Kaleidoscope -The Journey of Life

MARCH 3 @ 7:30PM

First Plymouth Congregational Church

JOEL M. RINSEMA ARTISTIC DIRECTOR

MARCH 4 @ 3:00PM Christ Church Denver

AVAILABLE NOW AT KANTOREI.ORG/INFINITY

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Sure on this Shining Night

Morten Lauridsen (b. 1943)

O Salutaris Hostia

Eriks Ešenvalds (b. 1977)

Christina Graham, Sara Michael, sopranos

Lullaby from “The Garden of Paradise” Lux Aurumque

Shawn Crouch (b. 1977) Eric Whitacre (b. 1970)

Christina Graham, Sara Michael, sopranos

Even When He is Silent

Lamentations of Jeremiah

Kim André Arnesen* (b. 1980) Alberto Ginastera (1916 – 1983)

I. O vos omnes qui transitis per viam II. Ego vir videns paupertatem meam III. Recordare Domine quid acciderit nobis

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

Abendlied

There Will Be Rest

Josef Rheinberger (1839–1901) Frank Ticheli (b. 1958)

La Noche oscura del alma

Carlos Surinach (1915 – 1997)

Nunc Dimittis

Sigurður Sævarsson (b. 1963)

Let My Love Be Heard

Jake Runestad (b. 1986)

Light of A Clear Blue Morning

arr. Craig Hella Johnson (b. 1962)

from Canciones del alma

Juliane Dowell, soprano; Alicia Rigsby, piano

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PROGRAM NOTES Morten Lauridsen is considered to be the most frequently-performed American choral composer. His compositions appear on more than 200 CDs, and four of his choral works – including “Sure on This Shining Night” – have become the all-time best selling choral pieces distributed by Theodore Presser, a company that has been in business since 1783. Lauridsen has been on the faculty of University of Southern California since 1967, and spends his summers in a cabin on a remote island off the coast of Washington state, drawing inspiration from the beauty and serenity of nature. The text Sure on this Shining Night is actually stanzas 6-8 of a longer work – Description of Elysium – by James Agee. His work has been more respected since his death than during his lifetime, but he had a very impressive and varied career as a poet, author, journalist, film critic, and screenwriter.

Latvian Eriks Ešenvalds is one of the fastest-rising stars in the world of choral music. He graduated from the Latvian Academy of Music in 2004, and won the first of two Great Music Awards—the most prestigious Latvian music honor—in 2005.

Since then, he has won several international composition prizes, been awarded a two-year fellowship to Trinity College, Cambridge, and has won two Latvian Music Record Awards— the Latvian equivalent of the Grammy—for recordings of his choral music. The Philadelphia Inquirer named him “The Year’s New-Composer Discovery” in 2010. Ešenvalds composed his setting of O salutaris hostia in 2009. The text is taken from the last two verses of a Eucharistic poem written by St. Thomas Aquinas in 1264.

Gramophone Magazine calls Shawn Crouch a “gifted composer” and Anthony Tommasini of the New York Times describes Shawn Crouch’s work as music of “gnarling atonal energy”.

Crouch has received numerous awards and accolades from such prestigious institutions as The American Academy of Arts and Letters, 4

ASCAP, and Meet the Composer, and is the inaugural recipient of the Dale Warland Singers Commissioning Award, given by Chorus America and the American Composers Forum.

Crouch is actively involved as an educator, having served for several years as director of the Hunter College High School Chamber Choir, and was the founding director of Seraphic Fire’s Miami Choral Academy. He is currently an assistant professor of practice of composition and theory at the University of Miami’s Frost School of Music, where he is artistic director of the Ensemble Ibis New Music Ensemble.

