CHRISTMAS ORATORIO 7:30PM | FRIDAY, DECEMBER 6, 2019 - 7: Vancouver Chamber ...
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CHRISTMAS ORATORIO
WITH OWEN MCCAUSLAND, EVANGELIST
PACIFIC BAROQUE ORCHESTRA
7:
TH
7:30PM | FRIDAY, DECEMBER 6, 2019 WIT
PA
THE ORPHEUM, 601 SMITHE ST AT SEYMOUR STVA N C O U V E R C H A M B E R C H O I R
Artistic Director Kari Turunen began leading
the Vancouver Chamber Choir - one of Canada’s
premier professional choral ensembles - in
September 2019, its 49th concert season.
Board of Directors
George Laverock Jon Washburn founded the choir in 1971 and it has
President become an amazing success story, ranking with
Dr. Jeanette Gallant (Oxford) the handful of North America’s best professional
Vice President choruses and noted for its diverse repertoire and
Adam J. Garvin, CPA, CMA performing excellence. The choir has presented
Treasurer concerts at home in Vancouver and on tour across
Brent Hunter Canada. International excursions have taken them
Secretary to the USA, Mexico, Japan, China, Hong Kong, Taiwan, South Korea, Finland, France, Germany,
Matthew Baird the Czech Republic, Russia, Estonia, Latvia, Lithuania and Ukraine.
Anne Bonnycastle
Dr. Donna Hogge Honoured with the Margaret Hillis Award for Choral Excellence by Chorus America, the choir
Wendy Kish has performed countless concerts and broadcasts, released 36 recordings and received numerous
Colin Miles awards. Foremost supporters of Canadian music, they are responsible for commissions and
Alexandra Nicolas premieres of 334 choral works by 145 composers and arrangers, most of whom are Canadian. Over
Dr. Robert Rothwell the years the choir has sung over 4,000 performances of works by Canadian composers, in addition
Dolores Scott
to their extensive international repertoire.
Anthony G.V. Tobin
Cara Ventura The choir’s award-winning educational programs include the Conductors’ Symposium for advanced
Marianne Werner choral conductors, Interplay interactive workshops for choral composers, Focus professional
Jennifer Wilnechenko development program for student singers, OnSite visitations for school choirs, the biennial Young
Composers Competition, and many on-tour workshops and residencies.
Honorary Patrons
John Bishop
Stephen Chatman, C.M.
Tama Copithorne KARI TURUNEN, ARTISTIC DIRECTOR
David Cousins
Dr. Stephen Drance, O.C.
Sam Feldman Kari Turunen is the new Artistic Director of the Vancouver Chamber
Charles Flavelle Choir and the former artistic director of the male chorus Akademiska
Violet Goosen Sångföreningen, Kampin Laulu chamber choir, the choir of the cantors
Janis Hamilton of the Finnish Lutheran Church, Chorus Cantorum Finlandiae, the all-
Ben Heppner, O.C. male Ensemble Petraloysio and the Spira Ensemble. He has won numerous
Don Hudson prizes at national and international festivals with his groups. He was
Doris Luking
Dr. John MacDonald, O.C.
named choral conductor of the year in Finland in 2008.
Viviane Nitting Dr. Turunen was educated at the University of Helsinki and the Sibelius
Imant Raminsh, C.M. Academy. He has a Master’s degree in choral conducting and a Doctorate in
Elizabeth Rathbun early music performance practice from the University of the Arts, Helsinki.
R. Murray Schafer, C.C.
He tries to balance scholarly activities with his artistic work and firmly
Administrative Staff believes that scholarship and performance can greatly benefit each other.
Dr. Kari Turunen He is a sought-after guest conductor, adjudicator, clinician and teacher of choral conducting, both in
Artistic Director Finland and abroad. He has also acted as the chairman of the Finnish Choral Directors’ Association
Steven Bélanger from the mid-90s until 2017 and is the artistic director of Aurore, an annual Renaissance music
Executive Director festival in Helsinki.
Jon Washburn, C.M.
Founder & Conductor Emeritus Before becoming a full-time conductor, Dr. Turunen taught choral conducting and was the head
Nat Marshik of choral activities at the School of Music of the Polytechnic University of Tampere from 2001 to
Bookkeeper/Office Coordinator 2011. He is also a founding member of Lumen Valo, a professional vocal ensemble of eight voices.
Karen Seaboyer Lumen Valo has been a driving force on the early music scene in Finland since its conception in
Manager, Communications & Production 1993 and has made a name for itself in almost 250 concerts around Finland and Europe. The group
has recorded nine CDs, all of them critically acclaimed for their fresh programming and quality of
Vancouver Chamber Choir singing.
1254 West 7th Avenue
Vancouver, B.C., Canada V6H 1B6
Tel: 604.738.6822 • Fax: 604.738.7832 The Vancouver Chamber Choir acknowledges that it operates and performs on the unceded Indigenous land
info@vancouverchamberchoir.com
belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh
(Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege.
