All Things Bright and Beautiful

Featuring Jan Kraybill, Organist

22 February Saturday @ 7:30pm 23 February Sunday @ 3pm 24 February Friday @ 7:30pm

Saint John’s Episcopal Cathedral • 1350 N Washington St, Denver 80203

First Plymouth Congregational Church • 3501 S Colorado Blvd, Cherry Hills Village 80113

Christ Episcopal Church • 2950 S University Blvd, Denver 80210

2019 1

These Concerts Sponsored by Robert Kniss and Pamela Kniss In Loving Memory of Juanita Gamble Kniss

Anthems for All Seasons

John Rutter (b. 1945)

Jan Kraybill, Organist

Arise, shine New Year All Things Bright and Beautiful To everything there is a season As the bridegroom to his chosen For the Beauty of the Earth Look at the world

- INTERMISSION Noche oscura del alma (Canciones del alma, 1) Infinity

Carlos Surinach (1915-1997) Kim AndrĂŠ Arnesen (b. 1980)

Alicia Rigsby, soprano

Six Chanson (Rainer Maria Rilke)

Paul Hindemith (1895-1963)

La Biche Un Cygne Puisque tout passe Printemps En Hiver Verger

Sing My Child

Sarah Quartel (b.1982)

Erin Pettit and Michael Bradford, soloists; Mason France, percussion

Kantorei would like to thank our sponsors for your generous and ongoing support!

PROGRAM NOTES John Rutter (b.1945) was born in London and studied music at Clare College, Cambridge.

He first came to notice as a composer during his student years; much of his early work consisted of church music and other choral pieces including Christmas carols. From 1975–79 he was Director of Music at his alma mater, Clare College, and directed the college chapel choir in various recordings and broadcasts. Since 1979 he has divided his time between composition and conducting. Today his compositions, including such concert-length works as Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are performed around the world. His music has featured in a number of British royal occasions, including the two most recent royal weddings. He edits the Oxford Choral Classics series, and, with the late Sir David Willcocks, co-edited four volumes of Carols for Choirs. In 1983 he formed his own choir, The Cambridge Singers, with whom he has made numerous recordings, and he appears regularly in several countries as guest conductor and choral ambassador. He holds a Lambeth Doctorate in Music, and in 2007 was awarded a CBE for services to music.

Commissioned by the Choir of Westminster Cathedral in London, Arise, shine is a glorious and luminescent setting of Isaiah 60. Capturing the essence of the text, the music moves through bold determination to quiet reflection before coming to a rousing conclusion.

The gentle New Year carol, commissioned by the organist and choir of Sandringham Church, in celebration of HM The Queen’s 80th birthday, was first performed on New Year’s Eve 2006. With the warm, tuneful lyricism so characteristic of John Rutter’s music, the carol offers a simple message of hope and anticipation of a new year.

From her book Hymns for Little Children, All Things Bright and Beautiful is one of Cecil Frances Alexander’s (1818-1895) most well-known texts. John Rutter’s warm and sparkling setting of this text is probably one of the most beloved.

In To everything there is a season, John Rutter sets this timeless and beloved text from Ecclesiastes with a gently flowing melody. Written in 1997, it was originally intended as the finale to a longer work. Set alone, it is a simple and lovely general anthem that takes its character the ‘time of piece’ referred to in the final line of the text.

The text for As the bridegroom to his chosen is taken from a poem written by the 14th century German Dominican, Johannes Tauler (1300-1361). John Rutter plays lightly with this poetic accumulation of biblical imagery in this tender and lovely melody.

For the Beauty of the Earth is one of John Rutter’s most beloved pieces of music and is performed frequently by choruses around the world. In it, he demonstrates an exceptional ability to write a lyric melody with soaring lines while maintaining a simple sensibility that makes it accessible to performers and audiences alike. The words that Rutter chose are from Folliot S. Pierpont’s (1835-1917) hymn of the same name.

