TOUR 2019Feb 22, 7:30 pm Robertson Wesley United Church, Edmonton, AB (Presented by Richard Eaton Singers)

Feb 24, 2:30 pm Bella Concert Hall, Calgary, AB (Presented by The Festival Chorus)

Feb 25, 7:30 pm Southminster United Church, Lethbridge, AB (Presented by the University of Lethbridge)

Feb 26, 7:30 pm Christ Lutheran Church, Regina, SK (Presented by the Prairie Chamber Choir)

Mar 1, 7:30 pm Eglinton St. George’s United Church, Toronto, ON (Presented by the Elmer Iseler Singers)

Mar 3, 7:30 pm Anglican Cathedral of St. John the Baptist, St. John’s, NL (Presented by the Bruneau Centre for Excellence in Choral Music)

Mar 6, 7:00 pm St. Andrew’s United Church, Halifax, NS (Presented by Cecilia Concerts)

Mar 7, 8:00 pm St. Ninian’s Cathedral, Antigonish, NS (Presented by Antigonish Performing Arts Series)

Mar 8, 7:30 pm Convocation Hall, Wolfville, NS (Presented by Acadia Performing Arts Series)

Mar 9, 7:30 pm Trinity-St. Stephen’s United Church, Amherst, NS (Presented by Music at Trinity)

Mar 10, 3:00 pm St. John’s Anglican Church, Lunenburg, NS (Presented by Musique Royale)

Mar 15, 8:00 pm Shaughnessy Heights United Church, Vancouver, BC

Vancouver Chamber Choir

Jon Washburn, conductor

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

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

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

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

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

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

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

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

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

Board of DirectorsGeorge LaverockPresident

Dr. Jeanette Gallant (Oxford)Vice President

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

Brent HunterSecretary

Janis HamiltonPast President

Matthew BairdJoAnne BarnumAnne BonnycastleCameron HaneyDr. Donna HoggeWendy KishEmily McClendonColin MilesLaurent MunierYuliya NeverovaDavid RosboroughDr. Robert RothwellCara VenturaMarianne WernerJennifer Wilnechenko

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

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

Steven BélangerGeneral Manager

Nat MarshikBookkeeper/Office Coordinator

Karen SeaboyerManager, Communications & Production

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

Tel: 604.738.6822 • Fax: 604.738.7832info@vancouverchamberchoir.com

www.vancouverchamberchoir.com

Wendy D Photography

Photo: Yukiko Onley

The Vancouver Chamber Choir acknowledges that it operates and performs on the unceded Indigenous land belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege.

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VANCOUVER CHAMBER CHOIR

Beth Buono

Emily CheungChristina Cichos

Lorraine ReinhardtMadeline Lucy Smith

Dinah Ayre

Fabiana KatzKaren MangDolores ScottKaryn Way Tom Ellis

Matt GaskinCarman J. Price

Eric SchwarzhoffGrant Wutzke

Steven BélangerCameron Haney

Paul NashGeorge RobertsWim Vermeulen

Kathleen AllanFiona BlackburnGeorge RobertsCarrie TennantJoel Tranquilla

James Ong Stage Management

Corporate Graphics Graphic Design

Violet GoosenDevelopment and Tour Manager

José VerstappenProgramme Typography

Please turn off all phones.Recording devices of any kind

are strictly prohibited.

VANCOUVER CHAMBER CHOIRJON WASHBURN, CONDUCTOR

MUSIC SEA TO SEA�e Farewell Tour

Edmonton, Calgary, Lethbridge, Regina, Toronto, St. John’s, Halifax, Antigonish, Wolfville, Amherst, Lunenburg, Vancouver

�is programme marks the Vancouver Chamber Choir’s 92nd tour in the last 48 years. It is Jon Washburn’s 91st tour with the Choir and perhaps his last, as he steps down at the end of this season to become the Choir’s Conductor Emeritus. In honour of the occasion, the repertoire of this concert consists of the Choir’s TOP TEN LIST, the actual 10 pieces which have received the most performances over the years, o�en on tour. �e actual number for each is printed under the title. (NB: If you count only eight pieces, it’s because there are two encores... only if we need them, of course!)