www.vancouverchamberchoir.com
2VANCOUVER VANCOUVER CHAMBER CHOIR
CHAMBER CHOIR PACIFIC BAROQUE ORCHESTRA
sopranos OWEN MCCAUSLAND, EVANGELIST
Beth Currie (Buono) KARI TURUNEN, CONDUCTOR
Emily Cheung
Christina Cichos
Lorraine Reinhardt CHRISTMAS ORATORIO
Madeline Lucy Smith
Weihnachts-Oratorium, BWV 248
altos
Johann Sebastian Bach (1685-1750)
Dinah Ayre
Maria Golas
Martina Govednik i. Am 1. Weihnachtstag (Christmas Day)
Fabiana Katz Jauchzet, frohlocket, auf, preiset die Tage (Chorus)
Dolores Scott Es begab sich aber zu der Zeit (Evangelist)
Nun wird mein liebster Bräutigam (Alto accompagnato)
tenors
Bereite dich, Zion (Alto aria)
Ian Bannerman
Wie soll ich dich empfangen (Chorale)
Eric Biskupski
Und sie gebar ihren ersten Sohn (Evangelist)
Tom Ellis
Eric Schwarzhoff
Er ist auf Erden kommen arm (Soprano and Bass chorale and recitative)
Taka Shimojima Großer Herr, o starker König (Bass aria)
Ach mein herzliebes Jesulein (Chorale)
basses
Dinah Ayre, alto Jacob Gramit, bass
Steven Bélanger
Jacob Gramit
Paul Nash iii. Am 3. Weihnachtstag (Third Christmas Day)
George Roberts Herrscher des Himmels, erhöre das Lallen (Chorus)
Wim Vermeulen Und da die Engel von ihnen gen Himmel fuhren (Evangelist)
Lasset uns nun gehen gen Bethlehem (Chorus)
Er hat sein Volk getröst’ (Bass recitative)
Dies hat er alles uns getan (Chorale)
Please turn off all phones. Herr, dein Mitleid, dein Erbarmen (Soprano and Bass aria duetto)
Recording devices of any kind Und sie kamen eilend (Evangelist)
are strictly prohibited. Schließe, mein Herze, dies selige Wunder (Alto aria)
In order to sustain the mood Ja, ja, mein Herz soll es bewahren (Alto recitative)
it is best to hold your applause Ich will dich mit Fleiß bewahren (Chorale)
until the end of each set. Und die Hirten kehrten wieder um (Evangelist)
Seid froh dieweil (Chorale)
Yvan Morissette
Herrscher des Himmels, erhöre das Lallen (Chorus)
Stage Management Christina Cichos, soprano Martina Govednik & Fabiana Katz, altos
Corporate Graphics Steven Bélanger, bass
Graphic Design
Violet Goosen INTERMISSION
Development
José Verstappen
Program Typography vi. Am Epiphaniasfest (Feast of the Epiphany)
Herr, wenn die stolzen Feinde schnauben (Chorus)
Da berief Herodes die Weisen heimlich (Evangelist, Herod)
Pre-Concert Talks Du Falscher, suche nur den Herrn zu fällen (Soprano recitative)
You are invited to attend pre- Nur ein Wink von seinen Händen (Soprano aria)
concert talks at 6:45pm on most Als sie nun den König gehöret hatten (Evangelist)
concert evenings. You can meet Ich steh an deiner Krippen hier (Chorale)
Kari Turunen and learn about the Und Gott befahl ihnen im Traum (Evangelist)
evening’s repertoire and composers. So geht! Genug, mein Schatz geht nicht von hier (Tenor recitative)
Seating is general admission at the Nun mögt ihr stolzen Feinde schrecken (Tenor aria)
front of the auditorium. You are Was will der Höllen Schrecken nun (Recitativo à 4)
welcome to reserve your favourite Nun seid ihr wohl gerochen (Chorale)
seats elsewhere so that they are
waiting for you after the talk. Christina Cichos & Madeline Lucy Smith, sopranos Martina Govednik, alto
Eric Schwarzhoff, tenor George Roberts, bass
3Sun Life Community Outreach Program
Sun Life is pleased to provide a Community Outreach Program through which the regular season
concerts of the Vancouver Chamber Choir are made available to hundreds of people with health
related disabilities.
Non-profit organizations involved with community health join with the Vancouver Chamber Choir
to help distribute tickets. For more information on this program or to register your organization,
please call the Vancouver Chamber Choir office at 604-738-6822 and speak with Steven Bélanger.
A ROSE IN THE
Thank you to all of our MIDDLE OF WINTER
wonderful front of house volunteers.
You are greatly appreciated.
Lisa Akizuki David Harvey
Gloria Aldrich Jacquie Hurst
Cecilia Bernabe Yvonne Kato
Alison Block Sharon Newman
Ana Brkich Adele Peters 7:30PM | FRIDAY, DEC 20, 2019
PACIFIC SPIRIT UNITED CHURCH, 2205 W 45TH AVE AT YEW ST
Ron Costanzo Ron Schubank This Christmas journey through time and space incorporates
Marylin de Verteuil Kristina Skoritskaya reflections of musical traditions mainly from Northern Europe. It
Francesca Fung is a mixture of voices, of styles and languages – a polyphony of
musical voices. The music ranges from deep calm to joyous
dance and from philosophical depth to childlike naiveté, much
If you would like to be part of this committed like the message of this season itself.
and enthusiastic team, please email us at 1.855.985.ARTS (2787)
info@vancouverchamberchoir.com vancouverchamberchoir.com
or call 604-738-6822
4PACIFIC BAROQUE O W E N M c C A U S L A N D , E VA N G E L I S T
ORCHESTRA
violin i From Saint John, New Brunswick, tenor Owen McCausland is
Chloe Meyers increasingly in demand for engagements with opera companies,
concertmaster symphonies and choirs across Canada. He opened the Orchestre
Kathryn Wiebe symphonique de Montréal’s 2018-2019 season with the World Premiere
Christine Wilkinson Beckman of Chaakapesh, The Trickster’s Quest under the baton of Kent Nagano.
Angela Malmberg Written by Tomson Highway and Matthew Ricketts, the chamber opera’s
Jiten Beairsto
premiere was followed by an extensive tour from the Arctic to the
interior of Quebec. Mr. McCausland’s season continued with Jaquino
violin ii
in Fidelio for Pacific Opera Victoria, Ottavio in Don Giovanni for
Paul Luchkow
principal Manitoba Opera, Rodrigo in Otello for the Canadian Opera Company
Aimee Rieger and Messiah performances in Victoria and New Brunswick.
Elyssa Lefurgey-Smith An alumnus of the Canadian Opera Company’s (COC) Ensemble Studio, his 2017-2018 schedule
Naomi Guy called for Pedrillo in Die Entführung aus dem Serail and the Fisherman in Le Rossignol for the
Canadian Opera, Weill’s Sieben Todsünden for the Toronto Symphony, Mahler’s Das Lied von der
viola Erde for the Ottawa Symphony, Vivier’s Musik für das Ende for Soundstreams and Messiah for
Joanna Hood Symphony Nova Scotia and the London Symphonia.
principal
Elana Cooper Other credits include Tamino in Die Zauberflöte and Lurcanio in Ariodante for the Canadian
Opera Company, Messiah with the Regina Symphony and Beethoven’s Symphony No. 9 for
cello Kitchener-Waterloo’s Grand Philharmonic Choir, and Rodolfo in La bohème for Against the
Nathan Whittaker Grain Theatre.
principal
He has appeared in COC mainstage productions as Don Juan in Don Quichotte, Lord Cecil
Marina Hasselberg
in Roberto Devereux, Ferrando in Così fan tutte (Ensemble Studio performance), Reverend
violone Horace Adams in Peter Grimes and stepped in for a colleague in the title role of La clemenza di
Natalie Mackie Tito for four performances.