Look at the world is an inspiring choral selection that speaks reverently of the many small miracles of nature that surround each of us, perfect for the celebration of the 70th anniversary of the Council for the Protection of Rural England, for which it was written.

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The text of Noche oscura del alma is by St. John of the Cross, a 16th-century Spanish priest, reformer, and mystic. Together with St. Teresa of Ávila, he founded the order of the Discalced (“Barefoot”) Carmelites. Although he was canonized in 1726 and is now named as one of the 33 Doctors of the Church, he managed to fall afoul of the Church hierarchy in 1577. He was imprisoned in deplorable and sadistic conditions for nine months, but the heavenly visions granted to him during that time led to some of his most exquisite poetry.

“The Dark Night of the Soul” was written soon after his escape, and describes the journey of the soul as it leaves its earthly prison and travels toward reunion with God. Catalan composer Carlos Surinach (the name was originally Suriñach, and concert posters in Spain still generally identify him that way) studied in Barcelona, Düsseldorf, Cologne, and Berlin, where he studied briefly with Richard Strauss, and immigrated to the United States in 1951, becoming a naturalized citizen in 1959.

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

Kim André Arnesen is one of the most frequently performed classical composers from Norway today. He grew up in Trondheim and started at the music school at the age of 6 playing the piano. At the age of 10 he started singing in the Nidaros Cathedral Boys’ Choir. He was later educated at the Music Conservatory in Trondheim. As a composer he had his first performance in 1999 with the boys’ choir.

Since then he has written music that has been performed by choirs all around the world. Arnesen is an elected member of the Norwegian Society of Composers.

Poet David Roberts writes about his poems: “Human beings, both personally and as a species, inhabit a tiny part of the universe for a small part of time. I find the human situation awe inspiring and challenging. What should we do with our lives? The answer chosen by most people is to work for the betterment of ourselves, our families, our communities, our countries, and the world. I see as one of the greatest tragedies of life the fact that a minority of people, lacking vision and compassion, dedicate themselves to a destructive course of action.” In Infinity, the profound poem takes us to the “furthest star” and challenges humanity with “one chance for us all.” Not one to shrink from drama, Arnesen has met the challenge of creating what might be called a mini-opera with this 7-minute masterpiece. This piece was commissioned in 2016 by Keith and Sue Ferguson for Kantorei and Artistic Director, Joel Rinsema, and can be found on Kantorei’s recording of Arnesen’s works, “Infinity: Choral Works.”

Although Ranier Maria Rilke (1875-1926) wrote primarily in German, the poems in Six Chansons - “The Doe”, “A Swan”, “Since All is Passing”, “Springtime”, “In Winter”, and “Orchard” - were written in French, in a beautiful lyrical style. Paul Hindemith’s settings echo the lyricism of the poetry. They are wonderful to sing – each one is different in character and mood. You can easily see the swan gliding majestically over 4

PROGRAM NOTES a glassy pond, and the doe bounding gracefully through the forest. We tend to think of Hindemith in terms of his later instrumental music, but these earlier a cappella pieces are anything but atonal.

Both Hindemith and Rilke were of German origin, born 20 years apart. Both traveled around Europe, although Rilke possibly more extensively – to Russia, where he met Tolstoy, to Africa, Spain, Italy and to France, where Rodin played an extremely important part in Rilke’s artistic development. Hindemith made several tours to the US, and spent time in Turkey. At the invitation of Mustafa Kemal Atatürk, he reorganized Turkish music education and had a hand in the establishment of the Turkish State Opera and Ballet, as well as the Ankara State Conservatory. Both escaped Germany to Switzerland, where their paths crossed in poetry and music. And both were considered to be transitional figures, both using and evolving their own art forms as a means of expression.

