Jubilate Singers,

University of Guelph Choir

& Woodsworth College Spirit Singers

present:

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Ambe

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CHORAL REFLECTIONS from

INDIGENOUS COMPOSERS

 

Andrew Balfour, Isabel Bernaus,
and Marta McCarthy, conductors

with

Cara Loft

Also featuring:

Tacoma Salter,

and:

Nicholas Stoup, drummer

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Land Acknowledgement

Meghan Williams & Benjamin McKenzie-Sutter

 

As students at the University of Guelph, and on behalf of all the other singers participating, the choir wishes to express our eternal gratitude for the privilege to learn, live and sing on the treaty lands of the Mississaugas of the Credit and the traditional territory of the Anishinaabe, Attawandaron, and Haudenosaunee peoples, who have cared for and lived peacefully with this land since time immemorial.

 

The land we are on today is also adjacent to the Haldimand Tract: a long-established traditional hunting ground of the Six Nations of the Grand River. The territory now known as Guelph is part of the Dish with One Spoon Wampum, an enduring agreement between the Indigenous people and our forebears. That treaty makes it our responsibility to show kindness and care for the land and for each other.

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It is no coincidence that we will begin this program with an invitation to “come in”, for all here to join us on this journey, honestly reflecting on the past, and humbly preparing for a future in which all of Creation receives its due respect, and there is harmony among nations.

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And it is no coincidence that we bring this program to a close by singing a love-song to Mother Earth, with thanks and in awe of her incredible powers of mercy, regeneration, and creativity.

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In offering this land acknowledgement, and in how we live our daily lives, we honour and thank the Indigenous peoples who came before us and are here now. We acknowledge the horrors they endured ad continue to endure, and we commit ourselves to learning, listening, and acting in ways that support truth and reconciliation.

 

By acknowledging harsh realities, some of the music you will hear tonight may evoke strong feelings. For this reason, we have set aside a Quiet Room, where you can retreat, if you feel the need to step away from the concert. It is called the Library and is found at the foot of the stairs, on your right.

 

To assure you of the intentions of the Harcourt Commons Community, we encourage you to read their Agreement of Safety and Stewardship that is at the end of this program.

 

Opening in a Good Way

Cara Loft, Kanienkahake Hand Drum Carrier & Traditional Song Keeper

 

Ambe

Ojibway text: Cory Campbell

Music: Andrew Balfour, based on an original song
gifted by Cory Campbell
ed. Catherine Robbins

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Traditional Dance

Tacoma 

 

Ispiciwin

from Nagamo

Cree text: Andrew Balfour

Music: Orlando Gibbons arr. Andrew Balfour

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Four Directions

from Nagamo

Ojibway text: Andrew Balfour

Music: Thomas Tallis arr. Andrew Balfour

Andrew Hellebust, solo

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What Pow’r Art Thou

from Nagamo

Ojibway text: Andrew Balfour  English text: John Dryden

Music: Henry Purcell arr. Andrew Balfour

Andrew Balfour, solo

Univ. of Guelph Choir, Jubilate Singers

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The Sleepy Song (a Cree Lullaby)

Sherryl Sewepagaham

Cara Loft, Rattle

 

Ode’min Giizis

Tara Williamson arr. Maxime Bégin

Elienna Wang, piano

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Awasis

Cree text and music: Andrew Balfour

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Omaa Biindig

from Nagamo

Ojibway text and music: Andrew Balfour

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Mîtosak (Trees)

Woodland Cree text and music: Sherryl Sewepagaham

Cara Loft, shaker

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Gimikwenden Ina

from Children of God

Music and lyrics: Corey Payette  arr. Elliot Vaughan

Derin Su Firat, solo

Ian Dickieson, Rachael Young,
Joe Balfour, Darian Rezvan, solo ensemble

Nicholas Stoup, drum; Betty Maher, piano

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-  Intermission  -

 

Bear Creek Men’s fancy trick Dance

Tacoma salter

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Ambe Anishinaabeg

from Nagamo

Ojibway text: Cory Campbell

Music: William Byrd arr. Andrew Balfour

Conducted by Lanny Fleming

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Pakaskitawew

From Nagamo

Cree text: Andrew Balfour

Music: Henry Purcell arr. Andrew Balfour

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Woman

Kristi Lane Sinclair

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Qilak

Inuktitut text: Madeleine Allakariallak

Music: Andrew Balfour,
inspired by travels in Baffin Island

ed. Catherine Robbins

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Auass

Alex Vollant

Andrew Balfour, solo

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Okâwîmâw Askiy (Mother Earth)

Sherryl Sewepagaham

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Travelling Song

Cara Loft

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About the Artist and the Art

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Mark V. Nadjiwan is a self-taught artist whose chosen medium is pen and ink. His unique style is a fusion of several artistic traditions and includes the Indigenous-inspired designs of both the Woodland and West Coast schools, as well as non-Indigenous approaches such as realism. Mark’s work can be found in numerous venues across Canada as well as private collections in Canada, the United States, and Europe. In November of 2022, he was inducted as a Fellow of the Royal Canadian Geographical Society. His First Nation roots are grounded in the Georgian Bay and Lake Superior Treaty regions, and he is a citizen/member of Neyaashiinigmiing Unceded First Nation. Mark lives on the traditional and current territory of the Saugeen Ojibway Nation (SON), in Treaty 72, along with his wife, Patricia Gray, who is also an artist, working in acrylic mediums.

