Concert 07 - Maestro · JON WASHBURN, CONDUCTOR STEPHEN SMITH, PIANO SYMPOSIUM CONDUCTORS LAWRENCE ABERNATHY CHRIS CHI-SHAN CHENG ELISABETH CHERLAND PAUL GENYK-BEREZOWSKY DIEGO …

The Annual Conductors’ ConcertMAESTRO!

8pm SATURDAY, FEBRUARY 17, 2018Dunbar Ryerson United Church

with Vancouver Chamber Choir | Stephen Smith, piano | Jon Washburn, conductor

With guest conductors:

Lawrence Abernathy (College Station, Texas)

Chris Chi-shan Cheng (Shatin, Hong Kong)

Elisabeth Cherland (Seattle, Washington)

Paul Genyk-Berezowsky (Toronto, Ontario)

Diego Muniz (Mauá, Sao Paulo, Brazil)

Tong & Geraldine Louie Family Foundation

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VA N C O U V E R C H A M B E R C H O I R

The Vancouver Chamber Choir is one of Canada’s national treasures, an outstanding professional vocal ensemble noted for its diverse repertoire and performing excellence.

The Choir has been performing to audiences at home in Vancouver and on tour across Canada since it was formed in 1971 by conductor Jon Washburn. International excursions have taken the Vancouver Chamber Choir to the USA, Mexico, Japan, China, Hong Kong, Taiwan, South Korea, Finland, France, Germany, the Czech Republic, Russia, Estonia, Latvia, Lithuania and Ukraine.

Honoured with the Margaret Hillis Award for Choral Excellence by Chorus America, the Vancouver Chamber Choir has to its credit countless performances and broadcasts, over 30 recordings and numerous awards. Foremost supporters of Canadian music, Jon Washburn and the Choir have commissioned and premiered more than 250 Canadian choral compositions. Over the years they have sung nearly 3,000 performances of 350 pieces by 120 Canadian composers in addition to their extensive international repertoire.

The Choir’s award-winning educational programs include the National Conductors’ Symposium for advanced choral conductors, Interplay interactive workshops for choral composers, Focus! professional development program for student singers, OnSite visitations for school choirs, the biennial Young Composers Competition, and many on-tour workshops and residencies.

J O N WA S H B U R N , A R T I S T I C & E X E C U T I V E D I R E C T O R

Jon Washburn is the longtime Conductor and Artistic Director of the Vancouver Chamber Choir. Well known internationally for his mastery of choral technique and interpretation, he travels widely as guest conductor, lecturer, clinician and master teacher. He is also an active composer, arranger and editor and has had many compositions published, performed and recorded around the world.

In 2001 Mr. Washburn was named a Member of the Order of Canada (the nation’s highest civilian honour) and in 2002 received Queen Elizabeth’s Golden Jubilee Medal for his lifetime contribution

to Canadian choral art. Mr. Washburn received a Distinguished Service Award from the Association of Canadian Choral Conductors in the spring of 1996 and the Louis Botto Award from Chorus America in June 2000, in recognition of “innovative and entrepreneurial spirit in the development of a professional choral ensemble of exceptional quality.” He was given the Friends of Canadian Music Award 2000 by the Canadian Music Centre (CMC) and the Canadian League of Composers in recognition of his outstanding contribution to Canadian composers’ music. In the fall of 2009, he was named a CMC Ambassador and in 2010 received a star on the BC Entertainment Hall of Fame’s Starwalk. In 2012 Mr. Washburn received the Queen Elizabeth II Diamond Jubilee Medal. In June 2014 he received the Michael Korn Founders Award for Development of the Professional Choral Art, presented by Chorus America.

Board of DirectorsGeorge LaverockPresident

Andrew DiltsVice President

Kassia Grewal, C.P.A., C.A.Treasurer

Brent HunterSecretary

Janis HamiltonPast President

Matthew BairdJoAnne BarnumAnne BonnycastleDr. Jeanette Gallant (Oxford)Cameron HaneyDr. Donna HoggeWendy KishEmily McClendonColin MilesLaurent MunierYuliya NeverovaDavid RosboroughDr. Robert RothwellMehnaz ThawerMarianne Werner

Honorary PatronsJohn BishopMaurice Copithorne, Q.C., LL.D.Dr. Stephen Drance, O.C. Sam Feldman Charles Flavelle Ben Heppner, O.C. Don Hudson Dr. John MacDonald, O.C. R. Murray Schafer

Administrative StaffJon Washburn, C.M.Artistic & Executive Director

Steven BélangerGeneral Manager

Nat MarshikBookkeeper/Office Coordinator

Karen SeaboyerManager, Communications & Production

Vancouver Chamber Choir1254 West 7th Avenue Vancouver, B.C., Canada V6H 1B6

Tel: 604.738.6822 • Fax: [email protected]

www.vancouverchamberchoir.com

Wendy D Photography

Photo: Yukiko Onley

The Vancouver Chamber Choir acknowledges that it operates and performs on the unceded Indigenous land belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəyəm (Musqueam), Sḵwxwú7mesh (Squamish), Stó:lō and Səlílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege.

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VANCOUVER CHAMBER CHOIR

s o p r a n o sBeth Buono

Emily CheungChristina CichosKrista Pederson

Lorraine Reinhardt

a l t o sDinah Ayre

Fabiana KatzKaren Mang

Dolores ScottKaryn Way t e n o r sTom Ellis

Matt GaskinCarman J. Price

Eric SchwarzhoffGrant Wutzke

b a s s e sSteven BélangerCameron Haney

Paul NashGeorge RobertsWim Vermeulen

with the participation of Symposium singer:David Rosborough

(Aldergrove, BC)

affiliate conductors

Kathleen AllanFiona BlackburnGeorge RobertsCarrie TennantJoel Tranquilla

Don Harder Archival Recording

Duncan Watts-Grant Stage Management

Corporate Graphics Graphic Design

Violet GoosenDevelopment

José VerstappenProgramme Typography

In order to sustain the mood, it is best to hold your applause

until the end of each set.Please turn off all phones.

Recording devices of any kind are strictly prohibited.

VANCOUVER CHAMBER CHOIRJON WASHBURN, CONDUCTOR

STEPHEN SMITH, PIANO

SYMPOSIUM CONDUCTORS

LAWRENCE ABERNATHYCHRIS CHI-SHAN CHENG

ELISABETH CHERLAND PAUL GENYK-BEREZOWSKY

DIEGO MUNIZ

MAESTRO!THE 38TH ANNUAL NATIONAL CONDUCTORS’ SYMPOSIUM CONCERT

PROGRAMME(Each set includes a prayer, an indigenous text and a story song.)

