Los Angeles Master Chorale to Launch COMMUNITY SERIES: SACRED SPACES CONCERT SERIES

The Los Angeles Master Chorale is launching its inaugural “Community Series: Sacred Spaces” concert series, led by Kiki & David Gindler Artistic Director Grant Gershon, with two upcoming performances at All Saints’ Beverly Hills on April 6, 2025, and Saint Andrew Church in Pasadena on April 11, 2025. This special series embraces the rich acoustics and spiritual resonance of these beloved spaces while making the beauty and power of world-class choral music accessible to a wider audience.  

Blending tradition with innovation, Sacred Spaces celebrates the meaningful connection between music and place. Each concert highlights the Master Chorale’s unparalleled sound and versatility in settings that have long served as centers of community and reflection. Featuring a diverse repertoire that spans centuries—from traditional hymns and spirituals to contemporary works by today’s most visionary choral artists—these performances invite audiences to experience the transformative power of the Master Chorale in communal spaces.

The program for both concerts will include the following works: Anton Bruckner’s Locus iste, a short but deeply expressive motet composed in 1869 for a cappella choir. This sacred motet exemplifies Bruckner’s deep faith and his mastery of choral writing. A favorite in sacred music repertoire, Locus iste blends simplicity with deep spiritual expression.

Giovanni Pierluigi da Palestrina’s Missa Ave Regina Coelorum, was written in 1599. As a master of Renaissance sacred music, Palestrina employs his signature rich harmonies and textures to create a work of both clarity and devotion. Missa Ave Regina Coelorum stands as a testament to Palestrina’s ability to elevate Gregorian chant into expansive and luminous choral writing, embodying the spiritual and artistic ideals of the High Renaissance.

South Korean composer Hyo-Won Woo’s Cum Sancto Spiritu is a dynamic and rhythmically intricate choral work that blends traditional sacred choral writing with contemporary influences. Woo, known for her innovative and expressive choral compositions, often incorporates elements of Korean musical aesthetics while staying rooted in the Western choral tradition, making her compositions both unique and compelling.

My Lord, What a Mourning, an interpretation of the well-known African American spiritual My Lord, What a Morning, arranged by William Dawson, reflects themes of judgment, redemption, and hope. The dual connotation of "mourning" captures the complex emotions of both joy and sorrow often present in spirituals, particularly in relation to themes of liberation and the hardships of slavery.

Hark, I Hear the Harps Eternal, a traditional Appalachian hymn arranged by Alice Parker, and Abide with Me, a Christian hymn arranged by Moses Hogan and written by Henry Francis Lyte in 1847, are two beloved hymns that offer a unique message of hope and comfort. Hark, I Hear the Harps Eternal, often attributed to the African American spiritual tradition, speaks of the joys of heaven and the promise of eternal life, evoking a sense of longing and anticipation for spiritual fulfillment. In contrast, Abide with Me, written by Henry Francis Lyte, is a poignant hymn that expresses a heartfelt plea for divine presence and support during times of trial and uncertainty.

Morten Lauridsen’s O Magnum Mysterium was commissioned by Marshall A. Rutter in 1994 in honor of his wife, Terry Knowles. The work has since become one of the most beloved and iconic American choral works of the last 50 years. Marshall A. Rutter was a lifelong music enthusiast and a devoted champion of choral music. He helped found the Los Angeles Master Chorale Association in 1964 and continuously served on the board of the Master Chorale for six decades.

Duke Ellington's The Lord's Prayer showcases the profound artistry and spiritual depth of Ellington's Sacred Concerts, which took place between 1965 and 1973. During this time, as he reflected on his mortality and deepened his spirituality, Ellington composed massive works in the emerging genre of "sacred jazz." This innovative genre blends elements of jazz, classical music, choral traditions, spirituals, gospel, and blues, resulting in a rich tapestry of sound.

We Shall Walk Through the Valley in Peace is a choral work by Undine Smith Moore, a prominent composer known for her contributions to African American classical music. Its text conveys themes of hope, comfort, and resilience, and reflects the tradition of African American spirituals. This work exemplifies her commitment to blending spirituals with classical forms, making it a significant work in the choral repertoire that continues to resonate with audiences today.

TaReKiTa, composed by Swan Family Artist in Residence Reena Esmail in 2016, was created as a gift for the Urban Voices Project, a choir composed of individuals who are currently or have recently experienced homelessness on Skid Row in Los Angeles. The work received its music video premiere by the Los Angeles Master Chorale in November 2020 as part of its digital season due to the COVID-19 lockdown. TaReKiTa is a joyful, fast-paced, rhythmic piece inspired by the sounds of Indian classical percussion.

Wana Baraka, arranged by the Master Chorale’s own Shawn Kirchner, is a joyful setting of a Kenyan folk hymn. The title translates to "They Have Blessings" in Swahili, and the piece celebrates themes of joy, community, and gratitude. Composed by David Hurd, Wana Baraka features vibrant harmonies, call-and-response elements, and lively rhythms that invite participation. Its infectious energy and positive message make Wana Baraka a favorite among choirs and audiences alike.

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