Presented by Audi

Beethoven’s Ninth

Shelley conducts Andrew Balfour and Anna Clyne

2024-06-19 20:00 2024-06-20 22:20 60 Canada/Eastern 🎟 NAC: Beethoven’s Ninth

https://nac-cna.ca/en/event/33733

In-person event

Ludwig van Beethoven rocked the world of classical music in many ways, and his Symphony No. 9, with its spine-tingling “Ode to Joy,” was a radical work that introduced singing into a symphony for the first time—and what singing it was! Anna Clyne’s Glasslands, a co-commission of the Detroit Symphony Orchestra, BBC Radio 3, the National Arts Centre Orchestra, Artis-Naples, Naples Philharmonic and the Orquesta Sinfónica de Castilla y...

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Southam Hall,1 Elgin Street,Ottawa,Canada
June 19 - 20, 2024
June 19 - 20, 2024

≈ 2 hours and 20 minutes · With intermission

Last updated: June 19, 2024

Program

ANDREW BALFOUR ᓂᔭ niya (I Am) (10 min) 

Ottawa Choral Society 

ANNA CLYNE Glasslands* (25 min) 

Jess Gillam, saxophone 

INTERMISSION 

LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125 (67 min) 
I. Allegro ma non troppo un poco maestoso 
II. Molto vivace – Presto 
III. Adagio molto e cantabile 
IV. Finale: Presto – Allegro assai  

Kirsten MacKinnon, soprano 
Allyson McHardy, mezzo-soprano 
Andrew Haji, tenor 
William Thomas, bass 
Ottawa Choral Society

*Canadian premiere 

Texts & Translations

ᓂᔭ niya  

Niya 
Hiy Hiy 
Mawihkatamowin 
Pimoheskanawon 
Kookum 
Pakaskitawew 
Wekimakasikan 
Kihewataniy 
Niya 

​Cree text compiled by Andrew Balfour

I am 

I am 
to give thanks 
crying, mourning 
s/he continually walks the same path 
grandmother 
s/he hears her/him 
smudge 
eagle feather 
I am 

Beethoven Symphony No. 9

“Ode an die Freude”

Bass (recitative)
O Freunde, nicht diese Töne! 
Sondern laßt uns angenehmere 
anstimmen, und freudenvollere! 

Soloists and Chorus 
Freude, schöner Götterfunken, 
Tochter aus Elysium, 
Wir betreten feuertrunken, 
Himmlische, dein Heiligtum. 
Deine Zauber binden wieder, 
Was die Mode streng geteilt; 
Alle Menschen werden Brüder, 
Wo dein sanfter Flügel weilt. 

Wem der große Wurf gelungen, 
Eines Freundes Freund zu sein, 
Wer ein holdes Weib errungen, 
Mische seinen Jubel ein! 
Ja, wer auch nur eine Seele 
Sein nennt auf dem Erdenrund! 
Und wer’s nie gekonnt, der stehle 
Weinend sich aus diesem Bund! 

Freude trinken alle Wesen 
An den Brüsten der Natur; 
Alle Guten, alle Bösen 
Folgen ihrer Rosenspur. 
Küsse gab sie uns und Reben, 
Einen Freund, geprüft im Tod; 
Wollust ward dem Wurm gegeben, 
Und der Cherub steht vor Gott. 

Tenor and Chorus 
Froh, wie seine Sonnen fliegen 
Durch des Himmels prächt’gen Plan, 
Laufet, Brüder, eure Bahn, 
Freudig, wie ein Held zum Siegen. 

Freude, schöner Götterfunken, etc. 

Chorus
Seid umschlungen, Millionen! 
Diesen Kuß der ganzen Welt! 
Brüder! Über’m Sternenzelt 
Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen? 
Ahnest du den Schöpfer, Welt? 
Such’ ihn über’m Sternenzelt! 
Über Sternen muß er wohnen. 

Freude, schöner Götterfunken, etc. 
Seid umschlungen, Millionen! Etc. 
Ihr stürzt nieder, Millionen? Etc. 

Soloists and Chorus 
Freude, Tochter aus Elysium, etc. 

Alle Menschen warden Brüder, 
Wo dein sanfter Flügel weilt. 