Paul Genyk-Berezowsky Toronto, Ontario

Ubi caritas Maurice Duruflé (1902-1986)

Zeregleent Gobi (Mirage on the Gobi Desert) (Emily Cheung, soprano) Se Enkhbayar (b. 1956)

Seattle Red (Krista Pederson, soprano) Stephen Chatman (b. 1950)

Diego MunizMauá (São Paulo), Brazil

Ave Maria Anton Bruckner (1824-1896)

Wedding Song from Poniky Béla Bartók (1881-1945)

Waltzing Matilda (Lorraine Reinhardt, soprano) Carl Crossin (b. 1953)

Chris Chi-shan ChengShatin, Hong Kong

Cool Prayers (from The Prairie) Lukas Foss (1922-2009)

Rondo Lapponico Gunnar Hahn (1908-2001)

She’s like the swallow Jon Washburn (b. 1942)

INTERMISSION

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Sun Life Community Outreach Program

Sun Life Financial 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.

Elisabeth Cherland Seattle, Washington

Prayer to Jesus George Oldroyd (1887-1956)

Skidegate Love Song Stephen Chatman

Darthulas Grabesgesang (Darthula’s Dirge) Johannes Brahms (1833-1897)

Jon Washburn Vancouver, British Columbia

Prayer of St. Francis (Steven Bélanger, baritone, Christina Cichos, soprano) Barrie Cabena (b. 1933)

The Mi’kmaq Song Lydia Adams (b. 1953)

Maryse and Partner (from Figures de danse) Lionel Daunais (1901-1982)

Lawrence Abernathy College Station, Texas

Ave verum corpus Wolfgang Amadeus Mozart (1756-1791)

Salish Song Derek Healey (b. 1936)

Ballad of Green Broom Benjamin Britten (1913-1976)

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2018 CONDUCTORS

Lawrence Abernathy (College Station, Texas)

Chris Chi-shan Cheng (Shatin, Hong Kong)

Elisabeth Cherland (Seattle, Washington)

Paul Genyk-Berezowsky (Toronto, Ontario)

Diego Muniz (Mauá, São Paulo, Brazil)

2018 OBSERVERS

Ling Lu (Delta, BC)

Ruby Lyngen (Vancouver, BC)

Tom Peterson (Phoenix, Arizona)

2018 SINGER

David Rosborough (Aldergrove, BC)

The Vancouver Chamber Choiracknowledges the generous support of the

for their support of the 38th annual National Conductors’ Symposium.

VANCOUVER CHAMBER CHOIR THE 38th ANNUAL NATIONAL CONDUCTORS’ SYMPOSIUM

February 12-17, 2018

The February 17 concert MAESTRO! The Annual Conductors’ Concert concludes the six-day conducting symposium, hosted and organized by Jon Washburn and the Vancouver Chamber Choir. The advancement of Canadian choral music through workshops, seminars and conductor training has always been an important part of the Vancouver Chamber Choir’s role as a professional choir.

For the past 38 years, the National Conductors’ Symposium has given talented conductors from around the world the opportunity to work with a professional choir. Out of the many applications received, five conductors are chosen to work with Master Conductor Jon Washburn and the Vancouver Chamber Choir.

During the workshop, the selected conductors are observed in morning and evening rehearsals with the Choir. These rehearsals are complemented by sessions on score interpretation and choral techniques. Applicants may also participate in the Symposium as observers and have one opportunity to conduct if they wish, or they may also take part as singers.

The National Conductors’ Symposium fulfills an important educational function in Western Canada and is an intensive and practical addition to the formal training programs offered in Canadian educational institutions. Through this Symposium, Conductor Jon Washburn and the Vancouver Chamber Choir hope to provide a vitally important stimulus to the growth of choral music in Canada.

The Vancouver Chamber Choir appreciates your generous support of

tonight’s performance and the 38th annual National Conductors’ Symposium

Thank you,

Mike and Kathy Gallagher

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John Bishopand the

Vancouver Chamber Choir Board of Directorsrequest the pleasure of your company

onTuesday, February 27th, 2018

at Bishop’s Restaurant2183 West 4th Avenue, Vancouver

Following the reception there will be music byNatasha D’Agostino, vocals

Jared Burrows, guitar

Reception 6:30pmPerformance 7:00pmDinner 7:30pm

A donation of $295 (tax receipt for $250) will reserve your place at the table. Reserve by February 20th by

calling the Vancouver Chamber Choir at (604) 738-6822.

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P A R T I C I P A T I N G C O N D U C T O R S

Lawrence Abernathy College Station, Texas

Lawrence Abernathy is a choral conductor and tenor based in Texas. He is currently the Director of Music at A&M United Methodist Church in College Station, where he oversees a vibrant music ministry including multiple choral and handbell ensembles, plus a professional staff of singers and instrumentalists, all contributing to comprehensive and diverse musical programming throughout the year. 

He has served multiple professional and community choirs in a variety of roles ranging from artistic to administrative. Since 2016, he has been a Conducting Associate with the Ars Longa Ensemble (Austin, TX), and is the Artistic Director and founder of Sacra Voce which will debut this spring. Other recent engagements include preparing the Brazos Valley Chorale and Chamber Singers for a performance of Brahms’ Ein Deustches Requiem with the Brazos Valley Symphony Orchestra, and serving on the board of Audivi Vocem Conductor’s Choir. 

In 2017, Mr. Abernathy made his Canadian debut with the Toronto Mendelssohn Choir (TMC) and Elora Singers as a Conducting Fellow at the TMC Choral Conductors’ Symposium. He has also appeared as a Conducting Fellow at the University of Georgia Conducting Workshop, and has been a participant at the University of Michigan Conducting Symposium. He holds a MM in Choral Conducting from the University of South Carolina, and a BA in Music from the Schwob School of Music at Columbus State University (GA). 

Chris Chi-shan Cheng Shatin, Hong Kong

Music Director of Hong Kong Youth Choir, Chris Chi-shan Cheng graduated from Hong Kong Baptist University and the Chinese University of Hong Kong with BA, PgDE and MA degrees in music. He has attended choral masterclasses  and symposiums  organized  by Hong Kong Arts Festival  Die  Konzertisten, Vancouver Chamber Choir  and Hong Kong  SingFest, following renowned conductors such as Nicholas Fink, Chen Yun-hung, Jon Washburn and Helmuth Rilling. He is currently a master’s student, majoring in choral conducting at Messiah College.

Mr. Cheng has prepared choirs for John Rutter and  Jimmy Chiang, and has given the Hong Kong premieres of compositions by John Rutter, Chen Yi and Cecilia McDowall. Recent projects of his include Bach: the complete Motets, a concert of contemporary choral pieces with multimedia art and Look at the World with John Rutter, an all-John Rutter program. 

