MUSIC FOR HOLY WEEK
March 2015
Program Notes by Sanford Dole
Program Notes by Sanford Dole
Over the years I’ve collected a large number of anthems for the various Holy Week services at St. Gregory’s—all unaccompanied, as is our practice. Last year, as I was planning the concerts for Bay Choral Guild’s 2014–15 season, it occurred to me that it would be fun to share this trove of repertoire during our March program, which falls during Lent and is traditionally a time when I plan an a cappella concert. As I gathered pieces, I realized that using the Holy Week services as a thematic device for programming made sense. There is an arc to the story—from the triumphal entry of Jesus into Jerusalem on Palm Sunday, to the quiet dinner he has with his friends on Maundy Thursday, through the sadness experienced with his execution on Good Friday, followed by the joy expressed in his resurrection on Easter Day—that mirrors the beginning, middle, and end of a satisfying concert experience.
As is my practice, both here and at St. Gregory’s, the repertoire we present includes pieces from all eras and in many different styles. I enjoy the juxtaposition of a Renaissance motet next to a 20th-century anthem. Hearing these styles back-to-back emphasizes the contrasting compositional approaches and makes each one seem fresh. Although much of the music on our program is familiar to the choir and congregation at St. Gregory’s, I have selected some works that are new even to me, that I discovered specifically for this show. We have motets by stars of the Renaissance era—Victoria, Monteverdi, di Lasso, Byrd, and Purcell—as well as lesser known gems by Weelkes, Gesualdo, Lotti, and Padilla. The Romantic era is grandly represented by the lush music of Bruckner and Rheinberger. Two pieces from the mid-20th century, by Messiaen and Ginastera, present writing styles that were in vogue at the time. We have several recent works as well. England is well represented in the motets of Tavener, Mealor, and Ross. Closer to home, I’m excited to present a piece by a member of our own group, Caroline Hinshaw, and a spiritual arranged by Moses Hogan. How’s that for eclectic?!
All four of the canonical gospels relate the events of the last week in the life of Jesus leading up to his death and resurrection. The narrative begins with what is known as Palm Sunday, so called because the crowds who gathered in Jerusalem for Passover honored the arrival of what many believed to be the Messiah by placing their cloaks and small branches along the path into the city. In Greco-Roman culture the palm branch is a symbol of triumph and victory, so that image became projected onto this event. Jesus descends from the Mount of Olives riding a donkey (a symbol of peace) rather than a horse (a symbol of war).
Our program begins with the most common anthem text associated with Palm Sunday, “Hosanna to the Son of David. Blessed be the King that cometh in the name of the Lord.” I really like the grandeur of this setting by English Renaissance composer Thomas Weelkes. The six-part texture and skillful counterpoint lend a triumphal feel to the celebratory nature of the day.
Another version of the Hosanna text is presented in the simple anthem Pueri Hebraeorum by the great Spanish composer of the same era, Tomás Luis de Victoria. This one begins “The Hebrew Children spread their garments in the way and cried out: Hosanna.” Victoria was a singer and organist as well as an ordained priest. After studying with Palestrina in Rome, he returned to Spain to serve as the chaplain to the Dowager Empress Maria and as convent organist. These simple duties allowed him the time and money to travel extensively and to compose a great body of work.
The African American spiritual Ride on, King Jesus is not specifically a Palm Sunday piece. However, I can easily imagine this song being sung as he rides into Jerusalem (if spirituals had been a part of the culture of Jerusalem two thousand years ago). This setting by the great arranger Moses Hogan is very triumphal and makes for a rousing conclusion to a Palm Sunday service.
In Western Christian tradition the Maundy Thursday liturgy is often enacted in the context of a simple meal. It recalls the events of the Last Supper, the final meal Jesus has with his Apostles before he is arrested and executed. During the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him. It is also the basis for the institution of the Eucharist (Holy Communion) in which Jesus takes bread, breaks it, and gives it to the Apostles, saying: “This is my body which is given for you.” Hence, settings of the text O sacrum convivium (O sacred banquet, in which Christ is received…) are often sung on Maundy Thursday. Our version, composed in 1937 by the great French composer, organist, and ornithologist Olivier Messiaen, is particularly soulful.