PROGRAMME

Lobet den Herrn, alle Heiden Praise the Lord, all ye nations Johann Sebastian Bach 106 performances (1685-1750)

Trois chansons de Charles d’Orléans Claude Debussy �ree Songs on poems of Charles d’Orléans (1862-1918)

113 performances Dieu ! qu’il la fait bon regarder ! Lord! you’ve made her lovely to behold Quant j’ai ouy le tabourin! When the little drum I hear Yver, vous n’estes qu’un villain! Winter, you are such a scoundrel

Dolores Scott, altoLorraine Reinhardt, soprano Dinah Ayre, alto Eric Schwarzho�, tenor Paul Nash, bass

Ave, verum corpus Hail, true body Imant Raminsh 64 performances (b. 1943)

Hymn to Saint Cecilia Benjamin Britten 67 performances (1913-1976)

Christina Cichos, soprano Fabiana Katz, alto Eric Schwarzho�, tenor Wim Vermeulen, bass

A Stephen Foster Medley Stephen Foster 60 performances (1826-1864)

1. Jeanie with the Light Brown Hair 4. Beautiful Dreamer 2. Camptown Races 5. Oh! Susanna! 3. My old Kentucky home

Carman J. Price, tenor Karyn Way, alto Madeline Lucy Smith, soprano Dinah Ayre, alto Eric Schwarzho�, tenor George Roberts, bass

INTERMISSIONMátra Pictures Zoltán Kodály 70 performances (1882-1967)

1. Vidróczki’s Hunting 4. Summer Time 2. �e Farewell 5. Stealing Chickens 3. �e Message

Many Cameo Soloists

A Garden of Bells R. Murray Schafer 82 performances (b. 1933)

Rise! Shine! Four Spirituals Jon Washburn 91 performances (b. 1942)

1. Sometimes I feel like a motherless chil’ 3. Swing low, sweet chariot 2. �ere is a balm in Gilead 4. Rise! Shine! for the Light is a-comin’

George Roberts, bass Fabiana Katz, alto

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

Johann Sebastian Bach Lobet den Herrn, alle Heiden

Many people, especially musicians, consider J.S. Bach to be the greatest composer of all time. His purest choral music can be found in his several German motets which were probably composed for special occasions, mostly birthdays and funerals. �e motet Lobet den Herrn, alle Heiden, BWV 230, is a setting of Psalm 117, Praise the Lord, all ye nations. Bach has devised a truly joyful interpretation with the four vocal parts sharing equally in vigorous melodic interplay. �e constant involvement of all the voices seems to emphasize the words

“all people” in the text. �e �orid lines and trumpet-like themes perfectly represent the idea of praise. A more chordal middle section brie�y represents the gentler concepts of mercy and truth, but quickly reverts back into energetic counterpoint, building towards the �nal section - an extended Alleluia of great vitality.

Lobet den Herrn, alle Heiden; Praise the Lord, all ye nations; preiset ihn, alle Völker! praise him, all people!Denn seine Gnade und Wahrheit For his mercy and truthwaltet über uns in Ewigkeit. rule over us forever.Alleluja. Hallelujah.

Psalm 117

Claude Debussy Trois chansons

�e French Impressionist Claude Debussy was famed for his colouristic orchestral canvases - he could make even a single piano sound like an orchestra. In Trois chansons, three settings of poems by the 15th-century French poet Charles d’Orléans, Debussy worked the same magical e�ect for an ensemble of unaccompanied voices. �e modern choral ear is used to such colours, but in 1898 these would have seemed remarkable indeed! Each of the three chansons has its own unique mood and texture. �e �rst, Lord! you’ve made her lovely to behold, is as gentle and sensuous as the woman it describes. In the second, When I hear the little drum, the soloist’s melody depicts a lazy young girl who yawns and pulls the bedclothes over her head in order to block out the distant excitement portrayed by the choral voices. In the third song, Winter, you are such a scoundrel! the mean season of cold and snow is vili�ed by contrasting it to the gentle breath of summer.

Dieu ! qu’il la fait bon regarder !

