Denver Gay Men's Chorus - HOME: Building Pride, Finding Family Concert Program by Rocky Mountain Arts Association (RMAA, DGMC, DWC)

Michael Sattler - Executive Manager Don McMaster – Office Manager Nancy Crist – Bookkeeper

Board of Directors EXECUTIVE COMMITTEE Sally Taylor Sally Taylor Insurance Group RMAA Board Chair Kelli Theis PioneerSolutions RMAA Board Vice-Chair Wade Frisbie Frisbie Financial RMAA Board Treasurer Jerry Cunningham OUTFRONT Magazine RMAA Board Secretary James Knapp Artistic and Managing Director DGMC

DIRECTORS Cindy Koch Always Best Care Senior Services Michael Rodel Retired, formerly Kaiser Permanente

Chorus Leadership Board Representatives Everett Schneider Bedrock Landscaping Materials President, Denver Gay Men’s Chorus

Scott M. Elliott Keller Williams Realty DTC LLC

Ann Afton Families First President, Denver Women’s Chorus

Rev. Christopher Gilmore Sixth Avenue United Church of Christ

Scotte Hoerle TIAA RMAA Marketing Committee Chair

James A. Henderson Attorney At Law

EX-OFFICIO

James Knapp – Artistic and Managing Director Sam Eschliman – Assistant Artistic Director & Director of Off Kilter! Ricki Vorrath-Moyer – Principal Accompanist Ken Leist - Choreographer

Mark Zwilling Artistic Director DWC

Mark Zwilling – Artistic Director Alison Dozier – Assistant Artistic Director & Director of Take Note! Beth DeBoer - Principal Accompanist Sarah Blizzard - Take Note! Pianist

FOUNDATION SUPPORT & CORPORATE SPONSORSHIP

A special thanks to the Louden Family Foundation, Ralph L. and Florence R. Burgess Trust, AmazonSmile Foundation, CenturyLink Foundation, ExxonMobil Foundation, Charles Schwab Foundation, Community First Foundation

Dear Friends, Welcome to our final concert of the 2017-18 season, HOME: Building Pride, Finding Family, in the beautiful and historic (1887) Trinity United Methodist Church! We are honored to be singing in this architectural and acoustical gem and to be hosted by a congregation that is truly welcoming and affirming. This finale to our 36th season is unique. In the first half of the program, we explore themes of pride, family, justice, community and the many ways we each define and find our “home”. As part of that exploration, we are very proud to present the world premiere of the DGMC’s latest commission, Home is More, by the gifted Craig Carnahan, with text by three Denver poets who, themselves, have experienced homelessness. In the concert’s second half, the DGMC is joined by chamber orchestra and more than 50 treble singers from 17 different Denver area church and community choruses for the Rocky Mountain regional premiere of Street Requiem, a powerful and stunningly beautiful work by Australian composers Kathleen McGuire, Andy Payne and Jonathon Welch, which pays homage to those who live and struggle on the streets. It has been a terrific experience having these talented women join our DGMC family for this special concert! As part of the DGMC’s commitment to reach a broader audience and to address civic challenges, we hope this performance will heighten awareness, foster dialogue, empower citizens and increase volunteer efforts to address issues surrounding homelessness and housing insecurity in our city. Leading up to this weekend’s concerts, the DGMC was honored to have been invited by the City of Denver to sing selections from Street Requiem for the 500 participants attending its annual Housing Summit on May 24th at the Hyatt Regency Downtown. Street Requiem has been one of the most exciting and rewarding projects the DGMC has done in many years. It has been our privilege to support the ongoing work of four nonprofits who serve the Denver homeless community – Urban Peak, the St Francis Center, SAME Café and The Gathering Place. I am exceedingly proud that more than 60 RMAA singers and board members have contributed 160 hours at these organizations completing tasks ranging from cooking and serving meals, singing for fundraisers, washing dishes and collecting food and clothing items, as well as providing overnight security at Denver churches that provide sleeping quarters for citizens who are homeless. I would strongly encourage you to consider volunteering for one of these organizations. It will be an experience that you will never forget and will enhance your sense of gratefulness, humility and compassion. As always, thank you for joining us and for your unwavering support as we conclude our 36th season and continue our mission of “building community through music”. James Knapp Artistic and Managing Director Denver Gay Men’s Chorus 4

Artistic Staff for DGMC

James Knapp, Artistic and Managing Director

With more than 30 years of choral conducting experience leading college, church and community choruses, James is in his fifth season as Artistic and Managing Director of the Denver Gay Men’s Chorus and is leading the ensemble to higher levels of artistic and musical excellence. Currently the Artistic Director Emeritus of the Bayou City Performing Arts, James guided the Gay Men’s Chorus of Houston, the Bayou City Women’s Chorus and the Bayou City Chorale for eight years with tremendous success. He holds a Bachelor of Music Education from Fredonia State University, a diploma from the Mozarteum Conservatory of Music in Salzburg, and a Masters of Music from the University of Texas at Austin. His choirs have appeared at regional conventions of the American Choral Directors Association and the Texas Choral Directors Association, and have performed with the Moscow Chamber Orchestra in the Palace of St. Petersburg Music Festival in Russia. In addition, James has conducted the featured choir at the International Church Music Festival in Coventry, England, with Sir David Willcocks.