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Emissary  Among the principal Dodems (clans) of the Anisihnaabek are the members of the Fish Clan, who are said to be teachers possessing knowledge of the world that needs to be imparted to others. However, as fish are relegated to the realms of water, they are in need of one who can carry their teachings to others. This special role falls to Turtle (Makkinak), chief figure among the fish clans, who is able to dwell both below the waters and upon the land. As such, Turtle is said to be a communicator, possessing the ability to speak the languages of all beings who dwell upon Mother Earth—those of the waters, land, and air—and therefore acts as an emissary for all.

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         In this piece, one can see the prominence of Turtle setting out into the world to relay the important knowledge as imparted by all those gathered around her, to us human beings, rendered on the right.

From threetreesart.com

 

Program Notes

 

Ambe! (“Come!” or “Let’s go!” in Anishinaabemowin) is an invitation to join us on a journey of understanding to learn about Indigenous perspectives through music, in a spirit of solidarity and respect. We are inspired by the ethos of Andrew Balfour’s Nagamo project, of which Balfour writes: “NAGAMO (“sings”) reimagines history and the concept of nation-to- nation respect and musical dialogue between the nations of the so-called New World and Old World.  During the beginning of the 17th century, several Chiefs and esteemed Indigenous leaders journeyed to Europe in the hope of forging alliances. In many cases, they were treated as respected ambassadors. NAGAMO explores the fantastical idea of what might have happened if the sharing of music, and the respect of culture had contrived, and how a different history might have played out.” What you are about to hear is our attempt at embodying that alternate history.

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We are also inspired by the symbolism of Mark Nadjiwan’s artwork “Emissary” featured on the cover of this program. Able to move freely between water and land, the Turtle has a special role as an emissary to carry teachings from one world to the other.

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In his extended essay on Turtle,[1] Mark ponders the irony of a communicator with no visible ears; instead, the Turtle hears through a “subtle yet vital internal mechanism.” We hope that through this season of studying and learning this music—and in some cases, learning it “by heart”—we have been able to go beyond the external surface of notes and harmonies, to absorb and begin to understand Indigenous teachings and ways of knowing more deeply. We invite the audience to share in our quest to listen and receive with more than our external ears. In this way we hope to make a small contribution toward the Truth and Reconciliation process.

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This project has been almost two years in the making, from an idea dreamed up by Isabel and Marta, when they participated in a workshop that Andrew gave in Montreal. We are honoured and delighted that Andrew agreed to share his work and to lead us on this journey. Chi miigwech.

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We begin with Balfour’s powerful invocation, Ambe. The piece is based on an original song in Ojibway that was gifted by traditional drummer and singer Cory Campbell to Andrew Balfour and the University of Manitoba Concert Choir. Campbell describes the song as “a call to the people to the ceremonial way of life or to the red road, or, quite frankly, to whatever we have going on, because everything happens with spirit and in spirit.” For Balfour, the steady beat throughout, echoing the rhythm of the drum, represents the heartbeat of Mother Earth, and the lyrical soprano melody that emerges from this rhythmic texture conveys the powerful totem of the eagle, which represents the teaching of love, wisdom, and strength.

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We are honoured to be presenting several pieces from Andrew Balfour’s Nagamo project. Balfour writes, “Nagamo (“Sings” in Cree) is a project that has been on my mind for several years.

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As a former choir boy brought up in the High Anglican choral tradition, growing up singing the glorious choral music of Thomas Tallis, William Byrd, Orlando Gibbons and Henry Purcell, and travelling to England several times, singing in English cathedrals made lasting impressions on me. As a 60’s scooper, I was taken away from my Indigenous family when I was a baby, but luckily was raised in a loving and very musical family. I have spent most of my life trying to identify my Indigenous blood, culture and language. Through my composing and collaboration with Indigenous and non- Indigenous artists it has been a beautiful Ispiciwin (Journey).

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Nagamo is a reimagining of history. By taking choral music of the Elizabethan masters and other later choral music, I have reshaped the thoughts behind the texts, by changing the Latin to Ojibway or Cree perspectives. These are not direct translations of the sacred texts, rather a more Indigenous perspective of spirituality, but keeping the beauty of the polyphony intact.

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In this fragile time in history, in the relationship between settler Canada and the Indigenous people of Turtle Island, I feel Nagamo was a powerful and important step in reconciliation and healing. As well, I’d like to think this is only the first step of many more towards a deeper understanding of Indigenous healing and artistic perspectives on Mother Earth, now and in the future.”

