   in   the  
rearward  of  the  fashion,  and  sung  those  tunes  to  the  overscutched  housewives  that  he  heard  
the  Carmen  whistle,  and  swore  they  were  his  fancies  or  his  good-­‐nights.”    Our  goodnight  piece,  
The   Queen’s   Goodnight,   is   the   first   piece   in   Thomas   Robinson’s   pedagogical   work,   “The  
Schoole   of   Musicke.”   The   work,   published   in   1603,   is   dedicated   to   King   James,   though   the  
queen  in  the  title  was  likely  Elizabeth,  who  died  that  year.      
  Our   Fancy,   for   solo   lute,   is   by   John   Dowland,   arguably   the   greatest   composer   of   the  
Elizabethan   era,   and   certainly   the   most   important   and   influential   composer   of   lute   music   in  
history.  
  In   the   quote   above,   Falstaff   references   the   ballad   Carman’s   Whistle,   one   of   the  
countless  “euphemism”  broadsides  in  which  a  canny  young  lad  seduces  an  innocent  maid,  to  
her   distinct   pleasure,   as   is   evidenced   by   her   final   verse,   “Let   other   maids   say   what   they  
will/The  truth  of  all  is  so/The  bonny  Carman’s  whistle/Shall  for  my  money  go.”  
  We  close  the  first  half  with  a  medley  of  two  tunes  from  Act  IV  of   Winter’s  Tale;  the  first,  
Whoope,   do   me   no   harm   is   a   lusty   song   quoted   by   a   servant,   and   the   second,   Jog   On,   a  
cheery   ditty   sung   by   the   rogue   Autolycus   to   close   the   third   scene:   “Jog   on,   jog   on,   the  
footpath  way/And  merrily  hent  the  style-­‐a/A  merry  heart  goes  all  the  day/Your  sad  tires  in  a  
mile-­‐a.  
Hamlet  
 
“Christianus  the  fourth,  King  of  Denmarke,  his  galliard”  is  the  full  title  of  Dowland’s  
tribute  to  his  employer.    The  piece  was  published  in  “Varietie  of  Lute  Lessons”  by  his  son  
Robert  Dowland,  in  1610,  and  makes  for  the  perfect  introduction  to  this  set.    Our  
arrangement  is  based  on  the  five-­‐part  version  in  the  1604  publication  “Lachrymae.”  Though  
not  a  “musical”  play  Hamlet  nonetheless  does  have  tunes  sung  by  Ophelia  as  she  lapses  into  
madness  (e.g.  Bonny  sweet  robin)  and  the  wonderful  Gravedigger’s  Song.    The  other  
tunes  reference  Richard  Tarleton,  a  favorite  comic  actor  of  Shakespeare,  who  may  even  
have  memorialized  him  in  the  play  with  the  nickname  “Yorick.”  
 
The  Tempest  
 
The  Tempest  is  one  of  Shakespeare’s  late  plays  and  possibly  the  last  he  wrote  alone.  Robert  
Johnson  was  Shakespeare’s  collaborator,  or  composer-­‐in-­‐residence  in  the  King’s  Men  and  
contributed  two  songs  to  the  play.  Full  fathom  five  (Act  I,  scene  ii)  is  sung  by  the  invisible  
fairy  Ariel,  to  lure  Ferdinand,  the  Prince  of  Naples,  to  Prospero  and  his  daughter  Miranda.  
Where  the  bee  sucks  (Act  V,  scene  i)  is  also  sung  by  Ariel  to  entertain  Prospero  while  he  is  
dressing.  We  include,  as  “incidental”  music  to  this  set  John  Johnson’s  setting  of  
Greensleeves  (John  was  the  father  of  Robert  Johnson)  and  the  ballad  tune  Loth  to  Depart,  
set  by  Dowland.  The  phrase    "loath  to  go"  or  "loath  to  leave"  appears  in  Comedy  of  Errors,  
Cymbeline,  and  Merchant  of  Venice.    Greensleeves  was  actually  mentioned  by  Falstaff  in  
Merry  Wives  of  Windsor  (II,  i)  as  he  bellows:  “Let  the  sky  rain  potatoes;  let  it  thunder  to  the  
tune  of  Greensleeves!”  
 
