WANTING MEMORIES
MUSIKALISCHE EXEQUIEN HEINRICH SCHÜTZ (1585 – 1672)
I. NACKET BIN ICH VON MUTTERLEIBE KOMMEN
Beryl Fanslow Wilson, Christina Graham, sopranos
Desiree Deliz-Morales, Jane Wright, altos
Matthew Eschliman, Mason France, Seth O’Kegley-Gibson, John Wright, tenors
Scott Horowitz, baritone; Adam Cave, Kirk Schjodt, basses
Sandra Miller, cello; Frank Nowell, portative organ; Peter Schimpf, theorbo
-- INTERVAL --
TAKE HIM, EARTH, FOR CHERISHING HERBERT HOWELLS (1892 – 1983)
ONLY IN SLEEP ĒRIKS EŠENVALDS (B.1977)
Leah Tracy, soprano
THE MUSIC OF STILLNESS ELAINE HAGENBERG (B. 1979)
Sara Michael, soprano; Alicia Rigsby, piano
THERE WE SHALL REST KIM ANDRÉ ARNESEN (B. 1980)
REQUIEM
Alicia Rigsby, piano
THE ROAD HOME
Lexie Orvin, soprano
WANTING MEMORIES
ELIZA GILKYSON/ARR. CRAIG HELLA JOHNSON
Kantorei’s Vision:
To elevate the human experience through choral excellence
Our Mission:
Kantorei is an inclusive community of volunteer singers that invites audiences to experience the richness and diversity of the choral art form, joyously executed at the highest standard of musical excellence. We are innovators: we responsibly leverage our resources to commission work by living composers, perform music by underrepresented and emerging artists, encourage future talent through educational engagement, and nurture the choral community.
Our Values:
Musical Excellence – We maintain the highest possible standards. We hold ourselves and each other accountable for putting in the necessary effort. We take on artistic challenges that many choirs cannot. We provide our audiences with unique musical experiences performed with professionalism, accuracy, passion, and finesse. We are a volunteer choir with world-class aspirations and achievements.
Inclusion – We strive to create a singer community where individuals from all backgrounds and experiences can be their best. We celebrate and perform composers that have been underrepresented in the choral tradition alongside those who have historically enjoyed the spotlight. We amplify voices that should be heard, and seek to bring our voices to new places. We connect diverse audiences through the power of music.
Joy – We make music because it brings us joy and we are passionate about sharing that joy with others. Audiences feel our connection to each other and the music; through our work they experience intellectual and emotional expansion. Sharing this joy with each other and our audiences is a privilege.
STEPHEN PAULUS (1949 – 2014)
Land acknowledgement
Kantorei honors and acknowledges the Tséstho’e (Cheyenne), hinono’eino’ biito’owu’ (Arapaho), Núu-agha-tʉvʉ-pʉ̱ (Ute), and Očhéthi Šakówiŋ (Sioux) Tribes, and all of the original Indigenous peoples of the land upon which we rehearse and perform.
YSAYE M. BARNWELL (B. 1946)
Community – We provide an opportunity for singers, artists, students, and audiences from many different backgrounds and identities to share in musical experiences that allow us to transcend the world we live in. Our singers show up for each other, both musically and personally. We are in community with the composers who partner with us. We create nurturing relationships with other choirs so we can collectively thrive. We show young and emerging artists what their musical future can look like.
To make a general contribution to Kantorei, text “ Kantorei ” to 44321 Thank you!
Innovation – As an organization, we are never stagnant. We feel a responsibility to use our funding to educate, delight, and amaze, which is evident through every aspect of our work: programming, recordings, concerts, and community impact. We move the art form forward by celebrating the full diversity of modern choral composition, and juxtaposing it with treasured work of the traditional canon. Our audiences can feel the musical past resonating with wisdom in the present, and the present reaching back to seek guidance from the past.
PROGRAM NOTES
Schütz: Musikalische Exequien – first movement
The title translates as “Funeral Music.” Composer Heinrich Schütz (1585 – 1672) might have called it German Requiem, as that’s the language in which it is sung. However, it isn’t a German translation of the Catholic service. Schütz sets sacred texts distinct from that service, and chosen by Schütz’ patron, Prince Heinrich. The prince was planning for his own memorial service, which would take place early in 1636, and requested that the texts be inscribed on his coffin.
Kantorei will perform the spacious first movement of Musikalische Exequien. Schütz labelled this movement “Concerto in the Form of a German Burial Mass,” though the music is far less dark than those words might suggest. Much of it is set in gloriously rich colors, not festive per se, but certainly celebratory of the dear departed. Before long, a text appears that might be familiar to many listeners, at least it would be, were it sung in English: “For God so loved the world,” though for Schütz, it is “Also hat Gott die Welt geliebt.” Serenity alternates with activity, with solo voices at times stand out from the full chorus. Rapturous joy and thoughtful reflection appear in turn, as Schütz sets the varying moods of the text.
Instruments suitable to Schütz’ time in history join the singers: portative organ (yes, it’s portable!), and the very long-necked theorbo, and cello for basso continuo. Keep the flavor of Schütz’s early Baroque music in mind as Kantorei’s program continues. Chronologically the earliest music on the program, it serves as an intriguing, though not startling, contrast to the works that follow.
Herbert Howells (1892 – 1983): Take Him, Earth, for Cherishing
When President Kennedy was slain November 22, 1963, his passing was a loss not only for Americans, but indeed, for the world. Musical memorials drew the participation of numerous worthy composers, amongst them England’s Herbert Howells (1892 – 1983). Having filled his catalog mostly with Anglican hymns, he felt honored to be invited to write something for the Catholic president’s memorial service at Washington Cathedral.
