Motet Masters by Kantorei -Denver

03.09.2024

SATURDAY

03.10.2024

SUNDAY

@ 7:30 PM Wellshire Presbyterian Church 2999 S Colorado Blvd, Denver

@ 3:00 PM First Plymouth UCC 3501 S Colorado Blvd, Cherry Hills Village

MOTET MASTERS

APOSTOLE GLORIOSO DA DIO ELECTO GUILLAUME DUFAY (1397-1474)

Sara Michael, Erin Greenfield, Sarah Branton, Seth O’Kegley, Matt Weissenbuehler

AVE MARIA, VIRGO SERENA

JOSQUIN DES PREZ (1450-1521)

Beryl Fanslow Wilson, Christina Graham, Stacie Hanson, Shannon Lemmon-Elrod, Leah Tracy , Chelsea Kendall, Allison Pasternak, Kaleigh Sutula, Bryce Kennedy, Alex Menter, Safia Ahmed, Desiree Deliz-Morales, Jennifer Moore, Andrea Ware-Medina, Matthew Eschliman, John Bartley, Jordan Black, Scott Horowitz, John Ludwig, Kirk Schjodt

REGINA CAELI

VICENZO LUSITANO (1520-1561)

Beryl Fanslow Wilson, Shannon Lemmon-Elrod, Christina Graham, Stacie Hanson, Sara Michael, Leah Tracy, Kaleigh Sutula, Chelsea Kendall, Safia Ahmed, Seth O’Kegley, Bryce Kennedy, Matthew Eschliman, Scott Horowitz, Kirk Schjodt, Matt Weissenbuehler

SICUT CERVUS

GIOVANNI PIERLUIGI DA PALESTRINA (1525-1594)

Beryl Fanslow Wilson, Christina Graham, Stacie Hanson, Shannon Lemmon-Elrod, Sara Michael, Leah Tracy, Emily Alexander, Lindsey Aquilina, Desiree Deliz-Morales, Erin Meyerhoff, Allison Pasternak, Andrea Ware-Medina, Kai Berry-Helmlinger, Matthew Eschliman, Bryce Kennedy, Alex Menter, Seth O’Kegley, John Bartley, Jordan Black, Scott Horowitz, John Ludwig, Kirk Schjodt, Matt Weissenbuehler

ELOHIM HASHIVENU

SALOMONE ROSSI (1570-1630)

Stacie Hanson, Sara Michael, Leah Tracy Shannon Lemmon-Elrod, Christina Graham, Emily Alexander, Erin Greenfield, Erin Meyerhoff, Jennifer Moore, Andrea Ware-Medina, Kai Berry-Helmlinger, Matthew Eschliman, Bryce Kennedy, Alex Menter, Seth O’Kegley, John Bartley, Jordan Black, Scott Horowitz, John Ludwig, Kirk Schjodt

LOBET DEN HERRN (BWV 230) JOHANN SEBASTIAN BACH (1685-1750)

Sarah Biber, cello; Frank Nowell, harpsichord

-- INTERMISSION --

WARUM IS DAS LICHT GEGEBEN (OP. 74 NO. 1) JOHANNES BRAHMS (1883-1897)

OS JUSTI

ANTON BRUCKNER (1824-1896)

BEATI QUORUM VIA CHARLES VILLIERS STANFORD (1852-1924)

RISE UP, MY LOVE, MY FAIR ONE HEALEY WILLAN (1880-1968)

UBI CARITAS MAURICE DURUFL É (1902-1986)

THE DEER'S CRY ARVO PÄRT (B. 1935)

O MAGNUM MYSTERIUM MORTEN LAURIDSEN (B. 1943)

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

Kantorei’s Vision:

To elevate the human experience through choral excellence

Our Mission:

Kantorei is an inclusive community of volunteer singers that invites audiences to experience the richness and diversity of the choral art form, joyously executed at the highest standard of musical excellence. We are innovators: we responsibly leverage our resources to commission work by living composers, perform music by underrepresented and emerging artists, encourage future talent through educational engagement, and nurture the choral community.

Our Values:

Musical Excellence – We maintain the highest possible standards. We hold ourselves and each other accountable for putting in the necessary effort. We take on artistic challenges that many choirs cannot. We provide our audiences with unique musical experiences performed with professionalism, accuracy, passion, and finesse. We are a volunteer choir with world-class aspirations and achievements.

Inclusion – We strive to create a singer community where individuals from all backgrounds and experiences can be their best. We celebrate and perform composers that have been underrepresented in the choral tradition alongside those who have historically enjoyed the spotlight. We amplify voices that should be heard, and seek to bring our voices to new places. We connect diverse audiences through the power of music.

Joy – We make music because it brings us joy and we are passionate about sharing that joy with others. Audiences feel our connection to each other and the music; through our work they experience intellectual and emotional expansion. Sharing this joy with each other and our audiences is a privilege.

Community – We provide an opportunity for singers, artists, students, and audiences from many different backgrounds and identities to share in musical experiences that allow us to transcend the world we live in. Our singers show up for each other, both musically and personally. We are in community with the composers who partner with us. We create nurturing relationships with other choirs so we can collectively thrive. We show young and emerging artists what their musical future can look like.

