FEAR - Vancouver Chamber Choir
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S E A S O N
2 1
/
2 0 2 0
5:00 & 8:00PM
Saturday
October 31, 2020
Christ Church Cathedral
Kari Turunen
CONDUCTOR
Christina Hutten
ORGAN
FEAR
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.
Jon Washburn founded the choir in 1971 and it has
become an amazing success story, ranking with
the handful of North America’s best professional
choruses and noted for its diverse repertoire and
performing excellence. The choir has presented
concerts at home in Vancouver and on tour across
Board of Directors Canada. International excursions have taken them
Anne Bonnycastle to the USA, Mexico, Japan, China, Hong Kong, Taiwan, South Korea, Finland, France, Germany,
President the Czech Republic, Russia, Estonia, Latvia, Lithuania and Ukraine.
Dr. Jeanette Gallant (Oxford)
Vice President Honoured with the Margaret Hillis Award for Choral Excellence by Chorus America, the choir
Adam J. Garvin, CPA, CMA has performed countless concerts and broadcasts, released 36 recordings and received numerous
Treasurer
Brent Hunter awards. Foremost supporters of Canadian music, they are responsible for commissions and
Secretary premieres of 334 choral works by 145 composers and arrangers, most of whom are Canadian. Over
George Laverock the years the choir has sung over 4,000 performances of works by Canadian composers, in addition
Past President
Matthew Baird
to their extensive international repertoire.
Dr. Donna Hogge The choir’s award-winning educational programs include the Conductors’ Symposium for advanced
Rina Jaswal, B.Sc., LL.B.
Colin Miles choral conductors, Interplay interactive workshops for choral composers, Focus professional
Alexandra Nicolas development program for student singers, OnSite visitations for school choirs, the biennial Young
Frances Roberts Composers Competition, and many on-tour workshops and residencies.
Dr. Robert Rothwell
Dolores Scott
Cara Ventura
Marianne Werner
Jennifer Wilnechenko KARI TURUNEN, ARTISTIC DIRECTOR
James W. Wright, ICD.D.
Honorary Patrons The Vancouver Chamber Choir welcomed Kari Turunen in 2019 as its
John Bishop second-ever Artistic Director in 49 years. Prior to his arrival in Vancouver,
Stephen Chatman, C.M. Dr. Turunen was a versatile performer on the Finnish choral and vocal
Tama Copithorne music scene. A former college-level teacher, he continues to be a full time
David Cousins
Sam Feldman conductor, clinician, adjudicator and lecturer in Vancouver, Finland and
Charles Flavelle abroad.
Violet Goosen
Janis Hamilton As Artistic Director, he has led prominent Finnish choirs Akademiska
Ben Heppner, O.C. Damkören Lyran (1998–2009), Akademiska Sångföreningen (2008–2019),
Don Hudson
Doris Luking
Kampin Laulu chamber choir (2011–2019), the choir of the cantors of the
Viviane Nitting Finnish Lutheran Church and Chorus Cantorum Finlandiae (2011–2019),
Imant Raminsh, C.M. Spira Ensemble (2012–2019), and the professional early music performers
Elizabeth Rathbun
R. Murray Schafer, C.C.
Ensemble Petraloysio and I Dodici, with which he continues to occasionally
work. He has won numerous prizes at national and international festivals with his groups and was
Administration named choral conductor of the year in Finland in 2008.
Dr. Kari Turunen
Artistic Director
Dr. Turunen is a founding member of Lumen Valo, a professional vocal ensemble of eight voices.
Steven Bélanger Lumen Valo has been a driving force on the early music scene in Finland since its conception in 1993
Executive Director and has made a name for itself in almost 250 concerts around Finland and Europe. The group has
Jon Washburn, C.M. recorded nine CDs, all of them critically acclaimed for their fresh programming and quality of singing.
Founder & Conductor Emeritus
Violet Goosen In addition to artistic activities, he has produced events as Artistic Director for the annual Aurore
Development Renaissance Festival and the upcoming Finnish-Swedish Song Celebration in June 2021.
Nat Marshik
Bookkeeper He was educated at the University of Helsinki and the Sibelius Academy where he studied choral
conducting (MA). He holds a doctorate in early music performance practice from the University of
Vancouver Chamber Choir the Arts, Helsinki.
