CATHEDRAL CHORAL SOCIETY CONCERT PROGRAM
Berlioz
TE DEUM
SUNDAY, OCTOBER 16 | 4:00 P.M. WASHINGTON NATIONAL CATHEDRAL
2016 | 17 SEASON
Greetings, We are so pleased to welcome you to the first concert of our 75th anniversary season. As we celebrate this special year, we are also remembering Reilly, our beloved Music Director of 31 years. Our concert today is dedicated to his memory and we have added the sublime Bach aria from Ich habe genung, BWV 82a as a special moment of reflection at the beginning of the program. We are honoring Reilly by presenting and singing the final season he programmed - a season of which he was very proud. This includes a new commission by the brilliant young American composer Nico Muhly. Reilly was excited by all of the guest artists, choirs, and composers we would be working with, and he was particularly pleased that this was a “requiem-free” season. We are especially grateful to Lawrence Loh, our guest conductor today. Loh has brought his energy, experience, compassion, and sense of humor to each rehearsal. After 31 years it was hard to imagine another conductor leading this chorus, so we feel fortunate to have his warm and assuring presence during this bittersweet time for all of us. We are looking forward to welcoming our next guest conductor, Joseph Flummerfelt, who will conduct our Joy of Christmas concerts on December 9 - 11. Flummerfelt has been an acclaimed conductor in many of the world’s concert halls for nearly 40 years. In 2004 Musical America named him the Conductor of the Year and for 33 years he was the Artistic Director and Principal Conductor at Westminster Choir College, where he conducted the world-renowned Westminster Choir. For more information on upcoming programs this season, please see the back of your concert program or visit our website. Help us celebrate our 75th anniversary all season long! Join us for our concerts, like us on Facebook, buy a 75th anniversary mug at our table in the rear nave, and spread the word that the Cathedral Choral Society is celebrating 75 years as Washington, DC’s longest singing chorus. Today, we welcome our guest conductor and soloists to share the stage with the Cathedral Choral Society and our orchestra for a celebratory and jubilant opening program.
Ernest Abbott Board President
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Genevieve Twomey Executive Director
CATHEDRAL CHORAL SOCIETY
Berlioz TE DEUM SUNDAY, OCTOBER 16 | 4:00 PM WASHINGTON NATIONAL CATHEDRAL This concert is dedicated to the memory of J. Reilly Lewis.
Lawrence Loh, guest conductor Gordon Gietz, tenor Todd Fickley, organ Laura Choi Stuart, soprano The Choristers of Washington National Cathedral, Michael McCarthy, conductor Cathedral Choral Society Ich habe genung, BWV 82a Aria: Schlummert ein, ihr matten Augen Laura Choi Stuart, soprano
Johann Sebastian Bach
Symphony No. 3 in C minor, Op. 78, “Organ” Todd Fickley, organ
Camille Saint-Saëns
INTERMISSION Te Deum, Op. 22 Gordon Gietz, tenor The Choristers of Washington National Cathedral, Michael McCarthy, conductor
Hector Berlioz
Any taking of photographs or unauthorized recording of this concert is prohibited.
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Congratulations On behalf of Washington National Cathedral and Bishop Mariann Edgar Budde, I’m thrilled to welcome you to the Cathedral, and to celebrate the Cathedral Choral Society on its 75th season. This Cathedral is a house of prayer for all people, and we hope you find a home here. One of our core priorities as a Cathedral is to serve as a venue for and celebration of the arts. Whether with soaring music or the building crafts or visual creativity, the arts reflect the wonder of God and the magic of creation. Like this majestic Cathedral itself, the arts point us toward something larger. Like you, the arts have a home here at the Cathedral. For three-quarters of a century, the Cathedral Choral Society has filled these grand spaces with the finest of the choral arts. This musical legacy has nurtured generations of Washingtonians in times of great joy and great sorrow, and the Cathedral Choral Society is a gift to the community. It’s a gift we are honored to share. Earlier this year, we were saddened by the untimely death of J. Reilly Lewis. Reilly was a man of great talent who generously shared his gifts with the Cathedral. He cannot be replaced and yet Reilly’s legacy is very much alive in the genius and excellence of the Cathedral Choral Society, and we still see his fingerprints and feel his warmth in these spaces he loved so well. From our Cathedral family to yours, happy 75th to the Cathedral Choral Society! I join Bishop Budde in praying for God’s blessings on the gifts this chorus brings to this Cathedral and this community. Together, let us join build on the legacy of Reilly’s work, praying that it would bring him just a measure of the joy he brought to us. Faithfully,
The Very Rev. Randy Hollerith Dean
On behalf of Chorus America, the advocacy, research, and leadership development organization for the choral field, it is my pleasure to congratulate the Cathedral Choral Society on 75 years of serving our nation’s capital. As the resident chorus of the Washington National Cathedral, the Cathedral Choral Society brings this magnificent landmark and spiritual center to life through the beauty and power of choral music. Choral singing is inherently about building community, and with its strong commitment to supporting a lifelong enthusiasm for choral singing, the Cathedral Choral Society contributes greatly to our community here in Washington, DC and beyond. Congratulations!
Catherine Dehoney President & CEO
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Celebrating 75 Years
Exhilarating. Inspiring. Uniquely beautiful. For the past 75 years, audiences have witnessed our musicians perform with passion and joy. 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. The Cathedral Choral Society has a rich and important history as DC’s longest singing symphonic chorus. During its 75-year history, the chorus has helped the nation mark important moments in its history and championed American music and composers. Today, the 145-voice chorus is proud to continue as the symphonic chorus-inresidence at Washington National Cathedral.
1941
December 1: The first Cathedral Choral Society rehearsal takes place.
1942
May 13: Inaugural concert, Verdi’s Requiem, with founding Music Director Paul Callaway.
1942
December 18: CCS presents its 2nd concert, Mendelssohn’s Elijah, with William Strickland as guest conductor.
1957
November 18: Leo Sowerby’s Throne of God is premiered to commemorate the 50th anniversary of the laying of the Cathedral’s foundation stone.
1960
Paul Hindemith conducts his Walt Whitman elegy, commissioned by Robert Shaw after the death of Franklin Delano Roosevelt in 1945.
1963 November 26: Beethoven’s Missa Solemnis is performed in memory of John F. Kennedy. 1968
March 31: A performance of Bach’s St. Matthew Passion takes place three days after the assassination of Martin Luther King. Music Director Paul Callaway makes cuts in the music to abide by curfews.
1973
Leonard Bernstein conducts the Concert for Peace at the Cathedral. CCS is part of the mass choir and Paul Callaway performs the organ prelude.
1976
The first Joy of Christmas concerts are performed.
1985
October 20: CCS welcomes J. Reilly Lewis as its new Music Director in an all Handel program.
1995
June 11/12: CCS presents jazz pianist Dave Brubeck.
1998
March 30: In remembrance of the 30th Anniversary of the assassination of Martin Luther King, Bach’s St. Matthew Passion is performed. Coretta Scott King is in attendance.
2010
CCS celebrates and recognizes J. Reilly Lewis on 25 seasons as Music Director.
2014
In November, CCS performs Bernstein’s Chichester Psalms with the Baltimore Symphony and Music Director, Marin Alsop.
