BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Cathedral Concerts - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Cathedral Concerts X-ORIGINAL-URL:https://cathedralconcerts.org X-WR-CALDESC:Events for Cathedral Concerts REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20130310T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20131103T070000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20140309T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20141102T070000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20150308T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20151101T070000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20160313T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20161106T070000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20170312T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20171105T070000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Chicago:20161210T200000 DTEND;TZID=America/Chicago:20161210T200000 DTSTAMP:20260430T050120 CREATED:20181016T073101Z LAST-MODIFIED:20181016T073142Z UID:7082-1481400000-1481400000@cathedralconcerts.org SUMMARY:Christmas at the Cathedral (Saturday) DESCRIPTION:Saturday\, December 10\, 2016 at 8:00pm\nCall for availability of Section 1 tickets –\n314-533-7662\n(Click here for Sunday\, December 11 at 2:30pm) \n \n  \n  \n  \n  \nWhat sweeter music can there be\, than a Christmas carol? Join us as we celebrate the Holiday Season with the 12th Annual Christmas at the Cathedral concerts. \nBe treated to old and soon-to-be new favorites to ring in the season\, including John Rutter’s Gloria\, with the Archdiocesan Adult Choirs\, Orchestra\, Children’s Choir\, and Handbell Choir. \n\n\n“I just wanted to make certain that you had my reservation as this is one of the BEST experiences of the holiday season and I do not want to miss it!”\nGail Cavallo\, Tour Organizer\n\n\n  \nProgram: \nA Christmas Festival Overture Anderson \nRejoice and be merry Rutter \nGloria Rutter \nIntermission \nArchdiocesan Handbell Choir selections:\nO Come Rejoicing Polish Carol\, arr. Martha Lynn Thompson\nThat Night in Bethlehem Celtic Carol\, arr. Charles E. Peery\nCarol of the Bells Mykola Leontovych\, arr. Cathy Moklebust\nOn This Day Earth Shall Ring Personent Hodie\, arr. Arnold B. Sherman \nHodie Christus natus est Sweelinck \nAve Maria Stopford \nLully\, Lulla\, Lullay Stopford \nOrgan Concerto in F\, 1st mvt Handel \nO come little children 18th Century German Christmas Carol \nThe First Nowell arr. David Willcocks \nO Come\, All Ye Faithful arr. David Willcocks URL:https://cathedralconcerts.org/event/christmas-at-the-cathedral-saturday-4/ LOCATION:Cathedral Basilica of St. Louis \, St. Louis\, Missouri ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2016/06/ChristmasattheCathedralforslidersmall.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20161130T200000 DTEND;TZID=America/Chicago:20161130T200000 DTSTAMP:20260430T050120 CREATED:20181016T073449Z LAST-MODIFIED:20181016T073526Z UID:7084-1480536000-1480536000@cathedralconcerts.org SUMMARY:Stile Antico DESCRIPTION:Holiday Concert\nWednesday\, November 30\, 2016 at 8:00pm\n  \n \n• A favorite with concert-goers and the most requested! Always a beautiful evening of song! \n• 2009 Gramophone Award Winners for Early Music with their CD\, Song of Songs \n• Performing music from their latest recording\, A Wondrous Mystery \nA Wondrous Mystery\nStile Antico’s Christmas program is a delightful mixture of the formal and the informal\, of sophisticated polyphony and folk-like dances. Alongside a glorious\, richly scored Christmas mass by the Flemish composer Clemens non Papa\, Stile Antico performs traditional old-German carols and motets\, many of them still familiar today. Amongst the highlights are Eccard’s infectiously joyful Übers Gebirg Maria geht and Praetorius’ double-choir Magnificat\, which includes the carols In dulci jubilo and Josef lieber\, Josef mein. Based on the same Josef lieber melody\, and neatly joining the two strands of the program\, is Resonet in laudibus by the Flemish-born\, German-resident master Orlandus Lassus. An irresistibly festive performance! \nMichael Praetorius/Melchior Vulpius: Es ist ein Ros entsprungen\nJacobus Clemens non Papa: Pastores quidnam vidistis\nJohannes Eccard: Ubers Gebirg Maria geht\nJacob Handl (Gallus): Canite tuba\nClemens non Papa: Kyrie (Missa Pastores quidnam vidistis)\nHieronymous Praetorius: Magnificat quinti toni\nClemens non Papa: Gloria (Missa Pastores quidnam vidistis)\nEccard: Vom Himmel hoch\nClemens non Papa: Credo (Missa Pastores quidnam vidistis)\nHandl (Gallus): Mirabile misterium\nMichael Praetorius: Ein Kind geboren in Bethlehem\nClemens non Papa: Sanctus & Benedictus (Missa Pastores quidnam vidistis)\nHans Leo Hassler: Hodie Christus natus est\nClemens non Papa: Agnus Dei (Missa Pastores quidnam vidistis)\nOrlandus Lassus: Resonet in laudibus URL:https://cathedralconcerts.org/event/stile-antico/ LOCATION:Cathedral Basilica of St. Louis \, St. Louis\, Missouri ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2016/06/StileAnticoforslidersmall.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20161028T200000 DTEND;TZID=America/Chicago:20161028T200000 DTSTAMP:20260430T050120 CREATED:20181016T073737Z LAST-MODIFIED:20181016T073737Z UID:7086-1477684800-1477684800@cathedralconcerts.org SUMMARY:The American Boychoir DESCRIPTION:Friday\, October 28\, 2016 at 8:00pm\n \n  \n • Founded in 1937 and committed to creating a distinctively American voice within the thousand-year-old boychoir school tradition\, the ABS is the finest boy choir in the nation and among the finest in the world \n• Under the direction of Fernando Malvar-Ruiz\, the choir has dazzled audiences with its presentation and virtuosity\, performing with world-renown orchestras such as the Boston Symphony Orchestra and the London Symphony Orchestra\, and on special appearances such as CBS’ This Morning on Christmas Day\, PBS’ Live from Lincoln Center with the New York Philharmonic\, and numerous movie soundtracks \nProgram: Oh\, The Places We’ll Go \nI.\nEpitaph for Moonlight Murray Schaefer\nMesse Breve Delibes\nKyrie\nGloria\nSanctus\nO Salutaris\nAgnus Dei \nII.\nTwo Kyries from the winds of heaven Sarah Hopkins\nAria Bach\nMudanzas (Argentinian gaucho dance) Escalada \nIII.\nSanctus\, Benedictus from Mass No. 6 György Orban\nDen Tod niemand zwingen kunnt J.S.Bach\nThis is the day Gerald T. Smith \n— INTERMISSION – \nIV.\nI Am His Child Moses Hogan\nPueri Concinite Gallus (Handl)\nYa’ala-Ya’ala (traditional Moroccan chant) Avraham Eliam-Amzalag \nV.\nPsalm 23 Franz Schubert\nKafal Sviri (Bulgarian folk song) Petar Liondev\nVecheryai\, Rado (Bulgarian folk song) Filip Kutev\nDimyaninka (Bulgarian folk song) Filip Kutev \nVI.\nDiu Diu Dang (Taiwanese Folksong) Chien Shan-Hua\nAdiemus Jenkins\nMusic Down in my Soul Moses Hogan \nVII.\nSouth African Medley Various URL:https://cathedralconcerts.org/event/the-american-boychoir/ LOCATION:Cathedral Basilica of St. Louis \, St. Louis\, Missouri ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2016/06/AmericanBoychoirforslidersmall.