CHRISTMAS ORATORIO 7:30PM | FRIDAY, DECEMBER 6, 2019 - 7: Vancouver Chamber ...
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
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 ST
VA 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 2
VANCOUVER 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 3
Sun 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 4
PACIFIC 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. 5
N 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!” STUDENTS! Missing out on the latest news? Sign up for the Vancouver Chamber Choir’s For only $15, you can enjoy e-announcements and receive all the latest some of Canada’s finest choral concerts when you purchase rush tickets to Vancouver Chamber Choir information right away about concerts, tours, regular season performances. workshops, auditions, fundraising dinners and more. All students and youth (26 and under) are welcome. Simply visit our website and scroll down our home page to Join our email list. Tickets are available at the door, one hour before the concert. www.vancouverchamberchoir.com 6
P 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. 7
cantata 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! 9
cantata 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 11
cantata 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) Visit our Follow VanChamberChoir on Facebook Fan Page! 13
ARTS UMBRELLA DANCE COMPANY Thank Thank you, you, Tony John and RoperPauls Leonora , for supporting the printing The Vancouver Chamber Choir of tonight’s program. PRESENTED BY appreciates your support of printing Wetonight’s appreciate yourprogram concert attendance andatfor ourattending events. DECEMBER 13-15, 2019 VANCOUVER PLAYHOUSE “It’s the equivalent of a giant box of chocolates for dance lovers.” GEORGIA STRAIGHT We hope to see you again this spring! See you in the spring! artsumbrella.com/mixednuts Project: Arts Umbrella - Mixed Nuts Campaign Publication: Arts Umbrella - Chamber Choir Size: 3.5” x 4.75” (Grey) Dated: November 12, 2019 Designer: Justin Baker (778.997.9733) THE ANNUAL HOLIDAY TRADITION 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 FOR TICKETS AND INFORMATION VISIT: MEDIA SPONSOR VANCOUVERBACHCHOIR.COM 14
W I T H O U R T H A N K S The Vancouver Chamber Choir is pleased to thank and acknowledge our Corporate and Individual Sponsors and Donors as well as the Foundations and Government Agencies who, through their leadership and financial support over the past season, make it possible for the Vancouver Chamber Choir to present outstanding high-quality performances of choral music and deliver award-winning education and community programs. 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 $15,000+ | Sun Life* $10,000 - $14,999 | Pille Bunnell & David Tait * $ 5,000 - $ 9,999 | Anonymous | Canada Life* | Tama Copithorne* | Cameron Haney* | Ron Haney* | Kinder Morgan Foundation | George Laverock & Jane Coop* | Douglas & Teri Loughran | TD Group* | Tong & Geraldine Louie Family Foundation $ 2,500 - $ 4,999 | Anonymous * | Andrew Mahon Foundation | Bryan & Gail Atkins* | Bishop’s* | Chan Centre Endowment Fund | David Cousins* | C-Pac Canada Ltd* | Deux Mille Foundation | Count Enrico & Countess Aline Dobrzensky* | Charles & Lucile Flavelle* | Gramercy Developments Ltd. | Kassia Grewal | Janis Hamilton* | Ann Howe* | Don & Pat Hudson* | Lloyd Carr-Harris Foundation | Doris Luking* | Martha Lou Henley Charitable Foundation* | Mary & Gordon Christopher Foundation | McLean Foundation | Music BC | Dr. Robert Rothwell* | SOCAN Foundation* | Ian Tait* | Jon Washburn & Linda Lee Thomas* | Fei Wong $ 1,500 - $ 2,499 | Alan & Gwendoline Pyatt Foundation | Anne Bonnycastle & Matt Powell | Mark De Silva* | Al & Violet Goosen* | The Hamber Foundation | Heathcliff Foundation | Donna Hogge* | Linda Johnston* | Lakewood Development Ltd. | Jerry & Lilli Luking | Rita Nash* | Viviane Nitting* | Drs. Katherine Paton & Jeff Beckman | John & Leonora Pauls* | RBC Foundation | Rix Family Foundation | ZLC Foundation $ 1,000 - $ 1,499 | Anonymous | Air Canada | Janet Allwork* | Matthew Baird* | Steven Bélanger | Burrowing Owl | Vaughn Chauvin & Carolyn Shiau | The Christopher Foundation* | Drs. Robin & Margaret Cottle* | Sylvia Crooks* | Dan Deranleau for Pacifica Singers | McGrane-Pearson Endowment Fund | North South Travel | Quails’ Gate | Morag Whitfield* $ 500 - $ 999 | Anonymous (3) | Elizabeth Caskey* | Peter Cass* | Isobel Cole* | Jeanette Gallant | Brian G’froerer | Linda Hamilton* | David Harvey | Brent Hunter | Izumo- Canada Friendship Society | J. Evan & Janice Kreider | Colin Miles* | Sharon Newman* | Christine Nicolas* | Philip & Claire Daykin