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DTSTART;TZID=America/Chicago:20150321T200000
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DTSTAMP:20260502T045513
CREATED:20181016T072339Z
LAST-MODIFIED:20181016T072339Z
UID:7076-1426968000-1426968000@cathedralconcerts.org
SUMMARY:Pomerium
DESCRIPTION:Saturday\, March 21\, 2015\,  8:00 p.m.\nWelcomed by CWE North Community Improvement District\n \nGet 20% off your total purchase when you buy tickets to both the Pomerium and Blue Heron concerts AND register for the COMPLETE Sacred Music Seminar – You must call 314-533-7662 to take advantage of this offer. This offer cannot be used in combination with other discounts. \n \nPOMERIUM was founded by Alexander Blachly in New York in 1972 to perform music composed for the famous chapel choirs of the Renaissance. Widely known for its interpretations of Du Fay\, Ockeghem\, Busnoys\, Josquin\, Lassus\, and Palestrina\, the 15-voice a cappella ensemble has performed for numerous international festivals. \nInspired by the renowned chapel choirs of the Renaissance\, Pomerium revives the golden age of a cappella singing. The ensemble\, featuring some of the finest singers in the country and acclaimed for its luminous sound\, performs frequently in New York—at such venues as the Metropolitan Museum of Art\, The Cloisters\, the Pierpont Morgan Library\, the Frick Collection\, and Music Before 1800—as well as across the USA and abroad. \n \n  \n  \n  \n  \n  \n  \n  \n  \n  \nProgram (Subject to Change) \nVexilla regis prodeunt – Plainchant (Modena\, Bib. Estense 471 15th Century)\nVexilla regis prodeunt – Guillaume Du Fay (ca. 1397-1474) \nIn monte Oliveti – Carlo Gesualdo (ca. 1566-1613) \nFelle amaro – Claudio Monteverdi (1567-1643) \nCircumdederunt me – Cristóbal de Morales (ca. 1500-1553) \nAlleluia: Pascha nostrum – Plainchant (Graz 807\, 12th century)\nAlleluia: Pascha nostrum – Ludwig Senfl (ca. 1486-1574) \nTristis est anima mea – Orlande de Lassus (1532-1594) \nTenebrae factae sunt – Carlo Gesualdo \nIntermission \nLamentatio Jeremie (In Cena Domini) – Robert White (1538-1574) \nRegina coeli – Orlande de Lassus \nJudas\, mercator pessimus – Carlo Gesualdo \nRegina coeli – Robert White \nO vos omnes – Carlo Gesualdo \nIn resurrectione tua – William Byrd (ca. 1539-1623)\nHaec dies – William Byrd \n  \nPomerium\n Kristina Boerger\, Melissa Fogarty\, Michele Kennedy – sopranos\nSilvie Jensen – mezzo-soprano\nRobert Isaacs – countertenor\nNeil Farrell\, Michael Steinberger\, Christopher Thompson – tenors\nJeffrey Johnson\, Thomas McCargar – baritones\nKurt-Owen Richards\, Peter Stewart – basses \nNotes on the Program\nby Alexander Blachly \n    In its earliest years\, the Church established a period of approximately forty hours to prepare the catechumens (those aspiring to be Christians) for baptism at the Easter Vigil. This period of preparation subsequently took on a penitential character and was extended to forty days\, the model now being Jesus’ forty days of fasting in the wilderness and Noah’s forty days in the flood. Because all Sundays were regarded as commemorations of Christ’s resurrection\, they did not figure in the 40 penitential days\, the first of which was therefore calculated to fall 46 days before Easter\, on Ash Wednesday. The English-speaking world knows this six-and-a-half-week period as Lent; its Latin name is Quadragesima (forty days). \n    During Septuagesima\, which extends from the Sunday two and a half weeks prior to Ash Wednesday until the Easter Vigil\, the Church allows no singing of Alleluia\, Sequence\, or Gloria (an exception for the Gloria being made on feast days and Holy Thursday)\, for joyful song would contradict the somber mood of the season. Instead\, for nine weeks Christians direct their thoughts to Christ’s suffering. The introit of Septuagesima Sunday (also known as Dominica Circumdederunt) signals the new mood by quoting the most melancholy words of the Psalter: Circumdederunt me gemitus mortis; dolores inferni circumdederunt me (“The groans of death surrounded me; the sorrows of hell encompassed me”) (Psalm 17: 5-6). The tract continues similarly\, citing the first verse of Psalm 129: “Out of the depths I have cried to Thee\, O Lord.” Earlier on this same day\, the reading of a lesson in the first Nocturn of Matins had presented the Genesis account of the fall and subsequent misery of man. \n    As the Lenten season builds to the climax of Good Friday\, the Church progressively withdraws adornments from its buildings and its rite. On Palm