In 2015, Mr. McCausland was a finalist and winner of the Canadian Encouragement Award at
double bass the George London Singing Competition and a semi-finalist in the Montreal International Music
Curtis Daily Competition.
flute
Janet See
principal
PA C I F I C B A R O Q U E O R C H E S T R A
Soile Stratkauskas
oboe The Pacific Baroque Orchestra
Curtis Foster (PBO) is recognized as one
principal of Canada’s most exciting and
MaryAnn Shore innovative ensembles performing
“early music for modern ears”.
bassoon
PBO brings the music of the past
Katrina Russell
up to date by performing with
cutting-edge style and enthusiasm.
trumpet
Kris Kwapis
Formed in 1990, the orchestra
principal quickly established itself as a force
Melissa Hilton Rogers in Vancouver’s burgeoning music
Katherine Evans scene with the ongoing support of
Early Music Vancouver.
timpani Photo credit: Jan Gates
In 2009 PBO welcomed Alexander
Aaron Mattock Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in
many new concertgoers, and his creativity and engaging musicianship have carved out a unique
organ
and vital place in the cultural landscape of Vancouver.
Christina Hutten
PBO regularly joins forces with internationally celebrated Canadian guest artists, providing
performance opportunities for Canadian musicians while exposing West Coast audiences to a
spectacular variety of talent. The Orchestra has also toured BC, the northern United States and
across Canada as far as the east coast. The musicians of the Pacific Baroque Orchestra have been
at the core of many large-scale productions by Early Music Vancouver in recent years, including
many summer festival performances led by Alexander Weimann.
5N E W H O N O R A RY PAT R O N
Janis Hamilton
Our regular audience members may notice on page two that we recently added a number of new
Honorary Patrons – people in our community who have significantly supported the Vancouver
Chamber Choir in various ways.
Tonight we would like to honour our Past President, Janis Hamilton.
Janis came to Vancouver for the adventure of driving across the country from Montreal in a bright red
MG Midget. It seemed like the right thing to do as a new graduate of the Royal Victoria Hospital School
of Nursing. She loved Vancouver, friends were made and she stayed, and she settled into her career as
an intensive care nurse. Her last project in healthcare involved building a program to support emerging
treatments, and later she worked in the bone marrow transplant program. She feels quietly proud to
have played a part in that enduring project and to have known the families and colleagues involved in
such important work. Janis’ responsibilities included raising funds, and she found this so inspiring that,
with a leap of faith, she left healthcare for what she calls the best job ever: fundraising.
Over 30 years later, Janis became known as a senior leader, mentor and coach in the fundraising field.
Her favourite experiences involve working with donors. Over the decades she has built departments
and teams and with them, has raised many millions for a number of organizations. She now helps
others do so. Memorable times include creating the faculty-based fundraising program at UBC,
building results for UNBC, Science World, David Suzuki Foundation and Barkerville Heritage Trust. Janis led the BC campaign to raise
the funds needed to connect the Trans Canada Trail in time for Canada’s 2017 birthday anniversary. She pinches herself to have had the
good fortune of working with visionary leaders on inspirational projects.
Active in her professional community as a long-standing Association of Fundraising Professionals member, Janis has served as a Subject
Matter Expert at local, national and international conferences. She often speaks of her luck in having great teachers, and so she pays back
through mentoring.
In her personal life Janis loves music, books, travel and languages. Her commitment to volunteerism, a deep belief in the contribution
of the arts and an appreciation of artistic excellence led her to Vancouver Chamber Choir concerts where her love of choral music
evolved. In 1992 she joined the board, serving for 10 years… four of those as President. As Past President she remained active, serving
on a Transition Committee designed to ensure stability through change. She returned to the Board in 2012 and was again President from
2013 to 2016. Janis knows that great things can happen with engaged boards, talented staff, thoughtful planning and a dose of courage.
Possibilities abound when goals are set, inspired by the short term and motivated by the long view. Important things take time, and that
has driven her longevity with the Vancouver Chamber Choir. And of course, the friends she has made and the fabulous music.
Executive Director Steven Bélanger shares his admiration for Janis:
“I’ve had the honour and pleasure of working closely with Janis ever since I joined the administrative team in 2011 and am incredibly
grateful for her continued mentorship in all things related to fundraising. She played an instrumental role in our recent strategic
planning process, and with her invaluable guidance we’ve developed a sustainability framework plan as well as a new Legacy
Giving program which will be launched in the near future. I look forward to continuing our breakfast meetings and telephone
conversations as we plan for next year’s 50th anniversary season and beyond!”
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6P R O G R A M N O T E S , T E X T S & T R A N S L AT I O N S
CHRISTMAS ORATORIO
Johann Sebastian Bach quite evidently set about writing a cycle of works for the major feasts of the 1734–35 church year. The Christmas
Oratorio, the Ascension Oratorio and the Easter Oratorio are all to a great extent based on earlier Bach works; a method by no means seen
in Bach’s time as a dubious way of putting together new works. In fact, it seems miraculous how well the borrowed music works with
a new text and in a new context. While the Easter and Ascenscion Oratorios are rare birds in modern-day performances, the Christmas
Oratorio has become one of the Big Four along with the two preserved Passions and the Mass in B minor, loved by performers and
audiences alike.
The Christmas Oratorio consists of six separate cantatas and was in Bach’s day performed over six festal days (1st, 2nd and 3rd days of
Christmas; the Circumcision of Christ; Sunday after New Year; Epiphany). In the liturgy, the cantatas were performed after the reading of
the Gospel, before the creedal hymn and the sermon. The six cantatas of the Christmas Oratorio were first heard in the two main churches
of Leipzig: St. Thomas and St. Nicholas.
Even though the Christmas Oratorio consists of six separate cantatas that were performed on six different days, the Oratorio is often
performed as a whole, albeit generally in two parts (Cantatas one to three, and four to six). The Christmas narrative from the Gospel of St.
Luke ties the cantatas together, even though the unity is naturally nothing like that of the Passions with their large symmetrical structures
and meticulous tonal schemes. Not unsurprisingly, the cantata structure allows for combinations other than that of successive cantatas.
Cantatas one, three and six are the most festal in character and form a thematic pattern of the Birth of Christ, the Adoration of the
Shepherds and the Adoration of the Magi; a widening circle, as it were. The opening movements of these cantatas are all in D major and
the same time signature (3/8); all of them feature trumpets and timpani to emphasize the joyous, festal character of the cantatas. In many
ways, these cantatas form an oratorio of their own, from the jubilation of the nativity to the confident hymn proclaiming this celebration
to be not only the joy of the those that beheld it, but of all people.
