Walk Together, Children

05.20.2023 SATURDAY @ 7:30PM Saint John’s Episcopal Cathedral

05.21.2023 SUNDAY @ 3:00PM First Plymouth UCC

M. Roger Holland, II Artist-in-Residence

This concert sponsored in part by

WALK TOGETHER, CHILDREN LORD, WE GIVE THANKS TO THEE

UNDINE SMITH MOORE (1904-1989)

STRIVING AFTER GOD

UNDINE SMITH MOORE

ALL THAT I AM

WILLIAM GRANT STILL (1895-1978)

Emily Alexander, alto; Michael Bizzaro, baritone; Joseph O’Berry, organ

PRAISE THE LORD

FLORENCE BEATRICE PRICE (1887-1953)

Joseph O’Berry, organ

PSALM 100 (MAKE A JOYFUL NOISE TO THE LORD)

DAVID HURD (B. 1950)

Joseph O’Berry, organ

PSALM 57

BETTY JACKSON KING (1928-1994)

PSALM 150

NATHAN CARTER (1936-2004)

Pearl Rutherford, soprano; Joseph O’Berry, organ

-- INTERVAL --

WE ARE THE MUSIC MAKERS

REGINAL WRIGHT (B. 1976)

Alicia Rigsby, piano

KEN BURTON (B. 1970)

Laura Tribby, mezzo soprano

ROSEPHANYE POWELL (B. 1962)

Alicia Rigsby, piano

MY HEART BE BRAVE

Kantorei’s program this weekend bears the title Walk Together, Children, and features twelve composers with roots in the African diaspora. The connection flavors their music in varying ways. At times, it’s the flow of melodies and their harmonic flavors. It can also be point of view: what feelings or aspirations might seem especially close to the heart. Whatever inspired each composer – men and women alike, representing a century worth of marvelous music – the results make for compelling listening. Sacred or secular, joyous, peaceful, or hopeful, it is music that can reach every one of us.

Undine Smith Moore: two selections – Lord, We Give Thanks to Thee; Striving After God Granddaughter of slaves, Undine Smith Moore (1904 – 1989) grew up in a Virginia community where music played a central role, especially in congregational singing of hymns.

Two contrasting examples of Moore's own hymn settings open Kantorei’s program. Lord, We Give Thanks to Thee is vividly celebratory, with elegantly expansive Alleluias which themselves seem worth the price of admission. Handel thought he knew how to set an Alleluia, but Moore gives him a run for his money. Striving After God opens with serenity, growing to juxtapose women’s voices against those of men.

At times, greater motion anticipates the fervent build to brightness at the close.

William Grant Still: All That I Am

A PRAYER ARISE, BELOVED!

PROGRAM NOTES

MARQUES L. A. GARRETT (B. 1984)

DRAW US NEAR

JOEL THOMPSON (B. 1988)

BRING ME ALL YOUR DREAMS

CHRISTOPHER H. HARRIS

Alicia Rigsby, piano

HOLD FAST TO DREAMS Alicia Rigsby, piano

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

JOEL THOMPSON

Composer of the first symphony by an African American to be given a professional performance (1931: Rochester), William Grant Still (1895 – 1978) proved himself in the big classical genres. However, he did not neglect choral settings. Still’s All That I Am, setting words by Verna Avery (1910 – 1987), is a serene prayer of thanks to the Lord for all that He has provided.

Florence Beatrice Price: Praise the Lord Arkansas born, Boston trained, and Chicago based, Florence Beatrice Price (1887 – 1953) was a prominent figure in the Chicago Black Renaissance. Her orchestral and chamber works tend to get the most notice, but her vocal works merit close attention from audiences and

- All program notes © Betsy Schwarm, author of the Classical Music Insights series

performers alike. Her setting of Praise the Lord both opens and closes in festive mood. However, the central pages bring tenderness, the better to reflect the text and to provide contrast to the work as a whole.

David Hurd: Make a Joyful Noise to the Lord Given the text of Psalm 100, one can expect it to be joyful.

