Byrds and Bees January 2020

BYRDS AND BEES WITH JON WASHBURN, CONDUCTOR EMERITUS

7:30PM | FRIDAY, JANUARY 24, 2020 PACIFIC SPIRIT UNITED CHURCH, 2205 W 45TH AVE AT YEW ST VANCOUVER CHAMBER CHOIR

Artistic Director Kari Turunen began leading the Vancouver Chamber Choir - one of Canada’s premier professional choral ensembles - in Board of Directors September 2019, its 49th concert season. George Laverock Jon Washburn founded the choir in 1971 and it has President become an amazing success story, ranking with Dr. Jeanette Gallant (Oxford) the handful of North America’s best professional Vice President choruses and noted for its diverse repertoire and Adam J. Garvin, CPA, CMA performing excellence. The choir has presented Treasurer concerts at home in Vancouver and on tour across Brent Hunter Canada. International excursions have taken them Secretary to the USA, Mexico, Japan, China, Hong Kong, Taiwan, South Korea, Finland, France, Germany, Matthew Baird the Czech Republic, Russia, Estonia, Latvia, Lithuania and Ukraine. Anne Bonnycastle Dr. Donna Hogge Honoured with the Margaret Hillis Award for Choral Excellence by Chorus America, the choir Wendy Kish has performed countless concerts and broadcasts, released 36 recordings and received numerous Colin Miles awards. Foremost supporters of Canadian music, they are responsible for commissions and Alexandra Nicolas premieres of 334 choral works by 145 composers and arrangers, most of whom are Canadian. Over Dr. Robert Rothwell the years the choir has sung over 4,000 performances of works by Canadian composers, in addition Dolores Scott to their extensive international repertoire. Cara Ventura Marianne Werner The choir’s award-winning educational programs include the Conductors’ Symposium for advanced Jennifer Wilnechenko choral conductors, Interplay interactive workshops for choral composers, Focus professional development program for student singers, OnSite visitations for school choirs, the biennial Young Honorary Patrons Composers Competition, and many on-tour workshops and residencies. John Bishop Stephen Chatman, C.M. Tama Copithorne David Cousins KARI TURUNEN, ARTISTIC DIRECTOR Dr. Stephen Drance, O.C. Sam Feldman Charles Flavelle Kari Turunen is the new Artistic Director of the Vancouver Chamber Violet Goosen Choir and the former artistic director of the male chorus Akademiska Janis Hamilton Sångföreningen, Kampin Laulu chamber choir, the choir of the cantors Ben Heppner, O.C. of the Finnish Lutheran Church, Chorus Cantorum Finlandiae, the all- Don Hudson male Ensemble Petraloysio and the Spira Ensemble. He has won numerous Doris Luking prizes at national and international festivals with his groups. He was Dr. John MacDonald, O.C. named choral conductor of the year in Finland in 2008. Viviane Nitting Imant Raminsh, C.M. Dr. Turunen was educated at the University of Helsinki and the Sibelius Elizabeth Rathbun Academy. He has a Master’s degree in choral conducting and a Doctorate in R. Murray Schafer, C.C. early music performance practice from the University of the Arts, Helsinki. Administrative Staff He tries to balance scholarly activities with his artistic work and firmly believes that scholarship and performance can greatly benefit each other. Dr. Kari Turunen Artistic Director He is a sought-after guest conductor, adjudicator, clinician and teacher of choral conducting, both in Steven Bélanger Finland and abroad. He has also acted as the chairman of the Finnish Choral Directors’ Association Executive Director from the mid-90s until 2017 and is the artistic director of Aurore, an annual Renaissance music Jon Washburn, C.M. festival in Helsinki. Founder & Conductor Emeritus Nat Marshik Before becoming a full-time conductor, Dr. Turunen taught choral conducting and was the head Bookkeeper/Office Coordinator of choral activities at the School of Music of the Polytechnic University of Tampere from 2001 to Karen Seaboyer 2011. He is also a founding member of Lumen Valo, a professional vocal ensemble of eight voices. Manager, Communications & Production Lumen Valo has been a driving force on the early music scene in Finland since its conception in 1993 and has made a name for itself in almost 250 concerts around Finland and Europe. The group has recorded nine CDs, all of them critically acclaimed for their fresh programming and quality of Vancouver Chamber Choir singing. 1254 West 7th Avenue Vancouver, B.C., Canada V6H 1B6 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 [email protected] (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 JON WASHBURN, CONDUCTOR EMERITUS s o p r a n o s Emily Cheung Christina Cichos BYRDS AND BEES Beth Currie Lorraine Reinhardt Madeline Lucy Smith Ave verum corpus Hail true body William Byrd a l t o s (c. 1543-1623) Dinah Ayre Maria Golas Warum ist das Licht gegeben dem Mühseligen? Op.74, No.1 Johannes Brahms Martina Govednik (1833-1897) Fabiana Katz Warum ist das Licht gegeben? Wherefore hath the light been granted Dolores Scott Lasset uns unser Herz Let us lift up our heart t e n o r s Siehe, wir preisen selig Lo now, we count them happy Ian Bannerman Mit Fried‘ und Freud‘ In peace and joy I near my goal Eric Biskupski Tom Ellis Eric Schwarzhoff Missa Brevis Short Mass Leonard Bernstein (1918-1990) Taka Shimojima Kyrie Lord, have mercy b a s s e s Gloria Glory to God in the highest Steven Bélanger Sanctus Holy, holy, holy Jacob Gramit Benedictus Blessed are they Paul Nash Agnus Dei Lamb of God George Roberts Wim Vermeulen Dona nobis pacem Give us peace Fabiana Katz, alto Steven Bélanger, percussion