Chorus 
Seid umschlungen, Millionen
...Brüder! Über'm Sternenzelt
Muß ein lieber wohnen 
Seid umschlungen! 
Diesen Kuß der ganzen Welt! 
Freude, schöner Götterfunken! 
Tochter aus Elysium! 
Freude, schöner Götterfunken!

Original German: Friedrich Schiller 

“Ode to Joy”

Bass (recitative)
O friends—not these sounds! 
Let us sing of more pleasant and 
joyful things! 

Soloists and Chorus 
Joy, thou shining spark of God, 
Daughter of Elysium, 
Transported by your flame, we rise, 
Yours is the holiness of heaven. 
Your magic brings together again 
Those whom social custom has parted; 
All people become brothers 
Where your sweet bird flies. 

Those to whom
True friendship 
And happy marriage are given 
May join in jubilation! 
Yes, whoever calls just one soul 
On the earth’s sphere his own! 
Whoever cannot, let him creep, 
Weeping, out of our circle! 

Nature nurses 
Every creature with joy. 
All the good and the wicked alike 
Seek out our rosy scent. 
She gave us kisses and wine, 
And friendship that stands the test of death. 
Pleasure is granted even to the worm –
And the cherub stands before God. 

Tenor and Chorus 
Happy as the sun is flying 
Through the splendour of heaven, 
Travel your path, brothers, 
Joyful as a champion on his way to victory. 

Joy, thou shining spark of God, etc. 

Chorus 
You are embraced, all you millions! 
This is a kiss from the whole world! 
Brothers, a beloved father 
Must live above the canopy of stars. 

Are you kneeling, all you millions? 
Do you know the creator, O world? 
Look for him above the firmament!
He must live above the stars. 

Joy, thou shining spark of God, etc. 
You are embraced, all you millions! Etc. 
Are you kneeling, all you millions? Etc. 

Soloists and Chorus 
Joy, Daughter of Elysium, etc. 

All people become brothers 
Where your sweet bird flies. 

Chorus 
You are embraced, all you millions!
...Brothers, a beloved father
Must live above the canopy of stars. 
You are embraced! 
This is a kiss from the whole world! 
Joy, thou shining spark of God! 
Daughter of Elysium! 
Joy, thou shining spark of God! 

Repertoire

ANDREW BALFOUR

ᓂᔭ niya (I Am)

Of Cree descent, Andrew Balfour (b. 1967) is an innovative composer, conductor, singer, and sound designer with a large body of choral, instrumental, electro-acoustic, and orchestral works, including Take the Indian (a vocal reflection on missing children), Empire Étrange: The Death of Louis Riel, Bawajigaywin (Vision Quest), and Manitou Sky, an orchestral tone poem. His Indigenous opera, Mishaaboozs Realm, was commissioned by L’Atelier lyrique de l’Opéra de Montréal and Highlands Opera Workshop and premiered in 2017. He has been commissioned by many organizations, including the Winnipeg, Regina, and Toronto symphony orchestras, Tafelmusik, Toronto Mendelssohn Choir, the Winnipeg Singers, the Kingston Chamber Choir, and Camerata Nova, among others. His works have been performed and/or broadcast locally, nationally, and internationally. Andrew is also the founder, conceptual creator, and Artistic Director of the vocal group Camerata Nova, which has performed early, contemporary, and Indigenous-infused vocal chamber concerts for local, national, and international audiences since 1996. 

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, Camerata Nova, the Winnipeg Symphony Orchestra, and various Winnipeg school divisions over a period of seven years. Andrew was Curator and Composer-in-Residence of the WSO’s Indigenous Festivals in 2009 and 2010 and in 2007 received the Mayor of Winnipeg’s Making a Mark Award, sponsored by the Winnipeg Arts Council to recognize the most promising midcareer artist in the city. 

Niya was commissioned by the Calgary Philharmonic Orchestra and was premiered by the orchestra and the Calgary Philharmonic Chorus in September 2022. Written as a companion piece to Beethoven’s Ninth Symphony, Niya, as Balfour describes it,

…is an orchestral tone poem from a Cree perspective. This work is a journey (Ispiciwin) exploring the spirits of my ancestors through orchestral and choral forces. It’s a journey of self-discovery and hidden spirits regarding the ancient medicines, ceremony, music, and land of the prairies, where my ancestors lived and thrived for thousands of years until they and their spirits were almost wiped out with settler contact. Niya is a message of sorrow mixed in with hope for the future of all Indigenous peoples of Mother Earth, particularly those on Turtle Island.

