The Lost Birds

03.04.2023

03.05.2023

SATURDAY @ 7:30 PM

SUNDAY @ 3:00 PM

Wellshire Presbyterian Church, Denver

First Plymouth UCC, Cherry Hills Village

BE LIKE THE BIRD DAWN & DUSK (FAJAR DAN SENJA)

ABBIE BETINIS (B. 1980) KEN STEVEN (B. 1993)

Erin Pettitt, soprano

IL BIANCO E DOLCE CIGNO THE BIRDS’ LULLABY ***

Sarah Whitnah, violin I; Brune Macary, violin II; Allyson Stibbards, viola; David Short, cello; Peter Huffaker, bass; Tonya Jilling, harp; Dan Kent, percussion

FLOCKS A MILE WIDE THE SADDEST NOISE BIRD RAPTURES A HUNDRED THOUSAND BIRDS WILD SWANS INTERMEZZO THUS IN THE WINTER

VIII. THERE WILL COME SOFT RAINS IX. ALL THAT COULD NEVER BE SAID Benjamin Corwyn, tenor; Sara Michael, soprano

X.

I SHALL NOT SEE THE SHADOWS Christina Graham, soprano

XI.

SARAH QUARTEL (B. 1982)

PAUSE * * *

THE LOST BIRDS I. II. III. IV. V. VI. VII.

JACQUES ARCADELT (1505 - 1568)

IN THE END Laura Tribby, mezzo-soprano

XII. HOPE IS THE THING WITH FEATHERS

CHRISTOPHER TIN (B. 1976)

PROGRAM NOTES Be Like the Bird was composed in 2009, just after I completed cancer treatment for the second time. My parents and I sent it out as our Christmas card that year which continued a tradition started in 1922 by my greatgrandfather, Rev. Bates G. Burt, who then passed it to his son, my great-uncle Alfred Burt, now famous for carols like "Caroling, Caroling" and "Some Children See Him." This particular canon, inspired by my own struggle, is dedicated to High Rocks for Girls, an innovative school for middle and high school girls founded by Susan Burt in the mountains of rural West Virginia. May High Rocks continue to educate, empower, and inspire each student to know that "she hath wings." – Abbie Betinis Text by Victor Hugo Be like the that, pausing in her flight awhile On boughs too slight, Feels them give way beneath her, And sings knowing she hath wings.

Dawn and Dusk (Fajar dan Senja) is inspired by this short poem that I wrote: It was a quiet night - When a glimpse of light slowly gazed upon the sky Awakening the sleeping souls - Joyfully singing - Dancing in the ray of light - And slowly It will descend again from its mighty throne This piece is an exploration of sounds with the human voice.

I intended to capture the magical moments as expressed by the poem itself through the variety colors of vocal quality produced by the ensemble. Based on the Indonesian exotic Melayu scale, the music portrays the folk life atmosphere in a vibrant sound experience. The words have no exact meaning, rather they are just playful syllables to bring the poem to life. – Ken Steven The text of Jacques Arcadelt’s Il bianco e dolce cigno plays on the adage that the swan, silent throughout its life, only sings in the final moments before its death. Using the euphemism of death for orgasm, the speaker of the text compares the swan’s actual death against his euphemistic one. Although the expression “swansong” only came into

Notes compiled by Sara Michael

being in the eighteenth century, the legend of the mute swan dates back to antiquity. Despite being completely untrue, as a poetic image it is certainly very powerful and has remained so to the present day.

Texturally, all the voices move more or less together in all but two significant places. First, on the word “beato;” the break in the texture adds a flourish to emphasize the word “blessed.” Then, at the end, the voices all sing in their own time, imitating each other to emphasize the repetition of “mille mort’ il di” (a thousand times a day). Overall, the music and its harmonies are simple and allow the words to speak for themselves. This proved popular and the madrigal was a favorite of the sixteenth century. – Joseph Knowles Text by Giovanni Giudiccioni Il bianco e dolce cigno cantando more, ed io piangendo giung' al fin del viver mio.

Stran' e diversa sorte, ch'ei more sconsolato ed io moro beato.

Morte che nel morire m'empie di gioia tutto e di desire.

Se nel morir, altro dolor non sento, di mille mort' il di sarei contento.

The white and sweet swan dies singing, and I, weeping, reach the end of my life.

Strange and different fate, that he dies disconsolate and I die a blessed death, which in dying fills me full of joy and desire.

If in dying, were I to feel no other pain, I would be content to die a thousand deaths a day.

In “The Birds’ Lullaby,” inspired by the text of poet E. Pauline Johnson, Sarah Quartel has created an energetic and fun piece with playful, swinging syncopations and melodic elements and counter melodies shared between the voices in a conversational style. This piece was commissioned by Andrew Potter as a gift for his wife, Jan Spooner Swabey, and her choir “JuSSt Voices” in 2020.

PROGRAM NOTES Text by E. Pauline Johnson Sing to us, cedars; the twilight is creeping With shadowy garments, the wilderness through; All day we have carolled, and now would be sleeping, So echo the anthems we warbled to you; While we swing, swing, And your branches sing, And we drowse to your dreamy whispering.

Sing to us, cedars; the night-wind is sighing, Is wooing, pleading, to hear you reply; And here in your arms we are restfully lying, And longing to dream to your soft lullaby; While we swing, swing, And your branches sing, And we drowse to your dreamy whispering.

Sing to us, cedars; your voice is so lowly, Your breathing so fragrant, your branches so strong; Our little nest-cradles are swaying so slowly, While zephyrs are breathing their slumberous song.

And we swing, swing, While your branches sing, And we drowse to your dreamy whispering.

The Lost Birds The sky was once full of birds. Magnificent flocks so enormous that they would darken the skies for days as they flew overhead. The most awe-inspiring of these flocks belonged to a bird called the passenger pigeon. At their height, they were the most numerous bird species in North America, with a population estimated at 5 billion. But over the course of a few decades, we eradicated them for food, using nothing but the crudest 19th-century hunting technology. With callous indifference, we simply shot them out of the sky, one by one, until their songs were never heard again.