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Ispiciwin (Journey) is a quiet, hymn-like meditation on the “journey of truth, journey of dreams.” The music is Orlando Gibbons’ “Drop, Drop Slow Tears.”

The Ojibwe text of Four Directions simply states the four directions . . . plus sky. The polyphonic music of Thomas Tallis’ “Te lucis ante terminum” is framed by a surrounding soundscape of drones and bird songs, thus immersing the Renaissance hymn within the natural world.

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The Ojibwe text of Four Directions simply states the four directions . . . plus sky. The polyphonic music of Thomas Tallis’ “Te lucis ante terminum” is framed by a surrounding soundscape of drones and bird songs, thus immersing the Renaissance hymn within the natural world.

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What Pow’r Art Thou comes from the Frost Scene in Henry Purcell’s opera-play King Arthur. Balfour retains the words of John Dryden for the baritone soloist but replaces the shimmering strings of the original with the choir’s shivering syllables, representing the process of gradually freezing to death.

The Sleepy Song is a Cree lullaby, which would have been sung to the baby by mothers, aunts, grandmothers, and big sisters. Sherryl Sewepagaham writes, “This lullaby is inspired by one that my great-grandmother sang to my father when he was a child. While he no longer remembers the song, he speaks of being sung to as he was swung in a traditional baby swing called wîwîp’son.” The rattle represents the swishing sound that the baby would have heard in the mother’s womb.

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Ode’min Giizis means “Strawberry moon,” the month that marks the beginning of summer and of strawberry season. "Strawberries are in the shape of a heart," writes composer Tara Williamson. "And they're the first berry that ripens where I'm from. And so strawberries (heartberries) and the strawberry moon represent kindness, friendship, sweetness and love. So when we sing the song we want to remember those things." The work was written for the CBC’s Canadian Music Class Challenge, which aims to help preserve endangered Indigenous languages by encouraging schoolchildren to learn them through music.

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Awasis (‘Child’) is described by Balfour as a “sound prayer.” It is "to the memory of the little ones that were taken away from their family, community, and blood, never to return.” The music conveys the unspeakable tragedy of this brutal injustice, while focusing on the souls of the children, offering them a lullaby of grace: “It’s in memory of them being free in the spirit world, being loved, and being protected by our ancestors. Our love will always be with them."

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Omaa Biindig, like Four Directions, begins with a soundscape of birdsong and wind before tracing the four directions, plus Water and Earth. The final words, “Omaa biindig,” recur frequently throughout our evening, sometimes inviting the listener to “come in,” or come into community, and also perhaps as a reminder to look inside ourselves.

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Mîtosak (Trees)  Sherryl Sewepagaham writes, “My Cree parents speak of how trees are important to the survival of Cree people. Trees provide navigation when hunting and travelling; moss grows on the north side of the tree, away from the sun.” Wood, leaves, bark, and sap all play important roles in everyday life. “When trees are harvested, tobacco is offered and prayers are said to acknowledge the precious gifts trees have provided. Trees represent the transformation of life stages from root to leaf.”

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Gimikwenden Ina is a song taken from Corey Payette’s Children of God. In this musical, Tommy and Julia, the children of an Oji-Cree family, are sent to a residential school. As the school tries to “take the Indian out of the child,” Tommy struggles not to forget his language, his family, his culture.

 

In Ambe Anishinaabeg, Balfour takes the same text that we have heard before (“Come in, all two-legged beings, there is good life here!”) and sets it to William Byrd’s anthem, “Sing joyfully.” The result is a bright and cheerful invitation to come in and join in the good life.

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The text of Pakaskitawew consists of two words: [someone] hears [someone] mourning. The concision and ambiguity make for an even more powerful message than Henry Purcell’s original text, “Hear my prayer, O Lord.”

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Woman is a “call to action” honouring the lives of missing and murdered Indigenous women. Its composer, Kristi Lane Sinclair, Haida/Cree singer-songwriter and classically trained guitarist, was raised in British Columbia. Her Indie roots are heard in a wide range of styles from grunge to folk to classical. Kristi created a six-part series for APTN’s “Face the Music” to document the making of her album Dark Matter. Her 2022 song “Break” returns to the subject of violence against women, to whose spirit she was giving voice. Her 2023 album, Super Blood Wolf Moon, features the late musician Kelly Fraser.

 

Andrew Balfour’s Qilak was inspired by travels in Baffin Island in 2009 and a collaboration with Iqaluit folksinger and songwriter Madeleine Allakariallak. Balfour tells us: "Qilak is about the northern sky which is so breathtaking up in the Arctic. I loved the open space, the Inuit's relationship with the land, and the musical sound of Inuktitut." The aesthetic of the piece reflects the expanse of sky and the shimmering reflection of sun on snow. Balfour's composition hints at the influence of Inuit throat singing and hauntingly echoes the vocables of traditional Ayaya songs of Southern Baffin Island. No melodies were borrowed in the composition of this piece; it is entirely original.