Bach uses the same elements in the Christmas Oratorio as he does in his Passions: huge choruses that often bookend the cantatas, the
tenor Evangelist telling the story in his recitatives, and the arias and chorales interpreting this story. The chorales are most often the voice
of the collective, while the arias are the voice of the individual. Contrary to the Passions where the choir plays an active role in telling the
story, there are only a handful of movements in the six cantatas where the choir is a part of the story.
Through these simple elements, Bach manages to strike an extraordinary balance. The cantatas are at the same time joyous and reflective,
uplifting and moving, all while keeping the narrative flowing. The overall feeling is festive and optimistic. Much of the music is in triple
metre, dance-like and elegant. While it certainly is in part a reference to the Holy Trinity and deity, the ubiquity of triple metre conveys
the joy of the season in a light and inviting way.
We perform the cantatas with a fairly small ensemble. Accordingly, this aims to be a more intimate reading of the cantatas, using the kind
of forces Bach had at his disposal. The soloists are with one exception from the choir, again a practice Bach would have been very familiar
with. Period instruments and the lower Baroque pitch are also key elements of this approach. We have tried to look at the work afresh,
working from the wonderful texts and trying to approach the music with a combination of healthy reverence and childlike curiosity.
Thank you to
tonight’s Concert Patrons,
Bryan & Gail Atkins
Don & Pat Hudson
Doug & Teri Loughran
The Vancouver Chamber Choir
appreciates your continued support
of our performances.
7cantata i:
Am 1. Weihnachtstag (Christmas Day)
The first cantata opens with a large chorus (“Celebrate, rejoice, rise up and praise the day”) bursting with joy. It is ternary in form (ABA).
In the A section, after a call to awaken from the timpani, there is a dialogue between the instruments and the choir and most of the music
consists of fairly short phrases. The more linear and polyphonic central section focuses more on the choir, with the role of the instruments
building only towards the end, before the repeat of the first section. It is amazing to think this music was not originally meant for this
purpose, but for the opening chorus of a festive cantata for the Queen of Poland and Electress of Saxony, Maria Josepha (BWV 214 – the
original opening lines were: “Tönet, ihr Pauken! Erschallet, Trompeten!” (“Sound, drums! Ring out, trumpets!”).
After the Evangelist has recounted the opening verses of the Nativity story, the alto soloist has the first chance to interpret the proceedings.
The accompanied recitative likens Christ to the bridegroom, with Zion (the congregation) being the bride. The following aria then expands
this metaphor into something akin to a love song with lilting rhythms and a feeling of urgency (“Hurry, the bridegroom passionately to
love”). The instrumental obbligato is aptly played by an oboe d’amore. Again, this aria had appeared earlier in a secular cantata (BWV
213), in which it was a defiant affair: “Ich will dich nicht hören!” (“I will not listen to you!”). Without changing one note, the aria somehow
changes character adorned with a new text and in a new context.
The ensuing chorale has the collective join in the soloist’s love song. The verse is from Paul Gerhardt’s advent hymn Wie soll ich dich
empfangen (Lord, how shall I meet Thee), but Bach uses a different melody. It is the same as the one he uses five times in the St. Matthew
Passion (composed almost a decade earlier), the so-called Passion chorale, O Haupt voll Blut und Wunden (O sacred head now wounded),
with melody by Hans Leo Hassler. Is Bach making a bold theological statement here and reminding us subtly of the other end of Jesus’
life?
After the Evangelist has stated that the child was born and placed in a manger, the two oboes d’amore again make an entrance. Their
rocking movement accompanies a chorale melody (verse 6 of Luther’s hymn Gelobet seist du, Herr Jesu Christ (Praise Be to You,
Jesus Christ)), which enters a dialogue with the bass soloist. This dialogue deepens the sense of meaning Bach achieves through the
use of the ‘wrong’ melody in the preceding chorale. The trumpet then heralds the beginning of the oratorio’s most extroverted aria,
according to which the King of Glory cares little for the glories of this world. Bach achieves this contradiction with a combination
of heroic gestures and almost nonchalant melodic syncopations that undermine the seriousness of the heroic. Ironically, the aria is
again from BWV 214, where it, with little sense of distance, exults the virtues of a queen, who seems to have had no scruples about
deserving worldly glory.
The cantata ends with a chorale, possibly the most famous of all Lutheran chorales, the 13th verse of Luther’s Vom Himmel hoch (From
heaven above), which comments on the uncomfortable manger of the previous aria. It begins like any other chorale, but Bach adds a
small intermezzo for the trumpets and timpani between each stanza of the hymn and closes the cantata with an elegant reference to
its opening.
(Chorus) (Chorus)
Jauchzet, frohlocket, auf, preiset die Tage, Triumph, rejoicing, rise, praising these days now,
rühmet, was heute der Höchste getan! Tell ye what this day the Highest hath done!
Lasset das Zagen, verbannet die Klage, Fear now abandon and banish complaining,
stimmet voll Jauchzen und Fröhlichkeit an! Join, filled with triumph and gladness, our song!
Dienet dem Höchsten mit herrlichen Chören, Serve ye the Highest in glorious chorus,
laßt uns den Namen des Herrschers verehren! Let us the name of our ruler now honour!
(Evangelist) (Evangelist)
Es begab sich aber zu der Zeit, It occurred, however, at the time
dass ein Gebot von dem Kaiser Augusto ausging, that a decree from the Emperor Augustus went out
dass alle Welt geschätzet würde. that all the world should be enrolled.
Und jedermann ging, dass er sich schätzen ließe, And everyone then went forth to be enrolled,
ein jeglicher in seine Stadt. each person unto his own city.
Da machte sich auch auf Joseph aus Galiläa, And then as well went up Joseph from Galilee
aus der Stadt Nazareth, in das jüdische Land zur Stadt from the city of Nazareth into the land of Judea
David, die da heißet Bethlehem; to David’s city which is called Bethlehem,
darum, dass er von dem Hause und Geschlechte David war: because he was of the house and of the lineage of David
auf dass er sich schätzen ließe mit Maria, to be enrolled there with Mary,
seinem vertrauten Weibe, die war schwanger. who was betrothed to be his wife, and she was pregnant.
Und als sie daselbst waren, kam die Zeit, And while they were in that place, there came the time
dass sie gebären sollte. for her to be delivered.
8(Alto accompagnato) (Alto accompagnato)
Nun wird mein liebster Bräutigam, Now is my dearest bridegroom rare,
nun wird der Held aus Davids Stamm Now is the prince of David’s stem
zum Trost, zum Heil der Erden As earth’s redeeming comfort
einmal geboren werden. Here born in time amongst us.