Jesus was aware that his own death was imminent. The Responsory for Maundy Thursday expresses his sorrow and implores his friends to stay and watch with him, before the mobs come and take him away. Carlo Gesualdo, the Prince of Venosa during the late Renaissance, sets this text in a very intense, chromatic style that would not be heard again until the late 19th century. At the text, “You shall take flight,” the music suddenly takes off scurrying across all the voices before settling back into an extremely mournful chord progression painting the text, “and I shall go to be sacrificed for you.”
The Gospel of John does not include the breaking of bread episode, but tells of Jesus washing the feet of the Apostles, giving the new commandment “to love one another as I have loved you.” In fact, the word Maundy comes from Middle English and Old French words meaning “command.” A related sentiment is found in the ancient Gregorian chant Ubi caritas, which is often sung at Maundy Thursday services. The text begins “Where charity and love are, God is there” and ends “may we love each other with sincere hearts.” Having heard a recording of “Now Sleeps the Crimson Petal” by the young English composer Paul Mealor, Prince William and Kate Middleton, now Duke and Duchess of Cambridge, requested that it be sung at their wedding in 2011. But it was felt that Tennyson’s sensual poem, which compares human beauty to that of a rose, was not appropriate for a religious service. Therefore it was suggested that he reset the music to the text of Ubi caritas. Mealor acknowledges the origin of the text by including a fragment of the original plainsong at the end.
The evening liturgical celebration on Maundy Thursday begins the first of the three days of the Easter Triduum, which continues in an atmosphere of liturgical mourning throughout the next day in spite of the name “Good” given in English to this Friday, and on through Holy Saturday. During Good Friday services, the account of Christ’s death, known as the Passion, is read or chanted. The Church mourns his death, and marvels at his obedience even in the face of execution. It is a very somber service and traditionally, even if there is music during the service, there is no formal recessional. For Roman Catholic and Anglican Christians, Good Friday is a fast day. At St. Gregory’s, we observe a tradition of offering a hot cross bun to break the fast, after the congregation silently exits the church. The service begins with an extended prelude, which often includes two motets for eight-part chorus from the late 17th century. The first, Hear my Prayer O Lord, is by English composer Henry Purcell. This segues directly into the Crucifixus by Italian composerAntonio Lotti, setting lines from the Apostles’ Creed, “He suffered under Pontius Pilate, was crucified, died, and was buried”.
Scottish-English poet and priest Phineas Fletcher wrote throughout his life. Upon his death, in 1650, he left behind a body of literature larger than that of his Renaissance contemporaries. Among his most moving poems is Drop, drop, slow tears, asking mercy for the sinner, which is what the death of Christ is supposed to have secured. Therefore it makes a fitting addition to Good Friday observances. Although this poem has been set by many composers over the centuries, perhaps the most recent setting is by 29-year-old Englishman Graham Ross. With this motet, his first published work, he has launched a successful career as a composer.
In the last three days of Holy Week, Roman Catholic churches and monasteries that observe the Divine Office replace the first two hours, Matins and Lauds (which take place in the evening and early morning), with Tenebrae(Latin for “shadows” or “darkness”) services. The structure is the same for all three days. The lessons of the first nocturn at Matins are taken from the Book of Lamentations. Known as the Lamentations of the Prophet Jeremiah, these texts were set for use in the Tenebrae liturgies by nearly all composers in the Renaissance, most notably Thomas Tallis. More recently, Stravinsky set these texts in Threni, and Bernstein used one of them in his Jeremiah Symphony. Argentine composer Alberto Ginastera primarily wrote instrumental works, although he did write several songs, a cantata, and an opera. Due to Perón’s rise to power, Ginastera lost his job at the National Military Academy, where he had been chair of the music department and a leading interpreter of Argentine national culture, leading to him living in the United States for two years. While he was attending Aaron Copland’s composition class at Tanglewood in 1946, he heard a performance of Copland’s recently composed In the Beginning (a setting of the opening lines of Genesis), inspiring him to write his own a cappella work on Biblical texts. To my ears, Lamentations of Jeremiah is a real product of the 1940s, echoing the harmonies and compositional styles that were being employed by Copland, Stravinsky, and others of the day.
