Over the past six decades, the members of the Vancouver Singers—both past and present—have accomplished a great deal. This multiple award-winning continues to delight audiences in the Lower Mainland and beyond with its exceptional talent and enthusiasm for music of all kinds. The Government of Canada is pleased to salute the work of this organization, which has made outstanding contributions to the region's cultural vitality and to the world of choral singing. As minister of Canadian Heritage, I offer my best wishes to the Vancouver Cantata Singers on their 60th anniversary. I would also like to thank all the staff and people behind the scenes who have brought this special season to life. Happy anniversary!

The Honourable Mélanie Joly BRITISH COLUMBIA

A MESSAGE FROM

PREMIER JOHN HORGAN

As Premier of the Province of British Columbia, I am deeply honoured to extend congratulations to the Vancouver Cantata Singers (VCS) on this monumental 60th Anniversary.

Since 1957, VCS has shared its choral excellence with British Columbians – and beyond. Through its efforts, VCS has delivered only the highest technical and artistic calibre of performance while always exploring and enriching the vast body of choral repertoire. VCS also employs local and professional musicians and contributes greatly to the community through educational outreach activities.

I would like to acknowledge the VCS alumni, conductors, directors, collaborators, and support staff. Your exceptional skills, musical excellence, and leadership deserve a standing ovation. I would also like to commend the many outstanding volunteers who support VCS. Your dedication and service is truly valued and appreciated.

On this diamond anniversary, please feel proud of your many accomplishments and contributions to the arts in British Columbia. We are truly grateful you call this province home. I wish each and every one of you continued success!

HONOURABLE JOHN HORGAN PREMIER OF BRITISH COLUMBIA November, 2017

A Message from the Mayor

On behalf of my colleagues on Vancouver City Council and the Citizens of Vancouver, I would like to extend our best wishes to the Vancouver Cantata Singers in celebration of their 60th Anniversary Season.

The Vancouver Cantata Singers began as a non-auditioned community choir in 1958. Positive reviews from music critics and successful appearances on CBC Radio inspired the choir to become an auditioned semi-professional choir. The Vancouver Cantata Singers perform a wide range of repertoire including contemporary music. They work frequently with Canadian and also perform pieces composed by members of the choir.

As Mayor, I am proud of our city’s reputation as a major centre for the performing arts. Congratulations to the Vancouver Cantata Singers on your 60th Anniversary Season. I wish you many more years of success.

Yours truly,

Gregor Robertson MAYOR

The Vancouver Cantata Singers The VCS Board Paula Kremer, Artistic Director President: Sarah McNair Vice-President: Jesse Read Rachel Brown Richard Cooper Treasurer: Christina Cho Emily Cheung Sam Dabrusin Missy Clarkson Ray Horst Secretary: Jim Sanyshyn Sarah McGrath Bernard Lambrechts Directors: Boaz Av-Ron, Melody Yiu Wendy McMillan Daniel Marshall Benila Ninan Taka Shimojima Megan Brown, Trevor Mangion Hilary Piets Nick Sommer C.D. Saint Asha Pratt-Johnson Clinton Stoffberg Singers’ Rep: Sarah McGrath Kate Radford Troy Topnik

Melanie Adams Peter Alexander The VCS Staff Maureen Bennington Andy Booth General Manager: Michelle Herrewynen Ann Chen Derrick Christian Front of House Manager: Genevieve MacKay Tiffany Chen Doug Colpitts Elspeth Finlay Chris Doughty Mavis Friesen Matthew Fisher Beth Helsley Gerald Harder Nina Horvath J. Evan Kreider Sarah McNair Larry Nickel

www.vancouvercantatasingers.com

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Born in Vancouver and educated at the Vancouver Academy of Music and the University of British Columbia, Paula Kremer has studied choral conducting in courses and workshops at Eton, Westminster Choir College, the Eastman School of Music and the University of Michigan. She has also studied voice with Phyllis Mailing, Bruce Pullan and Laura Pudwell and holds an ARCT in both and voice from the Royal Conservatory of Music. A full-time faculty member of the School of Music at Vancouver Community College, teaching voice, solfege, and choir, she was also the director of two Vancouver Bach Choir ensembles for young adults from 2009-17, the Vancouver Bach Youth Choir and Sarabande Chamber Choir. Cantus Missae Rheinberger and the Romantics

Saturday, February 24, 2018 7:30 Holy Rosary Cathedral, Vancouver, B.C.

This concert is dedicated to the memory of Hugh McLean, founding director of the Vancouver Cantata Singers.