The text for Take Him, Earth, for Cherishing comes from a Latin prayer by Prudentius, a Christian poet of 4th century Rome. Using an English translation by Helen Waddell, Howell’s setting opens tenderly, contrasting men’s voices and women’s, with occasional high descant phrases floating above. In places, the words inspired more impassioned, even energetic. Rather than being set sotto voce, references to “the hour God hath appointed” and “Once again the shining road” ring out vividly. Howell’s hymn of remembrance closes as sweetly as it had begun, with a restatement of the title phrase. Apparently, ‘cherishing’ is not a thought that must ring to the rafters.
Ešenvalds: Only in Sleep (2010)
The composer is Latvian, but the text is in English. Only in Sleep (2010) by Ēriks Ešenvalds (b. 1977) sets a poem by American poet Sara Teasdale (1884 – 1933) in which she reflects on absent friends:
“Only in sleep I see their faces, Children I played with when I was a child…”
Teasdale’s vision is gently reflective, a spirit well captured in Ešenvalds’ setting. Only in Sleep begins with solo soprano floating over sostenuto choral lines. That opening theme grows in the care of the chorus, solo soprano descant lines further ornamenting the colors. For the closing verse, Ešenvalds gives the soloist delicate elaborations on Teasdale’s closing words, “am I too a child,” as if to ensure that this thought will remain with listeners even after the music ends.
Hagenberg: The Music of Stillness
In 2017, current American composer Elaine Hagenberg set verses by American poet Sara Teasdale (1884 –1933). Teasdale herself titled it There Will be Rest, though Hagenberg gave it a new title: The Music of Stillness. Admittedly, ‘rest’ is a recurring theme in the text, whereas ‘stillness’ only appears once. Nonetheless, the imagery is distinctly still. Shining stars, snowy rooftops, crystal peace, and dreams: none of them imply activity and Hagenberg’s setting is thoroughly restful. At times, different vocal sections echo one another, and in the last page, the music suggests awestruck rapture. All closes with what might seem to be a sigh of contentment.
Arnesen: There We Shall Rest
When the first tempo marking in the sheet music says ‘Devotionally,’ one can guess what to expect: something prayerful and worshipful. Norwegian composer Kim André Arnesen (b. 1980) chose a text by 5th century North African theologian and philosopher St. Augustine of Hippo: words of rest and love, peace, and praise. For its opening pages, Arnesen’s setting flows gently. However, as the imagery of the text grows more profound, he sends the music rising in rapture:
“Behold what will be at the end without end, For what other end do we have, If not to reach the kingdom which has no end?”
Returning to images of rest, closing pages suggest timelessness, as of eternal hope. The work is close to the hearts of the singers of Kantorei. Arnesen’s There We Shall Rest was premiered by the chorus in 2016.
Gilkyson: Requiem (arr. Craig Hella Johnson)
American singer/songwriter Eliza Gilkyson (b. 1950) was moved to compose her brief Requiem at the time of the 2004 Asian tsunami that took countless lives. It is a plea to the Virgin Mary for solace and comfort, a plea for consolation.
“Mother Mary, calm our fears, have mercy, Drowning in a sea of tears, have mercy… Oh, Mother Mary come and carry us in your embrace, Let us see your gentle face, Mary.”
It is truly merciful music: gentle and thoughtful, gliding forward on a soft and steady pulse. Later in the work, Gilkyson often juxtaposes higher voices against lower ones, suggesting perhaps heavenly sounds blended with earthly ones. In all, it is a tranquil tapestry, one well suited to soothing hearts wounded by many world crises.
Paulus: The Road Home
American composer Stephen Paulus (1949 – 2014) wrote The Road Home in 2001 for the Dale Warland Singers. Having been asked for something a cappella and folk-like, Paulus decided to borrow the melody of the folk song
“The Lone Wild Bird,” which he had found in The Southern Harmony Songbook (1835). He asked his colleague Michael Dennis Browne to provide a new text.
The result is both wistful and hopeful: ideally suited to the folk colors of the original theme and the blending of voices. Opening phrases flow calmly, building to fuller, more impassioned feelings. A soprano soloist joins the chorus, perhaps representing a single voice amongst many wanderers.
“Tell me where is the road I can call my own; That I left, that I lost, so long ago?...
With the love in your heart as the only song; There is no such beauty as where you belong; Rise up, follow me; I will lead you home.”
Ah, but is this one’s home on earth, or one’s home in heaven? The text could suggest either! Let the listener decide how it seems to that individual imagination.
Barnwell: Wanting Memories
The most famous Ysaÿe was a Belgian virtuoso violinist of the early 20th century. However, he composed nothing for chorus. The Ysaye who concerns us here is African American composer/singer Ysaye M. Barnwell (b. 1946), whose father was a violinist. In her compositions, Barnwell has drawn upon her long experience with the a cappella quintet Sweet Honey in the Rock. Here is music that is satisfying to sing, as well as to hear!
Her Wanting Memories (1980) opens with a single melodic line over a propulsive dotted rhythm figure in the bass. Gradually, it builds to greater splendor and richer, brighter colors, with frequent contrast of vocal parts. Long, sustained tones fill the final pages with breathless peace. It closes with a return to the phrase with which Barnwell’s piece had opened, one that, recurring throughout the work, became a central theme:
“I am sitting here wanting memories to teach me, To see the beauty in the world through my own eyes.”
