Bernstein: Ode to Freedom

2017.18 CONCERT PROGRAM

: n i e t s Bern ODE TO FREEDOM SUNDAY, MAY 20 4:00 PM WASHINGTON NATIONAL CATHEDRAL

Greetings, We are so pleased to welcome you to the final concert of our 2017.18 season!

Today we are presenting a very special program in honor of the 100th anniversary of the birth of great conductor and composer Leonard Bernstein. Bernstein was an active advocate for peace and nuclear disarmament throughout his life. He was not shy about sharing his political beliefs, and spoke out passionately about causes he believed in. Works on this program have a connection to musical moments in Bernstein’s life that made a statement.

In particular, we celebrate Bernstein’s “A Concert for Peace” here at Washington National Cathedral. On Friday, January 19, 1973, the eve of Richard Nixon’s second inauguration, Bernstein conducted Haydn’s Mass in Time of War. The concert began at 9:00 pm – the exact time that the inaugural concerts were scheduled to begin at the Kennedy Center. Bernstein and the Cathedral staff welcomed an overflowing audience of nearly 18,000 people both in the building and on the lawn. The concert was a plea for peace during a turbulent time.

Copland’s Fanfare for the Common Man is the piece that opened the first New Year’s Eve Concert for Peace on December 31, 1983 at the Cathedral of St. John the Divine in New York City. Bernstein founded this concert and conducted it in 1983. The annual concert continues to this day.

On Christmas Day 1989 in former East Berlin, Bernstein conducted Beethoven’s Symphony No. 9 to celebrate the fall of the Berlin Wall. In the final movement, Bernstein had the chorus change the iconic “Ode to Joy” to “Ode to Freedom” to capture the emotion of this turning point in history. Today, we will also use the word “Freedom” in honor of Bernstein and this important moment.

Thank you for joining us today. Enjoy the concert!

Genevieve Twomey Executive Director

Cover photo: Bernstein with Norman Scribner at rehearsal. Cathedral Age Archives, Matthew Holsen.

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Bernstein: ODE TO FREEDOM SUNDAY, MAY 20, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

Lawrence Loh, guest conductor Demarre McGill, flute Alexandra Loutsion, soprano Laurel Semerdjian, mezzo-soprano William Davenport, tenor Reginald Smith Jr., baritone Cathedral Choral Society & orchestra

Fanfare for the Common Man

Aaron Copland

Mass in C Major, Hob.XXII:9 (Mass in Time of War)

F. Joseph Haydn

INTERMISSION “Make Our Garden Grow” from Candide

Leonard Bernstein

Halil

Leonard Bernstein

Symphony No. 9 in D Minor, Op. 125, “Choral” - IV. Presto

Ludwig van Beethoven

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

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PROGRAM Fanfare for the Common Man

Aaron Copland

Fanfare for the Common Man is one of ten fanfares commissioned shortly after America officially entered the Second World War on December 8, 1941. Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, wrote to leading composers in August 1942, explaining his “idea to make these fanfares stirring and significant contributions to the war effort. . . . It is my intention to revive an experiment which I originated at my concerts in London after the last war. At that time I invited the leading British composers to write a Fanfare to be played at the beginning of each program after the National Anthem . . . .I am asking you this favour . . . for the cause we all have at heart.”

Aaron Copland (1900-1990) considered titles such as “Fanfare for the Day of Victory,” “Fanfare for the Post-War World,” “Fanfare for a Solemn Ceremony,” “Fanfare for Paratroopers,” and “Fanfare for the Four Freedoms,” but finally settled on Fanfare for the Common Man. “I got the idea,” Copland explained to Goossens, “from Vice-President Wallace’s speech in which he talked about the next century being the century of the common man.” On May 8, 1942, Henry A. Wallace had delivered a widely popular speech to the Free World Association entitled “The Century of the Common Man,” in which he said: As we begin the final stages of this fight to the death between the free world and the slave world, it is worthwhile to refresh our minds about the march of freedom for the common man. . . . Some have spoken of the “American Century:” I say that the century on which we are entering—the century which will come out of this war—can be and must be the century of the common man.

After receiving the score, Goossens wrote Copland. “Its title is as original as its music. . . I shall reserve it for our pair on concerts of the 12th and 13th of March, for the common man will be paying his income tax two days later.” After the premiere, he told Copland “it made a tremendous hit. . . it is conspicuously the finest and the most striking.” Not surprisingly, of the ten commissioned fanfares, only Copland’s is performed today.

This concert opens with Fanfare for the Common Man in honor of the annual New Year’s Eve Concert for Peace, which Bernstein founded in 1983 at the Cathedral Church of Saint John the Divine in New York City.

—Aaron Copland Collection, Library of Congress Music Division,quoted by permission

Mass in C Major, Hob.XXII:9 (Mass in Time of War)

F. Joseph Haydn

Music is a mirror of history, refracting through its prism the political and social context of its creation. In the case of Haydn’s Mass in Time of War, this included the dramatic unfolding of the French Revolution from 1789 onward, the rise of Napoleon and the existential threat his wars posed to Vienna (which had not faced imminent invasion since the Ottoman Emperor in 1683), and the glorious musical prayer for peace against Napoleon’s invading army. So respected was Haydn that when Napoleon swept across Europe into Vienna, he posted two of his own bodyguards to make sure the venerable composer was undisturbed.

Franz Joseph Haydn (1732-1809) was born in the same year as George Washington in Rohrau, Austria, but spent his boyhood as a chorister at St. Stephen’s Cathedral in Vienna. He served as Kapellmeister to four successive princes of the Hungarian house of Esterházy. In this capacity, he composed for, and directed the work of, an orchestra, chorus, and group of soloists who took part in church services, concerts, and operas in the family palaces at Eisenstadt, Esterhaz, and Vienna.

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PROGRAM By the time Prince Anton, who cared little for music, acceded to the title in 1790 and dismissed most of the court musicians, Haydn’s fame and reputation had already spread throughout Europe. He had redefined classical music forms including the symphony, the string quartet, and the sonata. After thirty years of being constrained by the whims of princes and principalities, he lost no time in taking advantage of his unexpected freedom to go to England for the first time. There, he composed his celebrated London Symphonies that would define the Classical style.