Sam Eschliman, Assistant Artistic Director Sam is in his second season as Assistant Artistic Director of the DGMC and Director of Off Kilter!, DGMC’s small group a cappella ensemble. A Nebraska native, Sam received his degree in music education from Doane University in 2013. After completing undergraduate studies, he taught at Lincoln Lutheran Middle and High School directing choirs in grades 6-12. In 2015, Sam moved to Denver to serve as Coordinator of Children and Youth Music at St. Andrew United Methodist Church in Highlands Ranch and, one year later, started his affiliation with the DGMC. In August, 2017, Sam relocated to Greeley with his wife, Taylor, to enroll in his Master’s Degree in Choral Conducting at the University of Northern Colorado.

Ricki Vorrath-Moyer, Principal Accompanist Ricki Vorrath-Moyer attended Andrews University in Berrien Springs, Michigan, then received her Bachelor of Music in Organ Performance at the University of Colorado, Boulder. She went on to receive her Masters of Music degree in Organ Performance, with minor emphases in Choral Conducting and Piano Pedagogy. She is currently Organist/Accompanist at First Plymouth Congregational Church in Denver. She is a member of Denver’s premiere handbell ensemble, the Rocky Mountain Ringers. Ricki also serves as the Artistic Director for the Metropolitan Choral Festival.

Ken Leist, Choreographer A business graduate of The University of Tulsa, Ken quickly turned his career focus to the performing arts after finding his passion for the stage while touring with the world-renowned organization, Up With People, for whom he is now the Choreographer/Associate Producer and Director of Cast Programs. His production experience includes roles both on stage and behind the scenes. Ken has performed in over 13 countries and on the high seas, and has had the opportunity to perform in and help produce events such as: World Youth Day ’00 in Rome, Italy; World Expo ’05 in Nagoya, Japan; and the Tournament of Roses Parade ’11 in Pasadena, CA. Ken has collaborated with the DGMC for four years and is so proud to work with such a talented community of singers. 5

DGMC Chorus Council Everett Schneider, President Michael Backman Matthew D.R. Bradford Scotte Hoerle, Marketing TJ Kizuka, Vice-President Nick Martinez Tom Rubane, Treasurer Eric Stephenson Herb Toplan Kyle Cameron Wood, Secretary Production Team Kyle Jensen, Production Manager Stephen Wertz, Production Manager Michael Backman Kayln Bohl Alex DeFazio Timothy Kreuter

Production Design A collaboration of the entire production team

@DGMC5280

Denver Gay Men’s Chorus

Street Requiem Chamber Orchestra

Violin I Chris Short - Concert Master Ji Hye Chung Brune Macary Anton Smimov Violin II David Waldman – Principal Regan Kane Robyn Sosa Stacy Brady Viola Aniel Caban - Principal Lauren Spaulding Steve Gravagne Cello Heidi Mausbach – Principal Joey Howe Sean Cortez

Script

Bass David Crowe

Narrators

Flute/Penny Whistle Sonya Yeager-Meeks

Alex DeFazio Michael Backman Hayes Burton TJ Kizuka Lady Strongman Stephen Wertz

Oboe Miriam Kapner French Horn Lauren Varley Percussion Derek Sawyer Piano Ricki Moyer

Special thanks to

@DGMC

Marketing Committee

Scotte Hoerle, RMAA Marketing Committee Chair Steven Capaldi Carolyn Dieckmann Cheryl Hamilton TJ Kizuka V McDougall Christine Monks Michael Sattler Sally Taylor

Special thanks to

BetaWest Denver Public Schools Dan Manzanares - Lighthouse Writers Workshop Denver Tux Integrity Print Group KOOL 105 Jenna Manning, O.D. OUTFRONT Magazine Trinity United Methodist Church Spectrum Audio Visual Julie Gladney George Mitchell of FOX News Channel 31 - Denver PepsiCo MillerCoors Barefoot Wines A special thank you to RMAA’s Fifth Section Volunteers, who signed up to help RMAA in various capacities for our productions! Thank you!

Chorus Members First Tenor

Scott Bateman Kyle Bradley* Hayes Burton Michael Ford Anne Frey Kyle Gates Mark Heneghan** Jason Lusk Alok Nadig Christopher Pieper Craig Roberts Lukas Seelye David Valdez Glen Wood Kyle Cameron Wood

Second Tenor

Eric Austin Attard Tom Baldonado Erik Balsley Matthew D.R. Bradford** Michael Buckley Spencer Case Andrew Close Sean Cortes Maurie Cyr Shubhang Dave Peter Di Leo Mel Garcia Brandon Gerber Justin Gorrie Scotte Hoerle Kyle Jensen* Dean Kersten TJ Kizuka Zachary Lamb Mark Lively Todd Nienhueser Brian Ogden Keith Rutledge Michael Sattler Lady Strongman