Sunday\, following the reading of the Passion narrative by Matthew\, the organ falls silent until the Paschal Vigil (except for the solemn Mass of Holy Thursday). Following that Mass\, all bells likewise fall silent and the clergy strip the altars of their cloths and decorations\, removing most of the candles. Darkness and austerity prevail. \n    In the Renaissance\, the unfolding of passiontide required elaborate musical textures to yield to stark plainchant and the simplest polyphony. Thus\, just as the jubilation of Easter called for composers to celebrate Christ’s resurrection in exuberant song\, so\, in equal measure\, did the emotional austerity of Lent discourage music that did not reflect the abstinence of the season. Accordingly\, Renaissance composers rarely set texts for this time beyond the Lamentations of Jeremiah (sung in nine stages in the three Matins services prior to Easter)\, selected Holy Week responsories\, and three great hymns (Vexilla regis prodeunt\, Pange lingua gloriosi corporis\, and Crux fidelis…Pange lingua gloriosi lauream). The celebration of Easter and the Easter season\, on the other hand\, when bells rang\, candles blazed forth\, and alleluias abounded\, demanded composers’ most festive works. Accordingly\, we find an extensive repertory of Renaissance polyphony celebrating Christ’s resurrection. \n    Today’s program highlights the stylistic progression in sacred music from ancient Gregorian chant to the polyphonic elaboration of chant practiced by Du Fay and Senfl to the increasingly specific and dramatic musical depiction of words and ideas in the music of Lassus\, Monteverdi\, and Gesualdo. Chant endows words with melody\, heightening their significance (hence the place of sung words in almost all rituals). Polyphony heightens the specificity of melody in the same way that melody heightens the specificity of words\, and it can remove words still further from everyday use. In the hands of a great composer\, a text set to polyphony is like rhyming poeticized—it has become high art. \n    Though composers in the early Renaissance had mastered the technique of setting words to polyphony\, they showed little interest in passion and resurrection texts as such. The repertory of resurrection motets\, however\, expands considerably after 1550\, when composers such as Lassus and Byrd produced vast numbers of liturgical settings for nearly every season. Especially popular with the more “rhetorical” composers were texts that emphasized a specific emotion\, or several such emotions juxtaposed. \n    The reason why composers should have embarked on a widespread campaign to set liturgical texts in the later Renaissance can be explained by the growing interest on the part of both composers and listeners in the power of music to capture\, evoke\, or illustrate the words being set. Sometimes referred to as “word-painting” or “madrigalizing\,” the practice of harnessing the emotive power of music to the depiction of specific verbal images marks an evolution in musical style—an evolution that has continued to the present day\, when the illustration of words in tones has become something to be taken for granted in music of all styles and genres. \n    It should be noted that for Du Fay and other composers of the fifteenth century the goal was less to “illustrate” a text than to reflect\, in individual works of art\, the laws and structure of universal “music\,” that is to say\, the laws of language\, of musical counterpoint\, and of the universe as a whole. Thus\, in early fifteenth-century music\, formal\, and perhaps mystical\, values still took priority over purely emotive ones. But as humanism gained momentum in art\, literature\, and architecture in the later decades of the fifteenth century\, the emotive power of music came to be regarded as a virtue. Over time\, composers sought to endow all the texts they set with increasingly pictorial and dramatic music. By the end of the Renaissance and the beginning of the Baroque\, the dramatic illustration of ideas\, especially of emotional states\, had become so widespread that it spilled over into music for all seasons—even of passiontide. In a manner that would have been unthinkable to Du Fay\, Gesualdo gave expression in his Holy Week responsories to sentiments of remorse\, guilt\, and sorrow. The emotions are not just explicit but extreme. Separated by two centuries (ca. 1430-ca. 1610)\, the works by Du Fay and Gesualdo on today’s program represent the alpha and omega of Renaissance music\, its beginning and end.
