Fantastic Beethoven Program

Cathedral Choral Society Concert Program

Fantastic

Beethoven

Sunday, May 15 | 4:00 p.m.

Washington National Cathedral

Greetings, We are so pleased to welcome you to the fourth and final concert of our 2015/16 season!

An all-Beethoven concert is a fantastic way to end the season and to celebrate springtime. Today we welcome a wonderful group of soloists to share the stage with the Cathedral Choral Society and our orchestra for an energetic, grand, and sincere program.

This weekend marks the announcement of the 2016/17 season - our 75th! Discover more on the back of this concert program, pick up a season brochure, and mark our concert dates in your calendar. Consider becoming a subscriber: set aside four Sunday afternoons for great music! Take advantage of our early bird offer and save more than 15% if you subscribe by Friday, June 17. Come say hello to us today at the table near the Cathedral doors, and reach out to us with questions at any time.

We invite you to help us end this season strong with a donation to our 2015/16 Annual Fund Campaign. Donations from individuals support our artistic and community engagement programs and make our concert season at Washington National Cathedral possible. If you enjoyed today’s concert consider making a contribution this season.

Thank you for joining us this afternoon!

Genevieve Twomey Executive Director

Cathedral Sings

SCHUBERT IS GREAT Sunday, June 12 | 7:30 p.m.

Join us for our final community sing-along of the season! J. Reilly Lewis leads a reading of Schubert’s Great is Jehovah, the Lord and Mass No. 2 in G in the Cathedral’s Great Choir. All abilities are welcome!

Tickets are just $10, and scores are provided.

Buy today:

CATHEDRALCHORALSOCIETY.ORG 202-537-2228

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Cathedral Choral Society J. Reilly Lewis, Music Director

Fantastic Beethoven Sunday, May 15 | 4:00 p.m.

Washington National Cathedral J. Reilly Lewis, conductor Cathedral Choral Society

Leonore Overture, No. 2, Op. 72 Ludwig van Beethoven Fantasia in C Minor for Piano, Chorus, and Orchestra, Op. 80 (“Choral Fantasy�)

Brian Ganz, piano Laura Choi Stuart, soprano Annie Gill, soprano Amanda Fink, mezzo-soprano Ian McEuen, tenor Patrick Kilbride, tenor Kwangkyu Lee, bass-baritone

Ludwig van Beethoven

INTERMISSION Mass in C Major, Op. 86 Ludwig van Beethoven Laura Choi Stuart, soprano Amanda Fink, mezzo-soprano Ian McEuen, tenor Kwangkyu Lee, bass-baritone

Any taking of photographs or unauthorized recording of this concert is prohibited.

Cover Photo Credits Brian Ganz - Jay Mallin, Cathedral Choral Society - Paul B. Jones

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Texts and Translations Leonore Overture, No. 2, Op. 72 Adagio - Allegro - Adagio - Presto

Fantasia in C Minor for Piano, Chorus, and Orchestra, Op. 80 (“Choral Fantasy”) Quartet Schmeichelnd hold und lieblich klingen unser Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.

Fried’ und Freude gleiten freundlich wie der Wellen Wechselspiel. was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

Graceful, charming and sweet is the sound Of our life’s harmonies, And from a sense of beauty arise Flowers which eternally bloom.

Peace and joy advance in perfect concord, Like the changing play of the waves.

All that was harsh and hostile, Has turned into sublime delight.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muß sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuß’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne läßt aus beiden Licht entstehn.

When music’s enchantment reigns, Speaking of the sacred word, Magnificence takes form, The night and the tempest turns to light: In outward peace and inward bliss Reign the fortunate ones.

All art in the spring’s sun Lets light flow from both.

Chorus Großes, das ins Herz gedrungen, blüht dann neu und schön empor; hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.

Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst.

Wenn sich Lieb’ und Kraft vermählen, lohnt den Menschen Göttergunst.

Greatness, once it has pierced the heart, Then blooms anew in all its beauty.

Once one’s being has taken flight, A choir of spirits resounds in response.

Accept then, you beautiful souls, Joyously the gifts of high art.

When love and strength are united, God’s grace is bestowed upon Man. —Christoph Kuffner (1780-1846)

INTERMISSION

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Texts and Translations Mass in C Major, Op. 86 I. Kyrie Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord have mercy.

Christ have mercy.

Lord have mercy.

II. Gloria Gloria in excelsis Deo

Et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnan gloriam tuam.

Domine Deus, Rex coelestis, Deus Pater omnipotens,

Domini Fili unigenite, Jesu Christe Domine Deus, Agnus Dei, filius Patris.

Glory to God in the highest, And on earth, peace to men of good will.

We praise thee, we bless thee, We worship thee, we glorify thee.

We give thanks to thee for thy great glory.

Lord God, heavenly King, God the Father almighty, Lord, the only-begotten Son, Jesus Christ.

Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, miserere nobis,

Qui tollis peccata mundi suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

Thou who takest away the sins of the world, have mercy upon us, Thou who takest away the sin of the world, receive our prayer.

Thou who sittest at the right hand of the Father, have mercy upon us.

Quoniam tu Solus Sanctus,

tu solus Dominus. tu solus altissimus, Jesu Christe,

cum sancto spiritu in gloria Dei Patris. Amen.

III. Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium,

For Thou only art the Holy One, Thou only art the Lord.

Thou only art most high, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.

et in unum Dominum, Jesu Chrisum,

Filium Dei unigenitum,

Et ex Patre natum ante omnia saecula.

Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri,

per quem omnia facta sunt.

And in one Lord, Jesus Christ, The only-begotten Son of the Father. begotten of his Father before all worlds.

God from God, light from light, true God from true God, begotten, not made, being of one substance with the Father, by whom all things were made.

I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and invisible.

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Texts and Translations Qui propter nos homines

et propter nostram salutem

descendit de coelis.

Who for us men and for our salvation came down from heaven.

Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est.

And was incarnate by the Holy Spirit of the Virgin Mary, and was made man.

He was also crucified for us, under Pontius Pilate, suffered and was buried.

Et resurrexit tertia die secundum scripturas,

et ascendit in coelum,

sedet ad dexteram Patris, et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non eruit finis.

And He was resurrected the third day according to the scriptures, and ascended into heaven, sitting at the right hand of the Father. and He will come again with glory, to judge the living and the dead, whose kingdom shall have no end.

Et in Spiritum Sanctum,

Dominum et vivificantem,

qui cum patre filioque procedit. qui cum Patre et Filio simul adoratur et conglorificatur. qui locutus est per prophetas.