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Auass means “child” in the Innu language. Alex Vollant wrote the piece to honour the courage, resilience, and healing of the survivors of Canada’s Residential Schools. He “envisioned a survivor elder at the end of their life, during which they had gone through an incredible journey of healing. They would go inside their own self, to visit their inner child, asking it: ‘What happened to you? What can I do to help?’ However sad this all may be, the most important portion of the piece is the ending, which is filled with hope and anticipation for a brighter future. At the end, the elder says to the inner child: ‘Tomorrow will be brighter.’ This is I think a beautiful part of the Truth and Reconciliation process in Canada, the one that is focused on hope and directed forward. That is what I wanted to give the spotlight to in this piece.”

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About Okâwîmâw Askiy,  composer Sherryl Sewepagaham writes: "The intention of the song is love, hope and standing in unity to take better care of our mother earth, Okâwîmâw Askiy. A first-person plural perspective is intentional for us to speak directly to her as we sing to her as her children: Mother Earth, we are your children. We love you.”

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Program notes adapted from descriptions provided by the composers and compiled by Carol Chin, Norm Martin, and Frumie Diamond.

 

    

 

 

Texts and Translations

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Ambe

Ambe, ambe Anishinaabeg

Biindigeg Anishinaabeg

Mino-bimaadiziwin omaa.

Ambe!

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Come

Come in two-legged beings

Come in all people

There is good life here

Come in!

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Ispiciwin

Ispiciwin

Ispiciwin Tapwe

Ispiciwin Pawatamawin

Kiyanaw

Wekimakasikan

Kihewataniy

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Journey

Journey

Journey of truth

Journey of dreams

Us

Smudge

Eagle Feather

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Four Directions

Ningaabii’anong

Giiwedinong

Waabanong

Zhaawanong

Ishpiming

 

West

North

East

South

Sky

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What Pow’r Art Thou

Biboon

Apiitadin

Gawaji

Apiitadin.

 

In the winter

it is so cold

he can’t move/freezes to death

it is so cold.

What Pow’r art thou, who from below

hast made me rise unwillingly and slow

from beds of everlasting snow?

See’st thou not how stiff and wond’rous old

far unfit to bear the bitter cold,

I can scarcely move or draw my breath?

Let me, let me freeze again to death.

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Sleepy Song

Nipa, kishitin

 

Go to sleep, I love you.

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Ode’min Giizis

Ode’min giizis, ambe omaa.

Niijiiwaaganag, ndinawe

Nishiime gaye nimisenh

Biindigeg

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There’ll be no more frost

by the strawberry moon,

we’ll take our first swim

on a cool night in June,

Et tout c’qui est doux,

et tout c’qui est digne

poussera comme un coeur

sur le bout de la vigne.

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Strawberry Moon

Strawberry moon, come here.

Friends, family,

younger and older siblings,

everybody come in.

 

And all that is sweet,

and all that is kind

will grow like a heart,

from the end of a vine.

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Awasis

Kakike

Wanaskewin 

Awasis

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Child

Always, forever and ever

Being at peace with oneself

Child

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Omaa biindig

Nibi

Ningaabii’anong

Giiwedinong

Waabanong

Zhaawanong

Aki

Omaa biindig

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Here inside

Water

West

North

East

South

Earth

Here inside

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Mîtosak

Mîtosak, mîtosak kinkamôstamâtinâwaw

Nikinosin kawîcikâpawîstatakwaw

Moya nitastâsin kawîcikâpawîstatakwaw

Kinawâhpim. Ohpiko mîtosis.

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Trees

Trees, trees,
I sing to you

I stand tall
beside you

I am not afraid when I stand beside you

Look. Little tree is growing.

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Gimikwenden Ina

Gimikwenden ina

Aaniin ezhinikaazoyan

Aandi wejibaayan

Gimikwenden ina

Gimikwenden ina

Nindedeyag nimamaayag

Nimiseyag nisayeyah

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Do you remember

Do you remember

What you are called?

Where you are from?

Do you remember?

Do you remember

Our fathers and mothers,

Our sisters and brothers?

Do you hear them calling you?

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Ambe Anishinaabeg

Ambe Anishinaabeg

Biindigeg Anishinaabeg

Mino-bimaadiziwin omaa.

Ambe!

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Come in two-legged beings

Come in two-legged beings

Come in all people

There is good life here.

Come in!

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Pakaskitawew

Pakaskitawew Mawihkatamowin

 

S/he hears him/her crying/mourning.

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Woman

She once found me. I need all of you.

She’s the soul, light me. Love softly, need all of you.

In you, I breathe.

She heard no warning; Night sings softly,

Why won’t you find me? Believe.

Need all of you. In you I breathe.

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Qilak

Qilak

Tunguniq

 

The sky

Reflection of open water

 

Auass

Auass,

Astem uté

Tshe uitemuin

Ka tutakuin

Eka shetshe

Apu tsheku akuitan

Uapel tsheka meletshishekau.

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Child

Child,

Come here

and tell me

what they did to you.

Don’t be scared

I will never hurt you

Tomorrow will be brighter.