Lullaby is taken from The Garden of Paradise, which was commissioned by Chanticleer. The poetry is the work of Sgt. Brian Turner, a soldier who completed tours of combat in Iraq and in Bosnia-Herzegovina. His debut book of poems, Here, Bullet, was awarded the 2005 Beatrice Hawley Award, the New York Times “Editor’s Choice” selection, the 2006 Pen Center USA “Best in the West” award, and the 2007 Poets Prize. The riveting poems veer from the horrific, as in the harrowing account of the suicide of a fellow platoon member, to the bittersweet, as exemplified in Lullaby, in which a father tries to cushion his young son from the brutal realities of war.

Composer Eric Whitacre was drawn to a career in music through his experiences singing in his college chorus. He went on to receive his MM in composition from The Juilliard School, where he studied with John Corigliano and David Diamond. Lux Aurumque was written in 2001 for the Master Chorale of Tampa Bay and conductor Jo-Michael Scheibe. Whitacre was attracted to what he calls “the genuine, elegant simplicity” of the short poem by Edward Esch. He had it translated from English into Latin by poet Charles Anthony Silvestri in order to set the text in Latin. It is a soft lullaby, with phrases which repeatedly move from consonance to gentle dissonance, like the rocking of a cradle.

One of Norway’s most frequently performed contemporary composers, Kim André Arnesen was born in 1980 and grew up in Trondheim. He began playing the piano when he was six and joined the Nidaros Cathedral Boys’ Choir at the age of ten. He was later educated at the Music Conservatory in Trondheim. His interest in music is diverse and embraces the genres of Baroque, contemporary classical and popular—but it is choral music that has always been his greatest passion. Kantorei invited Arnesen to be composer-in-residence for their 2015–16 season which led to recording of Arnesen’s works on the Naxos label, released earlier this year. Even When He Is Silent (2011) was written for the St. Olaf Festival in Trondheim. Found after the Second World War, the text was written by a prisoner on a concentration camp wall. Imagining what that person endured gave the words great resonance for the composer. As he puts it, “This is about keeping faith in God, love and hope …

Even if people take away your freedom, your friends, the people you love—they cannot take God away from you.” Arnesen’s setting begins quietly, rises to a climax at the words “I believe in love” and ends in hushed contemplation. The character of the piece is summed up by the marking “With hope” at the head of the score.

The task of Jeremiah, the Old Testament prophet, was to inform the people of Jerusalem that their sinfulness would lead to their destruction. When the Babylonians – under King Nebuchadnezzar – invaded in 586 BC, Jeremiah was left to lament over the sacked city. His cries appear in the Book of Lamentations, and are some of the most emotionally powerful words of the Bible.

Many composers who have suffered political or religious oppression, most prominently Thomas Tallis – a recusant Catholic in militantly Protestant Elizabethan England – have found special inspiration in Jeremiah’s mourning for his conquered home. Let us now fast-forward about 2,500 years.

Alberto Ginastera gained early fame in his native Argentina with his Opus 1, the ballet Panambí (1937), based on a pre-colonial Argentinian legend. With the Danzas argentinas for piano (1937) and a second ballet, Estancia (1940), his rise to prominence seemed unstoppable.

However, in 1945, Ginastera signed a petition in support of civil liberties and was promptly blacklisted by Juan Perón’s military regime.

During a year of self-imposed exile in the United States, Ginastera heard his music in performances by major ensembles such as the NBC Orchestra, and he developed a close friendship with Aaron Copland. It was during this time that Ginastera turned to the words of Jeremiah’s Lamentations, mourning for his own troubled homeland just as Jeremiah had pined for his destroyed city. Ginastera would indeed eventually return to Argentina, but continued military rule led him increasingly to find his future elsewhere. His later works for orchestra (especially Variaciones concertantes, the Harp Concerto, and the First Piano Concerto), piano (First Piano Sonata), and chamber ensemble (Second and Third String Quartets) are some of the most important classical music of the postwar era. He eventually settled in Switzerland in 1971. Lamentations of the Prophet Jeremiah is Ginastera’s only major work for unaccompanied voices, but it is one of the great choral masterpieces of the mid-twentieth century. Composed neither to commission nor to fit any specific liturgy, it was simply his personal response to political oppression. In addition to minor-key tonality, Ginastera frequently invokes quartal harmonies—based on the interval of a fourth, rather than the traditional third. This gives the entire work a harmonic restlessness, shifting back and forth with sometimes dramatic results.

