Beginnings (27 Sep 2019)

BEGINNINGS Vancouver Chamber Choir Kari Turunen, Conductor

7:30PM | FRIDAY, SEPTEMBER 27, 2019 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 Honoured with the Margaret Hillis Award for Choral Excellence by Chorus America, the choir Dr. Donna Hogge 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 334 choral works by 145 Dr. Robert Rothwell composers and arrangers, most of whom are Canadian. Over the years the choir has sung over Dolores Scott 4,000 performances of works by Canadian composers, in addition to their extensive international Anthony G.V. Tobin repertoire. Cara Ventura Marianne Werner The choir’s award-winning educational programs include the National Conductors’ Symposium Jennifer Wilnechenko for advanced choral conductors, Interplay interactive workshops for choral composers, Focus professional development program for student singers, OnSite visitations for school choirs, the Honorary Patrons biennial Young Composers Competition, and many on-tour workshops and residencies. John Bishop Stephen Chatman Tama Copithorne David Cousins KARI TURUNEN, ARTISTIC DIRECTOR Dr. Stephen Drance, O.C. Sam Feldman Kari Turunen is the new Artistic Director of the Vancouver Chamber Charles Flavelle Choir and the former artistic director of the male chorus Akademiska Violet Goosen Sångföreningen, Kampin Laulu chamber choir, the choir of the cantors Janis Hamilton of the Finnish Lutheran Church, Chorus Cantorum Finlandiae, the all- Ben Heppner, O.C. 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 Dr. Turunen was educated at the University of Helsinki and the Sibelius Imant Raminsh Academy. He has a Master’s degree in choral conducting and a Doctorate in Elizabeth Rathbun R. Murray Schafer early music performance practice from the University of the Arts, Helsinki. He tries to balance scholarly activities with his artistic work and firmly Administrative Staff believes that scholarship and performance can greatly benefit each other. Dr. Kari Turunen He is a sought-after guest conductor, adjudicator, clinician and teacher of choral conducting, both in Artistic Director Finland and abroad. He has also acted as the chairman of the Finnish Choral Directors’ Association Steven Bélanger from the mid-90s until 2017 and is the artistic director of Aurore, an annual Renaissance music Executive Director festival in Helsinki. Jon Washburn, C.M. Founder & Conductor Emeritus Before becoming a full-time conductor, Dr. Turunen taught choral conducting and was the head Nat Marshik of choral activities at the School of Music of the Polytechnic University of Tampere from 2001 to Bookkeeper/Office Coordinator 2011. He is also a founding member of Lumen Valo, a professional vocal ensemble of eight voices. Karen Seaboyer Lumen Valo has been a driving force on the early music scene in Finland since its conception in Manager, Communications & Production 1993 and has made a name for itself in almost 250 concerts around Finland and Europe. The group has recorded nine CDs, all of them critically acclaimed for their fresh programming and quality of Vancouver Chamber Choir singing. 1254 West 7th Avenue Vancouver, B.C., Canada V6H 1B6

Tel: 604.738.6822 • Fax: 604.738.7832 The Vancouver Chamber Choir acknowledges that it operates and performs on the unceded Indigenous land 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 KARI TURUNEN, CONDUCTOR s o p r a n o s Emily Cheung Christina Cichos Beth Currie (Buono) BEGINNINGS Lorraine Reinhardt Madeline Lucy Smith a l t o s The Campers at Kitty Hawk Michael Dellaira Dinah Ayre (b. 1949) Martina Govednik Hilary Ison Fabiana Katz Virgo prudentissima Heinrich Isaac Dolores Scott (c. 1450-1517) t e n o r s Ian Bannerman Eric Biskupski Alouette Meets Her Maker Chris Sivak (b. 1982) Tom Ellis Eric Schwarzhoff Christina Cichos, soprano Taka Shimojima b a s s e s Four Songs of Love Sven-David Sandström Steven Bélanger (1942-2019) Jacob Gramit Paul Nash George Roberts Wim Vermeulen INTERMISSION

Sonnet No. 76 Alfred Janson (1937-2019) Steven Bélanger, baritone

Icarus Kristopher Fulton (b. 1978)

Piedzimšana (Birth) Pēteris Vasks (b. 1946) Fabiana Katz, drum

Please turn off all phones. Recording devices of any kind are strictly prohibited.

