The World Above

ABOUT THE CHOIR

KANTOREI (or singers) formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 49-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Warburg and University of Northern Colorado.

Kantorei established itself as one of the nation’s premier choral ensembles after performing as an auditioned choir for the 2003 national American Choral Director’s Association conference at Carnegie Hall in New York City, and the Vatican in June 2007. More recently, Kantorei has been featured in several regional and national conferences, including the 2008 National Performing Arts Convention and 2010 Southwestern Regional ACDA convention, both held in Denver. In March 2011, Kantorei returned to the national ACDA conference, with performances at Roosevelt University and Symphony Hall in Chicago. Kantorei completed its second European tour in 2012, traveling to Austria, Hungary and the Czech Republic in June.

MEET OUR GROUP SOPRANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Julianne Dowell Kim Dunninger Beryl Fanslow Wendi Sue Grover Heather Gunnerson Stacie Hanson Judy Larson Sara Michael Alicia Rigsby Pearl Rutherford Becky Scott

Emily Alexander Jan Ankele Lizabeth Barnett Lyn Berry-Helmlinger Jordan Bickel Melissa Menter Erin Meyerhoff Jennifer Moore Annie Sullins Michelle Tombre Andrea Ware Lindsey Whitaker

Kai Berry-Helmlinger Michael Bizzaro Keith Ferguson Keith Harrison Brad Larson Alex Menter Michael Pohlenz John Redford Robert Suits David Weaver Ryan Wright

Ken Atkinson Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Robert Larson Michael Lewis John Ludwig Larry Meerdink John Schaak Matt Weissenbuehler

ACCOMPANIST - Alicia Rigsby

ASST. CONDUCTOR- Michael Poehlenz

THE 16TH SEASON KANTOREI IN WESTCLIFFE

* K a n t o r e i i s a 5 01( c ) ( 3 ) o r g a n i z a t i o n a n d a n y donations to the group are deductible to the fullest e x t e n t a l l o w e d b y l a w. P l e a s e c o n s u l t y o u r t a x advisor for more information. *Please make donations, purchase CDs, purchase t i c k e t s a n d s i g n u p f o r K a n t o r e i ’s m a i l i n g l i s t i n the lobby during intermission or after the concert.

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*We record our concer t s and frequently use live recordings for our CDs. Please keep extraneous noise to a minimum during the performance.

Jones Theater - 4PM, May 5th 2013

THIS IS THE DAY Saint Timothy’s Episcopal Church - 730PM, May 17, 2013 Saint John’s Cathedral - 730PM, May 18, 2013

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PROGRAM

PROGRAM NOTES PART I

PART I

Cantus Missae, Opus 109 I: Kyrie

THE CONDUCTORS

Josef Gabriel Rheinberger (1839-1901)

Johann Schelle

Christus ist des Gesetzes Ende

(1648-1701)

James MacMillan

Christus Vincit

(b. 1959-) Beryl Fanslow, Soprano

Benjamin Britten

Hymn to St. Cecilia, Opus 27

(1913-1976)

Sara Michael, Soprano; Andrea Ware, Alto; Andrew Halladay, Bass; Kim Dunninger, Soprano; Michael Pohlenz, Tenor

INTERMISSION PART II

Requiem, Opus 9

Maurice Duruflé

I. Introit II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux aeterna VIII. Libera me IX. In Paradisum Joseph Galema, Organ; Wendi Sue Grover, Soprano; Richard von Foerster, Cello

Please consider turning in your program at the end of the concert to be re-used and recycled.

(1902-1986)

The f i r s t t h r e e p i e c e s o n t o d a y ’s p r o g r a m u s e d o u b l e c h o i r a n d i m i t a t i o n , w i t h v e r y d i f f e r e n t r e s u l t s .

I n J o s e f G a b r i e l R h e i n b e r g e r ’s Kyrie s e t t i n g f r o m t h e Cantus Missae, Op. 109 , i m i t a t i o n i s u s e d to lead the harmony forward and also sequentially (repeating the same melody but starting on a different pitch). The double choir is presented in its most common formation of two choirs with four voice parts each. His use of suspension and skillful layering of voices between the choirs g i v e t h i s w o r k i t s e n d u r i n g p o p u l a r i t y. U s i n g a d i f f e r e n t d o u b l e c h o i r f o r m a t i o n , J o h a n n S c h e l l e w r o t e Christus ist des Gesetzes Ende , a v e r y t r a d i t i o n a l G e r m a n m o t e t , f o r t h e f u n e r a l o f L e i p z i g citizen Gottfried Egger in 1684. Listen for how he uses imitation to lead the harmony in a different d i r e c t i o n . J a m e s M a c M i l l a n ’s Christus Vincit w a s w r i t t e n t o u s e s p a c e a n d t h e d o u b l e c h o i r t o h i g h l i g h t t h e f a n t a s t i c r e v e r b e r a t i o n o f S t . Pa u l ’s C a t h e d r a l i n L o n d o n . S i m p l e h a r m o n i e s a r e c r e a t e d using canonic plainsong style chant punctuated by long rests to allow the reverberation to subside.

Benjamin Britten (1913-1976) was a prolific composer from a young age, winning a Composition Scholarship in 1930 at the Royal College of Music in London where his examiners were John Ireland, S.P. Waddington and Ralph Vaughan Williams. In 1939, as the winds of war gained force in Europe, Britten and Peter Pears followed the English poet and frequent artistic collaborator W. H. Auden to safety in the United States. Numerous historic compositions flowed from Britten’s genius while in America, including Hymn to St. Cecilia . Britten wanted to write a piece dedicated to this saint for a number of reasons: He was born on St. Cecilia’s day, Nov. 22; St. Cecilia is the patron saint of music; and there is a long tradition in England of writing odes and songs to the saint. In August 1940, Britten began setting Hymn to St. Cecilia to a poem in three sections written for him by Auden. In his own words, Britten “got stuck” and did not resume until his voyage home to England in the spring of 1942, during the full fury of the war in the Atlantic. Unfortunately, the American customs inspectors confiscated all of Britten’s manuscripts prior to embarkation, fearing they were some type of code, so Britten re-wrote the manuscript while aboard the Swedish steamship Axel Johnson. He finished it on April 2, 1942. The BBC singers premiered Hymn to St. Cecilia that same year on St. Cecilia’s Day and Britten’s 29th birthday. Contemporary English composer and conductor John Rutter wrote, “. . . Britten used ‘old’ compositional devices in his Hymn to St. Cecilia [slow-moving tenor and bass parts against faster upper voices, recalling medieval cantus-fir mus techniques; a Purcellian ground bass at the start of the third movement; and instrumental imitations near the end] yet instinctively realized and brought to the fore a more crucial quality of the a cappella medium: its essentially pure, distilled nature, enabling it to reflect the inner soul of music itself. . . Auden’s text, dedicated to Britten, consists of three poems which the composer set as three movements roughly corresponding to a symphony, the first of them marked Tranquillo e scorrevole (calm and gliding), the second a rapid Vivace inspired by Mendelssohn’s ‘fairy’ scherzos, the third (the longest and most complex) Andante con moto . Each movement ends with an invocation to St. Cecilia, binding the hymn into one. Britten’s musical language . . . is simple and pure, with much use of mellifluous major triads and transparent choral textures. [Liner Notes: Collegium COLCD 119.]