For example, the first movement begins with anguished cries based on the fourth between B and E, culminating in a prominent fourth of E and A, but proceeds immediately to a fugue subject (“et videte si est dolor…”) roughly in 5

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PROGRAM NOTES the key of E minor. This harmonic tension is built on the text: when Jeremiah expresses his own feelings, the music is in minor, but quartal harmony predominates when God’s qualities or actions are recounted. After the whirlwind of the first movement, the second comes as a contrasting oasis. Ginastera again begins with a fugue in the bass. A special highlight of this movement occurs as Jeremiah recalls “light” (“lucem”), and we hear a brief moment of major tonality. However, quartal harmony soon returns to the fore. At “In tenebrosis” (“In dark places”), the tenors and basses move in a quartal ostinato (with hints of Stravinsky’s Symphony of Psalms), while the sopranos and altos move freely, neither tonal nor quartal, as if it is too dark to see the harmonic structure.

The first movement had begun impassioned, high and loud; the second ends low and soft, as Jeremiah reaches deepest despair.

After an initial quartal fugue, the third movement is the work’s harmonic tour de force. Beginning with “converte nos Domine ad te” (“turn us, Lord, to you”), Ginastera shifts so frequently from tonal to quartal sonorities that there is no true harmonic home. Once again, the text reveals the composer’s intention: Jeremiah, in thirds, is in conflict with God, in fourths. At the climax of the movement’s second fugue (“Tu autem Domine” – “You, however, Lord”), the choral acclamations of “generationem” (“generations”) go unheeded by the sopranos, who continue the fugue subject. After such harmonic and emotional travails, Ginastera’s grandly triumphant culmination is all the more breathtaking. Used by permission © Dr. Gary D. Cannon. canonesque.com Munich-based Josef Rheinberger is known for his lush, Romantic harmonies and structures drawn from Baroque and Classical music. Primarily an organist, Rheinberger’s choral output features an elegant mixture of imitative and chordal

writing, resulting in exquisitely voiced walls of sound. Abendlied – published as part of 1873’s Three Spiritual Songs, Op. 69 – originated much earlier in Rheinberger’s career. It is a meditative, yet passionate setting of an episode from Luke’s Gospel, in which the disciples ask Jesus to tarry with them before he travels on.

Frank Ticheli lives in Los Angeles and is a professor of composition at USC. Although he is most known for his works for concert band and orchestra, his choral pieces are popular for their beauty and emotional appeal. Ticheli was the Composer-in-Residence for the Pacific Symphony from 1991–98. This fact has direct relevance to There Will Be Rest. It was through his connection to the Pacific Symphony that he became friends with the Pacific Chorale, which commissioned this evocative setting of Sara Teasdale’s poem. Tragically, in 1999, the oneyear-old son of the Pacific Symphony’s director, Carl St. Clair, drowned in the family’s swimming pool. Upon hearing the news, Ticheli went to St. Clair’s home with a copy of There Will Be Rest, which had been premiered two months earlier.

He hand wrote at the top of the score “In loving memory of Cole Carson St. Clair” followed by the birth and death dates of the little boy.

Sara Teasdale is regarded as one of the great American lyric poets. Her lyrical style has its roots in the works of Sappho, Christina Rossetti, and Housman. Haunted by depression in later years, Teasdale took her own life at the age of 48. Many of her poems address the pain that tormented her spirit, but to the end she seemed to draw strength and hope from the stars and their permanent radiance. There Will Be Rest, one of her last poems, is a perfect summary of her lifelong concern for the stars and their ancient promise of peace. This choral setting is designed to capture the poem’s purity of spirit and delicate lyricism

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PROGRAM NOTES

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The text of La Noche oscura del alma is by St. John of the Cross, a 16th-century Spanish priest, reformer, and mystic. Together with St. Teresa of Ávila, he founded the order of the Discalced (“Barefoot”) Carmelites. Although he was canonized in 1726 and is now named as one of the 33 Doctors of the Church, he managed to fall afoul of the Church hierarchy in 1577.