In 1794, Prince Anton was succeeded by the young Prince Nikolaus II, who revived the court music on a scale similar to the days of his grandfather. Haydn returned to Eisenstadt to compose church music (the prince’s chief interest), including his great oratorios, The Creation and The Seasons. His last six Masses were written for the annual September name-day of Nicholas II’s bride, Princess Marie Josepha Hermenegild. Haydn wrote the first of these Masses in August 1796, jotting on the score “Missa in tempore belli,” or Mass in time of war. The first public performance is believed to have taken place in the Bergkirche at Eisenstadt on September 13th 1796.

German diplomat Georg August Griesinger memorialized the genesis of the Missa in tempori belli: “In 1796, at a time when the French were encamped in Styria. . . The words ‘Agnus Dei, qui tollis peccata mundi’ are declaimed in a curious fashion with timpani accompaniment, as though one could already hear the enemy approaching in the distance.”

Notably, two thirds of the Agnus Dei is taken up with the words “Dona nobis pacem.” As Haydn was writing the Mass, an Austrian decree made it illegal to “speak of peace until the enemy is driven back to its customary borders.” Many believe Haydn expressed in music what Austrians dared not say in words— “Grant us peace.”

A CONCERT FOR PEACE On Friday, January 19, 1973, the eve of Richard Nixon’s second inauguration, Bernstein conducted “A Concert for Peace” at Washington National Cathedral. The piece performed was Haydn’s Mass in Time of War. The concert was free, and the happy, quiet crowds began assembling at 4:30 pm, 4.5 hours before the start of the concert. Nearly 18,000 people were in the audience. There were 3,000 inside the Cathedral and an estimated 15,000 outside on the lawn of the Cathedral, where the music was piped out into the damp, chilly night.

The Vietnam War had begun in 1955 and people were weary of war. The concert was timed to begin at 9:00 pm, exactly when the first of three inaugural concerts was scheduled to begin at the Kennedy Center. Many concert attendees had “come to Washington to take part in the counter-inaugural march the next day; many more were Washingtonians who felt that attendance at the cathedral concert would give them opportunity to witness to their long-felt desire for peace.” (Cathedral Age, Spring 1973) Bernstein directed a special 50-piece orchestra including National Symphony Orchestra musicians, and Choral Arts Society’s Norman Scribner prepared a 125-voice chorus. Cathedral Choral Society founding Music Director Paul Callaway performed an organ prelude of Bach, Mozart, Scarlatti, Sowerby, and Messiaen. Media from around the world filled the north balcony, and notable guests included Senators Edward Kennedy of Massachusetts and Charles Mathias of Maryland.

Dean Francis Sayre, Jr. welcomed the audience and introduced former Senator Eugene J. McCarthy, poet and early leader of the peace movement, who spoke: “Tonight the burden of our concern, of our sorrow and also of our hope is carried not by words but beyond the limits of language in the music of Haydn’s Mass in Time of War conducted by a man who chose to commit his talents and his person to the cause of justice and peace – Leonard Bernstein.”

Henry Mitchell of The Washington Post wrote: “And once the music got going in the crossing under the big Gloria tower the saints in their darkened windows and the very limestone itself would probably have sung if the music had stopped...’Amen’ sang the choir and all the strings...’Amen’ sang some of the voiceless; silent, and some in tears.”

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PROGRAM I. KYRIE Kyrie eleison.

Christe eleison.

Kyrie eleison.

II. GLORIA Gloria in excelsis Deo, Et in terra pax, Hominibus bonae voluntatis.

Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

Glory be to God on high, And on earth peace, good will towards men.

Laudamus te. Benedicimus te.

Adoramus te. Glorificamus te.

We praise thee. We bless thee.

We worship thee. We glorify thee.

Gratias agimus tibi Propter magnam gloriam tuam.

We give thanks to thee for thy great glory.

Domine Deus, Rex coelestis, Deus Pater omnipotens.

O Lord God, Heavenly King, God the Father almighty.

Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris.

O Lord, the only begotten Son, Jesus Christ, O Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, Miserere nobis.

Qui tollis peccata mundi, Suscipe deprecationem nostram.

That takest away the sins of the world, have mercy upon us.

Thou that takest away the sins of the world, receive our prayer.

Qui sedes ad dexteram Patris, Miserere nobis.

Thou that sittest at the right hand of God 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.

For Thou only art holy Thou only art the Lord Thou only, O Christ, with the Holy Ghost art most high in the glory of God the Father. Amen.

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

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

Et in unum Dominum Jesum Christum, 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:

And in one Lord, Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds, God of God, light of light, very God of very God. Begotten, not made, being of one substance with the Father:

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PROGRAM per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem descendit de coelis.

by whom all things were made.

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.

And was incarnate by the Holy Ghost: of the Virgin Mary; and was made man.

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

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 erit finis.

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

And third day He rose again according to the Scriptures, and ascended into heaven, and sitteth on the right hand of the Father.

And He shall come again with glory, to judge both the quick and the dead: Whose kingdom shall have no end.

Et in Spiritum Sanctum Dominum, et vivificantem, Qui locutus est per Prophetas.

And I believe in the Holy Ghost, The Lord, and Giver of Life, Who spoke by the Prophets.

Et unam sanctam catholicam et apostolicam Eccelsiam.

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 for 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 Hosts.

Heaven and earth are full of thy glory Hosannah in the highest.

V. BENEDICTUS Benedictus qui venit in nomine Domini.

Osanna in excelsis.

Blessed is he that cometh in the name of the Lord.

Hosanna in the highest.

VI. AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

O Lamb of God, that takest away the sins of the world, have mercy on us.

O Lamb of God, that takest away the sins of the world, grant us thy peace. —Text, Roman Catholic liturgy English version, Book of Common Prayer, 1662 as printed in concert program, 1973

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PROGRAM “Make Our Garden Grow” from Candide

Leonard Bernstein

The French Enlightenment writer and philosopher, François-Marie Arouet (1694–1778), best known by his nom de plume, Voltaire, wrote Candide, or, the Optimist over three weeks in 1759. In an era before present-day democracies and separation of church and state, he satirized French institutions, especially the Roman Catholic Church, exposing social injustices while espousing civil liberties such as freedom of religion, freedom of expression, and separation of church and state. His ideas greatly influenced the leaders of the French and American Revolutions.