However, composer David Hurd (b. 1950) goes one step further, providing a distinctive organ prelude, as well as intriguing juxtaposition between voice parts. Hurd sets the middle lines of the Psalm in calm and thoughtful demeanor, making the return to vigor for the closing even more dramatic.

Betty Jackson King: Psalm 57 Composer Betty Jackson King (1928 – 1994) once attested “Over my head, I hear music in the air. There must be a God somewhere.” That conviction led her to focus largely upon sacred works, including this setting of Psalm 57. The text begins “Have mercy on me, O Lord,” words that King felt were best expressed with serenity. The later addition of a high descant to the other voices brings greater brilliance, and by the closing verse, splendor takes over. King sensed that this evolution best reflected reflect images of praise and exaltation “reaching to the heavens.”

Nathan Carter: Psalm 150 Over and over, Psalm 150 evokes scenes of praise: with trumpet, tambourine, cymbals, and more. None of those instruments appear in this setting by Nathan Carter (1936 – 2004). Only a piano provides accompaniment to the voices. After a glorious opening, nimbly racing lines charge forward, taking a break midway for a serene soprano solo.

For the closing pages, Carter brings back the exuberance of the opening. Here is a choral work that, driven by its text, is suffused with joy.

Reginal Wright: We are the Music Makers Here one finds no Biblical verses. Current composer Reginal Wright (NOT ‘Reginald’) has chosen as text the Ode by Irish poet Arthur O’Shaughnessy (1844 – 1881). The vision is not specifically sacred, but still compelling: “We are the music makers… the dreamers of dreams… the movers and shakers of the world for ever, it seems.” Any singer would revel in

PROGRAM NOTES giving voice to those phrases; any music lover would rejoice to hear them. Wright begins with the tenderness of spring rain and the serenity of flowing voices, becoming fuller in places, especially in the radiant closing lines. What is that “dazzling unknown shore”? Interpretations may vary, but certainly it is a resplendent place, perhaps even more so with Wright’s music.

Ken Burton: Prayer There are many prayers, but only one Paul Laurence Dunbar (1872 – 1906). Perhaps the first highly acclaimed African American poet, Dunbar stood out not only as a superior wordsmith amongst his own people, but as one whose works were also admired by influential voices in American literature overall. His Ode speaks of “hard won miles… my wounded feet and God… and healing waters.”

Composer Ken Burton (b. 1970) sets the text eloquently: at first flowing peacefully, then building to resplendence, before easing back into rest. There is, it seems, comfort in the Lord’s “gracious balm.”

Rosephanye Powell: Arise, Beloved Bible verses and romance do not often come in the same package. However, the Old Testament does contain the rapturous love songs of the Song of Solomon, and it is there that American composer Rosephanye Powell (b.

1962) found the text for Arise, Beloved. Voices are joined by piano, not merely as accompaniment, but as an expressive component, too. Powell says she wanted the piano “to play an equal role. Its sparkling lines contrast perfectly with sostenuto voices and flowing passages that juxtapose men’s voices and those of women: it is, after all, a love song!

In the last measures, the piano part ascends, quite literally, to a final statement of “Arise.”

Marques L. A. Garrett: My Heart Be Brave In My Heart Be Brave, composer Marques L. A. Garrett (b.

1984) sets a sonnet by American civil rights activist James Weldon Johnson (1871 – 1938). “Look up, and out, beyond…

There is a power making for the right.” It is a plea for steadfastness in the face of difficulties encountered in the struggle for civil rights. Garrett begins with calm, perhaps reassuring moods. More nimble lines, even eager ones, develop, leading toward visions of “inspiring hope.” Surely, hope is one sort of bravery, and if a cappella voices can inspire it, then let it be done!

- All program notes © Betsy Schwarm, author of the Classical Music Insights series

Joel Thompson: Draw Us Near Here we have another entreaty for courage in difficult times, though not civil rights per se. Rather, it is a supplication to the “God of Peace” to give strength to those wearied by “war and blood and fear.” One might wonder if this setting

by Joel Thompson (b. 1988) will seek to express those frightful visions, but darkness is not the message. Rather, the mood is largely gentle, gradually becoming sunlit as hope takes root in the heart. Near to the God of Peace, there is comfort.