Hong Kong Youth Choir won the category champion and Gold Prize in the Singapore International Choral Festival 2016, and Silver with St. Joseph’s College Chamber Boys’ Choir in Winter Choral Festival 2017.

Elisabeth Cherland

Seattle, Washington

Elisabeth Cherland is a conductor, teacher, song leader, church musician, soprano, and violinist originally from Regina, Saskatchewan. She received her BA in Music and English from Concordia College in Moorhead, MN, and her MMEd from VanderCook College of Music in Chicago. After teaching middle and high school vocal and instrumental music in South Dakota for seven years, she served as the director of music at Holden Village, a Lutheran retreat centre in the Cascade mountains. Ms. Cherland is currently pursuing a DMA in Choral Conducting at the University of Washington in Seattle. As a singer, she has served as soprano section leader for both the Rockefeller Chapel Choir in Chicago and the Concordia Choir, and is a frequent soloist with the UW Chamber Singers and Cohort Ensemble.

Paul Genyk-Berezowsky Toronto, Ontario

Paul Genyk-Berezowsky is a versatile musician and teacher based in Toronto, Ontario. Passionate about sharing his joy of music and promoting positive change, he organizes the annual Friends in Concert Against Brain Tumours in memory of his mother and in support of brain tumour research.

He is currently the Assistant Conductor with the Pax Christi Chorale, has served as an Apprentice Conductor with Orchestra Toronto, and is in his fourth year of directing the Junction Chorus, a choir for adults with intellectual disabilities.

His musical training has included advanced studies in classical guitar with Eli Kassner, oboe with Richard Dorsey, voice with Mark Daboll, and choral conducting with Hilary Apfelstadt at the University of Toronto. Mr. Genyk-Berezowsky is currently training to become a teacher of the Alexander Technique. He is honoured to work with Jon Washburn and the Vancouver Chamber Choir at this year’s National Conductors’ Symposium.

Diego Muniz Mauá, São Paulo, Brazil

Diego Muniz is a choir and orchestra conductor with expertise in sacred music, particularly with Catholic church liturgy as choirmaster.

He received a bachelor degree in conducting from Universidade Estadual Paulista (UNESP), learning from Vitor Gabriel Araujo, Abel Rocha and Lutero Rodrigues. Other workshops and masterclasses connected him with Ragnar Bohlin (Sweden), Angelo Fernandes (Brazil), Mara Campos (Brazil), Carlos Aransay (Spain/UK) and Michael Zaugg (Switzerland/Canada).

Recently he recorded Exultet: Five centuries of sacred music with Coral St. Bernadette. He conducted the Youth Symphony Orchestra of the State of São Paulo, the choir and orchestra of the final concert of the Londrina International Music Festival. He was the Emerging Conductor of the Pro Coro Canada 2016-2017 season.

Currently he sings in São Paulo University Chamber Choir, where he conducts Coral St. Bernadette and is the St. André Diocese conductor.

CALLING STUDENTS OF ANY AGE!

For only $15, you can enjoy some of Canada’s finest choral concerts when you purchase rush tickets to Vancouver Chamber Choir regular season performances.

All students and youth (26 and under) are welcome.

Tickets are available one hour in advance of this year’s Dunbar Ryerson United Church and Orpheum concerts.

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The Healing Seriesh Music for Healing Box Set All of the Vancouver Chamber Choir’s remarkable healing CDs in

one collection, including the original 2-disc “Family Set” of volume II. h Finding the Still Point music for healing * A healing ambience of calm, warmth and

consolation projected through 15 beloved choral favourites with interconnecting Gregorian chants.h Unexpected Gifts music for healing II * Familiar folk music in choral arrangements with

several meditations for harp based on the same themes.h A Quiet Place music for healing III * An outstanding new collection of choral treasures

chosen to help find peace, quiet and healing in today’s hectic world.

The Masters Seriesh BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a gala Expo 86

concert, with Jon Washburn and Michael Corboz conducting their professional choirs from Canada and Switzerland.

h Bach - The Six Motets * Jesu, meine Freude; Komm Jesu, komm; Singet dem Herrn; Der Geist hilft unser Schwachheit auf, Lobet den Herrn, alle Heiden and Fürchte dich nicht.

h Brahms on Life and Love Liebeslieder Walzer with duo pianists Linda Lee Thomas & Terence Dawson.

h Missa Brevis Four contrasting short masses by Haydn Missa Brevis Sancti Joannis de Deo, Fauré Messe basse, von Weber Jubelmesse and Christoph Bernhard Missa Durch Adams Fall.

h Music to Hear Renaissance, Classical and Modern vocal chamber music by Mozart, Beethoven, Schubert, Shearing, Beckwith, Janequin, Crequillon and de Sermisy.

h Simple Gifts Canadian, American and Scottish folksongs in a variety of attractive modern settings by Imant Raminsh, Mack Wilberg, Louis Applebaum, Aaron Copland and Ian McDougall.

The Canadian Composer Seriesh A Garden of Bells * R. Murray Schafer, Vol. 1 Early choral works including Miniwanka,

Epitaph for Moonlight, Snowforms, Gamelan, Sun, Fire, Felix’s Girls and A Garden of Bells.h Once on a Windy Night * R. Murray Schafer, Vol. 2 Four major mid-career choral works

including A Medieval Bestiary, Seventeen Haiku, Vox Naturae and the tempestuous Once on a Windy Night.

h Imagining Incense * R. Murray Schafer, Vol. 3 Recent choral works including Magic Songs, Three Hymns, Rain Chant, Alleluia, Beautiful Spanish Song, Imagining Incense and other works.

h Songs of the Lights Imant Raminsh, Vol. 1 Magnificat, Ave verum corpus, Ave Maria, The Great Sea and more.

h Earth Chants Imant Raminsh, Vol. 2 Missa Brevis in C Minor, Earth Chants & smaller works.h Due West Stephen Chatman, Vol. 2 With oboist Roger Cole and pianist Linda Lee Thomas. h Due East Stephen Chatman, Vol. 3 The Canadian composer’s latest pieces since 2000.h Rise! Shine! * Music of Jon Washburn Including The Star, A Stephen Foster Medley, Chinese

Melodies, Rossetti Songs, God’s Lamb, Noel Sing We!, Behold I build an house and Rise! Shine! h Love Songs for a Small Planet Alexina Louie Love Songs for a Small Planet, Srul Irving Glick

Canticle of Peace, R. Murray Schafer Magic Songs and Imant Raminsh In the night we shall go in.

The Christmas Recordingsh 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.