PART II Maurice Duruflé (1902-1986) received his early musical training in the tradition of choral plainsong a t t h e R o u e n c h o i r s c h o o l , b e g i n n i n g i n 1 9 1 2 . A t a g e 1 7 , h e w e n t o n t o t h e Pa r i s C o n s e r va t o i r e , w h e r e h e w o n f i v e f i r s t p r i z e s : o r g a n , h a r m o ny, a c c o m p a n i m e n t , f u g u e a n d c o m p o s i t i o n . D u r u f l é b e c a m e t i t u l a r o r g a n i s t o f S t . É t i e n n e - d u - M o n t i n Pa r i s i n 1 9 2 9 , a p o s i t i o n h e h e l d t h r o u g h o u t h i s l i f e . I n 1 9 3 9 , h e p r e m i e r e d Fr a n c i s Po u l e n c ’s C o n c e r t o f o r O r g a n , S t r i n g s a n d Ti m p a n i i n G m i n o r . D u r u f l é h a d a d v i s e d Po u l e n c o n t h e r e g i s t r a t i o n s o f t h e o r g a n p a r t . I n 1 9 4 3 , h e b e c a m e p r o f e s s o r o f h a r m o ny a t t h e C o n s e r va t o i r e d e Pa r i s w h e r e h e w o r k e d u n t i l 1 9 7 0 . T h o u g h n o t a p r o l i f i c c o m p o s e r, D u r u f l é p o s s e s s e d a d i s t i n c t i v e v o i c e i n t h e Fr e n c h 2 0 t h c e n t u r y r e p e r t o i r e a s a n e x p o n e n t o f p l a i n s o n g , a n d t h e u s e o f modal harmonies and polyphonic structures. In 1947, he wrote what is probably the most famous of h i s v e r y f ew p i e c e s : t h e R e q u i e m , O p . 9 , f o r s o l o i s t s , c h o i r, o r g a n a n d o r c h e s t r a . D u r u f l é p r o v i d e d both an orchestral and organ version of the Requiem. He rescored the work for small orchestra in 1961. Duruflé wrote, “This Requiem is entirely composed on the Gregorian themes of the Mass for the Dead. Sometimes the musical text was completely respected, the orchestral part intervening only to s u p p o r t o r c o m m e n t o n i t ; s o m e t i m e s I w a s s i m p l y i n s p i r e d by i t o r l e f t i t c o m p l e t e l y, f o r e x a m p l e i n c e r t a i n d e v e l o p m e n t s s u g g e s t e d by t h e L a t i n t e x t , n o t a b l y i n t h e D o m i n e J e s u C h r i s t e , t h e S a n c t u s a n d the Libera. In general, I have sought above all to enter into the characteristic style of the Gregorian t h e m e s . T h e r e f o r e , I h a v e d o n e my b e s t t o r e c o n c i l e , a s f a r a s p o s s i b l e , G r e g o r i a n r hy t h m a s i t h a s b e e n e s t a b l i s h e d by t h e B e n e d i c t i n e s o f S o l e s m e s w i t h t h e d e m a n d s o f m o d e r n m e t e r. . . T h e o r g a n ’s role is merely episodic: it intervenes, not to support the chorus, but solely to underline certain accents or to replace temporarily the sonorities of the orchestra, which sound all too human. It represents the i d e a o f p e a c e , o f f a i t h a n d h o p e .”

Special thanks to Hardy Boy Plants for donating the beautiful flowers and plants that decorate the sanctuary at this afternoon’s performance.

ARTISTIC DIRECTOR & CONDUCTOR R I C H A R D L A R S O N , d i r e c t o r o f t h e D e n v e r- b a s e d s e m i - p r o f e s s i o n a l c h o i r, K a n t o r e i , h a s b e e n i n v o l v e d i n c o mm u n i t y m u s i c f o r o v e r 4 0 y e a r s . N a m e d “ C h o r a l C o n d u c t o r o f t h e Ye a r ” i n 19 89 b y t h e C o l o r a d o A C D A , M r. L a r s o n t a u g h t m u s i c both in public schools as well as at the college level. He has ser ved as adjunct p r o f e s s o r a t t h e L a m o n t S c h o o l o f M u s i c , U n i v e r s i t y o f D e n v e r, t h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o a n d M e t r o p o l i t a n S t a t e U n i v e r s i t y o f D e n v e r. H e h a s s e r v e d a s a c l i n i c i a n a t t h e R e n e C l a u s e n C h o r a l S c h o o l , t h e I o w a a n d S o u t h D a k o t a s u mm e r A C D A c o n f e r e n c e s , a n d h a s c o n d u c t e d t h e M i n n e s o t a A l l - S t a t e C h o i r. H e h o l d s a B a c h e l o r o f A r t s D e g r e e f r o m L u t h e r C o l l e g e, D e c o r a h , I o w a a n d a M a s t e r s i n Music Education from the University of Colorado.

S i n c e m o v i n g t o C o l o r a d o i n 19 8 2 , h e c o n d u c t e d t h e C h e r r y C r e e k M e i s t e r s i n g e r s i n r e g i o n a l A C D A c o n f e r e n c e s i n 19 8 8 a n d 19 9 4, n a t i o n a l A C D A i n 19 89 ( L o u i s v i l l e, K Y ), a n d n a t i o n a l M E N C ( Wa s h i n g t o n D . C . ) i n 19 9 0 .

H e h a s d i r e c t e d K a n t o r e i i n r e g i o n a l A C D A c o n f e r e n c e i n 2 0 0 2 a n d 2 010, a n d t h e N a t i o n a l A C D A c o n f e r e n c e ( C a r n e g i e H a l l & Av e r y F i s h e r H a l l , N YC ) i n 20 0 3 a n d a g a i n i n 2 010 ( R o o s e v e l t U n i v e r s i t y A u d i t o r i u m & S y m p h o n y H a l l , C h i c a g o). B e y o n d h i s g r a d u a t e d e g r e e, h e s t u d i e d m u s i c w i t h We s t o n N o b l e ( L u t h e r C o l l e g e), J u l i u s H e r f o r d , A l f r e d M a n n , Wa r n e r I m i g , J e a n B e r g e r ( U n i v e r s i t y o f C o l o r a d o), R o b e r t S h a w ( M e a d o w b r o o k S c h o o l o f M u s i c , a n d S a r a t o g a - P o t s d a m C h o r a l I n s t i t u t e), O t t o We r n e r M u e l l e r ( Ya l e), J o h n N e l s o n ( A s p e n ), M a r g a r e t H i l l s ( C h i c a g o S y m p h o n y O r c h e s t r a C h o r u s), E l i z a b e t h G r e e n , B r o c k M c E h l e r a n ( P o t s d a m , N Y ), a n d R o b e r t F o u n t a i n ( O b e r l i n C o n s e r v a t o r y ). M r. L a r s o n w a s r e c e n t l y h o n o r e d b y L u t h e r C o l l e g e a s t h e f i r s t a n n u a l r e c i p i e n t o f t h e We s t o n H . N o b l e a w a r d h o n o r i n g e x c e l l e n c e i n t h e f i e l d o f c h o r a l m u s i c .