Hymne, Drei geistliche Gesänge, Op. 69, No. 2 Josef Rheinberger

Ave Maria

Three Graduales Anton Bruckner I. a Deo factus est II. meditabitur sapientiam III. Christus factus est pro nobis obediens

Morgenlied, Drei geistliche Gesänge, Op. 69, No. 1 Josef Rheinberger

Schaffe in mir, Gott, ein rein Herz, Op. 29, No. 2

Cantus Missae, Op. 109 Josef Rheinberger I. Kyrie II. Gloria III. Credo IV. Sanctus V. Agnus Dei

Abendlied, Drei geistliche Gesänge, Op. 69, No. 3 Josef Rheinberger (sung with VCS alumni)

Vancouver Cantata Singers acknowledges that today’s concert takes place on the unceded homelands of the Musqueam, Squamish, and Tsleil-Waututh Nations. Cantus Missae Rheinberger and the Romantics

Programme notes by J. Evan Kreider1 During the nineteenth century, Europe became increasingly nationalistic both politically and culturally. As composers throughout Europe strove to express their unique national identities in artistic ways, the endeavours emanating from and Italy retained their earlier pre-eminence, even before either Germany or Italy existed as nations. German writers and painters had already begun to romanticize their Germanic past, to idealize nature untouched by humans, to react to the ills of industrialization, to criticize dated social orders, and to fear where science might be taking their civilization. In the midst of all this turmoil, the painter Caspar David Friedrich spoke for many when declaring that “the artist’s feeling is his law”. Since music is a more abstract art than painting or literature, composers joined the movement somewhat later. They soon realized that compositions having words (or being given pictorially suggestive titles) gave opportunity to express some of the ideals of romanticism. While Johannes Brahms, Anton Bruckner, and Josef Rheinberger were classicists within German Romanticism, they were nevertheless profoundly influenced by it, embracing some of its tenets and reacting against others.

Meanwhile, another tug-of-war was underway, almost as a subplot, between conservative and progressive German church musicians. In a sense, this had roots in the rediscovery of the music of Bach and Palestrina. Wilhelm Rust, organist at Leipzig’s Thomaskirche and eventual Cantor of the Thomanerchor, single-handedly compiled and edited the complete works of his predecessor, J.S. Bach (46 volumes printed in Leipzig by Breitkopf & Härtel, 1851-1899). As Germany’s most important church , Bach’s intellectual approach was suddenly affecting every serious composer in Germany and Austria. About 340 km to the south, Franz Xaver Haberl, a conservative German church organist in , likewise collected and edited the complete works of Italy’s foremost church musician, the somewhat conservative Giovanni Palestrina (33 volumes printed in Leipzig by Breitkopf & Härtel, 1862-1894). Many composers and music aficionados subscribed to these massive editions, receiving one or more folios every month. This led to two discoveries: (1) the awesome counterpoint of Bach, whose and canons appealed to the scientifically-minded nationalists, and (2) the beauty of Palestrina’s restrained unaccompanied Renaissance counterpoint with its clarity of text, which appealed to ecclesiastical conservatives. Combine these discoveries with the new harmonies and expressions of individualism of the German Romantics, and we can begin to appreciate the expanding palate of colour becoming available to those who composed sacred music.

A similar and equally rigorous debate had already taken place in the 1500s, with the music of Felice Anerio and Giovanni Palestrina eventually resolving the issue to papal satisfaction. In the 1800s, Germans who wanted to return to the ‘Palestrina style’ joined the , which started in earnest in 1865 (three years after Haberl began publishing works by Palestrina). The growing movement obtained the blessing of the conservative Pope Pius IX in 1870. Haberl became the movement’s champion as Cecilians called for musicians to return to the ideals of the 16th-c. Council

1 Professor Emeritus of Musicology, UBC, Member of VCS of Trent. This debate directly affected each of the compositions heard this evening. Cecilians argued that all church music must be sung without accompaniment, in the style of the Vatican’s (and Palestrina’s) Sistine Chapel (hence the term a cappella). Church music must not be dramatic, and Masses should not call attention to themselves through fascinating harmonic shifts or dramatic gestures, and their sacred texts must be heard clearly and never be confusing for the worshippers, as was the case in Bach’s complicated fugues.