Rilke wrote primarily in German, and is, like Baudelaire, an influential figure in the transition between traditional/romantic and modern poetry. His themes were existential, a search for a way to express meaning in life through his art. Initially “impressionistic”, his writings evolved (partially as a consequence of Rodin’s influence) to the expression of ideas with “physical, rather than intellectual symbols” (W.H. Auden). Rilke’s lyrical style is apparent in the six poems we are singing.

Hindemith spent his early career in Germany. An accomplished violinist, he became the deputy leader of the Frankfurt Opera Orchestra in 1914, and the leader 3 years later.

By 1922 his compositions were being played at various festivals. In 1928, he wrote the score for, and acted in, an avant-garde film by Hans Richter. His early works were in the romantic style, often based on folk music. His style evolved over time, becoming more expressionist with the development his own unique tonal system.

Sarah Quartel is a Canadian composer and educator known for her fresh and exciting approach to choral music. She celebrates the musical potential of all learners by providing singers access to high quality repertoire and engaging music education. Sarah’s choral works are performed by children, youth, and adults throughout the world and her work as an educator connects exciting musical experiences with meaningful classroom learning.

Sarah regularly partners with ensembles worldwide on commissioning projects. Sing, my Child is one of these projects, having been commissioned for the 2016 International Choral Kathaumixw. It sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 meter of the opening drives the piece forward. Lush harmonies color the hymn-like B section as the text evolves into a call for strength despite the troubles that may come.

Program Notes compiled by Sara Michael

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Gjeilo’s “Dark Night of the Soul” in Guatemala City and Antigua, Guatemala with Capella Cantorum de Guatemala.

Joel is a passionate advocate for the professional choral art form, and he frequently consults with other choral arts organizations around the country. Because of his leadership in his field, he received the Louis Botto Award for “Innovative Action and Entrepreneurial Zeal” from Chorus America, the industry’s advocacy, research, and leadership development organization for choruses, choral leaders, and singers.

He is an accomplished conductor of major works for choir and orchestra and was one of eighteen conductors chosen nationally through audition to participate in master classes and workshops presented by the Chicago Symphony Orchestra Association and Chorus America. As a tenor soloist, Joel performed across the United States, in Germany, Austria and the Czech Republic.

Joel serves as the North American Choral Promotion Manager for Oxford University Press based in Oxford, England and Music Director at First Plymouth Congregational Church in Cherry Hills Village, Colorado. He holds music degrees from Arizona State and Whitworth Universities and is a member of the Academy of Recording Arts and Sciences (Grammys), American Choral Directors Association (ACDA) and Colorado Music Educators Association (CMEA).

Artistic Director Joel M. Rinsema joined Kantorei in 2014, becoming the second conductor in its history. During his tenure, Kantorei has experienced tremendous growth of its audiences, nearly tripled its budget size, and launched an ambitious recording strategy.

A frequent collaborator and champion of new works for chorus, Joel has commissioned and premiered work of many of today’s leading composers including Kim André Arnesen, Mason Bates, René Clausen, Ola Gjeilo, Mark Hayes, Cecilia McDowall, David Montoya, Jake Runestad and Eric Whitacre. In the summer of 2018, Joel conducted the Central American premiere of Ola

Joel came to Kantorei from the Grammy Award-winning Phoenix Chorale. Throughout his 23-year tenure with the Phoenix Chorale, he served in nearly every capacity with the organization including the last 15 years as President & CEO and Assistant Conductor. He negotiated an ongoing recording contract with the prestigious U.K.-based Chandos Records, and Phoenix Chorale recordings earned a total of eight Grammy nominations and two Grammy wins during his tenure. Joel appears on all of the Phoenix Chorale recordings and was a soloist on the Grammy Award-winning “Spotless Rose: Hymn to the Virgin Mary.”

In addition to his work with the Phoenix Chorale, Joel served as the Director of Music at Church of the Beatitudes United Church of Christ in Phoenix for 15 years, and was the founding chorus master of the Arizona Musicfest Chorus.

