DOCSLIB.ORG

A Time for Life

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Time for Life A TIME FOR LIFE 1 CAPPELLA ROMANA Alexander Lingas Robert Kyr: A Time for Life Founder and Artistic Director An environmental oratorio soprano LeaAnne DenBeste Stephanie Noble alto Tuesday Rupp Kristen Buhler, alto (A2) Part I: CREATION Part III: REMEMBERING tenor Cahen Taylor i. Prologue. [Instrumental] I. DANCE OF LIFE Mark Powell ii. Proclaiming. iii. Arriving. II. CANTICLE OF LIFE bass iv. Praising. Canticle: First Part Aaron Cain v. Trembling. i. First Soliloquy David Stutz vi. Rejoicing. ii. First Canons iii. Chorale, First Verse Part II: FORGETTING Canticle: Second Part i. Prologue. [Instrumental] iv. Second Soliloquy THIRD ANGLE NEW MUSIC v. Chorale, Second Verse ii. Supplication I: We Ignore Your Word vi. Second Canons Ron Blessinger iii. Witness I: Look and Behold Violin & Artistic Director Canticle: Third Part iv. Supplication II: We Devour Your Forest vii. Third Soliloquy Anna Schaum v. Witness II: Breathe and Remember viii. Chorale, Third Verse Viola ix. Third Canons vi. Supplication III: We Defile Your Oceans Hamilton Cheifetz vii. Witness III: The Survivor Canticle: Final Part Violoncello x. Final Chorale viii. Supplication IV: We Destroy Nature xi. Final Canons ix. Witness IV: Howl, You Shepherds! xii. Epilogue x. Supplication V: We Pollute the Air xi. Witness V: The Joyless Land xii. Supplication VI: The Dying Planet xiii. Witness VI: The Sacred Way 2 camp in 1942); and the Orthodox “Service for the Environment” that was written in 1961 by the monk Gerasimos at the monastery of the Skete of Little Anne on Mt. Athos (Greece). • Part II: Forgetting. The second part explores A TIME FOR LIFE BY ROBERT KYR humanity’s present inability to live in harmony with Program note by the composer nature as “forgetting” and makes a recurrent appeal to the Creator: “… We forget who we are. Help us to remember …” Forgetting is structured in six sections One of the most urgent issues facing the world today and each consists of two parts: a “supplication” (a is the ecological crisis caused by humanity’s inability solo followed by canons) paired with a “witness” to live in harmony with the natural world. My account (an aria, duo or trio). The sources for Part II collaboration with Cappella Romana grew out of our are: the U.N. Environmental Sabbath Program; the mutual concern about this potentially catastrophic Books of Jeremiah and Isaiah; the Chinook Psalter; situation. After many discussions, I decided to create and an Ojibway Prayer, as well as the Orthodox an environmental oratorio in order to address this “Service for the Environment.” crucial topic from a variety of perspectives. • Part III: Remembering. The third part begins with A Time for Life (2007) was created for eight of the the Dance of Life followed by the Canticle of Life. The principal singers of Cappella Romana, Alexander “dance” features a double chorus singing call-and- Lingas (its director), and the ensemble Medieval response (three women juxtaposed with three men), Strings with a later version (2008) for modern whereas the “canticle” is structured in four parts, instruments (Third Angle New Music). The work each of which contains a soliloquy (solo), a section features each of its vocalists as a soloist, a chamber of canons, and a chorale (full, eight-voice choral musician (a member of duo- and trio-formations), texture). The text sources for Part III are a Pawnee/ and a chorister (part of the full eight-voice choral Osage/Omaha Indian Song, a Navaho Chant, the texture). I know the artists of Cappella Romana Book of Ecclesiastes, and the Orthodox “Service for well and so I created the oratorio expressly for the Environment.” them so that they could explore the full range of A Time for Life is a “musical play” that traces a their abilities. In this sense, A Time for Life is a journey from the glory of Creation as it was given to musical play in which each “character” (singer or humanity (Part I) through our destructive behavior instrumentalist) performs a variety of roles. In a live as demonstrated by the current global environmental performance, this play is also enacted through both crisis (Part II: Forgetting). The potential for the music and a simple choral choreography; the destruction is total: the forest (Supplication & movement of the performers through the concert Witness II); the oceans (Supplication III); animal life space is a journey that embodies the meaning of the (Supplication IV); the air we breathe (Supplication text. V); and the entire planet itself as plagued by The composite text forA Time for Life was adapted corruption