1254 West 7th Avenue
Vancouver, B.C., Canada V6H 1B6
The Vancouver Chamber Choir acknowledges that it operates and performs on the unceded Indigenous land
Tel: 604.738.6822 Fax: 604.738.7832
belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəy̓ əm (Musqueam), Sḵwx̱ wú7mesh
•
info@vancouverchamberchoir.com
(Squamish), Stó:lō and Səl̓ ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege.
www.vancouverchamberchoir.com
2
VANCOUVER VANCOUVER CHAMBER CHOIR
CHAMBER CHOIR KARI TURUNEN, CONDUCTOR
sopranos with
Emily M Cheung CHRISTINA HUTTEN, ORGAN
Christina Cichos
Beth Currie
Madeline Lucy Smith
altos – THIS PROGRAM WILL BE PERFORMED WITHOUT AN INTERMISSION –
Dinah Ayre
Maria Golas
tenors
FEAR NOT !
Eric Biskupski
Eric Schwarzhoff
Three motets from
basses
Israelsbrünnlein (1623) Johann Hermann Schein
Steven Bélanger (1586-1630)
Jacob Gramit O Herr Jesu Christe
Herr, lass meine Klage
Ich bin die Wurzel des Geschlechtes David
Two settings of
Nun komm, der Heiden Heiland Samuel Scheidt
(1587-1654)
For organ solo, from Görlitzer Tabulaturbuch (1650)
For voices, from Cantiones Sacrae (1620)
Three vocal concertos from
Kleine Geistliche Konzerte II (1639) Heinrich Schütz
(1585-1672)
Rorate caeli, SWV 322
Ich ruf zu dir, Herr Jesu Christ, SWV 326
Wer will uns scheiden?, SWV 330
Fürchte dich nicht (ca. 1690) Johann Christoph Bach
(1642-1703)
Jesu, meine Freude, bwv 227 (ca. 1723) Johann Sebastian Bach
(1685-1750)
i.Jesu, meine Freude
ii.Es ist nun nichts Verdammliches
Please turn off all phones. iii Unter deinem Schirmen
Recording devices of any kind iv.Denn das Gesetz
are strictly prohibited. v.Trotz dem alten Drachen
vi.Ihr aber seid nicht fleischlich
EventLAB vii.Weg mit allen Schätzen
Video Production
viii.So aber Christus in euch ist
OK DAVE
Graphic Design ix. Gute Nacht, o Wesen
José Verstappen x. So nun der Geist
Program Typography xi. Weicht, ihr Trauergeister
3
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
In a novel by German author Stefan Moster, I came across a sentence that first surprised and then confounded me: “Only sad music can
console.” With time I began seeing Moster’s point. When dealing with loss or sadness, we need music that shows us we are not alone
in our grief and gives those feelings an outlet. I notice that in programming music for this exceptional season, I have generally leant
towards Moster’s thought. Putting together upbeat music just has not felt natural in view of the news surrounding us in this trying year.
Without wanting to banalize anyone’s grief, I sense that we, as a community, are going through the five steps of grief from denial and anger,
through bargaining and depression towards acceptance. I would place us somewhere between bargaining to depression at the moment.
As naïve as it may sound, I believe music can help us to claw our way towards acceptance and, above all, hope.
I wanted to turn to the music presented in this concert because I felt its character is well suited to the times we find ourselves in. I
grew up with this music that is often melancholy or sorrowful, reflecting a world where violence and death was always just around the
corner – after all, our composers lived through wars, epidemics, hard times and often outlived their children and spouses. Still, there is a
steadfastness to these works – a confidence that all will in time be well. Perhaps the most striking combination of texts is found in Johann
Christoph Bach’s Fürchte dich nicht (Fear not), but the same calm optimism is present in so much of the music and texts of this concert. I
hope and trust this music can help us stay confident and strengthen us in the belief that even this pandemic will, in time, pass.
The pandemic gave me a good reason to realize something I had dreamt of doing further down the road with the Chamber Choir: creating
an Early Music ensemble from within the choir. We have prepared this concert in two cohorts of five singers to minimize contacts. This
has been both sensible from the point of view of the pandemic situation and exciting from a musical standpoint. Time will tell whether
this sort of ensemble could be a more regular element within the choir.
Johann Hermann Schein:
Three motets from
Israelsbrünnlein (1623)
Like most early Lutheran church musicians, Johann Hermann Schein was well educated. After his training as a boy chorister in the
Chapel of the Electorate of Saxony in Dresden, Schein studied liberal arts and law in Leipzig. He was an early predecessor of J.S. Bach
at the Thomas School of Leipzig between 1616 and his early death at the age of forty-four. Fortune was not with Schein: he lost his wife
during childbirth; only one of his five children survived their first year; and Schein himself seems to have suffered from an amazing
number of ailments from tuberculosis to kidney failure.
