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SHORT GROUP VITAEPalissander, one of South Africa’s premier chamber choirs, is an independent amateur choir of international standing that was formed in 1992. The choir’s core values are passion, abundance, joy, respect and acceptance.

The name Palissander is a reference to the fourth volume of poetry by the Afrikaans poet Boerneef, entitled Palissandryne. In the opening poem of this volume Boerneef writes of his recorder made of palissander wood (a precious dark brown wood, related to jacaranda wood) that plays ‘palissandertaal’ (palissander language). Later in the volume the poet uses the word ‘palissandertaal’ repeatedly as a synonym for music.

Sarita Hauptfl eisch, who still conducts the choir, founded Palissander with the purpose of making music for the soul. This has developed into the choir becoming an ambassador for love and peace to both local and overseas communities. The choir achieves this by engaging the audience not only musically, but also intellectually and emotionally through programmes bound together by central themes. This converts a choir concert into a spiritual experience for all.

The theme approach enables an extremely diverse repertoire to be drawn together into a cohesive whole. Since 2004 the annual themes have addressed topics such as peace, democracy, tolerance, our response to HIV/AIDS and respect for the earth. Palissander’s 2014 theme, Die liefde lê, focuses on love.

Palissander has been associating itself with organisations that care for vulnerable children and youth. In 2006 the choir received the South African Choral Society Award for the best contribution to community development through choral music. In 2008 Palissander decided to associate itself formally with Heartbeat, a nongovernmental organisation that reaches out to orphaned and vulnerable children through direct and indirect interventions.

Palissander has to date released seven CDs. It is based in Pretoria and currently consists of 26 members.

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KORT GROEP-VITAEPalissander, een van Suid-Afrika se toonaangewende kamerkore, is ’n internasionaal erkende onafhanklike amateurkoor wat in 1992 gestig is. Die koor se kernwaardes is passie, oorvloed, vreugde, respek en aanvaarding.

Die naam Palissander is ’n verwysing na die openingsgedig in Boerneef se vierde digbundel, Palissandryne:

My blokfl uit is van palissanderhout*daarom speel hy so palissander

en laat my fl uitspel julle kouddie een bly tog maar anders as die ander

ek trek dit my nie in die minste aanas niemand palissandertaal verstaan.

* Palissanderhout is ’n kosbare donkerbruin houtsoort wat verwant is aan jakarandahout

Later in die digbundel gebruik die digter ‘palissandertaal’ herhaaldelik as ’n sinoniem vir musiek.

Sarita Hauptfl eisch, vandag steeds die koor se dirigent, het Palissander gestig met die doel om musiek vir die siel te maak. Dit het daartoe gelei dat die koor sowel plaaslik as internasionaal ’n ambassadeur vir liefde en vrede geword het. Palissander doen dit deur die gehoor nie slegs op die musikale vlak nie, maar ook op die intellektuele en emosionele vlak te betrek deur middel van programme met sentrale temas. Hierdeur word ’n kooruitvoering tot ’n spirituele ervaring omskep.

Die temabenadering maak dit moontlik om uiters uiteenlopende werke as ’n samehangende geheel aan te bied. Sedert 2004 het die jaarlikse temas onderwerpe soos vrede, demokrasie, verdraagsaamheid, ons reaksie op MIV/VIGS en respek vir die aarde aangespreek. Palissander se 2014 tema, Die liefde lê, fokus op die liefde.

Palissander assosieer homself met organisasies wat omsien na weeskinders en kwesbare kinders. In 2006 het die koor die Suid-Afrikaanse Koorvereniging se toekenning vir die beste bydrae tot gemeenskapsontwikkeling deur middel van koormusiek ontvang. In 2008 het Palissander besluit om formeel betrokke te raak by Heartbeat, ’n nieregeringsorganisasie wat deur direkte en indirekte intervensies uitreik na weeskinders en ander kwesbare kinders.

Palissander het tot op datum sewe CD’s vrygestel. Die koor is in Pretoria gebaseer en het tans 26 lede.

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DIE LIEFDE LÊDie titel vir vanjaar se program is ’n uittreksel uit die temalied Hier tussen ons. Die temalied fokus op die liefde tussen mense onderling; God se liefde vir ons; liefde wat hoop bring; liefde wat ’n wegkruipplek is teen pyn, en liefde wat genees. Sonder liefde is ons niks nie. Ons moet daarom in liefde lewe. Hierdie verskillende perspektiewe op die liefde vorm die struktuur vir die program.