Rheinberger composed his Mass in E-flat in 1878, completing it three weeks before Pius IX died. About two weeks later, Europe sensed that new breezes were refreshing Vatican City when the more progressive Pope Leo XIII was elected. Rheinberger immediately responded by dedicating his new Mass to Leo XIII, who in turn enthusiastically endorsed Rheinberger’s Mass, sensing that it provided a convincing solution to the troubling Cecilian debate. While paying homage to the ideal of textual clarity, Rheinberger’s Mass also added touches of drama and unexpected harmonic shifts (traits admired by German Romantics) and even the occasional (paying homage to Bach’s more intellectual approach). Ultimately, the Cecilians lost the day, for Rheinberger, like Palestrina, had found ways to satisfy many thoughtful church musicians and ecclesiastical authorities on both sides of the debate.

Hymne, Op. 69, No. 2 Josef Rheinberger 1998 James Fankhauser Although Hymne (composed on June 24th, 1858) is sung only in German these days, the autograph manuscript shows that Rheinberger (1839-1901) set this music to the text “Tui sunt coeli”, the Offertory for the Third Mass on Christmas Day. Rheinberger later added the German text for concert performance. Dein sind die Himmel, und dein ist die Erde; The heavens are yours, the earth also is yours; du hast der Welten Kreis, the world and all that is in it— hast die Fülle der Erde fest begründet; you have founded them. Gerechtigkeit und der Wahrheit Kraft Righteousness and justice sind die Pfeiler deines Thrones. are the foundation of your throne.

Psalm 89:11, 14 (NRSV)

Ave Maria Anton Bruckner 1984 James Fankhauser ♦ 2017 Paula Kremer Of his three settings of this text, the one we are singing is the best-known, being written for seven unaccompanied voices in the spring of 1861. Bruckner (1824-1896) had just undertaken five years of an unimaginably strict regime of counterpoint studies, during which he was forbidden to compose anything other than his counterpoint exercises. Once his studies were completed, Bruckner composed this Ave Maria, a work that is far better than anything ever written by his domineering teacher, Sechter, who wrote some 5,000 dreary fugues. Bruckner was associated with much of his life, initially as a second tenor and later as conductor. We learn from his letter to a friend that his choir immediately appreciated this work: “I was, in the end, splendidly applauded by my choir—twice.” Ave Maria gratia plena Hail Mary, full of grace, Dominus tecum. the Lord is with you. Benedicta tu in mulieribus Blessed are you among women et benedictus fructus ventris tui, Jesus. and blessed is the fruit of your womb, Jesus.

Luke 1:28,30,42; John 1:14

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

Late 15th-c. prayer Locus iste Anton Bruckner 1969 John Wiebe ♦ 1974 James Fankhauser ♦ 1976 James Fankhauser As Cathedral Organist, Bruckner was invited to compose a work for the dedication of the votive chapel in the new Cathedral (Oct. 29, 1869). This impressive chapel was in fact the first part of the cathedral to be completed. Bruckner selected the words “Locus iste” from the for the dedication of a church. Some analysts suggest that the music’s ABA structure reflects the symmetry of the elegant chapel. Malcolm Riley (Gramophone) said that this work, which has been recorded more than 200 times, is “sublime (and deceptively difficult).” Bruckner frequently relies on the basses to provide transitions to the next textual phrase or musical idea. Locus iste a Deo factus est, This place was made by God, inaestimabile sacramentum, a priceless Mystery/Sacrament, irreprehensibilis est. it is without reproach.

Os justi Anton Bruckner 1976 James Fankhauser ♦ 1988 James Fankhauser ♦ 2008 Eric Hannan Anton Bruckner composed this Gradual for eight voices on July 18, 1879, dedicating it to Ignaz Traumihler, the choirmaster at the beautiful Benedictine St. Florian Abbey. Since Traumihler was an ardent supporter of the Cecilian Movement (those conservatives eager to restore a cappella singing in churches and return to the ancient church ‘modes’), Bruckner obligingly wrote Os jusi in the Lydian mode (F-f, white keys only), recalling times when only a cappella singing was permitted. The Gradual text is for the Mass on the Feast of Doctors, those men and women recognized as the church’s official teachers.

Os justi meditabitur sapientiam, The mouths of the righteous utter wisdom, et lingua ejus loquetur judicium. and their tongues speak justice. Lex Dei ejus in corde ipsius The law of their God is in their hearts; et non supplantabuntur gressus ejus. their steps do not slip. Psalm 37:30-31 (NRSV) Christus factus est pro nobis Anton Bruckner 1969 John Wiebe ♦ 1974 James Fankhauser ♦ 1976 James Fankhauser ♦ 1988 James Fankhauser VCS opened its 60th-Anniversary Season by singing in Early Music Vancouver’s production of Bach’s St John Passion. We now include another text from Holy Week, the Gradual for the Mass for Maundy Thursday. Bruckner set these words by St Paul to music three times, in 1844, 1873 and 1884 (our version). The music for the initial two lines is sombre, reflecting on Christ’s death, whereas the music for the concluding two lines is filled with triumph, joy and relief.