2016
In April, CCS performs Orff’s Carmina Burana with The Washington Ballet for the third time at the Kennedy Center.
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TEXTS AND TRANSLATIONS Ich habe genung, BWV 82a Aria: Schlummert ein, ihr matten Augen Schlummert ein, ihr matten Augen, Fallet sanft und selig zu! Welt, ich bleibe nicht mehr hier, Hab’ ich doch kein Teil an dir, Das der Seele könnte taugen. Hier muß ich das Elend bauen, Aber dort, dort werd’ ich schauen Süßen Friede, stille Ruh’.
Johann Sebastian Bach (1685-1750) Fall asleep, you weary eyes, Close gently and peacefully! World, I will stay here no more, Since I have no part in you; That could help my soul. Here I must count on misery, But there, there I will see Sweet peace, quiet rest. —Translation by Margaret Gonglewski and John Heins ©2016
Symphony No. 3 in C minor, Op. 78, “Organ”
Camille Saint-Saëns (1835-1921)
1. Adagio – Allegro moderato – Poco adagio 2. Allegro moderato – Presto – Maestoso – Allegro
Te Deum, Op. 22
Hector Berlioz (1803-1869)
I. TE DEUM LAUDAMUS (HYMNE) Te Deum laudamus; Te Dominum confitemur, Te aeternum Patrem: veneratur.omnis terra
I. TE DEUM LAUDAMUS (HYMN) We praise thee, O God; we acknowledge Thee to be the Lord. All the earth doth worship thee, the Father everlasting.
II. TIBI OMNES (HYMNE) Tibi omnes angeli: Tibi caeli et Potestates, Tibi cherubim et seraphim incessabili voce proclamant: Sanctus, Sanctus, Sanctus, Deus Sabaoth; Pleni sunt coeli et terra majestatis gloriae tuae. Te gloriosus chorus apostolorum, Te prophetarum laudabilis numerus, Te martyrum laudat candidatus exercitus. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis; Venerandum tuum verum et unicum Filium, Sanctum quoque Paraclitum Spiritum.
II. TIBI OMNES (HYMN) To thee all angels cry aloud: The heavens, and all the Powers therein; To thee the cherubim and seraphim continually do cry: Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the majesty of Thy glory. The glorious company of the Apostles, The goodly company of the prophets praise Thee, The noble army of martyrs praise Thee. The holy Church throughout all the world doth acknowledge Thee, The Father of an infinite majesty: Thine honorable, true, and only Son; Also the Holy Ghost, the comforter.
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TEXTS AND TRANSLATIONS III. DIGNARE (PRIÈRE) Dignare, Domine, die isto, sine peccato nos custodire. Aeterna fac cum sanctis tuis in gloria numerari. Miserere nostri! Miserere nostri!
III. DIGNARE (PRAYER) Vouchsafe, O Lord, to keep us this day without sin. Make us to be numbered with Thy saints in glory everlasting. O Lord, have mercy upon us, have mercy upon us.
IV. TU CHRISTE, REX GLORIAE (HYMNE) Tu, Christe, Rex gloriae: Patris sempieternus Filius. Tu, devicto mortis aculeo, Aperuisti credentibus regna coelorum. Tu, ad liberandum sucepturus hominem, Non horruisti Virginis uterum. Tu ad dexteram Dei sedes, in gloria Patris.
IV. TU, CHRISTE, REX GLORIAE (HYMN) Thou art the King of Glory, O Christ: Thou art the everlasting Son of the Father. When Thou hadst overcome the sharpness of death, Thou didst open the kingdom of heaven to all believers. When Thou tookest upon Thee to deliver man, Thou didst not abhor the Virgin’s womb. Thou sittest at the right hand of God, in the glory of the Father.
V. TE ERGO QUAESUMUS (PRIÈRE) Te ergo, quaesumus, famulis tuis subveni, quos pretioso sanguine redemisti. Fiat super nos misericordia tua, Domine, quemadmodum speravimus in te.
V. TE ERGO QUAESUMUS (PRAYER) We therefore pray Thee, help Thy servants, whom Thou hast redeemed with Thy precious blood. O Lord, let Thy mercy lighten upon us, as our trust is in Thee.
VI. JUDEX CREDERIS (HYMNE ET PRIÈRE) Judex crederis esse venturus. In te, Domine, speravi; non confundar in aeternum. Salvum fac populum tuum et benedic hereditati tuae, Domine. Per singulos dies benedicimus, laudamus te et laudamus nomen tuum.
VI. JUDEX CREDERIS (HYMN AND PRAYER) We believe that Thou shalt come to be our judge. O Lord, in Thee have I trusted; Let me never be confounded. O Lord, save Thy people and bless Thine heritage. Day by day we bless Thee, we praise Thee and praise Thy name.
—English version, Book of Common Prayer
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PROGRAM JOHANN SEBASTIAN BACH (1685-1750) ICH HABE GENUNG, BWV 82A Aria: Schlummert ein, ihr matten Augen Johann Sebastian Bach composed his solo cantata, Ich habe genung (I have now enough), in 1727 for the Feast of the Purification of Mary (Candlemas), which falls on February 2, forty days after Christmas. The Gospel for that day recounts the story of aged Simeon, the “righteous and devout” man to whom the Holy Spirit had revealed that he would not die before he saw the Lord's Christ. When Mary and Joseph brought their infant son Jesus to the temple, as required by law, Simeon took the child in his arms, saying words recorded in Luke 2:29-32, known today as the Canticle of Simeon, or the Nunc dimittis: “Lord, now lettest thou thy servant depart in peace according to thy word, for mine eyes have seen thy salvation, which thou has prepared before the face of all peoples.” Three versions of this cantata survive. The best known is the original for bass, in C minor (BWV 82), with oboe obbligato. The soprano version, in E minor ( BWV 82a) dates to 1731 and is in the hand of one of Bach's students. A traverse flute takes the place of the oboe in a version dating to 1735. The central third movement appears in Anna Magdalena Bach’s notebook, so the Bach family must have performed it frequently, the version depending upon available performers. The cantata contains five movements. In its central aria, Schlummert ein, ihr matten Augen (Fall asleep, you weary eyes), sleep is used as a metaphor for death, with strings accompanying the melody that Bach scholar Albert Schweitzer called “the lullaby for eternal sleep.”