Innovation – As an organization, we are never stagnant. We feel a responsibility to use our funding to educate, delight, and amaze, which is evident through every aspect of our work: programming, recordings, concerts, and community impact. We move the art form forward by celebrating the full diversity of modern choral composition, and juxtaposing it with treasured work of the traditional canon. Our audiences can feel the musical past resonating with wisdom in the present, and the present reaching back to seek guidance from the past.

Land acknowledgement

Kantorei honors and acknowledges the Tséstho’e (Cheyenne), hinono’eino’ biito’owu’ (Arapaho), Núu-agha-tʉvʉ-pʉ̱ (Ute), and Očhéthi Šakówiŋ (Sioux) Tribes, and all of the original Indigenous peoples of the land upon which we rehearse and perform.

PROGRAM NOTES

Apostole glorioso da dio electo

compiled by

Sara Michael

Guillaume Dufay was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced.

Most of Dufay's motets were relatively early works, and he seems not to have written any during the last thirty years of his life. His motets were apparently not intended for liturgical use, but instead were written for specific occasions, sometimes considerably ceremonial ones. In style, they are isorhythmic, using a structural method which had been in use already for more than a hundred years. Additionally, they are compositions of considerable complexity, with the isorhythm often occurring in all voices.

Ave Maria, Virgo serena

compiled by Sara Michael

Regarded as regarded as Josquin's most famous motet and one of the most famous pieces of the 15th century, the piece rose to extreme popularity in the 16th century. Its revolutionary open style featuring early imitative counterpoint has added to its acclaim as one of the most influential compositions of its time. Even today, it is considered one of the most nearly perfect compositions of its era.

The opening section summarizes the first four lines of text in a simple structure. Clear imitation of each phrase, in the style of litany, dramatically echoes from the highest to lowest voice, almost resembling Gregorian chant. While the phrases are identical in length, the counterpoint's turbidity increases, climaxing where all four voices sing together. This climax turns to an imperfect, deceptive cadence.

While the regularity of imitation initially articulates the phrases, the middle verses exemplify the articulation

from contrasts in texture. Duets alternate between voices and often break off into trios. The lines are punctuated by structural cadences, presenting the text in a temporary repose. Josquin locates each of these structural cadences in progressions of increasing power, placing the strongest, most perfect cadence for the very end of each line. The unity of musical sound, representing the spiritual unity of prayer, completes the act of worship which has been the rhetorical goal of the text. The final lines are sung in homophony, as if the four, once separate voices have aligned under the grace of God.

Regina Caeli

compiled by Sara Michael

This medieval antiphon to the Virgin Mary was one of four Marian antiphons appointed to be sung at the end of Compline (Night Prayer) during various seasons of the Church year, Regina caeli being sung during the Easter season.

Vicente Lusitano was a Portuguese composer and music theorist of the late Renaissance. Lusitano was for a time a Catholic priest and taught in several Italian cities, but later converted to Protestantism. Little is known of his life. He was born in Olivença, likely around 1520. Lusitano is described as pardo, a Portuguese term indicating he was of mixed European and non-European heritage. It has been suggested that his mother may have been of African descent, and since the 1980s he has been described as the first published black composer.

Sicut cervus

© James Olesen

Sicut cervus is likely the best known of Palestrina's motets. In it is embedded the beauty and dignity for which Palestrina's music is known and judged to be the ideal of Renaissance counterpoint. The motet's polyphonic flow and gentle melodic arches contain

a quiet drama. While the motet's word-painting is not overt, neither is it hidden. There is a deep feel for the words' meaning as the voices begin quietly in imitation for the words "Sicut cervus" (As the hart).

At the word "desiderat" (longs), rhythm quickens and the line rises to its peak at the word: "fontes" (streams); as the words seek their object, so the melodic lines seek their goal. As the text's thought turns toward the self with the words "ita desiderat anima mea ad te, Deus" (Thus longs my soul for Thee, God), shorter motives in closer imitation and intensifying dissonance patterns express the human soul's fervent desiring and end the motet.

Elohim Hashivenu

compiled by Sara Michael Salamone Rossi was an Italian Jewish violinist and composer. He served at the court of Mantua from 1587 to 1628 as concertmaster where he entertained the ducal family and their highly esteemed guests. Rossi was so well-thought of at this court that he was excused from wearing the yellow badge that was required of other Jews in Mantua. He composed the only substantial collection of synagogue motets before the classical period. He wrote in an early Baroque style, reminiscent of Lassus. Of all the motets, this one has the most polyphonic (contrapuntal) texture.

Rossi died during the War of the Mantuan Succession, probably either in the invasion of Austrian troops, who defeated the Gonzagas and destroyed the Jewish ghetto in Mantua, or in the subsequent episode of plague which ravaged the area.