Why would an eighteenth-century satirical novel become such an obsession that Bernstein ultimately wrote five versions of Candide between 1956 and 1989? Bernstein revealed his view of Voltaire’s message in his introduction to a 1989 performance in London. “Sectarian religion,” he said, “is always an incitement to conflict, and optimism as a strict belief therefore breeds complacency, induces lethargy, inhibits the human power to change, to progress, to rise against injustice, or to create anything that might contribute to a generally better world.”

His daughter, Jamie Bernstein, believes “the tone of Voltaire’s novella is remorselessly cynical about the foibles and hypocrisies of man—and yet Bernstein’s music takes us somewhere else entirely, especially in the divinely radiant Make Our Garden Grow. After all, when it comes to cynicism and idealism, the truth about our existence lies somewhere in between.”

ACT II: Finale CANDIDE (sings) You’ve been a fool and so have I, But come and be my wife, And let us try before we die To make some sense of life.

We’re neither pure nor wise nor good; We’ll do the best we know; We’ll build our house, and chop our wood, And make our garden grow.

And make our garden grow.

CUNEGONDE (sings) I thought the world was sugar-cake, For so our master said; But now I’ll teach my hands to bake Our loaf of daily bread.

CANDIDE and CUNEGONDE (sing) We’re neither pure nor wise nor good; We’ll do the best we know; We’ll build our house, and chop our wood, And make our garden grow.

And make our garden grow.

PANGLOSS, MAXIMILIAN, OLD LADY, CUNEGONDE, CANDIDE and GOVERNOR (sing) Let dreamers dream what worlds they please; Those Edens can’t be found.

The sweetest flowers, the fairest trees Are grown in solid ground.

ENTIRE COMPANY (sings) We’re neither pure nor wise nor good; We’ll do the best we know; We’ll build our house, and chop our wood, And make our garden grow.

And make our garden grow.

—Lyrics by Richard Wilbur (1921-2017)

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PROGRAM Halil Nocturne for solo flute, string orchestra, and percussion

Leonard Bernstein

On October 6th, 1973, Yom Kippur—the Day of Atonement and the holiest day on the Jewish calendar—Egypt and Syria carried out a coordinated surprise military attack against Israel. For nineteen days, the Arab-Israeli war raged, escalating toward a global crisis and a potential nuclear conflict.

Among the 2,412 Israeli casualties was nineteen-year old Israeli flute student Yadin Tanenbaum, who was killed in his tank close to the Suez Canal. Although Bernstein never knew the flutist, he dedicated Halil “to the spirit of Yadin and his fallen brothers.”

Of his sixteen-minute work, Bernstein said: “Halil (the Hebrew word for flute) is formally unlike any other work I have written, but is like much of my music in its struggle between tonal and non-tonal forces. In this case, I sense that struggle as involving wars and the threat of wars, the overwhelming desire to live, and the consolations of art, love and the hope for peace. It is a kind of night-music, which, from its opening 12tone row to its ambiguously diatonic final cadence, is an ongoing conflict of nocturnal images: wish-dreams, nightmares, repose, sleeplessness, night-terrors and sleep itself, Death’s twin brother.”

Completed in April 1981, Halil is scored for string orchestra, harp, and five percussionists, with an off-stage piccolo and alto flute. Gradually, the solo flute falls mute—perhaps symbolic of the tragedy of Yadin’s death— as an off-stage alto flute engages in a duet with a solo viola.

Leonard Bernstein conducted the world premiere on May 27, 1981 at Sultan’s Pool in Jerusalem, with the Israel Philharmonic Orchestra and Jean-Pierre Rampal, flute; the American premiere on July 4, 1981, at Tanglewood, and the Washington premiere with the National Symphony Orchestra on March 16, 1982.

BERNSTEIN IN THE CATHEDRAL Leonard Bernstein made two appearances at Washington National Cathedral besides the Concert for Peace.

STRAVINSKY CENTENNIAL, 1982 Bernstein returned to the Cathedral to lead, with Michael Tilson Thomas, a world-wide live telecast of “America Celebrates Stravinsky: a special centennial concert in honor of the 100th anniversary of the birth of Igor Stravinsky.”

“For an hour and a half,” said Washington Post critic Lon Tuck, “the vaulted spaces of America's grandest place of worship reverberated with some of the greatest music a person ever set to paper, climaxing with Bernstein leading a rapt, devout performance of the work that Stravinsky dedicated ‘to the Glory of God,’ his Symphony of Psalms.”

MUSICIANS AGAINST NUCLEAR ARMS, 1984 For this concert on January 8, 1984, Bernstein brought to the Cathedral’s gothic splendor sopranos Jessye Norman and Barbara Hendricks to perform Gustav Mahler’s Symphony No. 2 in C minor (“The Resurrection”) —with an unnamed chorus and orchestra. Politics was never mentioned. Instead, reported the Post’s Lon Tuck, “what they got was enormously more meaningful. Those fearsome doubts that Mahler was asking a century ago about Man’s fate are greatly more menacing today—on a global scale.”

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PROGRAM Symphony No. 9 in D Minor, Op. 125, “Choral” - IV. Presto

Ludwig van Beethoven

THE NINTH: BEETHOVEN AND THE YEAR 1824 Dona nobis pacem More than a quarter century separates Haydn’s Mass in Time of War and Beethoven’s Ninth Symphony. It was a vastly different world in which monarchies were replaced by democracies, the Rights of Man had been defined and refined.

