A Ceremony of Carols

ABOUT THE CHOIR

KANTOREI ("singers") formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 52-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Wartburg 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.

FRIDAY DEC. 12 @ 7:30PM

Saint John’s Cathedral 1350 Washington St., Denver

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. Larson retired from Kantorei in May 2013. Joel M. Rinsema became Artistic Director of the group in the summer of 2014, following a nationwide conductor search.

SATURDAY DEC. 13 @ 7:30PM

Montview Blvd. Presbyterian Church 1980 Dahlia St., Denver

MEET OUR GROUP

SOPR ANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Juliane Dowell Kim Dunninger Beryl Fanslow Heather Gunnerson Stacie Hanson Shannon Lemmon-Elrod Sara Michael Alicia Rigsby Brenda Rolling Pearl Rutherford Annie Sullins

Emily Alexander Jan Ankele Lindsey Aquilina Lizabeth Barnett Lyn Berry-Helmlinger Sarah Harrison Melissa Menter Erin Meyerhoff Jennifer Moore Michelle Tombre Andrea Ware

Kai Berry-Helmlinger Keith Ferguson Keith Harrison Jason Hindman Steve Howie Justin Kerr Brad Larson Alex Menter Mitchell Peery Jonathan Von Stroh Ryan Wright

Michael Bizzaro Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Michael Lewis John Ludwig Larry Meerdink John Schaak Tim Tharaldson Matt Weissenbuehler

2014-2015 Concert Season

THE 18TH SEASON Family & Friends Holiday Concert Cherry Creek High School 3:00pm, Dec. 14, 2014

Kantorei debuts a festive matinee performance designed to engage young children and families.

Echoes: Chant and Beyond Montview Blvd. Presbyterian Church 7:30 p.m., March 14, 2015 Bethany Lutheran Church 3:00 p.m., March 15, 2015

The Earth Adorned Bethany Lutheran Church 7:30 p.m., May 16, 2015 Montview Blvd. Presbyterian Church 3:00 p.m., May 17, 2015

K ANTOREI BOARD OF DIRECTORS Kevin Gunnerson, President John Ludwig, Vice President Susan Lewkow, Treasurer Sara Michael, Secretar y Michael Bizzaro Julianne Dowell Jason Hindman Brad Jackson Katherine Mulready -------------------Lyn Berr y-Helmlinger, Executive Director

lyn@kantorei.org --------------------

THANK YOU! Our most heartfelt thanks to those of you who donated to Kantorei on Colorado Gives Day. Due to an earlier press deadline, we were not able to include your names here. However, they will be listed in the next concert program. *Kantorei is a 501(c)(3) organization and any donations to the group are deductible to the fullest extent allowed by law. Please consult your tax advisor for more information.

Don't miss our extra performances during the year, such as Salons and additional holiday concerts! For more information, visit www.kantorei.org

FOLLOW KANTOREI ON FACEBOOK, TWITTER, AND YOUTUBE! Facebook .com/kantorei | Twitter.com/kantoreidenver | Youtube.com/kantorei

PROGRAM

PROGRAM NOTES

A CEREMONY OF CAROLS OP. 28 Janet Harriman, harp

A Ceremony of Carols, Op. 28 – Benjamin Britten Benjamin Britten (1913 - 1976)

1. Procession 2. Wolcum Yole!

3. There is no Rose 4a. That yongë child

Melissa Menter, alto

4b. Balulalow

Beryl Fanslow, soprano

This is Kantorei’s first performance of the SATB arrangement of “A Ceremony of Carols” an 11-movement work Britten began writing on a long ocean voyage. A passionate pacifist, Britten left England for North America in April 1939, encouraged in his journey by the departure of friends, frustrating reviews, increasing European fascism, and emotional entanglements. Britten and his lifelong partner Peter Pears spent time in Canada, New York (with W.H. Auden and Aaron Copland), and California before returning to Britain in April 1942 on a Swedish cargo vessel, under constant threat by German U-boats during the Atlantic crossing. The ship stopped in Halifax, Nova Scotia, where Britten bought a copy of The English Galaxy of Shorter Poems. He had been studying harp manuals because of an unfulfilled commission for a harp concerto, and decided to combine the instrument with treble voices in settings of five of the poems -- “one had to alleviate the boredom!” he wrote to a friend.

Upon his return, Britten added and rearranged movements, including the plainsong procession and recession with their Latin text, before the final version premiered in London in 1943. The Ceremony tells the story of the Nativity, provides lullabies for the baby Jesus, addresses the holiness and purity of the Virgin Mary, gives praise and thanksgiving, and pits Jesus against Satan in a series of warlike images (in the militant “This Little Babe”).

Along with the “Hymn to Saint Cecilia,” which Britten also completed on his 1942 voyage, the Ceremony contrasts restraint with emotional warmth, combined with a keen appreciation for the purity of the human voice.