James Ong Stage Management Don Harder Archival Recorder Pre-Concert Talks Corporate Graphics Graphic Design You are invited to attend pre-concert talks at 6:45pm on most concert evenings. You can Violet Goosen meet Kari Turunen and learn about the evening’s repertoire and composers. Seating Development is general admission at the front of the auditorium. You are welcome to reserve your José Verstappen favourite seats elsewhere so that they are waiting for you after the talk. Program Typography

3 NEW HONORARY PATRON

Elizabeth Rathbun You many have noticed that on page two of tonight’s concert program, we have added a number of new Honorary Patrons. These are all people who have given strong support to the Vancouver Chamber Choir in various ways over the years. Today we are honouring Elizabeth Rathbun, who was the General Manager of the choir from 1980 to 1988. This was a tremendous growth period for the choir in many ways, including an expansion from 16 to 20 singers. She oversaw the conversion from budgeting with pencil and paper to Excel spreadsheets on computer. During her period of leadership the choir held its first National Conductors’ Symposium at UBC, sponsored by the Canada Council for the Arts, and also collaborated in concerts with both L’Ensemble Vocal de Lausanne (Michel Corboz) and the King’s Singers. Another highlight during her tenure was the first overseas tour (in 1987) to China and Hong Kong. She was instrumental in negotiations with the City of Vancouver to acquire and renovate the administrative offices of the choir on the lower level of Hodson Manor, and she helped create the choir’s first three-year Strategic Plan. Many recordings, commissions and tours took place during her eight years. “I loved nothing more than departing YVR on a two-to-three-week tour with the choir and leaving behind the burdens of the office. I loved that time with the singers and the repeated concerts in locations as disparate as Moosomin, Saskatchewan; Corner Brook, Newfoundland; and Little Rock, Arkansas! I also relished the long-range planning sessions which took place every July together with Jon Washburn and Violet Goosen (Tour Manager at the time).” Elizabeth served on the British Columbia Arts Council, as founding president of Elektra Women’s Choir, and as a founding board member of the Turning Point Ensemble. Leading up to the inaugural Festival Vancouver in the year 2000 she served as Assistant Director, and she sang with Elektra Women’s Choir for 20 years.

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please call the Vancouver Chamber Choir office at 604-738-6822 and speak with Steven Bélanger.

4 PROGRAM NOTES, TEXTS & TRANSLATIONS

BEGINNINGS

Th is fi rst program of the 2019-2020 season and my tenure as Artistic Director of the Vancouver Chamber Choir is, unsurprisingly, focused on Beginnings. I have chosen choral works that celebrate the commencement of something new, even if these stories do not all end all that well. Th ere are the Wright brothers taking fl ight, a new emperor being crowned, the fi rst Canadian satellite, and there is Icarus fl ying too close to the sun, as well as the Spring emerging from the cold sky. And there is naturally also love, the beginning of beginnings. I also wanted to include Alfred Janson’s wonderful interpretation of Shakespeare’s defence of always writing in the same style. Its wonderful lines (“So all my best is dressing old words new / Spending again what is already spent”) are both a defence of my taste in music and a call to remain curious about music and styles less familiar to me. Whilst in the 2019–2020 season there will be an emphasis on things well- known to me – early music, choral classics, music from Northern Europe and the music of living composers – I will be keeping a sharp lookout on all things new and local. Th is season is in itself only the beginning of a journey and I am proud to embark on that journey today in your presence. I have a feeling that this might just be the beginning of a beautiful friendship!

Michael Dellaira: Th e Campers at Kitty Hawk

Michael Dellaira, a New York-based composer, is best known for his vocal, opera, musical theatre and choral music. Rather than composing in a fi xed style, Dellaira’s approach is from one context and text to another. Th e composer writes: “Th e […] U.S.A. Stories are based on texts borrowed from Th e Big Money, the third novel in John Dos Passos’ trilogy USA. Dos Passos’ prose style in these portraits […] is characterized by long sentences and irregular rhythms, witty alliterations and colloquialisms. As a former rock musician, I found them appealingly close to the spirit of pop lyrics, but of course without being lyrics at all.” He also characterizes the movement on the Wright brothers’ fl ight to be representative of an important strand of American culture: ”… the promise of American progress, a blend of science, utility, and risk.”