The title for this year’s programme is an extract from the theme song Hier tussen ons. The theme song focuses on the love between between people; God’s love for us; love that brings hope; love that is a hiding place from pain, and love that heals. Without love, we are nothing. We must therefore live in love. These different perspectives on love form the structure for the programme.

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1. Babevuya/WalambaArr. Mike BrewerTraditional South African wedding songPercussion: Isabeau Salmon

Die liefde lê hier tussen ons/Love lies between us

2. Hier tussen onsLouis Britz, verw. Sarita Hauptfleisch

Hierdie is die temalied van die program en voorsien die struktuur vir die program as geheel. Dit was ‘n opdragwerk vir die huwelikseremonie van een van die koorlede, Engela Labuschagne (gebore Smit) op 19 Maart 2011.

Die liefde is ’n rooi gedig in versreël en kwatrynwat jou met gawe oë sien in woorde sag en fyn.Die liefde is ’n spierwit duif met bloeisel in die mondwat met sy koms die boodskap bring: die liefde maak gesond.

Die liefde lê in sagte woorde wat oor my gees kom streelen in die droë maande my hart tot hoop beveel.Die liefde lê in sagte soene, wat met die jare groeien soos die Kaapse lelieblom jaar in en jaar uit bloei.

Die liefde is ’n môrester, blink op die horisonwat sê met ryke majesteit: Ek het vir jou gekom.Die liefde is ’n leë graf, ’n brokkie brood en wyn.Die liefde is ’n wegkruipplek teen hartseer en teen pyn

Die liefde lê, die liefde lê, die liefde lê hier tussen ons.

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3. If I speakKjell Mørk Karlsen, 1998Text: 1 Corinthians 13:1–3

Karlsen is a Norwegian organist and composer.

The work consists of three parts with growing intensity: “If I speak”, “If I have” and “If I give”. It starts with the white notes on a piano, distributed in different ranges across the voice parts. This is repeated three times. We interpret it as refl ecting that, even if we sing all the notes available, but have not love, we gain nothing. Note the sound picturing on the word “gong”, as well as the effective setting of the text leading to the climax on “surrender my body to the fl ames”. The music dies down to silence to portray the nothingness of human life without love.

If I speak in the tongues of men and of angels, but have not love, I am only a resounding gong or a clanging cymbal. If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but have not love, I am nothing. If I give all I possess to the poor and surrender my body to the fl ames, but have not love, I gain nothing.

Die liefde lê in sagte soene wat met die jare groei/Love lies in gentle kisses that deepen as years go by

4. Blackbird/I willMusic and words: John Lennon and Paul McCartneyArr. Jonathan Rathbone

The Swingle Singers are a vocal group of eight members that was formed in 1962 by Ward Swingle. They began as session singers, who mainly did background vocals. Although they are an a cappella group, they sometimes use accompaniment by bass and drums. They produce complicated, technically impressive covers, ranging from modern classics to classical music and opera. Their arrangements are often informed by jazz harmonies and stylings. Other infl uences include Nat King Cole, various smooth singers and pianists.

In this arrangement, two well-known songs by the Beatles are juxtaposed with one another.

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Blackbird singing in the dead of nightTake these broken wings and learn to fl yAll your life you were only waiting for this moment to arise

Blackbird singing in the dead of nightTake these sunken eyes and learn to seeAll your life you were only waiting for this moment to be free

Blackbird fl y into the light of a dark black night

Blackbird singing in the dead of nightYou were only waiting for this moment to arise

Who knows how long I’ve loved youYou know I love you stillWill I wait a lonely lifetime?If you want me to I will

For if I ever saw youI didn’t catch your nameBut it never really matteredI will always feel the same

Love you forever and foreverLove you with all my heartLove you whenever we’re togetherLove you when we’re apart

And when at last I fi nd youYour song will fi ll the airSing it loud so I can hear youMake it easy to be near youFor the things you do endear you to meAh, you know I will

Should I wait a lonely lifetime?If you want me to I will

5. MomentLaurinda Hofmeyr, verw. Sarita HauptfleischSolis: Otto Bester

Hierdie verwerking is gedoen vir Palissander se program by die 2000-konferensie van die International Society for Music Education in Edmonton, Kanada. Die tema van die konferensie was Music of the spheres. Palissander was die enigste uitvoerende groep vanuit Afrika by die konferensie. Moment is die titelsnit van ons tweede CD, wat reeds geruime tyd uit druk is. Ons beoog om die lied weer uit te reik op ’n Afrikaanse CD wat in 2015 vrygestel sal word.

