THE SOURCE - Vancouver Chamber Choir
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THE SOURCE
WITH STEPHEN SMITH, PIANO
KARI TURUNEN & JON WASHBURN, CONDUCTORS
AND GUEST CONDUCTORS:
JOANNA DUNDAS (VANCOUVER, BC)
KATHY HADDADKAR (ABBOTSFORD, BC)
JENNIFER HANSEN HEDER (EAST LANSING, MICHIGAN)
LING LU (RICHMOND, BC)
DUBRAVKO PAJALIC (VANCOUVER, BC)
ANDREW WHITESIDE (RICHMOND, BC)
7:30PM | SATURDAY, FEBRUARY 15, 2020
KOERNER RECITAL HALL, VANCOUVER ACADEMY OF MUSIC
1270 CHESTNUT STREET
Alan and Gwendoline Mike and Kathy
Pyatt Foundation GallagherVA 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.
Cara Ventura
Marianne Werner The choir’s award-winning educational programs include the Conductors’ Symposium for advanced
Jennifer Wilnechenko choral conductors, Interplay interactive workshops for choral composers, Focus professional
development program for student singers, OnSite visitations for school choirs, the biennial Young
Honorary Patrons Composers Competition, and many on-tour workshops and residencies.
John Bishop
Stephen Chatman, C.M.
Tama Copithorne
David Cousins KARI TURUNEN, ARTISTIC DIRECTOR
Dr. Stephen Drance, O.C.
Sam Feldman
Charles Flavelle Kari Turunen is the new Artistic Director of the Vancouver Chamber
Violet Goosen Choir and the former artistic director of the male chorus Akademiska
Janis Hamilton Sångföreningen, Kampin Laulu chamber choir, the choir of the cantors
Ben Heppner, O.C. of the Finnish Lutheran Church, Chorus Cantorum Finlandiae, the all-
Don Hudson male Ensemble Petraloysio and the Spira Ensemble. He has won numerous
Doris Luking prizes at national and international festivals with his groups. He was
Dr. John MacDonald, O.C.
Viviane Nitting
named choral conductor of the year in Finland in 2008.
Imant Raminsh, C.M. Dr. Turunen was educated at the University of Helsinki and the Sibelius
Elizabeth Rathbun Academy. He has a Master’s degree in choral conducting and a Doctorate in
R. Murray Schafer, C.C. early music performance practice from the University of the Arts, Helsinki.
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
Artistic Director He is a sought-after guest conductor, adjudicator, clinician and teacher of choral conducting, both in
Steven Bélanger Finland and abroad. He has also acted as the chairman of the Finnish Choral Directors’ Association
Executive Director from the mid-90s until 2017 and is the artistic director of Aurore, an annual Renaissance music
Jon Washburn, C.M. festival in Helsinki.
Founder & Conductor Emeritus
Nat Marshik Before becoming a full-time conductor, Dr. Turunen taught choral conducting and was the head
Bookkeeper/Office Coordinator of choral activities at the School of Music of the Polytechnic University of Tampere from 2001 to
Karen Seaboyer 2011. He is also a founding member of Lumen Valo, a professional vocal ensemble of eight voices.
Manager, Communications & Production Lumen Valo has been a driving force on the early music scene in Finland since its conception in
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 JON WASHBURN AND KARI TURUNEN, CONDUCTORS
sopranos STEPHEN SMITH, PIANO
Emily Cheung WITH
Christina Cichos
Beth Currie SIX SYMPOSIUM CONDUCTORS
Lorraine Reinhardt
Madeline Lucy Smith The 40th Annual Conductors’ Symposium Concert
altos THE SOURCE
Dinah Ayre
Maria Golas
Martina Govednik Kari Turunen
Fabiana Katz master conductor
Dolores Scott
tenors Hymne à Saint Martin Vaclovas Augustinas
(b. 1959)
Eric Biskupski
Tom Ellis
Ling Lu
Carman J. Price conductor
Eric Schwarzhoff
Taka Shimojima
O magnum mysterium (O great mystery) Tomás Luis de Victoria
basses (c. 1548-1611)
Steven Bélanger
Jacob Gramit Vier Zigeunerlieder, Op. 112 (Four Gypsy Songs) Johannes Brahms
Paul Nash (1833-1897)
Himmel strahlt so helle und klar Fair and bright the heavens above
George Roberts
Rote Rosenknospen Roses red, all blooming
Wim Vermeulen
Brennessel steht an Weges Rand Brambles and thorns on roadways stand
Liebe Schwalbe, kleine Schwalbe Dearest swallow, tiny swallow
The Peacock Zoltán Kodály
(1882-1967)
Jennifer Hansen Heder
conductor
Fire, fire, my heart Thomas Morley
(ca. 1557-1602)
Please turn off all phones.
Cantique de Jean Racine, Op. 11 Gabriel Fauré
Recording devices of any kind (1845-1924)
are strictly prohibited.
In order to sustain the mood Londonderry Air Bob Chilcott
it is best to hold your applause (b. 1955)
until the end of each set.
Joanna Dundas
conductor
James Ong Lacrimosa (from Requiem, K.626) Wolfgang Amadeus Mozart
Stage Management (1756-1791)
Grant Rowledge
Archival Recording
Ecco mormorar l’onde
David Rosborough Claudio Monteverdi
Video Recording (1567-1643)
Corporate Graphics
Graphic Design
Feller from Fortune Harry Somers
Violet Goosen (1925-1999)
Development
José Verstappen
Program Typography INTERMISSION
3Dubravko Pajalic
conductor
Behold, the Tabernacle of God Healey Willan
(1880-1968)
Balm in Gilead Jon Washburn
(b. 1942)
Jacob Gramit, baritone
Zigeunerleben, Op. 29, No. 3 (Gypsy Life) Robert Schumann
(1810-1856)
Lorraine Reinhardt, soprano Dolores Scott, mezzo-soprano
Eric Biskupski, tenor Eric Schwarzhoff, tenor Wim Vermeulen, bass
Kathy Haddadkar
conductor
Like two proud armies Thomas Weelkes
(1576-1623)
Quartett “Schicksalslenker” (Ruler of Destiny) Franz Schubert
(1797-1828)
Steven Bélanger, baritone
Go down, Moses / By and by (spirituals from A Child of Our Time) Michael Tippett
(1905-1998)
Christina Cichos, soprano Carman J. Price, tenor
George Roberts, bass
Andrew Whiteside
conductor
Os justi The mouth of the righteous Anton Bruckner
(1824-1896)
Lux aeterna (from Requiem) Maurice Duruflé
(1902-1986)
Ain’-a that good news! William Dawson
(1899–1990)
Jon Washburn
master conductor
The Best of All Possible Worlds (from Candide) Leonard Bernstein
(1918-1990)
Pre-Concert Talks
You are invited to attend pre-concert talks at 6:45pm on most concert evenings. You can meet Kari Turunen and learn about
the evening’s repertoire and composers. Seating is general admission at the front of the auditorium. You are welcome to
reserve your favourite seats elsewhere so that they are waiting for you after the talk.
