4 April, 2016
In this issue:
· SMCC/PMCCO Mozart Requiem This Weekend!
· Supporting Our Colleagues
· This Week (and last) at St. Andrew’s
St. Martin’s Chamber Choir joins the Pro-Musica Colorado Chamber Orchestra under the baton of Cynthia Katsarelis to perform Mozart’s peerless Requiem (Franz Beyer Fassung). The choir is sounding fantastic; and knowing the PMCCO (who joined us in December for our Christmas Concerts), this will be a very dramatic and rewarding performance! Mozart’s Ave verum corpus is also on the program – described by Maestra Katsarelis to me earlier today as a “sonic bath”! Performances as found below:
· Friday, April 8, 7:30pm, First Baptist Church, Denver (across from the State Capitol Bldg.)
· Saturday, April 9, 7:30pm, First United Methodist Church, Boulder
Get tickets in advance from PMCCO at: http://www.promusicacolorado.org/. This is going to be a fabulous concert!
In a conversation recently with Christina Lynn-Craig, leader of Aster Women’s Chamber Choir, we were observing, and bemoaning the fact, that so few of us in the (let’s call it SCFD Tier 3) professional Denver arts scene get to performances of our colleagues. And the reason, at least in my case, is not disinterest or territorialism, but having a life that’s too hectic to do much else. I know for me and MB, when we get a free weekend evening (I can count these on my fingers in a year!), we jealously protect them for cherished quiet evenings at home (usually with a British mystery on Netflix). Yet MB and I have also acknowledged that we feel guilty about getting to so few concerts put on by our friends and colleagues, like Frank Nowell and the Baroque Chamber Orchestra; Cynthia Katsarelis and the Pro-Musica Chamber Orchestra; David Rutherford and the Stratus Chamber Orchestra; Tom Morgan and Ars Nova; Joel Rinsema and Kantorei; Stephen Tappe and St. John’s Cathedral concerts; Brandon Mathews and the instrumental ensembles at MSU-Denver; and countless singers and instrumentalists who participate in other ensembles, or give recitals, and invite us to their performances. (This also, I must add, includes the Colorado Symphony Orchestra, Opera Colorado, Central City Opera, the Denver Center Theatre, the Denver Friends of Chamber Music, Colorado Chamber Players, etc., etc., etc. We rarely get to one of these performances, either!)
We then posited the following question to each other: What might be a way to encourage more of this sort of thing? How could this be facilitated? What might persuade more of us to attend each other’s concerts? What vehicle might be the most effective way of encouraging this? Would there be a way to generate positive energy towards many of us making a commitment to attend at least one performance a quarter of a colleague or peer ensemble? Would there be value in doing this periodically in groups? And what might the positive results of this be, in terms of cross-pollinating ideas, collaborations, programming, etc.?
So I’m opening the question to this list, which includes many of Denver’s performers (especially singers, but also instrumentalists), as well as musicians in other cities where the arts are as vibrant as they are here in Denver. Your ideas/reflections are welcome.
Having failed to get out a Musical Weekly last week (the reason being that I came down with a (not unusual) post-Easter cold that kept me out of the office for a couple days), I was not able to reflect on how well Holy Week went here at St. Andrew’s (despite the cancellation of the Tenebrae service due to a snow storm); nor to publish the music for Evensong last Thursday nor Sunday (the Second Sunday of Easter, sometimes ignominiously called “Low Sunday”). If anyone’s interested, I’ll be glad to let them know what we did (it was Wood in C at Evensong, and Phillip Moore’s wonderful setting of O Filii et Filiae on Sunday morning). Of note, we had to conclude yesterday’s 9:00am service a cappella, because the organ cut out part-way through the service. Ralph, upon investigating, found that the air-intake to the blower had gotten clogged, preventing air from getting to the pipes. It was rectified before the 11:00 service started. Thank God it wasn’t something else, as I was seeing four- or five-figure dollar signs in my head for organ repairs!!
Anyway, here’s he music for this week’s Choral Evensong (first of the month, so it’s an octet with organ), as well as this coming Sunday (Easter 3):
April 7, 2016, Choral Evensong: Tikhon, Patriarch of Russia
Preces & Responses: Michael Gibson (2007)
Canticle of Light: “O gladsome light” by Alexander Archangelsky (1846-1924)
Psalm: 72, plainchant
Service: T. A. Walmisley (1814-1856) in D minor
Anthem: Cherubic Hymn #3 by P. I. Tchaikovsky (1840-1893)
Office Hymn: 569 (Russia)
Tikhon was the Patriarch of the Russian Orthodox Church during the time of the Russian Revolution of the early 20th century. In trying to work with the communists in retaining some semblance of an Orthodox Church in atheist Soviet Russia, he was seen negatively as an appeaser, too willing to compromise, by many Orthodox; but the Soviets still viewed him as a threat. He was imprisoned by them in the 20’s and died in prison. He was “sainted” by the Orthodox Church in 1989, and is now seen as having made the best of an impossible situation for his flock. Hence, a heavily Russian program, together with that old chestnut (and yet a favorite of mine), Walmisley in D minor.
This Sunday will be an all-women Sunday for the choir, giving the men an extra day off after Holy Week. Here’s the music I’ve planned as the festive season of Easter continues:
April 10, 2016, Easter 3
*Introit: “O God, make speed” by Timothy J. Krueger (2010)
Anthem: O sacrum convivium by Jean François Lalouette (1651-1728)
*Fraction Anthem: [Stanford/Krueger]
Communion motet: “At the Lamb’s High Feast we Sing” by F. W. Wadely (1882-1970)
Hymns: 535 (Paderborn), *460 (Hyrfydol), 306 (Sursum corda), 492 (Finnian)
*11:00 service only
The Introit is the opening response from Evensong, from my SSAA setting of the Preces & Responses that I use occasionally at single-gender Evensongs (it can be sung TTBB by transposing it down an octave [essentially just changing the clefs]). The Lalouette is a lovely French Baroque item – lots of ornamentation and sequential interchanges between the voices. And the Wadely is a unison anthem: at the 9:00 service we will be joined by the new up-and-coming St. Andrew’s children’s choir (directed by Micaëla Larsen-Brown) on verse 2. Wadely was organist at Newcastle Cathedral, I believe, for many years, and wrote some rather simple but winsome music, like this lovely, forthright, tuneful anthem.
That’s all for this week.