Our Mission Our Values
Our Leadership Our History
Our Music
SCROLL TO SEE ALL
The Calgary Renaissance Singers & Players (CRSP) is a mixed voice, auditioned ensemble with associated instrumentalists, dancers, and theatrical players. Our purpose is to inspire, entertain, and educate our audiences and members through the music, culture, and history of the Renaissance. We enrich our performances with works of other periods that celebrate the spirit of the Renaissance.
While much of our music is designed for church performance, we also work with a wealth of secular music: madrigals, love songs, drinking songs, and occasional political complaints. We often include instruments and invite guest musical artists, collaborating with many other choral and instrumental groups in Calgary. We also feature talented instrumentalists who perform on a variety of ancient instruments, such as baroque recorder, crumhorn, viola da gamba, harpsichord and many others.
As our name explains, we are not just “Singers” but also “Players.” Therefore, at a performance, you may also be entertained between songs with historical commentary, short theatre skits, dance, and other short performances that suit the theme of a concert. Audiences frequently comment on our historical costumes as well, which we update regularly and keep colourful. We are an artistically creative and playful group, so prepare to be surprised and entertained.
The Calgary Renaissance Singers & Players rehearse at the Calgary Unitarians and most often perform at St. Stephen’s Anglican Church in Calgary.
Our Mission
To present choral works in the spirit of the Renaissance (up to and including the 21st century) in standard and unusual venues, through conventional and unusual collaborations.
❖
To provide an opportunity for challenge, musical excellence and fun to choir members and our audience.
❖
To provide and develop transformative musical experiences that also offer good entertainment and education for ourselves and our audience.
❖
To make a conscious effort to understand and respond to the interests and possibilities of our audience, both current and potential.
❖
To encourage and inspire new composers to create works in the style of the Renaissance, and to commission and perform their works.
❖
To advance the public’s appreciation of the arts by providing high-quality artistic performances in public places, senior citizens homes, churches, community centres, and educational institutions.
❖
To advance education by providing pre-concert seminars on topics related to the history of the Renaissance to the general public.
TOP OF PAGE • SCROLL FOR MORE
Our Values
The openness of all choir members to creative and technical growth.
❖
The respectful eccentricity of our members who are united in a commitment to a shared passion and a sense of community.
❖
Proud and confident performances which require all members to make a commitment to adequate preparation* and attendance.
❖
Mentoring and education of members, existing and new; the renewal and stewardship of our audience, Board and our members.
❖
The active contribution of all members, both musically and administratively including participation in the leadership of the group.
The Calgary Renaissance Singers & Players recognize the following organizations for their generous support:
— and —
Community Initiatives Program of the Alberta Government
TOP OF PAGE • SCROLL FOR MORE
Our Leadership
CRSP is pleased to announce that Paul Grindlay is our new Artistic Director for the 2023/24 Season!
Paul’s musical career began at age 10 in London, England, as a paid boy soprano at St. Mary's Merton Park. Over the years he has enjoyed a varied career as a singer and conductor performing internationally as a soloist and professional chorister. He and his wife moved to Calgary from Toronto in 2000, and in 2004 he become the artistic director of the Calgary Boys' Choir, which led to subsequent conducting opportunities with Knox Presbyterian Church, the Airdrie Community Choir and SuperSonic Men's Choir. When he’s not singing, you will likely find him on the water, fly-fishing!
Paul says “I am excited to be able to work with the CRSP, an organization that has enriched Calgary's cultural scene for decades. I have great respect for the many long-standing members who provided the inspiration and perspiration that has steered the organization through the years. I love Renaissance music, and I see continuing opportunities for this choir to celebrate and sing that beautiful music, but also to develop, evolve and find new ways to connect with a changing cultural landscape.”
Jane Perry was the Artistic Director of the Calgary Renaissance Singers & Players since she arrived in Calgary in September 2011 to May 2022. She left behind a beautiful legacy which is a hard act to follow!
Jane is a classically-trained pianist who holds a Master of Music degree (chamber music specialization) from the University of Ottawa and an Associate Diploma (piano performance) from the Royal Conservatory of Music in Toronto. She worked as a choral accompanist and choral conductor for twenty years in Ottawa before moving to Calgary. Jane’s professional passions of music education and community-building find a natural home in her work with community choirs, whose concerts provide opportunities to collaborate with other musical organizations, professional and amateur players, and composers. Her work with CRSP has expanded her own musical horizons and has given her the opportunity to help make early music available and accessible to Calgary’s concert-going audiences. Outside of her choral work, Jane is the pianist with the Calgary Jazz quartet Jazz on the Side.
In 2017, Jane was nominated for Calgary Outlink’s Heart of Excellence award in the artistic category. She also made her very first appearance in One Yellow Rabbit Theatre’s High Performance Rodeo as a choral conductor, in a production of Toronto’s Nightswimming Theatre’s “Why We Are Here!” with the Calgary actress and Indigenous activist Michelle Thrush.
TOP OF PAGE • SCROLL FOR MORE
Our History
CRSP was founded in 1970 by Dr. Anthony (Tony) G. Petti, a professor of Renaissance English literature at the University of Calgary.