4J O N WA S H B U R N ,
CONDUCTOR EMERITUS
Jon Washburn is the Founder and Conductor Emeritus of the Vancouver Chamber
Choir, Canada’s outstanding professional vocal ensemble which he led as Artistic
and Executive Director for 48 years. He has earned international acclaim for mastery
of choral technique and interpretation, travelling widely as guest conductor, lecturer,
clinician and master teacher.
During those 48 years with the Vancouver Chamber Choir, he led 400 subscription
concerts, 150 radio and TV appearances, 800 concerts and events on 92 separate
tours, 59 CD recordings, 350 commissioned/premiered new works, 300 large
Baroque works, 40 Conductors’ Symposiums, 60 Composers’ Workshops, thousands
of individual pieces in over 40 languages and countless workshops and residencies
Photo credit: Yukiko Onley for choral conductors, composers, students and singers.
Mr. Washburn is an active composer, arranger, lyricist and editor, published by G. Schirmer, Walton, Cypress, Oxford UP, Earthsongs and
others. His music is widely published, performed and recorded around the world. He is a noted champion of new choral repertoire, having
commissioned and premiered hundreds of new compositions by Canadian, American and European composers. He has conducted
thousands of performances of works by Canadian composers, for which he received the Friends of Canadian Music Award from the
Canadian League of Composers and Canadian Music Centre.
In 2001 he was given the Order of Canada (the nation’s highest civilian honour) and subsequently received Queen Elizabeth’s Silver, Golden
and Diamond Jubilee Medals, recognizing his lifetime contribution to Canadian arts and culture. He was awarded a star on Vancouver’s
Entertainment Walk of Fame and has received both the Louis Botto and Michael Korn awards from Chorus America, marking his long
devotion to the development of professional choirs and the choral art. Last May, he received the Barbara Pentland Lifetime Achievement
Award for 2019 from the Canadian Music Centre.
STEPHEN SMITH, PIANO
Listeners, critics, and audience members alike know Stephen Smith as “a sensitive and dynamic performer”
with a “highly poetic touch” and “superb musicianship which illuminates everything he plays.” Renowned
pianist Jane Coop has called her former student “an extremely intelligent and perceptive musician who has
great facility and strength in his technique”; and Simon Carrington, a founding member of the King’s Singers,
has called him “a magnificent pianist,” adding that “it’s a privilege to hear such beautiful playing!”
Mr. Smith grew up in rural Nova Scotia, where he sang and played the piano from an early age. After initial
studies in his home province in both piano and organ, he attended the Royal Northern College of Music
in Manchester, England. While there, he participated in national and international competitions, and won
numerous awards and distinctions. Since 1990, he has lived in Vancouver, obtaining a Doctoral degree in
Piano Performance from the University of British Columbia, and becoming a fixture of the city’s choral scene,
regularly accompanying the Vancouver Chamber Choir, Vancouver Men’s Chorus, Vancouver Bach Choir,
Photo credit: David Cooper Elektra Women’s Choir, and many other ensembles.
He is also a published composer who has been commissioned by such organizations as the CBC, the National Youth Choir, and the BC
Choral Federation, and whose music is recorded and performed with great frequency by choirs all over North America and beyond. His
work as both accompanist and composer can be heard on dozens of CDs in commercial release, and he has also produced a solo album
entitled Kaleidoscope, available on iTunes.
Visit our Follow VanChamberChoir on
Facebook
Fan Page!
5VANCOUVER CHAMBER CHOIR
THE 40th ANNUAL CONDUCTORS’ SYMPOSIUM
February 10-15, 2020
The February 15 concert THE SOURCE concludes the six-day conducting symposium, hosted and organized by Kari Turunen, Jon
Washburn and the Vancouver Chamber Choir. The advancement of Canadian choral music through workshops, seminars and conductor
training has always been an important part of the Vancouver Chamber Choir’s role as a professional choir.
For the past 40 years, the Conductors’ Symposium has given talented conductors from around the world the opportunity to work with
a professional choir. Out of the many applications received, six conductors are chosen to work with Master Conductors Kari Turunen,
Jon Washburn and the Vancouver Chamber Choir. During the workshop, the selected conductors are observed in morning and evening
rehearsals with the Choir. These rehearsals are complemented by sessions on score interpretation and choral techniques. Applicants may
also participate in the Symposium as observers and have one opportunity to conduct if they wish, or they may also take part as singers.
The Conductors’ Symposium fulfills an important educational function in Western Canada and is an intensive and practical addition to
the formal training programs offered in Canadian educational institutions. Through this Symposium, Conductors Kari Turunen and Jon
Washburn, and the Vancouver Chamber Choir hope to provide a vitally important stimulus to the growth of choral music in Canada.
2020 CONDUCTORS 2020 OBSERVERS
Joanna Dundas (Vancouver, BC) Pille Bunnell (Vancouver, BC)
Kathy Haddadkar (Abbotsford, BC) Elizabeth Gilchrist (Surrey, BC)
Jennifer Hansen Heder (East Lansing, Michigan) Katherine Y. Lu (Burnaby, BC)
Ling Lu (Richmond, BC) Anna-Marie Ryan (Langley, BC)
Dubravko Pajalic (Vancouver, BC)
2020 SINGER
Andrew Whiteside (Richmond, BC)
Maria Koebsch (Vancouver, BC)
PARTICIPATING CONDUCTORS
Joanna Dundas
Vancouver, BC
Joanna Dundas is an arts management professional with over 20 years of experience working in Vancouver’s cultural community. Trained
as a professional singer, she has also served in a variety of roles off-stage: concert, audio and video producer, video director and editor,
project manager, facilitator and digital strategist, among others. Ms. Dundas is currently Music on Main’s Digital Content Strategist,
where she has produced a number of digital assets, including GLITCH: A Profile on Nicole Lizée, and Discover ISCM2017, a documentary
on the largest contemporary music festival in Canadian history, which occurred in November 2017. She is also an Assistant Conductor
with the Vancouver Youth Choir. A UBC music graduate, Ms. Dundas has sung with many ensembles, including the Vancouver Chamber
Choir and musica intima. She has led singing workshops, and given private voice instruction to students of all ages. In addition, she has
enjoyed creating community by leading educational arts programs. She initiated projects such as novum musica – a composer’s workshop,
an annual Family Day concert, and Songcology – a BC Cancer choir and fundraising group.