He was imprisoned in deplorable and sadistic conditions for nine months, but the heavenly visions granted to him during that time led to some of his most exquisite poetry. The Dark Night of the Soul was written soon after his escape, and describes the journey of the soul as it leaves its earthly prison and travels toward reunion with God. Catalan composer Carlos Surinach (the name was originally Suriñach, and concert posters in Spain still generally identify him that way) studied in Barcelona, Düsseldorf, Cologne, and Berlin, where he studied briefly with Richard Strauss, and immigrated to the United States in 1951, becoming a naturalized citizen in 1959.

He received England’s Bax Society Medal for Non-Commonwealth Composers in 1966, and was made a Knight Commander of the Order of Isabella I of Castille in 1972. His fame rests on his reputation as a conductor as well as a composer, and he is particularly noted for his dance scores, having received commissions from the Martha Graham Dance Company, the Paris Opera, Antonio y los Ballets de Madrid, and the Joffrey Ballet.

implications of fulfillment, peace, and rest, the early church viewed it as appropriate for the ending of the day. Since the 4th century it has been used in such evening worship services as Compline, Vespers, and Evensong. Sigurður Sævarsson is a bass singer in the professional Icelandic Choir, Schola Cantorum. His work was discovered for Kantorei by assistant conductor Sarah Harrison on a recent tour with the Cherry Creek High School Meistersingers.

Called the “Song of Simeon” in the New Testament, Nunc Dimittis is a brief hymn of praise sung by the aged Simeon, who had been promised by the Holy Spirit that he would not die until he had seen the Messiah. Simeon was at the Temple in Jerusalem when Mary and Joseph came to present the infant Jesus for the rite of purification according to Jewish law and custom. Simeon recognized the baby as the promised Saviour, took him in his arms, and raised this hymn of praise. Because of its

Light of a Clear Blue Morning was originally written by Dolly Parton in 1977 in response to struggles surrounding her split from a longtime musical and business partner. It was arranged

by Craig Hella Johnson, a Grammy-winning conductor, artistic director of the ensemble Conspirare, music director of the Cincinnati Vocal Arts Ensemble and former artistic director of Chanticleer.

“Though originally written for Choral Arts Northwest, Let My Love Be Heard has taken on a new life in light of the atrocities in Paris and Beirut. Jonathan Talberg, the conductor of the choir at Cal State Long Beach, led his singers in a performance during the memorial vigil for Nohemi Gonzalez, a member of the CSULB choir who was killed in the (2015) Paris attacks.

The day after the vigil, the choir was supposed to begin rehearsing holiday music; however, Jonathan felt that was not appropriate and wanted time for the singers to grieve this loss.

So, at the beginning of rehearsal, he passed out a brand new piece of music (Let My Love Be Heard), rehearsed it, and then recorded it.

It was posted on SoundCloud and shared in memory of Nohemi and as a plea for peace.

Their musical offering is a powerful outpouring of grief, but also a glimmer of light. I am honored that this piece has helped to provide hope in the darkness of our world.” – Jake Runestad

Kantorei – is a premier choral ensemble comprised of volunteer singers under the direction of Artistic Director Joel M. Rinsema. Kantorei’s choral artists have studied at schools with strong music programs across the United States such as Baylor University, Brigham Young University, Eastman School of Music, Indiana University, St. Olaf College, Wartburg College, and Westminster Choir College. Many of the singers serve as choral music educators, conductors, and teachers.