And [I believe] in the Holy Spirit, the Lord and giver of life, who proceeds from the Father and Son. who, with the Father and Son together, is worshipped and glorified, who spoke through the prophets.

Et unam sanctam catholicam et apostolicam ecclesiam. confiteor unum baptisma

in remissionem peccatorum, et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

And [I believe in] one holy, catholic and apostolic church, I acknowledge one baptism for the remission of sins and I look the resurrection of the dead, and the life of the world to come. Amen.

IV. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth,

pleni sunt coeli et terra gloria tua.

Osanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth, Heaven and earth are filled with His glory Hosanna in the highest.

Benedictus qui venit in nomine Domine

Blessed is he who comes in the name of the Lord.

Osanna in excelsis.

Hosanna in the highest.

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Texts and Translations V. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis.

Lamb of God who takest away the sins of the world, have mercy upon us.

Agnus Dei, qui tollis peccata mundi,

miserere nobis.

Lamb of God, who takest away the sins of the world, have mercy upon us.

Dona nobis pacem.

Grant us peace.

—English version, Book of Common Prayer, 1928, alt.

75 IN 2016/17 WE WILL CELEBRATE THE 75TH ANNIVERSARY OF THE CATHEDRAL CHORAL SOCIETY. Founded in 1941, the chorus has a rich and important history as DC’s oldest symphonic chorus. During its 74-year history, the chorus has helped the nation mark important moments in its history and has championed American music and composers. Today, the 145-voice chorus is proud to continue as the symphonic chorus-in-residence at Washington National Cathedral.

75TH ANNIVERSARY LEADERSHIP CIRCLE We are pleased to recognize and thank the members of our 75th Anniversary Leadership Circle who have confirmed their support to our 2016/17 season and to our endowment.

Ernest and Catherine Abbott Charles Leonard Egan Mary-T and Spencer Gordon Richard and Cecilia Larkin John E. Moyer and Jane Passman Gerald W. and Alice Padwe Raymond Rhinehart and Walter Smalling Jr. Martin Rosenthal and Corinne Axelrod

Blanche Curfman Thomas P. Gallagher Ann Ingram Lolly and Jim Mixter Bradley J. and Martha A. Olson Frances H. Pratt Stephen S. Roberts T. Michael and Linda Shortal

Join the Circle: If you would like to learn more about supporting the Cathedral Choral Society and joining our 75th Anniversary Leadership Circle please contact Genevieve Twomey, Executive Director, at gtwomey@cathedral.org or 202-537-5524.

The first rehearsal of the Cathedral Choral Society occurred on December 1, 1941. War for the United States was on the horizon.

The population of Washington, DC was expanding rapidly and founding Music Director Paul Callaway saw the chorus as a way to welcome the community to the Cathedral to sing. The original recruitment poster, seen here, was distributed to government offices across the city in 1941.

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Program BEETHOVEN’S FANTASTIC “FAILURES” Each work on this program—the Leonore Overture No. 2, Choral Fantasy, and Mass in C Major—dates between 1805 and 1808 during his “heroic” period.

Each was Beethoven’s first attempt at a new musical form—opera, symphonic song, and the Mass.

Each was considered a “failure” at first hearing, as attested in public reviews and private letters: Overture to Leonore (1805) “No one has yet written such incoherent music, ostentatious, chaotic and disturbing for the ear,” sniffed the chronicler for Der Freimuthige. “The most abrupt modulations succeed themselves in a truly repulsive sequence, and some minor ideas, far from any sublime touch, complete the incredibly unpleasant impression.”

Mass in C Major (1807) Prince Nikolaus Esterházy asked Beethoven pointedly after the premiere of the work he had commissioned, “But, my dear Beethoven, what have you been doing now?” Good thing, then, that the composer did not see what the prince soon wrote to Countess Zielinska: “Beethoven’s Mass is unbearably ridiculous and detestable, and I am not convinced it can ever be performed properly. I am angry and embarrassed by it.”

So hurt was Beethoven by the rejection of this work, which he acknowledged was “close to his heart,” that more than a decade passed before he would attempt another Mass.

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Choral Fantasy (1808) Beethoven conceived the Choral Fantasy as the perfect finale to his concert on December 22, 1808, which already included the premiere of not one, but two, of his symphonies (Nos. 5 and 6), two movements (Gloria and Sanctus) from the Mass in C, an aria, and a piano concerto. Johann Friedrich Reichardt, a visiting German composer and bon vivant of the musical world, recalled the interminable evening in his Personal Letters Written on a Trip to Vienna (1810). “And there we sat, in the bitterest cold, too, from half past six to half past ten, and confirmed for ourselves the maxim that one can have too much of a thing.”

Despite public rejection, Beethoven pressed on. From these “failures” emerged his masterpieces. He rewrote his opera, Leonore, three times. Today it’s known as Fidelio, and is a beloved staple of opera houses around the world.

His Choral Fantasy served as the precursor to his titanic Ninth (“Choral”) Symphony, today, the official anthem of the European Union.

His next Mass would be his colossal Missa solemnis—“from the heart…may it go to the heart.”

To paraphrase biographer Elliott Forbes, “And yet may we thank God for Beethoven’s fantastic ‘failures!’”

LEONORE OVERTURE, NO. 2 One opera. Four overtures. It’s complicated.

In the immediate aftermath of the French Revolutionary period (1789-99), there arose in France a genre of so-called “rescue” operas, in which the innocent were freed from unjust imprisonment. One such libretto, said to be based on an actual event, was Leonore, ou L’Amour Conjugale.

Librettist Jean Nicolas Bouilly, an administrator of a French department (county), recounts how a woman (Leonore) disguises herself as a man (Fidelio) working in the prison where her husband (Florestan) is being held and manages to free him, an act of heroism and triumph over evil that resonated with audiences who had just lived through the Reign of Terror (1793-94). Two composers—one French, one Italian—had already written operas using Bouilly’s libretto before Beethoven took up the challenge.

By 1803, Beethoven was living in Vienna, where he had been engaged as resident composer by the Theater an der Wien. He seized upon Bouilly’s tale to create his only opera, Leonore, subtitled Die eheliche Liebe (Conjugal Love), first presented in Vienna on November 20, 1805.

European political events beyond his control contributed to the opera’s failure after three performances. Rehearsals, banned in September by the censor, were allowed to proceed only on October 5. Then, on November 14, Napoleon and his armies invaded and occupied Vienna, the capital of the Austrian Empire. The sparse audience

Program was composed only of Beethoven’s stalwart friends, all intimidated by the presence of French army officers. The Austrians may also have misunderstood the opera’s highly charged political overtones.

