Special Music Sunday

Sunday, Mar. 21, 2021

Sunday, March 21, 2021
Fifth Sunday in Lent
Rev. Rob Metcalf
Eleanor Daley, Director of Music
Special Music Sunday
Featuring excerpts from Jubilate Deo by Dan Forrest
Fairlawn Avenue Senior Choir and Chamber Orchestra
Canadian Premiere ~ Recorded Live ~ April 8, 2017


Prelude 1st movement of Spring (from The Four Seasons)           Antonio Vivaldi (1678-1741)


Opening Hymn The Old Hundreth Psalm       arr. Ralph Vaughan Williams (1872-1958)
Conductor – David Willcocks (1919-2015)


Anthem O Be Joyful in the Lord           E. Daley (1999) 
Fairlawn Avenue Senior Choir
Conductor – Patricia Jones
Organ – E. Daley

O be joyful in the Lord, all ye lands,
Serve the Lord with gladness
And come before his presence with a song.
Be ye sure that the Lord he is God,
It is he that hath made us, and not we ourselves.
We are his people, and the sheep of his pasture.
O go your way into his gates with thanksgiving,
And into his courts with praise.
Be thankful unto him, and speak good of his name.
For the Lord is gracious, his mercy is everlasting;
And his truth endureth from generation to generation.
(Psalm 100)











Jubilate Deo           Dan Forrest (b. 1978) 
Fairlawn Avenue Senior Choir and Chamber Orchestra
(Please see music notes for choristers and instrumentalists)

1. Jubilate Deo (O be joyful …)

Jubilate Deo, omnis terra;
servite Domino in laetitia.
Introite in conspectu ejus in exsultatione.
Scitote quoniam Dominus ipse est Deus;
ipse fecit nos, et non ipsi nos:
populus ejus, et oves pascuae ejus.
Introite portas ejus in confessione;
atria ejus in hymnis: confitemini illi.
Laudate nomen ejus,
quoniam suavis est Dominus:
in aeternum misericordia ejus,
et usque in generationem
et generationem veritas ejus.

O be joyful in the Lord, all ye lands:
serve the Lord with gladness,
and come before his presence with a song.
Be ye sure that the Lord he is God;
it is he that hath made us, and not we ourselves;
we are his people, and the sheep of his pasture.
O go your way into his gates with thanksgiving,
and into his courts with praise;
be thankful unto him,
and speak good of his name.
For the Lord is gracious,
his mercy is everlasting;
and his truth endureth from generation
to generation.
(Psalm 100, Latin Vulgate)


4. Ngokujabula! (With great rejoicing!)

Hlokoma kuJehova ngezwi lokuhalalisa, mhlabawonke.
Mkhonzeni uJehova ngokujabula,
Nisondele ebusweni bakhe ngokuhuba kwentokozo.
Yazini ukuthi uJehova unguNkulunkulu!

Shout with triumph to the Lord, all the earth!
Serve the Lord with joy, come before his presence with singing.
Know that the Lord is God! (Psalm 100:1-3, Zulu)


5. Bendecid su nombre (Bless his name)
Soprano – Rebecca Whelan

Entrad por sus puertas con acción de gracias, a sus
atrios con alabanza. Dadle gracias, bendecid su nombre.

Enter his gates with thanksgiving, his courts with praise.
Be thankful, and bless his name. (Psalm 100:4, Spanish)


6. Song of the Earth


Praise God. 


7. Omnis Terra!

Omnis terra, jubilate, omnis terra, laudate,
Omnis terra, jubilate Deo! Alleluia.
(Adapted from Psalm 100, Latin Vulgate)

Sing for joy, dance in gladness,
shout for joy, all the earth! Alleluia.
(Adapted from various English translations)


Closing Hymn O God Beyond All Praising                      melody by Gustav Holst (1874-1934) from The Planets (Jupiter)
                                                                                     arr. Richard Proulx (1937-2010)

O God beyond all praising, we worship you today,
And sing the love amazing that songs cannot repay;
For we can only wonder at every gift you send,
At blessings without number and mercies without end:
We lift our hearts before you and wait upon your word,
We honour and adore you, our great and mighty Lord.

The flower of earthly splendour in time must surely die,
Its fragile bloom surrender to you the Lord most high;
But hidden from all nature the eternal seed is sown,
Though small in mortal stature, to heaven’s garden grown:
For Christ, the man from heaven, from death has set us free,
And we through him are given the final victory.