“Now cracks a noble heart. Goodnight, sweet prince, and flights of angels sing thee to thy rest.” — Shakespeare, “Hamlet,” Act V Scene II
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CAMILLE SAINT-SAËNS (1835-1921) SYMPHONY NO. 3 IN C MINOR, OP. 78, “ORGAN” Camille Saint-Saëns (1835-1921) was already well known throughout France as a child prodigy when, in 1857, he assumed the coveted post of organist at L’Église de la Madeleine in Paris at the age of twenty-two. For the next twenty years, musical visitors such as Clara Schumann, Anton Rubinstein, and Franz Liszt made pilgrimages to hear his Sunday improvisations. Saint Saëns described in his Musical Memories the awesome expressivity of the organ. “Between the pianissimo which almost reaches the limit where sound ceases and silence begins, down to a range of formidable and terrifying power,” he said, “every degree of intensity can be obtained from this magical instrument.…” French organ designers of this period, in particular Aristide Cavaillé-Coll (1811-1899), raised this “magical instrument” to new heights. Saint-Saëns also believed the time had come for the symphony “to benefit by the progress of modern instrumentation.” Thus, his orchestra for the Organ Symphony included three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, tuba, three kettledrums, organ, pianoforte (for four hands), triangle, a pair of cymbals, bass drum, and the usual strings. Saint-Saëns further revised the formal symphonic structure by dividing the symphony into two parts rather than the traditional four. In his fulsome explanation that accompanied its London premiere, the composer noted that elements of four movements were still present. “The first, checked in development, serves as an introduction to the Adagio, and the Scherzo is connected similarly with the Finale. I have thus thought to shun to a certain degree the interminable repetitions which are more and more disappearing from instrumental music.” “Where sound ceases and silence begins . . .” Nowhere is this more evident than in the Poco Adagio of the first movement. The veil between sound and silence is pierced by a melody first stated by violins, violas, and celli, like a fragmentary memory of the haunting, wistful fragrance of lilacs on an April evening. The layering of
PROGRAM orchestral colors is transforming. As described by SaintSaëns, “Lightning swift arpeggios and scales on the pianoforte are accompanied by the syncopated rhythm of the orchestra. The struggle for mastery ends in the defeat of the restless, diabolical element. The phrase rises to orchestral heights, and rests there as out of the clear blue sky.” The King of Instruments enters preemptively like the clerk of the court whose cry, “All rise!”, commands attention and action. Rising over the full strength of the orchestra, the organ’s stately chorale evokes a grand ceremonial occasion in a great cathedral. One can readily visualize Napoléon himself rising up to lead the procession! First Performances “It will be terrifying,” Saint-Saëns warned the Royal Philharmonic Society of London, which had commissioned the symphony. To great acclaim, he conducted the world premiere on May 19, 1886. The Paris premiere took place on January 9, 1887, at the Société des Concerts du Conservatoire, after which Charles Gounod reportedly exclaimed, “There goes the French Beethoven!” Hailed by his close friend and musical collaborator Franz Lizst as the greatest organist in the world, Saint-Saëns dedicated his Symphony to the memory of Liszt, who died only weeks after the premiere. Reflecting on his Organ Symphony years later, he said, “I have given there all that I am able to give.” This quintessential French masterpiece epitomizes, as Montaigne said of Paris, “the glory of France.” Cathedral Performances Although the Organ Symphony is frequently performed in concert, it is the rare American performance where the symphonic forces of Saint-Saëns’s modern orchestra can be matched by the “formidable and terrifying power” of a majestic instrument as is the Great Organ of Washington National Cathedral. The first performance was in 1978 in the newly completed full-length nave with Paul Callaway, founding music director of the Cathedral Choral Society, as organ soloist. Subsequent performances took place under J. Reilly Lewis in 2001 and 2009.
The Great Organ The Great Organ of Washington National Cathedral is the masterwork of Ernest M. Skinner, foremost organ designer of the first half of the 20th century. Built between 1937 and 1939, the original instrument was intended to fill the relatively limited space of the Great Choir with organ tone, as in the 1930s no one really knew if, or when, the entire building was to be finished. After World War II, construction on the Cathedral resumed. A new organ console was added in 1958, two Baroque divisions (Brustwerk and Positiv) were designed by Joseph Whiteford and installed in 1963, and the magnificent Trompette-en-Chamade on high wind-pressure was mounted at the triforium level above the High Altar. From 1970 to 1975, a consortium led by Canon Richard Wayne Dirksen, planned the complete re-working of the instrument, incorporating almost 7,000 new pipes and retaining the finest work from the original instrument, to design an instrument capable of playing the entire organ literature. The Great Organ as it now stands contains nine divisions and 10,650 pipes. It is the largest instrument in the Washington, DC area, and one of the great masterpieces of American organ building.
HECTOR BERLIOZ (1803-1869) TE DEUM, OP. 22 Colossal. Epic. Apocalyptic. Such musical dimensions demand the grand performing space of a large cathedral, which was exactly what Hector Berlioz (1803-1869) envisioned when he completed his Te Deum in 1849, the last of his “architectural” works, including his Requiem (1837) and Grande Symphonie Funèbre et Triomphale (1840). The words of the ancient Latin canticle, Te Deum laudamus (We praise thee, O God), evoke a grand spectacle—the “glorious company of the apostles,” “the goodly fellowship of the prophets,” “the noble army of martyrs,” indeed, “the holy Church throughout all the world.” Although the Te Deum has been a part of the Divine Office since the sixth century, in the last 400 years, the Te Deum has been sung increasingly at times of great public thanksgivings—after military victory in battle, the signing of peace treaties,
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PROGRAM and at papal and royal coronations. The nexus among politics, war, and religion is thinly disguised in Berlioz’s characterization of his Te Deum as “a conversation between the Pope (organ) and the Emperor (orchestra).” When Berlioz wrote his Te Deum, he anticipated that an appropriate ceremonial event would arise that would call for such a celebratory work. However, the coronation (1851) and wedding (1852) of Napoleon III came and went without Berlioz’s Te Deum. He recorded his frustration and cynicism in letters to his sister and others. “My Te Deum is finished. I wonder whether there’ll be anyone in the Ministry willing to help me have it performed. I doubt it.” (October 29, 1849) “There are moves afoot to get my new Te Deum performed at the [coronation of Napoleon III] …But I doubt they will succeed. The President doesn’t like music…” (October 25, 1852) “My Te Deum has also been announced as forming part of the musical manifestations at the Imperial wedding.” (December 29, 1852) To Henry Fothergill Chorley on February 8, 1853: “Once again I have been thrown into it, or rather left out of it, by the agents of officialdom over the Emperor’s wedding…His Majesty’s secretary…gave me almost official notice of the performance of my Te Deum. But twenty-four hours earlier the Minister of the Interior had made different arrangements…he had summoned his head of the Imperial Chapel… who summoned his orchestral conductor…who summoned his chief copyist and shamelessly they disinterred all the oldest stuff of the Opera library to be performed with one rehearsal at the ceremony in Notre-Dame. Now they’re saying in the government offices that I’ll be amply recompensed and that my Te Deum will be performed for the coronation. I don’t believe a word of it.” Berlioz finally arranged his own performance in 1855 on the eve of the opening of the Paris Industrial Exhibition. The premiere took place not in Notre-Dame but in Saint Eustache, one of the most beautiful Gothic churches in Paris.
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THE POPE AND THE EMPEROR “As for the organ,” Berlioz wrote to a friend in May 1847, “it can be put to good use in certain kinds of sacred music by playing in dialogue with the orchestra. But I don’t think it can be effective if they are both employed simultaneously.” Berlioz uses the organ throughout the Te Deum in dialogue with the orchestra—like “Pope and Emperor.” In advance of the premiere, Berlioz wrote this preview of the organ in the Te Deum: “In the work, the organ is not reduced to the role of accompanist. It is rarely heard at the same time as the orchestra and is in dialogue with the voices and the other instruments. It puts forward the theme that the rest have to develop, or at other times it supplies a weighty conclusion at the end of a movement, or utters a kind of musical reflection when the other performers...are silent.” Berlioz had hoped his friend, Franz Liszt, would play the organ for the premiere. However, since the occasion that finally provided an opportunity for the first performance of the Te Deum was the inauguration of the new organ at Saint Eustache, that honor went to Édouard Batiste, the church’s titular organist and professor at the Conservatoire.