This concert opens with Leonore Overture No. 2, the one played at the first performance of the opera in 1805.

Why, then, is it known as No. 2? After Beethoven made deep revisions, Leonore was produced again in 1806. This version included a heavily rewritten overture known as Leonore Overture No. 3. In anticipation of a never-realized performance in Prague in 1807, Beethoven wrote a shorter overture now listed, peculiarly, in his catalogue of works as Leonore No. 1, Op. 138, a number assigned after his death.

He wrote a fourth overture for the 1814 revival of the opera, now retitled Fidelio, which is the version performed in opera houses today.

The energetic and fiery overture—scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings—centers on the opening scene of the second act set in Florestan’s dark prison cell. It includes the theme of his aria, “In the Spring Days of Youth, ” in which Florestan sees Leonore as an angel coming to rescue him. The opera’s other themes are referenced, along with two trumpet calls, followed by a rousing Coda and Finale, celebrating Leonore’s heroism.

FANTASIA IN C MINOR FOR PIANO, CHORUS, AND ORCHESTRA (“CHORAL FANTASY”) Vienna in 1808 Two years after the Holy Roman Empire had collapsed and the French army had finally withdrawn from Vienna, the city’s concert life was stagnant. “Even a grand public concert,” explained Robert S. Kahn, “could draw only from the aristocracy and the city’s small middle class, no more than 2.5 percent of Vienna’s 200,000 to 250,000 residents.

The standard price for a concert ticket was…more than a week’s salary for a laborer.” Summer concerts were out of the question because the nobility, who served as their patrons, decamped to country estates in search of fresh air and cooler temperatures. Opera filled the fall and winter calendar of high society. Only during the penitential seasons of Advent and Lent, when operas were forbidden,

did concert halls become available, and even Beethoven had to struggle for a performance space.

The Choral Fantasy In this context, the Wiener Zeitung announced an allBeethoven concert for December 22. Wanting a rousing festive conclusion to the already overly long program, Beethoven took in the performing forces at hand— orchestra, chorus, soloists, and piano—and hastily composed a Fantasia in C Minor for Piano, Chorus, and Orchestra, popularly known as the Choral Fantasy. “It was finished so late,” recollected his student Carl Czerny, “that it could scarcely be sufficiently rehearsed.”

Beethoven himself was the pianist, which proved disastrous when he improvised far more than the score indicated.

Written down only in 1809 for publication in London, these opening measures shed light on what Beethoven’s famous improvisations must have been like. As published today, the twenty-measure improvisation is followed by a charming set of variations on the melody of Beethoven’s song, “Gegenliebe” (Love Requited), which he had composed in 1795. The chorus takes up the theme in the Finale.

To fit words to his music, Beethoven turned to Christoph Kuffner (1780-1846). Although Kuffner studied music and philosophy, he spent his entire life working as a high-ranking Viennese civil servant with a second career in literature. His collected works fill twenty volumes. (In 2003, Beethoven scholar Klaus Martin Kopitz put to rest lingering questions about the text’s authorship by positively identifying Kuffner as the author through an anonymous, contemporaneous review, “Musiknachrichten: Louis v Bethoven (sic),” in the February 1809 issue of the Annals of Literature and Art in the Austrian Empire.

With “hints” provided by Beethoven, Kuffner’s three verses are said to reflect the post-Revolutionary precepts of Liberté, égalité, fraternité through musical allusion in lines such as “When music’s enchantment reigns,…The night and the tempest turns to light.”

Beethoven’s germinal ideas in the Choral Fantasy for a symphony song would reemerge—“on a far grander scale,” as he later declared—in his Ninth “Choral” Symphony, the summa of his life as an orchestral composer.

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Program MASS IN C MAJOR “If Beethoven hadn’t written a certain towering masterpiece called Missa solemnis, his earlier Mass in C might get more respect.” So wrote one critic.

For thirty years, Prince Nikolaus Esterházy had been the patron of Franz Josef Haydn, who annually composed a Mass as the prince’s name day present to his wife, Maria.

After Haydn stepped down as Kapellmeister in 1804 and went to London, the prince turned, in 1807, to Beethoven, whose instrumental reputation was already established, but for whom this would be his first attempt at setting the text of the Mass. Only too well aware he was following in the footsteps of his teacher, he asked his publisher to send Haydn’s most recent masses for study.

He composed the Mass, in fits and starts, during the summer of 1807. In response to anxious queries from the prince, Beethoven replied on July 26, offering various excuses, even enclosing a letter from his physician. Then came the real reason: “May I add that I shall deliver the mass to you with timidity since you, Serene Highness, are accustomed to having the inimitable masterpieces of the great Haydn performed for you.”

Mindful of the Haydn tradition, he scaled back the explosiveness that increasingly characterized his symphonic writing.

His Mass expresses restrained jubilation appropriate to the name-day celebration. Even so, elements of the Mass foreshadow his Missa solemnis seventeen years later. The Mass in C employs four soloists, chorus, organ, and orchestra, without trombones, in the Esterhazy tradition. The scoring is the same throughout except the Kyrie, where flutes, trumpets, and timpani are omitted.

Beethoven shared Christian Schubart’s theory of the “extramusical connotations of key areas, with C major projecting purity, innocence, simplicity, and childlike speech.” The composer’s own spiritual restlessness is reflected in the structure of the movements. Only recently had he seemed to come to terms with his encroaching deafness. Each movement, save the Gloria, begins quietly, grows into the exaltation of the moment, and then, nearly always, returns to a quiet end.

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The Kyrie, the movement most in the Haydn tradition, opens without instrumental introduction. Its references to the Trinity are symbolized by its division into three musical sections.

The Gloria’s two Allegro sections bracket an Andante section for soloists and concludes with the traditional fugue for Cum Sancto Spiritu. Octave passages, such as Quoniam tu solus sanctus, evoke ancient plainsong. Detailed analysis has revealed striking parallels between this Gloria and the Gloria in Haydn’s Creation, a copy of which is contained in Beethoven’s sketchbooks. One scholar suggests Beethoven “grafted the opening Allegro onto Haydn’s Gloria, a rare case of Beethoven modeling a movement on Haydn.”

Credo “I believe …I believe … I believe …I believe”… four utterances, beginning piano on a low unison C before declaiming, forte, that belief—“in one God.” The orchestral pizzicato accompanying the unison whispered word “invisibilium,” is like a ghost peeking from behind a curtain. Unison voices at “sub Pontio Pilato” symbolize the embodiment of all mankind in the person of Pontius Pilate, the Roman governor when Jesus was put to death.