Nun wird der Stern aus Jakob scheinen, Now will shine bright the star of Jacob,
sein Strahl bricht schon hervor. Its beam e’en now breaks forth.
Auf, Zion, und verlasse nun das Weinen, Rise, Zion, and abandon now thy weeping,
dein Wohl steigt hoch empor! Thy fortune soars aloft.
(Alto aria) (Alto aria)
Bereite dich, Zion, mit zärtlichen Trieben, Prepare thyself, Zion, with tender affection,
den Schönsten, den Liebsten bald bei dir zu sehn! The fairest, the dearest soon midst thee to see!
Deine Wangen müssen heut viel schöner prangen, Thy cheeks’ beauty must today shine much more brightly,
eile, den Bräutigam sehnlichst zu lieben! Hasten, the bridegroom to love with deep passion.
(Chorale) (Chorale)
Wie soll ich dich empfangen How shall I then receive thee
und wie begegn’ ich dir? And how thy presence find?
O aller Welt Verlangen, Desire of ev’ry nation,
o meiner Seelen Zier! O glory of my soul!
O Jesu, Jesu, setze O Jesus, Jesus,
mir selbst die Fackel bei, Set out for me thy torch,
damit, was dich ergötze, That all that brings thee pleasure
mir kund und wissend sei! By me be clearly known.
(Evangelist) (Evangelist)
Und sie gebar ihren ersten Sohn And she brought forth her first-born son
und wickelte ihn in Windeln and wrapped him in swaddling cloths
und legte ihn in eine Krippen, and laid him within a manger,
denn sie hatten sonst keinen Raum in der Herberge. for they had no other room in the inn for them.
(Soprano and Bass chorale and recitative) (Soprano and Bass chorale and recitative)
Er ist auf Erden kommen arm, He is to earth now come so poor,
(Wer will die Liebe recht erhöhn, (Who will the love then rightly praise
die unser Heiland für uns hegt?) Which this our Saviour for us keeps?)
dass er unser sich erbarm, That he us his mercy show
(Ja, wer vermag es einzusehen, (Yea, is there one who understandeth
wie ihn der Menschen Leid bewegt?) How he by mankind’s woe is moved?)
und in dem Himmel mache reich, And in heaven make us rich
(Des Höchsten Sohn kömmt in die Welt, (The Most High’s Son comes in the world
weil ihm ihr Heil so wohl gefällt,) Whose health to him so dear is held,)
und seinen lieben Engeln gleich. And to his own dear angels like.
(so will er selbst als Mensch geboren werden.) (So will he as a man himself be born now.)
Kyrieleis! Kyrieleis!
(Bass aria) (Bass aria)
Großer Herr, o starker König, Mighty Lord, O strongest sovereign,
liebster Heiland, o wie wenig Dearest Saviour, O how little
achtest du der Erden Pracht! Heedest thou all earthly pomp!
Der die ganze Welt erhält, He who all the world doth keep,
ihre Pracht und Zier erschaffen, All its pomp and grace hath fashioned,
muss in harten Krippen schlafen. Must within the hard crib slumber.
(Chorale) (Chorale)
Ach mein herzliebes Jesulein, Ah my belove’d Jesus-child,
mach dir ein rein sanft Bettelein, Make here thy bed, clean, soft and mild
zu ruhn in meines Herzens Schrein, For rest within my heart’s own shrine,
dass ich nimmer vergesse dein! That I no more fail to be thine!
9cantata iii:
Am 3. Weihnachtstag (Third Christmas Day)
We again kick off proceedings with a mighty opening choral movement in D major and 3/8 time. There is a deep irony in having one of
the greatest composers of all time set the words “Let our faint songs please you”, and then proceed to write glorious music that is anything
but faint… This movement, again a direct loan from BWV 214, “Blühet, ihr Linden in Sachsen” (“Bloom, you Saxon lindens”), is much
shorter than the opening of the first cantata and leads head-on into the reaction of the shepherds after the angels have proclaimed their
great news. Only a few sentences from the Evangelist and we have the shepherds encouraging each other to head for Bethlehem to see
the newborn Lord in orderly counterpoint with a flute and violin obbligato showing the way above it. A short bass recitative ensues,
accompanied by the flutes, featuring what might be the one angel that stayed behind to make sure the shepherds make their move.
The chorale (again Luther, verse seven of the same Gelobet seist du, Herr Jesu Christ heard in Cantata I) gives the event a theological
context and we move straight into a wonderful, love-song-like duet for soprano and bass, again, naturally, accompanied by the oboes
d’amore. It is hard not to see this duet as reference to the bridegroom–bride idea presented in the first cantata. And the love song character
is underlined by the fact that the music comes from the same source as the alto aria of the first cantata (BWV 213). In that context it is
indeed a love duet between Hercules and Virtue: “Ich bin dein” (“I am yours”).
The Evangelist recounts the shepherds’ adoration of the newborn and ends with Mary taking all the shepherds’ words to heart. From
this, Bach waves his magic wand and gives us the most touching alto aria. A solo violin sets the tone – the same combination as the
heartbreaking aria “Erbarme dich” (“Have mercy”) in the St. Matthew Passion – and the soloist sings a song that could be as well Mary’s
as that of anyone contemplating the events.
The following recitative seems almost an afterthought and leads to another chorale by Paul Gerhardt (verse 15 of Fröhlich soll mein Herze
springen (Merrily my heart shall leap)), affirming our commitment in this world and the one without end. After the Evangelist tells us
how the shepherds praised God after all they had heard and seen, we move into a chorale in a surprising key: dark and passionate f-sharp
minor. This is the fourth verse of Laßt Furcht und Pein (Let fear and pain), a hymn by Christoph Runge, and the title of the hymn makes
the character of the melody and harmony more understandable. The hymn both depicts the fear and pain, as well as its banishment. The
cantata ends with a repeat of the upbeat opening chorus.
(Chorus) (Chorus)
Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, give ear to our stammer,
lass dir die matten Gesänge gefallen, Let these our weary refrains bring thee pleasure,
wenn dich dein Zion mit Psalmen erhöht! As thee thy Zion with psalms doth exalt!
Höre der Herzen frohlockendes Preisen, Hear thou our hearts, though, exultant with praises,
wenn wir dir itzo die Ehrfurcht erweisen, As we to thee here our homage now render,
weil unsre Wohlfahrt befestiget steht! For our salvation stands strong and secure!