Kantorei frequently performs at major choral conventions across the U.S., has toured around the world, and works with composers and conductors of international renown. Kantorei has sung under the batons of René Clausen, Simon Carrington, Eric Whitacre, Karen Kennedy, and Anton Armstrong. Kantorei has commissioned and premiered new choral works from renowned composers including Kim André Arnesen, Eric William Barnum, Abbie Betinis, René Clausen, Ola Gjeilo, Joshua Shank, and Eric Whitacre. Naxos released Kantorei’s recording—its first to be professionally produced—of works by Kim André Arnesen in 2018. Santa Barbara Music Publishing Inc., publishes the Kantorei Choral series.

Formed in 1997 under the leadership of six friends and artistic director Richard Larson who decided to form a choir capable of singing a broad range of a cappella choral music, Kantorei established itself as one of the nation’s premier choral ensembles after performing as an auditioned choir for the 2003 National American Choral Directors Association Conference at Carnegie Hall in New York City.

Kantorei performs a broad range of a cappella choral music with the mission “to elevate the human experience through choral excellence.”

Facebook.com/Kantorei | @KantoreiDenver | Instagram.com/Kantorei Youtube.com/Kantorei | Soundcloud.com/KantoreiCO 9

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JOEL M. RINSEMA ARTISTIC DIRECTOR

Artistic Director Joel M. Rinsema joined Kantorei in 2014, becoming the second conductor in its history.

During his tenure, Kantorei has already experienced tremendous growth of its audiences, nearly tripled its budget size, and launched an ambitious recording strategy beginning with its first professionally recorded and produced recording project on the Naxos label in early 2018.

A frequent collaborator and champion of new works for chorus, Joel has commissioned and premiered work of many of today’s leading composers including Kim André Arnesen, Mason Bates, René Clausen, Ola Gjeilo, Mark Hayes, Cecilia McDowall, David Montoya, Timothy Tharaldson and Eric Whitacre.

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 and in Germany, Austria, and the Czech Republic.

Joel is a passionate advocate for the professional choral art form, and he frequently consults with other choral arts organizations locally and 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 choral ensembles.

He came to Kantorei from the Grammy Awardwinning Phoenix Chorale. Throughout his 23-year tenure with the Phoenix Chorale, he served in nearly every capacity with the organization including the last 15 years as President & CEO and Assistant Conductor.

He negotiated an ongoing recording contract with the prestigious U.K.-based Chandos Records, and Phoenix Chorale recordings earned a total of eight Grammy nominations and two Grammy wins. 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. He holds music degrees from Arizona State and Whitworth Universities. In March 2017, Joel began his tenure as the North American Choral Promotion Manager for Oxford University Press based in Oxford, England.

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MEET OUR GROUP SOPRANO

ALTO

TENOR

BASS

Mary Christ Juliane Dowell Kim Dunninger Christina Graham Heather Gunnerson Stacie Hanson Jade Howard Shannon Lemmon-Elrod Sara Michael* Erin Pettitt Alicia Rigsby∞ Brenda Rolling Pearl Rutherford Christianna Sullins Beryl Fanslow Wilson

Emily Alexander Lindsey Aquilina Allison Barber Lizabeth Barnett Theresa Derr Sarah Harrison*§ Melissa Menter Erin Meyerhoff Jennifer Moore Kali Paguirigan Tegan Palmer

Kai Berry-Helmlinger* Keith Ferguson Mason France Matthew Gierke Kevin Gunnerson Keith Harrison Jason Hindman Steve Howie Alex Menter Luke Tredinnick Jonathan Von Stroh Ryan Wright

John Bartley Michael Bizzaro Michael Boender Michael Bradford Garth Criswell Stephen Hooper Scott Horowitz Brad Jackson Karl Johnson Brad Larson John Ludwig Marc Petersen John Schaak Kirk Schjodt* Matt Weissenbuehler

* Section Leader ∞ Collaborative Pianist § Assistant Conductor 13

RICHARD LARSON CONDUCTOR EMERITUS

A special congratulations to our Conductor Emeritus, Richard Larson, for his induction into the CMEA Hall of Fame!

