Wendell Boertje is the conductor for Knoxville Handel Society’s performance of The Creation at the Cathedral of the Most Sacred Heart of Jesus on April 29 at 7:00 PM. His career offers insight about pursuing life goals and motivating singers in music ministry.
Timing is the unseen factor that sometimes decides your path. Wendell Boertje learned this firsthand when he arrived on campus at Moody Bible Institute as a young man, weighing the option of music or pastoral ministry as a career path. Growing up in a pastor’s home with musical parents, Wendell was given opportunities to develop musically by playing piano and organ in his father’s church. He left for college undecided. The music proficiency placement test occurred first, and he was accepted on probation. Wendell proceeded with a music major. Upon receiving a BA in organ, Wendell considered teaching on the secondary level; thus, he began a track at Wheaton College of Music toward a Bachelor’s in Music Education. For a time, Wendell taught in middle school and high school.
Wendell directing a choir in his early years
At Southern Seminary, Wendell was influenced toward church music by Donald Hustad, with the concept of combining music, teaching and ministry in the local church. Pursuing a Masters’ degree in Conducting, Wendell took his first church as an “experiment.” The rest is history, as they say. They made great music; he taught in church and at conferences and was Adjunct Professor at Southern Seminary. Timing again was everything. No longer an experiment, he found that Music Ministry gave opportunities for pastoral care, training in theology, and creative worship.
Wendell conducting a Messiah concert. Far left is Mike Bundon, who is tenor soloist for The Creation.
Asked what he had learned in directing volunteer choirs, Wendell replied, “They want to be taught, to develop, to improve, to grow musically, theologically, socially…They want to belong, to have a sense of community and fellowship. They want to be loved and guided by love, not the law! They want a strong, positive identity. They want to be led by example!”
Choice of The Creation for Knoxville Handel Society’s upcoming concert flowed from ideas expressed by the community after the performance by KHS of Messiah, Parts 2 & 3, under the direction of Guest Conductor Donald Neuen last spring. Wendell continued, “It (The Creation) is respected, loved by musicians and choristers. Haydn founded his concepts of writing on Handel’s oratorios and writing. It is fitting that Knoxville Handel Society present Haydn.” Wendell had directed The Creation before; the Central Baptist Bearden Church Choir had performed it in Avery Fisher Hall in New York City. He had also sung The Creation under Don Neuen previously in Coral Gables, Florida. The Creation was an obvious choice for Knoxville Handel Society.
The motivation to continue in music leadership derives from Wendell’s philosophy that music must be prepared, shared and received. He finds the greatest satisfaction in making music in that order. He adds reflectively, “I‘m not sure I can just be the receiver of music.”
Wendell’s conducting style is no less than what he expects of the choir: energy, life, total engagement. “Don’t let your mind wander!” is a frequent admonition. When vocal technical production meets musicianship, you have Art, as he reminds the choir.
How many hours have been given to preparation of The Creation? Wendell replied quickly, “Months!” He began in December reading background literature on Haydn—everything he could find. The last few weeks he has worked every day, sometimes as much as 4-5 hours per day. His role is not only to prepare the choir, but three soloists and 30 instrumentalists. Performing it as Haydn envisioned it is the mantel the conductor wears. Wendell wears Haydn’s mantle as he steps to conduct Knoxville Handel Society Choir and Orchestra Sunday night, April 29 at 7:00 PM. The Cathedral of the Most Sacred Heart of Jesus is the ideal venue for this work—a sacred space designed for God’s glory, to host a work written for God’s glory.
Almost one year has passed since the fledgling community choir, Knoxville Handel Society, brought its first concert, Handel’s Messiah Parts 2 & 3, to the Tennessee Theatre. With a commitment to perform choral masterworks and to promote Choral Art, Knoxville Handel Society presented a concert of best-loved classical masterworks November 12, accompanied by orchestra and magnificent pipe organ.