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Okâwîmâw Askiy

Okâwîmâw askiy

Niyanân kitawâsimsak

kisâki hitinan

​

Mother Earth

Mother Earth

We are your children

We love you.

 

 

 

 

Biographies

 

Of Cree descent, Andrew Balfour is an innovative composer/conductor/singer/sound designer with a large body of choral, instrumental, electro-acoustic, and orchestral works. Andrew’s works have been performed and/or broadcast locally, nationally, and internationally. He has been commissioned by numerous choirs and orchestras in Toronto, Winnipeg, and throughout the country. Andrew is also the founder and Artistic Director of the Winnipeg-based vocal group Dead of Winter (formerly Camerata Nova). With Dead of Winter, Andrew specializes in creating “concept concerts,” many with Indigenous subject matter (Wa Wa Tey Wak [Northern Lights], Medieval Inuit, Fallen). These innovative offerings explore a theme through an eclectic array of music, including new works, arrangements and inter-genre and interdisciplinary collaborations.

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Andrew has become increasingly passionate about music education and outreach, particularly on northern reserves and inner-city Winnipeg schools where he has worked on behalf of the National Arts Centre, Dead of Winter, the Winnipeg Symphony Orchestra and various Winnipeg school divisions. Andrew was Curator and Composer-in-Residence of the WSO’s inaugural Indigenous Festival. In 2017, he was awarded a Gold Medal by the Senate of Canada for his contribution to Canada’s Indigenous and music communities.

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CARA LOFT, Mohawk (Kanienkehake) Hand Drum Carrier and Traditional Song Keeper will launch tonight’s event in a Good Way, and similarly bring the evening to a close by sharing a Travelling Song. Cara is a proud Kanienkehake woman from Tyendinaga (Kehn: teke) First Nation who currently resides in Kitchener, ON. She earned a Bachelors in Health Sciences, and a Masters in Cultural Analysis and Social Theory at Wilfrid Laurier University. She also received a Post Graduate Certificate in International Development, and a Teaching Excellence Certificate from Humber College. Cara has worked as Staff and Faculty in decolonial and indigenized programming at post-secondary institutions in Ontario. She is passionate about decolonizing education and the potential to create more wholistic teaching and learning environments in post-secondary institutions. She was born in London, ON and grew up in the small farming community of Ilderton, ON. She is also a dog mom to an English Cocker Spaniel named Chloe. In addition to her role as an Educational Developer, she also facilitates community development through arts projects like singing, drumming, sewing, photography, and poetry. Cara completed an Indigi-Orchestral Project in November of 2022 called Ka’shatsténshera: The Power and Unity of Music in partnership with Dr. Kira Omelchenko at Wilfrid Laurier University. Her interests are in examining musical cultural practices and their effect on wholistic well-being. Nia:wen!

 

TACOMA SALTER, Traditional Fancy Dancer. Tacoma is an 18-year-old member of the Oneida and Ojibwe people. A grade 12 student in Brantford, Ontario, Tacoma has been dancing since the tender age of 2 years old. He loves the style of dancing called Men’s Fancy Dance, and has been bringing joy to people far and wide, while sharing his culture, through this invigorating and colourful performances. In the fall of 2024, Tacoma was featured to open the ceremonies at the 100th anniversary of the University of Guelph’s War Memorial Hall.    

 

Beverley McKiver is a pianist, composer and music educator living just east of Ottawa, Ontario. She holds an Undergraduate Piano Pedagogy Certificate from the University of Ottawa and has attended the Indigenous Classical Musicians and Banff Musicians in Residence programs at Banff Centre for the Arts. Her works have been performed at Native Earth Performing Arts and in collaboration with Jumblies Theatre and Soundstreams in Toronto. In 2020, she was awarded a Digital Originals grant from the Canada Council to compose piano solos for each provincial and territorial emblem.

Corey Payette’s work explores themes of colonization, Indigenous language revitalization, cultural healing, reconciliation between Indigenous and non-Indigenous peoples, and the complexity of historic and contemporary Indigenous experiences across music, theatre, and film. Payette is the Artistic Director of Urban Ink and founding Artistic Director of Raven Theatre. He was an Artistic Associate at the National Arts Centre and was instrumental in the creation of a new department of Indigenous Theatre there. His award-winning musicals and films have been presented across Canada and at international festivals. Payette holds a B.F.A. in Music Composition from York University and is past Grand Chief of the Board of Directors of the Indigenous Performing Arts Alliance (IPAA).

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Sherryl Sewepagaham is Cree-Dene from the Little Red River nation in northern Alberta. She is a former elementary music teacher and director of two Indigenous children’s choirs. Sherryl was also a 23-year member of the Indigenous women’s trio, Asani, and earned a 2006 Juno nomination and a Canadian Folk Music Award in 2010. Sherryl is a singer-songwriter and composes songs in Cree for children and choral arrangements for children, youth, and adult choirs. Sherryl is a strong advocate for language revitalization through the arts and the preservation and creation of Cree language songs with the traditional hand drum and rattle. Sherryl is currently pursuing a PhD in ethnomusicology at UBC.