The Colorado Music Educators Association (CMEA) serves the educational needs of its members and provides growth opportunities to music educators regardless of their experience in the profession. The organization hosts an annual conference for music educators statewide, located at the Broadmoor Hotel in Colorado Springs. Richard Larson has been involved in community music and music education for over thirty years and is in demand as a clinician, conductor, and teacher. Named “Choral Conductor of the Year,” in 1989 by the Colorado ACDA, Mr. Larson taught music both at the University of Northern Colorado and at Metropolitan State College in Denver. He

holds a Bachelor of Music from Luther College in Decorah, Iowa, and a Masters in Music Education from the University of Colorado Boulder. Mr. Larson has studied conducting with Otto Werner Mueller, Elizabeth Green, John Nelson, Julius Herford, Richard Westenberg and Margaret Hillis, among others. During his 16year tenure with the choir, Richard Larson and Kantorei performed at the 2002 Southwestern regional ACDA convention, the 2003 National ACDA convention in New York, and the 2004 Colorado ACDA conference in Denver. In 2006, Mr. Larson was honored by Luther College as the first ever recipient of the Weston H. Noble award recognizing excellence in the field of choral music. In June of 2007, Mr. Larson led Kantorei on its first-ever international tour to France and Italy, culminating with the distinct honor of singing for Mass at St. Peter’s Basilica.

PLEASE CONSIDER TURNING IN YOUR PROGRAM AT THE END OF THE CONCERT TO BE RE-USED AND RECYCLED. 14

TEXT & TRANSLATIONS SURE ON THIS SHINING NIGHT James Agee

Sure on this shining night Of starmade shadows round, Kindness must watch for me This side the ground.

The late year lies down the north.

All is healed, all is health.

High summer holds the earth.

Hearts all whole.

Sure on this shining night I weep for wonder wand’ring far alone Of shadows on the stars.

O SALUTARIS HOSTIA St. Thomas Aquinas

O salutaris Hostia Quae coeli pandis ostium.

Bella premunt hostilia; Da robur, fer auxilium.

Uni trinoque Domino Sit sempiterna gloria; Qui vitam sine termino Nobis donet in patria.

Amen

Habib cries for his father, who tells him It’s just the drums, a new music, And the tracery of lights in the sky He retraces on the ceiling, showing the boy How each bright star travels From this dark place, to the other.

LUX AURUMQUE

Edward Esch; Latin Trans. By Charles Anthony Silvestri

Lux. calida gravisques pura velut aurum et canunt angeli molliter modo natum.

Light,

warm and heavy as pure gold and the angels sing softly

to the new-born baby.

EVEN WHEN HE IS SILENT

O saving Victim Who opens the gate of heaven.

Our foes press hard on every side; Give us strength, bring help.

To the Triune Lord May there be everlasting glory; Who life without end May give to us in the Fatherland.

Amen LULLABY

Brian Turner

Akbar stirs the chai, Then carries his sleeping four-year-old, Habib, to bed under glow-in-the-dark Stars arranged on the ceiling. Late at night When gunfire frightens them both,

Anonymous

I believe in the sun even when it’s not shining.

I believe in love even when I feel it not.

I believe in God even when he is silent.

LAMENTATIONS OF JEREMIAH I. O vos omnes qui transitis per viam Lamentations 1:12, 20, 16; 3:66 O vos omnes, qui transitis per viam, attendite et videte si est dolor sicut dolor meus: quoniam vindemiavit me, ut locutus est Dominus in die irae furoris sui.

Vide Domine quoniam tribulor, conturbatus est venter meus, subversum est cor meum in memetipsa, quoniam amaritudine plena sum: foris interficit gladius, et domi mors similis est.

Idcirco ego plorans, et oculus meus deducens aquas: quia longe factus est, a me consolator, convertens animam meam: facti sunt filii mei perditi, quoniam invaluit inimicus.