Soms hoor ek onverwags weer agter jou gewone woorde’n soveel suiwerder en sagter, asemrowende geluiddat ek opnuut na jou moet kyk, asof vir die eerste keer.

Laat die jare maar verstryk, solank ons dit mag bewaarkan die tyd ons van niks ontneem.Weer vir die eerste keer met jou alleenhoor ek die harmonie van die sfere deur die alledaagsheid heen.

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6. A boy and a girlEric Whitacre (born 1970)Text: Octavio Paz

The American composer Eric Whitacre is an accomplished composer, conductor and lecturer. He has quickly become one of the most popular and performed composers of his generation. The Philadelphia Inquirer has called him “the hottest thing in choral music”. Many of Whitacre’s works have entered the standard choral and symphonic repertories and have become the subject of several recent scholarly works and doctoral dissertations. To date, Whitacre’s published works have received thousands of performances and sold well over 350 000 copies worldwide. Whitacre has received composition awards from the Barlow International Composition Competition, the American Choral Directors Association and the American Composers Forum.

Whitacre states: “A boy and a girl is such a tender, delicate, exquisite poem; I simply tried to quiet myself as much as possible and fi nd the music hidden within the words.”

Stretched out on the grass, a boy and a girlsavoring their oranges, giving their kisses like waves exchanging foam.

Stretched out on the beach, a boy and a girlsavoring their limes, giving their kisses like clouds exchanging foam.

Stretched out underground, a boy and a girlsaying nothing, never kissing, giving silence for silence.

Die liefde is ’n môrester, blink op die horisonwat sê met ryke majesteit: Ek het vir jou gekom/

Love is a bright morning star on the horizon that gloriously calls out: I’ve come for you

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7. God is with usJohn Tavener (1944–2013)Soliste: Marius van Staden en Werner von Gruenewaldt

Tavener was ’n Britse komponis wat bekendheid verwerf het vir sy groot aantal gewyde werke. Hy was van kleins af hoogs begaafd. In 1968 is hy deur The Guardian as die musikale ontdekking van die jaar beskryf. The Times het op sy beurt geskryf dat hy onder die beste kreatiewe talent van sy geslag tel. Tydens sy loopbaan het hy een van die mees bekende en gewilde komponiste van sy tyd geword. Hy is in 2000 tot ridder geslaan vir sy diens aan musiek. Hy is op 12 November 2013 oorlede.

God is with us.Hear ye people, even to the uttermost end of the earth.

The people that walked in darkness have seen a great light.The people that dwell in the shadow of death,upon them the light has shined.

For unto us a child is born!For unto us a son is given!And the government shall be upon his shoulder;and his name shall be called Wonderful! Counsellor!The mighty God, the everlasting Father, the Prince of peace.

Hear ye people, even to the uttermost end of the earth.Christ is born!

8. Liebe, dir ergeb’ ich michPeter Cornelius (1824–1874)From Liebe, a cycle of three choir songs on poems by Johannes SchefflerOpus 18/1For double choir a cappella

Carl August Peter Cornelius was a German composer, writer about music, poet and translator.

His Opus 18, called Liebe, reveals his desire not to take historical material literally, but to rework it. In this case, he drew upon texts by Angelus Silesius (Johannes Scheffl er) from 1657, but he signifi cantly reworked them. The texts generally express human love for the Saviour. The individual choruses count among Cornelius’ more extended published works for voice, each displaying a variety of moods as the text unfolds. Cornelius builds these large structures in part through recurring musical ideas, such as the fi rst phrase “Liebe, dir ergeb’ ich mich!”, which returns in some form for every line that begins with the word “Liebe”.

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Liebe, die du mich zum Bilde deiner Gottheit hast gemacht,Liebe, die du mich so mildenach dem Fall hast wiederbracht,Liebe, dir ergeb’ ich mich,dein zu bleiben ewiglich.

