AT THE CHAN CENTRE APR14 9 - early music

APR14AT THE CHAN CENTRE

CORONATION ANTHEMSHANDEL

9

Pacific Baroque Orchestra, Alexander Weimann music director Vancouver Cantata Singers, Paula Kremer VCS artistic director

This concert is generously supported by Helen & Frank Elfert and the Mary & Gordon Christopher Foundation

2 | EMV Masterworks Series 2018/19 [email protected] Handel Coronation Anthems

Early Music Vancouver PARTNERS

We also gratefully acknowledge the generosity of our many donors and volunteers.

THANK YOU!

We acknowledge the support ofthe Province of British Columbia

THE DRANCE FAMILYEARLY MUSIC VANCOUVER FUND

board of directors

Chris Guzy president

Fran Watters vice president

Spencer Corrigal cpa,catreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Sherrill GraceMelody Mason

Jesse ReadTim Rendell cpa,ca

Ingrid SöchtingVincent Tan

÷

José Verstappen cmartistic director emeritus

÷

staff

Matthew Whiteexecutive & artistic director

Nathan Lorchbusiness manager

Jocelyn Peircedevelopment coordinator

Laina Tanaharamarketing & volunteer coordinator

Jonathan Evansproduction coordinator

Jan Gatesevent photographer

Murray PattersonMarketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

pacificbaroque

orchestraalexander weimann

MUSIC director

THE BRENNAN SPANO FAMILY FOUNDATION

Early Music Vancouver gratefully acknowledges the assistance and support of:

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FOUNDATIONS

2018-19 PRODUCTION PARTNERS

production partners in victoria bc:

CORPORATE SUPPORT

Rosedale on RobsonSuite Hotel

VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

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Knox & Co. denotes D.A.Knox Law Corporation

Tel: 604 263 5766Cell: 604 374 7916Fax: 604 261 1868Email: [email protected]

Season Calendar panels 2018-19.indd 36 16/06/2018 12:13:31 PM

partners

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike.

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Call Jocelyn Peirce to discuss how our audience profile may fit with your company’s objectives: 604 732 1610.

board of directorsChris Guzy

president

Fran Watters vice president

Ron Kruschentreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Kathleen BourchierSpencer Corrigal cpa,ca

Sherrill GraceMelody Mason

Tim Rendell cpa,caJohanna Shapira Ingrid Söchting

Vincent Tan÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

executive & artistic director

Nathan Lorchbusiness manager

Jocelyn Peircedevelopment coordinator

Laina Tanaharamarketing & volunteer coordinator

Jonathan Evansproduction coordinator

Jan Gatesevent photographer

Murray Paterson Marketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

[email protected]

Handel Coronation Anthemsearlymusic.bc.ca EMV Masterworks Series 2018/19 | 3

the artists

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

Pre-concert talk at 2:15 pm with host Matthew White:

Alexander Weimann

generously supported by Helen & Frank Elfert

and by the

programme

G.F. Handel (1685-1759)

Coronation Anthems

Zadok the PriestLet thy hand be strengthened

The King shall rejoiceMy heart is inditing

INTERVAL

G.F. HandelOde for the Birthday of Queen Anne

Alexander Weimanndirector

Pacific Baroque Orchestra Alexander Weimann

music director

Vancouver Cantata Singers Paula Kremer

vcs artistic director

Danielle Sampsonsoprano

Vicki St. Pierremezzo soprano

Ross Haucktenor

Sumner Thompsonbass-baritone

Pacific Baroque Orchestra Alexander Weimann

director & harpsichord

violin iChloe Meyersconcertmaster

Paul LuchkowKathryn Wiebe

Christine Wilkinson Beckman*violin ii

Christi MeyersElyssa Lefurgey-Smith

Angela Malmberg*viola

Mieka MichauxJoanna Hood

celloAnnabeth Shirley

violoneNatalie Mackie

double bassCurtis Daily

oboeMatthew Jennejohn

Curtis Fosterbassoon

Katrina RussellDavid Wells

trumpetKristine Kwapis

Bruno LourensettoPaul Dubnik

timpaniCorey Rae

organChristina Hutten

*3rd violin

Vancouver Cantata Singers Paula Kremer

vcs artistic director

sopranosRachel BrownEmily Cheung

Missy ClarksonHannah Gee

Sarah McGrath Wendy McMillan

Benila Ninan Hilary Piets

Asha Pratt-JohnsonEve Richardson

Lucy Smith

altosMelanie Adams

Maureen Bennington Elspeth Finlay Beth Helsley Nina Horvath Katie Horst

Sarah McNair

tenorsEric Biskupski Sam Dabrusin

Dean Edmundson Ray Horst

Andrew Lennox Daniel Marshall

Andy RobbTaka Shimojima

Clinton Stoffberg Nick Sommer

bassesAndy Booth

Derrick Christian Doug Colpitts Chris Doughty

Matthew Fisher Jake Gramit

Gerald Harder J. Evan Kreider

Larry Nickel Troy Topnik


Cappella Romana, Alexander Lingasmusic director

MAY10AT CHRIST CHURCH CATHEDRAL

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

MUSIC FROM RENAISSANCE CRETEVENICE IN THE EAST

Bern and Judy are EMV homestay hosts, generously offering up their space to musicians from around the globe. Violinists from Switzerland, harpsichordists from Vancouver Island and bassoonists from just across the border have all called their basement suite a temporary home. Some stay for just a night, some stay for a few days. For Judy and Bern, they’re just happy to help.

“We’re contributing to the local music scene”, said Judy. “We get to contribute to the organization as more than just an audience member.”