Schein’s most important musical influences came from Italy, and his most important collection, Israelsbrünnlein (Fountain of Israel)
from 1623, consists, according to the composer himself, of motets written in the Italian style. It is not difficult to hear the main source
of inspiration: the late-sixteenth-century madrigals of Claudio Monteverdi. The synthesis of a Monteverdian style and biblical texts in
German creates a musical language that has stood the test of time extremely well. O, Herr Jesu Christe is full of madrigalisms (individual
words depicted with musical gestures): when the text speaks of remaining, the music repeats the same chord; when sacraments are
mentioned, the music becomes hymn-like; and on the word “ach” (“oh”) the alternating soprano voices create a feeling of breathless
expectation.
Herr, lass meine Klage is most notable for its changes in pace and the alternation of imitation and homophonic passages. My favourite
gestures are the chromatic upward scales on “Errette mich”.
Even if Ich bin die Wurzel des Geschlechtes David shares many of the characteristics of the previous works, it is more florid in character.
There is an amazing passage in the middle of the work (“Die Gnade unsers Herren”) where first the bass line rises stepwise over an octave,
followed by the soprano mirroring the gesture, but now downwards.
O Herr Jesu Christe
O, Herr Jesu Christe, doch nicht vorübergeh, O Lord Jesus Christ, do not go Your way,
bleib mit deim Wort an diesem Ort. but remain in this place with Your word.
Dein heilge Sakrament erhalt an diesem End, Keep here Your blessed sacraments;
sonst sein wir wie die Schaf verirrt. otherwise we would become lost sheep.
Ach weid’ uns selbst, du guter Hirt. O lead us to the pastures, You, our good Shepherd.
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4
Herr, lass meine Klage
Herr, lass meine Klage für dich kommen; Let my cry come before you, O Lord;
unterweise mich nach deinem Wort, teach me according to your word.
lass mein Flehen für dich kommen. Let my prayer come before you;
Errette mich nach deinem Worte. save me according to your promise.
Meine Lippen sollen loben, May my lips pour forth your praise,
wenn du mich deine Rechte lehrest. as you teach me your laws.
Ich bin die Wurzel des Geschlechtes David
Ich bin die Wurzel des Geschlechtes David, I am the Root of the house of David,
ein heller Morgenstern. the brilliant morning star.
Es spricht, der solches zeuget: The one who has spoken these things says:
Ja, ich komme bald. Amen, ja komm, Herr Jesu. Yes, I am coming soon. Amen, so come, Lord Jesus!
Die Gnade unsers Herren Jesu Christi sei mit euch allen. The grace of the Lord Jesus be with all of you.
Amen. Amen.
Samuel Scheidt:
Two settings of
Nun komm, der Heiden Heiland
If Schein is a good representative of the learned German Lutheran teacher-musicians, Samuel Scheidt is an example of the other bough of
the tree: the organist-artisan, whose training is predominately practical. He began his career as an assistant organist in Halle and studied
with Jan Pieterszoon Sweelinck, the most important organist of the early 17th century, in Amsterdam (1607–09). After returning to Halle,
Scheidt was organist and later Kapellmeister at the court. He lost his position during the Thirty Years’ War and sustained himself on
teaching and temporary work. In an even more pertinent reference to our times, he lost five children to influenza epidemics in the 1630s.
Luther’s advent chorale Nun komm, der Heiden Heiland was based on the Gregorian hymn Veni redemptor gentium to a text by the fourth-
century Church Father Ambrosius. Luther simply translated the text into German and made the melody a little more regular. Scheidt sets
only the first verse. The scoring is for two choirs of four voice parts each. The melody is mainly presented in the soprano parts, but it is
embedded in the texture in a way that fragments appear in all the voice parts. Scheidt shows a mastery of the Italian double-choir style,
as well as an organist’s ability to create variations from a small amount of musical material. This ability is naturally even more apparent in
the little organ prelude on the same theme from the Görlitzer Tabulaturenbuch from 1650.
Nun komm der Heiden Heiland, Now come, Saviour of the gentiles,
der Jungfrauen Kind erkannt, recognised as the child of the Virgin,
dass sich wunder alle Welt, so that all the world is amazed
Gott solch Geburt ihm bestellt. God ordained such a birth for him.
Thank you to
tonight’s Concert Patrons,
Bryan & Gail Atkins
The Vancouver Chamber Choir
appreciates your continued support
of our performances.