(Evangelist) (Evangelist)
Und da die Engel von ihnen gen Himmel fuhren, And when the angel went away from them up to heaven,
sprachen die Hirten untereinander: said the shepherds one to another:
(Chorus) (Chorus)
Lasset uns nun gehen gen Bethlehem Let us now go quickly to Bethlehem
und die Geschichte sehen, die da geschehen ist, and this event now witness which hath here taken place,
die uns der Herr kundgetan hat. that which the Lord made known to us.
(Bass recitative) (Bass recitative)
Er hat sein Volk getröst’, He brought his people hope,
er hat sein Israel erlöst, He hath his Israel redeemed,
die Hülf aus Zion hergesendet His help from Zion he hath sent us
und unser Leid geendet. And all our suff ’ring ended.
Seht, Hirten, dies hat er getan; See, shepherds, this thing hath he done;
geht, dieses trefft ihr an! Go, this thing go and see!
(Chorale) (Chorale)
Dies hat er alles uns getan, This hath he all for us brought forth,
sein groß Lieb zu zeigen an; His great love to manifest;
des freu sich alle Christenheit Rejoice thus all Christianity
und dank ihm des in Ewigkeit. And thank him in eternity.
Kyrieleis! Kyrieleis!
10(Soprano and Bass aria duetto) (Soprano and Bass aria duetto)
Herr, dein Mitleid, dein Erbarmen Lord, thy mercy, thy forgiveness,
tröstet uns und macht uns frei. Comforts us and sets us free.
Deine holde Gunst und Liebe, Thy most gracious love and favour,
deine wundersamen Triebe Thy most wonderful affection
machen deine Vatertreu wieder neu. Here make thy paternal faith new again.
(Evangelist) (Evangelist)
Und sie kamen eilend und funden beide, And they went forth quickly and found there both Mary
Mariam und Joseph, dazu das Kind in der Krippe liegen. and Joseph, and the child lying in the manger. When they,
Da sie es aber gesehen hatten, breiteten sie das Wort aus, however, had ceased their looking, they spread forth the
welches zu ihnen von diesem Kind gesaget war. saying which had been told unto them concerning this child.
Und alle, für die es kam, wunderten sich der Rede, And all to whom it came wondered at the story
die ihnen die Hirten gesaget hatten. which had been reported to them by the shepherds.
Maria aber behielt alle diese Worte But Mary kept to herself then all these sayings,
und bewegte sie in ihrem Herzen. and she pondered them within her heart.
(Alto aria) (Alto aria)
Schließe, mein Herze, dies selige Wunder Keep thou, my heart now, this most blessed wonder
fest in deinem Glauben ein! Fast within thy faith alway!
Lasse dies Wunder, die göttlichen Werke And let this wonder, these godly achievements,
immer zur Stärke deines schwachen Glaubens sein! Ever as comfort of thy feeble faith abide!
(Alto recitative) (Alto recitative)
Ja, ja, mein Herz soll es bewahren, Oh yes, my heart shall ever cherish
was es an dieser holden Zeit zu seiner Seligkeit All it at this most gracious time to its eternal bliss
für sicheren Beweis erfahren. with certain signs of proof hath witnessed.
(Chorale) (Chorale)
Ich will dich mit Fleiß bewahren, I will thee steadfastly cherish,
ich will dir leben hier, For thy sake my life make,
dir will ich abfahren, In thee I will perish,
mit dir will ich endlich schweben With thee will I one day hover
voller Freud ohne Zeit Full of joy for alway
dort im andern Leben. There when life is over.
(Evangelist) (Evangelist)
Und die Hirten kehrten wieder um, And the shepherds then turned back again,
preiseten und lobten Gott um alles, glorifying and praising God for all the things
das sie gesehen und gehöret hatten, which they had seen and had heard,
wie denn zu ihnen gesaget war. just as it had been told to them.
(Chorale) (Chorale)
Seid froh dieweil, dass euer Heil Be glad this while,
ist hie ein Gott und auch ein Mensch geboren, For now your health is here as God and as a man born to you,
der, welcher ist der Herr und Christ The one who is the Lord and Christ
in Davids Stadt, von vielen auserkoren. In David’s city, out of many chosen.
(Chorus) (Chorus)
Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, give ear to our stammer,
lass dir die matten Gesänge gefallen, Let these our weary refrains bring thee pleasure,
wenn dich dein Zion mit Psalmen erhöht! As thee thy Zion with psalms doth exalt!
Höre der Herzen frohlockendes Preisen, Hear thou our hearts, though, exultant with praises,
wenn wir dir itzo die Ehrfurcht erweisen, As we to thee here our homage now render,
weil unsre Wohlfahrt befestiget steht! For our salvation stands strong and secure!
INTERMISSION
11cantata vi:
Am Epiphaniasfest (Feast of the Epiphany)
The last cantata of the Christmas Oratorio, based in its entirety on a lost cantata (BWV 248a), opens with yet another extrovert chorus
with lilting rhythms and a dominant solo trumpet. The form is ternary, but the last section is more a reworking of the material of the
first section than a repeat. Its message, strength when threatened by enemies, leads us straight into the story: Herod’s attempts to glean
information on this competing King from the Magi. The soprano soloist launches directly into an accusing recitative, accompanied by
the strings. An oboe d’amore joins the strings and the soprano in the ensuing aria, in which the accusation turns almost to arrogance: the
elegantly dancing accompaniment seems to emphasize how ridiculous all earthly might is in comparison to immortal power.
Following the star, the Magi arrive at the crib of Jesus and present their precious gifts. The power of adding hymn verses to the story
becomes apparent in the following chorale (Paul Gerhardt): in place of precious objects our gifts are our very being. The Magi have a
dream guiding them to avoid Herod and return to their lands by other routes. Again, a sharp turn in thinking follows: the tenor recitative
(oboes d’amore again!) is a fairly ecstatic song of love. ‘The Magi might have left, but I am here to stay’, seems to be the idea.
The tenor aria returns to the theme of the opening choir of the cantata, as well as its soprano aria: there is nothing that can threaten us
with the newborn on our side. The music tries to shake us, but even though the oboes d’amore do their best, calm ultimately ensues. Via
a short recitative, in which four soloists have the word, we come to the final movement of the cantata. The instrumental writing is almost
bursting with joy, but the coup de grâce comes when one realizes the chorale is actually the same Passion chorale Bach cites in the first
cantata. Any doubts about the depth of Bach’s thinking or music one might have harboured are banished in the same way as death, devil
and sin are made redundant in the chorale.