INTERMISSION

Five Flower Songs, Op.47 Benjamin Britten (1913-1976) To Daffodils The Succession of the Four Sweet Months Marsh Flowers The Evening Primrose Ballad of Green Broom Please turn off all phones. Recording devices of any kind Hilissügis Late Autumn Premiere Performance Ēriks Ešenvalds are strictly prohibited. (b. 1977) In order to sustain the mood Sinine taevas Blue sky it is best to hold your applause Reinuvader The fox until the end of each set. Härmaniitide lend A gossamer flight (This new work has been commissioned for the Vancouver Chamber Choir by Pille Bunnell) Duncan Watts-Grant Stage Management Emily Cheung, soprano Ian Bannerman, tenor

Grant Rowledge Archival Recording Songs of Nature, Op.63 Antonín Dvořák (1841-1904) Corporate Graphics Whispers of music fill my heart Graphic Design Deep in the wood, nightbirds are singing Violet Goosen Development Laughing meadows, dancing meadows Silver-white birch tree, first of the year José Verstappen Program Typography Come, celebrate in song and dancing

3 MISSING OUT ON THE LATEST NEWS?

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John Bishop and the Vancouver Chamber Choir Board of Directors request the pleasure of your company on

Tuesday, February 25th, 2020 at 6:30pm at Bishop’s Restaurant, 2183 West 4th Avenue, Vancouver

Featuring music by Carman J. Price, vocals & Christopher Fraser, guitar

A donation of $295 (tax receipt for $225) will reserve your place at the table. Reserve by February 18th by calling the Vancouver Chamber Choir at (604) 738-6822.

4 JON WASHBURN, CONDUCTOR EMERITUS

Jon Washburn is the Founder and Conductor Emeritus of the Vancouver Chamber Choir, Canada’s outstanding professional vocal ensemble which he led as Artistic and Executive Director for 48 years. He has earned international acclaim for mastery of choral technique and interpretation, travelling widely as guest conductor, lecturer, clinician and master teacher. During those 48 years with the Vancouver Chamber Choir, he led 400 subscription concerts, 150 radio and TV appearances, 800 concerts and events on 92 separate tours, 59 CD recordings, 350 commissioned/premiered new works, 300 large Baroque works, 40 Conductors’ Symposiums, 60 Composers’ Workshops, thousands of individual pieces in over 40 languages and countless workshops and residencies Photo credit: Yukiko Onley for choral conductors, composers, students and singers. Mr. Washburn is an active composer, arranger, lyricist and editor, published by G. Schirmer, Walton, Cypress, Oxford UP, Earthsongs and others. His music is widely published, performed and recorded around the world. He is a noted champion of new choral repertoire, having commissioned and premiered hundreds of new compositions by Canadian, American and European composers. He has conducted thousands of performances of works by Canadian composers, for which he received the Friends of Canadian Music Award from the Canadian League of Composers and Canadian Music Centre. In 2001 he was given the Order of Canada (the nation’s highest civilian honour) and subsequently received Queen Elizabeth’s Silver, Golden and Diamond Jubilee Medals, recognizing his lifetime contribution to Canadian arts and culture. He was awarded a star on Vancouver’s Entertainment Walk of Fame and has received both the Louis Botto and Michael Korn awards from Chorus America, marking his long devotion to the development of professional choirs and the choral art. Last May, he received the Barbara Pentland Lifetime Achievement Award for 2019 from the Canadian Music Centre.