Though neither are professional musicians, they have a keen interest in music. Judy belongs to a community choir and Bern plays the ukulele. Becoming a homestay host for EMV felt like a natural fit.

For their generosity, homestay hosts also get free concert tickets for

welcoming musicians into their homes.

“Vox Luminis was just fantastic!” enthused Judy. They also enjoyed last year’s Bach Festival cantatas with Gli Angeli Genève.

Concert tickets might be the most tangible incentive for hosting but developing a casual relationship with musicians also has its own rewards. Over the years they have even seen musicians’ babies go from being swaddled to stumbling about on their own. One violinist first came to their home with a newborn and returned with the same child walking. “It blew me away”, said Judy with a laugh. “We didn’t

even realize we’ve been homestay hosts for this long.”

If they have one piece of advice for prospective homestay hosts, Bern explained it simply: “Don’t hesitate to share your home. The musicians are all nice respectful people.”

become a homestay host !“You get to contribute to the organization as more than just an audience member”

If you’d like to become a homestay host, please contact EMV’s production manager, Jonathan Evans at [email protected]

Judy and Bern Storr


programme notes and texts

During his successful three-year tour through Italy’s musical capitals, the gifted young Georg Friederick Händel (1685-1759) carefully studied their leading opera houses, conductors, instrumentalists, singers, libretti, and orchestral and vocal writing. He was intent on learning everything he could about the art and business of opera. Since he received acclaim for his own compositions and performances, travelling virtuosi and well-placed individuals began suggesting that someday he should also try his luck in England. Although most Italians tended to disdain London as a cultural backwater, some people noted its growing affluence and opportunities. While seriously pondering an extended visit to England, the young entrepreneur wisely found a way to hedge his bets in case London was not as hospitable as desired. On June 6, 1710, Händel accepted the position of Kapellmeister in Hanover at the court of George, Elector of Hanover (who would later become King George I of England). However, Händel (the inveterate free-lancer) insisted upon the unusual stipulation that he be allowed to visit London first. We think that he must have arrived in London by November of 1710. Thanks to the wealth flowing into the Kingdom’s capital from its far-flung colonies, the metropolis had been largely rebuilt after the Great Fire of 1666.

Händel arrived in England during the reign of the beloved Queen Anne (1702-1714), known for her patronage of the arts and her love of the theatre. Her growing kingdom was rapidly becoming an even greater world power thanks to

its colonies, navy, and commerce. Händel discovered that the stories he had heard were indeed true, that people were eager to experience music in the Italian style, and that money was available to satisfy that craving. For the next five decades, the composer would be trying to please the capricious tastes and whims of stodgy aristocrats (so wonderfully described in retrospect by Dickens) and the energized merchant class which thrived on competition and taking risks. Händel’s entrée into the London scene was his opera Rinaldo (first performed on February 24, 1711, the day after his 26th birthday). Its success surprised everyone, including the composer. He then added an opera a year, all the while ignoring orders to return to his new position at the court of George, Elector of Hanover.

Upon the death of Queen Anne in 1714, preparations were made for Händel’s disgruntled employer in Hanover to become King George I of England. Relations between the two men were to remain cool for the next three years. A reconciliation between the King and his court’s favourite composer was finally achieved when Händel wrote his Water Music, which delighted George I so thoroughly that he insisted it be repeated two more evenings, complete with torch-lit boats filled with instrumentalists. Finally, in 1726, George I decreed that Georg Friedrich Händel be granted English citizenship and be appointed “Composer of Musick for the Chapel Royal”. Thereafter, the composer anglicized his name, calling himself George Frideric Handel. >>

Programme notes by Evan Kreider, Professor Emeritus, Musicology, UBC and member of the Vancouver Cantata Singers.

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While travelling in Germany during yet another return visit, King George I had a massive heart attack on June 9, 1727 and died two days later. When his son, the Prince of Wales, who was to become George II, refused to go to Germany to attend his estranged father’s funeral, many in England were pleased, thinking that this confirmed his preference for England over Germany. Handel was commissioned to provide a set of four anthems for George II’s lavish coronation at Westminster Abbey. One wonders whether eye witnesses possibly

exaggerated when reporting that the choir of more than 40 singers was accompanied by an orchestra of 160. Whatever the forces, the music’s effect was electrifying. Five years later, advertisements for Esther assured readers that “The Musick to be disposed after the Manner of the Coronation Service.” The music of these anthems was in tune with the nation’s political-patriotic-religious fervour, for their new King was God’s appointed ruler of the United Kingdom and Ireland, and the protector of the Church of England.

the coronation anthems (october 11, 1727)

- I - Zadok the Priest

(hwv 258)The first anthem was performed immediately after the Anointing of George II. The text describes the anointing of Solomon as King David’s successor and has been included in every English coronation ceremony since that designed by St. Dunstan for King Edgar (Ēadgār) the Peaceful at Bath in about 973. Handel’s setting of this text has likewise been included for every coronation since that for King George II in 1727. Soccer fans will recognize this as the source for the UEFA Champions League anthem.

Zadok the Priest, and Nathan the Prophet anointed Solomon King. And all the people rejoiced, and said: God save the King! Long live the King! May the King live for ever, Amen, Alleluia.

Based on a translation of the Antiphon for the 7th Sunday after Pentecost, Unxerunt Salomonem Sadoc sacerdos, which is built on 1 Kings 1:38-40

- II - Let Thy Hand Be Strengthened

(hwv 259)The second anthem was performed during the ceremony at the Recognition of George II. The use of this text in English coronations can also be traced back to the service designed by St. Dunstan for King Edgar (c. 973).