Baritone

Brendan Bassett Kevin Ford Matthew Gray Julian Gines AJ Grover Walter James Don Johnson Mark Koch Timothy Kreuter John Krotchko Anthony Limรณn Rob Lowe Roy Martinez Don McMaster Matthew Miller John Mowry Nolan Oltjenbruns Michael Rodel* Quincey Roisum William Rush Corey Sell** Eric Stephenson

Bass

Michael Backman** Terry Bohannon Andrew Bowman Dale Britt Christopher Dapper Jim Drake Eric Horan Stephen Hutt Darrell Johnson Dan Kifer Keifer Mansfield Everette Marshall Douglas Miller Maurice Murphy Micky Nettleton Robert Parker Eric Parkerson Christopher Perez Ross Pruett Cory Rivers Everett Schneider Victor Silva Griffin Sutherland John Trujillo Vern Tuttle George Ware Stephen Wertz*

The Treble Singers Sopranos

Jocelyn Armes Ellen Bandsma Amy Bergevin Jude Blum Alex Strong Bowan Sara Brush Anna Bryant Victoria Engelhardt Talia Fischer Anne Frey** Lisa Goheen Jill Henton Jane Hoskinson Mary Hoyer Elena Kalahar Kat LaCoste Mary McGuire Stephanie Medema Carol Murphy Cooper Rae Ellie Seligmann Diane Didier Vollmer Anne Wattenberg Megan Rue Webber Joyce Witte Natalie Wren

Altos

Jennifer Abeyta Molly Acker Jennifer Bell Becky Blakesee Clair Clauson Sarah Davis Eaton Martha Everett Dindy Fuller Susan Mann Allison Mesereau Andrea Morgan Judith Nelson Kimberly Palgrave Mohra Pannier Molly Patrick Mary Lee Peterson Kathleen Rector Ruth Rodgers Heidi Shriver C.J. Sustrina Karen Tonso Marcia Whitcomb Lindsday Wiegand Sherri Zetterower

* = musical section leaders ** = section coordinators 7

Down By The Riverside Traditional Arranged by Chad Weirick

Glory

from the movie, SELMA Words and Music by John Stephens, Lonnie Lynn and Che Smith Arranged by Eugene Rogers Recorded by John Legend and Common. Winner of the Academy Award for Original Best Song (2015) Rap texts by Tim Kreuter (DGMC) Soloists Lukas Seelye & Alok Nadig Rap Section Walter James (Friday), Lady Strongman (Saturday Matinee & Evening)

Give Me Your Tired Your Poor/God Help the Outcasts

Words by Emma Lazarus from “The New Colossus” and musical setting of ‘Give Me Your Tired Your Poor” by Steve Huffines God Help the Outcasts from the Disney film, “The Hunchback of Notre Dame” (1996) Words by Stephen Schwartz, Music by Alan Menken Arranged by Steve Huffines Soloists Jim Drake (Friday Night), AJ Grover (Saturday Matinee), Anthony Limón (Saturday Evening)

This Is Me

from the film “The Greatest Showman” (2017) Words and Music by Benj Pasek and Justin Paul Arranged by Dave Volpe Soloists Spencer Case & Hayes Burton - Friday/Saturday Night Christopher Perez & Hayes Burton - Saturday Matinee

A Home Is More (2018) *WORLD PREMIER*

Music by Craig Carnahan Commissioned by the Denver Gay Men’s Chorus and dedicated to all those who struggle to find an emotional, spiritual or physical place to dwell in wholeness. Poetry: Anna Kongs, Marilyn Morris and Joel Sanda, three Denver homeless poets “Memories or dreams, fears or nightmares. A home is more than a place to sleep. It is a soft nest that we build form our days. A place to be out of the rain, snow and wind. An escape from hours of frustrating waiting A place to pile our boots and bake bread More about who and what’s not there than is. - Denver Homeless poets; Ana Kongs, Marilyn Morris and Joel Sanda.

From the composer “Home” is often considered one of the most comforting words in the English language. Yet a definition of what constitutes home is elusive, at best. 8

Is it a place where we live, or is it the loved ones that surround and nurture us? Is it the sense of physical space that provides an emotional attachment or a more abstract being that defies description? It where we’ve been, or were we are at this exact moment in time? In the eloquent words of these poets - Ana Kongs. Marilyn Morris and Joel Sand - the answer is: Yes Home can be the physical structure that provides needed shelter. Home can be a safe haven from life’s stress and distress, Home can be the memories we harbor of days and experiences long passed, as well as those in the here and now. Home can be more about what’s not than what is. In short, a home is more. - Craig Carnahan March 2018

Truly Brave (song mash up of True Colors/Brave)

Words and Music by Billy Steinberg, Tom Kelly and Sara Bareilles Arranged by Mac Huff Soloists Friday Night - Eric Attard & Keifer Mansfield Saturday Matinee - Brian Ogden & Dan Kifer Saturday Evening - Kyle Wood & Keifer Mansfield

