The Choral Arts Ensemble has enjoyed this amazing experience twice in two years, and we proudly and gratefully welcome back one of the leading choral composers in the world today, Ola Gjeilo. Ola Gjeilo: Sunrise Mass. 3321 16th Street at Dolores, San Francisco With Mary we behold it, Summa Trinitas revelatu Hognestad was a Norwegian theologian, writer, translator, and Lutheran bishop, known especially for his 1921 translation of the Bible into Nynorsk, the 19th-century-created New Norwegian language, as contrasted with Bokmal, an older Danish language also used in Norway. They are otherwise unpublished. He got his inspiration for the poem suddenly from the sound of a fountain in London and considered the poem “my first lyric with anything in its rhythm of my own music.” Listeners can hear rippling water throughout the song in the rhythmic repetition of the words “Innisfree go to Innisfree,” like water gently lapping at the shore. Despite his many classical compositions, he also has a passion for improvisation and jazz as both composer and performer, and some of his works combine his interest in choral music and improvisation. grant us peace. His dissertation was about the music of the Seneca Indians, the first major publication to deal with the music of the American Indian. Wohl zu der halben Nacht. He has written of this Kyrie: “I wanted the musical evolution of the Mass to go from the most transparent and spacey to something completely earthy and grounded, from heaven to earth, so to speak. Ubi Caritas Lyrics: Ubi caritas et amor, Deus ibi est / Simul ergo cum in unum congregamur: / Ne nos mente dividamur, caveamus / Cessent iurgia maligna, cessent lites / Et in medio nostri sit Christus He is especially interested in composing vocal, orchestral, and piano music. He also has composed music for solo piano, instrumental ensembles, and orchestras. Gjeilo studied classical composition with Wolfgang Plagge. In his undergraduate career, Gjeilo studied at the Norwegian Academy of Music (1999–2001), transferred to the Juilliard School (2001), and studied at the Royal College of Music, London (2002–2004) to receive a bachelor's degree in compositio… Oh, what a joy. In 2006-2007, he and fellow composer Asmund Skuterud created a film music company called Nordic Screen Music, based in Oslo and New York. Renowned composer Ola Gjeilo expounds on his creativity, from his inspiring improvisation to his carefully selected lyrics. Ola’s albums include Ola Gjeilo on the Decca Classics label, a portrait of his choral and piano works featuring Tenebrae and Voces8. He received his Master’s degree in 2006. Rejoice, resound with joy. "The Ground" from Sunrise Mass by Ola Gjeilo "Love Is a Song" Music: Frank Churchill Lyrics: Larry Morey Arrangement: Arthur Harris "Praise the Lord! Keyte and Parrott note that both the words and original music of this anonymous folk hymn may have been written in the German diocese of Trier (in the Moselle Valley) during the late 15th or early 16th century, circa 1587. This spiritually-uplifting extended work, neither expressly sacre J:10304878:T:Sunrise Mass His Glories Show" Music: Robert Williams Lyrics: Henry Francis Lyte Arrangement: Mack Wilberg. English translation of lyrics for The Ground (Pleni sunt caeli) by Ola Gjeilo. Ubi Caritas et amor Deus ibi est Congregavit nos in unum Christi amor Christi amor Exsultemus et in ipso jucundemur Timeamus et amemus deum vivum Ola Gjeilo has created a beautiful setting of the German Annunciation hymn Es ist ein Ros’ entsprungen, known to so many Americans as Lo, How A Rose E’er Blooming. The Great Trinity is revealed Gjeilo uses the text, A Spotless Rose is Blowing, a different translation of the original text. By the time he reached junior high school, he had one teacher who finally forced him to concentrate on his technique. And everywhere adored; Gjeilo received his Bachelor’s degree from the Norwegian Academy of Music in Oslo, and then attended the Royal College of Music in London, where he received a degree in composition. Sprung from a tender root, Us • Support We open the second half with “The City,” as Gjeilo titled the Credo of his Sunrise Mass. It describes Jesse as the tree from which Jesus’ line springs. In 2006-2007, he moved to Los Angeles to study film composition/scoring at the University of Southern California, following up his interest in film and film music. Lo, how a rose e’er blooming, He has received the 2016 Brock Commission for a new work to be performed at all seven of the American Choral Directors Association Division conferences in the United States next year. Watch the video for Serenity (O magnum mysterium) from Ola Gjeilo's Tecchler's Cello: Ola Gjeilo, Serenity for free, and see the artwork, lyrics and similar artists. Ola Gjeilo - Ubi Caritas lyrics. At times, he would write down his improvisations as formal compositions. The Ground is based on a chorale in the last movement of Gjeilo’s Sunrise Mass for Choir and String Orchestra (2008), using the text of the concluding part of his Mass: Benedictus and Agnus Dei. See new and popular Ola Gjeilo songs, uploaded by Musescore users, connect with a community of musicians who love to write and play music. He can’t even remember when he began composing. He composed a variety of works while at Juilliard, and received the Gretchaninoff Memorial Prize, as well as winning the 2005 Juilliard Composers’ Orchestral Work Competition. The Blessed Babe she bare us, Parking in schoolyard, entry on Church Street, Sunday, December 4, 2011, 5pm Et ubique adoratur, I love the sound of choir and strings doubling each other!”. In 2001, he began studying composition with Robert Beaser at the Juilliard School of Music. Ut av ei rot så grann, St. Stephen’s Episcopal Church Heaven and earth are full The text for that carol is taken from a hymn by St. Germanus, instead of the anonymous German text. But both the Northern Lights and human desire share the ability to inspire wonder, joy, an electric thrill, and even terror with their power. Give it glory, Gjeilo comments, “The chorale, beginning at Pleni sunt caeli in that movement is the culmination of the Mass, and it’s called Identity & The Ground because I wanted to convey a sense of having ‘arrived’ at the end of the Mass; to have reached a kind of peace and grounded strength, after the long journey of the Mass, having gone through so many different emotional landscapes.” He wanted to make this chorale available as a separate work, and notes, “So, here is a version with piano and optional string quartet accompaniment, including a new intro and epilogue that mainly features the piano, with accompaniment from the choir and strings. Exsultate, Jubilate Is from its sweet root springing, Tu virginum corona, Us • Members Osanna, Osanna in excelsis. We can’t wait to see you there! But at the end, St. Michael arrives to fight Satan, and then Christ comes to free souls from their guilt with his love. It recalls Jesus’ words, “Where two or three are gathered in my name, there am I in the midst of them,” and it remains a frequent part of Maundy Thursday services. Gjeilo has written of “Serenity” that “I wanted to write a cappella music that has a symphonic, abundant feel….I love the warm, lush sound that can give a feeling of space and evocativeness, but still be intimate somehow. Lamb of God, Gjeilo’s music has been performed in over 30 countries, including the United States, Canada, the United Kingdom, South Africa, Norway, Sweden, Denmark, Finland, Germany, Hungary, France, and Belgium. in the name of the Lord. Dispels the darkness. Where “The Spheres” (Kyrie) feels ethereal, above and apart from earthly things, “The City” brims with nervous energy in its accompaniment and begins with a literal grounding in the sturdy bass line. He does not use all three stanzas of the poem—only the first two, adding Alleluia as a refrain. “It opens for the composer opportunities for organic and dynamic creation not possible with previously published poetry, and gives the poet the thrill and responsibility that his words will be sung–not read–and will be heard attached to an emotional soundtrack.” In this piece, the repetitive piano part and the sustained downward lines of the women’s chorus induce a sense of being held in place in an unyielding landscape that knows its own strength; at the same time, a solo soprano voice soars above it like fast-moving clouds.