ASSISTANT CONDUCTOR MICHAEL POHLENZ is a Director of Music at Wellshire Presby t erian Chur ch with previous experience as Guest Conductor of the Bethany College Messiah Festival in Lindsborg, KS, and as founding Music Director and Conductor of the Wichita Chamber Chorale, an auditioned adult community choir in Wichita, Kansas. Significant performance achievements of the Chorale included the 19 8 9 N a t i o n a l A C D A C o n v e n t i o n a n d t h e 19 9 6 J o a n o f A r c F e s t i v a l i n O r l e a n s , Fr ance. Mr. Pohlenz has t aught chor al music and voice at t he college level, and vocal and instrumental music at the high school level. He holds choral degrees from Friends University in Wichita, KS, Southern Methodist University in Dallas, TX, and the University of Oklahoma in Norman, OK. In his continuing st udy of chor al music, he sang in t hr ee Rober t Shaw Chor al Wor kshops at Carnegie Hall, sang and studied conducting with Helmuth Rilling at the Oregon Bach Festival, and is a p e r f o r m i n g m e m b e r o f T h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o ’s S u m m e r f e s t C h o i r .

ACCOMPANIST A L I C I A R I G S B Y c a m e t o C o l o r a d o i n 19 9 7 a f t e r c o m p l e t i n g h e r M a s t e r o f M u s i c d e g r e e i n p i a n o p e r f o r m a n c e a n d m u s i c t h e o r y a t I n d i a n a U n i v e r s i t y, Bloomington. Ms. Rigsby was one of the original members of Kantorei, both as a singer and accompanist, but has taken time with her family since 2004. Ms. R i g s b y h a s p e r f o r m e d w i t h t h e E s t e s Tr i o , t h e A s p e n M u s i c F e s t i v a l a n d t h e B o u l d e r C h a m b e r O r c h e s t r a . S h e h a s b e e n t e a c h i n g m u s i c a t t h e C h i l d r e n’s M u s i c A c a d e m y, b a s e d i n L i t t l e t o n , f o r 15 y e a r s . S h e i s p a s s i o n a t e a b o u t m u s i c a s a n ar t form, a teaching tool and an expressionistic medium, and enjoys having all of those musical oppor tunities in her life. In her free time, she likes to hike, camp, ski and cycle with her husband and t wo daughters.

ORGANIST JOSE PH G A L E M A began his c ar eer a t t he Uni t ed St a t es A ir F or ce A c ademy on Sep t . 13, 1982, and is cur r en t l y Music Dir ec t or and A c ademy Or ganis t . He dir ec t s t he C ade t C hor ale and T he A c ademy Singer s, and also plays t he or gan f or hundr eds o f ser v ices and t our s in t he C ade t C hapel. In Sep t ember 2008, he joined t he L amon t S chool o f Music, Uni ver si t y o f Denver, as or gan ins t r uc t or.

Galema was bor n in Wes t L a f aye t t e, Ind., and chose t o pur sue his college educ a t ion in Michigan. He r ecei ved a Bachelor o f A r t s (1976) degr ee f r om C al v in C ollege in Gr and Rapids. Galema pur sued pos t-gr adua t e wor k in or gan per f or mance, s t ud y ing w i t h Mar il y n Mason a t T he Uni ver si t y o f Michigan, ear ning bo t h Mas t er o f Music (1978) and Doc t or o f Music al A r t s (1982) degr ees.

PROGRAM

PROGRAM NOTES PART I

PART I

Cantus Missae, Opus 109 I: Kyrie

THE CONDUCTORS

Josef Gabriel Rheinberger (1839-1901)

Johann Schelle

Christus ist des Gesetzes Ende

(1648-1701)

James MacMillan

Christus Vincit

(b. 1959-) Beryl Fanslow, Soprano

Benjamin Britten

Hymn to St. Cecilia, Opus 27

(1913-1976)

Sara Michael, Soprano; Andrea Ware, Alto; Andrew Halladay, Bass; Kim Dunninger, Soprano; Michael Pohlenz, Tenor

INTERMISSION PART II

Requiem, Opus 9

Maurice Duruflé

I. Introit II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux aeterna VIII. Libera me IX. In Paradisum Joseph Galema, Organ; Wendi Sue Grover, Soprano; Richard von Foerster, Cello

Please consider turning in your program at the end of the concert to be re-used and recycled.

(1902-1986)

The f i r s t t h r e e p i e c e s o n t o d a y ’s p r o g r a m u s e d o u b l e c h o i r a n d i m i t a t i o n , w i t h v e r y d i f f e r e n t r e s u l t s .

I n J o s e f G a b r i e l R h e i n b e r g e r ’s Kyrie s e t t i n g f r o m t h e Cantus Missae, Op. 109 , i m i t a t i o n i s u s e d to lead the harmony forward and also sequentially (repeating the same melody but starting on a different pitch). The double choir is presented in its most common formation of two choirs with four voice parts each. His use of suspension and skillful layering of voices between the choirs g i v e t h i s w o r k i t s e n d u r i n g p o p u l a r i t y. U s i n g a d i f f e r e n t d o u b l e c h o i r f o r m a t i o n , J o h a n n S c h e l l e w r o t e Christus ist des Gesetzes Ende , a v e r y t r a d i t i o n a l G e r m a n m o t e t , f o r t h e f u n e r a l o f L e i p z i g citizen Gottfried Egger in 1684. Listen for how he uses imitation to lead the harmony in a different d i r e c t i o n . J a m e s M a c M i l l a n ’s Christus Vincit w a s w r i t t e n t o u s e s p a c e a n d t h e d o u b l e c h o i r t o h i g h l i g h t t h e f a n t a s t i c r e v e r b e r a t i o n o f S t . Pa u l ’s C a t h e d r a l i n L o n d o n . S i m p l e h a r m o n i e s a r e c r e a t e d using canonic plainsong style chant punctuated by long rests to allow the reverberation to subside.