Let thy hand be strengthen’d, Let thy right hand be exalted. Let justice and judgment be the preparation of thy seat! Let mercy and truth go before thy face! Alleluia!

Based on Psalm 89:13-14

- III - The King Shall Rejoice

(hwv 260)This anthem was performed at the Crowning of George II, though traditionally it would have been at the Recognition. Hearing the choir’s occasional loud bursts of brief phrases followed by rests, Charles Burney wrote of the anthem as being in the composer’s “big bow-wow” ceremonial style.

The King shall rejoice in Thy strength, O Lord! Exceeding glad shall he be of Thy salvation. Glory and great worship hast Thou laid upon him. Thou hast prevented him with the blessings of goodness, And hast set a crown of pure gold upon his head. Alleluia.

Psalm 21:1, 5b, 3

- IV - My Heart is Inditing

(hwv 261)The compilation of texts in the final anthem was first used by Henry Purcell for the coronation of King James II in 1685 (the year of Handel’s birth). Handel’s musicians performed this anthem after the Coronation of Queen Caroline, Princess of Wales and wife of George II. Orphaned when still young, she was raised at the Prussian court, where her education was as Protestant as it was thorough. Her intellect clearly overshadowed that of her husband, who repeatedly turned to her for political advice. He adored her to the end, declaring at her deathbed that he would never remarry—only have mistresses. Her reply? “Ah, mon Dieu, cela n’empêche pas!” (“My God, that doesn’t prevent it!”)

My heart in inditing of a good matter: I speak of the things which I have made unto the King. Kings’ daughters were among thy honourable women. Upon thy right hand did stand the Queen in vesture of gold. And the King shall have pleasure in thy beauty. Kings shall be thy nursing fathers And queens thy nursing mothers.

Psalm 45:1, 10, 12a and Isaiah 49:23a

INTERVAL


The Gallery Singers present a concert of “night music” and “music of the morning” featuring compositions by Josef Rheinberger, including “Abendlied”, as well as the music of Claudio Monteverdi and Max Reger.

Adults $18 / Students with valid ID $9 / Children 12 & under Free - www.gallerysingers.ca

Holy Trinity Anglican Church - 1440 West 12th Ave (at Hemlock)

3:00pm May 12, 2019

Jonathan QuickDirector

VANCOUVER ACADEMY OF MUSIC SYMPHONY ORCHESTRAIAN PARKER, MUSIC DIRECTOR & PRINCIPAL CONDUCTOR

with Jon Kimura Parker, piano

FIREBIRD SUITE• STRAVINSKY, FIREBIRD SUITE• TCHAIKOVSKY, PIANO CONCERTO NO. 1• BERNSTEIN, OVERTURE TO CANDIDE

MAY 12, 2PMORPHEUM THEATRE

TICKETS $15 GENERAL,

$10 STUDENT/SENIOR

AT VAMSO.CA

KOERNER RECITAL HALLTRANSFORMEDY O U R P A R T I C I P A T I O N C A N M E A N $ 1 M I L L I O N

Interested in joining our volunteer corps?Phone 604.732.1610 for details.

EMV’s activities are made possible through the generous assistance of many volunteers

who offer their time. We would like to thank the following:

Pam Atnikov, Richard Cameron, Alexandra Charlton, Ron Costanzo, Donna Cohen, Catherine Crouch, Bill Dovhey, Sandy Dowling, David Dyck, Susan Edwards, Helen Elfert, Bev Ferguson, Elizabeth Ferguson, Jean-Pierre Fougeres, Gail Franko, Maureen Girvan, Stanley Greenspoon, Satoko Hashigasako, Delma Hemming, Margaret Hendren, Michiko Higgins-Kato, Maggie Holland, Gene Homel, Richard Huber, Gigi Huxley, Nancy Illman , Gretchen Ingram, Ron Jobe, Gerald Joe, Susan Kaufman, Barb Knox, John Lawson, Adèle Lafleur, Susan Larkin, Marlene LeGates, Pat Lim, Christina MacLeod, Wanda Madokoro, Dolina McLay, Kathryn McMullen, Vania Mello, Fran Moore, Carole Nakonechny, Veronika Ong, Gina Page, Betty Lou Phillips, Selma Savage, Traudi Schneider, Jill Schroder, Alison Stockbrocks, Eleanor Third.

THANK YOU TO OUR VOLUNTEERS!


birthday ode for queen anne (february 6, 1713)

Eternal Source of Light Divine (hwv 74)

And now, dear Reader, we go back in time by about 14 years. We remember that Händel had moved to England in 1710 and conducted his opera Rinaldo in 1711. Less than two years later, he started receiving commissions to provide ceremonial music for Queen Anne’s court. The crucial series of treaties being conducted by Anne’s Tory ministers (1712-14) became known collectively as The Peace of Utrecht. Among other things, these treaties ended the War of the Spanish Succession and assured that Louis XIV of France would not interfere with the eventual Hanoverian succession to England’s throne. Handel was commissioned to write his glorious Utrecht Te Deum (January 14, 1713) to celebrate this peace. Three weeks later, he provided a delightful ode celebrating Queen Anne’s birthday (Monday, February 6, 1713). With the new peace treaty on everyone’s mind, the libretto by Ambrose Philips (1674-1749) repeatedly hails Queen Anne as the one “who fix’d a lasting peace on earth.” The Queen was so pleased with these celebratory compositions that she granted Handel—technically still on leave from the Court at Hanover—an annual pension of £200, an income which placed him in the upper 3% of England’s families *. Six months later, the Queen’s death and lack of an heir (in spite of 17 pregnancies) meant that George, Elector of Hanover and Handel’s employer, became King George I, thanks to the Peace of Utrecht.