Seeing beauty through one’s own eyes can be deeply fulfilling, particularly when, as the overall text suggests, gazing upon that beauty brings memories of lost loved ones. Let that thought not be tragic: consolation can lie in remembrance.
JOEL M. RINSEMA Managing Artistic Director
Joel M. Rinsema joined Kantorei (Denver, Colorado USA) in 2014, becoming the second conductor in its 25-year history. A frequent collaborator and champion of new works for chorus, Joel has commissioned and premiered works by many of today’s leading composers, including Kim André Arnesen, Mason Bates, René Clausen, Jean Belmont Ford, Ola Gjeilo, Jocelyn Hagen, Mark Hayes, Cecilia McDowall, Sarah Quartel, Jake Runestad, and Eric Whitacre. In the summer of 2022, Joel conducted the Central American premiere of Jake Runestad’s El Último Hilo (The Last Thread) in Guatemala City and Antigua, Guatemala with Kantorei and the Guatemalan choir Vocalis. He returned in May of 2023 to conduct Eric Whitacre's The Sacred Veil
Under Joel’s direction, Kantorei has released two recordings on the Naxos label. Sing, Wearing the Sky: Choral Music of Jake Runestad (2020) was the #3 best-selling classical album on iTunes, reached #4 on the Traditional Classical Billboard Charts, and was in the top ten in both the best-selling classical album and new classical release categories on Amazon. Infinity: Choral Works of Kim André Arnesen (2018) climbed to the #2 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 Joel Rinsema / Kantorei Choral series.
Joel led Kantorei in performances at the 2019 National Convention of the American Choral Directors Association, and prepared Kantorei as the primary chorus for the Aspen Music Festival for Maestro Robert Spano in the summers of 2021 and 2022. More recently, he conducted Kantorei along with the Canadian Brass in December of 2022, commissioned and prepared Kantorei for the world premiere of the string orchestra version of Eric Whitacre’s The Sacred Veil, led by the composer, and guest conducted The Sacred Veil with the Washington (DC) Choral Arts Society in May of 2023.
Joel is a passionate advocate for the professional choral art form, and he frequently consults with choral arts organizations around the country. Because of his leadership in his field, he received the Louis Botto Award for “Innovative Action and Entrepreneurial Zeal” from Chorus America, the industry’s advocacy, research, and leadership development organization for choruses, choral leaders, and singers.
From 2017-2020 he was the North American Choral Promotion Manager for Oxford University Press based in Oxford, England, a tenure during which he worked closely with and represented roster composers John Rutter, Mack Wilberg, Bob Chilcott, Sarah Quartel, Cecilia McDowall, Gabriel Jackson, and Will Todd among others.
Joel holds music degrees from Arizona State University and Whitworth University and he is a member of the Academy of Recording Arts and Sciences (Grammys), American Choral Directors Association (ACDA) and Colorado Music Educators Association (CMEA).
He came to Kantorei from the Grammy Award-winning Phoenix Chorale. Throughout his 23-year tenure with the Phoenix Chorale, he served in nearly every capacity with the organization, including his last 15 years as President & CEO and Assistant Conductor. He negotiated an ongoing recording contract with the prestigious U.K.-based Chandos Records, and Phoenix Chorale recordings received a total of eight Grammy nominations and two Grammy awards during his tenure. Joel appears on all Phoenix Chorale recordings and was a soloist on the Grammy Award-winning “Spotless Rose: Hymn to the Virgin Mary.” In addition to his work with the Phoenix Chorale, he was the founding chorus master of the Arizona Musicfest Chorus.
Kantorei is a Denver-based, choral ensemble comprised of volunteer singers under the direction of Managing Artistic Director Joel M. Rinsema
Formed in 1997 under the leadership of six friends and artistic director Richard Larson, Kantorei has established itself as one of the nation’s premier choral ensembles. Our choral artists have studied at schools with strong music programs across the United States such as Baylor University, Brigham Young University, Eastman School of Music, Indiana University, St. Olaf College, Wartburg College, and Westminster Choir College. Kantorei’s singers reside throughout the greater Denver area. Some serve as choral music educators, church choir conductors, and vocal instructors. Others are doctors, social workers, optometrists, counselors, clinical psychologists, accountants, realtors – all brought together in weekly rehearsals for shared artistic excellence and community.
Kantorei has performed for major choral conventions across the U.S. and with The Aspen Music Festival, toured the world, and has commissioned and premiered new choral works from such renowned composers as Kim André Arnesen, Eric William Barnum, Abbie Betinis, René Clausen, Ola Gjeilo, Jocelyn Hagen, Sarah Quartel, Jake Runestad, Joshua Shank, and Eric Whitacre. In the summer of 2022, Kantorei performed the Central American premiere of Jake Runestad’s “El Último Hilo” in Guatemala City and Antigua, Guatemala, along with Guatemelan choir Vocalis. In the fall of 2021, Kantorei began its three-year collaboration with M. Roger Holland, II as Artistin-Residence.
Kantorei has released two recordings on the Naxos label. “Sing, Wearing the Sky” (2020) choral music of Jake Runestad reached the #3 best-selling classical album on iTunes, #4 on the Traditional Classical Billboard Charts, and the top ten in both the best-selling classical album and new classical release categories on Amazon. “Infinity: Choral Works of Kim André Arnesen” (2018) climbed to the #2 best-selling classical album on iTunes, #6 on the Traditional Classical Billboard Charts and #19 on the overall Classical Billboard charts. Santa Barbara Music Publishing Inc. publishes the Kantorei Choral series.