Lobet den Herrn, alle Heiden (BWV 230)

Lobet den Herrn, alle Heiden, BWV 230, is perhaps the most mysterious in terms of its date and occasion of composition. It is certainly good enough to have

been composed by Bach which makes the argument against its authenticity less compelling. The text comes from Psalm 117:1-2. It is the only motet set for four voice parts and an independent continuo line. Typically, each line of text is treated in a unique and colorful way... The opening text is trumpeted out in an impressive fugue starting with the sopranos and working its way down to the basses. Billowing roulades on the word 'preiset ihn' (praise Him) soften up the edges a bit and one has to listen carefully for the sneaky reappearance of the opening line of text buried in the lower three voices. For the third and fourth line of text, Bach chooses first to set them as supple homophony, giving way to a gracious fugal writing. An infectious, dancing Alleluia concludes the motet.

Warum ist das Licht gegeben (Op. 74, No. 1)

Johannes Brahms composed this motet in the village of Pörtschach in 1877, one year after the effortful completion of his First Symphony. He begins the summer by quickly composing his Second Symphony, generally held to be his most cloudless, ebullient piece. He then proceeded immediately to this motet (a few phrases of which had actually been composed twenty years before). He dedicated it to the great Bach scholar Philipp Spitta, with whom he was collaborating on the first complete Bach edition (the relationship of Brahms’ composing to the serial appearance of those volumes is a large and fascinating subject).

When an admirer, Vincenz Lachner, writes to Brahms about the strange shadows (trombones and tympani) in Brahms sunny Second Symphony (he is among the first to notice them) Brahms responds as follows: “I would have to confess that I am…a severely melancholic person. That black wings are constantly flapping above us, and that in my output – perhaps

PROGRAM NOTES

not entirely by chance – that symphony is followed by a little essay about the great ‘Why.’ If you don’t know this [motet] I will send it to you. It casts the necessary shadow on the serene symphony and perhaps accounts for those timpani and trombones.”

So the motet, Warum, its powerful sequence of texts assembled by Brahms himself, is the ‘necessary’ response, and for us a shadowed gateway to the new light of Advent.

Os justi - © Ryan Turner

Anton Bruckner, most famous today for his vast, sprawling symphonies, was also a significant church musician, becoming the organist of the Linz cathedral and eventually the court in Vienna. Bruckner subscribed to the Cecilian Movement in choral music, which attempted to restore Gregorian chant and Renaissance polyphony to Austrian sacred music.

The text of Os justi comes from Psalm 37: 3031. This four-part setting, completed in 1879, is an extraordinary motet in the Lydian mode. It is remarkable in that it achieves its harmonic power and lushness without ever using a single sharp, flat, seventh chord, 6-4 chord or chordal combinations of more than five simultaneous notes. Bruckner's infusion of Romantic feeling into a spare choral language in the spirit of the Cecilian Movement is truly unique. Composed in ABA’ form, the central main section in counterpoint is interrupted by a chordal passage, and the work ends with a chantlike "Alleluia."

Beati quorum via

© John Bawden

Following the death of Purcell in 1695, English music went into a long period of decline that was not reversed until the late 19th century. Of the many musicians who helped to bring about the English

musical renaissance it was Charles Stanford was one the most influential. This musical revival reached its full flowering with Elgar and continued with Vaughan Williams and a whole new generation of talented composers.

As a teacher of composition, Sir Charles Stanford was without equal. A list of his many pupils at the Royal College of Music reads like a Who’s Who of early twentieth-century British music: Vaughan Williams, Gustav Holst, Herbert Howells and Arthur Bliss to name only the most well-known. He was a prolific and highly regarded composer himself, with seven symphonies and five concertos to his name, as well as string quartets, operas, oratorios and numerous other compositions. Although there has been a revival of interest in some of the symphonies and chamber music, most of these works are now largely forgotten. In the field of church music, however, Stanford’s music has consistently been held in the highest regard.

Beati quorum via comes to us from a set of three motets that were published in 1905, but probably date from 1892. It is in six parts with divided sopranos and basses used antiphonally and homophonically. The meditative text from Psalm 119 shows Stanford at his most lyrical.

Rise Up, My love, My Fair One

compiled

Sara Michael

While serving as the organist and choirmaster at St. Paul's, Bloor Street, Canadian composer Healey Willan became interested in the music of another Anglican parish, that of the Church of St. Mary Magdalene. By 1920, Willan was assisting with choir practice. In 1921, he resigned his post at St. Paul's and turned his attention to St. Mary Magdalene's. He set about creating a great many liturgical works

for use in the church's services including this motet which was for Easter or for Feasts of Our Lady. He remained at St. Mary Magdalene's until shortly before his death, last directing the choir in 1967.

Ubi caritas compiled by Sara Michael Maurice Duruflé (1902-1986) was an introspective and highly self-critical musician. As a result, he only published fourteen works in his lifetime. Ubi caritas composed in 1960, is based on the Gregorian chant of the same name. The meditative text is set so that the freely flowing motion of the chant, first heard in the altos, is always at the forefront. It is primarily homophonic, with each voice moving together in hymn-like fashion. (© Ryan Turner)

This early Christian antiphon is traditionally used in the Maundy Thursday service during the washing of feet, an act of Jesus from the Last Supper. The antiphon has become closely associated with the Eucharist and is sometimes also used at weddings.