and abuse (Supplication VI). No one from a wide range of sources that explore the can escape the responsibility for the earth (“My relationship of humanity to nature. The work is people are fools,/Senseless children/Who have no structured in three large-scale parts, as follows: understanding”), especially the leaders (“No more • Part I: Creation. In the first part, the nature of will the fool be called noble,/For he speaks foolishly,/ creation is celebrated through praise for the Creator Planning evil in his heart”). The ruling class of all and through rejoicing in the pure creative force nations is particularly culpable in its folly (“Howl, of existence. The text was adapted from several you shepherds, and wail!/Roll in the dust, leaders of sources: a Sioux Prayer; an Eskimo Song; Psalm 8; the flock!/There is no flight for shepherds,/No escape An Akathist in Praise of God’s Creation (attributed to for leaders of the flock./There is no escape!”). Metropolitan Tryphon, 1934, but possibly written by The final phase of the journey (Part III: Father Gregory Petrov who died in a Soviet prison Remembering) moves towards a hopeful future in 3 which humanity serves as a responsible steward of And thus, my environmental oratorio traces our the earth and thus realigns itself with the creative journey from a state of division and separation to the forces of existence. This journey is a spiritual one way of unity and wholeness. in which we remember our true responsibility —Robert Kyr of stewardship for the earth, and through this awakening finally “act[s] as one to preserve creation” (Part III: Final Chorale). This spiritual awakening leads to true and sustained action, as the final arc of the journey passes through three phases: “… remembering… restoring… rejoicing…” In turn, these phases lead to gratitude for all life: “Beauty before me…behind me…below me…above me…around me…In beauty it is finished…” A Time for Life is dedicated to Alexander Lingas and Cappella Romana. I believe that music and the arts have a crucial role to play in the transformation of the current energy of cynicism and destruction into the life-sustaining attitude and energy of creativity. NO WHITE FLOOD. #1 on AmazonBLACK New ON Releases! SILVER HYMNSONLY OF KASSIANÍ g The earliest music in the world by 2 2 & 4 P a femaleR composer, Kassianí (c.805–865) C 2 - 0 2 Discover the ancient music of ninth-century nun, poet, and hymnographer Y 1 N Kassianí (a.k.a. Kassía). The same singers who brought you the Billboard- C A A topping Lost Voices of Hagia Sophia sing rarely heard chants by the world’s M P R P earliest female composer from whom we have music. E E Cappella Romana’s HYBRID L G L 25th release This recording brings Kassianí’s music to life as never before, informed by the N A I latest research on performance practice of medieval Byzantine chant. R Limited edition SACD E O in high resolution D M Produced by multiple GRAMMY-award winning producer Blanton Alspaugh. A A 2.0 and 5.0 Surround M N Sound. A total 76:40 Also available S Benedict Sheehan: Divine Liturgy, a / W stunning SATB+SATB choral setting of the Orthodox C A A L Divine Liturgy in English in the Slavic tradition. CD and P E P cappellarecords.com high-resolutionL surround sound Blu-ray, with bonus E B L videos. ScoreA also available. L Multi-ch C A I at cappellarecords.com L R Stereo Cappella Records was named the #3 Label in the US on P E P C and where fine music is sold. Billboard’s 2020 Classical Chart. A O F R O D S N . O 4 A I L T L A R L I O G I H V T A S S R I E S G E N R I V D E R D O . C U E N R A S U I T H H Cappella Romana T O F R O I N ZE O D Alexander Lingas TI PU CA B LI LI P C P DU ERF ND OR L, A MA NTA NCE, , RE BROADCASTING, HIRING White Flood (D109) Cyan Magenta Yellow Black “THE GREEN PATRIARCH,” CAPPELLA are most properly ordered by love and thanksgiving. ROMANA, AND A TIME FOR LIFE Some years ago Robert Kyr, having become aware Before climate change became a pressing item on the of and admiring the environmental initiatives of global agenda, signs of human abuse of the natural Ecumenical Patriarch Bartholomew, approached environment had prompted efforts in religious me with the idea of composing an oratorio for communities throughout the world to recover Cappella Romana that would address some of spiritually grounded notions of human stewardship the same issues. This led to further conversations within creation. For Orthodox Christianity, this between us exploring past and present perspectives process began in earnest during the second half on the relationship between divinity, humanity of the tenure of His All-Holiness Dimitrios I as and the environment.