Christus factus est pro nobis obediens Christ became obedient for us usque ad mortem, mortem autem crucis. to the point of death—even death on a cross. Propter quod et Deus exaltavit illum Therefore, God also highly exalted him, et dedit illi nomen, quod est super omne and gave him the name that is above every nomen. name. Philippians 2:8-9 (NRSV)

Morgenlied, Op. 69, No. 1 Josef Rheinberger 1998 James Fankhauser Joseph Rheinberger is surely Lichtenstein’s most famous composer. Being a child prodigy, he became organist at the local Vaduz Parish Church at age seven. Rheinberger eventually taught composition and piano at the Conservatory, later becoming court conductor in the royal chapel. He composed Morgenlied on June 24th, 1858 (19 years of age) and published it in 1893 as part of his Op. 69, a set of three sacred choral works we will hear throughout the evening. August Heinrich Hoffmann von Fallersleben wrote the words for Die Sterne in 1826 (Rheinberger changed its title to “Morgenlied”). Before the century was concluded, this poem was set to music by six German Romantic composers. (The poet is best known for another poem, the third verse of his Das der Deutschen, which became the German national anthem. Those words were thought to be treasonous before the European Revolutions of 1848.)

Die Sterne sind erblichen The stars have faded Mit ihrem gülden Schein; with their golden glow, Bald ist die Nacht entwichen, soon will the night be past, Der Morgen dringt herein. the morning will arrive.

Noch waltet tiefes Schweigen Now deep silence reigns Im Tal und überall; in the valley and over all. Auf frisch betauten Zweigen On freshly-bedewed branches Singt nur die Nactigall sings only the nightingale.

Sie singet Lob und Ehre She sings praise and glory Dem hohen Herrn der Welt, to the exalted Lord of the world, Der über’m Land und Meere who, over land and sea, Die Hand des Segens hält. holds the hand of blessing. Es hat die Nacht vertrieben, He has banished the night, Ihr Kindlein fürchtet nichts! fear nothing, you children; Sets kommt zu seinem Leben always comes to those whom he loves Der Vater allen Lichts. the Father of all lights.

August Heinrich Hoffmann von Fallersleben (1798-1874; 1826)

Schaffe in mir, Gott, ein rein Herz, Op. 29, No. 2 Johannes Brahms 1969 John Wiebe ♦ 1974 James Fankhauser ♦ 1976 James Fankhauser ♦ 1988 James Fankhauser ♦ 2013 Paula Kremer Since Johannes Brahms (1833-1897) initially earned his living both as a piano teacher and as a touring piano virtuoso, he was never employed by the church. He was therefore free to ignore the Cecilian movement. Instead, Brahms became an advocate for the music of Bach, learning to utilize Bach’s compositional techniques as the folios of the complete works arrived monthly. Before long, Brahms was recognized as a master of counterpoint, as someone who “could turn a canon in motu contrario [contrary motion] or a canon per augmentationem [canon in augmentation] into a pure piece of lyrical poetry” (Karl Geiringer). Hans von Bülow, one of Germany’s leading orchestral conductors once wrote, “I believe in Bach, the Father, Beethoven, the Son, and Brahms, the Holy Ghost of music.”

The two motets Brahms later pulled together as Opus 29 were likely composed sometime between 1856-1860 and were not published—and possibly not even performed—during his lifetime. Schaffe in mir (Op. 29, No. 2) is a contrapuntal tour de force, showing just how fascinated Brahms had become with the music of Bach. The opens Andante moderato, with the basses singing the same music as the sopranos, but two octaves lower and in augmented note values (each bass note is held twice as long as its counterpart in the soprano voice). In the second section (“Verwirf mich nicht”, marked Andante espressivo), the tenors introduce the fugue subject. The third section (“Tröste mich”, marked Andante and recalling the siciliano dance) begins with three-part writing for men (the two outer voices being in canon), which is answered in strict canon by three-part writing for women. In the final section (“Und der freudige Geist”, marked Allegro) the fugue is introduced by the sopranos. One can easily think of this motet as the composer’s homage to J.S. Bach. Schaffe in mir, Gott, ein rein Herz, Create in me a clean heart, O God, und gib mir einen neuen, gewissen Geist. and put a new and right spirit within me.