In 1796, Napoleon was rampaging across Europe, not yet having met his Waterloo. George Washington delivered his farewell address, John Adams was elected president of the United States, King George III still occupied the English throne albeit through his corpulent son, the Prince Regent. By 1824, Napoleon had been defeated, exiled, and dead for three years. The War of 1812 between England and America had concluded with the Treaty of Ghent on Christmas Day 1814. After twenty-five years of war, the Congress of Vienna, a powerful alliance of leaders from Russia, Austria, Prussia, and Great Britain, met in Vienna in 1814 to redraw Europe’s boundaries and fashion a Pax Europa that would endure for a century. In America, the Hero of New Orleans, General Andrew Jackson, won the presidential popular vote but not the electoral vote. The House of Representatives voted in favor of John Quincy Adams, grandson of the second president.

General Lafayette embarked on a triumphant return to America.

That same year, 1824, Beethoven’s two greatest works—the Missa solemnis and the Ninth Symphony—were premiered within two months of each other.

THE NINTH: BERNSTEIN AND THE YEAR 1989 Freiheit! … Alle Menschen warden Brüder.

In December 1989, six weeks after the fall of the Berlin Wall, Leonard Bernstein—then 72 and dying of cancer— conducted two performances of Beethoven’s Ninth Symphony. The Berlin Concerts brought together an international cast of instrumental musicians from both East and West Germany and from New York, London, Paris, and Leningrad— representing the Four Power nations that still technically occupied Berlin.

The first performance, on the 23rd at the Philharmonie Hall in West Berlin, was timed to end at midnight, when the border between East and West would be opened for the first time in 28 years, and families would reunite.

Bernstein made one change to Beethoven’s masterpiece: he asked the chorus to sing “Freiheit” (freedom) instead of “Freude” (joy), making the finale a true Ode to Freedom. “I’m sure that Beethoven would have given his blessing,” he said. “This is the happiest Christmas of my life.” The inspiration for his Berlin concerts? “Schiller! Beethoven! Freude!

Bruder! Freiheit!”

On Christmas Day, he repeated the concert in East Berlin’s Schauspiehaus. “This Christmas Day concert,” wrote biographer Humphrey Burton, “was the highest point in Leonard Bernstein’s public life as a citizen of the world.” It was his final performance of Beethoven’s Ninth Symphony.

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PROGRAM THE SYMPHONY: FIRST NIGHT The premiere of the Ninth Symphony marked Beethoven’s return to the stage for the first time in twelve years. “After talks and discussions lasting for six weeks I now feel cooked, stewed, and roasted, Beethoven wrote his agent in April 1824. “What on earth is to be the outcome of this much discussed concert, if the prices are not going to be raised? What will be left over for me after such heavy expenses?” When he learned afterward his share of profits was only 300 Florins, he collapsed on a sofa in despair.

The Missa and the Ninth are among the most vocally demanding works in the choral repertoire, especially for sopranos.

One can easily imagine the results when singing both on the same concert. After the performance, twenty-year-old soloist Carolina Unger is credited with turning Beethoven around so he could see the enthusiastic response of the audience to the first performance of his Ninth Symphony.

THE POEM: AN DIE FREUDE/FREIHEIT German poet, philosopher, historian, and playwright Johann Christoph Friedrich Schiller (1759–1805), wrote his first version of the Ode to Joy in the summer of 1785 in Leipzig. A revision published posthumously in 1808 is the version of Beethoven’s setting. Writing in Harper’s Blog on November 9, 2008, Scott Horton described “the work [as] radical and blatantly political in its orientation; it envisions a world without monarchs at a time when the distant colonies of North America alone offered the alternative. It imagines a world whose nations live in peace with one another, embracing the dignity of their species as a fundamental principle, and democracy as the central chord of their organization. Its long appeal to Beethoven lay in just this intensely subversive, revolutionary core. To start with, as Leonard Bernstein reminded his audiences, the poem was originally an “Ode to Freedom” and the word “Joy” (Freude instead of Freiheit, added to the third pillar, Freundschaft) came as a substitute for the more overtly political theme.

The transposition is very successful, and it reflects the esthetic theories of Schiller in which humankind’s political aspirations are shown as something ecstatic. The deeper, more political charge of Schiller’s writings appears in the final stanzas, which are not included in the lyrics set by Beethoven—he was at length a court composer, and he lived, wrote and published in a city which, for all its culture and pretension, was a citadel of political repression. Beethoven reckoned, of course, that his audience knew the whole text, just as he knew it, by heart. . . . Beethoven. . . knew the power of a dream, and he inspired millions with it, to the chagrin of his Hapsburg sponsors.”

- Program Notes by Margaret Shannon

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PROGRAM Ode An die Freude (Freiheit)

Ode To Joy (Freedom)

O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere, anstimmen und freudenvollere.

O friends, no more these sounds!

Let us sing more cheerful songs, More full of joy!

Freiheit, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Freedom, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Thy sanctuary..

Thy magic power re-unites All that custom has divided.

All men become brothers Under the sway of thy gentle wings..

Wem der große Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein!

Ja — wer auch nur eine Seele Sein nennt auf dem Erdenrund!

Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Whoever has created An abiding friendship, Or has won A true and loving wife, All who can call at least one soul theirs, Join in our song of praise; But any who cannot must creep tearfully Away from our circle.

Freiheit trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod, Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

All creatures drink of freedom At nature’s breast.

Just and unjust Alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end.

Even the worm can feel contentment, And the Cherub stands before God!

Froh wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig wie ein Held zum Siegen.

Gladly, like the heavenly bodies Which He set on their courses Through the splendour of the firmament; Thus, brothers, you should run your race, As a hero going to conquest.

Seid umschlungen, Millionen!

Desen Kuß der ganzen Welt!

Brüder — überm Sternenzelt Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such’ ihn überm Sternenzelt! Über Sternen muß er wohnen.

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You millions, I embrace you.

This kiss is for all the world!

Brother, above the starry canopy There must dwell a loving Father.

Do you fall in worship, millions?

World, do you know your Creator?

Seek him in the heavens, Above the stars must He dwell.

—Friedrich von Schiller, “Ode an die Freude”(1785)

BIOGRAPHIES Guest conductor Lawrence Loh is Music Director of Symphoria (Syracuse, NY) and was named Music Director of the West Virginia Symphony commencing in the 2017-18 season. Loh concluded his 12-year tenure as Music Director of the Northeastern Pennsylvania Philharmonic in 2017. Loh has had a decade-plus association with the Pittsburgh Symphony Orchestra where he currently leads annual pops and other select programs.