The second half of our program highlights works that are appropriate for the Easter Vigil, and other works from the liturgies of Eastertide. Easter Vigil is held in the hours of darkness between sunset on Saturday and sunrise on Easter Sunday—most commonly in the evening of Holy Saturday or at midnight—and is the first celebration of Easter, as days were traditionally considered to begin at sunset. In Roman Catholic, Anglican (Episcopal), and Lutheran churches this is the most important liturgy of the year. In Eastern Orthodox churches the Great Vigil is unique to that night, and is usually extremely festive, long, and involved.
In Western rites, the service begins in darkness. A single candle is processed into the church. As this symbolic “Light of Christ” spreads through the lighting of hand candles held by those gathered, the darkness is decreased. The Paschal candle is then used throughout the Easter season, reminding all that Christ is “light and life.” The first part of the Vigil, the Liturgy of the Word, contains several readings with choir or congregational singing between. I like to think of this as the transitional period from mourning the crucifixion to celebrating the resurrection. The service begins in Lent and concludes in Easter.
Some years at St. Gregory’s the Easter Vigil service has opened with Song for Athene, by devoutly Orthodox composer John Tavener. It was written in memory of a friend of the composer, Athene Hariades, who died tragically in 1993. The text is taken from shakespeare’s Hamlet and the Orthodox Funeral Service. Incorporating simple chant over a drone in the style Tavener is known for, Song for Athene has become standard fare heard at funerals as well as Easter Vigil liturgies in the last decade.
The Stabat Mater hymn, dating from the 13th century, meditates on the suffering of Mary, Jesus’ mother, during his crucifixion. Depending on which readings are selected for the Vigil service, the Stabat Mater may be included. We’ll hear a setting by the Renaissance composer Juan Gutiérrez de Padilla, who was born in Spain but moved to Puebla, Mexico, in 1620 to compose music in the New World. The majority of his vast output (over 700 pieces survive) consists of sacred motets, often for double choir, although this one has a simple four-part texture.
Settings of Christus factus est, which is listed as a Gradual (a chant or hymn) for Maundy Thursday, are often heard at Easter Vigil services. The text begins “Christ became obedient unto death, even the death of the cross.” The 19th-century Austrian composer Anton Bruckner presents this text in the rich harmonic language of the day and employs the use of extreme dynamics as well as dramatic pauses.
Cantate Domino combines verses from Psalms 96 and 98. These psalms from the Hallel, the psalms of praise—from which we derive the word Hallelujah, literally “Praise God” (hallelu = praise and Jah, or Yahweh = God)—are given a jaunty treatment by the great Italian Renaissance composer Claudio Monteverdi. This motet begins in triple meter but suddenly shifts to a duple pulse midway through.
The Sun Rose was composed by Caroline Hinshaw for St. Gregory’s Choir in 2000. A longtime member of the parish, she was influenced by the burst of creative activity among composers in the community (I and five others were active at the time creating new works for the choir and congregation) and presented this work, which has become a staple at our Easter services. She created the libretto herself, taking lines from the Passion story. We refer to this piece as a mini-opera, as it condenses the whole story into a series of brief scenes. The action begins with sunrise over Jerusalem on Good Friday and refers to the events of the Last Supper the night before. The soldiers come and take Jesus away, Peter tries to defend him, the soldiers are in awe of Jesus’ power, angels appear, and references to the miracles performed by Jesus are stated. Jesus is tortured, and crucified. The sun rises over Jerusalem, a second day, and everything has changed. Finally, the piece ends with the sun rising a third day as we anticipate the resurrection.
Surrexit pastor bonus, “the good shepherd has risen,” is a standard anthem text heard during the Easter season. Orlando di Lasso, one of the great masters of the Franco-Flemish school of the late 16th century, achieves a great celebratory effect in the texture of his five-part counterpoint. The motet concludes with a delightful peal of alleluias.
Haec dies, “This is the day that the Lord hath made,” is another standard text heard during Eastertide. Our setting is by William Byrd, who, along with Thomas Tallis, was one of the foremost composers in England at the time of Queen Elizabeth I.
Victimae paschali laudes is the sequence (hymn or chant heard before the proclamation of the Gospel) prescribed for the liturgy of Easter Day. Josef Rheinberger, a native of Liechtenstein and until recently known mainly to organists, has taken that text from the 11th century and added a second text, Terra tremuit (The earth trembled) into his Osterhymne, Op. 134. Known as a master of counterpoint, Rheinberger displays in this motet his gift for graceful, flowing melodies and rich harmonies, neatly bound together with a classic formality. The final alleluia is presented as a brilliant eight-part fugue before a final statement of the opening chords and a satisfying coda.