Biography and program note compiled and edited by Hannah Chan-Hartley, PhD 

ANNA CLYNE

Glasslands

Described as a “composer of uncommon gifts and unusual methods” in a New York Times profile and as “fearless” by NPR, Grammy-nominated Anna Clyne (b. 1980) is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers, and visual artists around the world. Clyne was named by Bachtrack as one of the top ten most performed contemporary composers in the world and the most performed living female British composer in both 2022 and 2023. Clyne has been commissioned and presented by the world’s most dynamic and revered arts institutions, including the Barbican, Carnegie Hall, Kennedy Center, Los Angeles Philharmonic, MoMA, Philharmonie de Paris, Royal Concertgebouw Orchestra, San Francisco Ballet, and the Sydney Opera House; and her music has opened such events as the Edinburgh International Festival, Last Night of the Proms, and the New York Philharmonic’s 2021–2022 season.

In 2023–2024, Clyne serves as Composer-in-Residence with the Helsinki Philharmonic Orchestra as part of their Artistic Team, as Composer-in-Residence at the BBC Philharmonic, and as Artist-in-Residence with Orquesta Sinfónica de Castilla y León. Clyne’s music is represented on several labels and her works Prince of Clouds and Night Ferry were nominated for 2015 Grammy Awards.

Anna has written several concertos, collaborating with such notable musicians as Jeremy Denk, Martin Fröst, Pekka Kuusisto, Yo-Yo Ma, and in the case of Glasslands (composed in 2022), saxophonist Jess Gillam. Clyne revealed in an Arts Desk interview (March 2023) that during her composition of these works, “I spent time contemplating the role of the soloist in relation to the orchestra, and wanting to break down that disconnect—it’s still a dialogue, but a more collaborative exchange rather than a battle between the soloist and the orchestra.” This collaborative aspect extends to “trying to capture the musical spirt of the soloist,” as Clyne told Gary Graff (The Oakland Press, February 2023). “Before writing a note, I listened to many of Jess’s recordings and was immediately struck by the range of emotions she communicates through her playing, so I knew that I wanted to write a piece that covers a lot of emotional and sonic territory,” she continues. “There’s also a vibrancy to Jess’s musical personality, so I also wanted to have moments of playfulness in the piece.” 

Glasslands, as Clyne describes, “conjures an imaginary world of three realms governed by the banshee: a female spirit who, in Irish folklore, heralds the death of a family member, usually by wailing, shrieking, or keening in the silence of the night.” In the opening part, the saxophone plays “a very high gesture marked ‘wailing’ [that] unleashes the banshee”; it’s one of several extended techniques on soprano saxophone that Gillam demonstrated to Clyne during their meetings, and ultimately made their way into the concerto. In Gillam’s view, as told to Gemma Peacocke (I Care If You Listen), “The way [Anna] has allowed the saxophone to sing and soar in Glasslands, as well as utilizing its more raucous and powerful side, is a lot of fun (and a brilliant challenge!) to play with. The opening saxophone notes really do pierce the room and open the door to this mystical world that Anna has created.” 

Tonight’s performance of Glasslands is the Canadian premiere of the work. Glasslands is a co-commission by the Detroit Symphony Orchestra, BBC Radio 3, the National Arts Centre Orchestra, Artis–Naples, Naples Philharmonic, and the Orquesta Sinfónica de Castilla y León.

Biography (excerpt reprinted by kind permission of Boosey & Hawkes) and program note compiled by Hannah Chan-Hartley, PhD 

LUDWIG VAN BEETHOVEN

Symphony No. 9 in D minor, Op. 125

I. Allegro ma non troppo e un poco maestoso 
II. Molto vivace – Presto  
III. Adagio molto e cantabile 
IV. Finale: Presto – Allegro assai 

Few works of Western classical music have been as influential and as significant over the past two centuries as Beethoven’s Ninth Symphony. Its famous “Ode to Joy”, notably, has been used to celebrate a wide gamut of political causes—from fascist regimes to the fight for democratic rights, from racial purity to unified diversity. Miraculously, the nefarious abuses of the work’s emotional force have not affected Beethoven’s reputation nor darkened the utopian ideal of a united humanity that he intended the symphony to convey. “It is unreasonable to expect that a mere piece of music could have the power to bring redemption to a troubled world, although the Ninth Symphony probably has come as close to reaching this goal as any work every composed, ” as musicologist David Benjamin Levy has observed. “The utopian ideals expressed in Friedrich Schiller’s ‘An die Freude’ and in the finale of Beethoven’s Ninth Symphony remain unfulfilled, but the hope engendered by these ideals is still very much alive.” 