Th e Campers at Kitty Hawk On December seventeenth nineteen hundred and three Bishop Wright of the United Brethren received a telegram from his boys Wilbur and Orville, who’d gotten it into their heads to spend their vacation in a little camp out on the dunes of the North Carolina coast with a homemade glider they’d knocked together themselves. Th e telegram read: SUCCESS FOUR FLIGHTS THURSDAY MORNING AGAINST TWENTY ONE MILE WIND STARTED FROM ENGINE POWER ALONE. Th e fi gures were a little wrong but the fact remains a couple of young bicycle mechanics from Dayton Ohio had designed and fl own for the fi rst time ever a practical airplane. In those days fl ying machines were the big laugh of all the cracker-barrel philosophers. Th ey were practical mechanics; when they needed anything they built it themselves. Th ey hit on Kitty Hawk on the great dunes and sandy banks that stretch south to Hatteras seaward. Overhead the gulls and swooping terns, fi sh hawks and cranes fl apping across the salt marshes. Th ey were alone there and fi gured out the loose sand was as soft as anything they could fi nd to fall in, taking off again and again from Kill Devil Hill they learned to fl y. Aeronautics became the sport of the day, congratulated by the czar, crown prince, the King of Italy, King Edward for universal peace. Taking off again and again they learned to fl y. In the rush of new names the Brothers Wright passed from the headlines: Bleriot, Farman, Curtiss, Ferber, Esnault, Petrie, Delagrange can blur the memory of the chilly December day two shivering bicycle mechanics fi rst felt their homemade contraption soar into the air, above the dunes of Kitty Hawk. “I released the wire that held the machine to the track. Th e machine started forward into the wind. Wilbur ran at the side holding the wing. Th e machine started slowly facing twenty seven mile wind, it lift ed from the track. Wilbur was able to stay with it until it lift ed from the track aft er a forty foot run. Th e course of the fl ight up and down was erratic, the fi rst fl ight in the history of the world. Th e machine carried a man by his own power into the air in full fl ight forward without reduction of speed landed at a point as high as that from which it started.” When these points had been fi rmly established we packed our goods and returned home, knowing that the age of the fl ying machine had come at last. – John Dos Passos

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5 Heinrich Isaac: Virgo prudentissima

This motet was written by Heinrich Isaac in 1507 for the Reichstag in Konstanz that confirmed Maximilian I as the Emperor of the Holy Roman Empire. It is famous for several reasons: it is scored for six voice parts, not at all the norm at the turn of the 16th century; it is huge in scope; it incorporates Isaac’s lengthy benediction to the new Emperor within a traditional antiphon, including a reference to the composer (the Latin form Georgius) himself; the work manages simultaneously to pay tribute to earlier musical greats (tenor motet tradition; mensural tradition) and to look forward (especially the use of motifs); and, above all, it is a magnificent piece of music. Isaac juxtaposes solo and tutti sections, polyphonic and homophonic passages and creates wonderful sonorities. The ending has an energy that is contagious.

Virgo prudentissima quæ pia gaudia mundo When the most wise Virgin, who brought holy joy to the world, attulit, ut sphæras omnes transcendit et astra rose above all the spheres and left the stars beneath her sub nitidis pedibus radiis, et luce chorusca shining feet in gleaming, radiant light, she was surrounded liquit et ordinibus iam circumsepta novenis by the ninefold Ranks and received by the nine Hierarchies. ter tribus atque ierarchiis excepta. Supremi She, the friend of suppliants, stood before the face of the ante Dei faciem steterat, patrona reorum. supreme God. You who inhabit eternally the dazzling Dicite qui colitis splendentia culmina Olimpi: lights of Heaven – Archangels, leaders of the spirits, and Spirituum proceres, Anchangeli et Angeli et alme Angels, and sustaining virtues, and you thrones of princes, Virtutesque Throni vos Principum, et agmina sancta, and you holy armies and you powers, and you dominions vosque Potestates, et tu dominatio cæli of Heaven, and you fiery Cherubim, and you Seraphim, flammantes Cherubin, verbo Seraphinque creati, created from the Word – say whether such a feeling of joy an vos lætitiæ tantus perfuderit unquam has ever overwhelmed you as when you saw the assembly sensus, ut æterni Matrem vidisse tonantis of the Mother of the everlasting Almighty. She is the queen, consessum. Cælo, terraque, marique potentem powerful in Heaven, on land and at sea; every Spirit and Reginam, cuius nomen modo spiritus omnis every human being rightly praises and adores her divine et genus humanum merito veneratur adorat. majesty. >>