“...An ideally balanced ensemble... In total a much recommended release.”
-David Denton, David’s Review Corner, August 2020 (Read the full review here)
“That he writes well for singers is enthusiastically proved by the all-volunteer Denver-based Kantorei choral ensemble and eight instrumentalists, and some full-blooded recordings.”
-Laurence Vittes, Gramophone, October 2020 (Read the full review here or here)
“…Always engaging and colorful…sung with depth and conviction by Kantorei.”
– Karl W. Nehring, Classical Candor, December 2020 (Read the full review here)
Photo courtesy of Williams PérezTHE CHOIR
SOPRANO ALTO TENOR BASS
Victoria Bailey
Mary Christ
Kimberly Dunninger
Beryl Fanslow Wilson
Christina Graham
Heather Gunnerson
Stacie Hanson
Becca Hyvonen
Shannon Lemmon-Elrod
Sara Michael*
Lexie Orvin
Martina Richardson
Alicia Rigsby ◊
Pearl Rutherford
Christianna Sullins
Leah Tracy
Safia Ahmed
Emily Alexander
Lindsey Aquilina
Lyn Berry-Helmlinger
Sarah Branton*
Desiree Deliz-Morales
Erin Greenfield
Chelsea Kendall
Tegan Masoero-Palmer
Melissa Menter
Erin Meyerhoff
Jennifer Moore
Allison Pasternak
Kaleigh Sutula
Andrea Ware-Medina
Jane Wright
* Section leader ◊ Collaborative Pianist
STAFF MEMBERS
Sarah Branton
Assistant Conductor
Sara Michael Business Manager
Alicia Rigsby
Accompanist, Collaborative Pianist
BOARD OF DIRECTORS
Jennifer Moore President
John Bartley Vice President
MEMBERS AT LARGE
Mark Aquilina
Judy Bloomberg Schenkein
Kai Berry-Helmlinger*
Ben Corwyn
Joshua Corwyn
Matthew Eschliman
Keith Ferguson
Mason France
Keith Harrison
Bryce Kennedy
Samuel Low
Alex Menter
Chad Nelsen
Seth O'Kegley-Gibson
Zachariah Smith
Jonathan Von Stroh
John Wright
John Bartley
Michael Bizzaro*
Jordan Black
Michael Boender
Adam Cave
Garth Criswell
Scott Horowitz
Brad Jackson
Brad Larson
Bryan Lastrella
John Ludwig
John Schaak
Kirk Schjodt
Terry Schlenker
Matt Weissenbuehler
SPECIAL THANKS TO OUR INAUGURAL SEASON MEMBERS!
Alex Barba
Robert Blauvelt
Leslie Britton
Joanie Calhoun
Tom Carlock
David Carlson
Susan Clasen
Judy Douglass
Mary Kaye Edwards
Paul Eschliman
Beverly Fest
Eleanor Finlay
Judy Fredericksen
Laura Gaul
Patricia Gunckel
Courtney Huffman Director of Community Engagement
Becca Hyvönen
Social Media Marketing & Communications Manager
Ximena Wheeler
Concert Manager
Desiree Deliz-Morales Treasurer
Melissa Menter Secretary
Lynn Hardcastle
Jennifer Heglin
Marjorie Hofer
Kathryn Johnson
Deanna Johnson
Carol Lanaghen
Susan Lewkow
Teri Link
Pamela Mahonchak
Chris & Liz Mascitelli
Ruth Peterson
Fred Pittroff
Shelly Smith
Kelley Southerland
Barb Stone
Leslie Britton
Josh Corwyn Scott Horowitz
Patrice Von Stroh
Theresa Wallace
Alison N. Roman MEMORIAL SCHOLARSHIP
Alison Roman was a beloved member of the Kantorei family and a fiercely dedicated music educator. She touched countless lives, and for this reason, with the blessing of Alison’s family, the Kantorei board of directors has named the Kantorei Individual Scholarship the Alison N. Roman Memorial Scholarship.
The Alison N. Roman Memorial Scholarship is designed to support students of color who intend to pursue the choral arts in college, whether as a music major or a singer in collegiate choral groups.
If you would like to contribute, you can do so online at www.kantorei.org/giving/scholarship.
ARTISTS
Organist and harpsichordist Frank Nowell performs frequently throughout the region as a soloist, collaborator, and continuo artist. In 2005 he founded the Baroque Chamber Orchestra of Colorado (BCOC), and the ensemble quickly garnered acclaim for its “artistic vision, authenticity, and devotion” under his leadership as Artistic Director. BCOC has “built a national reputation as a first-rate periodinstrument ensemble”(EMag), offering fresh new takes of familiar favorites like Bach’s Brandenburg Concertos and Vivaldi’s Four Seasons, uncovering rarely performed gems, and expanding the repertoire to include music from the Latin American Baroque.
Nowell has also developed a thriving apprentice program to help nurture the next generation of musicians in the historical performance field. An active performer as a Baroque keyboard specialist and “early music entrepreneur,” Nowell was previously co-founder of the ensemble Diverse Passions and founder of the Denver Handel Festival. Recent guest appearances include the Colorado Symphony Orchestra, Wyoming Baroque, Cottonwood Music Festival, Colorado Music Festival, Boulder Bach Festival, Pro Musica Colorado, and St. Martin’s Chamber Choir.
As an organist he earned Associate certification (AAGO) from the American Guild of Organists and has recorded on the Cygnus label. He is also a board member of Early Music America, whose mission is to develop, strengthen, and celebrate early music in North America. Nowell takes joy in introducing people of all ages and backgrounds to Baroque music and in collaborating with a wide range of art forms -including contemporary dance, mime, and spoken word -- to bring new dimensions to music from this era.
