"Mass Appeal"

Saturday February 29, 2020, 7:30pm First Plymouth Congregational Church Cherry Hills Village

Sunday March 1, 2020, 3:00pm Christ Episcopal Church Denver

THERE IS SWEET MUSIC HERE

Edward Elgar (1857-1934)

ABENDSTÄNDCHEN, OP. 42 NO. 1

Johannes Brahms (1833-1897)

SPEM IN ALIUM

THREE MOTETS, OP. 38

Thomas Tallis (c. 1505-1585)

Charles Villiers Stanford (1852-1924)

1. Justorum animae 2. Coelos ascendit hodie 3. Beati quorum via

---------------------------------------------------- INTERMISSION ---------------------------------------------------

MASS IN G MINOR

Ralph Vaughan Williams (1872-1958)

1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei Erin Pettitt, soprano; Sarah Harrison, mezzo; Kai Berry-Helmlinger, tenor; Andrew Halladay, bass

To make a general contribution to Kantorei, text “Kantorei” to 44321, thank you!

PROGRAM NOTES Thomas Tallis (b. Kent, c. 1505; d. Greenwich, 1585) was an English composer who flourished during the late Renaissance. Tallis came of age as the Protestant Reformation took root in Germany and spread across Europe, and the arc of his career encompassed not only this critical historical event, but also the emergence of the Catholic Counter-Reformation and his own country’s separation from the Roman Catholic Church in 1534. Tallis’s life tracks this religious and political upheaval. Hailing from Kent, he held positions at the Benedictine priory in Dover (dissolved, not coincidentally, in 1535), St. Mary-at-Hill in London, and Waltham abbey in Essex (likewise dissolved, in 1540). The loss of this third position led him to Canterbury Cathedral in East Kent, which was being refounded as a secular establishment in the 1540s. He remained there as a member of the royal household until his death, serving as a composer, teacher, singer, and organist under Henry VIII, Edward VI, and Mary Tudor, and for more than half of the reign of Elizabeth I. The celebrated English composer William Byrd was among his pupils, and together Queen Elizabeth I granted them an exclusive license to print and publish music for the purpose of securing additional income, the first such license in England.

According to the musicologist Paul Doe, the key to Tallis’s successful navigation of such a period of turmoil can be found in “his combination of pragmatism and perfectionism.”

He was capable of “moving flexibly between genres, invoking old-fashioned or progressive features as circumstances demanded,” and “even in his old age he continued to develop his musical language and to explore compositional problems.” Perhaps the most impressive of the problems he took on late in his career was the logistical and technical challenge of writing for forty voices in his Spem in alium (c.

1570). This motet, whose Latin title translates as “Hope in any other,” calls for eight choirs of five voices each with no duplication of parts. It remains one of Tallis’s most popular works, as well as one of his most difficult to perform.

In 1611 the law student Thomas Wateridge anecdotally suggested that Tallis composed this motet in answer to a challenge from Thomas Howard, 4th Duke of Norfolk, who had likely heard either a motet or mass for 40–60 voices by the Italian composer Alessandro Striggio, and wanted to know if an Englishman could best Striggio’s achievement.

An alternative explanation for Spem in alium’s extraordinary number of voice parts is political: the 40-voice motet was probably first heard on Queen Elizabeth I’s 40th birthday in 1573. The presence of so many individual parts produces

Notes by Dr. Leah Weinberg

intricate textural layers that interact like the gears of a clock. Combined with an expansive dynamic range, this layering elevates the expression of the devotional Latin text, a response in the Sarum Rite adapted from the Book of Judith. Kantorei will perform this work in the round as it likely was during Tallis’s lifetime, producing an extraordinary antiphonal (or surround-sound) effect.

Three centuries after Thomas Tallis, Ralph Vaughan Williams (b. Down Ampney, Gloucester, 12 October 1872; d. London, 26 August, 1958) made his own mark on the sacred English choral music tradition. A young contemporary of Claude Debussy and Maurice Ravel in France, Gustav Mahler and Arnold Schoenberg in Austria, and Edward MacDowell and Amy Beach in the United States, Vaughan Williams came of age at the tipping point between late Romanticism and early Modernism. While aspiring art music composers like MacDowell traveled to Germany for their training, Vaughan Williams deliberately eschewed Teutonic models, instead seeking inspiration in 17th-century English music of the Tudor period as well as folksong of his native British Isles. He even went so far as to study with Ravel in 1907–8 in order to eradicate any vestiges of German influence from his music. It is worth noting that this was just two years after the scandalous L’affaire Ravel, in which the French composer was denied the coveted Prix de Rome for a fourth and final time due to corrupt academic politics and his notorious penchant for rule-breaking. In Ravel, the socially progressive Vaughan Williams found not just a master orchestrator, but also a fellow iconoclast.