 
 
 
 Merry  Wives  of  Windsor  &  Othello  
 
When  Falstaff  remarks  In  Act  III  of  Merry  Wives  of  Windsor,  “I  see  what  thou  wert,  if  Fortune  
thy  foe,  were  not  Nature  thy  friend,”  he  is  referring  to  the  very  popular  ballad  Fortune  My  
Foe,   which   was   arranged   by   many   Elizabethan   composers,   including   John   Dowland   and  
Thomas  Morley.    The  tune  itself  was  a  popular  choice  to  be  sung  to  prisoners  as  they  were  
led   to   their   executions,   hence   the   mournful   quality   to   our   rendition.   The   Willow   Song  
(“Willow,  Willow”),  perhaps  Shakespeare’s  most  heartbreakingly  poignant  song.  is  sung  by  
Desdemona   to   her   maid   Emilia   shortly   before   her   death   at   the   hands   of   Othello.     The  
original  tune  predates  the  play;  it  comes  from  the  Lodge  Lute  Book,  printed  in  1559.  
   
A  Midsummer  Night’s  Dream  
 
We  end  our  program  tonight  in  the  magical  realm  of  spirits  and  fairies  that  Shakespeare  
conjures  up  for  us  in  Midsummer  Night’s  Dream.    Holborne’s  Fairie  Rownd  is  one  of  many  
sprightly  dances  by  Elizabethan  composers  that  evokes  the  enchantment  of  the  
supernatural  world.  
  Robin  Goodfellow  is  “the  shrewd  and  knavish  sprite”  who  also  goes  by  the  name  of  Puck.  
In  The  Mad  Merry  Pranks  of  Robin  Goodfellow,  we  meet  our  old  familiar  mischievous  
sprite,  who  plays  tricks  on  unsuspecting  mortals  for  the  sheer  pleasure  of  the  sport.  Our  text  
comes  from  a  17th  century  broadside,  to  a  tune  widely  known  as  “Robin  Goodfellow.”  
 
 
Baltimore  Consort  CDs  on  the  DORIAN  and  Sono  Luminus  labels  
 
    On  the  Banks  of  Helicon:  Early  Music  of  Scotland     DOR  90139  
    Watkins  Ale:  Music  of  the  English  Renaissance   DOR  90142  
    The  Art  of  the  Bawdy  Song  (with  The  Merry  Companions)     DOR  90155    
    Custer  LaRue  Sings  The  Dæmon  Lover  (traditional  ballads)   DOR  90174    
    La  Rocque  ‘n’  Roll:  Popular  Music  of  Renaissance  France   DOR  90177    
    Bright  Day  Star:  Music  for  the  Yuletide  Season     DOR  90198  
    A  Trip  to  Killburn:  Playford  Tunes  and  their  Ballads   DOR  90238  
    Tunes  from  the  Attic:  An  Anniversary  Celebration   DOR  90235  
    The  Ladyes  Delight:  Music  of  Elizabethan  England   DOR  90252  
    The  Mad  Buckgoat:  Ancient  Music  of  Ireland   DOR  90279  
    Amazing  Grace:  Spiritual  Folksongs  of  Early  America   DOR  90296  
    The  Best  of  the  Baltimore  Consort   DOR  90023  
    Adew  Dundee:  Early  Music  of  Scotland     DOR  90314  
    Gut,  Wind,  and  Wire:  Instruments  of  the  Baltimore  Consort                                DSL    90601  
    The  Baltimore  Consort  LIVE  in  Concert                                                                                                        DSL    90801  
    Adío  España:  Romances,  Villancicos,  &  Improvisations…circa  1500      DSL    90901  
 
 
The  Baltimore  Consort  USA  representative:  Joanne  Rile  Artists  Management,  Inc.  
Noble Plaza Suite 212, 801 Old York Road, Jenkintown, PA 19046
tel.215-­‐885-­‐6400        www.rilearts.com  
Baltimore  Consort  Website:  www.baltcons.com