The large audience that filled the sixteenth-century church on April 30, 1855, was ensured partly by the support of the Empress, who was a patron of the children’s institution from which Berlioz drew the 600-voice children’s choir for the opening chorus of the Te Deum, which he had modeled after the ripieno chorus of Bach’s St. Matthew Passion. Berlioz added this third choral part after visiting London in June 1851. There, he heard 6,500 (sic) children sing in unison “All people that on earth do dwell” at the annual charity school concert at St. Paul’s Cathedral. He described this profoundly moving event as “incomparably the most imposing, the most Babylonian ceremony” he had ever heard. It was proof, he said, “that the power of mass musicians is still totally unrecognized” on the Continent.
PROGRAM Berlioz used the full text of the Te Deum with the exception of a few phrases, but he rearranged the lines considerably, primarily to secure an alternation between “hymn” and “prayer.” The rediscovery of Berlioz’s 1824 Messe solennelle —the Cathedral Choral Society presented its North American premiere in 1994—reveals that the Te ergo quaesumus of his Te Deum is recast from the Agnus Dei of this earlier Mass. Following the second movement of the Te Deum, he inserted a rarely performed orchestral Prelude and a concluding “March for the presentation of the standards.” The composer’s score indicates these movements should be used only “for patriotic occasions” and are omitted today. At the first performance at Saint Eustache, Berlioz used an orchestra of 150 players, a chorus of 200, and a children’s choir of 600 voices, for a total of 950 performers. Modernday presentations of this rarely performed masterpiece generally employ considerably fewer forces but, it is hoped, with a minimal loss of dramatic import. Saint Eustache contained about 4.4 million cubic feet of air space. By comparison, Washington National Cathedral has 9.9 million cubic feet of air—a truly resplendent space for Berlioz’s sound and fury. After the first performance, Berlioz wrote an exuberant letter to Franz Liszt in which he described the concert as “a scene out of the Apocalypse. The Te Deum was given the most magnificently accurate performance. It was colossal, Babylonian, Ninevite! The large church was full. The children sang as one soloist…. If only you’d been there! It is a formidable work. The ‘Judex’ goes beyond any of the enormities I’ve been guilty of so far…. Yes, the Requiem has a brother, a brother who has come into the world with teeth, like Richard II (without the hump); and I tell you, today he bit the audience to the heart. And what a huge audience it was! There were 950 performers. And not a single mistake! I can’t get over it.” First Hearings The first performance of Berlioz’s Te Deum in England took place at the Crystal Palace on April 18, 1885. Sir Charles Stanford led the London Bach Choir in a London performance in 1887 and again in 1888 at Westminster
Abbey to celebrate the Jubilee of the Coronation of Queen Victoria. Berlioz had dedicated his Te Deum to Prince Albert, the Queen’s Consort. The first American performance was in Chicago on December 1, 1887, by the Apollo Musical Club. The Handel and Haydn Society performed it at the old Boston Music Hall two months later. Paul Callaway led the Cathedral Choral Society in the first Washington performance in 1973; J. Reilly Lewis conducted subsequent hearings in 1987, 2001, and 2009.
MUSIC OF THE TE DEUM Berlioz’s Te Deum as performed in this concert consists of six movements for solo tenor, two three-part choruses, a children’s choir, orchestra, and organ. Despite Berlioz’s professed agnosticism, this work is marked by a profound spiritual optimism and faith in God’s benevolent mercy. Te Deum laudamus (Hymn) Five massive chords exchanged between full orchestra (Emperor) and full organ (Pope) announce, in the words of Dennis Keene, a dialogue “between the worldly splendors of the French Republic and the ancient rituals of the church.” The organ then “proposes” the subject of a fugue, a descending scale, which undergirds the movements in the manner of an ancient cantus firmus. Tibi omnes (Hymn) By contrast, this movement progresses from contemplative personal meditation, introduced by a quasi-improvisatory organ prelude, to a splendid, otherworldly Sanctus, a celestial vision of heaven. Three verses, each for different voices, have the same refrain. Dignare, Domine (Prayer) This meditative movement, a prayer for deliverance from sin, rises and falls over a series of pedal points, or sustained notes, in the bass.
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PROGRAM Christe Rex gloriae (Hymn) In the central movement of his Te Deum, Berlioz juxtaposes an inverted cantus firmus, now a rising scale in the orchestra, against the descending theme for voices. The section, Tu ad dexteram, is a reworking of the Resurrexit in his 1824 Messe solennelle Te Ergo quaesumus (Prayer) Recast from the Agnus Dei of his Messe solennelle, much of this movement employs, as an accompaniment for the tenor soloist, Berlioz’s favored device of a chanted choral ostinato (“fiat super nos”), similar to the Offertoire of his Requiem. Judex crederis (Hymn and Prayer) This final apocalyptic movement struggles between visions of glory and terror, culminating in a blaze of glory, one of the most spectacular in all of French music. On September 1, 1849, Berlioz wrote to his sister. “I have to tell you that I’ve recently been taken over by the very devil of a finale, a double chorus… which was preventing me from sleeping and from paying any attention whatever to anything else. . . . Now that the finale is…sketched out so that it can’t now escape from me, here I am back in the real world.”
TEXT OF THE TE DEUM Its Origin and Structure For centuries, the Te Deum, the first and grandest psalm of Western Christianity, has been used to celebrate great moments in sacred and secular time. The Te Deum thus lies at the crossroads between liturgy and politics, church and state. One scholar suggests the Te Deum might even be considered “the Marseillaise of the Church.” Certainly, the many musical settings of the Te Deum are evidence that this triumphant text has served as a quasinational anthem at those momentous times calling for the hallowing–the setting apart–of military victories, liturgical consecrations, and affirmations of political power.