Eternal Source of Light Divine is a secular cantata which features the composer’s Italianate orchestral sonorities and operatic displays so enjoyed by London’s audiences. We still admire the way the soloist draws out the cantata’s very first word, “Eternal”, and how it is so wonderfully answered by the trumpet. But Handel had also been studying works by Purcell and contemporaries, so there are many musical allusions to the ode’s pastoral motives (e.g., the soft fluttering of “the winged race”, “rolling streams”). The fifth stanza refers to “Kind health” descending, a covert prayer on behalf of the Queen, who was no longer able to walk. Though not literally ‘conducted by angels’, she was either carried or wheeled by servants wherever she went. The sixth stanza asks that political differences be set aside for just one day—the persistent bickering between the Whigs and Tories was the bane of the monarch’s life. Birthday songs for monarchs are seldom admired for their literary value, but they are designed to be innocently enjoyed by all (somewhat in contrast to the fawning now required by the White House). There is not a sad word or darkened brow in sight. Instead, there is a charming sense of the Queen somehow being connected to a peaceful pastoral past. Each of the ode’s seven stanzas concludes with the ensemble’s brief jubilant refrain acclaiming the monarch by name and citing her most recent diplomatic achievement—true international peace.

I. Eternal Source of light divine! With double warmth thy beams display, And with distinguish’d glory shine, To add a lustre to this day. The day that gave great Anna birth Who fix’d a lasting peace on earth.

II. Let all the winged race with joy Their wonted homage sweetly pay, Whilst tow’ring in the azure sky, They celebrate this happy day. The day that gave great Anna birth, Who fix’d a lasting peace on earth.

III. Let flocks and herds their fear forget, Lions and wolves refuse their prey, And all in friendly consort meet, Made glad by this propitious day. The day that gave great Anna birth, Who fix’d a lasting peace on earth.

IV. Let rolling streams their gladness show, With gentle murmurs whilst they play, And in their wild meanders flow, Rejoicing in this blessed day. The day that gave great Anna birth, Who fix’d a lasting peace on earth.

V. Kind health descends on downy wings, Angels conduct her on the way. To’our glorious Queen new life she brings, And swells our joys upon this day. The day that gave great Anna birth, Who fix’d a lasting peace on earth.

VI. Let envy then conceal her head, And blasted faction glide away. No more her hissing tongues we’ll dread, Secure in this auspicious day. The day that gave great Anna birth, Who fix’d a lasting peace on earth.

VII. United nations hall combine, To distant climes the sound convey That Anna’s actions are divine, And this the most important day! The day that gave great Anna birth, Who fix’d a lasting peace on earth.

Ambrose Philips (1674-1749)

* Robert D. Hume, “The Value of Money in Eighteenth-Century England: Incomes, Prices, Buying Power—and Some Problems in Cultural Economics”, in Huntington Library Quarterly, Vol. 77, No. 4 (2015), pp. 373ff.


WED APR 17 2019 / 8PM

Mariza

SAT APR 27 2019 / 8PM

AnoushkaShankar

C H A N C E N T R E AT U B CTickets and info at chancentre.com


Pacific Baroque Orchestra

The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting-edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.In 2009, PBO welcomed Alexander Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.

PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured BC, the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.

Alexander Weimann music director

Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, and as frequent guest with Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as conductor of the Pacific Baroque Orchestra in Vancouver, Music Director of the Seattle Baroque Orchestra and regular guest conductor of ensembles including the Montreal Symphony, Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth College in New Hampshire, McGill in Montreal, and Mount Allison in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.

A multiple Juno and Grammy nominee, Weimann can be heard on some 100 CDs. Recent highlights include an Opus and Juno award winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, and a Juno nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award.Alex lives with his wife, three children and pets in Ladner BC, and tries to spend as much time as possible in his garden.

Vancouver Cantata Singers

Founded in 1957, the Vancouver Cantata Singers has become one of Canada’s preeminent, award-winning choral ensembles. The choir is known for its technical virtuosity, fine blend and exceptionally high performance standards encompassing 500 years of diverse choral repertoire.

VCS has been awarded the Canada Council’s top prize in choral singing, the Healey Willan Grand Prize, more than any other choir in the country. Led by artistic director and conductor Paula Kremer since 2013, VCS also commissions new works from critically-acclaimed composers, which have led to extremely successful and innovative collaborations with regional and international artists and ensembles.

Paula Kremer VCS artistic director

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. Holding an ARCT in both piano and voice from the Royal Conservatory of Music, Paula has also studied voice with Phyllis Mailing, Bruce Pullan, Marisa Gaetanne and Laura Pudwell, and piano from Margot Ehling. 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 2009-2017, the Vancouver Bach Youth Choir and Sarabande Chamber Choir. Paula joined the alto section of our choir in 1994, and has been the Vancouver Cantata Singers’ Artistic Director since 2013.