We hope you have enjoyed this overview of Music for Holy Week. And we will look forward to seeing you at our next concert, an all-secular program that highlights the glories of nature. We’ll present The Natural World on June 5, 6, and 7.
As is my practice, both here and at St. Gregory’s, the repertoire we present includes pieces from all eras and in many different styles. I enjoy the juxtaposition of a Renaissance motet next to a 20th-century anthem. Hearing these styles back-to-back emphasizes the contrasting compositional approaches and makes each one seem fresh. Although much of the music on our program is familiar to the choir and congregation at St. Gregory’s, I have selected some works that are new even to me, that I discovered specifically for this show. We have motets by stars of the Renaissance era—Victoria, Monteverdi, di Lasso, Byrd, and Purcell—as well as lesser known gems by Weelkes, Gesualdo, Lotti, and Padilla. The Romantic era is grandly represented by the lush music of Bruckner and Rheinberger. Two pieces from the mid-20th century, by Messiaen and Ginastera, present writing styles that were in vogue at the time. We have several recent works as well. England is well represented in the motets of Tavener, Mealor, and Ross. Closer to home, I’m excited to present a piece by a member of our own group, Caroline Hinshaw, and a spiritual arranged by Moses Hogan. How’s that for eclectic?!
All four of the canonical gospels relate the events of the last week in the life of Jesus leading up to his death and resurrection. The narrative begins with what is known as Palm Sunday, so called because the crowds who gathered in Jerusalem for Passover honored the arrival of what many believed to be the Messiah by placing their cloaks and small branches along the path into the city. In Greco-Roman culture the palm branch is a symbol of triumph and victory, so that image became projected onto this event. Jesus descends from the Mount of Olives riding a donkey (a symbol of peace) rather than a horse (a symbol of war).
Our program begins with the most common anthem text associated with Palm Sunday, “Hosanna to the Son of David. Blessed be the King that cometh in the name of the Lord.” I really like the grandeur of this setting by English Renaissance composer Thomas Weelkes. The six-part texture and skillful counterpoint lend a triumphal feel to the celebratory nature of the day.
Another version of the Hosanna text is presented in the simple anthem Pueri Hebraeorum by the great Spanish composer of the same era, Tomás Luis de Victoria. This one begins “The Hebrew Children spread their garments in the way and cried out: Hosanna.” Victoria was a singer and organist as well as an ordained priest. After studying with Palestrina in Rome, he returned to Spain to serve as the chaplain to the Dowager Empress Maria and as convent organist. These simple duties allowed him the time and money to travel extensively and to compose a great body of work.
The African American spiritual Ride on, King Jesus is not specifically a Palm Sunday piece. However, I can easily imagine this song being sung as he rides into Jerusalem (if spirituals had been a part of the culture of Jerusalem two thousand years ago). This setting by the great arranger Moses Hogan is very triumphal and makes for a rousing conclusion to a Palm Sunday service.
In Western Christian tradition the Maundy Thursday liturgy is often enacted in the context of a simple meal. It recalls the events of the Last Supper, the final meal Jesus has with his Apostles before he is arrested and executed. During the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him. It is also the basis for the institution of the Eucharist (Holy Communion) in which Jesus takes bread, breaks it, and gives it to the Apostles, saying: “This is my body which is given for you.” Hence, settings of the text O sacrum convivium (O sacred banquet, in which Christ is received…) are often sung on Maundy Thursday. Our version, composed in 1937 by the great French composer, organist, and ornithologist Olivier Messiaen, is particularly soulful.
Jesus was aware that his own death was imminent. The Responsory for Maundy Thursday expresses his sorrow and implores his friends to stay and watch with him, before the mobs come and take him away. Carlo Gesualdo, the Prince of Venosa during the late Renaissance, sets this text in a very intense, chromatic style that would not be heard again until the late 19th century. At the text, “You shall take flight,” the music suddenly takes off scurrying across all the voices before settling back into an extremely mournful chord progression painting the text, “and I shall go to be sacrificed for you.”