The Lost Birds is a memorial for their loss, and the loss of other species due to human activity. It’s a celebration of their beauty—as symbols of hope, peace, and renewal. But it also mourns their absence—through the lonely branches of a tree, or the fading echoes of distant bird cries. And like the metaphor of the canary in the coal mine, it’s also a warning: that unless we reverse our course, the fate that befell these once soaring flocks will be a foreshadowing of our own extinction.

To pay proper tribute to these birds, I adopted a distinctly 19th-century musical vocabulary: one based on the tunefulness of folk songs, with a string orchestra accompaniment that’s both soaring and melancholy. And to put their story into words, I turned to four 19th-century poets—Emily Dickinson, Christina Rossetti, Edna St. Vincent Millay, and Sara Teasdale.

These women saw their world transform from a pastoral society to an industrial one—one in which humans, for the first time, began disastrously reshaping the environment.

And the poems which I selected depict an increasingly fraught world: first without birds, and ultimately without humans. We are now in the 21st century, and our tools for affecting the world around us—emissions, pesticides, deforestation—are more indiscriminate and cruelly efficient.

As bird, fish, animal, and insect populations crash around us, we increasingly find ourselves in a silent world—one in which the songs of birds are heard less and less. We hope that the silence can be filled by more voices speaking up on behalf of these lost birds—for their sake, and for ours.

—Christopher Tin 1: Flocks a Mile Wide "Flocks a Mile Wide" is an ode to the passenger pigeon, a bird that was once so numerous that giant flocks would blacken the skies for days as they flew overhead. Their migrations were a breathtaking sight for the 19th-century traveler— large clusters would form undulating masses that swooped and swerved across the sky, much like the murmurations of starlings still visible today. That magnificent spectacle—of hundreds of thousands of birds carving out organic forms in the sky—serves as the inspiration for the "Flocks a Mile Wide" theme, and the entire story arc of The Lost Birds.

The passenger pigeon flourished until the end of the 19th century, when advancements in technology—notably the railroad and refrigerated boxcar—turned these bountiful flocks into a ready supply of cheap meat that could be hunted almost anywhere and shipped to rapidly growing urban centers. Within a few short decades, through a combination of deforestation and good old fashioned hunting rifles, their population crashed. What was once the most numerous bird in the world—with some estimates placing their numbers as high as 5 billion—rapidly went extinct, and the last wild passenger pigeon was shot and killed by a boy with a BB gun in 1900.

The saga of the passenger pigeon, as well as the extinctions of four other North American bird species, is the basis for a series of bronze statues by sculptor Todd McGrain entitled The Lost Bird Project, along with an accompanying documentary by Deborah Dickson. Alongside the album The Lost Birds, these form an interconnected suite of artistic works that explores extinction through the three disciplines of sculpture, film, and music.

2: The Saddest Noise "The Saddest Noise" is a setting of Emily Dickinson's poem "The Saddest Noise, the Sweetest Noise". It begins the story of The Lost Birds in spring: the season of birth and renewal, and a time of year when bird songs flood the skies. But what is ordinarily a joyous sound is now riddled with sorrow, as the songs of the remaining birds remind us of the ones we've already lost. Dickinson's reflections on the birds' songs—at once tuneful, but tainted with melancholy— inspired my musical language for The Lost Birds. Heavily influenced by the vernacular of the 19th-century, the work is both pastoral and romantic, with lyrical melodies and soaring strings. But for all its romanticism and loveliness, there remains a sense of loss that permeates the music: for though the melodies we can still hear are sweet, it is the ones that are lost which we truly wish to hear.

Text adapted from a poem by Emily Dickinson Between the March and April line— That magical frontier Beyond which summer hesitates, Almost too heavenly near.

The saddest noise, the sweetest noise, The maddest noise that grows and grows,— The birds, they make it in the spring, At night’s delicious close.

The saddest noise I know.

It makes us think of all the dead That sauntered with us here, By separation’s sorcery Made cruelly more dear.

It makes us think of what we had, And what we now deplore.

We almost wish those siren throats Would go and sing no more.

An ear can break a human heart As quickly as a spear, We wish the ear had not a heart So dangerously near.

3: Bird Raptures One of the most common pairings of birds in literature is the lark and the nightingale. The lark, with its cheery morning song, represents day—while the nightingale's lonesome song summons the night. But while most 19thcentury poets chose to exalt the radiant skylark, Christina Rossetti fixated instead on the nightingale. And in her poem "Bird Raptures", she envelops it in language of nocturnal sensuality. Awakened by the moon (a symbol of femininity), with repeated entreaties to forestall the dawn, Rossetti adopts the voice of lovers who want the night to never end.

(See: Romeo and Juliet, Act III, Scene 5.)

But Rossetti's Anglo-Catholic faith was never far in her writings, especially in her latter years. And the title of her poem—"Bird Raptures"—imparts a touch of religious ecstasy to her worship of the nightingale. For this reason, my setting of her poem starts as a hymn—a simple chorale, where all the singers' voices move in tandem to harmonize a melody. But as the song progresses, the voices become less synchronized, and gradually start to resemble the individualized movements of birds in a flock. Voices begin lingering, singing a few extra melismatic notes after the rest of the ensemble lands on a resolved chord. Individual singers break from the ensemble, tugging at their nearest neighbors to follow, as if by magnetic attraction. Soon, the entire chorus and orchestra starts to resemble a murmuration—where individual birds have their own flight paths, but the overall movement of the flock stays contained as a harmonized organism. This flock circles and circles, building in intensity until climaxing on the words 'silent, sweet and pale'—a rapturous exaltation of the night.

Text adapted from a poem by Christina Rossetti The sunrise wakes the lark to sing, The moonrise wakes the nightingale.

Come darkness, moonrise, every thing That is so silent, sweet, and pale: Come, so ye wake the nightingale.

Make haste to mount, thou wistful moon, Make haste to wake the nightingale: Let silence set the world in tune To hearken to that wordless tale Which warbles from the nightingale O herald skylark, stay thy flight To-morrow thou shalt hoist the sail; Leave us to-night the nightingale.