Danielle Sampson soprano

Danielle Sampson is delighted to return to Vancouver after having sung in the Festive Cantatas: A Monteverdi Christmas Vespers concerts last December. She has performed with Boston Early Music Festival, Seattle Symphony Orchestra, Seattle Opera, American Bach Soloists, California Bach Society, Baroque Chamber Orchestra of Colorado,

the artists


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SF SoundBox, and Alabama Symphony among others. Recently she was seen in Handel’s Messiah and Judas Maccabeus with Portland Chamber Orchestra, a concert of baroque women composers with Pacific MusicWorks, and local composer Neil Welch’s ensemble piece “Concepción Picciotto” for the Earshot Jazz Festival. She performed in Boston Early Music Festival’s Monteverdi Trilogy in 2015 as Melanto in Il ritorno d’Ulisse in patria and as Virtu and Pallade in L’incoronazione di Poppea. Her upcoming season includes the Messaggera in Monteverdi’s Orfeo with Baroque Chamber Orchestra of Colorado, Handel’s Samson with Pacific MusicWorks, a concert of Hildegard von Bingen, and Brahm’s Requiem with Sonoma Bach.

Danielle is a founding member of the voice/plucked strings duo Jarring Sounds (with Adam Cockerham on guitar, theorbo, baroque guitar, and lute). She sings frequently with Seattle’s Byrd Ensemble and Pacific MusicWorks and teaches voice and piano privately. Danielle received her BM from the University of Denver’s Lamont School of Music and her MM from the San Francisco Conservatory of Music. She currently lives in Seattle with her husband and son.

Vicki St. Pierre mezzo soprano

Past concert highlights include Monteverdi’s Vespers of 1610 with the Toronto Consort, Zelenka’s St. Cecilia Mass with Tafelmusik, Stanford’s Requiem with the Orpheus Choir, Bach’s Magnificat and Christmas Oratorio with the Toronto Bach Consort, and Handel’s Messiah with Symphony Nova Scotia, the Edmonton Symphony, and the Calgary Philharmonic Orchestra, Tafelmusik, Victoria Symphony, Handel’s Dixit Dominus with Tafelmusik, and the music of Jommelli with Les Idées Heureuses of Montreal.

On the operatic stage, Vicki has appeared in Monteverdi’s Orfeo, Charpentier’s Actéon, and Monteverdi’s Il ritorno d’Ulisse in Patria with Opera Atelier, Dido and Aeneas with Ensemble Masques de Montreal and Toronto Masque Theatre, Rossini’s Il Barbiere di Siviglia with Toronto Philharmonia, and L’Incoronazione di Poppea with Opera Atelier, Cleveland Opera and Early Music Vancouver.Recent and upcoming engagements include the role Nutrice in Monteverdi’s L’Incoronazione di Poppea with the Academy of Ancient Music in London, UK, the role of the Sorceress in Purcell’s Dido and Aeneas with Les Violons du Roy at Carnegie Hall, Messiah with Orchestra London, Dvorak’s Stabat Mater with Symphony New Brunswick, and A Spanish Christmas with The Toronto Consort.Vicki is a professor of voice at Mount Allison University, adjudicates music festivals and competitions, was Director of Music at the Cathedral Church of St. James in Toronto, taught voice at Wilfrid Laurier University, conducts an auditioned community choir in Fredericton, NB, was the music director for the New Hamburg Live! festival of the arts, was a lecturer at the Royal Conservatory of Music, has been an assistant conductor with Opera Atelier, and, is on faculty at COSI, a summer opera training program in Sulmona, Italy. She completed her doctoral studies in performance at the University of Toronto under the tutelage of Dr. Darryl Edwards.

BRING EMV HOME!

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If your answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of

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Get to know some of the wonderful musicians that come to Vancouver to bring you great music.

Host only when it is convenient for you; all you need to provide is a private room.

For more information please contact Jonathan Evans, Production Manager,

Early Music Vancouver:[email protected] or 604.732.1610, extension 2004

Special thanks to the following for hosting our guest musicians:Sarah Ballantyne ; Gillian Chetty ; Spencer Corrigal ; Jill Davidson ; Liz & Keith Hamel ; Maria & David Harris ; Martha Hazevoet ; Delma Hemming ; Michiko Higgins-Kato ; Ying Huang ; Sharon Kahn ; Judy Killam ; Tony & Margie Knox ; Evan and Janice Kreider ; Lise Kreps ; Bill Linwood ; Paul Luchkow & Glenys Webster ; Marlene LeGates & Al Dreher ; Christi Meyers ; Jeannine Paquette-Lau & Chuen-Ping Lau ; Hannelore Pinder ; Monique Prudhomme & Robert MacDonald ; Tim Rendell ; Ruth Shell ; Kimberly & Stuart Smith ; Nick & Olivia Swindale ; Craig Tomlinson & Carol Tsuyuki ; John Tulip ; Alex Waterhouse-Hayward ; Valerie Weeks & Barry Honda ; Dr. Ellen Weibe & Allan Oas ; Marc White & Joey Schibild ; Matthew White & Cassie Webster ; Jane & Michael Woolnough ; James Young.


EARLY MUSIC VANCOUVER

Leave a Legacy

Help us give the gift of Early Music to future generations

You can ensure the continued health and vibrancy of Early Music in Vancouver through one of the most powerful tools in your possession – your estate plan. Legacy gifts are an expression of your values, wishes and hopes for the future.

There are different ways in which you can make a legacy gift. Each type has different benefits for you and your family.

Examples:

• A Bequest in your Will – naming the Vancouver Society for Early Music as a beneficiary

• Naming the Vancouver Society for Early Music as a beneficiary of a Life Insurance Policy or RRSP

• Creating or contributing to an Endowment Fund

If you have already included Early Music Vancouver in your estate plan or would like more information on possibilities for legacy gifts, please contact our Business Manager Nathan Lorch at 604.732.1610 or [email protected] for more information.

To ensure that your particular needs are met and that your exact wishes are honoured, we recommend that you consult your legal and/or financial advisors.