We are elated to announce our Spring Concert, The Creation, by Franz Joseph Haydn. The oratorio will be performed Sunday, April 29 at 7:00 PM in the newly completed Sacred Heart Cathedral. Many of you have watched the progress of this impressive structure over two years of construction. It is a dream come true to anticipate singing in this inspiring sacred space. We are extending this extraordinary opportunity for you to be part of the first performance of the Cathedral Concert Series in the new Most Sacred Heart of Jesus Cathedral. The multi-generational KHS choir will be enhanced by 30-piece orchestra and professional soloists: Jami Rogers-Anderson, soprano; Michael Bundon, tenor; and Andrew Wentzel, bass. Wendell Boertje, KHS Music Director, will conduct.
Hayden’s The Creation |April 29 at 7:00 PM | Cathedral of the Most Sacred Heart of Jesus | 711 South Northshore Drive, Knoxville TN 37919
The Creation is the highly esteemed oratorio depicting the Creation of the world, based on the Genesis biblical account of creation, and John Milton’s poem, Paradise Lost. The KHS performance will include selected solos and choruses, somewhat abbreviated, due to the original score being quite lengthy.
Tickets for The Creation are available online at KnoxvilleTickets.com or by calling Knoxville Tickets at 865.656.4444.
Adults $20; groups of 4 or more $15; College students $10; K-12 Students no charge. We encourage purchase of tickets in advance due to the expectation of a large audience.
Plans don’t always work out as you want, but sometimes they work out better than you can imagine.
That’s the case for Knoxville Handel Society, which is in rehearsal for Haydn’s Creation, to be performed in the recently completed Cathedral of the Most Sacred Heart of Jesus on Sunday, April 29 at 7:00PM. This performance will be the first in Sacred Heart’s 2018 Cathedral Concert Series, which supports the arts by providing opportunities for local, regional, national and international music ensembles to perform sacred and classical musical works for the community. That goal aligns perfectly with the purpose of Knoxville Handel Society: to perform choral masterworks and promote Choral Art.
Wendell Boertje and Don King, co-Music Directors of KHS, met 3 days after the fall concert in November. Their express purpose was to consider where The Creation would be performed. The intended venue had become unavailable and a new venue was needed. This was a big work, about a very big event, the creation of the world! Wendell was to be conductor of this performance. He felt it needed to happen in a sacred space, ideally within a cathedral—but where? Don remembered a conversation from 2016 in the formative stages of Knoxville Handel Society, when a friend casually related how he had been asked to consult on community arts involvement in the Cathedral Concert Series.
The wheels began to turn, pondering if the new cathedral might be completed by late April 2018, which was the planned concert date. Some inquiries were made, introductions were arranged, and the first meeting occurred in early December between Don King, Father David Boatner and Glenn Kahler, Director of Music and Liturgy. What a watershed moment that was! Father Boatner and Glenn listened to our vision with openness, anticipation and warmth. Excitement about the possibility gained strength. Don could hardly wait to share with Wendell. This was a blessing beyond our imaginations!
As the months and weeks have unfolded, the relationship between Sacred Heart and Knoxville Handel Society has grown. The staff’s willingness to facilitate, coordinate and support has been unparalleled. The entire team of Sacred Heart has welcomed KHS and made the journey to Creation a blessing. Knoxville Handel Society eagerly anticipates the opportunity to stand under the dome and raise our voices to the Creator. Worthy is the Lamb that was slain!
Knoxville Handel Society will present Alleluia! Music of the Masters on November 12 at 4:00 PM at James R. Cox Auditorium, Alumni Hall, on the University of Tennessee campus. You are invited to experience an exuberant collaboration of choir, orchestra and pipe organ, performing well-loved masterworks by classical composers. This singular opportunity features the Knoxville Handel Society choir, 32-piece orchestra and the magnificent James R. Cox Auditorium organ. Brenda Goslee is the featured organist.
Perhaps you were present at the inaugural concert of Knoxville Handel Society, Messiah Parts II and III at the Tennessee Theatre on April 2; or this may be your first exposure to our multi-generational community chorus.