5
Heinrich Schütz:
Three vocal concertos from
Kleine Geistliche Konzerte II (1639)
Heinrich Schütz lived an exceptionally long life for his time. When he was born, Giovanni Pierluigi da Palestrina was the maestro of
St. Peter’s in Rome, and when he died, Dieterich Buxtehude was already the organist of St. Mary’s in Lübeck – his life literally spanned
from the Renaissance to the high Baroque. Schütz falls somewhere in between the learned and the practical musicians: his studies in
jurisprudence were interrupted when his patron, Moritz the Landgrave of Hessen, sent him to study composition in Venice under
the tutelage of Giovanni Gabrieli (1609–12). Again, Claudio Monteverdi looms large. Schütz’ ‘thesis’ in Venice was to write a book of
madrigals in the style of Monteverdi’s madrigals and practically all the forms Schütz used during his career were typical of Monteverdi.
This applies even to the Sacred Concertos (Geistliche Konzerte). Ironically, these small masterpieces are the result of the Thirty Years’ War.
Schütz’ resources were cut, and he had to do with fewer musicians (once again, I am tempted to draw parallels to 2020…), during the
times he actually could work – Schütz spent several years in the safety of Copenhagen. The Italian nature of Schütz’ music is clearest in
his Latin works. Rorate caeli for two sopranos and bass could well be by Monteverdi, so natural and fluent is the writing. The text is the
introit for the Fourth Sunday in Advent taken from the Book of Isaiah.
When Schütz changes into his mother tongue, something different enters his music. In my view, no one has ever set the German language
better and the music is subtly transformed by the language. Ich ruf zu dir, Herr Jesu Christ is based on a Chorale from 1529 by Johann
Agricola. The Chorale is not presented in full but is rather the material of this wonderful little motet for three sopranos and bass.
Wer will uns scheiden? is a free composition to a text from Romans 8 (J.S. Bach’s motet later in the program sets verses from the same
chapter), scored for SATB quartet. Chorale-like passages turn suddenly into cascading runs and text is at the forefront all through the
work.
Rorate caeli
Rorate caeli desuper Drip down, ye heavens, from above,
et nubes pluant iustum. and let the clouds pour down righteousness:
Aperiatur terra let the earth open,
et germinet salvatorem. and let it bring forth a Saviour.
Ich ruf zu dir, Herr Jesu Christ
Ich ruf zu dir, Herr Jesu Christ, I cry to Thee, Lord Jesus Christ,
ich bitt, erhör mein Klagen, I pray, hear my complaining,
verleih mir Gnad zu dieser Frist, bestow Thy mercy at this time,
lass mich doch nicht verzagen. let me not fall into despair.
Den rechten Weg, o Herr, ich mein, The right way, O Lord, I think,
den wollest du mir geben, You will show me,
dir zu leben, in order to live for You,
mein Nächsten nutz zu sein, to be of service to my neighbour,
dein Wort zu halten eben. and to always keep to Thy Word.
Wer will uns scheiden?
Wer will uns scheiden von der Liebe Gottes? Who would part us from God’s love?
Trübsal oder Angst, oder Verfolgung? Trouble or fear, or persecution?
Oder Blösse, oder Hunger, Or nakedness, or hunger,
oder Gefährlichkeit, oder Schwert? or danger, or a sword?
Denn ich bin gewiss, For I am sure
dass weder Tod noch Leben, that neither death or life,
weder Engel noch Fürstentum, noch Gewalt, neither angels, or principalities, or force,
weder Gegenwärtiges noch Zukünfitiges, neither present or future things,
weder Hohes noch Tiefes, noch kein andre Kreatur neither lofty or lowly, nor any other creature
mag uns scheiden von der Liebe Gottes, can part us from God’s love,
die in Christo Jesu ist, unserm Herren. which is in Christ Jesus, our Lord.
Amen. Amen.
6
Johann Christoph Bach:
Fürchte dich nicht
In the most famous musician family of them all, Johann Christoph Bach enjoyed a reputation as ‘the profound Bach’, as Johann Sebastian
put it himself. Johann Christoph was the cousin of the father of J.S., and also uncle of J.S.’s first wife, Maria Barbara. In typical Bach
fashion, he was trained by a relative, in this case by his father, organist Heinrich Bach. Johann Christoph was the organist of St. George
in Eisenach for four decades, where his life was shaded by constant financial worries. Only few of his works have been handed down to
us; most of these are vocal.
In Fürchte dich nicht, the four lower voices sing a text put together from extracts from the Book of Isaiah and the Gospel of Matthew, while
the soprano voice joins in with the eight verse of O Traurigkeit, a chorale by Johann Rist from 1623, in long note values. The chorale adds
depth to the fairly lively texture of the lower voices. It is worth noting that J.S. Bach later used the same method of compiled texts and
chorales in his works. And it is probably no coincidence that J.S. later used parts of the same texts in his own setting of Fürchte dich nicht.