Kathy Haddadkar
Abbotsford, BC
Kathy Haddadkar is in her final year of a double performance major degree in piano and voice at Trinity Western University; a student of
Dr. Betty Suderman and Christy Derksen. A past member of the National Youth Choir of Canada, she actively lends her talents to choral
communities in the lower mainland and beyond. This past summer, she had the privilege of working with Calgary’s professional chamber
choir Luminous Voices in an intensive conducting workshop under the guidance of Dr. Timothy Shantz. She is pleased to serve as the
Assistant Conductor of the Valley Festival Singers while continuing her position as the Director of Music at Peace Lutheran Church and
teaching at her private music studio. A member of the TWU Chamber Choir and Chamber Singers, Ms. Haddadkar has been a featured
soloist in works by Britten and Vaughan Williams as well as in upcoming performances of Copland’s In the Beginning. She plans to pursue
graduate studies in choral conducting.
6Jennifer Hansen Heder
East Lansing, MI
Jennifer Hansen Heder is currently pursuing a Doctorate of Musical Arts in Choral Conducting from Michigan State University where
she is the assistant director of the University Chorale. Previous to her studies, she was the director of choirs at Spanish Fork High School
(SFHS) in Utah. SFHS Singers was invited to perform at ACDA Utah in 2018 and UMEA in 2019. From 2017-2019 she directed the
community-based choir, Wasatch Chorale in Orem, Utah. Ms. Hansen Heder earned a Master of Music degree in Choral Conducting
from Brigham Young University in 2016 and a Bachelor of Music degree in Music Education from Brigham Young University in 2013.
During her master degree she was the assistant director of BYU Singers, Concert Choir and Women’s Chorus, taught various conducting
methods courses, and directed the University Chorale. Ms. Hansen Heder lives in East Lansing with her husband Matt, and their Golden
Retriever.
Ling Lu
Richmond, BC
Ling Lu was born and raised in a musical family and has played piano since childhood. In 1994, she went to Russia to further her studies
at the Moscow Gnessin Music Academy Choral Command Department, and graduated with outstanding achievements, receiving a
master’s degree in 2001. She was then admitted to Moscow Tchaikovsky Conservatory and continued to study Choral Command, under
the direction of professor Stanislav Kalinin. She completed her Aspirantura in 2003. During her studies in Moscow, Ms. Lu conducted
several choirs, including the Gnessin Chamber Music Choir, Gnessin College Choir, Moscow Conservatory Choir and Katenikov’s
Moscow National College Choir. Since immigrating to Canada she has actively participated in many concerts and music events. While
promoting Chinese culture, she presents workshops to community groups, and has conducted the Vancouver Chinese Choir for 15 years,
plus the Grand Ensemble Chorus.
Dubravko Pajalic
Vancouver, BC
Dubravko Pajalic is a conductor, musicologist and composer, originally from Zagreb, Croatia. He was a student of Archival Studies
and Informatics in Croatia, Austria and Canada, plus flute and guitar. He edited and arranged many Croatian folk and classical pieces
for chamber ensembles and choirs, and created music education TV shows. Mr. Pajalic has lived in Vancouver since 1992 and worked
as IT Manager at a research facility until 2018. At the same time, he continued as a conductor, arranger, composer, author and music
publisher. He has conducted community and church choirs, and served as organist. Now he is fully engaged in music, actively promoting
contemporary music. He served on the Vancouver Chamber Choir Board of Directors, on Vancouver Pro Musica’s board, and is President
of Turning Point Ensemble Society.
Andrew Whiteside
Richmond, BC
Andrew Whiteside is completing a Bachelor of Arts in Music, including piano, voice, conducting, and timpani, at Trinity Western
University. He studies piano with Suzanne Klukas, voice with Alison Nystrom, and conducting with Dr. Joel Tranquilla and Dr. Jon
Thompson. He is a tenor in the Trinity Western Chamber Choir and Chamber Singers, and toured extensively with them in China, Hong
Kong, Japan, and Taiwan. Mr. Whiteside participated in the Vancouver Chamber Choir’s Focus professional development program for
young singers in 2016, 2018 and 2019. He is extremely honoured to now conduct the Vancouver Chamber Choir, and work with Kari
Turunen and Jon Washburn. He has conducted Gloria from the Missa Pax by Tim Corlis with the TWU Chamber Choir, and Mozart’s
Magic Flute Overture with the TWU Orchestra.
The Vancouver Chamber Choir acknowledges the generosity of
Mike & Kathy Gallagher and the Alan & Gwendoline Pyatt Foundation
for their support of the 40th Annual Conductors’ Symposium
7Sun 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.
WIN A TRIP FOR TWO TO Raffle Ticket Price:
CHICAGO
$20 each or 3 for $50
Grand Prize: Round-trip Economy Class airfare for two to Chicago,
a three-night hotel stay, and two tickets to a Chicago Symphony
Orchestra concert in the 2020/21 season. Subject to availability.
Additional hotel nights are available at the winner’s expense.
Second Prize: Two tickets to the Vancouver International Wine Festival’s
International Festival Tasting on Friday, Feb. 26, 2021. (Must be 19+ to attend.)
Third Prize: Chef’s choice dinner for two guests at Nightingale restaurant
and two tickets to a Vancouver Chamber Choir performance in the
2020/21 season.
Prizes generously furnished by:
(No prize substitutions. Winners consent to the release of their names by licensee.)
Total value of all prizes: $3,810
Draw will take place June 30, 2020, 7:00pm, at Hodson Manor,
1254 West 7th Avenue, Vancouver, BC, V6H 1B6
in support of Full details available at www.vancouverchamberchoir.com/raffle • (604) 738-6822
Chances are 1 in 650 (total tickets for sale) to win the grand prize. BC Gaming Event Licence # 124565.
Problem Gambling Help Line 1-888-795-6111
Know your limit, play within it.
www.bcresponsiblegambling.ca
8P 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
Vaclovas Augustinas
Hymne à Saint Martin
Vaclovas Augustinas is a Lithuanian composer and conductor. His Hymn to St. Martin was written in 1996 for a composition competition
in Tours, a city that has Saint Martin as its patron saint. Martin, a fourth century Christian, is known for his compassion to the poor and
for being the first documented conscientious objector in history. Augustinas’ music is as gentle as the saint, lilting softly between the two
choirs and culminating in dancing hallelujahs at the end of the verses.
O virum ineffabilem, O man beyond words,
nec labore victum, Undefeated by labour,
nec morte timendum, Unafraid in death,
qui nec mori timuit, Who did not fear death
nec vivere recusavit. Alleluia. Or renounce life. Hallelujah.
Oculis et manibus Eyes and hands
in cælum semper intentus, Always towards heaven,
in victum ab oration spiritum From commitment to prayer
non relaxabat. Alleluia. He never relaxed. Hallelujah.
Martinus Abrahæ sinu Martin into the bosom of Abraham
lætus excipitus: Was received with joy:
Martinus, hic pauper et modicus, Martin, this man of poverty and modesty,
cælum dives ingreditur, Is received in heaven a rich man,
hymnis cælestibus honoratus. Alleluia. To the sound of celestial hymns. Hallelujah.