As a musical artwork, the Ninth Symphony is a landmark piece that forever changed the direction of symphonic music’s composition, performance, and reception. After the Congress of Vienna in 1815, the performance of symphonies, particularly in Vienna, had declined, as many aristocratic patrons who commissioned them and had them played in their courts had become economically weakened, or in the case of those closest to the composer, had passed away. By the 1820s, concert life in Vienna was still not favourable towards “serious” symphonies (certainly not as the main fare of public concerts), so Beethoven (1770–1827), who himself hadn’t written a symphony since the completion of his Eighth in 1812, considered having his Ninth Symphony premiered elsewhere. However, after learning that he might give the premiere in Berlin or in London, a group of friends and close associates wrote the composer a letter, imploring him to do it in Vienna. Deeply moved by their support, Beethoven agreed to have it performed, along with his “Consecration of the House” Overture and selections from the Missa solemnis, in an Academie (concert) at the city’s Imperial Royal Court Theatre next to the Kärntnertor. On May 7, 1824, the premiere of the Ninth Symphony was given by the theatre’s orchestra and choir (augmented, respectively, by members of the Society for the Friends of Music and boy sopranos) plus a distinguished cast of soloists. For the first time in 12 years, Beethoven was on stage, at the podium. The performance was enthusiastically received; there are touching accounts of the contralto Caroline Unger pulling at the composer’s sleeve to get him to turn around to face the audience, because his deafness left him unable to hear their applause. From then on, symphonies became a permanent fixture of public concerts and composers would write them for this purpose, while grappling with Beethoven’s legacy. 

Beethoven’s Ninth Symphony must have been quite an overwhelming experience for audiences at its first presentations. Clocking at over an hour to perform, the symphony was the longest for its time. The instrumental forces it uses are also relatively large; at the premiere, the string section alone had 58 players, about the size of most entire orchestras of the period. And then, in the finale, there’s the incorporation of text—an excerpt from Schiller’s poem—sung by four soloists and a chorus, which no symphonic work ever had before. In terms of execution and interpretation, the Ninth still demands much from today’s musicians, and its monumentality continues to impress.

Within Beethoven’s symphonic output, the Ninth can be seen as the culmination of ideas and techniques he had applied to earlier works, such as his third and fifth symphonies, but now pushed to their utmost extreme. For one, the traditional structures of the Classical symphony are greatly expanded to incorporate other forms and styles of music. The first movement employs the expected sonata form (exposition, development, recapitulation, coda), but with the developmental and concluding sections significantly extended; within the scherzo-trio structure of the second movement, the scherzo alone is in sonata form. A set of double variations (i.e., on two themes) features in the Adagio, while the fourth movement, for orchestra, solo voices, and choir, is a multi-part extravaganza combining all the forms of the earlier movements and more. 

To unify the work, Beethoven creates a psychological journey through the symphony’s four movements that peaks with the finale (a concept he used in his Fifth Symphony). On one level, this is conveyed in the shift from the stormy D minor of the first movement to the triumphant D major of the fourth. Notably, he “seeds” this throughout the first three movements: for example, the falling motif and open fifths that quietly opens the symphony, not yet clear whether it’s in major or minor, returns forcefully at the first movement’s recapitulation, unequivocally in D major. Later, in the Scherzo, the pastoral Trio, featuring oboe and clarinet, appears in D major, as does the second theme of the Adagio movement, first played by second violins and violas. Furthermore, the melodies of these latter two moments foreshadow the “Ode to Joy” theme, thus, evoking a sense of organic inevitability when it’s finally introduced in the finale.