It seems that musical talent was not the only thing that was handed down in the Bach family.
Fürchte dich nicht, denn ich hab’ dich erlöst, Fear not, for I have redeemed you;
ich hab’ dich bei deinem Namen gerufen, I have called you by name,
du bist mein. you are mine.
Wahrlich, ich sage dir: Truly, I say to you,
heute wirst du mit mir im Paradies sein. today you will be with me in paradise.
O Jesu du, mein Hilf und Ruh, O Jesus, you my aid and rest,
ich bitte dich mit Tränen: I beseech you with tears:
hilf, dass ich mich bis ins Grab nach dir möge sehnen. Help me, that even unto the grave I might yearn for you.
Johann Sebastian Bach:
Jesu, meine Freude, bwv 227
The fame of Johann Sebastian Bach is so immense that it is difficult to see him as a continuation of a tradition or as part of any group. But,
in essence, the background and career of J.S. Bach is very similar to those of the other composers on this program. He came from a family
of musicians, was trained in the age-old apprentice tradition, worked in courts and was employed most of his life as a cantor and teacher
of music at St. Thomas in Leipzig. His career is actually not remarkable in any way. During his lifetime he was respected above all as an
organist and his pedagogical collections for keyboard players were fairly popular. His music was considered very learned and skilled, but
a little old-fashioned and unnecessarily complex.
Jesu, meine Freude is a funeral motet, as is the preceeding motet by Johann Cristoph Bach. This extraordinary work is, in all likelihood,
from the late 1720s. It consists of eleven movements, alternating verses from Johann Krüger’s chorale Jesu, meine Freude (text by Johann
Franck) with verses from the eighth chapter of Paul’s letter to the Romans. The whole motet is a giant mirror structure in which the focal
point is the fugue on Ihr aber seid nicht fleischlich, sondern geistlich. The variation from one chorale movement to another is extremely
impressive and the energy Bach has found in the rather heavy theological ponderings of Paul is, if possible, even more astounding. I am
reminded of something one of my favorite authors, J.M. Coetzee, wrote in his Diary of a Bad Year. I might want to broaden the definition
beyond J.S. Bach and even just leave it at “…comes music”.
The best proof we have that life is good, and therefore that there may perhaps be a God after all, who has our welfare at heart, is that
to each of us, on the day we are born, comes the music of Johann Sebastian Bach. It comes as a gift, unearned, unmerited, for free.
I I
Jesu, meine Freude, Jesus, my joy,
meines Herzens Weide, pasture of my heart,
Jesu, meine Zier, Jesus, my desire,
ach wie lang, ach lange ah how long, how long
ist dem Herzen bange, is my heart filled with anxiety
und verlangt nach dir! and longing for you!
Gottes Lamm, mein Bräutigam, Lamb of God, my bridegroom,
ausser dir soll mir auf Erden apart from you on the earth
nichts sonst Liebers werden. there is nothing dearer to me.
Please turn page quietly
7ii ii Es ist nun nichts Verdammliches There is therefore now no condemnation an denen, die in Christo Jesu sind, to those who are in Christ Jesus, die nicht nach dem Fleische wandeln, who do not walk according to the flesh, sondern nach dem Geist. but according to the Spirit. iii iii Unter deinem Schirmen Beneath your protection bin ich vor den Stürmen I am free from the attacks aller Feinde frei. of all my enemies. Lass den Satan wittern, Let Satan track me down, lass den Feind erbittern, let my enemy be exasperated – mir steht Jesus bei. Jesus stands by me. Ob es itzt gleich kracht und blitzt, Even if there is thunder and lightning, ob gleich Sünd und Hölle schrecken: even if sin and hell spread terror Jesus will mich decken. Jesus will protect me. iv iv Denn das Gesetz des Geistes, For the law of the Spirit of life der da lebendig machet in Christo Jesu, in Christ Jesus hat mich frei gemacht has made me free von dem Gesetz der Sünde und des Todes. from the law of sin and death. v v Trotz dem alten Drachen, I defy the old dragon, trotz des Todes Rachen, I defy the jaws of death, trotz der Furcht dazu! I defy fear as well! Tobe, Welt, und springe; Rage, World, and spring to attack: ich steh hier und singe I stand here and sing in gar sichrer Ruh. in secure peace. Gottes Macht hält mich in Acht; God’s