Benjamin Britten (1913-1976) was a prolific composer from a young age, winning a Composition Scholarship in 1930 at the Royal College of Music in London where his examiners were John Ireland, S.P. Waddington and Ralph Vaughan Williams. In 1939, as the winds of war gained force in Europe, Britten and Peter Pears followed the English poet and frequent artistic collaborator W. H. Auden to safety in the United States. Numerous historic compositions flowed from Britten’s genius while in America, including Hymn to St. Cecilia . Britten wanted to write a piece dedicated to this saint for a number of reasons: He was born on St. Cecilia’s day, Nov. 22; St. Cecilia is the patron saint of music; and there is a long tradition in England of writing odes and songs to the saint. In August 1940, Britten began setting Hymn to St. Cecilia to a poem in three sections written for him by Auden. In his own words, Britten “got stuck” and did not resume until his voyage home to England in the spring of 1942, during the full fury of the war in the Atlantic. Unfortunately, the American customs inspectors confiscated all of Britten’s manuscripts prior to embarkation, fearing they were some type of code, so Britten re-wrote the manuscript while aboard the Swedish steamship Axel Johnson. He finished it on April 2, 1942. The BBC singers premiered Hymn to St. Cecilia that same year on St. Cecilia’s Day and Britten’s 29th birthday. Contemporary English composer and conductor John Rutter wrote, “. . . Britten used ‘old’ compositional devices in his Hymn to St. Cecilia [slow-moving tenor and bass parts against faster upper voices, recalling medieval cantus-fir mus techniques; a Purcellian ground bass at the start of the third movement; and instrumental imitations near the end] yet instinctively realized and brought to the fore a more crucial quality of the a cappella medium: its essentially pure, distilled nature, enabling it to reflect the inner soul of music itself. . . Auden’s text, dedicated to Britten, consists of three poems which the composer set as three movements roughly corresponding to a symphony, the first of them marked Tranquillo e scorrevole (calm and gliding), the second a rapid Vivace inspired by Mendelssohn’s ‘fairy’ scherzos, the third (the longest and most complex) Andante con moto . Each movement ends with an invocation to St. Cecilia, binding the hymn into one. Britten’s musical language . . . is simple and pure, with much use of mellifluous major triads and transparent choral textures. [Liner Notes: Collegium COLCD 119.]

PART II Maurice Duruflé (1902-1986) received his early musical training in the tradition of choral plainsong a t t h e R o u e n c h o i r s c h o o l , b e g i n n i n g i n 1 9 1 2 . A t a g e 1 7 , h e w e n t o n t o t h e Pa r i s C o n s e r va t o i r e , w h e r e h e w o n f i v e f i r s t p r i z e s : o r g a n , h a r m o ny, a c c o m p a n i m e n t , f u g u e a n d c o m p o s i t i o n . D u r u f l é b e c a m e t i t u l a r o r g a n i s t o f S t . É t i e n n e - d u - M o n t i n Pa r i s i n 1 9 2 9 , a p o s i t i o n h e h e l d t h r o u g h o u t h i s l i f e . I n 1 9 3 9 , h e p r e m i e r e d Fr a n c i s Po u l e n c ’s C o n c e r t o f o r O r g a n , S t r i n g s a n d Ti m p a n i i n G m i n o r . D u r u f l é h a d a d v i s e d Po u l e n c o n t h e r e g i s t r a t i o n s o f t h e o r g a n p a r t . I n 1 9 4 3 , h e b e c a m e p r o f e s s o r o f h a r m o ny a t t h e C o n s e r va t o i r e d e Pa r i s w h e r e h e w o r k e d u n t i l 1 9 7 0 . T h o u g h n o t a p r o l i f i c c o m p o s e r, D u r u f l é p o s s e s s e d a d i s t i n c t i v e v o i c e i n t h e Fr e n c h 2 0 t h c e n t u r y r e p e r t o i r e a s a n e x p o n e n t o f p l a i n s o n g , a n d t h e u s e o f modal harmonies and polyphonic structures. In 1947, he wrote what is probably the most famous of h i s v e r y f ew p i e c e s : t h e R e q u i e m , O p . 9 , f o r s o l o i s t s , c h o i r, o r g a n a n d o r c h e s t r a . D u r u f l é p r o v i d e d both an orchestral and organ version of the Requiem. He rescored the work for small orchestra in 1961. Duruflé wrote, “This Requiem is entirely composed on the Gregorian themes of the Mass for the Dead. Sometimes the musical text was completely respected, the orchestral part intervening only to s u p p o r t o r c o m m e n t o n i t ; s o m e t i m e s I w a s s i m p l y i n s p i r e d by i t o r l e f t i t c o m p l e t e l y, f o r e x a m p l e i n c e r t a i n d e v e l o p m e n t s s u g g e s t e d by t h e L a t i n t e x t , n o t a b l y i n t h e D o m i n e J e s u C h r i s t e , t h e S a n c t u s a n d the Libera. In general, I have sought above all to enter into the characteristic style of the Gregorian t h e m e s . T h e r e f o r e , I h a v e d o n e my b e s t t o r e c o n c i l e , a s f a r a s p o s s i b l e , G r e g o r i a n r hy t h m a s i t h a s b e e n e s t a b l i s h e d by t h e B e n e d i c t i n e s o f S o l e s m e s w i t h t h e d e m a n d s o f m o d e r n m e t e r. . . T h e o r g a n ’s role is merely episodic: it intervenes, not to support the chorus, but solely to underline certain accents or to replace temporarily the sonorities of the orchestra, which sound all too human. It represents the i d e a o f p e a c e , o f f a i t h a n d h o p e .”

Special thanks to Hardy Boy Plants for donating the beautiful flowers and plants that decorate the sanctuary at this afternoon’s performance.

ARTISTIC DIRECTOR & CONDUCTOR R I C H A R D L A R S O N , d i r e c t o r o f t h e D e n v e r- b a s e d s e m i - p r o f e s s i o n a l c h o i r, K a n t o r e i , h a s b e e n i n v o l v e d i n c o mm u n i t y m u s i c f o r o v e r 4 0 y e a r s . N a m e d “ C h o r a l C o n d u c t o r o f t h e Ye a r ” i n 19 89 b y t h e C o l o r a d o A C D A , M r. L a r s o n t a u g h t m u s i c both in public schools as well as at the college level. He has ser ved as adjunct p r o f e s s o r a t t h e L a m o n t S c h o o l o f M u s i c , U n i v e r s i t y o f D e n v e r, t h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o a n d M e t r o p o l i t a n S t a t e U n i v e r s i t y o f D e n v e r. H e h a s s e r v e d a s a c l i n i c i a n a t t h e R e n e C l a u s e n C h o r a l S c h o o l , t h e I o w a a n d S o u t h D a k o t a s u mm e r A C D A c o n f e r e n c e s , a n d h a s c o n d u c t e d t h e M i n n e s o t a A l l - S t a t e C h o i r. H e h o l d s a B a c h e l o r o f A r t s D e g r e e f r o m L u t h e r C o l l e g e, D e c o r a h , I o w a a n d a M a s t e r s i n Music Education from the University of Colorado.

