Let's Dance

2019

18

May Saturday @ 7:30pm

First Plymouth Congregational Church 3501 S Colorado Blvd, Cherry Hills Village 80113

"Dance of the Gypsy Moths" by Roberta Hancock (used with permission)

19

May Sunday @ 3pm

Christ Episcopal Church 2950 S University Blvd, Denver 80210

Alleluia

Jake Runestad (b. 1986)

We Can Mend the Sky

Juli Orlandini, soprano; Rachel Hargroder, percussion

Sayareh

Mason France, tenor

Sing, Wearing the Sky

Mac Merchant, piano; Sarah Whitnah, violin; Trevor Minton, cellist; Rachel Hargroder, percussion; Kali Paguirigan, mezzo soprano

Dance Set

Libby Larsen (b. 1950)

Two Step and Drag Her First Waltz Polka Mac Merchant, piano; Rachel Hargroder, percussion; Deborah Marshall, clarinet; Sara Michael, soprano; Emily Alexander, alto; Matthew Eschliman, tenor; Kirk Schjodt, bass

- INTERMISSION Liebeslieder Walzer, op. 52

Johannes Brahms (1833-1897)

Mac Merchant, Erin Pettitt, piano 4 hand; Sarah Harrison, mezzo soprano; Justin Kerr, tenor

1. Rede, Mädchen 2. Am Gesteine rauscht die Flut 3. O die Frauen 4. Wie des Abends schöne Röte 5. Die grüne Hopfenranke 6. Ein kleiner, hübscher Vogel

Cindy

7. Wohl schön bewandt war es 8. Wenn so lind dein Auge mir 9. Am Donaustrande 10. O wie sanft die Quelle

11. Nein, es ist nicht auszukommen 12. Schlosser auf, und mache Schlösser

13. Vögelein durchrauscht die Luft 14. Sieh, wie ist die Welle klar 15. Nachtigall, sie singt so schön 16. Ein dunkeler Schacht ist Liebe 17. Nicht wandle, mein Licht 18. Es bebet das Gesträuche arr. Mack Wilberg (b.1955)

Mac Merchant, Erin Pettitt, piano 4 hand

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PROGRAM NOTES Throughout history, the singing of “alleluia” has served as an outward celebration as well as an introspective expression of praise. Jake Runestad’s work begins with a rhythmic declaration of joy and increasing intensity.

This lively exultation soon gives way to a reverent meditation with soaring melodic lines and lush harmonies.

The dancing rhythms from the beginning return with a gradual build in intensity as one’s praises rise to the sky. Alleluia was commissioned by Brady Allred and the Salt Lake Vocal Artists, for the 2014 Western ACDA Conference in Santa Barbara, CA. Of We Can Mend the Sky, Runestad writes, “My sister was an English teacher at the Minnesota International Middle School in Minneapolis which provides a safe and inclusive environment for East African immigrant students to learn (many of whom are Somali). Most of these students came to the USA to escape the violent civil war that has plagued Somalia since 1991. Seeking a better life for their children, these students’ parents risked their lives to come to the USA – a valiant act of love. I wanted to tell their story through music and so I asked my sister to have her students write poems about their experiences leaving their home and coming to the USA. I received over 100 poems that contain passion, pride, emotion, and vivid stories of the sights and sounds that these young people have experienced. I sifted through these texts and found the powerful words of 14-year-old Warda Mohamed that became the backbone of the composition. Using Warda’s poem and two Somali proverbs, “We Can Mend the Sky” is a musical depiction of one’s journey as an immigrant and an affirmation of hope as we all embrace the diversity around us.”

In 2016 the Miami University Men’s Glee Club commissioned a work for male chorus entitled Sayareh (2016), which means “earth” in Farsi. Runestad explains, “It feels ceremonial, it feels of the earth, it feels folk-like,” like “a ritual.”