URL:https://cathedralconcerts.org/event/pomerium/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/06/Pomerium.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20150312T103000
DTEND;TZID=America/Chicago:20150312T103000
DTSTAMP:20260502T045513
CREATED:20181016T071942Z
LAST-MODIFIED:20181016T072030Z
UID:7071-1426156200-1426156200@cathedralconcerts.org
SUMMARY:Exploring Sacred Music Seminar: The Renaissance
DESCRIPTION:Thursdays\, March 12 – April 16\, 2015\nThere will be NO CLASS on Thursday\, April 2 in recognition of Holy Thursday.\nComplete Seminar Registration (all 5 sessions): $175\nSingle Seminar Sessions: $40 – Call 314-533-7662 to register for single sessions\n \nGet 20% off your total purchase when you buy tickets to both the Pomerium and Blue Heron concerts AND register for the COMPLETE Sacred Music Seminar – You must call 314-533-7662 to take advantage of this offer. This offer cannot be used in combination with other discounts. \nJoin us as we explore one of the richest periods of musical history\, producing some of the most beautiful music of all time. These classes coincide with the Pomerium and Blue Heron concerts and are meant to enhance the listening experience by giving background information about the period from which the music featured in each concert comes. \nClasses are Thursdays from 10:30 AM – 12 noon in the St. Cecilia Chapel in the Cathedral Basilica of St. Louis. Lunch follows each class for students and teachers to continue the dialogue. \nScheduled presenters include area musical experts including:\nMarch 12\nDr. Craig Monson\, Paul Tietjens Emeritus Professor of Music\, Washington University\n“They sing with Herodias in Herod’s Palace”: The Perilous Allure of Convent Singing\nIn early modern descriptions of music in female monasteries\, sirens seem to rub shoulders with angels. Their detractors’ language often presented nuns’ singing as dangerously “enchanting\,” especially perilous for hormonally rather than harmonically driven male auditors.  Giovanni Pietro Barco even claimed that the veiled performances of invisible convent singers recalled Herodias’ singing\, which led men to the horrific act of male decapitation. When familiar\, worldly Monteverdi madrigals were reconfigured as motets and dedicated to nun musicians (examples appear on the concert by Pomerium Musices)\, how did performers and audiences “hear” such works? We shall consider how female monastics negotiated and defined convent performance spaces and confronted such anxieties about the intimate relation of the voice and the female body\, visible or invisible. \nMarch 19\nDr. Jeffrey Kurtzman\, Professor\, Musicology\, Washington University\nMusic and the Catholic Reform Movement of the Sixteenth Century and Beyond\nThe Catholic Reform movement of the sixteenth century problematized the role and character of music in the Church\, leading to dichotomous points of view rooted in St. Augustine and St. Thomas Aquinas.  The Council of Trent (1545-1563)\, in trying to resolve that dichotomy\, unintentionally set the stage for another dialectic arising out of the demand for a dignified\, decorous sacred music devoid of the frivolous and extravagant\, while at the same time emphatically insisting on the role of preaching in the Church and the care of souls.  But to reach those souls required attracting them into the Church to hear the preaching\, the liturgical texts and the ministrations of the clergy.  Music increasingly joined with painting\, sculpture and architecture to attract the populace through the sheer aesthetic power of their messages.  As a consequence\, many of the issues debated before and during the Council of Trent persisted and even increased throughout the second half of the sixteenth century and beyond. \nMarch 26\nDr. Horst Buchholz\, DMus\, Director of Sacred Music\, Cathedral Basilica and Archdiocese of St. Louis\nThe Mass and Motet of the Renaissance period\nThe humanist ideal of the Renaissance had a significant effect on the creation of music:  in addition to its function of giving glory to God\, music as a means of lifting the human spirit\, and conveying the sacred texts intelligibly and expressively became an important consideration for the composer.  