RECORDINGS FOR SALE IN THE LOBBY

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S T E P H E N S M I T Hpiano

Listeners, critics, and audience members alike know Stephen Smith as “a sensitive and dynamic performer” with a “highly poetic touch” and “superb musicianship which illuminates everything he plays.” Renowned pianist Jane Coop has called her former student “an ex-tremely intelligent and perceptive musician who has great facility and strength in his technique”; and Simon Carrington, a founding member of the King’s Singers, has called him “a magnifi cent pianist,” adding that “it’s a privilege to hear such beautiful playing!” 

Mr. Smith grew up in rural Nova Scotia, where he sang and played the piano from an early age. After initial studies in his home province in both piano and organ, he attended the Royal Northern College of Music in Manchester, England. While there, he participated in national and international competitions, and won numerous awards and distinctions. Since 1990, he has lived in Vancouver, obtaining a Doctoral degree in piano performance from the University of British Columbia, and becoming a fi xture of the city’s choral scene, regu-larly accompanying the Vancouver Chamber Choir, Vancouver Men’s Chorus, Vancouver Bach Choir, Elektra Women’s Choir, and many other ensembles.

He is also a published composer who has been commissioned by such organizations as the CBC, the National Youth Choir, and the BC Choral Federation, and whose music is recorded and performed with great frequency by choirs all over North America and beyond. His work as both accompanist and composer can be heard on dozens of CDs in commercial release, and he has also produced a solo album entitled  Kaleidoscope,  available on iTunes.

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Peter R. Allen The Banks of Newfoundland

Peter R. Allen, who was born and educated in Wales, came to Canada in 1969. He has a Doctorate in Choral Conducting from the University of Iowa, has taught music at universities in four provinces and was active for many years as an adjudicator across Canada. Since 1987 he has been based in Ontario, but this arrangement of The Banks of Newfoundland from 1980 is one of several written around the time he spent teaching at Memorial University in Newfoundland.

The springtime of the year is come,Once more we must away;Out on the stormy Banks to go,In quest of fish to stay.

Where seas do roll tremendously,Like mountain peaks so high;And the wild seabirds around us,In their mad career go by.

Out there we spend our summer months,Midst heavy fog and wind;And often do our thoughts go back,To the dear ones left behind.

CALLING STUDENTS OF ANY AGE!

For only $15, you can enjoy some of Canada’s finest choral concerts when you purchase rush tickets to Vancouver Chamber Choir regular season performances.

All students and youth (26 and under) are welcome.

Tickets are available one hour in advance of this year’s Dunbar Ryerson United Church and Orpheum concerts.

Thank you, John and Leonora Pauls

The Vancouver Chamber Choir appreciates your support of printing

tonight’s concert programand for attending

We hope to see you again this spring!

And when those summer toils are o’er,We return with spirits light;To see our sweethearts and our wives,Who helped us in the fight.

From where the wild sea billows foam,There by cold breezes fanned;Out on the stormy billows,On the Banks of Newfoundland.

Please turn page quietly

Th ank you, David Cousins

Th e Vancouver Chamber Choir appreciates your support of printing

tonight’s concert programand for attending

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Peter R. Allen The Banks of Newfoundland

Peter R. Allen, who was born and educated in Wales, came to Canada in 1969. He has a Doctorate in Choral Conducting from the University of Iowa, has taught music at universities in four provinces and was active for many years as an adjudicator across Canada. Since 1987 he has been based in Ontario, but this arrangement of The Banks of Newfoundland from 1980 is one of several written around the time he spent teaching at Memorial University in Newfoundland.

The springtime of the year is come,Once more we must away;Out on the stormy Banks to go,In quest of fish to stay.

Where seas do roll tremendously,Like mountain peaks so high;And the wild seabirds around us,In their mad career go by.

Out there we spend our summer months,Midst heavy fog and wind;And often do our thoughts go back,To the dear ones left behind.

CALLING STUDENTS OF ANY AGE!

For only $15, you can enjoy some of Canada’s finest choral concerts when you purchase rush tickets to Vancouver Chamber Choir regular season performances.

All students and youth (26 and under) are welcome.

Tickets are available one hour in advance of this year’s Dunbar Ryerson United Church and Orpheum concerts.

Thank you, John and Leonora Pauls

The Vancouver Chamber Choir appreciates your support of printing

tonight’s concert programand for attending

We hope to see you again this spring!

And when those summer toils are o’er,We return with spirits light;To see our sweethearts and our wives,Who helped us in the fight.

From where the wild sea billows foam,There by cold breezes fanned;Out on the stormy billows,On the Banks of Newfoundland.

Please turn page quietly

Vancouver Chamber Choir front of house volunteersensure that everything runs smoothly in the lobby

during your visit.

We wish to thank them for their continued commitment and enthusiasm.

Lisa AkizukiGloria AldrichCecilia BernabeAlison BlockAna BrkichMarylin De VerteuilDavid HarveyJacquie HurstYvonne Kato

Wendy KishYi Wen LowSharon NewmanRon SchubankPat Sing KeyKristina SkoritskayaGeorgia Th orburnKimie Yanada

“I really enjoy the camaraderie of the volunteer group– and signing up gets me into the concert!” – Jacquie

If you would like to volunteer at concerts, just give us a call and see where there’s a place for you. Maybe you’d enjoy greeting people while handing out programs. How about selling CDs? In return, you can learn new skills, meet new people, and enjoy complimentary admission to performances. Email [email protected] or call 604-738-6822 ext 24.

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P R O G R A M M E N O T E S , T E X T S & T R A N S L A T I O N S

Maurice Duruflé Ubi caritas

Maurice Duruflé was a little-publicized French master, best known for his exceedingly beautiful Requiem, Op. 9. Although he lived to an advanced age, he published only a very few works, but each of these is of the highest integrity and beauty. Duruflé’s musical language is based on chant, and is further characterized by the gentle counterpoint, rich harmonies and lush voicings derived from French Impressionism. This Ubi caritas is the best known of four motets Duruflé wrote using Gregorian melodies as themes. Like the others in the set, it is small, gentle and unassuming, yet exquisite in detail and mood.

Ubi caritas et amor, Deus ibi est. Where charity and love are, there is God.Congregavit nos in unum Christi amor. We are assembled in the love of the one Christ.Exsultemus et in ipso jucundemur. We rejoice and take delight in that fact.Timeamus et amemus Deum vivum. We fear and love the living God,Et ex corde diligamus nos sincero. and in our hearts we love with purity.