5. As dew in Aprille 6. This little Babe

Es ist das Heil uns kommen her – Johannes Brahms

7. Interlude 8. In Freezing Winter Night

Shannon Lemmon-Elrod, alto; Kai Berry-Helmlinger, tenor

9. Spring Carol

Sara Michael, soprano; Andrea Ware, alto

10. Deo Gracias 11. Recession

Brahms’ Two Motets, Op. 29, from which today’s motet is extracted, were probably written in 1860, about the time when he and several like-minded musicians signed a “declaration” repudiating the influence and aesthetics of more “modern” composers such as Liszt. “Es ist das Heil uns kommen her” (Salvation comes to us) begins with a straightforward setting of Paul Speratus’s hymn of 1523, followed by a vigorous five-voice fugue in which the first basses state the chorale in augmentation.

A devout German priest, Speratus eventually became a champion of Martin Luther and an avid reformer. This did not gratify the hierarchy, and Speratus lost his position as dean at Würtzburg, and then his subsequent position as dean at Salzburg. He proved a popular and compelling itinerant preacher, and eventually became a pastor in Iglau, Moravia, where his continued incitements eventually sent him to prison. “Es ist das Heil uns kommen her" was written during his incarceration.

Upon his release, he finally travelled to Wittenberg and was warmly championed by Martin Luther.

ABOUT THE STAFF

ARTISTIC DIRECTOR This season is JOEL M. RINSEMA’s first year as Artistic Director of Kantorei. Dedicated to expanding the artistic reach and transformative power of quality choral arts, he won the coveted Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America in 2013. For the past 14 years, he served as the Assistant Conductor of the Grammy-winning Phoenix Chorale, working with internationally renowned conductor Charles Bruffy.

Joel assisted in all aspects of artistic planning and leadership, and during his tenure, Phoenix Chorale recordings earned a total of two Grammy awards and eight Grammy nominations. The group’s recording “Northern Lights: Music of Ola Gjeilo” was named iTunes Classical Vocal Album of the year in 2012.

Joel holds a Master of Music degree in vocal performance from Arizona State University, and a B.A. in vocal and choral performance from Whitworth College in Washington. He commutes to Denver weekly from Phoenix, where he lives with his wife, Dana, and children, Rachel and Derek, and continues in his role as President & CEO of the Phoenix Chorale.

Traditional Christmas Carols – arr. Ola Gjeilo Gjeilo’s setting of the much-loved “In the Bleak Midwinter” is an arrangement of the tune “Cranham” by Gustav Holst. Its exquisite text was written by the important Victorian poet Christina Rossetti, who came from a family of remarkable artists. Much of her work reflects the slight melancholy and wistfulness of a life-long invalid; she remained at home throughout her life.

Despite her gender, she was considered for the post of Poet Laureate to succeed Tennyson, and her poetry continues to increase in popularity.

- INTERMISSION ES IST DAS HEIL UNS KOMMEN HER OP.29, NO. 1

Johannes Brahms (1833 - 1897)

TRADITIONAL CHRISTMAS CAROLS 1. O Come, O Come Emmanuel

Kimberly Dunninger, soprano

2. In the Bleak Midwinter

Beryl Fanslow, soprano

3. Away in a Manger

Annie Sullins, soprano

4. Coventry Carol

Sara Michael, soprano

5. The First Nowell

Sara Michael, soprano; Justin Kerr, tenor

arr. Ola Gjeilo (b. 1978)

“Away in a Manger” is set to a tune more commonly used in England for this hymn. Incidentally, it has often been erroneously attributed to Martin Luther, but he wrote neither the words nor any of the 41 (!) tunes to which it has been sung. The American version was written by James R. Murray, who sincerely believed that he was setting one of Luther’s poems, and, in fact, titled it “Luther’s Cradle Hymn.” The English version was composed by William J. Kirkpatrick, a Union soldier who composed many other hymns, but none as popular as this little lullaby.

“The Coventry Carol” comes from the 15th-century mystery play, the “Pageant of the Shearmen and Tailors.” While we don’t know who wrote these plays or composed the music, the oldest existing form of the Pageant was first set down by Robert Croo in 1534, marked as being “newly corrected.”

Fortunately, Thomas Sharp published a copy of the Pageant in 1817 and again in 1825, as the original manuscript was lost to a museum fire in 1879. Sharp’s publication contains a very inexpert three-part engraving of this lullaby, which is the basis for all modern versions.

The modern text and tune of “The First Nowell” first appear together in William Sandys's 1833 collection, “Christmas Carols, Ancient and Modern.” The editors of “The New Oxford Book of Carols,” Hugh Keyte and Andrew Parrott, speculate that some odd aspects of the tune, such as "the three virtually identical statements of the same phrase...and the fact that all three strains cadence on the third degree of the scale (rather than on the tonic) " suggest that perhaps someone's faulty memory of the melody may have become confused with some harmony parts and eventually transmogrified into the version we know today.