Roman Catholic liturgy
John Bishop and the Vancouver Chamber Choir Board of Directors
request the pleasure of your company on
Tuesday, February 25th, 2020 at 6:30pm
at Bishop’s Restaurant, 2183 West 4th Avenue, Vancouver
Featuring music by
Carman J. Price, vocals & Christopher Fraser, guitar
A donation of $295 (tax receipt for $225)
will reserve your place at the table.
Reserve by February 18th by calling
the Vancouver Chamber Choir at
(604) 738-6822.
9Tomás Luis de Victoria
O magnum mysterium
Tomás Luis de Victoria was perhaps the greatest Spanish sacred composer of the Renaissance, a master of the so-called Roman style
associated with Palestrina. He spent the most part of his career in Rome where he succeeded Palestrina at the Collegium Germanicum.
His exquisite nativity motet O magnum mysterium remains one of the finest and most famous moments of polyphony from any era.
O magnum mysterium O great mystery
et admirabile sacramentum, and wondrous sacrament,
ut animalia viderent Dominum natum, that animals should see the Lord newly born,
jacentem in præsepio. lying in a manger!
O Beata Virgo, cujus viscera meruerunt Blessed is the Virgin, whose womb was worthy
portare Dominum Jesum Christum. to bear the Lord Jesus Christ.
Alleluia! Alleluia!
Johannes Brahms
Vier Zigeunerlieder, Op.112
These Zigeunerlieder, or Gypsy Songs, demonstrate two of Johannes Brahms’ fondest passions: music for vocal ensembles and Hungarian
folk music. Brahms wrote an entire collection of 11 Zigeunerlieder in 1887 (Op. 103) which he himself described to a friend as “a
playfully extravagant nonsense.” Published the following year, they rivalled the earlier Liebeslieder-Walzer (Lovesong Waltzes) in musical
excellence and public acceptance. Two years later he published four more gypsy songs as part of Op. 112; like the earlier songs, these are
based on the words of Hungarian folk songs which were rendered into German poetry by Brahms’ Viennese acquaintance Hugo Conrat.
These, too, are love songs. In the first, Himmel strahlt, the poet compares his beloved to the heavens, to the singing birds, and to the kiss of
the hot sun – a comparison which is, of course, distinctly disadvantageous to all the latter! The second song implies that the red rosebuds
signal the maiden’s readiness for romance and the robin red-breast carries sweet words from her lover. Neither Envy nor Hate can touch
the lover in the third song, for his beloved is faithful forever! And in the last song it is the swallow who carries the lover’s message, this
time one of desperate love.
Fair and bright the heavens above
Himmel strahlt so helle und klar, Fair and bright the heavens above,
heller strahlt mir dein Augenpaar. Fairer, brighter your eyes my Love,
Du meine Rose, Rosebud, my Dearest,
mir ins Auge blick, Could our eyes but meet,
dass ich dich segne in meinem Glück. One loving glance, and joy is complete.
Vögleins Lied so lieblich erklingt, Singing birds! so sweetly it rings,
süßres Lied mir mein Liebchen singt. Sweeter still when my Dearest sings,
Du meine Rose, Rosebud, my Dearest,
mir ins Auge blick, Could our eyes but meet,
dass ich dich segne in meinem Glück. One loving glance, and joy is complete.
Sonne küsst das ganze Erdenrund, Sun’s hot kisses heat the earth around!
heißer küsst mich dein Rosenmund. Warmer love from your kisses found.
Du meine Rose, Rosebud, my Dearest,
mir ins Auge blick, Could our eyes but meet,
dass ich dich segne in meinem Glück. One loving glance, and joy is complete.
10Roses red, all blooming
Rote Rosenknospen Roses red, all blooming,
künden schon des Lenzes Triebe. Live anew with warming showers,
Rosenrote Wangen Lovely Maiden, blushing
deuten Mädchens erste Liebe. With her Love in secret bowers.
Kleiner roter Vogel, Happy robin red-breast,
flieg herab zur roten Rose! Flying among the blooming roses,
Bursche geht zum ros’gen Youthful bliss and happiness,
Mädchen kosen. Your joy discloses.
Brambles and thorns on roadways stand
Brennessel steht an Weges Rand, Brambles and thorns on roadways stand,
Neider und Feinde hab Envy and Hate are found
ich in Stadt und Land. Throughout the land!
Neidet, hasst, verleumdet, Hatred, spite and slander,
doch das bringt mir keine Not. None of these can cause me pain,
Wenn mir nur mein süßes Liebchen Only in your love my dearest,
treu bleibt bis zum Tod. Happy I ‘til death remain.
Dearest swallow, tiny swallow
Liebe Schwalbe, kleine Schwalbe, Dearest Swallow, tiny Swallow,
trage fort mein kleines Briefchen! Fly o’er yonder hill and hollow,
Flieg zur Höhe, fliege schnell aus, Take this note my love confessing,
flieg hinein in Liebchens Haus! How her soul I am possessing.
Fragt man dich: woher du kommest, Should she ponder, should she question,
wessen Bote du geworden, Who has shown this warm affection,
sag: du kommst von treusten Herzen, Tell her of the love I cherish,
das vergeht in Trennungsschmerzen. Unrequited I must perish.
Thank you,
Hugo Conrat, after Hungarian folklore
John and Leonora Pauls
Thank you,
David Chamber
The Vancouver CousinsChoir,
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We hope to see you again this spring!
11Zoltán Kodály Thomas Morley
The Peacock Fire, fire, my heart
Zoltán Kodály was an eminent Hungarian composer, scholar The 16th-century composer and music publisher Thomas
and music educator, who was almost single-handedly Morley was the Englishman really responsible for importing
responsible for raising the art of choral singing to the high and anglicizing the various Italianate forms of the madrigal
popularity it now enjoys in that country. He is particularly well which had already been developed on the Continent. This piece
known for his works on Hungarian national themes or that is a ballett, with an infectious fa-la refrain that would indeed
embody nationalistic folk idioms. Traditional songs and poetry seem excellent for dancing. The poem is by that most famous
often depict the peacock as a symbol of freedom, love and and ubiquitous of all poets: Anon Y Mous.
salvation. Kodály, whose doctoral dissertation was an insightful
study of Hungarian folksongs, was evidently quite taken with Fire, fire, my heart
this particular melody (which apparently dates back some 1600 Oh help, O help alas!
years and is a stirring symbol of liberation and salvation), for he Ah, me!
used it in both vocal and instrumental works. I sit and cry me,
And call for help, alas!
O bright plumèd peacock But none comes nigh me!
‘Bove the courthouse flying,
Anonymous
From oppression free them -
Those in bondage lying.
Where you stand so proudly.
Bright as any morning,
Cry so all can hear you:
New will be the dawning!
Changed will be tomorrow.
Changed the long years after;
New faces gaze to the heavens,
Gay with laughter!