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concerts of the Vancouver Chamber Choir are made available to hundreds of people with health

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5 PROGRAM NOTES, TEXTS & TRANSLATIONS

William Byrd Ave verum corpus

Tudor master William Byrd is often cited as the greatest English composer of all time. A giant among his musical contemporaries, he excelled in all branches of music and held a monopoly on music printing for many years. A man of great personal convictions, he managed to retain the favour of the Anglican Crown despite his openly avowed Catholicism. Ave verum corpus is a revered Eucharistic hymn that has been set to music many times. It comes from the 14th century, attributed to Pope Innocent VI.

Ave verum corpus natum de Maria Virgine; Hail true body, born of the Virgin Mary, vere passum immolatum in cruce pro homine: Who has truly suffered, was sacrificed on the cross for mortals, cujus latus perforatum, unda fluxit sanguine: Whose side was pierced, whence flowed water and blood: rsto nobis praegustatum in mortis examine. Be for us a foretaste (of heaven) during our final examining. O Jesu dulcis, O Jesu pie, O Jesu Fili Mariae, O Jesu sweet, O Jesu pure, O Jesu, Son of Mary, miserere mei. Amen. have mercy upon me. Amen.

Johannes Brahms Warum is das Licht gegeben dem Mühseligen? Op.74, No.1

This motet, Op.74, No.1, is one of the great landmarks of choral music and of Brahms’ music particularly. Composed in 1877 in memory of the premature death of a friend, it is a highly serious work, reflecting the consolation of the Deutsches Requiem a decade earlier and foreshadowing the resignation of the valedictory Four Serious Songs (1896). It is undoubtedly significant that Op.74 is dedicated to Philipp Spitta, the great Bach biographer, for this music is imbued with the spirit of Bach, regardless of stylistic differences between Baroque and Romantic. The motet is in four movements, the first three based on Biblical texts from Job, Lamentations and James; the last is a chorale text, perhaps from Martin Luther. The motet opens full of bitter doubt, gentle protests, and pitying sorrow for the often undeserved misery of the world, but it eventually completes a whole cycle of spiritual development, passing through prayer to a joyous trust in God.

I Warum ist das Licht gegeben dem mühseligen, Wherefore hath the light been granted to those lost in woe, und das Leben den betrübten Herzen? and the life blood to the sore afflicted? Die des Todes warten und kommt nicht, Who for death are longing, that comes not, und grüben ihn wohl aus dem Verborgenen; they dig for it more than for great treasure hid; die sich fast freuen und sind fröhlich, Yea, they are glad, and go dass sie das Grab bekommen. rejoicing when they their grave see open. Und dem Manne, des Weg verborgen ist, To the mortal whose way is darkly hid, und Gott vor ihm denselben bedecket? and whom the Lord for ever hath edged in? II Lasset uns unser Herz, Let us lift up our heart, samt den Händen aufheben zu Gott im Himmel. Let our hands be uplifted to God in heaven. III Siehe, wir preisen selig, die erduldet haben. Lo now, we count them happy who, enduring, fail not. Die Geduld Hiob habt ihr gehöret, Now of Job’s patience ye have been hearing. und das Ende des Herrn habt ihr gesehen; and the outcome of God ye have been seeing denn der Herr is barmherzig und ein Erbarmer. That the Lord hath great pity and tender mercy. IV Mit Fried’ und Freud’ ich fahr’ dahin In peace and joy I near my goal, in Gottes Willen, if God is willing, getrost ist mir mein Herz und Sinn, And faith fills all my heart sanft und stille. and soul, calm and stilling. Wie Gott mir verheißen hat, The Lord God hath promised me der Tod ist mir Schlaf worden. that death is but a slumber.