Verwirf mich nicht von deinem Angesicht Do not cast me away from your presence, und nimm deinen heiligen Geist nicht von mir. and do not take your holy spirit from me.

Tröste mich wieder mit deiner Hilfe, Restore to me the joy of your salvation, und der freudige Geist erhalte mich. and sustain in me a willing spirit.

Psalm 51:10-12 (NRSV) Mass in E-flat (Cantus Missae), Op. 109 Josef Rheinberger 1994 James Fankhauser ♦ 2000 Wayne Riddell ♦ 2004 Eric Hannan (Kyrie) Rheinberger composed his Mass in E-flat January 13-18, 1878. About a month later he dedicated it to Leo XIII, who was elected pope on February 20th. Unlike his predecessor, Pope Leo XIII was a forward-looking energetic supporter of scientific inquiry and historical analysis. He was so pleased with this Mass, particularly in the context of the Cecilian debate, that he awarded Rheinberger the Knight’s Cross of the Order of St Gregory.

The Kyrie (Moderato) opens by calling attention to the cori spezzati technique (spaced choirs), having one choir quietly answer the other. The movement, though showing conservative restraint, nevertheless builds in intensity by using all eight voices simultaneously and by adding interesting harmonic twists. Kyrie eleison, Lord have mercy, Christe eleison, Christ have mercy, Kyrie eleison. Lord have mercy. Even though the text of the Gloria (Allegro moderato) is much longer than that of the Kyrie, both movements are about the same length. Rheinberger sets the text efficiently, having one choir sing its phrase chordally, being answered immediately by the second choir singing the next phrase. The text is as clearly heard as if it were read aloud by a congregation. This cori spezzati approach recalls the music of Gabrieli and Claudio Monteverdi, 16th-17th century composers who did not follow the conservative dictates of the Council of Trent, and consequently produced music which was more varied and dramatic than that by Palestrina. In the final section, “Cum sancto spiritu”, Rheinberger joins the two choirs into one SATB choir for a four-part fugue, paying homage to the ideals being rediscovered in the music of Bach. Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonæ voluntatis. And on earth peace to men of goodwill. Laudamus te. Benedicimus te. We praise you. We bless you. Adoramus te. Glorificamus te. We adore you. We glorify you. Gratias agimus tibi propter magnam gloriam tuam. We give you thanks because of your great glory. Domine Deus, Rex cœlestis, Lord God, King of heaven, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You who takes away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who takes away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Who sits at the right hand of the Father, miserere nobis. have mercy on us. Quoniam tu solus sanctus. For you alone are holy. Tu solus Dominus. You alone are Lord. Tu solus Altissimus, Jesu Christe. You alone are the most high, Jesus Christ. Cum Sancto Spiritu in gloria Dei Patris. Amen. With the Holy Spirit in the glory of God the Father. Amen. The Credo (Moderato), the longest of the Mass texts, is also treated efficiently, each choir singing but a single phrase before pausing to allow the next choir to sing its phrase. The high point of the Credo is the music for the text “Et incarnatus est de spiritu sancto” (‘and was incarnate by the Holy Spirit’). For these words, the faithful would often kneel or bow in respect (in that era this would include the choir) as the music becomes noticeably slower, reflecting on the mystery of the incarnation. This mood is retained through the words recalling the burial of the crucified Christ. Music for “Et resurrexit” (‘and he was resurrected’) is appropriately more energetic.

Credo in unum Deum. I believe in one God. Patrem omnipotentem, factorem cœli et terra, Father omnipotent, maker of heaven and earth, visibilium omnium, et invisibilium. and of all things visible and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum. the only begotten Son of God. Et ex Patre natum ante omnia sæcula. Born of the Father before all worlds. Deum de Deo, lumen de lumine, God of God, Light of Light, Deum verum de Deo vero. true God of true God. Genitum , non factum, consubstantialem Patri: Begotten, not made, of one substance with the Father. per quem omnia facta sunt. through whom all things were made. Qui propter nos homines, et propter nostram Who for us humans, and for our salvation salutem descendit de cœlis. descended from heaven. Et incarnatus est de Spiritu Sancto ex Maria And was made flesh by the Holy Spirit through the Virgine: Et homo factus est. Virgin Mary: and was made human. Crucifixus etiam pro nobis sub Pontio Pilato: Was crucified also for us under Pontius Pilate, passus, et sepultus est. suffered and was buried. Et resurrexit tertia die, And he arose on the third day, secundum scripturas. according to the scriptures. Et ascendit in cœlum: And ascended into heaven: sedet ad dexteram Patris. and sits at the right hand of the Father. Et interum venturus est cum gloria, And he will come again in glory, judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. of his kingdom there will be no end. Et in Spiritum Sanctum Dominum, et vivificantem, And in the Holy Spirit, Lord, and giver of life, qui ex Patre Filioque procedit. who proceeds from the father and the son. Qui cum Patre, et Filio simul adoratur Who together with the Father and the Son is adored et conglorificatur, qui locutus est per Prophetas. and glorified who spoke through the Prophets. Et unam, sanctam, catholicam, et apostolicam And in one, holy, catholic, and apostolic Ecclesiam. Church.