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TheTe Deum is a composite hymn of praise and thanksgiving that dates between the beginning of the fifth century and the first quarter of the sixth. The differences in character between sections are attributed to multiple authorship. The first twenty-one verses of the Te Deum are an organic whole. Ending with “Aeterna fac um sanctis tuis Gloria numerari” (Make them to be numbered with thy saints in Glory), they are epic and narrative in character, triumphant and full of exaltation. The author of these verses is believed to have relied upon the early Itala version of the Bible, made from the Greek Old and New Testaments. Beginning with “Salvum fac populum tuum, Domine” (O Lord, save thy people), the remaining eight verses are a plea “O Lord, have mercy upon us” ending on a very personal note: “let me never be confounded.” Within these verses are found four separate quotations from the Psalms. Internal evidence suggested the author of these verses relied upon the Vulgate translation made by Jerome in AD 362-404 from the Hebrew and Greek originals of the Scriptures. Another significant demarcation between the first and second parts: The first twenty-six lines begin with a second person singular pronoun—five with “Tu,” three with “Tibi,” and six with “Te.” None of the fourteen lines, beginning with Salvum fac, is expressed in that manner. -©2001, rev. 2009, 2016 Margaret Shannon
BIOGRAPHIES Conductor Lawrence Loh is the newly appointed inaugural Music Director of Symphoria, founded by former members of the Syracuse Symphony Orchestra. He also holds the position of Music Director of the Northeastern Pennsylvania Philharmonic and Artistic Director and Principal Conductor of the Syracuse Opera. From 2005-2015, Loh had a very successful association with the Pittsburgh Symphony Orchestra as Assistant, Associate, and Resident Conductor. He was active in the PSO’s Community Engagement Concerts, extending the PSO’s reach into other communities, and was awarded the Pittsburgh Symphony’s Paul Ross Award for Excellence in Education and Community Engagement in 2015. Loh is active as a guest conductor, both in the U.S. and abroad. Recent engagements include the National (Washington, DC), Naples, Knoxville, Florida, Dallas, El Paso, San Luis Obispo, Edmonton, Colorado, Charleston (SC), Detroit, Malaysia, Daejeon (South Korea), and Greater Bridgeport Orchestras. His summer appearances include the festivals of Tanglewood, Bravo Vail Valley, Aspen (CO), Mann Center in Philadelphia, Breckenridge, Las Vegas, Hot Springs (AR), the Kinhaven Music School (VT) and the Performing Arts Institute (PA). Loh held the positions of Assistant and Associate Conductor of the Dallas Symphony from 2001-2005. He was brought to national attention in February 2004 when he stepped in to conduct on short notice for an ailing Charles Dutoit. Prior to his Dallas appointment, he was appointed by Music Director Marin Alsop to be Associate Conductor of the Colorado Symphony Orchestra and was also Music Director of the Denver Young Artists Orchestra. Tenor Gordon Gietz, originally from Alberta, has established an international reputation collaborating with the most highly regarded conductors and directors in the operatic arena. He debuted at the Opéra National de Paris as Don Ottavio in Don Giovanni and returned
in subsequent seasons as Cassio in Otello and Tamino in Die Zauberflöte. At the Paris Opera’s Bastille Theatre, Gietz created the character of Yonas in the world première of Kaija Saariaho’s Adriana Mater, a production directed by Peter Sellars and conducted by Esa-Pekka Salonen, and later appeared as Yonas in the UK première of the work at London’s Barbican with the BBC Symphony. Gietz made his La Scala debut as Chevalier de la Force in Dialogues des Carmélites and returned for Robert Carsen’s production of A Midsummer Night’s Dream as Lysander, which was his debut role at Glyndebourne Festival Opera. In London, Gietz created the role of Stingo in Nicholas Maw’s Sophie’s Choice at Covent Garden with Sir Trevor Nunn and Sir Simon Rattle and reprised the role for the North American première in Washington, DC. Gietz made his debut at the Metropolitan Opera in New York City in the title role of Shostakovich’s The Nose, a new production by the acclaimed director and visual artist William Kentridge under the musical direction of Valery Gergiev. Mr. Gietz’s appearance is made possible by the Marion Drew Leach Performing Artist fund and the Fuller Fowler Young Artist Endowment Fund. Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also the Acting Artistic Director of the Washington Bach Consort, Assistant Conductor and Keyboard Artist for The Choralis Foundation, and 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.
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BIOGRAPHIES 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.” 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, she 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. The Boy and Girl Choristers of Washington National Cathedral Choir The Washington National Boys Cathedral Choir, founded in 1909 and the Girls Cathedral Choir, founded in 1997, are currently among few cathedral choirs in the United States with an affiliated school, in the English tradition. The boys singing treble are ages 9-14 and attend St. Albans School for boys; and the girl trebles, ages 12-18, attend National Cathedral School for girls.
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Under the direction of Canon Michael McCarthy, the choirs share responsibilities to provide liturgical support for Cathedral services including daily weekday evensongs and Sunday services. They have been heard in radio broadcasts for PRI and have participated in televised Cathedral services and those of national and ecumenical importance such as the presidential inaugural prayer services, state funerals, the 9/11 prayer service, prayer service for the victims of Hurricane Katrina and, more recently, the funeral service of Astronaut Neil Armstrong, and the memorial service for Nelson Mandela. Concert tours have taken the choirs to New York, Sarasota, Tampa, Los Angeles, San Diego, Portland, San Francisco, St. Louis, Milwaukee, Atlanta, Boston, Chicago, Indianapolis, Richmond, and Hawaii. The choirs have recorded numerous CD’s including Centennial Celebration, Hear the Christmas Angels, and Handel’s Messiah. Michael McCarthy is the Cathedral director of music, and oversees the Cathedral’s expanding music program, as well as serves as principal choirmaster. McCarthy was the founder and director of the London Oratory School Schola. Founded in 1996, the Schola quickly became one of London’s premier boys’ concert choirs, performing regularly on the London concert platform and in the studio for both the recording and film industries. Michael directed the Schola in recordings for films including Sleepy Hollow, The Lord of the Rings cycle, and Harry Potter. A graduate of Guildhall School of Music and Drama, Michael has worked with numerous professional choirs including the Sixteen, the Gabrieli Consort, and the Monteverdi Choir. In January 2002 he became the choir manager for the Monteverdi Choir. His experience directing young choristers includes duties as lay clerk at Christ Church Cathedral, Oxford, and Saint Alban’s Abbey in Hertfordshire. He also served as master of music at Saint Benedict’s Abbey, Ealing, prior to beginning the London Oratory School.
BIOGRAPHIES 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 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. From 1985 to 2016, J. Reilly Lewis 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 ANNUAL FUND CAMPAIGN
You make the difference... Make a donation and you make a difference. Your support sustains a welcoming choral community, exciting and vibrant concerts, and outreach programs that inspire everyone to sing! Keep the singing going for another 75 years.