6 Leonard Bernstein Missa Brevis

In 1955, while working on the musical Candide, Leonard Bernstein composed a set of French and Latin choruses as incidental music to the play Th e L rka adapted by Lillian Hellman from Jean Anouilh’s original French version. Since the play was about the trial of Joan of Arc, Bernstein made his music deliberately evocative of the middle ages. Th e famous choral conductor Robert Shaw suggested at the time that with some changes and additions these pieces could be transformed into an eff ective Missa Brevis. Some 30 years later, Bernstein did so, in honour of Shaw’s retirement from the Atlanta Symphony Orchestra.

Kyrie eleison, Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Kyrie eleison. Lord, have mercy on us. Gloria in excelsis Deo, et in terra Glory to God in the highest, and on earth pax hominibus bonae voluntatis. peace to men of good will. Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorifi camus te. we worship thee, we glorify thee. Gratias agimus tibi We give thanks to thee propter magnam gloriam tuam: for thy great glory: Domine Deus, Rex coelestis, to the Lord God, King of heaven, Deus Pater omnipotens; God the Father almighty; Domine Fili unigenite, Jesu Christe, to our Lord, his only begotten son, Jesus Christ Sanctus, Sanctus, Sanctus Holy, Holy, Holy Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are fi lled with Th y glory. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is He who comes in the name of the Lord. Osanna in excelsis. Hosanna in the highest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who taketh away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who taketh away the sins of the world, dona nobis pacem. grant us Th y peace.

INTERMISSION

Th ank you to tonight’s Concert Patron, Janis Hamilton Th e Vancouver Chamber Choir appreciates your continued support of our performances.

7 Benjamin Britten Five Flower Songs, Op.47

Benjamin Britten was undoubtedly the master of modern English vocal music. He composed the 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. Each song paints a nearly tangible floral mood, from the freshness of To Daffodils and the bleak landscape of Marsh Flowers to the fortuitous match-making properties of Ballad of Green Broom.

To Daffodils The Succession of the Four Sweet Months

Fair daffodils, we weep to see First, April, she with mellow showers You haste away so soon: Opens the way for early flowers. As yet the early rising sun Then after her comes smiling May Has not attained his noon. In a more rich and sweet array. Stay, stay, Next enters June and brings us more Until the hasting day Gems than those two that went before. Has run Then (lastly), July comes and she But to evensong; More wealth brings in than all those three. And, having prayed together, we April! May! June! July! (Robert Herrick) Will go with you along.

We have short time to stay, as you. Marsh Flowers We have as short a Spring; As quick a growth to meet decay, Here the strong mallow strikes her slimy root, As you, or any thing. Here the dull nightshade hangs her deadly fruit: We die, On hills of dust the henbane’s faded green, As your hours do, and dry And pencil’d flower of sickly scent is seen. Away, Here on its wiry stem, in rigid bloom, Like to the Summer’s rain; Grows the salt lavender that lacks perfume. Or as the pearls of morning’s dew At the wall’s base the fiery nettle springs Ne’er to be found again! (Robert Herrick) With fruit globose and fierce with poison’d stings; In ev’ry chink delights the fern to grow, With glossy leaf and tawny bloom below; The few dull flowers that o’er the place are spread Partake the nature of their fenny bed. These, with our seaweeds rolling up and down, Form the contracted Flora of our town. (George Crabbe)

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8 The Evening Primrose RECORDINGS When once the sun sinks in the west, FOR SALE IN And dewdrops pearl the evening’s breast; THE LOBBY Almost as pale as moonbeams are, Or its companionable star,