Roman Catholic liturgy

Se Enkhbayar Zeregleent Gobi

The composer Se Enkhbayar was born in 1956 in the Alsha Aimak of the Inner Mongolian Autonomous Region, People's Republic of China. As the second son of a herdsman he grew up in a rural, pastoral environment, learning traditional folksongs and acquiring the nomad’s worship of nature, the two main features of his distinctive creative style. In 1987 he was one of the founding members of the Mongolian Youth Choir and has been composing for the group ever since. Enkhbayar, long employed as an urt duu soloist in the performance troupe of the Inner Mongolian Radio and Television, has received recognition for his compositions at the national and international level. Zeregleent Gobi for mixed choir and soloist was written for the Inner Mongolian Youth Chorus Troupe in 1992. It uses the mirage – a traditional symbol – to represent the composer’s reflection on the past and present of his nation. He hopes to convey the idea that if humankind does not take care of the environment, what we have now may disappear just as the mirage disappears.

Zeregleent Gobi Mirage on the Gobi Desert

Buman beerees dallaad baikh yim, zeregeleend ee, The mirage calls to me across thousands of milesBuural tüükh min tod’rood baikh yim, nudend’ minee, as if reflecting and reminding me of our ancient history.Botog’ tor’m’n builaad baikh yim, zeregeleend ee, Baby camels cry in the desert seeking their dead mothers.Bodol negel’ uyaraad baikh yim, yuu-niikh bilee. Nostalgia wells up in my mind and thoughts.

Tolgod mangkahn megshüüleed baikh yim, zeregeleend ee, Hills of sand and grass appear in the distant mirage,Tuulsan eleesen tamlaad baikh yim, zürhiig minee, My soul is tortured by what is past and passed away.Toore zag’nei zalbiraad baikh yim, zeregeleend ee, The sparse trees here pray for something else –Tooste horvoo dünsigeed baikh yim, yagaad bilee. why is this dusty world such a sad one?

Tuulaad baiyuu daa, duulaad barnuu daa, Am I to sing to the end? Is there any hope ofNartad uchiraltaikahn Gobi, minu zee, covering these distances? Under the sun, it is the GobiNadad uhaaraltaikhan zeregelee, minu zee. that is my destiny and the mirage that awakens my spirit.

Tengriin khayaag teleed baikh yim, zeregelee nee, The mirage expands on the horizon between earth and skyTertee khoj’ miig kheleed baikh yim, setgel minee. and tells my soul of the future yet to come.Tengerleg’ zayag yöröögööd baikh yim, zeregelee nee, It wishes a heavenly fate to those who are worthyTegsh’hen jargakhiig shivneed baikh yim, nad’daa bilee. and whispers to me of a happier time.

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Stephen Chatman Seattle Red

Stephen Chatman is Professor of Music at the University of British Columbia and one of Canada’s finest and most frequently-performed composers. The Vancouver Chamber Choir has sung much of his choral music over the years, commissioning and premiering many works, and recording three all-Chatman CDs entitled Due North, Due West and Due East. Seattle Red - from that most recent recording - is a rough and raucous setting of a folk-like poem from Robert E. Swanson’s book, Rhymes of a Western Logger. It was written for Pat Miller and the appropriately-named chorus Timbre! of Port Alberni, BC, and follows Seattle Red as he tries to find the woman of his dreams in the logging camps.

Now, this is the tale of Seattle Red,Who had auburn hair on top of his head.He could curse and swear and rave and tear;Laugh to beat Hell; yet crab like a bear.

You could hear him holler for twenty milesIt echoed long in the timber wilds,We could always tell his high-pitched yell,It sounded like a noise out o’ Hell.

But women! bah! were nertz to him,(Unless they were blond and trim of limb),I heard him say on Yesler Way,He picked up a dame by the name of Fay.

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Said Red to the dame, “Now don’t you thinkThat you and me should have a drink?”She nodded her head, in approval said,“A drink it shall be with Seattle Red”.

Oh, what a woman of cultured poiseClung to that muscle-bound man of noise;In a sequin gown she showed him around,From the gyppo flops so well renown.

At last Red’s dough was “gone-with-the-wind”.Like virtue’s gone when a maid has sinned,The fancy dame with the fancy name,She left with grace just like she came.

Robert E. Swanson

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8pm FRIDAY, MARCH 9, 2018Dunbar Ryerson United ChurchVancouver Chamber Choir | Pacifica SingersJon Washburn, conductor

Choral programmes are often organized by similarities of thecomposers included or the texts being sung or chronologically by theeras they represent. But for this concert we’re experimenting withaffective elements of music, grouping pieces together by the emotionsthey evoke. Of course, all music affects us emotionally, even those bycomposers who try expressly to not be expressive. Our Moods andModes concert is more playful in concept, taking us on an evening’sjourney through cheerfulness, piety, intensity, playfulness, sorrowand humour. Music of Bennet, Antognini, Bach, Dvořák, Beckwith,Berring, Alfvén, Bernstein, Dowland, Josquin and Bražinskas.

MOODS AND MODES Emotion in Music

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12

Anton Bruckner Ave Maria

A devout churchman as well as prolific symphonist, the motets of Viennese composer Anton Bruckner are miniatures of the most exquisite simplicity and sincerity. Ave Maria, a classic example of this genre, is an Offertory for the Feast of the Immaculate Conception of the Blessed Virgin Mary.

Ave Maria gratia plena Dominus tecum. Hail, Mary, full of grace, the Lord is with thee.Benedicta tu in mulieribus Thou art blessed among womenet benedictus fructus ventris tui Jesus. and blessed is Jesus, the fruit of thy womb.

Sancta Maria, mater Dei, Holy Mary, mother of God,ora pro nobis peccatoribus, pray for us sinners,nunc et in hora mortis nostrae. Amen. now and in the hour of our death. Amen.

Béla BartókWedding Song from Poniky

Béla Bartók was the greatest Hungarian composer of the 20th century, and - along with Stravinsky and Hindemith - one of the most influential musicians of that time. Like many composers before him, Bartók was very interested in the folk music of his country; he collected and studied the fascinating tunes of the Hungarian and Slovak countryside and opened his own music to the touch of their haunting modalities. This heart-breaking wedding song comes from a set of Four Slovak Folk Songs. Even the awkward English translation preserves the pathos of the original peasant song.

Thus sent the mother her little daughter into a distant land.Sternly she bid her: “Follow thy husband! Never return to me!”

“Lo! I shall change me into a blackbird, shall fly to mother’s home; There I’ll be waiting perch’d in her garden on a white lily’s stem.”

Then out came the mother: “Who is this blackbird? Strange is her song and sad.Forth and begone now, thou little birdling, from my white lily’s stem!”

“To a bad husband, mother hast sent me forth to a distant land. Hard ‘tis to suffer such bitter pining in an ill-mated bond.