Loh’s previous positions include: Artistic Director and Principal Conductor of the Syracuse Opera; Resident Conductor of the Pittsburgh Symphony Orchestra; Music Director of the Pittsburgh Youth Symphony Orchestra; Associate Conductor of the Dallas Symphony Orchestra; Associate Conductor of the Colorado Symphony Orchestra and Music Director of the Denver Young Artists Orchestra.

Having a particular affinity for pops programming, Loh has been engaged for repeat performances with Chris Botti, Idina Menzel, Ann Hampton Callaway, the Texas Tenors, and more. He has assisted John Williams on multiple occasions and conducted numerous sold-out John Williams tribute concerts. He is particularly adept at conducting concerts synchronizing live orchestral music with film, and he is has lead Jurassic Park, Pixar in Concert, Disney in Concert, The Wizard of Oz and Singin’ in the Rain, among other concert productions.

Loh is active as a guest conductor, both in the U.S. and abroad. In addition to annual concerts in Pittsburgh and Dallas, his recent engagements include the Boston Pops (Tanglewood); Detroit Symphony; San Diego Symphony; Seattle Symphony; and the Buffalo Philharmonic. Past engagements include the National (Washington D.C.), Indianapolis, Tacoma, Utah, Naples, Knoxville, Florida, El Paso, San Luis Obispo, Edmonton, Colorado, Charleston (SC), Malaysia, Daejeon (South Korea), and Greater Bridgeport Orchestras. Loh received his Artist Diploma in Orchestral Conducting from Yale, his Masters in Choral Conducting from Indiana University and his BA from the University of Rochester.

Demarre McGill is a leading soloist, recitalist, chamber, and orchestral musician. Winner of an Avery Fisher Career Grant, he has appeared as soloist with the Philadelphia Orchestra, the Pittsburgh, Dallas, San Diego and Baltimore symphony orchestras and, at age 15, the Chicago Symphony. In 2018 he performed and presented master classes in Korea and Japan, and was soloist with the New York Youth Symphony at Carnegie Hall. Now principal flute of the Seattle Symphony, he previously served as principal flute of the Dallas Symphony, San Diego Symphony, Florida Orchestra, and Santa Fe Opera Orchestra.

A founding member of The Myriad Trio, and former member of Chamber Music Society Two, Demarre has participated in the Santa Fe Chamber, Marlboro, Seattle, and Stellenbosch chamber music festivals, to name a few. He is the co-founder of The Art of Élan and, along with clarinetist Anthony McGill and pianist Michael McHale, founded the McGill/McHale Trio in 2014. Their first CD, “Portraits,” released in August 2017, has received rave reviews. A native of Chicago, McGill received his Bachelor’s degree from The Curtis Institute of Music and a Master’s degree at The Juilliard School. In September of 2017 he was named Visiting Assistant Professor of Flute at Cincinnati College-Conservatory of Music.

Soprano Alexandra Loutsion has been recognized as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

This season, Loutsion makes her San Francisco Opera debut as the Overseer in Keith Warner’s new production of Elektra and will cover the title role of Turandot. Additionally, she will return to Palm Beach Opera as Tosca, will debut at Tulsa Opera as Turandot and Sacramento Philharmonic & Opera as Tosca, and will sing her first performances of Leonora

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BIOGRAPHIES in Il trovatore at Central City Opera. During the 2016-2017 season, Loutsion made an important role debut in the title role of Turandot at Pittsburgh Opera. She debuted at the Palm Beach Opera as Cio-Cio-San in Madama Butterfly and made her role debut as the Foreign Princess in Rusalka at the Arizona Opera. She also sang Tosca in concert with the Fort Wayne Philharmonic and returned to Wolf Trap Opera as Tosca.

Laurel Semerdjian, an American mezzo-soprano of Armenian descent, has been hailed as “a dramatic and musical tour de force” (Pittsburgh Tribune) for her portrayal of Asakir in Pittsburgh Opera’s production of Mohammed Fairouz’s Sumeida’s Song.

During the 2017–2018 season, Ms. Semerdjian looks ahead to returning to both Sarasota Opera, as Flora in La traviata, and Syracuse Opera, as Suzuki in Madama Butterfly, in addition to making her St. Petersburg Opera (Florida) debut as Dritte Dame in Die Zauberflöte. In the 2018–2019 season, Ms. Semerdjian looks forward to rejoining PIttsburgh Opera as Suzuki in Madama Butterfly and performing with Syracuse’s Symphoria.

Semerdjian has fulfilled young artist residencies with Pittsburgh Opera (2014–2016), Music Academy of the West (2014), Sarasota Opera (2014), Dallas Opera (2012– 2013), and Tacoma Opera (2010). She holds a Master of Music in Vocal Performance from the University of North Texas and a Bachelors of Music in Vocal Arts with a Minor in Music Industry from the University of Southern California.

Tenor William Davenport is receiving attention for his strong yet lyric tenor and Italianate style.

Tim Smith of The Baltimore Sun said, “William Davenport has the makings of a significant tenor. There’s an immediately expressive and appealing quality in the timbre, one with quite an Italianate tint…” Recent appearances include Rigoletto with

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the Tuscia Opera Festival, Nemorino in L’elisir d’amore with the Teatro Nacional de Costa Rica and Opera Delaware; and Rodolfo in La bohème with Opera Naples.

His 2016/17 season included: his debut at the Palau de les Artes in Valencia, Spain as Nemorino and role debut as Gennaro in Lucrezia Borgia; he reprised Nemorino with the Orlando Philharmonic; and returned to Genova as Alfredo in La Traviata; the Verdi Requiem (Round Rock Festival), the Petite Messe Solennelle of Rossini (Opera Delaware) and a Gala Concert in Dublin, Ireland. He is the Winner of the 2016 Veronica Dunne International, Opera Orchestra of New York Agnes Varis, Gerda Lissner, Giargiari Bel Canto, Licia Albanese, and of the Loren L. Zachary Society Vocal Competitions. He is a 2015 graduate of the Academy of Vocal Arts in Philadelphia and Peabody Conservatory of Music.