Steve Grupe comes to Kantorei with nearly 25 years’ experience in performing arts administration, having previously worked with Opera Omaha, the Denver Center for the Performing Arts, and St. Martin’s Chamber Choir. A native Nebraskan and a graduate of Concordia University, Nebraska, Steve also did graduate work in choral conducting at the University of Colorado in Boulder. He began his career in the arts as a high school music educator in suburban Cleveland, where he sang with the Cleveland Orchestra Chorus for two seasons, joining them on a tour to Carnegie Hall. In his spare time, Steve’s interests include travel, opera, and the daily New York Times crossword puzzle.

STEVE GRUPE Executive Director

SPOTLIGHT PERFORMER JAN KRAYBILL Guest Organist

Dr. Jan Kraybill is a musical leader, performer, educator, organ consultant, and enthusiastic advocate for the power of music to change lives for the better.

As Organ Conservator at the Kauffman Center for the Performing Arts in Kansas City, and Organistin-Residence at the international headquarters of Community of Christ in Independence, Missouri, she plays and oversees the care of three of the Kansas City metro area’s largest pipe organs.

While in high school in Colby, Kansas, Jan was invited to play her first European piano recital in Andover, England. Since then she has performed as a soloist, collaborative artist, and hymn festival designer/leader in many venues in the U.S. and in Australia, Belgium, Canada, Denmark, France, Germany, Poland, Russia, South Korea, Tahiti, The Netherlands, and The United Kingdom. She has appeared on regional and national conventions of the American Guild of Organists (AGO), the Hymn Society, and other musicians’ organizations; and on American Public Media’s Pipedreams and other broadcasts. She enjoys collaborative music-making and has appeared often with ensembles ranging from symphonies to chamber groups. Her CDs include Organ Polychrome, the first solo recording of the Julia Irene Kauffman Casavant, produced by Reference Recordings in 2014. A disc containing Saint-Saëns’ Third (“Organ”) Symphony with the Kansas City Symphony was nominated for a Grammy in 2015.

Her second solo CD from The Kauffman Center is scheduled for release this year.

In addition to her degrees in music education, piano performance, and organ performance, in 2010 Jan earned the Fellow certificate from the AGO, the highest professional certification for organists. She has served in local, regional, and national roles in many nonprofit musical and other organizations, most recently as Executive Director of The Hymn Society in the U.S. and Canada. Her extra-musical interests include lacemaking, painting, and riding her Harley-Davidson motorcycle. Visit www.jankraybill.com for Jan’s concert schedule and other information.

Facebook.com/Kantorei | Instagram.com/Kantorei Youtube.com/Kantorei | Soundcloud.com/KantoreiCO 7

Kantorei is a Denver-based, choral ensemble comprised of volunteer singers under the direction of Artistic Director Joel M. Rinsema.

Kantorei’s choral artists have studied at schools with strong music programs across the United States such as Baylor University, Brigham Young University, Eastman School of Music, Indiana University, St. Olaf College, Wartburg College, and Westminster Choir College. Kantorei’s singers reside throughout the greater Denver area.

Some serve as choral music educators, church choir conductors, and vocal instructors. Others are doctors, social workers, optometrists, counselors, clinical psychologists, accountants, realtors –all brought together in weekly rehearsals for shared artistic excellence and community.

Kantorei has performed for major choral conventions across the U.S., toured around the world, and has commissioned and premiered new choral works from renowned composers including Kim André Arnesen, Eric William Barnum, Abbie Betinis, René Clausen, Ola Gjeilo, Jake Runestad, Joshua Shank, and Eric Whitacre.

Its first internationally released recording in January 2018, “Infinity: Choral Works of Kim André Arnesen” on the Naxos label climbed to the #2 best selling classical album on iTunes, #6 on the Traditional Classical Billboard Charts and #19 on the overall Classical Billboard charts. Santa Barbara Music Publishing Inc., publishes the Kantorei Choral series.