You Will Be Found

from the musical Dear Evan Hansen Words and Music by: Benj Pasek and Justin Paul Arranged by: Mac Huff Winner of the Tony Award for Best Musical (2017) Soloists Friday - Stephen Wertz & Tim Kreuter Saturday Matinee - Kyle Jensen & Stephen Hutt Saturday Evening - Mark Lively & Darryl Johnson

Intermission

Street Requiem (2014)

Music by Kathleen McGuire, Andy Payne and Jonathon Welch

*See the following pages for translation and notes from the production of this powerful piece*

The Treble Singers of the Denver Gay Men’s Chorus are made up of independent singers and singers that represent the following choruses: Althea Center for Engaged Spirituality Arvada Chorale Central Presbyterian Church Colorado Symphony Chorus Denver Women’s Chorus Harmony - A Colorado Chorale Impromptu Jefferson Unitarian Universalist Church The Colorado Hebrew Chorale

Metropolitan State University Women’s Chorus Montview Presbyterian Church Northern Colorado University Chorale One World Chorus Resonance Women’s Chorus of Boulder Skyline Chorus St Andrew United Methodist Church Swallow Hill Chorus

Acknowledgement and Dedication - soloist Alok Nadig

III.

Ubi Caritas – Charity and Love

II.

IV. V.

Introit- Requiem Aeternam - soloist Sarah Davis Eaton Kyrie Eleison - City Hymn

Dies Irae – Day of Judgment

VI. Offertorium

VII. Pie Jesu - soloists Lindsay Wiegland (Saturday Matinee) & Cooper Rae (Friday, Saturday Night)

VIII. Agnus Dei – Lamb of God - soloists Alok Nadig & Talia Fisher IX. Gloria - Anthem of Empowerment X.

- soloist Heidi Shriver

Lacrimosa – Night Tears - soloist Sarah Davis Eaton

XI. Lux Aeternam – Remember Them - soloists Talia Fisher & Alok Nadig 9

ABOUT STREET REQUIEM Street Requiem was composed in Melbourne, Australia, in 2014 by Kathleen McGuire, Andy Payne, and Jonathon Welch. The eleven-movement work was premiered at the Melbourne Recital Centre’s Elisabeth Murdoch Hall on June 7, 2014 as part of the Melbourne International Singers Festival. It was conducted by Jonathon Welch and Kathleen McGuire, and featured soloists Morteza Teimouri, Liane Keegan, Jonathon Welch, and Danielle Matthews. Subsequent performances have included concerts in Malvern, Australia; Dallas, Texas; Sydney, Australia; Sunshine, Australia; Victoria, Australia; San Mateo, California; San Francisco, California; Brisbane, Australia; Seattle, Washington; and Carnegie Hall, New York. Street Requiem was selected as a semi-finalist in the 2015 American Prize Professional Choral Composition division. Street Requiem is a highly accessible, contemporary work including English, African, and Arabic lyrics alongside a modern setting of the traditional Latin texts. While at times deeply moving, the work is essentially optimistic and uplifting. The work utilizes gospel, Celtic, neo-Romantic, neo-Baroque, indigenous, and contemporary genres and instrumentation to reflect the multicultural and multi-faith traditions of modern city living. From the outset, we aimed to create an inclusive work, one to which people from various backgrounds could relate. Although it is anchored in the Latin of the traditional Requiem mass, we incorporated English texts relevant to a modern-day context. The Requiem is deliberately neither secular nor religious, intended instead to be deeply spiritual, allowing listeners to find their own faith or meaning in the context of the words. Because there were several highly publicized deaths on the streets of Melbourne during the initial composition period, we were asked if any specific events are referenced in the work. The answer is best understood by our intent to write inclusively. There is no doubt that specific events had a profound effect on us, but Street Requiem is for all those who died innocently on the streets. As well as remembering street deaths, we also want to challenge the audience to do something about their situation—whether it is for those who are forced to live on the streets or those living in poverty or illness— or in regards to society’s general attitudes to hate or violence. The tone of Street Requiem is often confronting, encouraging listeners to examine their own attitudes and beliefs. ~ Kathleen McGuire, Andy Payne, and Jonathon Welch I. Acknowledgement & Dedication Acknowledgement: Traditional acknowledgement adapted by Native American advisors for performance in the Denver Area. We respectfully acknowledge the peoples of the Arapahoe, Apache, Cheyenne and Ute Nations and the Pueblo and Shoshone Tribes, who were the traditional custodians of this land called Colorado (this was reworked for the Colorado performance). We would also like to pay respect to their elders, past and present, And extend that respect to other indigenous people present. Dedication: Classical Arabic translation by Bassam Kassab; music adapted by Ilyas Iliya. (Remember them; those who walked upon the streets but did not return.) Honoring those who have come before us throughout time, the chorus as individuals and en masse pay their respects on behalf of everyone present. In order to honor recent deaths on the streets, the composers felt it was paramount to acknowledge those who have suffered, regardless of the time, place, era, or culture. Underpinning the chant is a didgeridoo drone representing indigenous Australia, and a haunting dedication intoned in Arabic to symbolize Middle Eastern culture. The pairing is unusual, although each is rooted in ancient culture. The inspiration for the juxtaposition arose particularly from the work Jonathon and Andy were doing with Voices Without Borders—an asylum seekers choir in Melbourne—in the months leading to the premiere. In all, these representations of multiple cultures and beliefs set the stage for a requiem that reaches beyond the scope of a traditional Christian setting in Western classical music. II. Introit – Requiem æternam music: McGuire, Payne, Welch Requiem æternam (Bring them eternal rest) Bring them peace Dona eis pacem (Give them peace) Honoured now, not forgotten. Requiem sempiternam (Give them everlasting rest) et lux perpetua luceat eis (and let perpetual light shine upon them) 10