A Slovakian folksong, collected by Béla Bartók

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13

Carl CrossinWaltzing Matilda

Carl Crossin is a well-known Australian choral conductor and composer. He conducts the Adelaide Chamber Singers and is Head of Choral Activities at Adelaide University. Th is arrangement of the famous Australian song Waltzing Matilda was made for the Adelaide Chamber Singers, the Tokyo Philharmonic Chorus and the Vancouver Chamber Choir to sing together at the International Performing Arts Festival 2004 in Tokyo’s new Opera City Concert Hall. Waltzing Matilda is the story of a swagman (vagrant) who is looking for work during the depression of 1895. He sets up camp for the night by a waterhole. A sheep comes down to drink and the hungry swagman shoves it in his bag. However, the landowner has witnessed this and brings troopers with him to arrest the swagman. Th e swagman, well aware that the penalty for sheep stealing is hanging, dives in to swim away. However, he is not a strong swimmer and he drowns.

Th e composer adds this note: “Th e words to Waltzing Matilda were composed by 19th-century poet Andrew Barton Patterson, more commonly known as ‘Banjo’ Patterson. Together with Henry Lawson, he’s probably Australia’s most well-known historical literary fi gure. Th e text in the common version of the song (the one I’ve arranged) is a little diff erent from Patterson’s original in places and there are, in fact, two versions of the tune: the familiar one everyone knows, and the ‘Queensland’ version (Queensland is one of the Australian states). I’ve quoted the 1st phrase of the Queensland version as a coda to my arrangement. It’s a beautiful melody of Irish origin and actually suits Patterson’s words better than the more familiar tune.”

Once a jolly swagman swagman - a vagrant, itinerant or trampcamped by a billabong billabong - a water hole, or backwaterunder the shade of a Coolibah tree, Coolibah tree- eucalyptus tree and he sang as he watched and waited ‘til his billy boiled, billy - a tin can‘Who’ll come a-waltzing Matilda with me?’

chorus ‘Waltzing Matilda, Waltzing Matilda, who’ll come a-waltzing Matilda with me.’ And he sang as he watched and waited ‘til his billy boiled, ‘Who’ll come a-waltzing Matilda with me.’

Down came a jumbuck to drink at the billabong, jumbuck - a sheepup jumped the swagman and grabbed him with glee; swag - a rolled-up blanket with one’s possessionsand he sang as he shoved that jumbuck in his tuckerbag, tuckerbag - a bag to carry food in‘You’ll come a-waltzing Matilda with me.’

chorus

Up rode the squatter mounted on his thoroughbred; squatter - the owner of the land and sheep Down came the troopers - one, two, three. ‘Whose that jolly jumbuck you’ve got in your tuckerbag? You’ll come a-waltzing Matilda with we.’

chorus

Up jumped the swagman and sprang into the billabong,‘You’ll never catch me alive’ said he.And his ghost may be heard as you pass by that billabong,‘Who’ll come a-waltzing Matilda with me?’

chorusA.B. Patterson 1895

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14

Lukas Foss Cool Prayers

In 1942, the Berlin-born musical prodigy Lukas Foss became an American citizen and subsequently he determined to write his next music in the style of his adopted country. Choosing the poetry of the Mid-westerner Carl Sandburg, he produced The Prairie, a major cantata for soloists, chorus and orchestra, which became the 19-year-old’s first success as a composer, with major performances in Boston and New York. This evocative verse is a moment of reflection from the very centre of the work; Foss actually suggested “a minute of silence” before it starts!

After the sunburn of the dayHandling a pitchfork at a hayrack,After the eggs and biscuit and coffee,The pearl-grey haystacks in the gloamingAre cool prayers to the harvest hands.

Carl Sandburg (1878-1967)

Gunnar HahnRondo Lapponico

Gunnar Hahn is a Swedish composer, arranger and performer with a special interest in songs, entertainment music and folk music. In 1932 he made his debut as a pianist in Stockholm, and from 1936 he led his own ensembles in the performance of folk and dance music for Swedish Radio. Hahn has always had a strong interest in the music of Northern Sweden and is remembered especially for finding ways of arranging and performing folk music at a time when it was not considered acceptable for radio broadcast because it was “out of tune”! Rondo Lapponico is based on the music of the Sami people – the indigenous people of Finland, Sweden, Norway and Russia. They have a rich oral tradition, one characteristic element of which is a type of yodelling called the yoik. A yoik is short and rhymed, has no cadence and may be repeated many times. The Sami always sing to something: a person, a reindeer, a bear, the sun or anything else encountered through wilderness life. The text consists mainly of one or more vowel sounds like na na na, la la la or je je je. The Sami language causes yoik to differ from the rhythms of most Scandinavian folk music, being more related to the rhythms of the Balkans. Several Sami words to which the yoik is sung are found in this yoik, including Rautasjaure (Iron Lake), Gåddesbakte (Shaman Drum Fell or Hill), Gasa (wild goose) and naititjan (reindeer calf ). Although most of the piece is in lopsided 5/8 and 7/8 meters, the middle part is a bereavement song in the Finnish language, sung in a slightly more comfortable 6/8.

Nå nå nå... Go goholo... Gå gåhålå...Rautasjaure. Lolololo... Ga gahala... Na na na... Iron Lake Gåddesbahakte. Täkå, jäjä... Täkånå jäjäjäjå... Shaman drum fell [fell: treeless hill]

Åvala. Hähähä... Åvala [village or place name]Allesgetje. Vallaha... Hühäü... Allesgetje [village or place name]Gasaha. Vallaha... Wild goose

Isä rakas taivahasta meitä kohteli: Our dear Father in heaven did this to us:Siirsit veljen poijes maasta; he took our brother away from this earth, rakkaansa oli. as he was dear to Him.

Finfina naititjan. Lå lå lå... Reindeer calfNjällelåkk läïka. Lu lu lu...Gåddesbahakte. Shaman drum fell

Traditional Saami and Finnish texts. Special thanks to Laura Arpiainen and Jaakko Mäntyjärvi for tremendous help with the translations.

15

Jon WashburnShe’s like the swallow

Jon Washburn has written frequently for the Vancouver Chamber Choir in his 47 years as Artistic Director, and in 2004 he wrote a set of folksongs called ¡Ensalada! - a ‘salad’ of beloved folksongs from both Mexico and Canada, newly arranged for choir and harp. She’s like the swallow is from that set, performed this time with piano. It is a haunting song of tragic love which was collected in Newfoundland by both Maud Karpeles in the 1930s and Kenneth Peacock in the

‘60s. Its plaintive but beautiful melody has made the song a favourite with Canadian choirs and composers.