Then, hear, O gracious Saviour, accept the love we bring,
That we, who know your favour, may serve you as our King;
And whether our tomorrows be filled with good or ill,
We’ll triumph through our sorrows and rise to bless you still:
To marvel at your beauty and glory in your ways,
And make a joyful duty our sacrifice of praise.
(Michael Perry, ca. 1982)


Choral Commissioning O Lord, Throughout This Time of Lent           E. Daley (2019) 
Fairlawn Avenue Senior Choir and congregation


Postlude 3rd movement of Spring (from The Four Seasons)           Antonio Vivaldi (1768-1741) 







This morning’s closing hymn text is reprinted under #A-717945. O God Beyond All Praising – words by Michael Perry, © 1992 Hope Publishing Co. All rights reserved.

♪ Music notes ♪

Choristers for Jubilate Deo:
Soprano: Sharon Barrett-Ewing, Anne Bornath, Charlotte Cameron, Rosalie Cowan, Shirley Joyce, Carrie Loring, Lynda MacKenzie, Jean McKen, Xandi Neville+, Kathy Salisbury, Debbie Scoffield, Frances Welsh, Rebecca Whelan, Julie Winn, Laura Ziliotto
Alto: Paula Blaser, Martha Boyce, Shirley Chykaliuk, Lynn Featherstone, Karen Freedman, Bonita Kersey, Melissa Lalonde, Cristina Lanz, Anne Pyper, Alison Roy, Valerie Scovill, Esther Steen, Patti Vipond, Esther Welsh
Tenor: Mitch Bondy, Willis Bote, Eugene Burke, Geoffrey Horning, Ryan Jenkins, Ed Oikawa, Phil Smith
Bass: Philip Blackford, Bill Briggs, Anthony Cleverton, Scot Denton, Morrey Ewing, Doug Knights, Gary Poole, Geoffrey Sirett, Don Smith, Giles Tomkins, Peter Yampolsky

+ Shekere player, 4th movement

The Chamber Orchestra heard in Jubilate Deo is comprised of musicians from some of Toronto’s finest orchestras, including the Canadian Opera Company Orchestra, the National Ballet Orchestra, and the Tafelmusik Baroque Orchestra. Many of the players have collaborated with the choirs of Fairlawn Avenue on numerous occasions in the past, and hope to do so again in the future, at such time as everyone is once again able to gather safely!

Violin 1: Hiroko Kagawa, Nancy Kershaw**, Jamie Kruspe, Jayne Maddison
Violin 2: Cathy Goldberg, Emily Kruspe*, Louise Pauls, Rebecca van der Post
Viola: Joshua Greenlaw*, Rory McLeod, Nick Papadakis
Cello: Peter Cosbey, Marianne Pack*, Elaine Thompson
Bass: Jonathan Yeoh
Erhu: Patty Chan
Flute/Piccolo/Alto Flute: Nina Martini-Dorey
Oboe: Karen Rotenberg
Clarinet: Colleen Cook
French Horn: Scott Wevers
Harp: Lori Gemmell
Organ: Christopher Dawes
Percussion: Tim Francom, Dean Kurtis-Pomeroy, Edward Reifel

** Concertmaster
* Principal

Antonio Vivaldi (1678-1741) was an Italian Baroque composer, virtuoso violinist, teacher, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. Vivaldi’s main teacher was probably his father, Giovanni Battista, who in 1685 was admitted as a violinist to the orchestra of the San Marco Basilica in Venice. Vivaldi composed many instrumental concertos for the violin and a variety of other musical instruments, as well as numerous sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. He worked there as a Catholic priest and teacher from 1703 to 1715 and from 1723 to 1740. Vivaldi (who earned the nickname “The Red Priest”, due to his distinctive reddish hair) also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, he moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi’s arrival, and Vivaldi himself died in poverty less than a year later.

Ralph Vaughan Williams (1872-1958) was an English composer and some-time organist and choir director. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century. Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believing in making music as available as possible to everybody, he wrote many works for amateur and student performance. Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914). His vocal works include hymns, folk-song arrangements and both small and large-scale choral pieces. Two episodes made notably deep impressions in Vaughan Williams’ personal life. The First World War, in which he served in the army, had a lasting emotional effect. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman (Ursula Wood), who, by all accounts, seems to have been adopted by his wife Adeline in the most amicable way, to be her successor, and who did indeed become his second wife when Adeline passed away at the age of eighty. Vaughan Williams composed his last symphony just months before his death at the age of eighty-five.

David Willcocks (1919-2015) was a conductor, organist, composer and arranger, and long considered Britain’s most esteemed choir director. During the course of his remarkable life, to name but a few of his many accomplishments, he was the Music Director of the King’s College Choir of Cambridge University, and was associated for many years with the Bach Choir, based in London, England. His work with both ensembles — renowned for the brightness, clarity and impeccable intonation he routinely summoned from his singers — was considered exquisitely representative of the modern English choral tradition. He was also the co-editor (along with John Rutter) of the beloved Carols for Choirs series – carol books found in virtually every church and community choir’s library. As a choral ambassador, Willcocks led ensembles in Canada, the United States and across the globe – and even worked with the Rolling Stones!