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20161006T200000 DTEND;TZID=America/Chicago:20161006T200000 DTSTAMP:20260430T050120 CREATED:20181016T074211Z LAST-MODIFIED:20181016T074211Z UID:7087-1475784000-1475784000@cathedralconcerts.org SUMMARY:Chanticleer DESCRIPTION:Thursday\, October 06\, 2016 at 8:00pm\n  \n \n  \n• Called the “world’s reigning male chorus” by The New Yorker \n• “Breathtaking in its accuracy of intonation … variety of color and swagger of style” – Boston Globe \n• Beloved by St. Louis Cathedral Concert audiences\, always a wonderful evening of great music! \n  \nCHANTICLEER – William Fred Scott\, Music Director\nCortez Mitchell\, Gerrod Pagenkopf\, Kory Reid\, Logan Shields\, Alan Reinhardt\, Adam Ward – soprano and alto\nChris Albanese\, Brian Hinman\, Andrew Van Allsburg – tenor\nEric Alatorre\, Matthew Knickman\, Marques Jerrell Ruff – baritone and bass \nProgram\nWashing of the Water \nI.\nMiserere mei\, Deus Hernando Franco (1532 – 1585)\nShall We Gather at the River Robert Lowry (1826 -1899)arr. William Fred Scott \nII.\nO Sing Unto the Lord a New Song Thomas Tomkins (1572 – 1656)\nAlmighty God\, the Fountain of All Wisdom Tomkins \nIII.\nAs the deer longs for the water-brooks John Fenstermaker (b. 1942)\nSicut cervus Giovanni Pierluigi da Palestrina (c. 1525 – 1594)\nAinsi qu’on oit le cerf bruire Claude Goudimel (c. 1514 – 1572)\nSitivit anima mea Manuel Cardoso (c. 1566 – 1650) \nIV.\nI Been in the Storm So Long Trad. African-American Spiritual\,arr. Tesfa Yohannes Wondemagegnehu\nSolo: Adam Ward\nSuper flumina Babylonis Orlando di Lasso (c. 1530 – 1594)\nSuper flumina Babylonis Gavin Bryars (b. 1943)\nSuper flumina Babylonis Tomás Luis de Victoria (c. 1548 – 1611) \n— 5-MINUTE PAUSE – \nV.\nDeep River Trad. African-American Spiritual\,arr. Moses Hogan\nWashing of the Water* Peter Gabriel (b. 1950)\, arr. Mason Bates\nSolo: Matthew Knickman\nHow I Got Over/Bridge Over Troubled Waters Clara Ward (1924-1973)/Paul Simon (b. 1941)\, arr. Brian Hinman\nHallelujah Leonard Cohen (b. 1934)\, arr. Vince Peterson\nSolos: Adam Ward\, Brian Hinman\nGuide Me\, O Thou Great Jehovah* Trad. Appalachian Chant \n*These works have been recorded and are available for purchase at the performance or at www.chanticleer.org. \nProgram subject to change URL:https://cathedralconcerts.org/event/chanticleer-2/ LOCATION:Cathedral Basilica of St. Louis \, St. Louis\, Missouri ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2016/06/Chanticleerforslider.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160912T193000 DTEND;TZID=America/Chicago:20160912T193000 DTSTAMP:20260430T050120 CREATED:20181016T074603Z LAST-MODIFIED:20181016T074623Z UID:7089-1473708600-1473708600@cathedralconcerts.org SUMMARY:Cathedral Concerts Chamber Series DESCRIPTION:Cathedral Concerts continues its series of FREE concerts that brings the great music to you.\nThe featured players in each concert are:\nCeleste Boyer\, violin\nBjorn Ranheim\, cello\nJennifer Mazzoni\, flute\nMatthew Mazzoni\, piano \nProgram:\nJ. S. Bach: Trio Sonata for Flute\, Violin\, and Continuo in G Major\, BWV 1038\nSergei Prokofiev: Flute Sonata in D\, Op. 94\nDimitri Shostakovich: Trio No. 2 in E-minor\, Op. 67 \nThe concerts take place a various locations throughout the St. Louis area.\nThis year locations include: \nMonday\, September 12\nOur Lady of Lourdes Catholic Church in University City @ 7:30 PM \nThursday\, September 15\nSt. Clement of Rome Catholic Church in Des Peres @ 7:30 PM \nMonday\, September 19\nSt. Joan of Arc Catholic Church in South St. Louis City @ 7:30 PM \nTuesday\, September 20\nSts. Joachim & Ann Catholic Church in St. Charles @ 7:30 PM \nSponsored by URL:https://cathedralconcerts.org/event/cathedral-concerts-chamber-series-3/ LOCATION:Various\,Various ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/08/1516-Chamber-Series-image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160717T143000 DTEND;TZID=America/Chicago:20160717T143000 DTSTAMP:20260430T050120 CREATED:20181016T074827Z LAST-MODIFIED:20220420T180445Z UID:7091-1468765800-1468765800@cathedralconcerts.org SUMMARY:Scott Kennebeck\, tenor & John Walsh\, organ with Lenora Marya Anop\, violin DESCRIPTION:This concert is in memory of Msgr. Joseph Pins\, Rector of the Cathedral Basilica of St. Louis who passed away June 17\, 2015. Msgr. Pins was a great supporter of Cathedral Concerts and its mission to present great music in this great space. \nJoin us as we celebrate his memory and raise funds in support of Cathedral Concerts. \nA reception in Boland Hall will immediately follow the concert. Msgr. Pins had a large collection of religious articles and statues\, some of which were gifted to Cathedral Concerts. These will be available in a silent auction setting so those who wish may support Cathedral Concerts and have a memento of Msgr. Pins. \nWe are pleased to joined by Lenora Mary Anop on violin. \n \n  \n  \n  \n  \n  \n  \n  \n  \n  \nProgram: \n2 Movements from “Five Mystical Songs” Ralph Vaughan Williams (1872–1958)/ Text: George Herbert (1593–1633)\nEaster\nThe Call \nMeditation from “Thaïs” Jules Massenet (1842 – 1912)\nLenora Marya Anop\, violin \nPie Jesu Gabriel Fauré (1845-1924) \nPanis Angelicus César Franck(1822 – 1890) \nRhosymedre Ralph Vaughan Williams\nLenora Marya Anop\, violin \nAve Maria Franz Schubert (1797-1828) \nAgnus Dei Georges Bizet (1838 – 1875) \nThe Prayer David Foster\, Carole Bayer Sager\, Alberto Testa and Tony Renis \nViolin Sonata No. 1 in G minor Johann Sebastian Bach (1685 – 1950)\nAdagio Lenora Marya Anop\, violin \nAve Maria Guilio Caccini (c. 1545 – 1618) /Vladimir Vavilov (1925 – 1973) \nAve Verum Karl Jenkins (b. 1944) \nGabriel’s Oboe Ennio Morricone (b.1928)\nfrom The Mission John Powel Walsh\, organ \nThe Lord’s Prayer Albert Hay Mallotte (1895 – 1964) URL:https://cathedralconcerts.org/event/scott-kennebeck-tenor-john-walsh-organ-with-lenora-marya-anop-violin/ LOCATION:Cathedral Basilica of St. Louis \, St. Louis\, Missouri ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2016/06/Kennebeck-Walshforslidercropped.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160513T200000 DTEND;TZID=America/Chicago:20160513T200000 DTSTAMP:20260430T050120 CREATED:20181016T075101Z LAST-MODIFIED:20181016T075101Z UID:7092-1463169600-1463169600@cathedralconcerts.org SUMMARY:Cathedra DESCRIPTION:Friday\, May 13\, 2016 at 8:00 PM\n  \nEstablished in 2010\, Cathedra has already achieved high acclaim\, not least for its “beautiful\, blended sound” (The Washington Post). Specializing in music of both the Renaissance and Baroque and a champion of the modern-day composer\, Cathedra is a highly skilled ensemble of professional singers and instrumentalists\, dedicated to bringing the highest form of musical expression to music from across the ages. \nUnder the artistic leadership of Maestro Michael McCarthy\, the ensemble is resident at Washington National Cathedral. Exploring new boundaries of both repertoire and presentation\, Cathedra tailors its programming in such a way as to offer authenticity and originality that is both unique and compelling. \nProgram: Expanse of Eternity \nCrucifixus Antonio Lotti (1667-1740) \nRequiem Tomas Luis de Victoria (1548-1611) \nInterval \nSong for Athene John Tavener (1944-2014) \nThe Holy City James D’Angelo (b.1939) \nInvocation James MacMillan (b.1959) \nTake Him Earth For Cherishing Herbert Howells (1892 – 1983) \nThis concert presentation is supported with a grant from the Whitaker Foundation.