Although the title is Iranian, the sung text is not Farsi or any other language, but rather sounds used to suggest certain feelings or environments. At points throughout the piece, a tenor soloist leads the group like a storyteller or perhaps a religious figure. Because there are no words, however, Runestad intentionally leaves the meaning of the piece open to each listener’s interpretation.

Commissioned by the American Choral Directors Association and Music Educators Association of Minnesota for the 2014 Minnesota All-State Women’s Chorus conducted by Mary Kay Geston, Sing, Wearing the Sky (2014) transports us from 21st-century California to 14th-century India. Runestad writes, “Lalla, a 14th-century Sufimystic poet from the Kashmir region of India, believed strongly in the development of the self while reaching enlightenment. The metaphor of dancing while feeling free or naked exemplifies the beauty of empowerment and self-worth. This work uses influences of Classical Indian music and other vocal effects to allow Lalla’s message to come to life.” At the beginning of the work, a drone on the notes D and A in the vocal and piano parts recreates the effect of a Sa-Pa (Indian musical syllables equivalent to the Western Do-Sol) drone on the sevenstringed tanpura. As the sopranos give voice to the phrase “Meditate within eternity,” ornamental turns recall another distinctive element of Indian classical music, gamaka. The word means “ornamented note” in Sanskrit and is a feature that is built into Indian modes (ragas), unlike unadorned Western scales. Finally, as the work nears its conclusion, listen for sliding glissandi reminiscent of Indian vocal techniques. Runestad’s title, drawn from the Sufi text, cuts lyrically to the heart of Lalla’s simple but powerful message: “Dance Lalla, with nothing on but air. / Sing, Lalla, wearing the sky.”

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PROGRAM NOTES Libby Larsen writes, “Dance Set is a reflection on American dance music from the turn of the century. I am intrigued by the vitality of this music (cake walk, fox trot, etc.) and have combined its rhythmic vigor with a choral sound. I chose three dance forms -- two-step and drag, waltz and polka -- to make this set. In Two-Step and Drag, the couple begins dancing in duple meter; suddenly the rhythm changes in an attempt to fool the couple, creating a whimsical effect. Her First Waltz evokes the image of a young girl shyly dancing; she begins tentatively, then whirls grandly into an elegant waltz. The Polka is a rhythmic, raucous, and jaunty country dance. Dance Set was composed especially for the Dale Warland Singers under the auspices of the Minnesota State Arts Board Individual Fellowship Program and is dedicated to Dale Warland.”

In 1868, Johannes Brahms was searching for a new project to equal the popularity of some previous piano-based chamber music. He settled on a romantic song cycle, his sophisticated, delightful Liebeslieder Walzer. While there is no concrete record indicating the exact inspiration for the Waltzes, there is speculation that Brahms' motivation for the songs was his frustrated love for pianist Clara Schumann (who played one of the pianofortes at the 1869 premiere, along with Hermann Levi). He wrote the piece for piano four hands and a vocal quartet for performance at home, but the work has over the years grown beyond its composer’s original concept to become a standard of choral concert repertoire. The lyrics are from a collection of German translations and imitations of folk poetry from Eastern Europe by his contemporary, Georg Friedrich Daumer (1800-1875).

They express the gamut of human emotion on the subject of Eros; from flirtation to enticement, to strong passion, to domestic harmony, to endless bliss, to various forms of disappointment and frustration, to sweet directness, to sadness at rejection, with a nod to ebullient young love. The tunes exhibit Brahms’ usual elegant, classical sophistication and lush evocativeness: you can hear the raging spring, see the little bird hopping around trying to find a home, view the cocky swain eyeing the ten iron bars on the pretty maiden’s front door, etc. When published in 1870 (by Friedrich August Simrock) they were an instant, tremendous success, popular with both professional musicians and singers and with the family market for which they were intended. The unbending, moody perfectionist uncharacteristically told Simrock, “I must confess that it was the first time I smiled at the sight of a printed work of mine! I will risk being called an ass if our Liebeslieder Waltzes don’t give pleasure to a few people.”