The Gospel of John does not include the breaking of bread episode, but tells of Jesus washing the feet of the Apostles, giving the new commandment “to love one another as I have loved you.” In fact, the word Maundy comes from Middle English and Old French words meaning “command.” A related sentiment is found in the ancient Gregorian chant Ubi caritas, which is often sung at Maundy Thursday services. The text begins “Where charity and love are, God is there” and ends “may we love each other with sincere hearts.” Having heard a recording of “Now Sleeps the Crimson Petal” by the young English composer Paul Mealor, Prince William and Kate Middleton, now Duke and Duchess of Cambridge, requested that it be sung at their wedding in 2011. But it was felt that Tennyson’s sensual poem, which compares human beauty to that of a rose, was not appropriate for a religious service. Therefore it was suggested that he reset the music to the text of Ubi caritas. Mealor acknowledges the origin of the text by including a fragment of the original plainsong at the end.
The evening liturgical celebration on Maundy Thursday begins the first of the three days of the Easter Triduum, which continues in an atmosphere of liturgical mourning throughout the next day in spite of the name “Good” given in English to this Friday, and on through Holy Saturday. During Good Friday services, the account of Christ’s death, known as the Passion, is read or chanted. The Church mourns his death, and marvels at his obedience even in the face of execution. It is a very somber service and traditionally, even if there is music during the service, there is no formal recessional. For Roman Catholic and Anglican Christians, Good Friday is a fast day. At St. Gregory’s, we observe a tradition of offering a hot cross bun to break the fast, after the congregation silently exits the church. The service begins with an extended prelude, which often includes two motets for eight-part chorus from the late 17th century. The first, Hear my Prayer O Lord, is by English composer Henry Purcell. This segues directly into the Crucifixus by Italian composerAntonio Lotti, setting lines from the Apostles’ Creed, “He suffered under Pontius Pilate, was crucified, died, and was buried”.
Scottish-English poet and priest Phineas Fletcher wrote throughout his life. Upon his death, in 1650, he left behind a body of literature larger than that of his Renaissance contemporaries. Among his most moving poems is Drop, drop, slow tears, asking mercy for the sinner, which is what the death of Christ is supposed to have secured. Therefore it makes a fitting addition to Good Friday observances. Although this poem has been set by many composers over the centuries, perhaps the most recent setting is by 29-year-old Englishman Graham Ross. With this motet, his first published work, he has launched a successful career as a composer.
In the last three days of Holy Week, Roman Catholic churches and monasteries that observe the Divine Office replace the first two hours, Matins and Lauds (which take place in the evening and early morning), with Tenebrae(Latin for “shadows” or “darkness”) services. The structure is the same for all three days. The lessons of the first nocturn at Matins are taken from the Book of Lamentations. Known as the Lamentations of the Prophet Jeremiah, these texts were set for use in the Tenebrae liturgies by nearly all composers in the Renaissance, most notably Thomas Tallis. More recently, Stravinsky set these texts in Threni, and Bernstein used one of them in his Jeremiah Symphony. Argentine composer Alberto Ginastera primarily wrote instrumental works, although he did write several songs, a cantata, and an opera. Due to Perón’s rise to power, Ginastera lost his job at the National Military Academy, where he had been chair of the music department and a leading interpreter of Argentine national culture, leading to him living in the United States for two years. While he was attending Aaron Copland’s composition class at Tanglewood in 1946, he heard a performance of Copland’s recently composed In the Beginning (a setting of the opening lines of Genesis), inspiring him to write his own a cappella work on Biblical texts. To my ears, Lamentations of Jeremiah is a real product of the 1940s, echoing the harmonies and compositional styles that were being employed by Copland, Stravinsky, and others of the day.
The second half of our program highlights works that are appropriate for the Easter Vigil, and other works from the liturgies of Eastertide. Easter Vigil is held in the hours of darkness between sunset on Saturday and sunrise on Easter Sunday—most commonly in the evening of Holy Saturday or at midnight—and is the first celebration of Easter, as days were traditionally considered to begin at sunset. In Roman Catholic, Anglican (Episcopal), and Lutheran churches this is the most important liturgy of the year. In Eastern Orthodox churches the Great Vigil is unique to that night, and is usually extremely festive, long, and involved.