Christopher H. Harris: Bring to Me All Your Dreams Dreams can be passionate, or magical, or many other things. For this text by Langston Hughes (1902 – 1967), current composer Christopher Harris opts for awestruck rapture. The harmonies are smooth, the vocal lines flowing.

Dreams, after all, are not only those that occupy one’s mind during sleep; they can also be aspirations for the future.

Such a notion is a recurring theme in Hughes’ works. The gentleness of Harris’ setting suggests bated breath, that Hughes’ voice is offering a joy that had never seemed possible.

Joel Thompson: Hold Fast to Dreams Kantorei’s program closes with one more dream of possibilities to come, evoked through a second work by composer Joel Thompson, whose Draw Us Near was featured a short time ago. Hold Fast to Dreams, another Langston Hughes text, muses upon what happens to dreams deferred. Therein could lie discouragement, and indeed, the music juxtaposes both soft and dark energies, even anxiety. However, in the closing pages, Thompson and Hughes together offer the strength of hope and steadfastness. “Hold fast to dreams, for when dreams go, life is a barren field frozen with snow.” Thompson’s music suggests not the barrenness, but rather the hope still within reach. It is a heartening mood in which to send listeners and performers off on their way.

- All program notes © Betsy Schwarm, author of the Classical Music Insights series

elevate

SCHOLARSHIP & CLASSROOM GRANT

The Kantorei community is proud to offer an annual Classroom Grant and Individual Scholarship to support choral teachers and students of color in the Denver metro area! With your help, we aim to improve diversity in the choral arts. We would love your support of this program, both financially and to get the word out to eligible students and teachers.

Use this QR code to donate. Check back in the fall for application instructions!

Joel M. Rinsema joined Kantorei (Denver, Colorado USA) in 2014, becoming the second conductor in its 25-year history. A frequent collaborator and champion of new works for chorus, Joel has commissioned and premiered works by many of today’s leading composers, including Kim André Arnesen, Mason Bates, René Clausen, Jean Belmont Ford, Ola Gjeilo, Jocelyn Hagen, Mark Hayes, Cecilia McDowall, Sarah Quartel, Jake Runestad, and Eric Whitacre. In the summer of 2022, Joel conducted the Central American premiere of Jake Runestad’s El Último Hilo (The Last Thread) in Guatemala City and Antigua, Guatemala with Kantorei and the Guatemalan choir Vocalis. He will return in late May of 2023 to conduct Eric Whitacre’s The Sacred Veil.

Under Joel’s direction, Kantorei has released two recordings on the Naxos label. Sing, Wearing the Sky: Choral Music of Jake Runestad (2020) was the #3 best-selling classical album on iTunes, reached #4 on the Traditional Classical Billboard Charts, and was in 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 Joel Rinsema / Kantorei Choral series.

Photo courtesy of Williams Pérez

JOEL M. RINSEMA Managing Artistic Director

Joel led Kantorei in performances at the 2019 National Convention of the American Choral Directors Association, and prepared Kantorei as the primary chorus for the Aspen Music Festival for Maestro Robert Spano in the summers of 2021 and 2022. More recently, he conducted Kantorei along with the Canadian Brass in December of 2022, commissioned and prepared Kantorei for the world premiere of the string orchestra version of Eric Whitacre’s The Sacred Veil, led by the composer, and guest conducted The Sacred Veil with the Washington (DC) Choral Arts Society in May of 2023.

Joel is a passionate advocate for the professional choral art form, and he frequently consults with 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.

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-in-Residence.

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.

From 2017-2020 he was the North American Choral Promotion Manager for Oxford University Press based in Oxford, England, a tenure during which he worked closely with and represented roster composers John Rutter, Mack Wilberg, Bob Chilcott, Sarah Quartel, Cecilia McDowall, Gabriel Jackson, and Will Todd among others.

Kantorei’s mission is “to elevate the human experience through choral excellence.”