Load more

Recommended publications
  • EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Summer 2020
    EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Summer 2020 PROGRAM #: EMN 20-01 RELEASE: June 22, 2020 Treasures from Wolfenbüttel Starting in the late Renaissance, the court at Wolfenbüttel in northern Germany emerged as a cultural center. The dukes of the house of Welf employed high-profile composers like Michael Praetorius to increase their prestige, but lesser masters like Daniel Selichius made their mark as well. In this edition of Early Music Now, we'll hear from both composers, with performances by the Huelgas Ensemble and Weser-Renaissance Bremen. PROGRAM #: EMN 20-02 RELEASE: June 29, 2020 Those Talented Purcells This week's show focuses on Henry Purcell, and his lesser-known brother (or cousin) Daniel. We'll hear chamber music by both composers, plus selections from the semiopera they worked on together: The Indian Queen, from a 2015 release by The Sixteen. PROGRAM #: EMN 20-03 RELEASE: July 6, 2020 The Lost Voices of Hagia Sophia This week's program showcases an extraordinary recent release from the Portland-based ensemble Cappella Romana. This recording of medieval Byzantine chant composed for Hagia Sophia was recorded entirely in live, virtual acoustics, and soared to #1 on Billboard's Traditional Classical chart! These evocative sounds linger in the soul long after the music fades. PROGRAM #: EMN 20-04 RELEASE: July 13, 2020 Salomone Rossi: Revolutionary Jewish composer Salomone Rossi was a musician who served the Gonzaga court in Mantua. They valued him so highly that he was given a relatively large amount of personal freedom, while other members of the Jewish faith were restricted.
    [Show full text]
  • December 1, 2019
    St. Nicholas of Tolentine Church 2345 University Avenue Bronx, NY 10468 Tel. (718) 295-6800 Fax (718) 367-7411 www.stnicholasoftolentinebronx.org Mass Schedule Saturday Vigil 7:00 p.m. Spanish (piano & cantor) Sunday 8:00 a.m. English (organ & cantor) 9:30 a.m. Spanish (piano & choir/cantor) 11:30 a.m. English (organ & choir/cantor) 1:30 p.m. Vietnamese (keyboard & choir) Augustinian Weekdays 8:30 a.m. Spanish (Mon-Fri.) 12:10 p.m. English (Mon-Fri) 7:45 a.m. Vietnamese (Thu & Sat) Friars Pastoral Staff CATHOLIC FAITH FORMATION All those who are called to follow Jesus in the Catholic faith along with Catholics already Fr. Luis A Vera, O.S.A. baptized (adults, youth & children) who desire to celebrate the sacraments of First Confession, Pastor First Communion and Confirmation can make contact with the coordinator of this area for [email protected] information about the various programs available. Registration for these programs are Fr. Joseph Tran- Associate announced in the bulletin during various times of the year. Also appointments can be made in the parish office at anytime. Fr. Frank Barr, O.S.A Parents wishing to baptize their children (ages 1-5) are invited to make an appointment in the In Residence parish office to speak with a staff member in order to make arrangements for participating in Fr. William Wallace, O.S.A. the Baptismal Program. In Residence Br. Bienvenido Rodriguez, O.S.A SACRAMENT OF RECONCILIATION (CONFESSIONS) In Residence Saturday 4:00-5:00 p.m. and at the parish office by appointment.