\n  \nWelcomed by URL:https://cathedralconcerts.org/event/cathedra/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Cathedraforwebsite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160501T180000 DTEND;TZID=America/Chicago:20160501T180000 DTSTAMP:20260430T050120 CREATED:20181016T075327Z LAST-MODIFIED:20181016T075739Z UID:7093-1462125600-1462125600@cathedralconcerts.org SUMMARY:Cathedral Concerts Gala 2016 DESCRIPTION:Sunday\, May 1\, 2016 at 6:00pm\nat the Four Seasons Hotel – St. Louis\n999 N 2nd Street\, St. Louis\, MO 63102\nThis event supports Cathedral Concerts’ mission of presenting affordable live concerts in the Cathedral Basilica of St. Louis featuring world-class musicians and the finest repertoire of sacred and classical music for the cultural enrichment\, education\, and enjoyment of the entire region. \nThe party includes cocktails & hors d’oeuvres\, silent & oral auctions\, an elegant dinner\, and a special live performance in the stunning Ballroom of the Four Seasons Hotel in downtown St. Louis. \nOur “Great Music Award” recipient is world-renowned soprano Christine Brewer\, for exemplary community and musical leadership and outstanding musical performances around the world.\n \nMs. Brewer will sing at the event. \nOther performers include Artists from Opera Theatre’s Gerdine Young Artist Program:\nAnush Avetisyan\, soprano\nEvan LeRoy Johnson\, tenor\nDamien Francouer-Krzyzek\, pianist \n  \nAuction items include: \n 4 field level tickets to the Paul McCartney concert this summer at Busch Stadium!\nSigned Cardinal and Blues memorabilia\nChess lessons with a Grand Master at the Chess Club and Scholastic Center of Saint Louis\nRestaurant gift certificates\, and much more. \n  \n  \n  \nPhoto: GETTY URL:https://cathedralconcerts.org/event/cathedral-concerts-gala-2016/ LOCATION:Four Seasons Hotel – St. Louis\, St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Brewerforwebsite2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160408T200000 DTEND;TZID=America/Chicago:20160408T200000 DTSTAMP:20260430T050120 CREATED:20181016T080035Z LAST-MODIFIED:20181016T080035Z UID:7098-1460145600-1460145600@cathedralconcerts.org SUMMARY:Choir of St. John's College\, Cambridge DESCRIPTION:Friday\, April 8\, 2016 at 8:00 PM\nThe Choir of St John’s College\, Cambridge is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts\, concert tours and over 90 recordings. Founded in the 1670s\, the Choir is known for its rich\, warm and distinctive sound\, its expressive interpretations and its ability to sing in a variety of styles. Alongside this discipline\, the Choir is particularly proud of its happy\, relaxed and mutually supportive atmosphere. The Choir is directed by Andrew Nethsingha following in a long line of eminent Directors of Music\, recently Dr George Guest\, Dr Christopher Robinson and Dr David Hill. \nThe Choir is regularly invited to perform throughout the world\, recently touring Japan\, Brazil\, South Africa\, Australia\, the USA and countries all over Europe – The Netherlands\, Estonia\, France\, Hungary\, Italy and Switzerland to name a few. \nProgram:\nMass in G minor Ralph Vaughan Williams \n\nKyrie\nGloria\nSanctus\nBenedictus\nAgnus Dei\n\nPraeludium in E Major\, BuxWV 141 Dieterich Buxtehude (Organ Solo) \nO Thoma James Burton \nThe Annunciation Jonathan Harvey \nGloria (Missa Brevis) Jonathan Dove \nINTERMISSISON \nCivitas Sancti Tui William Byrd \nRemember not\, Lord\, our offences Henry Purcell \nRejoice in the Lord alway Henry Purcell \nImperial March Op.32 Edward Elgar (Organ Solo) \nFaire is the heaven William Harris \nHear my words\, ye people C Hubert H Parry \n \n  \nWelcomed by URL:https://cathedralconcerts.org/event/choir-of-st-johns-college-cambridge/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Choir-formal-copyforweb.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160313T193000 DTEND;TZID=America/Chicago:20160313T193000 DTSTAMP:20260430T050120 CREATED:20181016T080412Z LAST-MODIFIED:20181016T080412Z UID:7100-1457897400-1457897400@cathedralconcerts.org SUMMARY:Bach Society of Saint Louis DESCRIPTION:Sunday\, March 13\, 2016 at 7:30 PM\n(PLEASE NOTE: Doors open at 7:00 PM)\n  \nCathedral Concerts is proud to collaborate with one of St. Louis finest arts organizations\, the Bach Society of Saint Louis. \nThe rich resonance of the Cathedral is a perfect complement to the beautiful Requiem by Gabriel Faure. The Bach Society Chorus and Orchestra are joined by soprano Jane Jennings and baritone Ian Greenlaw for this exceptional performance. The evening also features a new work by Dr. Stephen Mager\, commissioned especially for this concert by Reverend and Mrs. Richard LaBore\, to honor founder Dr. William B. Heyne on our 75th Anniversary. \nDon’t miss your opportunity to hear this beloved masterpiece. \nProgram: \n \n  \n  \n  \n  \n  \n  \n  \n  \n  \n \n  \n  \n  \n  \n  \n  \n  \n  \n  \n \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \nWelcomed by URL:https://cathedralconcerts.org/event/bach-society-of-saint-louis-2/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/BachSocietyforwebsite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160229T200000 DTEND;TZID=America/Chicago:20160229T200000 DTSTAMP:20260430T050120 CREATED:20181016T080658Z LAST-MODIFIED:20181016T080658Z UID:7102-1456776000-1456776000@cathedralconcerts.org SUMMARY:Polish Baltic Philharmonic Orchestra DESCRIPTION:Monday\, February 29\, 2016 at 8:00 PM\nErnst Van Tiel\, Conductor\nFounded in 1945 on the heels of postwar Polish independence\, The Polish Baltic Philharmonic is the largest music institution in northern Poland. The orchestra is visited not only by local music-lovers but by cosmopolitan Polish and international patrons alike. This is the place for those who enjoy art of the highest quality. The Philharmonic organizes symphonic concerts\, recitals\, and chamber music soirées performed by the most prominent Polish musicians as well as by many world-famous artists. \nIn the late 19th and early 20th centuries\, Gdańsk\, then German-administered Danzig\, held the international spotlight as a point of contention between Germany\, a budding independent Poland\, and those proud locals who saw Gdańsk as an independent city-state\, the crown jewel of the Baltic Sea. Throughout the mid-20th century\, Gdańsk became the primary seaport of Communist Poland. Littered with charming architecture and wizened thinkers\, Gdańsk became the location for the first initiatives and protests in the 1970s and 1980s of the Solidarnoœæ [Solidarity] movement\, chaired by future president Lech Wałęnsa. This movement would soon lead to the breakdown of Communism in Poland\, and contributed to the dissolution of the Second World as it was known throughout the Cold War Era. \nAll Tchaikovsky Program (subject to change): \nRomeo and Juliet Fantasy Overture in B Minor \nViolin Concerto in D Major\, Op. 35\nfeaturing Jaroslaw Nadrzycki – Violinist \nSymphony No. 5 in E Minor\, Op. 64 \n  \nWelcomed by \nSteinway is the Official Piano of Cathedral Concerts URL:https://cathedralconcerts.org/event/polish-baltic-philharmonic-orchestra/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/PolishBalticforwebsite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20160131T143000 DTEND;TZID=America/Chicago:20160131T143000 DTSTAMP:20260430T050120 