Liebe, die mich hat erkoren,eh’ als ich geschaffen war,Liebe, die du Mensch geborenmir zu gleichen ganz und gar.

Liebe, die für mich gelittenund gestorben in der Zeit,Liebe, die mir hat erstrittenew’ges Heil und Seligkeit.

Liebe, die mich hält gebundenan ihr Joch mit Leib und Sinn,Liebe, die mich überwundenund mein Herz hat ganz dahin.

Liebe, die mich wird erweckenaus dem Grab der SterblichkeitLiebe, die mich wird umsteckenmit dem Laub der Herrlichkeit.

Love, who formed in your likeness,image of your Godhead here,Love, who showed such care and kindness,when I wander’d, brought me near,Love, I give myself to beone with you eternally.

Love, who deemed my life was precious,long before I came to be,Love, divine, but human with us,came to earth to set us free.

Love, who once in time did suffer,pierced, derided, crucifi ed,Love, whose sacrifi ce does offerjoy eternal at your side.

Love, your yoke is light upon me,liberating sense and mind.Love, whose presence now surrounds me,grants me freedom unconfi ned.

Love, I know your resurrectionpromises defeat of death.Love, I’m saved through your perfection,fi lled with praise that has no end.

Die liefde is ’n wegkruipplek teen hartseer en teen pyn/Love is a place to hide from grief and pain

9. Vir ’n pepermossieWillie van der Merwe/Laurinda HofmeyrVerw. Sarita Hauptfleisch

Hierdie werk is een van Palissander se vroegste treffers. Dit verskyn op ons eerste CD, Almost like a song. Soos in die geval van Moment, beoog ons om die lied weer uit te reik op die Afrikaanse CD wat ons in 2015 sal vrystel.

Voortaan sal ek winterskemers vleilangs loopen droë takkies van geraamtestruike stroop.Die wilgers sal gekruisig aan die hemelruim hangen ek sal, doodmenslik, na jou terugverlang.Soos na die somer se rinkink van vinke in palmieteen die onbeholpe liefde van wilde ganse tussen riete.

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10. BlouAndré SwiegersVerw. Sarita HauptfleischVir damestemme

Blou verskyn ook op ons eerste CD, Almost like a song. Ons beoog om dit ook weer uit te reik op die Afrikaanse CD wat ons in 2015 sal vrystel.

As die skemer kom en hy vang my by jou en hy stuur jou terug na jou huis toe.Wie sou verstaan, hoe ek sou voel, wie sou verstaan?Oral om, om my heen, is dit blou, want ek wil by jou wees.Ek wil by jou wees, vanaand.

Tyd en plek bepaal wat gebeur, niemand kan dit keer nie.Sê my wat’s reg en wat is verkeerd. Wie sou bepaal?Oral om, om my heen, is dit blou, want ek wil by jou wees.Ek wil by jou wees, vanaand.

Alles is blou.Blou is die wolke, blou is die maan, blou is die venster waarby ek staan.Blou is my hart en blou my gedagtes, blou om my heen.Alles is blou. Alles, oor jou.

11. YesterdayMusic and words: John Lennon and Paul McCartneyArr. Bob ChilcottFor male voices

Yesterday was originally recorded by the Beatles for their 1965 album Help!. Although credited to Lennon–McCartney, the song was written solely by Paul McCartney. It remains popular today with more than 2 200 cover versions, and is one of the most covered songs in the history of recorded music. This arrangement was made for the King’s Singers.

Yesterday, all my troubles seemed so far away.Now it looks as though they’re here to stay.Oh, I believe in yesterday.Suddenly I’m not half the man I used to be.There’s a shadow hanging over me.Oh, yesterday came suddenly.Why she had to go?I don’t know, she wouldn’t say.I said something wrongnow I long for yesterday.

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Yesterday love was such an easy game to play.Now I need a place to hide away.Oh, I believe in yesterday.