Dieu ! qu’il la fait bon regarder, Lord! you’ve made her lovely to behold,la gracieuse bonne et belle; a graceful, good, and beauteous one;pour les grans biens que sont en elle, for the many virtues she possesses,chascun est prest de la loüer. everyone is ready to sing her praises.Qui se pourroit d’elle lasser ? Who could ever tire of her?Tousjours sa beauté renouvelle. Ever fresh is her beauty.Dieu ! qu’il la fait bon regarder, Lord! you’ve made her lovely to behold,

la gracieuse bonne et belle; a graceful, good, and beauteous one;par de ça, ne de là, la mer whether near or far over the sea,ne scay dame ne damoiselle there is neither woman nor maidenqui soit en tous bien parfais telle. who is so perfect in every way.C’est ung songe que d’i penser. To even suggest that is but a dream.

Quant j’ai ouy le tabourin

Quant j’ai ouy le tabourin When I hear the little drumsonner, pour s’en aller au may, sounding, to call us all to the maypole,en mon lit n’en ay fait affray in my bed I do not stir myselfne levé mon chief du coissin; nor li my head from the pillow;en disant: il est trop matin I say: it’s too earlyung peu je me rendormiray. and I let myself sleep a little longer.

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Quant j’ai ouy le tabourin When I hear the little drumsonner, pour s’en aller au may, sounding, to call us all to the maypole, jeunes gens partent leur butin; I hear the young ones sharing their favours;de non chaloir m’accointeray nonchalantly I listenà lui je m’abutineray to them while I lie there;trouvé l’ay plus prouchain voisin. having found a closer neighbour.

Yver, vous n’estes qu’un villain

Yver, vous n’estes qu’un villain; Winter, you are such a scoundrel;esté est plaisant et gentil summer is pleasant and gentleen témoing de may et d’avril as witness April and Mayqui l’accompaignent soir et main. who always accompany her.

Esté revet champs, bois et fl eurs Summer clothes fi elds, woods and fl owersde sa livrée de verdure in their garb of greenet de maintes autres couleurs and of many other colours,par l’ordonnance de nature. as ordained by nature.

Mais vous, Yver, trop estes plein But you, winter, are too fullde nège, vent, pluye et grézil. of snow, wind, rain and hail.On vous deust banir en éxil. I’d like to banish you into exile. Sans point fl ater je parle plein: With frankness I say plainly:Yver, vous n’estes qu’un villain. winter, you are such a scoundrel.

Charles d’Orléans, translations edited by Jon Washburn

� ank you,

Pille Bunnell, Susie Funk,Judith Roberts, David Tait, and Fei Wong

for supporting the Vancouver Chamber Choir’sMusic Sea to Sea tour

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Sun Life Community Outreach Program

Sun Life Financial is pleased to provide a Community Outreach Program through which the

regular season concerts of the Vancouver Chamber Choir are made available to hundreds of

people with health related disabilities.

Non-profi t organizations involved with community health join with the Vancouver Chamber Choir

to help distribute tickets. For more information on this program or to register your organization,

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

Tickets: $125 per person(includes a tax-deductible donation of $100)

MUSICA IN CASA2018/19

A series of intimate house concerts in support of the Vancouver Chamber Choir’s fundraising efforts

Wednesday, April 3, 2019 at 7:30 pmat Casa Dolan (Kerrisdale, Vancouver)

Albertina Chan, harpwith special guest

Dolores Scott, mezzo-soprano

Enjoy an evening of music for harp by Hindemith, Ravel, Fauré, Debussy and more, accompanied by fine wines of the south Okanagan and

exquisite cheeses from les amis du FROMAGE.

SEATING IS LIMITED. To make your reservation please contact the Vancouver Chamber Choir at (604) 738-6822 or visitwww.vancouverchamberchoir.com.Venue address will be provided upon reservation.

Albertina Chan is a versatile harpist, performing the traditional repertoire along with anything different and off-beat in and

around her hometown of Vancouver. She has performed with the VSO, Music on Main, the Erato Ensemble, the Vancouver

Chamber Choir, the Vancouver Film Orchestra and the Vancouver Opera Orchestra, and received the Jessie Award

for Significant Artistic Achievement for her performance in Patrick Street Productions’ The Light in the Piazza.