ASSISTANT CONDUCTOR SARAH HARRISON is in her ninth year of teaching choir and AP Music Theory at Cherry Creek High School in Greenwood Village.

Under her direction, choirs have appeared at several regional and state conventions. Prior to CCHS, Sarah opened and spent five years at Silver Creek Middle/Senior High School in Longmont, Colo. In addition to teaching, Sarah sings with various ensembles throughout the community, including Kantorei, and is an orchestra and jazz string bassist. She was Kantorei’s Interim Director for the 2013-2014 season. She also recently served as Colorado’s ACDA High School Mixed Repertoire and Standard Chair. Sarah earned her Bachelor of Music Education degree, with instrumental and vocal certification, from St. Olaf College in Northfield, Minn., and her Master of Music in conducting and music education from Colorado State University.

Three Nativity Carols – Stephen Paulus

THREE NATIVITY CAROLS 1. The Holly and the Ivy

Maureen Farkash, oboe; Janet Harriman, harp

Stephen Paulus (1949 - 2014)

2. This Endris Night 3. Wonder Tidings

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

One of America’s most prolific and important composers of our day, Stephen Paulus, passed away peacefully in Minnesota on Sunday, Oct. 19, from complications of a stroke he suffered in July. Kantorei celebrates his life and memorializes him with a performance of his “Three Nativity Carols,” written for the Dale Warland Singers, which marry old English carol texts with new melodies.

“The Holly and the Ivy” text is atypical in associating holly with Mary because in pre-Christian symbolism, holly was generally male and ivy was female. (Holly and ivy are both associated with the Roman Saturnalia, one of the winter solstice festivals.) Another interesting twist is that early Christians considered holly to be evil because of its druidic associations, while ivy was good.

The text of “This Endris Night” dates to the 15th century, and is a conversation between Mary and her infant son, who asks his mother to sing him a lullaby. Several medieval carols used this theme, and it is not unusual for the infant Christ to begin asking questions about his own life to come, or to predict his future kingship (and occasionally even his martyrdom) , as witnessed in the many variants on “This Endris Night” (or Thys endere nyghth).

“Wonder Tidings” also dates to the 15th century, and the editors of the “New Oxford Book of Carols” speculate that it may actually have been dramatized at annual feasts, with soloists performing the part of the messenger. In both “This Endris Night” and “Wonder Tidings,” incidentally, Mary addresses her son as "Father," honoring him as a member of the Holy Trinity.

Notes by Kathryn Parke and updated by Joel Rinsema.

ACCOMPANIST ALICIA RIGSBY came to Colorado in 1997 after completing her Master of Music degree in piano performance and music theory at Indiana University, Bloomington. Alicia was one of the original members of Kantorei, both as a singer and accompanist. She has performed with the Estes Trio, the Aspen Music Festival and the Boulder Chamber Orchestra. Alicia has been teaching music at the Children’s Music Academy, based in Littleton, for 15 years.

She is passionate about music as an art form, a teaching tool and an expressionistic medium, and enjoys having all of the musical opportunities in her life.

PROGRAM

PROGRAM NOTES

A CEREMONY OF CAROLS OP. 28 Janet Harriman, harp

A Ceremony of Carols, Op. 28 – Benjamin Britten Benjamin Britten (1913 - 1976)

1. Procession 2. Wolcum Yole!

3. There is no Rose 4a. That yongë child

Melissa Menter, alto

4b. Balulalow

Beryl Fanslow, soprano

This is Kantorei’s first performance of the SATB arrangement of “A Ceremony of Carols” an 11-movement work Britten began writing on a long ocean voyage. A passionate pacifist, Britten left England for North America in April 1939, encouraged in his journey by the departure of friends, frustrating reviews, increasing European fascism, and emotional entanglements. Britten and his lifelong partner Peter Pears spent time in Canada, New York (with W.H. Auden and Aaron Copland), and California before returning to Britain in April 1942 on a Swedish cargo vessel, under constant threat by German U-boats during the Atlantic crossing. The ship stopped in Halifax, Nova Scotia, where Britten bought a copy of The English Galaxy of Shorter Poems. He had been studying harp manuals because of an unfulfilled commission for a harp concerto, and decided to combine the instrument with treble voices in settings of five of the poems -- “one had to alleviate the boredom!” he wrote to a friend.

Upon his return, Britten added and rearranged movements, including the plainsong procession and recession with their Latin text, before the final version premiered in London in 1943. The Ceremony tells the story of the Nativity, provides lullabies for the baby Jesus, addresses the holiness and purity of the Virgin Mary, gives praise and thanksgiving, and pits Jesus against Satan in a series of warlike images (in the militant “This Little Babe”).