Baritone Reginald Smith, Jr. made his company debuts with Opera Hong Kong as Amonasro in Aida, the Lyric Opera of Chicago as Senator Charles Potter/General Airlie/Bartender in Gregory Spears’ Fellow Travelers and Portland Opera as Monterone in Rigoletto during the 2017 – 2018 season. He returned to Opera Memphis to make his role debut as Taddeo in Rossini’s L’Italiana in Algeri. In conjunction with the University of Michigan Gershwin Initiative’s research, Smith sang the role of Jake in the new, critical edition score of Gershwin’s Porgy and Bess. Additionally, he made his concert debuts with the Windsor Symphony Orchestra and Dallas Symphony Orchestra.

This spring, he made his Lincoln Center debut as the bass soloist for Beethoven’s Ninth Symphony with the National Chorale. He is an alumnus of the Seagle Music Colony, the Janiec Opera Company, the Lyric Opera Studio of Weimar, the Gerdine Young Artist program at Opera Theatre of St. Louis, and the Filene Young Artist Program at Wolf Trap Opera.He is proud alumnus of the University of Kentucky, where he earned a Bachelors of Music degree in Vocal Performance and a Bachelor’s of Music degree in Choral Music Education (K-12).

BIOGRAPHIES Program Advisor and Pianist Joy Schreier has been praised by Plácido Domingo as an “orchestra at the piano,” and by The Washington Post as a “responsive accompanist” and an “ideal support” at the piano. Schreier has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, the Kennedy Center, Corcoran Gallery, National Gallery of Art, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the Embassies of Austria, Australia, Bulgaria, Germany, Poland, Russia, Taiwan, Anderson House on Embassy Row, and recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Upcoming recording releases include a CD of songs and vocal chamber works with soprano Laura Strickling.

Schreier has served as Assistant Conductor at the Washington National Opera, coach for the DomingoCafritz Young Artist Program and is official pianist of the Washington International Voice Competition. In 2003, she received her Doctorate in Accompanying and Chamber Music at the Eastman School of Music under Dr. Jean Barr where she was the recipient of the Barbara Koeng Award for Excellence in Vocal Accompanying.

Guest Assistant Conductor Casey Cook is a dynamic choral musician and educator, moving fluently between the fields of conducting, composition, and vocal performance.

He serves as Musician in Residence at American University and as Director of the American University Chorus.

He frequently collaborates with the Maryland Lyric Opera, The Reston Chorale, and the Piedmont Symphony Orchestra, and is increasingly sought after as an adjudicator, clinician, and guest conductor. Cook was awarded a Doctor of Musical Arts degree in choral conducting from the University of Arizona for his research efforts into the compositional completion of Gerald Finzi’s Requiem da Camera. He

holds a Bachelor’s degree in music education from Miami University and a Master’s degree in choral conducting from the University of South Florida.

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 has announced Steven Fox as its third Music Director starting in the 2018.19 season.

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 education programs, including an annual High School Choir Festival featuring choirs from across Washington, DC.

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CATHEDRAL CHORAL SOCIETY Soprano I Anne Carman Joanne Casey Laura Cooman Tari Cooper** Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Marian Gamboa Abigale Hobbs Kyla Kitamura Kelsey Kolasa Chana Kuhns Laura Laforest Chris Markus Marianna Martindale Susan McDaid* Kimberly Pacala Melanie Steinkamp Patricia Stephenson Elizabeth Owens Wakefield Celeste Wanner

Soprano II Mary Amorosino Jessica Barness Susanna Beiser Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Emily McCullough Catherine Ort-Mabry Frances H. Pratt* Kyra Reumann-Moore Melissa Ryan Cindy Shen Helen L. St. John Megan Sullivan Dianne Vandivier Margot T. Young**

Alto I Violet Baker Kathleen Brion Sandra Caracciolo Kayli Davis Kehan DeSousa Kalyah Alaina Ford Susan Grad** Ingrid Kauffman* Gwyneth Kelly Dagny LeMunyon Laura Miller Mary Olch Felicia Pagden Sarah Phillips Jane Roningen Margaret Shannon Eleanor Slota Maki Yasui

Alto II George Branyan Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Jennifer Griffiths Orudjev Teresa A. Polinske Larisa Prisacari Christopher G. Riggs** Kate Shooltz Susan Stanford Natalie Torentinos Kathleen M. Welling*

Tenor I Gregg M. Breen Patrick Cook David Dietly John W. Harbeson Gerald Kavinski William Lacy Dick Larkin Peter Lee Thomas Mugavero Christine H. Mulligan* Robert Porter Robert Reeves Raymond Rhinehart** Martin S. Rosenthal John Schaettler D.C. Washington

Tenor II Scott Alman Douglas K. Barry Ross Bradford* J Austin Bitner David Costanza Douglas Dykstra Brett Ewer Luke W. Fisher Jeremy Gosbee Mike Kelleher Michael McCarthy James M.E. Mixter, Jr.** John E. Moyer Max Serpe Martyn Smith Matt Taylor

Bass I Jared Berry Andrew Bolden Nathaniel Buttram Kelly Cameron Jack Campbell Michael Droettboom Giles Howson Lee Larson Andrew Madar Marcus Pfeifer Stephen S. Roberts** James Schaller Arthur Smith L. Bradley Stanford* Richard Wanerman Clifton N. West III

Bass II Ernest Abbott Daniel Banko-Ferran Andrew Bolden Chris Buechler* Thomas Chapman Casey Cook Benjamen Douglas Glenn Sherer Griffiths, OSL** Scott McCorkindale Eugene Kaye David Shilton Gregory Watson Ellis Wisner

* Section Coordinators ** Alternates

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ORCHESTRA Violin I Eva Cappelletti Chao Concertmaster Laura Miller Elizabeth Adams Shelley Mathews Solomia Gorokhivska Harriet Vorona Lydia Lui Violin II Bill Tortolano* Steffany Shock Tracey Burk Kristin Bakkegard Carolyn Kessler Alexis Benard Eileen Doty Viola Cathy Amoury* Mary Dausch Dana Rokosny Marta Howard Dorothy Couper