Alleluia! Music of Masters | November 12, 2017. |. 4:00 PM, James R. Cox Auditorium, Alumni Hall
Our vocalists represent the 5-county Knoxville metropolitan area. We share a mutual love for classical choral music. Today our program features masterworks from Bizet, Brahms, Beethoven, Franck, Holst, Mozart and others.
Knoxville Handel Society is a multi-generational community choral organization, established in 2016 for the enjoyment and performance of classical masterworks and to promote the Choral Art.
Alleluia! Music of the Masters | Don King – Conductor, Brenda Goslee – Organist
1. Christ the Lord is Risen Today—Eric Thiman
2. Christ the Lord is Risen Today—John Rutter
3. Gloria in Excelsis Deo—W. A. Mozart
4. Holy Art Thou (from Xerxes)—G. F. Handel
5. Salvation is Created—Paul Tschesnokoff
6. O Lord, Most Merciful (Panis Angelicus)—Cesar Franck, Seth Tinsley – Tenor
7. For the Beauty of the Earth—John Rutter
8. Psalm 148—Gustav Holst
9. Old Hundredth Psalm Tune
10. Hallelujah Chorus (from Mount of Olives)—Ludwig van Beethoven
11. Oh, Divine Redeemer—Charles Gounod, Rebecca Price – Mezzo Soprano
12. Lamb of God—Georges Bizet, Seth Tinsley – Tenor
13. Alleluia—Randall Thompson
14. How Lovely is Thy Dwelling Place—Johannes Brahms
15. Alleluia—W. A. Mozart, Jami Rogers-Anderson, Soprano
This certainly seemed to be the case over a year ago. A casual request was made to Don King to establish a community chorus for the purpose of singing the Messiah. To accomplish this, advice was sought from a beloved area musician, George Bitzas, who made a key suggestion—ask Don Neuen to be the guest conductor, as Neuen had done this all over the world. Dr. Neuen agreed to come for the initial concert on April 2, 2017.
Handel’s Messiah Parts 2 and 3 | Sunday, April 2, 2017 7:30 PM
Tennessee Theatre | Knoxville, Tennessee
Wendell Boertje was asked to join the planning team. The organization of Knoxville Handel Society was incorporated on June 1, 2016. Its purpose is the establishment of a collaborative choral group in the Knoxville Metropolitan area for the enjoyment and performance of classical masterworks. A Board of Directors was appointed and the first meeting occurred on August 8, 2016. The decision was made to procure the Tennessee Theatre and to invite area professional soloists to our endeavor. The major task before the organization was then to establish a choir. Don Neuen stated that in his entire career he had never contracted to conduct a performance for which the choir did not exist.
The leadership of KHS agreed that the choir would be recruited by invitation only, by contacting known capable vocalists in the metropolitan Knoxville area. There was also an effort to identify former Don Neuen students and invite them to join. Recruitment began October 18, 2016, ending with the first rehearsal on February 12, 2017.
Music educators of area high schools were involved during this time of recruitment. At the January 8, 2017 Board meeting, Wendell Boertje expressed concern that the Choral Art was being lost on the next generation. This resulted in the decision to issue free tickets to students K-12. Selected high school students were invited to participate, which created a multi-generational choir.
Messiah scores, hand-marked by Donald Neuen himself with very detailed instructions, were provided to the choir. Rehearsals were conducted by Music Directors Don King and Wendell Boertje. Dr. Neuen arrived for the final week of intense rehearsals of choir, orchestra and soloists.
Tonight’s performance is the culmination of our dreams and vision to bring perhaps the greatest choral masterwork of all ages in Messiah. We thank you for your participation in this momentous occasion.
Notes on Messiah
Alfred Mann’s twenty-five years of research for the Messiah edition used for this performance brought to light important characteristics of the score.
First, although Handel had to “put up with” ornamentation and embellishments of his operas when performed in Italy, he did not permit it in England with his oratorios. Thus, the avid movement in the 1960’s to greatly embellish Handel’s beautiful melodic lines with florid ornamentation is, we might say, interesting–but all wrong. To further substantiate this, Handel very specifically, and only once, wrote the directive “ad lib” in his Messiah score— in measure 8 of the first solo, “Comfort Ye.” He didn’t ask for it again.