This survey lecture shall trace the development of Mass and Motet through the Renaissance period with musical examples by the great composers.  It will begin with the earlier “Franco–Flemish” school of the Netherlands and lead to the later “Roman” school of Palestrina and Victoria. \nApril 9\nPhillip Barnes\, Conductor of the St. Louis Chamber Chorus\nPortuguese Polyphony – an overlooked Renaissance?\n \nApril 16\nScott Metcalfe\, Music Director of Blue Heron\, one of North America’s leading specialists in music from the fifteenth through seventeenth centuries\nThe Peterhouse partbooks: the so-called Henrician set of partbooks now residing at Peterhouse\, Cambridge. The partbooks\, originally five in number\, contain a large collection of Masses\, Magnificats\, and votive antiphons. They were copied in the latter years of the reign of Henry VIII at Magdalen College\, Oxford\, by the professional singer and music scribe Thomas Bull\, just before Bull left Oxford to take up a new position at Canterbury Cathedral.\n \nComplete Seminar Registration (all 5 sessions): $175\nSingle Seminar Sessions: $40 – Call 314-533-7662 to register for single sessions
URL:https://cathedralconcerts.org/event/exploring-sacred-music-seminar-the-renaissance/
LOCATION:St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/01/Gerard_van_honthorst_-_the_concert_-_1623.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20150208T143000
DTEND;TZID=America/Chicago:20150208T143000
DTSTAMP:20260502T045513
CREATED:20181016T071257Z
LAST-MODIFIED:20181016T071257Z
UID:7068-1423405800-1423405800@cathedralconcerts.org
SUMMARY:Todd Wilson
DESCRIPTION:Organist\nSunday\, February 8\, 2015\,  2:30 p.m.\nWelcomed by Rodgers Organs of St. Louis & Steinway Piano Gallery\n \nIn Memory of Kenneth Kohler\, Jr.\, Division Director at Rodgers Organs of St. Louis who passed away November 17\, 2014 \n \nRegarded across America and around the world as one of today’s finest concert organists\, Todd Wilson is head of the Organ Department at The Cleveland Institute of Music\, and Director of Music and Worship at Trinity Episcopal Cathedral in Cleveland\, Ohio. In addition\, he is Curator of the E.M. Skinner pipe organ at Severance Hall (home of The Cleveland Orchestra)\, and House Organist for the newly-restored Aeolian organ at the Stan Hywet Hall and Gardens in Akron\, Ohio. \nTodd Wilson has been heard in concert in many major cities throughout the United States\, Europe\, and Japan\, including concerts at Symphony Hall (Birmingham\, UK)\, Los Angeles’ Walt Disney Concert Hall\, Chicago’s Orchestra Hall\, Cleveland’s Severance Hall\, Dallas’ Meyerson Symphony Center\, and Uihlein Hall in Milwaukee. \nProgram:\nCortège et Litanie\, Op. 19\, no. 2\nMarcel Dupré (1886-1971)\narr. Farnam \nThree Schübler Chorale Preludes:\nAch bleib bei uns \, Herr Jesu Christ\, BWV 649\nMeine Seele erhebt den Herren\, BWV 648\nKommst du nun\, Jesu\, vom Himmel herunter\, BWV 650\nJohann Sebastian Bach (1685-1750) \nPassacaglia in C minor\, BWV 582\nJohann Sebastian Bach \nINTERVAL \nFrom Symphonie No. 5\, Op. 42: Allegro vivace (Variations)\nCharles-Marie Widor (1844-1937) \nThree Cincinnati Improvisations:\nLobe den Herren (Praise to the Lord)\nGrand Isle (I sing a song of the saints of God)\nAr Hyd Y Nos (God\, that madest earth and heaven)\nGerre Hancock (1934-2012)\n(transcribed by Todd Wilson) \nSoliloquy\nDavid Conte (b. 1955) \nFantasy on themes from Carmen\nGeorges Bizet (1838-1875)\narr. Edwin. H. Lemare \nImprovisation on a submitted theme