S i n c e m o v i n g t o C o l o r a d o i n 19 8 2 , h e c o n d u c t e d t h e C h e r r y C r e e k M e i s t e r s i n g e r s i n r e g i o n a l A C D A c o n f e r e n c e s i n 19 8 8 a n d 19 9 4, n a t i o n a l A C D A i n 19 89 ( L o u i s v i l l e, K Y ), a n d n a t i o n a l M E N C ( Wa s h i n g t o n D . C . ) i n 19 9 0 .

H e h a s d i r e c t e d K a n t o r e i i n r e g i o n a l A C D A c o n f e r e n c e i n 2 0 0 2 a n d 2 010, a n d t h e N a t i o n a l A C D A c o n f e r e n c e ( C a r n e g i e H a l l & Av e r y F i s h e r H a l l , N YC ) i n 20 0 3 a n d a g a i n i n 2 010 ( R o o s e v e l t U n i v e r s i t y A u d i t o r i u m & S y m p h o n y H a l l , C h i c a g o). B e y o n d h i s g r a d u a t e d e g r e e, h e s t u d i e d m u s i c w i t h We s t o n N o b l e ( L u t h e r C o l l e g e), J u l i u s H e r f o r d , A l f r e d M a n n , Wa r n e r I m i g , J e a n B e r g e r ( U n i v e r s i t y o f C o l o r a d o), R o b e r t S h a w ( M e a d o w b r o o k S c h o o l o f M u s i c , a n d S a r a t o g a - P o t s d a m C h o r a l I n s t i t u t e), O t t o We r n e r M u e l l e r ( Ya l e), J o h n N e l s o n ( A s p e n ), M a r g a r e t H i l l s ( C h i c a g o S y m p h o n y O r c h e s t r a C h o r u s), E l i z a b e t h G r e e n , B r o c k M c E h l e r a n ( P o t s d a m , N Y ), a n d R o b e r t F o u n t a i n ( O b e r l i n C o n s e r v a t o r y ). M r. L a r s o n w a s r e c e n t l y h o n o r e d b y L u t h e r C o l l e g e a s t h e f i r s t a n n u a l r e c i p i e n t o f t h e We s t o n H . N o b l e a w a r d h o n o r i n g e x c e l l e n c e i n t h e f i e l d o f c h o r a l m u s i c .

ASSISTANT CONDUCTOR MICHAEL POHLENZ is a Director of Music at Wellshire Presby t erian Chur ch with previous experience as Guest Conductor of the Bethany College Messiah Festival in Lindsborg, KS, and as founding Music Director and Conductor of the Wichita Chamber Chorale, an auditioned adult community choir in Wichita, Kansas. Significant performance achievements of the Chorale included the 19 8 9 N a t i o n a l A C D A C o n v e n t i o n a n d t h e 19 9 6 J o a n o f A r c F e s t i v a l i n O r l e a n s , Fr ance. Mr. Pohlenz has t aught chor al music and voice at t he college level, and vocal and instrumental music at the high school level. He holds choral degrees from Friends University in Wichita, KS, Southern Methodist University in Dallas, TX, and the University of Oklahoma in Norman, OK. In his continuing st udy of chor al music, he sang in t hr ee Rober t Shaw Chor al Wor kshops at Carnegie Hall, sang and studied conducting with Helmuth Rilling at the Oregon Bach Festival, and is a p e r f o r m i n g m e m b e r o f T h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o ’s S u m m e r f e s t C h o i r .

ACCOMPANIST A L I C I A R I G S B Y c a m e t o C o l o r a d o i n 19 9 7 a f t e r c o m p l e t i n g h e r M a s t e r o f M u s i c d e g r e e i n p i a n o p e r f o r m a n c e a n d m u s i c t h e o r y a t I n d i a n a U n i v e r s i t y, Bloomington. Ms. Rigsby was one of the original members of Kantorei, both as a singer and accompanist, but has taken time with her family since 2004. Ms. R i g s b y h a s p e r f o r m e d w i t h t h e E s t e s Tr i o , t h e A s p e n M u s i c F e s t i v a l a n d t h e B o u l d e r C h a m b e r O r c h e s t r a . S h e h a s b e e n t e a c h i n g m u s i c a t t h e C h i l d r e n’s M u s i c A c a d e m y, b a s e d i n L i t t l e t o n , f o r 15 y e a r s . S h e i s p a s s i o n a t e a b o u t m u s i c a s a n ar t form, a teaching tool and an expressionistic medium, and enjoys having all of those musical oppor tunities in her life. In her free time, she likes to hike, camp, ski and cycle with her husband and t wo daughters.

ORGANIST JOSE PH G A L E M A began his c ar eer a t t he Uni t ed St a t es A ir F or ce A c ademy on Sep t . 13, 1982, and is cur r en t l y Music Dir ec t or and A c ademy Or ganis t . He dir ec t s t he C ade t C hor ale and T he A c ademy Singer s, and also plays t he or gan f or hundr eds o f ser v ices and t our s in t he C ade t C hapel. In Sep t ember 2008, he joined t he L amon t S chool o f Music, Uni ver si t y o f Denver, as or gan ins t r uc t or.

Galema was bor n in Wes t L a f aye t t e, Ind., and chose t o pur sue his college educ a t ion in Michigan. He r ecei ved a Bachelor o f A r t s (1976) degr ee f r om C al v in C ollege in Gr and Rapids. Galema pur sued pos t-gr adua t e wor k in or gan per f or mance, s t ud y ing w i t h Mar il y n Mason a t T he Uni ver si t y o f Michigan, ear ning bo t h Mas t er o f Music (1978) and Doc t or o f Music al A r t s (1982) degr ees.

PROGRAM

PROGRAM NOTES PART I

PART I

Cantus Missae, Opus 109 I: Kyrie

THE CONDUCTORS

Josef Gabriel Rheinberger (1839-1901)

Johann Schelle

Christus ist des Gesetzes Ende

(1648-1701)

James MacMillan

Christus Vincit

(b. 1959-) Beryl Fanslow, Soprano

Benjamin Britten

Hymn to St. Cecilia, Opus 27

(1913-1976)

Sara Michael, Soprano; Andrea Ware, Alto; Andrew Halladay, Bass; Kim Dunninger, Soprano; Michael Pohlenz, Tenor

INTERMISSION PART II

Requiem, Opus 9

Maurice Duruflé

I. Introit II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux aeterna VIII. Libera me IX. In Paradisum Joseph Galema, Organ; Wendi Sue Grover, Soprano; Richard von Foerster, Cello

Please consider turning in your program at the end of the concert to be re-used and recycled.

(1902-1986)

The f i r s t t h r e e p i e c e s o n t o d a y ’s p r o g r a m u s e d o u b l e c h o i r a n d i m i t a t i o n , w i t h v e r y d i f f e r e n t r e s u l t s .

