Abstract
In an era marked by uncertainty, early music offers a resonant language of hope that connects modern listeners with past generations who also endured turmoil. Anthony Holborne's "Spero" and Claudin de Sermisy's "Espoir est grand" explore hope from contrasting perspectives, using melodic contour, mode, and voicing to express aspiration, acceptance, and caution. Together, these works invite viol players to reflect not only on hope for the future, but also on the enduring joy of shared music-making in the present.