The Deer’s Cry

compiled by Sara Michael

The Deer’s Cry was commissioned by the Louth Contemporary Music Society. The text is the final part of a traditional prayer for protection, Saint Patrick's Breastplate, attributed to St. Patrick, the primary patron saint of Ireland. The text is known as "The Deer's Cry,” "The Breastplate of St Patrick,” or "Lorica" and is often attributed to the saint. Pärt wrote his setting in modern English, beginning with "Christ with me.”

The music is in A minor, consisting of slow, marked quarter notes. The measures contain different even numbers, from two to eight. The lower voices begin with divided altos and basses, which sing "Christ

with me" four times in homophony with long rests in between. While they keep that pattern, the sopranos enter in the seventh measure to deliver the following text. A climax is reached in measure when all the voices sing in homophony, and everyone divided: "Christ in the heart ..." After the text is completed, followed by a general rest, all voices sing, similarly to the beginning: "Christ with me”…

O Magnum Mysterium

compiled by Sara Michael Morten Lauridsen says of his setting:

“For centuries, composers have been inspired by the beautiful O magnum mysterium text depicting the birth of the new-born King amongst the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.”

The composer said that he was inspired by a 1633 painting from the Norton Simon Museum, Zurbarán's Still Life with Lemons, Oranges and a Rose (1633), which has been interpreted as symbolism for the Virgin Mary. Morten Lauridsen wrote in the Wall Street Journal:

“...the objects in this work are symbolic offerings to the Virgin Mary. Her love, purity and chastity are signified by the rose and the cup of water. The lemons are an Easter fruit that, along with the oranges with blossoms, indicate renewed life. The table is a symbolic altar.”

The popular setting is often performed and recorded and became one of Lauridsen's signature pieces.

Joel M. Rinsema joined Kantorei (Denver, Colorado USA) in 2014, becoming the second conductor in its 25-year history. During his tenure, Kantorei has experienced tremendous audience growth, nearly quadrupled its budget, and launched an ambitious recording strategy. 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, Christopher Tin, 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 returned in May of 2023 to conduct Eric Whitacre’s The Sacred Veil and serves as Artistic Advisor and Principal Guest Conductor of Vocalis

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 bestselling 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.

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

A passionate advocate for the professional choral art form, Joel 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.

Joel 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 as well as in Germany, Austria, and the Czech Republic.

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

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

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 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, Joel served as the Director of Music at Church of the Beatitudes United Church of Christ in Phoenix for 15 years, and he was the founding chorus master of the Arizona Musicfest Chorus.

He and his wife Sarah Branton (Choir Director at Cherry Creek High School) and stepson Simon Harrison live in Centennial, Colorado along with their miniature Dachshund Lucia. They enjoy all that Colorado has to offer outdoors, including camping, fishing, golfing, and snow skiing.

Kantorei is a Denver-based, choral ensemble comprised of volunteer singers under the direction of Managing 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. and with The Aspen Music Festival, 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 Último 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 Artistin-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.

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

“Thank you for the joy you have brought into my life.”

“I've been smiling all day long. I'm so glad I got to experience the beauty of Kantorei's performance. It was truly heartwarming.”

“What an incredible experience…words cannot convey the magnitude of the program…spellbinding. Not soon to be forgotten.”

JOEL M. RINSEMA Managing Artistic Director Photo courtesy of Williams Pérez

THE CHOIR

SOPRANO ALTO TENOR BASS

Beryl Fanslow Wilson

Riley Jayne Gallivan

Christina Graham

Heather Gunnerson

Stacie Hanson *

Becca Hyvonen

Shannon Lemmon-Elrod

Sara Michael *

Lexie Orvin

Martina Richardson

Alicia Rigsby ◊

Pearl Rutherford

Christianna Sullins

Leah Tracy

Safia Ahmed

Emily Alexander

Lindsey Aquilina

Lyn Berry-Helmlinger

Sarah Branton *

Desiree Deliz-Morales

Erin Greenfield

Chelsea Kendall

Melissa Menter

Erin Meyerhoff

Jennifer Moore

Allison Pasternak *

Kaleigh Sutula

Andrea Ware-Medina

Jane Wright

* Section leader ◊ Collaborative Pianist

STAFF MEMBERS

Sarah Branton Assistant Conductor

Alicia Rigsby Accompanist, Collaborative Pianist

Sara Michael Business Manager

BOARD OF DIRECTORS

Jennifer Moore President

John Bartley Vice President

MEMBERS AT LARGE

Mark Aquilina

Judy Bloomberg Schenkein

Kai Berry-Helmlinger *

Ben Corwyn

Joshua Corwyn

Matthew Eschliman

Keith Ferguson

Mason France

Keith Harrison

Bryce Kennedy

Samuel Low

Alex Menter

Chad Nelsen

Seth O'Kegley-Gibson *

Zachariah Smith

Jonathan Von Stroh

John Wright

John Bartley

Michael Bizzaro *

Jordan Black

Michael Boender

Adam Cave

Garth Criswell

Scott Horowitz

Brad Jackson

Brad Larson

Bryan Lastrella

John Ludwig

John Schaak

Kirk Schjodt *

Griffin Sutherland

Matt Weissenbuehler

SPECIAL THANKS

TO OUR INAUGURAL SEASON MEMBERS!