He received the Master of Music degree in choral conducting and music history from the University of Colorado, and a Bachelor of Arts degree with honors from Princeton University, where he served as University Organist.
The portative organ being played in these concerts was built specifically for MSU Denver in 2016 by A. David Moore, a well-known organ builder based in Vermont. It’s a three stop continuo organ encased in cherry wood with a sliding keyboard allowing the performer to shift easily from 415 to 440 pitch. The instrument includes three full-compass stops, an 8-foot Bourdon, a 4-foot flute, and a 2-foot fifteenth. It has an unusual “half stop,” that is a sesquialtera customized for MSU Denver.
Photo courtesy of Frank Nowell FRANK NOWELL Featured OrganistDr. Peter Schimpf is a professor of music at Metropolitan State University of Denver. He teaches courses in music history, world music, music appreciation, and the history of Rock and Roll. He is the founder and director of the Metro State Early Music Ensemble. He earned a Ph.D. and MA from Indiana University in musicology, and has a BM in performance from California State University Sacramento where he studied both classical guitar and lute. He currently performs on the lute, theorbo, and Baroque guitar, regularly appearing with the Baroque Chamber Orchestra of Colorado and the California-based ensemble Sinfonia Spirituosa.
He has also performed on period instruments with the Colorado Chamber Players, the Colorado Music Festival, Seicento Baroque Ensemble, St. Martin’s Chamber Choir, and the Denver Early Music Consort. As a musicologist, he has published articles on the music and career of composer Henry Cowell, and he has presented papers on a variety of topics at international, national, and regional conferences of the College Music Society, the Society for American Music, and the American Musicological Society.
Sandra Miller, cellist, is a core member of the Baroque Chamber Orchestra of Colorado and performs regularly in the Denver metro area on both Baroque Cello and Viola da Gamba. As a member of the orchestra, she can be heard on the group’s two most recent recordings: Corelli’s Circle and Resounding! She has had the opportunity to collaborate with many nationally and internationally recognized early music specialists including Stephen Stubbs, Ingrid Matthews, Mimi Mitchell, and Cynthia Freivogel.
She has participated in the Baroque Performance Institute at Oberlin Conservatory and studied gamba while living in Santiago, Chile. Ms. Miller is an active cello teacher, adjudicator, and chamber music coach and currently serves on the faculty of the West Denver Suzuki Strings program.
She holds a B.A. from Wesleyan University where she studied both European and non-western musical art forms and a M.M. in cello performance from the University of Colorado where she was a student of Judith Glyde and members of the Takács String Quartet. She currently resides in Golden, Colorado with her husband and two daughters.
Photo courtesy of Sandra Miller Photo courtesy of Peter Schimpf SANDRA MILLER Featured CellistMusikalische Exequien
I. Nacket bin ich von Mutterleibe kommen
Texts from the Old Testament, Gospels, and Martin Luther; English trans. Jean Lunn
Nakket bin ich von meine Mutterleibe kommen, nakket werde ich wieder um dahinfahren. Der Herr hat’s gegeben, der Herr hat’s genommen, der Name des Herren sei gelobet!
Naked I came forth from my mother’s body, naked as I came shall I one day return there. The Lord God has given, the Lord God has taken; the name of the Lord God be blessed.
Herr Gott, Vater im Himmel, erbarm dich über uns!
Lord God, Father in heaven, have mercy on us all.
Christus ist mein leben, Sterben ist mein Gewinn. Siehe, das ist Gottes Lamm, das der Welt Sünde trägt!
Christ is all my being, death is my only prize.
See, this is the Lamb of God, who bears the sins of the world.
Jesu Christe, Gottes Sohn, erbarm dich über uns!
Lord Jesus Christ, Son of God, have mercy on us all.
Leben wir, so leben wir dem Herren; sterben wir, so sterben wir dem Herren.
Darum: wir leben oder sterben, so sind wir des Herren.
If we live, we live in God the Father; if we die, we die in God the Father; therefore in living or in dying, we are in the Father.
Herr Gott, Heiliger Geist, erbarm dich über uns!
Lord God, Holy Spirit, have mercy on us all. Also hat Gott die Welt geliebt, daß er seinen eingebornen Sohn gab, auf daß alle, die an ihn gläuben, nicht verloren werden, sondern das ewige Leben haben.
Now therefore God so loved the world, that he gave his only begotten Son, so that all men that do believe in him should not perish, but have abundance of life forever.
Er sprach zu sienem lieben Sohn: Die Zeit ist hie zu erbarmen; fahr hin, meins Herzens werte Kron und sei das Heil der Armen und hilf ihn’ aus der Sünden Not, erwürg für sie den bittern Tod und laß sie mit dir leben.
He said to his beloved Son: The time has come to have mercy. Go forth, my heart’s most worthy crown, to bring the poor man blessing.
Save him from the power of sin, and triumph over death and pain, and keep him with you always.
Das Blut Jesu Christi, des Sohnes Gottes, machet uns rein von allen Sünden.
The blood of Christ Jesus, Son of the Father, washes away transgressions from us.
Durch ihn ist uns vergeben die Sünd, geschenkt das Leben. Im Himmel solln wir haben, o Gott, wie große Gaben!
He in his grace forgives us our sins, and life he gives us; By him we shall be given the precious gifts of heaven.
Unser Wandel ist im Himmel, von dannen wir auch warten des Heilandes Jesus Christi, des Herren, welcher unsern nichtigen Leib verklären wird, daß er ähnlich werde seinem verklärten Leibe.
