Bruce Sanguin Lectures at Wesley-Knox
Written on May 21, 2011 by The Karen Schuessler Singers
On the same weekend as Missa Gaia, Wesley-Knox United Church (our home venue) is offering a lecture series on Ecological Christianity.
Bruce Sanguin, author of Darwin, Divinity and the Dance of the Cosmos, is the speaker. The video at the beginning of this post features a short interview with Sanguin, discussing a performance of Missa Gaia / Earth Mass at Vancouver’s Canadian Memorial Church and Centre for Peace.
For more information, visit www.sanguin2011.com. Plan to attend!
May 2011 KiSS Notes
Written on May 18, 2011 by The Karen Schuessler Singers
The Karen Schuessler Singers publishes a twice-yearly newsletter called KiSS Notes. Click here to download a PDF of the May 2011 KiSS Notes in a new browser window.
Karen Schuessler talks about Missa Gaia
Written on May 6, 2011 by The Karen Schuessler Singers
Karen Schuessler founded the Village Singers (later renamed the Karen Schuessler Singers) specifically to perform Paul Winter and Paul Halley’s Missa Gaia / Earth Mass – an ecumenical suite of songs written in a fusion of musical styles that was originally created for the blessing of the animals service at the Cathedral of St. John the Divine in New York City. KSS first presented Missa Gaia in May 1994, and is reprising it for the final concert of our 2010/2011 season. Karen recently answered some questions about what attracted her to Missa Gaia in the first place, and how the work has continued to affect her in the years since that first performance.
Do you remember the first time you heard Missa Gaia / Earth Mass?
I first heard a recording of it at a spiritual retreat. The retreat leaders encouraged me to perform it, not realizing that I needed the score (which did not exist at the time) and a large choir to do it. They kept asking me about it, though, which in turn kept me hounding the composers of the work to write up a vocal/piano score, which they eventually did.
You had to create much of the instrumentation from scratch, didn’t you?
I had to keep bugging one of the composers, Paul Halley, to ask if the scores were available. When they were, they were only the piano notes and the choir parts — no chord charts, nor parts for any of the other instruments. We had to make that all up. They also sent a tape of the animal sounds that we had to figure out cues for.
When you were assembling the first soloists/musicians, how did you find people?
I asked around. Ed Hysen suggested Denise Pelley, and told to me contact Bill Zadorsky at CCH (Catholic Central High School) to get her number. Bill was very careful on the phone to make sure that I was a safe contact for Denise.
Steve Holowitz somehow found out that I was planning to do it, and called me to introduce himself and, having heard the work, to offer to help in any way he could. He also offered his new Madrigal Choir at Lucas Secondary School to sing in it, which they did. I believe Steve also suggested the other musicians at the time, or at least gave me leads to them.
When performing this extraordinary work, were there any glitches that you ran into in the first few performances?
Actually, there was a big glitch with the organ in Return to Gaia. The old Wesley-Knox organ did not have enough wind when we did the performance. The whole thing sank in pitch. I went into shock! That was the impetus to rebuild the organ, and two years later it was the splendid instrument we now have.
What was it like to finally bring Missa Gaia to life?
I’ve always felt that we were being blessed in putting the work together and performing it. I still feel that way. Its importance just keeps increasing.
KSS recorded Missa Gaia / Earth Mass in 2000. What was the recording process like for you?
It was my very first recording. I was mainly stressed from bringing together three choirs that day with no rehearsal, with all the musicians in the room together, having to keep to a tight time schedule, and not really being sure about the ins and outs of the total process. There was no way to separate the instruments from the choir on that recording, so all the post-production decisions had big compromises in them. St. James Westminster was a great recording venue for this style on that day, however.
Do you have a favorite piece (or pieces) from the work? What do you always look forward to?
I love the way it unfolds. I love the way it is all-embracing. I love listening to – and not conducting – Steve playing Return to Gaia and Denise singing Mystery. Someday I’d love to just sit and listen to our performance of Missa Gaia, which I believe is very moving, and let it wash over me, but I can’t. That being said, it is a true honour and an intense joy to be at the centre of creation for that work at that moment.