Second, since (1) there are examples in which Handel actually notated a double-dotted quarter note, and (2) double-dotting is more appropriate in tempi slower than would be suitable for Messiah’s opening “Sinfony,” the rhythms should be performed exactly as written, and not double-dotted.
Third, Handel composed seven different styles of choruses for Messiah, each to be singularly interpreted in a very particular manner:
1. Lilting, Siciliano-type Triple-meter—“And the Glory”
2. Light Duet Texture (because he took his previously written secular love duets and simply reworked them as choruses for Messiah)— “All We Like Sheep”
3. Full Anthem-Sound—“Worthy is the Lamb”
4. Renaissance Style—grave a cappella portions of “Since by Man Came Death”
5. Uplifting Angel Chorus—“Lift Up Your Heads”
6. Turba (Dramatic) Chorus—“He Trusted in God”
7. Baroque “Dance”—“Hallelujah!”
Thus, these Messiah choruses must each have the style and flavor for which they were very colorfully intended.
Another significant point concerns the size of the choral forces. Handel usually used smaller choruses, because that is all he had at his disposal. At times, however, he used well over one hundred singers. For authenticity, therefore, it is not the size of the chorus that matters as much as the styles in which the singers perform these seven distinctive types of choruses.
The late, internationally renowned Handel scholar, Jens Peter Larson of Copenhagen, stated, with a twinkle in his eye, and a smile on his then 84-year-old face, “Fine Handel (allegro) is just like fine jazz. It must come alive and dance with spirit and rhythmic vitality.” We hope to present just that for you tonight, a spirited and vitally alive presentation of the oratorio written for the concert hall (not the church), Handel’s monumental Messiah.
Donald Neuen, Guest Conductor
Donald Neuen returns to Knoxville as Guest Conductor for the inaugural performance of Knoxville Handel Society, presenting Messiah, Parts 2 and 3. Neuen has been in residence for the entire week, for final rehearsals of the chorus, soloists and orchestra.
The impact of Donald Neuen’s leadership in the Music Department of University of Tennessee cannot be overstated. He served as Professor of Conducting and Director of Choral Activities at UT from 1973-1981. Neuen is remembered for outstanding programs integrating multiple choirs and instrumentalists. In addition to choral conducting, Neuen’s unique orchestral experience includes the position of Conductor and Musical Director of the Oak Ridge Symphony Orchestra and Assistant Conductor of the Knoxville Symphony Orchestra.
Prior to his tenure at UT, he collaborated with Robert Shaw, beginning in 1959. Mr. Shaw, a major force in Neuen’s development as a choral conductor, was his teacher, musical advisor, and mentor. Neuen was a member of the world-famous Robert Shaw Chorale.
Robert Shaw brought Neuen to Atlanta in 1970 as his Assistant Conductor to create the Atlanta Symphony Orchestra Chorus. Upon completion of Neuen’s preparation of the Beethoven Missa Solemnis, Mr. Shaw stated in a newspaper interview, “Don Neuen’s choral work is the best in the country—nothing in New York, Chicago or Los Angeles compares.”
In 1981, Neuen was appointed to the faculty of the prestigious Eastman School of Music, Rochester, New York. In 1993, Neuen accepted the position of Professor of Music/Conducting and Director of Choral Activities for UCLA. He developed the highly-acclaimed UCLA Chorale and a graduate program in Choral Conducting—both the Master of Music (MM) and the Doctor of Musical Arts (DMA). In 2013 Neuen received UCLA’s prestigious award of “Distinguished Professorship.”
Neuen is also the conductor of the internationally televised Hour of Power Choir, viewed by millions throughout the world each week.
Neuen studied extensively with major renowned choral conductors Robert Shaw, Roger Wagner and with Musicologists Julius Herford, Alfred Mann, Karl Geiringer, Lara Hoggard and Patrick Macy. His musical editions and compositions are published by Lawson-Gould, Hinshaw Music, Inc. and The Chorister’s Guild.