Planned gifts can create excellent tax advantages; ask your financial advisor to help determine the most advantageous plan for you.

Thank you for your support!

Full Legal name: Vancouver Society for Early MusicCharitable Number: 10816 7776 RR0001

Early Music Vancouver1254 West 7th Avenue, Vancouver BC, V6H 1B6

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Ross Hauck tenor

Tenor Ross Hauck is a specialist in sacred oratorio work, but is well-known for his versatility. His work in early music is often with Apollo’s Fire and Pacific MusicWorks. Recent concert credits include the Symphony Orchestras of Baltimore, Phoenix, Dallas, Chicago, Grand Rapids, Kansas City, Portland, and the National Symphony. This season includes Carmina Burana with both the Seattle Symphony and the Hawaii Symphony, Messiah in both Cleveland and Seattle, Celtic Journey with the symphonies of Omaha and Edmonton (CA), and a UK tour of “Sugarloaf” mountain with Apollo’s Fire. Opera credits include lead roles with companies in Tacoma, Sacramento, Indianapolis, and Cincinnati, among others. An active recitalist, he has been heard live on PBS.

Mr. Hauck is a distinguished alum of the Cincinnati-College Conservatory of Music, with further training at Tanglewood, Ravinia, Aspen and 2 seasons at the prestigious Filene Center at Wolf Trap. He is a former cellist, a professor of voice at Seattle University, and the music director at his home church in Washington state, where he lives with his wife and 4 children.

Sumner Thompson bass-baritone

Described as possessing “power and passion”, and “stylish elegance”, Sumner Thompson is in high demand on the concert and opera stage across North America and Europe. He has appeared as a soloist with many leading ensembles and orchestras including the Britten-Pears Orchestra, the National Symphony, the Boston Early Music Festival Orchestra, Apollo’s Fire, Pacific Baroque Orchestra, Portland Baroque Orchestra, Les Voix Baroques, The Handel and Haydn Society, Tafelmusik, Arion Baroque Orchestra, Gli Angeli Genève, and the orchestras of Phoenix, Memphis, Indianapolis, Buffalo, and Charlotte.

Recent engagements include a repeat performance of Handel’s Messiah with Boston’s Handel and Haydn Society, Monteverdi’s 1610 Vespers with the critically acclaimed Green Mountain Project, Britten’s War Requiem with the Boston Philharmonic, Bach’s St. John Passion at the National Cathedral, and the title role in Britten’s Saint Nicolas with Philadelphia Choral Arts. On the operatic stage he performed the role of El Dancaïro in Carmen with the Cincinnati Opera, and the role of Siegmund in a concert version of Act I of Wagner’s Die Walküre in Boston.

Mr. Thompson can be heard on the Boston Early Music Festival’s Grammy-nominated recording of Lully’s Psyché on the CPO label, with the Handel and Haydn Society on their recording of Handel’s Messiah on the Coro label, and also with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all on the ATMA label.

In addition to his musical pursuits, Mr. Thompson spends his time restoring his 1885 Stick-style Victorian home, building various types of bass guitars, and entertaining his 4 year old daughter.


These listings include donations received prior to April 1, 2019

Benefactors ($50,000+): The Drance Family *. Presenters ($10,000-$49,999): Elaine Adair * | Gail & Bryan Atkins * | Vic & Joan Baker * | The Mary & Gordon Christopher Foundation * | Helen & Frank Elfert * | Sharon Kahn * | Janette McMillan

& Douglas Graves | Ralph Spitzer & Hisako Kurotaki * | José Verstappen * | Birgit Westergaard & Norman Gladstone *. Sponsors ($5,000-$9,999): RPC Family Foundation | Chris Guzy & Mari Csemi * | Agnes Hohn * | Dorothy Jantzen * | Tony & Margie Knox * | A donation in memory of Peter Wood * | The Lloyd

Carr-Harris Foundation * | David W McMurtry * | The Nemetz Foundation * | Dr Katherine E Paton * | Zelie & Vincent Tan * | Jo & Bob Tharalson * | Bruce Munro Wright *. Co-Sponsors ($2,500-$4,999): The Brennan-Spano Family Foundation | Tama Copithorne * | The Estate of Gunnar Brosamler | Meredith & Pat Cashion | Mark De Silva | Ernst & Young LLP |

Marianne Gibson * | The Hamber Foundation * | The John & Leni Honsaker Fund * | J Evan & Janice Kreider * | The McLean Foundation | Yvonne McLean * | Marlene Rausch & Tom Phinney | Bruno Wall & Jane Macdonald * | Eric Wyness | One Anonymous Co-Sponsor.

Supporters ($1,000-$2,499): Hugh Anton | Colleen & Martin Barlow | Marti Barregar * | Spencer Corrigal | Charles & Lucile Flavelle Family Fund * | Jane Flick & Robert Heidbreder * | Heather Franklyn * | Dr Val Geddes * | Ursula Graf * | The Hamber Foundation * | Delma Hemming * | Elsie & Audrey Jang Fund * | Brian Jones | Edward Kehler | David Layton & Zoe Druick | George Laverock & Jane Coop | Melody Mason * | Lucie McNeill * | Margaret O’Brien * | Pam Ratner & Joy Johnson * | Dr Robert S Rothwell * | Ingrid Söchting * | Anona Thorne & Takao Tanabe * | Mark Tindle & Leslie Cliff | Dr Carol Tsuyuki * | Gale Walker | Fran Watters | Lorna Yeates | Gordon W. Young * | Three Anonymous Supporters