Cello Marion Baker* Christine Lightner Rachel Sexton David Cho Allison Bazala Kim Bomin Collins Bass Jessica Powell Eig* Kyle Augustine Matt Nix Flute Karen Johnson* Elli McGinness Kathryn Farenish Piccolo Elli McGinness Oboe Rick Basehore* Alison Lowell Clarinet Kathy Mulcahy* Jeremy Eig Bassoon Ben Greanya* Renee Deboer Jeff Ward

French Horn Greg Miller* Evan Geiger Eric Moore Mark Questad Trumpet Woodrow English* John Abbracciamento Amy McCabe Trombone Aaron Moats* Will Timmons Jerry Amoury Tuba Jess Lightner* Percussion John Kilkenny* Julie Boehler James Swarts Tympani Joe McIntyre* Harp Rebecca Smith* *Principal

THE WASHINGTON RINGING SOCIETY Katie Emmons Mary Clark

Quilla Roth Calley Ordonye

Beth Sinclair John Matthewson

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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between February 3, 2017 to May 3, 2018. Gifts made in Memory or Honor of another person are listed on page 20.

Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music.

Paul Callaway Associates $20,000+ The Estate of Nevin E. Kuhl Sustaining Patrons $10,000+ Ernest*^ and Catherine Abbott

Gerald W^ and Alice Padwe

Guarantor Patrons $5,000+ D. Philip Baker Diana Dykstra^ Thomas P. Gallagher Patricia D. Hevner^

Sarah B. Holmes*^ and John B. Morris Jr. Celeste Avril Letourneau^ Lolly and Jim*^ Mixter Thomas C. Mugavero*^

Mary B. Olch* Frances H. Pratt* Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod

Virginia C. Mars^ Susan McDaid* John E. Moyer* and Jane R. Passman Catherine E. Ort-Mabry* and Brian K. Mabry

Margarita Ossorio-Goldman^ and Daniel Goldman Kevin and Andrea Wade

Cary C. Fuller Genevieve^ and Sean Twomey Mary-T^ and Spencer Gordon Jeremy Gosbee* Susan Grad* Anne R. Harris C. F. Muckenfuss III and Angela Lancaster William M. Leachâ€

Christina M. Markus* Christine* and James Mulligan John Schaettler* James* and Madeleine Schaller T. Michael and Linda Shortal Guy and Margaret^ Steuart John and Dariel†Van Wagoner Nancy H. Wiecking

Robert W. Jerome and William J. Courville Ingrid Kauffman* Wendy Lubarsky* Samuel C. Miller Kimberly* and Mark Pacala Lynn Rhomberg

Elizabeth Steuart-Kret Mr. Leslie C. Taylor Elinor G. Vaughter Kathleen W. and Walter Weld Dorothy M. Woodcock Margot T. Young*

Chorus Section Patrons $2,500+ Arthur L. and Connie Eggers Nancy M. Folger Paul Juergensen II Richard and Celia Larkin

Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Betty J. Beard Brian and Donna Bogart Jeanne Buster Laura M. Connors* Edison and Sally Dick Walter^ and Joanne Doggett Charles Leonard Egan

Patrons $500+ Margaret M. Ayres and Stephen Case Violet Baker* Jessica Barness* Joanne Casey* Blanche L. Curfman Alice M. Denney Lynn B. Dutton

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THANK YOU Sponsors $250+ Mary Amorosino* Catherine H. Beauchamp Anne* and James Carman Timothy W. and Patricia R. Carrico James W. Clay* Vera I. Connolly Cynthia L. Drakeman*^ Holly*^ and Trevor Filipiak Glenn S.* and Judith M. Griffiths

George Robert Lamb George Londeree Leander and Stephanie McCormick-Goodhart Bradley J. and Martha A. Olson Robert* and Elaine Porter Richard and Linda Roeckelein Jane* and Vernon Roningen

Suzanne H. Rooney David and Mary Shilton Gene and Sheryl Tunison C. Thomas Van Alen Thomas and Linda Veblen Richard and Virginia Wagner Ellis Wisner* Evelyn D. Woolston-May

Donors $100+ Anonymous (2) Marina Alman Doug Barry* and Liz Eder Elizabeth Bartholomew Jane C. Bergner Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Michael F. Butler Stephen and Sandra* Caracciolo Marilyn Clark Roberta and Philip Cronin Holly Cumberland John Da Camara Sharrill Dittmann Augusta T. Getchell Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham William and Margaret Greer George E. Groninger George Hanc

John Hewes* Frederick S. Hird Paul and Ellen Hoff Lee McGraw Hoffman Martha Jones Louis E. and Ruth H. Kahn Michael Emile Karam Laurie Keegan Mary Ruth Keller Gary and Judy Kushnier Janice L. Lockard Elizabeth Lowenstein Alaster and Sue MacDonald James W. and Kathleen E. Madden Paula Marchetti Scott* and Linda McCorkindale Barbara and John McGraw Robert Turner Mead Joseph and Rebecca Metro Denise Bell Miller Mindy Nash

Coleman H. and Elizabeth B. O’Donoghue Susan D. Ohnmacht Suzanne M. and B. Dwight Perry Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Christine Pintz Joan A. Pirie Chuck Pratt and Alexandra England Jacqueline Prince Theodora Radcliffe Georgene Rasmusson Ann Imlah Schneider Patrick Shannon Patricia Stephenson* Jacqueline K. Stover Keiko Stusnick Megan Sullivan* Alice Sziede Ann Tickner Dianne Vandivier* Sam Yoon

*Chorus Member

^Board Trustee

†Deceased

IN MEMORIAM Charles Stanley Tidball, M.D., Ph.D (April 15, 1928–April 26, 2018) Charles "Charlie" S. Tidball was a leading member of the Cathedral Choral Society and Washington National Cathedral family for more than a half century. A tenor, he served on the Society’s Board of Trustees and Committees. In 2007, the Cathedral Choral Society awarded him its Anniversary Medal for longstanding meritorious service. A distinguished scientist and physician, Dr. Tidball was for many years professor and chair of the department of physiology at The George Washington University School of Medicine and Health Sciences, which in 1992 awarded him the President’s Medal, the University’s highest honor.