Persequeris in furore, et conteres eos sub coelis, Domine.

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TEXT & TRANSLATIONS O, all you who pass this way behold and see if there be any sorrow like my sorrow: For the Lord has afflicted me, as He said in the day of His raging anger.

See, Lord, I am troubled, I am in torment within, my heart is in distress for I am full of bitterness: abroad the sword destroys, and at home is death.

Therefore, I weep, and my eyes overflow with tears: for the consoler, who may renew my soul, is taken from me: my children are destitute, For the enemy has prevailed.

Pursue them in fury, And crush them under the heavens, Lord.

III. R ecordare Domine quid acciderit nobis Lamentations 5:1, 21, 19 Recordare Domine quid acciderit nobis, intuere et respice opprobrium nostrum.

Converte nos Domine ad te, et convertemur: innova dies nostros, sicut a principio.

Tu autem Domine in aeternum permanebis, solium tuum in generationem et generationem.

Remember, Lord, what has befallen us: look and consider our disgrace.

Turn us back to you, Lord, and we shall come back: renew our days as in the beginning.

You, however, Lord, forever will remain, your throne for generations and generations.

II. E go vir videns paupertatem meam Lamentations 3:1–2, 4, 6, 8, 18 Ego vir videns paupertatem meam in virga indignationis eius.

Me minavit et adduxit in tenebras, et non in lucem.

Vetustam fecit pellem meam, et carnam meam, contrivit ossa mea.

In tenebrosis collocavit me, quasi mortuos sempiternos.

Sed et cum clamavero, et rogavero, exclusit orationeam meam.

Et dixi: Periit finis meus, et spes mea a Domino.

I am the man who has seen affliction, under the rod of His indignation.

He has led me away and suspended me in darkness, where no light is.

He has made my skin and flesh old, and has broken my bones.

He has put me in dark places, like those long dead.

But whenever I cry out and plead, He shuts out my prayer.

And I said: my strength has perished, and my hope, because of the Lord.

ABENDLIED Luke 29:24

Bleib bei uns denn es will Abend werden, und der Tag hat sich geneiget.

Stay with us. for it is nearly evening, And the day is almost over.

THERE WILL BE REST Sara Teasedale

There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low.

I will make this world of my devising, Out of a dream in my lonely mind, I shall find the crystal of peace, -- above me Stars I shall find.

LA NOCHE OSCURA DEL ALMA St. John of the Cross

En una noche oscura, con ansias en amores inflamada, ¡oh dichosa ventura

salí sin ser notada, estando ya mi casa sosegada.

A oscuras y segura, por la secreta escala disfrazada, oh dichosa ventura a oscuras y en celada, estando ya mi casa sosegada.

En la noche dichosa, en secreto, que nadie me veía, ni yo miraba cosa,

sin otra luz ni guía sino la que en el corazón ardía.

Oh night you guided me!

Oh night more friendly than the dawn!

Oh night you joined loved with beloved, loved in the beloved transformed!

In the happy night, secretly, nobody saw me, I did not look at anything, without another light or guide but the one that burned in the heart.

In my flowery chest, Whole for him was only saved, there he fell asleep, and she gave him away, and the sale of cedars air gave.

¡Oh noche que me guiaste!,

¡oh noche amable más que el alborada!,

¡oh noche que juntaste

amado con amada,

amada en el amado transformada!

The air of the battlement, when I spread his hair, with his serene hand in my neck it hurt, and all my senses suspended.

En mi pecho florido, que entero para él solo se guardaba, allí quedó dormido, y ella le regalaba, y el ventalle de cedros aire daba.

I stayed and forgot, my face reclined on the beloved, everything ceased, and let me, leaving my care among the lilies forgotten.

El aire de la almena, cuando yo sus cabellos esparcía, con su mano serena en mi cuello hería, y todos mis sentidos suspendía.