New winds make the trees cry out,
Ever mournful:
Hushed are we,
Waiting a new sunlit miracle! MISSING OUT
Either madness holds us,
Death itself ensnaring,
ON THE LATEST NEWS?
Or shall our faith so find courage in its sharing
That a new meaning may mould a newer nation;
Or sleeping, sad we lie,
Still in degradation.
Shall flames rising high
To the courthouse bring destruction,
Or shall human spirits
Wither in subjection?
O bright plumèd peacock
‘Bove the courthouse flying, Sign up for the Vancouver Chamber Choir’s
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12Gabriel Fauré
Cantique de Jean Racine, Op. 11
Now-famous French composer Gabriel Fauré was a 19-year-old music student when he composed Cantique de Jean Racine to enter
into a composing competition at the famous École Niedermeyer de Paris. It is a charming work for mixed choir with piano or organ
accompaniment and – yes – it won him the first prize. His text is an elegant French paraphrase of a Latin matins hymn by 17th-century
poet and dramatist, Jean Racine.
Verbe égal au Très-Haut, Word of God, one with the Most High,
notre unique espérance, in whom alone we have our hope,
jour éternel de la terre et des cieux, Everlasting light of heaven and earth,
de la paisible nuit nous rompons le silence, We break the silence of the peaceful night;
Divin Sauveur, jette sur nous les yeux ! Saviour divine, cast thine eyes upon us!
Répands sur nous le feu de ta grâce puissante, Pour on us the fire of thy mighty grace,
que tout l’enfer fuie au son de ta voix. That all hell may flee at the sound of thy voice:
Dissipe le sommeil d’une âme languissante, Banish the slumber of a weary soul,
qui la conduit à l’oubli de tes lois ! That brings forgetfulness of thy laws!
Ô Christ, sois favorable à ce peuple fidèle O Christ, look with favour upon thy faithful people
pour te bénir maintenant rassemblé, Now gathered here to praise thee;
reçois les chants qu’il offre, Receive their hymns
à ta gloire immortelle, offered to thy endless glory;
et de tes dons qu’il retourne comblé ! May they go forth filled with thy gifts!
Jean Racine
Bob Chilcott
Londonderry Air
Bob Chilcott, once known to many of us as “the tenor in the
King’s Singers”, is now one of Britain’s most successful and
popular choral composers. He is in constant demand around
the world as a festival conductor and workshop leader, and a
long-time friend of the Vancouver Chamber Choir, which
he has composed for and guest-conducted in concert. This
beautiful arrangement of Danny Boy features an innovative
accompaniment from the piano. The tune itself is traditional
Irish, but the familiar words were written by an Englishman,
Fred Weatherly, in 1910.
O Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side,
The summer’s gone, and all the roses falling,
‘Tis you, ‘tis you must go and I must bide.
But come ye back when summer’s in the meadow,
Or when the valley’s hushed and white with snow,
‘Tis I’ll be there in sunshine or in shadow.
O Danny boy, O Danny boy, I love you so.
And when you come, and all the flowers are dying,
If I am dead, as dead I well may be,
Ye’ll come and find a place where I am lying
And kneel and say an Ave there for me.
And I shall hear, though soft you tread above me,
And oe’r my grave shall warmer, sweeter be,
For you will bend and tell me that you love me
And I shall sleep in peace until you come to me.
13Wolfgang Amadeus Mozart
Lacrimosa
Mozart’s Requiem is one of the great monuments of the Classical period despite the fact that the young composer left it unfinished at his
death. It was commissioned in the summer of 1791 by a grey-liveried stranger acting on behalf of a certain Count Walsegg, who liked
to purchase compositions anonymously and then pass them off to his friends as his own work. Already in a state of declining health,
Mozart evidently saw the request that he compose a requiem as an omen of his own death. Needing the money, he agreed to write the
work but was hampered by his illness and other work and failed to finish it before he died on December 5th. He completed some of the
movements of the work, but his widow, Constanze, had to arrange for his student Franz Xaver Süssmayr to finish several unfinished
sections including this prophetic Lacrimosa. This would seem a daunting task for a humble student, even with the dying composer’s
instructions and sketches, but we defy the listener to identify the spot where master leaves off and the pupil takes over. (In the manuscript
score, of course, the change of handwriting gives away the secret.)
Lacrimosa dies illa, Ah, that day of tears and mourning!
qua resurget ex favilla From the dust of earth returning
judicandus homo reus. Man from judgement must prepare him.
Huic ergo parce Deus, Spare, O God, in mercy spare him!
pie Jesu Domine! Lord, all pitying, Jesu blest, grant
Dona eis requiem. Amen. them Thine eternal rest. Amen.
Roman Catholic liturgy
Claudio Monteverdi
Ecco mormorar l’onde
The great Italian composer Claudio Monteverdi bridged from the end of the 16th century well into the 17th. His eight published books of
madrigals chronicle his musical journey from typical a cappella High Renaissance style to the most innovative Baroque modernities with
opera-like soloists, obbligato instruments, basso continuo accompaniments and all the musical accoutrements of the stile concertato which
he himself helped define. This madrigal with its delicate sunrise scene comes from his second book, published in 1590. To the outward
eye (ear?) it appears to be typically Renaissance sort with pervasive polyphony and obsessive word-painting, but the harmony, rhythm
and expression foreshadow his full-blown Baroque style that was still to come with the new century.
Ecco mormorar l’onde Hear the murmuring waters
e tremolar le fronde and the rustle in the tree-tops
a l’aura mattutina e gl’arborselli as morning breezes stir among the branches
e sovra i verdi rami and on the verdant boughs
i vagh’augelli cantar soavemente, the birds so sweetly sing airs
e rider l’oriente; to greet the sunrise;
ecco, già l’alb’appare, see how the dawn arises,
e si specchia nel mare mirrored deep in the ocean
e rasserena il cielo she brightens all the heavens
e’imperla il dolce gielo, and turns to pearl the dew-drops,
e gl’alti monti indora and decks with gold high mountains,
o bella e vagh’aurora! O loveliest Aurora!
L’aura è tua messaggiera Breezes are thy heralds
e tu de l’aura, and thou their envoy,
ch’ogn’arso cor ristaura. sick hearts to life restoring.
14Harry Somers
Feller from Fortune
Harry Somers was one of the finest and most important
Canadian composers of the 20th century. Born and raised in
Toronto, he studied with Reginald Godden and John Weinzweig
at the Royal Conservatory and later in Paris with Darius
Milhaud. He composed in all forms of instrumental and vocal
music, including an iconic Canadian opera, Louis Riel, in the
centennial year of 1967. An influential figure in the nation’s
arts movement, he was one of the founders of the Canadian
League of Composers and other important Canadian music
organizations, including the Canada Council for the Arts and
the Canadian Music Centre. This rambunctious and slightly
raunchy folksong arrangement of Feller from Fortune with its
seemingly haphazard rhythms is perhaps Somers’ most famous
choral piece – part of a vivacious set called Five Songs of the
25
YEARS Newfoundland Outports.