12. Mae-eTeks en musiek: Kentaro SatoIn Japanees gesing

Kentaro Sato (gebore in 1981), ook bekend as Ken-P, is ’n komponis, dirigent/orkestreerder en ontleder van mediamusiek (fi lm/televisie/rekenaarspeletjies) en konsertmusiek (simfoniese en koorwerk). Hy is in Los Angeles gevestig en het reeds talle toekennings ingepalm. Sy werk is tot op datum uitgevoer, uitgesaai en opgeneem in Noord- en Suid-Amerika, Asië en Europa. Hy tree dikwels op as gasdirigent en aanbieder van werkswinkels en werksessies oor koormusiek en komposisie/orkestrasie oor die hele wêreld.

Hierdie werk is opgedra aan die slagoffers van die aardbewing en tsoenami in 2011 in Japan wat 16 000 lewens geëis het en waartydens 2 500 mense vermis geraak het.

Ek onthou jou warm hand.Ek onthou jou vriendelike stem.Ek onthou jou eerlike oë en stil gebed.

As ek my oë toemaak, onthou ek die tyd wat ons saam deurgebring heten die kere wat ons saam gesing het.Al hou die musiek op, beteken dit nie ons neem afskeid nie;soos wat musiek weer en weer opklink, so sal jy voortleef in my bewussyn. Ek onthou ’n droom wat jy gekoester het.Ek onthou hoe jy geglimlag het oor môre. Met herinnerings aan jou in my hart, loop ek treetjie vir treetjie vorentoe.Terwyl ek elke dag se vreugde en verdriet verwelkom, loop ek treetjie vir treetjie vorentoe.

13. Tango cappellaArr. Mike BrewerSung in Spanish

The Argentinian tango was a 1920s phenomenon that spawned hundreds of compositions by a wide range of composers. For this work, the composer selected two tangos from a collection of scores that was given to him. He chose them partly because of their simlarly nostalgic and sad mood and partly because they could be performed together without too much interference. He incorporated some of the sophisticated chord progressions of jazz and of the more serious composers of the period.

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Yesterday love was such an easy game to play.Now I need a place to hide away.Oh, I believe in yesterday.

12. Mae-eTeks en musiek: Kentaro SatoIn Japanees gesing

Kentaro Sato (gebore in 1981), ook bekend as Ken-P, is ’n komponis, dirigent/orkestreerder en ontleder van mediamusiek (fi lm/televisie/rekenaarspeletjies) en konsertmusiek (simfoniese en koorwerk). Hy is in Los Angeles gevestig en het reeds talle toekennings ingepalm. Sy werk is tot op datum uitgevoer, uitgesaai en opgeneem in Noord- en Suid-Amerika, Asië en Europa. Hy tree dikwels op as gasdirigent en aanbieder van werkswinkels en werksessies oor koormusiek en komposisie/orkestrasie oor die hele wêreld.

Hierdie werk is opgedra aan die slagoffers van die aardbewing en tsoenami in 2011 in Japan wat 16 000 lewens geëis het en waartydens 2 500 mense vermis geraak het.

Ek onthou jou warm hand.Ek onthou jou vriendelike stem.Ek onthou jou eerlike oë en stil gebed.

As ek my oë toemaak, onthou ek die tyd wat ons saam deurgebring heten die kere wat ons saam gesing het.Al hou die musiek op, beteken dit nie ons neem afskeid nie;soos wat musiek weer en weer opklink, so sal jy voortleef in my bewussyn. Ek onthou ’n droom wat jy gekoester het.Ek onthou hoe jy geglimlag het oor môre. Met herinnerings aan jou in my hart, loop ek treetjie vir treetjie vorentoe.Terwyl ek elke dag se vreugde en verdriet verwelkom, loop ek treetjie vir treetjie vorentoe.

13. Tango cappellaArr. Mike BrewerSung in Spanish

The Argentinian tango was a 1920s phenomenon that spawned hundreds of compositions by a wide range of composers. For this work, the composer selected two tangos from a collection of scores that was given to him. He chose them partly because of their simlarly nostalgic and sad mood and partly because they could be performed together without too much interference. He incorporated some of the sophisticated chord progressions of jazz and of the more serious composers of the period.

I imagine the fl ickering of the lights that in the distance will be marking my return.They’re the same that lit, with their pale refl ections, deep hours of painAnd even though I didn’t want to come back, you always return to your fi rst loveThe tranquil street where the echo said yours is her life, yours is her love,under the mocking gaze of the stars that, with indifference, today see me return.