Patrons ($500-$999): Alan & Elizabeth Bell * | Andrea Bertram | Buntain Insurance * | Christina Burridge | Andrew J A Campbell * | Lorene De Silva | Lorea DeClercq & Michael Winters | David Gordon Duke | Virginia Evans * | Martin Ferera | Nancy & David Fraser | Michael Fuhrmann | Andrew Fyson | Andrew Gay | Patrick Gilligan-Hackett * | A donation in memory of Barbara Godard | Sherrill Grace | Ronald Hagler * | Winifred Hall | Martha Hazevoet * | Diana Herbst | Heather & Bill Holmes | Joseph & Jeanette Jones | A donation in honour of Sharon Kahn | Joy & Tasos Kazepides | Harold Knutson * | Michael Kobald * | Paula Kremer | Evelyn Leaf * | John C. Leighton * | Ursula Litzcke | Susanne Lloyd * | Graeme & Paddy Macleod * | Marta & Nicolas Maftei * | Bill Markvoort | Barbara Moon | Geoffrey Newman | Hans-Karl & Irene Piltz * | Meredith Quartermain | Tim & Janet Rendell | Peter & Kay Richards | Mary Roberts | Peter & Elfriede Rohloff | Rick Sawatzky | Allan Sawchuk | Elaine Sawyer, in memory of John, a true Handelfreak * | John Schreiner * | Johanna Shapira | Karen Shuster * | James & Jean Simpson * | Fumiko Suzuki | Tom & Margaret Taylor | David & Susan Van Blarcom | James Walsh * | Gwyneth & Roy Westwick * | Matthew White & Catherine Webster | Michael Stevenson & Jan Whitford | Dr. James Whittaker * | Karen Wilson * | Jane & Michael Woolnough * | A donation in memory of Rosemary Wright | Two Anonymous Patrons.

Friends ($100-$499): Pernilla Ahrnstedt | Jill Bain | Patricia & Robert Baird * | Denise Ball | Sarah Ballantyne * | Janet Becker | A donation in memory of Becky | Richard Beecher | Jeremy Berkman & Sheila McDonald * | Richard Bevis | Patricia Birch | Joost Blom | Lesley Bohm | Janine Bond * | Valerie Boser & Patrick Tivy | Norma Boutillier | Gary & Natalie Boychuk | Jane Bracken & Fred Stockholder | Paul & Joyce Bradley | Donna Brendon | Nonie Brennan | Gordon Briggs | Mary Brown * | Karl Brunner * | Pille Bunnell | Lawrence & Maggie Burr | Jessica Campbell | Claire Carbert | David Chercover * | A donation in memory of Chloe | Marylin Clark * | Peter & Hilde Colenbrander | Gillian & Mike Collins * | Michael Collins * | Ron Costanzo * | Cull Family Fund * | Shelagh Davies * | Tony Dawson | Dr Gaelan de Wolf * | Marc Destrubé & Anna Goren * | Beatrice Donald | Carolyn Eckel * | Susan Edwards | Josine Eikelenboom * | Patricia Evans | David Fallis & Alison Mackay * | Keith Farquhar & Koji Ito * | A donation in memory of Eve Farson * | Marguerite Fauquenoy & Bernard Saint-Jacques * | Alex Fisher & Lisa Slouffman * | Irene Fritschi-Nelin | Hannah & Ian Gay | Arlene Gladstone * | Elizabeth Grace | A donation in memory of Catherine Graf | Paul Gravett & Mark Hand * | Gordon & Kathleen Gray * | Dr Beverley Green * | Patricia Grindlay | Elizabeth Guilbride * | Penelope & Lyman Gurney * | Mark Halpern | Elizabeth & Keith Hamel * | Dr. Evelyn J. Harden * | Don Harder * | David Harvey | Norbert & Jutta Haunerland | William M Hay * | Beth & Robert Helsley | The Henkelman Family * | Sally Hermansen | William Herzer * | Ada Ho & Doug Vance * | Barry Honda & Valerie Weeks * | Ralph Huenemann & Deirdre Roberts * | Ron Jobe | France-Emmanuelle Joly | Valerie Jones | Patrick Jordan * | Douglas & Karen Justice | Dr. Stanislava Jurenka * | Lars & Anne Kaario * | Lynn Kagan * | Hanna & Anne Kassis * | Susan Kessler * | Mira Keyes | Judy Killam * | Barbara Kops | Dalton Kremer | Peter Kwok * | Nicholas Lamm * | M. C. Lansdorp | Janet & Derwyn Lea | Marlene LeGates | David Lemon * | Cindy Leung * | Audrey Lieberman | Steven Lo | Leslie Loving * | Janet Lowcock | E. J. Makortoff * | Catherine Manning * | Emil Marek | Patrick May | Ulrike McCrum * | Glenys McDonald * | James McDowell | Ray McGinnis | William McKellin | Peter Mercer | Bill Meyerhoff | Christi Meyers | Michael Millard | Jocelyn Morlock, In memory of Nikolai Korndorf | Yolaine Mottet | Linda Mueller | Alfred & Jennifer Muma * | Sarah Munro | Lee Napier | Peter & Roma Nemetz | Sharon Newman | Christine Nicolas | Heather Nichol | Wilfried Ortlepp | Julie Ovenell | Stephen Partridge * | Elizabeth Paterson * | Jocelyn Peirce | JoAnn Perry | Randall Peterman & Judith Anderson | David Phillips & Margo Metcalfe * | Anne Piternick * | Jocelyn Pritchard * | Dr. Rebecca Raglon | Dr Patricia Rebbeck | Margot Richards | Kathleen Rittenhouse | Marika Roe | Rhona Rosen * | Selma Savage * | Erna Schaefer | Iris Schindel | Wendy Scholefield | Verna Semotuk * | Shirley Sexsmith | Leah Skretkowicz | Colleen Smith | Alison Stockbrocks | David & Lorraine Stuart | David & Eileen Tamblin * | Takeshi & Izumi Tanahara | Agnes Tao | A donation in memory of Becky Tarbotton | Lynne Taylor * | Kathy Thomas | Douglas Todd * | Ron Toews * | Grant Tomlinson * | Trevor & Rebecca Tunnacliffe * | Vancouver Viols * | Urban Impact Recycling * | Rika Uto | Helena Van der Linden | Elinor Vassar | Leah Verdone | Nicholas Voss * | Barbara M Walker * | A donation in memory of Ulli Walker | Heddi & Tony Walter | Norma Wasty | Jim Wearing * | Joella Werlin | John & Hilde Wiebe | C & H Williams * | Elizabeth Wilson & Lauri Burgess | Audrey Winch * | Geoff Wing | Martha Wintemute | Fred Withers | Elizabeth Wolrige | Nancy Wong * | Dale & Ted Wormeli * | William J Worrall * | Reece Wrightman * | Elizabeth H. Yip | Colin Young | Beth Young | Jennifer & Kenneth Yule | George Zukerman | Twenty Anonymous Friends.