The choir gradually enters with a pulsing ostinato. The words, in Latin, pray for eternal rest for the souls of the departed. There is an underlying and uneasy tension in the music that reflects the sudden and sometimes violent nature of death on the streets. III. Ubi caritas – Charity and Love music: Welch. arr: McGuire words: Payne What is it that scares you when it’s change I’m looking for? What is it that scares you, that makes you bar the door? What is it that scares you when my hand’s stretched out this way? What is it that scares you, that makes you turn away? Why do you spend your time now watching life from the stalls? When all the drama happens outside the concert hall. Ubi caritas et amor Deus ibi est. (Where there is charity and love, there is God.) What is it that makes you rush past me, who can tell? Can it be you see now our lives in parallel? What is it that scares you, that makes you turn away? What is it that scares you when I’m dying in this way? In the third movement, the audience is addressed directly by the voices of people living on the street. The music is rhythmic and challenging. The refrain incorporates words taken from an ancient hymn, but the syncopated rhythm could not be further from the Gregorian chant with which they are usually associated: Ubi caritas et amor Deus ibi est (“where there is charity and love, there will you find God”). In the premiere, the Choir of Hope and Inspiration — Melbourne’s street choir — sang this movement. Their story and the work of Jonathon and Kathleen with people who are homeless or disadvantaged was central to the audience’s expectations of the work. IV. Kyrie eleison – City Hymn music and additional words: Payne; arr. McGuire verses by John Newton (1725–1807) Kyrie eleison, Christe eleison (Lord have mercy, Christ have mercy) Wind back the tape from the road so that traffic can run. Wash all the blood from the street so the tourists still come. Glorious things of thee are spoken, Sion, city of our god; He, whose word cannot be broken, formed thee for his own abode. On the Rock of Ages founded, who can shake thy sure repose? With salvation’s walls surrounded, Thou may smile at all thy foes. See the streams of living waters, springing from eternal love. Well supply our sons and daughters, and all fear of want remove. Who can faint while such a river ever flows their thirst assuage? Grace which, from the Lord, the giver, never fails from age to age. Saviour, if of Sion’s city, I, through grace, a member am, Let the world deride or pity, I will glory in thy name. Fading is the worldling’s pleasure, all his boasted pomp and show. Solid joys and lasting treasure, none but Sion’s children know. The City Hymn starts with the traditional Greek prayer Kyrie eleison, Christe eleison (“Lord have mercy, Christ have mercy”) used almost in exasperation. It is as if, in our name, municipal officials are anxious to preserve the image of the city even in the face of death on the street. Juxtaposed is a hymn in praise of the city. The words of John Newton are unchanged, but reinterpreted. The city is likened to Sion, idealized as a utopia providing wealth and sustenance to its inhabitants. The uneasy rhythms of the hymn suggest that all is not well. The movement concludes on a single sustained note, which continues attacca into the judgment of the Dies Irae. Violent death on the street is not uncommon, and many innocent people have been killed by random acts of violence; but it was a single incident during the composition period that led Andy to the blunt chorus of the Kyrie. A man well- known to homeless charities in Melbourne was killed under a popular bridge in the city. The young man accused of the killing had attended one of Melbourne’s most prestigious schools. The obvious headlines were written, but in the days following the incident the city authorities were criticized when the papers reported that the man’s possessions, and indeed his blood, were still on the street where he had been killed. Melbourne, in common with many cities, covets its reputation as “the world’s most livable city.” But as with many cities, there is an uncomfortable side to Melbourne’s story. Andy wanted to write an ironic hymn in praise of the city. Having an idea for the basic rhythm and tune, Andy was thumbing through Hymns Ancient and Modern when he came across John Newton’s “Glorious Things of Thee are Spoken.” “Sion” became Melbourne, and the sentiment was perfect. The words of the hymn suggest that the glorious city has been given to its residents by God, but in the Street Requiem’s context these words may be interpreted with an ironic twist.