For a nightingale floods us with delight.

PROGRAM NOTES 4: A Hundred Thousand Birds Sprightly and magical, "A Hundred Thousand Birds" is a setting of Christina Rossetti's poem by the same name. It's a celebration of the nightingale: the bird most adored by Romantic era writers as a symbol of mother nature herself.

A summer bird, its nocturnal song was imbued with mystical qualities, both transformative and intoxicating. And in Rossetti's poem, which contrasts the single nightingale with the hundred-thousand daylight birds, its lonesome qualities epitomize the Romantic idea of the solitary artist in nature.

My setting of the piece is inspired by English folk song, employing both the simple melodic structure and modal harmonies associated with pastoral music. Using the vernacular of folk songs helps place The Lost Birds firmly in the context of the late 19th-century: a golden age of folk music preservation, when musicologists in England and North America criss-crossed their countrysides, transcribing and cataloging folk songs in towns and villages everywhere.

It is this same era when rapid industrialization and the rise of cities first started reshaping the natural environment with disastrous consequences, leading us down our current path of widespread loss of biodiversity.

Text adapted from a poem by Christina Rossetti A hundred thousand birds salute the day: — One solitary bird salutes the night: Its mellow grieving wiles our grief away, And tunes our weary watches to delight; It seems to sing the thoughts we cannot say, and to set them right; Until we feel once more that May is May, And hope some buds may bloom without a blight.

A hundred thousand birds salute the day: — One solitary bird salutes the night: This solitary bird outweighs, outvies, The hundred thousand merry-making birds Whose innocent warblings might make us wise Would we but follow when they bid us rise, Would we but set their notes of praise to words And launch our hearts up with them to the skies.

5: Wild Swans The Lost Birds is a musical memorial to extinct bird species.

But it also carries a darker message: like the metaphor of the canary in the coal mine, the extinction of birds is a

preface to the extinction of humans. And thus, the album is split into two halves: the story of the loss of birds, followed by the story of the loss of humankind.

"Wild Swans", a setting of a poem by Edna St. Vincent Millay, ends the first half of The Lost Birds. Told from the point of view of the poet, it starts with the sound of bird cries: gradually approaching from a distance, until they pass overhead, triggering feelings of longing. After an instrumental interlude, and the narrator's impassioned declaration of freedom, the song ends as it started— with the cries of wild swans receding into the distance, foreshadowing their demise.

The migration of swans signifies autumn; and in turn, autumn signals the gradual fading of nature. But beyond their seasonal association, swans themselves have a storied place in literature, often imbued with magical properties.

Across myths and legends from every culture, no other bird is transformed into a human as frequently as a swan is— thereby reinforcing the notion that the extinction of birds is synonymous with the extinction of humans. But folklore has also given us the metaphor of the 'swan song'—the final work of an artist or musician before their death.

It comes from the ancient belief that the swan stays silent its entire life, only to sing a beautiful song just before it dies.

"Wild Swans" is thus the emotional heart of The Lost Birds— one final, impassioned cry, before the birds' songs recede into the long silence of extinction.

Text adapted from a poem by Edna St. Vincent Millay Cry...

I looked in my heart while the wild swans went over.

And what did I see I had not seen before?

Only a question less or a question more; And what did I see? No less, no more, and Nothing to match the flight of wild birds flying wild.

Come over the town again, trailing your legs and crying!

I looked inside my Tiresome heart, forever living, forever dying, House without air, I leave and lock your door.

Forever more I leave you.

Wild swans, come over the town again, trailing your legs and crying

6: Intermezzo Reprising the theme of Flocks a Mile Wide, "Intermezzo" is an ode to the last passenger pigeon to die in captivity. Named "Martha", she lived in a Cincinnati zoo all by herself until her death in 1914. Her story, and the stories of many similar birds who were the last of their kind, follows a familiar trajectory: the lone survivor of the species sings their song, desperately searching for a response, only to be greeted by silence. And as she gives her final performance, her melancholy song trails away, diminishing with anguish, and ultimately fading into an eternal silence. The song is now lost forever.

Today the passenger pigeon is one of the most spectacularly tragic examples of human-induced ecological collapse.

It serves as a warning that if we could wipe out the most populous bird in the world with nothing by 19th-century hunting technology, how much damage can we now do in the 21st century? "Intermezzo" marks the start of the second half of The Lost Birds—one in which the focus is no longer on the extinction of birds, but instead on the extinction of humankind.

7: Thus in the Winter We are now in a cold, bleak winter, and the absence of birds is best expressed through the lens of the lonely tree, who witnessed the gradual disappearance—one by one—of the birds that used to sing from its boughs. To capture the desolation of this imagery, taken from Edna St. Vincent Millay's poem "What lips my lips have kissed, and where, and why", I adopted a musical approach inspired by the simple monophony of plainchant. Stark, isolated melodies gradually evolve and intertwine, until their woven layers adopt the contrapuntal shape of a Renaissance madrigal.

More and more voices join the chorus, their motion overlapping like birds forming a flock, until all at once their calls reach a climax on the word 'cry'—a plaintive echo of the final bird cries in "Wild Swans".

The movement finishes with harmonic ambiguity, followed by an immediate, uninterrupted transition into the next movement. In the same way that species die out in the real world, the end chapters often come in quick, brutal succession.

Text adapted from a poem by Edna St. Vincent Millay Thus in the winter stands the lonely tree, Nor knows what birds have vanished one by one, Yet knows its boughs more silent than before: I cannot say what loves have come and gone,

I only know that summer sang in me A little while, that in me sings no more.

But the rain is full of ghosts tonight, that tap and sigh upon the glass and listen for reply, And in my heart there stirs a pain For unremembered birds again That will not wake at midnight with a cry 8: There Will Come Soft Rains A setting of one of my favorite childhood poems, "There Will Come Soft Rains" is inspired both by the apocalyptic WWI context in which it was originally written, but also by Ray Bradbury's short story of the same name. Originally published by Sara Teasdale in 1918, it was introduced to a world in which humans, for the first time, could see palpable examples of their own extinction—both through the terrible human cost of the Great War, but also from the 1918 flu pandemic.