The English composer is best known today for his symphonies and the popular concert works Fantasia on the Theme by Thomas Tallis (1910) and The Lark Ascending (1914).

Although he was openly agnostic, Vaughan Williams also composed many works for church performance, including his Mass in G Minor (1920–21). The first Mass written in a distinctly English idiom since the 16th-century works of Tallis and Byrd, it is written for unaccompanied double choir and four soloists. Vaughan Williams dedicated it to fellow English composer Gustav Holst, with whom he was close, and the Whitsuntide Singers at Thaxted in north Essex.

Although the composer intended his Mass to be performed in a liturgical setting, its first performance (on 6 December 1922) was given as a concert at Birmingham Town Hall. The Tudor revivalist, organist, choir director, and musicologist Sir Richard Runciman Terry later gave the Mass its first liturgical performance at Westminster Cathedral. The Mass unfolds

in five movements from the Ordinary. As Barry Creasy (Chairman, Collegium Musicum of London) writes of the work, “its musical link with the pastoral works is unmissable, as the piece is full of the rich harmonies associated with the composer in his most ‘English summertime’ moments, but the origins of the piece are also, as with Howell’s Requiem, in the revival of English polyphony and with Vaughan Williams’s identification of his music with ‘the imperishable glories of English prose.’”

Alongside Hubert Parry and Charles Grove, Irish composer Sir Charles Villiers Stanford (b. Dublin, 30 September 1852; d. London, 29 March, 1924) was a key figure in the revival of art music from the British Isles during the late 19th century. Born in Dublin to a well-to-do and exceptionally musical family, Stanford served as the organist of Trinity College while still an undergraduate at Cambridge. At twenty-nine years old, he became one of the founding professors at the Royal College of Music, where he spent the remainder of his career educating students including Samuel Coleridge-Taylor, Gustav Holst, John Ireland, and Ralph Vaughan Williams. Stanford was a great admirer of the German Romantic tradition and composed many instrumental works, but is best remembered for his choral works written for performance in the Anglican Church.

Stanford completed his stylistically wide-ranging Three Motets, Op. 38 (c. 1892; publ. 1905) for unaccompanied choir the year that he left his position as Trinity’s organist, dedicating them to his successor Alan Gray and the college choir. The first motet, “Justorum animae,” takes its text from the Book of Wisdom, and presents a vivid contrast between the reflective outer statements and the “torment” and “malice” of its central phrase. “Coelos ascendit hodie” is scored for double choir and animates the jubilant character of the text through interplay between the two choirs. Finally, “Beati quorum via” is a meditative six-part motet whose text comes from Psalm 119, verse 1. Alongside the music of Herbert Howells, Stanford’s church music remains a staple of the cathedral choir repertoire. He was knighted in 1902, and his ashes were interred in Westminster Abbey near those of those of celebrated predecessors Henry Purcell and John Blow.

Sir Edward Elgar (b. Broadheath, 2 June 1857; d.

Worcester, 23 February, 1934), a contemporary of Sir Charles Villiers Stanford, was raised in modest circumstances in a musical family—his father was a professional violinist, piano tuner, and sheet music and instrument merchant, and his mother strongly encouraged his interest in the arts. Elgar studied piano and violin as part of his general

education, and although his dream of studying composition formally in Leipzig went unfulfilled, it drove him to remain active in the Worcester music scene while he worked as clerk in a solicitor’s office, and eventually to seek professional employment as a violinist in Birmingham. A largely selftaught composer, Elgar struggled to achieve critical recognition into his forties, but when recognition did come, it catapulted him to the top of the British art music scene.

His Enigma Variations premiered in 1899 under the baton of the German conductor Hans Richter, and it, along with the first of his Pomp and Circumstance Marches (1901–30) and his Violin Concerto (1910), remain his best-known works.

Elgar was knighted in 1904, and from 1905–8 he held the post of Peyton Professor of Music at the University of Birmingham. Never at ease in this role, he left after three years to return to composition, but not before completing the four eight-voice part-songs that comprise his Op. 53.