FOCUS ON CLASSICS Interplay Interactive Workshops for Composers with Kari Turunen and the Vancouver Chamber Choir VANCOUVER, BC: OCTOBER 30, 2019 & MARCH 25, 2020 Deadlines for Vancouver workshops October 1, 2019 for the October 30 workshop 7:30PM | FRIDAY, OCT 18, 2019 February 7, 2020 for the March 25 workshop PACIFIC SPIRIT UNITED CHURCH, 2205 W 45TH AVE AT YEW ST WITH THE FOCUS CHOIR OF UNIVERSITY AND COLLEGE SINGERS Composers are allotted individual rehearsal time (usually 30–45 mins) CHLOE MEYERS & ELYSSA LEFURGEY-SMITH, VIOLINS with the Vancouver Chamber Choir and Kari Turunen. This time may be ALEXANDER WEIMANN & NATALIE MACKIE, CONTINUO used to test completed work and/or try out new concepts. Choir, Monteverdi and Schutz must have been soulmates. Monteverdi conductor, and composer dialogue about musical and technical ̈ grew up in the rolling landscapes of Catholic Tuscany, while features, strengths, flaws, textures, colours, notations and many other Schutz was in Protestant central Germany, but their musical aspects of successful choral writing. Each workshop is closely tailored ̈ forms and ideals are uncannily similar. Their gift for setting texts to the needs and interests of the individual composer. to music and enhancing the words made everything sound natural. Buxtehude, Mendelssohn and Brahms were also There is no charge to composers for this workshop, thanks to the masters of breathing life into words. generous support of the SOCAN Foundation. For information and an application form: 1.855.985.ARTS (2787) vancouverchamberchoir.com [email protected] vancouverchamberchoir.com

6 Vos, Michael, Gabriel, Raphael testamur ad aures You, Michael, Gabriel and Raphael, we beg you to pour illius, ut castas fundetis vota precesque out to her chaste ears our prayers and entreaties for the pro sacro Imperio, pro Cæsare Maximiliano. sacred Empire and for Maximilian the Emperor. May the Det Virgo omnipotens hostes superare malignos: all-powerful Virgin grant that he may conquer his wicked restituat populis pacem terrisque salutem. enemies and restore peace to the nations and safety to the Hoc tibi devota carmen Georgius arte lands. With faithful skill Georgius, the emperor’s Precentor and ordinat Augusti Cantor Rectorque Capellæ. Kapellmeister, rehearses this anthem for you. The Governor Austriacæ præsul regionis, sedulus omni, of the Province of Austria, diligent in all things, earnestly se in tua commendat studio pia gaudia mater. commends himself to your holy pleasure, mother. The highest Præcipuum tamen est Illi quo assumpta fuisti, place, however, belongs to Him by whom you were taken up, quo tu pulchra ut luna micas electa es, et ut sol. so that you shine beautiful as the moon, excellent as the sun. Cantus firmus: Cantus firmus: Virgo prudentissima, quo progrederis, Virgin most wise, where are you going, quasi aurora valde rutilans? Filia Sion. Daughter of Sion, shining out as brightly as the dawn? Tota formosa et suavis es: You are most comely and merciful, pulchra ut luna, electa ut sol. beautiful as the moon, excellent as the sun. – Traditional; Heinrich Isaac