The poem portrays a post-human world: one in which society has crumbled, and mother nature has established a new order, indifferent to the extinction of humankind.

It is only in such an imagined world where robins and swallows might still sing their songs, which suggests the unthinkable—that perhaps the earth can only thrive in the absence of humans. Following a thunderous instrumental interlude representing an extinction event, we have a 'transfiguration' moment: where echoes from previous movements drift through in a primordial state, like a feverish dream on a dying person's deathbed. The movement ends on a wispy, minor-key evocation of the "Flocks a Mile Wide" theme; a distant memory of the life that once thrived around us.

Text adapted from a poem by Sara Teasdale There will come soft rains and the smell of the ground, And swallows circling with their shimmering sound; And frogs in the pools singing at night, And wild plum trees in tremulous white, Robins will wear their feathery fire Whistling their whims on a low fence-wire; Not one will know of the war, not one Will care at last when it is done.

Not one would mind, neither bird nor tree If mankind perished utterly; And Spring herself, when she woke at dawn, Would scarcely know that we were gone.

(The sunrise wakes the lark to sing…

PROGRAM NOTES Between the March and April line…

One solitary bird salutes the night…

I looked in my heart while the wild swans went over…

Thus in the winter stands the lonely tree…)

9: All That Could Never Be Said With a simple melody inspired by children's songs, "All That Could Never Be Said" is a setting of Sara Teasdale's poem "In the End". Showcasing her signature pairing of nihilism and pastoral beauty, the poem is an exploration of regret: it suggests that the consequences of our inaction are final and absolute. There are no second chances to speak up or to act, and all our missed opportunities will be lost to us until we're reunited with them in death. In the context of extinction, it mirrors the concept of 'tipping points' in environmental science—thresholds that, should we cross them, will be irreversible.

My setting re-imagines the text as a simple children's melody, recasting the entirety of The Lost Birds as a fable.

And just like in the story of "The Grasshopper and the Ant", the moral of the story is that our inaction in the face of slow extinction will ultimately doom us.

Text adapted from a poem by Sara Teasdale All that could never be said, All that could never be done, Wait for us at last Somewhere back of the sun; All the heart broke to forego Shall be ours without pain, We shall take them as lightly as girls Pluck flowers after rain.

All that could never be said, All that could never be done, Wait for us at last By the sun.

10: I Shall Not See the Shadows "I Shall Not See the Shadows" is based on Christina Rossetti's poem "When I Am Dead My Dearest". It portrays death at its most indifferent—unnoticed, unheralded, unremembered. It also suggests that forgetting is a form of extinction, too—that the finality of species lies not in the death of its last remaining members, but in the failure to preserve their memory.

We are currently in an epoch known as the sixth mass extinction—and estimates show that the current rate of extinction, caused almost wholly by manmade factors, is anywhere from 100 to 1,000 times faster than the normal baseline. And despite the high-profile collapse of many species like the passenger pigeon, the majority of extinctions happen quietly.

Text adapted from poems by Christina Rossetti and Emily Dickinson When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget.

I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget.

Between the March and April line— That magical frontier Beyond which summer hesitates, Almost too heavenly near.

The saddest noise, the sweetest noise, The maddest noise that grows and grows,— The birds, they made it in the spring, At night’s delicious close.

The saddest noise I know.

11: In the End "In the End" serves as a coda to the story of The Lost Birds, and is a reprise of "All That Could Never Be Said". This time, however, the musical range of the piece contracts, and one by one the singers stop singing until we're left with a solitary voice trailing out to silence. If The Lost Birds is a fable—where the moral of the story is a warning against inaction in the face of extinction—then the ending of the story is now ambiguous. It remains to be seen whether we will be able to forestall our own demise.

Text adapted from a poem by Sara Teasdale

Text adapted from a poem by Emily Dickinson

All that could never be said, All that could never be done, Wait for us at last Somewhere back of the sun; And when they are ours in the end Perhaps after all The skies will not open for us Nor heaven be there at our call.

After all that was never done.

Hope is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all, And sweetest in the gale is heard; And sore must be the storm That could abash the little bird That kept so many warm.

I’ve heard it in the chillest land, And on the strangest sea; Yet, never, in extremity, It asked a crumb of me.

12: Hope Is the Thing with Feathers "Hope Is the Thing with Feathers" is a setting of the Emily Dickinson poem by the same name. It serves as an epilogue—a final reprise of the "Flocks a Mile Wide" theme, but now set for voices. It suggests that while the passenger pigeon's song may be lost forever, we can at least honor and preserve its memory with our own songs. We thus end The Lost Birds on a note of hope.

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

was cemented when the Guinness Book of World Records recognized it as the first piece of music written for a video game ever to win a Grammy. It's also one of the only pieces of video game music, or contemporary choral music, to transcend into pop culture. It's been licensed for use by groups ranging from Premier League Football to the Vatican. Two different contestants performed it in the same season of America's Got Talent. It was even a question on the legendary game show Jeopardy!

CHRISTOPHER TIN Featured Composer

Photo courtesy of Andy Wilkinson

Christopher Tin is a two-time Grammy-winning composer of concert and media music. Time Magazine calls his music 'rousing' and 'anthemic', while The Guardian calls it 'joyful' and 'an intelligent meeting of melody and theme'. His output is strikingly diverse: ranging from lush symphonic works, to world-music infused choral anthems, to electro-acoustic film and video game scores.

His song "Baba Yetu", a Swahili setting of The Lord's Prayer, is a modern choral standard, fusing together infectious melody and gospel rhythms with complex modulations and soaring orchestration.