The first of these, There Is Sweet Music (1907), sets a text by the 19th-century British poet Alfred, Lord Tennyson.

Tennyson’s evocative imagery treats metaphorically what Elgar realizes literally: “There is sweet music here that softer falls than petals from blown roses on the grass … Music that gentlier on the spirit lies, than tir’d eyelids upon tir’d eyes;

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Mozart and Haydn OCT 19 - 20 Opera - Dido & Aeneas JAN 11 - 12 Bach Goldberg Variations FEB 29 - MAR 1 Vivaldi’s Four Seasons MAY 14 - 17 Plus three Confluence concerts.

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Music that brings sweet sleep down from the blissful skies.”

Unusually, Elgar scored this song to alternate between the soprano and alto voices (singing in A-flat major) and the tenor and bass voices (singing in G major), the effect of which is to divide Tennyson’s poem into distinct, contrasting segments.

Unlike the other four composers on the program, Johannes Brahms (b. Hamburg, 7 May 1833; d. Vienna, 3 April, 1897) did not hail from the British Isles, but his influence was felt across both the Atlantic Ocean and the English Channel, notably in the music of Stanford and Elgar. According to the musicologists George S. Bozarth and Walter Frisch, the late Romantic German composer “creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid- and late 19th-century art music.

His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime.”

Brahms composed the aphoristic six-voice choral work Abendständchen (Evening Serenade) between 1859–61 and conducted its premiere in Vienna in 1864. It is the first of Drei Gesänge (Three Songs) that comprise his Op. 42, and sets a text by the Romantic German poet and novelist Clemens Brentano that more than brims with sonorous language. It actually calls upon listeners to pause and open their ears: “Hör’ … Stille, laß uns lauschen!” (“Hear … Silence, let us listen!”). Brahms sets Brentano’s evocative language— a flute laments, fountains roar, sounds are golden, desires speak to the heart, and illuminated sounds look at the poet in the night—with characteristic late Romantic warmth.

Managing 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 “Dreamweaver” 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.

JOEL M. RINSEMA Managing Artistic Director

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. 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.

Saturday APRIL 18, 2020, 7:00pm Plymouth Hall, First Plymouth UCC

For more information visit kantorei.org Suggested donation: $100

THE CHOIR SOPRANO

ALTO

TENOR

BASS

Victoria Bailey Kimberly Dunninger Beryl Fanslow Wilson Christina Graham Heather Gunnerson Stacie Hanson Shannon Lemmon-Elrod Paige Lewkow Sara Michael * Erin Pettitt Alicia Rigsby Pearl Rutherford Christianna Sullins

Emily Alexander Lindsey Aquilina Lyn Berry-Helmlinger Sarah Harrison * Chelsea Kendall Melissa Menter Erin Meyerhoff Jennifer Moore Kali Paguirigan Tegan Palmer Allison Pasternak Emma Tebbe Andrea Ware-Medina

Kai Berry-Helmlinger * Matthew Eschliman Keith Ferguson Mason France Matthew Gierke Keith Harrison Steve Howie Bryce Kennedy Samuel Low Alex Menter Jonathan Meyer Jonathan Von Stroh

John Bartley Michael Bizzaro Michael Boender Michael Bradford Garth Criswell Andrew Halladay Scott Horowitz Brad Jackson Karl Johnson Brad Larson John Ludwig Marc Petersen John Schaak Kirk Schjodt * Griffin Sutherland

* Section Leader

THE STAFF Sarah Harrison

Sara Michael

Alicia Rigsby

Lizabeth Barnett

Assistant Conductor Collaborative Pianist

Business Manager House Manager

BOARD OF DIRECTORS Keith Ferguson

Mark Aquilina

Jennifer Moore

Matthew Gierke

President

Vice President

Treasurer

Secretary

MEMBERS AT LARGE Michael Bizzaro Kevin Gunnerson Susan Lewkow

Melissa Menter

Development Committee Chair

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 frequently performs at major choral conventions across the U.S., has toured around the world, and works with composers and conductors of international renown. Kantorei has sung under the batons of René Clausen, Simon Carrington, Eric Whitacre, Karen Kennedy, and Anton Armstrong.

Kantorei 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 international 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. In May 2019, Kantorei recorded the music of Jake Runestad, anticipating release in August 2020.

Santa Barbara Music Publishing Inc., publishes the Kantorei Choral series.