The serene opening chorale of the Sanctus materializes out of time and space. The faintest rumblings of timpani herald the brief but spirited fugue for Pleni sunt coeli. An identical sixteen-measure fugue (Osanna) frames the Benedictus, in which chorus and soloists combine in eight parts for the only time in the Mass. (Both Gloria and Sanctus were performed at the infamous 1808 concert previously mentioned.)

The Agnus Dei bears the gravitas of its C minor tonality.

Its 12/8 meter permits a stammered “qui tollis peccata mundi (who taketh away the sin of the world).” Following Viennese custom, the first two iterations are in C minor, with the third returning to the tonic key of C major. The Mass closes with a reprise of the opening Kyrie, this time with the words “dona nobis pacem.”

Program In a melancholic letter to his publisher Breitkopf & Härtel on June 8, 1808, Beethoven wrote, “I am reluctant to say anything about my Mass…but I think that I have treated the text in a manner in which it has rarely been treated.

You say ‘there is no demand for church works.’ You are right if you are referring merely to works by composers of thorough-bass. But do have the Mass performed in Leipzig and see whether lovers of music will not immediately come forward desiring to possess it. Publish it …I guarantee its success.” But wrangling over publication continued, even after January 1811, when an exasperated Beethoven fired off another letter: “For God sake’s, publish the Mass!”

In his 1813 review of the Mass’s first edition, E.T.A. Hoffmann confessed he had anticipated Beethoven would take Haydn as his model, yet discovered he had been wrong. The critic speculated that “Beethoven’s view of the other worldly would fill his spirit with inner shuddering, and express this feeling in tones. On the contrary, the whole Mass is in the spirit of a child-like, cheerful spirit, which builds upon its purity, is confident of the grace of God, and pleads with Him as with a father who wishes the best for his children and hears their prayer.”

The world premiere of the Mass in C Major took place at the Eisenstadt palace chapel on September 13, 1807, the name day of Princess Marie Hermenegilde von Liechtenstein. The first known performance in America occurred at Boston Cathedral on Christmas Day 1856. The Cathedral Choral Society’s first performance was given on July 20, 2001, as part of the NSO in Your Neighborhood series.

—Margaret Shannon © 2016

Support the Cathedral Choral Society and help us end this season strong We’re on the eve of our 75th Anniversary Season!

Do you remember your first Cathedral Choral Society concert? Whether you were in the audience or in the chorus, whether it was under the baton of our founding Music Director Paul Callaway or just this season, we invite you to remember what that first experience felt like.

We also invite you to make a donation to the Cathedral Choral Society this season.

Your support will help ensure a successful conclusion to this concert season and a strong start to our 75th Anniversary Season.

When you contribute to the Cathedral Choral Society, you play a key role in sustaining and strengthening our artistic and community engagement programs.

Donate online: www.cathedralchoralsociety.org Donate by phone: Genevieve Twomey 202-537-5524 Nina Elhassan 202-537-5510 Donate by mail: Cathedral Choral Society 3101 Wisconsin Avenue NW Washington, DC 20016

Thank you for your support this season!

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Biographies Music Director J. Reilly Lewis, a native of Washington, DC, began his musical career at the age of eight as a member of the Junior Boy’s Choir at Washington National Cathedral.

He received his bachelor’s degree from Oberlin Conservatory and master’s and doctoral degrees from The Juilliard School. In 1985, he was selected as music director of the Cathedral Choral Society.

He has presided over nine of its current recordings as well as many notable performances at the Cathedral, the Kennedy Center, Strathmore, and Wolf Trap.

One of the world’s leading Bach specialists, Lewis is the founder and music director of the internationally acclaimed Washington Bach Consort. As a keyboard artist and conductor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, respectively, the Cologne New Music Festival, and in Washington, DC, with the Smithsonian Chamber Players and the Folger Consort.

Some of his most recent awards include the Washingtonian Magazine “Washingtonian of the Year,” The Mayor’s Arts Award, the University Club of Washington’s Distinguished Washingtonian Award,Yale University’s Cultural Leadership Citation, the Choralis GRACIE Award for Outstanding Contributions to Choral Music, and an honorary doctorate from the Virginia Theological Seminary.

Pianist Brian Ganz is widely regarded as one of the leading pianists of his generation. A laureate of the Marguerite Long Jacques Thibaud and the Queen Elisabeth of Belgium International Piano Competitions, Ganz has appeared as soloist with such orchestras as the St. Louis Symphony, the St. Petersburg Philharmonic, the Baltimore Symphony, the National Philharmonic, the National Symphony, and the City of London Sinfonia, and has performed with such conductors as Leonard Slatkin, Marin Alsop, Mstislav Rostropovich, and Piotr Gajewski.

The Washington Post has written: “One comes away from

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a recital by pianist Brian Ganz not only exhilarated by the power of the performance but also moved by his search for artistic truth.” For many years Ganz has made it his mission to join vivid music making with warmth and intimacy onstage to produce a new kind of listening experience, in which great works come to life with authentic emotional power. As one of Belgium’s leading newspapers, La Libre Belgique, put it, “We don’t have the words to speak of this fabulous musician who lives music with a generous urgency and brings his public into a state of intense joy.”

In January of 2011 Ganz began a multi-year project in partnership with the National Philharmonic in which he will perform the complete works of Chopin at the Music Center at Strathmore. Ganz is on the piano faculty of both St. Mary’s College of Maryland and the Peabody Conservatory.

He is the artist-editor of the Schirmer Performance Edition of Chopin’s Preludes (2005).

Soprano Laura Choi Stuart, hailed as “a lyric soprano of ravishing quality” by the Boston Globe, has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita.

Equally comfortable in recital and concert settings, Choi Stuart was honored for art song performance as 2nd prize winner at both the 2010 and 2012 National Association of Teachers of Singing Artist Awards and as one of the 2009 Art Song Discovery Series winners for the Vocal Arts Society.

Based in the Washington, DC area, Laura appears regularly with the Washington Bach Consort and the Washington Master Chorale, in addition to solo appearances with many area ensembles. She received her training at The Santa Fe Opera Apprentice Program for Singers, Opera North, and Berkshire Opera, as well as The New England Conservatory and Dartmouth College.

Biographies Soprano Annie Gill has been praised for her “astounding technical vocal ability, solid song interpretation and stage presence” and continues to gain recognition as a promising young singer. Particularly excelling in the repertoire of Mozart and Puccini, Gill has been commended for “a glorious voice - opulent from top to bottom,” and possesses an extensive variety of vocal colors in her expressive full lyric soprano.