V. Dies irae – Day of Judgement music: McGuire, Payne, Welch Dies irae, dies illa, (Day of wrath, that day) solvet saeclum in favilla. (when the world will dissolve into ashes) Nolite iudicare ut non judicemini. (Do not judge others lest you be judged yourself) Day of judgement, day of fury, time to face the final jury. Raise the dead to judge the living, final ending, no forgiving. Read the paper, point the finger, close your mind, opinions linger. Judge your neighbor, close the border, put the blame on law and order. The sustained, unison B-flat that concludes the Kyrie gives way to the Dies Irae motif, which opens the fifth movement. The simple theme becomes increasingly insistent as the choral parts develop. At the moment of crescendo, the repeated theme is interrupted by a new tune and words: Nolite iudicare ut non judicemini, a Latin translation of the gospel writer Matthew’s words: “Do not judge others, for this will bring judgment upon you.” When the main theme returns, the words are now in English. At first we hear a restatement of the idea of being called to account in a final judgement. But as the theme shifts in intensity, the words move to a modern reflection of our judgement of others—especially those whom we do not know or do not understand. Matthew’s words return to remind us of the danger in judging others and the judgement theme from the next movement is previewed. The movement ends suddenly as if in judgement of itself. VI. Offertorium music: McGuire, Payne, Welch Now we offer the names of the departed... VII. Pie Jesu music: Welch Pie Jesu Domine, dona eis requiem. (Merciful Lord Jesus, grant them rest.) The original Latin is used without alteration in the hauntingly beautiful Pie Jesu. Jesus is implored to grant eternal rest to those who have died. Soloist and choir repeat the imploration, which concludes in a note of hope. Jonathon originally wrote the Pie Jesu as a stand-alone piece, not intended to be part of the Street Requiem. However, we loved it from the moment we heard it. We agreed that the Pie Jesu would serve as the work’s specifically Christian offering. The Pie Jesu is unusual amongst the movements because it contains no English translation or interpretation. The Latin text is a prayer addressed to Jesus, and as such might be said to be relevant only to particular religious groups. However, we felt that any further adornment would be unnecessary for the movement. The soloist with the choir’s sopranos and altos provide particular peace and tranquility: a welcome contrast after the turbulence of the Dies Irae. VIII. Agnus Dei - Lamb of God music: McGuire, Payne words: Payne Lamb of God, who taketh away the sins of the world, find me somewhere to sleep. Lamb of God, who taketh away the sins of the world, Grant eternal peace. Agnus Dei. (Lamb of God) The supplication of this movement is repeated to the “Lamb of God.” As one who has known great suffering, the Lamb is called upon to give peace to us all. Our English interpretation references the prayer to the street as the Lamb of God is entreated to find the supplicant “somewhere to sleep” as a prelude to “eternal peace.” Arranged for two solo voices in a neo-Baroque style, this is the only movement without choral input.

IX. Gloria - Anthem of Empowerment music: McGuire words: traditional South African anti-Apartheid folk song; McGuire, Payne, Welch Gloria in excelsis Deo. (Glory to God in the highest.) Hosanna in excelsis Deo. (Hosanna to God in the highest.) Akanamandla. (Evil has no power over us.) Blessed are the meek, for they shall inherit the earth. Blessed are the poor, for they’re worth so much more. Senzeni na? (What have we done?) We are your daughters, we are your sons, we’re innocent, our lives are young. What have we done, what have we done? What have we done, what have we done? Amandla awethu! (Power to us!) The Gloria, an unexpected inclusion in a Requiem setting, is included here to remember and to offer empowerment to children on the street everywhere. The setting is African in style, from a continent on which children have suffered greatly. The movement begins with a jubilant chorus of praise, initially in the traditional Latin. As the movement progresses, we hear the Zulu “Akanamandla” interposed with the traditional