The evening primrose opes anew * Its delicate blossoms to the dew And, hermit-like, shunning the light, The Healing Series Wastes its fair bloom upon the night; Who, blindfold to its fond caresses, h Finding the Still Point music for healing * A healing ambience of calm, Knows not the beauty he possesses. warmth and consolation projected through 15 beloved choral favourites with Thus it blooms on while night is by; interconnecting Gregorian chants. When day looks out with open eye, h A Quiet Place music for healing III * An outstanding collection of choral ‘Bashed at the gaze it cannot shun, treasures chosen to help find peace, quiet and healing in today’s hectic world. It faints and withers and is gone. (John Clare) The Masters Series h BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a Ballad of Green Broom gala Expo 86 concert, with Jon Washburn and Michael Corboz conducting their professional choirs from Canada and Switzerland. There was an old man liv’d out in the wood, And his trade was a-cutting of Broom, h Missa Brevis Four contrasting short masses by Haydn Missa Brevis Sancti He had but one son Joannis de Deo, Fauré Messe basse, von Weber Jubelmesse and Christoph Bernhard without thought without good Missa Durch Adams Fall. Who lay in his bed till t’was noon. The Canadian Composer Series The old man awoke one morning and spoke h A Garden of Bells * R. Murray Schafer, Vol. 1: Early choral works including He swore he would fire the room Miniwanka, Epitaph for Moonlight, Snowforms, Gamelan, Sun, Fire, Felix’s Girls If his John would not rise and A Garden of Bells. and open his eyes, And away to the wood to cut Broom. h Imagining Incense* R. Murray Schafer, Vol. 3: Recent choral works including Magic Songs, Three Hymns, Rain Chant, Alleluia, Beautiful Spanish Song, So Johnny arose and slipp’d on his clothes Imagining Incense and other works. And away to the wood to cut Broom, h The Love that Moves the Universe * R. Murray Schafer, Vol. 4: Three He sharpen’d his knives, outstanding major works recorded in 2018 for the composer’s 85th birthday: and for once he contrives the title piece for choir and orchestra, plus The Star Princess and the Waterlilies To cut a great bundle of Broom. and Narcissus and Echo. When Johnny pass’d under a lady’s fine house, h Earth Chants Imant Raminsh, Vol. 2 Missa Brevis in C Minor, Earth Chants Pass’d under a lady’s fine room, & smaller works. She call’d to her maid: h Due West Stephen Chatman, Vol. 2 With oboist Roger Cole and pianist Linda “Go fetch me,” she said, Lee Thomas. “Go fetch me the boy that sells Broom.” h Due East Stephen Chatman, Vol. 3 The Canadian composer’s latest pieces since When Johnny came in to the Lady’s fine house, 2000. And stood in the Lady’s fine room, h Rise! Shine! * Music of Jon Washburn Including The Star, A Stephen Foster “Young Johnny” she said, Medley, Chinese Melodies, Rossetti Songs, God’s Lamb, Noel Sing We!, Behold I “Will you give up your Trade build an house and Rise! Shine! And marry a lady in bloom?” Johnny gave his consent and to church they both went And he wedded the Lady in bloom; The Christmas Recordings At market and fair, h A Dylan Thomas Christmas* The Vancouver Chamber Choir’s signature all folks do declare, performance of A Child’s Christmas in Wales, read by Welsh actor Russell There’s none like the Boy that sold Broom. (Anonymous) 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 ChristmasChristmas music with a colourful Central and South American flavour played by the ensemble Ancient Cultures with several tracks featuring the Vancouver Chamber Choir.

9 Ēriks Ešenvalds Hilissügis

Ēriks Ešenvalds is one of the most sought-aft er composers working today, with a busy commission schedule and performances of his music heard on every continent. Born in Priekule, Latvia in 1977, he studied at the Latvian Baptist Th eological Seminary (1995–97) before obtaining his Master’s degree in composition (2004) from the Latvian Academy of Music under the tutelage of Selga Mence. He took master-classes with Michael Finnissy, Klaus Huber, Philippe Manoury, and Jonathan Harvey, amongst others. From 2002–11 he was a member of the State Choir Latvija. In 2011 he was awarded the two-year position of Fellow Commoner in Creative Arts at Trinity College, University of Cambridge. He is married with four children and now gives students his expertise as composition teacher at the Latvian Academy of Music. Hilissügis (Late Autumn) has been commissioned for the Vancouver Chamber Choir and Jon Washburn by longtime VCC supporter Pille Bunnell and is receiving its world premiere performance tonight. It is dedicated to her parents, Laine and Heino Loo, and intended as a living memorial to them. Th e Loos loved nature, poetry and music, and were active members of Vancouver’s Estonian community aft er settling here. Th is new set of choral songs is in the Estonian language, composed by a brilliant young Baltic composer, expressing aspects of nature (one of Kari Turunen’s themes for his fi rst season as the Vancouver Chamber Choir’s new Artistic Director), consisting of three poems - two of them by Pille, herself - and intended for the choral ensemble and conductor which Pille and her husband David Tait have supported for so many years. A perfect project, perhaps. Th e three movements of the new work depict small natural scenes. In the fi rst, Sinine taevas (Blue sky), clouds, rain, snow, storm and sun move through the sky like passing thoughts through one’s mind. Th e second, Reinuvader (Th e fox) gives a glimpse of a small animal who is completely unaware that he is being observed. And in the third, Härmaniitide lend (A gossamer fl ight), we hear lakes, trees, sky and mist combined into a luxurious impressionistic natural tapestry.