Kantorei and Joel Rinsema are engaged in educational collaborations with high school ensembles around Colorado. They regularly host HS Choral Festivals and workshops featuring leading composers and conductors.

Recent workshops have featured composer Ola Gjeilo, Dr. Christopher Aspaas of Texas Christian University and in 2019, Dr. Jennaya Robison of Luther College.

Formed in 1997 under the leadership of six friends and artistic director Richard Larson, Kantorei has established itself as one of the nation’s premier choral ensembles and has performed for the American Choral Directors Association National Conferences in 2003, 2011 and 2019. Kantorei’s mission is “to elevate the human experience through choral excellence.”

“…This is an impressive ensemble, always precise and always well-blended.”

Raymond Tuttle, Fanfare Magazine, July 2018

“Maestro Rinsema’s Kantorei sound gorgeous here.”

Philip Greenfield, American Record Guide, July 2018

“What finer advocates for his music could a composer have than these excellent singers of Kantorei?”

David Vernier, Classics Today, April 2018

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THE CHOIR SOPRANO

ALTO

TENOR

BASS

Mary Christ Kim Dunninger Christina Graham Heather Gunnerson Stacie Hanson Jade Howard Shannon Lemmon-Elrod Paige Lewkow Sara Michael * Juli Orlandini Erin Pettitt Alicia Rigsby ∞ Brenda Rolling Pearl Rutherford Christianna Sullins

Emily Alexander Lindsey Aquilina Allison Barber-Pasternak Lizabeth Barnett Lyn Berry-Helmlinger Theresa Derr Sarah Harrison * § Melissa Menter Erin Meyerhoff Jennifer Moore Kali Paguirigan Tegan Palmer Andrea Ware

Kai Berry-Helmlinger * Matthew Eschliman Keith Ferguson Mason France Matthew Gierke Keith Harrison Jason Hindman Steve Howie Justin Kerr Alex Menter Jonathan Von Stroh

John Bartley Michael Bizzaro Michael Boender Michael Bradford Garth Criswell Andrew Halladay Scott Horowitz Brad Jackson Karl Johnson Brad Larson John Ludwig John Schaak Kirk Schjodt * Griffin Sutherland Matt Weissenbuehler

* Section Leader

∞ Collaborative Pianist § Assistant Conductor

THE STAFF Steve Grupe

Sara Michael

Sarah Harrison

Alicia Rigsby

Executive Director Assistant Conductor

Administrative Assistant & Librarian Accompanist and Collaborative Pianist

BOARD OF DIRECTORS Keith Ferguson

Susan Lekow

Jason Hindman

Juli Orlandini

President

Vice President & Development Committee Chair

Treasurer

Secretary

MEMBERS AT LARGE Mark Aquilina

Kevin Gunnerson

Michael Bizzaro

Jennifer Moore

Matthew Gierke 9

Arise, shine Isaiah 60: 1-4, 19

Arise, shine, for thy light is come, And the glory of the Lord is risen upon thee.

For, behold, the darkness shall cover the earth, And gross darkness the people: But the Lord shall arise upon thee, And his glory shall be seen upon thee.

And the Gentiles shall come to thy light, And kings to the brightness of thy rising.

Lift up thine eyes round about, and see: All they gather themselves together, they come to thee: Thy sons shall come from far, And thy daughters shall be nursed at thy side.

The sun shall be no more thy light by day; Neither for brightness shall the moon give light unto thee: But the Lord shall be unto thee an everlasting light, And thy God thy glory.

Arise, shine, for thy light is come.

New Year John Rutter Turn your eyes to the light; Cast away the works of darkness, Let them go: turn your eyes to the light.

Turn your face to the sun; Feel the warmth, the hope of new beginnings with each new year.

The light was always there, If we could but see it; And warmth was in the air, If we’d known how to feel.

Turn your eyes to the light, Turn your face to the sun: New light, new hope, new year.

Turn your ears to the sound; Somewhere near, a voice is calling: 10

Hear the news, Turn your ears to the sound.