The underlying ecological theme of Missa Gaia has perhaps never been so timely.
I agree with that. There is an urgency I sense about performing it today that wasn’t there even six years ago.
How do you see the relevance of the work in the contemporary world, and what do you hope to accomplish with this and future performances of Missa Gaia?
One outcome that I would love to see from the performance is having people hear it and then being led to connect the dots between our earth and our choices. I believe we can turn things around, but it won’t be easy. But then, living with a feeling of impending doom about the future is not easy either. It all comes down to our choices, and in that way, each one of us is empowered to make a difference.
Denise Pelley talks about Missa Gaia
Written on May 4, 2011 by The Karen Schuessler Singers
London jazz singer Denise Pelley has been performing Missa Gaia / Earth Mass with the Karen Schuessler Singers since our first presentation of the work in 1994. Denise brings a special energy to each concert, and her soulful solos are audience favorites. We recently asked her for some Missa Gaia memories.
Do you remember the first time you heard Missa Gaia?
Missa Gaia was my introduction to Karen Schuessler in the mid 90s. She had contacted me about performing with the choir. Up until that point in time I hadn’t done a lot of performing with choirs, so I welcomed this exciting opportunity. As I listened to [Paul Winter's] recording I was quite intrigued by this piece which tells a story of how precious our Earth is.
Do you have any favorite songs from Missa Gaia?
It’s hard to choose a favorite because I really do love all of the songs, but two of my favorites are Ubi Caritas and Mystery. I love listening to the choir on Ubi Caritas, how it starts so gentle and free with the men’s voices, the haunting piano going from minor to major. It reminds of the feeling of darkness and despair turning into hope and celebration. All the modulations in the song remind me of different chapters of life’s journey. When the song is finishing, with the choir singing Hallelujah, I liken it to the singers saying thank you for the journey thus far.
Mystery is a very moving piece for me, especially after the loss of my oldest son Jason in January 2000. Singing has always been very therapeutic for me, and it was instrumental (and continues to be) in helping me to deal with his death.
Dearest Jason:
“But when I listen deep inside, I feel you best of all
Like a moon that’s glowing white, and I listen to your call
And I know that you will guide me, I feel you like the tide
Rushing through the ocean of my heart that’s open wide”
(text from the song Mystery, Missa Gaia / Earth Mass)
Do you remember any specific audience reactions to the MG concerts you’ve done with KSS?
We have performed Missa Gaia many times since the first time in 1994, and I find that every audience is mesmerized by the message this whole piece tells.
What keeps bringing you back to do this work again and again?
My trips to Sudan, my visit to a Trinidadian orphanage and a maximum security prison, the loss of loved ones, the birth of new little ones – all of these chapters influence my presentation of music. It is my chance to share a story. And I have the wonderful opportunity to incorporate these feelings into Missa Gaia.
I will never tire of Missa Gaia. The music is beautiful, moving and enjoyable to do. The story will be relevant forever.
Salthaven Wildlife Rehabilitation and Education Centre
Written on May 2, 2011 by The Karen Schuessler Singers
The ecological message of Missa Gaia / Earth Mass – that human beings, animals, our planet and Creator are all inextricably interwoven in an interdependent web of relationship – has always been one of the most moving and transformative aspects of the work for performers and audience members alike. KSS is proud to sponsor with Salthaven Wildlife Rehabilitation and Education Centre for this performance of Missa Gaia, with hopes of raising awareness of the wonderful work that Salthaven does in our region to care for the vulnerable creatures with whom we share our existence.
Salthaven was founded 25 years ago by Brian Salt, a licensed wildlife rehabilitator. Located in Mount Bridges, Ontario, Salthaven is a sanctuary for hurt and orphaned wildlife. Salt also promotes public education about wildlife and the environment, making dozens of visits to local schools, service clubs, church groups, radio and television stations and scout troops each year. Missa Gaia audience members will be treated to a visit from one of Salt’s “wildlife ambassadors” during the post-concert reception on June 2.