Sinine taevas Blue Sky meel tühi, Mind empty, kui puhas sinitaevas a clear blue sky – kuhu mõtted ilmuvad where thoughts appear, ja uuesti kaovad form, and disappear – nii kui pilved taevas like clouds in the sky ilmuvad ja kaovad form and disappear. vahel särab meeles Inspiration appears in mind innustus kui hele päike like a ray of sunshine. pilve vari Shadows of cloud, vihm, lumi, ja torm rain, snow and storm – koos päikse säraga as well as brilliant sun – muudavad loodust ja meid change both nature and us. sammuti mötted Th us also thoughts muudavad meid ja loodust change both us and nature. Poem and translation by Pille Bunnell

Reinuvader Th e oxF rebane lipsas Th e agile fox kargas kõrtesse slipped into the reeds; väike sihvakas keha a small lithe body pehmes karvavammuses peidus hidden in fl uff y fur. küllap jahib hiiri Th e fox hunting mice ja ei teagi – does not know – ei saa ealeski teada nor can it ever know et tõi mulle rõõmu the joy it brought me. Poem and translation by Pille Bunnell

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10 Härmaniitide lend A Gossamer Flight Järvelappide üle Gossamer mist flying härmaniitide lend. over patchwork lakes. Pohlade poeg olen mina Child of lingon am I [lingon = a common wild berry] vaevakaskede vend. kin of troubled birch. Pohlade poeg mina olen Child of lingon I am põdrasambliku sees. living in lichen. Oma silmad ma leidsin I found my sight sügisjärvede vees. in autumn lakewater. Järved kordavad taevast The lake repeats the sky pilved lasuvad seal. As clouds lie there. Taevast mis seisab kaskede A sky that stands on kitsaste õlgade peal. slim birch shoulders. Poem by Paul Eerik Rummo, translated by Pille Bunnell

ADDENDUM

About Hilissügis (Late Autumn) by Pille Bunnell

I have chosen to express my appreciation for my parents by commissioning this choral piece as a living memorial to them, and I am thrilled to be able to share this premiere performance by the Vancouver Chamber with you. Eriks Ešenvalds has gracefully interpreted in sound the sentiments that are embedded in the various songs. As I have already heard in rehearsal, the choir brings it to life under the sensitive direction of its founder, Jon Washburn. I appreciate my mother Laine Loo and my father Heino Loo for who they were and for all they contributed during their full lives. I resonate with what my parents gave me in love, support and example, and I also appreciate who they were for so many others. My parents were both from a small town in Estonia, the country of my own birth. My father Heino was a professional engineer and has left his imprint on the landscape of Vancouver, where perhaps his most remarkable contribution was to pioneer large dome construction, such as the Agrodome. My mother Laine was a family doctor deeply dedicated to her patients. She not only received them in her office at all hours to fit their schedules, but made regular hospital visits and house calls – all this quite in line with her first practice as a country doctor in Estonia. Both contributed substantively to the Estonian society in Vancouver. Heino loved music. We always had classical music in our house, and even as a teenager I remember having girlfriends over and all of us sprawling out on the living room rug while my father chose some piece to play for us on his up to date stereo system. I attribute my own love of classical music to this home setting of joy in music. Heino also used to sing a tenor part in an Estonian choir when we were still in Sweden. So it is most befitting to honour my father in choral music that will persist long beyond the lives of those who knew him. Laine loved poetry. Her poetry books extended over several shelves. She would read them to herself as evidenced by many that she had tagged with small bookmarks or discreetly marked by a cryptic pencilled note. I am no poet, but in recognizing this love during her last decade, I did my best to write a small booklet of Estonian poems for her as a birthday present. For this choral composition I thus offered the composer several poems from her collection, and I am both flattered and self-conscious that he chose two of my own attempts. The topic of all the poems relates to the third source of joy for both my parents, namely nature. We always spent our free time as a family in the natural world, whether simply walking or foraging for wild mushrooms and fruits. My father took hundreds of photos, my mother simply immersed herself in the profound sense of belonging; as she would say “oleme looduslapsed” (we are children of nature). To this day I continue to get sustenance for my soul from quiet walks, absorbed in the beauty of the living world.