(Chorus) (Chorus)
Herr, wenn die stolzen Feinde schnauben, Lord, when our boastful foes blow fury,
so gib, dass wir im festen Glauben Help us to keep our faith unshaken
nach deiner Macht und Hülfe sehn! And to thy might and help to look!
Wir wollen dir allein vertrauen, We would make thee our sole reliance
so können wir den scharfen Klauen And thus unharmed the cutting talons
des Feindes unversehrt entgehn. And clutches of the foe escape.
(Evangelist, Herod) (Evangelist, Herod)
Da berief Herodes die Weisen heimlich Then did Herod summon the wise men in secret,
und erlernet mit Fleiß von ihnen, and with diligence he learned from them
wenn der Stern erschienen wäre? when the star was to appear.
Und weiset sie gen Bethlehem und sprach: And he sent them forth to Bethlehem and said:
Ziehet hin und forschet fleißig nach dem Kindlein, “Go ye forth and search with diligence for the baby,
und wenn ihrs findet, sagt mirs wieder, dass ich auch and when ye find him, bring me word,
komme und es anbete. that I as well may come and worship him.”
(Soprano recitative) (Soprano recitative)
Du Falscher, suche nur den Herrn zu fällen, Thou liar, seek nought but the Lord’s destruction,
nimm alle falsche List, dem Heiland nachzustellen; Lay ev’ry cunning snare and pitfall for our Saviour;
der, dessen Kraft kein Mensch ermisst, He, whose great pow’r no man can gauge,
bleibt doch in sichrer Hand. Abides in hands secure.
Dein Herz, dein falsches Herz ist schon, Thy heart, thy lying heart e’en now,
nebst aller seiner List, des Höchsten Sohn, Along with all its guile, to God’s own Son
den du zu stürzen suchst, sehr wohl bekannt. Whom thou dost strive to fell is fully known.
(Soprano aria) (Soprano aria)
Nur ein Wink von seinen Händen But a wave of his own hand will
stürzt ohnmächtger Menschen Macht, Bring down feeble human might.
hier wird alle Kraft verlacht! Here is all dominion mocked!
Spricht der Höchste nur ein Wort, Speak the Highest but one word,
seiner Feinde Stolz zu enden, His opponents’ pride to finish,
o, so müssen sich sofort Sterblicher Oh, then surely must at once change its course
Gedanken wenden. all mortal purpose.
12(Evangelist) (Evangelist)
Als sie nun den König gehöret hatten, zogen sie hin. Und And as soon as they had heard the king, they went their way.
siehe, der Stern, den sie im Morgenlande gesehen hatten, And lo, the star, which in the East they had seen already,
ging für ihnen hin, bis dass er kam und stund oben über, went before their way, until it came and stood above that
da das Kindlein war. Da sie den Stern sahen, wurden sie place where the baby was. And when they saw the star, they
hoch erfreuet und gingen in das Haus und funden das rejoiced with great gladness and went into the house and
Kindlein mit Maria, seiner Mutter, und fielen nieder und found there the baby with Mary, his mother, and fell before
beteten es an und täten ihre Schätze him and worshipped him and opened up their treasures
auf und schenkten ihm Gold, Weihrauch und Myrrhen. then and gave to him gold, incense, and myrrh.
(Chorale) (Chorale)
Ich steh an deiner Krippen hier, o Jesulein, mein Leben; I stand before thy cradle here, O Jesus-child, my being,
ich komme, bring und schenke dir, was du mir hast gegeben. I come now, bring and offer thee what thou to me hast given.
Nimm hin! es ist mein Geist und Sinn, Herz, Seel und Mut, Take all! It is my spirit, will, heart, soul and mind,
nimm alles hin, und lass dirs wohlgefallen! Take all to thee, and let it serve thy pleasure!
(Evangelist) (Evangelist)
Und Gott befahl ihnen im Traum, And God then warned them in a dream
dass sie sich nicht sollten wieder zu Herodes lenken, that they should not go again unto Herod,
und zogen durch einen andern Weg wieder in ihr Land. and they went by another way back to their country.
(Tenor recitative) (Tenor recitative)
So geht! Genug, mein Schatz geht nicht von hier, Then go! ’Tis well, my treasure leaveth not, he bideth here
er bleibet da bei mir, ich will ihn auch nicht von mir lassen. with me, I will not ever let him leave me.
Sein Arm wird mich aus Lieb mit sanftmutsvollem Trieb His arm will in his love with soft affection’s warmth
und größter Zärtlichkeit umfassen; and deepest tenderness embrace me;
er soll mein Bräutigam verbleiben, He shall remain my faithful bridegroom,
ich will ihm Brust und Herz verschreiben. I will my breast and heart assign him.
Ich weiß gewiss, er liebet mich, I know full well he loveth me,
mein Herz liebt ihn auch inniglich und wird ihn ewig ehren. My heart, too, loves him fervently and shall always adore him.
Was könnte mich nun für ein Feind What harm to me could any foe
bei solchem Glück versehren! amidst such fortune do now?
Du, Jesu, bist und bleibst mein Freund; Thou, Jesus, art fore’er my friend;
und werd ich ängstlich zu dir flehn: and when in fear I cry to thee:
Herr, hilf!, so lass mich Hülfe sehn! “Lord, help!,” let me thy help behold!
(Tenor aria) (Tenor aria)
Nun mögt ihr stolzen Feinde schrecken; Now may ye boastful foes be frightened;
was könnt ihr mir für Furcht erwecken? Ye can in me what fear awaken?
Mein Schatz, mein Hort ist hier bei mir. My store, my hoard is here by me.
Ihr mögt euch noch so grimmig stellen, Be ye unbounded in your fury
droht nur, mich ganz und gar zu fällen, And threaten me with utter ruin,
doch seht! mein Heiland wohnet hier. Beware, my Saviour dwelleth here!
(Recitativo à 4 ) (Recitativo à 4 )
Was will der Höllen Schrecken nun? What hope hath hell’s own terrors now,
Was will uns Welt und Sünde tun, What harm will world and sin us do,
da wir in Jesu Händen ruhn? While we in Jesus’ hands rest sure?
(Chorale) (Chorale)
Nun seid ihr wohl gerochen an eurer Feinde Schar, Now are ye well avenged upon your hostile host,
denn Christus hat zerbrochen, was euch zuwider war. For Christ hath fully broken all that which you opposed.
Tod, Teufel, Sünd und Hölle sind ganz und gar geschwächt; Death, devil, hell and error to nothing are reduced;
bei Gott hat seine Stelle das menschliche Geschlecht. With God hath now its shelter the mortal race of man.