I n J o s e f G a b r i e l R h e i n b e r g e r ’s Kyrie s e t t i n g f r o m t h e Cantus Missae, Op. 109 , i m i t a t i o n i s u s e d to lead the harmony forward and also sequentially (repeating the same melody but starting on a different pitch). The double choir is presented in its most common formation of two choirs with four voice parts each. His use of suspension and skillful layering of voices between the choirs g i v e t h i s w o r k i t s e n d u r i n g p o p u l a r i t y. U s i n g a d i f f e r e n t d o u b l e c h o i r f o r m a t i o n , J o h a n n S c h e l l e w r o t e Christus ist des Gesetzes Ende , a v e r y t r a d i t i o n a l G e r m a n m o t e t , f o r t h e f u n e r a l o f L e i p z i g citizen Gottfried Egger in 1684. Listen for how he uses imitation to lead the harmony in a different d i r e c t i o n . J a m e s M a c M i l l a n ’s Christus Vincit w a s w r i t t e n t o u s e s p a c e a n d t h e d o u b l e c h o i r t o h i g h l i g h t t h e f a n t a s t i c r e v e r b e r a t i o n o f S t . Pa u l ’s C a t h e d r a l i n L o n d o n . S i m p l e h a r m o n i e s a r e c r e a t e d using canonic plainsong style chant punctuated by long rests to allow the reverberation to subside.

Benjamin Britten (1913-1976) was a prolific composer from a young age, winning a Composition Scholarship in 1930 at the Royal College of Music in London where his examiners were John Ireland, S.P. Waddington and Ralph Vaughan Williams. In 1939, as the winds of war gained force in Europe, Britten and Peter Pears followed the English poet and frequent artistic collaborator W. H. Auden to safety in the United States. Numerous historic compositions flowed from Britten’s genius while in America, including Hymn to St. Cecilia . Britten wanted to write a piece dedicated to this saint for a number of reasons: He was born on St. Cecilia’s day, Nov. 22; St. Cecilia is the patron saint of music; and there is a long tradition in England of writing odes and songs to the saint. In August 1940, Britten began setting Hymn to St. Cecilia to a poem in three sections written for him by Auden. In his own words, Britten “got stuck” and did not resume until his voyage home to England in the spring of 1942, during the full fury of the war in the Atlantic. Unfortunately, the American customs inspectors confiscated all of Britten’s manuscripts prior to embarkation, fearing they were some type of code, so Britten re-wrote the manuscript while aboard the Swedish steamship Axel Johnson. He finished it on April 2, 1942. The BBC singers premiered Hymn to St. Cecilia that same year on St. Cecilia’s Day and Britten’s 29th birthday. Contemporary English composer and conductor John Rutter wrote, “. . . Britten used ‘old’ compositional devices in his Hymn to St. Cecilia [slow-moving tenor and bass parts against faster upper voices, recalling medieval cantus-fir mus techniques; a Purcellian ground bass at the start of the third movement; and instrumental imitations near the end] yet instinctively realized and brought to the fore a more crucial quality of the a cappella medium: its essentially pure, distilled nature, enabling it to reflect the inner soul of music itself. . . Auden’s text, dedicated to Britten, consists of three poems which the composer set as three movements roughly corresponding to a symphony, the first of them marked Tranquillo e scorrevole (calm and gliding), the second a rapid Vivace inspired by Mendelssohn’s ‘fairy’ scherzos, the third (the longest and most complex) Andante con moto . Each movement ends with an invocation to St. Cecilia, binding the hymn into one. Britten’s musical language . . . is simple and pure, with much use of mellifluous major triads and transparent choral textures. [Liner Notes: Collegium COLCD 119.]

PART II Maurice Duruflé (1902-1986) received his early musical training in the tradition of choral plainsong a t t h e R o u e n c h o i r s c h o o l , b e g i n n i n g i n 1 9 1 2 . A t a g e 1 7 , h e w e n t o n t o t h e Pa r i s C o n s e r va t o i r e , w h e r e h e w o n f i v e f i r s t p r i z e s : o r g a n , h a r m o ny, a c c o m p a n i m e n t , f u g u e a n d c o m p o s i t i o n . D u r u f l é b e c a m e t i t u l a r o r g a n i s t o f S t . É t i e n n e - d u - M o n t i n Pa r i s i n 1 9 2 9 , a p o s i t i o n h e h e l d t h r o u g h o u t h i s l i f e . I n 1 9 3 9 , h e p r e m i e r e d Fr a n c i s Po u l e n c ’s C o n c e r t o f o r O r g a n , S t r i n g s a n d Ti m p a n i i n G m i n o r . D u r u f l é h a d a d v i s e d Po u l e n c o n t h e r e g i s t r a t i o n s o f t h e o r g a n p a r t . I n 1 9 4 3 , h e b e c a m e p r o f e s s o r o f h a r m o ny a t t h e C o n s e r va t o i r e d e Pa r i s w h e r e h e w o r k e d u n t i l 1 9 7 0 . T h o u g h n o t a p r o l i f i c c o m p o s e r, D u r u f l é p o s s e s s e d a d i s t i n c t i v e v o i c e i n t h e Fr e n c h 2 0 t h c e n t u r y r e p e r t o i r e a s a n e x p o n e n t o f p l a i n s o n g , a n d t h e u s e o f modal harmonies and polyphonic structures. In 1947, he wrote what is probably the most famous of h i s v e r y f ew p i e c e s : t h e R e q u i e m , O p . 9 , f o r s o l o i s t s , c h o i r, o r g a n a n d o r c h e s t r a . D u r u f l é p r o v i d e d both an orchestral and organ version of the Requiem. He rescored the work for small orchestra in 1961. Duruflé wrote, “This Requiem is entirely composed on the Gregorian themes of the Mass for the Dead. Sometimes the musical text was completely respected, the orchestral part intervening only to s u p p o r t o r c o m m e n t o n i t ; s o m e t i m e s I w a s s i m p l y i n s p i r e d by i t o r l e f t i t c o m p l e t e l y, f o r e x a m p l e i n c e r t a i n d e v e l o p m e n t s s u g g e s t e d by t h e L a t i n t e x t , n o t a b l y i n t h e D o m i n e J e s u C h r i s t e , t h e S a n c t u s a n d the Libera. In general, I have sought above all to enter into the characteristic style of the Gregorian t h e m e s . T h e r e f o r e , I h a v e d o n e my b e s t t o r e c o n c i l e , a s f a r a s p o s s i b l e , G r e g o r i a n r hy t h m a s i t h a s b e e n e s t a b l i s h e d by t h e B e n e d i c t i n e s o f S o l e s m e s w i t h t h e d e m a n d s o f m o d e r n m e t e r. . . T h e o r g a n ’s role is merely episodic: it intervenes, not to support the chorus, but solely to underline certain accents or to replace temporarily the sonorities of the orchestra, which sound all too human. It represents the i d e a o f p e a c e , o f f a i t h a n d h o p e .”