The folk song Cindy, popular in the South and in the Appalachians as a fiddle and banjo tune, has been associated with a variety of lyrics. Several incarnations were recorded by musicologists Alan Jabbour and John Lomax, later forms were recorded by artists like Elvis Presley, Robert Plant and Johnny Cash, and this energetic version was arranged

by Mack Wilberg “a la ‘hoedown,’” with vocal effects and percussion. Wilberg has served as music director of The Tabernacle Choir at Temple Square (formerly the Mormon Tabernacle Choir) since 2008, and was formerly a professor of music at Brigham Young University, his alma mater along with the University of Southern California.

Program Notes compiled by Sara Michael

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Infinity: Choral Works Even When He Is Silent • Flight Song Making or Breaking • Cradle Hymn

On sale now at kantorei.org/infinity 5

Artistic Director Joel M. Rinsema joined Kantorei in 2014, becoming the second conductor in its history. During his tenure, Kantorei has experienced tremendous growth of its audiences, nearly tripled its budget size, and launched an ambitious recording strategy. A frequent collaborator and champion of new works for chorus, Joel has commissioned and premiered work of many of today’s leading composers including Kim André Arnesen, Mason Bates, René Clausen, Ola Gjeilo, Mark Hayes, Cecilia McDowall, David Montoya, Jake Runestad and Eric Whitacre. In the summer of 2018, Joel conducted the Central American premiere of Ola Gjeilo’s “Dark Night of the Soul” in Guatemala City and Antigua, Guatemala with Capella Cantorum de Guatemala. Joel is a passionate advocate for the professional choral art form, and he frequently consults with other choral arts organizations around the country. Because of his leadership in his field, he received the Louis Botto Award for “Innovative Action and Entrepreneurial Zeal” from Chorus America, the industry’s advocacy, research, and leadership development organization for choruses, choral leaders, and singers.He is an accomplished conductor of major works for choir and orchestra and was one of eighteen conductors chosen nationally through audition to participate in master classes and workshops presented by the Chicago Symphony Orchestra Association and Chorus America.

JOEL M. RINSEMA Artistic Director

As a tenor soloist, Joel performed across the United States, in Germany, Austria and the Czech Republic. Joel serves as the North American Choral Promotion Manager for Oxford University Press based in Oxford, England and Music Director at First Plymouth Congregational Church in Cherry Hills Village, Colorado. He holds music degrees from Arizona State and Whitworth Universities and is a member of the Academy of Recording Arts and Sciences (Grammys), American Choral Directors Association (ACDA) and Colorado Music Educators Association (CMEA). Joel came to Kantorei from the Grammy Award-winning Phoenix Chorale.

Throughout his 23-year tenure with the Phoenix Chorale, he served in nearly every capacity with the organization including the last 15 years as President & CEO and Assistant Conductor. He negotiated an ongoing recording contract with the prestigious U.K.-based Chandos Records, and Phoenix Chorale recordings earned a total of eight Grammy nominations and two Grammy wins during his tenure. Joel appears on all of the Phoenix Chorale recordings and was a soloist on the Grammy Award-winning “Spotless Rose: Hymn to the Virgin Mary.” In addition to his work with the Phoenix Chorale, Joel served as the Director of Music at Church of the Beatitudes United Church of Christ in Phoenix for 15 years, and was the founding chorus master of the Arizona Musicfest Chorus.

STEVE GRUPE Executive Director

Steve Grupe comes to Kantorei with nearly 25 years’ experience in performing arts administration, having previously worked with Opera Omaha, the Denver Center for the Performing Arts, and St. Martin’s Chamber Choir.

A native Nebraskan and a graduate of Concordia University, Nebraska, Steve also did graduate work in choral conducting at the University of Colorado in Boulder. He began his career in the arts as a high school music educator in suburban Cleveland, where he sang with the Cleveland Orchestra Chorus for two seasons, joining them on a tour to Carnegie Hall. In his spare time, Steve’s interests include travel, opera, and the daily New York Times crossword puzzle.