    [Show full text]
  • GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-Mail: [email protected], [email protected]
    REV. DR. GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-mail: [email protected], [email protected] Curriculum Vitae Last updated August 22, 2018 Education National and Kapodistrian University of Athens, Athens, Greece School of Philosophy, Department of Musical Studies • Ph.D. in Byzantine Musicology and Psaltic Art (2011) • Dissertation: Τὸ Καλοφωνικὸν Εἱρμολόγιον [The Kalophonic Heirmologion] • Advisors: Gregorios Stathis, Achilleus Chaldaeakes, Demetrios Balageorgos Boston University, Boston, MA Graduate School of Management • Master of Business Administration (2004) Harvard University, Cambridge, MA Harvard-Radcliffe Colleges • Bachelor of Arts cum laude in Government (1997) • Senior Thesis: The Concept of Moderation in the Theories of Plato and Aristotle • Advisor: Petr Lom Greek Orthodox Metropolis of Boston, Boston, MA School of Byzantine Music • Certificate of Byzantine Music with highest distinction (2002) • Studied under Professor Photios Ketsetzis, Archon Protopsaltis of the Greek Orthodox Archdiocese of America. Teaching Experience / Appointments Hellenic College/Holy Cross Greek Orthodox School of Theology, Brookline, MA Assistant Professor of Byzantine Liturgical Music (September 2011 – present) Mathimata, Kratimata, and Deinai Theseis The Kalophonic Heirmologion History of Western Music History of Byzantine Music Directed Study in Byzantine Music Instruction for Beginners Directed Study in Advanced Ecclesiastical Composition in English Service Rubrics Byzantine Music for Clergy Byzantine Music X – Papadike, Old Sticherarion, and Kalophonic Heirmoi Byzantine Music IX – Papadike and Old Sticherarion CV of Grammenos Karanos Byzantine Music VIII – Divine Liturgy Byzantine Music VII – Doxastarion & Slow Heirmologion Byzantine Music VI – Holy Week Byzantine Music V – Prosomoia and Music for Sacraments Byzantine Music IV – Anastasimatarion: Modes II, Pl. II & Varys Byzantine Music III – Anastasimatarion: Modes III, IV & Pl.
    [Show full text]
  • Cantor, God, and Inconsistent Multiplicities*
    STUDIES IN LOGIC, GRAMMAR AND RHETORIC 44 (57) 2016 DOI: 10.1515/slgr-2016-0008 Aaron R. Thomas-Bolduc University of Calgary CANTOR, GOD, AND INCONSISTENT MULTIPLICITIES* Abstract. The importance of Georg Cantor’s religious convictions is often ne- glected in discussions of his mathematics and metaphysics. Herein I argue, pace Jan´e(1995), that due to the importance of Christianity to Cantor, he would have never thought of absolutely infinite collections/inconsistent multiplicities, as being merely potential, or as being purely mathematical entities. I begin by considering and rejecting two arguments due to Ignacio Jan´e based on letters to Hilbert and the generating principles for ordinals, respectively, showing that my reading of Cantor is consistent with that evidence. I then argue that evidence from Cantor’s later writings shows that he was still very religious later in his career, and thus would not have given up on the reality of the absolute, as that would imply an imperfection on the part of God. The theological acceptance of his set theory was very important to Can- tor. Despite this, the influence of theology on his conception of absolutely infinite collections, or inconsistent multiplicities, is often ignored in contem- porary literature.1 I will be arguing that due in part to his religious convic- tions, and despite an apparent tension between his earlier and later writings, Cantor would never have considered inconsistent multiplicities (similar to what we now call proper classes) as completed in a mathematical sense, though they are completed in Intellectus Divino. Before delving into the issue of the actuality or otherwise of certain infinite collections, it will be informative to give an explanation of Cantor’s terminology, as well a sketch of Cantor’s relationship with religion and reli- gious figures.