To return with withered face, the snows of time have whitened my temples.To feel...that life is a puff of wind, that twenty years is nothing,that the feverish look, wandering in the shadow, looks for you and names you.To live... with the soul clutched to a sweet memory that I cry once again.

I am afraid of the encounter with the past that returns to confront my lifeI am afraid of the nights that, fi lled with memories, shackle my dreams.But the traveler that fl ees, sooner or later stops his walkingAnd although forgetfulness, which destroys all, has killed my old dream,I keep concealed a humble hope that is my heart’s whole fortune.

Die liefde is ’n leë graf, ’n brokkie brood en wyn/Love is an empty grave, a piece of bread and wine

14. Khutšo – lied vir vredeMokale Koapeng (gebore in 1963)/Roderick Williams (gebore in 1965)In Sotho en Latyn gesing

I Fagiolini is ’n Britse solo-ensemble wat spesialiseer in Renaissance- en kontemporêre musiek. In April 1997 het I Fagiolini en die SDASA (Seventh Day Adventists Student Association) Chorale in Suid-Afrika bymekaar gekom vir ‘n intensiewe kulturele uitruilproses om hulle musiekwêrelde met mekaar te vergelyk, teen mekaar te stel en te kombineer. Tydens hierdie uitruilproses het I Fagiolini en die SDASA Chorale saam opgetree by Afrika-kerkdienste, in township-gemeenskapsale en stadsteaters, en het hulle baie tyd saam deurgebring by werkswinkels waar hulle ’n gesamentlike repertorium ontwikkel het. Dit is nooit maklik om verskillende musiekstyle en -tradisies met integriteit saam te voeg nie, maar I Fagiolini en die SDASA Chorale het hierdie uitdaging suksesvol die hoof gebied. Die bedoeling was nie in die eerste plek om ’n nuwe musikale vermenging te skep nie, maar eerder om op betekenisvolle wyse te deel in mekaar se musiek en wêrelde, en om die onproduktiewe kloof tussen professionele en gemeenskap-gebaseerde musiek te oorbrug.

Khutšo kontrasteer ‘n Afrika-vredeslied met ’n Westerse toonsetting van die Agnus Dei-teks wat standaard deel uitmaak van die Katolieke mis asook van die klassieke Westerse liturgieë van die Anglikaanse en Lutherse kerk.

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Morena re kgopela khutšoMono, mono AfrikaKhutšo ebe Afrika

Here, skenk ons vredehier, hier in Afrika.Laat vrede heers in Afrika.

Agnus Dei, qui tollis peccata mundi,miserere nobis.Agnus Dei,qui tollis peccata mundidona nobis pacem.

Lam van Godwat die sondes van die wêreld wegdra,wees ons genadig.Lam van Godwat die sondes van die wêreld wegdra,gee ons vrede.

15. From “Five Lenten Motets”Antonín Tučapský (born in 1928)Sung in Latin

Tučapský is a Czech composer who has been living in the United Kingdom since 1975. He has pursued a career as composer, teacher and conductor. His compositions are mostly for choir.

I. Tristis est anima mea

Tristis est anima mea usque ad mortem;sustinete hic, et vigilate mecum.

My soul is exceedingly sorrowful even unto death: abide ye here, and keep vigil with me.

V. Pater meus

Pater meus, in manus tuas commendo spiritum meum.Consummatum est.

Father, into thy hands I now commit my spirit.It is fi nished.

16. Uit “Konsert vir koor” S Rachmaninoff (1873-1943) In Russies gesing

Rachmaninoff was ’n Russiese komponis, pianis en dirigent. Hy word wyd beskou as een van die voortrefl ikste pianiste van sy tyd. As komponis word hy gesien as een van die laaste groot verteenwoordigers van die Romantiek in Russiese klassieke musiek. Die Konsert vir koor is een van sy vroeë werke.

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Morena re kgopela khutšoMono, mono AfrikaKhutšo ebe Afrika

Here, skenk ons vredehier, hier in Afrika.Laat vrede heers in Afrika.

Agnus Dei, qui tollis peccata mundi,miserere nobis.Agnus Dei,qui tollis peccata mundidona nobis pacem.

Lam van Godwat die sondes van die wêreld wegdra,wees ons genadig.Lam van Godwat die sondes van die wêreld wegdra,gee ons vrede.