SPOTLIGHT PERFORMERS Mac Merchant studied at University of Colorado, Boulder for his Master of Music degree in collaborative piano and graduated May 2017, having studied with Alexandra Nguyen and Margaret McDonald. He received his bachelor’s degree in piano performance from Whitworth University and his master’s degree in piano performance from Washington State University. When Mac played for his first church job at age 14, he realized he could get paid to do something he loved.

Since then, Mac has collaborated with numerous musicians, choral and instrumental ensembles, and theater groups in both Washington state and Colorado. One of Mac's favorite gigs was playing a keyboard part in the national touring production of Wicked. He also enjoyed collaborating with choirs at the various graduate schools. Currently Mac is a vocal coach for undergraduate singers at CU as well as a freelance collaborative pianist, accompanist, and music director in the Denver/Boulder area, serving as pianist for Colorado Chorale and Anima Chamber Ensemble. Sarah, Mac’s wife, is a pastor in Boulder. Together, they are happy parents of two young children, Lydia Grace and Spencer James.

MAC MERCHANT Guest Pianist

Erin Pettitt, an accomplished vocalist and pianist, graduated from Northern Illinois University with honors in 2005 with a Masters degree in Vocal Performance and a Performer’s Certificate, under the instruction of Diane Ragains. Ms. Pettitt has recently relocated to Denver from the Chicago area as of December 2017. As a member of National Association of Teachers of Singing, she placed as first runner up (2012) and third runner up (2016) in their central region NATSSA competition. She has soloed with the Magic Valley, Kishwaukee, and Meridian Symphonies.

Ms. Pettitt’s chorus work has included being a founding member of Cor Cantiamo, professional chorus in residence at Northern Illinois University, Grant Park Symphony Chorus, New Classic Singers, and is currently a proud member of Kantorei. Her students have won numerous awards and have attended such prestigious universities such as The Julliard School, Boston Conservatory, NYU, Syracuse University, Ithaca College and Oklahoma City University. She has piloted musicals for Tony-winning composers Pasek & Paul, composers Tysen & Jensen and iTheatrics as part of the award winning program, BRAVO, in Oak Park, Illinois.

ERIN PETTITT Guest Pianist

While in Chicago, she served as accompanist for Grammy Signature School, York Community High School for more than 12 years and also served as accompanist for One Voice Choir of Glen Ellyn. She maintained a large private studio and vocal directed and/or piano-conducted musicals for York High School, Nazareth Academy, Trinity High School, and BRAVO Performing Arts Academy. Ms. Pettitt is currently on the voice faculty at Denver School of the Arts and also serves as accompanist for Mountain Range High School. Ms. Pettitt is also a proud Whitworth University graduate, joining the ranks of both Joel Rinsema and Mac Merchant. Go pirates!

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Kantorei is a Denver-based, choral ensemble comprised of volunteer singers under the direction of Artistic Director Joel M. Rinsema.

Kantorei’s choral artists have studied at schools with strong music programs across the United States such as Baylor University, Brigham Young University, Eastman School of Music, Indiana University, St. Olaf College, Wartburg College, and Westminster Choir College.

Kantorei’s singers reside throughout the greater Denver area. Some serve as choral music educators, church choir conductors, and vocal instructors. Others are doctors, social workers, optometrists, counselors, clinical psychologists, accountants, realtors –all brought together in weekly rehearsals for shared artistic excellence and community.

Kantorei has performed for major choral conventions across the U.S., toured around the world, and has commissioned and premiered new choral works from renowned composers including Kim André Arnesen, Eric William Barnum, Abbie Betinis, René Clausen, Ola Gjeilo, Jake Runestad, Joshua Shank, and Eric Whitacre.

Its first internationally released recording in January 2018, “Infinity: Choral Works of Kim André Arnesen” on the Naxos label climbed to the #2 best selling classical album on iTunes, #6 on the Traditional Classical Billboard Charts and #19 on the overall Classical Billboard charts. Santa Barbara Music Publishing Inc., publishes the Kantorei Choral series.