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 sounds 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

TEXT & TRANSLATIONS There Is Sweet Music Here Alfred Tennyson

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir’d eyelids upon tir’d eyes; Music that brings sweet sleep down from the blissful skies.

Here are cool mosses deep, And thro’ the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

Abendständchen

Evening Serenade

Clemens Brentano

Trans. © Emily Ezust, from the LiederNet Archive

Hör’, es klagt die Flöte wieder, und die kühlen Brunnen rauschen, golden weh’n die Töne nieder, stille, laß uns lauschen!

Hark, the flute laments again and the cool springs murmur; golden, the sounds waft down be still, be still, let us listen.

Holdes Bitten, mild Verlangen, wie es süß zum Herzen spricht! durch die Nacht, die mich umfangen, blickt zu mir der Töne Licht.

Lovely supplication, gentle longing, how sweetly it speaks to the heart!

Through the night that enfolds me shines the light of the music.

Spem in alium

I Have Never Put My Hope in Any Other

Spem in alium nunquam habui Praeter in te, Deus Israel Qui irasceris et propitius eris et omnia peccata hominum in tribulatione dimittis Domine Deus Creator caeli et terrae respice humilitatem nostram

I have never put my hope in any other but in Thee, God of Israel who canst show both wrath and graciousness, and who absolves all the sins of man in suffering Lord God, Creator of Heaven and Earth Regard our humility

Response from Matins

Justorum Animae

The Souls of the Righteous

Justorum animae in manu Dei sunt, et non tanget illos tormentum malitiae.

Visi sunt oculis insipientium mori: Illi autem sunt in pace.

The souls of the righteous are in the hands of God, and the torment of malice shall not touch them: They seem in the eyes of the foolish to be dead, but they are at peace.

Coelos Ascendit Hodie

Today into the Heavens

Coelos ascendit hodie Jesus Christus Rex Gloriae: Sedet ad Patris dexteram, Gubernat coelum et terram.

Iam finem habent omnia Patris Davidis carmina.

Iam Dominus cum Domino Sedet in Dei solio: In hoc triumpho maximo Benedicamus Domino.

Laudatur Sancta Trinitas, Deo dicamus gratias, Alleluia. Amen.

Today into the heavens has ascended Jesus Christ, the King of Glory, Alleluia!

He sits at the Father’s right hand, and rules heaven and earth, Alleluia!

Now have been fulfilled all of Father David’s songs, Now God is with God, Alleluia!

He sits upon the royal throne of God, in this his greatest triumph, Alleluia!

Let us bless the Lord: Let the Holy Trinity be praised, let us give thanks to the Lord, Alleluia! Amen.

Beati Quorum Via

Blessed Are They

Wisdom 3: 1-3

Cowley Carol Book

Psalm 119: 1 Beati quorum via integra est: qui ambulant in lege Domini

Blessed are they whose road is straight, who walk in the law of the Lord.

Kantorei would like to thank our sponsors for your generous and ongoing support!

TEXT & TRANSLATIONS Mass in G minor Mass ordinary

1. Kyrie

1. Kyrie

Kyrie eleison Christe eleison Kyrie eleison

Lord have mercy Christ have mercy Lord have mercy

2. Gloria

2. Gloria

Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens.

Glory to God in the highest and peace to his people on earth.

We praise you, we bless you, we worship you, we glorify you, we give thanks to you, for your great glory O Lord God, heavenly King, God the Father Almighty.

Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

O Lord, the only-begotten Son, Jesus Christ, O Lord God, Lamb of God, Son of the Father, who takes away the sins of the world, have mercy upon us; You who takes away the sins of the world, receive our prayer.

You who sits at the right hand of God the Father, have mercy upon us.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu: in gloria Dei Patris. Amen

For you alone are holy; You alone are the Lord, you alone are the most high, Jesus Christ, with the Holy Ghost: in the glory of God the Father. Amen.

Kantorei would like to thank our sponsors for your generous and ongoing support!

3. Credo

3. Credo

Credo in unum Deum, Patrem omnipotentem, factorem cæli et terræ, visibilium omnium et invisibilium.

Et in unum Dominum, Jesum Christum,

I believe in one God, the Father Almighty, maker of heaven and earth, of all things visible and invisible: And in one Lord, Jesus Christ,

Filium Dei unigenitum, et ex Patre natum ante omnia sæcula.

Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri; per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem descendit de cælis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato passus, et sepultus est, et resurrexit tertia die, secundum Scripturas, et ascendit in cælum, sedet ad dexteram Patris.

Et iterum venturus est cum gloria, iudicare vivos et mortuos, cuius regni non erit finis; Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit.

Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas.

Et unam, sanctam, catholicam et apostolicam Ecclesiam.

Confiteor unum baptisma in remissionem peccatorum.

Et expecto resurrectionem mortuorum, et vitam venturi sæculi. Amen.

the only-begotten Son of God, born of the Father before all ages; God from God, Light from Light, true God from true God; begotten, not made, consubstantial with the Father, by whom all things were made; who for us men and for our salvation descended from heaven.

He was incarnate by the Holy Ghost out of the Virgin Mary, and was made man.

He was crucified also for us under Pontius Pilate; he suffered and was buried: And he rose again on the third day according to the Scriptures: And ascended into heaven, and sits on the right hand of the Father: And the same shall come again, with glory, to judge the living and the dead: Of whose kingdom there shall be no end; And (I believe) in the Holy Spirit, the Lord and life-giver, who proceeds from the Father and the Son, who, with the Father and the Son, together is worshiped and glorified, who has spoken through the prophets.

And (I believe in) one, holy, catholic, and apostolic Church, I confess one baptism for the remission of sins.

And I await the resurrection of the dead: and the life of the coming age. Amen.

4. Sanctus

4. Sanctus

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.

Pleni sunt cæli et terra gloria tua.

Osanna in excelsis.

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

Holy, holy, holy, Lord God of hosts.

Heaven and earth are full of your glory.

Hosanna in the highest.

Blessed is he that comes in the name of the Lord.

Hosanna in the highest.

5. Agnus Dei

5. Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takes away the sins of the world, have mercy upon us.

Lamb of God, who takes away the sins of the world, grant us peace.

AVAILABLE NOW AT KANTOREI.ORG/INFINITY

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, Englewood, 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 Melissa Menter, Development Committee Chair, at kantorei@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 Melissa Menter, Development Committee Chair, at kantorei@kantorei.org for information on how to begin a partnership with Kantorei.

Rhythm Planet

NOV 2 & 3, 4 PM Boulder Concert Chorale First United Methodist

2019-20 SEASON

A World in Harmony

A World in Harmony

MAR 14 & 15, 4 PM Boulder Concert Chorale First United Methodist

Brightest & Best That Jazz Holiday Concert All APR 26, 4 PM DEC 14 & 15, 4 PM Featuring Six Boulder Chorale Choirs First United Methodist

Boulder Children’s Chorale Boulder Church

FEB 15, 7:30 PM Boulder Chamber Chorale w/ Boulder Chamber Orchestra Boulder Church

MAY 17, 3:30 PM Boulder Concert Chorale w/ Colorado MahlerFest Orchestra Macky Auditorium

Mahler Symphony Cherubini Requiem No. 2

Visit our website for full season details

BoulderChorale.org • 303.554.7692

newman center presents 2019–2020 events on sale now dance / jazz / nat geo / more box office: 303-871-7720 newmancenter.du.edu

Hubbard Street Dance Chicago

SAVE THE DATES!

ANNOUNCING THE 2020-2021 KANTOREI SEASON AUGUST 23, 2020

DECEMBER 10-13, 2020

Ludwig van Beethoven –Symphony No. 9

Lone Tree Arts Center; Saint John’s Cathedral; First Plymouth Congregational UCC; Christ Church (Episcopal)

Aspen Music Festival

Carols and Lullabies (A Kantorei Christmas)

SEPTEMBER 24/25, 2020 HS Mixed Choir Festival

MARCH 6/7, 2021

Jake Runestad, clinician

A Springtime Bouquet

St. Andrew UMC; Denver location TBD

First Plymouth Congregational UCC; Wellshire Presbyterian

NOVEMBER 7/8, 2020

MAY 15/16, 2021

Eternal Rest

Exile Meditations

First Plymouth Congregational UCC; Wellshire Presbyterian

DECEMBER 4, 2020

Featuring a Jake Runestad Commission – poetry by Humberto Ak’abal

A Winter’s Night (CCHS Meistersingers)

First Plymouth Congregational UCC; Wellshire Presbyterian

Bethany Lutheran Church

To volunteer for Kantorei, please email us at volunteer@kantorei.org

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