Along with the “Hymn to Saint Cecilia,” which Britten also completed on his 1942 voyage, the Ceremony contrasts restraint with emotional warmth, combined with a keen appreciation for the purity of the human voice.

5. As dew in Aprille 6. This little Babe

Es ist das Heil uns kommen her – Johannes Brahms

7. Interlude 8. In Freezing Winter Night

Shannon Lemmon-Elrod, alto; Kai Berry-Helmlinger, tenor

9. Spring Carol

Sara Michael, soprano; Andrea Ware, alto

10. Deo Gracias 11. Recession

Brahms’ Two Motets, Op. 29, from which today’s motet is extracted, were probably written in 1860, about the time when he and several like-minded musicians signed a “declaration” repudiating the influence and aesthetics of more “modern” composers such as Liszt. “Es ist das Heil uns kommen her” (Salvation comes to us) begins with a straightforward setting of Paul Speratus’s hymn of 1523, followed by a vigorous five-voice fugue in which the first basses state the chorale in augmentation.

A devout German priest, Speratus eventually became a champion of Martin Luther and an avid reformer. This did not gratify the hierarchy, and Speratus lost his position as dean at Würtzburg, and then his subsequent position as dean at Salzburg. He proved a popular and compelling itinerant preacher, and eventually became a pastor in Iglau, Moravia, where his continued incitements eventually sent him to prison. “Es ist das Heil uns kommen her" was written during his incarceration.

Upon his release, he finally travelled to Wittenberg and was warmly championed by Martin Luther.

ABOUT THE STAFF

ARTISTIC DIRECTOR This season is JOEL M. RINSEMA’s first year as Artistic Director of Kantorei. Dedicated to expanding the artistic reach and transformative power of quality choral arts, he won the coveted Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America in 2013. For the past 14 years, he served as the Assistant Conductor of the Grammy-winning Phoenix Chorale, working with internationally renowned conductor Charles Bruffy.

Joel assisted in all aspects of artistic planning and leadership, and during his tenure, Phoenix Chorale recordings earned a total of two Grammy awards and eight Grammy nominations. The group’s recording “Northern Lights: Music of Ola Gjeilo” was named iTunes Classical Vocal Album of the year in 2012.

Joel holds a Master of Music degree in vocal performance from Arizona State University, and a B.A. in vocal and choral performance from Whitworth College in Washington. He commutes to Denver weekly from Phoenix, where he lives with his wife, Dana, and children, Rachel and Derek, and continues in his role as President & CEO of the Phoenix Chorale.

Traditional Christmas Carols – arr. Ola Gjeilo Gjeilo’s setting of the much-loved “In the Bleak Midwinter” is an arrangement of the tune “Cranham” by Gustav Holst. Its exquisite text was written by the important Victorian poet Christina Rossetti, who came from a family of remarkable artists. Much of her work reflects the slight melancholy and wistfulness of a life-long invalid; she remained at home throughout her life.

Despite her gender, she was considered for the post of Poet Laureate to succeed Tennyson, and her poetry continues to increase in popularity.

- INTERMISSION ES IST DAS HEIL UNS KOMMEN HER OP.29, NO. 1

Johannes Brahms (1833 - 1897)

TRADITIONAL CHRISTMAS CAROLS 1. O Come, O Come Emmanuel

Kimberly Dunninger, soprano

2. In the Bleak Midwinter

Beryl Fanslow, soprano

3. Away in a Manger

Annie Sullins, soprano

4. Coventry Carol

Sara Michael, soprano

5. The First Nowell

Sara Michael, soprano; Justin Kerr, tenor

arr. Ola Gjeilo (b. 1978)

“Away in a Manger” is set to a tune more commonly used in England for this hymn. Incidentally, it has often been erroneously attributed to Martin Luther, but he wrote neither the words nor any of the 41 (!) tunes to which it has been sung. The American version was written by James R. Murray, who sincerely believed that he was setting one of Luther’s poems, and, in fact, titled it “Luther’s Cradle Hymn.” The English version was composed by William J. Kirkpatrick, a Union soldier who composed many other hymns, but none as popular as this little lullaby.

“The Coventry Carol” comes from the 15th-century mystery play, the “Pageant of the Shearmen and Tailors.” While we don’t know who wrote these plays or composed the music, the oldest existing form of the Pageant was first set down by Robert Croo in 1534, marked as being “newly corrected.”

Fortunately, Thomas Sharp published a copy of the Pageant in 1817 and again in 1825, as the original manuscript was lost to a museum fire in 1879. Sharp’s publication contains a very inexpert three-part engraving of this lullaby, which is the basis for all modern versions.