We are citizens of heaven, and from it we shall wait for the coming of the Lord Jesus Christ, our Savior; by him shall our vile mortal flesh be glorified, that it may be fashioned like his own glorious body.
Es ist allhier ein Jammertal, Angst, Not und Trübsal überall; des Bleibens ist ein kleine Zeit, voller Mühseligkeit, und wer’s bedenkt, ist immer im Streit.
Here we are in a vale of tears, all full of sorrows, griefs, and fears; We live on earth a few short days, full of adversities; Who ponders them is never at peace.
Wenn eure Sünde gleich blutrot wäre, soll sie doch schneeweiß warden, wenn sie gleich ist wie rosinfarb, soll sie doch wie Wolle werden.
Although your sins be as red as scarlet, they shall be white as snow; though they be redder than crimson, they shall be as white as wool.
Sein Wort, sein Tauf, sein Nachtmahl dient wider allen Unfall; der Heilige Geist im Glauben lehrt uns darauf vertrauen.
His word, his blood, his baptism defend us from corruption; And through the Holy Spirit we trust in their great merit.
Gehe hin, mein Volk, in eine Kammer und schleuß die Tür nach dir zu!
Verbirge dich einen kleinen Augenblick, bis der Zorn vorübergehe.
O my people, go in; go to your chambers and shut the doors behind you, and hide yourselves there for just a little while, till the wrath be all passed over.
Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.
Fürden Unverständigen werden sie angesehen, als stürben sie, und ihr Abschied wird für eine Pein gerechnet, und ihr Hinfahren für Verderben; aber sie sind in Frieden.
Now we know the righteous are in God’s own hand, and there no pain comes upon them.
In the eyes of foolish men, men of no understanding, they seemed to die. Their departure was accounted pain and sorrow,, and their going forth their destruction, but they have peace and safety.
Herr, wenn ich nur dich habe, so frage ich nichts nach Himmel und Erden.
Lord, if I have thee only, in heaven and earth I long for no other.
Wenn mir gleich Leib und Seele verschmacht’, so bist du, Gott, allzeit meines Herzens Trost und mein Teil.
And though my flesh and spirit should fail, thou, O God, art the portion of my heart forever.
Er ist das Heil und selig Licht für die Heiden, zu erleuchten, die dich kennen nicht, und zu weiden.
Er ist seines Volks Israel der Presi, Ehr, Freud, und Wonne.
He is the Lord and blessed light to every nation, to enlighten those who dwell in night with salvation, and for thy people Israel their crown, their joy, their glory.
Unser Leben währet siebenzig Jahr, und wenn’s hoch kömmt, so sind’s achtzig Jahr, und wenn es köstlich gewesen ist, so ist es Müh’ und Arbeit gewesen.
All our life endures but seventy years; those who prosper may have eighty years.
And though our days here be filled with pride, their pride and joy is sorrow and labor.
Ach, wie elend ist unser Zeit allhier auf dieser Erden, gar bald der Mensch darniederleit, wir müssen alle sterben, allhier in diesem Jammertal ist Müh’ und Arbeit überall, auch wenn dir’s wohlgelinget.
How full of grief are all our days while here on earth we flourish; soon in the earth ev’ry man lies. For ev’ry man must perish. On earth in this dark vale of tears, our life is labor, grief, and fears, though we now well may prosper.
Ich weiß, daß mein Erlöser lebt, und er wird mich hernach aus der Erden auf erwekken, und werde darnach mit dieser meiner Haut umgeben werden, und werde in meinem Fleisch Gott sehen.
I know that my Redeemer lives, and at the end of days he shall raise me from corruption; and then at the last I shall put on again my skin and body, and clothed in my flesh shall see him.
Weil du vom Tod erstanden bist, werd ich im Grab nicht bleiben, mein höchster Trost dein Auffahrt ist, Todsfurcht kannst du vertreiben, denn wo du bist, da komm ich hin, daß ich stets bei dir leb und bin, drum fahr ich hin mit Freuden. Since thou art risen from the dead, death cannot overcome me.
Thy rising up has made me glad; no fear of death can harm me. For where thou art, there I shall be, that I may always live in thee; And I go forth in gladness.
Herr, ich lasse dich nicht, du segnest mich denn. Lord, if I let thee go, thy blessing be mine.
Er sprach zu mir: Halt dich an mich, es soll dir itzt gelingen; ich geb mich selber ganz für dich, da will ich für dich ringen. Den Tod verschlingt das Leben mein, mein Unschuld trägt die Sünde dein; da bist du selig worden.
He said to me: Hold fast to me; I give myself abundantly, to hold you and defend you.
For death is swallowed up by life; I take your sins upon myself, and I have blessed you always.
Take Him, Earth, for Cherishing
A urelias Clemens Prudentius (348-413); from “Hymnus circa Exsequias Defuncti;” trans. Helen Waddell
Take him, earth, for cherishing, to thy tender breast receive him. Body of a man I bring thee, Noble even in its ruin.
Once was this a spirit’s dwelling, By the breath of God created. High the heart that here was beating, Christ the prince of all its living. Guard him well, the dead I give thee, Not unmindful of His creature Shall He ask it: He who made it Symbol of his mystery.
Comes the hour God hath appointed to fulfil the hope of men, then must thou, in very fashion, What I give, return again.
Not though ancient time decaying Wear away these bones to sand, Ashes that a man might measure In the hollow of his hand:
Not though wandering winds and idle, Drifting through the empty sky, Scatter dust was nerve and sinew, Is it given to man to die.