might takes care of me; Erd und Abgrund muss verstummen, earth and abyss must fall silent, ob sie noch so brummen. however much they rumble on. vi vi Ihr aber seid nicht fleischlich, But you are not in the flesh sondern geistlich, but in the Spirit, so anders Gottes Geist in euch wohnet. if indeed the Spirit of God dwells in you. Wer aber Christi Geist nicht hat, Now if anyone does not have the Spirit of Christ, der ist nicht sein. he is not His. vii vii Weg mit allen Schätzen! Away with all treasures! Du bist mein Ergötzen, You are my delight, Jesu, meine Lust! Jesus, my joy! Weg ihr eitlen Ehren, Away with empty honours, ich mag euch nicht hören, I’m not going to listen to you, bleibt mir unbewusst! remain unknown to me! Elend, Not, Kreuz, Schmach und Tod Misery, distress, affliction, disgrace and death, soll mich, ob ich viel muss leiden, even if I must endure much suffering, nicht von Jesu scheiden. will not separate me from Jesus. viii viii So aber Christus in euch ist, And if Christ is in you, so ist der Leib zwar tot the body is dead um der Sünde willen; because of sin, der Geist aber ist das Leben but the Spirit is life um der Gerechtigkeit willen. because of righteousness. 8
ix ix
Gute Nacht, o Wesen, Good night, existence
das die Welt erlesen, chosen by the world,
mir gefällst du nicht! you do not please me.
Gute Nacht, ihr Sünden, Good night, you sins,
bleibet weit dahinten, stay far behind me.
kommt nicht mehr ans Licht! Come no more to the light
Gute Nacht, du Stolz und Pracht! Good night, pride and splendour,
Dir sei ganz, du Lasterleben, once and for all, sinful existence,
gute Nacht gegeben. I bid you good night.
X x
So nun der Geist des, But if the Spirit of Him
der Jesum von den Toten who raised Jesus from the dead
auferwecket hat, in euch wohnet, dwells in you,
so wird auch derselbige, He who raised Christ
der Christum von den Toten from the dead
auferwecket hat, will also give life
eure sterbliche Leiber to your mortal bodies
lebendig machen, um des Willen, through His Spirit
dass sein Geist in euch wohnet. who dwells in you.
XI xi
Weicht, ihr Trauergeister, Go away, mournful spirits,
denn mein Freudenmeister, for my joyful master,
Jesus, tritt herein. Jesus, now enters in.
Denen, die Gott lieben, For those who love God
muss auch ihr Betrüben even their afflictions
lauter Zucker sein. become pure sweetness.
Duld ich schon hier Spott und Hohn, Even if here I must endure shame and disgrace,
dennoch bleibst du auch im Leide, even in suffering you remain,
Jesu, meine Freude. Jesus, my joy!
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9N E W H O N O R A RY PAT R O N
*
D OR I S LU K I N G
As you will see at the front of
tonight’s program, we have a
Recordings for Sale at
number of newly appointed www.vancouverchamberchoir.com
Honorary Patrons.
The Healing Series
These are all people who have
played a significant role in sup- h Finding the Still Point music for healing * A healing ambience of calm,
porting the Vancouver Cham- warmth and consolation projected through 15 beloved choral favourites with
ber Choir in various ways.
interconnecting Gregorian chants.
h A Quiet Place music for healing III * An outstanding collection of choral
Today we honour Mrs. Doris treasures chosen to help find peace, quiet and healing in today’s hectic world.
Luking, who has made these
comments on her history with The Masters Series
the choir: h BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a
“My late husband, Hans and I developed our love of choral mu- gala Expo 86 concert, with Jon Washburn and Michael Corboz conducting their
sic in our younger years when we sang in our German Baptist
professional choirs from Canada and Switzerland.
church choir together, singing many favourite sacred classical h Missa Brevis Four contrasting short masses by Haydn Missa Brevis Sancti
music pieces. The soloist at our 1969 wedding was our neigh- Joannis de Deo, Fauré Messe basse, von Weber Jubelmesse and Christoph Bernhard
bour and friend Violet Goosen, who introduced us to the Van- Missa Durch Adams Fall.
couver Chamber Choir in which she sang. We immediately be- The Canadian Composer Series
came avid concertgoers with Vi becoming a long-time General
h A Garden of Bells * R. Murray Schafer, Vol. 1: Early choral works including
Manager and Hans an enthusiastic Board member of the choir.