The modern text and tune of “The First Nowell” first appear together in William Sandys's 1833 collection, “Christmas Carols, Ancient and Modern.” The editors of “The New Oxford Book of Carols,” Hugh Keyte and Andrew Parrott, speculate that some odd aspects of the tune, such as "the three virtually identical statements of the same phrase...and the fact that all three strains cadence on the third degree of the scale (rather than on the tonic) " suggest that perhaps someone's faulty memory of the melody may have become confused with some harmony parts and eventually transmogrified into the version we know today.

ASSISTANT CONDUCTOR SARAH HARRISON is in her ninth year of teaching choir and AP Music Theory at Cherry Creek High School in Greenwood Village.

Under her direction, choirs have appeared at several regional and state conventions. Prior to CCHS, Sarah opened and spent five years at Silver Creek Middle/Senior High School in Longmont, Colo. In addition to teaching, Sarah sings with various ensembles throughout the community, including Kantorei, and is an orchestra and jazz string bassist. She was Kantorei’s Interim Director for the 2013-2014 season. She also recently served as Colorado’s ACDA High School Mixed Repertoire and Standard Chair. Sarah earned her Bachelor of Music Education degree, with instrumental and vocal certification, from St. Olaf College in Northfield, Minn., and her Master of Music in conducting and music education from Colorado State University.

Three Nativity Carols – Stephen Paulus

THREE NATIVITY CAROLS 1. The Holly and the Ivy

Maureen Farkash, oboe; Janet Harriman, harp

Stephen Paulus (1949 - 2014)

2. This Endris Night 3. Wonder Tidings

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

One of America’s most prolific and important composers of our day, Stephen Paulus, passed away peacefully in Minnesota on Sunday, Oct. 19, from complications of a stroke he suffered in July. Kantorei celebrates his life and memorializes him with a performance of his “Three Nativity Carols,” written for the Dale Warland Singers, which marry old English carol texts with new melodies.

“The Holly and the Ivy” text is atypical in associating holly with Mary because in pre-Christian symbolism, holly was generally male and ivy was female. (Holly and ivy are both associated with the Roman Saturnalia, one of the winter solstice festivals.) Another interesting twist is that early Christians considered holly to be evil because of its druidic associations, while ivy was good.

The text of “This Endris Night” dates to the 15th century, and is a conversation between Mary and her infant son, who asks his mother to sing him a lullaby. Several medieval carols used this theme, and it is not unusual for the infant Christ to begin asking questions about his own life to come, or to predict his future kingship (and occasionally even his martyrdom) , as witnessed in the many variants on “This Endris Night” (or Thys endere nyghth).

“Wonder Tidings” also dates to the 15th century, and the editors of the “New Oxford Book of Carols” speculate that it may actually have been dramatized at annual feasts, with soloists performing the part of the messenger. In both “This Endris Night” and “Wonder Tidings,” incidentally, Mary addresses her son as "Father," honoring him as a member of the Holy Trinity.

Notes by Kathryn Parke and updated by Joel Rinsema.

ACCOMPANIST ALICIA RIGSBY came to Colorado in 1997 after completing her Master of Music degree in piano performance and music theory at Indiana University, Bloomington. Alicia was one of the original members of Kantorei, both as a singer and accompanist. She has performed with the Estes Trio, the Aspen Music Festival and the Boulder Chamber Orchestra. Alicia has been teaching music at the Children’s Music Academy, based in Littleton, for 15 years.

She is passionate about music as an art form, a teaching tool and an expressionistic medium, and enjoys having all of the musical opportunities in her life.

PROGRAM

PROGRAM NOTES

A CEREMONY OF CAROLS OP. 28 Janet Harriman, harp

A Ceremony of Carols, Op. 28 – Benjamin Britten Benjamin Britten (1913 - 1976)

1. Procession 2. Wolcum Yole!

3. There is no Rose 4a. That yongë child

Melissa Menter, alto

4b. Balulalow

Beryl Fanslow, soprano

This is Kantorei’s first performance of the SATB arrangement of “A Ceremony of Carols” an 11-movement work Britten began writing on a long ocean voyage. A passionate pacifist, Britten left England for North America in April 1939, encouraged in his journey by the departure of friends, frustrating reviews, increasing European fascism, and emotional entanglements. Britten and his lifelong partner Peter Pears spent time in Canada, New York (with W.H. Auden and Aaron Copland), and California before returning to Britain in April 1942 on a Swedish cargo vessel, under constant threat by German U-boats during the Atlantic crossing. The ship stopped in Halifax, Nova Scotia, where Britten bought a copy of The English Galaxy of Shorter Poems. He had been studying harp manuals because of an unfulfilled commission for a harp concerto, and decided to combine the instrument with treble voices in settings of five of the poems -- “one had to alleviate the boredom!” he wrote to a friend.

Upon his return, Britten added and rearranged movements, including the plainsong procession and recession with their Latin text, before the final version premiered in London in 1943. The Ceremony tells the story of the Nativity, provides lullabies for the baby Jesus, addresses the holiness and purity of the Virgin Mary, gives praise and thanksgiving, and pits Jesus against Satan in a series of warlike images (in the militant “This Little Babe”).