The lead-up to the “Ode to Joy” is one of classical music’s remarkable passages—a dramatic episode that seems to be lifted from an opera. After a shocking orchestral outburst (the Schrekensfanfare, or “terror fanfare” of a dissonant chord combining D minor and B-flat major harmonies), cellos and double basses play a bold recitative-like passage. They muse and question, as if in search of a new idea or vision. The orchestra offers suggestions, recalling the opening tunes of the previous three movements in turn, each of which the cellos and basses reject. Eventually, oboe and bassoon tentatively play the first notes of the “Ode to Joy” theme, which the cellos and basses seem to approve. As if in mutual agreement, they play the full melody together in unison, after which three instrumental variations follows. Then, the “terror fanfare” returns, but this time, the solo baritone clarifies the earlier drama, singing “Oh friends, not these sounds!” (referring to the music of the other movements). “Let us create more pleasant and happier ones!” 

More variations on the Joy theme ensue, with a series sung by the vocal soloists and choir, followed by its transformation into a comic military march, introduced by a wind band and Turkish instruments (triangle, cymbal, and bass drum). The orchestra then takes up a double fugue (using two different thematic subjects), which culminate in a recap of the Joy theme on full chorus and orchestra. Thereafter, the music becomes stately and reverential, a moment of devotional reflection on the text: “Seid umschlungen, Millionen…Brüder! Über'm Sternenzelt / Muß ein lieber wohnen” (You are embraced, all you millions!…Brothers, a beloved father / Must live above the canopy of stars). The variations resume with the choir singing another double fugue, this time juxtaposing the Joy theme and the melody of “Seid umschlungen, Millionen!”—an ingenious climax to the fugal processes Beethoven integrated into the symphony’s earlier movements. Just before the coda, the soloists intone the message of universal brotherhood in a sublime cadenza, after which the music rushes forward ecstatically to a jubilant finish.

Program note by Hannah Chan-Hartley, PhD 

Artists

  • dscf9130-curtis-perry-2-cropped
    Conductor Alexander Shelley
  • Saxophone Jess Gillam
  • Soprano Kirsten MacKinnon
  • mchardy-photo-headshot
    Mezzo-Soprano Allyson McHardy
  • andrew-haji-headshot-c-2
    Tenor Andrew Haji
  • 1-william-thomas-c.-benjamin-ealovega
    Bass William Thomas
  • ottawachoralsociety-fb-headshot
    Featuring Ottawa Choral Society
  • Chorus Master Gabrielle Gaudreault
  • bio-orchestra
    Featuring NAC Orchestra
  • hunt-mccoy-tobi-fred-cattroll-535
    Stage Manager Tobi Hunt McCoy

Credits

NAC Orchestra

First Violins 
Yosuke Kawasaki (concertmaster) 
Jessica Linnebach (associate concertmaster) 
Noémi Racine Gaudreault (assistant concertmaster) 
Emily Westell 
Marjolaine Lambert 
Carissa Klopoushak
Manuela Milani 
*Martine Dubé 
*Erica Miller 
*Oleg Chelpanov 
*Renée London 
*Heather Schnarr 

Second Violins 
Emily Kruspe 
Jeremy Mastrangelo 
Frédéric Moisan 
Leah Roseman 
Winston Webber 
Edvard Skerjanc 
Karoly Sziladi 
Mark Friedman 
Zhengdong Liang 
*Andréa Armijo Fortin 
*Sara Mastrangelo 
*Sarah Williams 

Violas 
Jethro Marks (principal) 
David Marks (associate principal) 
David Goldblatt (assistant principal) 
David Thies-Thompson 
Paul Casey 
Tovin Allers 
*Mary-Kathryn Stevens 

Cellos 
Rachel Mercer (principal) 
Julia MacLaine (assistant principal) 
Marc-André Riberdy 
Timothy McCoy 
Leah Wyber 
*Karen Kang 
*Desiree Abbey 

Double Basses 
 Max Cardilli (assistant principal) 
Vincent Gendron 
**Marjolaine Fournier
*Paul Mach
*Doug Ohashi

Flutes 
Joanna G’froerer (principal) 
Stephanie Morin 
*Christian Paquette 

Oboes 
Charles Hamann (principal) 
Anna Petersen 

English Horn 
Anna Petersen 

Clarinets 
Kimball Sykes (principal) 
Sean Rice 

Bassoons 
Darren Hicks (principal) 
Vincent Parizeau 
*Carmelle Préfontaine 

Horns
*Ryan Little (guest principal) 
Julie Fauteux (associate principal) 
Lawrence Vine 
Lauren Anker 
Louis-Pierre Bergeron 
*Olivier Brisson 