Special thanks to Hardy Boy Plants for donating the beautiful flowers and plants that decorate the sanctuary at this afternoon’s performance.

ARTISTIC DIRECTOR & CONDUCTOR R I C H A R D L A R S O N , d i r e c t o r o f t h e D e n v e r- b a s e d s e m i - p r o f e s s i o n a l c h o i r, K a n t o r e i , h a s b e e n i n v o l v e d i n c o mm u n i t y m u s i c f o r o v e r 4 0 y e a r s . N a m e d “ C h o r a l C o n d u c t o r o f t h e Ye a r ” i n 19 89 b y t h e C o l o r a d o A C D A , M r. L a r s o n t a u g h t m u s i c both in public schools as well as at the college level. He has ser ved as adjunct p r o f e s s o r a t t h e L a m o n t S c h o o l o f M u s i c , U n i v e r s i t y o f D e n v e r, t h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o a n d M e t r o p o l i t a n S t a t e U n i v e r s i t y o f D e n v e r. H e h a s s e r v e d a s a c l i n i c i a n a t t h e R e n e C l a u s e n C h o r a l S c h o o l , t h e I o w a a n d S o u t h D a k o t a s u mm e r A C D A c o n f e r e n c e s , a n d h a s c o n d u c t e d t h e M i n n e s o t a A l l - S t a t e C h o i r. H e h o l d s a B a c h e l o r o f A r t s D e g r e e f r o m L u t h e r C o l l e g e, D e c o r a h , I o w a a n d a M a s t e r s i n Music Education from the University of Colorado.

S i n c e m o v i n g t o C o l o r a d o i n 19 8 2 , h e c o n d u c t e d t h e C h e r r y C r e e k M e i s t e r s i n g e r s i n r e g i o n a l A C D A c o n f e r e n c e s i n 19 8 8 a n d 19 9 4, n a t i o n a l A C D A i n 19 89 ( L o u i s v i l l e, K Y ), a n d n a t i o n a l M E N C ( Wa s h i n g t o n D . C . ) i n 19 9 0 .

H e h a s d i r e c t e d K a n t o r e i i n r e g i o n a l A C D A c o n f e r e n c e i n 2 0 0 2 a n d 2 010, a n d t h e N a t i o n a l A C D A c o n f e r e n c e ( C a r n e g i e H a l l & Av e r y F i s h e r H a l l , N YC ) i n 20 0 3 a n d a g a i n i n 2 010 ( R o o s e v e l t U n i v e r s i t y A u d i t o r i u m & S y m p h o n y H a l l , C h i c a g o). B e y o n d h i s g r a d u a t e d e g r e e, h e s t u d i e d m u s i c w i t h We s t o n N o b l e ( L u t h e r C o l l e g e), J u l i u s H e r f o r d , A l f r e d M a n n , Wa r n e r I m i g , J e a n B e r g e r ( U n i v e r s i t y o f C o l o r a d o), R o b e r t S h a w ( M e a d o w b r o o k S c h o o l o f M u s i c , a n d S a r a t o g a - P o t s d a m C h o r a l I n s t i t u t e), O t t o We r n e r M u e l l e r ( Ya l e), J o h n N e l s o n ( A s p e n ), M a r g a r e t H i l l s ( C h i c a g o S y m p h o n y O r c h e s t r a C h o r u s), E l i z a b e t h G r e e n , B r o c k M c E h l e r a n ( P o t s d a m , N Y ), a n d R o b e r t F o u n t a i n ( O b e r l i n C o n s e r v a t o r y ). M r. L a r s o n w a s r e c e n t l y h o n o r e d b y L u t h e r C o l l e g e a s t h e f i r s t a n n u a l r e c i p i e n t o f t h e We s t o n H . N o b l e a w a r d h o n o r i n g e x c e l l e n c e i n t h e f i e l d o f c h o r a l m u s i c .

ASSISTANT CONDUCTOR MICHAEL POHLENZ is a Director of Music at Wellshire Presby t erian Chur ch with previous experience as Guest Conductor of the Bethany College Messiah Festival in Lindsborg, KS, and as founding Music Director and Conductor of the Wichita Chamber Chorale, an auditioned adult community choir in Wichita, Kansas. Significant performance achievements of the Chorale included the 19 8 9 N a t i o n a l A C D A C o n v e n t i o n a n d t h e 19 9 6 J o a n o f A r c F e s t i v a l i n O r l e a n s , Fr ance. Mr. Pohlenz has t aught chor al music and voice at t he college level, and vocal and instrumental music at the high school level. He holds choral degrees from Friends University in Wichita, KS, Southern Methodist University in Dallas, TX, and the University of Oklahoma in Norman, OK. In his continuing st udy of chor al music, he sang in t hr ee Rober t Shaw Chor al Wor kshops at Carnegie Hall, sang and studied conducting with Helmuth Rilling at the Oregon Bach Festival, and is a p e r f o r m i n g m e m b e r o f T h e U n i v e r s i t y o f N o r t h e r n C o l o r a d o ’s S u m m e r f e s t C h o i r .

ACCOMPANIST A L I C I A R I G S B Y c a m e t o C o l o r a d o i n 19 9 7 a f t e r c o m p l e t i n g h e r M a s t e r o f M u s i c d e g r e e i n p i a n o p e r f o r m a n c e a n d m u s i c t h e o r y a t I n d i a n a U n i v e r s i t y, Bloomington. Ms. Rigsby was one of the original members of Kantorei, both as a singer and accompanist, but has taken time with her family since 2004. Ms. R i g s b y h a s p e r f o r m e d w i t h t h e E s t e s Tr i o , t h e A s p e n M u s i c F e s t i v a l a n d t h e B o u l d e r C h a m b e r O r c h e s t r a . S h e h a s b e e n t e a c h i n g m u s i c a t t h e C h i l d r e n’s M u s i c A c a d e m y, b a s e d i n L i t t l e t o n , f o r 15 y e a r s . S h e i s p a s s i o n a t e a b o u t m u s i c a s a n ar t form, a teaching tool and an expressionistic medium, and enjoys having all of those musical oppor tunities in her life. In her free time, she likes to hike, camp, ski and cycle with her husband and t wo daughters.

ORGANIST JOSE PH G A L E M A began his c ar eer a t t he Uni t ed St a t es A ir F or ce A c ademy on Sep t . 13, 1982, and is cur r en t l y Music Dir ec t or and A c ademy Or ganis t . He dir ec t s t he C ade t C hor ale and T he A c ademy Singer s, and also plays t he or gan f or hundr eds o f ser v ices and t our s in t he C ade t C hapel. In Sep t ember 2008, he joined t he L amon t S chool o f Music, Uni ver si t y o f Denver, as or gan ins t r uc t or.