URL:https://cathedralconcerts.org/event/todd-wilson/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/02/ToddWilson-sized.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20141214T143000
DTEND;TZID=America/Chicago:20141214T143000
DTSTAMP:20260502T045513
CREATED:20181016T070733Z
LAST-MODIFIED:20220420T180140Z
UID:7064-1418567400-1418567400@cathedralconcerts.org
SUMMARY:Christmas at the Cathedral (Sunday) 2014
DESCRIPTION:Sunday\, December 14\, 2014\,  2:30 p.m.\nWelcomed by Enterprise Bank & Trust & Favazza’s \nThe Tenth Annual Christmas at the Cathedral concert is the perfect way to celebrate the holiday season. The concert includes the Archdiocesan Adult Choir\, Children’s Choir\, Handbell Choir\, and Orchestra all in the sonic splendor of the Cathedral Basilica. \nThe program includes:\nAve Maria by Franz Biebl\nO come\, o come Emmanuel\nExcerpts from The Messiah\nBethlehem (Handbells)\nFantasy on Kingsfold (Handbells & Orchestra)\nOn this day earth shall ring (Handbells)\nSilent Night\n O Come All Ye Faithful\n Tomorrow Shall Be My Dancing Day Arr. by John Rutter\nBefore the Marvel of This Night by Carl Schalk\nHark the Herald Angels Sing\n What Child is This? arr. Grant Cochran\nLux Aurumque by Eric Whitaker\nO Holy Night\n Joy to the World \nExperience this St. Louis holiday tradition! \n  \nSection 1 for this concert is SOLD OUT.  \nCall for availability of Section 2 tickets – 314-533-7662
URL:https://cathedralconcerts.org/event/christmas-at-the-cathedral-sunday-3/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/06/Christmas-at-the-Cathedral.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20141213T200000
DTEND;TZID=America/Chicago:20141213T200000
DTSTAMP:20260502T045513
CREATED:20181016T065100Z
LAST-MODIFIED:20181016T070328Z
UID:7057-1418500800-1418500800@cathedralconcerts.org
SUMMARY:Christmas at the Cathedral (Saturday)
DESCRIPTION:Saturday\, December 13\, 2014\,  8:00 p.m.\nWelcomed by Enterprise Bank & Trust & Favazza’s \nThe Tenth Annual Christmas at the Cathedral concert is the perfect way to celebrate the holiday season. The concert includes the Archdiocesan Adult Choir\, Children’s Choir\, Handbell Choir\, and Orchestra all in the sonic splendor of the Cathedral Basilica. \nThe program includes:\nAve Maria by Franz Biebl\nO come\, o come Emmanuel\nExcerpts from The Messiah\nBethlehem (Handbells)\nFantasy on Kingsfold (Handbells & Orchestra)\nOn this day earth shall ring (Handbells)\nSilent Night\n O Come All Ye Faithful\n Tomorrow Shall Be My Dancing Day Arr. by John Rutter\nBefore the Marvel of This Night by Carl Schalk\nHark the Herald Angels Sing\n What Child is This? arr. Grant Cochran\nLux Aurumque by Eric Whitaker\nO Holy Night\n Joy to the World \nExperience this St. Louis holiday tradition! \nCall for availability of  Section 1 tickets – 314-533-7662
URL:https://cathedralconcerts.org/event/christmas-at-the-cathedral-saturday-3/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/06/Christmas-at-the-Cathedral.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20141124T200000
DTEND;TZID=America/Chicago:20141124T200000
DTSTAMP:20260502T045513
CREATED:20181016T063431Z
LAST-MODIFIED:20181016T070233Z
UID:7052-1416859200-1416859200@cathedralconcerts.org
SUMMARY:Jitro\, Holiday Concert
DESCRIPTION:Czech Girls Choir\nMonday\, November 24\, 2014\,  8:00 p.m.\nStart your holiday season with Jitro\, the Czech Girls Choir. \nDoors open at 7:00 PM – THE PRE-CONCERT EVENT WILL NOT TAKE PLACE BUT THE CONCERT IS STILL HAPPENING AT THIS TIME. \nWelcomed by Coldwell Banker Gundaker\, Steinway Piano Gallery\, &\nMrs. Priscilla R. McDonnell & Mrs. Anna M. Harris\n \n \nJitro\, meaning “daybreak” in Czech\, and based in Hradec Kralove\, a town in the Czech Republic\, is an organization of 500 girls in seven preparatory ensembles\, of which only the best 25-50 qualify to tour. For 35 years they have been admired all over the world for their tone\, intonation\, and rich blend of sound and energetic vitality. \nJitro performs in over 100 