    [Show full text]
  • Pacific Northwest Viol Workshop Pacific Northwest Viol #207 S.W
    Faculty JOANNA BLENDULF has performed as soloist and continuo player in leading Pacific Northwest Viols period-instrument ensembles including the Catacoustic Consort, Wildcat Viols, the Portland Baroque Orchestra, Bach Collegium San Diego, Nota Bene Viol Consort and Pacific MusicWorks. Joanna teaches viola da gamba and baroque cello privately and in workshops/master classes across the country and has served as viola da gamba soloist at the Carmel and Oregon Bach Presents the Festivals. LEE INMAN – composer/arranger, lecturer, teacher, and ensemble coach – has played Baroque cello and viola da gamba for over forty years. He is president of Pacific Northwest Viols, and has frequently been on the faculty of summer workshops in Arizona, Washington and Oregon. Lee has performed with Baroque orchestras in both Seattle and Portland, and in 2009 helped establish the Portland Viol Consort, the only professional viol quartet in the Pacific Northwest. LAWRENCE LIPNIK has performed with many acclaimed early music Pacific ensembles from ARTEK and Anonymous 4 to Piffaro and the Waverly Consort, and is a founding member of the viol consort Parthenia and vocal ensemble Lionheart. In addition to performing, he is co-director of the New York Recorder Guild, enjoys a busy teaching schedule which has included national and international festivals from the Benslow Music Trust in the UK, Port Northwest Townsend, San Diego and Madison Early Music to Pinewoods and Amherst. He has recorded for numerous labels including EMI, Angel, Nimbus, Virgin, Sony, Koch International and Cantaloupe, and has been a frequent musical collaborator with artist William Wegman. Viol SARAH MEAD teaches, performs, and proselytizes polyphony in the Boston area.
    [Show full text]
  • Download Download
    Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos.
    [Show full text]
  • 3 Cappella Romana Presents VENICE in the EAST: Renaissance Crete
    Cappella Romana presents VENICE IN THE EAST: Renaissance Crete & Cyprus Wednesday, 8 May 2019, 7:30 p.m. Touhill Performing Arts Center, University of Missouri, Saint Louis Friday, 10 May 2019 at 7:30 p.m. Alexander Lingas Christ Church Cathedral, Vancouver, British Columbia Founder & Music Director Presented by Early Music Vancouver Saturday, 11 May 2019 at 8:00 p.m. St. Ignatius Parish, San Francisco Spyridon Antonopoulos John Michael Boyer Kristen Buhler PROGRAM Aaron Cain Photini Downie Robinson PART I David Krueger Emily Lau From the Byzantine and Venetian Commemorations of the Paschal Triduum Kerry McCarthy The Crucifixion and Deposition Mark Powell Catherine van der Salm Venite et ploremus Johannes de Quadris David Stutz soloists: Aaron Cain, Mark Powell Liber sacerdotalis (1523) of Alberto Castellani Popule meus Liber sacerdotalis soloist: Kerry McCarthy Sticherón for the Holy Passion: Ἤδη βάπτεται (“Already the pen”) 2-voice setting (melos and “ison”) Manuel Gazēs the Lampadarios (15th c.) soloists: Spyridon Antonopoulos, MS Duke, K. W. Clark 45 John Michael Boyer Traditional Melody of the Sticherarion Mode Plagal 4 Cum autem venissent ad locum de Quadris Liber sacerdotalis soloists: Aaron Cain, Mark Powell O dulcissime de Quadris Liber sacerdotalis soloists: Photini Downie Robinson, Kerry McCarthy Verses of Lamentation for the Holy Passion “Corrected by” Angelos Gregoriou MS Duke 45, Mode Plagal 2 Sepulto Domino de Quadris Liber sacerdotalis The Resurrection Attollite portas (“Lift up your gates”) Liber sacerdotalis celebrant: Mark Powell Ἄρατε πύλας (“Lift up your gates”) Anon. Cypriot (late 15th c.?), MS Sinai Gr. 1313 Attollite portas … Quem queritis … Liber sacerdotalis Χριστὸς ἀνέστη (“Christ has risen”) Cretan Melody as transcribed by Ioannis Plousiadenós (ca.