Mezzo-soprano Dolores Scott has performed in an extraordinarily diverse

variety of styles and settings: opera, music theatre, symphony orchestra, early music and chamber choir. She currently serves as Artistic Director of the Young People’s

Opera Society of BC.

� ank youto tonight’s Concert Patron

Janis Hamilton.� e Vancouver Chamber Choir

appreciates your supportof our performance.

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Imant RaminshAve, verum corpus

Imant Raminsh is a British Columbian composer, violinist and choral conductor of Latvian heritage. Raminsh has written extensively for orchestra as well as chamber music and song, yet it is his singular gi� for choral music that has been the hallmark of his career. His distinctive choral textures, lush harmonic palette, lyrical melodic sense and prodigious output have earned him accolades as British Columbia’s most outstanding composer in the choral idiom, including the recent awarding of the Order of Canada. � is lyrical setting of the traditional Latin hymn Ave, verum corpus became Raminsh’s � rst widespread success when it was premiered in 1977 by Jon Washburn and the Vancouver Chamber Choir. Since that time it has taken its place as a classic in the core repertoire of Canadian choral music.

Ave, verum corpus, Hail, true body,natum de Maria Virgine; born of the Virgin Mary;vere passum, who truly suff ered sacrifi ceimmolatum in cruce pro homine. on the cross for men;Cujus latus perforatum, From whose pierced sidevero fl uxit sanguine. fl owed a wave of blood;

Esto nobis prægustatum To us be a foretaste mortis in examine. in death’s agony.O clemens, O pie, O sweet one, O pious one,Fili Mariæ, Son of Mary,Amen. Amen.

AT CHRIST CHURCH CATHEDRAL

MAR23

Blue Heron, Scott Metcalfe music director

Tickets from $36 | earlymusic.bc.ca | 604.822.2697

This concert is generously supported by Elaine Adair

REMEDE DE FORTUNEGUILLAUME DE MACHAUT

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Peter R. Allen �e 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 �e Banks of Newfoundland from 1980 is one of several written around the time he spent teaching at Memorial University in Newfoundland.

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

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

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

CALLING STUDENTS OF ANY AGE!

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

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

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

�ank you, John and Leonora Pauls

�e Vancouver Chamber Choir appreciates your support of printing

tonight’s concert programand for attending

We hope to see you again this spring!

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

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

Please turn page quietly

�ank you, Violet Goosen,

for supporting the printing of tonight’s program.

We appreciate the attendance of yourself and your family at our events.

See you at Divertimento on May 29!

Be our guest !

Have a Vancouver Chamber Choir

story to share? Leave us a note in our gue�

book at tonight’s performance.

We love to hear from our audience!

�ank you to all of our wonderful front of house volunteers

who ensure that everything runs smoothly in the lobby during our concerts.

You are greatly appreciated.

Lisa AkizukiGloria Aldrich

Cecilia BernabeAlison BlockAna Brkich

Ron CostanzoMarylin deVerteuil

David Harvey

Jacquie HurstYvonne Kato

Sharon NewmanAdele Peters

Ron SchubankKristina Skoritskaya

Janice Unander

If you would like to be part of this committed and enthusiastic team,

please email us at info@vancouverchamberchoir.com

or call 604-738-6822 ext 24

9

Benjamin Britten Hymn to Saint Cecilia

Composed in 1942 to a poem by W.H. Auden, Benjamin Britten’s Hymn to Saint Cecilia is perhaps his �nest work for unaccompanied choir. An inspired tribute to the patron saint of music, this theme undoubtedly had a special personal signi�cance to Britten, who himself was born on Saint Cecilia’s Day (November 22) in 1913. Britten’s remarkable ability to mirror the meaning of the text in his music is fully demonstrated in this music. Especially delightful are the passages near the end where the solo voices imitate violin, �ute, drum and trumpet in turn. �e form of the poem is carefully followed in the music, articulated by the refrain “Blessed Cecilia, appear in visions...” which itself appears three times to the same musical material.