It was the winner of the 2011 Grammy Award for Best Instrumental Arrangement Accompanying Vocals, and is one of the all-time best-selling choral octavos for Alfred Publishing, as well as being one of the most frequently performed contemporary choral pieces. Originally written as the theme song for the video game Civilization IV, its place in history

Tin's self-released albums have also achieved considerable acclaim. His debut album, the multilingual song cycle Calling All Dawns, won him a second Grammy in 2011 for Best Classical Crossover Album, and his follow-up release The Drop That Contained the Sea debuted at #1 on Billboard's classical charts, and premiered to a sold-out audience at Carnegie Hall's Stern Auditorium. His third album To Shiver the Sky also debuted at #1, and was funded by a record-breaking Kickstarter campaign that raised $221,415, smashing all previous classical music crowdfunding records.

His fourth album, The Lost Birds, is a collaboration with acclaimed British vocal ensemble VOCES8, and is currently nominated for a Grammy Award.

He is also an in-demand collaborator, working with musicians across a wide-range of genres: Lang Lang, Danielle de Niese, Alan Menken, BT, and Danny Elfman, to name a few.

Tin is signed to an exclusive record deal with Universal under their DeccaGold and Decca Records US labels, and is a Yamaha Artist. His publishing is represented by Concord, and his sheet music is represented by Boosey & Hawkes.

He works out of his own custom-built studio in Santa Monica, CA.

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

JOIN US!

CHEERS TO 25 YEARS: OUR 25TH ANNIVERSARY GALA

04.l5.2023

Saturday @ 7:00 pm | Knoebel Events Center University of Denver | 2044 E Evans Ave, Denver

Party with your favorite singers as we celebrate our 25th Anniversary in fashion! This birthday celebration features hors d'oeuvres, jazz combo, and other special guests!

TICKETS ON SALE NOW AT KANTOREI.ORG

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, Jocelyn Hagen, Mark Hayes, Cecilia McDowall, David Montoya, Sarah Quartel, Jake Runestad and Eric Whitacre. Joel conducted the Central American premieres of Ola Gjeilo’s “Dreamweaver” (2018 with Capella Cantorum de Guatemala) and Jake Runestad’s “El Ultimo Hilo” (2022 with Kantorei and Vocalis) in Guatemala City and Antigua, Guatemala.

JOEL M. RINSEMA Managing Artistic Director

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. As a tenor soloist, Joel performed across the United States, in Germany, Austria and the Czech Republic.

Joel is also the Director of Music and Technology in Worship at First Plymouth Congregational Church in Cherry Hills Village, Colorado and served from January 2017 to July 2020 as the North American Choral Promotion Manager for Oxford University Press based in Oxford, England. 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 his final 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.

Seicento Baroque Ensemble Presents:

Bach’s immortal Mozart Requiem a la Czerny British Folksongs & Partsongs Advent Magnificats

Sept. 17-19

St. John Passion May 5 7, 2023

first performance in Colorado with period instruments Oct. 14 & 16

May 5 at 7 p.m.

6750 Carr St., Arvada

Nov. 27

Brightest Star

Dec. 16-18

De Profundis

March 3 & 5

Echoes of Glory

April 22 & 24

Tongues of Fire

June 3 & 4

May 6 at 7 p.m.

1600 Grant St., Denver May 7 at 3 p.m.

355 Ponca Place, Boulder

info@seicentobaroque.org

On sale now at kantorei.org/sing-wearing-the-sky

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

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. Our 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 the world, and has commissioned and premiered new choral works from such renowned composers as Kim André Arnesen, Eric William Barnum, Abbie Betinis, René Clausen, Ola Gjeilo, Jocelyn Hagen, Sarah Quartel, Jake Runestad, Joshua Shank, and Eric Whitacre. In the summer of 2022, Kantorei performed the Central American premiere of Jake Runestad’s “El Ultimo Hilo” in Guatemala City and Antigua, Guatemala, along with Guatemelan choir Vocalis. In the fall of 2021, Kantorei began its three-year collaboration with M. Roger Holland, II as Artist-inResidence.

Kantorei has released two recordings on the Naxos label.

“Sing, Wearing the Sky” (2020) choral music of Jake Runestad reached the #3 best-selling classical album on iTunes, #4 on the Traditional Classical Billboard Charts, and the top ten in both the best-selling classical album and new classical release categories on Amazon. “Infinity: Choral Works of Kim André Arnesen” (2018) 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’s mission is “to elevate the human experience through choral excellence.”

"Kantorei handle a wide variety of texts...with attentive simplicity... a wholly earned outbreak of joy and playfulness..."

-Brian Morton, Choir and Organ, October 2020 (Read the full review here)

“…Always engaging and colorful…sung with depth and conviction by Kantorei.”

– Karl W. Nehring, Classical Candor, December 2020 (Read the full review here)

THE CHOIR SOPRANO

ALTO

TENOR

BASS

Mary Christ Kimberly Dunninger Beryl Fanslow Wilson Christina Graham Heather Gunnerson Stacie Hanson Christina Heppermann Becca Hyvonen Shannon Lemmon-Elrod Sara Michael * Erin Pettitt Martina Richardson Alicia Rigsby ◊ Pearl Rutherford Christianna Sullins

Emily Alexander Lindsey Aquilina Lizabeth Barnett Lyn Berry-Helmlinger Sarah Branton * Desiree Deliz-Morales Madeline Gardner Melissa Menter Erin Meyerhoff Jennifer Moore Allison Pasternak Emma Tebbe Laura Tribby Andrea Ware-Medina Jane Wright

Kai Berry-Helmlinger * Benjamin Corwyn Joshua Corwyn Matthew Eschliman Keith Ferguson Mason France Bryce Kennedy Samuel Low Alex Menter Zachariah Smith Jonathan Von Stroh John Wright Jeremy Yang

John Bartley Michael Bizzaro * Jordan Black Michael Boender Adam Cave Garth Criswell Ryan D. Garrison Scott Horowitz Brad Jackson Brad Larson John Ludwig John Schaak Kirk Schjodt Griffin Sutherland Matt Weissenbuehler