Most recently, Gill performed the role of Micaëla in Carmen with Opera Camerata of Washington under the baton of Metropolitan Opera conductor Gregory Buchalter. In addition, she has performed with Opera AACC, Opera NOVA in Arlington, VA, and the In Series. Gill appeared as the “Opera Singer” in the Season 2 Finale of House of Cards, which premiered on Netflix in February 2014. A First Prize Winner in the 2013 Barry Alexander International Vocal Competition, Gill made her Carnegie Hall debut in the competition Winners’ Recital. With over thirty roles from opera, operetta, and musical theater in her repertoire, Gill continues to garner acclaim for her commanding dramatic interpretations, detailed characterizations, and nuanced performances. Upcoming appearances include concert performances with the Three Arts Club of Homeland and Baltimore Musicales.

Mezzo-soprano Amanda Fink is a recent member of the Pensacola Opera Artist in Residence program, where she performed the role Flora/ La traviata, Olga/The Merry Widow, and Zosha in Jake Heggie’s Out of Darkness. Fink also performed the alto solos in Mendelssohn’s Elijah with the Choral Society of Pensacola. In 2015 she participated in the Dayton Opera Artist-in-Residence program, where she performed 2nd Lady in Mozart’s Die Zauberflöte, as well as Sister Lillianne in Jake Heggie’s Dead Man Walking. In the latter production, she was also given the opportunity to cover the lead role, Sister Helen Prejean. Fink was an apprentice with Ash Lawn Opera in the summer of 2014, performing the role of Mrs. McLean in Carlisle Floyd’s Susannah, and covering both the roles

of Hodel and Chava in Fiddler on the Roof. In 2012, Fink participated in the late Lorin Maazel’s Castleton Festival, where she performed the role of Charlotte in Stephen Sondheim’s A Little Night Music.

This July, Fink looks forward to her Canadian debut and role debut singing Cherubino in Mozart’s Le nozze di Figaro at the Brott Music Festival in Hamilton, Ontario.

Tenor Ian McEuen has been praised for his “sweet lyric tone” and “gravitas on the stage,” as well as his ability to evoke laughter “just for walking across the stage.” Most recently, McEuen debuted with the Knoxville Opera and in 2015, McEuen enjoyed debuts with the Arizona Opera, Nashville Opera, and North Carolina Opera. In the 20142015 season, McEuen joined the roster of the Metropolitan Opera, covering St. Brioche in a new production of The Merry Widow.

In the summer of 2014, McEuen returned for his second season as a Young Artist at the Glimmerglass Festival, singing Goro in Francesca Zambello’s production of Madame Butterfly. In November 2013, he created the roles of the Hippo and Holy Man in the world premiere of Jeanine Tesori and J.D. McClatchy’s The Lion, the Unicorn and Me for his debut at Washington National Opera.

As a concert artist, McEuen made his Chicago Symphony Center debut as the tenor soloist in Carmina Burana.

He made his Carnegie Hall debut as the tenor soloist in Mozart’s Vesperae Solennes de Confessore in April 2015.

Tenor Patrick Kilbride is a soughtafter interpreter of Monteverdi, Bach, Vivaldi, Handel, Mozart, and Britten.

He pursued his undergraduate studies in voice at Northwestern University, and his graduate studies at the University of Maryland Opera Studio.

He was a fellow for Tanglewood Music Festival and Aspen Music Festival and School, as well as a Young Artist with the Boston Early Music Festival and Victoria Bach Festival.

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Biographies Kilbride recently made his operatic debut in the United States in a new production of Monteverdi’s Il Ritorno d’Ulisse in Patria with the Boston Early Music Festival. As a winner of the 24th International Concours de Chant CentreLyrique d’Auvergne in Clermont-Ferrand, France, Kilbride made his European debut singing the role of Damon in a new production of Handel’s Acis and Galatea in France throughout 2015 and 2016.

Bass-baritone Kwangkyu Lee has been described in the Washington Post as possessing a voice with a “power that one associates with much more mature basses.” Lee is an imposing and authoritative emerging singer, ideal for portraying the “stalwart” bass roles. Lee has been said to “already use his big, tonally opulent voice with intelligence and subtle control”. The Baltimore Sun agrees, saying: “Lee’s arias revealed a dark, powerful voice.”

Lee has performed with the Annapolis Opera, Opera in the Heights in Houston, the Opera Camerata, Maryland Opera Studio, the St. Barthelemy Music Festival, and the Bel Cantanti Opera. In concert, Lee has performed with the Fairfax Choral Society, the Bach Choral Society, and the Frederick Choral Society, and as bass soloist in Bach’s Magnificat, Haydn’s Creation, Handel’s Messiah, Mozart’s Requiem, Beethoven’s Symphony No. 9, Dvorák’s Stabat Mater, Rossini’s Petite Messe Solennele, and Saint-Saëns’ Christmas Oratorio.

Performing Schumann’s Dichterliebe and Winterreise, Lee has presented solo recitals at Carnegie Hall, the Arts Club of Washington in DC, as well as a full recital at the Kennedy Center sponsored by the Korean Embassy. Lee earned his Doctorate of Musical Arts in voice performance at the University of Maryland.

Today’s soloists are made possible by the Marion Drew Leach Performing Artist fund and the Fuller Fowler Young Artist Endowment Fund.

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Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also Assistant Conductor and Keyboard Artist for the Washington Bach Consort, as well as for The Choralis Foundation, and is the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe.

In 2014 Fickley launched “The Bach Project,” a cycle of concerts performing and recording all of Bach’s organ works, the first time in almost a quarter of a century that such a project has been undertaken in the DC area. The first volume was recently released on the MSR Classics label and was praised in Fanfare Magazine as “some of the most enthralling Bach organ playing you are likely to hear anywhere by anyone.”

Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country.

Internationally, she has performed throughout Europe and Asia. Schreier has coached for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council Auditions. She received her doctorate in accompanying

Biographies and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying.

The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral.

Founded in 1941 by Paul Callaway, the 145-voice chorus is the oldest symphonic choral group in Washington, DC. Since 1985, J. Reilly Lewis has served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres.

The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television.

The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda.

The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers community engagement programs, including sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, DC.

75 2016 | 17 SEASON DON’T MISS A MOMENT OF OUR 75TH ANNIVERSARY SEASON! Mighty Berlioz and Saint-Saëns. Warm Christmas favorites. Spirited, meditative music with New York Polyphony. A brand-new work by a significant contemporary composer, paired with passionate Vaughan Williams and Dvořák.