III O ear whose creatures cannot wish to fall,O calm of spaces unafraid of weight,Where Sorrow is herself, forgetting all�e gaucheness of her adolescent state,Where Hope within the altogether strangeFrom every outworn image is released,And Dread born whole and normal like a beastInto a world of truths that never change:Restore our fallen day; O re-arrange.

O dear white children casual as birds,Playing among the ruined languages,So small beside their large confusing words,So gay against the greater silencesOf dreadful things you did: O hang the head,Impetuous child with the tremendous brain,O weep, child, weep, O weep away the stain,Lost innocence who wished your lover dead,Weep for the lives your wishes never led.

O cry created as the bow of sinIs drawn across our trembling violin.O weep, child, weep, O weep away the stain.O law drummed out by hearts against the stillLong winter of our intellectual will.�at what has been may never be again.O flute that throbs with the thanksgiving breathOf convalescents on the shores of death.

O bless the freedom that you never chose.O trumpets that unguarded children blowAbout the fortress of their inner foe.O wear your tribulation like a rose.

[Blessed Cecilia, appear in visionsTo all musicians, appear and inspire:Translated Daughter, come down and startleComposing mortals with immortal fire.]

Poem by W. H. Auden

I In a garden shady this holy ladyWith reverent cadence and subtle psalm,Like a black swan as death came onPoured forth her song in perfect calm:And by ocean’s margin this innocent virginConstructed an organ to enlarge her prayer,And notes tremendous from her great engine�undered out on the Roman air.

Blonde Aphrodite rose up excitedMoved to delight by the melody,White as an orchid she rode quite nakedIn an oyster shell on top of the sea;At sounds so entrancing the angels dancingCame out of their trance into time again,And around the wicked in Hell’s abysses�e huge flame flickered and eased their pain.

Blessed Cecilia, appear in visionsTo all musicians, appear and inspire:Translated Daughter, come down and startleComposing mortals with immortal fire.

II I cannot grow;I have no shadowTo run away from,I only play.

I cannot err;�ere is no creatureWhom I belong to,Whom I could wrong.

I am defeatWhen it knows itCan now do nothingBy suffering.

All you lived through,Dancing because youNo longer need it For any deed.

I shall never beDifferent. Love me.

[Blessed Cecilia, appear in visionsTo all musicians, appear and inspire:Translated Daughter, come down and startleComposing mortals with immortal fire.]

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ERICK LICHTEARTISTIC DIRECTOR

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11

Stephen Foster/Jon Washburn A Stephen Foster Medley

Stephen Foster was America’s Schubert - the lyric laureate of the 19th-century South. With Foster, sentiment became a virtue, expressed in sweet harmonies and haunting tunes. �e underlying emotion of these songs is nostalgia; a pervasive longing for things lost which seems to permeate the very intervals of the melodies. Like Schubert, Foster died young and poor, as though ful�lling the prophecies of his own songs. Jon Washburn’s medley of favourite Stephen Foster songs was composed in 1985 for the Vancouver Chamber Choir, and premiered on a concert called Music of the Great Songwriters.

Jeanie with the Light Brown Hair

I dream of Jeanie with the light brown hair,Borne, like a vapour on the summer air;I see her tripping where the bright stream playHappy as the daisies that dance on her way.Many were the wild notes her merry voice would pour,Many were the blithe birds that warbled them o’er.I dream of Jeanie with the light brown hair,Floating like a vapour on the so summer air.

Camptown Races

�e Camptown ladies sing this song, (Doodah! doodah!)�e Camptown race track five mile long, (O doodah day!)I come down there with my hat caved in,Go back home with a pocket full of tin.�e longtail filly and the big black hoss,

�ey fly the track and they both cut across,�e blind hoss sticken in a big mud hole,He can’t touch bottom with a ten foot pole.

(refrain)Goin’ to run all night!Goin’ to run all day!I’ll bet my money on the bobtail nag,Somebody bet on the bay.

Ol’ muley cow come on the track,�e bobtail fling her o’er his back,�en fly along like a railroad car,Running a race with a shootin’ star,

My Old Kentucky Home

�e sun shines bright in the old Kentucky home,‘Tis summer, all cares fly away;�e corntop’s ripe and the meadow’s in the bloom,While the birds make music all the day.