Visit our annual fund table | donate online | donate by mail
CATHEDRALCHORALSOCIETY.ORG 15
CATHEDRAL CHORAL SOCIETY Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach
** Section Coordinators * Alternates
Soprano I Anne Carman Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Kyla Kitamura Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Jocelyn Mullins Kimberly Pacala Melanie Steinkamp Patricia Stephenson Megan Sullivan Laura Theby Elizabeth Owens Wakefield Nuska Zakrajsek
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Laura Landes Beth L. Law Wendy Lubarsky Emily McCullough Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Julia Rothchild Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John
Dianne Vandivier Jeannette Dea Warren Anderson Margot T. Young*
Tenor I Alex A. Belohlavek Gregg M. Breen David Dietly Douglas Dykstra John W. Harbeson Nicholas Houhoulis Kevin Josey Patrick Kilbride Dick Larkin Peter Lee Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington
Tenor II Douglas K. Barry J Austin Bitner Ross Bradford James Clay** David Costanza Brett Ewer Luke W. Fisher Jeremy Gosbee Jeremy Kane Gerald Kavinski Michael McCarthy James M.E. Mixter, Jr.* John E. Moyer Jonathan Rajaseelan Martyn Smith
Bass I Eric P. Andersen John Boulanger Kelly Cameron Everitt Clark Raymond Ghattas John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller L. Bradley Stanford** Jonathan Terrell Richard Wanerman Peter G. Wolfe Christopher Woolley
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Alto I Amanda Ayers Violet Baker Kathleen Brion Sandra Caracciolo Christine de Fontenay Kehan DeSousa Susan Grad* Jennifer Hawley Melissa A.L. Holman Laura Jackman Lisa Josey Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Jane Roningen Margaret Shannon Maki Yasui
Alto II Stephanie Cabell Laurene Church Robin Costanza Noemi Danao-Schroeder 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 Larisa Prisacari Christopher G. Riggs* Kate Shooltz Teresa A. Spencer Susan Stanford Natalie Torentinos Kathleen M. Welling**
Bass II Ernest Abbott* Andrew Bawden Dale Boyd Chris Buechler** Thomas Chapman Glenn Sherer Griffiths, OSL Karl Hempel Eugene Kaye Ian M. Matthews Scott McCorkindale Ellis Wisner
ORCHESTRA Violin I Laura Miller, Concertmaster Karin Kelleher Bill Tortolano Monika Dorosheff Jennifer Rickard Sonya Hays Mia Lee Saskia Florence Violin II Paula McCarthy* Pamela Lassell Annie Loud Lisa Cridge Sara Matayoshi Carolyn Kessler Ivan Hodge
Cello Gita Ladd* Marion Baker Danielle Cho Todd Thiel Jihea Choi Dan Shomper
Clarinet Suzanne Gekker* Edna Huang Carl Long
Bass T. Alan Stewart* Michael Rittling Mark Stephenson
Bassoon Erich Heckscher* Eric Dircksen Ariel Allal Sean Gordon
Flute Karen Johnson* Kathryn Farenish Berry Piccolo Angie Uperti Hite
Viola Ann Steck* Robin Massie-Pighee Nicholas Hodges Derek Smith Jerome Gordon Cathy Amoury
Oboe Fatma Daglar* Mark Christianson English Horn Alison Lowell
Bass Clarinet Edna Huang
Contrabassoon Eric Dircksen
Trombone Bryan Bourne* James Fantz Bass Trombone Jerry Amoury Tuba Jess Lightner Timpani Joseph McIntyre Percussion Gregory Herron* John Kilkenny
French Horn Rick Lee* Eric Moore Greg Drone Mark Wakefield
Personnel Pamela Lassell
Trumpet Woodrow English* Andy Wilson Matthew Misener Peyden Shelton
The Concertmaster Chair is supported by the Thoron Concertmaster Fund.
*Principal player
75th ANNIVERSARY LEADERSHIP CIRCLE We are pleased to recognize and thank the members of our 75th Anniversary Leadership Circle who have generously provided their support to our 2016|17 Season and to our general endowment.
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Ernest and Catherine Abbott Blanche Curfman Charles Leonard Egan Thomas P. Gallagher Mary-T and Spencer Gordon Ann Ingram Anne R. Harris Richard and Cecilia Larkin William M. Leach J. Reilly †and Beth A. V. Lewis
Lolly and Jim Mixter Bradley J. and Martha A. Olson Gerald W. and Alice Padwe John E. Moyer and Jane Passman Frances H. Pratt Raymond Rhinehart and Walter Smalling Jr. Stephen S. Roberts Martin Rosenthal and Corrine Axelrod 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.
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CONCERT DEDICATION We are honored to dedicate today’s concert to the memory of J. Reilly Lewis. In 1985, J. Reilly Lewis was appointed Music Director of the Cathedral Choral Society. Under his leadership, the chorus delivered notable performances at the Cathedral, the Kennedy Center, Strathmore, and Wolf Trap, as well as nine recordings. Lewis was committed to developing the careers of young soloists and composers. He commissioned over twenty-one new works for chorus from composers including Nico Muhly, Libby Larsen, John Rutter, Dominick Argento, and John Tavener. One of the world’s leading Bach specialists, Lewis founded the internationally acclaimed Washington Bach Consort in 1977. Under his direction as Artistic Director, the ensemble became one of the nation’s most critically acclaimed and widely recognized period ensembles, appearing at numerous festivals both in the United States and throughout Europe. As a keyboard artist, Lewis performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, the Cologne New Music Festival, and in Washington, DC, with the Smithsonian Chamber Players, the Folger Consort, and the National Symphony Orchestra. Lewis served as Organist and Choirmaster at Clarendon United Methodist Church for 45 years and he delighted in conducting Messiah sing-alongs there. Among Lewis’ many honors are Washingtonian Magazine’s Music Hall of Fame and Washingtonian of the Year, the University Club of Washington’s Distinguished Washingtonian Award for the Arts, Special Recognition Mayor’s Arts Award, Yale University’s Cultural Leadership Citation, and the Choralis GRACIE Award for Outstanding Contributions to Choral Music. In 2014, he received an Honorary Doctorate of Humane Letters from the Virginia Theological Seminary. Born in 1944, Lewis began his musical career at the age of eight as a member of the Junior Boys Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin Conservatory and master’s and doctoral degrees from The Juilliard School. Lewis died unexpectedly on Thursday, June 9, in Arlington, VA at his home. He was 71. Reilly was beloved in the Washington, DC music community. He was known for his generosity of spirit and joyful soul by his many friends, family, and everyone with whom he came into contact. Lewis dedicated his life to music and to transforming the lives of others through music. In his own words: “I believe in the power of music to create community to touch, and to heal, and to transform. I've seen people with the most diverse backgrounds come together in one place and be touched by the hand of God through the inspiration - the genius - of Bach or Brahms or Verdi or Mozart. That power to bring people together isn't restricted to music, but music is my language.”