Turn to the back of the program to read more about this remarkable season!

SUBSCRIBE TO RECEIVE YOUR BEST VALUE! Packages start at $84.60. Join us for all four concerts at Washington National Cathedral and receive special benefits including: • • • • •

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ALREADY A SUBSCRIBER? Please pick up your renewal packet today. Visit us at our table near the entrance. Then, renew by mail (instructions on form), online (www. cathedralchoralsociety.org), or by phone (202-5372228).

INTERESTED IN BECOMING A SUBSCRIBER? Pick up a brochure and order form at the table near the entrance, or download a form on our website later (www.cathedralchoralsociety.org). Purchase by mail, online, or phone (202-537-2228) - easy!

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Cathedral Choral Society J. Reilly Lewis, Music Director Paul Callaway Conducting Chair

** Section Coordinators * Alternates

Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach Soprano I Kathleen Alvania Anne Carman Nicole B Collins Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Annie Gill Liz Harvey Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Sarah Mitchell Jocelyn Mullins Kimberly Pacala Melanie Steinkamp Patricia Stephenson Megan Sullivan Elaine Teng Elizabeth Owens Wakefield Sophie Wohltjen Nuska Zakrajsek

Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John Dianne Vandivier Jeannette Dea WarrenAnderson Margot T. Young*

Alto I Amanda Ayers Caren Backus Violet Baker Kathleen Brion Christine de Fontenay Kehan DeSousa Susan Grad Jennifer Hawley Melissa A.L. Holman Laura Jackman Lisa Josey Jane Jurkevics* Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Campbell Rogers Jane Roningen Margaret Shannon Maki Yasui

Alto II Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Christopher G. Riggs* Teresa A. Spencer Kate Shooltz Natalie Torentinos Kathleen M. Welling** Susan Pruett Williams

Tenor I Gregg M. Breen David Dietly John W. Harbeson Kevin Josey Patrick Kilbride Dick Larkin Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington

Tenor II Scott Alman Douglas K. Barry Ross Bradford Mark Bublitz James Clay** David Costanza Luke W. Fisher Jeremy Gosbee Jeremy Kane Jerry Kavinski Jason Kingman Pietro Miozzo David Miranda James M.E. Mixter, Jr.* John E. Moyer Jonathan Rajaseelan

Bass I Eric P. Andersen Joshua Brown Kelly Cameron Alfred J. Chiplin, Jr. Everitt Clark Thomas Czerwinski Karl Hempel John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Chuck Moran Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* Andrew Sauvageau James Schaller

L. Bradley Stanford** Richard Wanerman Peter G. Wolfe Christopher Woolley

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Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Casey Cook Glenn Sherer Griffiths Gabriel Kane Gene Kaye Ian M. Matthews Scott McCorkindale Charles Parris David Peyton Ellis Wisner

Orchestra Violin I Sally McLain, Concertmaster Jennifer Rickard Karin Kelleher Bill Tortolano Solomia Gorokhivska Saskia Florence Annie Loud Violin II Paula McCarthy* Pamela Lassell Lisa Cridge Jennifer Wade Janine Lin Anne Donaldson

Viola Ann Steck* Mia Lee Jennifer Ries Elizabeth Stahr Cello Marion Baker* Drew Owen Jihea Choi Bomin Collins Bass T. Alan Stewart* Jacqueline Robertson Flute Karen Johnson* Lauren Sileo

Oboe Katelyn Kyser* David Garcia

Trumpet Douglas Wilson* Kevin Gebo*

Clarinet Jeremy Eig* Dan Frazelle

Trombone Bryan Bourne* Jeff Gaylord

Bassoon Ariel Allal* Jonathan Zepp

Timpani Joseph McIntyre*

French Horn Rick Lee* Eric Moore Mark Wakefield Mark Hughes

Personnel Pamela Lassell *Principal player

The Concertmaster Chair is supported by the Thoron Concertmaster Fund.

Steve O’Toole Photography special events, portraits and weddings

www.steveotoolephotography.com (new website!)

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Thank You The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between January 26, 2015 to April 26, 2016.

Thank you. Your ongoing and generous contributions support our vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances.

Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott Sustaining Patrons $10,000+ Anonymous (1)

Bradley J. and Martha A.*^ Olson

Grace and David Pratt

Guarantor Patrons $5,000+ Diana F. Dykstra^ Thomas P. Gallagher^ Richard* and Cecilia Larkin Lolly and Jim*^ Mixter

John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^ Catherine E. Ort-Mabry* and Brian Mabry Gerald W.^ and Alice Padwe

Frances H. Pratt* Stephen S. Roberts* Kevin Rosengren^ Martin Rosenthal*^ and Corinne Axelrod

Mary B. Olch* Raymond Rhinehart* and Walter Smalling, Jr. T. Michael and Linda Shortal

L. Bradley Stanford*^ Guy and Margaret Steuart Dale and Peter Turza Kevin and Andrea Wade

Charles Leonard Egan Susan Grad* Anne R. Harris William B.†and Ruth L. Harwood Sarah B. Holmes* and John B. Morris, Jr. Judith R. Hope Ann Ingram J. Reilly^ and Beth A.V.* Lewis Nevin E. and Elizabeth D. Kuhl Christina M. Markus*

Susan McDaid* Jennifer Griffiths Orudjev*^ and Alec Orudjev James* and Madeleine Schaller Genevieve ^ and Sean Twomey John and Dariel Van Wagoner Robert and Betty Wallace Nancy H. Wiecking Margot T. Young*

Pam A. and Don Lassell Janice L. Lockard George Londeree Susan Fifield Mentley and James David Toews Dorothy C. Mergner Kimberly Pacala* Scott and Nancy Pinckney Adam S. Posen Harold I. and Frances G. Pratt Robert* and Lissa Reeves

Lynn Rhomberg James H. Coates and Elisabeth H. Rhyne John and Judy Shenefield Leslie C. Taylor Joyce H. Thornhill Estate of M. Elizabeth Tidball Elinor G. Vaughter Richard and Virginia Wagner Virginia L. White Sinclair Winton John Ellis Knowles Wisner*

Chorus Section Patrons $2,500+ Arthur L. and Connie Eggers Nancy M. Folger Mary-T.^ and Spencer Gordon Paul Juergensen II^ Virginia C. Mars Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Margaret M. Ayres and Stephen Case Betty J. Beard Brian J. and Donna J. Bogart Jeanne Buster Blanche L. Curfman Christine C. De Fontenay* Edison and Sally Dick Walter B.^ and Joanne Doggett Sheri* and George Economou Patrons $500+ Violet Baker* Jessica Barness* Kathleen Brion*^ Joanne Casey* Lynn B. Dutton Mary Cox Garner Pam Gibert Jeremy Gosbee* Robert W. Jerome and William J. Courville Georgia Koenig M. Douglas Lakey and Patrick Bevill C. F. Muckenfuss III and Angela Lancaster