�e young folks roll on the little cabin floor,All merry, all happy and bright;Oh by’n’ by hard times comes a-knockin’ at the door,�en my old Kentucky home, good night.

Weep no more my lady, O weep no more today!We will sing one song for the old Kentucky home,for the old Kentucky home far away.

Beautiful Dreamer

Beautiful dreamer, wake unto me,Starlight and dewdrops are waiting for thee,Sounds of the rude world heard in the day,Lull’d by the moonlight have all passed away!

Beautiful dreamer, queen of my song,List while I woo thee, with so melody;Gone are the cares of life’s busy throng,Beautiful dreamer, awake unto me!

Oh! Susanna

I come from Alabama With my banjo on my knee,I’se goin’ to Lou’siana now, My true love for to see.

It rain’d all night the day I le , �e weather it was dry;�e sun so hot I froze to death,Susanna, don’t you cry.

(refrain)Oh! Susanna, Oh! don’t you cry for me;I come from Alabama With my banjo on my knee.

I had a dream the other night,When ev’rything was still,I thought I saw Susanna dear A-comin’ down the hill.

�e buckwheat cake was in her mouth,�e tear was in her eye;I says I’se coming from the South, Susanna, don’t you cry.

Stephen Foster

INTERMISSION

12

Zoltán KodályMátra Pictures

Zoltán Kodály, one of Hungary’s � nest composers and music educators, was also an important researcher and collector of Eastern European folksongs. It was his conviction that traditional Hungarian music should form the main repertory for music teaching in Hungary, a basic tenet of the now-famous “Kodály Method”.

� e in� uence of these studies on his own compositions is evident in his Mátra Pictures — an imaginative choral suite combining several folk-like songs which paint scenes of Hungarian village life. � e � rst celebrates the famous Hungarian outlaw and folk-hero, Vidróczki; the second is a young man’s farewell from his sweetheart, including mutual warnings to remain faithful, or else! � e third song expresses the young man’s longing for home and loved ones; the fourth is an atmospheric summer scene. � e last song is a rousing marketplace tableau, complete with gossip, complaints, matchmaking, and general high spirits!

Vidróczki’s Hunting

O Vidróczki’s herd, you thunder.Roving Mátra hills, you plunder.We are chasing far behind you,surely we will never fi nd you.

� rough the stormy woods you ramble,crushing fern and bush and bramble.

“Even if I overtake you,surely I will never break you?”

“Bring my trusty axe and follow,I can track him through this hollow.”

“Should a rock or crevice lame them,surely will disaster claim them.”

“Now the golden sun sinks slowly.Where to shelter? Where securely?� orns shall gently guard my sleepingand the briar be my keeping.”

� us he leads the gentle colt so far away,as the sun is rising for another day,like a shadow silently they disappear;someone’s horse is stolen but they’ll not come here.

Have you heard the news of where Vidróczki’s gone?Stephen Pinter killed him ‘neath the noon-day sun.Stephen Pinter killed him with a single blow:such the cruel villainy that laid him low.

Who will wash his body, wash away the blood?Whosoever lays him out be blessed by God.And on those who bury him, bring blessings all,as the rains, the autumn rains, so gently fall.

Sleep now so ly in the deep ground,mourn with me but make you no sound.

“Rise Vidróczki, anger fi re you:Even now six courts require you.”

“What care I, I must deny them,were it twelve, I’d still defy them.”

� e Farewell

I am leaving home now,leaving all behind me.In the world I’ll fi nd my fortune,here I’ll never fi nd me.

Sadness fi lls my heart now,as you go your way, love;only one thing do I ask you:that you never stray, love.

If you truly love meblessings shall I give you;but if you should dare be fi ckle,I shall not forgive you.

� e Message

Small bird so ly singing,small bird so ly singing,fl y with my message home,O so swi ly winging.

musica intima, together with guest cellist Rebecca Wenham explores emotion through the human cry, featuring music of Bach, Lotti, Nystedt, and Morlock, as well as a new commission by Alfredo Santa Ana, “The River of Hellos and Goodbyes,” with a text by BC Poet Colin Browne.