Turn your heart to the love; Christ is come to bring the world new life.

The voice is always there, If the world will hear it; And love is always there, If you search your heart.

Turn your ears to the sound, Turn your heart to the love: New life, new love, new year, New life, and love, and light, and hope, This good New Year.

All Things Bright and Beautiful Mrs. C. F. Alexander

All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.

Each little flow’r that opens, Each little bird that sings, He made their glowing colors, He made their tiny wings.

All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.

The purple headed mountain, The river running by, The sunset and the morning, That brightens up the sky; The cold wind in the winter, The pleasant summer sun, The ripe fruits in the garden, He made them ev’ry one; All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.

He gave us eyes to see them,

TEXT & TRANSLATIONS And lips that we might tell How great is God Almighty, Who has made all things well.

All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.

To every thing there is a season Ecclesiastes 3:1-8

To every thing there is a season, and a time to every purpose under the heaven: A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted; A time to kill, and a time to heal; a time to break down, and a time to build up; A time to weep, and a time to laugh; a time to mourn, and a time to dance; A time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing; A time to get, and a time to lose; a time to keep, and a time to cast away; A time to rend, and a time to sew; a time to keep silence, and a time to speak; A time to love, and a time to hate; a time of war, and a time of peace.

As the bridegroom to his chosen John Tauler, tr. E. F. Bevan

As the bridegroom to his chosen, as the king unto his realm, As the keeper to the castle, as the pilot to the helm, As the captain to his soldiers, as the shepherd to his lambs, So, Lord, art thou to me.

As the fountain in the garden, as the candle in the dark, As the treasure in the coffer, as the manna in the ark, As the firelight in the winter, as the sunlight in the spring, So, Lord, art thou to me.

As the music at the banquet, as the stamp unto the seal, As refreshment to the fainting, as the winecup at the meal, As the singing on the feast-day, as the amen to the prayer, So, Lord, art thou to me.

As the ruby in the setting, as the honey in the comb, As the light within the lantern, as the father in the home, As the eagle in the mountains, as the sparrow in the nest, So, Lord, art thou to me.

As the sunshine in the heavens, as the image in the glass, As the fruit unto the fig tree, as the dew unto the grass, As the rainbow on the hilltop, as the river in the plain, So, Lord, art thou, to me.

For the Beauty of the Earth F. S. Pierpoint

For the beauty of the earth, For the beauty of the skies, For the love which from our birth Over and around us lies: Lord of all, to thee we raise This our joyful hymn of praise.

For the beauty of each hour, Of the day and of the night, Hill and vale and tree and flower, Sun and moon and stars of light: Lord of all, to thee we raise 11

This our joyful hymn of praise.

For the joy of human love, Brother, sister, parent, child, Friends on earth, and friends above, For all gentle thoughts and mild: Lord of all, to thee we raise This our joyful hymn of praise.

For each perfect gift of thine To our race so freely given, Graces human and divine, Flow’rs of earth and buds of heav’n, Lord of all, to thee we raise This our joyful hymn of praise.

Look at the World John Rutter

Look at the world, everything all around us: Look at the world, and marvel every day. Look at the world: so many joys and wonders, So many miracles along our way.

Praise to thee, O Lord, for all creation, Give us thankful hearts, that we may see: All the gifts we share, and every blessing, All things come of thee.

Look at the earth bringing forth fruit and flower; Look at the sky, the sunshine and the rain; Look at the hills, look at the trees and mountains, Valley and flowing river, field and plain: Praise to thee, O Lord, for all creation…

Think of the spring, think of the warmth of summer

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Bringing the harvest before the winter’s cold.

Everything grows, everything has a season, Till it is gathered to the Father’s fold: Praise to thee, O Lord, for all creation…

Every good gift, al that we need and cherish Comes from the Lord in token of his love; We are his hands, stewards of all his bounty; His is the earth, and his the heavens above: Praise to thee, O Lord, for all creation…

Infinity David Roberts

How far, how far is the furthest star we can see?