Along with the “Hymn to Saint Cecilia,” which Britten also completed on his 1942 voyage, the Ceremony contrasts restraint with emotional warmth, combined with a keen appreciation for the purity of the human voice.

5. As dew in Aprille 6. This little Babe

Es ist das Heil uns kommen her – Johannes Brahms

7. Interlude 8. In Freezing Winter Night

Shannon Lemmon-Elrod, alto; Kai Berry-Helmlinger, tenor

9. Spring Carol

Sara Michael, soprano; Andrea Ware, alto

10. Deo Gracias 11. Recession

Brahms’ Two Motets, Op. 29, from which today’s motet is extracted, were probably written in 1860, about the time when he and several like-minded musicians signed a “declaration” repudiating the influence and aesthetics of more “modern” composers such as Liszt. “Es ist das Heil uns kommen her” (Salvation comes to us) begins with a straightforward setting of Paul Speratus’s hymn of 1523, followed by a vigorous five-voice fugue in which the first basses state the chorale in augmentation.

A devout German priest, Speratus eventually became a champion of Martin Luther and an avid reformer. This did not gratify the hierarchy, and Speratus lost his position as dean at Würtzburg, and then his subsequent position as dean at Salzburg. He proved a popular and compelling itinerant preacher, and eventually became a pastor in Iglau, Moravia, where his continued incitements eventually sent him to prison. “Es ist das Heil uns kommen her" was written during his incarceration.

Upon his release, he finally travelled to Wittenberg and was warmly championed by Martin Luther.

ABOUT THE STAFF

ARTISTIC DIRECTOR This season is JOEL M. RINSEMA’s first year as Artistic Director of Kantorei. Dedicated to expanding the artistic reach and transformative power of quality choral arts, he won the coveted Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America in 2013. For the past 14 years, he served as the Assistant Conductor of the Grammy-winning Phoenix Chorale, working with internationally renowned conductor Charles Bruffy.

Joel assisted in all aspects of artistic planning and leadership, and during his tenure, Phoenix Chorale recordings earned a total of two Grammy awards and eight Grammy nominations. The group’s recording “Northern Lights: Music of Ola Gjeilo” was named iTunes Classical Vocal Album of the year in 2012.

Joel holds a Master of Music degree in vocal performance from Arizona State University, and a B.A. in vocal and choral performance from Whitworth College in Washington. He commutes to Denver weekly from Phoenix, where he lives with his wife, Dana, and children, Rachel and Derek, and continues in his role as President & CEO of the Phoenix Chorale.

Traditional Christmas Carols – arr. Ola Gjeilo Gjeilo’s setting of the much-loved “In the Bleak Midwinter” is an arrangement of the tune “Cranham” by Gustav Holst. Its exquisite text was written by the important Victorian poet Christina Rossetti, who came from a family of remarkable artists. Much of her work reflects the slight melancholy and wistfulness of a life-long invalid; she remained at home throughout her life.

Despite her gender, she was considered for the post of Poet Laureate to succeed Tennyson, and her poetry continues to increase in popularity.

- INTERMISSION ES IST DAS HEIL UNS KOMMEN HER OP.29, NO. 1

Johannes Brahms (1833 - 1897)

TRADITIONAL CHRISTMAS CAROLS 1. O Come, O Come Emmanuel

Kimberly Dunninger, soprano

2. In the Bleak Midwinter

Beryl Fanslow, soprano

3. Away in a Manger

Annie Sullins, soprano

4. Coventry Carol

Sara Michael, soprano

5. The First Nowell

Sara Michael, soprano; Justin Kerr, tenor

arr. Ola Gjeilo (b. 1978)

“Away in a Manger” is set to a tune more commonly used in England for this hymn. Incidentally, it has often been erroneously attributed to Martin Luther, but he wrote neither the words nor any of the 41 (!) tunes to which it has been sung. The American version was written by James R. Murray, who sincerely believed that he was setting one of Luther’s poems, and, in fact, titled it “Luther’s Cradle Hymn.” The English version was composed by William J. Kirkpatrick, a Union soldier who composed many other hymns, but none as popular as this little lullaby.

“The Coventry Carol” comes from the 15th-century mystery play, the “Pageant of the Shearmen and Tailors.” While we don’t know who wrote these plays or composed the music, the oldest existing form of the Pageant was first set down by Robert Croo in 1534, marked as being “newly corrected.”

Fortunately, Thomas Sharp published a copy of the Pageant in 1817 and again in 1825, as the original manuscript was lost to a museum fire in 1879. Sharp’s publication contains a very inexpert three-part engraving of this lullaby, which is the basis for all modern versions.