Joel holds music degrees from Arizona State University and Whitworth University and he is a member of the Academy of Recording Arts and Sciences (Grammys), American Choral Directors Association (ACDA) and Colorado Music Educators Association (CMEA).

“...An ideally balanced ensemble... In total a much recommended release.”

He 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 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 received a total of eight Grammy nominations and two Grammy awards during his tenure. Joel appears on all 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, he was the founding chorus master of the Arizona Musicfest Chorus.

-David Denton, David’s Review Corner, August 2020 (Read the full review here)

“That he writes well for singers is enthusiastically proved by the all-volunteer Denver-based Kantorei choral ensemble and eight instrumentalists, and some full-blooded recordings.”

-Laurence Vittes, Gramophone, October 2020 (Read the full review here or 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

ARTIST IN RESIDENCE

SOPRANO

ALTO

TENOR

BASS

Mary Christ Kimberly Dunninger Beryl Fanslow Wilson Christina Graham Heather Gunnerson Stacie Hanson Christina Heppermann Becca Hyvonen Sara Michael * 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 Keith Harrison Bryce Kennedy Samuel Low Alex Menter Zachariah Smith Jonathan Von Stroh John Wright

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

M. Roger Holland, II is the Teaching Assistant Professor of Music and Religion and Director of The Spirituals Project at the Lamont School of Music, University of Denver. He is a graduate of Union Theological Seminary in New York City where he received the Master of Divinity degree. He also holds degrees from the Manhattan School of Music where he received a Master’s in Piano Performance and a Bachelor’s Degree from Westminster Choir College in Princeton, NJ, majoring in Music Education, with a concentration in piano and voice.

Roger toured nationally and internationally with The Boys Choir of Harlem, working with them as a conductor, pianist, instructor, and arranger for several of their recordings. Roger served as Minister of Music for Our Lady of Charity Roman Catholic Church in Brooklyn, NY for 12 years and is Liturgical Music Consultant for the New York Archdiocese Office of Black Ministry, acting as Music Director for their special Masses at St. Patrick’s Cathedral.

* Section leader ◊ Collaborative Pianist

STAFF MEMBERS Sarah Branton

Becca Hyvönen

Sara Michael

Alison Roman

Assistant Conductor Business Manager

Marketing & Communications Manager House Manager

Alicia Rigsby

Accompanist, Collaborative Pianist

M. ROGER HOLLAND, II Director of The Spirituals Project Lamont School of Music, University of Denver

BOARD OF DIRECTORS Jennifer Moore

Leslie Britton

John Bartley

Melissa Menter

President

Vice President

Treasurer

Secretary

MEMBERS AT LARGE Judy Bloomberg Schenkein Josh Corwyn

Desiree Deliz-Morales Scott Horowitz

Photo courtesy of Alvin Jones

Roger served as Artist in Residence at Union Theological Seminary for 13 years where he directed their Gospel Choir. In addition to his Broadway credits, which include, playing for the Broadway production of Oprah Winfrey’s The Color Purple, Roger is also a respected clinician, presenting workshops for McDonald’s Gospelfest, the Clarence Rivers Music Institute, Archbishop Lyke Liturgical Conference, the Roderick Bell Institute, Unity Explosion-Region X, and the Hampton University Ministers’ Conference. His commissioned works include “The Dream and The Dreamer,” “Down By The River,” commissioned by The Negro Spiritual Scholarship Foundation, and “The Tribulation Suite,” a 4-movement work based on Negro Spirituals. In 2016, Cardinal Timothy Dolan of the Archdiocese of New York presented Roger with the Pierre Toussaint Medallion for Service.

Known for his sensitivity, and imaginative registrations as a collaborative artist, Joseph O’Berry nurtures the reputation as a first-rate musician, and is Associate Director of Music and Organist at Saint John’s Cathedral.

Before arriving to Denver, Mr. O’Berry held Director of Music posts in Seattle, Washington; Springfield, Massachusetts; and Atlanta, Georgia.