Becca Hyvönen

Social Media Marketing & Communications Manager

Courtney Huffman Director of Community Engagement

Ximena Wheeler Concert Manager

Desiree Deliz-Morales Treasurer

Melissa Menter Secretary

Leslie Britton Josh Corwyn Scott Horowitz

Alex Barba

Robert Blauvelt & Michael

Corrigan

Leslie Britton

Joanie Calhoun

Tom Carlock

David & Bonnie Carlson

William Chumley

Susan Clasen

Edwin Deliz

Judy Douglass

Elizabeth Duke

Burna Dunn

Kaye Edwards

Paul Eschliman

Beverly Fest

Eleanor Finlay

Judy Fredericksen

Laura Gaul

Even Griffiths

Patricia Gunckel

Richard Halgren

Lynn Hardcastle

Carole Hedrick

Jennifer A Heglin

Marjorie Hofer

Deanna Johnson

Kathryn Johnson

Carol Lanaghen

Susan Lewkow

Terri LInk

Ann Ludwig

Pamela Mahonchak

Elizabeth Mascitelli

Elaine Menter

Margaret Oconnell

Linda Pasternak

Ruth Peterson

Fred Pittroff

Jenifer & J Scott Pusey

Susan Seiler

Shelly Smith

Kelley Southerland

Barb Stone

Bria Vogt

Rev. Dr. S. Patrice Von Stroh

Theresa Wallace

ARTISTS

Organist and harpsichordist Frank Nowell performs frequently throughout the region as a soloist, collaborator, and continuo artist. In 2005 he founded the Baroque Chamber Orchestra of Colorado (BCOC), and the ensemble quickly garnered acclaim for its “artistic vision, authenticity, and devotion” under his leadership as Artistic Director. BCOC has “built a national reputation as a first-rate periodinstrument ensemble”(EMag), offering fresh new takes of familiar favorites like Bach’s Brandenburg Concertos and Vivaldi’s Four Seasons, uncovering rarely performed gems, and expanding the repertoire to include music from the Latin American Baroque.

Nowell has also developed a thriving apprentice program to help nurture the next generation of musicians in the historical performance field. An active performer as a Baroque keyboard specialist and “early music entrepreneur,” Nowell was previously co-founder of the ensemble Diverse Passions and founder of the Denver Handel Festival. Recent guest appearances include the Colorado Symphony Orchestra, Wyoming Baroque, Cottonwood Music Festival, Colorado Music Festival, Boulder Bach Festival, Pro Musica Colorado, and St. Martin’s Chamber Choir. As an organist he earned Associate certification (AAGO) from the American Guild of Organists and has recorded on the Cygnus label. He is also a board member of Early Music America, whose mission is to develop, strengthen, and celebrate early music in North America.

Nowell takes joy in introducing people of all ages and backgrounds to Baroque music and in collaborating with a wide range of art forms -- including contemporary dance, mime, and spoken word -- to bring new dimensions to music from this era. He received the Master of Music degree in choral conducting and music history from the University of Colorado, and a Bachelor of Arts degree with honors from Princeton University, where he served as University Organist.

Sarah Biber has played the cello and viola da gamba across the United States, Australia, and China. She studied the cello at Oberlin Conservatory with Peter Rejto, and then at the Sydney Conservatorium with Georg Pederson, where she performed in the Opera House with the Sydney Symphony and as a member of the Sydney Sinfonia, the training orchestra of the Symphony. After returning from Australia, she founded, directed, and taught the string orchestra program at KIPP DC: AIM Academy, a charter school in the Anacostia neighborhood of DC, at the time, grades 5-8.

Sarah received her last degree, a Doctorate of Musical Arts in cello performance, at Stony Brook under renowned cellist Colin Carr. From 2010 to 2011, she was an assistant professor of cello performance and pedagogy at Montana State University, teaching music theory and string pedagogy to future music educators and founded Second Strings, an orchestra based in DC of adult amateur string players and Hill Harmony, an organization providing string classes and instruments to public schools in SE DC. Since 2015 Sarah has lived, performed, and taught in Colorado. She lives in Golden with her partner Keith Bradley, their two daughters, three cats and a parakeet named Birdie.

Keep the melody alive and enjoy your musical journey!

The Alison N. Roman Memorial Scholarship is dedicated to assisting a senior BIPOC, Asian, or Latinx student in pursuing their musical dreams. Minimum award of $1000 to cover expenses related to continued choral ensemble participation.

Application deadline: April 1, 2024

Please apply here:

Recipients will be announced by May 1, 2024, and the scholarship will be presented at our Spring Concert on May 19, 2024

Questions? scholarship@kantorei.org

Photo courtesy of Frank Nowell FRANK NOWELL Featured Harpsichordist Photo courtesy of Sarah Biber SARAH BIBER Spotlight Cellist

PLANNED GIVING

Leave a Legacy.