MORE INFOmusicaintima.org604.731.6618

FRI APR 12, 2019 | 7:30 PM St. James Community Square3214 W 10Th Ave Vancouver

presents

13

�en if she should question“whose words have you spoken?”Say that you come from one,whose heart now is broken.

Summer Time

Walking through the grasses,Fairest of the lasses.Now beside herComes a lad to chide her,teasing as she passes:

“Maiden, I’d be knowing,whither are you going?”

“I am raking,gathering and makingthe hay for winter’s snowing.”

“You should not be mowing,cutting hay or hoeing.You’d be bettersitting in a pretty room,busy with your sewing.”

Stealing Chickens

Hey, all the speckled hens -see the rooster lead them;Hey, Julie, bring them home,you’re the one to feed them.Chicky here and chick-chicka-chickeryChase them ‘til you’re dizzy;For a wife a farmer’s lifeIs busy, busy, busy.

“Hey you sluggard how you liedmay the raven take your hide!�rough your lazy stupid pridemy grey hen just up and died.”

“Who is going for the wine now?Why’s he taking so much time now?Blast him, why’s he not returning?Don’t he know my throat is burning?”

“Here’s a thought that you’ll agree with.Our guest has no eyes to see with.If he had then he’d be knowingIt is time that he was going.”

“I’ve two pretty daughters dear;Harken now to what you hear.Where are fairer girls than these?You may marry which you please.”

“One can marry off a daughter,if fine linen you have bought her.Sons are easy too, I’m thinkingif they’ve wine, good wine for drinking.”

“Get out of my way! Be quick now!Go! or must I fetch a stick now?You insult me, I’m defenseless,go before I beat you senseless.”

English version adapted by Jon Washburn

*

NEW RELEASE ! � �e Love that Moves the Universe * R. Murray Schafer, Vol. 4: �ree outstanding major

works recorded in 2018 for the composer’s 85th birthday: the title piece for choir and orchestra, plus �e Star Princess and the Waterlilies and Narcissus and Echo.

�e Healing Series� Music for Healing Box Set All of the Vancouver Chamber Choir’s remarkable healing CDs in

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

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

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

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

�e Masters Series� BaroqueFest Festive music of Bach, Purcell, Handel and Monteverdi from a gala Expo 86

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

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

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

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

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

�e Canadian Composer Series� A Garden of Bells * R. Murray Schafer, Vol. 1: Early choral works including Miniwanka,

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

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

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

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

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

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

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

�e Christmas Recordings� A Dylan �omas Christmas * �e Vancouver Chamber Choir’s signature performance of

A Child’s Christmas in Wales, read by Welsh actor Russell Roberts with special carol settings by Jon Washburn.

� 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.

� �e Miracle of Christmas Christmas music with a colourful Central and South American flavour played by the ensemble Ancient Cultures with several tracks featuring the Vancouver Chamber Choir.

RECORDINGS FOR SALE IN

THE LOBBY

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14

R. Murray SchaferA Garden of Bells

R. Murray Schafer is Canada’s most outstanding avant garde composer. He has written in all forms, especially orchestral music, chamber music and music theatre. He worked for many years in the � eld of music education, developing musical creativity among children. As a professor of communications at Simon Fraser University, in the 1970s, he developed the World Soundscape Project and his in� uential book � e Tuning of the World has been translated into many languages. Schafer has a fondness for choral music which dates from his youth when he was a choir boy. A long-standing association with the Vancouver Chamber Choir has yielded several new choral works and four recordings of his collected choral compositions entitled A Garden of Bells, Once on a Windy Night, Imagining Incense and � e Love that Moves the Universe. � e remarkable tintinnabulous tour-de-force called A Garden of Bells was commissioned by the Vancouver Chamber Choir with the assistance of the Canada Council for the Arts. It was given its � rst performance by the Choir in February of 1984. It is an imaginative aural landscape described by the composer in this way:

In A Garden of Bells I have in mind a scene which does not exist; a soniferous garden � lled with bells of all shapes and sizes, through which the traveller might wander at leisure and be entertained by a tintinnabulation of sounds, not loud but beckoning, sometimes near, like � owers, but more o� en far like the voices of distant friends, which so� breezes barely bring to our ears.