There’s lots of fish in Bonavist’ harbour,
Lots of fish right in around here’
Boys and girls are fishin’ together’
ebrate! Forty-five from Carbonear.
25
YEARS
25
Celebrate 25 years!
Catch-a-hold this one, catch-a-hold that one
Swing around this one, swing around she;
YEARS
Dance around this one, dance around that one
Diddle-dum this one, diddle-dum dee.
Sally is the pride of Cat Harbour,
Celebrate 25 years!
25
Ain’t been swung since last year,
YEARS
Drinkin’ rum and wine and cassis
What the boys brought home from St. Pierre.
Celebrate 25 years!
Sally goes to church every Sunday
Not for to sing nor for to hear,
But to see the feller from Fortune
Celebrate 25 years!
What was down here fishin’ the year.
(Catch-a-hold this one …)
Sally’s got a bouncin’ new baby,
Father said that he didn’t care,
‘Cause she got that from the feller from Fortune
What was down here fishin’ the year.
(Catch-a-hold this one …)
Uncle George got up in the mornin’,
He got up in an ‘ell of a tear
And he ripped the arse right out of his britches
Now he’s got ne’er pair to wear.
(Catch-a-hold this one …)
There’s lots of fish in Bonavist’ Harbour,
Lots of fishermen in around here;
Swing your partner, Jimmy Joe Jacobs,
I’ll be home in the spring of the year.
(Catch-a-hold this one …)
INTERMISSION
15JOIN
US F
OR
TALK A PRE
AT 6 -CONC
:45P ERT
M
A WILDERNESS
OF SEA
ELMER ISELER SINGERS LYDIA ADAMS, CONDUCTOR
7:30PM | FRIDAY, MARCH 13, 2020
PACIFIC SPIRIT UNITED CHURCH, 2205 W 45TH AVE AT YEW ST
WITH ELMER ISELER SINGERS
Two of Canada’s premier ensembles take the stage together – an event not to be
missed! The broad theme is the sea and the Vancouver Chamber Choir will present two
new works on that theme, with both choirs joining forces in a magical work that has all
too long gone unnoted: Toivo Kuula’s Meren virsi (The Hymn of the Sea).
1.855.985.ARTS (2787)
vancouverchamberchoir.com
16Healey Willan Jon Washburn
Behold, the Tabernacle of God Balm in Gilead
Healey Willan was Canada’s “Grand Old Man” of choral music. Oxford University Press and their editor Bob Chilcott commissioned
He was a dedicated churchman and liturgist who nevertheless this arrangement of Balm in Gilead from Jon Washburn for a
composed prolifically in all forms, sacred and secular. To a large collection called Spirituals for Choirs that was published in 2001.
extent Willan’s greatest legacy consists of his many exquisite The original tune is one of the most well known and beloved songs
short a cappella choral works. Behold, the tabernacle is one of from the repertory of African-American spirituals. A balm is an
these – a masterful combination of balance and expressivity, ointment or salve that soothes with curative powers. In Biblical
fluent in melodic and harmonic shape, and containing a true times the mountainous region of Gilead west of the Jordan River
Willan trademark - a phrase of breathtaking length and breadth was famous for its balm, a fragrant oil or gum that came from small
(it starts on the words “...for the love of whom...”). Composed evergreen trees. The Bible reference is Jeremiah (8:22), which asks:
in 1933, Willan wrote it to mark the 100th anniversary of the “Is there no balm in Gilead; is there no physician there?” The fervent
Church of St. James (Chicago) and dedicated it to his equally spiritual song provides the answer: “Yes, there is a balm, and it lies
famous American colleague, Leo Sowerby, who was the organist in the Holy Spirit”.
there.
There is a balm in Gilead
Behold, the tabernacle of God is with men, to make the wounded whole;
and the Spirit of God dwelleth within you: there is a balm in Gilead,
for the temple of God is holy, to heal the sin-sick soul.
which temple are ye:
Sometimes I feel discouraged
for the love of whom ye do this day
and think my work in vain,
celebrate the joys of the temple
but then the Holy Spirit
with a season of festivity.
revives my soul again.
O how dreadful is this place.
O never feel discouraged.
This is the house of God,
O never be forlorn,
and this is the gate of heav’n.
recall that it was to save us
from antiphons for the Feast of Dedication that Jesus Christ was born.
traditional spiritual with additional words by Jon Washburn
STUDENTS!
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one hour before the concert.
17Robert Schumann
Zigeunerleben, Op. 29, No.3
Zigeunerleben (Gypsy Life) comes from one of Schumann’s happiest years – 1840, when he married Clara Wieck and embarked on an
incredible outpouring of vocal music. This piece uses a “gypsy scale” with a raised 4th degree, and the pairing of voice parts is supposed
to evoke two gypsy violins.
Im Schatten de Waldes, im Buchengezweig, From deep in the forest, concealed by trees,
da regt’s sich und raschelt und flüstert zugleich. a stirring and rustling is borne on the breeze.
Es flackern die Flammen, es gaukelt der Schein A glimmer of torches, a flicker of light,
um bunte Gestalten, um Laub und Gestein. as patches of colour take shape in the night.
Da ist der Zigeuner bewegliche Schaar The wandering gypsies, so wild, free of care,
mit blitzendem Aug’ und mit wallendem Haar, with eyes flashing brightly, with dark flowing hair;
gesäugt an des Niles geheiligter Flut, Some nursed at the bank of the Nile’s sacred flow,
gebräunt von Hispaniens südlicher Glut. some burnt by the fire of warm Spain’s southern glow.
Um’s lodernde Feuer in schwellendem Grün ‘Round campfires a-blazing with branches all piled,
da lagern die Männer verwildert und kühn, the men making camp look untamed, brutal, wild.
da kauern die Weiber und rüsten das Mahl, There crouch all the women preparing the meal
und füllen geschäftig den alten Pokal. and filling the goblets with wine as they kneel.
Und Sagen und Lieder ertönen im Rund, Then songs and old legends they sing in the night,
wie Spaniens Gärten so blühend und bunt, of gay Spanish gardens so blooming and bright,
und magische Sprüche für Not und Gefahr and magical ancestral legends are told,
verkündet die Alte der horchenden Schaar. passed on to the young once again by the old.
Schwarzäugige Mädchen beginnen den Tanz; A raven haired maiden begins now to dance,
da sprühen die Fackeln im rötlichen Glanz. And bright as a torch burns her passionate glance.
Es lockt die Gitarre, die Zimbel klingt, A strumming guitar and the cymbals ring,
wie wild und wilder der Reigen sich schlingt! As wilder and wilder they all dance and sing.
Dann ruh’n sie ermüdet vom nächtlichen Reih’n. To rest, then, all weary from nocturnal play.