She’s like the swallow that flies so high She’s like the river that never runs dry She’s like the sunshine on the lee shore I love my love and love is no more.‘Twas out in the garden this fair maid did go A-picking the beautiful primrose The more she plucked, the more she pulled Until she got her apron full.It’s out of those roses she made a bed A stony pillow for her head She laid her down, no word she spoke Until this fair maid’s heart was broke.She’s like the swallow that flies so high She’s like the river that never runs dry She’s like the sunshine on the lee shore I love my love and love is no more

Traditional Newfoundland folksong

I N T E R M I S S I O N

George OldroydPrayer to Jesus

George Oldroyd was an English organist and composer of church music in the Anglo-Catholic tradition. He was organist of St Michael’s Church, Croydon, from 1920 until his death in 1956. He composed many settings of the mass, but is best remembered for his Mass of the Quiet Hour composed in 1928, whose swooping melodies and lush harmonies recall the “Palm Court” style of that era. This exquisite Prayer to Jesus is based on the poetic prayer of Richard Rolle, the 14th-century Yorkshire mystic and hermit who is reputed to be the very first person to write in English prose.

Jhesu, since Thou me made and bought,Be Thou my love and all my thought,And help that I may to Thee be brought,Withouten Thee I may do nought.

Jhesu, since Thou must do Thy will,And naething is that Thee may let,With Thy grace my heart fulfil,My love and my liking in Thee is set.

Jhesu, at Thy will I pray that I might be,All my heart fulfil, with perfect love to Thee.That I have done ill Jhesu forgive Thou me,And suffer me never to spill Jhesu for pity. Amen.

Richard Rolle (1300-1349)

Stephen Chatman Skidegate Love Song

This touching song comes from Haida Gwaii (formerly the Queen Charlotte Islands) where it was sung in 1974 by Elizabeth Collinson in Skidegate, and captured on tape by the outstanding BC folksong collector Philip J. Thomas. This arrangement was made by Stephen Chatman as part of his popular Five British Columbian Folk Songs, commissioned by the Vancouver Chamber Choir in 1984.

Kl goo kwah skoo do kou de When I am alone and shel natahm pya ske tskloo lonesome

de ko de ni kaw goo fe I think of you,ga fin dyon li koo ge nah and it makes me

sah le oo le ah so sadah o le nah, ah o le nah. that I want to cry.

(Skidegate, British Columbia)

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Saturday, March 3, 2018 | 7:30 pmSt. John’s Shaughnessy Anglican Church1490 Nanton Avenue, VancouverPre-concert talk at 6:45 with composer Carol Barnett

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16

Johannes BrahmsDarthulas Grabesgesang

The Three Secular Songs, Opus 42, are among Brahms’ most lovely and tender choral songs. They were composed when he was still in his twenties, but not published until 1868 after he had become the director of choral singing at the Vienna Singakademie. Darthula’s Dirge, the last piece, is perhaps the gem of the three. It is the German poet Herder’s rendition of a Celtic legend from the pen of Ossian (aka James Macpherson). The dirge (funeral song) is sung by the men and women assembled to mourn at the grave of Darthula, the fair maiden of Kola who is the last descendant of the house of Truthil. The sombre, grey atmosphere of the song has a decidedly Nordic tinge.

Darthulas Grabesgesang Darthula’s Dirge

Mädchen von Kola, du schläfst! Maiden of Colla, you sleep!Um dich schweigen die blauen Ströme Selmas! Around you the blue streams of Selma are silent!Sie trauren um dich, den letzten Zweig They mourn for you, the last branchvon Thruthils Stamm! of Thruthil’s line!

Wann erstehst du wieder in deiner Schöne? When will you rise again in your beauty?Schönste der Schönen in Erin! Fairest of the fair in Erin!Du schläfst im Grabe langen Schlaf, You sleep the long sleep of the grave;dein Morgenrot ist ferne! the glow of morning is distant.

Nimmer, o nimmer kommt dir die Sonne, Never, o never will the sun comeweckend an deine Ruhestätte: to your resting-place and awaken you:

“Wach auf, Darthula! “Wake up, Darthula!Frühling ist draußen!” Spring has come!”

“Die Lüfte säuseln, “The breezes whisper;auf grünen Hügeln, holdseliges Mädchen, upon the green hills, sweet maiden,weben die Blumen! flowers wave!Im Hain wallt sprießendes Laub!” In the grove, sprouting leaves flutter!”

Auf immer, auf immer, so weiche denn, Sonne, Forever, forever then, Sun, surrenderdem Mädchen von Kola, sie schläft! to the maiden of Colla; she sleeps!Nie ersteht sie wieder in ihrer Schöne! Never will she rise again in her beauty!Nie siehst du sie lieblich wandeln mehr. Never again will you see her lovely wandering.

Ossian (aka James Macpherson), German translation by Johann Gottfried von Herder

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Barrie CabenaPrayer of St. Francis

Barrie Cabena has a rich musical background. He was born in Melbourne, Australia and after studies in England made Canada his home and the inspiration for his creative life. He has served as church organist in London, Kitchener-Waterloo and Guelph where his choirs gained a reputation for quality and skill. He has worked as an accompanist with choral directors such as Elmer Iseler, Jan Overduin, Noel Edison, and Howard Dyck. He has appeared as organist and harpsichordist with many orchestras. After 27 years on the Faculty of Music at Wilfrid Laurier University, Cabena took early retirement in 1996, but as Professor Emeritus continues to maintain a keen interest in music education. The anonymous text that is usually called the Prayer of Saint Francis is a widely known Christian prayer for peace. It is often associated with Saint Francis of Assisi but is more probably from the early 20th century. It has been frequently set by choral composers. This version by Cabena is probably his best known piece.

Lord, make me an instrument of thy peace.Where there is hatred, let me sow love;where there is injury, let me sow pardon;where there is doubt, faith; despair, hope; darkness, light;where there is sadness, joy.

O Divine Master, grant that I may not so much seekto be consoled as to console;to be understood as to understand;to be loved as to love.For it is in giving that we receive;it is in pardoning that we are pardoned,it is in dying that we are born to eternal life.

17

Lydia Adams The Mi’kmaq Song

Lydia Adams is a Canadian conductor, pianist and arranger originally from Nova Scotia. She studied voice and piano at New Brunswick’s Mount Allison University, and then at the Royal College of Music in London. Returning to Canada in 1981, she became piano accompanist for the Elmer Iseler Singers. In 1984, she also became conductor of the Amadeus Choir of Scarborough. She became interim conductor of the Elmer Iseler Singers during Iseler’s illness in 1997 and in the following year became that choir’s permanent conductor and music director. The Mi’kmaq Song is based on a First Nations chant - the I’ko Song - which is a gathering song of the ancient Mi’kmaq peoples of Eastern Canada. The use of nature sounds and the call of the human voice honours the traditions of the Mi’kmaq peoples. The sounds are not in any particular language but are made up of vocables.