CREATED:20181016T081016Z LAST-MODIFIED:20181016T081016Z UID:7103-1454250600-1454250600@cathedralconcerts.org SUMMARY:Nathan Laube\, organist DESCRIPTION:Sunday\, January 31\, 2016 at 2:30 PM\n\n\n“If Nathan Laube is any indication\, the organ has a much brighter future than some would believe…”\n– The Boston Musical Intelligencer\n\n\nAssistant Professor of Music at the Eastman School of Music\, concert organist Nathan Laube has quickly earned a place among the organ world’s elite performers. His brilliant playing and gracious demeanor have thrilled audiences and presenters across the United States and in Europe\, and his creative programming of repertoire spanning five centuries\, including his own virtuoso transcriptions of orchestral works\, have earned high praise from critics and peers alike. \nProgram:\nToccata in E\, BWV 566 Johann Sebastian Bach (1685-1750) \nThree Psalm Preludes\, Set 1\, Op. 32 Herbert Howells (1892-1983)\nNo. 3: “Yea\, though I walk through the valley of the shadow of death\,\nI shall fear no evil: for thou art with me; thy rod and thy staff\nthey comfort me.” (Psalm 23\, verse 4) \nCortège et Litanie\, Op. 19\, No. 2 Marcel Dupré (1886-1971) \nPrelude in G-minor (Alla marcia)\, Op. 23\, No. 5 Sergei Rachmaninoff (1873-1943)\nTranscription by Gottfried H. Federlein \nHarmonies Poétiques et Religieuses\, S. 173\, No. 7 Franz Liszt (1811-1886) \nFunérailles Transcription by Nathan Laube \nSuite pour Orgue\,Op. 5 Maurice Duruflé (1902-1986)\nPrélude\nSicilienne\nToccata \n  \nWelcomed by \n \n  \n  \n  URL:https://cathedralconcerts.org/event/nathan-laube-organist/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Laubeforwebsite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20151213T143000 DTEND;TZID=America/Chicago:20151213T143000 DTSTAMP:20260430T050120 CREATED:20181016T080605Z LAST-MODIFIED:20220420T180123Z UID:7101-1450017000-1450017000@cathedralconcerts.org SUMMARY:Christmas at the Cathedral (Sunday) 2015 DESCRIPTION:with Sonos Handbell Ensemble\n& Frederica von Stade\, mezzo-soprano\nSunday\, December 13\, 2015 at 2:30 PM\nCall for availability of Section 1 tickets – 314-533-7662\n“Their music stunned us all. The four thousand audience members went wild\, just as we knew they would. Thanks\, Sonos\, for raising the level of our little family radio show from the comic to the cosmic to the something beyond.”\n— Garrison Keillor\, A Prairie Home Companion \nFrederica von Stade is… “One of America’s finest artists and singers.” – The New York Times \nThis year experience something new as we present the Sonos Handbell ensemble with mezzo-soprano Frederica von Stade in this special concert of Christmas favorites as they join the Archdiocesan Choirs for Christmas at the Cathedral. \n  \nWelcomed by \n \n  \n  \n  URL:https://cathedralconcerts.org/event/christmas-at-the-cathedral-sunday-5/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/SonosvonStadeforwebsite1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20151212T200000 DTEND;TZID=America/Chicago:20151212T200000 DTSTAMP:20260430T050120 CREATED:20181016T080152Z LAST-MODIFIED:20181016T080152Z UID:7099-1449950400-1449950400@cathedralconcerts.org SUMMARY:Christmas at the Cathedral (Saturday) DESCRIPTION:with Sonos Handbell Ensemble\n& Frederica von Stade\, mezzo-soprano\nSaturday\, December 12\, 2015 at 8:00 PM\n“Their music stunned us all. The four thousand audience members went wild\, just as we knew they would. Thanks\, Sonos\, for raising the level of our little family radio show from the comic to the cosmic to the something beyond.”\n— Garrison Keillor\, A Prairie Home Companion \nFrederica von Stade is… “One of America’s finest artists and singers.” – The New York Times \nThis year experience something new as we present the Sonos Handbell ensemble with mezzo-soprano Frederica von Stade in this special concert of Christmas favorites as they join the Archdiocesan Choirs for Christmas at the Cathedral. \nWelcomed by \n \n  \n  \n  URL:https://cathedralconcerts.org/event/christmas-at-the-cathedral-saturday-5/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/SonosvonStadeforwebsite1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20151121T200000 DTEND;TZID=America/Chicago:20151121T200000 DTSTAMP:20260430T050120 CREATED:20181016T075917Z LAST-MODIFIED:20181016T075917Z UID:7097-1448136000-1448136000@cathedralconcerts.org SUMMARY:Vienna Boys Choir\, Holiday Concert DESCRIPTION:Saturday\, November 21\, 2015 at 8:00 PM\n(PLEASE NOTE: Doors open at 7:30 PM)\n\nSpecial pre-concert by the Boys Choir of St. Louis at 7:40pm. \nPresented in memory of Francis Einig\n“the angelic voices of this most famous vocal group are ageless” – The Salt Lake Tribune \nThe world’s most beloved choir has been thrilling audiences young and old for over 500 years. Their eagerly anticipated tours play to sell out crowds around the world. Don’t miss your opportunity to hear them in this special Holiday Concert at the Cathedral Basilica of St. Louis. \nSections 1 & 2 are SOLD OUT\nCall for Availability of Section 3 tickets – 314-533-7662\n \nWelcomed By \nPaul & Amy Mittelstadt\n \n  \n  \n  \n \nSteinway is the Official Piano of Cathedral Concerts URL:https://cathedralconcerts.org/event/vienna-boys-choir-holiday-concert-2/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Viennaforwebsite2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20151029T200000 DTEND;TZID=America/Chicago:20151029T200000 DTSTAMP:20260430T050120 CREATED:20181016T075535Z LAST-MODIFIED:20181016T075535Z UID:7094-1446148800-1446148800@cathedralconcerts.org SUMMARY:Tenebrae DESCRIPTION:Thursday\, October 29\, 2015 at 8:00 PM\n“Choral music doesn’t get more magnificent than this.” – Classic FM \n  \n \n  \nTenebrae has performed at some of the world’s most renowned festivals including the BBC Proms\, City of London Festival\, Edinburgh International Festival (UK) and Montreux Choral Festival (Switzerland). The 2013-2014 season saw performances at the Salisbury Festival and Three Choirs Festival (UK) together with international appearances at the Lessay Festival (France) and Trigonale Festival (Austria). In 2015 the choir will perform across the UK in Guildford\, Hexham\, Lammermuir\, London\, Newbury\, Oxford\, Reading\, Sherborne\, Stour and Thaxted\, as well as engagements throughout Europe and the USA. \n‘Passion and Precision’ is Tenebrae’s motto\, and through its continued dedication to performance of the highest quality\, audiences around the world experience the power and intimacy of the human voice. \nProgram (subject to change):\nLobo: Verse est in luctum\nVictoria: Tenebrae Responsories\nAllegri: Miserere\nPadilla: Missa Ego flos campi\nReger: Der mensch lebt und bestehet\nBrahms: Fest und gedenkspruche\, Op. 109\nBruckner: Ave Maria\nBruckner: Virga Jesse\nBruckner: Christus factus est\nBrahms: Drei motetten\, Op. 110\nReger: Nachtlied \nPresented by \nMr. John H. Russell\nWelcomed by \nDr. & Mrs. Anthony Fathman URL:https://cathedralconcerts.org/event/tenebrae-2/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/Tenebraeforwebsite.