15. From “Five Lenten Motets”Antonín Tučapský (born in 1928)Sung in Latin

Tučapský is a Czech composer who has been living in the United Kingdom since 1975. He has pursued a career as composer, teacher and conductor. His compositions are mostly for choir.

I. Tristis est anima mea

Tristis est anima mea usque ad mortem;sustinete hic, et vigilate mecum.

My soul is exceedingly sorrowful even unto death: abide ye here, and keep vigil with me.

V. Pater meus

Pater meus, in manus tuas commendo spiritum meum.Consummatum est.

Father, into thy hands I now commit my spirit.It is fi nished.

16. Uit “Konsert vir koor” S Rachmaninoff (1873-1943) In Russies gesing

Rachmaninoff was ’n Russiese komponis, pianis en dirigent. Hy word wyd beskou as een van die voortrefl ikste pianiste van sy tyd. As komponis word hy gesien as een van die laaste groot verteenwoordigers van die Romantiek in Russiese klassieke musiek. Die Konsert vir koor is een van sy vroeë werke.

Vmolit vakh nyeusypayushuyu bogoroditsu v pryedstatel’stvakh mira nyeprelozhnoye unavaniye;Grob I umershvleniyenye uderzhasti.

Nóg die dood, nóg die graf kon seëvier oor die moeder van God, wat onophoudelik vir ons bid en as middelaar vir ons intree,want as die moeder van die Lewe is sy self tot lewe gewek deur die Een wat uit haar maagdelike skoot voortgekom het.

17. Unicornis captivatur Ola Gjeilo (born in 1978) Sung in Latin

This is one of Gjeilo’s earliest choral works. It shows the infl uence of chant in its fl owing lines and asymmetrical rhythmic stresses, while the refrain sparkles like a Renaissance dance.

The text is found in the Engelberg codex, a medieval music manuscript housed in the Benedictine abbey in Engelberg, Switzerland. The work is fi lled with rich symbolism drawn from the medieval bestiaries, illustrated volumes containing descriptions of both real and fabulous beasts and birds, each description accompanied by some moral lesson.

The unicorn, which can only be tamed and captured by a virgin, is a symbol for Christ, who consented to enter the Virgin’s womb. It is presented to the Royal Court, just as Christ was captured in Gethsemane and dragged before Pilate. It is also able to heal itself, as the horn has miraculous medicinal properties. The unicorn’s ‘horn of salvation’ was also a metaphor for the Holy Cross, through which Jesus purifi ed the world. The pelican, another symbol for Christ, was believed to tear open its own breast and feed its chicks with its lifeblood. The phoenix, which died and was reborn in fl ame every 500 years, embodied both the Resurrection and the soul’s immortality. The hydrus was a water serpent that would artfully cover itself in mud and trick the crocodile (a representation of hell) into swallowing it, whereupon it would eviscerate the beast and emerge triumphant, as Christ did in his harrowing descent to hell. Jesus, the Paschal Lamb, the Lamb of God, and the Good Shepherd, has always been associated with those meek creatures, but he is also the Lion of Judah. The bestiaries taught that lion cubs are born dead, but after three days the father breathes on them and awakens them by his roaring – as God awakened his Son three days after the crucifi xion, on the day of Resurrection.

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Unicornis captivatur Aule regum presentatur Venatorum laqueo, Palo serpens est levatus, Medicatur sauciatus Veneno vipereo Alleluia canite, Agno morienti, Alleluia pangite, Alleluia promite Leoni vincenti. Pelicano vulnerato Vita redit pro peccato Nece stratis misera, Phos fenicis est exusta, Concremanturque vetusta Macrocosmi scelera.

Alleluia canite…

Idrus intrat crocodillum, Extis privat, necat illum,Vivus inde rediens;

Tris diebus dormitavit Leo, quem resuscitavit Basileus rugiens. Alleluia canite…

The Unicorn is captured, it is presented to the royal court in the hunter’s snare; creeping, it freed itself from the pole; because it is wounded, it heals itself with the viper’s venom. Sing Alleluia to the dying lamb; sing Alleluia, cry Alleluia to the victorious Lion. Life returns to the wounded Pelican after miserable death in its nest for the sins of the world. The Phoenix’s light is burnt out, the ancient sins of the world are utterly consumed by flame. Sing Alleluia…

The Hydra enters the crocodile,deprives it of its entrails, kills it,and comes back alive.