* Section leader ◊ Collaborative Pianist

STAFF MEMBERS Sarah Branton

Alicia Rigsby

Sara Michael

Alison Roman

Assistant Conductor Business Manager

Accompanist, Collaborative Pianist House Manager

Becca Hyvonen

Marketing & Communications Manager

BOARD OF DIRECTORS Jennifer Moore

Leslie Britton

John Bartley

Melissa Menter

President

Vice President

Treasurer

Secretary

MEMBERS AT LARGE Judy Bloomberg Schenkein

Desiree Deliz-Morales

Joshua Corwyn

Scott Horowitz

YOUR DONATIONS & SUPPORT

YOUR SUPPORT MATTERS, YOUR SUPPORT MAKES A DIFFERENCE We rely on patrons like you to help us achieve our mission and goals and there are many ways that you can have an impact on Kantorei in addition to attending our concerts. Here are just a few ways you can help: » Make a tax deductible contribution at www.kantorei.org/giving/individual/ » Donate stocks, securities and annuities » Underwrite/sponsor a concert » Commission a new choral work » Place an ad in one of our concert programs » Donate your used vehicle » Donate airline miles » Volunteer at a concert Please contact us at kantorei@kantorei.org for more information

STAY IN TOUCH! Sign up for our e-mail list at: www.kantorei.org/contact

“Kantorei is a gem in the American choral scene. I love the passion of the singers and the familial quality of the group. They are continually working together to achieve a high level of musicality as well as deepening their personal relationships. I felt so welcomed into their family and this album was a beautiful collaboration in which every moment was handled with such care and such deep, spacious musicality.” -Jake Runestad, Explore Classical Music, August 2020

DONORS Gold Baton

Aria

Paul Boulis

($15,000–$24,999)

($500–$999)

Judy Bowman

Bonfils Stanton Foundation

Alexandra Barba & Michael Bizzaro*

Howard & Kathleen Brand

Olson-Vander Heyden Foundation

Lizabeth Barnett*

Constance Branton

Kai* & Lyn* Berry-Helmlinger

Carl Burgchardt

Silver Baton

Kathryn Bollhoefer

Lisa Cameron

($10,000–$14,999)

Justin Cave

Jeffrey Campbell

Judy Fredericksen

Linda & Kees Corssmit

Mary O'Neill Christ*

Matthew Eschliman*

Denver Arts & Venues Music

Director’s Circle

Beverly & Bruce Fest

Advancement Fund

($5,000-$7,499)

Chris Sexton

Desiree Deliz-Morales*^

Keith* & Sue Ferguson

Don & Lil Filegar

Julie Durst

Peter Fogg

Kaye Edwards

Virtuoso’s Circle

Mary Beth & Roger France

Eide Bailly LLP

($2,500–$4,999)

Giving Basket

Scott Elrod & Shannon Lemmon-Elrod*

Mark & Lindsey* Aquilina

Google

Larry Graham

Susan Lewkow~

Jim & Annette Gunnerson

Christina Graham* & Jason Merryman

John Ludwig*

Jason & Stacie* Hanson

Pamela Grange

Melissa*^ & Alex* Menter

C. Stephen Hooper

Christine Greco

Sarah Branton*^ & Joel Rinsema^

Alan & Shirley Horowitz

Christina Heppermann*

Brad Larson*

Scott Horowitz* & Leah Weinberg~

Soloist’s Circle

Sam Low*

Dallas Ingold

($1,000–$2,499)

Pamela Mahonchak

Bryce Kennedy* & Joshua Larson

Brad Jackson*

Kirsten Morgan

Marcia Jory & Ray Kennedy

Brenda Bailey-Hainer

Allison* & Timothy Pasternak

Carol Lanaghen

Jerry & Carol Mayer

J. Scott Pusey

Sue Lee

David~ & Jennifer*^ Moore

Renee McClaugherty & John Schaak*

Ann Ludwig

Donna & Michael* Boender

Barbara Stone

Elaine Menter

Garth Criswell* & Mark Kraft

Jay & Michelle Tombre

Jonathan Meyer

Jennifer & Jonathan* Von Stroh

Jack Trigg

Sara Michael*^

Dr. Judy Bloomberg Schenkein^

Marjory Ulm

Teresa Morgan

& Ed Schenkein

Christina Von Stroh

Network For Good

Kevin & Heather* Gunnerson

John* & Jane* Wright

Donald & Sharron Neufeld

Eric & Leslie Britton^

Ladean Nuanes

Lynn Hardcastle

Cantata

Alicia Rigsby*^

Preston & Marjorie Hofer

($200–$499)

Judd & Linda Rinsema

Rev. Dr. S. Patrice Von Stroh

Teresa Bacon

S & P Global

Ruth McCollum Huff

John Bartley*^

Lynn Selby

King Soopers

Brian & Elizabeth Bauer

Lois Siegel~

LibertyGives Foundation

Jill Beemer

Donald Branton & David Smith

Boyd & Sharon Berry

Sam & Shelly Smith

Jordan Black*

Susan Spencer

Donors who contributed between February 1, 2022 and January 31, 2023 are recognized in this program * Singers ^ Board & Staff ~ Volunteers Charles Sullins

Ryan Durfee

Dennis~ & Nancy~ Lintvedt

Joanne Wandry

David Johns & Jim East

Valerie Lunka

Andrea Ware-Medina*

Beryl Fanslow-Wilson*

Tad Lyle

Tammy Weatherly

Joy Fest

Andrew Madey

Larry and Deb Weinberg

Eleanor Finlay

Grace Martin

Joan Weinstein

Karen Fisher

Susanna Masoero

Matt* & Annell Weissenbuehler

Mason France*

Laura McCleary

John Wilson

Kristin Gildersleeve

Nancy Mergler

Mindi Wright

Mary Gill

Erin Meyerhoff*

Nathan Wubbena

Gill Foundation

Edie Mitchell

Diane Goodwin & Rush Pierce

Paul Munsch

Operetta

Jim Gordon

Lori Naes

($100–$199)