O Be Joyful in the Lord was commissioned by Music Plus Corporation for the Music Plus Church Choir Festival in Kitchener, May 30, 1999.

William Kethe (ca. 1530-1594) is thought to have been Scots-born, although this has never been confirmed. A Protestant, he fled to the continent during Queen Mary’s persecution in the 1550s. He lived in Geneva for some time, but travelled to Basel and Strasbourg to maintain contact with other English refugees. Kethe helped translate the Geneva Bible in 1560 and contributed twenty-five psalm versifications to the 1561 Anglo-Genevan Psalter. Only ten of these were retained in the 1562 English Psalter, while the 1564 Scottish Psalter kept all twenty-five. His version of Psalm 100 (The Old Hundredth) is universally known as All People That On Earth Do Dwell.

Dan Forrest (b. 1978) has been described as having an undoubted gift for writing beautiful music that is truly magical, with works hailed as magnificent, cleverly constructed sound sculpture, and superb writing … full of spine-tingling moments. In the last decade, Dan’s music has become well established in the U.S., Canada, and abroad. The Fairlawn Senior Choir has presented the Canadian premieres of two of his critically acclaimed major works for choir and orchestra – Requiem for the Living (2014) and Jubilate Deo (2017). Jubilate Deo features the text of Psalm 100, sung in seven languages: Latin, Hebrew, Arabic, Mandarin Chinese, Zulu, Spanish, and English. Dan holds a doctoral degree in composition from the University of Kansas, as well as a master’s degree in piano performance. He keeps a busy schedule doing commissions, workshops, recordings, adjunct professorships, and residencies with universities, churches and community choirs, teaching composition, coaching, and collaborating as an accompanist.

Gustav Holst (1874-1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed many other works across a range of genres, although none achieved comparable success. There were professional musicians in the previous three generations of Holst’s family and it was clear from an early age that he would follow the same calling. He had hoped to become a pianist but was prevented by neuritis in his right arm. Despite his father’s reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities, he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924 and pioneered music education for women at St Paul’s Girls’ School, where he taught from 1905 until his death. Holst’s works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame and preferred to be left in peace to compose and teach. In his later years, his uncompromising, personal style of composition struck many music lovers as too austere, and his brief popularity declined. Nevertheless, he was a considerable influence on a number of younger English composers, including Benjamin Britten.

Richard Proulx (1937-2010) was an American musician who possessed of a rare combination of talents as a composer, conductor, music editor and organist. These talents, together with wide experience across denominational lines, gave him a unique perspective of both the opportunities and the challenges found in liturgical music making. His compositional output included congregational music in every form, sacred and secular choral works, song cycles, two operas, as well as instrumental and organ music. He served as a consultant for numerous hymnals, and conducted choral festivals in the USA, Canada, the Netherlands, Switzerland, Scotland, Australia, and New Zealand.

Michael Perry (1942-1996) was a Church of England clergyman, and one of the leading British hymnodists of the 20th century. He was educated at Dulwich College and went on to study at University College London; Oak Hill Theological College, London; Ridley Hall, Cambridge; and the University of Southampton. In the course of his short life, Perry wrote over 300 hymn texts – the most well known being O God Beyond All Praising, set to the tune “Thaxted” (a hymn tune by the English composer Gustav Holst, based on the stately theme from the middle section of the Jupiter movement of his orchestral suite The Planets, and named after Thaxted, the English village where Holst lived much of his life.) Perry was increasingly disabled by an inoperable brain tumour that was diagnosed in early 1996, and tragically died at the age of 54 in December of 1996.


Music Sources:

1st movement of Spring (from The Four Seasons) Antonio Vivaldi
The Old 100th Psalm arr. Ralph Vaughan Williams
Juilate Deo Dan Forrest Audio excerpts from the 2017 Canadian premiere, performed in concert by the Fairlawn Senior Choir and chamber orchestra on April 8, 2017
Jubilate Deo (O be joyful …)
Ngokujabula! (With great rejoicing!)
Bendecid su nombre (Bless his name)
Song of the Earth
Omnis Terra!
O God Beyond All Praising Melody by Gustav Holst from The Planets (Jupiter) arr. Richard Proulx (1937-2010)
3rd movement of Spring (from The Four Seasons) Antonio Vivaldi

Image Sources:

Christ with Singing and Music-Making Angels by Hans Memling