Making a gift to Kantorei through your will or estate is a beautiful way to create a lasting legacy and to ensure that our music and our mission will live on well into the future. Join the Legacy Society today and be a part of the inaugural group of individuals who have decided to remember Kantorei in their planned giving. Learn more at kantorei.org/legagcy. For questions, contact Courtney Huffman, Director of Community Engagement courtney@kantorei.org.

Kantorei's Legacy Society

Joel Rinsema

Judd & Linda Rinsema

John Ludwig

Bryce Kennedy and Josh Daniel

Andrea Ware-Medina

SALON: AN ENCHANTED EVENING

April 13, 2024 @ 7:00 PM

Supporting Choral Education ~ Salon: An Enchanted Evening. Join us for a night of cocktails, hors d'œuvre s, and beautiful music at the home of founding members Melissa and Alex Menter. Funds raised support Kantorei's Classroom Grant, which provides grants to underfunded high school choral programs, and the Alison N. Roman Memorial Scholarship dedicated to assisting a talented senior BIPOC, Asian, or Latinx student in pursuing their musical dreams.

Buy tickets at https://kantorei.org/overview-23-24/

Did you know that Kantorei supports choral education through the Elevate Classroom Grant for educators? The Elevate Classroom Grant supports underfunded high school choral programs by offering classroom grants to teachers to be used for expenses such as sheet music, uniforms, festival attendance costs, etc.

TEXT & TRANSLATIONS

Apostole glorioso da dio electo

Apostolo glorioso, da Dio electo

A evangelegiare al populo Greco

La sua incarnacion che vera ceco, Et cusi festi senza alcun suspecto, Et eligisti Patrasso per tuo lecto,

Et per sepulcro questo sancto speco:

Prego te, preghi me retrove teco, per li tuoi merci, nel devin conspecto.

Cum tua doctrina convertisti a Cristo

Tuto el paese, et cum la passione et morte

Che qui portasti in croce in su lo olivo. Mo é prolasso in errore et facto tristo, Si che rempetraglie gracia si forte

Che recognoscano Dio vero et vivo.

Andreas famulus Christi.

Glorious apostle, chosen by God

To bring the Good News to the Greek people

Of his incarnation to which they were truly blind,

You who did this without any shame

And chose Patras for your bed

And this holy cave as your tomb:

I pray to you, please take me with you

By your mercy into God's sight.

With your teaching you converted to Christ

The whole country, and with the suffering and death

Which you bore on a cross above the olive tree. Now they have fallen into error and sad misdeeds, So grant them again your grace so strongly

That they will recognize God as true and living.

Andrew servant of Christ.

Ave Maria, Virgo serena

Ave Maria, gratia plena, Dominus tecum, virgo serena.

Ave cujus conceptio, Solemni plena gaudio, Coelestia, terrestria, Nova replete laetitia.

Ave, cujus nativitas, Nostra fuit solemnitas, Ut lucifer lux oriens, Verum solem praeveniens.

Ave, pia humilitas, Sine viro fecunditas, Cuius annunciatio, Nostra fuit salvatio.

Ave, vera virginitas, Immaculata castitas, Cuius purificatio Nostra fuit purgatio.

Ave praeclara omnibus, Angelicis virtutibus, Cujus fuit assumptio Nostra glorificatio.

O Mater Dei, memento mei.

Amen.

Hail Mary, full of grace, The Lord is with you, gentle Virgin.

Hail, whose conception, Full of solemn joy

Fills the heaven, the earth, with new rejoicing.

Hail, thou whose birth Was our festival

As our luminous rising light, Coming before the true sun.

Hail, pious humility, Fertility without a man, Whose annunciation, Was our salvation.

Hail, true virginity, Unspotted chastity, Whose purification Was our cleansing.

Hail, famous with all, Angelic virtues, Whose assumption Was our glorification.

O Mother of God, Remember me.

Amen.

Regina Caeli

Regina coeli laetare, Alleluia.

Quia quem meruisti portare, Alleluia. Resurrexit sicut dixit, Alleluia.

Ora pro nobis Deum. Alleluia.

Queen of Heaven, rejoice, alleluia.

For He whom you were worthy to bear, alleluia.

Now has risen, as He said, alleluia.

Pray for us to God, alleluia.

Sicut Cervus

Psalm 42:1

Sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, Deus.

As a hart longs for the flowing streams, so longs my soul for thee, O God.

Elohim Hashivenu

Psalm 80: 4, 8, 20

Elohim, hashivenu; v'haer panecha, v'nivvashe`a. Elohim tsevaot, hashivenu; v'haer panecha, v'nivvashe`a.

Adonai elohim tsevaot, hashivenu; haer panecha v'nivvashe`a.

אֱלֹהִים הֲשִׁיבֵנוּ;

וְהָאֵר פָּנֶיךָ, וְנִוָּשֵׁעָה.