� roughout A Garden of Bells the sonorities and timbres of many di� erent kinds of bells are suggested. � e words of the text have been chosen to suggest some of these qualities. Numerous people supplied the onomatopoeic words for “bell” which provide the text: Graham Metson, Don Wherry, Gayle Young, David van Egmond and singers from the Vancouver Chamber Choir. A few other bell-words have been derived from Sinhalese, Spanish, Serbo-Croatian, Hungarian, Indonesian, Swahili, etc.

Jon WashburnRise! Shine!

Over the years, Jon Washburn has arranged many spirituals, and he chose four of the best known from this traditional choral repertory for the suite Rise! Shine! Spirituals are powerful expressions of basic emotions and beliefs. � e texts are simple but heartfelt; the tunes and rhythms foreshadow the development of early jazz. In this suite of four beloved spirituals, there is a loosely-structured progression of emotion from sadness to joy. First is the utter desolation of Sometimes I feel like a motherless child. � en comes a glint of hope in � ere is a Balm in Gilead, the recognition of possible salvation in Swing low, sweet chariot and � nally the jubilation of Rise! Shine! � is suite was speci� cally composed for the Vancouver Chamber Choir’s 1989 tour of the former Soviet Union, in anticipation that we might be feeling

“a long way from home”, as the � rst song says. Its premiere, however, was sung at Christ Church Cathedral in Victoria in October 1988.

Sometimes I feel like a motherless child - a long way from homeSometimes I feel like I got no friends - a long way from homeSometimes I feel like I’m almost gone - a long way from home.

� ere is a balm in Gilead to make the wounded whole,� ere is a balm in Gilead to heal the sin-sick soul.

Swing low, sweet chariot, comin’ for to carry me home.I looked over Jordan and what did I see?A band of angels comin’ a er me.comin’ for to carry me home.

Rise! shine! for the Light is a-comin’.Ma’ Lord says he’s comin’ bye n’ bye.� is is the year of the JubileeMa’ Lord has set his people free.I’m gonna shout and never stop,Until I reach the mountain top.

Based on the tunes and texts of traditional spirituals

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NEW RELEASE!

r. murray schafer

Purchase price of $70!Available at the CD table in the lobby,

on iTunes, at www.vancouverchamberchoir.com or by calling 604-738-6822.

R. Murray Schafer, Vol. 4

�is latest addition to the Vancouver Chamber Choir’s outstanding series of Schafer choral works was recorded in 2018 as a special celebration of the composer’s 85th birthday, funded through the Canada Council for the Arts’ New Chapter program.

�e title piece for choir and orchestra is a magni�cent setting of selected cantos from Dante’s Paradiso in which the poet tries to look into the face of God. Featured is �e Star Princess and the Waterlilies, a delightful creation allegory for alto solo, narrator, women’s chorus and percussion. Also Narcissus and Echo, based on the story as told by the Latin poet Ovid, set for a cappella chorus with baritone and soprano soloists.

Artists include�e Vancouver Chamber Choir and Vancouver Chamber Orchestra, Steven Bélanger (baritone), Fabiana Katz (alto), Christina Cichos (soprano), George Roberts (narrator), Brian Nesselroad and Jonathan Bernard (percussion) and the Vancouver Chamber Choir’s long-time conductor and artistic director, Jon Washburn.

Purchase all four Schafer CDs for the special price of $70!

1.855.985.ARTS (2787)vancouverchamberchoir.com

8pm Friday, April 19, 2019The Orpheum

Vancouver Chamber Choir & OrchestraPacifica Singers

Vancouver Youth ChoirJon Washburn, conductor

Jon Washburn draws all his soloists, choirs,

alumni and orchestra together for a

wonderful evening of music to celebrate the

passage of his 48 years as leader of the

Vancouver Chamber Choir. The music is

resplendent - J.S. Bach's marvellous

Missa brevis in G minor, Tarik O'Regan’s

mystic and evocative Solitude Trilogy,

a premiere performance of Jon Washburn's

Two Canadian Folksongs and a celebratory

massed performance of

Ralph Vaughan Williams' glorious

Five Mystical Songs.