    [Show full text]
  • A Byzantine Christmas
    VOCAL ENSEMBLE 26th Annual Season October 2017 Tchaikovsky: All-Night Vigil October 2017 CR Presents: The Byrd Ensemble November 2017 Arctic Light II: Northern Exposure December 2017 A Byzantine Christmas January 2018 The 12 Days of Christmas in the East February 2018 Machaut Mass with Marcel Pérès March 2018 CR Presents: The Tudor Choir March 2018 Ivan Moody: The Akáthistos Hymn April 2018 Venice in the East A Byzantine Christmas: Sun of Justice 1 What a city! Here are just some of the classical music performances you can find around Portland, coming up soon! JAN 11 | 12 FEB 10 | 11 A FAMILY AFFAIR SOLO: LUKÁŠ VONDRÁCˇEK, pianist Spotlight on cellist Marilyn de Oliveira Chopin, Smetana, Brahms, Scriabin, Liszt with special family guests! PORTLANDPIANO.ORG | 503-228-1388 THIRDANGLE.ORG | 503-331-0301 FEB 16 | 17 | 18 JAN 13 | 14 IL FAVORITO SOLO: SUNWOOK KIM, pianist Violinist Ricardo Minasi directs a We Love Our Volunteers! Bach, Beethoven, Schumann, Schubert program of Italy’s finest composers. n tns to our lol volunteers o serve s users ste re o oe ersonnel osts PORTLANDPIANO.ORG | 503-228-1388 PBO.ORG | 503-222-6000 or our usns or n ottee eers n oe ssstnts Weter ou re ne to JAN 15 | 16 FEB 21 us or ou ve een nvolve sne te ennn tn ou or our otent n nness TAKÁCS QUARTET MIRÓ QUARTET WITH JEFFREY KAHANE “The consummate artistry of the Takács is Co-presented by Chamber Music Northwest ou re vlue rt o te O l n e re rteul simply breathtaking” The Guardian and Portland’5 Centers for the Arts FOCM.ORG | 503-224-9842 CMNW.ORG | 503-294-6400 JAN 26-29 FEB 21 WINTER FESTIVAL: CONCERTOS MOZART WITH MONICA Celebrating Mozart’s 262nd birthday, Baroque Mozart and Michael Haydn string quartets DEC 20 concertos, and modern concertos performed by Monica Huggett and other PDX VIVALDI’S MAGNIFICAT AND GLORIA CMNW.ORG | 503-294-6400 favorites.