Latin text. Two of the beatitudes, “Blessed are the meek” and “Blessed are the poor,” form a bridge to the reflective “senzeni na” (“what have we done?”) repeated in Zulu, and then in English, then sped up to symbolize reclamation. The movement concludes with a joyous return to the original theme, representing hope even in the face of tragedy. In 2014, Kathleen was profoundly moved by her visit to Soweto and the Hector Pieterson Museum. As an educator herself, the story of police killing 12-year-old Hector Pieterson and many other children starting on the 16th of June 1976 was particularly confronting. A local guide named Neo showed Kathleen around the Soweto and Johannesburg. Neo, himself just a boy on the streets in 1976, was present at the shooting and the 18 months of school strikes and police brutality that ensued. He introduced Kathleen to the words “Senzeni Na” and explained the deep meaning to him, to his people and to this tragic moment in history. He entreated her to share this important story with others. Shortly after she returned to Melbourne, Kathleen wrote the Gloria. The choir’s music represents children rising up against oppression, while the women exclaiming “Amandla” represent Winnie Mandela inciting the masses to take action. X. Lacrimosa – Night Tears music: McGuire; traditional Celtic folk song words: Payne She moved through the street as she moved through the fair. With footsteps behind her, the wind in her hair. The swan on the river, the shark in the bay And life, like the tide, slowly ebbing away. She could be your daughter, he could be your son. With footsteps behind her, an evil is done. The stars keep on shining, they’ve nothing to say; The angels are weeping as god looks away. Dies illa lacrimosa, (That day of tears,) qua resurget ex favilla. (when from the ashes shall rise) Dies illa lacrimosa (That day of tears,) judicandus homo reus. (when the guilty man is judged) She could be your daughter, he could be your son. With footsteps beside her, an evil is done. The stars keep on shining, they’ve nothing to say; The angels are weeping as god looks away. The gentle opening of the Lacrimosa comes as an emotional relief after the frenetic Gloria. Through the introduction of the traditional Celtic folk song “She Moved Through the Fair” we follow a beautiful but elusive woman on her way home through the city streets. A presence lurks in the shadows but it is no monster; he is somebody’s son, a reminder that the violence which is about to be committed is a part of us all. The English story then gives way to the Latin Lacrimosa, a text originally part of the Dies Irae. It warns of the day of weeping when the guilty will rise from the dead to be brought to account for their actions. There were a number of highly publicized attacks on women in Melbourne in 2013 and 2014. Direct action followed, including protest marches designed to enable women to reclaim the streets. It was inevitable that audiences would reference these incidents in Street Requiem. Andy wrote the English words of the Lacrimosa to reference the words of the Celtic ballad, the ambiguity of which intrigued him. He wanted audiences to consider the complexity of the issues relating to violence against women. Kathleen, also intrigued by melodic elements of the original ballad, chose to source the traditional tune when setting the text. XI. Lux æterna – Remember Them music: McGuire, Payne, Welch Lux æterna luceat eis, (May an eternal light shine upon them,) cum sanctis tuis, in æternum. (with the saints in eternity.) May you find a resting place, safe in love’s embrace. Dona eis pacem. (Give them peace.) Remember them. We remember them. May you come to rest in peace, you will be remembered. Dona eis pacem. Dona nobis pacem. (Give them peace. Give us peace.) We remember them. Street Requiem concludes with a hymn of remembrance. The soloist begins in Latin: Lux æterna luceat eis (“may eternal light shine on them”). The voices of the choir — singing in English — prayer for peace, tranquility, and a final resting place for those who have died. The simple tune — loosely derived from the “Requiem æternam” theme of the 2nd movement — is repeated before the choral voices peal like bells as if welcoming those who have died to their final resting place. In this act of remembrance, we hope to contribute to their final peace. The work concludes with a solemn and peaceful yet essentially optimistic tone. Street Requiem is about moving toward peace for those who have died, and also for those who remain. The Latin text reflects this sentiment: “Give them peace, give us peace.” ~ Kathleen McGuire, Andy Payne, and Jonathon Welch (2014)

Join RMAA’s Guardian Circle! The Guardian Circle is Rocky Mountain Arts Association’s monthly defined-giving program for family and friends of The Denver Gay Men’s Chorus and The Denver Women’s Chorus. When enrolling in this program at the Bronze ($10-49), Silver ($50-99) or Gold ($100+) levels, individuals are afforded the opportunity to support one or both choruses and to embrace the Association’s mission of “Building Community Through Music.” Guardian Circle members can designate monthly, tax-deductible contributions at any level to support many activities, including: to purchase new music and to defray the costs of securing performing rights; to assist individual singers with their annual chorus membership dues; to enhance production capabilities at our subscription concerts; to underwrite outreach efforts to unserved and underserved audiences in our community; and to support the Association’s administrative functions. Depending on the contribution level, each new or continuing Guardian Circle member receives a variety of benefits, such as: recognition in the printed program at every subscription concert; a specially designed Guardian Circle pin; complimentary tickets; invitations to exclusive donor recognition events; access to concert previews, preferential seating at performances; and invitations to exclusive VIP areas at all subscription concerts. Please consider this opportunity to join RMAA’s Guardian Circle and to wrap your arms around the 220-singing members of these two fine choruses. For more information about the specific benefits at each donor level, or to enroll as a new member now, please visit our support page at rmarts.org; email us at info@rmarts.org; or call our office at 303-325-3959.

List of current Guardian Circle members

GOLD $100 - $199

Hayes Burton* Mick Davey* Kevin Ford Cheryl Hamilton* One World Resource, LLC Michael Sattler*

SILVER $50 - $99

Ann Afton* Jennifer Archuleta* Karen Aviles Tom Baldonado Erik Balsley Matthew D.R. Bradford* Dale Britt* Allen Browning Michelle Busse Christopher Call Steven Capaldi Pat Condon Joseph Contardo Maurice Cyr* Kevin Doherty Christina Gammon 14

Matthew Gray* Kelly Grutsch Joel Halligan Bill Heath* Mark Heneghan Scotte Hoerle* Michael Kadovitz* TJ Kizuka James Knapp and Jesse Field* Cindy Koch* John Krotchko* Jason Lusk JT McGowan* Don McMaster* Andrea Mitchell* Ricky Mitchell Lou Moran and Douglas Van Dine* Nolan Oltjenbruns* Luis Quiroz Craig Roberts Michael Rodel* William Rush Everett Schneider* Lukas Seelye Shawn Snow Sally Taylor Herb Toplan*

Lady Vaccarella Bradley Waters Stephen Wertz Glen Wood

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Mary Birdsall Larry and Rebecca Bourgeois* Clinton Crow Casey Davis Robert Gladu* Gail Hageman Pat Lounders Dr. Rev. Harvey & Judy Martz Lynn Nimmo Cathy Noland Kelli Theis* Tari Vomaske *In addition to their Guardian Circle donations, these donors have given additional in-kind or one-time donations