Quedéme y olvidéme, el rostro recliné sobre el amado, cesó todo, y dejéme, dejando mi cuidado entre las azucenas olvidado.

On a dark night, with cravings in inflamed loves, Oh happy luck I left without being noticed, My house is already calm.

In the dark and safe, for the secret scale in disguise, oh happy bliss in the dark and in a trap, My house is already calm.

NUNC DIMITTIS Luke 2:29-32

Nunc dimittis servum tuum, Domine,

secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum

Quod parasti ante faciem omnium populorum: Lumen ad revelationem gentium,

et gloriam plebis tuae Israel.

Gloria Patri, et Filio, et Spiritui Sancto,

Sicut erat in principio, et nunc, et semper,

et in saecula saeculorum. Amen

Lord now lettest thou thy servant depart in peace according to thy word.

For mine eyes have seen thy salvation, which thou hast prepared before the face of all people.

To be a light to lighten the Gentiles, and to be the glory of thy people Israel.

Glory be to the Father, and to the Son, 17

TEXT & TRANSLATIONS and to the Holy Ghost.

As it was in the beginning, is now,

and ever shall be, world without end. Amen

LET MY LOVE BE HEARD Alfred Noyes

Angels, where you soar Up to God’s own light, Take my own lost bird On your hearts tonight; And as grief once more Mounts to heaven and sings, Let my love be heard Whispering in your wings.

It’s been a long dark night, And I’ve been waiting for the morning.

It’s been a long hard fight, But I see a brand-new day a-dawning.

I’ve been looking for the sunshine ‘cause I ain’t seen it in so long.

Everything’s gonna work out fine.

Everything’s gonna be alright, It’s gonna be okay.

I can see the light of a clear blue morning.

I can see the light of a brand-new day.

I can see the light of a clear blue morning.

Everything’s gonna be alright, It’s gonna be okay.

LIGHT OF A CLEAR BLUE MORNING Dolly Parton

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

WAYS TO DONATE TO KANTOREI: Mail a check made out to “Kantorei” and address to: Kantorei, 8200 S Quebec St Ste A3 #776, Centennial, CO 80112 Donate online! You can easily make a one-time donation or a recurring donation. Choose a recurring gift for easier budgeting each month. Our online donation partner, ColoradoGives. org, oers easy recurring gifts: weekly, monthly, quarterly, yearly, or anything in between! To start, visit our donation page, click “Donate Now” and select “Recurring”.

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

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

Corporate Sponsorships: Give your company greater visibility by supporting Kantorei! Plenty of underwriting opportunities are available. Contact Jason Hindman, Development Committee Chair, at jason@kantorei.org for information on how to begin a partnership with Kantorei.

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MEET THE STAFF

SARAH HARRISON

ALICIA RIGSBY

SABRINA GREEN

SARA MICHAEL

BOARD OF DIRECTORS

MEMBERS AT LARGE

Kevin Gunnerson

Mark Aquilina

Assistant Conductor

Marketing Director

President

Jason Hindman

Vice President & Development Committee Chair

Susan Lewkow Treasurer

Juliane Dowell Secretary

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Accompanist and Collaborative Pianist

Administrative Assistant & Librarian

Michael Bizzaro Keith Ferguson Richard Larson

Artistic Director and Conductor Emeritus

UPCOMING CONCERTS

KANTOREI'S

2017-2018 SEASON MARCH 3 & 4 Kaleidoscope

APRIL 21

Salon: A Night of Art Songs

MAY 19 & 20

One World, One Voice Tickets on sale at KANTOREI.ORG

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Be sure to mark your calendars for

ONE WORLD, ONE VOICE saturday MAY 19 @ 7:00PM

First Plymouth Congregational Church

sunday MAY 20 @ 3:00PM

Saint Andrew United Methodist Church

Bring your passport and join Kantorei on a trip around the world to navigate sounds of different cultures and languages.

We’ll take you to China, South Korea, the Middle East, South Africa, and Ireland on this musical journey.

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