Kantorei and Joel Rinsema are engaged in educational collaborations with high school ensembles around Colorado. They regularly host HS Choral Festivals and workshops featuring leading composers and conductors. Recent workshops have featured composer Ola Gjeilo, Dr. Christopher Aspaas of Texas Christian University and in 2019, Dr. Jennaya Robison of Luther College.

Formed in 1997 under the leadership of six friends and artistic director Richard Larson, Kantorei has established itself as one of the nation’s premier choral ensembles and has performed for the American Choral Directors Association National Conferences in 2003, 2011 and 2019. Kantorei’s mission is “to elevate the human experience through choral excellence.”

“…This is an impressive ensemble, always precise and always well-blended.”

Raymond Tuttle, Fanfare Magazine, July 2018

“Maestro Rinsema’s Kantorei sound gorgeous here.”

Philip Greenfield, American Record Guide, July 2018

“What finer advocates for his music could a composer have than these excellent singers of Kantorei?”

David Vernier, Classics Today, April 2018

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THE CHOIR SOPRANO

ALTO

TENOR

BASS

Mary Chirst Beryl Fanslow Wilson Christina Graham Heather Gunnerson Stacie Hanson Jade Howard Shannon Lemmon-Elrod Paige Lewkow Sara Michael * Juli Orlandini Erin Pettitt Pearl Rutherford Christianna Sullins

Emily Alexander Lindsey Aquilina Allison Barber-Pasternak Lizabeth Barnett Lyn Berry-Helmlinger Sarah Harrison * § Melissa Menter Erin Meyerhoff Jennifer Moore Kali Paguirigan Tegan Palmer Andrea Ware

Kai Berry-Helmlinger * Matthew Eschliman Keith Ferguson Mason France Matthew Gierke Keith Harrison Jason Hindman Steve Howie Justin Kerr Alex Menter Jonathan Von Stroh Ryan Wright

John Bartley Michael Bizzaro Michael Boender Michael Bradford Garth Criswell Andrew Halladay Brad Jackson Karl Johnson Brad Larson John Ludwig John Schaak Kirk Schjodt * Griffin Sutherland Matt Weissenbuehler

* Section Leader

∞ Collaborative Pianist § Assistant Conductor

THE STAFF Steve Grupe

Sara Michael

Sarah Harrison

Alicia Rigsby

Executive Director Assistant Conductor

Administrative Assistant & Librarian Accompanist and Collaborative Pianist

BOARD OF DIRECTORS Keith Ferguson

Susan Lewkow

Jason Hindman

Juli Orlandini

President

Vice President & Development Committee Chair

Treasurer

Secretary

MEMBERS AT LARGE Mark Aquilina

Kevin Gunnerson

Michael Bizzaro

Jennifer Moore

Matthew Gierke 9

We Can Mend the Sky

Sing Wearing the Sky

Naftu!

[Life!]

In my dream I saw a world free of violence hunger suffering a world filled with love Soo baxa.

[Let’s go] Naftu orod bay kugu aamintaa.

[To save your life, run with all your might] Now awake in this world I beg, let my dream come true.

If we come together, we can mend a crack in the sky.

Meditate within eternity.

Don’t stay in the mind.

The soul, like the moon, is new, and always new again.

Since I scoured my mind and my body, I, too, Lalla, am new, each moment new.

My teacher told me, live in the soul.

When that was so, I began to go naked, and dance.

Dance, Lalla, with nothing on but air.

Sing, Lalla, wearing the sky.

Look at this glowing day!

What clothes could be more beautiful, or more sacred?

“Let My Dream Come True,” by Warda Mohamed

Excerpts of poetry by Lalla

FEELING ELEVATED? We want to hear about it! Please share your thoughts about today's performance with us at KANTOREI.ORG/AUDIENCE-FEEDBACK

TEXT & TRANSLATIONS Liebeslieder Walzer, Op.52 Georg Friedrich Daumer; Translation by Emily Ezust © (Reprinted with permission from the LiederNet Archive) 1.