Chris Sivak: Alouette Meets Her Maker

The Alouette I was the first Canadian satellite and was launched on September 26th, 1962. The launch made Canada the third nation, after the USSR and the United States, to design and construct its own satellite and cemented Canada’s reputation as a space-faring nation. Alouette’s mission lasted for 10 years before she was deliberately switched off on September 30th, 1972. She remains in orbit – as a derelict – to this day. In this piece, Alouette’s circuits inexplicably come alive after remaining dormant for over 30 years. As she becomes aware once again of her orbit and proximity to earth she hears an inexplicable voice from deep space. The voice calls to her soothingly until its intentions are revealed to be malicious once it threatens to literally pluck her from the sky (i.e. “Je te plumerai”). Alouette panics and sends out desperate pleas for help but she can’t fight the forces pulling her to her doom. She careens to the ground below, exploding in a fiery heap. The piece closes with the last gasp of life from her circuits before they are silenced forever. – Chris Sivak

Alouette, gentille Alouette, Lark, nice lark, Alouette, je te plumerai. lark, I will pluck you. – Folksong

Sven-David Sandström: Four Songs of Love

Swedish composer Sven-David Sandström passed away in June. He was, in my view, one of the most important contemporary composers, and especially his choral music has all the makings of a classical body of works. Four Songs of Love is from 2008 and belongs to his later style, in which tonality is strongly present and a certain simplicity has taken over from the complexities of his earlier works. Four Songs of Love is full of beauty, of lingering and of sensitivity to the poems. The music is dominated by a dialogue between the lovers (male voices / female voices) and many characteristics of Sandström’s choral music are ever-present: an orchestration of the choir by dividing the six voice parts into anything between three and twelve parts, rich harmonies and the idiosyncratic “Sandströmian” small tremolos.

Let him kiss me with kisses of his mouth; Awake, o north wind for thy love is better than wine. and come thou south; Behold, thou art fair my love, blow upon my garden thou hast doves’ eyes. that the spices thereof may flow out. Let my beloved come Until the daybreak, into his garden and the shadows flee away, and eat his pleasant fruits. turn, turn, my beloved, and be thou like a roe or a young hart His left hand shall be under my head upon the mountains of Bethor. and his right hand shall embrace me. – Song of Songs (extracts from Chapters 1, 2, 4, 8)

7 Alfred Janson: Kristopher Fulton: Sonnet No. 76 Icarus

I only came across this work by a Norwegian composer last I had the good fortune of conducting the premiere of this work winter and was immediately enchanted by the piece. Incredibly by Vancouver-based composer Kristopher Fulton when guest enough, Alfred Janson died just weeks before Sven-David conducting the Laudate Singers here in 2007, when I had no Sandström. I had programmed the works of both men for this idea I could ever end up where I am today. It thus felt only concert well in advance of their demise – and perhaps this gives natural to include Icarus in this program as the third piece deeper meaning to my initial program title: Beginnings – and on flying objects. Icarus has all the optimism of the Wright endings. Janson’s work is from 2000 and both its harmonies brothers, but unfortunately the end is more reminiscent of our and rhythmic patterns make it easy to understand that his satellite Alouette. Fulton’s work is scored for eight voices and background was in jazz music. A reciting soloist (‘Baritone or has the same kind of ternary structure as Janson’s sonnet. In Singing Actor’) has the main role in the beginning and end of the same manner the beginning and ending are more stagnant, the work, while the middle section, in which the choir takes with sumptuous harmonies, and the middle part, a depiction of over, is more dynamic, rhythmic and expressive. the flight, is energetic, rhythmical and soaring.

Why is my verse so barren of new pride, Icarus was boy destined to fall So far from variation or quick change? Wondering at the sight of birds taking flight Why with the time do I not glance aside And soaring far above the Earth. To new-found methods, and to compounds strange? Why write I still all one, ever the same, Icarus dreams of flying, And keep invention in a noted weed, receives his wings made by his father and That every word doth almost tell my name, Climbs up to the highest cliffs of his island prison and Showing their birth, and where they did proceed? Prepares to take flight. O! know sweet love I always write of you, Fly! Icarus the flying boy, And you and love are still my argument; Screaming through the clouds above the Earth. So all my best is dressing old words new, Spending again what is already spent: Icarus slows his flight over Earth For as the sun is daily new and old, far above the shores on his mainland home. So is my love still telling what is told. Deciding whether or not to land. Reflecting, debating, will he leave his new home – William Shakespeare in the Heavens? Icarus takes one last look at the Earth and turns back toward the sky. Icarus the flying boy, Screaming through the clouds and sky. Icarus, flying higher with each moment, soars into the sky And into the golden sun and falls… … under his wings of wax. – Kristopher Fulton CALLING STUDENTS OF ANY AGE!