Kepmite’tmnej ta’n teli l’nuwulti’kw Let us greatly respect our nativenessL’nu Ni’kma’jtut mawita’nej My people let us gatherKepmite’tmnej ta’n wettapeksulti’k Let us greatly respect our aboriginal roots Ni’kma’jtut apoqnmatultinej My people let us help one anotherApoqnmatultinej ta’n Kisu’lkw teli Let us help one another as Creator intendedika’luksi’kw wla wskitqamu. when he put us on the earth.

Lionel DaunaisMaryse and Partner

Lionel Daunais was one of Quebec’s greatest contributors to French-Canadian choral music, as a singer, producer of operettas, lyricist, arranger and composer. (He has a Vancouver connection, too, for he evidently made his professional opera debut in January 1926 as Ourrias in Charles Gounod’s Mireille at the Orpheum!) He often wrote the words for his vocal and choral pieces, as is the case with Figures de danse, a collection of serio-comic tales of dancers and other performers. We have provided the anglophone listener with an English version, but Daunais’ sometimes audacious rhymes are, of course, untranslatable. Maryse and Partner is the final (pun intended) piece of this set - the pièce de (non)résistance, so to speak.

Il n’était pas là, Jos, Joe wasn’t there quand Maryse du haut des frises, when Maryse from the top of the rafters,donna tête basse dans la contrebasse. fell head first into the doublebass.

Et pourtant, depuis vingt ans, Though for twenty yearsen un voltige à donner vertige in a dizzying trapeze act,chaque soir de son perchoir each night from her high perchell venait choir dans les bras costauds de Jos. she fell into Joe’s strong arms.

Mais ce soir, oh ! désespoir ! But this night, O despair!Il n’était pas là, Jos ! Joe wasn’t there!Où est Jos ? Where is Joe?

Est-il indispos ? Is he indisposed?Est-il allé payer son impôt ? Has he gone to pay his taxes?A-t-il, été victime d’un complot ? Was he victim of a conspiracy?Mystère et boule de gomme, What a mystery!jamais ni femm’ ni homme Never shall woman nor man, sur ma foi I swear, ne saura pourquoi. know the reason why.

Lionel Daunais

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18

Wolfgang Amadeus MozartAve verum corpus

Mozart only composed three pieces of sacred choral music in his maturity. Two of them were his largest and most famous vocal works: the Requiem and the C minor Mass. The third was this Ave verum corpus, K.618, a sublime and moving miniature masterpiece. Its melodic and harmonic perfection is simple in structure, yet it expresses the anguished text of the prayer with an audacious chromaticism that seems to foreshadow the romantic sacred art of Liszt and other composers of the 19th century. The hymn itself is a medieval meditation on Christ’s sacrifice and the promise of redemption, with a special focus on the flowing of water from his pierced side as a symbol of Baptism.

Ave verum corpus, Hail true Body,natum de Maria Virgine, vere passum, born of the Virgin Mary, who has truly suffered,immolatum in cruce pro homine. sacrificed on the cross for mortals.

Cujus latus perforatum, Whose side was pierced,unda fluxit et sanguine: whence flowed water and blood:esto nobis praegustatum be for us a foretaste (of heaven)in mortis examine. during our final examining.

Derek HealeySalish Song

Derek Healey was born in Wargrave, England in 1936. He studied with Herbert Howells (composition) and Harold Darke (organ) at the Royal College of Music and further composition with Boris Porena and Goffredo Petrassi in Italy. He has taught at the Universities of Victoria, Toronto and Guelph (during which time he became a “Canadian composer”) and also at the University of Oregon in the United States. Vancouver Chamber Choir records show that we have sung over 150 performances of 13 of his works over the years, especially his outstanding arrangements of Six Canadian Folk Songs which we have presented all around the world. One of these is Salish Song, a noble funeral song from the Salish, a native tribe indigenous to the part of the coast where Vancouver, Victoria, and Seattle are now situated. It is direct and powerful in its expression of grief.

Yahnay hanay hay, Far, far away,Yahhay ay heenay, O there my heart lies.Ah nay hay. Away, far away.

Salish traditional song, southern British Columbia

Benjamin BrittenBallad of Green Broom

Benjamin Britten was undoubtedly the master of modern English vocal music. He composed Five Flower Songs in 1950 to texts of Robert Herrick, George Crabbe, John Clare, and “Anonymous”. The set reflects the whole tradition of English part-song. The selection we are singing tonight extols the fortuitous match-making properties of Green Broom.

There was an old man liv’d out in the wood,And his trade was a-cutting of Broom,He had but one son without thought without goodWho lay in his bed till t’was noon.

The old man awoke one morning and spoke.He swore he would fire the roomIf his John would not rise and open his eyes,And away to the wood to cut Broom.

So Johnny arose and slipp’d on his clothesAnd away to the wood to cut Broom,He sharpen’d his knives, and for once he contrivesTo cut a great bundle of Broom.

When Johnny pass’d under a lady’s fine house,Pass’d under a lady’s fine room,She call’d to her maid: “Go fetch me,” she said,

“Go fetch me the boy that sells Broom.”

When Johnny came in to the Lady’s fine house,And stood in the Lady’s fine room,“Young Johnny” she said, “Will you give up your TradeAnd marry a lady in bloom?”

Johnny gave his consent and to church they both wentAnd he wedded the Lady in bloom;At market and fair, all folks do declare,There’s none like the Boy that sold Broom.

Anonymous

19

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8pm FRIDAY, MARCH 30, 2018 The Orpheum

RACHMANINOV VESPERS

Russian composer Sergei Rachmaninov’s music for the Orthodox All-Night Vigil - often known in the West as the Vespers - is known as his finest unaccompanied choral work, one of the landmarks of the entire choral repertoire. The Vancouver Chamber Choir combines with the Vancouver Cantata Singers to create a suitable Slavic sonority. As a companion piece, the Pacifica Singers join us for a 21st-century masterpiece and Vancouver Chamber Choir favourite – Morten Lauridsen’s Lux aeterna for choirs and orchestra, an intimate work of quiet serenity centred around a universal symbol of hope, reassurance and goodness. And as a little bonus, Gabriel Fauré’s exquisite Messe basse in Jon Washburn’s orchestral version.

and Lauridsen Lux aeterna

with Vancouver Chamber Choir | Pacifica Singers | Vancouver Cantata Singers Vancouver Chamber Orchestra | Jon Washburn, conductor

1.855.985.ARTS (2787) vancouverchamberchoir.com