Joseph was Organ Scholar at Blackburn Cathedral and Truro Cathedral in England (2014-2016). Whilst in England he participated in over 800 services, some of which included the attendance of dignitaries, His Majesty King Charles III and The Queen Consort, and dozens of concerts with both Blackburn and Truro Cathedral Choirs. In 2016, Mr. O’Berry shared playing the organ and conducted Truro Cathedral Choir in a national broadcast celebrating Queen Elizabeth II 90th birthday. Joseph has performed with The Royal Northern Orchestra, London Symphonia, and Truro Symphony Orchestra.

He shared responsibilities in playing the daily offices of Choral Evensong and Eucharist, training the probationer boys, conducting the Cathedral Choirs, and was administrator of the music departments, which included Cathedral Music Outreach. On several occasions Joseph has appeared on BBC Spotlight accompanying Truro Cathedral Choir and is a featured organist on the Priory Records Label (the largest producer of church music in the United Kingdom) for Blackburn Cathedral Choirs newest CD entitled “Natus: Music for Advent, Christmas, and Epiphany”.

Preceding his appointments in England, Joseph lived in Atlanta, Georgia and was Director of Music at Holy Trinity Parish (Episcopal), Chapel Organist for the Candler School of Theology at Emory University, and sang with the professional Schola at the Episcopal Cathedral of St. Philip- during which time the Schola went on pilgrimage to England singing two week residencies at St. Paul’s Cathedral, London and Canterbury Cathedral, respectively.

JOSEPH O’BERRY Featured Artist

Photo courtesy of Evans Ousley, Saint John's Cathedral

Joseph’s undergraduate studies were in organ performance with secondary emphasis in early music and collaborative piano from The Townsend School of Music at Mercer University. He is a Colleague of the American Guild of Organists and has performed extensively as a solo and collaborative recitalist throughout the United States, Canada, Australia, and England (in the notable venues of Westminster Abbey, St Paul’s Cathedral, London, Worcester Cathedral, Blackburn Cathedral, Chester Cathedral, York Minster, Truro Cathedral, Canterbury Cathedral, Liverpool Cathedral, Lancaster Priory, and Ripon Cathedral).

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TEXT & TRANSLATIONS Lord, We Give Thanks to Thee

Psalm 100 (Make a Joyful Noise to the Lord)

We Are the Music Makers

My heart be brave

Lord, we give thanks to Thee For these, Thy servants. Alleluia, amen.

Then shalt Thou cause the trumpet to sound, The trumpet of the jubilee. Alleluia.

True art is made noble and religious by the mind producing it. For those who feel it, nothing makes the soul so religious and pure as the endeavor to create something perfect. For God is perfection, and whoever strives after perfection is striving after God.

Make a joyful noise to the Lord, all the lands!

Serve the Lord with gladness!

Come into God’s presence with singing!

Know that the Lord, who made us, is God. We are the Lord’s; we are the people of God, the sheep of God’s pasture.

Enter God’s gates with thanksgiving, And God’s courts with praise!

Give thanks and bless God’s name!

For the Lord is good; God’s steadfast love endures forever, God’s faithfulness to all generations.

We are the music makers, We are the dreamers of dreams, Wandering by lone sea-breakers, Sitting by desolate streams; World-losers and forsakers On whom the pale moon gleams: We are the movers, we are the shakers, We are the music makers, the dreamers, We are the dreamers of dreams.

All That I Am

Psalm 57

My heart be brave, and do not falter so, Nor utter more that deep, despairing wail.

Thy way is very dark and drear I know, But do not let thy strength and courage fail; For certain as the raven-winged night Is followed by the bright and blushing morn, Thy coming morrow will be clear and bright; ’Tis darkest when the night is furthest worn.

Look up, and out, beyond, surrounding clouds, And do not in thine own gross darkness grope, Rise up, and casting off thy hind’ring shrouds, Cling thou to this, and ever inspiring hope: Tho’ thick the battle and tho’ fierce the fight, There is power [in] making for the right.

Leviticus 25:9

Striving After God Michelangelo

Verna Arvey

All that I am, all I ever can be I owe to You, Lord, for You have molded me.

All that I have, all that I call mine I owe to You, Lord, for all things are Thine.