The modern text and tune of “The First Nowell” first appear together in William Sandys's 1833 collection, “Christmas Carols, Ancient and Modern.” The editors of “The New Oxford Book of Carols,” Hugh Keyte and Andrew Parrott, speculate that some odd aspects of the tune, such as "the three virtually identical statements of the same phrase...and the fact that all three strains cadence on the third degree of the scale (rather than on the tonic) " suggest that perhaps someone's faulty memory of the melody may have become confused with some harmony parts and eventually transmogrified into the version we know today.

ASSISTANT CONDUCTOR SARAH HARRISON is in her ninth year of teaching choir and AP Music Theory at Cherry Creek High School in Greenwood Village.

Under her direction, choirs have appeared at several regional and state conventions. Prior to CCHS, Sarah opened and spent five years at Silver Creek Middle/Senior High School in Longmont, Colo. In addition to teaching, Sarah sings with various ensembles throughout the community, including Kantorei, and is an orchestra and jazz string bassist. She was Kantorei’s Interim Director for the 2013-2014 season. She also recently served as Colorado’s ACDA High School Mixed Repertoire and Standard Chair. Sarah earned her Bachelor of Music Education degree, with instrumental and vocal certification, from St. Olaf College in Northfield, Minn., and her Master of Music in conducting and music education from Colorado State University.

Three Nativity Carols – Stephen Paulus

THREE NATIVITY CAROLS 1. The Holly and the Ivy

Maureen Farkash, oboe; Janet Harriman, harp

Stephen Paulus (1949 - 2014)

2. This Endris Night 3. Wonder Tidings

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

One of America’s most prolific and important composers of our day, Stephen Paulus, passed away peacefully in Minnesota on Sunday, Oct. 19, from complications of a stroke he suffered in July. Kantorei celebrates his life and memorializes him with a performance of his “Three Nativity Carols,” written for the Dale Warland Singers, which marry old English carol texts with new melodies.

“The Holly and the Ivy” text is atypical in associating holly with Mary because in pre-Christian symbolism, holly was generally male and ivy was female. (Holly and ivy are both associated with the Roman Saturnalia, one of the winter solstice festivals.) Another interesting twist is that early Christians considered holly to be evil because of its druidic associations, while ivy was good.

The text of “This Endris Night” dates to the 15th century, and is a conversation between Mary and her infant son, who asks his mother to sing him a lullaby. Several medieval carols used this theme, and it is not unusual for the infant Christ to begin asking questions about his own life to come, or to predict his future kingship (and occasionally even his martyrdom) , as witnessed in the many variants on “This Endris Night” (or Thys endere nyghth).

“Wonder Tidings” also dates to the 15th century, and the editors of the “New Oxford Book of Carols” speculate that it may actually have been dramatized at annual feasts, with soloists performing the part of the messenger. In both “This Endris Night” and “Wonder Tidings,” incidentally, Mary addresses her son as "Father," honoring him as a member of the Holy Trinity.

Notes by Kathryn Parke and updated by Joel Rinsema.

ACCOMPANIST ALICIA RIGSBY came to Colorado in 1997 after completing her Master of Music degree in piano performance and music theory at Indiana University, Bloomington. Alicia was one of the original members of Kantorei, both as a singer and accompanist. She has performed with the Estes Trio, the Aspen Music Festival and the Boulder Chamber Orchestra. Alicia has been teaching music at the Children’s Music Academy, based in Littleton, for 15 years.

She is passionate about music as an art form, a teaching tool and an expressionistic medium, and enjoys having all of the musical opportunities in her life.

ABOUT THE CHOIR

KANTOREI ("singers") formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 52-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Wartburg 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.

FRIDAY DEC. 12 @ 7:30PM

Saint John’s Cathedral 1350 Washington St., Denver

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. Larson retired from Kantorei in May 2013. Joel M. Rinsema became Artistic Director of the group in the summer of 2014, following a nationwide conductor search.

SATURDAY DEC. 13 @ 7:30PM

Montview Blvd. Presbyterian Church 1980 Dahlia St., Denver

MEET OUR GROUP

SOPR ANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Juliane Dowell Kim Dunninger Beryl Fanslow Heather Gunnerson Stacie Hanson Shannon Lemmon-Elrod Sara Michael Alicia Rigsby Brenda Rolling Pearl Rutherford Annie Sullins

Emily Alexander Jan Ankele Lindsey Aquilina Lizabeth Barnett Lyn Berry-Helmlinger Sarah Harrison Melissa Menter Erin Meyerhoff Jennifer Moore Michelle Tombre Andrea Ware

Kai Berry-Helmlinger Keith Ferguson Keith Harrison Jason Hindman Steve Howie Justin Kerr Brad Larson Alex Menter Mitchell Peery Jonathan Von Stroh Ryan Wright

Michael Bizzaro Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Michael Lewis John Ludwig Larry Meerdink John Schaak Tim Tharaldson Matt Weissenbuehler

2014-2015 Concert Season

THE 18TH SEASON Family & Friends Holiday Concert Cherry Creek High School 3:00pm, Dec. 14, 2014

Kantorei debuts a festive matinee performance designed to engage young children and families.