A distance that’s measured in time.

What there may be beyond what we see no one knows, A vastness that time cannot tell.

In all this space is just a trace of human race, Whose fortunes are measured in dust.

In oceans of time the story of life is cast about In chaos seeming futile and blind.

Our moment in time one human race.

Choose the dark or the light to rise or to fall, One chance for us all.

TEXT & TRANSLATIONS Noche Oscura del Alma St. John of the Cross

Dark Night of the Soul tr. E. Allison Peers

En una noche oscura, con ansias en amores inflamada, ¡oh dichosa ventura! salí sin ser notada, estando ya mi casa sosegada.

On a dark night, Kindled in love with yearnings, Oh happy chance! I went forth without being observed, My house being now at rest.

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

In darkness and secure, By the secret ladder disguised, oh happy chance in darkness and concealment, My house being now at rest.

En la noche dichosa, en secreto, que nadie me veía, ni yo miraba cosa, sin otra luz ni guía sino la que en el corazón ardía.

In the happy night, In secret, when none saw me, Nor I beheld aught, without light or guide, save that which burned in my heart.

¡Oh noche que me guiaste!, ¡oh noche amable más que el alborada!, ¡oh noche que juntaste amado con amada, amada en el amado transformada!

Oh, night that guided me!

Oh, night more lovely than the dawn!

Oh, night that joined Beloved with lover, Lover transformed in the Beloved!

Upon my flowery breast, Kept wholly for himself alone, There he stayed sleeping and I caressed him, and the fanning of the cedars made a breeze.

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

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

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

The breeze blew from the turret as I parted his locks; with his gentle hand he wounded my neck, and caused all my senses to be suspended.

I remained, lost in oblivion, my face I reclined on the Beloved, all ceased and I abandoned myself, leaving my cares forgotten among the lilies.

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Six Chanson

Maria Reine Rilke; tr. Bénédicte Jourdois

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1. La biche

1. The Doe

Ô la biche: quel bel intérieur d’anciennes forêts dans tes yeux abonde; combien de confiance ronde mêlée à combien de peur.

O, doe: such beautiful interior of ancient forests in your eyes overflows; so much confidence round mixed with so much fear.

Tout cela, porté par la vive gracilité de tes bonds.

Mais jamais rien n’arrive à cette impossessive ignorance de ton front.

All this carried by the swift slenderness of your leaps.

But nothing ever happens to this non-possessive ignorance of your brow.

2. Un cygne

2. A Swan

Un cygne avance sur l’eau tout entouré de lui-même, comme un glissant tableau; ainsi à certains instants un être que l’on aime est tout un espace mouvant.

A swan is moving on the water all surrounded by himself, like a gliding painting; thus at certain times a being that one loves is a whole moving space.

Il se rapproche, doublé, comme ce cygne qui nage, sur notre âme troublée... qui à cet être ajoute la tremblante image de bonheur et de doute.

He comes closer, duplicated, like this swan which swims, on our troubled soul ... which to this being adds the trembling image of happiness and doubt.

3. Puisque tout passe

3. Since All Is Passing

Puisque tout passe, faisons la mélodie passagère ; celle qui nous désaltère, aura de nous raison.

As everything passes, let us make the passing melody; the one which quenches us will get the best of us.

Chantons ce qui nous quitte avec amour et art; soyons plus vite que le rapide départ.

Let us sing what leaves us with love and art; let us be swifter than the quick departure.

TEXT & TRANSLATIONS

4. Printemps

4. Springtime

Ô mélodie de la sève qui dans les instruments de tous ces arbres s’élève -, accompagne le chant de notre voix trop brève.

C’est pendant quelques mesures seulement que nous suivons les multiples figures de ton long abandon, ô abondante nature.

O melody of the sap which in the instruments of all these trees is rising -, accompany the song our voice too brief.