Kristi Lane Sinclair is a Haida-Cree singer-songwriter and classically trained guitarist, raised in British Columbia. Her Indie roots are heard in a wide range of styles from grunge to folk to classical. Kristi created a six-part series for APTN’s “Face the Music” to document the making of her album Dark Matter. In her 2022 song, "Break", she gives voice to the spirit of women who have suffered from violence against them. Her 2023 album, Super Blood Wolf Moon, features the late musician Kelly Fraser.

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Alex Vollant is a pianist, singer, composer, arranger, writer and poet from the Innu community of Pessamit, in the Côte-Nord region of Québec. He holds a Bachelor’s Degree in Piano Performance from the UBC School of Music. As a singer, he has been a member of such renowned ensembles as Chor Leoni, Vancouver Youth Choir, and Vancouver Chamber Choir. Beyond his musical life, Alexis is also a poet. In May of 2023, his first poetry collection called Nipinapunan was published by Éditions Hannenorak.

 

Nicholas Stoup, drummer, is currently the Principal Timpanist of the Canadian Opera Company. He performs regularly with some of the world’s major orchestras and many of today’s great conductors, including Gustavo Dudamel, Pierre Boulez, Zubin Mehta, and Lorin Maazel. He also has appeared as a soloist with the LA Philharmonic playing the Philip Glass Concerto for 2 Timpani along with Jason Ginter. A graduate of The Juilliard School where he was a student of Daniel Druckman and Roland Kohloff, Nick has also spent residencies at the Lucerne Festival in Switzerland, Music Academy of the West, and Pacific Music Festival in Sapporo, Japan.

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Betty Maher, piano, has been central to the University of Guelph’s Symphonic Choir Artistic Team since 1996. She has collaborated with many vocal and instrumental students over the last 20 years through her work with the University of Guelph, the Kiwanis Festival (locally and provincially), Guelph's own Edward Johnson Competition, the Elora Young Artist Competition and various masterclasses in the area. Betty also maintains a successful teaching studio and is a member of the Ontario Registered Music Teachers Association.

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Elienna Wang has been the Spirit Singers’ pianist and assistant conductor for all four of her years in the Faculty of Music’s Composition program at the University of Toronto. As a composer, she has written a variety of electroacoustic, instrumental, and choral works. The Spirit Singers have performed two of her pieces in past concerts.

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Marta McCarthy is an Associate Professor at the University of Guelph, where she has been directing the choirs and teaching musicianship, pedagogy, research, and piano accompaniment since 1995. She led the University of Guelph Gryphon Singers to First Place in the National Competition for Canadian Amateur Choirs, and to Third Prize in the 2012 Mosbach International Chamber Choir Competition. Each of her university choirs has been finalists at competitions and/or featured guests at national and international festivals, including Podium (Toronto, Ottawa, St. John’s), University Voices (Toronto, Montreal), Festival 500 (St. John's, NL), the Elora Festival (Elora) and the Kathaumixw International Choral Festival (Powell River, BC). Their performances are known for innovative programming, vocal freedom, and artistic subtlety.

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A graduate of Westminster Choir College of Princeton (M.Mus), the Royal Conservatory of Music (ARCT, piano performance) and the University of Toronto (B.Mus, B.Ed., Ph.D.), Marta was awarded the 1999 Elmer Iseler Conducting Fellowship. She also received an Ontario Volunteer Service Award, was named a member of the June Callwood Circle of Caring and was named a Woman of Distinction for Arts & Culture in Guelph. Dr. McCarthy was elected President of Choral Canada in 2012. She was honoured to conduct three provincial Honour Choirs (OYC, 2014; OYAC, 2015; NBYC, 2017).

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Isabel Bernaus was born in Catalunya, Spain, and trained as a musician in Europe and North America. She obtained her Diploma in Willems Music Education in France, followed by the completion of her master’s degree in Music Education from Laval University in Quebec. Isabel studied conducting with Manel Cabero in Catalunya, Dr. James Jordan of Westminster College, Rider University, and with Noel Edison and the Elora Festival Singers.

Isabel also conducts Common Thread Community Chorus as well as the Spirit Singers and Jubilate Singers. She has also conducted Settlement Community Choir and taught music at Sheridan College, the Haliburton School of the Arts of Fleming College, and the Summer Institute for Creative Adults of the Miles Nadal Jewish Community Centre. Well-known for her expertise in world music, Isabel has participated as guest conductor in choral events and workshops. In 2006 she was awarded an honourable mention in the Ontario Arts Council’s Leslie Bell Prize for Choral Conducting. Isabel speaks several languages and is familiar with musical traditions from many cultures. A strong believer that music should be accessible to everyone, she has a lifelong commitment to community projects promoting education and music.