Rede, Mädchen, allzu liebes, das mir in die Brust, die kühle, hat geschleudert mit dem Blicke, diese wilden Glutgefühle!

Willst du nicht dein Herz erweichen, willst du eine Überfromme, rasten ohne traute Wonne, oder willst du, daß ich komme?

Rasten ohne traute Wonne, nicht so bitter will ich büßen, komme nur, du schwarzes Auge, Komme, wenn die Sterne grüßen.

1.

Speak, maiden, whom I love all too much, who hurled into my once aloof heart, with only one glance, these wild, ardent feelings!

Will you not soften your heart?

Do you wish to be chaste and remain without sweet bliss, or do you want me to come to you?

To remain without sweet bliss I would never make such a bitter penance.

So come, dark-eyes, come when the stars greet you.

2.

Am Gesteine rauscht die Flut heftig angetrieben: Wer da nicht zu seufzen weiß, lernt es unterm Lieben.

2.

Against the stones the stream rushes, powerfully driven: those who do not know to sigh there, will learn it when they fall in love.

3.

O die Frauen, o die Frauen, Wie sie Wonne tauen!

Wären lang ein Mönch geworden, Wären nicht die Frauen!

3.

O women, O women, how they melt one with bliss!

I would have become a monk long ago if it were not for women!

4.

Wie des Abends schöne Röte möcht ich arme Dirne glühn einem, einem zu Gefallen sonder Ende Wonne sprühn

4.

Like the evening's lovely red, would I, a poor maiden, like to glow, to please one, one boy and to then radiate bliss forever.

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5.

Die grüne Hopfenranke, sie schlängelt auf der Erde hin.

Die junge, schöne Dirne, so traurig ist ihr Sinn!

Du höre, grüne Ranke!

Was hebst du dich nicht himmelwärts?

Du höre, schöne Dirne!

Was ist so schwer dein Herz?

Wie hobe sich die Ranke, der keine Stütze Kraft verleiht Wie wäre die Dirne fröhlich, wenn ihr der Liebste weit?

5.

The green hops vine, it winds along the ground.

The young, fair maiden, so mournful are her thoughts!

You - listen, green vine!

Why do you not raise yourself heavenwards?

You - listen, fair maiden!

Why is your heart so heavy?

How can the vine raise itself when no support lends it strength?

How can the maiden be merry when her sweetheart is far away?

6.

Ein kleiner hübscher Vogel nahm den Flug zum Garten hin, da gab es Obst genug.

Wenn ich ein hübscher, kleiner Vogel wär, ich säumte nicht, ich täte so wie der.

Leimruten Arglist, lauert an dem Ort, der arme Vogel konnte nicht mehr fort.

Wenn ich ein hübscher, kleiner Vogel wär ich säumte nicht, ich täte nicht wie der.

Der Vogel kam in eine schöne Hand, da tat es ihm, dem Glücklichen nicht and.

Wenn ich ein hübscher, kleiner Vogel wär, ich säumte nicht, ich täte so wie der.

6.

A small, pretty bird took flight into the garden - there was fruit enough there.

If I were a pretty, small bird, I would not hesitate -I would do just as he did.

Malicious lime-twigs lurked in that place; the poor bird could not escape.

If I were a pretty, small bird, I would have hesitated, I would not have done that.

The bird came to a pretty girl's hand, and it caused him no pain, the lucky thing.

If I were a pretty, small bird, I would not hesitate - I would do just as he did.

7.

Wohl schön bewandt war es vorehe mit meinem Leben, mit meiner Liebe; durch eine Wand, ja, durch zehn Wände, erkannte mich des Freundes Sehe; doch jetzo, wehe, wenn ich dem Kalten auch noch so dicht vorm Auge stehe, es merkt’s sein Auge, sein Herze nicht.

7.

Quite fair and contented was I previously with my life, and with my sweetheart; through a wall, yes, through ten walls, did my friend's gaze recognize me; But now, oh woe, if I am with that cold boy, no matter how close I stand before his eyes, neither his eyes nor his heart notice.