Soloists
Caitlin Bolden, Mezzo Soprano, is a graduate of the University of Tennessee (MM) and The Ohio State University (BM). She has performed in productions with Chautauqua Opera, Knoxville Opera, the Janiec Opera Company at Brevard Music Center, the University of Tennessee Opera Theatre, OSU Opera, Marble City Opera, and Nightingale Opera Theatre. Favorite performances include Marcellina (Le nozze di Figaro), Effie (The Ballad of Baby Doe), Baba (The Medium), Proskovia (The Merry Widow), the Dating Coordinator in the World Premiere of Speed Dating Tonight!, and the Alto solo in Beethoven’s Ninth Symphony. Ms. Bolden is a native of Akron, Ohio, but currently resides in Knoxville, Tennessee.
Andrew Skoog, Tenor, made his New York debut at Carnegie Hall as tenor soloist in Handel’s Messiah with the Brooklyn Philharmonic Orchestra, conducted by John Rutter, internationally acclaimed composer and conductor. He returned to Carnegie Hall in 2005 as tenor soloist in Orff’s Carmina Burana, with Andrew Litton and the Dallas Symphony Orchestra. In addition, Skoog has also sung with the American Symphony Orchestra in Avery Fisher Hall at Lincoln Center. In demand for orchestral engagements, Skoog made his international debut in 2006 singing Carmina Burana with the Bergen Philharmonic in Bergen, Norway. Critics hail him as ideal in Carmina Burana because of his “full, lyric delivery in the demanding, high tessitura,” which he has also performed with many major orchestras. He sang his thirty-eighth performance of this work this past season in his debut with the Colorado Symphony.
Sought after for Messiah, Skoog recently performed this work with the Duke University Chapel Choir and Symphony Orchestra, the Shreveport Symphony Orchestra, and with numerous orchestras throughout the United States. Currently Skoog is Professor of Voice at the University of Tennessee.
Alexandria Shiner, Soprano, has been praised for her dramatic stage presence and powerful voice. A native of Michigan currently living in Knoxville, Tennessee, she is a frequently sought-after young artist. Ms. Shiner is a recent graduate student of the University of Tennessee Knoxville. Most recently, she received an encouragement award in the 2017 Middle East Tennessee District Metropolitan Opera National Council Auditions. She placed second in the young artist category of the 2016 Orpheus National Music Competition for Vocalists. In July 2016, she competed as the Mid-South Regional Winner in the NATS Artist Awards in Chicago. Ms. Shiner was honorably mentioned as one of Knoxville’s Most Memorable Operatic Performances of 2015 for her portrayal of Magda Sorel and Queen of the Night with the University of Tennessee Opera Theatre. Ms. Shiner has performed the roles of Donna Elvira (Don Giovanni), Magda Sorel (The Consul), Queen of the Night (Die Zauberflote), Madame Kirsten (The Beautiful Bridegroom), and the title role in Amelia Goes to the Ball. She has performed with Knoxville Opera, Marble City Opera, and Opera Naples. In 2014, by invitation of Manhattan Concert Productions, Ms. Shiner performed on the Fourth Annual Collegiate Honors Recital in Weill Recital Hall in Carnegie Hall. She attended the American Institute of Musical Studies (AIMS) in Graz, Austria in 2013.
Andrew Wentzel, Bass-Baritone, is an exciting and commanding figure in opera houses and concert halls throughout the world. Wentzel was declared a “vocal standout… who alone achieved a touch of human emotion through strong, sensitive singing” by Opera News following performances of Banquo in Macbeth. The Washington Times agreed, lauding his “flexible but powerful voice” which has “vocal reserves to spare and total abandon in his phrasing.”
Having made his Metropolitan Opera debut in 1986, Mr. Wentzel went on to perform numerous roles at the MET while maintaining a significant presence in opera houses and with symphony orchestras across North America. Included in that list are performances with Calgary Opera, New York City Opera, Florida Grand Opera, Houston Grand Opera, Opera Theater of St. Louis, Santa Fe Opera, the Boston Symphony Orchestra, the National Symphony and the Philadelphia Orchestra.