(English translation by Z. Philip Ambrose)
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THE
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Vancouver Bach Choir performs
HANDEL’S MESSIAH
December 14 | 7:30pm | Orpheum Theatre
Featuring
Leslie Dala | Conductor | Eve-Lyn de la Haye | Soprano
Stephanie Tritchew | Mezzo soprano | John Tessier | Tenor
Neil Craighead | Bass-baritone
With members of the Vancouver Symphony Orchestra
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The Healing Series
h Finding the Still Point music for healing * A healing ambience of calm,
warmth and consolation projected through 15 beloved choral favourites with SUBSCRIBE TO A WONDERFUL
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BEGINNINGS
BEGINNINGS
The Masters Series 7:30PM FRIDAY, SEPTEMBER 27, 2019
7:30PM FRIDAY, SEPTEMBER 27, 2019
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h BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a Pacific Spirit United Church*
gala Expo 86 concert, with Jon Washburn and Michael Corboz conducting their FOCUS ON CLASSICS
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FRIDAY, ON CLASSICS
OCTOBER 18, 2019
professional choirs from Canada and Switzerland. 7:30PM FRIDAY,
Pacific SpiritOCTOBER 18, 2019
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h Missa Brevis Four contrasting short masses by Haydn Missa Brevis Sancti Pacifi
with the Focus c Spirit
Choir United violins
| Baroque Church* and continuo
with the Focus Choir | Baroque violins and continuo
Joannis de Deo, Fauré Messe basse, von Weber Jubelmesse and Christoph Bernhard
STRANGE BEASTS
Missa Durch Adams Fall. 7:30PM STRANGE BEASTS15, 2019
FRIDAY, NOVEMBER
7:30PMKoerner
FRIDAY,Recital
NOVEMBER 15, 2019
Hall, VAM
The Canadian Composer Series Koerner Recital Hall, VAM
CHRISTMAS ORATORIO
h A Garden of Bells * R. Murray Schafer, Vol. 1: Early choral works including 7:30PM FRIDAY, DECEMBER
CHRISTMAS ORATORIO 6, 2019
Miniwanka, Epitaph for Moonlight, Snowforms, Gamelan, Sun, Fire, Felix’s Girls Orpheum
7:30PM FRIDAY, Theatre
DECEMBER 6, 2019
with Owen McCausland | Pacific Baroque Orchestra
and A Garden of Bells. Orpheum Theatre
with Owen McCausland | Pacific Baroque Orchestra
h Imagining Incense* R. Murray Schafer, Vol. 3: Recent choral works A ROSE IN THE MIDDLE OF WINTER
7:30PM FRIDAY, DECEMBER 20, 2019
including Magic Songs, Three Hymns, Rain Chant, Alleluia, Beautiful Spanish Song, A ROSE IN THE MIDDLE OF WINTER
Pacific Spirit United Church*
Imagining Incense and other works. 7:30PM FRIDAY, DECEMBER 20, 2019
Pacific SpiritAND
BYRDS UnitedBEES
Church*
h The Love that Moves the Universe * R. Murray Schafer, Vol. 4: Three 7:30PM FRIDAY, JANUARY 24, 2020
outstanding major works recorded in 2018 for the composer’s 85th birthday: BYRDS
Pacific SpiritAND
UnitedBEES
Church*
the title piece for choir and orchestra, plus The Star Princess and the Waterlilies 7:30PM
with FRIDAY, JANUARY
Jon Washburn, 24, 2020
conductor
Pacific Spirit United Church*
and Narcissus and Echo. THE
with Jon SOURCE
Washburn, conductor
h Earth Chants Imant Raminsh, Vol. 2 Missa Brevis in C Minor, Earth Chants 7:30PM SATURDAY, FEBRUARY 15, 2020
THERecital
Koerner SOURCEHall, VAM
& smaller works.
7:30PM SATURDAY, FEBRUARY 15, 2020
h Due West Stephen Chatman, Vol. 2 With oboist Roger Cole and pianist Linda A Koerner
WILDERNESS OF
Recital Hall, SEA
VAM
7:30PM FRIDAY, MARCH 13, 2020
Lee Thomas.
APacific Spirit United OF
WILDERNESS Church*
SEA
h Due East Stephen Chatman, Vol. 3 The Canadian composer’s latest pieces since with FRIDAY,
7:30PM the ElmerMARCH
Iseler Singers
13, 2020
2000. Pacific Spirit United Church*
ST. JOHN PASSION
h Rise! Shine! * Music of Jon Washburn Including The Star, A Stephen Foster with the Elmer Iseler Singers
7:30PM FRIDAY, APRIL 10, 2020
Medley, Chinese Melodies, Rossetti Songs, God’s Lamb, Noel Sing We!, Behold I Orpheum Theatre
ST. JOHN PASSION
with Zach Finkelstein | Pacific Baroque Orchestra
build an house and Rise! Shine! 7:30PM FRIDAY, APRIL 10, 2020
Orpheum Theatre
THIS DELICATE UNIVERSE
with Zach Finkelstein
7:30PM | Pacifi
FRIDAY, MAYc Baroque Orchestra
8, 2020
Chan Centre for the Performing Arts
The Christmas Recordings THIS DELICATE
with the Vancouver UNIVERSE
Youth Choir
h A Dylan Thomas Christmas * The Vancouver Chamber Choir’s signature 7:30PM FRIDAY, MAY 8, 2020
Chan
Subscribe Centre
today tofor
ourthenew
Performing Arts season.
concert
performance of A Child’s Christmas in Wales, read by Welsh actor Russell with the Vancouver Youth Choir
Roberts with special carol settings by Jon Washburn. Design your own series or sign up for all
h A World Christmas Carols and seasonal songs of many lands from guitarist 10 wonderful
Subscribe todayconcerts.
to our newCall concert
us for a season.
season
and arranger Ed Henderson, the Worldfest Ensemble and the Vancouver brochure at 604.738.6822 or visit us online.
Design your own series or sign up for all
Chamber Choir with Jon Washburn conducting. * Formerly known as Ryerson United Church
10 wonderful concerts. Call us for a season
h The Miracle of Christmas Christmas music with a colourful Central and vancouverchamberchoir.com
brochure at 604.738.6822 or visit us online.
South American flavour played by the ensemble Ancient Cultures with several * Formerly known as Ryerson United Church
tracks featuring the Vancouver Chamber Choir.
vancouverchamberchoir.comYou can also read