Galema was bor n in Wes t L a f aye t t e, Ind., and chose t o pur sue his college educ a t ion in Michigan. He r ecei ved a Bachelor o f A r t s (1976) degr ee f r om C al v in C ollege in Gr and Rapids. Galema pur sued pos t-gr adua t e wor k in or gan per f or mance, s t ud y ing w i t h Mar il y n Mason a t T he Uni ver si t y o f Michigan, ear ning bo t h Mas t er o f Music (1978) and Doc t or o f Music al A r t s (1982) degr ees.

ABOUT THE CHOIR

KANTOREI (or singers) formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 49-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Warburg and University of Northern Colorado.

Kantorei established itself as one of the nation’s premier choral ensembles after performing as an auditioned choir for the 2003 national American Choral Director’s Association conference at Carnegie Hall in New York City, and the Vatican in June 2007. More recently, Kantorei has been featured in several regional and national conferences, including the 2008 National Performing Arts Convention and 2010 Southwestern Regional ACDA convention, both held in Denver. In March 2011, Kantorei returned to the national ACDA conference, with performances at Roosevelt University and Symphony Hall in Chicago. Kantorei completed its second European tour in 2012, traveling to Austria, Hungary and the Czech Republic in June.

MEET OUR GROUP SOPRANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Julianne Dowell Kim Dunninger Beryl Fanslow Wendi Sue Grover Heather Gunnerson Stacie Hanson Judy Larson Sara Michael Alicia Rigsby Pearl Rutherford Becky Scott

Emily Alexander Jan Ankele Lizabeth Barnett Lyn Berry-Helmlinger Jordan Bickel Melissa Menter Erin Meyerhoff Jennifer Moore Annie Sullins Michelle Tombre Andrea Ware Lindsey Whitaker

Kai Berry-Helmlinger Michael Bizzaro Keith Ferguson Keith Harrison Brad Larson Alex Menter Michael Pohlenz John Redford Robert Suits David Weaver Ryan Wright

Ken Atkinson Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Robert Larson Michael Lewis John Ludwig Larry Meerdink John Schaak Matt Weissenbuehler

ACCOMPANIST - Alicia Rigsby

ASST. CONDUCTOR- Michael Poehlenz

THE 16TH SEASON KANTOREI IN WESTCLIFFE

* K a n t o r e i i s a 5 01( c ) ( 3 ) o r g a n i z a t i o n a n d a n y donations to the group are deductible to the fullest e x t e n t a l l o w e d b y l a w. P l e a s e c o n s u l t y o u r t a x advisor for more information. *Please make donations, purchase CDs, purchase t i c k e t s a n d s i g n u p f o r K a n t o r e i ’s m a i l i n g l i s t i n the lobby during intermission or after the concert.

If we have misspelled your name, incorrectly listed your giving level, or omitted your name i n a d v e r t e n t l y f r o m t h i s l i s t , p l e a s e d o n ’t h e s i t a t e to inform us and we will make the correction.

A d d i t i o n a l l y, i f y o u h a v e d o n a t e d t o K a n t o r e i a n d have not received an official thank you letter for your tax records, please let us know so that we can get one to you as soon as possible.

*We record our concer t s and frequently use live recordings for our CDs. Please keep extraneous noise to a minimum during the performance.

Jones Theater - 4PM, May 5th 2013

THIS IS THE DAY Saint Timothy’s Episcopal Church - 730PM, May 17, 2013 Saint John’s Cathedral - 730PM, May 18, 2013

FOLLOW KANTOREI ON FACEBOOK, TWITTER, AND YOUTUBE! F a c e b o o k . c o m / k a n t o r e i | Tw i t t e r. c o m / k a n t o r e i d e n v e r | Yo u t u b e . c o m / k a n t o r e i

ABOUT THE CHOIR

KANTOREI (or singers) formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 49-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Warburg and University of Northern Colorado.

Kantorei established itself as one of the nation’s premier choral ensembles after performing as an auditioned choir for the 2003 national American Choral Director’s Association conference at Carnegie Hall in New York City, and the Vatican in June 2007. More recently, Kantorei has been featured in several regional and national conferences, including the 2008 National Performing Arts Convention and 2010 Southwestern Regional ACDA convention, both held in Denver. In March 2011, Kantorei returned to the national ACDA conference, with performances at Roosevelt University and Symphony Hall in Chicago. Kantorei completed its second European tour in 2012, traveling to Austria, Hungary and the Czech Republic in June.

MEET OUR GROUP SOPRANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Julianne Dowell Kim Dunninger Beryl Fanslow Wendi Sue Grover Heather Gunnerson Stacie Hanson Judy Larson Sara Michael Alicia Rigsby Pearl Rutherford Becky Scott

Emily Alexander Jan Ankele Lizabeth Barnett Lyn Berry-Helmlinger Jordan Bickel Melissa Menter Erin Meyerhoff Jennifer Moore Annie Sullins Michelle Tombre Andrea Ware Lindsey Whitaker

Kai Berry-Helmlinger Michael Bizzaro Keith Ferguson Keith Harrison Brad Larson Alex Menter Michael Pohlenz John Redford Robert Suits David Weaver Ryan Wright

Ken Atkinson Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Robert Larson Michael Lewis John Ludwig Larry Meerdink John Schaak Matt Weissenbuehler

ACCOMPANIST - Alicia Rigsby

ASST. CONDUCTOR- Michael Poehlenz

THE 16TH SEASON KANTOREI IN WESTCLIFFE

* K a n t o r e i i s a 5 01( c ) ( 3 ) o r g a n i z a t i o n a n d a n y donations to the group are deductible to the fullest e x t e n t a l l o w e d b y l a w. P l e a s e c o n s u l t y o u r t a x advisor for more information. *Please make donations, purchase CDs, purchase t i c k e t s a n d s i g n u p f o r K a n t o r e i ’s m a i l i n g l i s t i n the lobby during intermission or after the concert.

If we have misspelled your name, incorrectly listed your giving level, or omitted your name i n a d v e r t e n t l y f r o m t h i s l i s t , p l e a s e d o n ’t h e s i t a t e to inform us and we will make the correction.

A d d i t i o n a l l y, i f y o u h a v e d o n a t e d t o K a n t o r e i a n d have not received an official thank you letter for your tax records, please let us know so that we can get one to you as soon as possible.

*We record our concer t s and frequently use live recordings for our CDs. Please keep extraneous noise to a minimum during the performance.

Jones Theater - 4PM, May 5th 2013

THIS IS THE DAY Saint Timothy’s Episcopal Church - 730PM, May 17, 2013 Saint John’s Cathedral - 730PM, May 18, 2013

FOLLOW KANTOREI ON FACEBOOK, TWITTER, AND YOUTUBE! F a c e b o o k . c o m / k a n t o r e i | Tw i t t e r. c o m / k a n t o r e i d e n v e r | Yo u t u b e . c o m / k a n t o r e i