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The University of Guelph Symphonic Choir has a long and illustrious history of musical leadership in Guelph, service to the University and the broader community, international touring, and cultural collaboration. Since Marta McCarthy became their conductor in 1995, the UG Choirs are also known for commissioning new works by Canadian composers. We are proud to have commissioned “Here the Bird Abides and Sings” by James Harley, “The Farmer Needs the Rain” (Roy Forbes, arranged by Larry Nicol), and four works by Leonard Enns: “Ten Thousand Rivers of Oil,” “Sparrow,” “This Thirsty Land,” and “Taiga,” as well as many other pieces by other Canadian composers.

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The Spirit Singers is an inclusive, non-auditioned student choir sponsored by Woodsworth College at the University of Toronto. Now celebrating its tenth season, the choir originated at U of T’s Multi-Faith Centre, which shaped its strong commitment to social justice and multicultural understanding through music. Isabel Bernaus has been the choir’s director since its inception.

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The Jubilate Singers, founded in 1969, are an auditioned, mixed-voice choir. Under the direction of Isabel Bernaus, the choir specializes in world choral music and takes pride in singing in the original languages—everything from Anishinaabemowin to Zulu. The Jubilate Singers enjoy collaborating with a variety of other performers and groups from Toronto and beyond, including Maryem Tollar (Middle Eastern); the drummers and dancers of Ottawa-based Baobab Youth Performers (Ghanaian); Suba Sankaran and Autorickshaw (South Asian); the Esmeralda Enrique Dance Academy (Spanish); Cassava Latin Rhythms (Latin American); Vox Finlandiae (Finnish); Toronto Jewish Folk Choir; Proyecto Altiplano (Chilean); the Shevchenko Choir (Ukrainian); Ubuntu Drum and Dance Theatre (African); Denise Williams’ Walk Together Children project (African/Jewish/Muslim diaspora); Sikuris St. Lawrence (Latin American); and Freddy Vilches (Chilean).

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The Jubilate Singers rehearse on Tuesday evenings, September through early June. Interested singers are encouraged to talk to a member of the choir at the concert, contact us for more information, and/or sit in on a rehearsal.

Jubilate Singers’ members are all volunteers and, with non-singing supporters, put in as many as 3,200 volunteer hours each year. Ticket sales cover only a fraction of our costs, so additional support is appreciated in order to achieve our musical goals. The Jubilate Singers gratefully acknowledge support from the City of Toronto through the Toronto Arts Council.

 

University of Guelph Choir

Marta McCarthy, music director

Betty Maher, accompanist

Soprano 

Suebin Choi

Saige Cunniffe

Brynne Degenhardt

Chloe Estrada

Alicia Goodman

Nemia Gnanabaskran

Meagan Hough

Githmi Illamperuma

Barbara Kyle

Arianna Larson

Aoibhinn MacKen-Luyt

Angela Clare Nadecho

Mercedes Pisano

Daniela Ramirez

Gabriela Santos

Kiana Sparks-Montemayor

Sophia Sventzouris

Kamryn Walker

Sarah Warren

Ella Watkins

Meghan Williams

Leah Wright

Alto

Celine Barrett 

Clara Blenkinsop

Olivia Carter

 

Tara Chester

Dominique China

Jade Coutinho

Angela Creasey

Maya Dechter

Allison Demers

Sheila Douglas

Susan Gadbois

Krystyna Higgins

Gabriella Hooper-Lavoie

Katrina Kampen

Keerthy Krishnakumar

Keira McCarthy

Colleen Moore

Elisabeth Nicol

Jenny Oesch

Eila O’Neil

Ella Pauls

Dianna Proctor

Jennifer Rosen

Asha Sadanand

Angela Santamaria

Dariya Semerun

Lauren Silva

Jaime Tuling

Rachael Young

Tenor

Jerome Chang

Mark De Lima

Russell Dunk

Lanny Fleming*

Jeff Gross

Benny McKenzie-Sutter

Peter Roberts

Matteo Tessaro

Bass 

Joe Balfour

David Beattie

Terry Byrne

Ian Dickieson*

Derin Su Firat

Emma Harper

Warren Harris

Reinhard Kypke

Aleks Liskauskas

Brian Redpath*

Darian Rezvan

Ahmad Samakie

Nicolas Valeriote

Andrew Vowles

Joel Wilson

Casey Worth

 

*Section Leaders

 

 

Spirit Singers

Isabel Bernaus, music director

Elienna Wang, accompanist and assistant conductor

Salma Wennekers and Natalie Morning, program coordinators

Soprano

Annie Antonenko

Carol Chin

Jesse Nind

Sarah Rose

Mrinmayee Sengupta

Esther Haowen Shen

Alto

Janine Charoonruk

Clara Fu

Tanvi Gokhale

Nancy Liu

Joni Maguire

Eva Mazhar

Rinoko Miyamoto

Verena Thio

Madelyn Stanley

Samantha Sweet

Ilya Vasileiadi

Ana Volkanoska

Elienna Wang

Tenor

Simon Mathias

Emmanuel Rutayisire Emma Rylaarsdam

Gaurav Sharma

David Zu

Bass

Richard Chambers

Ted Higginbotham

Hasani Rose

 