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20151014T200000 DTEND;TZID=America/Chicago:20151014T200000 DTSTAMP:20260430T050120 CREATED:20181016T074923Z LAST-MODIFIED:20181016T074923Z UID:7090-1444852800-1444852800@cathedralconcerts.org SUMMARY:Christine Brewer\, soprano & Paul Jacobs\, organist DESCRIPTION:Wednesday\, October 14\, 2015 at 8:00 PM\nThe incomparable Christine Brewer\, named one of the top 20 Sopranos of all time (BBC Music)\, and Paul Jacobs\, “America’s Leading organ performer” (The Economist) join forces for this incredible night of marvelous music making in the heavenly setting of the Cathedral Basilica of St. Louis. \nExperience these two Grammy Award winning artists in this very special concert performance of works from their upcoming recording. \nProgram (subject to change):\nBach: Sinfonia from Cantata\, BWV 29\nBach:Bist du bei mir \nHandel: But Oh! What Art Can Teach \nFranck: Panis Angelicus\nNadia Boulanger: Trois Pieces for Organ\nLili Boulanger: Pie Jesu \nPuccini: Salve Regina\nReger: Toccata and Fugue\, Op. 59 \nReger: Songs (after Hugo Wolf) \nGounod: Ave Maria (after J.S. Bach) \nGounod: O Divine Redeemer! \nWidor: Toccata from Symphony No. 5\, Op. 42\n \nWelcomed by \nThe Order of St. John\, Mrs. Priscilla R. McDonnell\, & Mrs. Anna M. Harris\nwith support from the Vassia Foundation &\n \n  \n  \n  URL:https://cathedralconcerts.org/event/christine-brewer-soprano-paul-jacobs-organist/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/BREWER-JACOBS-COMPOSITE.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150924T190000 DTEND;TZID=America/Chicago:20150924T190000 DTSTAMP:20260430T050120 CREATED:20181016T074438Z LAST-MODIFIED:20181016T074438Z UID:7088-1443121200-1443121200@cathedralconcerts.org SUMMARY:Cathedral Concerts Chamber Music Series DESCRIPTION:  \n  \n  \n  \n  \n  \n  \n  \n  \nCathedral Concerts continues its series of FREE concerts that brings the great music right to your neighborhood. \nNo tickets are required. Doors open for each concert at 6:30pm and the concerts begin at 7:00pm. \nThe featured players in each concert are violinist Lenora-Marya Anop\, cellist Ken Kulosa\, and pianist Matthew Mazzoni. \nThe following will be performed at all three concerts.\nSonata No. 4 in C Minor for Violin and obligato Harpsichord BWV 1014 by J. S. Bach (1685-1750)\nI. Largo\nII. Allegro\nIII. Adagio\nIV. Allegro \nSonata No. 3 for Cello and Piano in A Major Op. 69 by L. v Beethoven (1770-1827)\nI. Allegro\, ma non tanto\nII. Scherzo (Allegro molto)\nIII. Adagio cantible – Allegro vivace \nTrio No. 2 for Piano\, Violin\, and Cello in C Major Op. 87 by J. Brahms (1833-1897)\nI. Allegro\nII. Andante con moto\nIII. Scherzo: Presto\nIV. Finale-Allegro giocoso \nThursday\, September 24\nOur Lady of Lourdes Catholic Church in University City @ 7:00pm \nTuesday\, September 29\nSts. Joachim & Ann Catholic Church in St. Charles @ 7:00pm \nTuesday\, October 6\nSt. Monica Catholic Church in Creve Coeur @ 7:00pm \n  \nSponsored by URL:https://cathedralconcerts.org/event/cathedral-concerts-chamber-music-series/ LOCATION:Various\,Various ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2015/06/1516-Chamber-Series-image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150513T200000 DTEND;TZID=America/Chicago:20150513T200000 DTSTAMP:20260430T050120 CREATED:20181016T073806Z LAST-MODIFIED:20181016T073806Z UID:7085-1431547200-1431547200@cathedralconcerts.org SUMMARY:Empire Brass DESCRIPTION:with Douglas Major\, Organist\nWednesday\, May 13\, 2015\, 8:00 p.m.\nPresented by USI\nWelcomed by Rodgers Organs of St. Louis\n \n \n  \nIt is with great sadness that we share the news of the sudden death of Rolf Smedvig\, founder and lead trumpet of Empire Brass. Mr. Smedvig passed away very suddenly at his home Monday evening\, April 27\, 2015. Cathedral Concerts\, in consultation with the remaining members of the group and their management\, has decided that the concert will go on and be dedicated to the memory of Rolf\, as he would have wanted it. \nThe players in the concert will be:\nDerek Lockheart – trumpet\nEric Berlin – trumpet\nVictor Sungarian – horn\nGreg Spiridopoulos – trombone\nKenneth Amis – tuba\nDouglas Major – organ \nWe hope you will join us as we honor the memory of Rolf Smedvig and his incredible artistry. \nThe Empire Brass enjoys an international reputation as North America’s finest brass quintet\, renowned for its brilliant virtuosity and the unparalleled diversity of its repertoire. The five musicians – all of whom have held leading positions with major American orchestras – perform over 100 concerts a year in cities such as New York\, Boston\, Chicago\, Washington\, London\, Zurich and Tokyo. \nWith their best-selling recordings on the Telarc label they have introduced an even larger audience worldwide to the excitement of brass music that ranges from Bach and Handel to majestic antiphonal works that Gabrieli composed for St. Mark’s Cathedral in Venice. \nDouglas Major\, organist\, is a prominent American composer of sacred music and concert organist. He is the former choral director and organist at the Washington National Cathedral\, Washington\, D.C.\, where he frequently performed on nationally televised services and state occasions. \n  \nProgram: \nBasse Dance Bergeret by Tylman Susato\nRondeau by Jean Joseph Mouret\nEs ist ein Ros’ entsrpungen by Michael Praetorius / Johannes Brahms\nPrelude Fugue and Chaconne by Detrich Buxtehude (organ solo)\nJupiter from The Planets by Gustav Holst\nRondeau\, from Abdelazer\, or the Moor’s Revenge by Henry Purcell\nMarch\, from The Married Beau\, or The Curious Impertinent by Henry Purcell\nPrélude\, from Te Deum in D major by Marc-Antoine Charpentier\nIntermission\nCanzona Bergamasca by Samuel Scheidt\nPastime with Good Company by Henry the VIII\nContrapunctus No. 1 and No. 9\, from Die Kunst der Fuge\, BWV 1080 by Johann Sebastian Bach\nToccata in F by JS Bach (organ solo)\nFantasia in C major\, BWV 570 by JS Bach\nSleeper’s Wake by JS Bach\nEin’ feste Burg ist unser Gott\, from Cantata No. 80\, BWV 80 by JS Bach \n  URL:https://cathedralconcerts.org/event/empire-brass/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/02/Empire-Brass-sized.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150503T180000 DTEND;TZID=America/Chicago:20150503T180000 DTSTAMP:20260430T050120 CREATED:20181016T073345Z LAST-MODIFIED:20181016T073437Z UID:7081-1430676000-1430676000@cathedralconcerts.org SUMMARY:Cathedral Concerts Gala 2015 DESCRIPTION:Sunday\, May 3\, 2015 6:00pm\nat the Four Seasons Hotel – Downtown\n999 N 2nd Street\, St. Louis\, MO 63102\nThis event supports Cathedral Concerts’ mission of presenting affordable live concerts in the Cathedral Basilica of St. Louis featuring world-class musicians and the finest repertoire of sacred and classical music for the cultural enrichment\, education\, and enjoyment of the entire region. \nThe party includes cocktails & hors d’oeuvres\, silent & oral auctions\, an elegant dinner\, and a special live performance in the stunning Ballroom of the Four Seasons Hotel in downtown St. Louis. \nMrs. Priscilla R. McDonnell & Mrs. Anna M. Harris serve as our Gala Honorary Co-Chairs. The evening’s entertainment is The 442’s\, which includes cellist Bjorn Ranheim\, violinist Shawn Weil\, double bassist Syd Rodway and composer/keyboardist Adam Maness. \nOur “Great Music Award” recipient is David Halen\, Concertmaster of the St. Louis Symphony\, for exemplary musical leadership and outstanding musical performances in the greater St. Louis area for over 20 years. \n  URL:https://cathedralconcerts.org/event/cathedral-concerts-gala-2015/ LOCATION:Four Seasons Hotel – Downtown\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/02/David-Halen.