We thank the 2018 JUNO Host Committee, in partnership with Music BC and Creative BC, for their support of this concert. The Sanctus (Andantino) opens with two different choirs (SSAA and TTBB) singing in an almost ethereal manner, attempting to portray the awe one can feel when contemplating words attributed to angels (Isaiah 6:3). Eventually Rheinberger reverts to the SATB SATB format used in the earlier movements. Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt cœli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. The initial phrases of the Agnus Dei (Lento) are called out by Choir 1, with Choir 2 responding very softly, “Miserere nobis”. Only by the final three words (“dona nobis pacem”, ‘grant us peace’, marked Poco più mosso) does the music move more quickly, with one voice after another singing a beautiful descending scale. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, dona nobis pacem. grant us peace.

Abendlied, Drei gistliche Gesänge, Op. 69, No. 3 Josef Rheinberger 1998 James Fankhauser ♦ 2000 Wayne Riddell Abendlied, Rheinberger’s best-known choral work, was written March 9th, 1855, when he was 15. The text from Luke’s gospel quotes the words of two unnamed disciples, who were walking from Jerusalem (where Jesus had just been killed that Friday) to Emmaus. Someone they did not recognize caught up with them, engaging them in conversation, explaining how the week’s event had even been predicted in Hebrew scriptures concerning the Messiah. When they arrived in Emmaus, the two men invited their unknown companion to stay with them for the night. The words of this simple invitation have become a beloved prayer in which evening becomes a metaphor for the twilight of life itself.

Bleib’ bei uns, denn es will Abend werden, Remain with us, for it will be evening und der Tag hat sich geneiget. and the day has drawn to a close. Luke 24:29

Thank you to this evening’s volunteers: Philippa Taylor Julia Dam Hannah Gustafson

Trevor Mangion Desmond Cooper The First 60 Years by J. Evan Kreider

By the late 1950s, our city could boast of the Vancouver Bach Choir, as well as many active church choirs of properly robed singers, and its many smaller community amateur choirs. But to a few observers, there was room for another choral ensemble, a somewhat smaller one that might be able to work with the CBC. Hugh McLean (Choirmaster and Organist at Ryerson United Church) teamed up with like-minded friends to see whether they could form a new small choir for performing works being overlooked by the city’s other ensembles. Lacking backers, rehearsal space, library, administrative structure and even singers, they placed an ad inviting people to audition for the proposed ‘Vancouver Philharmonic Choir’. Hugh McLean soon realized that the choir’s proposed name was sending the wrong message to singers who might otherwise be interested. He recalled hearing of a choir in New York City called ‘Cantata Singers’ and adapted that name for his new group in Vancouver. These visionaries started meeting in 1958. On Friday, February 6, 1959 they performed Bach’s Mass in b minor in Vancouver`s beautiful Christ Church Cathedral. The ‘Vancouver Cantata Society’ was incorporated on September 16th, 1959. Our choir’s initial financial report was succinct, clearly showing Hugh’s determination to get the choir started:

July 31st, 1959 ASSETS LIABILITIES Bank $ 3.26 Loan – H.J. McLean$ 1,636.91 Orchestral Scores 64.80 Creditors 149.90 Deficit 1,748.75 Prepaid Memberships 30.00 1,816.81 1,816.81 At our choir’s 50th anniversary celebration, Chester Nobbs, our choir’s first business manager/administrator remembered that the last time he sang Bach's Mass in b minor was under Hugh McLean in that 1959 concert. Chester also recalled the excitement of obtaining the choir's first grant the following year, $1,500 from The Thea and Leon Koerner Foundation in October 1959 ‘to cover a bond of $1,000 required by the Musician's Union for the . . . for Bach’s and Britten's St. Nicholas’, “fees of $75 payable to the City of Vancouver for the use of the new Queen Elizabeth Theatre and $125 for general publicity for the entire season’s concerts.” (How times have changed.)