אֱלֹהִים צְבָאוֹת הֲשִׁיבֵנוּ;

וְהָאֵר פָּנֶיךָ, וְנִוָּשֵׁעָה.

יְהוָה אֱלֹהִים צְבָאוֹת הֲשִׁיבֵנוּ;

הָאֵר פָּנֶיךָ, וְנִוָּשֵׁעָה.

O God, restore us; and cause thy face to shine, and we shall be saved.

O God of hosts, restore us; and cause thy face to shine, and we shall be saved.

O Lord God of hosts, restore us; cause thy face to shine, and we shall be saved.

Lobet den Herrn, alle Heiden

Psalm 117:1-2; trans. © Pamela Dellal

Lobet den Herrn, alle Heiden, und preiset ihn, alle Völker!

Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit. Alleluja!

Praise the Lord, all nations, and praise him, all peoples! For his grace and truth rules over us for eternity. Alleluia!

Warum ist das

Licht gegeben

Johannes Brahms; Martin Luther (“Mit Fried und Freud ich fahr dahin”); trans. © Pamela Dellal

Warum ist das Licht gegeben dem Mühseligen, Und das Leben den betrübten Herzen? Warum?

Die des Todes warten und kommt nicht Und grüben ihn wohl aus dem verborgenen; Die sich fast freuen und sind fröhlich, daß sie das Grab bekommen. Warum?

Und dem Manne des Weg verborgen ist, Und Gott vor ihm denselben bedecket?

Warum?

Lasset uns unser Herz samt den Händen aufheben zu Gott im Himmel.

Siehe, wir preisen selig, die erduldet haben. Die Geduld Hiob habt ihr gehöret, Und das Ende des Herrn habt ihr gesehen; Denn der Herr ist barmherzig und ein Erbarmer!

Mit Fried und Freud ich fahr dahin, in Gottes willen, getrost ist mir mein Herz und Sinn, sanft und stille.

Wie Gott mir verheißen hat, der Tod ist mir Schlaf worden.

Why has light been given to the weary of soul, And life to the troubled hearts? Why?

They who wait for death, and it doesn’t come; They who dig for it even out of secret places; Those who almost rejoice and are happy That they achieve the grave. Why?

And to the man whose way is hidden, And from whom God himself has been concealed?

Why?

Let us lift up our hearts, together with our hands, to God in heaven.

Behold, we value them as blessed who have endured.

You have heard of the patience of Job,

And the Lord’s conclusion you have seen:

For the Lord is merciful and has compassion!

With peace and joy I depart in God's will, My heart and mind are comforted, calm, and quiet. As God had promised me: death has become my sleep.

Os justi

Psalm 37:30-31

Os justi meditabitur sapientiam, et lingua ejus loquetur judicium. Lex Dei ejus in corde ipsius: et non supplantabuntur gressus ejus. Alleluia.

The mouth of the righteous utters wisdom, and his tongue speaks what is just. The law of his God is in his heart; and his steps will not be impeded. Alleluia.

Beati quorum via Psalm 119:1

Beati quorum via integra est, qui ambulant in lege Domini. Blessed are the undefiled in the way, who walk in the law of the Lord.

Rise Up, My Love, My Fair One Song of Solomon

Rise up my love, my fair one, and come away.

For lo, the winter is past, the rain is over and gone. The flowers appear upon the earth. The time of singing of birds is come. Arise my love, my fair one, and come away.

Ubu caritas

Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. Exultemus, et in ipso iucundemur. Timeamus, et amemus Deum vivum. Et ex corde diligamus nos sincero. Amen.

Where charity and love are, God is there. Christ's love has gathered us into one. Let us rejoice and be pleased in him. Let us fear, and let us love the living God. And may we love each other with a sincere heart. Amen.

The Deer’s Cry

The Lorica of St. Patrick

Christ with me, Christ before me, Christ behind me, Christ in me, Christ beneath me, Christ above me, Christ on my right, Christ on my left, Christ when I lie down, Christ when I sit down, Christ in me, Christ when I arise, Christ in the heart of everyone who thinks of me, Christ in the mouth of everyone who speaks of me, Christ in every eye that sees me, Christ in every ear that hears me. Christ with me.

O Magnum Mysterium

From the Matins of Christmas in the Roman Breviary

O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum, iacentem in praesepio!

Beata Virgo, cujus viscera meruerunt portare Dominum Iesum Christum. Alleluia!

O great mystery, and wonderful sacrament, that animals should see the newborn Lord, lying in a manger!

Blessed is the virgin whose womb was worthy to bear the Lord, Jesus Christ.

Alleluia!