8.

Wenn so lind dein Auge mir und so lieblich schauet, jede lezte Trübe flieht, welche mich umgrauet.

Dieser Liebe schöne Glut, laß sie nie verstieben!

Nimmer wird, wie ich so treu dich ein Andrer lieben.

8.

When your eyes look at me so gently and lovingly, you chase away every last anxiety that troubles my life.

The lovely glow of this love, do not let it disappear!

No one else will ever love you as faithfully as I.

TEXT & TRANSLATIONS 9.

Am Donaustrande, da steht ein Haus, da schaut ein rosiges Mädchen aus.

Das Mädchen ist wohl gut gehegt, zehn eiserne Riegel sind vor die Türe gelegt.

Zehn eiserne Riegel das ist ein Spaß; die spreng ich als wären sie nur vom Glas.

9.

On the banks of the Danube, there stands a house, and looking out of it is a pink-cheeked maiden.

The maiden is very well-protected: ten iron bolts have been placed on the door.

But ten iron bolts are but a joke; I will snap them as if they were only glass.

10.

O wie sanft die Quelle sich durch die Wiese windet; O wie schön wenn Liebe sich zu der Liebe findet!

10.

O how gently the stream winds through the meadow!

O how lovely it is when Love finds Love!

11.

Nein, es ist nicht auszukommen mit den Leuten; alles wißen sie so giftig auszudeuten.

Bin ich heiter, hegen soll ich lose Triebe, bin ich still, so heißts ich wäre irr aus Liebe.

11.

No, there's just no getting along with people; they always make such poisonous interpretations of everything.

If I'm merry, they say I cherish loose urges; if I'm quiet, they say I am crazed with love.

12.

Schlosser auf, und mache Schlößer ohne Zahl!

Denn die bösen Mäuler will ich schließen allzumal!

12.

Locksmith, get up and make your locks, locks without number; for I want to lock up all the evil mouths.

13.

Vögelein durchrauscht die Luft sucht nach einem Aste, und das Herz, das Herz begehrts, wo es selig raste.

13.

The little bird rushes through the air, searching for a branch; and my heart desires a heart, a heart on which it can blessedly rest.

14.

Sieh', wie ist die Welle klar, blickt der Mond hernieder!

Die du meine Liebe bist, liebe du mich wieder!

14.

See how clear the waves are when the moon gazes down!

You who are my love, you love me back!

15.

Nachtigall, sie singt so schön wenn die Sterne funkeln.

Liebe mich, geliebtes Herz küße mich im Dunkeln

15.

The nightingale, it sings so beautifully, when the stars are twinkling.

Love me, my beloved heart, kiss me in the dark!

16.

Ein dunkeler Schacht ist Liebe ein gar zu gefährlicher Bronnen; da fiel ich hinein, ich Armer, kann weder hören noch sehn, nur denken an meine Wonnen, nur stöhnen, in meinem Wehn.

16.

Love is a dark shaft, a very dangerous well; and I, poor man, fell in.

I can neither hear nor see, I can only think about my bliss, I can only moan in my woe.

17.

Nicht wandle, mein Licht, dort außen im Flurbereich!

Die Füße würden dir, die zarten, zu naß, zu weich.

All überströmt sind dort die Wege, die Stege dir; So überreichlich tränte dorten das Auge mir.

17.

Do not wander, my light, out there in the field!

Your feet, your tender feet, would get too wet, too soft.

All flooded are the paths there, and the bridges, so amply there did my eyes weep.

18.

Es bebet das Gesträuche, Gestreift hat es im Fluge ein Vögelein.

In gleicher Art erbebet die Seele mir, erschüttert von Liebe, Lust und Leide, gedenkt sie dein.

18.

The bushes are trembling; they were brushed by a little bird in flight.

In the same way, my soul trembles, overcome by love, pleasure and sorrow, as it thinks of you.

Cindy

American folk song I wish I was an apple, A-hangin’ on a tree.