concerts annually in the world’s most prestigious concert halls and are committed to inspiring audiences with music performed at the highest level. Jitro has become a new favorite of St. Louis audiences\, making their third appearance at the Cathedral Basilica of St. Louis but their first holiday performance. \nProgram (Subject to Change): \nAd te levavi animam meam – Gregorian Chant \nAscendit Deus – Jacobus Gallus (1550-1591) \nFavete linquis singuli – Jan Campanus Vodnansky (1572-1622) \nKyrie eleison – Henk Badings (1907-1989) \nMissa Vinea Crucis – Ilja Hurnik (1920)\nAgnus\nDeo Gratias \nMissa propria – Jan Jirasek (1955)\nKyrie eleison\nGloria. Miserere. Gloria.\nCredo. Agnus Dei \nPanis Angelicus – Cesar Franck (1822-1890) \n                                                   INTERMISSION \nLiturgical singing – Petr Eben (1929-2007)\nIntroitus\nPsalmus 29 ad Introitus\nGraduale\nEvangelium\nOffertorium\nCommunio\nPsalmus 29 ad Offertorium \nA Ceremony of Carols – Benjamin Britten (1913-1976)\nProcession\nWolcum Yole!\nThere is no rose\nBalulalou\nAs dew in Aprille\nThis little Babe\nDeo Gratias\nRecession \nCzech Christmas Carols – Otmar Macha (1922-2006) \nJoy to the World! – Georg Friedrich Handel (1685-1759) \n 
URL:https://cathedralconcerts.org/event/jitro-holiday-concert/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/06/Jitro.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20141025T200000
DTEND;TZID=America/Chicago:20141025T200000
DTSTAMP:20260502T045513
CREATED:20181016T054824Z
LAST-MODIFIED:20181016T070128Z
UID:7032-1414267200-1414267200@cathedralconcerts.org
SUMMARY:Senegal St. Joseph Gospel Choir
DESCRIPTION:Saturday\, October 25\, 2014\,  8:00 p.m.\nPresented by Mr. John Russell\nWelcomed by Dr. & Mrs. Anthony Fathman \n \nCathedral Concerts is proud to present\, direct from Dakar Senegal\, the Senegal St. Joseph Gospel Choir. Founded in 1950 by the United Nations’ Ambassador Artist for Peace\, Mr. Julian Jouga (1931-2001)\, the choir is now directed by Mr. Ambroise N’Diong. The company is made up of 15 singers and 4 traditional Senegalese drummers. \nHailing from the heart of Dakar’s most working-class neighborhood\, the choir interprets Gospel/Negro Spirituals\, traditional African Songs\, and the magnificent masses of Mr. Jouga composed in his country’s four national languages of Oulof\, Diola\, Sérère\, and Portuguese Creole. Experience them in the very special concert performance in the heavenly setting of the Cathedral Basilica of St. Louis. \nProgram (subject to change): \n\n\n\n\n\n1)  FALA LA – Traditional song to begin the concert \n2)  YOU BETTER MIND – Traditional gospel song \n3)  THE STORM IS PASSING OVER – Traditional gospel song \n4)  PERCUSSION SORUBA \n5)  SIMIÉNO – Praises of Mary the Blessed Virgin in the Serere language\, composed by Mr Julien Jouga \n6)  BANDIA – Song in the Bambara language\, arranged by Mr. Julien Jouga \n7)  TA VUETA – Song about the act of Grace \n8)  REQUIEM LATINO-WOLOF – Adaptation of Mozart’s Requiem in the Wolof language \n9)  JAM – Song in the Wolof language\, the national language of the Senegalese Wolof\, for peace in Senegal and in the world\n10) PERCUSSION SABAR \n\n\n\n\n\nINTERMISSION  \n\n\n\n\n\n1)  PERCUSSION SORUBA \n2)  KYRIE – From a Mass composed by Mr. Julien Jouga\, founder of the Choir \n3)  GLORIA – From a Mass composed in Portuguese Creole by Mr. Julien Jouga \n4)  KU KERTIEN – Christmas song in the Diola language of southern Senegal \n5)  WALAY – Wolof song for blind men begging for alms \n6)  ELÉ WAY WAY – Song to give young women strength and courage during the traditional tattoo ceremony \n7)  COUMPO – Popular song in the Diola language\, used to cast out bad spirits \n8)  MARENAL – Traditional gospel \n9)  TERRA SABI – Creole song sung during the winter ploughing in order to encourage farmers \n10)  DIOT NIAM – Traditional Serere\, a Senegalese ethnicity