Mr. Wentzel is Professor of Voice at the University of Tennessee. He has been UT’s Anthem Man for all home football games for the past 16 seasons.
Wendell’s conducting style is no less than what he expects of the choir: energy, life, total engagement. “Don’t let your mind wander!” is a frequent admonition. When vocal technical production meets musicianship, you have Art, as he reminds the choir.
Donald Neuen returns to Knoxville as Guest Conductor for the inaugural performance of Knoxville Handel Society, presenting Messiah, Parts 2 and 3. Neuen has been in residence for the entire week, for final rehearsals of the chorus, soloists and orchestra.
Caitlin Bolden, Mezzo Soprano, is a graduate of the University of Tennessee (MM) and The Ohio State University (BM). She has performed in productions with Chautauqua Opera, Knoxville Opera, the Janiec Opera Company at Brevard Music Center, the University of Tennessee Opera Theatre, OSU Opera, Marble City Opera, and Nightingale Opera Theatre. Favorite performances include Marcellina (Le nozze di Figaro), Effie (The Ballad of Baby Doe), Baba (The Medium), Proskovia (The Merry Widow), the Dating Coordinator in the World Premiere of Speed Dating Tonight!, and the Alto solo in Beethoven’s Ninth Symphony. Ms. Bolden is a native of Akron, Ohio, but currently resides in Knoxville, Tennessee.
Andrew Skoog, Tenor, made his New York debut at Carnegie Hall as tenor soloist in Handel’s Messiah with the Brooklyn Philharmonic Orchestra, conducted by John Rutter, internationally acclaimed composer and conductor. He returned to Carnegie Hall in 2005 as tenor soloist in Orff’s Carmina Burana, with Andrew Litton and the Dallas Symphony Orchestra. In addition, Skoog has also sung with the American Symphony Orchestra in Avery Fisher Hall at Lincoln Center. In demand for orchestral engagements, Skoog made his international debut in 2006 singing Carmina Burana with the Bergen Philharmonic in Bergen, Norway. Critics hail him as ideal in Carmina Burana because of his “full, lyric delivery in the demanding, high tessitura,” which he has also performed with many major orchestras. He sang his thirty-eighth performance of this work this past season in his debut with the Colorado Symphony.
Alexandria Shiner, Soprano, has been praised for her dramatic stage presence and powerful voice. A native of Michigan currently living in Knoxville, Tennessee, she is a frequently sought-after young artist. Ms. Shiner is a recent graduate student of the University of Tennessee Knoxville. Most recently, she received an encouragement award in the 2017 Middle East Tennessee District Metropolitan Opera National Council Auditions. She placed second in the young artist category of the 2016 Orpheus National Music Competition for Vocalists. In July 2016, she competed as the Mid-South Regional Winner in the NATS Artist Awards in Chicago. Ms. Shiner was honorably mentioned as one of Knoxville’s Most Memorable Operatic Performances of 2015 for her portrayal of Magda Sorel and Queen of the Night with the University of Tennessee Opera Theatre. Ms. Shiner has performed the roles of Donna Elvira (Don Giovanni), Magda Sorel (The Consul), Queen of the Night (Die Zauberflote), Madame Kirsten (The Beautiful Bridegroom), and the title role in Amelia Goes to the Ball. She has performed with Knoxville Opera, Marble City Opera, and Opera Naples. In 2014, by invitation of Manhattan Concert Productions, Ms. Shiner performed on the Fourth Annual Collegiate Honors Recital in Weill Recital Hall in Carnegie Hall. She attended the American Institute of Musical Studies (AIMS) in Graz, Austria in 2013.
Andrew Wentzel, Bass-Baritone, is an exciting and commanding figure in opera houses and concert halls throughout the world. Wentzel was declared a “vocal standout… who alone achieved a touch of human emotion through strong, sensitive singing” by Opera News following performances of Banquo in Macbeth. The Washington Times agreed, lauding his “flexible but powerful voice” which has “vocal reserves to spare and total abandon in his phrasing.”
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