    [Show full text]
  • Be Moved Be Inspired Be with Us
    VOCAL ENSEMBLE ALEXANDER LINGAS, MUSIC DIRECTOR BE MOVED BE INSPIRED BE WITH US 2019-20 SEASON “In a city full of music, Cappella will always be on my Cappella Romana. ‘must subscribe first’ list.” —LINDA, CAPPELLA ROMANA SEASON TICKET HOLDER More than concerts. Transcendent Become a Season Ticket Holder today and fill your year with transcendent experiences. experiences. YOUR SEASON TICKET HOLDER BENEFITS INCLUDE • Savings up to 15% off standard ticket prices • Free ticket exchanges and lost ticket replacement Discover “a sound world of unique beauty” • First choice of the best seats (Gramophone) in East and West with • One additional FREE ticket to any concert professional vocal ensemble Cappella Romana. • Invitations to private events From medieval Byzantine masterpieces to a • 20% savings on all Cappella Romana CDs world premiere. Traditional to experimental. Transcendent majesty to profound intimacy. WELCOME TO CAPPELLA ROMANA’S 28TH SEASON! WHAT'S IN STORE FOR YOU Concert experiences unlike any others. cappellaromana.org / 503.236.8202 NOV 9, 10 NORTHWEST PREMIERE A reflection on our shared humanity, with the ensemble whose sound is “like jeweled light flooding the space.” LOS ANGELES TIMES Overcome with urgency, Alexander Kastalsky began composing his haunting Requiem during World War I to remember fallen brothers in the Great War across national lines: a call for reconciliation, redemption, and hope. Never performed during the Soviet era, this richly scored Requiem for large a cappella choir receives its Northwest premiere led by guest conductor Steven Fox, nominated for a GRAMMY for his recording of this work with the Clarion Choir. By honoring a part of our darkest history, Kastalsky’s Memory Eternal helps us together embrace courage and hope for the future.
    [Show full text]
  • Suffering and Social Conscience in the Passion Genre from JS Bach's
    Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike.
    [Show full text]
  • Matins Propers
    Matins Propers Sunday of the Holy Fathers of the First Council of Nicaea in the Sixth Tone with the Tenth Resurrection Gospel (The 50th Sunday since last Pentecost – the 5th Sun. of the Great Fast having been in Tone 1) Hexapsalmos The reader chants only Psalm 142 followed by “Glory…” on page 6. Matins then continues with the Litany of Peace on page 7. The Lord is God – Tone 6 (page 9) Troparia (page 9) Troparion of the Resurrection – Tone 6 The repetition of this Troparion is omitted. 1 Cantor (Tone 8): Troparion of the Council Fathers – Tone 8 Cantor (Tone 4): Troparion of Ascension – Tone 4 2 Kathismata (page 10) The 2nd Kathisma is omitted People: Lord, have mercy (three times) Glory to the Father and to the Son and to the Holy Spirit Reader: Now and ever and forever. Amen. From the 3rd Kathisma: Psalm 22 The Lord is my shepherd; there is nothing I shall want. Fresh and green are the pastures where he gives me repose. Near restful waters he leads me, to revive my drooping spirit. He guides me along the right path; he is true to his name. If I should walk in the valley of darkness no evil would I fear. You are there with your crook and your staff; with these you give me comfort. You have prepared a banquet for me in the sight of my foes. My head you have anointed with oil; my cup is overflowing. Your mercy, O Lord, shall follow me all the days of my life.
    [Show full text]
  • The Funeral Service for Helene Costas
    The Funeral Service for Helene Costas Friday 9 July 2021, 2.30pm The Dean meets the coffin at the South West door of the Cathedral. We receive the body of our sister Helene with confidence in God, the giver of life, who raised the Lord Jesus from the dead. The coffin is sprinkled with holy water. With this water we call to mind Helene’s baptism. As Christ went through the deep waters of death for us, so may he bring us to the fullness of resurrection life with Irene and all the redeemed. As the coffin is brought into the Cathedral to a recording of ‘No woman no cry’ by Bab Marley. When the coffin is in place the Dean says God so loved the world that he gave his only Son, so that everyone who believes in him may not perish but may have eternal life. John 3. 16 A family member brings forward an icon and places it on the coffin as the Cantor sings the Kontakion. The Dean then says 2 May the Lord Jesus pray for her. May Mary, theotokos, pray for her. May all the saints, pray for her. Introduction We meet in the name of Jesus Christ, who died and was raised to the glory of God the Father, to remember before God our sister Helene to give thanks for her life; to commend her to God our merciful redeemer and judge; to commit her body to be cremated, and to comfort one another in our grief. Grace, mercy and peace be with you all.
    [Show full text]