URL:https://cathedralconcerts.org/event/senegal-st-joseph-gospel-choir/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/06/Senegal-St.JosephGospelChoir.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20141005T143000
DTEND;TZID=America/Chicago:20141005T143000
DTSTAMP:20260502T045513
CREATED:20181016T051215Z
LAST-MODIFIED:20181016T070020Z
UID:7027-1412519400-1412519400@cathedralconcerts.org
SUMMARY:Hans Leitner
DESCRIPTION:Organist\, Munich\, Germany\nSunday\, October 5\, 2014\,  2:30 p.m.\nWelcomed by Paul & Amy Mittelstadt\nRealtors\, Coldwell Banker Gundaker\, Central West End Specialists \n \nWorld-renowned organist\, composer and teacher Hans Leitner makes his St. Louis debut performing on the 7\,621 pipes of the Great Cathedral Organ at the Cathedral Basilica of St. Louis. \nSince the fall of 2003 he has served as organist and cathedral vicar at the Cathedral of Our Lady in Munich. At the University of Music and Performing Arts Munich he had from 2003 to 2011 held a lectureship in liturgy and church music practice. Prior to this appointment he was organist of the cathedral and Vicar to the High St. Stephan Cathedral Passau\, where he also acted as an organ expert of the diocese of Passau. \nHans Leitner is editor of several organ works and authors of contributions to music history\, organological and theological themes. Numerous CD recordings and television as well as compositions for organ\, choir and brass sections document his extensive artistic creativity. \nProgram: \nJohann Sebastian Bach (1685 – 1750)\nPrelude\, Largo (from Sonata V BWV 529) and Fugue in C-major BWV 545 \nJohann Pachelbel (1653 – 1706)\nAria Tertia from Hexachordum Apollinis \nWolfgang Amadeus Mozart (1756 – 1791)\nAdagio\, Allegro\, Adagio f-minor KV 594\n(Ein Stück für ein Orgelwerk in einer Uhr – Piece for an organwork in a musical clock) \nJoseph Gabriel Rheinberger (1839 – 1901)\nMovement 1 from Sonata Nr. 2 A-flat major Op.65:\nGrave – Allegro \nHans Leitner (*1961)\nIntrada\nVariationen\nharp-tune\n trumpet-tune\n carillon-tune\n musett-tune\nFughette und Hymne Gott mit dir\, du Land der Bayern\n(God be with thee\, land of the Bavarians) \nMax Reger (1873 – 1916)\nJesu\, meine Zuversicht from 30 Choral Preludes\, Op. 135a\nIntroduction and Passacaglia in d-minor
URL:https://cathedralconcerts.org/event/hans-leitner/
LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO
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DTSTART;TZID=America/Chicago:20140926T193000
DTEND;TZID=America/Chicago:20140926T193000
DTSTAMP:20260502T045513
CREATED:20181016T045445Z
LAST-MODIFIED:20181016T082220Z
UID:7019-1411759800-1411759800@cathedralconcerts.org
SUMMARY:Cathedral Concerts Chamber Series
DESCRIPTION:  \nCathedral Concerts continues its series of FREE concerts that brings the great music to you. \nFriday\, September 26 at\nSt. Anselm Catholic Church in Creve Coeur @ 7:30 PM \nSunday\, September 28 at\nSt. Margaret of Scotland Catholic Church in the Shaw Neighborhood of the City of St. Louis @ 7:00 PM \nFriday\, October 3 at\nSt. Peter Catholic Church in Kirkwood @ 7:00 PM \nThe featured players in each concert are St. Louis Symphony members Kirstin Ahlstrom\, violin and Bjorn Ranheim\, cello\, joined by Matthew Mazzoni\, piano and Scott Kennebeck\, tenor. \nProgram: \n3 Movements from “Five Mystical Songs”\nRalph Vaughan Williams (1872–1958)\nEaster\nThe Call\nAntiphon (Let all the world in ev’ry corner sing) \nPiano Trio no. 1 in B Major\, Op. 8\nJohannes Brahms (1833-1897)\nI. Allegro con brio\nII. Scherzo-Allegro molto\nIII. Adagio\nIV. Allegro \nSonate for Violin and Cello (1922)\nMaurice Ravel (1875-1937)\nI. Allegro\nII. Très vif\nIII. Lent\nIV. Vif \n  \nJust a taste of the program as we rehearse The Call from Vaughan Williams’ Five Mystical Songs.
URL:https://cathedralconcerts.org/event/cathedral-concerts-chamber-series/
LOCATION:Various\,Various
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