Miniwanka, Epitaph for Moonlight, Snowforms, Gamelan, Sun, Fire, Felix’s Girls
One of my favourite memories was hosting fundraising dinners and A Garden of Bells.
at our home for the choir – lovely evenings of mingling with h Imagining Incense* R. Murray Schafer, Vol. 3: Recent choral works including
family and friends, dinner on the outside patio followed by a Magic Songs, Three Hymns, Rain Chant, Alleluia, Beautiful Spanish Song, Imagining
house concert featuring members of the Chamber Choir. Hans Incense and other works.
and Vi would also entertain guests with a duet accompanied by h The Love that Moves the Universe * R. Murray Schafer, Vol. 4: Three
the talented pianist Linda Lee Thomas. It was never a problem outstanding major works recorded in 2018 for the composer’s 85th birthday:
to have a full house. the title piece for choir and orchestra, plus The Star Princess and the Waterlilies and
Narcissus and Echo.
The Chamber Choir has always had a special place in my heart
as they honoured Hans at a post-concert reception on Good h Earth Chants Imant Raminsh, Vol. 2 Missa Brevis in C Minor, Earth Chants &
Friday 2013 and then sang with a small ensemble at his celebra- smaller works.
tion of life a few weeks later. h Due West Stephen Chatman, Vol. 2 With oboist Roger Cole and pianist Linda
Lee Thomas.
I am happy to continue Hans’ legacy by supporting this mar- h Due East Stephen Chatman, Vol. 3 The Canadian composer’s latest pieces since
vellous professional choir as they inspire and delight listeners 2000.
with their beautiful blend of voices. As Hans always used to say h Rise! Shine! * Music of Jon Washburn Including The Star, A Stephen Foster
‘Music removes the shadow from the soul’.” Medley, Chinese Melodies, Rossetti Songs, God’s Lamb, Noel Sing We!, Behold I
Doris Luking build an house and Rise! Shine!
The Christmas Recordings
h A Dylan Thomas Christmas * The Vancouver Chamber Choir’s signature
performance of A Child’s Christmas in Wales, read by Welsh actor Russell Roberts
with special carol settings by Jon Washburn.
h A World Christmas Carols and seasonal songs of many lands from guitarist
and arranger Ed Henderson, the Worldfest Ensemble and the Vancouver 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.
10W 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.
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$15,000+ | Sun Life Financial*
$10,000 - $14,999 | Pille Bunnell & David Tait * | George Laverock & Jane Coop*
$ 5,000 - $ 9,999 | Canada Life* | Tama Copithorne* | Cameron Haney* | Ronald Haney* | Kinder Morgan Foundation | Douglas & Teri Loughran | Tong & Geraldine
Louie Family Foundation | Doris Luking* | Dr. Robert Rothwell*
$ 2,500 - $ 4,999 | Anonymous * | Bryan & Gail Atkins* | Bishop’s* | Count Enrico & Countess Aline Dobrzensky* | Charles & Lucile Flavelle* | Mike & Kathy Gallagher |
Janis Hamilton* | Don & Pat Hudson* | Lloyd Carr-Harris Foundation | Martha Lou Henley Charitable Foundation* | Mary & Gordon Christopher Foundation | Music BC |
SOCAN Foundation* | Jon Washburn & Linda Lee Thomas*
$ 1,500 - $ 2,499 | Alan & Gwendoline Pyatt Foundation | Janet Allwork* | Matthew Baird* | Vaughn Chauvin & Carolyn Shiau | Sylvia Crooks* | Mark De Silva* |
Edith Lando Charitable Foundation | Al & Violet Goosen* | The Hamber Foundation | Heathcliff Foundation | Donna Hogge* | Legavi Holdings Ltd. | Rita Nash* |
Christine Nicolas*
Drs. Katherine Paton & Jeff Beckman | John & Leonora Pauls* | Rix Family Foundation | Karen Seaboyer* | Fei Wong | ZLC Foundation
$ 1,000 - $ 1,499 | Anonymous | Steven Bélanger | Burrowing Owl | The Christopher Foundation* | Drs. Robin & Margaret Cottle* | Diamond Foundation | Brian
G’froerer | Linda Johnston* | Jerry & Lilli Luking | McGrane-Pearson Endowment Fund | Sharon Newman* | Viviane Nitting* | Quails’ Gate | Diane Roscoe