Three days longthe lion slept till the Kingawakened it with a roar.

Sing Alleluia…

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Die liefde lê in sagte woorde wat oor my gees kom streelen in die droë maande my hart tot hoop beveel/

Love lies in gentle words that caress my spirit and bring hope in dark times

18. The roseAmanda McBroomVerw. The King’s Singers, aangepas deur Sarita HauptfleischVir damestemme

In 1977 het Amanda op die snelweg gery toe sy Danny O’Keefe se liedjie “Magdalena” oor die radio hoor. Dit het die volgende versreël bevat: “Your love is like a razor. My heart is just a scar.” Terwyl sy verder gery het, het sy gedink dat sy nie saamstem met hierdie gevoel nie. Sy het bly nadink oor wat sy as liefde beskou en die woorde het by haar bly opkom. Sy het hulle bly herhaal terwyl sy al vinniger gery het om by die huis te kom. Tien minute nadat sy by die huis gekom het en voor die klavier gaan sit het, is die liedjie “The Rose” gebore. ’n Jaar later het ’n liedjieskrywer-vriend die liedjie voorgelê vir die fi lm “The Rose”. Die vervaardigers was nie beïndruk met die liedjie nie, maar gelukkig het Bette Midler daarvan gehou.

Some say love, it is a river that drowns the tender reed.Some say love, it is a razor that leaves your soul to bleed.Some say love, it is a hunger, an endless aching need.I say love, it is a fl ower, and you its only seed.

It’s the heart afraid of breaking that never learns to dance.It’s the dream afraid of waking that never takes the chance.It’s the one who won’t be taken, who cannot seem to give,And the soul afraid of dyin’ that never learns to live.

When the night has been too lonely and the road has been too long,and you think that love is only for the lucky and the strong,just remember in the winter far beneath the bitter snowslies the seed that with the sun’s love in the spring becomes the rose.

19. We walk in a fogText: Eino Leino, transl. Jaakko MantyjarviMusic: Jussi Chydenius

Rajaton is a Finnish a cappella ensemble that was founded in Helsinki in 1997. The Finnish word rajaton means “boundless”, to indicate the breadth of their repertoire, from sacred classical to near Europop.

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We walk in a fog that forever surrounds us and hark to the sounds of the moonlit night.We tread on a treacherous moss that confounds usand darkness of dusk human hearts does blight.

But two lonely hearts when joined in singingand calling each other in night’s confi ne,two shadows entwining and lovingly clinging - oh wouldn’t, oh wouldn’t that be divine!

Sonder liefde is ons niks nie; laat ons daarom in liefde lewe/Without love we are nothing; let us therefore live in love

20. Live in loveEphesians 5:1–2Dorothy J. PapadakosSung in Zulu, Xhosa and EnglishPercussion: Isabeau Salmon

Dorothy Papadakos was the fi rst woman to be appointed to the prestigious position of organist at the Cathedral of St. John the Divine in New York City. As a recitalist, she tours widely and is known for her daring programming and improvisation workshops. As a composer and lyricist, Papadakos writes for theatre, fi lm and television. She also receives commissions for sacred music.

Therefore, be imitators of God, as beloved children and live in love!As Christ gave Himself up for us, a fragrant offering and sacrifi ce to God.

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Lede – Members

Soprane/SopranosChristie Barnard, Sandra Botha,

Melani Fouché, Maureen Grobler, Engela Labuschagne, Rochelle Strydom, Kathleen van der Linde

Alte/Altos Nellie Celliers, Laetitia Crause, Lizl Dennis, Dineke Ehlers, Isabeau Salmon, Chantal Verster

Tenore/TenorsDean Boltman, George de Bruin,

Gerhard Pienaar, Hannes van der Merwe, Werner von Gruenewaldt, Graeme Wilkinson

Basse/BassesOtto Bester, Marinus Claassen, David Frey, Rudi Sadler,

Anton van Schalkwyk, Marius van Staden, Jean-Pierre Verster

Kaaptoer 2014, Langebaan

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www.palissander.co.zae-pos: info@palissander.co.zaDirigent: Sarita HauptfleischSelfoon: +27 (82) 784 0409

Faks: +27 (86) 672 5256

Palissander Chamber Choir