Hugh’s programming over the ensuing years was energetic, emphasizing challenging works in various European traditions. When interviewed by The Province (March 25, 1983, B7), Hugh told Ray Chatelin, “In that first year we sang at a few churches and did some concerts at Lord Byng High School. We did whatever program we wanted. We did a contemporary program at the Queen Elizabeth Theatre [1960] that people stayed away from in droves. But we did it because it was what we wanted to do.” This philosophy was to persist for years to come. Those early years were exciting. One singer recalls that John Wiebe, our second conductor (1966-73), was brought on board by Hugh to prepare VCS for a performance of Bach's St John Passion, providing an opportunity for choir and possible new conductor to work together. John was a public school teacher in Burnaby, had received his music training in Detmold, Germany and was already known to Vancouverites through his Motet Singers, drawn from the city’s German-speaking musical community. During Wiebe’s initial years with us, VCS was essentially an amalgamation of singers from VCS and the Motet Singers. The ‘Vancouver Cantata Society Membership List’ of 1969 lists 20 sopranos, 19 altos, 12 tenors and 7 basses. Forty years later, VCS alumni still remembered John fondly, recalling that he was always looking for new choral music (Schütz, Kodaly, Byrd, Dunstable). One alumna lovingly described John as a “big but gentle lad” who was always pushing the choir “in his gentle way” to sing more challenging repertoire. Alumni recall John conducting Bach’s Christmas Oratorio (with John Vickers as soloist) and perform- ing Mozart’s Coronation Mass from the back balcony at St. James Anglican Church, much as Mozart would have done.

During the late 1960s and early 1970s, some of our city’s music reviewers ‘encouraged’ VCS to become more of a semi-professional choir. At about this time, UBC appointed James Fankhauser to teach voice and choral conducting. Having been a Fulbright Scholar at Oxford and the Assistant Director of the Aspen Choral Institute, Jim was soon invited to become our choir’s third conductor, a responsibility he shouldered for the next twenty-six seasons (1973-2000). Under his guidance, VCS consciously expanded its repertoire, actively recruited young music graduates, and soon became known for singing rapid Baroque runs with grace and clarity. In 1981, the choir’s excellence was rewarded with the winning the Mixed Voice Category in the “Let the Peoples Sing” international competition. One of the choir’s highlights toward the end of Jim's tenure was the concert tour in Germany which presented music by the Bach family (and spirituals Germans so enjoyed hearing North Americans sing) in churches in which the various Bachs had worked as choirmasters. The TV documentary Children of Bach recorded this tour and was frequently aired on The Knowledge Network and won the Ohio Film Festival in 2000. Other highlights included the Venetian Vespers CD which was nominated for a Juno award, and the Rigatti: a 1640 Mass CD, which received the West Coast Music Award for the best classical album in 1999.

VCS experienced two years of transition (2000-2002). It was led in the first season by Wayne Riddell, the founder and director of the Tudor Singers of Montreal. Since Wayne commuted from Montreal, Tony Funk served as our Associate Director, preparing the choir for each concert. Wayne then flew to Vancouver to conduct the final rehearsals and the performances. The Canadian singer Peter Butterfield served as our Artistic Director for the 2001-2002 season.

The following season, VCS alumnus Eric Hannan (Douglas College) became our next Musical Director (2002-2012). Eric raised the choir’s standards by introducing annual auditions for all singers. His training in composition enabled him to teach VCS how to approach and execute contemporary choral idioms, and his ongoing interest in music from the Baroque and Romantic eras helped the choir to continue developing its traditional strengths in those repertoires. In 2003, Eric instituted our choir`s most popular series of seasonal concerts, Christmas Reprise, which continue annually at the Holy Rosary Cathedral. Under Eric’s leadership, VCS won the coveted Healey Willan Prize for best overall performance in the CBC`s competition for amateur choirs, making VCS the only choir to receive it three times.

For years, Paula Kremer was our choir’s alto section leader and soloist. In addition to teaching full-time at the School of Music at Vancouver Community College, she also conducted two Vancouver Bach Choir ensembles for young adults, some of whom now sing in VCS. After serving as our Guest Conductor for much of the 2012-2013 season, she was appointed Musical Director. Paula brings to VCS rehearsals her wonderful ability to identify and resolve vocal issues. As a teacher of music theory, she excels in showing how theory and formal analysis inform our interpretations. During Paula’s tenure, VCS has been honoured to be the choir of choice for Early Music Vancouver’s productions of Handel’s Theodora (2015), Bach’s St John Passion (2017) and Handel’s Messiah (2017), masterworks which echo our choir’s interests in Baroque music ever since its inaugural concert under Hugh McLean.