Tony started the group as a way of demonstrating Medieval and Renaissance music and drama to his literature classes, and then expanded it with a mandate for public performance. Concerts were, and still are, designed to educate as well as entertain. Tony was well known and loved for his dynamic narratives and flamboyant wit onstage, as well as his kindness and encouragement to all of us. Tony authored several “Chester Books” of motets that are still in use today by our choir and others.
Tony’s death in 1985 left the Choir with a serious decision to face: should the Choir disband, or carry on with new leadership? We did carry on, knowing that the future would challenge and enrich our community musically, professionally, and personally.
Today, the choir produces two major performances per year. In the past 53 years, CRSP has been a part of over 125 concerts, smaller-group performances and special events!
In the past, CRSP has proudly partnered with early-music specialists from String Theory Music Collective, and choirs such as Enchor Chamber Choir and Spiritus Chamber Choir.
TOP OF PAGE • SCROLL FOR MORE
Our Music
“The Renaissance was a fervent period of European cultural, artistic, political and economic ‘rebirth’ following the Middle Ages. Generally described as taking place from the 14th century to the 17th century, the Renaissance promoted the rediscovery of classical philosophy, literature and art. Some of the greatest thinkers, authors, statesmen, scientists and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. The Renaissance is credited with bridging the gap between the Middle Ages and modern-day civilization.” — History.com
Humanity has created some extraordinary things. The Renaissance period, known for artists like da Vinci, Michelangelo, and Raphael, produced some of the most extraordinary music ever created, rich in texture, melody, and meaning. Performing and enjoying Renaissance music is often a transcendent experience.
CRSP may feature other musicians and performers such as dancers, jugglers, or spoken-word artists. This often includes musicians from the "Players" side of Calgary Renaissance Singers and Players - recorder player John Van Leeuwen, viola da gamba player Joan Kent, our own Jane Perry as a harpsichordist.
The Calgary Renaissance Singers & Players strive to keep the Renaissance alive through excellence in Renaissance music. Renaissance music, like later repertoire, has characteristic forms. Music forms performed by CRSP include the following:
Liturgical (meaning: sacred):
Mass: Usually the Ordinary of the Catholic mass (texts used for the mass regardless of occasion), in Latin, consisting of Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. In the Renaissance period, most masses were set to music with a common melodic theme in all five sections, demonstrating the composer’s ability to develop coherent and interesting variations on the theme. Mass music is serene and contemplative — it was not supposed to be startling, as its purpose was to enhance prayer. Examples: Palestrina’s masses.
Motet: A short Latin liturgical form for four or more voice parts, usually taken from a Psalm text or from the Proper of the Catholic mass (Antiphon and Responsory texts that vary according to the occasion). Motets are often highly dramatic, featuring strong contrasts of dynamics and/or rhythm, although they may also be in the more serene style of the Mass. They feature imitative polyphony, in which each voice part dialogues in parallel phrases with the other parts, and may contain text painting (see Madrigal). Examples: Palestrina “Sicut cervus”, Victoria “O vos omnes”. The Medieval motet is quite different from the Renaissance version. It usually has three voice parts, and may feature a different rhythmic structure in each. Rather than the smooth imitative style of the Renaissance motet, it features considerable contrast between voice lines. Medieval motets may be sacred or secular.
Anthem: The anthem is the Anglican version of the motet, texted in English. Anthems were written during and after the time of Henry VIII (early 16th century through 20th century), and may be either polyphonic or homophonic. The term is derived from “antiphon”. Example: “Lord, for thy tender mercy’s sake”, “O Lord, increase my faith”.
Lutheran Chorale: Many of our Christmas carols and hymns from the 16th and early 17th centuries are actually chorale tunes — congregational hymns — from the early Lutheran church. These hymns eventually formed the themes for the full-length chorales of Bach and other German Baroque composers. Texts may be in German or a combination of German and Latin. Examples: “Lo how a Rose (Es ist ein Ros)”, “Good Christian Men, Rejoice (In dulci jubilo)”.
Secular:
Madrigal: Musically, the madrigal is much like the Renaissance motet. It features imitative polyphony and dramatic text painting, in which the music illustrates the words (e.g. moving up the scale on the word “ascending”, or suddenly dropping in volume on “softly’.) Madrigal texts may be in Italian or English and usually, speak of love from a man’s point of view. Madrigals are composed part-songs, although they may imitate the style of folk songs. Examples: Lassus, “Tutto lo di” and “Matona, mia cara”, Morley “Now is the month of maying”. (In the madrigal “family” is a variety of forms like the canzonetta, ballatta, and ayre. For our purposes, they’re basically madrigals).
Chanson: The chanson is a French part-song. The music may be polyphonic or homophonic (contrapuntal or chordal), and it often imitates the style of folk music. Chanson texts may be about love, lust, drinking, trips to town, politics, or practically anything else. They are often racy, comical, or satirical, and sometimes present a woman’s point of view (or a man’s notion of what a woman might think). Examples: “Il est bel et bon”, “Belle qui tiens ma vie”.
Carol(e): An English form of the 15th century, originally a song to accompany circle dancing. The “Christmas carol” was a later derivation. The musical structure may be folklike, or it may be complex counterpoint, often at cross rhythms, for two or three voice parts. Texts may be devotional, topical, or amatory, and may be in English, Norman French, or Latin, or a combination of languages. Examples: “Boar’s Head Carol”, “Deo gracias anglia”. (see also: Lutheran chorale)