Nancy~ & Russ~ Gregory

Randy Nicholas

Amazon Smile

Carol Hainsey

Oracle

Emily Anderson

Ed & Jeanie Hardey

Linda & Mark Pasternak

Mike Asarch

Penny Harrison

Marc Petersen

David Bailey

Kat & Stuart Haskins

Mike Petraglia

Jesse Barash

Christopher Healey

Kate Raabe

Krista Barker

Carole Hedrick

Alice & Dan Robinson

Don & Karen Barnett

Jennifer A Heglin

Ann & Jerry Roemer

Jean Becker

Suzanne & Will Helmlinger

Pearl Rutherford*

Lisa & Tim Bizzaro

Don Heppermann

Terry Saracino

Robert Blauvelt & Michael Corrigan

Larry & Susan Hoch

Edmund & Jennifer Scheiber

Cher & Tom Borrelli

Robin & Faye Hood

Sarah Schenkein

Whitney Boschen

Jade Howard

Richard Schirrmacher & Tom Carlock

Rachel Breen

Antoinette Hubbard

Debbie Schjodt

Jill Burgchardt

Becca Hyvonen*^

Kirk Schjodt*

Jim Calhoun, Jr.

Deanna & Karl Johnson

Lynne Scholfield

Jim & Joanie Calhoun

John Jones

Jodi Seidel

Margie Camp

Al & Barb Jongeneel

Erin Singrin

David & Bonnie Carlson

Chris Kane

Keith Small

Julie Cates

Jeanne Kaplan

Edwin Smith

Elizabeth Cave

Lisa Kewish

Jan Stickney

Adam Cave*

Edi King

Melvin Stolzenburg

George Chrest

Mike Kitko

Sharyl Sullivan

Patti Cornelius

Tami Krichiver

Paul Sutherland & Steve Fischer

Benjamin* & Joshua* Corwyn

Richard & Judy Larson

Jane Swalling

Kate Criswell

Anne Leichthammer

Jeff & Lisa Swenson

Marilyn Dana

Mark Leichthammer

Liza Tamashunas

Dwayne Dickerson

Ingrid Lindemann

Horst & Lisa Tebbe

Jena Dickey

Albert Link

Amanda Torp

Kimberly* & Michael~ Dunninger

Matt Lintvedt

Patricia Tribby

DONORS Robert & Jill von Trebra

Deby Brown~

William Erickson

Julia & Michael Wadle

Lara Bruce

Debra & Paul Eschliman

Sally Waters

Amy Buerge

Julie Eschliman

Lynn Wearden

Stacy Burd

James Esten

Sarah Weissenbuehler

Hayes Burton

Mary Ann Evancheck

Pamela & Stanley Whitaker

Chance Busey

Marcia Ann Fahrenbach

Kathy Whitney

Sharon Busheff

Elizabeth Fallon

Julien Wiley

Pat Babcock & Dianne Calhoun

Robert & Ruth Fanslow

Clara Winter

Liz & Dmitri Calvert

Charles Ferguson

Karen Witt

Dustin & Stephanie Carr

Sara Ferguson

Karen & Scott Yarberry

John Celesky

Mary Fischer

Kelli Chan

Dave Fischer

Ensemble

Bob Chase

Lise Foyston

($1–$99)

Derek Chisolm

Mary & Jim Frinell

Diana Aberchah

Andrew Christ

Kerry Fritz

Harry Adair

Diana Ciancio

Carolina Garcia

Emily* & Zach Alexander

Dinah Claytor

Ricardo Garcia

Kimberlee Alexander

Orrie Clemens

Elaine & Mike Gardner

Frankie Anderson

Mackenzie Cohen

Madeline Gardner*

Karen Antram

Craig T Collins

Gerald Garland

Anthony Aquilina

Sara Collyar

Jacqueline Garner

Deborah Arca

Ruth Connors

Craig & Cindy Garrett

Craig Arnold

Kevin Cook

Ryan Garrison*

Millie Aulbur

Barbara Cornell

Barry Georgopulos

Amy Aylward

Cindy Correa

Paul Gilbertson

Victoria Bailey*

Kathleen Cribari

Stacey & Adam Green

Jeff Baker

Todd Daquino

Abraham Grijalva

Penny Bartko

Sara Davis

Candace & Ken Grosz

Bill & Carol Bartley

Cathy Decker

Amanda Gurr

Lindsay Bell

Bob DeMasters

Stephanie Hale

Geof & Mary Benson

Linda Dey

Andrew Halladay

Davis Benson

Bob & Marcia Dodgion

Nicholas Hamilton

Dan Bergman

Kenneth Donahue

Vaughn & Carolyn Hanson

Susie Bernardi

Katie Donovan

Rachel Hanson

Kelly Birner

Steve & Vicki Doty

Alexis Haro

Christina & Nick Bishop

Ladeana Dudley

Keith Harrison*

Tanner Boesiger

Irma Dunninger

Liam Harty

Ariana Boggs

Jaci Durrie

Megan Heath

Jenni Bova

Rex Eaton

Holly Hedegaard

Susan Bowles

Kendra Elrod

Katie Heimbichner

Michael Bradford

Marilyn Elrod

Eric Heineman

Anna Branton

Stephanie Enright

Doug Heller

Donors who contributed between February 1, 2022 and January 31, 2023 are recognized in this program * Singers ^ Board & Staff ~ Volunteers Jill Henton