Quand il faudra nous taire, d’autres continueront...

Mais à présent comment faire pour te rendre mon grand cœur complémentaire?

When we have to stay quiet, some others will carry on ...

But for now how to give you back my great heart which complements yours?

5. En hiver

5. In Winter

En hiver, la mort meurtrière entre dans les maisons; elle cherche la sœur, le père, et leur joue du violon.

In winter, the deadly death enters the houses; she looks for the sister, the father, and plays them the violin.

Mais quand la terre remue sous la bêche du printemps, la mort court dans les rues et salue les passants.

But when the ground moves under the spade of spring, death runs in the streets and salutes the passers-by.

6. Verger

6. Orchard

Jamais la terre n’est plus réelle que dans tes branches, ô verger blond, ni plus flottante que dans la dentelle que font les ombres sur le gazon.

Never is the ground more real than in your branches, o blond orchard, nor more floating than the lace that the shadows make on the lawn.

Là se rencontre ce qui nous reste, ce qui pèse et ce qui nourrit, avec le passage manifeste de la tendresse infinie.

There meets us what is left to us, what weighs on us and nourishes us, with the obvious passing of infinite tenderness.

Mais à ton centre, la calme fontaine, presque dormant en son ancien rond, de ce contraste parle à peine, tant en elle il se confond.

But to your heart, the calm fountain, Nearly sleeping in its ancient round, of this contrast barely speaks, as in her so much he melts.

It is during a few bars only that we follow the multiple figures of your long abandonment, O bountiful nature.

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TEXT & TRANSLATIONS Sing My Child Sarah Quartel

Sing for the promise in each new morning.

Sing for the hope in a new day dawning. All around is beauty bright!

Wake in the morning and sing, my child.

Dance in the joy of the day unfolding.

Dance as you work and dance as you’re learning. All around is beauty bright!

Take in the day and dance, my child.

But when troubles come and worry is all that can be found, Gather your strength and hear your voice.

Sing, my child.

Laugh in the cool and the fresh of the ev’ning.

Laugh in your triumph laugh

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in succeeding.

All around is beauty bright!

Rest in the evening and laugh, my child.

Peace in the stillness and dark of the night.

Peace in the dreams of your silent delights.

All around is beauty bright!

Sleep in the night and peace, my child.

But when troubles come and worry is all that can be found, Gather your strength and hear your voice.

Sing, my child.

Dance, my child.

Laugh, my child.

Peace, my child.

SING-A-LONG LYRICS LOOK AT THE WORD

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

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

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

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

CORPORATE SPONSORSHIPS Give your company greater visibility by supporting Kantorei! Plenty of underwriting opportunities are available. Benefits include: Ad space in our programs, Recognition signage at events, Complimentary tickets, and more!

Contact Jason Hindman, Development Committee Chair, at jason@kantorei.org for information on how to begin a partnership with Kantorei.

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MARK YOUR CALENDARS! KANTOREI 2018-19 SEASON

With only two concerts left in the season, we invite you to not miss out on the great music still to come. At our spring Salon, you are invited to Join us for an evening of music inspired by your favorite cinematic masterpiece. For our final concert of the season, Kantorei will have your toes tapping and you’ll want to grab a partner for these concerts featuring dance in choral music.

Salon: Movie Magic April 27

Let’s Dance!

May 18 & 19

You can’t dance without music! Kantorei will have your toes tapping and you’ll want to grab a partner for these concerts featuring dance in choral music.

Liebeslieder Waltzes Op. 52 for choir and piano 4-hand • Johannes Brahms Dance Set for choir, clarinet, cello, percussion, and piano • Libby Larsen

Tickets and more info at kantorei.org

FEELING ELEVATED? We want to hear about it! Please share your thoughts about today's performance with us at KANTOREI.ORG/AUDIENCE-FEEDBACK

AVAILABLE NOW AT KANTOREI.ORG/INFINITY