 

Jubilate Singers

Isabel Bernaus, music director

Sherry Squires, rehearsal accompanist

Soprano

Frumie Diamond

Diane Grannum

Elyse Hartmann

Bronwen Hodgins

Jan Jacobs

Jenny Jenkins

Tatiana Lachina

Joan Moss

Laraine Naft

Inga Pechersky*

Dana Segen

Ruth Trainor

Alto

Mimi Beck

Yael Brotman

Jenna Chemerika

Carol Chin

Susan Craig

Louise Cullen

Alicia Estridge

Judith Hayes*

Kathryn Humphrey

Pat Keating

Judith Nancekivell

Tenor

Dave Bell

Steven Bochenek

Stephen Chadwick

Andrew Hellebust*

Jodi Lofchy

Bass

Randy Gangbar

Derek Grundle

Norm Martin*

Stephen Reich

Richard Stafford

* section lead

 

Concert Production

Coordinating Committee:
Isabel Bernaus, Marta McCarthy, Carol Chin, Frumie Diamond, Georgia LaForme, Natalie Morning, Laraine Naft, Richard Stafford, Sarah Warren

Poster and Program Art:
Mark Nadjiwan

Graphic Design:
Liz Martin

Brynne Degenhardt

Program:
Carol Chin, Norm Martin, Frumie Diamond

Publicity:
Karen Paul, Carol Chin, Richard Stafford, Emily Deckert

Front of House

Hayden Mesnick: Manager

Matthew Angeles

Oliver Clemo

Lidia Neff

Keerthy Krishnamurti

Stage Manager: Casey Worth

University of Guelph Choir Manager: Sarah Warren

Recording Audio: Randy Smith

Recording Video: Philip Maher

Concert Attire: Sheila Douglas

 

The University of Guelph Choir wishes to thank our phenomenal donors:

$10,000+

Dr. Theresa Bernardo

Dr. Chantale Pinard

Dr. Marta McCarthy & Randy Smith

Dr. Elisabeth Nicol

Sandy Goldman and the Family of Nathan Max Goldman

John Lindley 

 

Up to $5,000

Anonymous

Francie Niekamp

Jennifer & Jamey Rosen & Family

Many other choir members

SOFAM Discretionary Fund

 

 

Jubilate Singers Donors

Benefactors ($1000+)

Anonymous

Carol Chin

Randy Gangbar

Pat Keating

Norm Martin

Patrons ($500‒999)

Bronwen Hodgins

Jo-Ann Minden

David Patterson

Karen Paul

Partners (250‒499)

Judith Hayes

John Hodgson

Judith Nancekivell

Sponsors ($100‒249)

Pat Baranek

Stephen Chadwick

 

Frumie Diamond

Liz Martin

Joan Moss

Barbara Track

Friends (up to $99)

Yael Brotman

Susan Craig

Carol Gordon

Monica Harhay

Andrew Hellebust

Kathryn Humphrey

Laraine Naft

Myra Novogrodsky

Vladimir Orovic

Danuta Segen

Richard Stafford

Mary Stewart

 

 

Special thanks to these heroes!

*University of Guelph College of Arts: Dr. Samantha Brennan, Dean *SOFAM office: Barbara Merrill, Nicola Ferguson, Rob Edwards

*Dr. Kim Francis, Director of SOFAM                                             

*Sarah Smith-Warren, online program and UG Choir Manager

*Brian Redpath, Lanny Fleming, Ian Dickieson, Section leaders  

*Betty Maher, Accompanist 

*Randy Smith, technical and recording 

*Harcourt Memorial United Church, especially Sara-Jo Pipher, Alison MacNeil, Patricia Eton-Neufeld, Dr. Gerald Neufeld

*Harcourt Commons, especially Patricia Eton-Neufeld, Barbara Friend

*Dr. Gerald Neufeld (projection and technical)

*Choir nourishment: Jeff Gross

*Casey Worth, Stage Manager

*Dr. Carole Beynon, Amabile Youth Choirs of London

*Sheila Douglas, (Concert Attire ribbons)

*Jennifer Oesch

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AGREEMENT OF SAFETY AND STEWARDSHIP

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It is our aim to be the best possible stewards of our building by intentionally making and keeping Harcourt a place of welcome and true sanctuary.

We seek to be a community of shelter and respect, where the diversity of human thought and identity is welcomed, the respectful exchange of ideas is encouraged, the persecuted and marginalized feel support and gather without fear. We act in respectful ways that provide an experience of belonging and safety. 

 

We ask everyone who enters here, in word and deed, honour this commitment with us.

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Specifically, Harcourt is Affirming space which means we are proactive in our support of LGBTQ+ communities and others, who have suffered prejudice and marginalization historically and currently and as such, Harcourt can feel protected from all its forms of expression.

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We wish to use our building as a true community centre as well as a sacred place, thereby expanding opportunities for outreach to our community.

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