Colin Mack

Jean Pancharoen

Jo Ann Heppermann

David Mackinnon

Daniel Paredes

Mary Herrin

Deborah MacNair

Dakota Pariset

Zach Hickman

Judy Macomber

Jacob Patrick

Joshua Hillmann

Kristen Malecek

James & Patricia Paull

Emily Hoagland

Hillary Marcus

Margo Pedrick

Michelle Hoffman

Lauren Marietta

Roberta Pepper

Connie Holtzen

Caroline Martin

Lee Perry

Karen Hopper

Anthony Martini

Alison Persons

Cathy Horvath

Tegan Masoero-Palmer*

Ruth Peterson

Kathryn Howard

Seán McArdle

Andy & Marybeth Pettitt

Steve Howie

Bob McCarroll

James & Lillian Phelps

Catherine Hupp

Pamela McClune

Aaron Phillips

Trudy & Patrick Boulter-Hynes

Janice McCoy

Jennifer Pike

Peder Iverson

Bev & Ed McLaughlin

Laura Campbell

Michael & Virginia Jackson

Elle McMahon

Brian Porzel

Christopher & Jennifer Jackson

Katherine McMurrary

Barbara Poston

Brian Jackson

Jennifer McNeil Miller

Gary Quamme

Linda Jackson

Lisa Medina

Jamie Quiros

Paula Jaworski

Dennis & Barbara Medina

Hillary Ramaker

Terry Lee Jeddeloh

Mike & Ruth Mendoza

Allegra Reiber

Michael Jensen

Mac Merchant

Sandra Rhodes

Elizabeth Johnson

Renee Meriwether

Laura Riccardo

Paul & Cynthia Johnson

Nancy Merrow

Steven Riccobono

Geraldine Jones

Cecilia Miller

Martina Richardson*

Linda Jory

Casey Miller

Allison Richardson

Shelley Kauffman

Karl Miller

Jera & Mike Robertson

Krista Keogh

Aaron Miller

Jennifer Robinson

Mary Kay Kernan

Scott & Candice Minks

Maggie Rogers

David Kirkland

Emily Mizuki

Carol Ruckel

Austin Krist

Lesley Morgan

Jake Runestad

Joe Kulikauskas

Michelle Morris

Evan Rutherford

Colleen Lampron

Daniel Moskowitz

Marc Sammartano

Levone Larson

Cathy Motter

Gary & Jasmine Sandusky

Julia Lazure

Ruth Neil

Heather Schenck

Eileen LeCluyse

Chad Nelsen

Terry Schlenker

Donnie Lemley

Steven Newell

Amy Schmuck

Cheryle Lemmon

Beth Newsom

Susan Servin

Anthony Limon

Dave Noble

Peter Severson

Debi & Pete Ludwig

Juli Orlandini

Rhonda Sherman

Sue Lutz

Valorie Ottenbreit

Amy Smith

Deborah MacGilvray

Jennifer Ouellette

Wendy Smith

DONORS Shellie Smith

Jordan Tjaden

Melissa West

J Smith

Tom Trenney

Mariko Wilcox

Zachariah Smith*

Laura Tribby*

Kellan Willet

Mitch Sonderfan

Deborah Trissel

Dana Willett

Kelley Southerland

Lisa Ulmer

Erin Williams

State Farm Foundation

Eric Unger

Cynthia Williams

Arthur Kraus & Michelle Stone Kraus

Frank Valdez

Janet Willson

Peter Strobel

Traci VanHyning

Eric Winterrowd

Megan Stroup

John Vega

Stephen Winters

Christianna Sullins*

Janice Vlachos

Amy Wrenn

Griffin Sutherland*

Beth Wadman

Jeremy Yang*

Sarah Sutherland

Ken & Lois Wadman

Erin Yokomichi

Natalie Swisher

Joel Waggoner

Van Young

Tonia Symensma-Cohen

Amber Waldorf

Courtney Zenner

Emma Tebbe*

Matthew Ware

Ken & Sue Zimmerman

Johnnie Terry

Cheryl Waskiewicz

Mary Thompson

Jarod Wenger

05.20.2023

05.21.2023

SATURDAY @ 7:30PM

SUNDAY @ 3:00PM

St. John’s Episcopal Cathedral

First Plymouth UCC

Donors who contributed between February 1, 2022 and January 31, 2023 are recognized in this program * Singers ^ Board & Staff ~ Volunteers

In Memoriam and Honorarium

Randy Nicholas, in honor of Marcy Nicholas

Krista Barker, in honor of Christina Graham

Linda and Judd Rinsema, in honor of Joel Rinsema

Penny Bartko, in honor of Joel Rinsema

Alice and Dan Robinson, in honor of Heather Gunnerson

Kelli Chan, in honor of the singers of Kantorei

Ann and Jerry Roemer, in honor of John Ludwig

Beverly and Bruce Fest, in honor of Christina Graham

Sarah Schenkein, in honor of Judy Bloomberg

Judy Fredericksen, in honor of Alex and Melissa Menter

Christina Von Stroh, in honor of Jonathan Von Stroh

Jim and Annette Gunnerson, in honor of Kevin and Heather Gunnerson

Clara Winter, in honor of Sarah Branton

Andrew Halladay, in honor of Pepper Menter

Patti Cornelius, in memory of Mike Ludwig

Krista Keogh, in honor of Sarah Branton and Adam Cave

Kimberly and Michael Dunninger, in memory of Judith Scheiber

Roberta Larson, in honor of Bryce Kennedy

Peter Fogg, in memory of Nancy Nevell Fogg

Edie Mitchell, in honor of Sarah Branton and Adam Cave

Paul Gilbertson, in memory of Phyllis S Gilbertson

David and Jennifer Moore, in honor of Kantorei Board Members

Bryce Kennedy, in memory of Laura Jean Jory

Donald and Sharron Neufeld, in honor of Judy Fredericksen

Michael Bizzaro, in memory of Bill and Gay Eustice

Teresa Morgan, in memory of Jack Fredericksen and Joy Post Alicia Rigsby, in memory of Theodore Small

In Kind Kai Berry-Helmlinger Cherry Creek High School First Plymouth UCC Susan Lewkow John Schaak

Scholarship Fund Sarah Schenkein

Facebook.com/Kantorei | Instagram.com/Kantorei Youtube.com/Kantorei | Soundcloud.com/KantoreiCO

MARK YOUR CALENDARS KANTOREI'S 2022-2023 SEASON

SATURDAY, APRIL 15, 2023 "25th Anniversary Gala" @7:00 pm | Knoebel Events Center

SATURDAY, MAY 20, 2023 "Walk Together, Children" @7:30 pm | Saint John's Episcopal Cathedral

SUNDAY, MAY 21, 2023 "Walk Together, Children" @ 3:00 pm | First Plymouth Congregational Church

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

KANTOREI WOULD LIKE TO THANK OUR SPONSORS for your generous and ongoing support!