Donors ($25-$99): Dr Frank Anderson | Yvonne Bachmann | G. Pat Blunden * | Edgar Bridwell | Janet Brynjolfsson * | Norma Chatwin * | Gillian Chetty | Vivien & Patrick Clarke | Abe Cohen | Bette Cosar * | A donation in memory of Daniel Craig | Greg Cross * | Bing Dai | Judith Davis * | Ute Davis | Jacqueline Day | Jan-Steyn de Beer | Maureen Douglas | Anne Duranceau | A donation in memory of Henry Elder | Ruth Enns * | Missy Follwell | Judith Forst | Kenneth Friedman * | Nancy Garrett * | Joe Gilling | Jolle Greenleaf | Ian Hampton & Susan Round * | Margaret & Murray Hendren | Elizabeth Hunter * | Sylwia Karwowska | Susan Jung Kemeny * | A donation in honour of Verna Semotuk | Robyn Kruger | Yolande LaFleur * | A donation in memory of Edgar Latimer | A donation in memory of Irene Leviton | Susan Lomax | Ketty & Alex Magil | Reva Malkin * | A donation in honour of the Markova Family | Anne Mathisen | Colleen Midmore | Colin Miles * | Marie Nagy | Henry Numan | Celia O’Neill | Danielle Papineau | Anna Pappalardo | Jane Perry | Hannelore Pinder * | Thomas Querner * | S. Reuter * | Martha Roth | Lyse Rowledge | Carole Ruth * | David Ryeburn * | Valerie Shackleton * | Juliet H. Simon * | Kathryn Simonsen | Cheryl Steinhauer * | The Stenberg Family * | Nicki Stieda | Gael Storey | Brian Sutherland | Mr. Ronald Sutherland * | Beverley Taylor | Teresa Vandertuin | Esther Vitalis | Eva Wilson | Nine Anonymous Donors.

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!

* A Special Thank-You to our Loyal Long-Time DonorsThe names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you!

early music vancouver | donors and supporters

We also gratefully acknowledhe the select group of donors that, in addition to their annual donations, has generously contributed to Early Music Vancouver’s Endowment Fund – which is administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.

early music vancouver | endowment fund donors

($100,000+): The Drance Family Early Music Vancouver Fund. ($20,000+): Vic & Joan Baker | Ralph Spitzer & Hisako Kurotaki | José Verstappen | Two Anonymous Donors. ($5,000+): A donation in memory of Tom Blom | Frank & Helen Elfert | The Nemetz Foundation | Dr Katherine E Paton | Marcia Sipes | A donation in memory of Peter Wood. ($2,500+): The RPC Family Foundation | Maurice & Tama Copithorne | Tony & Margie Knox | James C. & Wendy Russell | Anona Thorne & Takao Tanabe. ($1,000+): A donation in memory of Mrs Betty Drance | Heather Franklyn | Marianne Gibson | Patrick Gilligan-Hackett | Dorothy Jantzen | Ottie Lockey & Eve Zaremba |

Susanne Lloyd | Greg Louis | Glenys McDonald | Dr Robert S Rothwell | Karen Shuster | Zelie & Vincent Tan | Lorna Weir | Four Anonymous Donors. (up to $1,000): Evelyn Anderson | Alan & Elizabeth Bell | Meo Beo | Jeffrey Black & Mary Chapman | L & C Bosman | A donation in memory of C Y Chiu | Mary

Christopher | Gillian & Mike Collins | A donation in memory of Basil Stuart-Stubbs | Judith Davis | Jane Flick & Robert Heidbreder | Dr Val Geddes | Margot Guthrie | Mark Halpern | Linda Johnston | Peter Kwok | Elizabeth Lamberton | Rob Mayhew | Janette McMillan & Douglas Graves | Benjamin Milne | Alberto Mondani | Alfred & Jennifer Muma | Barbara Murray | Judith & Greg Phanidis | Connie Piper | Pam Ratner & Joy Johnson | Joan Rike | Elfriede & Peter Rohloff | David Ryeburn | Jo & Bob Tharalson | John Tulip | James Walsh | Fran Watters | Glenys Webster & Paul Luchkow | Five Anonymous Donors.

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