Once again the shining road Leads to ample Paradise; Open are the woods again, That the serpent lost for men.
Take, O take him, Mighty Leader, Take again thy servant’s soul. Grave his name, and pour the fragrant Balm upon the icy stone.
Only in Sleep
Sara
Teasedale(1884-1933)
Only in sleep I see their faces, Children I played with when I was a child, Louise comes back with her brown hair braided, Annie with ringlets warm and wild.
Only in sleep Time is forgotten — What may have come to them, who can know? Yet we played last night as long ago, And the doll-house stood at the turn of the stair. The years had not sharpened their smooth round faces, I met their eyes and found them mild — Do they, too, dream of me, I wonder, And for them am I too a child?
The Music of Stillness
Sara Teasdale (1884-1933)
There will be rest, and sure stars shining Over [the] roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low. I will make this world of my devising Out of a dream in my lonely mind. I shall find the crystal of peace, – above me Stars I shall find.
There We Shall Rest
St. Augustine of Hippo; from “The City of God” (c. early 5th century)
There we shall rest and see, we shall see and love, we shall love and praise.
Behold what will be at the end without end. For what other end do we have, if not to reach the kingdom which has no end?
“Kantorei is an outstanding choir…excellent ensemble balance, fine intonation and musical expression…high level of energy.”
– Bruce McCollum, MusicWeb International, January 2021 (Read the full review here)
"...Always engaging and colorful...sung with depth and conviction by Kantorei."
- Karl W. Nehring, Classical Candor, December 2020 (Read the full review here)
Requiem
Eliza
Gilkyson(b. 1950)
Mother Mary, full of grace, awaken all our homes are gone, our loved ones taken taken by the sea Mother Mary, calm our fears, have mercy drowning in a sea of tears, have mercy hear our mournful plea our world has been shaken, we wander our homelands forsaken in the dark night of the soul bring some comfort to us all, O Mother Mary come and carry us in your embrace that our sorrows may be faced Mary, fill the glass to overflowing illuminate the path where we are going have mercy on us all in funeral fires burning each flame to your mystery returning in the dark night of the soul your shattered dreamers, make them whole, o Mother Mary find us where we've fallen out of grace, lead us to a higher place in the dark night of the soul our broken hearts you can make whole, o Mother Mary come and carry us in your embrace, let us see your gentle face, Mary.
The Road Home
Michael Dennis Browne (b.1940)
Tell me, where is the road I can call my own That I left, that I lost So long ago?
All these years I have wandered, Oh when will I know There's a way, there's a road That will lead me home?
After wind, after rain, When the dark is done, As I wake from a dream In the gold of day, Through the air there's a calling From far away, There's a voice I can hear That will lead me home
Rise up, follow me, Come away is the call, With the love in your heart As the only song; There is no such beauty
As where you belong, Rise up, follow me, I will lead you home.
Wanting Memories
Ysaye M. BarnwellI am sitting here wanting memories to teach me
To see the beauty in the world through my own eyes. You used to rock me in the cradle of your arms, You said you'd hold me till the pains of life were gone. You said you'd comfort me in times like these And now I need you, and you are gone.
So, I am sitting here wanting memories to teach me
To see the beauty in the world through my own eyes. Since you've gone and left me, there's been so little beauty, But I know I saw it clearly through your eyes.
Now the world outside is such a cold and bitter place, Here inside I have few things that will console, And when I try to hear your voice above the storms of life Then I remember that I was told.
Yes, I am sitting here wanting memories to teach me
To see the beauty in the world through my own eyes.
I think on the things that made me feel so wonderful when I was young, I think on the things that made me laugh, made me dance, made me sing, I think on the things that made me grow into a being full of pride; Think on these things, for they are truth.
And I am sitting here wanting memories to teach me
To see the beauty in the world through my own eyes. I thought that you were gone, but now I know you're with me; You are the voice that whispers all I need to hear. I know a “please,” a “thank you,” and a smile will take me far, I know that I am you and you are me and we are one, I know that who I am is numbered in each grain of sand, I know that I've been blessed again and over again.
Yes, I am sitting here wanting memories to teach me To see the beauty in the world through my own eyes.