Echoes: Chant and Beyond Montview Blvd. Presbyterian Church 7:30 p.m., March 14, 2015 Bethany Lutheran Church 3:00 p.m., March 15, 2015

The Earth Adorned Bethany Lutheran Church 7:30 p.m., May 16, 2015 Montview Blvd. Presbyterian Church 3:00 p.m., May 17, 2015

K ANTOREI BOARD OF DIRECTORS Kevin Gunnerson, President John Ludwig, Vice President Susan Lewkow, Treasurer Sara Michael, Secretar y Michael Bizzaro Julianne Dowell Jason Hindman Brad Jackson Katherine Mulready -------------------Lyn Berr y-Helmlinger, Executive Director

lyn@kantorei.org --------------------

THANK YOU! Our most heartfelt thanks to those of you who donated to Kantorei on Colorado Gives Day. Due to an earlier press deadline, we were not able to include your names here. However, they will be listed in the next concert program. *Kantorei is a 501(c)(3) organization and any donations to the group are deductible to the fullest extent allowed by law. Please consult your tax advisor for more information.

Don't miss our extra performances during the year, such as Salons and additional holiday concerts! For more information, visit www.kantorei.org

FOLLOW KANTOREI ON FACEBOOK, TWITTER, AND YOUTUBE! Facebook .com/kantorei | Twitter.com/kantoreidenver | Youtube.com/kantorei

ABOUT THE CHOIR

KANTOREI ("singers") formed in 1997 under Richard Larson’s leadership and has expanded into an auditioned, 52-voice ensemble. Its members come from schools with strong choral music programs, such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Wartburg 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.

FRIDAY DEC. 12 @ 7:30PM

Saint John’s Cathedral 1350 Washington St., Denver

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. Larson retired from Kantorei in May 2013. Joel M. Rinsema became Artistic Director of the group in the summer of 2014, following a nationwide conductor search.

SATURDAY DEC. 13 @ 7:30PM

Montview Blvd. Presbyterian Church 1980 Dahlia St., Denver

MEET OUR GROUP

SOPR ANO

ALTO

TENOR

BASS

Mary Christ Theresa Derr Juliane Dowell Kim Dunninger Beryl Fanslow Heather Gunnerson Stacie Hanson Shannon Lemmon-Elrod Sara Michael Alicia Rigsby Brenda Rolling Pearl Rutherford Annie Sullins

Emily Alexander Jan Ankele Lindsey Aquilina Lizabeth Barnett Lyn Berry-Helmlinger Sarah Harrison Melissa Menter Erin Meyerhoff Jennifer Moore Michelle Tombre Andrea Ware

Kai Berry-Helmlinger Keith Ferguson Keith Harrison Jason Hindman Steve Howie Justin Kerr Brad Larson Alex Menter Mitchell Peery Jonathan Von Stroh Ryan Wright

Michael Bizzaro Michael Boender Garth Criswell Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Michael Lewis John Ludwig Larry Meerdink John Schaak Tim Tharaldson Matt Weissenbuehler

2014-2015 Concert Season

THE 18TH SEASON Family & Friends Holiday Concert Cherry Creek High School 3:00pm, Dec. 14, 2014

Kantorei debuts a festive matinee performance designed to engage young children and families.

Echoes: Chant and Beyond Montview Blvd. Presbyterian Church 7:30 p.m., March 14, 2015 Bethany Lutheran Church 3:00 p.m., March 15, 2015

The Earth Adorned Bethany Lutheran Church 7:30 p.m., May 16, 2015 Montview Blvd. Presbyterian Church 3:00 p.m., May 17, 2015

K ANTOREI BOARD OF DIRECTORS Kevin Gunnerson, President John Ludwig, Vice President Susan Lewkow, Treasurer Sara Michael, Secretar y Michael Bizzaro Julianne Dowell Jason Hindman Brad Jackson Katherine Mulready -------------------Lyn Berr y-Helmlinger, Executive Director

lyn@kantorei.org --------------------

THANK YOU! Our most heartfelt thanks to those of you who donated to Kantorei on Colorado Gives Day. Due to an earlier press deadline, we were not able to include your names here. However, they will be listed in the next concert program. *Kantorei is a 501(c)(3) organization and any donations to the group are deductible to the fullest extent allowed by law. Please consult your tax advisor for more information.

Don't miss our extra performances during the year, such as Salons and additional holiday concerts! For more information, visit www.kantorei.org

FOLLOW KANTOREI ON FACEBOOK, TWITTER, AND YOUTUBE! Facebook .com/kantorei | Twitter.com/kantoreidenver | Youtube.com/kantorei