Es rauschen die Buchen im Schlummer sie ein. To rest, deep in slumber, to dream as they may.
Und die aus der glücklichen Heimat verbannt, Since they from their beautiful homeland are banned,
sie schauen im Traume das glückliche Land. it’s only in dreams they may visit their land.
Doch wie nun im Osten der Morgen erwacht, But as in the east now the darkness takes flight,
verlöschen die schönen Gebilde der Nacht, so vanish the gypsies, dark forms of the night.
es scharret das Maultier bei Tagesbeginn’, The shuffling of hooves at the breaking of dawn;
fort zieh’n die Gestalten, wer sagt dir wohin? they’ve vanished. Who knows where they’ve gone?
Emanuel Geibel
Thank you to
tonight’s Concert Patrons,
Mike & Kathy Gallagher
The Vancouver Chamber Choir
appreciates your continued support
of our performances.
18RECORDINGS Thomas Weelkes
FOR SALE IN Like two proud armies
THE LOBBY Thomas Weelkes was one of the finest Elizabethan composers
of madrigals. Most of his madrigals were composed when he
* was a very young man - before the age of 25 - working as an
organist at Winchester College and pursuing a BMus degree at
Oxford. Shortly after that he moved to Chichester Cathedral,
The Healing Series got married and settled down to producing anthems and
h Finding the Still Point music for healing * A healing ambience of calm, other service music. However, he developed a bad reputation
warmth and consolation projected through 15 beloved choral favourites with for drinking and unruliness, resulting in his dismissal in his
interconnecting Gregorian chants. early 40s. Within another half-dozen years, both he and his
wife had suffered premature deaths. He was one of the most
h A Quiet Place music for healing III * An outstanding collection of choral
accomplished and imaginative of the English madrigalists.
treasures chosen to help find peace, quiet and healing in today’s hectic world.
His best madrigals are full of fantastic imagery and brilliant
The Masters Series word-painting, undertaking the time-honoured musical task of
describing the tumultuous feelings of a lover. Like two proud
h BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a armies is distinctly martial in aspect, the opposing forces being
gala Expo 86 concert, with Jon Washburn and Michael Corboz conducting their beauty and reason.
professional choirs from Canada and Switzerland.
h Missa Brevis Four contrasting short masses by Haydn Missa Brevis Sancti
Like two proud armies marching in the field,
Joannis de Deo, Fauré Messe basse, von Weber Jubelmesse and Christoph Bernhard joining a thund’ring fight, each scorns to yield;
Missa Durch Adams Fall. So, in my heart, your beauty and my reason,
the one claims the heart, the other says ‘tis treason.
The Canadian Composer Series
But oh your beauty shineth as the Sun,
h A Garden of Bells * R. Murray Schafer, Vol. 1: Early choral works including and dazzled reason yields as quite undone.
Miniwanka, Epitaph for Moonlight, Snowforms, Gamelan, Sun, Fire, Felix’s Girls
and A Garden of Bells. Thomas Weelkes, we presume
h Imagining Incense* R. Murray Schafer, Vol. 3: Recent choral works
including Magic Songs, Three Hymns, Rain Chant, Alleluia, Beautiful Spanish Song,
Imagining Incense and other works.
SPRING BREAK
h The Love that Moves the Universe * R. Murray Schafer, Vol. 4: Three
outstanding major works recorded in 2018 for the composer’s 85th birthday:
the title piece for choir and orchestra, plus The Star Princess and the Waterlilies
and Narcissus and Echo. AT ARTS U MB RE LLA
h Earth Chants Imant Raminsh, Vol. 2 Missa Brevis in C Minor, Earth Chants
& smaller works.
h Due West Stephen Chatman, Vol. 2 With oboist Roger Cole and pianist Linda
Lee Thomas.
h Due East Stephen Chatman, Vol. 3 The Canadian composer’s latest pieces since
2000.
h Rise! Shine! * Music of Jon Washburn Including The Star, A Stephen Foster
Medley, Chinese Melodies, Rossetti Songs, God’s Lamb, Noel Sing We!, Behold I
build an house and Rise! Shine!
Get creative this spring with Visual
The Christmas Recordings and Performing Arts camps for
h A Dylan Thomas Christmas * The Vancouver Chamber Choir’s signature young people ages 3-19.
performance of A Child’s Christmas in Wales, read by Welsh actor Russell
Roberts with special carol settings by Jon Washburn. Granville Island / South Surrey
h A World Christmas Carols and seasonal songs of many lands from guitarist Week 1: Mar 16-20, 2020
and arranger Ed Henderson, the Worldfest Ensemble and the Vancouver Week 2: Mar 23-27, 2020
Chamber Choir with Jon Washburn conducting.
h The Miracle of Christmas Christmas music with a colourful Central and
South American flavour played by the ensemble Ancient Cultures with several
tracks featuring the Vancouver Chamber Choir. artsumbrella.com/spring-break
19Franz Schubert
Quartett “Schicksalslenker”
Schubert’s choral writing falls into two rather distinct styles. The first, found in his masses and other liturgical music, is a “mainstream”
classical approach to choral writing, with polyphonic sections that relate directly to traditions of church music that reach back to the
Renaissance masters. In most of his secular choral music, however, Schubert found another expression which is more closely related to
his Lieder style, where he showed his greatest and most unique genius. Schicksalslenker, a heartfelt song of thanksgiving, is of this kind - a
choral song, in which melody reigns supreme and the piano is full partner to the proceedings.
Schicksalslenker, blicke nieder, Ruler of Destiny, look down
auf ein dankerfülltes Herz, on a thanks-filled heart;
uns belebt die Freude wieder, we are joyful again,
fern entfloh’n ist jeder Schmerz. far away is every pain.
Und das Leid, es ist vergessen, And the sorrow, it is forgotten;
durch die Nebel strahlt der Glanz through the fog shines the brightness,
deiner Größe unermessen, of your immeasurable greatness,
wie aus hellem Sternenkranz. as from the brightest ring of stars.
Liebevoll nahmst du der Leiden Lovingly, you took on our burdens –
herben Kelch von Vaters Mund, a bitter cup from a father’s lips;
darum ward in Fern und Weiten making known far and wide
deine höchste Milde kund. your most high benevolence.
Anonymous
Michael Tippett
Two Spirituals from A Child of Our Time
In 1939, Sir Michael Tippett’s use of well-known spirituals
in his oratorio A Child of Our Time was considered quite
audacious, as was his score indication that the spirituals should
be “slightly swung.” A Child of our Time was born of Tippett’s
revulsion to Nazi war atrocities. It is about a man whose god
has left the light of the heavens for the dark of the collective
unconscious. Modeling his work on the Passions of J.S. Bach,
Tippett needed some contemporarily relevant music that could
serve a congregational function, as the Lutheran chorale did in
Bach’s works. A chance hearing of Steal away led to the brilliant
Thank you to all of our solution of using traditional spirituals to represent the song of
the people. In 1958, Tippett’s publisher asked him to arrange
wonderful front of house volunteers. five spirituals for unaccompanied choir. The result is quite
different in effect from the oratorio context, yet they fare well in
You are greatly appreciated. their new, more intimate guise. The dramatic Go down, Moses
and lighterBy and by are the third and fourth movements of the
Lisa Akizuki David Harvey complete set.