11 Antonín Dvořák Songs of Nature, Op.63

The great Czech romanticist Antonín Dvořák wrote this set of five choral part-songs in 1882, during a time when foreign recognition of his music was growing rapidly, due largely to the friendly assistance of Johannes Brahms and subsequent publishing agreements with some prestigious German firms. The set, V Přírodě, Op. 63, is variously known in English as In Nature, In Nature’s Realm or Songs of Nature. The poems were written by Czech nature poet Vítězslav Hálek, a favourite of Dvořák’s. The first song compares music to the dew which appears magically before dawn, while the second depicts night in the forest, with the sounds of birds likened to distant tinkling of bells. The third paints a scene of dancing fields and meadows, alive with natural music. The fourth depicts the legend of the silver birch tree which springs out of the forest to herald the end of winter. The fifth and last song invites all of the natural world to join in celebration of God’s handiwork. The English translation used tonight is one recently prepared by conductor Jon Washburn; in it he has tried to keep to Dvořák’s original rhythms and phrasing, to provide the singers with syllables which flow easily and musically, to respect the original storyline of the poems, and - where possible - find some felicitous rhyme or assonance.

I III Whispers of music fill my heart; Laughing meadows, dancing meadows, songs born of nature filling my soul. waving wheatfields ripening. Soft as the dew which greets the dawn; Graceful grasses gently singing; gentle as soft summer sun dreaming. verdant greenery glistening. Buoyant breezes dance a rural rondelay, Tunes soft as dewpearls, glistening sun-beamed leaves are listening. fill me with gently glowing music; Summer sunshine caressing every blossom, lift me to happiness and joy, every blossom quivering. or waken feeling deep in my soul. Birds are winging, softly singing, Moonlight and dewdrops, conjuring, butterflies are whispering. fill me with songs which linger unforgotten, Tree limbs rocking, crickets mocking; singing a morning-song of hope returning songs of nature echoing. as I greet the new dawn; a song of hope for a new day dawning. Laughing meadows, dancing meadows, wheat fields merrily ripening. Sunbeams glancing, sprightly dancing, II all creation caroling. Deep in the wood, nightbirds are singing, they sound like bells, a distant ringing. Close by are cuckoos seeking shelter, IV and deep in trees the nightingales call. Silver-white birch tree, first of the year, sing your song so gentle to hear. Branches resound with tuneful caresses, Run from the forest into the sun, the treetops stir with feathered trembling. tell us that Spring is now begun. Light fills the sky, moonbeams entwining, like silken threads of silver shining. Silver-white birch now slender and tall, like a lovely porcelain doll, Each silver threads a subtle dreaming; run through the wood in spring attire, each silken shudder slightly gleaming. and stir the branches with desire. Only a little doe is listening, she bathes in the dewdrops so glistening. Springtime is here and tunes begin, singing like shawm or violin. All now is still, the wood is sleeping, Sweet-smelling air fills every bower, now every bird in silence keeping. bestowing a smile on every flower. Drowsy and muted, nightingales nest, and in darkness the other birds rest. Blossoms in colour, bushes in green, each one arrayed like king or queen, Even the doe is gently dozing; and here the branches, there a limb each feathered bell in silent repose. cheerfully singing a joyful hymn. Night gathers forest in its keeping, all nature is resting or sleeping, Nature is calling far and near, now all the world lies deep in slumber. “Join in this festive time of year!” Now all can know the joy we bring singing the gentle song of spring.