Trumpets 
**Karen Donnelly (principal) 
*Andrew McCandless (guest principal) 
**Steven van Gulik
*Amy Horvey
​*Patrick Smithers

Trombones
*Steve Dyer (guest principal) 
Colin Traquair 

Bass Trombone 
Zachary Bond 

Tuba
Chris Lee (principal) 

Timpani 
*Andrei Malashenko (guest principal) 

Percussion
Jonathan Wade 
*Andrew Johnson 
*Joe Desotelle 

Principal Librarian 
Nancy Elbeck 

Assistant Librarian 
Corey Rempel 

Personnel Manager 
Meiko Lydall 

Orchestra Personnel Coordinator 
Laurie Shannon 

*Additional musicians 
**On leave 

Ottawa Choral Society

Soprano 

Elena Arsenault 
Sandy Bason 
Loretta Cassidy 
Victoria Devita* 
Kathy Dobbin 
Mary Egan* 
Adriane Epprecht* 
Jane Flook 
Deirdre Garcia 
Beth Granger 
Lucia Guidi-Mazzola* 
Julie Henderson 
Amy Heron 
Floralove Katz 
Alison Lamont 
Amily Li* 
Anna Lo 
Joyce Lundberg 
Pat MacDonald 
Marie Magistry*
Anaïs Martin 
Sarah McDermott 
Amy McKay* 
Logann McNamara 
Shailla Nargundkar 
Erin O’Manique* 
Karleigh Palmer* 
Nicole Park* 
Kylie Pratt 
Nancy Savage 
Stephanie Sewell 
Bronwyn Thies-Thompson*
Anita Tong 
Ellen Tsai* 
Liz Wiebe* 
Jean Wylie* 
Malaïka Zarrouki* 

Alto 

Joan Auden 
Jo-Anne Bacon 
Carolynne Ball* 
Ruth Belyea 
Mireille Bergeron* 
Patricia (Trish) Broad 
Jennifer Brown 
Miriam Carpenter* 
Heather David 
Jennifer Davis 
Raquel Farrar 
Rachel Gagnon 
Mary Beth Garneau 
Adele Graf 
Lisa Hans 
Lisanne Hendelman 
Natalie Hunter 
Patricia Jackson 
Eileen Johnson
Josée Lalonde* 
Stéphanie Lalonde* 
Samantha Larson 
Emma Lassiter 
Merlyna Lim* 
Lois Marion 
Mary Martel-Cantelon 
Beth Martin 
Lisa McMurray 
Bridget Nardi* 
Heather Reid  
Peggy Robinson 
Elizabeth Shore 
Sally Sinclair 
Victoria Sinclair 
Christina Stapper* 
Claire Thompson 
Catherine Trinkwon 
Tanya Vainet
Jenn Walsh
Karmen Walther*
Brendalee Wilson 

Tenor 

Jean-Sébastien Allaire*
Guy Bellemare 
Bernard Cayouette*
Tim Coonen 
Charlie Donnely 
John Goldsmith 
Toby Greenbaum 
Wendy Hall* 
Ross Jewel* 
David Kidston* 
Roy Lidstone 
Iain MacPherson* 
John McBride 
Kathryn McCarthy 
Jack McCracken* 
Simon McMillan 
Sebastian Rodriguez Mayén*
Jean-Francois Tardiff* 
Dennis Van Staalduinen* 

Bass 

Paul Badertscher 
Mike Beauchamp 
Roger Butt 
Christopher Devita* 
Martin Edwards 
Rowan Elsdon* 
Daniel Godard* 
Nikhil Gopal* 
Etienne Grall 
Doug Hall* 
Greg Huyer* 
Gary King 
Jean-Bossuet Lazarre* 
John Litster 
Ian MacMillan 
Christopher Mallory* 
Blixa McCracken* 
Bruce Pettipas* 
Mathieu Roussel-Lewis 
William Sanna 
Daniel Savoie* 
Glen Seeds* 
Mark Silver 
Victor Toma* 
Geoff White 

*Guest chorister 

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