Gloria Aldrich Jacquie Hurst
Cecilia Bernabe Yvonne Kato
Go down, Moses, way down in Egypt land;
Alison Block Sharon Newman Tell old Pharaoh, to let my people go.
Ana Brkich Adele Peters
When Israel was in Egypt land,
Ron Costanzo Ron Schubank Oppressed so hard they could not stand,
Marylin de Verteuil Kristina Skoritskaya “Thus spoke the Lord,” bold Moses said,
Francesca Fung “If not, I’ll smite your firstborn dead.”
O by and by, I’m going to lay down my heavy load.
If you would like to be part of this committed
and enthusiastic team, please email us at I know my robe’s going to fit me well,
info@vancouverchamberchoir.com I’ve tried it on at the gates of Hell.
O Hell is deep and a dark despair;
or call 604-738-6822
O stop, poor sinner and don’t go there.
20Anton Bruckner
Os justi
Austrian composer Anton Bruckner is most famous today for his massive symphonies, but in his own time, the last half of the 19th
century, he was recognized primarily as a virtuoso organist and composer of music for the liturgy. Peasant-like in appearance, orphaned
as a child, naive in conversation, socially gauche, awkward with women despite a never-fulfilled desire for marriage, Bruckner was
nevertheless a brilliant and genuine musical mind. Comfortable with the most extensive and leisurely symphonic forms, he was also
master of the miniature, witness his numerous short Latin motets. His perfect sense of structure and balance in these brief pieces, his
effortless amalgam of self-effacing polyphony and simple homophony, his unerring sense of direction and unfailing ability to touch the
heart established a Brucknerian paradigm for the unaccompanied Latin motet: simple, masterful, heartfelt. Success in this rarified air is
hard to come by — to this day many composers strive, but few can match his mastery.
Os justi meditabitur sapientiam, The mouth of the righteous speaks wisdom,
et lingua ejus loquetur judicium. And his tongue talks of judgment.
Lex Dei ejus in corde ipsius: The law of his God is in his heart;
et non supplantabuntur gressus ejus. none of his steps shall slide.
Alleluja. Alleluia.
Psalm 37: 30-31
Maurice Duruflé
Lux aeterna
The Requiem, Op. 9, was composed in 1947 by the little-publicised French master, Maurice Duruflé. He published only a very small
number of works in his lifetime, but each is of the highest integrity and beauty. He is remembered today almost exclusively for this setting
of the Mass for the Dead. Duruflé was born in 1902, started his music studies in Rouen and finished at the Paris Conservatoire, where he
earned almost every prize in sight. Upon graduation in 1930, he became organist at the Church of St-Étienne-du-Mont and in 1942 he
was appointed professor of harmony at the Conservatoire. Much of his music was influenced by his love of Gregorian chant. This Requiem,
too, is based on that melodic art, enriched with the gentle counterpoint, rich harmonies and lush voicings of a characteristically French
impressionism. Tonight we perform the seventh movement, Lux æterna.
Lux æterna luceat eis, Domine, Light eternal shine on them, Lord,
cum sanctis tuis in æternum, quia pius es. with your saints forever, for you are merciful.
Requiem æternam dona eis, Domine, Rest eternal grant them, Lord,
et lux perpetua luceat eis. and light perpetual shine on them.
21William Dawson Pray, classify
Ain’-a that good news! pigeons and camels.
Pigeons can fly.
William Dawson was an African-American composer, choir Camels are mammals.
director and music professor. Born in Alabama, he studied at There is a reason for everything under the sun.
the Chicago Musical College and the American Conservatory Objection! Oh?
of Music. He taught for 25 years at the Tuskegee Institute What about snakes? Well, Let me see!
in Alabama. During this period, he developed the Tuskegee
Institute Choir into an internationally renowned ensemble; ‘Twas Snake that tempted Mother Eve.
they were invited to sing at New York City’s Radio City Music Because of Snake we now believe
Hall in 1932 for a week of six daily performances. Dawson’s that though depraved,
arrangements of traditional African-American spirituals are we can be saved
widely published in the United States and are still regularly from hellfire and damnation.
performed by school, college and community choral programs. Because of Snake’s temptation.
Ain’-a that good news! is one of the most famous of these many If Snake had not seduced our lot, and primed us for
choral arrangements. salvation,
Jehovah could not pardon all
the sins that we call cardinal,
I got a crown up in-a the Kingdom, involving bed and bottle!
Ain’-a that good news! Now on to Aristotle! Okay!
I’m a-goin’ to lay down this worl’, Mankind is one,
Goin’-a shoulder up-uh my cross, all men are brothers.
Goin’-a take it home-a to my Jesus, As you’d have done,
Ain’-a that good news! do unto others,
I got a harp up in-a the Kingdom, it’s understood in this best of all possible worlds,
Ain’-a that good news! all’s for the good in the best of all possible worlds.
I got a robe up in-a the Kingdom, Objection! Yes!
Ain’-a that good news! What about war? Well, it seems to me....
I got a Saviour in-a the Kingdom, Though war may seem a bloody curse,
Ain’-a that good news! it is a blessing in reverse.
When cannons roar,
both rich and poor
by danger are united.
Leonard Bernstein Till ev’ry wrong is righted. Yes!
The Best of All Possible Worlds Philosophers make evident the point that I have cited.
Leonard Bernstein was a 20th-century phenomenon – a ‘Tis war makes equal, as it were,
fabulously successful, jet-setting conductor, composer, pianist, the noble and the commoner,
author, lecturer, entertainer and raconteur. Much of his fame thus war improves relations.
derived from his long tenure as the music director of the Now on to conjugations.
New York Philharmonic from 1957-1969. Just prior to that
Amo, amas, amat, amamus.
appointment he had completed the music for the operetta
Proving that this is the best of all possible worlds.
Candide, which was first performed in 1956 with a libretto
With love and kisses, the best of all possible worlds.
by Lillian Hellman based on the famous novella by Voltaire.
Quod erat demonstrandum! Q. E. D.
Although the first production was considered a failure, closing
on Broadway after only (!) two months and 73 performances, John La Touche
there have subsequently been many successful productions,
and the brilliant classical/jazz mix of the music has become
immensely popular. This vivacious setting of Candide’s
effervescent optimism has lyrics from John La Touche and a
masterful choral arrangement by Robert Page.
Let us review
lesson eleven,
paragraph two,
axiom seven.
Once one dismisses the rest of all possible worlds,
one finds that this is the best of all possible worlds.
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