You are the source of light; Light that’s offered all men.

In Your wisdom You give to each his due.

You are the source of love: Love that binds in brotherhood.

In Your love and mercy I find lasting peace.

All that I love, all that’s dear to me, All of my blessings come, my Lord, from Thee.

All that I own, all that belongs to me, all I surrender, My Lord, to Thee.

Praise the Lord Psalm 117 (KJV)

Praise the Lord all ye nations; praise the Lord all ye people.

Praise the Lord for His merciful kindness is great toward us.

And the truth of the Lord endureth forever.

Praise the Lord all ye nations, praise the Lord.

Psalm 100 (NRSV)

From “Ode” - Arthur O’Shaughnessy

A Prayer

Paul Laurence Dunbar

O God, be merciful unto me.

For my soul taketh refuge in thee, Yea, in the shadow of thy wings will I take refuge Until these sorrows pass over.

My heart is fixed, God, for thy loving kindness is great unto the heavens, and thy truth unto the skies.

Be thou exalted, O God, above the heavens.

Let thy glory be above all the earth. Amen.

O Lord, the hard-won miles Have worn my stumbling feet: Oh, soothe me with thy smiles, And make my life complete.

The thorns were thick and keen Where’er I trembling trod; The way was long between My wounded feet and God. Where healing waters flow Do thou my footsteps lead.

My heart is aching so; Thy gracious balm I need.

Amen.

Psalm 150

Arise, Beloved!

Praise ye the Lord, O praise ye the Lord.

Praise him in his sanctuary, praise him in the firmament of his power.

Praise him for his mighty acts, praise him according to his excellent greatness, praise him for his power and glory, and for the many years of hearing the story, from this gospel preacher and leader of the people come now let us praise him!

Praise him with the psaltry and harp.

O praise him with the timbrel and dance, praise him with stringed instruments and organ.

Praise him upon the loud cymbals.

Praise ye the Lord.

O praise him upon the high sounding cymbals.

Let everything that hath breath, praise the Lord!

Arise, my love!

Arise, beloved, fair one, come away: For lo, the winter is past.

Beloved, come away.

Come, the rain has gone; The flowers appear.

The birds are singing.

Come, your hand in mine; We’ll taste of the grapevines.

And hear the turtle doves: Their voices sing of joy and love.

Hush! Do not awaken, love.

Do not arouse ‘til it pleases.

As the gazelles and does of the field, So is my beloved.

Psalm 57:1, 7, 10-11

Psalm 150, adapt. Nathan Carter

Based on Song of Solomon 2:7-13

“Sonnet” - James Weldon Johnson

Draw Us Near Joel Thompson

This song we sing is our hearts’ vow to you, O God of Peace.

Please send down your Dove, your Spirit of Love, to help our torments cease.

The world is tired of war and blood and fear, the tears we’ve cried, the pain inside; O Spirit, draw us near.

So keep us true to our hearts’ vow to show the world your love.

May bias wane and joy remain as we sing to You above.

We pray, O God, You take away our fear, the tears we’ve cried, the pain inside; O Spirit, draw us near.

Bring me all your dreams

“The Dream Keeper” - Langston Hughes Bring me all [of] your dreams, You dreamers, Bring me all [of] your Heart melodies That I may wrap them In a blue cloud-cloth Away from the too-rough fingers Of the world.

TEXT & TRANSLATIONS Hold Fast to Dreams

From “I Have a Dream” - Martin Luther King, Jr.; “Harlem” and “Dreams” - Langston Hughes Free at last, Free at last?

What happens to a dream deferred?

Does it dry up like a raisin in the sun?

Or fester like a sore and run?

Does it stink like rotten meat or crust and sugar over like a syrupy sweet?

Maybe it just sags like a heavy load or does it explode?

Hold fast to dreams For when dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

Ad - St Martins _PBedit.pdf

Saturday, June 3 | 7:30 P.M.

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St. Paul's Lutheran Church (Livestream Available)

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5/8/23

4:21 PM

Sunday, June 4 | 3:00 P.M. Montview Boulevard Presbyterian Church

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

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

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

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