YOUR SUPPORT MATTERS , YOUR SUPPORT MAKES A DIFFERENCE
We rely on patrons like you to help us achieve our mission and goals and there are many ways that you can have an impact on Kantorei in addition to attending our concerts. Here are just a few ways you can help:
» Make a tax deductible contribution at www.kantorei.org/giving/individual/
» Donate stocks, securities and annuities
» Make a legacy gift
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» Place an ad in one of our concert programs
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Donors who contributed between September 1, 2022 and August 31, 2023 are recognized in this program * Singers ^ Board & Staff ~ Volunteers
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Nema Sobhani
Negin Sobhani
Megan Spaulding
Kimberly A Spikes
Jason Spillman
Paul Spooner
Amanda Spratt
Jamie Stewart
Michael Stewart
Roberta Stewart
Michael Stickels
Janie Stoddard
Carl Straka
Sherry Stueven
Brenda Lee Suazo
Christianna Sullins*
Charles & Ellen Sullins
Charles Sullins
James Summerton
Griffin Sutherland*
Felice Tebbe
Emma Tebbe
Ken Thompson
Mary Thompson
Oliver Thornton
Shayna Tisdall
Jordan Tjaden
Rafy Tosado
Spencer Traylor
Laura Tribby
Karen Trout
Shelly Trumbull
Anthony Truong
Sarah Valentine
Traci VanHyning
Jessica Vaughn
Robert Victoria
Monika Vischer
Carlos Vivaldi
Janice Vlachos
Randi Ellefson
Chad Vorthmann
Janice Vue
Kyle Waggoner
Mark Wagstrom
Eden Walker
Carol Wallace
Naomi Ware
Liz Warner
Valerie Watkins
In Memoriam and Honorarium
Krista Barker, in honor of Christina Graham
Penny Bartko, in honor of Joel Rinsema
Kelli Chan, in honor of the Singers of Kantorei
Donors who contributed between September 1, 2022 and August 31, 2023 are recognized in this program * Singers ^ Board & Staff ~ Volunteers
Nancy Weaver
Tim Weaver
Heather Hawkins Weinland
Lonnie Wescott
Melissa West
Mary West
Bonnie Wetherbee
Ximena^ & Corey Wheeler
Alaina Whitney
Kenneth Wiig
Cindy Wilkinson
Dana Willett
LeeAnn & Laurence Williams
Cat Williams
Anne Williams
Tricia Williams
Erin Williams
Meredith Williams
Clara Winter
Abbey Winter
Eric Winterrowd
Patty Witshtun
Karen & Ian Wolfe
Kristie Wolff
Margie Wood
Clara Woodmansee
Margot Wright
Vanessa Wynne
Xcel Energy Foundation
Jeremy Yang
Erin Yokomichi
Courtney Zenner
Rochelle Ziegler
Matt Znidarsic
Sarah Schenkein, in honor of Judy Bloomberg
The Sabatier Family Charitable Fund, in honor of Sarah Branton
Christina Von Stroh, in honor of Jonathan Von Stroh
Gabriel Arquilevich in memory of Ken Atkinson
Alexandra Barba & Michael Bizzaro* in memory of Bill & Gay Eustice
Judy Fredericksen, in honor of Alex & Melissa Menter
Jim & Annette Gunnerson, in honor of Kevin & Heather Gunnerson
Krista Keogh, in honor of Sarah Branton & Adam Cave
Roberta Larson, in honor of Bryce Kennedy
Edie Mitchell, in honor of Sarah Branton & Adam Cave
Donald & Sharron Neufeld, in honor of Judy Fredericksen
Alice & Dan Robinson, in honor of Heather Gunnerson
Ann & Jerry Roemer, in honor of John Ludwig
In Kind
Kai Berry-Helmlinger
Steve & Martha~ Cearley
Cherry Creek High School
Josh Corwyn
First Plymouth UCC
Susan Lewkow
Metropolitan State University of Denver
John Schaak
Kimberly* & Michael~ Dunninger in memory of Judith Scheiber
Paul Gilbertson in memory of Phyllis S Gilbertson
Bryce Kennedy* & Joshua Larson in memory of Laura Jean Jory
Beth McDowell Baldwin in memory of Ken Atkinson
Teresa Morgan in memory of Jack Fredericksen & Joy Post
Alicia Rigsby*^ in memory of Theodore Small
Dan & Cathy Rudmann in memory of Ken Atkinson
Alison N. Roman Memorial Scholarship Donors
Linda & Randall Chilcote
John Fleming
Andrew & Rachel Halladay
Carol Roman
Clara Winter
Kantorei would like to thank our sponsors for your generous and ongoing support!
CAROLING, CAROLING NOW WE GO!
12.10.2023
Sunday @ 2:00 pm
D. L. Parsons Theatre
12.15.2023
Friday @ 7:30 pm
Saint John’s Episcopal Cathedral
12.16.2023
Saturday @ 7:30 pm
First Plymouth UCC
12.17.2023
Sunday @ 3:00 pm
Wellshire Presbyterian Church
Rachmaninoff Al -Night Vig l
My Soul Rejoices: Advent Magnificats
Dickens' A Christmas Carol
Carmina Burana
Columbine Memor al Concert 25-Year Remembrance
Mystical Resonance
MARK YOUR CALENDARS
KANTOREI 2023-24
CONCERT SEASON
SATURDAY, NOVEMBER 4, 2023
Salon @ 7:00 pm, The Home of Alex & Melissa Menter, Greenwood Village
FRIDAY, DECEMBER 1, 2023
A Winter’s Night @ 7:30 pm, Bethany Lutheran Church, Cherry Hills Village
SUNDAY, DECEMBER 10, 2023
Caroling, Caroling Now We Go! @ 2:00 pm, D. L. Parsons Theatre, Northglenn
FRIDAY, DECEMBER 15, 2023
Caroling, Caroling Now We Go! @ 7:30 pm, Saint John’s Episcopal Cathedral, Denver
SATURDAY, DECEMBER 16, 2023
Caroling, Caroling Now We Go! @ 7:30 pm, First Plymouth UCC, Cherry Hills Village
SUNDAY, DECEMBER 17, 2023
Caroling, Caroling Now We Go! @ 3:00 pm, Wellshire Presbyterian Church, Denver
SATURDAY, MARCH 9, 2024
Motet Masters @ 7:30 pm, Wellshire Presbyterian Church, Denver
SUNDAY, MARCH 10, 2024
Motet Masters @ 3:00 pm, First Plymouth UCC, First Plymouth UCC, Cherry Hills Village
FRIDAY, MAY 17, 2024
The Music of M. Roger Holland, II @ 7:30 pm, Saint John’s Episcopal Cathedral, Denver
SUNDAY, MAY 19, 2024
The Music of M. Roger Holland, II @ 3:00 pm, First Plymouth UCC, Cherry Hills Village