Vancouver Cantata Society Musical Directors 1958-1967 Hugh McLean 1967-1973 John Wiebe 1973-2000 James Fankhauser 2000-2001 Wayne Riddell, Guest Musical Director 2001-2002 Peter Butterfield 2002-2012 Eric Hannan 2013- Paula Kremer

General Managers Presidents 1958-1959(?) Chester Nobbs 1972(?)-1974 James Whittaker 1981-2003 Paddy Macleod 1974(?)-1982 Ed Schneider 2003-2006 Lorne Fiedler & Paddy Macleod 1982-1984 Janet Walls 2006-2008 Janna Crown 1984-1986 Jacqueline Fraser 2009-2015 Dave Carlin 1986-1987 Gwyneth Nordholm 2015-2016 Paul Gravett (Interim) 1987-1988 Audrey Winch 2016- Michelle Herrewynen 1988-1992 John Wright 1992-1994 Ramona Luengen 1994-1996 Greg Lypowy Guest Conductors of International 1996-2001 Kim Tompkins Reputation 2001-2005 Harvey Reithaug John Elliot Gardner Andrew Parrott 2005-2009 Janet Lea Wayne Riddell Helmut Rilling 2009-2010 Derwyn Lea Nestor Andrenacci 2010-2014 J. Evan Kreider 2014- Sarah McNair Are you a Cantata Singers alumnus? Then please join the choir along with these alumni in a glorious rendition of Abendlied to close out this evening’s concert.

Art Bensler Janet Lea Shane Raman Marylene Bensler Derwyn Lea Alan Ryder Beth Breisnes Ramona Luengen Jim Sanyshyn Cherylynn Cairns Kathy Lumsdon Bruce Sled Afton Cayford Shannon Lythgoe Brian Tate Geoffrey Colpitts Erica Maller Andrea Tisher James Colpitts Justin Maller Jenny Vermeulen David Cousins Cathy Merkel Paul Waller Ted Cragg Michael Murray Janice Waller Dean Giustini Dale Owen Karen White Lisa Hansen Carol Anne Parkinson Murray Wilks Don Harder Stephen Pickett Andy Hillhouse David Powell Tim Hunt Jo-Anne Preston Thank you to all those who have supported us in the current and past season! $3000+ Yasaman Best Tim O’Connor Robert & Michele Michaleski Sian Blyth Aaron Phillips Andy Booth Anthea Piets $2000-2999 Norma Boutillier Hilary Piets Beth & Robert Helsley Rachel Brown Amelia Pitt-Brooke Janice & J. Evan Kreider Anthony Chahal Asha Pratt-Johnson Paula Kremer David Chan Jo-Anne Preston Thomas & Theresa Chang Jacqueline Quandt $1000-1999 Tiffany Chen Matthew Ramer In memory of Gunnar Brosamler John Chernesky Anthony Roper Dalton Kremer Christina Cho C.D. Saint Jesse Read & Rapti Dietrich Derrick Christian Maria Santacruz (in memory of Ezio Merler) Penny Clarke-Richardson Jim Sanyshyn Alan Woodland & Michelle Herrewynen Missy Clarkson Bonnie Sawatzky Doug & Beth Colpitts Tessa Schmidt $500-999 Adrian & Sarah Conradi Joshua Scurll Darcy Clarkson Jacques Courteau Whitney Sedgewick Paul Kreider Jacqueline Cragg Tracey Shelley Derwyn & Janet Lea Peter Cripton Karen Shuster Troy Topnik Sam Dabrusin Brad Skeats Christopher Doughty Clinton Stoffberg $250-$499 Veronica Dyck Lynn Stothers Boaz Av Ron Margot Ehling Rachel Telling Kathy Hamilton Stacy Elliott Darren Tereposky Andrei Krassioukov Elspeth Finlay Paul Tigchelaar Adrienne Lyall David Li Kennith Topnik Paddy MacLeod Daniel Marshall Tu Vu James McDowell Kathryn & Christopher McBride Chris & Wendy Walker Sarah McNair Sarah McGrath Christopher West Wendy McMillan Megan Williamson Up to $249 Patricia Mills James Wright David Aboussafy Wayne Moore Anne Wyness Billian Beath Tim Murphy Michelle Yale Catherine Bennington Cheryl Niamath Maureen Bennington Kent & Linda Niamath We’re pleased to acknowledge the financial support of the Province of British Columbia.