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

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8 Pēteris Vasks: Piedzimšana

If Sven-David Sandström’s choral works belong to the very best of the last 50 years, the same can be said of the choral works of Latvian composer Pēteris Vasks. Vasks is a serious, uncompromising composer whose works still reach out to broader audiences thanks to their emotional strength and high quality. Piedzimšana (Birth) is almost a mythical voyage into the rebirth of nature – and perhaps a nationality, or even humankind. It is a cornucopia that seems to spill out new textures and elements, all anchored in limited musical material. It waxes and wanes and winds its way to a hair-raising ending.

Saulīt manu augstu radu Th e sun is a great kin of mine Ziemelim aizprecēta Married to the northern wind Tāda nakte tāda diena Th rough the night through the day Neredz sauli šai zemē Th e sun is gone from these lands Vidū jūras vidū ledus Amidst the sea, amidst the ice Saule kāra šūpulīti Th e sun hung up a cradle Tur līgoja rīta ausma Where the dawn rocked away Tur auklēja auseklīti And the morning star was nurtured Nedod zemi nedod sauli Don’t let the earth, don’t let the sun Ziemelim vārdzināt For the northern wind to weaken Liesim varu, kalsim ratus Let us pour copper let us forge a wagon Lai brauc saule skanēdama So the sun can ride forth resounding Vara rati cauri brauca Th e copper wagon rode on Grieztin grieza asi ledi Th e sharp ice churning churned Tumša jūra sarktin sarka Th e dark red sea reddening reddened No saulītes asinīm From the blood of the sun Uz tām rīta robežām On the morning boundaries Dzīvs ar dzīvu satikās Th e life is reborn Zeme deva augumiņu Th e shape from the earth Saule savu dvēselīti Th e soul from the sun

– Inese Zandere (Translation Rihards Kalniņš)

Th ank you to tonight’s Concert Patrons, Jane Coop and George Laverock.

Th e Vancouver Chamber Choir appreciates your continued support of our performances.

9 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.

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10 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, 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

11 SUBSCRIBE TONIGHT!

SUBSCRIBE TO A WONDERFUL SEASON WITH NEW ARTISTIC DIRECTOR, KARI TURUNEN BEGINNINGS 7:30PM FRIDAY, SEPTEMBER 27, 2019 Paci c Spirit United Church* FOCUS ON CLASSICS 7:30PM FRIDAY, OCTOBER 18, 2019 Paci c Spirit United Church* with the Focus Choir | Baroque violins and continuo STRANGE BEASTS 7:30PM FRIDAY, NOVEMBER 15, 2019 Koerner Recital Hall, VAM CHRISTMAS ORATORIO 7:30PM FRIDAY, DECEMBER 6, 2019 Orpheum Theatre with Owen McCausland | Paci c Baroque Orchestra A ROSE IN THE MIDDLE OF WINTER 7:30PM FRIDAY, DECEMBER 20, 2019 Paci c Spirit United Church* BYRDS AND BEES 7:30PM FRIDAY, JANUARY 24, 2020 Paci c Spirit United Church* with Jon Washburn, conductor THE SOURCE 7:30PM SATURDAY, FEBRUARY 15, 2020 Koerner Recital Hall, VAM A WILDERNESS OF SEA 7:30PM FRIDAY, MARCH 13, 2020 Paci c Spirit United Church* with the Elmer Iseler Singers ST. JOHN PASSION 7:30PM FRIDAY, APRIL 10, 2020 Orpheum Theatre with Zach Finkelstein | Paci c Baroque Orchestra THIS DELICATE UNIVERSE 7:30PM FRIDAY, MAY 8, 2020 Buy a subscription tonight and count Chan Centre for the Performing Arts with the Vancouver Youth Choir Beginnings as the first of four concerts. Simply make your selections and visit our Subscribe today to our new concert season. Design your own series or sign up for all table in the lobby to sign up.

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