And every time my sweetheart passed, She’d take a bite of me.

I wish I had a nickel, I wish had a dime.

I wish I had a pretty girl, To love me all the time.

I wish I had a needle, As fine as I could sew, I’d sew that girl to my coattail, And down the road I’d go.

You ought to see my Cindy, She lives away down south, An’ she’s so sweet the honeybees All swarm around her mouth.

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Get along home, little Cindy.

I’ll marry you sometime.

The first time I saw Cindy, She was standing in the door, Her shoes and stockings in her hand, Her feet all o’er the floor.

She took me to her parlor, She cooled me with her fan, She swore that I’ze the purtiest thing In shape of mortal man.

Get along home, little Cindy.

I’ll marry you sometime.

Now Cindy hugged and kissed him, She wrung her hands and cried, She swore he was the purtiest thing That ever lived or died.

She told him that she loved him, She called him sugarplum,

TEXT & TRANSLATIONS She throwed her arms around him, He thought his time had come.

Get along home, little Cindy.

I’ll marry you sometime.

Now Cindy went to the preachin’, She swung around and round, She got so full of glory, She knocked the preacher down.

My Cindy in the springtime, My Cindy in the fall, If I can’t have my Cindy, I’ll have no girl at all.

Get along home, little Cindy.

I’ll marry you sometime.

When Cindy got religion, She thought her time had come, She walked right to the preacher And chawed her chewin’ gum.

Now Cindy got religion, She’d had it once before, But when she heard my banjo She’s the first one on the floor.

Get along home, little Cindy.

I’ll marry you sometime.

I’ll marry you someday! Hooray!

YOUR SUPPORT MATTERS YOUR SUPPORT MAKES A DIFFERENCE Over two-thirds of our revenue comes from support like yours. Thanks to you, we’re able to bring exemplary performances to the Denver region and enrich our communities. Kantorei is a 501(c)(3) organization, and contributions are tax deductible to the fullest extent of the law.

WAYS TO DONATE TO KANTOREI • Mail a check made out to “Kantorei” and address to: 3501 S Colorado Blvd, Cherry Hills Village CO. 80113 • Donate online! You can easily make a one-time donation or a recurring donation. Choose a recurring gift for easier budgeting each month. Our online donation partner, ColoradoGives.org, offers easy recurring gifts: weekly, monthly, quarterly, yearly, or anything in between! To start, visit our donation page, click “Donate Now” and select “Recurring”.

• Write a check and place in a donation envelope at our concerts.

• Interested in making a gift of stock? Contact Jason Hindman, Development Committee Chair, at jason@kantorei.org for more information.

CORPORATE SPONSORSHIPS Give your company greater visibility by supporting Kantorei! Plenty of underwriting opportunities are available. Benefits include: Ad space in our programs, Recognition signage at events, Complimentary tickets, and more! Contact Jason Hindman, Development Committee Chair, at jason@kantorei.org for information on how to begin a partnership with Kantorei.

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MARK YOUR CALENDARS! KANTOREI'S UPCOMING 2019-2020 SEASON FALL "FIRE AND ICE" OCT 5-6 Featuring a world premiere by Ola Gjeilo, commissioned by Kantorei as well as Morten Lauridsen's "Madrigali - Six 'Fire Songs' on Italian Renaissance Poems"

CHRISTMAS

"STAR IN THE EAST - A KANTOREI CHRISTMAS" DEC 12-15 A reprise of our popular holiday CD "Little Tree," which celebrates 10 years, and featuring a musical tribute to the late vocal jazz composer and arranger Phil Mattson

WINTER

"MASS APPEAL" FEB 28-MAR 1 Works for double and expanded chorus Featuring Ralph Vaughan Williams "Mass in g minor" and Thomas Tallis' "Spem in Alium" for 40 voice parts

SPRING

"VOX FEMINA" MAY 16-17 Featuring music by contemporary women composers and a new work by Jocelyn Hagen, commissioned by and for Kantorei