$ 500 - $ 999 |Anonymous (4) | Dr. Larry & Maggie Burr | Joyce Campkin | Elizabeth Caskey* | Isobel Cole* | David Cousins* | Jeanette Gallant | Cam Gillett | Linda
Hamilton* | Phillip & Imbi Harding | Ann Howe* | Brent Hunter | Catherine Imrie | Izumo-Canada Friendship Society | J. Evan & Janice Kreider | Sophia Leung |
Nicolas & Marta Maftei* | Natalie Marshik | Colin Miles* | Hazel Osborne | Philip & Claire Daykin Charitable Fund | Elizabeth Rathbun | Grant Rowledge | The Simons
Foundation Canada* | Harry Snyders | Rod & Donna Stark | Ian Tait* | Kari Turunen | Victoria Uberall* | Vancouver Foundation | Barrie & Margaret Vickers* | Gwyneth
Westwick* | Jennifer Wilnechenko | Eric Wilson* | William Worrall | Bruce Wright
$ 250 - $ 499 | Mike Barnett | Shirley Bens | Anne Bonnycastle & Matt Powell | Peter Cass* | Stephen Chatman & Tara Wohlberg | Jane Ciacci | Reg & Laura Cichos | Ellen
Doise | James Glassford & Janice Trenholme | Ismail Farahani & Myrna Driol* | William & Heather Ireland | Dr.& Mrs. James & Josephine Lai* | Tim & Fiona Laithwaite |
Carol Ann Lang* | Sheila Lindfield | Giselle Lightle | Kathy Mann | Peter Mercer | Alexandra Nicolas | Frances Picherack | R. Lindsay Perceval | Pat Rekert | Anthony
Roper | R. Murray Schafer & Eleanor James | Pat Scrivens | Shirley Sexsmith | Beverly Short | Bruce Stuart | Olga Volkoff | Wendy & Christopher Walker | Raymond Young
$ 100 - $ 249 | Anonymous (5) | Rita Acton | Gloria Aldrich | Frank & Anita Anderson | Kenton Anderson | David & Jan Buley | Lloyd Burritt | Frank Cameron | George
Challies* | Marylin Clark* | Dr. Pamela Dalziel | Dr. Terence Dawson | Marylin deVerteuil* | Marna Disbrow | Richard Dolan | Earl & Monica Drake | Morna Edmundson |
Susan Edwards | Elektra Women’s Choir | Ian Farthing | Thom Geise* | Linda Hamilton | Michael B. Hare | Victoria Hathaway | Johanna Hickey | Donna Hinds | Shirley
& David Hsu | Ralph Huenemann & Deidre Roberts* | Lars Kaario | Wendy Klein | Laurel March | Craig Morash* | Paul Nash | William Patey | Imant Raminsh | Patrice
Ranger | Douglas Reid | Ronald Schubank | Eileen Sengara | Elizabeth Snow | David Squires | Dr. Ian and Mrs. Jane Strang | Lucille Taylor | Ching Tien | Anthony Tobin |
Joel Tranquilla | Jose Verstappen | Margaret Wadge | Marianne Werner | Tom Whalley
Up to $100 | Anonymous (7) | Maria Baharustani | Lois Bewley | Jenny Crober | Colin Dowson | Judith Forst* | Sarah Gaddes | Nancy Garrett | Drusilla Harding | Dr.
Peter Harmon | Rudolf & Ulrike Janzen | Dianne Kennedy | Ann Marie McGrath | Jean Pamplin | Silva Plut | Jennifer Price | Jocelyn Pritchard | David Rain | Stan Ridley |
George & Frances Roberts | Rogers’ Chocolates | Polly Sams | Dr. Heather Sutherland | Urban Impact Recycling*
* 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 Shirley Bens – in honour of Dr. Robert Rothwell’s retirement
Ciacci | Sylvia Crooks | Monica & Earle Drake | Janis Hamilton | Stephen Heeney | Drs. Robin & Margaret Cottle – in honour of Dr. John Trotter
David Hilton | Izumo-Canada Friendship Society | Linda Johnston | Raymond James Glassford & Janice Trenholme – in honour of Colin Miles
Kam | Wendy Klein | Cynthia Mak | Chris McGill | Donald McRae | Nozomi
Nakamura | Christine Nicolas | R. Lindsay Perceval | Pat Rekert | Theresa Wright|
Join our list of valued partners, donors and supporters.
Laverne G’froerer | Maurice & Tama Copithorne | Brian G’froerer
Visit our website www.vancouverchamberchoir.com, click on the “Support”
My wife, Marion Haney | Ron Haney 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
Björn Nitting | Al & Violet Goosen | Viviane Nitting | John & Leonora Pauls
would like your donation to support.
In memory of Bob | Jean Pamplin
Thank you – we couldn’t do this without you!
Fern Seaboyer | Karen Seaboyer*
11vancouverchamberchoir.com
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