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150415T200000 DTEND;TZID=America/Chicago:20150415T200000 DTSTAMP:20260430T050120 CREATED:20181016T072807Z LAST-MODIFIED:20181016T072807Z UID:7079-1429128000-1429128000@cathedralconcerts.org SUMMARY:Blue Heron DESCRIPTION:Wednesday\, April 15\, 2015\, 8:00 p.m.\nWelcomed by Kopytek\, Inc.\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 \nThe vocal ensemble Blue Heron has been acclaimed by The Boston Globe as “one of the Boston music community’s indispensables” and hailed by Alex Ross in The New Yorker for the “expressive intensity” of its interpretations. Combining a commitment to vivid live performance with the study of original source materials and historical performance practice\, Blue Heron ranges over a wide and fascinating repertoire\, including 15th-century English and Franco-Flemish polyphony\, Spanish music between 1500 and 1600\, and neglected early 16th-century English music\, especially the rich and unique repertory of the Peterhouse partbooks\, copied c. 1540 for Canterbury Cathedral. \nScott Metcalfe\, musical and artistic director of Blue Heron since its founding in 1999\, has gained wide recognition as one of North America’s leading specialists in music from the fifteenth through seventeenth centuries and beyond. \nA Mass for St Augustine\nVotive antiphon: Ave Maria\, mater dei\nRobert Hunt (early 16th century) \nIntroit: Sacerdotes dei benedicite\nKyrie Orbis factor\nSarum plainchant \nGloria / Missa sine nomine\nCredo / Missa sine nomine\nAnonymous (Peterhouse partbooks\, c.1540) \nintermission \nSanctus / Missa sine nomine\nAgnus dei / Missa sine nomine\nAnonymous \nVotive antiphon: Ave Maria\, ancilla trinitatis\nHugh Aston (c. 1485-1558) \n  \nBLUE HERON\ntreble\nMargot Rood\, Sonja Tengblad\, Shari Wilson\nmean\nJennifer Ashe\, Pamela Dellal\, Martin Near\ncontratenor\nOwen McIntosh\, Mark Sprinkle\ntenor\nJonas Budris\, Jason McStoots\nbass\nPaul Guttry\, Steven Hrycelak\, David McFerrin \nScott Metcalfe\, director \n  \nProgram Notes: \nMusic for Canterbury Cathedral \nThis program is part of Blue Heron’s long-range project of performing and recording music from 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. \nBull wrote down\, within a very short time\, a great quantity of music in plain\, carefully checked\, and highly legible copies intended for liturgical use\, rather than for study or for presentation to a noble as a gift. (A presentation manuscript would demand decoration and fancy trimmings.) Why did Bull copy so much music so quickly? He appears to have been commissioned to supply Canterbury Cathedral with a complete repertoire of polyphonic music. The monastic foundation at Canterbury had been dissolved by Henry VIII in April 1540\, one of nearly a dozen great monastic cathedrals dissolved in the years 1539-41. Most were refounded in short order as secular (i.e. non-monastic) institutions\, which were subject not to an abbot—a member of a religious order who answered to the pope—but to a bishop and thence to the king\, who had declared himself head of the Church of England. Now\, monks sang mostly plainchant and did not generally attempt virtuosic polyphonic music\, but the new foundation cathedrals aspired to considerable pomp and circumstance and so they needed to hire a choir of professional singers as well as recruit and train choirboys. By the late summer of 1540 Canterbury Cathedral had put together a roster including ten “queresters” (choristers\, “quire” being the normal sixteenth-century spelling of the word)\, their master\, and twelve vicars-choral\, the professional singing-men. Thomas Tallis is listed first of the “vyccars”; Thomas Bull is sixth. But an addition to singers\, the refounded cathedral required an entire library of up-to-date polyphonic repertory\, and this Bull supplied\, bringing about 70 works with him from Oxford. \nThe brilliant new choral institution at Canterbury would not last long. Henry died in 1547 and the Protestant refomers who came to power upon the ascension of his young son\, Edward\, took a dim view of such popish decorations as professional choirs and the highly sophisticated Latin music they sang. All the elaborate polyphonic music of late medieval English Catholicism became\, at best\, obsolete; at worst it was viewed as gaudy ornament to a despicable ritual. Many musical manuscripts were lost and many destroyed\, and if a manuscript escaped deliberate destruction by zealots\, it might yet be subjected to other indignities:\nA great nombre of them whych purchased those superstycyouse mansyons [the former monasteries]\, reserved of those librarye bokes\, some to serve theyr jakes [privies]\, some to scoure theyr candelstyckes\, and some to rubbe their bootes. Some they solde to the grossers and sope-sellers\, & some they sent over see to the bokebynders\, not in small nombre\, but at tymes whole shyppes full\, to the wonderynge of the foren nacyons.… I knowe a merchaunt man\, whych shall at thys tyme be namelesse\, that boughte the contentes of two noble lybraryes for .xl. shyllynges pryce\, a shame it is to be spoken. Thys stuffe hath he occupyed in the stede of graye paper [wrapping-paper] by the space of more than these .x. yeares\, & yet he hath store ynough for as many yeares to come. \nThe Preface\, “Johan Bale to the Reader\,” The laboryouse Journey & serche of Johan Leylande for Englandes Antiquitees (1549) \nVery few collections of church music survived the upheaval. The main sources extant from the entire first half of the sixteenth century are a mere three choirbooks\, four sets of partbooks\, and one organ manuscript. (Compare this paucity to\, for example\, the sixteen choirbooks owned in 1524 by a single establishment\, Magdalen College\, Oxford.) We do not know what happened to Bull’s five partbooks (one each for the standard five parts of early sixteenth-century English polyphony: treble\, mean\, contratenor\, tenor\, and bass) between 1547 and the early years of the next century\, but by the 1630s they had made their way to the library of Peterhouse\, where they would survive yet another cataclysm of destruction\, that wrought by the Puritans in the 1640s. \nOr\, at least\, some of Bull’s five partbooks survived. At some point the tenor book disappeared\, along with several pages of the treble. Now\, of the 72 pieces in the set\, 39 are transmitted uniquely\, while another dozen or so are incomplete in their other sources. The result is that some fifty pieces of music—a significant portion of what survives from pre-Reformation England—now lack their tenor\, and some of these are also missing all or part of their treble. In the Peterhouse repertoire\, music by the most famous masters of the early sixteenth century\, such as Robert Fayrfax\, John Taverner\, and Thomas Tallis\, sits next to music by less celebrated but nonetheless first-class composers such as Hugh Aston and Nicholas Ludford\, and a number of wonderful pieces by musicians whose careers are less well documented and who have been virtually forgotten for the simple reason that so little of their work survives: Richard Pygott\, John Mason\, Robert Jones\, Robert