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Thank You Sponsors $250+ Nancy Maes Aherne and Marko Zlatich Robert M. and Laura S. Barlow Catherine H. Beauchamp Jane C. Bergner Kate and Will Breytspraak Anne* and James Carman James W. Clay* Martha Duggan Katherine Gammill George E. Groninger

Donors $100+ Anonymous (5) James J. and Anne Cesare Albertine Mary Amorosino* Mr. D. Philip Baker James Bauman Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Dale* and Gloria Boyd Gregg M. Breen* Michael and Mary Ann Bridges Christopher L. Buechler Michael F. Butler Kelly* and Theresa Cameron Timothy W. and Patricia R. Carrico Everitt Clark* Marilyn and Warren Clark Vera I. Connolly Laura M. Connors* Terry D. Copeland and Martha Beard Copeland Roberta and Philip Cronin Marilee Davies Ruth and Nelson Denlinger Alice M. Denney Sharrill Dittmann Cynthia L. Drakeman*^ Luke W. Fisher* Sally A. Fiske Gladys Foxe Cary C. Fuller Lillian R. Gigliotti Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham

Eileen Guenther Wendy Palmby Lubarsky* Rosemary D. Lyon Jacqueline Badger Mars Alex E. Martin Robert* and Elaine Porter Theodora K. Radcliffe Richard and Linda Roeckelein John Schaettler* William P. Snow

Patricia Stephenson* Joanne and Greg Stopka Jacqueline K. Stover Thomas Tesoriero and Robert Bertram Laurel Towers Nick and Caroline Van Wagoner Elizabeth Owens Wakefield* Dorothy M. Woodcock Evelyn D. Woolston-May

Joan and David Green William and Margaret Greer George E. Groninger Anne Brooks Gwaltney Marilee L. Hall George and Rosina Hanc John Harbeson* Jennifer Hawley* Patricia D. Hevner Frederick S. Hird Robert and Parma Holt Madeline and Rufus Iannucci Erika R. Joyce Louis E. and Ruth H. Kahn Ingrid Kauffman* Cronin-Keegan Family Charitable Fund Mary Ruth Keller Dorothy Kent Gary W. and Judy Kushnier Steven and Monica Leach Richard C. Lee Gary Leggett Alaster MacDonald Kathleen E. and James W. Madden Paula Marchetti David S. and Jacqueline T. Marsh Nancy McBride Scott* and Linda McCorkindale Leander and Stephanie McCormick-Goodhart Wesley O. and Judy McGee Barbara and John McGraw Robert T. Mead Michael Mercier

Andrea Merrill Eiko Narita Trenton Osborne* Donald and Nancy Peck B. Dwight and Suzanne Perry Nicholas Jon Petersen* David Young Peyton* Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Lisa Poole Charles Pratt and Alexandra England Jackie Prince Kevin J. and Dianne M. Pusch Jonathan Puth Leon Reed Terese Ricci Christopher G. Riggs* Jane Roningen* Suzanne H. Rooney Carla L. Rosati Milton and Ingrid Rose Helen Rosemont Hubert and Charlotte Schlosberg Ann Imlah Schneider Patrick D. Shannon Elaine Katherine Shocas Hal and Carol Sox J. David and Patricia Sulser Jean Van Der Tak Thomas and Linda Veblen Alice T. Wagner Kathleen M. Welling* Phyllis C. Wertime

*Chorus Member

^Board Trustee

†Deceased

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Thank You The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between January 26, 2015 to April 26, 2016.

Thank you to our Government and Foundation Supporters U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program Clark-Winchcole Foundation The Community Foundation for the National Capital Region

Dallas Morse Coors Foundation Dimick Foundation Mars Foundation

The Meredith Foundation The Richard Eaton Foundation United Way of the National Capital Area

Thank you to our Corporate Supporters Corporate Champion $2,000+ Exxon Mobil Foundation

IBM

PEPCO Holdings Inc.

Corporate Investor $1,500+ Bank of America

Sentinel Wealth Management, Inc.

Clark Construction Group, LLC

Corporate Leader $1,000+ UBS Financial Services

Wiener and Garg

Corporate Advocate $500+ The Benevity Community Impact Fund Capital One Bank

E*Trade Financial Offit Kurman Attorneys At Law

Corporate Supporter $100+ Ameriprise Financial – Kim, Hopkins & Associates

Willis Metro DC

Dental Group at Reston Station – Messina, Canal, Moawad, Rye & DiBenedetto

Gala Sponsors

We would like to thank those who ensured the success of this year’s “Gala 1941”!

Ernest and Catherine Abbott Blanche Curfman I Mary T. Gordon Joanne and Walter Doggett III Thomas P. Gallagher Beth and J. Reilly Lewis I Dariel and John Van Wagoner Merrill Lynch, The Juergensen Group Lolly and Jim Mixter Thomas Mugavero Bradley J. and Martha A. Olson I Margot T. Young Jennifer and Alec Orudjev I L. Bradley Stanford PEPCO Ray Rhinehart and Walter Smalling, Jr. Kevin and Kristen Rosengren

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Thank You Harmonia Society The Cathedral Choral Society was founded in 1941. Founding Music Director, Paul Callaway, championed the idea of a large symphonic chorus that would welcome the community to come together and sing in the Cathedral. Four decades later the Harmonia Society was founded by twenty-two charter members to recognize those who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish was to build an endowment that would continue the work begun by this visionary gentleman for generations to come.

Anonymous Donors Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^ Mary-T Gordon^ Anne Harris William B.† and Ruth L. Harwood Patricia D. Hevner

Ruth G. Hofmeister Ann Ingram Richard and Celia Larkin William M. Leach J. Reilly^ and Beth A.V.* Lewis Rosemary D. Lyon James* and Lolly Mixter Martha A. Morris Mark W. Ohnmacht Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe

Raymond Rhinehart* and Walter Smalling, Jr. Carla L. Rosati Martin S. Rosenthal*^ Margaret Shannon* T. Michael and Linda Shortal Steven and Nancy Smith M. Elizabeth† and Charles Tidball Frederic Towers† John and Dariel Van Wagoner Nancy Wiecking Evelyn Woolston-May

If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.