Home By Leti, member of The Gathering Place commissioned by the Denver Gay Men’s Chorus It was an honor painting an illustration for the Gay Men’s Chorus. Whenever I paint anything, I try to put myself in the mindset and heart of the meaning, the intention, the purpose. Your words inspire me. After I read your notes regarding Street Requiem, and the words you wrote, like shelter, welcome, and peace, I thought of those near to me who have died on the streets, such as my brother, and several others, some of who literally died on the streets because of murder, lack of health care, or homelessness. I almost died on the streets. It’s not something that’s just read about in a journal or blog. I am reminded, again, that there is no peace, for at this very moment, someone is alone, dying, on the street. There may be one thing that is true: love. Isn’t it strange how love can exist without peace, yet there cannot be peace without love? My heart is broken, yet when I think of your songs singing for peace, for love, for shelter, for acceptance, for welcome, for diversity, all I could do is join you - and the only way I know how to is by painting. Painting, to me, is not an easy thing to do: it’s the same challenge as working towards peace, and we can only do it despite our hurt, with love. The rainbow in the painting represents people seeking shelter from the storm of not only the elements, but also from the storm of loneliness, bigotry, and hate. With open hearts we hear each other’s voice sing above the lightning and thunder. The energy of our empathy and solidarity lights the way, revealing an amazing symphony, for what we are painting and singing about is love and hope for true justice and peace for all.

SILENT AUCTION There will be a silent auction for Leti’s iconic painting at the concert, with the proceeds going to the artist herself. The Gathering Place will also be present at the concert with art done by multiple members that are beautifully captured in the form of greeting cards. Please take a moment during intermission, or before/after the show, to take a look! 15

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St. Francis Center (SFC) is a refuge for men and women who are homeless in the metro Denver area, providing shelter along with services that enable people to meet their basic needs for daily survival and to transition out of homelessness. SFC’s Urban Peak Denver (UPD) was programs and services are tailored toward established in 1988 as a drop-in center amid growing concern about the increasing adult women and men, and focus on daytime shelter, social services, health and wellness, number of youth living on the streets in housing, employment, and outreach. Our Denver’s Capitol Hill neighborhood. UPD housing program consists of two permanent is the only agency in the seven-county supportive housing facilities. Our employment Denver metro area that offers a complete program specializes in supporting individuals convergence of services for people who are exiting the criminal justice system, but between 15 and 24 years old experiencing do work with all interested individuals to find homelessness. These services include gainful employment opportunities. Finally, our shelter, education and employment, outreach program establishes relationships supportive housing, street outreach and with homeless community members on a drop-in center. UPD believes in the the streets in effort to bring them closer to transformational power of acceptance and that with compassion, guidance and support services, supports, and housing. These programs, our staff, and the support of over positive change and healing can happen 350 volunteers work to create a sense of Ending youth homelessness changes possibility, hope, and service to the diverse trajectories, saves lives and creates lasting homeless population in our community. community impact. 21

Announcing the 2018-2019 Season for the Choruses of the Rocky Mountain Arts Association! Cabaret Unleashed! 3 - Cast/Miscast

October 6, 2018 RMAA’s Annual Fundraiser @ The Tivoli Event Center Tickets and info @ RMArts.org

The Denver Gay Men’s Chorus

Ho Ho Hoedown to Hollywood! - Our annual Holiday Show! In Denver, Highlands Ranch and Boulder

November/December 2018

Olé Olé Olé - Great Hispanic Vocal Artists Spring 2019

Stonewall 50th Anniversary Pride Show June 2019 Tickets and info @ DGMC.org

The Denver Women’s Chorus

Nevertheless, we persist - Celebrating 35 years of action and change January 2019

35th Anniversary Celebration/Dinner April 2019

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AUDITION to be a part of our 37th Season!

Have you ever wanted to sing with the Denver Gay Men’s Chorus? Now is your one big chance! The Denver Gay Men’s Chorus will be auditioning for new talent for their 37th season, starting in August/September 2018. The audition process is painless and all are encouraged to try out! Auditions are currently slated for August 23-24. The commitment is Sunday night rehearsals, along with additional rehearsals as needed to prepare for one of our concerts, along with tech rehearsals and performances and community outreach performances. Rehearsals are Sunday evenings from 6:00-9:00 pm at Christ United Methodist Church at 7th and Colorado Boulevard. If you are a singer, or know someone who might be interested, please email auditions@DGMC.org for more information. 30

We hope you’ll consider joining us to build community through music!

PROUD Supporters of the Rocky Mountain Arts

Association, the Denver Gay Menâ&#x20AC;&#x2122;s Chorus and Denver

Womenâ&#x20AC;&#x2122;s Chorus and all they do in the front range to build community through music!

THE DENVER GAY MEN’S CHORUS THANKS WFCO FOR THEIR SUPPORT!

ANNUAL LUNCHEON Featuring a live interview with icon and activist Billie Jean King

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“NO ONE CHANGES THE WORLD WHO ISN’T OBSESSED.” BILLIE JEAN KING