Salthaven is currently working on a capital fundraising campaign for a new, $2.5 million clinic that will allow them to admit virtually all the sick, injured and orphaned wildlife that they get calls for each year. They are currently able to admit only about 20% animals that are brought to their attention.
Please visit the Salthaven website – www.salthaven.org – to learn more about the vital work that this organization does. Be sure to check out the photo gallery of patients, and read the many heartwarming stories of animals rescued, treated and released back into their natural habitats.
Other Upcoming Concert Dates
Written on April 24, 2011 by The Karen Schuessler Singers
This season the Karen Schuessler Singers has a couple of extra concerts that you may be interested in attending.
On Saturday, May 28 at 7:30 p.m. we are presenting an additional performance of Missa Gaia / Earth Mass at Melville United Church in Fergus, Ontario. (See first map, below.)
Then on Wednesday, June 8 at 8:00 p.m. we will be reprising last season’s River concert at New St. James Presbyterian Church in London. (See second map, below.)
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Missa Gaia / Earth Mass
Written on April 20, 2011 by The Karen Schuessler Singers
The wolf, the whale and the loon return! Join us for this wonderful celebration of Creator and Creation with expanded choir, vocalists Denise Pelley and Paul Grambo, the KSS Missa Gaia Jazz Ensemble led by pianist Stephen Holowitz, the Wesley-Knox pipe organ, and a host of animal voices…
Missa Gaia / Earth Mass was originally created by Paul Winter and Paul Halley for the Cathedral of St. John the Divine, New York City. Dedicated to St. Francis, it was first performed on Mother’s Day, 1981.
It is an unusual work. Essentially a suite with sections supplied by various composers, Missa Gaia / Earth Mass is both ecumenical and ecological. The Alaskan tundra wolf supplies the theme for the Kyrie, and the humpback whale for the Sanctus. The sound of the harp seal can be heard in the Agnus Dei. Some sections are informed by Gregorian chant, others by gospel or jazz, and still others by music from Africa or Brazil.
Despite this diversity, there is a common theme: the Earth, our home, is a gift quite undeserved – a miracle of grace. This being so, it has become our responsibility to take care of it and all that is in it. The video below explains a bit about Paul Winter’s Missa Gaia performances in New York.
The Karen Schuessler Singers has been performing Missa Gaia / Earth Mass since 1994. This performance will be presented in partnership with Salthaven Wildlife Rehabilitation and Education Centre.
Tickets $20, $17 for seniors, $10 for students ($23 / $20 / $10 at the door) can be ordered online at the Karen Schuessler Singers website, www.kssingers.com.
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Ontario Volunteer Services Awards
Written on April 9, 2011 by The Karen Schuessler Singers
Each year the Ontario Ministry of Citizenship and Immigration recognizes thousands of volunteers who generously contribute their time to organizations across Ontario.
On Friday night, April 8, several volunteers from KSS were honoured at the local 2011 ceremony held at the Marconi Club here in London.
Congratulations to Michael and Margaret Ryan, Harry MacLean, Marilynne McNeil, Graham Brown and Michelle Balch. It’s the hard work of dedicated volunteers like these that make it possible for KSS to exist and thrive.
What are the Volunteer Services awards?
The Volunteer Service awards are given to people who volunteer their time to a single organization for several years.
Youth nominees must be under 24 years old and have volunteered with one group for at least two consecutive years. Adult nominees must have volunteered with one group for at least five consecutive years.
Both adult and youth nominees:
Must not have received payment for their volunteer work
Must be active beyond simple membership in an organization
Must not have performed the services as part of their regular business or professional duties.
Nine levels of services are awarded – for 5, 10, 15, 20, 25, 30+, 40+, 50+ and 60+ years of continuous service.
How are recipients selected?
Recipients are first nominated by their organizations. The Ministry tries to make sure the information organizations send in about nominees is accurate, and that the nominees are eligible for an award. It then sends a letter to confirm that the nomination has been reviewed and accepted.
Can I nominate someone?