12 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, And when those summer toils are o’er, Once more we must away; We return with spirits light; Out on the stormy Banks to go, To see our sweethearts and our wives, In quest of fish to stay. Who helped us in the fight. Where seas do roll tremendously, From where the wild sea billows foam, Like mountain peaks so high; There by cold breezes fanned; And the wild seabirds around us, Out on the stormy billows, In their mad career go by. On the Banks of Newfoundland. 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.

V Come, celebrate in song and dancing, thanking our God for all Creation. Come, consecrate our life, rejoicing, as nature leads a celebration. Please turn page quietly Among the blossoms bees are dancing, under the branches breezes glancing. Along the river rapids murmur: waters are whispering words of yearning. BEHIND Stars in the heaven softly shining; sunrise setting nature in motion. THE KEYS Like woodland choristers, nightingales chant; FEB 14 2020 AT 7:30PM sunrise leading nature to devotion. ORPHEUM AN NEX And now the Book of Life will open, with every page a song of hope, a wondrous story! Valentine’s C The book of wisdom, peace and duty; n intimate abaret Love and forgiveness, truth and beauty. A EATURING C F ELLO , E SONGS, AN Heaven is glowing, nature o’erflowing, LOV D CHA RM! music bestowing feelings of rapture and fulfilment. Now heaven and earth are bound together, heaven and the earth become a chalice. FEATURING: LESLIE DALA PIANO Now is creation one! All is one! JOSEPH ELWORTHY CELLO ROBYN DRIEDGER-KLASSEN SOPRANO Original Czech poems by Vítězslav Hálek English versions by Jon Washburn FOR TICKETS AND INFORMATION VISIT: MEDIA SPONSOR VANCOUVERBACHCHOIR.COM CALLING Thank you, STUDENTS John andThank Leonora you, Pauls Nicolas and Marta Maftei, OF ANY AGE! Thefor Vancouver supporting Chamberthe printing Choir of tonight’s program. For only $15, you can enjoy some of Canada’s appreciates your support of printing finest choral concerts when you purchase tonight’sWe concert appreciate program rush tickets to Vancouver Chamber Choir your attendanceand for attending at our events. 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 13 We hope to see you again this spring! and Orpheum concerts.

11 THE SOURCE

7:30PM | SATURDAY, FEBRUARY 15, 2020 KOERNER RECITAL HALL, VANCOUVER ACADEMY OF MUSIC, 1270 CHESTNUT STREET

WITH STEPHEN SMITH, PIANO KARI TURUNEN & JON WASHBURN, CONDUCTORS SIX SYMPOSIUM CONDUCTORS

Kari Turunen and Jon Washburn join forces to lead the 40th annual Conductors’ Symposium in Vancouver. This concert culminates the week-long event as they and six Symposium conductors from around the world lead the choir in a delicious concoction of famous madrigals and motets, folksongs and spirituals, prayers and partsongs. Pianist Stephen Smith and the choir’s many fine soloists get ample opportunity to shine, too!

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14 W I T H O U R T H A N K S

The Vancouver Chamber Choir is pleased to thank and acknowledge our Corporate and Individual Sponsors and Donors as well as the Foundations and Government Agencies who, through their leadership and financial support over the past season, make it possible for the Vancouver Chamber Choir to present outstanding high-quality performances of choral music and deliver award-winning education and community programs. 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212 1212

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* 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

15 JOIN US FOR A PRE-CONCERT

TALK AT 6:45PM

ST. JOHN PASSION

ZACH FINKELSTEIN, GUEST TENOR SOLOIST

7:30PM | GOOD FRIDAY, APRIL 10, 2020 THE ORPHEUM, 601 SMITHE ST AT SEYMOUR ST

WITH ZACH FINKELSTEIN, GUEST TENOR SOLOIST PACIFIC BAROQUE ORCHESTRA

The longevity and success of Bach’s passions are based on their deep grasp of humanity. The range of emotions and the psychological acuity of Bach make the story arresting time after time. The St. John Passion is the more dramatic and concise of the two Bach passions, which are an important part of the cultural inheritance of mankind. While Bach’s works are easy to find in recordings, the intensity of this music needs to be experienced in concert.

1.855.985.ARTS (2787) vancouverchamberchoir.com