Charitable Fund | The Simons Foundation Canada* | Harry Snyders | Mark & Debbie Toole | Cara Ventura | William Vermeulen | Eric Wilson* $ 250 - $ 499 | Mike Barnett | Shirley Bens | Joost Blom | Peter W. Brown* | Stephen Chatman & Tara Wohlberg | Ed and Dorothy Chiasson | Jane Ciacci | Dr. Terence Dawson | Andrew Dilts | Ellen Doise | Ismail Farahani & Myrna Driol* | Wendy Kish | William Korol | Dr. & Mrs. James & Josephine Lai* | Tim & Fiona Laithwaite* | Carol Ann Lang* | Sophia Leung | Bonnie MacKenzie* | Kathy Mann | Dubravko Pajalic* | Frances Picherack | R. Lindsay Perceval | Elizabeth Rathbun | Pat Rekert | Judith Roberts | Ilze Roffey | Anthony Roper | Pat Scrivens | Matthew Senf | Elizabeth Spencer | Ching Tien | Cynthia Toze | Victoria Uberall* | Barrie & Margaret Vickers* | Gerald & Johanne Voogd* | Jamie & Ellen Wilcox | Glen Wutzke | Kerri Wyse McNolty $ 100 - $ 249 |Anonymous (5) | Rita Acton | Gloria Aldrich | Bonnie Anderson | Fred & Eva Bild | George Challies* | Cecilia Chueh* | Reg & Laura Cichos | Cull Family Foundation | Dr. Pamela Dalziel | Marilyn deVerteuil* | Marna Disbrow | Richard Dolan | Monica & Earle Drake | Rod & Janice Dyck | Morna Edmundson | Susan Edwards | Elektra Women’s Choir | Tom Ellis | Ian Farthing | Susie Funk | Thom Geise* | Kenneth Gracie | Roger & Susan Grose | Dr. Peter T. Harmon* | David Hilton | Donna Hinds | Marian Hingston | Ralph Huenemann & Deidre Roberts* | William & Heather Ireland* | Dianne Kennedy | Linda KInney | Wendy Klein | Dr. & Mrs. Hans Kouwenberg* | Ron Lambert | Brenda Lloyd | Alan & Helen Maberley | Nicolas & Marta Maftei* | Dennis & Christine Magrega | Cynthia Mak | Laurel March | Dr. Jasenka P. Matisic | Chris McGill | Donald McRae | Peter Mercer | Craig Morash* | Alexandra Nicolas | Sumiko Nishizawa | Winnie Nowell | Hazel Osborne | William Patey | Ian Perry* | Jocelyn Pritchard | Walter Quan | Douglas Reid* | Juan Salazar de Leon | Shirley Sexsmith* | Beverly Short* | Judah & Barbara Shumiatcher | Elizabeth Snow | Ian & Jane Strang* | Janice Trenholme | Trinity Western University | Urban Impact Recycling* | José Verstappen* | Olga Volkoff | Mavourneen Wadge | Harry & Penny Sengara | Gwyneth Westwick* | Theresa Wright Up to $100 | Anonymous (7) | Frank & Anita Anderson | Lois Bewley | Marylin Clark* | Jenny Crober | Judith Forst* | Nancy Garrett | Jane Gilchrist | Drusilla Harding | Stephen Heeney | Raymond Kam | Mary Leach | Nozomi Nakamura | Jean Pamplin | Jennifer Price | David Rain | Lorraine Reinhardt* | Stan Ridley | George & Frances Roberts | Rogers’ Chocolates | Dave Rosborough | Polly Sams | Karen Seaboyer* | David K. Stewart | Dr. Heather Sutherland | Lucille Taylor * Special Thanks to our Most Loyal Donors The Vancouver Chamber Choir acknowledges the sustained generosity of those who have supported the Choir for five or more continuous years. Their names have been marked with an asterisk (*). IN REMEMBRANCE IN HONOUR Maurice D. Copithorne, QC, LLD | Fred & Eva Bild | | Joost Blom | Jane Ciacci Shirley Bens – in honour of Dr. Robert Rothwell’s retirement | Sylvia Crooks | Monica & Earle Drake | Stephen Heeney | David Hilton | Izumo- Canada Friendship Society | Linda Johnston | Raymond Kam | Wendy Klein | Cynthia Mak | Chris McGill | Donald McRae | Nozomi Nakamura | Christine Nicolas | R. Join our list of valued partners, donors and supporters. Lindsay Perceval | Pat Rekert | Theresa Wright| Visit our website www.vancouverchamberchoir.com, click on the “Support” Laverne G’froerer | Maurice & Tama Copithorne | Brian G’froerer tab and then “Individual Giving”. This will take you to a secure link where you can indicate not only the amount you wish to give, but also select what you My wife, Marion Haney | Ron Haney would like your donation to support. Björn Nitting | Al & Violet Goosen | Viviane Nitting | John & Leonora Pauls Thank you – we couldn’t do this without you! In memory of Bob | Jean Pamplin 15
RECORDINGS FOR SALE IN THE LOBBY * 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 interconnecting Gregorian chants. SEASON WITH NEW NEW ARTISTIC ARTISTIC h A Quiet Place music for healing III * An outstanding collection of choral DIRECTOR, KARI DIRECTOR, KARI TURUNEN TURUNEN treasures chosen to help find peace, quiet and healing in today’s hectic world. BEGINNINGS BEGINNINGS The Masters Series 7:30PM FRIDAY, SEPTEMBER 27, 2019 7:30PM FRIDAY, SEPTEMBER 27, 2019 Pacific Spirit United Church* 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 7:30PM FOCUS FRIDAY, ON CLASSICS OCTOBER 18, 2019 professional choirs from Canada and Switzerland. 7:30PM FRIDAY, Pacific SpiritOCTOBER 18, 2019 United Church* 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.com
You can also read