In Western rites, the service begins in darkness. A single candle is processed into the church. As this symbolic “Light of Christ” spreads through the lighting of hand candles held by those gathered, the darkness is decreased. The Paschal candle is then used throughout the Easter season, reminding all that Christ is “light and life.” The first part of the Vigil, the Liturgy of the Word, contains several readings with choir or congregational singing between. I like to think of this as the transitional period from mourning the crucifixion to celebrating the resurrection. The service begins in Lent and concludes in Easter.
Some years at St. Gregory’s the Easter Vigil service has opened with Song for Athene, by devoutly Orthodox composer John Tavener. It was written in memory of a friend of the composer, Athene Hariades, who died tragically in 1993. The text is taken from shakespeare’s Hamlet and the Orthodox Funeral Service. Incorporating simple chant over a drone in the style Tavener is known for, Song for Athene has become standard fare heard at funerals as well as Easter Vigil liturgies in the last decade.
The Stabat Mater hymn, dating from the 13th century, meditates on the suffering of Mary, Jesus’ mother, during his crucifixion. Depending on which readings are selected for the Vigil service, the Stabat Mater may be included. We’ll hear a setting by the Renaissance composer Juan Gutiérrez de Padilla, who was born in Spain but moved to Puebla, Mexico, in 1620 to compose music in the New World. The majority of his vast output (over 700 pieces survive) consists of sacred motets, often for double choir, although this one has a simple four-part texture.
Settings of Christus factus est, which is listed as a Gradual (a chant or hymn) for Maundy Thursday, are often heard at Easter Vigil services. The text begins “Christ became obedient unto death, even the death of the cross.” The 19th-century Austrian composer Anton Bruckner presents this text in the rich harmonic language of the day and employs the use of extreme dynamics as well as dramatic pauses.
Cantate Domino combines verses from Psalms 96 and 98. These psalms from the Hallel, the psalms of praise—from which we derive the word Hallelujah, literally “Praise God” (hallelu = praise and Jah, or Yahweh = God)—are given a jaunty treatment by the great Italian Renaissance composer Claudio Monteverdi. This motet begins in triple meter but suddenly shifts to a duple pulse midway through.
The Sun Rose was composed by Caroline Hinshaw for St. Gregory’s Choir in 2000. A longtime member of the parish, she was influenced by the burst of creative activity among composers in the community (I and five others were active at the time creating new works for the choir and congregation) and presented this work, which has become a staple at our Easter services. She created the libretto herself, taking lines from the Passion story. We refer to this piece as a mini-opera, as it condenses the whole story into a series of brief scenes. The action begins with sunrise over Jerusalem on Good Friday and refers to the events of the Last Supper the night before. The soldiers come and take Jesus away, Peter tries to defend him, the soldiers are in awe of Jesus’ power, angels appear, and references to the miracles performed by Jesus are stated. Jesus is tortured, and crucified. The sun rises over Jerusalem, a second day, and everything has changed. Finally, the piece ends with the sun rising a third day as we anticipate the resurrection.
Surrexit pastor bonus, “the good shepherd has risen,” is a standard anthem text heard during the Easter season. Orlando di Lasso, one of the great masters of the Franco-Flemish school of the late 16th century, achieves a great celebratory effect in the texture of his five-part counterpoint. The motet concludes with a delightful peal of alleluias.
Haec dies, “This is the day that the Lord hath made,” is another standard text heard during Eastertide. Our setting is by William Byrd, who, along with Thomas Tallis, was one of the foremost composers in England at the time of Queen Elizabeth I.
Victimae paschali laudes is the sequence (hymn or chant heard before the proclamation of the Gospel) prescribed for the liturgy of Easter Day. Josef Rheinberger, a native of Liechtenstein and until recently known mainly to organists, has taken that text from the 11th century and added a second text, Terra tremuit (The earth trembled) into his Osterhymne, Op. 134. Known as a master of counterpoint, Rheinberger displays in this motet his gift for graceful, flowing melodies and rich harmonies, neatly bound together with a classic formality. The final alleluia is presented as a brilliant eight-part fugue before a final statement of the opening chords and a satisfying coda.
We hope you have enjoyed this overview of Music for Holy Week. And we will look forward to seeing you at our next concert, an all-secular program that highlights the glories of nature. We’ll present The Natural World on June 5, 6, and 7.