Hunt\, and others. Some of these men cannot even be identified with certainty. And\, although Bull was quite scrupulous in providing ascriptions for the music he copied\, two of the unique Peterhouse works are anonymous\, including the mass we sing today. \nWe are able to sing the Peterhouse music nowadays thanks to the extraordinarily skilled recomposition of the missing parts by the English musicologist Nick Sandon. (Sandon also pieced together the story of the genesis of the partbooks that I have related above.) Sandon completed his dissertation on the Peterhouse partbooks in 1983\, including in it recompositions of most of the missing lines; in the years since he has been refining his work and gradually issuing it in Antico Edition. For the anonymous Missa sine nomine and Robert Hunt’s Ave Maria\, Sandon recomposed the entire tenor line. In the case of Aston’s Ave Maria ancilla trinitatis\, both tenor and treble parts are entirely lost\, and two-fifths of the polyphonic texture you will hear in this performance have been restored by Sandon in a brilliant feat of reimagination. \n  \nHunt’s Ave Maria mater dei \nThe Peterhouse partbooks are the only extant source of music by Robert Hunt. The composer has not been identified but may have been the chorister of that name at Magdalen College between 1486 and 1493; if so he would have been born around 1478. Only two pieces by him exist\, this Ave Maria and a Stabat mater which will appear on volume 4 of our series of recordings Music from the Peterhouse Partbooks. Like the powerfully eloquent Stabat mater\, Hunt’s Ave Maria mater dei is a bit rough and craggy\, and it shares with that work the characteristic of turning dramatically from one mood to another\, achieved here by quick shifts between major and minor sonorities\, close or simultaneous juxtaposition of two forms of the same note (B-flat versus B-natural\, C-natural versus C-sharp)\, or sudden changes in the speed at which motives move or answer each other—or by all of the above at once\, as at the words “sed tuam sanctissimam.” Note also the marvelous way the piece relaxes into the Amen\, which lasts a full quarter of the length of this unusually concise antiphon. \n  \nA Mass without a name \nThe anonymous Missa sine nomine is based on a plainchant cantus firmus. The copyist Thomas Bull gave a title to almost every Mass in the partbooks; in the case of a cantus firmus mass\, the title is normally the first few words of the chant passage. Why he omitted the title in this case is something of a mystery\, and the mystery is deepened by Sandon’s failure (after decades of work on the partbooks) to locate a perfectly convincing match for the cantus firmus melody. The nearest he has come is a part of an antiphon from vespers on the feast of a confessor-bishop\, and it is this discovery that prompted him to speculate that the Mass may have been dedicated to the local luminary St. Augustine of Canterbury\, or\, as a late fifteenth-century English source has it\, “Saynt Austyn that brought crystendom in to Englond.” If so\, perhaps there was something politically risky about a Mass dedicated to a saint who played a foundational role in establishing Catholicism in England—a man whose lofty stature and unquestionable authority as a leader of the church must have offered\, to religious conservatives such as the new dean and chapter at Canterbury Cathedral\, a telling contrast to the present king. And perhaps that is why the Mass was left without ascription. \nSandon himself is not convinced of this hypothesis\, writing that “In reality\, the omission of the composer’s name and the work’s title must surely be wholly innocent”—in short\, the scribe probably omitted this information simply because he didn’t know it. But the connection to Augustine via the chant quotation remains quite plausible\, and with this possibility in mind\, we introduce our concert performance with the introit from the Mass for the feast of a Confessor-Bishop\, leading from that into the troped Kyrie Orbis factor and thence to the first of the four movements of the Missa sine nomine\, the Gloria. (Sixteenth-century English polyphonic settings of the mass never include a Kyrie\, leaving it to be sung in plainchant in one of several traditional\, elaborate troped texts like “Orbis factor.”) \nAs for the composer\, Professor Sandon can identify no likely candidate. The music\, as he says\, is “fluent\, vigorous and imaginative\,” but lacks features which would associate it with the style of other composers represented in the Peterhouse partbooks or in other manuscripts. The Mass may well be the work of a skilled and prolific composer whose music has disappeared\, in part or altogether. Indeed\, it is only due to the happy survival of the Peterhouse partbooks (about four-fifths of them\, to be precise) that we know anything\, or anything much\, of Mason\, Pygott\, Jones\, or Hunt\, just to name a few composers whose music Nick Sandon has restored and which Blue Heron has been fortunate enough to sing. \nEach movement of the Mass opens with a few measures of the same music before it pursues its own way\, each coming to rest a short while later—pausing for breath\, as it were\, after the exordium of its argument. The cantus firmus\, which is recognisable as a sequence of long notes\, is heard mostly in the mean\, the second voice from the top\, occasionally migrating elsewhere including to its traditional locus in the tenor (in the Sanctus at “in nomine domini”)\, and\, strikingly\, the bass (in the second invocation of the Agnus dei at “qui tollis peccata mundi”). The melodies tend to be quirky\, angular\, and busy\, especially in sections of reduced scoring for two or three parts\, such as the duet in the Credo that follows the opening passage for the full ensemble. There is one\, and only one\, instance of a “Gimel” or two lines written for one divided voice part: the texture of two trebles and one mean\, answered by a trio of lower voices\, is a beautiful surprise when it occurs early in the Gloria\, and it is almost equally surprising that it never recurs. The piece features some arresting harmonic changes\, notably at the end of each movement. And in every movement but the Sanctus the last section is written in a mensuration (a time signature\, more or less) that implies a very quick triple meter—another surprise\, especially for the final words of the Mass\, “Dona nobis pacem.” All these things lend the piece a strongly individual character. \n  \nAston’s Ave Maria ancilla trinitatis \nThe last work on the program is by Hugh Aston\, a favorite composer of Blue Heron’s since we sang his Ave Maria dive matris Anne on our very first concert in October 1999. Among the many marvelous and individual voices of the Peterhouse composers\, Aston stands out for the emotional immediacy of his music\, which seems to me to go directly to one’s heart. In Ave Maria ancilla trinitatis each “Ave Maria” is granted a unique character\, yet all feel direct and personal. After all the salutations\, an added text (by Aston himself?) addresses the Blessed Virgin on behalf of a single speaker\, marvellously embodied here by a dozen singers\, seeking her intercession “at the hour of my death\,” before the music finally spills over into bars and bars of ecstatic vocalising in one of the most