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Grief to Joy: Music for Easter


Sat 7 Apr 2018, 7:30pm–9:45pm

Where: Knox Church, 449 George St, Dunedin, Otago

Restrictions: All Ages

Ticket Information:

  • Adult Admission : $38.88 ($35.00 + $3.88 fees)
  • Concession Admission : $28.62 ($25.00 + $3.62 fees)
  • Student Admission : $11.25 ($10.00 + $1.25 fees)
  • Child Admission : $0.00
  • Eventfinda tickets no longer on sale

Listed by: Leta Labuschagne

David Burchell, conductor.
Claire Barton, mezzo-soprano.
Benjamin Madden, tenor.
Malcolm Leitch, bass.
Douglas Mews, organ.
City Choir Dunedin.
DSO string ensemble.

City Choir is pleased to present music to celebrate the hope and renewal that is the promise of Easter.

Bach’s "Erfreut euch, ihr Herzen" (Rejoice, your hearts) is a cantata composed for the second day of Easter, and first performed in 1724. Bach structured the cantata in six movements, an exuberant choral opening, a set of recitative and aria for bass, another such set for alto and tenor, and a closing chorale taken from the medieval Easter hymn Christ ist erstanden. The music expresses moods of mourning and fear which should be overcome, but especially exhilarating joy. A string ensemble from the DSO will join the organ for this work.

Guiseppe Verdi’s "Stabat Mater" (1896) is a 13th-century Catholic hymn to Mary, which portrays her anguish and suffering as Jesus Christ's mother during his crucifixion. Verdi used his operatic skills to set the drama of Christ’s crucifixion, mirroring the words with the full chorus thundering anger at the crucifixion. The mood changes at the end where the high voices sing an ascending pattern in the sublime closing "Paradisi gloria".

"Lo, the full, final sacrifice" is a festival anthem for choir and organ, composed by Gerald Finzi in 1946. The anthem's text memorializes the celebration of the Eucharist. Regarded as some of Finzi’s finest music, the expressive lines, colourful accompaniment and dramatic choral writing make this a great favourite in the choral repertoire. The first chorus entry has been described as ‘magical’, and the closing eight-part Amen is one of the most remarkable and poignant pieces of choral writing of its period.

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