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THANK YOU Gifts in Memory of J. Reilly Lewis Ernest*^ and Catherine Abbott Anne Harris W. Reid and Mary M. Thompson Hank and Charlotte† Schlosberg George and Sheri* Economou Thomas P. Gallagher^ Mary-T^ and Spencer Gordon James D. Campbell and Janet M. Hall Christine* and James Mulligan Bradley J. and Martha A.*^ Olson Gerald^ and Alice Padwe Raymond Rhinehart* and Walter Smalling, Jr. Eric P. Andersen* and W. David Young III Kathleen Brion*^ Laurie* and Colin Church Laura P. and Timothy C. Coughlin Blanche L. Curfman Cary C. Fuller Giles Howson* Elizabeth and Jan Lodal Lolly and Jim*^ Mixter Thomas Morante and Marianne Splitter
John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^ Kimberly* and Mark Pacala Richard and Linda Roeckelein Kevin Rosengren^ T. Michael and Linda Shortal L. Bradley Stanford*^ Patricia Stephenson* Guy and Margaret Steuart John and Dariel Van Wagoner Mark J. Andrews Robert and Laura Barlow Anne* and James Carman Sara Hale Henry and Austin Henry Leslie and Keith Kruse C. F. Muckenfuss III and Angela Lancaster Steven A. Levin and Rondi K. Pillette Susan McDaid* Victor Shargai John Ellis Knowles Wisner* Jessica Barness* Betty J. Beard Catherine H. Beauchamp Joanne Casey* James W. Clay* Children’s Chorus of Washington
Classical Movements Marilyn Flood John L. and Elizabeth W. Gardner Barbara Greene, City Choir of Washington Bill Grossman Fund Ann Ingram Jean Jawdat Landis and Arnita Jones Elizabeth E. Kelley Richard C. Lee Jake Levin Janice L. Lockard Michael Lodico Wendy Lubarsky* Robert Turner Mead Andrea Merrill Judith Parkinson Suzanne M. and B. Dwight Perry Harold and Martha Quayle, Jr. Jane* and Vernon Roningen Gus and Susan Schumacher Charles and Joanne Schwarz Margot S. Semler Lynwood and Thalia Sinnamon Crawford Feagin Stone Philip Trainor Genevieve^ and Sean Twomey Jeannette Warren-Anderson* *Chorus Member
D. C. Washington* Cheryl L. Williams Ellen Adajian Jenny Bilfield and Joel Friedman Ross M. Bradford* Barbara L. Cambridge Gloria A. Collier Marianna Costanza Sandra Cushner Richard Dodd Denise Duplain Cathleen C Hatchell C. Paul Heins Cheryl A. Kempler Lois Martin Warren and Marianne Pfeiffer Elizabeth Sanford Cindy Shen* Albert Small Elisabeth Smith Helen L. St. John* Megan Sullivan* C. Thomas van Alen Caroline and Dick Van Wagoner Robert and Barbara Verdile Peter G. Wolfe Sam Yoon
^Board Trustee
†Deceased
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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between July 3, 2015 and September 29, 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+ Thomas P. Gallagher^ John E. Moyer*^ and Jane Passman Bradley J. and Martha A.* Olson
Gerald W.^ and Alice Padwe Frances H. Pratt*
Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod
Guarantor Patrons $5,000+ Diana Dykstra^ Anne R. Harris Patricia D. Hevner^ Paul Juergensen II ^
Richard* and Cecilia Larkin Lolly and James*^ Mixter Thomas C. Mugavero*^ Mary B. Olch*
Catherine E. Ort-Mabry* and Brian Mabry Raymond Rhinehart* and Walter Smalling, Jr. T. Michael and Linda Shortal
Chorus Section Patrons $2,500+ Arthur L. and Connie Eggers Nancy M. Folger
Kevin Rosengren^ L. Bradley Stanford*^
Guy and Margaret Steuart
Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young III Margaret M. Ayres and Stephen Case Betty J. Beard Brian and Donna Bogart Blanche L. Curfman Edison and Sally Dick Walter^ and Joanne Doggett Charles Leonard Egan Cary C. Fuller Mary-T Gordon
Susan Grad* William B.†and Ruth L. Harwood Sarah B. Holmes* and John B. Morris, Jr. Judith Hope Ann Ingram* J. Reilly†and Beth A.V.* Lewis Nevin E. Kuhl William M. Leach George Londeree Christina M. Markus*
Virginia C. Mars Susan McDaid* James* and Madeleine Schaller Genevieve^ and Sean Twomey John and Dariel Van Wagoner Kevin and Andrea Wade Robert and Betty Wallace Nancy Wiecking Margot T. Young*
Patrons $500+ Violet Baker* Jessica Barness* Kathleen Brion*^ Jeanne Buster Joanne Casey* Laura M. Connors* Christine C. De Fontenay* Lynn B. Dutton Margaret Gonglewski and John Heins Jeremy Gosbee *
Lynne N. and Joseph F. Horning Robert W. Jerome and William J. Courville Pam and Don Lassell Peter and Lauralyn Lee Jennifer*^ and Alec Orudjev Harold I. and Frances G. Pratt Robert* and Lissa Reeves Lynn Rhomberg Richard and Linda Roeckelein John Schaettler*
John and Judy Shenefield Leslie C. Taylor Susan Fifield Mentley and James David Toews Dale and Peter Turza James and Elinor Vaughter Virginia L. White Sinclair Winton John Ellis Knowles Wisner* Evelyn D. Woolston-May
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THANK YOU Sponsors $250+ Caren* and John Backus Robert M. and Laura S. Barlow Catherine H. Beauchamp Andrew and Kaye Boesel Herman Bostick Christopher L. Buechler* James W. Clay* Holly* and Trevor Filipiak Pam Gibert
Glenn S.* and Judith M. Griffiths George E. Groninger Richard and May Lea Keating Janice L. Lockard Wendy Lubarsky* Alex E. Martin Leander and Stephanie McCormick-Goodhart Barbara and John McGraw
Scott and Nancy Pinckney Robert* and Elaine Porter Theodora K. Radcliffe Suzanne H. Rooney Laurel Towers C. Thomas Van Alen Elizabeth Owens Wakefield* Dorothy M. Woodcock
Donors $100+ Anonymous (3) Nancy Maes Aherne James J. and Anne Cesare Albertine Mary Amorosino* Estate of Richard S. and Alayne C. Antes D. Philip Baker Jane C. Bergner Gordon L. Biscomb Dale Boyd Gregg M. Breen* Michael F. Butler Stephanie Cabell* Timothy W. and Patricia Carrico Marilyn Clark Vera I. Connolly Terry D. Copeland and Martha Beard Copeland Roberta and Philip Cronin Marcia D’Arcangelo* Ruth and Nelson Denlinger Alice M. Denney Sharrill Dittmann Cynthia L. Drakeman*^ Kathleen A. Felton Sally A. Fiske Peter B. and Karin L. Fontneau John G. Ford
Mary Cox Garner Neil and Carolyn Goldman Hilton Lee Graham Joan and David Green William and Margaret Greer Anne Brooks Gwaltney George Hanc John and Ann Harbeson David R. Hearn Frederick S. Hird Robert and Parma Holt Erika R. Joyce Louis E. and Ruth H. Kahn Cronin-Keegan Family Charitable Fund Mary Ruth Keller Dolores M. Kirby Gary W. and Judy Kushnier C. F. Muckenfuss III and Angela Lancaster Steven and Monica Leach Rosemary D. Lyon Alaster MacDonald Kathleen E. and James W. Madden David S. Marsh Ann F. McCormick Robert T. Mead Andrea Merrill Corinne Mertes
Martha Miller Nathaniel Miller* Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Charles Pratt and Alexandra England Jackie Prince Leon Reed Jane* and Vernon Roningen Milton and Ingrid Rose Melissa Ryan* Ann Imlah Schneider Patrick D. Shannon James and Linda Sheridan Hal and Carol Sox Herald Speiser Teresa A. Spencer* Marianne Splitter and Thomas Morante Patricia Stephenson* Margaret C. Stillman Jacqueline K. Stover Keiko Stusnick J. David and Patricia Sulser Jean Van Der Tak Alice Wagner Kathleen M. Welling*
*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 July 3, 2015 and September 29, 2016.
Thank you to our Government Supporters U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program DC Commission on the Arts & Humanities
Thank you to our Foundation Supporters The Community Foundation for the National Capital Region Dallas Morse Coors Foundation
Dimick Foundation Mars Foundation
The Meredith Foundation The Richard Eaton Foundation
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America
Exxon Mobil Foundation
Pepco Holdings Inc.