In thanksgiving for his unstinting generosity and commitment to the Cathedral Choral Society and Washington National Cathedral, today we remember the extraordinary contributions of Charles Stanley Tidball.

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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 February 3, 2017 to May 3, 2018.

Thank you to our Government Supporters DC Commission on the Arts and Humanities U.S. Commission of Fine Arts National Capital Arts and Cultural Affairs Program

Thank you to our Foundation Supporters Anonymous 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 Clark Construction Group, LLC

Reed Smith, LLP Exxon Mobil Foundation

Corporate Investor $1,500+ IBM

Sentinel Wealth Management

Corporate Leader $1,000+ Bogart Wealth Management

Sahouri Insurance

JMR Concrete Construction Pepco, an Exelon Company

UBS Financial Services

Corporate Advocate $500+ Starbrite Dental, the Office of Dr. Maryam Seifi Corporate Supporter $100+ Ameriprise Financial - Kim, Hopkins & Associates

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Dental Group at Reston Station

Signature Estate and Investment Advisors

THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between February 3, 2017 to May 3, 2018.

Gifts in Honor In Honor of Margot T. Young The Soprano II Section James Townsend In Honor of Susan and Brad Stanford Karen and Jim Fort

In Honor of Kathy Brion Sherry Mueller

In Honor of Marti Olson Margaret Gonglewski*

In Honor of Susanna Beiser David and Joan Green

In Honor of Frances H. Pratt Harold I. and Frances G. Pratt Susan J. Henry

In Honor of Ann Ingram Roberta J. Duffy

In Honor of Robert and Elaine Porter Susan Klauck

In Honor of Ernie Abbott Joshua Gotbaum and Joyce Thornhill

In Honor of Anna Skinner Thread Creative

Gifts in Memory In Memory of J. Reilly Lewis Edison and Sally Dick Clara J. Ohr Margaret Gonglewski* Kris Brown Coleman^ and Jonathan Coleman Stephanie Cabell Margot T. Young* Barbara Oldroyd In Memory of Dariel Van Wagoner Mary-T^ and Spencer Gordon Robert and Laura Barlow CCS Alto II Section* Erika R. Joyce William M. Leach Virginia C. Mars^ Margot T. Young* Chancel Choir at Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart Sharon Harmon Maggie Wrobel

In Memory of William M. Leach Mary Olch Mary-T^ and Spencer Gordon David Coughlan Sally A. Fiske Pamela Hall Jean Jawdat Martha and Robert Johnson Elizabeth Krell Elaine Mills Scott Pritchett Anita Salustro Carolyn Shanoff Nessa Spitzer In Memory of Charles S. Tidball Mary-T^ and Spencer Gordon In Memory of Marion Drew Leach Sally Fiske George R. Leach

In Memory of Marge Schrader Linda and Stuart Churchill

In Memory of Theordore R. Bledsoe, M.D. Mary-T^ and Spencer Gordon

In Memory of Richard M. Skinner III Thread Creative Mary-T^ and Spencer Gordon Jacqueline K. Stover Hugh Winkler Alma and Robert Eisele George E.J. Singleton and M. Jane Williams

In Memory of David Hearn Mary-T^ and Spencer Gordon

In Memory of Karl Walter Ohnmacht Mary-T^ and Spencer Gordon In Memory of Laura Faller Mary-T^ and Spencer Gordon In Memory of Gertrude Ohnmacht Mary-T^ and Spencer Gordon

In Memory of Linda Morgan Michael Emile Karam In Memory of James Farrand Ann Marie Marie Plubell In Memory of James W. Stone Crawford Feagin Stone In Memory of Jim Owens Elizabeth Owens Wakefield In Memory of Tom McQuillan Ann McCormick-McQuillan

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THANK YOU Harmonia Society The Cathedral Choral Society’s Harmonia Society recognizes those individuals who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish and vision is to ensure the stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support.

Anonymous (2) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T^ and Spencer Gordon Anne R. Harris ^

William B.† and Ruth L. Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Susan McDaid* Lolly and Jim*^ Mixter Martha A. Morris Gerald W.^ and Alice Padwe

Raymond Rhinehart* Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal John and Dariel† Van Wagoner Nancy Wiecking Martha Wilson Evelyn D. 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.

SUPPORT THE ORCHESTRA! One of our most important expenses is the hiring of the professional musicians who come together as the Cathedral Choral Society Orchestra. Working with local musicians helps sustain our culturally vibrant community and brings large symphonic choral repertoire to the Cathedral.

Please consider making a tax-deductible donation to “support the orchestra” for this concert.

A donation of $37 provides for one musician for 30 minutes and... $75 provides for one musician for 1 hour $220 provides for one musician for 1 rehearsal $800 provides for one musician for the concert week Support from individuals keeps the Cathedral Choral Society strong and vibrant!

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give at...

www.cathedralchoralsociety.org/support 202-537-5510

THANK YOU Board of Trustees Ernest Abbott Kathleen Brion Kristi S. Brown, Secretary Walter B. Doggett III, Treasurer Diana F. Dykstra Holly Filipiak Patricia Hevner, Vice President

Sarah Holmes Celeste A. Letourneau James M.E. Mixter, Jr. Thomas Mugavero, President Jennifer Griffiths Orudjev Margarita Ossorio-Goldman Gerry Padwe

Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Margaret Steuart Genevieve C. Twomey, Executive Director

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Emily Alcorn, Annual Fund & Events Coordinator Laura Crook Brisson, Operations Coordinator Steven Fox, Music Director Designate Anna Lipowitz, Operations & Education Programs Manager

Joy Schreier, Program Advisor & Pianist Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

Library Committee:Joanne Casey, Violet Baker, Kimberly Pacala, Robert Porter, Jane Roningen

Washington National Cathedral Staff Valerie Ciccone, Deputy Director, Office of Event Management Matt Echave, Director of Video Services 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 Torrence Thomas, Head Verger

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

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