luxuriantly extended melismatic Amens imaginable. \n  \nVocal scoring and voice types \nThe five-voice scoring of pre-Reformation English polyphony employs four basic voice types: treble (sung by a boy with a specially trained higher voice)\, mean (sung by a boy with an ordinary voice)\, tenor\, and bass.Tenor parts are further divided into tenor and contratenor\, the latter a part written “against the tenor” and originally in the same range. Beginning around the 1520s English contratenor parts tended to lie slightly higher than the tenor. On the continent this bifurcation happened somewhat earlier: the higher part was called a contratenor altus\, a “high part written against the tenor\,” eventually to be known simply as altus. A contratenor was not a man singing in falsetto (like the modern “countertenor”) but a high tenor. \nAn anonymous early Jacobean document describes these five voice types succinctly: \nNature has disposed all voices\, both of men and children\, into five kinds\, viz: Basses (being the lowest or greatest voices)\, Tenors being neither so low or so great\, Countertenors (being less low and more high than tenors) of which three kinds all men’s voices consist. Then of children’s voices there are two kinds\, viz. Meane voices (which are higher than men’s voices) and Treble voices\, which are the highest kind of Children’s voices. \nCharles Butler provides more detail (and some fanciful etymology) in The principles of musik (1636): \nThe Base is so called\, becaus it is the basis or foundation of the Song\, unto which all the other Partes bee set: and it is to be sung with a deepe\, ful\, and pleasing Voice. \nThe Tenor is so called\, because it was commonly in Motets the ditti-part or Plain-song…or (if you will) becaus neither ascending to any high or strained note\, nor descending very low\, it continueth in one ordinari tenor of the voice and therefore may be sung by an indifferent [that is\, average] voice. \nThe Countertenor or Contratenor\, is so called\, becaus it answereth the Tenor\, though commonly in higher keyz [clefs]: and therefore is fittest for a man of a sweet shrill voice.[1] Which part though it have little melodi by itself…yet in Harmoni it hath the greatest grace specially when it is sung with a right voice: which is too rare. \nThe Mean is so called\, because it is a middling or mean high part\, between the Countertenor\, (the highest part of a man) and the Treble (the highest part of a boy or woman) and therefore may bee sung by a mean voice. \nThe Treble is so called\, because his notes ar placed (for the most part) in the third Septenari [i.e. the highest of the three octaves of the normal composite range of human voices]\, or the Treble cliefs: and is to be sung with a high cleere sweete voice. \nAlthough not so well documented for earlier eras\, the division of male voices into five types dates back to well before the Reformation. An entry in the early sixteenth-century Household Book of the Earl of Northumberland\, for example\, divides the “Gentillmen and childeryn of the chapell” as follows: “Gentillmen of the chapell viij viz ij Basses ij tenors aund iij Countertenors yoman or grome of the vestry j Childeryn of the chapell v viz ij Tribills and iij Meanys.” \nAs for our forces\, since we are not bound by the old ecclesiastical prohibition against men and women singing sacred music together\, our treble parts are sung by women\, rather than boys. Charles Butler suggests the possibility in the passage quoted above\, and indeed\, no less a musician than William Byrd is known to have participated in liturgical music-making with a mixed choir. The English Jesuit William Weston\, visiting the Berkshire country house of Richard Ford in 1586\, described “a chapel\, set aside for the celebration of the Church’s offices” and musical forces that included “an organ and other musical instruments and choristers\, male and female\, members of his household. During these days it was just as if we were celebrating an uninterrupted Octave of some great feast. Mr Byrd\, the very famous English musician and organist\, was among the company.” \nWhile sixteenth-century English choirs employed boys on the “mean” line\, on the continent parts in this range were sung either by adult male falsettists or by boys. Our mean is sung by one male falsettist and two women. Contratenor\, tenor\, and bass lines are sung by high\, medium\, and low mens’ voices\, respectively. \nIn its size and distribution our ensemble very closely resembles the one pre-Reformation choir for which we have detailed evidence of the distribution of voices used in an actual performance\, as opposed to a roster of the singers on staff. On one typical occasion in about 1518\, this choir—that of the household chapel of the Earl of Northumberland—was divided very much as ours is\, 3/3/2/2/3 from top to bottom. Grand collegiate foundations such as Magdalen College or cathedrals like Canterbury may have sung polyphonic music with larger forces. Between 1500 and 1547 Magdalen College usually maintained a complement of 16 boys and 9 or 10 men; the Canterbury staff list of 1540 includes 10 choristers and 12 men (13 counting the master of the choristers)\, whom we might imagine to have divided themselves 5/5/4/4/4\, if the entire choir ever sang polyphony together. I know of no evidence\, however\, that connects a particular complement or distribution of forces to the performance of a specific piece of music. \nAs always\, we are immensely grateful to Nick Sandon for his matchless skill in restoring this wonderful music and allowing it to sound anew. A thorough account by Sandon of the history of the Peterhouse partbooks and his restoration work\, and a recording of Aston’s Ave Maria ancilla trinitatis\, may be found in volume 1 of Blue Heron’s CD series\, Music from the Peterhouse Partbooks. \n—Scott Metcalfe \n  \n[1] “Shrill” meant high or bright and did not carry the negative connotations it has now. The word might describe the sound of a lark or a trumpet\, as in “the shrill-gorg’d Larke” (King Lear IV.vi.58) or “the shrill Trumpe” (Othello III.iii.351). URL:https://cathedralconcerts.org/event/blue-heron/ LOCATION:Cathedral Basilica of St. Louis\,St. Louis\, MO ATTACH;FMTTYPE=image/jpeg:https://cathedralconcerts.org/wp-content/uploads/2014/02/Blue-Heron-sized.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150321T200000 DTEND;TZID=America/Chicago:20150321T200000 DTSTAMP:20260430T050120 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:20260430T050120 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 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20150208T143000 DTEND;TZID=America/Chicago:20150208T143000 DTSTAMP:20260430T050120 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:20260430T050120 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:20260430T050120 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:20260430T050120 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:20260430T050120 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:20260430T050120 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 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20140926T193000 DTEND;TZID=America/Chicago:20140926T193000 DTSTAMP:20260430T050120 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 END:VEVENT END:VCALENDAR