Corporate Investor $1,500+ Clark Construction Group, LLC
IBM
Sentinel Wealth Management
Corporate Leader $1,000+ E*Trade Financial
UBS Financial Services
Union Pacific
Corporate Advocate $500+ The Benevity Community Impact Fund
Capital One Bank
Corporate Supporter $100+ Ameriprise Financial - Kim, Hopkins & Associates
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Dental Group At Reston Station
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. Here we recognize the current members of the Harmonia Society. Ernest*^ and Catherine Abbott Catherine Beauchamp Blanche L. Curfman Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^ Mary-T^ Gordon Anne R. Harris William B.† and Ruth L. Harwood
Patricia Hevner Ruth G. Hofmeister Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Rosemary D. Lyon Lolly and Jim*^ Mixter Martha A. Morris Mark W. Ohnmacht Bradley J. and Martha A.*^ Olson
Gerald W.^ and Alice Padwe 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.
Behind the Scenes... In preparation for our 75th Anniversary, we arranged for the conductor’s concert podium to be repaired and refinished. It is interesting how easy it is to not notice that something as well-loved and well-used as our concert podium is actually in disrepair. We are grateful to long-time, front-row subscriber and supporter Blanche Curfman for making this project possible. It was also Blanche who suggested that it was time for a podium update. What could be more fitting for the start of this anniversary season? About our concert podium: On October 20, 1985, Cathedral Provost Charles Perry dedicated the handsome oak podium to the memory of Charles Sidney Forbes (1892-1983), a lawyer in government and private practice. A long-time Cathedral usher, he had been present as a 15-year-old choir boy at the laying of the Cathedral Foundation Stone in 1907. His wife, Ramona Blunt Forbes (1913-2005), was our Chorus Administrator for more than 50 years and a voice and piano teacher at the National Cathedral School for 30 years. Dr. David R. Curfman, then President of our Board of Trustees, assisted Cathedral carpenter John Drew in designing the podium, which incorporates carved, oak wood panels repurposed from earlier Cathedral furnishings. Thank you to Karl Hempel, jack-of-all-trades, for your beautiful work and craftsmanship on this project.
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THANK YOU Gifts in Memory In Memory of Lessie Garber Sutherland Mary-T.^ and Spencer Gordon In Memory of William B. Harwood Mary-T.^ and Spencer Gordon William M. Leach Blanche L. Curfman In Memory of Benjamin 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 Marion D. Leach William M. Leach
In Memory of Thomas E. Morrison Mary-T.^ and Spencer Gordon
In Memory of Rena Stephenson Patricia Stephenson*
In Memory of Zebarney Thorne Phillips Ronald C. Perera
In Memory of Frederic C. Towers Mary-T.^ and Spencer Gordon
In Memory of Charlotte Schlosberg Mary-T^ and Spencer Gordon
In Memory of Anthony White Mary-T^ and Spencer Gordon In Memory of Coral J. Wigent The Lassell Family
Gifts in Honor In Honor of Dr. Violet Baker David R. Hearn
In Honor of Martha Olson David Dietly*
In Honor of Barry and Lori Wolfman Cynthia L. Drakeman
In Honor of Mary-T Gordon John T. Beaty, Jr.
In Honor of Franny Pratt Susan J. Henry
In Honor of Margot T. Young Kathleen and Walter Weld
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
Hold the date for our
75th Anniversary Jubilee SATURDAY, MAY 6, 2017 Celebrating 75 years since our founding in the 1941 | 42 season.
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CATHEDRALCHORALSOCIETY.ORG/75th-ANNIVERSARY-JUBILEE
2016/17 SUBSCRIPTION SEASON AT WASHINGTON NATIONAL CATHEDRAL TURN TODAY’S SINGLE TICKET INTO A SUBSCRIPTION! Receive your best value and make plans to join us for the rest of the concerts in our 75th season. Four concerts starting at just $90. Hand back your ticket at the table near the Cathedral entrance OR call 202-537-2228 by Wednesday, October 19.
JOY OF
Christmas
FRIDAY, DEC. 9 | 8:00 PM SUNDAY, DEC. 11 | 4:00 PM
Joseph Flummerfelt, guest conductor • Lyric Brass Quintet Edward Nassor, carillon • Todd Fickley, organ Georgetown Visitation Preparatory School Choir, David Nastal, conductor
AMID A CROWD OF
Stars
SUNDAY, MARCH 19 | 4:00 PM
WITH NEW YORK POLYPHONY
Including plainsong and works by Tallis, Elgar, Tavener, Willaert, Guerrero, Stucky, Andrew Smith, and Ola Gjeilo. Michael McCarthy, guest conductor • New York Polyphony • Cathedral Choral Society
TE DEUM
Finale
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 Patrick Dupré Quigley, guest conductor • Nurit Bar-Josef, violin Michael Nyby, baritone • Colleen Daly, soprano
25
Save 15% with code TEDEUM
through Oct. 31
Hector Berlioz: Requiem, Grande Messe des Morts Sunday, November 20, 2016 | 5:00 pm Kennedy Center Concert Hall
Scott Tucker, conductor | Dustin Lucas, tenor | Choral Arts Chorus and Orchestra
For Tickets: choralarts.org | 202.244.3669
75
2016/17
COMMUNITY EVENTS
COMMUNITY SING-ALONGS In honor of our 75th season, we are taking our popular Cathedral Sings programs out into the community! All abilities welcome, and scores are provided. Tickets $10.
Fauré
REQUIEM
Will Breytspraak, guest conductor
SUNDAY, NOV. 13 | 7:30 PM | CHURCH OF THE EPIPHANY, G ST.
Schubert
MASS IN G
Gretchen Kuhrmann, guest conductor
SUNDAY, JUNE 11 | 7:30 PM | CHEVY CHASE PRESBYTERIAN
HIGH SCHOOL CHOIR
Festival
WEDNESDAY, FEB. 22 | 7:30 PM | BASILICA OF THE NATIONAL SHRINE 26
Stanley J. Thurston, guest festival director. We are proud to present our 12th annual high school choir festival, featuring students from public, private, and charter schools across DC. Free concert in evening.
ACKNOWLEDGEMENTS
Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Walter B. Doggett III Cynthia Drakeman Diana F. Dykstra Anthony Flournoy
Patricia Hevner Thomas P. Gallagher Paul Juergensen II James M.E. Mixter, Jr. Treasurer Jack Moyer Thomas Mugavero, Vice President 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
Mimi Newcastle, Finance Manager Joy Schreier, Pianist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director
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, Deputy Director, Office of Event Management Gary Ford, Supervisor, Sextons and Events Set-up Daniel Rose, Director, Event Management Mark Huffman, Technical Director/Audio Engineer Sarah Rockwood, Front of House Manager
Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Canon Precentor & Administrative Verger Torrence Thomas, Head Verger
With special thanks for all the staff and volunteers of Washington National Cathedral and the Protestant Episcopal Cathedral Foundation.
27
75 2016 | 17 SEASON
JOY OF Christmas FAMILYJoy FRIDAY, DECEMBER 9 | 8:00 PM SUNDAY, DECEMBER 11 | 4:00 PM
Christmas favorites and a newly commissioned carol by Carson Cooman.
SATURDAY, DECEMBER 10 | 12:00 PM Bring the whole family and get swept up in the sounds of the season!
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.
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 Dvoล รกk, Te Deum, Op. 103
CATHEDRALCHORALSOCIETY.ORG | 202-537-2228