Only organizations can enter nominations for the Volunteer Service Awards. Any organization that has been providing service for five years or more can nominate up to seven volunteers. Nominations are eligible from organizations such as not-for-profit and non-profit organizations and associations, co-operatives, boards and commissions, businesses, government ministries that recruit volunteers, arts, educational and correctional institutions and schools, municipalities, and long-term care homes and hospitals.
When is the deadline?
You can submit nomination forms at any time. The deadline is January 25 of each year. If January 25 falls on a weekend or holiday, nominations will be accepted until 5 p.m. the next business day. All nominations received after the deadline date will be considered for the following year.
How should nominations be submitted?
You can either nominate someone online or fill in and send us a nomination form. You can download the nomination form from the Ontario Volunteer Services awards website in PDF and HTML formats.
Where can I get more information?
If you have questions about Ontario’s recognition programs or are having problems or questions about the nomination process, please contact the Ontario Honours and Awards Secretariat by phone at 416-314-7526.
Choristers’ Favorite Songs from Going to the Rock!
Written on April 1, 2011 by The Karen Schuessler Singers
Our upcoming concert, Going to the Rock!, features music of Newfoundland, and as always, the KSS choristers have some favorite songs that they’re looking forward to performing.
Says one singer, “Sarah (arranged Jonathan Quick) is a fun classic, and Make and Break Harbour is a beautiful, poignant song that captures the plight of many Newfoundland fisherfolk and their families, written by Canada’s father of folk music, Stan Rogers.” Listen to Rogers performing his own song in the video below.
Says another singer, “She’s Like a Swallow (arranged by Edward Chapman) is a beautiful choral piece.
“I also enjoy the challenge of “Drunken Sailor” – the timing & harmonies are so much fun, and the arrangement is an amusing rendition of an old favourite!” Concert-goers will likely recognize the song when they hear it. Drunken Sailor is a capstan shanty, or sailors’ working song. Raising the anchor on a ship involved winding the rope along a giant winch (capstan), turned by sailors walking around it. Capstan shanties are typically more “smooth” sounding than other types and, unlike many other types of shanties, frequently have a full chorus in addition to the call-and-response verses. Listen to the Clancy Brothers and Tommy Maken introduce their version, below:
“I like the Moocher and Me because of it’s catchy and lilting tune,” says yet another singer, “and the Feller from Fortune (arranged by Harry Somers) for the fun!” Check out this video of the University of Illinois choir singing the same arrangement of Feller from Fortune that KSS will be performing:
In addition to the Newfoundland songs, KSS will also be singing a set of varied pieces that we’re preparing for our visit to Festival 500 in July. One of the singers’ favorite songs comes from this set: “Each time we sing I Thank You God (arranged by Gwyneth Walker), it seems to have a unique impact. The lyrics work hand-in-hand with the instruments (voices & piano), drawing us all together to share this poignant message.” Listen to the 2002 NMMEA All State Womens Choir perform this piece, here:
Meet Rock! Corporate Sponsor Gail Stoddart
Written on March 31, 2011 by The Karen Schuessler Singers
Gail Stoddart, Vice President and Investment Advisor at BMO Nesbitt Burns in London, is the corporate sponsor for our upcoming Going to the Rock! concert.
What do you love about the Karen Schuessler Singers?
“I have known Karen for 20 years and have followed her as she formed KSS and have cheered her (and its) success. I feel that KSS is an incredibly talented group and is a great asset to the London community. Having studied music myself, I appreciate the wide range of offerings and the uniqueness and versatility of specific themes.”
In this day and age when there are so many worthy causes and organizations needing financial support, why did you choose KSS as the recipient of your corporate sponsorship?
“My husband and I have always supported the arts in the London community and both of our children (now adults) are involved in the arts, one as a painter and one as a writer. I have watched many corporations support sporting events such as golf and other events for charitable organizations especially in the healthcare fields, but I know that smaller organizations in the arts are not as high profile and, since they don’t attract the same attention from the large coporations, are in need of funding support.
“It is my pleasure to offer my personal support and that of BMO Nesbitt Burns to this wonderful group for such an exciting program!”