TEXT & TRANSLATIONS

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

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PayPal Giving Fund

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Spencer Pyne

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Kirk Schjodt*

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Wilma Shepherd

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Victoria Shotwell

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DONORS

Michael & Jane Smith

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Zachariah Smith*

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Ahmda, Mahvash & Nusha Sobhani

Negin Sobhani

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Kimberly A Spikes

Jason Spillman

Paul Spooner

Amanda Spratt

Sue & Kelly Stacy

Megan Stacy

Holly Stanton

Benjamin Stark

Stefanie Stevens

Thomas Stevens

Bry Stewart

Jamie Stewart

Michael Stewart

Roberta Stewart

Michael Stickels

Janie Stoddard

Arthur Kraus & Michelle Stone Kraus

Carl Straka

Sherry Stueven

Brenda Lee Suazo

Christianna Sullins*

James Summerton

Griffin Sutherland*

Marleen Swanson

Andrew Swenson

Tim Takach

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Liza Tamashunas

Jennifer Taylor Darlington

Nelson Tebbe

Felice Tebbe

Ken Thompson

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Leah Tracy*

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Karen Trout

Shelly Trumbull

Anthony Truong

Tom Tunner

Tara Turk-Haynes

Gary Turnquist

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U.S. Bank Foundation

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Frank Valdez

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Paul Vastola

Jessica Vaughn

Robert Victoria

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Carlos Vivaldi

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Bria Vogt

Randi Ellefson

Chad Vorthmann

Janice Vue

Kyle Waggoner

Mark Wagstrom

Eden Walker

Carol Wallace

Naomi Ware

Liz Warner

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Nancy Weaver

Tim Weaver

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Lonnie Wescott

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Ximena^ & Corey~ Wheeler

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Kenneth Wiig

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Dana Willett

LeeAnn & Laurence Williams

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Anne Williams

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Patty Witshtun

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Margie Wood

Clara Woodmansee

Margot Wright

Mindi Wright

Vanessa Wynne

Xcel Energy Foundation

Erin Yokomichi

Rochelle Ziegler

Matt Znidarsic

THE MUSIC OF M. ROGER HOLLAND, II

05.17.2024

Friday @ 7:30 pm

Wellshire Presbyterian Church

Donors who contributed between February 1, 2023 and January 31, 2024 are recognized in this program * Singers ^ Board & Staff ~ Volunteers

In Memoriam and Honorarium

Barker Law Firm, in honor of Dr. Christ, ina Graham

Penny Bartko, in honor of Joel R, insema

Stephan Bontrager, in honor of Jeff Bontrager

Kelli Chan, in honor of Jenn Moore

Judy Fredericksen, in honor of Alex & Melissa Menter

Ela, ine & Mike Gardner, in honor of Alicia Rigsby

Jim & Annette Gunnerson, in honor of Kev, in & Heather Gunnerson

Roberta R. Larson, in honor of Bryce Kennedy

Bryan Lastrella*, in honor of everyone whose lives are touched by music

Basil LeBlanc, in honor of Brad Larson

Henry L, indsey, in honor of Matthew Eschliman

Donald & Sharron Neufeld, in honor of Judy Fredericksen

Alice & Dan Robinson, in honor of Heather Gunnerson

Jerry Roemer, in honor of John Ludwig

In Kind

Safia Ahmed*

Kai Berry-Helmlinger*

Steve & Martha~ Cearley

Cherry Creek High School

Josh Corwyn*^

First Plymouth UCC

Susan Lewkow~

Metropolitan State University of Denver

J Scott Pusey

John Schaak*

Elevate Classroom Grant

Kai* & Lyn* Berry-Helmlinger

Eric & Leslie^ Britton

Elizabeth Duke

Kimberly & Michael Dunninger

Even Griffiths

Rebecca Shay

05.19.2024

Sunday @ 3:00 pm

First Plymouth UCC

As the finale of our three-year relationship with Roger Holland as our Artist-in-Residence, Kantorei will present the world premiere of a new ambitious multi-movement work blending styles and techniques drawn from both Euro-American art music and African American choral traditions.

Alison N. Roman Memorial Scholarship Donors

Victoria Bailey* & Philip Drozda

William Blyth

Linda & Randall Chilcote

Mike Coppes & Michelle Tucker

Wendy Cromley

Jim & Debby Dalfonso

John Fleming

Andrew & Rachel Halladay

Travis Henry

C. Stephen Hooper

Richard & Judy Larson

Kathe Lujan

Kristin Raney

Bill Roman

Carol Roman

Bill & Teri Sears

Eric & Julie Sears

SJ & Matt Selby

Karen Sutherland

Clara Winter

“Kantorei

is an outstanding choir…excellent ensemble balance,

fine intonation and musical expression…high level of energy.”

– Bruce McCollum, MusicWeb International, January 2021 (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)

30 DONORS IN 30 DAYS

FEBRUARY 10 – MARCH 10, 2024

The members of Kantorei each have a goal: Get 30 people to donate any amount in 30 days! This year’s singer-led fundraising campaign will support costs to fund our upcoming projects with GRAMMY winning composer, Christopher Tin:

• Commissioning a new multi-movement work for Kantorei

• The premiere performance in October 2024

• Recording an album of Christopher Tin’s new choral works in January 2025 (to be released on the DECCA label later in 2025)

We’ve made a lot of progress, but costs for the remaining commission, the performances, and the recording exceed $75,000 – we need your help! Every single dollar counts!

Scan the QR code or go to www.kantorei.dojiggy.io/2024, choose your favorite Kantorei member(s), and donate today!