Gifts in Honor In Honor of Dr. Violet Baker David R. Hearn

In Honor of Martha Olson David Dietly*

In Honor of Mary-T. Gordon John T. Beaty, Jr. Hubert and Charlotte Schlosberg

In Honor of Frances H. Pratt Susan J. Henry Josephine T. and Morton S. Roberts

In Honor of Jeremy Kane Karen R. and Norman A. Kane

In Honor of the Wedding of Susan Williams and Brad Stanford Arlene and David Christian

In Honor of Virginia C. Mars Shirley M. Fine Beaty Family Fund Dorothy and William McSweeny

In Honor of Barry and Lori Wolfman Cynthia L. Drakeman

In Honor of Margot T. Young Anonymous (1) James D. Campbell and Janet M. Hall Kathleen and Walter Weld Blanche L. Curfman Sheri* and George Economou Jean Jawdat John E. Moyer* and Jane Passman Bradley J. and Martha A.*^ Olson Christopher L. Buechler* David Dietly* Lindsay Sheridan Marguerite Toscano* and Richard Stumpf Lolly and Jim*^ Mixter Patricia Stephenson*

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Thank You Gifts in Memory In Memory of Mary F. Bradford Ross M. Bradford In Memory of David W. Cook Susan C. Stover In Memory of Sir Martin Gilbert Margaret Shannon* In Memory of William B. Harwood Blanche L. Curfman Mary-T.^ and Spencer Gordon William M. Leach In Memory of Ben Hutto William M. Leach Mary-T.^ and Spencer Gordon In Memory of Ann H. Hyde Mary-T.^ and Spencer Gordon In Memory of David Krohne William M. Leach In Memory of Thomas E. Morrison Mary-T.^ and Spencer Gordon In Memory of Steve Prestegard Tom van Alen Samuel van Culin

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In Memory of Mary Louise Pusch Olson and Pusch Families Members of the Alto 2 Section Margot T. Young* Kathleen and James Mugnolo Countryside Village Residents Association Margaret Shannon* In Memory of Andrew Soto Ernest*^ and Catherine Abbott The Staff of the Office of Administrative Law Judges Christopher J. Barr and Patricia M. Jayne Carl and Kay Chapman Ronald D. Christian Bradley J. and Martha A.*^ Olson John E. Shelk Alliant Energy Corporation The Laclede Group Covington Office of Administrative Law Judges George and Linda Baily Kathleen Brion*^ Peter Connor Crothall Patient Transport Edison Electric Institute Damian Finio Leslie Ellis and Ben Francis San Francisco Office of Administrative Law Judges Brenda Gardiner, Beth Carty, and Holly Still

Thomas J. and Celeste B. Goodwin Mary-T.^ and Spencer Gordon Charles L. Grizzle Ralph E. Horvath Carol M. and Robert C. Jones Thomas Jones Cheryl Lafleur and William Kuncik Lani and Mike Longarzo Robert and Christine Phillips Questar Friends: Ron Jibson, Colleen Bell, Tina Faust and Barrie McKay Jean Marc Robinson Lee J. Romero Justin and Debra Thornton Lori Traweek Wilkinson, Barker, Knauer, LLP Colleen Geraghty Cincinnati Office of Administrative Law Judges Terry S. and Rhona S. Arbit Jessica Barness* Laura A. Brown Thomas M. and Linda T. Burke Lisa F. and James E. Davenport Margaret Ann Ferry Marie A. Finio Gary Wayne Gardner Steven and Rosemarie Gluck Alison Millerick Adele H. Odegard Jane Raymond Daniel K. Roketenetz Kristin M. Smith

Theresa D. Thoman Linda Huehn Steve Lango Julie Simon Tari Cooper* and Michael D. Scott Timm Abendroth Darcy Rossman Daniel and Patricia Solomon Friends at the Energy Solutions Center In Memory of Rena Stephenson Patricia Stephenson* Sally Weiss Lutz In Memory of Lessie Garber Sutherland Mary-T.^ and Spencer Gordon In Memory of Zebarney Thorne Phillips Ronald C. Perera In Memory of Frederic C. Towers Mary-T.^ and Spencer Gordon In Memory of Susan Urban Spaulding Mary-T. ^ and Spencer Gordon

Acknolwedgements Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Cynthia Drakeman Walter B. Doggett III Diana F. Dykstra Thomas P. Gallagher

Paul Juergensen II, Vice President Thomas Mugavero J. Reilly Lewis, Music Director James M.E. Mixter, Jr. Treasurer Jack Moyer Martha A. Olson

Jennifer Griffiths Orudjev Gerry Padwe, Secretary Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Genevieve C. Twomey, Executive Director

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Nina Elhassan, Executive & Development Assistant Todd Fickley, Associate Music Director & Chorus Master

J. Reilly Lewis, Music Director Mimi Newcastle, Finance Manager Joy Schreier, Pianist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director

Personal Assistant to the Music Director Adam Jackson

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

Library Committee: Joanne Casey, David Dietly, Kim Pacala, Jennifer Hawley, Ian Matthews, Robert Reeves

Washington National Cathedral Staff Valerie Ciccone, Manager, Volunteers & Events Gary Ford, Supervisor Sexton / Housekeeping Daniel Rose, Director, Office of Event Management Mark Huffman, Technical Director & Audio Engineer Sarah Rockwood, Front of House Manager

Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Director of Worship & Administrative Verger Torrence Thomas, Verger

With special thanks for all the staff and volunteers of Washington National Cathedral and the Protestant Episcopal Cathedral Foundation

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75 2016 | 17 SEASON

Berlioz

TE DEUM

JOY OF Christmas

SUNDAY, OCTOBER 16 | 4:00 PM

FRIDAY, DECEMBER 9 | 8:00 PM SUNDAY, DECEMBER 11 | 4:00 PM

Saint-Saëns, Symphony No. 3 (“Organ Symphony”) Berlioz, Te Deum, Op. 22

Christmas favorites and a newly commissioned carol by Carson Cooman.

Finale

AMID A CROWD OF TE DEUM

Stars

WITH NEW YORK POLYPHONY

SUNDAY, MARCH 19 | 4:00 PM Including plainsong and works by Tallis, Elgar, Tavener, Willaert, Guerrero, Stucky, Andrew Smith, and Ola Gjeilo.

Subscribe by Friday, June 17 and save!

SUNDAY, MAY 21 | 4:00 PM

Vaughan Williams, The Lark Ascending Vaughan Williams, Five Mystical Songs Nico Muhly, New Work for Symphonic Chorus

and Orchestra Dvořák, Te Deum, Op. 103

CATHEDRALCHORALSOCIETY.ORG | 202-537-2228